Gŵyl Crime Cymru Festival 2024

Hi everyone,

I’ve been away from the blog for a while, which isn’t to say I haven’t been busy.

We’re only a few months away now from the launch of The Venetian Sanctuary and, as a sort of mini-prelude to that , The Venetian Candidate came out in paperback on April 4th. So it was a delight to spend some time in Aberystwyth with my friend Alis Hawkins (whose The Skeleton Army came out on the same day – and if you want a new historical crime series to check out, look no further than her “Oxford Mysteries”) at an evening presentation at Ceredigion Library. Thanks to everyone who turned up!

A visit to Edinburgh also enabled me to see Hawkwind for what – sadly – might be the last time. That’s hard to take on board. It’s been 39 years since I first saw them and so this was bittersweet to say the least. But if this is to be the last one, well, it’s been a hell of a ride and this was a good one to go out on.

But the big news this month is this year’s Gŵyl Crime Cymru Festival 2024, coming your way from Wednesday April 17th. We’ll be back live in Aberystwyth next year, but this time we’re exclusively online and all events are FREE.

Tickets can be reserved at https://gwylcrimecymrufestival.co.uk .

I’m greatly honoured to be Chair of this year’s event, but it really couldn’t have been done without the huge amount of work put in by Cathy Ace, Jacky Collins, Wini Davies, Jacqueline Harrett, BE Jones, Alison Layland, Chris Lloyd, Chloe Tilson, Sarah Todd Taylor, Sarah Ward, GJ Williams and, of course, our tireless festival administrator Gail Williams. Thank you all so much.

The panellists are a brilliant mixture of the best in Welsh crime writing, and the best international authors as well. I think there’ll be something for everyone to enjoy over the eight days of the festival.

I’m in conversation with Marsali Taylor and Andy Griffee on the appropriately named “Watery Graves” panel on April 19th, at 18.30 (BST).

Hoping to “see” you there, and wishing you all happy reading and happy viewing!

Philip

A Shocking Red December

A Nathan Sutherland short story for Christmas

Lucia Frigo and Gramsci stared across my desk with the same look in their eyes.

They both wanted something.

In Gramsci’s case, the problem could be solved by accessing the box of kitty biscuits securely closed away in the highest cupboard in the kitchen; a space that – until now, at least – had proved beyond his ability to open. Not that he hadn’t tried.

Lucia, in black leather jacket and Iron Maiden T-shirt, and spiky-haired and Siouxsie-like as ever, was harder to read. She was one of the few living beings with whom Gramsci had found any sort of affinity, and the thought of the two of them making alliance against me was troubling.

‘So, how’ve you been doing, Englishman?’

I sighed. ‘Do we have to do the whole “Englishman” thing?’

‘Is “Mister Consul” better?’

‘A bit. Which is not to say that I like it. Why don’t you call me, oh I don’t know, “Nathan” or “Nat” and in return I’ll call you Lucia instead of “Siouxsie”?’

Her face fell. ‘But I like the whole “Siouxsie” thing.’ Then she smiled. ‘But okay, Nathan it is. So. As I said. How have things been since we last met?’

I picked up my desk diary and pretended to leaf through it. ‘Well now. When was that?’ I tapped at a page. ‘Ah, yes. Just over a month ago now. I helped you drag a refrigerator out of a waterlogged shop. And shortly afterwards a man called Matthew Blake blew his brains out in front of me. Strange days, eh?’

‘They certainly were Mister Consul – I mean, Nathan.’

I smiled. ‘Anyway, it’s good to see you again Lucia. How have you been?’

‘Good, I guess. The city seems almost back to normal now, doesn’t it? And it’ll soon be Christmas. That’s nice. I like Christmas.’ I must have looked a little startled. ‘Oh, don’t be fooled by the whole Goth thing. Even Siouxsie did a Christmas song.’

‘Two, I think.’

‘One of them’s a cover, though. Anyway, as I was saying, things are pretty good. Especially since all the press coverage stopped. The whole “Mud Angels” thing.’ She shook her head. ‘Never liked all that.’

‘But that was a great thing you did. Helping the city getting back on its feet after the flood. That was a fine thing, a kind thing.’

‘We just did it because it was the right thing to do. We never did it to get on TV or in the papers. And we sure as hell weren’t angels.’

