2018 Masterpiece
Every year we go through special experiences.
I have had a few already and reading Fanshawe's new novel, has reached the list of 2018- Top Ten. Why special? Not just because of the unique story. But because I was surprised. I had heard Robert reading his poems, prose and even act in several GFMA plays. All sorts of characters : do -gooders and villains. The man is a creative powerhouse. His 70 year birthday in June, culminated with me interviewing him after finishing the first of his planned Trilogy.
I have had a few already and reading Fanshawe's new novel, has reached the list of 2018- Top Ten. Why special? Not just because of the unique story. But because I was surprised. I had heard Robert reading his poems, prose and even act in several GFMA plays. All sorts of characters : do -gooders and villains. The man is a creative powerhouse. His 70 year birthday in June, culminated with me interviewing him after finishing the first of his planned Trilogy.
At the start, we see Benjamin, friend of the executed soldier, the Cellist
and musician, Cello. Did you plan the whole thing or you made it up while
writing?
ROBERT J FANSHAWE
Not,
Totally. I have an outline plan but some of the detail
comes as I go, particularly the detail about characters and what happens to
them. It all started with a play then at the end I decided that the friend of
the cellist soldier and his personal battle would make a good novel so I
decided to write that first. Now I am writing the first part, which is the
prequel but has already been written as a play, so changing it to a novel is
new and interesting, but not as easy as I thought it would be. The last part
will be the end of the story, but at the same time showing that a story such as
the First World War can in a sense never have an end.
Content of the novel is
a mix of consequences of war (pg 79-81 the harrowing family scene- which kind
of sums up everything about the war), the bullying around soldiers (chapter
15), racism, and love. You managed to
bandage these four major human themes so well. Will the whole trilogy carry on
that way?
ROBERT J FANSHAWE
The
mix of the consequences of the war. Good point. Yes I’m very happy that this
came across. The next part, the prequel, will not really cover this as it
almost entirely about the monstrosity of the war and how single small moments
set up this huge set of consequences. However the last part will take up the
story of the families involved in greater detail
Your use of language to
describe scenes is extraordinary. Drama
and poetry are constantly intertwined- albeit ,very modestly. For example the way the
football game scene is described on page 159- is pure irony. A man with such a
wound expected to deliver- and although the reader feels the pain- the
characters hardly flinch. Is this intentional?
ROBERT J FANSHAWE
Very
interesting question about the dramatic use of language and the characters
underplaying ‘the pain’ in a sense.
Yes
this is intentional. The war saw events, emotions and changes in people’s lives
which we cannot begin to imagine, yet they had to carry on. This was the
character of the individuals involved and the war ‘machine’ that gave them no
real option.
Rob Fanshawe reads his work at one of many GFMA events to promote London artists and folks.
You
have wonderful lines, worth quoting. “The stillness of a dead man...” (pg 29 to
describe soldier’s emotions in battle)- Or “Life is made of moments” (pg 50)
Pure genius.
Does your craft in poetry writing help here?
ROBERT J FANSHAWE
Yes
definitely. I try to read and imitate books that have a poetic tone to them.
But at the same time I would avoid poems that are too descriptive in an
emotional way. In my view novels should be spare and very hard, as hard and
bright as diamonds in fact.
Sometimes
your “hands on” approach to how soldiers
feel reminded me of how I felt watching Oliver Stone’s “Platoon” in mid 1980s. Here is someone who had been
there. Ugliness of war. Can we say it helps knowing your subject inside out
before writing a novel?
ROBERT J FANSHAWE
I
don’t think you need to know your subject ‘inside out,’ but it helps to
understand how people think in these situations. The film ‘Platoon,’ one of my
favourite Vietnam films is a good case and I would also mention ‘Full Metal
Jacket,’ a brutal and real film. These films help provide a background cultural
tapestry to create something that is relevant to today. Any message in your
writing cannot be out of tune with the culture of the day. I would also mention
two more recent films; ‘Saving Private Ryan,’ and ‘Hacksaw ridge,’ both of
which have a message which challenges the ‘gungho heroism,’ of the traditional
idea of war.
Realism. First you have
handled a periodic tale- telling things from an era that many of us might never
know. The Woolwich hospital. The way parents could be cold with their children
(reaction and treatment of wounded Benjamin) or the alcohol and cigarettes.
Secondly, you have managed to point out historical details like the lynching of
blacks in the USA (without even leaving London), and Suffragettes...the heroine
is a suffragette- say, how she offers space for Pearl and Ben to make love.
Subtle. Then there is the way the letters are written. The actual handwriting
or fonts. How much research went into your writing?
ROBERT J FANSHAWE
How
much research went into the writing? Very good question. In a sense I have been
researching this for many years. I have wanted to write about WW1 for decades and
I have picked up snippets along the way that have helped. But in terms of the
detail, I do it as I go and not really enough.
Cellist's Friend available on Amazon since February 2018. Paperback, hardcover and Kindle.
Or via Rob - Email - bjfanshawe@gmail.com
.
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