‘A post-colonial spy story, full of intrigue and passion.’
Manly, Australia’s favourite seaside town, is a location spotter’s treasure trove. Sitting on a peninsula overlooked by the neo-gothic pile of St Patricks, the town is an architectural mish-mash of Art Deco shopfronts, Federation era cottages, glitzy apartment blocks, and brown-brick walk-up flats. In normal times, thousands of tourist take the thirty-minute ferry ride from Sydney to Manly wharf and amble down the Corso, the street that bisects the peninsula and leads to the ocean beaches. But behind the beachwear shops and restaurants lies another Manly, unseen by the tourists, that offers an edgy fiction setting.
Australia’s COVID-19 lockdown in April 2020 forced me off the seafront promenade into the empty back streets to avoid hordes of gasping joggers deprived of their gyms. But my walks opened up corners of the town I’d barely noticed. Soon my meditative strolls turned into location spotting for the novel I’m currently writing.
The Impeccables is set in Manly in 1978. Why Manly and why 1978? Well, the previous book in the series ended with the main character Pierre Farag exiled to Australia in 1975. I needed somewhere to settle him down for a few years before he finds himself unwillingly involved with a clandestine right-wing group that aims to blow up the Opera House.
And I love a writing challenge: I couldn’t resist the idea of reconstructing the look and feel of the town where I came to live in 1978 — an era before iPhones and credit cards, when the seafront was lined with pre-war blocks of flats rather than glitzy apartments. I’ve spent hours studying the 1978 Sydney newspapers and browsing the brilliant Lost Manly FB group pages.
To recap the series, the novella Ash on the Tongue, set in 1972 in Cairo, introduces Armenian-Egyptian private eye Pierre Farag and his first incursion into the world of espionage. In the full-length novel Cairo Mon Amour, Pierre and his actress girlfriend Zouzou are drawn into a plot to conceal the launch of the 1973 Yom Kippur War. In Bury me inValletta, we meet Pierre and Zouzou in exile in London in 1975. As sleeper agents they are reactivated by the UK government to sabotage an IRA gun-running plot in Libya and Malta. My current novel in progress The Impeccables, finds Pierre and Zouzou exiled to Sydney, where they are drawn into a plan to stage a coup against the Australian government. The novel ends again in exile, but this time to a remote spot in tropical Far North Queensland. I haven’t decided whether there will be a fifth book in the series; it depends a bit on whether I can find a plausible way to get the pair out of exile. I may have painted myself into a plot corner! In addition, I regain the rights to Cairo Mon Amour from my publisher in August 2021, which will give me the option to publish the series as single edition.
All three novels are based on carefully researched historical scenarios, and each includes what I call a ‘moral core’ for want of a better term: Cairo Mon Amour is in part my personal tribute to the resilience of the Armenians in exile; Bury me in Valletta is about the collapse of the relationship between a father and daughter; The Impeccables deals with the far boundaries of betrayal.
But what has surprised me is the development of the relationship between Pierre and Zouzou as its power balance shifts and the couple find new ways to bridge the growing emotional gulf between each another. I never anticipated this when I first put finger to keyboard. This presents another challenge for a possible sequel; are they headed for the divorce courts, or will the balmy tropical climate of Queensland soothe their angst?
But back to Manly. For The Impeccables I installed Pierre and Zouzou in a run-down rented house. It’s in a made-up street called Rialto Close in a muddle of walk-up brick apartment buildings and the backs of dry cleaners and TV rental shops, four streets away from Manly Beach. The name Rialto harks back to a former cinema in the Corso. The site is now occupied by a small shopping arcade, commemorated by the unglamorous Rialto Lane. My Rialto Close could be in any of half a dozen locations around the town, but wherever it is you might spot a dumped sofa.
Meanwhile, I’ve been honing my skills in book design. Right now, you can get a paperback of Bury me in Valletta through Amazon in the US, but there’s a big freight charge and a long wait for Australian readers. So, I’ve produced an additional paperback version with Ingram Spark, which is now accessible through thousands of bookshops and libraries around the world. I was thrilled to receive the proof copy in November — excellent production values, and the interior all designed by me. I incorporated the lovely cover designed by Rachel Ainge for the ebook. This new print version is now available, and I was delighted to get some US and UK sales immediately after the release date on December 1 2020.