‘Whatever. I made it into the papers for failing to stop a man shooting himself in the face. I think your way was better. And I think you should be proud of yourself.’

There was silence for a moment.

‘Is that your “Stop being my dad” expression?’

She nodded.

‘Sorry.’

‘So, if I could maybe get to why I’m here?’

’Sure.’

‘Now, do you promise not to overreact?’

‘Of course.’

‘It’s just that Christmas is coming up and and some of us thought that, well, it’s going to be a pretty tough one for a lot of people. You know, all those businesses that still aren’t back on their feet?’

‘Sure, I understand. I mean if you’re selling raffle tickets, by all means put me down for a few.’

‘It’s not that.’

‘Donation, then? That’s fine, too.’

‘Not that either. It’s me and the band. We’re doing a charity concert.’

‘You what???’

‘You said you wouldn’t overreact!’

‘I’m not overreacting. I’m completely calm.’ I took a deep breath. ‘Is this your death metal band? Toxic Disposition?”

‘No, it’s my classical flute quartet. Of course it’s Toxic Disposition. And don’t do that.’

‘Do what?’

‘You were going to put your head in your hands.’

‘I wasn’t.’

‘You were.’

‘Okay. I was. Look, erm, well Federica and I both went to see you once before and, well, – ‘

‘You hated it.’

‘We didn’t hate it so much as think that it wasn’t perhaps quite our thing, and so – ‘

‘You don’t want to come?’

‘It’s not so much that we don’t want to come – ‘

‘So you do want to? Brilliant! I knew you wouldn’t let us down.’ Gramsci hopped up onto the desk and purred. ’See. Even your nice cat approves.’

‘It seems he does.’ I sighed. ‘Okay then. Tell me more.’

‘It’s on December 20th. Campo San Giacomo dell’Orio. Where your pal Dario lives. Bring him along as well.’

‘Oh, I will. He’ll be thrilled.’

‘There’s going to be a few bands on. Not just us. It was kind of difficult to find a space, but Rocco – that’s my dad – used to help organise the old Communist Party festival in the square, you remember?’

‘Oh yes. Dario look me there to see a Genesis covers band one year. They were quite good. Whatever happened to it?’

‘The Genesis covers band?’

‘No, the festival.’

She shrugged. ‘My dad said they were running out of communists. Something like that. Anyway, he was really excited to be doing something in the square again.’

‘“A Christmas Evening with Toxic Disposition”. That sort of thing?’

‘Exactly. Well done, Mister Consul. We’ll see you there.’

And with that, she was gone, leaving me faced with a hungry cat and a difficult explanation.

———-

‘So, would you like to tell me all about it?’, said Fede, after I kissed her on the cheek.

‘About what?’

‘You’ve got your “I’ve done something wrong” face on.’

‘I’ve got one of those?’

‘Mm-hmm. I can tell. It’s my secret weapon.’

‘Damn. I never knew. Well, Lucia was round here earlier. You remember Lucia Frigo?’

‘Looks like Siouxsie, organised the Mud Angels, helped you solve a murder?’

‘That’s her.’

‘Plays guitar in a really terrible band?’

‘Yes. Yes, that’s her.’

Fede’s eyes narrowed. ‘What have you done?’

‘Well, her band are organising another charity gig. And this time it’s in San Giacomo dell’Orio, just before Christmas and so I thought…’ My voice tailed off.

‘You thought “Nothing says Christmas quite like an outdoor concert by Toxic Disposition, Venice’s only death metal band”?’

‘Well, yes. But you remembered the name. They must have made an impression.’

‘Oh, they did. It’s not a name I’m likely to forget.’

‘Come on, it’s Christmas, it’s for a good cause, it’ll be outside in the square.’

‘So, like last time, only colder?’

I nodded.

She sighed. ‘Okay. It’s a nice thing to do. And I suppose I’ve got a few more black clothes I can dig out. Are they expecting a big turnout for this?’

‘Dunno. I imagine they’re banking on the whole “Season of Goodwill” thing dragging people along.’

‘Well, you must know a few people you can call on.’

‘I suppose so. Dario, of course. Which means Vally and Emily as well.’

‘You’re going to ask them to bring a five-year-old to a death metal concert?’

‘All part of the Magic of Christmas, isn’t it? Then there’s Father Michael.’

