Anthony Horowitz Posts

David Walliams’s “The World’s Worst Children 2”

My review-article of David Walliams’s The World’s Worst Children 2 was published in The Hindu Literary Review on 3 September 2017 titled “The boy who never did his homework“. I am c&p the text here as well: 

David Walliams’s The World’s Worst Children 2 is a fabulous collection of short stories about 10 obnoxious little brats. There is Cruel Clarissa, Harry who never ever did his homework, Competitive Colin, Trish the Troll, Spoiled Brad, Gruesome Griselda and others. The scrumptious book has been “illustratred in glorious colour” by Tony Ross. (The very Tony Ross, who, statistics show, is the most borrowed illustrator from U.K. libraries. In 2016, his books were borrowed more than 1 million times.) Walliams and Ross have been collaborating on books for children and young adults for quite a few years now.

Walliams is often considered to be the modern Roald Dahl. Incidentally, Walliams’s first book for children was illustrated by Quentin Blake, who is known for his illustrations of Roald Dahl’s books. Along with Ross, Walliams insists there be a picture on every page. The two books of the TheWorld’s Worst Children is sumptuously produced, with embossed lettering on the cover, gilt foil worked in to the design, and four-colour illustrations with a fascinating play of fonts throughout the text. Every page has the illustration carefully

placed in such a manner that it perfectly complements the text.

Climb a mountain

It works beautifully for young readers as well as for readers who require assisted learning. “It’s about hooking them in and not making reading seem like a chore,” Walliams says. “I think reading is important because not only do you miss out on great literature if you don’t do it, but also you miss out on finding out about new ideas and the opportunity to use your own imagination.”

Walliams is otherwise famous as a stand-up comedian. His comic talent has found its way into writing. His stories are often about children of the kind we encounter everyday — ordinary, privileged, gentle, horrendous. Without being patronising, but with humour, he writes about the world as the child sees it — a stark place, in black and white.

Even his caricatures make one chuckle with delight for they hold up a mirror to the child’s world, serving the dual purpose of telling a story while delivering a message. He compares the process of writing his manuscripts to that of climbing up a mountain. He perseveres despite the effort because, “I really like the simplicity of children’s literature. It’s a challenge because often you’ve got quite complex ideas you’ve got to put into very simple terms.”

Spoilt brats

This is apparent in his novels. For instance, in Billionaire Boya rich spoilt kid is also very lonely for he lacks a friend; Midnight Gang is about patients in a children’s hospital whose parents never visit them and who are left at the mercy of a harsh and unsympathetic matron; Mr Stink narrates the unlikely friendship between a lonely girl Chloe and the local stinky tramp Mr Stink, the only person who’s ever been nice to her. Gangsta Granny and Grandpa’s Great Escape are about grandparents and help create concern among children for the ailments and idiosyncrasies of old age. Controversy tails successful writers: some years ago, Anthony Horowitz had accused Walliams of creating “dumbed down books” for children.

But the criticism does not seem to be fair. Walliams’s stories are empathetic towards children: he has the knack of capturing the authoritarian and at times unreasonable voice of the adult. Hope exists in the form of a good soul lurking nearby, usually an adult who too has been marginalised by society.

To know what happens to the world’s worst children, read the book. A treat awaits!

David Walliams The World’s Worst Children 2 HarperCollins Children’s Books, London, 2017. Pb. pp. 300 

3 September 2017 

Comeback heroes, 28 September 2014

Comeback heroes, 28 September 2014

( In today’s edition of the Hindu Magazine, I have an article on the resurrection of literary characters by contemporary novelists. The link was published digitally on 27 September 2014. Here is the link: http://www.thehindu.com/features/magazine/comeback-heroes/article6452453.ece . It was carried in print as the lead article of the magazine on Sunday, 28 September 2014. I am also c&p the article below.)