Here’s a great customer review of Bury me in Valletta from a reader in Scotland: ‘Gripping from beginning to the end. Brilliant book and great sequel to Cairo Mon Amour. When is the next book of Pierre Farag, Stuart?’ And for an excellent independent review from IBR, click here.
You can find vendor links for my books here, including for the novella Ash on the Tongue, which is permanently free on Smashwords. The Impeccables will be released some time in 2021.
The Pierre Farag Espionage Thriller series is now a trilogy. Book 1 Ash on the Tongue is free to download here. Book 2 Cairo Mon Amour is published here, and Book 3 Bury me in Valletta will be published in early 2020.
If I were name my favourite character in the trilogy, the prize would go to femme fatale Zouzou Paris. Here’s how to create your own Zouzou:
Give her a mysterious name
Just as Mata Hari’s real name was Margaretha Geertruida Zelle MacLeod, Zouzou didn’t start life as Zouzou. Her real name was Aziza Faris. Zouzou is an affectionate form of Aziza. It only needed a slight adjustment for Faris to become Paris* when she became a film star and decided to give herself some French mystique.
Give her a tragic past
Zouzou’s parents died in a car crash when she was eighteen. A friend of her father took her under his wing. “A peculiar variety of friend,” she said darkly, describing how the man had helped her into the film industry, where she became a plaything of his business friends. “It was sordid and exciting at the same time. The attention of rich men made me the envy of my fans. But while they envied me, they hated me too. It is the fate of women like me.”
Give her an ambiguous morality
Although she was known in Egypt as ‘the national bitch’, Zouzou’s lascivious reputation concealed a different morality. She remained a virgin until she was thirty-three. “A man may gorge on mango when all he has been given is boiled carrot,” she says, explaining how she tricked the old men.
Give her a quirky view of the world
Zouzou has spent her life negotiating deception and lies. “My whole life was a bargain.” Her instinct is to protect herself through obfuscation: “Why tell the truth when an untruth will suffice?” she often says.
Give her a distinctive speech style
Zouzou’s first language is Arabic, although we learn that she also speaks French and Turkish and probably other languages. When she speaks English, I give her a stilted and slightly florid style, e.g. “I had to go to many parties on yachts in Beirut … So many actresses, so many men with creeping hands. You see, sister, I cannot think of a yacht without remembering the caresses of those old fellows.”
Happy writing! Stuart
*For Arabic speakers: Yes, yes, I l know this is cheating and that the vowels in Faaris and Baariis are different! Let’s keep it bayni wa baynkum!
After Goodreads giveaways in November, December and January 2018, word is spreading about my espionage romance Cairo Mon Amour. In total, 2597 people entered the giveaways, and 547 have the book on their ‘to read’ list.
I’m planning more giveaways this year, but if you want to skip the line, just click here to find out how to buy a copy.
Sincere thanks to publisher Austin Macauley for organising the December and January giveaways.
She’s the childhood sweetheart of Pierre Farag, my Armenian-Egyptian private eye. But they’ve been long separated. The sweet girl he knew as a teenager on holidays in Alexandria is now a notorious film actress, protected by powerful men.
But she’s in danger, fearing that a high-ranking official wants her murdered. And that’s how she and Pierre meet again after nearly twenty years – she summons him to her private apartment to ask for his help. He sits agog as she levers off her luxuriant wig, peels off her eyelashes and wipes away the make-up: She’s no longer the hard-bitten Zouzou Paris, but the girl he knew as Aziza Faris, who fluttered her eyelashes at Pierre in their teens.
Well, with a reunion like that, how could I hold back? They’re bound together for life. But first I have to get them out of Egypt. I put them on the last ship to leave Alexandria when the Yom Kippur war breaks out, and then I follow them through France, where they are married – a condition that Zouzou imposes before she will allow Pierre into her bed. There’s a curious reason for her stipulation on wedlock, but you’ll have to read the book to know what it is.
We leave them in exile in 1970s London, both trying to negotiate a city of coin-fed gas meters, evil landladies, cambric bedspreads, and Dixon of Dock Green on the TV.
