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Book launch season and a very special debut from Sarah Hilary

hilary_someone_elses_skin_posterSpring is the season for book launches. After a few years as an author, this means lots of friends with new books out. Which means – book launch parties! Hurrah, as we say in the book industry.

So far I’ve been to three. (I know, lucky!) First up was Jo Cotterill’s LOOKING AT THE STARS, which was the loveliest cake party packed with other kids authors from Oxford and the environs as well as a bunch of Oxford school’s loveliest librarian. All-round kidlit sugary goodness to celebrate an actually rather serious book about a girl who uses story-telling to help her comfort her family and to survive a harrowing journey of exile.

Then last week, to get down for the first book of Robert Muchamore’s new series ROCK WAR (the link is to an interview he did on the BBC about the new books). The Rock War launch was a rollicking rock and roll party in Camden with invites mocked up as classy rock-concert tickets. Little Daughter and I went with another mother-and-daughter couple, friends from Oxford. The tweens strutted their stuff amongst the hordes of other young people while Clare and I looked wistfully at the buffet table of goodies and wished we maybe hadn’t just stuffed our faces with yummy Chinese street food of yumminess. We also chatted to all the other kids authors who were there, this time the London lot. Robert was busy all evening signing books and taking photos with fans, announcing his imminent retirement, probably, until he decides to launch a comeback.

As exciting as all this was, it wasn’t until the last day of the month that it reached the highlight of book launches, probably for the rest of my year. Because my dear friend Sarah Hilary, a friend since our teenage years, was finally and spectacularly published by Headline with the blisteringly good detective thriller – SOMEONE ELSE’S SKIN.

We were probably fourteen years old when we met for the first time. It was outside the stage door of the Rex Theatre in Wilmslow, where we’d both come (alone) to see our favourite actor from TV series Blakes 7, Paul Darrow, starring opposite Rula Lenska in Mr. Fothergill’s Murder. So taken by this event was I that I ended up recreating the scene in what is technically my first novel, the post-modern, experimental Blakes 7 fanfic novel, BETWEEN LIFE AND DEATH. (Come on, every writer has a po-mo experimental fanfic novel in the drawer, admit it.)

After having our hearts set a-flutter by meeting the sexy Mr Darrow at the peak of his handsomeness, Sarah and I remained in touch.

From the beginning, Sarah made it clear that she wanted to be a writer. I, on the other hand, had swapped that very early ambition for another, possibly more difficult one – being a film director. We lived quite far apart in Manchester so saw each other intermittently over the next few years, principally to get together to watch Blakes 7. We went to college, the relationship became one of correspondence. Sarah was writing an original screenplay. She was writing an adaptation of a Philip K Dick book. My ambitions to become a film director had been thrown aside, this time for a career in science. Sarah, meanwhile, appeared to be studying something creative and getting on with the plan.

I was fairly certain that soon enough, I’d be seeing movies with Sarah’s name attached as writer.

We grew into our twenties. And lost touch.

Fast forward to 2004. Sarah wrote to me via the website of the IT company I co-founded and where I worked. As it turned out, she lived close by in the Cotswolds, had a young daughter a year older than Little Daughter. We met up. Of course, my first question was – what happened to the writing. Sarah shrugged. She’d gone down the path of getting published – it hadn’t worked out. I’m thinking of trying it, I told her. Have an idea for a technothriller about the Mayan apocalypse in 2012. Good luck, she said, with honesty. It’s not easy to get published, but you should definitely try.

Then we talked about fan fiction. Sarah hadn’t spent years reading and writing fanfic, and was fascinated. Especially to hear that I’d gone cold-turkey on fandom, around 1997. (Yes that is how committed I was to getting published, I even gave up my hobby so that my mind would be clear of Blakes 7 and ready to develop original ideas. )

Sarah Hilary launches Some Else's Skin
Sarah Hilary launches Someone Else’s Skin

In the next few years, I began writing seriously. Sarah began to write fanfic. She was really, really good at it. Soon she began to write a literary novel. I loved her first manuscript. It certainly got agent attention. But the usual thing – not quite what they were looking for, difficult to find a market. It was a bit of a re-run of what Sarah had gone though years before. But this time, she didn’t give up. There we both were, bloody-minded and determined to get a book deal.