‘You’re going to ask a priest to a death metal concert?’

‘Okay, okay, I can see the way this is going. Sergio and Lorenzo, then? A comradely Christmas festival, it should be right up their street.’

‘Combined age of about 150?’

‘I’m going to ask them to come along in the spirit of solidarity, and make a suitably comradely gesture to help those in need. I’m not going to ask them to join us in the mosh pit.’ I checked my watch. ‘Maybe I’ll head over there now. It’s been a fortnight since they last stole money off me at scopa…’

———-

Sergio’s face turned an all-too-familiar shade of purple.

‘Did I say something wrong?’

He said nothing, but the level of purpleness continued to increase.

‘I mean,’ I continued, ‘I know the music might not be your thing , but it’s in a good cause and, hey – ‘ I made a little thumbs-up sign and gave a cheery smile – ‘it’s all the comrades together, eh?’

From the expression on his face, I could tell that the situation had not improved.

Lorenzo coughed, gently. ‘I think Sergio’s problem here might be that we’re talking about the wrong sort of comrades.’

Traditori di tutti, ‘ muttered Sergio.

‘Oh, I see. The wrong communists?’

‘Exactly. You see Nathan, the trouble is that the event in San Giacomo dell’Orio was historically organised by the Communist Party of Italy.’

‘Er, right.’

‘And we – Sergio and I, that is – are the Italian Communist Party.’

‘What, all of them?’

Lorenzo sighed. ‘That’s not so wide of the mark, sadly.’

‘And so you can’t just let bygones be bygones?’

‘Nathan, there’s a Communist bar in Castello where they built a partition wall and knocked through a separate entrance in order that members of rival parties wouldn’t have to speak to each other.’

‘Wow.’

‘We did explain this to you before, as I remember.’

‘I’m sorry. I didn’t realise I’d have to answer questions on it three years later.’ I turned to Sergio. ‘Come on, Sergio. It’s in a good cause. Even Marx celebrated Christmas.’

‘Only because Engels was a bad influence. We’re not going and that’s an end to it.’

There was silence around the table, and then Lorenzo cleared his throat. ‘What’s this we Sergio?’

Sergio looked as surprised as I felt. ‘Lorenzo?’

‘I think perhaps I might go along. Thank you for the invitation, Nathan.’

‘Lorenzo? Are you crazy?’ He took a notebook from his jacket and flicked through it. ‘We haven’t spoken to Rocco Frigo since 1992.’

‘You keep a dossier?’, I said.

’Sure I do. Hard to keep track of things otherwise. Lorenzo, we haven’t spoken to Frigo in twenty-seven years.’

Lorenzo shrugged. ‘Then perhaps it’s time we did. We’ve spent so long waiting for the New Jerusalem to arrive. I must confess, I’m starting to wonder that it might not arrive quite in time for me to see it. So, in the meantime, if somebody wants to do something that seems fundamentally harmless and nice, then I think I’d like to go along. No matter what their father may or may not have done back in 1992.’

Sergio shook his head. ‘Et tu, Lorenzo’ he muttered.

‘Come on, Sergio,’ I said. ‘This is a Christmas charity concert. It’s not the Sino-Soviet Schism. Isn’t this a bit, well, pathetic?’

Lorenzo winced.

Sergio glowered at me and I tried to backtrack. ‘Well, I say pathetic. What I mean, really, is silly. Just a bit silly. That’s all. Nothing more than that.’

‘Silly, is it? Pathetic, is it?’ He took a deep breath. ‘So that’s the way it is.’ He laid his notebook on the table, and then patted his pockets. ‘Damn. Have you got a pen?’

‘Er, yes. Just a moment.’ I took one from my jacket, and passed it to him.

‘Thanks.’ He scribbled away. ‘Nathan – sorry, how do you spell your last name?’

‘Sutherland. S-U-T-H-E-R-L-A-N-D.’

‘Mm-hmm. Difficult for us Italians. There we go.’ He held the book up with a flourish. ‘Nathan Sutherland. December 18th, 2019.’

‘I’m in the dossier? You put me in your dossier for suggesting you come to a charity concert?’ I laughed, and then wished I hadn’t.

‘Oh, that’s funny as well is it? Well, maybe this is funny, too?’ He pulled out his wallet, extracting the notes that he’d won from me at scopa only minutes ago, and thumped them onto the table. ‘I don’t want your thirty pieces of silver, Englishman.

