"The Galton Case" by Ross Macdonald

“The Galton Case” is the first Ross Macdonald novel I have read, but it won’t be the last. I still get a buzz from discovering an author whose work moves me. Macdonald’s work spans from the mid-forties to the early eighties, but many critics feel that this novel, originally published in 1959, marked a shift into a deeper and more complex phase.

Macdonald was often compared to Dashiell Hammett and Raymond Chandler. Indeed his detective Lew Archer owes his name to Sam Spade’s murdered colleague Miles Archer in Hammett’s seminal work “The Maltese Falcon”. Yet Archer is a very different character to either Spade or Chandler’s Philip Marlowe. He might be as hard-boiled, yet beneath his tough exterior he somehow has more in common with a therapist that a traditional detective. In Macdonald’s hands he often makes an initial wisecrack about a character that foreshadows a much deeper truth.

“The Galton Case” is a surprisingly complex and literary detective story. Archer is hired by a dour lawyer to trace Anthony Galton, missing for over twenty years and heir to the Galton fortune, held by Anthony’s dying mother who seeks a reconciliation.  Is Anthony alive or dead and is a man claiming to be his long-lost-son real or an imposter? Archer has to pick his way through a cast of disparate characters, most of whom are not as they first appear. The plot is deliciously complicated and has more red herrings than a Baltic trawler.

This isn’t a simple “whodunit” but a beautifully layered work bout identity, greed and the power of myth. It owes as much to the Oedipus archetype, classical tragedy and Freudian analysis as it does to the tradition of Hammett and Chandler.

It also includes some powerful and timeless writing. One phrase that will stay with me for a long time occurs when Archer opens a dead man’s suitcase. “Its contents emitted a whiff of tobacco, sea water, sweat and the subtler indescribable odour of masculine loneliness.”

Definitely not your average detective novel.

Curtis Brown Creative - The Mid Point

On the Curtis Brown Creative six-month novel writing course we have been discussing the importance of the mid-point in our novels. This represents the point of no return; the point where the narrative has achieved a critical mass. With a certain symmetry I realised that we had reached the mid-point of , and personally I feel that my novel “Ilona” has also reached a critical mass. I have been re-writing the novel throughout the course using the feedback from the group to address some of the core issues.

For me the process of submitting extracts for a group critique has been one of the highlights of the course so far. The comments from our tutor Louise Wener and the other fourteen students have been supportive and encouraging. The criticism has been constructive throughout and particularly illuminating for me. I think it helps that as writers we are all facing similar challenges, yet are prepared to share insights and suggestions. The sense of support for each other has been tangible and I am very grateful. “Ilona” is slowly becoming a better novel in the process.

We have all now submitted two 3,000 word extracts and we are just about to start on the third and final round of submissions. These have provided tantalising glimpses into the various works-in-progress, rather like watching a succession of film trailers. I have found it fascinating to observe the physical writing process and the different ways that we each approach our craft.

I have been impressed by the format of the Curtis Brown course and by the excellent way it has been managed by CBC Director Anna Davis and new writing editor Rufus Purdy. The range of speakers they have organised have been superb and I particularly enjoyed Nathan Filer and his agent Sophie Lambert, and the engaging Tom Rob Smith with his agent Felicity Blunt. Both authors were very open in sharing stories of their own journeys which I found inspirational.

The quality of the teaching has been first rate with a great mix of tutors. Louise Wener’s practical and down-to-earth advice has been motivational. As a crime writer I particularly enjoyed the sessions with guest tutor Tobias Jones, and I will be forever indebted to him for introducing me to the writing of Ross Macdonald.

So as we move into the second half of the course I am excited about the ongoing work with “Ilona” and in finalising the novel ready for submission. However, in the first instance maybe my third and final 3,000 word extract needs one more polish!