At Cadbury World, I told Sarah of my planned sequel to Failed Ms #1 – title THE FIFTH CODEX. This eventually became INVISIBLE CITY – my first published novel.

At an indoor kids playground in Carterton, Sarah and I chewed over her own progress with agents. It wasn’t happening. Why don’t you write crime? I said. You certainly know how to write violence and fear and suffering. Crime’s got a lot of that, hasn’t it? You’d be brilliant. Sarah wasn’t sure. I’m not sure I can do plot. One can learn how to do plot, I said, and anyway I think you can. Your books keep me up all night.

So began the Sisyphean task of breaking ground as a new crime author. I won’t pretend to know anything about the genre, except that Scandi stuff is popular, isn’t it? And a cool woman detective.

Finally, about two years ago, Sarah sent me something to read that she was hoping would get a book deal. If not, she was going to self-publish. That ms was SOMEONE ELSE’S SKIN. When I finished it I emailed Sarah. I couldn’t imagine a world where this book wouldn’t get a book deal. It had everything a great crime novel should have – terrific structure, a wonderful twist, as well as what had been present in Sarah’s writing from the beginning – wonderful prose and characters. It was chewy, I remember telling Sarah. This one’s going to make it. Just wait.

And it did.

Sarah’s blog Crawl Space is a great place to read about the crime genre and writing in general. Sarah’s also very active on Twitter as @Sarah_Hilary.

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Jimmy’s Back

A rare return to the blog – I’ve not retired, simply retired to Twitter and Facebook, like so many bloggers. But once in a while, I may have a thought or experience that’s worthy of more than a fleeting comment on the world’s filter-free news-ticker.

(Actually, a few weeks ago I went to LA to research Secret New American Thing, a new book project about which I’m keeping quiet until various things are sorted out, but which IS DEFINITELY HAPPENING. 2014, sometime, probably summer. But more on that when I finally blog about SNAT.)

So last night I went off to That London to meet up with some of me lovely author pals, at the launch of the latest Jimmy Coates adventure by Mr Joe Craig – BLACKOUT. Live action trailer is below – looks amazing!

jimmy coates blackoutJIMMY COATES  is a brilliant series of hi-tech action thrillers about a boy who learns he’s part of an experimental government program to ‘grow’ soldier-assassins using cyborgs that are also part-human. The killer cyborgs will activate when they reach eighteen. But Jimmy activates when he is just eleven. And that just ain’t right, boys and girls. So THEY are after him. Why did he activate young? (strokes fingers) A mystery. Who did this to Jimmy? (strokes chin) An enigma. Can he learn to master his cybernetic powers and control his urge to violence? (strokes cheeks) You’ll just have to buy the books!

Anyway, here are some party photos from the lovely children’s bookshop. Victoria Parks Books.

Clockwise: Robert Muchamore (CHERUB, Henderson's Boys), Joe Craig (Jimmy Coates), Mark Robson (Devil's Traingle, Imperial Spy). And MG!
Clockwise: Robert Muchamore (CHERUB, Henderson’s Boys), Joe Craig (Jimmy Coates), Mark Robson (Devil’s Traingle, Imperial Spy). And MG!

Finally, if you’re still reading this far, I’ll just say that Joe Craig, the multi-talented author of the JIMMY COATES books (he sings! he plays cricket! he interviews himself!), is a New Friend and that we have been Talking about a little project I used to call Quite Secret New Thing. Turns out that Joe too had a QSNT. Hmm. ‘I wonder’, we wondered, ‘what might happen if the two QSNTs were to meet?’

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Five to Doomsday – Day 4: What 3 books would you save from the apocalypse? Featuring Anthony Horowitz and Michael Grant

For today’s special Mayan apocalypse-themed post, I’ll be posing a dilemma faced by one of the characters in APOCALYPSE MOON.

(I won’t say which character, in case you haven’t read the book yet because it’s very spoiler-ish.)

When making a dash from their home to a doomsday-prepped retreat in the hills, this character brings certain books. But along the way they are robbed, have to bargain their way out of trouble etc. Sometimes books are traded for their burn value. In the end , only THREE books can be saved. In APOCALYPSE MOON, those three books turn out to be highly significant to the story.

