Tag: Historical Fiction (page 1 of 5)

TELL ME A STORY

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“Tell me a story.”

Like kids all over the world, my daughters loved me reading them a story every night before they went to sleep.

At that time, in movie theatres right across the world, couples settled down with buckets of popcorn as the lights went down, thinking the very same thing.

“Tell me a story.”

Only they asked Steven Spielberg or Jonathan Demme to tell it to them.

My daughters are grown now. Jonathan Demme is gone.

But there are other daughters, other movie-goers …

When did humans first start saying: “Tell me a story” ?

The first graphic novel started with someone scrawling some figures on a cave wall thousands of years ago.

photograph: Clemens Schmillen

The actual genesis of the first audio book was the campfire; the first listeners were dressed in animal skins.

Long before human beings could even read, they were telling stories.

In the millennia since, stories have been variously carved, scratched, printed or inked onto wood or parchment, silk or bark or palm leaf, stone and clay.

These days stories – in some cases, the very same stories – are now recorded digitally, to be read or watched as moving pictures.

The medium has changed - no, it has multiplied - but whether it’s an audio-book or a play or a movie or an eBook or a hardback you can hold up to your nose and sniff for the complete sensory experience - it’s all just a way to provide the very thing that all human beings crave: narrative.

But why? Why do we all consume stories, every day, and in such prodigious quantities?

Psychologists tell us our brains are wired for story.

Even those of us who have never learned 3 Act Structure – and that’s most of the world – understand it, expect it and respond to it.

Without 3 Act Structure, Mister Darcy and Batman and Romeo and Juliet and Cinderella would not have become such a vital part of western culture. (Or in the case of Cinderella, almost EVERY culture.)

Originally, it is believed stories evolved as a way to teach younger members of a tribe notions of morality, about good and bad.

For example, a Native American tribe called the Chippewa told their ankle biters a story about an owl who snatched away naughty children if they did not behave. Most other cultures have similar Santa Claus or Bogeyman myths, with a similar theme and purpose.

But story is more, much more, than this.

Narrative became a way to look for and explore the meaning behind human existence. It is a mirror that shows us who we are, where we come from and where we belong.

We are not talking Booker Prize; we are not just talking JM Coetzee and Margaret Atwood. Narrative is story, any story.

Because telling stories is absolutely central to what it is to be human.

Some people say that Facebook, Hollywood, mobile phones and the Internet have put narrative under threat. Not a bit of it. The medium is not important. (To say otherwise will have us mourning the end of cave painting.)

It is content, not delivery, that shapes us and the culture we are a part of.

A thousand words can paint a picture.

Depending on the message, stories can be used to instil tolerance or breed hate.

For instance, do the stories we learn, the ones we carry with us, teach us to turn the other cheek or take an eye for an eye?

One theme is found in Leviticus and Exodus; the other is from Matthew’s Gospel, (the Sermon on the Mount). Both are from the Christian Bible, ‘the greatest story ever told’.

Both stories are re-told over and over today, with modern plots and themes, in a thousand ways, in plays and movies and novels.

The stories we tell ourselves reflect what we believe, but they can also persuade us to change our minds.

In the fifties and sixties John Wayne told us one story about the plains Indians of North America; more recently, Kevin Costner told us quite another story.

Stories are never just entertainment. From Cinderella to Pretty Woman, Jack and the Beanstalk to The Hunger Games, even the simplest of stories has a message. They explain the world to us; they shape our view of it.

It’s why that little voice inside us whispers to us every day.

“Tell me a story.”

That’s why, in the beginning, there was the story.

The End.

 

 

COLIN FALCONER

WHAT IS STRONGER - LOVE OR HATE?

What is stronger – love or hate?

Not everyone will have the same answer, depending on their life’s experience so far, their view of the world and life itself.

But it’s a question that intrigues me, and led to the writing of SLEEPING WITH THE ENEMY.

Because who are we really? We have an identity imposed upon us; we don’t choose whether we are born black or white, rich or poor, Muslim or Christian. It’s just an accident of birth.

Yet 7 billion of us cling to these identities as if they describe who we are.

But who we love – well, that can be a choice.

Lasting love often happens when two people find the best version of themselves.

But what happens when the person who is most like you in the world is unlike you in every other way? When they are born to someone you have been taught to hate?

Where then, does the heart lead?

Shakespeare first posed the question in Romeo and Juliet. (Though I still have a problem with two horny teenagers actually challenging the status quo over a period of three days.)

Still, that story, as metaphor, has imprinted itself on the western psyche.

But four hundred years later the question remains; if we are brought to the edge, as my two lovers are in SLEEPING WITH THE ENEMY, do we follow the tribe - or do we follow our hearts?

Palestine 1933 — Jews flood into the country fleeing persecution in Europe, settling the land that has for centuries belonged to the local Arab muktars.

Sarah Landauer and Rishou Hass’an are divided by the barbed wire of the kibbutz and by their religion yet still fall in love. But as tensions rise in the country, the two are torn apart.

A decade later, Sarah works for the Haganah, the outlawed Jewish intelligence service; Rishou is in Jerusalem, trying to stay out of a war he does not believe in. But as the whole country descends into chaos, they find each other again, and cannot stay apart.

