“The Devils in Skirts still scare the bejesus out of the natives.” – Author Adrian Greenwood discusses Victoria’s Scottish Lion

“Beware the London establishment trying to bring you to heel with honours, flattery and peerages; that’s what they tried with Campbell.”

In May 1808 the son of a Glaswegian cabinet-maker was commissioned an ensign in the 9th Foot (without purchase). That August he saw his first action at the Battle of Vimeiro. The military career of Colin Campbell, later 1st Baron Clyde, would include The Peninsular War, The War of 1812, The First Opium War, The Second Anglo-Sikh War, and The Crimean War. His “Thin Red Line” won immortality at the Battle of Balaclava.

Campbell, in contradiction of many assumptions about class and the British Army in the 19th Century, ended his career as a Field Marshall. When he received an honorary degree from Oxford University, it was in the company of Isambard Kingdom Brunel and Dr. David Livingstone. He is buried in Westminster Abbey. A statue of Campbell (by John Foley) stands in Glasgow’s George Square. A complex, mercurial man, loved by his troops and admired by Queen Victoria, he’s been called Britain’s first ‘working-class’ field marshal.

Adrian Greenwood, Campbell’s most recent biographer, read Philosophy, Politics and Economics at Christ Church, Oxford before taking an MBA at Imperial College. After university he started buying British Rail lost property at auction and selling it at car boot sales around London. From there he moved on to antiques, and eventually specialised in antiquarian books. Having supplied items to a broad range of clients – including the British Library and the Getty Museum – Adrian retired to concentrate on his writing.

Victoria’s Scottish Lion: The Life of Colin Campbell, Lord Clyde (published by the History Press, July 28th). To find out more visit: www.adriangreenwoodbooks.co.uk



Why Campbell?

I first came across him 25 years ago when I was doing History ‘A’ Level – I couldn’t understand why he wasn’t more famous. Over the years I kept seeing his name in books on the Victorian army, by historians like Trevor Royle and Saul David, and he seemed by far the most brilliant general of his age, yet no one had looked at his career thoroughly for a century or more. Then, as I found out more about him, the idea of writing the story of this working class maverick, riling the Victorian establishment, became irresistible. As one reader said to me, ‘You wonder why you haven’t heard of this man before.’

What accounts for Campbell’s rise through the ranks?

Well, back in the Peninsular War it wasn’t quite as hard to get promotion as Sharpe would have you believe. Campbell got his first commission for free because there was such a demand for new officers. He was promoted lieutenant because the officers above him got shot or died of disease, then he was made captain for leading a ‘forlorn hope’ at San Sebastian – that’s when a young officer leads a detachment to storm a town’s defenses. In that assault he was hit twice by musket balls but won his captaincy.

In peacetime it was much harder to rise up the ranks but Campbell managed to borrow the money to become major and then lieutenant-colonel. After that, even in the 19th century, promotion was by seniority and merit – you couldn’t buy a rank higher than lieutenant-colonel, you had to wait until the old buffers further up died off. After a long pause stuck as a colonel, he raced through the general ranks during the Crimean War (1854-56) and the Indian Mutiny (1857-1858).

Was there a particular battle, or other event, which shaped Campbell more than any other?

Difficult to pin down one, but his very first battle, Vimeiro in 1808, had a big effect. Campbell described how a captain led him by the hand up to the front while the French shot and shell thundered overhead. He was only fifteen. After that he was fearless – Queen Victoria used to tick him off for rushing into action, sword in hand, in his sixties, when he was supposed to be supervising the battle.

His other formative experience, what made him a ‘soldiers general’ (one who always looked after the men) was seeing the losses on the terrible retreat to Corunna through the Galician mountains in 1809.

What did Disraeli mean when he said that Campbell had, “only one fault – a courage too reckless for his country”?

Purple prose on Dizzy’s part, to play up to the mob, I think. He definitely wasn’t referring to rashness in strategic terms – if anything Campbell was criticized for being too cautious. Either he was referring to Campbell’s personal courage, his tendency to rush in where the fighting was thickest, or his habit of speaking his mind and rubbing people up the wrong way.

Campbell served in a time when Scotland was largely imperialist and unionist. What lessons, if any, can modern Scots draw from such ancient history?

What a disproportionately large contribution Scots made to the British army, in terms of officers and men, and to world history. Second, beware the London establishment trying to bring you to heel with honours, flattery and peerages; that’s what they tried with Campbell. Third, the Devils in Skirts still scare the bejesus out of the natives.

What has been the reaction so far from other scholars of the period?

Very positive, although at the time of writing it’s not out yet, nor are the reviews. There has been a distinct air of expectancy from a lot of academics in this field.

What’s the single best fact you’ve learned from your research into Campbell’s life and times?

From a historical perspective, whole chunks of his career – like his time in the Caribbean – were previously unreported and unstudied, but if you want a single anecdote, it was Campbell’s reaction when the 1,200 civilians he was evacuating from Lucknow, in the face of 50,000 rebels, tried to take their furniture with them. A vicar’s wife strapped a harmonium to a camel to get it out of town. When one man tried to take a ‘large, circular drawing room table’, Campbell lost his temper and ordered it left by the roadside.

Why did Campbell change his name (he was born Colin Macliver)?

That’s still opaque. It wasn’t, as usually claimed, because when his uncle, Colonel Campbell, presented him at Horse Guards, the Commander-in-Chief (the Duke of York) assumed he had the same name and no-one dared correct him. Actually, Colin started using the name Campbell before that, when his uncle took over his education and sent him to school in Gosport in his early teens. One newspaper suggested Colin was really his uncle’s son, but that seems far-fetched – he would not only have been illegitimate but the result of an incestuous affair between a brother and sister.

His mother and uncle’s family, though poor, was descended from the Dukes of Argyll, so for them the Campbell name was extremely important. Maybe his uncle, in virtually adopting him, insisted he use the name. It’s still a puzzle.

As a book dealer you sold some ultra-rare J.K. Rowling 1st and special editions. Will these really hold their value as well as a signed 1st edition by P.G. Wodehouse or a 1st French edition of Verne’s Around the World in 80 Days?

Excellent question. I remember when someone told me a Harry Potter had sold for £1,000 at auction (this was in the late 1990s), I couldn’t believe a modern children’s book could make that much, yet this June Sotheby’s sold one for £25,000. The first hardback edition of the first Harry Potter is genuinely scarce – there are probably no more than 50 really good copies.