I put that question to Anthony Horowitz, Michael Grant and Junot Diaz, three authors whose books I admire, and who’ve written (or are writing) novels featuring  post-apocalyptic mayhem.

Junot Diaz replied with a charmingly mis-typed message from the Dominican Republic: Pita. In dr. No email. Typing tid on cel phone. Have to skip. Please forgive. 

Duly forgiven!

So I’m stepping in as the third author to add my selections to Anthony’s and Michael’s. The only rule was this – the books you choose to save must be in your house right now.

Michael Grant

In case you’ve been living on another planet for the past few years, Michael’s fantastic GONE series features a thrilling, paranoid world in which everyone over the age of 15 has simply GONE. The kids of Perdido Beach, CA are left to duke it out amongst themselves. But the phenomenon that spirits away everyone over their 15th birthday has made its impact elsewhere too. Mayhem, action, politics and romance are only part of the result. Think Lord of the Flies meets X-Men.

Hmmm.  Okay.  Has to be a book currently in my house.  I have a lot of my own books, but I’d burn them — they’re available digitally, plus I’ve already them.  There are also a lot of my wife’s books, and I would want to be very careful about saying I’d burn any of them.  Very careful.  My choices are mostly about books that have taught me something and whose particular strengths I cannot match in my own writing.  But the three I would absolutely not burn.
Terribly cliche answer, but The Lord Of The Rings.  It’s not that the prose is particularly wonderful, it’s not.  It’s pretty bad in parts.  It’s the world-building.  No one before, and very few after, touched Tolkien’s deep, erudite, devoted world-building.
Post Captain – Patrick O’Brian.  As with Tolkien, I admire the erudition, the level of knowledge.  But O’Brian is a much better writer of prose than Tolkien.  This is the second in what became a 21 book series, and I learned from O’Brian that there were different ways to bring a satisfying ending to a particular series book.  His characters are absolutely indelible.
The City and the City – China Miéville.  I have a pretty good imagination, if I may be immodest.  But Miéville made me take a step back and say, “Whoa.”  He’s not much for character development, but he’s a good writer with a really first class imagination.
Of course on any given week I’d have a different list.
Thank you Michael! We’re looking forward to the finale of the GONE series: LIGHT, out March 2013.

Anthony Horowitz

Again, for those currently living in the International Space Station, Anthony’s POWER OF FIVE series is a modern-day epic fantasy in which an ancient threat that once dominated the Earth now looms on our horizon. Only five teenagers – the reincarnation of ancient guardians who once banished the evil Old Ones – stand between us and oblivion. But what’s this? – the final book is titled OBLIVION. Which I guess tells us that the Power of Five needs that extra final push. I’ve been saving this one to read over the Christmas/New Year break.

The Rise and Fall of the Third Reich – William Schirer. This is the best history of the rise and fall of Hitler and the Nazis that I’ve ever read and a vital lesson to future generations. It’s an extraordinary examination of the nature of evil and one we all have to understand if we’re not going to repeat it.

The Oxford Book of Poetry (2008). I suppose this is a bit obvious but I love reading poetry and this one book contains so much genius, so many great poets. If you want to read what humans were like – what they loved, what they thought –  before the apocalypse, read their poetry.
Great Expectations – Charles Dickens. I’d save the complete Dickens if I could but if you’re only going to allow me a measly three books, I’ll keep this one, the greatest novel ever written (in my opinion).
Thanks Anthony! 
Finally – my own choices.
One Hundred Years of Solitude – Gabriel Garcia Marquez. Would be my own candidate for the best novel ever written except for the fact that it doesn’t tell the story of one main character but rather of a whole village. I usually admit that this is my favourite book when asked and have written more about it here.
Labyrinths – Jorge Luis Borges. A collection of amazing short stories that has influenced authors including Thomas Pynchon, Umberto Eco and me. There’s more plot in many of these than in many novels, which is one reason I’d save them. Each story or essay takes the reader into a world of erudition, imagination and wonder.
The Arabian Nights – translated by Sir Richard Burton, Easton Press edition. One of several books my father let me choose from his library of leather-bound Easton Press books. (Oh the woe of not being able to save them all!) The tale of Scheherazade and her incredibly story-telling skills has always been one of my favourites. Surely the best short story collection ever?!
HOWEVER! If I also owned my father’s leather-bound collection of Carl Barks Uncle Scrooge stories, however, one of the three books above would not be coming along for the apocalypse. My sister Adriana is going to have to save that one for posterity.
In another Mayan apocalypse themed post, I’m interviewed over at The Kooky Bookworm‘s blog.
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Eight questions for Junot Diaz, Pulitzer Prize-winner and author of new collection “This Is How You Lose Her”