Sophie HannahWith the release of Sophie Hannah’s The Monogram Murders earlier this month, Hercule Poirot comes back to life. This new mystery introduces a new character, Inspector Catchpool, who uses the first-person narrative style, similar to that of Dr. Watson. The novel was announced in October 2013 at the Frankfurt Book Fair in the presence of Agatha Christie’s grandson. This is only one in a line of novels written by contemporary novelists resurrecting literary characters. Usually these are characters that have remained popular over time.

Such revivals have been a tradition from the early 20th century. There were several Holmes stories in the Sudden Book Covers
1910s and 1920s. But these were not very well known. Bulldog Drummond by Sapper was, perhaps, the first instance of a popular character being continued. The series was continued by Gerard Fairlie. Other bestseller series included Sudden (a series of westerns), which was continued after the author Oliver Strange’s death.

There are also lateral continuations — not with the characters as protagonists but spin-offs like P.D. James’ Death Comes to Pemberley, Bulldog_Drummond_1st_edition_cover,_1920Charlie Higson’s Young Bond series, Gregory Maguire’s The Wicked Years series, Anthony Read’s Baker Street Boys series and Andrew Lane’s Young Sherlock Holmes series.Vintage’ Hogarth Shakespeare imprint will soon present retellings of the Bard’s works for contemporary readers by some of today’s best-known international writers. October 2015 willVintage Hogarth Shakespeare see the launch of Jeanette Winterson’s retelling of The Winter’s Tale and Howard Jacobson’s retelling of The Merchant of Venice will be out in February 2016, ahead of the 400th anniversary of Shakespeare’s death in April 2016. The illustrious list includes Margaret Atwood (The Tempest), Tracy Chevalier (Othello), Gillian Flynn (Hamlet), Jo Nesbo (Macbeth) and Anne Tyler (The Taming of the Shrew). The series will be published in 12 languages across 18 territories.

There are many reasons why these new stories strike a chord with modern readers. First is, of course, nostalgia and familiarity. Given the huge fan base of these characters, the new books have a relatively ready market but sometimes they are reinvented to find a

(L-R) Danish Husain and Mahmood Farooqui

(L-R) Danish Husain and Mahmood Farooqui

new readership. Mahmood Farooqui of Dastangoi says, “I think it is a good tactic to take up texts that are already familiar to some in the audience. Listening to a story and reading one are very different experiences.”

India sells more traditional bestsellers, says Thomas Abraham, Managing Director, Solo_-_James_Bond_first_edition_coverHachette India. Like “Enid Blyton or Christie or Conan Doyle. So, yes, these will have a good market here. But the new revivals will sell much more in the west in year one at least because they are major literary events.” Caroline Newbury, VP, Marketing and Corporate Communications, Penguin Random House, points out that books like Solo and Jeeves and the Wedding Bells “have been successful across the globe, hitting bestseller lists in the U.K. and in places like Australia.”

Kushalrani Gulab, a voracious reader, cannot resist these new novels. She is “driven by curiosity and the very, very small hope that, by some miracle, my beloved character and her/his world might actually come back from the dead. So far, there has been no miracle.” A sentiment that blogger Sheila Kumar echoes. “Truth to tell, I approach these tribute/resurrections with both reserve and caution. Sebastian Faulks, Jeeves and the Wedding BellsComparisons, while they are admittedly odious, are also inevitable in cases like these!” But, as Abraham points out, “You dislike them generally after having read them, so you contribute to the market anyway.”

An article in the Publisher’s Weekly describes Sophie Hannah as having “channelled” one of literature’s greats. But Gulab’s passionate response to this is: “I find it very hard to imagine that another author can do just as good a job as the original author… (who) knows her/his own character best because she/he has honed it over the years… Another author, however, only knows the character by a list of characteristics; from the outside, as a reader does. Not from the inside as the original author does. Also, characters tend to exist in a certain milieu. So unless the new author makes the characters contemporary, she/he has got to recreate the world around the character as well. That’s very hard to do when you haven’t actually lived in that time period.” In fact, Sophie Hannah says she found the names — Catchpool, Brignell, Negus, Sippell and Ducane — for most of her cast from tombstones as they had a “classic, old-fashioned feel about them”.