I’m fascinated with Zouzou – her volatility, her odd wisdom, the depth of her loyalty, her resignation to fate. I purposely didn’t give her a point of view; rather than writing from inside her head, I allowed the layers of her character to build through Pierre’s observations. My aim here -and I think it worked – was for Zouzou to be enigmatic and unpredictable.
A final word on her name: Zouzou is an affectionate version of her real name Aziza. But there’s a connection with a a film that was showing in Cairo around the time the novel is set: Khalli baalak min Zouzou, or ‘watch out for Zouzou’. In the movie, Zouzou is a college student who has to work secretly as a belly dancer to make ends meet – the nice girl with a shameful secret. How could I resist calling my femme fatale anything else? And of course, my Zouzou claims to be half-French, although nobody believes it. The surname Paris is her clumsy attempt at European sophistication, and it’s not so distant from her real family name Faris.
OK, I confess: I’m smitten.
You can buy a copy of Cairo Mon Amour here.
Do you suffer from bruxism brought on by poor pirate accents? I do: I grind my teeth whenever I watch the BBC TV show Doc Martin. If you’ve ever watched this program you’ll know that in the English seaside village where the doctor practices, all the locals speak Piratese, or as I sometimes like to call it Yokelese. But more of Pirate language in a moment.
My real gripe as a finicky linguist is that TV and film so often handle language use so amateurishly. I often get into foetal position and weep when an actor playing an immigrant with poor English is given an inconsistent mishmash of lines where in one utterance they speak in ‘me no understand’ fashion, and in the next produce perfectly formed complex sentences dressed down with a silly foreign accent.
And don’t get me started on those war movies vere ze Chermans spik like zis! Make ‘em speak German and add subtitles, I say. The worst such example of this genre is the (for me) unwatchable Captain Corelli’s Mandolin, in which Nicolas Cage should have got an Oscar for sustained performance of high front vowels and trilled r’s. Maybe he’d had tuition from an actor I once met at an audition whose résumé included the ability to speak English in twenty-five accents, including both Eastern and Western Armenian.
Arrr! That’s Piratese by the way, for ‘back to the topic’. In Britain and Australia, it is customary for actors playing southern English rural characters to employ a couple of pronunciation tricks such as modifying the ‘o’ sounds in words like ‘coat’ and changing the vowel in ‘eye’ to the vowel in ‘boy’. The principal trick, however is to rhotacise, i.e. (in simple terms) to pronounce most of the r’s indicated by spelling. So, where a Londoner or Sydneysider would not pronounce the ‘r’ in ‘hard’, a speaker of Piratese would pronounce it. Give it a try. If you have young children or grandchildren, you can copy Captain Feathersword of The Wiggles, who speaks quite good Piratese.
So why are my teeth a millimetre shorter than they should be? It’s because of the basic mistakes that Piratese speakers make. Why do I keep hearing actors saying things like “Hello GrandmaR” and “Where’s LouisaR?” where no ‘r’ exists in the spelling? Well, the reason is that they overdo a little rule that allows us non-rhotic speakers to pop in an ‘r’ when the next word starts with a vowel. So, while we don’t say the ‘r’ in ‘Here’s my car’, we can say it in ‘My caR is in the next street’.
OK, all clear so far. However, the brains and mouths of native Londoners and Sydneysiders wickedly conspire to play the ‘India office’ trick on us. Try saying this phrase quickly and not making an ‘r’ at the end of ‘India’. No ‘r’ in the spelling – we just overextend the ‘caR Is’ rule to ease the transition between the last vowel in ‘India’ and the first vowel in ‘office’. Try it: IndiaRoffice.
Arr! What bad Piratese speakers do is push the rule too hard by sticking the ‘r’ on the end of words that end in a vowel but are not followed by a vowel: While it’s fine to say ‘GrandmaR isn’t here’, it’s a plank-walking offence to say ‘Here’s GrandmaR’.
If I can be shamelessly unscientific for a moment, we non-rhotics are like carriers of damaged linguistic DNA; a few centuries ago all English speakers pronounced all their r’s, until the effete London court gave them up and the fashion spread through the hot chocolate drinking classes. But not all our telomeres were degraded, and the vestigial ‘r’ still pops up here and there in the attenuated fin de siècle speech of Camden Town and Bondi.