Junot Diaz (via Slate)

If you’re one of the six people who regularly read this blog you may remember me turning to goo over my discovery a coupla years back of my new favourite living author, the winner of the 2008 Pulitzer Prize, Junot Diaz. When my publisher asked me to nip down to the printers and sign 5000 books or so, I couldn’t help but be excited to see a pallet of Junot’s books all stacked up and ready to go. As well as horrified to find a few copies of Oscar Wao in the overs bin – of course, I rescued as many as I could carry.

I emailed Junot a photo of his book-stack and we’ve been in contact since. Recently, Goodreads asked me to suggest some interview questions for a forthcoming major feature on the Goodreads site, about Junot’s forthcoming collection of short stories, THIS IS HOW YOU LOSE HER.

If it’s anything like as good as Junot’s debut, DROWN then I will be one happy homegirl. (Dude’s narrative swagger is infectious. He’s got me outgunned with the metaphor and wordplay though, sin duda.)

It made me realise that I’d quite like Junot to answer all of my suggestions. Very kindly, he agreed to answer by email. So, here we go!

1. You must have been asked this one a zillion times but – here goes.
As a former sci-fi obsessive and Dungeon Master, I recognised Oscar, but Yunior, much less. As a fellow author, I have to recognise that most authors are writing something of themselves into every character. Either the person they think they really are, or the person they either would like to be, or fear they might become. Yunior and Oscar seem to me like they could be opposing aspects of your own character. Is there any truth to that? And if so, can you give us a percentage – how much Yunior, how much Oscar? Or could it be that you’ve concealed your true self within Lola?

Hard to parse oneself, especially when we’re talking about our fictional creations.  Characters like Lola and Oscar took all my heart to write but does that mean they’re half of me?  Hard to say.  Though it’s true: what made Oscar and Yunior interesting is that they represent opposite sides of something that they’re each fascinated and tormented by.  Yunior is incapable of dropping his social masks – he’s always putting on a persona, always passing for a male, always playing the role, never really letting anyone know who he is.

Throughout the novel we meet many of his various guises but we never truly meet the man himself.  One cannot find love unless one drops all masks, all pretenses, unless one reveals oneself and makes oneself totally vulnerable to the person they seek to love.  Love after all requires intimacy and intimacy is only possible when you expose yourself utterly.  Like many boys of his time and place and upbringing Yunior wants to be able to find love but was raised to avoid vulnerability at all costs.  He has many lifelike masks with which he tricks the women he’s with, so many masks in fact he has forgotten that he even has a real face.  Oscar on the other hand is never anything but Oscar.  He has no masks and therefor cannot adjust himself to a given social situation just to get a girl, which is what Yunior can do all the time.  Oscar can play no ‘roles’
and Yunior can never show himself.  They each have what the other wants and so they circle each other and this is why Yunior is  drawn to Oscar.  In him he can see what he’s missing though he’d never admit it openly.

But to answer your question most directly: Yunior is my alter ego and has been for a while.  But Oscar is also my alter ego.  I grew up with roleplaying games and comic books and scifi books and like Oscar I was tormented by apocalyptic nightmares.  As for Lola she was inspired by the Dominican ex girlfriend of my dreams.  The woman who completely changed my life.  And that means she too is a part of me.  How much–hard to say.

(Ooof, fascinating answers! Especially intrigued by the revelation about Lola.)

2. You’ve been writing Yunior for a long time now. We first see him as a nine-year old in DROWN and at the end of Oscar Wao he’s about to be forty. Now, in your latest collection This Is How You Lose Her, you’re returning to Yunior. It’s common for teen and YA authors to take their characters through a coming-of-age, I totally get the appeal of that. But we tend to leave them hopeful, on the brink of adulthood. What are the challenges and the appeal of returning to a character you’ve developed for so long and taking them through the experiences of early middle-age, which in many ways have so much less sparkle and lustre?