Rowling’s place in children’s literature is well and truly cemented so they should hold their price, but they haven’t gone up as much in the last seven or eight years as other modern first editions. That’s partly because the films have come to a close and that’s a big factor.

If my customers asked whether a specific book would be a good investment I used to tell them to try the stock market instead, but if you want a ‘blue chip’ book to buy, go for Bond. They have been performing well for forty years, and they get a fillip every time a new film appears.

What should be playing on the stereo when we’re reading Victoria’s Scottish Lion?

For the action bits ‘The Campbells are Coming!’ or the ‘Thin Red Line March’. Half the book’s about India and I played quite a lot of Ravi Shankar while writing it.



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“No matter how well you write, you will get bad reviews.” – Author Christopher G. Nuttall discusses The Decline & Fall of the Galactic Empire novels

“There has been something of a gulf between readable SF books and award-winning SF books in the last 20-odd years. The SF books that are genuinely popular aren’t always the ones that win awards.”

10 years ago Christopher G. Nuttall set out on a writing career which to date has seen him produce over 30 titles including fantasy, science fiction and historical novels.

Born in Edinburgh, Nuttall trained as a librarian and now lives partly in Malaysia. He says that to succeed as a writer you need ego and a thick skin. While some of his books have found a route to market via traditional publishers, others have been published directly online.

In his The Decline and Fall of the Galactic Empire series Nuttall imagines humanity dispersed among the stars, held together by a crumbling political union transitioning from a senatorial republic into a tyrannical empire. In both Barbarians At The Gates and its sequel The Shadow of Cincinnatus narrative threads from classical antiquity are interwoven with pop sci-fi references. The result is a good old fashioned yarn spun by a master storyteller.

You can find our more about Christopher at his homepage: www.chrishanger.net



What are your first memories of Edinburgh?

That’s a hard question – I was born in Edinburgh. I have strong early memories of going to the Tattoo as a child, so that’s probably the best ‘first’ impression.

Has Edinburgh shaped why and how you write?

I think it has, in many ways. Edinburgh is a mix of old and new; Edinburgh Castle was the inspiration for Castle Alexis in Lessons in Etiquette, for example.

There’s a story about you trying to borrow a Tom Clancy book aged 9 which the Morningside librarian thought too old for you. In hindsight were they right?

No, I don’t think they were right; I understood the book at the time and …well, it wasn’t erotic fiction. I don’t think that librarians (I trained as one, so this is dear to my heart) should be trying to dictate reading tastes, even to children. That’s the job of their parents.

Why are many (otherwise intelligent) readers put off by fantasy and science fiction?

I don’t think that’s actually true – my readers are very intelligent. That said, there has been something of a gulf between readable SF books and award-winning SF books in the last 20-odd years. The SF books that are genuinely popular aren’t always the ones that win awards. I know, that sounds odd, but SF has always been about the big ideas and not every book that features a big idea is readable.

If you could jump back a decade, what would be the first thing 2015 you would tell 2005 you (other than to buy George R. R. Martin 1st editions)?

Jump on the Indie bandwagon as soon as it started, I think. Although that might be a mistake – writing requires development and the stuff I was producing in 2005 wasn’t really worth either publishing or self-publishing.

You’ve published via the traditional route and you’ve published online. What’s the difference?

There are actually several different answers to that question. The basic one, in my opinion, is that the former offers considerable cachet, while the latter offers considerably more control. Being picked up by a traditional publisher says ‘this guy impressed an editor’ – it also means that the publisher handles everything from editing to cover design. You have to do all that for yourself if you’re going the self-publishing route. On the other hand, you generally get paid more if your self-published book breaks through..

You’ve talked elsewhere about learning the difference between useful criticism and people trying to pretend to be critics while enjoying their superiority. What’s the first thing a reader of arts criticism should remember and what’s the last thing a critic should forget?

Well, the author should remember that you can’t please everyone – and you can’t. No matter how well you write, you will get bad reviews (this is why I advise authors to grow a thick skin). The reader should remember that the critic may be being paid to be critical – that he or she will search for things he can criticize because he thinks that’s his job. There’s also the risk that the critic may not be very familiar with the field – if the critic is primarily a SF-reader, I wouldn’t expect him or her to be very kind to a romance novel.

The critic should remember to consider the work as a whole, rather than merely nitpick one tiny detail – that’s annoying at best and turns into trolling at worst. I once read a review of Harry Potter and the Goblet of Fire that consumed two pages complaining about Harry being forced to complete in the competition even though he hadn’t entered. It’s a valid point, but it doesn’t overshadow the rest of the book.

If I’d done that and one of my beta readers caught it, I could have justified it – that’s where the critic comes in handy. On the other hand, someone questioning an aspect of a society that makes no sense out of context is merely annoying. Trial by combat, for example, was quite popular around the time of Magna Carta, but seems stupid to us today.

How important is the convention circuit for authors as authors, rather than as sales reps?

It’s quite fun to meet other authors and compare notes with them, so I enjoy the handful I attend,. However, sales are almost always minimal – I always buy more books than I actually sell.

Will there be a third installment of The Decline and Fall of the Galactic Empire series?

Yes, The Barbarian Bride should be coming out later in the year.

If readers liked Barbarians At The Gates, what else of yours should they read?

I’ve produced quite a few books, mainly science-fiction and fantasy. The Empire’s Corps series is set in a decaying empire, while Ark Royal follows the adventures of HMS Ark Royal and her crew as they face a mysterious alien threat. Or, if you like fantasy, check out Schooled In Magic, Bookworm or The Royal Sorceress. Or, if you like alternate history, check out The Invasion of 1950. Or, if you like thrillers, check out The Coward’s Way of War.

What should be playing on the stereo when we’re reading Barbarians At The Gates & The Shadow of Cincinnatus?

I’m very fond of In The Hall of the Mountain King.



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“His obsession with happiness first hooked me” – Author Tim Leach discusses The Last King of Lydia Novels

Croesus on the pyre, Attic red-figure amphora, Louvre

“I keep waiting for the authoritative condemnation from Mary Beard for my amateur’s exploration of the classics, but it hasn’t come yet!”

