An interview with Allan Watson

Allan Watson

Allan Watson did me the honor of talking about his tantalizing new book, Heart Swarm, in advance of the launch Thursday, October 5, 2017, 7:30 pm UTC+01 at Waterstones in Byer Road, Glasgow, Scotland. Heart Swarm is being published by Caffeine Nights Press, and it’s fantastic!

 

Julie: Like your previous novels, Heart Swarm is full of disturbing and dark imagery, but it feels like a definite crime novel as opposed to your horror and fantasy books. Was this a deliberate shift of genre?

Allan: My writing has always had, ahem… genre issues. Even when I wrote 1234 which was more of a mainstream fiction novel, with a few murders thrown in for flavouring, it still got tagged in certain circles as horror. The dividing lines between horror and crime have become blurred over the years. Many crime novels I’ve read lately contain far more gruesome and visceral scenes than any pulp horror novel. But, to answer the question; yes, Heart Swarm is very definitely a crime novel. I realized if I wanted to place this book with a publisher I’d have to pitch the story in a different key. It’s still a very dark book and probably not for those who like their crime cosy and comfortable.

 

Julie: What did you read growing up in Glasgow and where did you get your reading material?

Allan: Growing up I was a staunch follower of Enid Blyton. I even attended Blyton Camp where the unscrupulous librarian camp leaders encouraged us to form secret societies dedicated to solving minor local crime with the help of a canine mascot. We were also taught to cycle aimlessly around the countryside, drink ginger beer until our urine stung like sulphuric acid, play lacrosse and most importantly, to treat the working class with hostility and unbridled suspicion. Only the subsequent discovery I myself came from humble working class stock gave me the courage to break away from this dangerous cult. From there I stumbled upon Herge’s Adventures of Tin Tin and so began my passion for Plus Fours, Calculus and Haddock. I also loved The Three Investigators. Jupiter Jones was such a cool role model. It’s his fault I spent a period of my life stuffing my face with chocolate-flavoured lard and casually dropping long words such as onomatopoeia and cliterodectomy into conversations with my friends.

 

Julie: When did you start writing?

Allan: Seems I’ve always been writing in some shape or form. Lyrics, poems, jokes, hit-lists, ransom demands. Does graffiti count?

 

Julie: Of course. Your books are full of crime, mystery, humor, sex, gore and lots of surprises. How do you get your ideas?

Allan: I set traps for them at night. Little earthenware bowls filled with jam and honey. Obviously you have to sift the good from the bad. The good ones get stored away for later use. The bad ones I stomp on. They make a funny squishy noise when you do that.

Heart_Swarm

Julie: Your books have a tinge of supernatural, sometimes sci fi even- travel between parallel worlds, beings from other galaxies; do you read any sci fi and how has it influenced you?

Allan: I got hooked on Ray Bradbury as a young teenager. His descriptive prose was a revelation and I loved the way he seamlessly shape-shifted between science fiction, horror and dystopian fantasy. His work gave me a real appetite for sci fi and I soon started working my way through the golden greats such as Isaac Asimov and Robert A. Heinlein. Later on I fell in love with Iain Banks’ Culture novels and Stephen Donaldson’s Gap series. The fact that science fiction has always enjoyed the allure of limitless possibilities did influence me to push the boundaries of my own work and never feel restricted to only writing about what is solid and tangible. Life is too short for cold, hard reality.

 

Julie: From what I have gleaned, Glasgow has a reputation for being tough and dangerous. Is that a justified stereotype? How has growing up in Scotland- in Glasgow, particularly- made you the writer you are?

Allan: My job takes me all over the country and I find most cities are basically the same once you put aside the different accents and (sorry, Perth) number of fingers. One thing growing up in Glasgow did give me was a cynical, self-mocking sense of humour. If you take yourself too seriously in Glasgow you’ll get battered.

Cathedral House Hotel

Julie: Tell us about the setting of the new book – the Cathedral House Hotel and the Glasgow Necropolis. After reading Heart Swarm, I feel that I have been there.

