M. W. Arnold is celebrating the release of his saga novel – A Wing and a Prayer. When I discovered the novel is about women pilots, I had to find out more. I invited Mick Arnold to tell me why he decided to write A Wing and a Prayer.
‘How many people do you know who say, often as a throwaway, I could write a book! Then go on to say, if only I had the time.
‘A Wing and a Prayer’ isn’t one of those books. However, it also wasn’t planned. A couple of years ago, I wrote and had my first book published, ‘The Season for Love’, a contemporary Women’s Fiction story. I followed this up with a bout of ill health which lasted the best part of two years. Good author friends suggested it would help to write something new, instead of taking up an unfinished project. The theory was, by going for a new, unrelated project, I could take myself somewhere I hadn’t been before. It worked.
‘Strong female characters and the true British stiff upper lip to keep calm and carry on in order to find out what happened! This book was more than a wonderful story, it was also a history lesson and I just loved it!’ Amazon Reviewer
Write what you know; is also said. I love history and the same day this was suggested to me, I caught a program on television about the women (men did the same job) pilots of the Air Transport Auxiliary who ferried aircraft to the operational squadrons. Now, that sounds interesting, I thought. So, I spent the whole of the rest of the day scrolling through the internet for anything along the same lines.
I’m usually a pantser but on this occasion, I found myself planning out a saga novel. I’d only ever read a couple but with help and suggestions, again from the same friends, I knew what it needed to read like. Quicker than I’ve ever done, this novel came together and the The Air Transport Auxiliary Mystery Club was born! I didn’t set out to write a mystery into the story of how four girls from different parts of the world find a way of living and working together, yet the first scene in the story sets the scene with one of the girls sisters being found dead in the cockpit of a Tiger Moth biplane!
I served for over sixteen years in the Royal Air Force, travelling all over the world and, of course, the United Kingdom. Some of the bases I served on were once visited by these brave people I’ve written about and I feel honoured to play a small part in keeping their story alive and in, perhaps, bringing it to a new audience. Their bravery needs to be heard about and with this story, the first in the ‘Broken Wings’ series, I hope to be able to perform this task I’ve set myself.’
M W Arnold lives near Northampton, UK and is known to his family and friends as, Mick.
M W Arnold lives near Northampton, UK and is known to his family and friends as, Mick. He was in the Royal Air Force for 16 years, visiting many different countries and very much enjoying himself. If he ever meets the Queen, he will have to thank her. He began writing as these characters needed their own voices. For a few years now, he’s been a member of the Romantic Novelists Association, a wonderful group of writers who’ve welcomed this bloke into their fold with open arms.
‘Without a doubt, Lullaby will be one of the most unsettling, absorbing, un-put-downable novels of 2018,’ according to Professor Maggie Humm. Intrigued, I invited the internationally acclaimed Woolf scholar to tell me more about Lullaby by Leila Slimani.
It was a delight to receive mail from Maggie Humm, as all her academic books were once crammed into my student rucksack. I am honoured to step aside so that Maggie Humm can challenge us with her review of a novel from a newly-refreshed sub-genre of literary fiction.
Leila Slimani Lullaby
Lullaby Leila Slimani
As Match of the Day might say ‘leave the room if you don’t want to know the result. Lullaby recounts an apparently simple scenario. Louise, a nanny of indeterminate age, is hired by Paul and Myriam, a successful middle-class Parisian couple, to care for their two children, baby Adam and Mila. Louise is tiny, with immaculate finger-nails, constantly wearing the Peter Pan collared blouse of the novel’s cover. Soon she transforms her employers’ lives for the better: the children adore her, she unobtrusively cooks, cleans and anticipates all their desires and needs. The kind of woman you’d never spot in a crowd.
In flashback, and through multiple characters’ interactions with Louise, we come to understand and empathise with her past: a loveless childhood, poverty, and domestic and sexual violence. Unusually, and intriguingly, these features are not presented as completely explanatory reasons for her final violent act – the murder of the two children. Myriam and Paul are occasionally caring and thoughtful employers whose actions to some extent compensate for Louise’s past traumas. And their kindness becomes the problem. Louise is desperate to live full-time with Paul and Myriam, to have them ‘adopt’ her. Until she kills.
‘…isolation from other nannies in the park’
Although none of the stories are told in first person we inhabit the minds of differing characters almost in real-time at key turning points: the nanny’s sensual exploration of the apartment where she will kill; her physical disgust with men during sex; her isolation from other nannies in the park; the warmth and beauty of a Greek island holiday with her employers and children. This ‘sticky mess’, as Heiser says, takes over our emotions and our bodies. We can feel Louise on our skin, even taste what she eats.
Lullaby joins a newly-refreshed sub-genre of literary fiction recreating real-life crime, exemplified by another best-selling French novel Emmanuel Carrère’s The Adversary; combined with a women’s fiction genre of apparently affectless short sentences as in Elizabeth Strout’s My Name is Lucy Barton
‘It could be any Western urban capitalist city.’
These novels focus on the gap between what we think we know and what we experience in the diurnal life of the novel – a technique often characterised as metamodernist. That is, novels which deal with structures of feeling after postmodernism. Lullaby appears intensely intimate – narrating the lives of each person in the lead up to murder. But, as a metamodernist novel it also portrays (very subtly) ways of feeling and thinking about contemporary issues: immigration, poverty, homelessness or the threat of homelessness, women’s bodies and misogyny played out in the physical geography of Paris. It could be any Western urban capitalist city.
