How the SOE and Pinochet ended up in a space opera

phoeniciaExcept that, okay, they didn’t. But in an indirect way they did inform the development of Phoenicia’s Worlds.

In the early 1940s, Britain stood alone against the Third Reich, one small island facing a continent beneath the bootheel of a fascist dictatorship, with but a narrow stretch of water between them. If Britain fell then so would European civilisation.

So, naturally, everyone on the British side pulled selflessly together to fight the common foe, right?

Did they hell. The various intelligence and covert organisations whose job it was to fight Nazi Germany spent half their time fighting each other in an endless squabble for resources, rights and precedence. Read Leo Marks Between Silk and Cyanide – it makes for jaw-dropping reading. Things got to the point where the SOE operation in the Netherlands was so compromised that we were literally dropping agents straight into the hands of the Gestapo, and Marks knew this but he couldn’t get anyone to believe him. Or, if they believed, to care about it.

[Don’t just take Marks’ word for it. I’ve read the memoir of his opposite German number in the Netherlands, Hermann Giskes, who backs it up – and comes across in fact as much less of a monster than Marks imagined.]

And yet, if you had actively put it to one of those idiots in London that their activities were at best hindering our war effort and at worst helping the enemy’s, they would have been genuinely outraged at the suggestion. No one was actively, consciously betraying their country. As far as they were concerned they were all 100% patriots doing what was best for everyone.

So, take that thought and hold it: the ability, nay inevitability of human beings to concentrate on the small picture rather than the big and convince ourselves that it’s for everyone’s good.

Related to this is an even less rosy aspect of human nature: our ability to fixate so firmly on one unacceptable option that any other option, even if infinitely more unacceptable, becomes preferable. “X did Y but they achieved Z”: how many times have you heard that? It’s a false dichotomy: it becomes, in the mind of the apologist, a straight choice with No Other Way. Thatcher destroyed whole communities but she saved the economy. Stalin murdered millions but he modernised the USSR. (And no, I’m not equating Thatcher with Stalin – please.)

And any apologist for the late Iron Lady’s good friend Augusto Pinochet – and there are many of them – will sooner or later trot out the line “but he saved Chile from Communism.” Pinochet isn’t alone in the ranks of saving-the-world-from-Communism dictators but, for some reason, he is the one that has always particularly got my goat.

It is, to borrow Captain E. Blackadder’s pithy critique of pre-WW1 foreign policy, bollocks.

It was bollocks in Chile and it was bollocks throughout South America for every right-wing dictatorship propped up by the west because Communism was perceived as the only alternative. Bollocks, bollocks, bollocks.

Here is a strange fact about Communism that no paranoid right-wing loon ever seems to understand: no nation has ever turned to it out of perversity, and it has never been inevitable. What does it is desperation. You don’t want to be rich, you just want to have enough to look after your family, but you are so poor and the system so rotten that this will never happen no matter how much hard, honest work you put in. Then along come the Communists who say they will build schools and hospitals. Meanwhile the government grinds you into the dirt and expects you to be grateful for the privilege. So who do you turn to? You don’t know that the Communist’s promises will turn out to be pie in the sky. All you know is what you have now, and pie in the sky is better.

As the British proved so successfully in Oman – round about the time the Americans were pursuing their arguably less successful anti-insurgency policies in Vietnam – you fight Communism by being better. The Communists say they will build schools and hospitals. You make sure that the right side does build schools and hospitals. They surrender a little of their wealth and power – just a little – and, yes, military action is taken against the small minority of hardline insurgents. And you win. Pinochet and his vile ilk could have turned back the tide almost overnight by following this course of action.

But no. That would have meant being slightly more left wing, which was out of the question. Thus, to save this ghastly fate befalling the country, it became okay for a government to turn on its own people, spy on them, torture them, murder them, because the alternative would have been perceived as Communism – which it wouldn’t have been, of course, just a very mild case of social democracy – and that would have been totally unacceptable.

Humans, eh?

And so I came to write Phoenicia’s Worlds.

I didn’t write it to write about these themes and there are no overt references to either of the above cases in the novel. It certainly isn’t a commentary on or critique of the War Against Terror or the austerity package that is meant to save us all from a debt-ridden fate worse than death; I actually started to write Phoenicia’s Worlds before 9/11 so nothing more recent than that was on my mind. Instead, these two excerpts exemplify beliefs about human nature that are so entrenched within my being that, when the basic scenario of a beleaguered planet struggling for survival suggested itself, I knew exactly how people would react to it. And that was why I felt it would make a good novel.