Allan: When I was writing Heart Swarm I was conscious that simply placing my protagonist in Glasgow wasn’t enough. I wanted him to be associated with an aspect of the city that was unique in its location and sense of history. Cathedral House Hotel is perfect for that role being right next door to the medieval Glasgow Cathedral and the famous Necropolis. I loved the idea of having Harlan living across the street from all those mouldering old bones. The hotel itself is one of my favourite watering holes and even has a ghost or two. What’s not to like?

 

Julie: Your main character, Will Harlan, is such a charming, self-deprecating, tall, gin-drinking kind of guy- is he anything like you?

Allan: I’ve always believed that most writers can’t resist creating a character that epitomises the sort of person they themselves aspire to be, not necessarily who they are. The fact I’m charming, self-deprecating, extremely handsome and drink gin is purely a coincidence. Um, think you forgot to mention the extremely handsome bit.

 

Julie: And let’s not forget modest. One of my favorite scenes is the exhumation; come to think of it, open graves abound in your books; do we all have a fascination with the grave? Are cremations ruining all our fun?

Allan: I’m all for cremations, but they don’t inspire the same internal concussion of mortality that graves can conjure up at the drop of a coffin lid. There’s just something so bleak and morbid about gazing down into that deep, dark hole in the earth, inhaling the rank miasma of the damp, worm-infested soil, and then, just for good measure, you have a dead body bound in oak and brass (pine is optional) to contend with. Graves certainly win hands down over cremations for pure gothic theatre. The last graveside funeral I attended saw me get a severe dressing down after I referred to the undertaker as Guitar George… because he knew all the Cords.

Julie: That undertaker was in dire straits with you in attendance. For my fellow clueless Americans:  in Scottish burial custom, braided silk cords are held by family members to symbolically lower the coffin. Allan’s books are an education.

So….. what’s next on your laptop? Any new books in the works?

Allan: Just finishing up the sequel to Heart Swarm, a novel called Wasp Latitudes. Will Harlan returns to head up the investigation of a bizarre series of murders and abductions. Then again, if no one buys Heart Swarm I may tear it up and start something else.

So place your orders now for Heart Swarm, available on Amazon U.K. and U.S. October 5. And you’ll want to get Allan’s other books via Kindle if you haven’t already: 1234, Carapace, Dreaming in the Snakepark, Monochrome, The Garden of Remembrance, Mezzanine, and …And Other Stories.

Allan

 

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New song on Personal Geometry; Mortlake

https://soundcloud.com/allan-watson-1/sets/candy-seance-personal-geometry

I’m pleased to be on track 5, Mortlake, on Allan’s new album. A short interlude guitar/flute instrumental. I sent a little accompaniment via wav file across the seas to Scotland – well, several files, til we found one that sounded ok. My flute gets a little seasick, poor gal. Allan Watson’s new album, Personal Geometry, is finished- all fantastic songs. Soundcloud:

Mortlake, just outside London and on the Thames, is the home of Dr John Dee, scientist and advisor to Queen Elizabeth I.

New review for the abbey tapes

Finally a new reviewer is picking up on the obvious, that abbey tapes is fantastic. And on p. 110, the two Lol Robinson albums get excellent reviews. Really happy that Phil’s and Allan’s books and music are getting some additional attention- and in the same issue as such revered musicians as Levon Helm, Ashley Hutchings, Wishbone Ash, David Crosby, Jimmy Page, and the Incredible String Band. Here’s Ian Maun’s review in Stick it in Your Ear: http://www.siiye.co.uk/E28/PAGE_116.htmlSIIYE_review_photo

I’m pleased that my flute part in “The Comb Song” is described as adding “hiraeth”, the Welsh word for longing, nostalgia, homesickness and mysticism to the song.

Check out other issues in this great little e-zine edited by Geoff Walls, UK music writer and a biographer of Ashley Hutchings.

The Comb Song, by Philosopher’s Stone

I’ve put together a video for ‘The Comb Song’ from abbey tapes, my shining moment on flute- I hope it does it justice. I’m such a fangirl. Please share and if you don’t have it already, get the CD from Terry at cottageindustries@ledwardine.co.uk or download from Amazon or iTunes.
The music by the haunted bandmates in the novel December by Phil Rickman… a unique fusion of fiction and music.

Monochrome out soon

The next Allan Watson novel is due to be out on Friday, June 6 on Kindle and via Lulu!!
Monochrome cover

As Allan’s proofreader, I can attest- it’s awesome! He’s a master of storytelling, pacing, foreshadowing, and insight. And Caitlin Sagan’s great cover is just perfect. Get it!