One trades the lustre of youth for the burden of wisdom, for the weight and power that comes from confronting oneself over a longer span of years, and in the process coming to terms with the consequences of all your choices.  I mean, damn, if we’re lucky we all age.  And what I’m discovering is that it takes a lot of courage to face the years once youth has faded.  I never knew that when I was young.  Me, I’m interested in making art about the human experience and this is one confrontation, with growing older, that clearly has never ceased to fascinate artists.  And it certainly fascinates me.  Doesn’t mean I’ll stop writing about young people.  But as an artist one wants to be able to write productively about all the stages of life.  Having insight in your work about what it means to be 44 is as important as having insight in your work about being 14.

3. Like many of your readers I am dying to read your sci-fi, post-apocalyptic novel. Is it going to be called Monstro? How is it coming along? YA readers are somewhat obsessed with this subject matter so feel free to tell us as much as you can…

Well, I grew up on the post-apocalyptic.  Before this current craze I was a part of an earlier far less commented upon generation of end-of-the-worlders.  We seem always to live in apocalyptic times.  MONSTRO is going OK.  Still much work to do.  But the work at least is forging ahead.  I’m working on the hero of the book.  A sixteen year old girl from a destitute background who ends up battling a series of godzilla size monsters and the horrible menace behind them.  (I know, this sounds like something more suitable for a comic book but hey what can I say–it’s what’s calling me now.)
(Hey – I’m not one to argue. Comic books stories are the type I’m called to tell pretty much all the time…)
4. I read in an interview somewhere that you were inspired to put aspects of a telenovela into Oscar Wao. It made me smile because I remember the moment that my agent became really excited about the plot for Invisible City. He kept reacting with this kind of meh, until I just thought, OK, well let’s throw in something to this teen thriller, action-adventure novel, that would normally belong in a telenovela. And the agent flipped over it. It certainly helped me to get a debut book deal but on the other hand, I suspect it alienated some readers because of the unexpected mix of genres. Oscar Wao is a totally genre-mixing novel, which is why I adore it. Monstro sounds like it could be the same kind of genius-mix, again. Do you think it’s an inherent part of our immigrant-identity, to produce mestizo fiction? Could you ever see yourself writing a pure genre novel?

Hard to say.  Much mestizaje often leads people to dream strongly about purity. Just check the countries from which we hail where the obsession with all forms of purities, from racial to class, is overwhelming.  I think I’m a hybridmonger, not only because of my upbringing and my Caribbean-ness, but also by inclination.  It’s how I think.  I would love to write a purely genre novel. But I also have to learn to write faster, since at this rate I’ll be lucky to finish MONSTRO before I turn 60.

(Crumbs, let’s hope not, I won’t last that long waiting!)
5. Your top three tropical music nightclub recommendations, please? My top three are La Maraka, Mexico City, Casa de La Musica Galiano, Havana, El Grande @Club Colosseum, London.

You’re so much better at this game than I am.  I don’t remember the names of any of the clubs I’ve gone to.  There was a spot in Bogotá that I adored but whose name escapes me.  There’s of course 809 in New York City which is simply fantastic.  And in the Dominican Republic R there’s El Secreto Musical where they strictly dance Cuban son and in the days of my youth was about the most fun one could have in the DR.

(I wanna go to El Secreto Musical!!!)

6. Your favourite salsa band?

I’m a huge fan of Eddie Palmieri’s work and of course Hector Lavoe.  When they’re on a track or an album I’m in heaven.

(Let’s take a minute to absorb the genius of Hector…)

7. Salsa, merengue or reggaeton?

I prefer the one you left out–bachata!

(OK – we need no more proof that Junot is in fact a marshmallow – bachata is verrry smoochy and romantic…)

8. Mario Vargas Llosa or Gabriel Garcia Marquez?

That’s easy.  GGM all the way.  There’s something cold about Vargas Llosa that has never sat well with me.  But that’s just me, clearly.

(I wouldn’t agree quite with ‘cold’, but calculated, maybe.)