“As rich as Croesus” – the expression derives from a king who reigned on the frontier between myth and history. According to Herodotus, Croesus (r.560 to 547 BC) was the first Mediterranean monarch to mint gold and silver coins. His empire, located in modern-day Turkey, rested on the mineral wealth of Sardis, the capital of the Kingdom of Lydia.

In Tim Leach’s The Last King of Lydia – which like all good Classical tales starts in the middle – we encounter a defeated Croesus about to be put to death by his Persian conquerors. Inspired by the writings of Herodotus, Leach sets out on a fictionalised retelling of Croesus’ story, the half historic, half mythic king whose rise and incredible fall from power shook the ancient world.

The Last King of Lydia was shortlisted for the 2013 Dylan Thomas Prize. In 2014 a second installment – The King and the Slave – bookeneded the narrative, recounting Croesus’ later adventures as an object of curiosity in the court of a demented tyrant. Together, both novels explore the nature of identity in crisis, set in a richly detailed vision of distant antiquity.

The Last King of Lydia & The King and the Slave are published by Atlantic Books.



Why Croesus?

It’s his obsession with happiness that first hooked me in – I’d always thought of it as being a very modern concern. So when I read about his encounters with the philosopher Solon where they debated happiness at great length, it got me very intrigued – I’d never thought I would write historical fiction, but I just became fascinated by this character. Even better, in the source material, the story of Croesus ends just when to me it was starting to get good – if I wanted an ending, I was going to have to write one myself!

Both The Last King of Lydia & The King and the Slave include portraits of historical figures such as Cyrus The Great, his son Cambyses II, and the Athenian law-maker Solon. How did you flesh out the bare bones of biography we have for them?

Gold coin of Croesus that was made around 550 BC in the Lydian Empire.There are teasing hints about their characters in the source material that were useful as starting points – Solon’s blunt honesty, Cyrus’s thoughtful charisma, Cambyses’s insecurity. Mostly, it was just trying to find an emotional connection with them, and going from there – trying to imagine my way on what it might have been like to be in that place at that time. And dialogue scenes are an absolute boon for character creation and development. I learned so much about my characters just from putting them in a room together and trying to figure out what they might say to each other.

How did you manage the parallels with other portraits in historic fiction (such as those between Cambyses & Caligula), did you ignore, embrace or shy away from them?

Cambyses was a tricky one – in the source material, he is such a relentlessly terrifying villain (incest, torture, sadism, murder) that my worry was not just that he would parallel with Caligula, but that no one would believe him (and when we don’t believe in a villain, they cease to be scary). The solution for both problems was to put a lot of myself into the character – to take my own fears and neuroses, turn them up to 11, and make him a monstrous, warped version of myself. That way, not only was I confident that I could make him unique from other historical villains, but that he would still retain some kind of humanity that would keep him relatable.

As well as the portraiture, the novels contain lively landscapes of the teeming cities and sprawling palaces against which Croesus’ story plays out – my personal favourite is the opening of The King and the Slave, somehow akin to the opening lines of Gilgamesh. Have you drawn any direct inspiration from your own extensive travels?

Yes, there are certain cities and landscapes that really stay with you, that seem to be in some way unanchored to time and place. The chaotic medinas of Fez and Marrakesh, the sun drenched Greek islands, the wide open plains of Argentina – these are places that I seem to keep using elements of when I’m creating places in my writing.

Has there been any feedback from scholars of the period?

I keep waiting for the authoritative condemnation from Mary Beard for my amateur’s exploration of the classics, but it hasn’t come yet! The feedback from those classicists who have read it has been extremely positive – I think the fact that my source material, Herodotus’s Histories, is so notoriously unreliable means that no one expects a historically perfect reconstruction. There’s plenty of room for a writer to play when there’s such an intoxicating blend of myth and history in Herodotus’s work.

NB. Listen to Edinburgh49‘s interview with Prof. Mary Beard here.

Gerard van Honthorst

How did the response to The Last King of Lydia influence the writing of The King and the Slave?

The King and the Slave was mostly written before Last King was published, but the good reviews from the first book were just starting to roll in when I was editing the second. It was a real confidence boost at that stage, and I was able to relax just a little as I was putting the finishing touches to it.

You’re a graduate of Warwick University’s Writing MA where you now teach. What’s the first thing you tell your students?

Be patient, be persistent and lower your overheads! A lot of students come onto writing programs hoping for some quick fix or miracle cure, but there’s no way around it – it’s a long, slow, lonely grind to get anywhere. You can’t shave much time off that process on a writing course, but you can try and make sure people are well equipped to stick out long journey ahead.

Claude Vignon

Are there possibilities of radio, TV or cinema adaptations on the horizon? Is there an actor you could imagine playing your Croesus?

I would love there to be! It would be tricky to adapt, though. TV would be better than film, as I don’t think the story would compress well into a couple of hours, but you’d need a serious budget to do it well. Radio is a possibility I’d not considered, and could actually work very well, especially given how dialogue focused the books are.

If money were no object? I really admire the people who have some managed to combine being leading men with being interesting character actors in Hollywood – Cillian Murphy and Christian Bale would both have a good stab at it I think, bringing that combination of charisma and vulnerability that is critical to the character. And definitely Russel Crowe for Isocrates [Croesus’ fmr. slave & later mentor] – no one does a better thuggish intellectual!

Obvious question, but what are you currently working on? How about the story of Solon?

I was very fond of Solon, and tried to squeeze as many scenes with him as I could in the story! I’m coy about being too specific about what I’m working on right now, but it’s somewhere not quite so far back in history, and quite a lot colder…

What should be playing on the stereo when we’re reading The Last King of LydiaThe King and the Slave?

Well, I mostly write to instrumental or minimalist stuff – if you want to read it to the music it was written to, then I recommend sticking on some Explosions in the Sky, The xx, Esmerine, M83, or anything similar. Though right at the end of writing the second book, I got weirdly obsessed by The Funeral by Band of Horses, playing it over and over again as I was writing the last few chapters. So better stick that on the playlist too…



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Kind of a BIG Deal – S02E04 – David & Hilary Crystal

“I don’t know how to put this…but I’m kind of a big deal.” – Ron Burgundy

In each episode of Kind of a Big Deal you can listen to an exclusive and intimate conversation between our Features Editor and the kind of big deal folk our world-class arts scene attracts – writers, performers, movers and shakers.