I’m astonished that few people I’ve spoken to seem to notice these errant r’s, or, when the mistake is pointed out, care. But I do, which is, I suppose one of the burdens that we sad scholars of linguistics carry. For years I’ve struggled to answer the question ‘what’s the use of linguistics’ at cocktail parties, and I’m beginning to think that it’s to keep dentists in business.
Now, if I’ve sparked your interest in linguistics, have a look at my latest novel The Sunset Assassin, which has no pirates in it whatsoever and actually has nothing to do with linguistics.
In case you missed my November giveaway of Cairo Mon Amour paperbacks, my publisher Austin Macauley Publishers Ltd is running a giveaway in December. Click here to enter and get the chance to win one of five free paperbacks!
The Yom Kippur War has its novels – Herman Wouk and Tom Clancy both weave stories around it. But I wanted to do something different – my novel set during the Yom Kippur War Cairo Mon Amour, is set in Egypt – not Israel.
I felt especially well qualified to write this book: I was a student at Cairo University when the war broke out in October 1973, and I had a ringside seat – or sometimes a seat under the kitchen table when the air-raid sirens went off.
If you can’t remember the main points about this particular conflict, Egypt invaded Sinai to reclaim land lost to Israel in 1967, and Syria attacked the Golan Heights. The conequences of the war included the 1978 Camp David Accords and the final withdrawal of Israel from Sinai in 1982.
What compelled me to write this book was the extraordinary lengths that Egypt went to in concealing the date of the attack. How did President Sadat keep preparations for a massive ground and air attack secret? And how could I spin a story of espionage and romance around this?
Details have emerged in memoirs and works of research: Hospital wards in Cairo were emptied under the pretext of epidemics in anticipation of floods of wounded troops; a military sports carnival was scheduled for the day of the attack; false stories were planted about the attack date. When I did my research, I found so many events that I could dramatise: The sudden evacuation of Soviet families just days before the outbreak of war; the last ship to leave Alexandria, crowded with Americans desperate to get away.
I also wanted to write a very human story, so I created a handful of flawed characters who all have a personal stake in finding out – or concealing – the date when the attack will be launched. We have a Cairo private eye of mixed Armenian and Coptic background; his childhood sweetheart who is now a notorious actress; a Soviet diplomat with divided loyalties; and two British spies who happen to be former lovers.
I made a decision to stick closely to the historical record: The chapters in the first part of the book follow exactly the days just before and after the start of the war. When the Soviet diplomat Zlotnik, drunk in his flat, hears the rumble of the huge Soviet aircraft flying in armaments, it is real; I heard them on that very night myself.
And I tried to capture the day-to-day atmosphere in the streets of Cairo, when, as a British student taking Arabic courses at Cairo University, I found myself in the midst of a populace that swung between elation at the first flush of victory, and distress as the wounded began to stagger home.
An earlier version of the blog article appeared under the title ‘The Middle East conflict that inspired Cairo Mon Amour’.
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Before I began writing Cairo Mon Amour, I wrote a memoir of my time in Egypt in 1973, when Cairo Mon Amour is set. Here’s an extract:
We found a flat in Muhammad Mahmoud Street, which led from Tahrir Square to the old market at Bab El-Luq. The charmless street was lined with metal shuttered shops, repair workshops and cafés. The little residential compound at No. 29 was reached through an arch leading into a small courtyard that gave access to three or four flats. Ours overlooked a tiny garden of palms and cactuses coated with a hundred years of grey dust.
A toothless concierge – our bawwaab – lived in a cupboard under an external staircase, where he cooked on a primus stove in the midst of his blankets. There was a fraternity of these bawwaabeen in the neighbourhood, and our man Farag had half a dozen of them over on Fridays to be shaved in the courtyard by a visiting barber. Our interactions with Farag were brief and functional, not the least because I had difficulty understanding rural speech spoken through gums. We settled into a daily routine of checking the mail once I had figured out that the concierge word for ‘letter’ wasn’t the standard term risaalah but gawaab, meaning ‘reply’. Most days he’d greet me with ma feesh gawaab – ‘no reply’. I often wondered what this usage implied; did it characterise the recipient as the party repeatedly begging some favour? Were people like Farag so insignificant that nobody would write to them except to refuse a request? Was Farag perhaps awaiting a legacy, heir to some Egyptian version of Jarndyce and Jarndyce?
