WORK IN PROGRESS
I am currently trying to finish a new novel, hence the lack of art work from my studio in recent weeks
I am currently trying to finish a new novel, hence the lack of art work from my studio in recent weeks
Plus the fact that it is nearly summer in Corfu and the beach beckons each day!
My new project is a novel that tells the story of a young woman from Carcassonne (South West France) who marries an officer in Napoleon's army
When he is posted to Egypt, he smuggles his new wife on board ship disguised as a French cavalry officer. In Cairo - and now revealed as a beautiful young woman - she catches the eye of Napoleon and becomes his mistress - his very own, little 'Cleopatra'.
Meanwhile, Napoleon's wife - Josephine - is having her own secret relationship with a French cavalry office back in Paris!
This
is a true story. The girl's name is Pauline Foures and she was a
trainee milliner in Carcassonne - the town in the south-west corner of
France where I have been living for the last four years
Thus far I have written 40,000 words but I am at that stage that most writers will recognise when I cannot progress
It's not exactly writer's 'block' but a sense that I have not yet subsumed my extensive research in such a way that I can reconstruct (and invent) my story with the freedom that is necessary for an historical novel
It's not exactly writer's 'block' but a sense that I have not yet subsumed my extensive research in such a way that I can reconstruct (and invent) my story with the freedom that is necessary for an historical novel
I am currently reading, for example, no less than nine
books on Napoleon's Egyptian campaign, some written from an Egyptian
perspective. It is not an easy task to absorb all that historical data
without losing sight of my principal task - to tell Pauline's story
effectively
It
is clearly necessary in an historical novel to 'wear your scholarship
lightly' - otherwise the story will become just 'one damn fact after
another!' - which is how someone once described history!
That
is far more difficult than it might seem because you need to balance
historical fact against the invented or fictional components of your
story in such a way that the history has credibility without impacting
too much on the dramatic flow of your story
One
way to make some creative progress is to steep yourself in the images
of the period; to soak up the atmosphere and to gain some kind of
insight into the events of the Egyptian campaign (1798-1801) from
contemporary representations - in this case the engravings and paintings
of the period
If
you have already read my short article on Napoleon as 'spin-doctor'
(see my Posting for Tuesday, 10th January) you will spot the dangers
here
Most
of the pictures shown here were primarily intended as propaganda,
devised by Napoleon and his generals for consumption back in France.
They show, accordingly, Napoleon and his army in an entirely favorable
light - contrary to the realities of the catastrophic Egyptian campaign
that resulted in plague, famine and inglorious defeat
As
a writer, my job is not only to tell Pauline's story but to
contextualize that personal narrative within the larger, historical
narrative of the campaign itself - warts and all!
One advantage that I have is that I know Egypt well
As a schoolboy I lived for a while in Alexandria and Ismalia and have been back to Egypt since then several times
Once,
making a film for the BBC, I was arrested and held in an Alexandrian
police cell for a few hours - until we bribed our way out! It seems we
had been arrested for unwittingly filming 'a military installation'
'What installation?', we asked.'Why', came the reply, 'that tram'
When
we protested it was explained to us, with impeccable Oriental logic,
that in time of war a tram could be used to transport troops and was,
therefore, a 'military installation'
Being a writer - like a general, I guess - is a rather lonely occupation. I cannot, at this stage, tell you when exactly I will resume my writing
For
the moment, at least, I am trapped in a kind of creative limbo -
anxious to progress but nervous of committing pen to paper. The best I
can manage is to tinker with the 40,000 words written so far - crossing a
't' there or dotting an 'i' here. Even then I often forget to save the
(very) minor changes I have made!
I
should add that it is little consolation to read (in Peter Ackroyd's
magnificent autobiography) that Charles Dickens often had the same
problem!
I
will report back to you when the flood gates open (hopefully) and the
dramatic tale of Pauline Foures resumes its unsteady progress towards
publication! I am also considering writing it as a film but it would need a VERY large budget to put Pauline on the big screen!
Mike Healey