He turned, and stormed from the bar, slamming the door behind him. Then he returned, and placed a few notes upon the bar. ‘I think it was my round,’ he said, before leaving once more.

I stared at Lorenzo. ‘What just happened there?’

The old man took off his glasses, and polished them on his sleeve. ‘Old grudges die hard with Sergio, Nathan. He’ll come round, eventually.’

‘Yeah, but when?’

‘Possibly around May.’

———-

‘No luck?’, said Fede.

I shook my head. ‘I’ve called twice this morning. The first time I just got a No. The second time he’d worked himself up to Giuda Iscariota.’

‘I’m sorry.’

‘Yeah, me too. Stupid of me to have asked him. I should have thought more about it.’

‘I don’t think you can be blamed about not knowing all the intricacies of the history of the Italian Communist Party in the 1990s, caro.’

‘Or even the Communist Party of Italy.’ I shook my head. ‘I rang Lorenzo as well. Sergio’s not been to the bar since we had the argument.’

‘Wow. Has that ever happened before?’

‘June the seventh, 2003. He had a doctor’s appointment. Lorenzo wrote it down.’

‘So what does this mean?’

‘Lorenzo’s playing a lot of solitaire, I guess.’

Fede frowned. ‘I’m being serious. How long have they been friends?’

‘I don’t know, but I imagine Sergio has records. And anyway, how about me? I’ve only known him five years, and his main presence in my life has been to steal money off me at cards every other Thursday afternoon but still I’d, well, I’d miss the old bugger.’

‘Give him time. He’ll come round.’

‘I hope so. I haven’t got so many friends in the city that I can afford to lose one just because I know the wrong type of communist.’ I sighed. ‘Christmas, eh? You try to do a good thing and someone gets the wrong end of the stick and, well, it all ends in tears.’

‘Oh dear. Are you going to get morose?’

‘Just a bit. I mean, I’ve never been in a dossier before. I’ve never been denounced before. It feels significant, somehow, and not in a good way.’

‘Okay, this is obviously more serious than I thought. Negroni time?’

‘Oh, I think so.’

‘Good. Come on, then. And don’t worry about Sergio. It’ll sort itself out.’

I nodded, but wasn’t convinced that a man who had grudges dating back over a quarter of a century was likely to change his mind any time soon.

———-

The lights twinkled down on Campo San Giacomo dell’Orio, on a crisp and clear winter’s night. A temporary bar had been set up next to the church, selling mulled wine, whilst a street vendor sold roasted chestnuts fresh from the brazier; the aroma making my stomach rumble in happy anticipation.

       I’d been expecting a modest crowd, at best, but Venice had turned out for Lucia Frigo. True, the event might not have been Gabrieli or Monteverdi under the glow of the mosaics in St Mark’s. It might not even have been Nine Lessons and Carols from St George’s English church. But it had been a tough year, and it was nearly Christmas, and people were going to have a good time. As much as she might have hated the description, they were going to celebrate together with their Mud Angel.

       Families and friends snuggled together for warmth on benches, some of them casting envious glances towards the warm lights of restaurant windows, as Toxic Disposition brought their own special brand of Christmas magic to the sestiere of Santa Croce.

      ‘Thank you, Venice. Buona Notte, Buon Natale.’ Lucia held her guitar above her head, and smiled down at us.

We applauded as hard as we could, but I doubted the band could hear us if the ringing in their ears was anything like mine.

‘So what do you think?’, said Fede.

I looked at my watch. ‘About half past nine,’ I said.

She shook her head. ‘I’ll go to the bar while I’m waiting for my senses to return to normal. ‘Vin brulè ?’

‘I think so. What’s the alternative?’

‘Hot Aperol spritzes. That seems to be a thing now.’

I shuddered. ‘Vin brulè, then. Definitely vin brulè.’

The band, if truth be told, in hadn’t been all that bad. Viewed through slightly boozy, pre-Christmas lenses they had actually verged on quite fun and if Venice hadn’t known that what it really needed was a thrash metal version of I wish it could be Christmas every day, well, it certainly knew now.

Fede returned with a brace of drinks and pressed one into my hand; and I sighed happily as I felt the warmth spreading through my fingers.

