(HOW) DARE WE WRITE HISTORICAL NOVELS? by Leslie Wilson

David Starkey has announced in various media that Wolf Hall is a 'deliberate perversion of history', (though he has neither read the books nor seen the television adaptation so I do wonder how he can assert this). Someone, however, has told him that Mark Rylance, playing Thomas Cromwell, is portrayed as showing grief when his wife and daughters are carried off in a day by the sweating sickness. 'I gather Hilary Mantel has imagined this wonderful tender experience of Thomas Cromwell losing wife and children,' he says, and 'there is not a scrap of evidence for it at all.'


Not all historians hate historical fiction, and many of them are hugely generous towards fiction writers  - I owe an enormous debt of gratitude to Professor Michael Biddiss, for one, who referred me to several useful texts on Nazi Germany and particularly to the invaluable documentary history of Nazism by J Noakes and G Pridham - so helpful, particularly when I was writing Saving Rafael. However, much as I respect and value historians, I do not need their permission to write my fictions.
The thing is (Doctor Starkey), that a novel set in the past is not an easy-read alternative to a history book (however carefully we do our research, and some of us, notably Dame Hilary, do it very carefully indeed. Indeed Hilary Mantel's work is widely respected by historians). The term historical fiction may perhaps be a tripwire here. We are writers of fiction, and some of us choose to write about historical subjects.That means that we apply our imagination to those subjects, which is what writers do, and of course we go to places (like someone's probable response to a bereavement) that historians must in honesty hold back from.
In exactly the same way, I might write a story about someone, say, who is a teacher in a North of England town. There is no evidence that such a character exists or that any given human being ever behaved exactly as this character did. If I cannot find it, it is not incumbent in me to leave it out, because the job of a writer is to say: 'What if? Supposing?' It is to write a story.

My grandmother in the '30s

Actually, I researched the novels I set in Nazi Germany very carefully, but this was because my enterprise was to understand what it was like to be a person who had to live in Nazi Germany. That is - as readers of my blogs here will readily understand - something very important to me. The enormous amount of reading I have done about the period, as well as watching videos, talking to people who remembered those times, reflecting on the things that came to me from my own family, was not directed at making my works good textbooks for Year 9s. Some people have found them so, but what drove me was that need to open a window for myself on twelve dreadful years that marked and scarred my immediate family as well as damaging and bereaving millions of others.

In the end, though, it came down to 'What if? Supposing?' Supposing one of the boy soldiers who were drafted into the German Home Guard in 1945 was the sole survivor of his unit; supposing he met a girl on the run from Berlin, who had a very different background; supposing the interaction and relationship between them changed both of them as they trod the refugee road with the fighting going on round them? Supposing  the girl was jazz-crazy, and could play the harmonica, and supposing a fantasy grew legs and desperate people started to believe it? Then you get Last Train from Kummersdorf.

There's another idea about historical fiction that is popular among the chattering classes, even post Wolf Hall. It is that it is somehow tacky, chocolate-boxy, that the proper enterprise of novelists is to describe the present day (preferably grittily). Now I have no objection to grit, but there was just as much of it around in the past - and indeed there is a whole generation of excellent novels that deal with the undersides of history, some written by fellow-contributors to this blog. 

One of my history teachers at school took this line: she said we should avoid historical fictions, which were always misleading and trashy, and concentrate on fiction written at the time we were studying. Maybe she would have liked to have a go at the English literature syllabus and excise such trashy works as Henry IV Part One, (which I studied for A Level). Also, she must have despised such trivial works as War and Peace, Schiller's Maria Stuart, Vanity Fair, all of Shakespeare's History plays, Büchner's Danton's Death, Eliot's Murder in the Cathedral (which I first saw, incidentally, at Kendal Grammar School with my brother as one of the Women of Canterbury and David Starkey in the star role. The poetry blew me away.)

If the past is another country, it's one that is part of our present. Humans have many means of visiting it and trying to inhabit it; through histories, biography, visiting historical sites, and drama, in which I include the novel. To talk about, mythologise, and speculate on the past is part of what it means to be human, and that makes it a valid subject for literature.