Thanks so much, Junot! I’m sure you’ll be doing lots of interviews now that we’re all about to read THIS IS HOW YOU LOSE HER. Junot has promised to get a free (hopefully signed) copy of the book to one lucky reader – if you would like to enter the draw please leave a comment with the title of your favourite short story by Junot, by August 31st, and be sure to use your real name and email address so we can get that book to you.

Junot Diaz is appearing at the Edinburgh Book Festival on Saturday 18th, a ticket event, but also doing a free event in London at Foyles on 22nd August. Sadly I’ll miss both as I’ll be away in Devon *sadface*. If you haven’t yet read DROWN or THE BRIEF WONDROUS LIFE OF OSCAR WAO – I can’t recommend enough. Especially if you happen to be a comic book and sci-fi-obsessed Latin American immigrant, if that’s you then don’t miss out on the chance to meet Junot!

If you’d like to know more about Junot, you can follow his unofficial (but devoted) twitter updates @JunotDiazDaily and fan-made Junot Diaz Tumblr page.

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Interview with Andy Briggs author of Tarzan – The Jungle Warrior

I’ll bet there aren’t many fans of the adventure genre who don’t owe a huge hunk of debt to one of the greatest fictional characters of all time – Tarzan. When it comes to strange exotic lands, jungle adventure, action, mystery and fighting the good fight, Tarzan has it all. So how great was it to hear that children’s author Andy Briggs was bringing us an authorised re-imagining of Edgar Rice Burrough’s classic character?

Here’s my reaction to the first book in the series, TARZAN – THE GREYSTOKE LEGACY:

CRACKING jungle adventure with the one and only, all-time best
eco-warrior, Tarzan. It took me right back to Saturday mornings
watching Jonny Weismuller. Gritty, realistic with its portrayal of the
forces of guerrilla politics and greed in the heart of the African
jungle. Modern, yet fully authentic Tarzan.

I’m delighted to invite Andy Briggs to be interviewed here about Tarzan, as part of his blog tour for the second book: TARZAN – JUNGLE WARRIOR. Exciting things are in store for young Lord Greystoke, who’ll be taken on some modern African adventures.

With thanks to my pulp fiction expert, Uncle Johny for suggesting some of the questions!

Q1. Tarzan is very much a man of his time. What made you decide to modernise the character?

Tarzan was a man of his time when he first leapt onto the pages of The All-Story magazine, 100 years ago. He was an instant icon – the perfect symbol of physical perfection and a decisive hero, meting out justice while fighting for the underdog. That was a century ago. Most characters age with time and become less appropriate, but Tarzan has bucked that trend and become the more relevant now than ever before.

Edgar Rice Burroughs created the world’s first eco-warrior. Now, I know that term comes with a lot of baggage these days, but let me explain. In 1912, you and I could travel to the Dark Continent, whip a few locals and bag an elephant or two for sport and nobody would think it unusual. Of course, attitudes have changed these days and the animals and the indigenous people that Tarzan fought to protect are now, slowly, enjoying our protection. The apes that raised Tarzan were an unknown species – no doubt Burroughs based these on the legends of the man-like apes in the jungle. Mountain Gorillas were only discovered in 1902 and when Tarzan was created nobody knew anything about them. With all these elements in play, I felt there was room to expand this into a contemporary setting.

The last Tarzan movie to hit the big-screen was in 1999 and only 2 of the 26 Tarzan books Burroughs wrote are wildly available – yet he still burns brightly in popular culture. I discovered that in a room of 100 children, 99 of them knew the name Tarzan, that he was raised by the apes and lived in the jungle. But only half of them had seen a movie, and a handful had read the Disney book tie-ins. When I asked the other half of the audience how they knew Tarzan I was met with shrugs. They just do. He’s part of our collective culture. And, since he has had a quiet decade, I thought it was time to bring him back. The audience was waiting.

Q2. What are your favourite original Tarzan books?

Tarzan of the Apes was the first book, and the one that got me hooked on Tarzan. However, most people’s perceptions of Tarzan are tainted by the movies. Few people realize that, by the end of the first book, Tarzan is a civilised man about town who drives a car to rescue Jane from a forest fire in Baltimore. A far cry from the jungle warrior we all know and love.

Burroughs only got Tarzan firmly back to his roots in the jungle with the third book, The Beasts of Tarzan, which is my favourite. After that book, Burroughs primarily kept Tarzan in the jungle because that’s where the public wanted to see him.