Yet these “continuations” raise the tricky question of copyright. Last year, the Conan Doyle Estate was “horrified that the ‘public domain’ might create multiple personalities of Sherlock Holmes” (September 2013). But in December 2013, a judge in the U.S. ruled that “Sherlock Holmes is definitely in the public domain”. The first story is bound by the original term of copyright. A new version does not extend the character’s copyright term for the estate. But copyright and permission to carry on the characters are two different things. So, if an estate has the legal right to stop any use of the character after the story’s copyright expires, may be they can. But they can’t stop the printing of existing works, if they have gone out of copyright.

Abraham refers to the attitude of Peter O’Donnell, creator of the Modesty Blaise series. “O’ Donnell told me that he wouldn’t like the idea of Modesty being carried on by someone else especially after the disastrous film version. That was one reason why he killed them off in Cobra Trap.” Attitudes vary hugely from estate to estate. As Newbury points out, Solo’s copyright lies with Ian Fleming Publications Ltd., whereas Jeeves and the Wedding Bells is attributed to Sebastian Faulks.

According to Rich Stim, Attorney, on the legal website, NOLO, “fictional characters can be protected separately from their underlying works as derivative copyrights, provided that they are sufficiently unique and distinctive like, James Bond, Fred Flintstone, Hannibal Lecter, and Snoopy. In Nichols v. Universal Pictures Corp., Judge Learned Hand established the standard for character protection: “… the less developed the characters, the less they can be copyrighted; that is the penalty an author must bear for marking them too indistinctly.” Exploitation of fictional characters is a crucial source of revenue for entertainment and merchandising companies. Characters such as Superman and Mickey Mouse are the foundations of massive entertainment franchises and are commonly protected under both copyright and trademark law. Unfortunately the protection afforded to fictional characters sometimes clashes with the fair use right to comment upon or criticise those characters. ” ( http://www.nolo.com/legal-encyclopedia/protecting-fictional-characters-under-copyright-law.html ) Moriarty

People will read the new versions, but if you ask them which character they want to see resurrected, the answer comes promptly: “none”. The truly worthy successor of a great mystery writer in the modern world, writing in English, in my humble opinion, is Anthony Horowitz. I am looking forward to his Moriarty to be released at the end of October.

Other literary revivals

James Bond: Colonel Sun by Kingsley Amis (as Robert Markham); Solo by William Boyd.

Sherlock Holmes: The House of Silk by Anthony Horowitz and The Mandala of Sherlock Holmes by Jamyang Norbu, which also revived Hurree Babu from Rudyard Kipling’s Kim.

Bertie Wooster and Jeeves: Jeeves and the Wedding Bells by Sebastian Faulks.

Jason Bourne: The Bourne Imperative by Eric van Lustbader.

Famous Five: Sarah Bosse wrote 21 new novels with Enid Blyton’s characters in German.

In India, Dastango Mahmood Farooqui has resurrected Alice in Wonderland as Dastan Alice Ki, and has plans to adapt Gopi Gyne Bagha Byne and The Little Prince.

Update

The article has been corrected to reflect the following changes: Kingsley Amis wrote the Bond novels under the pen name of Robert Markham and not George Markham as was printed earlier. Secondly, the Moriarty novel by Anthony Horowitz will be available at the end of October and not at the end of this week as mentioned earlier.

28 September 2014 

“Jeeves and the Wedding Bells” Sebastian Faulks

“Jeeves and the Wedding Bells” Sebastian Faulks

Sebastian Faulks, Jeeves and the Wedding BellsSebastian Faulks has written a homage to P. G. Wodehouse, a novel, Jeeves and the Wedding Bells. It is meant to be a new addition to the Wodehouse collection of Bertie Wooster and Jeeves novels. It was announced with a great deal of fanfare earlier in the year and released in November 2013. Unfortunately it does not meet one’s expectations at all. It is stiff and difficult to read. It misses the humour of Wodehouse.