 ‘Dario and Rocco seem to be getting on well,’ she said.

‘They are. He may be the wrong type of communist, but he certainly knows a lot about progressive rock. The last time I passed by, they were discussing whether the last great Genesis album really was The Lamb Lies Down on Broadway or if you could make a case for Wind and Wuthering.’

‘How were they managing to do that?’

‘Via mime, for the most part.’

Lorenzo came and sat down, a little unsteadily. ‘You know,’ he said, ‘some of this has got quite a good beat.’

‘You’re having a good time, Lorenzo?’

‘I am. At least, I think I am.’

I cleared my throat. ‘Any news from you-know-who?’

Lorenzo’s face clouded. ‘Sergio? Not a word. Between you and me, Nathan, I think he’s becoming decidedly grumpy in middle-age.’

A cough came from behind me. ‘Are you taking my name in vain, Lorenzo?’

I turned around. ‘Sergio?’

He nodded. ‘Just don’t say anything, all right?’

 ‘Look, about the other day, I just want to say – ‘

He shook his head. ‘Not now.’ He made his way over to where Rocco was sitting with Dario.

He held out an awkward hand, and Rocco, a little uncertainly at first, got to his feet. Then the two men shook hands, albeit briefly, and Rocco sat back down again. Sergio nodded, as if his work was done, and gave him a half pat on the back.

‘What just happened there?’, said Dario.

‘I think Father Michael might just call it a little Christmas miracle,’ I said.

‘Like that time at Live 8. You know, when Roger Waters and David Gilmour hugged each other?’

I winced. ‘Yeah, and look how that worked out.’ I looked over at Sergio. ‘So, erm, what happened?’

He sighed. ‘I had this strange dream, Sutherland. The ghost of Antonio Gramsci himself stood at the end of my bed and showed me my own past, present and future. And I decided, well, perhaps I had time to change.’

‘Wow. Really?’

‘Don’t be stupid, of course not.’ He sighed again. ‘I just thought maybe I’m not so young any more and I don’t have so many friends I can afford to lose the ones I have. And also, well, your wife phoned me and told me not to be pathetic.’

I looked over to where Fede was pretending to be looking at something on the other side of the square. ‘Hang on, I told you not to be pathetic and you put me in the dossier!’

‘I know. But she also said she’d kick my arse if I didn’t turn up this evening. It’s kind of the difference between the British and the Italians.’

‘Ah. I see.’

‘Anyway. I’m glad she did, you know?’

‘Uh-huh.’

‘There was quite a lot of talk about something called Tough Love. Whatever that is. And she also said it was a Christmas present. You’re a lucky man. I hope you know that.’

‘I know. I know. Smiling and saying yes has got me through much of married life. It’s why my arse remains unkicked for the most part.’

Sergio turned back to Rocco. ‘It’s quite good to be here.’

Rocco smiled. ‘It’s quite good to see you too, Sergio.’

‘But that band is really terrible you know?’

Rocco looked first left and then right and then mouthed the words I know once he’d assured himself that Lucia was nowhere to be seen.

‘That time in 1992. When I called you a Capitalist Running Dog. I – well – I’m sorry.’

‘Thanks. I’m sorry I called you a Useful Idiot.’

‘Are we good then?’

‘I think we are.’

Sergio turned to me and cleared his throat. ‘I was thinking about the other day. And, well, I don’t really do Christmas presents. Fact is, I don’t really do Christmas. Never been very good at being told to have a good time, I suppose. Anyway, I got you something.’

He passed me a small parcel, wrapped in the awkward way that only the single male can manage.

‘Sergio. I don’t know what to say.’

I made to put it away, but he shook his head. ‘No, I think you should open it now.

‘Sure.’ I slid my finger under the paper, and tore it open.

It was his notebook.

‘I was thinking,’ he said, ‘that perhaps I don’t need this any more.’

‘Wow.’

I got to my feet but he waved a finger at me. ‘That still doesn’t mean I do the hugging thing, Sutherland.

‘No. Of course not. I’m sorry Sergio, I haven’t got you anything.’

He shook his head. ‘You don’t need to.’ Then he grinned. ‘But you can at least give me those thirty euros you owe me from scopa.’

The End

Wishing everyone a very Merry Christmas and a peaceful New Year.