Then the British leave for good, and the Jews and Arabs prepare for the final battle of Jerusalem. Sarah and Rishou meet in secret, keeping their affair hidden even from those that they love. But finally, they must face their final agonizing destiny, forced to choose between their love for each other and their loyalty and duty to their own people.

What is the right choice?

colin falconer, sleeping with the enemy, fury, jerusalem, freedom

Come meet me at the Falconer Club, for exclusive excerpts and to get Advanced Review copies. JUST CLICK THE PICTURE ABOVE!

 

SLEEPING WITH THE ENEMY - review it now!

My latest novel SLEEPING WITH THE ENEMY, is out on May 15.

But my Falconer Facebook Club members, who have signed up to give a review, get an Advanced Reading Copy TODAY.

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Palestine 1933 .

Jews flood into the country fleeing persecution in Europe, settling the land that has for centuries belonged to the local Arab muktars.

Sarah Landauer and Rishou Hass’an are divided by the barbed wire of the kibbutz and by their religion yet still fall in love. But as tensions rise in the country, the two are torn apart.

A decade later, Sarah works for the Haganah, the outlawed Jewish intelligence service; Rishou is in Jerusalem, trying to stay out of a war he does not believe in. But as the whole country descends into chaos, they find each other again, and cannot stay apart.

Then the British leave for good, and the Jews and Arabs prepare for the final battle of Jerusalem. Sarah and Rishou meet in secret, keeping their affair hidden even form those that they love. But finally, they must face their final agonizing destiny, forced to choose between their love for each other and their loyalty and duty to their own people.

What is the right choice?

 

COLIN FALCONER

 

Come meet me at the Falconer Club, for exclusive excerpts and the chance to win copies of my books. JUST CLICK THE PICTURE ABOVE!

FROM AUNTY IVY TO AN OPIUM DEN IN FANG

Come and join me at the Falconer Club, for selected excerpts and to get free Exclusive Review Copies of my books. JUST CLICK THE FACEBOOK LOGO AT TOP RIGHT!

My primary school teacher’s name was Mrs Boyne.

She once told my mother at a parent interview: “Your son is a complete dreamer. He’ll never amount to anything in this life.”

I still think that was a pretty harsh judgment on a seven-year-old.

I was, and am, a dreamer. She got that bit right.

It was about second or third grade that I first read Jules Verne’s Michael Strogoff. To get my hands on it, I had to endure a slobbery wet kiss from my Aunty Ivy, but I considered it well worth it.

By the end of that first afternoon, I was hooked on classic literature. Continue reading

SPACE TRAVEL IN THE 17TH CENTURY

Come and join me at the Falconer Club, for selected excerpts and to get free Exclusive Review Copies of my books. JUST CLICK THE FACEBOOK LOGO AT TOP RIGHT!

Imagine you’re on a flight from Amsterdam to Jakarta.

If you took that same journey in 1628, instead of taking less than a day the journey would take eight months.

That’s how long it currently takes for an unmanned space ship to travel to Mars.

But if you were on of the 4,000 intrepid souls who undertook the trip on a Dutch East India ship every year, it would in fact be very much like traveling to a distant manned space station.

After a seemingly endless and extremely hazardous journey you would arrive at your company’s outpost – in Batavia, now Jakarta – to be greeted by a sour and hard-bitten community of singular individuals, in an alien and hostile environment.

That is if you arrive. First, you have to survive the journey, which is so tedious and so uncomfortable that you will wish cryogenics had been invented. Imagine over three hundred people living and sleeping for eight months in a space not much larger than an interstate bus and you have some idea.

As part of my research I went on board a replica of one of those seventeenth century spaceships, the retourschip Batavia.

I couldn’t even stand up straight below decks. And then there are the bathroom arrangements; the best you can say about them is that they were … novel.

The bathroom was a platform extending from the hull below the stern, the toilet paper a long piece of rope with a frayed end.

You pulled it up to use it; you dropped it back down into the ocean to activate the self-cleaning mode.

During that eight months between Amsterdam and the Spice Islands you would travel through a dangerous and uncharted world.

It would be actually more hazardous than going to Mars today: our navigational systems today far exceed Dutch capabilities in 1628.

For example, skippers back then could calculate latitude with the aid of an astrolabe but had no reliable way to calculate longitude – distance east or west – and relied on experience and dead reckoning.

Often, the skipper’s dead reckoning was out by some considerable distance; it was how one East India Company ship came to be shipwrecked on the Houtman Abrolhos, off the western coast of Australia, over 1400 nautical miles to the south of its intended destination.

Now I’ve visited the Houtman Abrolhos. It’s a great place if you’re a sea eagle or a reclusive seal.

But if you had come from the bustling port of Amsterdam in the seventeenth century and then found yourself abandoned there, it must have seemed like being stranded on – well, the moon.

And rescue?

the Houtman Abrolhos

As unlikely as Matt Damon getting off the space station in The Martian.

But they did survive, somehow.

What was left of them.

You have to hand it to our ancestors, they were a tough bunch.

They had to be, because as they say – in space, no one can hear you scream.

 

 

A fine lady and a beautiful one, traveling alone on an eight month voyage to the other side of the world, on a tiny and overcrowded ship at a time when most navigation was done by “dead reckoning” – guesswork. What could go wrong?

 

COLIN FALCONER

Come meet me at the Falconer Club, for exclusive excerpts and the chance to win copies of my books. JUST CLICK THE PICTURE ABOVE!

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