Listen again to Kind of a BIG Deal S02E03 ft. Neil Mackinnon, Head of External Affairs at the Edinburgh Festival Fringe Society HERE.



This week’s conversation is between Dan Lentell and the authors of Wordsmiths and Warriors

DAVID & HILARY CRYSTAL

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“The irony is only four percent of the English speakers of the world ever spoke that so-called correct kind of English.”

David Crystal is perhaps best known for his two encyclopedias for Cambridge University Press, The Cambridge Encyclopedia of Language and The Cambridge Encyclopedia of the English Language. His recent books include Words in Time and Place: Exploring Language through the Historical Thesaurus of the Oxford English Dictionary (2014), You Say Potato: a book about accents (2014, with actor son Ben Crystal), and The Oxford Illustrated Shakespeare Dictionary (April 2015, also with Ben).

Hilary Crystal is a former speech therapist and one time quality-control editor for the Cambridge and Penguin families of encyclopedias. In 2013 husband and wife published Wordsmiths and Warriors: the English-Language Tourist’s Guide to Britain.

In this conversation David & Hilary talk about their shared passion for language, accents and Shakespeare in original pronunciation (OP).

S02E04 David & Hillary Crystal



The jingle is used with the gracious permission of Moving On Theatre’s Laurene Hope Omedal (star of Piaf: Love Conquers All) and is voiced by Edinburgh Nights host Ewan Spence.

This season of Kind of BIG Deal interviews is supported by the good people at the superb Cult Espresso – the coffee lover’s Southside choice.


PLEASE NOTE! If you are subscribed to Edinburgh49‘s emailing list, you may not see embedded audio links in your email alert, but they are on the website. (Promise!)

“We look for great contributors who tell us what we don’t already know.” – Cheryl Robson discusses Subversive Scene

“Once it reaches a tipping point where a lot of people join in or support it, then it has the power to be truly counter-cultural and lead to change.”

Cheryl Robson is a writer, editor, producer and publisher. Born in Sydney Australia, Cheryl has lived in the UK, France and Singapore, always liking to change things wherever she goes. During the late 80s and 90s she was one of the main players behind The Women’s Theatre Workshop. WTW staged several full-length plays, dozens of performances and delivered hundreds of workshops on writing and directing. In 1995 – in association with The New Playwrights’ Trust and the Directors’ Guild – Cheryl helped establish the first mentoring program for women writers and directors in the UK.

As well as having founded Aurora Metro – which publishers authors ranging from Rudyard Kipling to Benjamin Zephaniah – Cheryl established the Virginia Prize in 2009. Named in honour of Virginia Woolf, the prize encourages and promotes new writing by women.

Cheryl’s latest project is as co-editor of Subversive Scene: Counter-Culture UK – a celebration. Currently undergoing a Kickstarter campaign, this one-stop guide promises a unique look at the diversity of sub-cultures which have emerged in the UK since the war. an integrated movement. Participants will include DJs, graffiti artists, musicians, writers, poets, fans, and protesters. Contributors will examine the arts, isms, access, representation, as well as the world-shaping impact of counter-cultures.

You can track Cheryl’s progress at supernovabooks.co.uk



What’s your definition of counter-culture?

I think it means any group of people, of any age, who get together because they share common attitudes which are different in some way to the beliefs and values of the mainstream.

Does the value of counter-culture exist solely in its capacity to counter something else, more established?

Often it can simply be innovative or fun like ‘The Twist’ became a dance craze, or have its roots in a particular community seeking expression in its own way, such as hiphop. Once it reaches a tipping point where a lot of people join in or support it, then it has the power to be truly counter-cultural and lead to change.

How do counter-cultures emerge and die?

They emerge when individuals feel drawn to each other to do something together eg. skateboarding or graffiti art or protesting such as the Occupy movement. When the group or its  followers reach a critical mass, they become a new community which can be identified by the  media in some way. Sometimes they demand social change such as Gay Lib, Feminism or most recently the Anti-Fracking groups.

Sometimes they voice their criticism of the status quo without any real agenda for change and so without leadership or real goals, the energy burns out. Sometimes the followers of a new group create a new market of some kind such as the market for R & B records, or the market for punk-styled clothing or the market for computer games. Once the group achieves mainstream popularity or success, its adherents may eventually lose interest. If the trend is absorbed by the mainstream, its power to change society may slowly dissipate unless it is revitalised by a new generation or new leadership.

Subversive Scene is scheduled to feature chapters by activists, a spiritual healer, academics, producers and a stand-up. As an editor, how do you even begin to weave such potentially disparate threads into a comprehensible narrative?

The time span of the book means that each chapter covers the changes in society since the post-war years, with each writer describing the main changes which have occurred in a particular genre, movement or field. This is the unifying concept of the book and it provides insight into how the impetus for change can come from different sources simultaneously.

How did you go about selecting your authors?

We advertised on a number of websites and in newsletters and Facebook. It quickly became apparent which writers aligned with our aims for the book.

You’ve a list of publications as long as Mr. Tickle’s arms, what makes the Subversive Scene project special?

It’s inspirational to read about all the artists who found new ways to express what people were feeling about their lives, or the activists who marched or protested or lobbied governments for years to get things changed. And we see changes happening all the time. One recent example is that the Irish people have just voted in favour of same-sex marriage.


Why aren’t you writing the ninth chapter (on publishing)?

We look for great contributors who tell us what we don’t already know. The chapter on Underground publishing has been written by Ben Graham who is far more knowledgeable than I am about the history and range of incredible ventures in the publishing world.

Would it be unfair to say there is a political current running through much of your work? What’s its source? Is it unvarying, or have there been events, personalities and moments which have altered its course and force?

We like writers with something original or provocative to say and sometimes this goes against the mainstream political view such as Carole Hayman’s satire of Tony Blair’s government Hard Choices. It was deemed almost sacrilegious to be critical of New Labour in the early days. With projects like The Arab-Israeli Cookbook we took a fresh perspective on those troubled events, which has since been much copied. The book was awarded Best Innovative Foodbook UK and a Special Jury Prize for Peace from Gourmand World Cookbooks, and as far as we know, gave cultural equity to both Arabs and Jews in one book, for the first time.

Subversive Scene is billed as a celebration. Can a celebration also be critical?