And for those who are interested, A Shocking Red December is a literal translation of the Italian title of Nicolas Roeg’s Don’t Look Now.

Season’s Greetings

Hi everyone,

Well, I’ve been away from the blog for quite some time now. Those of you who follow me on the socials will know why, but I’ll get to that in good time. Anyway, my apologies, and I’ll try to keep things a bit more up to date in the New Year.

So here’s a quick roundup of 2023. The Venetian Candidate came out to very gratifying reviews all round, including a glowing piece in The Critic, and Val McDermid herself supplied a quote for the cover (yes, still having to pinch myself over that one!). I did a lot of stock signings around publication date but, I have to admit, things were very London-centric this time. I hope to get a bit further abroad next time around

It was a busy year on the festival front – Crime Cymru, Iceland Noir, Newcastle Noir and the mini-event organised in Venice by Gregory Dowling, Tom Benjamin, David Hewson and myself. Next year, I have the great honour to be Chair of  Gŵyl Crime Cymru Festival 2024, which will be held online on 17/18/19 and 22/23/24 April. Further information to follow in the New Year, or why not sign up for direct updates via https://gwylcrimecymrufestival.co.uk ?

Next year’s Nathan novel – The Venetian Sanctuary – has been delivered to my editor with a scheduled UK hardback publication date of July 4th 2024. Hopefully, we’ll have a cover reveal early in the New Year. And on April 4th, the paperback of The Venetian Candidate will be hitting the shelves in the UK.

Now, 2024 is going to be just a little bit different for me on the writing front. Round about now, I’d expect to be settling down to work on another Nathan novel for 2025. But, after eight adventures, I think Nathan has earned a year off.

First of all, don’t panic! I am not abandoning the Venice series. I owe them far too much for that, and time spent in the company of Nathan, Fede, Dario and, yes, even Gramsci is time well spent. But I’ve had an idea for a Sicilian-based series for a couple of years now, and so the first novel in that series will be the big event for 2025. It will, I think, allow me to stretch my writing muscles and – crucially – I think it’ll help to keep the Venetian series fresh.

This means that in 2025, there will be a paperback of The Venetian Sanctuary and the first hardback in the Sicilian series (title not quite fixed yet). In 2026, there’ll be a paperback of the Sicilian novel, and a new Nathan hardback. And that’s the way things will progress over the next couple of years.

As I said, I’m not abandoning Nathan. But I’m very excited about the new series (and, yes, just a little bit nervous as well) and I think that if you enjoy the Venice books you’ll enjoy the Sicilian ones as well. I guess we’ll find out if I’m right in 2025!

Finally, and seriously, 2023 was indelibly marked for me by the death of my father, an event as unexpected as it was peaceful. I am truly grateful for all the messages of support I received. I’m sorry that I couldn’t reply to them all personally, it simply wasn’t possible, but each and every one of them helped more than you can imagine. Thank you all.

This isn’t quite it for this year. Keep an eye on your inboxes over the next few days. You might well see some seasonal goodies dropping in…but, in the meantime, I hope that your Christmas and New Year are all that they can be.

October Event : Four Crime Writers in Venice

Hi everyone,

Some of you might remember that Gregory Dowling, David Hewson and myself held an event and a signing at the Studium Bookshop in Venice last year.

Well, the good news is that we’re doing another one at 6pm on October 19th. More than that, we have moved on from being a Power Trio and are now a Fab Four as we’re being joined by Tom Benjamin, author of the Bologna-set Daniel Leicester novels!

Now, those of you who were there might also remember that space was *very* limited last year, so much so that it was pretty much standing room only and, unfortunately, not everybody was able to get in. So this year it would be really helpful if you could register your interest in advance – the earlier the better – and then, if necessary, we can move to a bigger space.

Studium’s website can be found here and they can be emailed at studium@themerchantofvenice.it

We had a great time last year, and hope to see lots of you there!

Cheers

Philip

To Aber and Back

It’s Gwyl Crime Cymru Festival 2023. It’s also 3pm on a Friday, and we’ve just checked into our hotel in Aberystwyth. Time, I think, for a leisurely lunch and possibly a swift pint before I clock on for ticket-checking duties at 5.00. There’s a nice Moroccan restaurant in the vicinity and I’m mentally running through which variety of kebab I’ll be making acquaintance with this afternoon and then…and then…my phone plings and it’s the GCCF WhatsApp group. Can I come round to the Green Room at Ceredigion Museum AS SOON AS POSSIBLE because there are 70 goodie bags for panellists that need filling with, well, random goodies RIGHT NOW.