I recently learned that our old locale is now notorious for the battle of Muhammad Mahmoud in November 2011, when tear-gassed protesters had their eyes shot out by riot police snipers.
But in 1973 it was a homely but unprepossessing neighbourhood where most basic needs could be satisfied within a few minutes’ walk. I took my shirts to the makwagi, the open-air ironing shop where the black hand irons were heated on a brazier, and the ironing man filled his mouth with water and sprayed the garments through his lips. At the open-air cinema, you could buy melon seeds and peanuts wrapped in a screw of paper made from recycled exam papers, and the floor was always carpeted with shells by the end of the film.
Bab El-Luq market supplied the staples, but I was surprised at the narrow range of fruit and vegetables available; lots of bananas, tomatoes and aubergines. One day my wife came home with half a gigantic cabbage, shaken and upset after being berated by a market trader; when she had asked for the monster vegetable to be cut in two, he had cut it and tried to make her take her both halves; apparently, you couldn’t buy a half, but you could ask for it to be cut in two. She would have needed a wheelbarrow to get the whole thing home.
I’d often take a bowl to the fuul shop in the morning to bring back a dollop of stewed horse beans for breakfast. We learned to give baqsheesh at the baker’s shop to make sure the bread was wrapped with the minimum of finger contact, but we toasted the crust over the gas when we got home anyway. It took me a while to find bottled milk, so I took my own saucepan to a back-alley dairy. It was run by a man with a filthy temper, who constantly yelled at the boys sterilising the water buffalo milk in big open vats; he disappeared for a month to go on pilgrimage, and returned transformed into a genial, beaming uncle.
Indeed, the purchase and preparation of food was largely pre-industrial. Apart from cans of superannuated vegetables and fruit from behind the Iron Curtain, there was little packaged food: Rice and lentils were bought loose and had to be picked over for grit; loose coffee came in two varieties – the same coffee, but Arabic (fine ground) and French (coarse ground); water had to be boiled and stored in second hand whiskey bottles, which could be bought from the robivecchi man (why these junk dealers were called by an Italian name I have no idea).
We gradually widened our shopping circle to include a pork butcher tucked in a nearby alley, as well as the upmarket Maison Thomas delicatessen, where the loveliest butter was made into pats on a cool marble counter, and the most toothsome eggs were sold – long and pointy with orange yolks.
Out delicate stomachs slowly hardened until we suffered from diarrhoea only one day in three. After all, people of my generation were well nourished and hygienically raised under a post-war regime that gave us cod liver oil, school milk, the National Health Service, and council grants to install bathrooms; people sometimes had ‘bilious attacks’ in England, not the nagging gassy squits that dogged us in Cairo. Anticipating gastric troubles, one of the students in our group had tried to prepare himself in London by eating small amounts of dirt each day, scraped from window sills and train floors. But nothing could have prepared me for the folly of buying a second-hand ice cream one evening.
“What flavour is it?” I asked the small boy, who was holding the thing in his fist in the crowded market.
“Mango,” he said, poking the orange mush into the cone with his finger. I snaffled it on the spot.
“Why did he only have one ice cream? Shouldn’t he have had a box of them?” my wife asked me.
The next day, tossing a Frisbee on a playing field in Zamalek, I thought I tore a stomach muscle. Hour by hour the pain grew worse until, believing I was dying, I lay on my bed as a doctor – a Syrian specialiste des maladies internes – used a large antique syringe on me that wouldn’t have gone unnoticed in a medieval torture dungeon.
My faith in British order and bureaucracy intact, I weakly indicated the student travel insurance voucher beside the bed; the jolly old doctor providing the service was to simply complete the details, post the voucher to Head Office in Swindon or Rickmansworth or somewhere, and await reimbursement by postal order. But the screws on the vice squeezing my bowels turned another twist and by the time I returned from the toilet, my wife had paid the Syrian in cash and he had gone.
Find out more about Cairo Mon Amour here.