The aim of the book is to bring all the disparate elements together to remind people that counter-cultures have many forms and often very humble beginnings such as Gay Liberation starting in a basement at LSE with 17 people present. From those tiny acorns mighty oaks can grow…

What should be playing on the stereo when we’re reading Subversive Scene?

What would be your choice? There are so many great tracks to choose from. Check out the video on our Kickstarter campaign here to hear one of our faves: http://kck.st/1LDjf92



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“A tapestry of viking myths” – Author Andrew Valkauskas discusses The Illuminated Edda

“All mythology is incredibly fascinating. It’s a lens on what makes humanity inherently human.”

If the scheduling for this article runs to plan, it’ll be published first thing on Monday. The name for the first day of the working week is derived from Moon Day in old English. If the scheduling doesn’t work out, the savage reader may have had to wait until Tuesday or Wednesday – days named for the deities Týr and Woden respectively.

The continuing influence of Norse mythology is all around us, but what is it, or rather where is it? The stories (allegorical and categorical) which make up the Abrahamic faiths are contained in their respective volumes of the Sacred Law. The inexact equivalent in Norse, or more specifically Icelandic, mythology are the Prose and Poetic Eddas. These legendary manuscripts are akin to the Viking bible. Written roughly 1000 years ago, they immortalize the culture and society of the Northmen.

Andrew Valkauskas has been studying Viking history and mythology for over 20 years. In 1993 Andrew published the first edition of Fate of the Norns – a line of viking fantasy role-playing games, the mechanics of which are deeply rooted in Viking mythology.

The Eddas have been constant his muse and inspiration. Now Andrew’s honouring them with a “pull-out-all-the-stops” new edition to sit alongside the print editions of (and supplements to) the Fate of the Norns series. The narrative will tell tales of the gods, the giants and many other wondrous beings who inhabit the world tree Yggdrasil – from the creation myths all the way to Ragnarok, the twilight of the gods.

You can track Andrew’s progress at https://www.kickstarter.com/projects/avalkauskas/the-illuminated-edda.



How would the original readership have encountered the material spun through the Eddas?

Well when these myths were fresh (c. 300-900 AD), they were passed down via oral tradition. Lineage was very important to the northmen, as the leaders of the major dynastic families claimed to have gods are the progenitors of their lineage. As a result, those in power wished to keep this lore alive and prevalent. The relationships between humans and gods were immortalized via songs and poems.

The poetic meter and structure is different between the Poetic Edda, and the poetry described in Snorri’s Prose Edda. The Poetic Edda uses simple structure, more akin to what a song would use. The Prose Edda has a much more elaborate style that uses kennings – using a figurative phrase instead of a simple word. It’s clear that both the oral and written traditions were shaped by the current social trends.

Although the tales were written down as the Eddas in 13th Century Iceland, they are much older. Just how far have their roots been traced back?

The oldest written versions come from the Codex Regius, a batch of manuscripts dated c. 13th century. More were discovered in subsequent centuries, and those have helped build up the body of work with unique works like the Rigsthula. It’s hard to say when an oral tradition may have started, one of the yardsticks that can be used is to trace back one of the dynastic families to their progenitor. The Yngling dynasty claims to have come from the god Frey. You have a vague succession of heirs which could be counted and then an estimate can be made. I have that number written down somewhere, but right now I cannot recall.

Were the stories intended as simple entertainments, or do they carry deeper lessons about what it is to be human?

Most mythologies are a reflection of human understanding, and our approach to viewing and managing the world around us. Through the use of allegory, these stories are meant to impart wisdom. One of the more in-your-face poems is the Havamal – which are the teachings of Odin. It covers social behaviour, friendship, folly and common sense.

What got you so interested in what a bunch of dead Vikings had to say?

I think all mythology is incredibly fascinating. It’s a lens on what makes humanity inherently human. For me, right after Viking myths come the Mesoamerican myths. But Viking myths are very special, because on top of the Eddas, you get a bunch of companion sagas written by Icelanders and Norwegians which are incredibly entertaining.

And these dead Vikings were quite an amazing peoples… sailing past the far reaches of any map… raiding and trading… creating amazing poetry… they were master negotiators and eventually settlers who birthed the next age. Unfortunately, contemporary media likes to simplify their accomplishments and pigeonhole them as barbarians with horned helmets.

Is the text already written?

Some of it is written, and I’m splitting my time between The Illimiated Edda and the next book called Lords of the Ash. They are meant to be companion books.

The project artwork looks sensational, will the text be equally grand? How can the competing needs of scholarly insight and dramatic tension be balanced?

That’s the million dollar question and the hardest part of the entire project. Going back 6 months when this project was in its concept stage, I cycled through the merits of several different approaches. One of the high impact decisions was to omit any Ragnarok game rules, mechanics and content from The Illuminated Edda. That decision allowed me to keep The Illuminated Edda a pure and authentic narrative piece, with all game content relating to the gods relegated to Lords of the Ash.

Another key impact decision was that the text would not take on a stuffy academic writing style, but rather I would opt for something more entertaining and accessible to a wider audience. The writing style I am trying to mimic is the prose created by Snorri Stuluson. It has a more modern flow, but I think it captures the essence of antiquity.

The last major decision was how to add evolved content. As many know, the Eddas contain ambiguities, contradictions, omissions and some really intriguing moments, places and events are glossed over leaving the reader longing for more. For 20 years I have been thinking about how the unspoken elements turn out; what the motivations may be behind the various actions of the gods and jotuns.

All of these thoughts needed to hit parchment, and after a long wait, 2015 is the year. I didn’t want to mix my sagas in with the original Edda content because I’d like this Illuminated Edda to be my go to Edda when I want to look up something authentic and specific. So the last major decision was to segregate the original content and the new content by compartmentalizing the respective narrative into chapters. This way readers who wish to get historical accuracy can read only the original content, and for those interested in a complete tapestry of viking myths can go through all of the chapters in order.

You’re already $11K passed your original Kickstarter target, and there are still a few days to go. How do you account for your success funding The Illuminated Edda project?

The Fate of the Norns brand and I are very fortunate to have many loyal and voracious fans. We’ve also worked very hard with our project teams to create books that we can be incredibly proud of. Every project is an attempt at making something better than the last one. Our artists, editors and layout designers are not only extremely talented, but are also very enthusiastic about the project and final outcome.

