The sun’s shining in Sydney, lockdown is over. I’ve eaten in restaurants, been shopping in real shops. The memories of Click n’Collect are fading fast.
After ten years of writing novels and a lifetime of reading them, I found myself emotionally stalled for eighteen months. My sense of humour disappeared. Writing seemed futile, irrelevant, pointless.
Three weeks into freedom, the urge to read and write fiction is back.
The pleasure of reading was the first to reappear. As vaccination rates soared in Sydney and a date for the end of lockdown was announced, I happened to be staying in an AirBnB with a well-stocked bookcase. I knocked off a Richard Flanagan a Christopher Koch and a Gwendoline Riley (my delicious first) in short order.
I knew all along that I had to keep my writing muscles in order, and I’d spent three months of confinement revamping my backlist, including unpublishing a debut novel that I now find mortifying. I regained my rights from the publisher of Cairo Mon Amour and made it the first book in The Siranoush Trilogy, followed by Bury me in Valletta, and rounded off with a new work The Sunset Assassin. I designed a new set of covers and independently published the trilogy in August 2021.
Meanwhile, the old urge to create was nudging. I had in my files the unfinished draft of a complex speculative-cum-dystopian novel Patria Nullius I’d been working on for six years. I’d pestered my writing critique group with it, putting it away for six months and then dragging it out again and again. The problem was the conclusion, or lack thereof. With the thawing of my spirit, the ending leapt out at me. I finished the ms. with a sense of satisfaction rather than despair.
I made myself a promise with Patria Nullius – that I’d spend a year trying to find an agent or publisher for it. I’ve been happy to independently publish my books in recent years, but there’s something special about this book. After six years of struggle, it deserves a chance! So Patria Nullius is now sitting in the slush pile of an Australian literary agent, no doubt one of many I’ll be querying in the next year. Here’s a brief synopsis:
Eminent Professor Susan Bridehead works for a university in New Canberra, an enclave of Oxford that houses the Australian government in exile, now evolved into a monarchy ruled by a mining dynasty. As she completes a flattering history of the dynasty, she works on a parallel story, typing on an antique Remington to avoid electronic surveillance. The story recalls her early life in a largely depopulated Australia and her marriage to Jude, a naive mystic. As Susan’s health falters, she struggles to finish the story of Jude and to reconcile herself with the ghastly prophecy that haunted him.*
The Sunset Assassin is set in Manly, my adopted home town. I set the novel in 1978, and loved the challenge of recreating the atmosphere and language I encountered four decades ago fresh from London. Manly’s an intriguing place with its famous Corso connecting the ferry wharf to the surf beach, and the back streets and alleys that the tourists tend not to penetrate – a setting perhaps for an Australian Brighton Rock.
And that’s where I’m headed with my next work – a historical thriller set in Manly. It’s still in the planning stage, and I’ll be submerged in the New South Wales State Library archives for a while yet.
*For the odd Thomas Hardy tragic, you might guess that this book is partly scaffolded by elements of Jude the Obscure.
YOU CAN FIND LINKS TO MY BOOKS HERE