 

Deepest, Darkest December- and companion CD of haunting songs, The Abbey Tapes

Those of us who love fiction are accustomed to suspending our disbelief and enjoying a bit of illusion versus reality; if we are also music lovers, some rock and roll thrown in sweetens the deal. So, do I have a magical trip for you fiction and music lovers: the 1994 novel December by Phil Rickman has been republished along with a CD of songs by Philosopher’s Stone, the novel’s fictional band of psychic musicians, brought together one fateful night to record an album in a haunted Welsh abbey. This most recent collaboration between writer Phil Rickman and musician Allan Watson is one to have on your radar.

December, long out of print, has enjoyed a sort of cult following and more than one movie option. At long last, readers can buy a signed special edition offered by Mansion House Books, as well as a Kindle edition, with a Corvus print version and Isis audio book due soon. And even better, an Abbey Tapes: the Exorcism CD, a veritable soundtrack to December, became available as of December 8, 2011. If that date rings a bell… yes, it is John Lennon’s death date, which figures prominently in the novel’s plot. So get the tracks from iTunes or Amazon, or order the CD (info at Rickman’s website), or the special MHB signed book with CD, and settle into a comfy chair for a long eerie night of rock n’ reading. (update: Bloody hell, they’re even on Spotify now.)

Without giving away too much of the story, here’s the gist: In December of 1980, four musicians were invited to the ancient Black Abbey in Ystrad Ddu, Wales, near the holy mountain, the Skirrid, to record an album as the band Philosopher’s Stone. It turned out to be an almost cruel trick by the record producer to exploit these sensitive, psychic artists. The Abbey itself had been haunted since the 12th century when the Welsh bard Aelwyn Breadwinner (Breuddwydiwr, Welsh for “Dreamer”) died there. And each of the musicians had his own ghosts or obsessions which all seemed to come into play that fateful night, December 8… the same night John Lennon was killed. Some horrific things happen.

The musicians scatter and live with the damage done that night. The tapes for the notorious “Black Album” recorded that night were thought to be destroyed. But fourteen years later, the tapes resurface and the group is persuaded to reunite for another session. For the group and their friend/producer, Prof Levin, it becomes a reluctant attempt to heal, exorcise perhaps, the evils which still haunt them, the Abbey, the town and the Skirrid. Plenty of fascinating characters, bits of Welsh history and mystery, and scary stuff goes on.  December has been called “horror” and does have just enough blood, guts, and ghosts to satisfy that genre; but the depth of characterization and empathy elevate the novel beyond horror and in fact it works as a murder mystery/crime fiction. Rickman likes to call it a ghost story. Suffice it to say, if you are looking for cozy, you’d best look elsewhere.  Especially alluring are Rickman’s sardonic humor, occasional eroticism, and tidbits about the inner workings of the music industry.

The fab psychic four:

Dave Reilly is from Liverpool and has an affinity for John Lennon, though he (and most fans) derided Lennon’s last album, Double Fantasy. He talks to Lennon in his head and has visited the Dakota and Strawberry Fields in NYC; he makes a living doing a one-man show in nightclubs consisting of startlingly accurate impersonations of Lennon, Bob Dylan, Paul Simon, and others. He pines away with unrequited love for Moira and tries to protect her from his dark visions.

Moira Cairns is the beautiful black-haired Scottish folk singer, the daughter of a clairvoyant gypsy mother who gave her an ancient magical hair comb. She experienced a strict upbringing by her Presbyterian grandmother, rebelling when she began to experience her powers. She appears later in another novel, The Man in the Moss, where she performs “The Comb Song”, and she turns up again in the Merrily Watkins books to perform with Lol Robinson.

Tom Storey is the most famous of the group- an electric blues guitarist from East London once compared to Clapton and Jeff Beck. The most erratic (“don’t worry Tom” they all say), Tom has a Down’s child, Vanessa, who also “sees” and plays a pivotal role.

Simon St John is a classically-trained musician who plays electric bass guitar, cello, and flute. He has become a Church of England vicar in Ystrad Ddu and by night is haunted by the ghost of the Black Abbot. Simon and Tom pop up again later in Rickman’s Merrily Watkins series.