One of the project rewards offers one generous backer a hand-made Mjolnir (Thor’s hammer). How did you get your hands on that, and is there a thunder god who wants it back?

A good friend of mine made it and it follows us on our convention circuit. It’s the second one ever made, the first sold at a show rather unexpectedly. So this is hammer #2 and carries a history with our franchise.

Role-playing gamers will recognize the artwork style of The Illuminated Edda from your own massively popular The Fate of the Norns, now in it’s 4th edition. Who and what are your visual influences?

Back in 1993 we fell in love with the works of Arthur Rackham, and we included his artwork in the 1st edition of Fate of the Norns. Ever since, we’ve been very careful in selecting the artists we work with because we wish to keep a very traditionally antique feel in our books. You’ll notice that the text layout tries to mimic a story book and the paper we use is matte rather than the more popular gloss.

This is all by design so that the reader gets fully immersed in the experience. Anime, comic and hyper-realism are nice, but don’t fit The Fate of the Norns style. We look for highly unique styles that can transpose the viewer back a millennium or more. So far we’ve had some real talented superstars onboard.

The Fate of the Norns was first published in 1993, giving plenty of time for criticism and critiquing by others. How have you reacted to good (and negative) feedback over the years? How do you wish you should of / could have reacted, and what advice do you have for other artists putting themselves out there?

I very much love to hear back from the fans. I have a thick skin, and I know I can’t please everyone, so I really don’t mind negative criticism- so long as it’s constructive. If you look on our forums, when we were in BETA for the last book, Denizens of the North, we had received a lot of feedback.

As the manuscript matured, our fans recognized that their suggestions were making it into the book, making them feel like it was a truly collaborative effort and that voicing their good ideas help shape the future of the game. For Lords of the Ash, our BETA membership numbers are at the highest point ever, and I look forward to hearing from everyone.

What should be playing on the stereo when we’re reading The Illuminated Edda?

Wardruna 😉



KNOW OF AN ARTS PROJECT WE SHOULD SPOTLIGHT? GET IN TOUCH!

Kind of a BIG Deal – S02E02 – Dr. Angela Bartie

“I don’t know how to put this…but I’m kind of a big deal.” – Ron Burgundy

In each episode of Kind of a Big Deal you can listen to an exclusive & intimate conversation between our Features Editor and the kind of big deal folk our world-class arts scene attracts – writers, performers, movers and shakers.

Listen again to Kind of a BIG Deal S02E02 ft. Chris Breward, Edinburgh University’s Professor of Cultural History, Principal of Edinburgh College of Art and Vice-Principal Creative Industries and Performing Arts HERE.



This week’s conversation is between Dan Lentell and the author of The Edinburgh Festivals: Culture and Society in Post-war Britain

ANGELA BARTIE

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#EdFringe was once seen as “people from London trying to foist their dirty culture on fine, upstanding people.”

Angela is an historian of the post-1945 era. Her research interests cover social and cultural change in the second half of the twentieth century. Her focus is on the role of the arts in society, cultural policy, and arts festivals – research topics which grew from, and alongside, her ongoing interest in youth gangs, violence, media representations of young people, and official responses to delinquency.

Her history of the festivals – from their inception through to the 1970s – deals with post-war culture and society in general and the world’s largest arts festival in particular. Edinburgh has been the site of numerous ‘culture wars’ since the festivals began in 1947. Key debates that took place across the Western world about the place of culture in society, the practice and significance of the arts, censorship, the role of organised religion, and meanings of morality were all reflected in frequent contests over culture in the Festival City.

The Edinburgh Festivals explores these ‘culture wars’ – up to the 1970s – and is the first major study of the origins and development of the annual arts extravaganza. This first critical history of the world’s biggest arts festival uses Edinburgh as a lens for understanding wider social and cultural change in post-war Britain. It draws upon a range of archival sources, including original oral history interviews with key players in the arts scene of Edinburgh and beyond.

Dan Lentell Talks to Dr. Angela Bartie



The jingle is used with the gracious permission of Moving On Theatre’s Laurene Hope Omedal (star of Piaf: Love Conquers All) and is voiced by Edinburgh Nights host Ewan Spence.

This season of Kind of BIG Deal interviews is supported by the good people at the superb Cult Espresso – the coffee lover’s Southside choice.


PLEASE NOTE! If you are subscribed to Edinburgh49‘s emailing list, you may not see embedded audio links in your email alert, but they are on the website. (Promise!)

“An African Success Story” – Author David Hartness discusses Amani’s River

“I wanted the book to tell the story of Mozambique’s struggle for democracy, but more importantly, I wanted to capture a global event that headlines current news, which is child soldiering.”

Samuel Johnson once remarked that biographies are “rarely well executed. They only who live with a man can write his life with any genuine exactness and discrimination.” In his first novel, Amani’s River, David Hartness brings exactly the kind of Boswellian insight required to fathom the dark-hearted depths of Mozambique’s protracted civil war (1977-92).

As a Peace Corps volunteer – serving the community of Namaacha, a border town neighboring Swaziland – Hartness found that it was impossible not to hear locals speak of the conflict. He saw firsthand how the pride Mozambicans feel at being free and democratic is mixed with a sense of indebtedness to those who fought to make it so.

Yet alongside the glorification of martial virtues, Hartness encountered many struggling through daily life with severed limbs, scars on their faces, and aches in their body – injuries directly related to the brutal war that tore families apart, and left a country to rebuild. Amani’s River details the true ramifications of violence, and especially the brutal act of recruiting, capturing and brainwashing children to become valuable weapons.

You can track David’s progress at https://amanisriver.davidhartness.com.



Did you or the Peace Corps choose the Mozambique posting? What did you know about the country before you arrived? What were your expectations, and how did they match your first experiences?

The US Peace Corps asked which continent I would like serve. I chose Africa, but then the Peace Corps chose Mozambique, which ended up being the best country to serve. I knew very little about Mozambique, other than it was a coastal country. However, Mozambique wasn’t the first African country I had visited. When I was at University, I took a semester off and traveled to Kenya to volunteer in a small village school. I lived there for three months, working as an English teacher.