Resurrecting beloved characters that have endured and continued to charm generations of readers is a trend that is going viral among publishers. In the hope of keeping markets alive, publishers are introducing new and young readers to characters that they may not be familiar with. Popular contemporary novelists are entrusted with the task of scripting new stories. For instance, Anthony Horowitz wrote a new Sherlock Holmes mystery, The House of Silk ( 2012); William Boyd wrote a new James Bond novel, Solo (2013); and next year Sophie Hannah will be writing a new Hercule Poirot mystery. ( If the buzz at Frankfurt Book Fair 2013 is to be believed this is a novel to watch out for.) Keeping with this trend, Sebastian Faulks was asked by Random House to create a new novel with Bertie Wooster and Jeeves. These editorial decisions of matchmaking between popular contemporary novelists with old favourites are actually very sharp. If these new novels are written well ( as House of Silk is) everyone stands to gain—the readers have a new novel, the author and the publishers have a new market to tap. More importantly, most of these characters are either out of the copyright domain or are about to become available. By introducing new versions of the characters, estates of the authors can consider arguing legally “having that single book under copyright means that the entire character is covered by copyright”. ( Read. Conan Doyle Estate Is Horrified That The Public Domain Might Create ‘Multiple Personalities’ Of Sherlock Holmes http://www.techdirt.com/articles/20130915/00291924523/conan-doyle-estate-doesnt-understand-public-domain-freaks-out-harms-it-might-cause-to-sherlock-holmes.shtml ) Thus keeping a tight control on the royalties earned by the new lease of life these characters are given. Significantly at a time when multiple formats are splintering and expanding the market, creating alternative revenue streams, it is important for publishers to explore ways of making inroads, testing markets and this can be done at least cost with old characters that are favourites, out-of-copyright or require minimal license fees to be paid, and new business models are explored. House of Silk, Anthony Horowitz

In Faulks on Fiction, Sebastian Faulks has an essay on Jeeves, ‘The Mood will Pass, Sir”. His opening line is “one of the odd things about Jeeves is how seldom he appears in the stories that immortalised him. While P. G. Wodehouse never used anything as vulgar as formula, there is an elegant pattern to Jeeves exits and his entrances.” ( p.239) Well if Faulks was interested in exploring the Jeeves angle in The Wedding Bells, he failed. He misses the point of Wodehouse’s fiction. Probably because Faulks is unable to get rid of his awe for Wodehouse. He remains nervous, hesitant following ( writing?) in the footsteps of Wodehouse and seems to be only keen to explore a perspective he feels is missing from the established Wodehouse canon.

Sebastian Faulks Jeeves and the Wedding Bells, Hutchinson, London, 2013. Pb. pp. 258 Price not mentioned.

Anthony Horowitz “Russian Roulette”

Anthony Horowitz “Russian Roulette”

Russian RouletteWhen the Cold War raged, there were plenty of spy novels being written. With the collapse of USSR, the Berlin Wall, and the collapse of a polarised world even novelists who specialised in this genre were at a loss. In fact it was after many years that John Le Carre released a new book — A Delicate Truth— in 2013. ( My review http://www.jayabhattacharjirose.com/jaya/2013/06/01/a-delicate-truth-john-le-carre-june-2013/ ) But children’s and YA literature has continued to have an appetite for espionage fiction. The new Alex Rider novel, Russian Roulette, is a fine example of it. It is a “prequel” to the hugely popular Alex Rider series. It is about the young Russian man, Yassen Gregorovich who is sent to America to kill the fourteen-year-old spy, Alex Rider. While on the mission he reminisces about his childhood in the village of Estrov, his parents, the chemical warfare and his induction into becoming a lethal contract killer.

Russian Roulette required a fair amount of research especially for the Russian sections of the book. As he mentions in the book – ” So much changed between 1995 and 2000 — the approximate setting of the story — that I’ve been forced to use a certain amount of dramatic licence.” But Anthony Horowitz is a marvellous storyteller that he is able to tell the story with finesse. 

Anthony Horowitz Russian Roulette Walker India, Walker Books, 2013. Pb. pp. 410 Rs. 350