Lullaby is also a woman’s novel (although not without interest to male readers hopefully). Clothes, jewellery, cooking and meals, women’s physical differences from men, are all as significant as actions, and trigger and shape actions in many cases. For example, Louise takes the children out to dinner one evening hoping that her employers will be able to have sex undisturbed, and produce the new baby that Louise needs to retain her place. The children are disconcerted by being dragged around strange streets to eat and when they return Louise discovers that the wife went early to bed alone. Louise’s ensuing anger (hidden from Myriam and Paul) contributes to the build-up to murder. The significance of meals and fashions were themes of the great modernist writer Virginia Woolf, but what makes Lullaby essentially metamodernist is the way in which Lullaby displaces and undercuts notions of the feeling subject by the continual unknowingness of motive and desire. Rather than arriving at a resounding ending – a Joycean ‘yes she said, yes she said, Yes; or Woolf’s Lily Briscoe’s ‘I have had my vision’ (note the present perfect containment), Lullaby ends with the reader alongside the female detective, re-enacting the murder. In The Adversary the narrator leaves behind the protagonists, drives back to Paris, deciding ‘that writing this story could only be either a crime or a prayer.’ Lullaby forces the reader to become Louise ‘who takes a knife from the cupboard,’ and to recreate the murder ourselves in our minds.
Without a doubt, Lullaby will be one of the most unsettling, absorbing, un-put-downable novels of 2018.
Manuscript of Talland House is waiting for a front cover
Maggie Humm is an Emeritus Professor, University of East London. An internationally-acclaimed Woolf scholar, the author of 14 books both for an academic and general readership, the last 3 focused on Woolf and the arts, the topic of Talland House – her debut novel. Talland House was shortlisted for the Impress and Fresher Fiction prizes 2017 (as Who Killed Mrs. Ramsay?). A short story ‘Cult Love’ was ‘highly commended’ by the National Association of Writers’ Groups (2018).
Maggie Humm’s debut novelTalland House was shortlisted for the Impress and Fresher fiction prizes 2017 (as Who Killed Mrs. Ramsay?).
Talland House will be released soon. Maggie’s manuscript is waiting for a front cover but even the manuscript looks tempting. Maggie will send a photo of her book in a handbag when it is available.
In the meantime, here is an overview of the novel:
Talland House
The Royal Academy, London 1919. Lily Briscoe has a painting displayed. She’s put her student life in picturesque St. Ives behind her: her friend and substitute mother Mrs. Ramsay disliked Lily’s portrait of her it seemed; Louis Grier, her tutor, didn’t seduce her as she’d hoped. Ten years on she’s been a suffragette, a nurse in WWI, and now a successful artist. But then Louis appears at the exhibition. He tells Lily that Mrs. Ramsay died suddenly and Lily has to investigate. And she realizes that she still loves Louis.
I had no idea what to expect from an anthology entitled ‘Paisley Shirt’. I drifted along with the words and became hooked. Enigma, shock and a wry smile accompanied me as I read these stories. Each evening, I sipped another story and savoured the unanswered questions. I searched beyond the words and entered the territory of the unsaid. As I travelled in the gaps between the words, I admired the meaning squeezed into the story. Even the child’s perspective temps the reader with the innocent gaps in the narration.
‘Stepping back as the glass shatters, his blood speckles the paintwork.’
Some stories are presented as vivid a flash of emotion whispered in black and white tones while other stories are sounded in blast of colour. Aldwin explores: love, domestic violence, families, political asylum, memories, loneliness, divorce, other cultures and more. She is not afraid to challenge her reader and is skilled at presenting economical use of dialogue. This compressed narrative form showcases Aldwin’s poetic style. To unravel each story would spoil the surprise for future readers.
‘The gift is an entry into his world.’
Tension spins in the narratives like a storm waiting for the finale, but the reader often must imagine the conclusion. Aldwin writes,
‘And there was something tuneful about Australia. Sitting on the veranda at night, listening to the rhythm of the cicadas or hearing the wind ripple through the gumtree that build to a crescendo when the storm came.’
Here in ‘Blue Skies’, Aldwin captures the way I felt when reading the flash fiction. Even the titles of the story add to the compressed meaning of the narrative form. Indeed, one must have blue sky thinking to appreciate flash fiction and look into the characters’ world.
Indeed, one must have blue sky thinking to appreciate flash fiction and look into the characters’ world.
As a tribute to Gail’s writing, I have presented words that left images on my mind. Images presented throughout the post are a snapshot of emotions that flashed in my mind long after reading. The poetic quality of this writing conjures powerful images, and I hope they will tempt you to read on.
The stories have also inspired me to experiment with this genre and have enjoyed reading the language into shape. Indeed, Gail explained:
‘I write every day and love to see my stories change direction and become more textured through redrafting and editing.’
“‘If she lives it will be thanks to God’, said the doctor, ‘If she dies, she will not be alone.’”
About the Anthology
‘Paisley Shirt‘ is a fascinating collection of 27 stories that reveal the extraordinary nature of people and places. Through a variety of characters and voices, these stories lay bare the human experience and what it is like to live in our world.
Gail Aldwin
About the Author:
Gail Aldwin is a prize-winning writer of flash fiction, short stories, and poetry. Her work can be found online at Ink, Sweat & Tears and Slamchop and in print anthologies including What I Remember (EVB Press, 2015) Dorset Voices (Roving Press, 2012) and The Last Word (Unbound Press, 2012). Gail works collaboratively with other women writers to develop comedy for the screen and stage. With the Dorset Writers’ Network, Gail supports isolated writers in rural communities. She is an experienced teacher who delivers workshops to young people and adults in community settings.