Now, Orion is publishing the first 6 Tarzan books together in a collected Centenary Edition, and I had the pleasure of writing the foreword. I can’t wait to re-read them again!

Q3. Who is your favourite screen Tarzan?

Now I am going to be a bore and have to say it is Johnny Weissmuller, only because those were the movies I used to watch at home during the summer holidays and they have stuck with me.

(I’d have to agree with Andy, for exactly the same reason!)

However, one of the more accurate portrayals of Tarzan comes from Christopher Lambert in Greystoke: The Legend of Tarzan. A great performance, and the first half of the film is probably the closest adaptation of Burroughs’ book. The second half does wonder a little off the rails though.

Q4. There can be said to be three different ‘classic’ Tarzans. There is ERB’s original character; a highly intelligent man who spoke various languages, including the language of apes. Then the movie serial Tarzan – the strong, quite simple man of few words, and finally the comicbook Tarzan, who was more like the original character from the novels. Which of these Tarzans does your 21st century character most resemble and why?

My Tarzan slices through all the previous variations. When I started writing the books I ensured they were a re-imagining of the story and characters. This is something we don’t see much of in literature, but it happens all the time in the movies – most recently with Batman and Star Trek, which had excellent reboots. I felt the key was to capture the public image of Tarzan, while keeping him grounded with Burroughs’ original intentions.

Weissmuller’s Tarzan speaks in Pidgin English, which has become something of a Tarzan trademark. However, Burroughs had a complicated arrangement for the Ape Man. Tarzan taught himself to read English using a picture book, but then was taught to speak French by D’Arnot – very confusing! I didn’t want to use either incarnation, so my Tarzan starts off speaking Pidgin English, very Weissmuller like, but slowly improves his grammar the more he speaks.  My reasoning behind this was that when he meets Jane, he hasn’t spoken to another human for several years. The words are thick on his tongue and he has trouble communicating – he’s still very smart, just hamstrung by language. Over the course of the book he improves, albeit marginally. By the second book, TARZAN: THE JUNGLE WARRIOR, Tarzan’s skills improve and he eventually slowly stops referring to himself in the third person.

The movie versions of Tarzan also made him more civilised. He lived in a tree house and respected human society. I tossed all that away. Tarzan is a primal creature, raised by wild apes. He eats raw flesh and can’t stomach cook food. The world is black and white to him, he can laugh one moment and snap into a rage the next. Social structures, human laws, and manners – they’re all trappings of a world he doesn’t understand. When Jane tries to explain the concept of money to him, it’s an uphill struggle – money is a meaningless construct of our artificial world.


Q5. On translating the world of original Tarzan – to modern day. ERB’s Africa was a to a great extent fantasy version of the real Africa of the early 20th century. After all, information didn’t travel as widely and easily as it does now. How far is your novels’ Africa a fantasy-version of real Africa? It seems to me from reading the first book that you’ve attempted to ‘keep it real’, which was part of the appeal for me. However, the fantastic has a firm place in Tarzan lore, so I’d personally love to see you use that too.

When Burroughs created Tarzan he had never travelled to Africa and accurate information about the world was difficult to come by. In fact, when Tarzan of the Apes was published in The All-Story magazine, Sabor was a tiger – until somebody pointed out that there are no tigers in Africa. Burroughs’ fantasy comes from his lack of available knowledge.

My Tarzan is set in the real world, amid real situations, but I don’t feel that lessens the fantasy aspects of the stories. I am still a firm believer that, even with all our modern technology, the world still has its secrets waiting to be discovered.

In the third Tarzan book I am bringing back the lost city of Opar, which lies deep in the jungles of Africa. Our modern understanding tells us that there are no lost civilisations in Africa – yet just a year ago a new tribe was discovered in the Amazon who had never made “civilised” contact. Mountain Gorillas were only just shaking their image as a cryptozoological species when Burroughs’ wrote about his apes. There is a lot we don’t know, and plenty of things are still waiting to pass from the realm of fantasy to reality.

TARZAN: THE JUNGLE WARRIOR is out now

Thank you Andy for such a totally fascinating, informed discussion of the magnificent Tarzan!