Shaken together, the four musicians form a volatile cocktail of music, necromancy, aura reading, and divination- but they are as human and believable as you or I. If you’ve read December, you know about the fictional songs recorded at the abbey and that there were even scatterings of lyrics in the text. On Abbey Tapes, we finally get to hear the song which Dave Reilly fears caused John Lennon’s death, “On a Bad Day.”  Dave is ragging on the poor dead Beatle, berating him for lowering his standards on Double Fantasy, but betrays his love for Lennon with a heartbreaking “Are we ever gonna see you again?” chorus. Also included is “Dakota Blues”, Dave’s description of his visit to the Dakota in Central Park replete with Lennon-like voice and guitar touches. Tom Storey’s “Take Me to the River” is sung as a lighthearted ditty in his Cockney accent, but then reprised in “Take Me 2” as a mournful, bluesy version with Tom’s signature electric guitar as played by Allan Watson. The short instrumental “Vanessa” is a gorgeous complexly-chorded tribute to the  little heroine. Cheryl Reid’s beautiful voice is a highlight of the album, with her “Comb Song” a haunting Celtic melody; that song, while mentioned early in the text, figures more prominently in The Man in the Moss and the novel does not mention that the band played it at the Abbey. However, the comb was working its magic and lucky for us Prof was there to record it. And Moira’s beautiful gypsy tune “Sweeter” is a lovely interlude.

“Liverpool Unplugged” features Rickman’s divine reading voice (he’s a BBC radio announcer and reads Traherne’s poetry on his other albums) telling the true story of the infamous power outage of 1993. The epic “Ballad of Aelwyn Breadwinner” recounts the tragedy of a real 12th century bard who was killed in a massacre by the Normans near Abergavenny. And the ensuing “Holy Light,” featuring Simon’s healing prayer of exorcism, is glorious with its keyboards, violin, bass viol drone, and angelic Gregorian-like song. As in a rock opera, they do the voices. Dave’s Liverpool accent, Tom’s East London Cockney, plus bits of dialogue and sound effects embellish the tracks to bring you viscerally into the Abbey. This is a hauntingly beautiful album of original music grown organically in the ancient British folk tradition of story, myth, and landscape.

In case you are in terror of your hi fi melting from the novel’s  notorious Black Album, be reassured: Abbey Tapes consists of the songs from the reunion 14 years later and,  in a way, a final chapter is added to the book with this additional material discovered by Prof Levin and played by the musician friends of Phil Rickman. This isn’t the first musical collaboration between Glasgow’s Allan Watson and Rickman. They’ve done two albums already by Lol Robinson, the Merrily Watkins series character, heavily influenced by Nick Drake: Songs from Lucy’s Cottage and A Message from the Morning. Watson is a brilliant singer-songwriter with a long recording history in various Glasgow bands including Brig, Columbus Road, and Candy Séance. He’s also an avid reader, and in 2008 he and Rickman decided to complete Lol’s songs. Rickman includes snippets of lyrics in his novels, so those were fleshed out with Watson’s melodies, vocals, and electric and acoustic guitar.  It was a labor of love, then, for the pair to bring to life December’s Philosopher’s Stone, the holy grail of fictional bands. They involved other musicians including Cheryl Reid, another Glaswegian and member of Columbus Road. Poignant violin, flute, and bass parts add magic to the songs. Musician friends on several continents got into the action by recording tracks to add to the mix (Mattie Rouse, Julie Adams, Stevie Patrick, Dave Currie, Kasander). The result: Philosopher’s Stone lives! Have other such fiction/music collaborations ever taken place? Perhaps the only occurrences of their kind, these albums are a unique fusion of fictional characters and song: the imagination incarnate.