The Next Big Thing

I have (apparently) been tagged in the Next Big Thing meme, in which authors answer set questions about their next (intended) work. So, with the disclaimer that anything could happen between now and finishing the puppy, including abandoning it altogether if certain other projects come to fruition and occupy all my time and attention, here it is:

What is the working title of your next book?
It’s a reversion to what Phoenicia’s Worlds was originally called. That book has two worlds joined together by wormhole. This assumes the starship Phoenicia has continued its mission, stringing together a line of worlds, one at a time – so, Phoenicia’s Line.

Where did the idea come from for the book?
For this book, this particular book, the idea came when I learned Phoenicia’s Worlds was going to be published and I wanted to keep my foot in the door. But the idea of the Line itself, which is the underpinning conceit … I honestly can’t remember. I have a vague link in my head between resolving to write a series about the Line and (concurrently but unrelatedly) working in medical publishing – and I last worked in medical publishing in 1999. So, nope, can’t remember. Getting old.

What genre does the book fall under?
Science fiction. Sub-genre, space opera.

What actors would you choose to play the part of your characters in a movie rendition?
Toughie. The only fixed character in my head at the moment is a middle-aged Hispanic type, but Antonio Bandaras would be too ruggedly handsome. There are also a couple of brother-and-sister younger roles, but a movie wouldn’t be made for so many years that whoever ends up playing them would be ipso facto too young now to be famous.

What is the one sentence synopsis of your book?
The past catches up with the future.

Will your book be self-published or represented by an agency?
Solaris are publishing Phoenicia’s Worlds so I’ll give them first dibs. If uninterested, I’ll give it to my agent. If he’s uninterested … dunno.

How long did it take you to write the first draft of your book?
I’m 7500 words in after two months. Ask me again in 30 months time.

What other books would you compare this story to within your genre?
Gareth L. Powell’s The Reckoning, most of Alastair Reynolds’ output … I just say this because they’re all great space operas and I want this to be one too.

Who or what inspired you to write this book?
The email from hero editor Jonathan Oliver saying ‘We want to publish Phoenicia’s Worlds’ – and realising that I actually could follow it up.

What else about the book might pique the reader’s interest?
“Oh look, a sequel to that book we read so many glowing reviews about. I wonder what happens next?”

Who am I now tagging to continue this?
Anyone interested. You shouldn’t need to be asked …

More of the same, but different

“More of the same” is one of the more pejorative things you can say about a follow-up book, but sometimes – and especially with sequels – that is the whole point. But there is little more disheartening than the same old same old – and that’s to write, never mind to read.

When I was writing the Vampire Plagues, I was very pleased with myself for setting a Book 2 scene in our heroes’ living room. In Book 1 we had seen the basement, and the study, and the hallway, and a bedroom. Creating a whole new room to a house is a pretty basic achievement but it made it more interesting to me as the author and I hope to the readers too. It marginally expanded the world in which the kids operated. It added a little more detail and verisimilitude.

Then in chapter 2 they were off to Paris to fight vampires, and they never returned to that house again. At least, not in the books that I wrote.

Now I’m trying to come up with Phoenicia 2 and am faced with the added problem of technological change. Phoenicia’s Worlds is set a couple of centuries hence so we’ve already had a hefty dose of New Stuff. Phoenicia 2 is a few centuries after that. I’m not a hardline believer in the Singularity – it is quite possible for technological development to slow down, stagnate or even go backwards – but some things must have changed. I can’t just re-use the old concepts. I have to develop them, but not so much that it’s not the same universe anymore.

This morning I was writing a chapter set on a space station, built on a captured asteroid in orbit around a planet. A space station with a similar function – a port of entry – has featured prominently in Phoenicia’s Worlds. How to make this station the same, but different?

Then I remembered that in Phoenicia’s Worlds they haven’t got around to inventing artificial gravity except by the time honoured centrifugal method. Who’s to say that … ?

So anyway. A space station with the same basic function but an entirely different look and feel. It’s on an asteroid. With artificial gravity it can have an atmosphere. You can walk about outside, and see a horizon that curves down instead of up. You can look up and see the mother world above you. It’s all different, I tell you, but it’s the same too. The reader – at least those who have also read the first book – will immediately see that some time has passed. Think of someone sailing into Portsmouth 200 years ago, and doing the same today. They would certainly recognise it. The Isle of Wight would still be on their left, the sea forts would still guard the entrance to the Solent – but my, isn’t it big! And how do all these boats move about with no sail? And what’s that big building shaped like a spinnaker?

And all this for a single setting that I don’t intend to revisit in any further chapters. It is hard work. This is craftsmanship, this is. Trust me.