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A laneway in Alexandria, Egypt; photograph dated 1941. Source: Australian War Memorial.

I’m not sure why I haven’t mentioned it.

Of course, I have mentioned it, on social media and sometimes in person, and there is also a reference to it in my bio on the About page, but there’s no post. Which is why I’m writing these words now.

The point is, in the first half of 2019, my novel BODIES OF MEN will be published by Hachette Australia.

Which is really very thrilling.

What’s a little odd, though, is that I currently don’t want to talk much about it, except to say half a dozen quick things.

The first is that the novel began when, in 2013, I spent three months as a writer-in-residence at UNSW Canberra, which provides the campus for the Australian Defence Force Academy. During the residency I researched different expressions of masculinity under military pressure; I left the residency with the scratchy, sketchy handwritten first draft of a manuscript. (I recorded some thoughts on the residency experience in The ADFA Diary section of this blog).

The second thing is, yes, BODIES OF MEN is a war story, but my intention has been to shine a light on a previously hidden (or politically and/or historically unwanted) war experience, to tell a story that is as much about love and intimacy as it is about what happens when men have guns in their hands.

The third is that most of the story takes place in Alexandria, Egypt, in 1941.

The fourth is that I wrote 38 drafts of the manuscript.

The fifth is that towards the end of the drafting process I collapsed. But more about that at a later date.

The editing begins – for real.

And the sixth is that earlier this week, which was complete with high family dramas and financial pressures and crap weather (wind and freezing rain and snow in the countryside and on the mountains down south, so the opposite of Egypt), the astute, caring, and eagle-eyed editorial team at Hachette Australia sent me their edit of the manuscript – and a blue sky opened in my heart and everything feels better.

I have one month to review the editorial suggestions and get an updated version of the manuscript back to Hachette. If you see me looking frazzled again, please administer whiskey and chocolate.

Sincere apologies for not telling you more about the actual story in BODIES OF MEN, but I am so looking forward to sharing it with you.

For now, I’ll leave you with a quote from a diary of an Australian serviceman who served in the Middle East in 1941; the diary is in the Australian War Memorial:

Be yourself: simple, honest, unpretending.

'Very few historians become novelists. It's a risk. You risk reputation and ego' - Peter Stanley (Image source: Fairfax Media)

‘Very few historians become novelists. You risk reputation and ego’ – Peter Stanley (Image source: Fairfax Media)

Think outside the square. Push the envelope. Go beyond your comfort zone. These are the clichés that are trotted out with monotonous regularity, as though every single one of us isn’t brave enough, we’re all just lazy sods. Then again, we’re also told to be cautious of those who dare to be outspoken, don’t get too close to the people who rock the boat; at all costs we should avoid those who are courageous enough to try turning truth on its head.

Then there’s historian Peter Stanley. Who seems to not care about any of this – he just wants to get on with the job of illuminating history.

Surely if there’s anyone who is qualified to illuminate history it’s Professor Peter Stanley. For twenty-seven years he was a historian with the Australian War Memorial, and after a brief stint at the National Museum of Australia he now works out of the University of New South Wales’ Australian Defence Force Academy campus. Stanley is the author of over twenty-five non-fiction works (he admits to having lost track), including the potentially blasphemous Bad Characters: Sex, Crime, Mutiny, Murder, and the Australian Imperial Force, which was jointly awarded the Prime Minister’s Prize for history in 2011. As if he doesn’t have enough to do, he is also the president of Honest History, a relatively new ACT-based organisation that aims to debunk the mythmaking that often occurs in Australian military history, particularly when it’s in the hands of politicians.

If anyone deserves the title of being one of the nation’s most prominent military historians it is Peter Stanley. But is he a towering, intimidating force?

Not in the slightest.

We meet in his north Canberra house, which doesn’t seem to have had much done to it since it was built in the 1960s. Two small fluffy dogs appear behind the flyscreen door, before Stanley appears as well – he looks like he’s no more significant than a suburban tax accountant. (If you’ve seen him during one of his many television appearances, he can be fiery almost to the point of discomfort.) After asking the dogs to behave – they do – the historian leads me through to the kitchen, where he gets together tea and biscuits. We take our places in a small, unassuming loungeroom. There’s a view into a semi-neglected, semi-loved backyard that’s so peaceful it’s hard to imagine that there are any problems in the world.

We’re here to discuss the recent publication of The Cunning Man, which is Peter Stanley’s first novel for adults. (He is the author of a novella for young adults, Simpson’s Donkey, which tells the famous ANZAC story from the animal’s perspective – it’s a memorable yarn.) This latest work is set in 1845 and explores the world of the European soldiers who created Britain’s Indian Empire. Sergeant Major Nelson Mansergh, Bengal Horse Artillery, is given the job of searching the Punjaub for a conspiracy among the company’s European soldiers. There’s a sub-plot of love and, needless to say, the story culminates in battle.

Why the move to long-form fiction?

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Keep reading over at the Canberra Times, which published this piece on 28 November 2014. Thanks to Sally Pryor.

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