Phil Rickman writes about the borderlands between Wales and England where the “veil” is thin, that is, there is a blurring between the real and imagined, the present and past, the modern and the traditional, the living and the dead. While best known for his Merrily Watkins crime-fiction-with-a-paranormal-twist series, he first wrote a number of ghost stories such as Candlenight and Curfew, all of which are now being republished in paperback and Kindle editions by Corvus Press and worth ordering from Amazon UK if necessary. In addition, he has delved into a meeting of crime and historical fiction with his The Bones of Avalon featuring Dr. John Dee, physician and astrologist to Queen Elizabeth I, and their attendant Glastonbury/Arthurian legends (a sequel is in the works). He has authored other works under the pen names of Will Kingdom and Thom Madley.   -Julie Adams

(update: just don’t read the 1996 Berkley edition published in the US- for some reason they edited out some important details. Those Berkley butchers.)

abbey tapes: the exorcism CD

Abbey Tapes: the Exorcism CD

CD of songs by Philosopher’s Stone, the fictional ill-fated band from the novel December, is available via Phil Rickman’s website or as MP3 downloads via Amazon and iTunes. The Black Album lives.

CD cover photograph by John Mason, this is the ruins of Llanthony Abbey in Wales, inspiration for the novel December’s setting. Llanthony is in the shadow of the holy mountain, the Skirrid.  

My blog post about the novel, the music, the project, here: https://brightjul.wordpress.com/2013/12/08/deepest-darkest-december/

New album from Allan Watson

The new songs from Candy Seance are now available! I’m pretty excited about my flute parts on “The Water and the Grain ” and “The Lady of the Runes.” Allan’s songwriting and guitar playing, composing and arranging, recording and producing, mixing and equalizing (whatever that is) are outstanding. It’s a wonder he isn’t a household name rock-n- roll star. I’ve been privileged to see the evolutions of the songs through their various demo versions and changes to the final product. Would love to play sometime in person with Allan, but I’ve made do with my USB microphone, Audacity recording software, and emailing of files some 5,000 miles away to Glasgow. Thanks, Allan, for the collaboration.

The album is a free listen/download from SoundCloud:
On a Fine May Morning

OAFMM

Lol Robinson and Hazey Jane II

MessageLol Robinson and Hazey Jane II

Before Abbey Tapes came the 2 Lol Robinson CDs- Songs from Lucy’s Cottage and A Message from the Morning. These are Lol’s songs from the Merrily Watkins series of novels by Phil Rickman. Haunting, beautiful, ethereal- with more than a nod to Lol’s Nick Drake obsession. Phil Rickman and Allan Watson have some masterpieces here in these further unique fiction/music collaborations. They are available from Terry at cottageindustries@ledwardine.co.uk or downloaded from Amazon or iTunes.

Abbey Tapes lyrics

On A Bad Day

Don’t know what you’ve got there but it sure ain’t a song
Feels like Patience Strong on a bad day
If you die tonight who has the last laugh
If that’s your epitaph, what can I say

Am I ever gonna see you again
I doubt it, I doubt it.
Are we ever gonna see you again
I doubt it, I doubt it.

Your lyrics suck and you can’t find a tune
reading Mills and Boon on the sofa
your soul got crushed underneath someone’s shoe
nothing left of you it’s all over

You said you knew what it was – like to be dead
Protest in bed now – you’re so tired
All you got cooking… – is Mother’s Pride
Your ticket to ride has expired

The Comb Song

Her father works with papers and with plans
Her mother see the world from caravans
I wish to God you had’na been born
Your hair’s a mess. Get it shorn. Get it shorn.
She sees herself in colours and ……….
She weighs her powers in her hand, in her hand
And then at last she starts to see
The time is here, she must break free

Never let them cut your hair or tell you where you’ve been
Or where you’re going to from here
Never let them cut your hair or tell you where you’ve been
Or where you’re going to from here

Comes the comb all wrapped in mystery
Let no-one say it wasnae meant to be
No-one knows how much it meant to her
This piece of Iron Age ephemera
She sees herself in colours and ……….
She weighs her powers in her hand, in her hand
She knows that now she’s on her own
This is a path you walk alone

And in the chamber of the dead forgotten voices her your head
For the night is growing colder now she feels it on her shoulder
Give up you fool there is no heat… the abyss opens up beneath her feet
The comb is ice it’s brittle-oh
She cannot hold it must let it go

Take Me To the River (Take Me 2)

Take me to the river – As it reaches the sea
Take me to the river – That’s where I wanna be
Sit me on a landing stage – Down by the riverside
Let me watch my troubles – Float out on the tide

Lonely water feels
Like a heart revealed
Holy water heals

Take me to the river – As it reaches the sea
Take me to the river – That’s where I wanna be
Take me out in a sailing boat – Toss me o’er the side
And watch my broken body – Float out on the tide.