I lived in a small mud hut, with no running water or electricity. I had to walk a mile down a long hill and haul my water in a five gallon bucket. That water had to be my drinking water, bathing water and water to hand wash my clothes. Although most people would look at that as unlivable conditions, I loved it, and learned a lot from that experience. Of course, it wasn’t easy, but what made it fun, was the people I met, and the simplicity of life. That experience gave me reasonable expectations for the Peace Corps. I understood that my life would change, and that I would have to work harder at tasks, such as, washing my clothes, or boiling water to take a bath.

Mozambique was a Portuguese colony, which opted to join the Commonwealth of Nations after independence, the first member nation that had never been part of the British Empire. How does anyone, especially an American from an island in Puget Sound, begin to make sense of where Mozambique has been in the past couple of generations?

It’s hard to make sense of this. Mozambique has been through so much. They had fought the strong arms of the Portuguese, and won, only to start a long 16 year civil war that ended in the early 90’s. It is hard to come to grips with these realities. It is also amazing to see how far Mozambique has come; it is truly an African success story.

Can you briefly map out the scale of child soldiery in the conflict? What are the implications today for civil society and how well is Mozambique responding to the needs of ex-child soldiers?

There were many child soldiers during the conflict. In fact, the civil war in Mozambique had one of the highest rates of child soldiers. This of course had a knock on effect in today’s society. Not enough was done after the war to help rehabilitate these children, and many simply went back into their communities broken and emotionally depressed from the experience. There were some local churches and other NGOs that helped shelter and rehabilitate the victims, but the efforts weren’t enough. You will still meet people that are emotionally depressed from the experience.

What was the creative process required to scale such massive national trauma into the individuals’ narrative featured in Amani’s River?

This was a long two year process. First, I needed to gather the information, so that I shared it as accurately as I could. This meant talking with victims, researching books and online articles that have been archived. Then there was the writing. I needed to capture the emotions of the events and child soldiering. I wanted the book to tell the story of Mozambique’s struggle for democracy, but more importantly, I wanted to capture a global event that headlines current news, which is child soldiering. I needed to ensure every word would tell this story. Therefore, a long editing process took a year to complete. The hard work turned into a novel that I am proud of.

How much use did you make of the scholarly works available on the subject, as opposed to the access you had to those with personal stories to tell?

60%-40%. I would say that 60% of the information came from local sources and people that I met, who were able to explain their personal story. These stories are compiled in Amani’s River. 40% came from online newspapers and books published on the topic.

How are Mozambicans themselves responding to Amani’s River so far?

The novel currently isn’t translated into Portuguese, so very few Mozambicans have read the book. However, a few connections who speak English have read the book and are responding well to the novel.

The duality of good and evil in one being is a constant of great literature, Jekyll and Hyde etc, but governments as well as nationalist histories tend to shy from such nuance. How can good, culturally-aware citizens – especially those of us who know far too little about Africa – take ownership of nuance and avoid becoming entrapped in a particular worldview or set of dogmas?

That is a good question. I think it all starts with our awareness of the world around us. It’s the education we have, and the willingness to read powerful messages and act upon them. In terms of taking ownership, it can be something as small as sending out a tweet or opening up a conversation around the dinner table. It could be donating money to worthy cause. I think people that have traveled outside the states and may have a worldlier view on different societies have an obligation to share the message and bring the ideas back to those that may not be fortunate enough to experience these cultures or customs.

I think the US has a unique opportunity to shatter cultural boundaries, because every country and language is represented in our country. Yet, too often, we fail to journey outside our own cultural boundaries. People tend to gravitate towards others that are the same, but as a result, our way of thinking becomes narrow, and the ability to see, respect and embrace a culture becomes harder. People don’t need to be perfect, and know everything about Africa. In fact, it would be hard to know the culture and the problems that plague a society without seeing it first hand, but people need to make an effort. Our society can’t continue to live together, divided by our skin and beliefs.

How have you found the experience of publishing Amani’s River and getting this story in front of the reading public?

Hard and time consuming. It was a long process, and one that I wasn’t fully prepared for. However, I learned a lot throughout this journey. I never understood how many little details needed to be considered. I took a hand on approach to every aspect from the cover design, to editing and finally the novels layout. However, I loved the challenge and am looking forward to my next book.

Forgive and obvious question, but Amani’s River is your first novel, will there be a second?

Yes, I am hoping to start a new novel soon.

Is Mozambique safe to travel to now? What are the reasons for going?

Mozambique is very safe. I would strongly encourage everyone to travel to Mozambique. Most citizens remember the violence of the civil war, and don’t want to go back to those days. Therefore, they are safe. Of course, like traveling to any foreign country, you need to be vigilant, keep your eyes open and don’t travel at night without a car. Most people who get hurt or injured, usually are in a place they shouldn’t be and are not taking the appropriate precautions.



WATCH THIS SPACE for our upcoming review of Amani’s River by David Hartness!

Interview with indie author Tracey Morgan re. ‘Searching for Candy’

“One thing I can tell you is that everyone loved John, they all have so many stories and memories of him, he was generous and big hearted and almost magical.”

Tracey Morgan has a story to tell. It’s the story of a Canadian actor who became one of the most recognized, and best loved comedy stars ever to appear on the silver screen. In classics, ranging from The Blues Brothers to Cool Runnings, his performances are studies in subtly on an epic scale. John Candy (1950-1994) was a man liked and admired by everyone who knew him. And there’s the problem.

Was John Candy too nice a guy for modern publishing? Who on Earth would want to read a life entirely devoid of lurid scandals, debauched episodes, half-remembered highs and all-too-public lows? Here Tracey talks with Dan Lentell about the possibilities and pitfalls of self-publishing, as well as about the larger-than-life artist whose life she is rendering into print.

You can follow Tracey’s progress, and read fresh insights into the man and his legend, through her blog www.searchingforcandy.com & information on how to participate in crowd funding the book here.



What is your first memory of John Candy? Was it love at first sight?

My big brother was a huge influence on me and when we were younger, he was obsessed with various films, one of them being Brewster’s Millions, he used to watch that a lot and in turn so did I. Shortly after that I also saw Splash which I became obsessed with. Two very different characters in the films played by John, but both have that very human and funny element. I was always drawn to him, so yes I would say love at first sight.

What was Candy’s big break, the project or moment that made people sit up and take notice?

Well people started taking notice of him when the Second City Toronto troupe he was part of started their own TV show SCTV. Set up to rival Saturday Night Live (Second City were worried SNL would poach their talent) the show was huge in Canada and also started to get a US following.

