Lancaster University, 1993. I’m in a class. It’s the creative writing MA. My tutor is Alan Burns. He wrote Europe After the Rain, Babel, Dreamerika! He was one of a group of experimental writers knocking around in the 1960s which included BS Johnson. Alan used to talk about cut-ups a lot. And he was fond of this exercise: choose a word and don’t say anything but, all day. See how it makes you think. See what it does to the word. How does it change your perception of what words mean. Fishpaste. He spent all day walking around saying nothing but fishpaste. He had a dream once, in which he was playing in an orchestra and he was sweating because he didn’t know what the hell he was doing. But then he looked to one side and there was Picasso on the cello, so then he knew everything would be fine. Interesting guy, Alan Burns.
In the mid-90s I read all five of Derek Raymond’s pitch black Factory novels: He Died with His Eyes Open, The Devil’s Home on Leave, How the Dead Live, I Was Dora Suarez and Dead Man Upright*. I’d been of a mind to write a crime novel of my own for some time, and had dabbled with the odd short story here and there, but I wasn’t sure how to attack it. Reading Raymond unlocked the handcuffs. His nameless, profane (but intensely compassionate) Detective Sergeant was the grit in the grease of the police force, but he ground out results, identifying with the victims and immersing himself in the psychology of their killers to an uncomfortable degree.
I didn’t want to get bogged down in the politics of police procedurals, and decided my rogue element would be an ex-copper with a weakness for missing persons. I wanted it to be gritty and grimy, harrowing and horrific, and Derek dark.
I wrote Blonde on a Stick in 2003, the first in a planned series in which my protagonist would come to terms with the violent death of his wife and the subsequent disappearance of his teenage daughter.
I struggled though, to find a publisher, despite the enthusiasm of my then agent. The rejections were full of encouragement, however, and one or two houses had almost bitten, which kept me optimistic. But it wasn’t until my wife noticed a Facebook post by Maxim Jakubowski referring to the news that he was overseeing the launch of a new crime imprint – MaxCrime – at John Blake Publishing, that I felt my confidence return. Maxim had known Derek Raymond; indeed he had acted as Raymond’s agent for a spell (and still represents his estate). The stars were in alignment, it seemed.
I was thrilled when Maxim bought Blonde for his list and my mind turned to future books. At last Joel Sorrell was on his way…
Alas, more bad fortune was to follow. John Blake is a publisher of repute, but its bread and butter is in non fiction. This first foray into novels lasted less than eighteen months before the list was cancelled. However, they had only purchased UK rights so it was not inconceivable I might be able to resurrect the series with another publisher. Luckily Titan Books showed an interest in Joel Sorrell towards the end of 2013. They agreed to publish two more books in the series, but they also wanted to reprint book one, albeit under a new title.
I was very attached to that original title, but Titan’s argument was that it didn’t quite sit comfortably with the content. It needed a more elegant name, so I came up with one and they produced a striking cover to go with it. I was happy with the decision (all three novels in the series so far are quotes from literary sources – William Faulkner, Samuel Beckett and William Shakespeare) and excited that finally, over ten years on from his conception, Joel would be able to reopen the file on his missing daughter.
I worry a little that people who have read Blonde will pick up Dust and Desire thinking it is a new book. It is not. It has been revisited, spruced up, modernised, but it is not substantially different. A brand new Joel Sorrell story – Do Not Resuscitate – set shortly after the events in Dust and Desire is included, along with a Q&A. Not that many people would have chanced upon the initial MaxCrime version – I only ever saw one copy in one bookshop and that was positioned ‘spine on’ – so I doubt much confusion can arise given that there was no worldwide or e-book release.
I believe the novel deserves a second chance and I’m grateful to Titan Books for granting it.
The splendid Ali Karim has posted an in-depth interview he conducted with me for The Rap Sheet, the essential, award-winning resource for readers seeking information about what’s new and interesting in the world of crime fiction. You can read it here. Thanks to Ali and The Rap Sheet for their interest and support.