Lonely water feels
Like a heart revealed
Holy water heals

Sweeter

Sweeter – than an apple from the tree
Fleeter – too quick for me to dream
Deeper – than the bottom of the sea
Clearer – no horizon stopping me
On and on and on and on and on – The song goes on
On and on and on and on and on – The song goes on

Older – than a megalithic stone
Bolder – than a river rushing home
Smoulder – like ashes in a fire
Soldiers – marching with desire
On and on and on and on and on – The song goes on
On and on and on and on and on – The song goes on

Sweeter than an apple from the tree
Fleeter – too quick for me to dream
Deeper than the bottom of the sea
Clearer – no horizon stopping me
On and on and on and on and on – The song goes on
On and on and on and on and on – The song goes on

Dakota Blues

Cooling my heels in Strawberry fields, Can’t find no peace there
The night is breathless, Kirsty’s restless, she don’t care
No hope of solace or redemption in the air
Seven long years since I heard the news
I’m still waking in the night with the Dakota Blues

Taking the view down from the west seven two, I see his shadow
Salinger fan with a gun in his hand, a fucking saddo
He wants to be the star of someone else’s show
Seven long years since I heard the news
I’m still waking in the night with the Dakota Blues

Going where the madness beckons, diamonds in the sky
Arthur Ranker, Crown and Anchor, catcher of a lie

Imagine John was dead and gone, you never met him
He never knew, or thought of you, you won’t forget him
And in the evening he’ll come calling if you let him
Thirteen years since I heard the news
I’m still waking in the night with the Dakota Blues

The Ballad of Aelwyn Breadwinner

Aelwyn the dreamer came down from the mountain
His harp on his shoulder, His hopes for the future. All bright
But his footsteps are wary as darkness surrounds him
The sky is a curtain His heart is uncertain tonight

Out of the forest to play at the castle
That stands by the river. Comes Aelwyn the harper. Well met
By tables all laden with laughter and flattery
Wild boar and venison, Nothing is menacing. Yet.

And nobody notices, nobody listens – To Aelwyn the dreamer
Who sits in his corner, And sees the carnage That hides in the eyes of the Normans
Who lay off the wine
As they wait for a sign
…and he flees

Echoes of slaughter, the wine turns to water The water to blood
As he runs for the woods – And the hills, it isn’t –
The hack of a blade in his back
But the viper’s hiss Of a brother’s kiss …..that he feels

The Harp in fragments lies
A Warning to the wise
Under winter’s frozen cloak
They drag him to the oak

And the sky begins to pale
To the rip of flesh by nails
And the morning wakes in pain
As the mountain cracks again

“Too British”

My audio book arrived Monday from Isis and so of course I immediately had to rip it to my computer, put it on my mp3 player, and start listening. And was immediately mesmerized and enthralled! That Sean Barrett is marvelous, the story, of course, compelling. And to hear the strains of “The Ballad of Aelwyn Breadwinner” come floating up from the abyss just gave me chills.

The next evening I listened to more chapters, and on file #7 got to hear a bit of “The Comb Song” during the part about Moira’s growing up years. Yes, a little of my fluting is evident!- really thrilled.

Then I came to the portion where Moira talks to Donald after the Duchess’ funeral, and she tells him ……….. WHAT SHE DID WITH THE COMB… and my jaw dropped and my drowsy eyes flew open… wait a minute, that wasn’t in the book! I went to find my 2011 MHB Press edition to find the text, and sure enough, there it was. But then I checked the old tattered 1996 Berkley US version I’d read 3 times, and it was not there. Had Phil put new things into the MHB version that came out a year ago? Mystery. Hurrah for Kindle search feature: I searched the word “comb” in the Kindle version of December to find a whole bunch of references to it that were not in my old paperback! Have to admit sort of freaking out- it totally changes the story for me. I don’t want to completely spoil the story for people who may still need to read December, but the ancient mystical hair comb given to Moira by her Gypsy mother figures greatly in the story after all. Moira did something macabre with it, is warned that she is unprotected without it, misses it in her guitar case, tells her band mates about it in the Abbey, and then on the last page…. well, you have to hear/read it. All missing from the Berkley edition.