However, I think the world took note when he played Dewey Oxberger (Ox) in Stripes, all of a sudden John was a movie star. His old agent Catherine McCartney told me John went incognito to a showing of Stripes in Toronto to see people’s reactions. He sat at the back of the cinema with Catherine and when Ox walked on screen for the first time the auditorium erupted! John was so touched he started to cry and had to leave. From then on in everyone knew who he was.

When did you decide to write his life, and was there a particular epiphany that determined you to do it?

About four years ago I was recovering from an awful bout of depression and I started revisiting things from my childhood that made me happy. One of those things were John Candy movies, there is something about Irv Blitzer, Uncle Buck, Gus Polinski, Del Griffith, Freddie Bauer, those characters that John played always made me feel like I could do anything and that it was OK to be yourself as long as you have a good heart.

So when I wanted to find out more about John I was shocked there wasn’t more about his life, the only real biography about him was written quite soon after his death and I think for some it was just too soon to talk about John, they were still grieving. The author had also decided to paint a darker side to John that I just couldn’t believe existed, so I thought I better do the research myself. They always say if you can’t find the book you want to read on the shelf, write it. Also if I am being honest, I felt like I had a calling from JC himself – just not the JC most people expect!

Have you had much contact with those who knew and worked with him? What has been their response to the project?

I have been very lucky to interview over sixty people that worked or were friends with John. Some have taken longer to trust me than others but the general response is that they are glad I am writing the book, after they have spoken to me they know that I am doing it for the right reasons. One thing I can tell you is that everyone loved John, they all have so many stories and memories of him, he was generous and big hearted and almost magical. Those that have contributed include Mel Brooks, Carl Reiner, Mariel Hemmingway, Kevin Pollak, Lonette McKee, Jay Underwood, Dave Thomas as well as many others.

There are a couple of other biographies out there, what’s going to be special about Searching for Candy?

Well for one Searching for Candy isn’t being written for money, just total love. The fact it is written from a fan’s perspective and that I have interviewed people who have not been in previous biographies will make it very different. But there is only one other biography written. Apart from that there is a fake Wikipedia article book that someone has fudged together, I don’t think anyone can class that as a work of passion.

Candy appeared in several classics, but he didn’t posses the midas touch. Did he do more than his fair share of dud flicks, or is it that he just didn’t live long enough to unassailably embellish his filmography?

John worked hard, very hard. He always thought he was going to die young so he wanted to bank role money to ensure his family were taken care of. He was also very bad at saying no and would always help people out if he could even if it wasn’t to his own advantage. In his career he was in over forty films, some that completely bombed, but every picture he did he always made the film better than it would have been without him and surely that is all any actor can hope for?

Could Candy have ever made a straight or serious role his own?

Yes, he was a brilliant dramatic actor. Just watch him playing Dean Andrews in JFK, John got to be the bad guy for a change and if you watch real life footage of Andrews you will see just what a brilliant job he did. There are also moments of true beauty in Planes, Trains and Automobiles where he will melt your heart.

How will your biography balance exploration of Candy’s professional and private lives?

Well I think his professional and private life were very intertwined. The interviews I have done dictate the balance and as many of his colleagues were also close friends it is hard to distinguish what falls into which category. He lived to work, and he lived for his family.

You’re crowd funding the project. What are the benefits and downsides?

Well the benefits so far are that I have been in contact with people like you, who have learnt about the project and have helped me promote it. I have had so many messages of support, people pledging and sharing the project and I would like to thank everyone who has contributed. If I raise the money I get to self-publish and make the book exactly as I want it to be.

The downside is that I am having sleepless nights worrying about not hitting the target! If I don’t hit the target I will find a plan B. Sometimes I think you just have to be brave, it doesn’t always work out but maybe that is because there is a better plan you have not come across yet.

What are the movies, made since 1994, that made you think, “Gosh! I wish he’d been available for that.”?

Good question! Very difficult to answer really, I think there are many roles he would have been fantastic at. I am not sure I want to say what they are, and I am not sure John would want me to, purely because he would hate me to disrespect any other actor. I think if John was still around he would have found more dramatic roles and taken on more projects as a Director. One thing for sure is his legacy still makes us laugh today.



You can follow Tracey’s progress, and read fresh insights into the man and his legend, through her blog www.searchingforcandy.com & information on how to participate in crowd funding the book here.

Kind of a BIG Deal – S01E06 – Philippa Langley

“I don’t know how to put this…but I’m kind of a big deal.” – Ron Burgundy

In each episode of Kind of a Big Deal you can listen to an exclusive & intimate conversation between our Features Editor and the kind of big deal folks our world-class arts scene attracts – writers, performers, movers and shakers.

Last Week: Alternative comedy legend, Andy de la Tour. Conversations coming up in season two of Kind of a BIG Deal include: David & Hilary Crystal (Wordsmiths and Warriors: The English-Language Tourist’s Guide to Britain); Phil Whitchurch & Sally Edwards (Shakespeare, His Wife and The Dog); & Angela Bartie (The Edinburgh Festivals; Culture and Society in Post-war Britain). WATCH THIS SPACE!



This week’s conversation is between Dan Lentell and secretary of the Scottish Branch of the Richard III Society

PHILIPPA LANGLEY

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Philippa is best known for her contribution to the 2012 exhumation of Richard III of England. She attributes the discovery to a feeling she had when first visiting the northern end of the Social Services car park in Leicester which acted as the catalyst to four years of research that confirmed this location, and where the king was later found. Philippa had gone to Leicester when researching Richard’s life for a screenplay she was writing.

She proceeded to raise money for, and organize the excavation of the site, leading to the eventual discovery of Richard III’s remains. She later contributed to a Channel 4 documentary about the project, titled The King in the Car Park. Philippa is co-author, with Michael K. Jones, of The King’s Grave: The Search for Richard III.

This conversation took place during the 2014 Book Festival.

E49 Interviews; Dan Lentell talks to Philippa Langley



The jingle is used with the gracious permission of Moving On Theatre’s Laurene Hope Omedal (star of Piaf: Love Conquers All) and is voiced by Edinburgh Nights host Ewan Spence.


PLEASE NOTE! If you are subscribed to Edinburgh49‘s emailing list, you may not see embedded audio links in your email alert, but they are on the website. (Promise!)