So, I mentioned it on PRAS, and Anne and Phil explained that the US publisher, Berkley, wanted to shorten the story and so left certain stuff out, Phil recalling being told that it needed to be more “accessible” to people in Ohio!!! And then the publisher dumped him for being “too British.” OK, if you know me, you know I’m a librarian and very much against censorship. To me this was at best censorship and at the very worst a travesty to change an author’s book. But to leave out such an important part of the plot… it’s just a sin. Not to mention an insult to American readers.

Of all things to cut, that was not even one of the more disturbing bits in the book. I mean, Simon and the brown candles, the dinner party bloodbath, the ghosts … why leave out the comb? They weren’t trying to protect those Ohioans from any gritty sex or murder. And it was so deliberate- these clever editors had to search out tiny bits on far-flung pages. Go through it with a fine-tooth… never mind. There’s a lonely sentence where Moira walks along the frosty ground and the bristly grass makes her think of the comb, now where it is … sentence gone. On the last page where the comb makes one more plot twist in barely a sentence – they had to find that and cut it on purpose. Why the comb?  Phil has added on PRAS that they may have left out the comb since they weren’t publishing Man in the Moss (due to Glasgow and Northern English accents) in which the comb story is retold, the song performed and the lyrics included, but again he says not the real reason, could embarrass someone yet. Being oblique as usual, the cheeky sod, -affectionately said.

So as I listen perhaps I’ll find more things that are new to me, things left out of the crappy US edition. Spread the word- DON’T read the butchered 1996 Berkley edition, or if you have, be sure to get hold of the original 1994 UK Macmillan, the 1995 paperback from Pan Books, the 2011 Mansion House or Kindle editions, or the new Isis audio book (on Audible, too) to get the unadulterated text of December. Sure wish I’d read the new MHB version when it came back in January- I assumed I knew the story well having read it three times. Then there was me writing a bleedin article about the book. I feel kind of duped.

In the US edition, “The Comb Song” is mentioned once, early on in describing Moira’s faded folk career. And that is the only mention of it or of a comb at all. I thought that Phil and Allan were stretching it a bit to include a song on the Abbey Tapes CD which features more heavily in The Man in the Moss, though I was glad they wereAnd while it is true that the song isn’t mentioned as being played at the Abbey, there’s a much stronger chance that it might have been, considering the comb’s importance to the book. Now that I know that, it is even more meaningful to me that I got to contribute a little to it.

Update as of Dec. 6, 2012- I finished listening to the audio book last night and it was marvelous! Scary and chilling and horrifying but satisfying and redemptive. I can pretty confidently say that the comb references were all that were new to me as a reader of only the butchered American Berkley Books edition. It remains a puzzle as to why that was omitted. It was a beautiful and I think essential part of the story. Anyone with ideas please comment.

Dead Man Talking #6- in which I am interviewed by a ghost

I have the dubious honor of appearing in the infamous Dead Man Talking interview series!  http://allanwatson.blogspot.com/2012/11/dead-man-talking-6-julie-adams.html

Strachan, a most cantakerous and opinionated interviewer for a dead guy, teases me unmercifully about my involvement in the Abbey Tapes, the upcoming audio book of December, my political leanings (the interview came out on US election day), my dream band picks, and um …. wind. Good for a laugh or 3! I’m still waiting for my broken lawnmower prize.

Strachan’s other victims – er, interviews- include Bill Booker, Christopher Fowler, F.G. Cottam, Phil Rickman and Caitlin Sagan. So I am in excellent company! There’s comfort in numbers. Leave it to Allan Watson to reinvent the interview.

Dead Man Talking interview

Check out Strachan McQuade’s interview with Phil Rickman on Allan Watson’s blog:

http://allanwatson.blogspot.co.uk/2012/10/dead-man-talking-2-phil-rickman.html

They chat about Phil’s new book, The Heresy of Dr Dee, out on November 1. Phil reveals all about writing Elizabethan expletives,  Welsh superiority, the republication of his Will Kingdom books Cold Calling and Mean Spirit, and his soft spot for animals. McQuade is like no other interviewer, since he is, well, dead. And uproariously funny.