After that, I’m straight into minding the shop at the museum as panellists arrive. Followed by the Dragon Parade along the front. In my Dragon Hat. Keep your dignity, Jonesy. As long as you keep your dignity, it’ll be all right. Well, that worked well, didn’t it?



Then we’re into the Gala Quiz Night, co-hosting with Bev Jones resplendent in deerstalker and me slightly less resplendent in the aforementioned dragon hat. The table with my wife, my agent and old friend James Oswald wins the main prize. This is, of course, a coincidence. I am aware that I haven’t eaten since breakfast, but improvise a splendid dinner from glasses of red wine and mini sausage rolls.

This sets the tone for the entire weekend. You might think that all of us on the organising committee would be passing the time in between panels drinking Martinis and lighting cigars with £50 notes. But in reality it’s a blur of running from event to event, from the museum to the library to back again and – am I checking tickets- am I the microphone guy- am I doing the three-minute “Close Up” reading – or, hang on, a I actually taking part in this panel myself? Tiredness is kicking in by now, and I almost refuse Cathy Ace admittance *to her own panel* and yet it’s only 9.00 on Saturday morning…

And then it’s Sunday afternoon, and it’s all done and, well, we did it. Wales has its own crime festival now, and it is, frankly, a bloody brilliant one! We pulled off a book festival of international standard in the space of about 16 weeks. And now, all I want to do is get home and start writing again. Actually, no, that’s wrong…what I want to do is sleep for about a week and then start writing again.

I met up with some old friends and made lots of new ones. I also learned some important lessons, perhaps the most important being *never go out drinking with Trevor Wood*. 2024 will be online, and that’ll be great as well, but – I tell you what – I cannot wait for 2025 when we’ll be live and back in Aber again!

I hope to see lots of you there!

24 Hours in Naples

Diego Armando Maradona is everywhere in Naples. To be fair, he always has been, ever since unfashionable Serie A strugglers Napoli snapped up the 24 year old wunderkind in 1984. He led them to two league titles, the Coppa Italia and Supercoppa, and the UEFA cup over the course of the following five seasons. To say that he is revered would be an understatement. His image, the replica shirts, the eponymous pizzas, the fridge magnets are everywhere. Diego is Napoli’s patron saint, the urchin from the wrong side of the tracks who dragged a club from the despised and derided south of the country to glory, and they will never forget him.

But, if possible, he seems more ubiquitous than ever this year. The reason is this : Napoli are on the verge of winning the Scudetto for the first time in 33 years. With twelve games remaining, they lead Serie A by a surely insurmountable 18 points. Banners and flags are already out, proclaiming them as Serie A champions with a third of the season yet remaining.

Tempting fate? Perhaps. But no other club in Serie A has Diego Maradona smiling down upon them…

But we’re not in Naples for Diego, inescapable as he may be. We’ve come for the Artemisia Gentileschi exhibition at the Gallerie d’Italia.

We took the high-speed Frecciarossa service from Venice. By booking ahead, we found Premium (somewhere between standard class and business class) tickets for 37 euros each way. And this is an absolute bargain. You get comfy seats with plenty of legroom, as well as complimentary coffee/biscuits/prosecco. It takes about five and a half hours, they apologise for being six minutes late and, really, it’s the only way to travel.

We stayed at the hotel Il Convento on Via Speranzella – good value, very nice breakfast, absolutely lovely staff. Would definitely stay there again. We head out for Negronis, and then off to the pizzeria La Speranzella for those wonderful Neapolitan-style pizzas with charred, pillowy crusts. Mine comes with an intensely rich tomato base, a layer of ricotta and – as a little bonus – half a meatball in the centre. It’s tremendous, but I regret having eaten so many snacks with my Negroni. The waiter discovers Caroline is a new Italian, and shakes her hand. Then we head back to the hotel, stopping to make a reservation for lunch at Antica Capri, for which they reward us with a glass of limoncello.

The following morning is grey and drizzly, but the Gallerie d’Italia is just five minutes walk away. Caravaggio’s final painting, The Martyrdom of St Ursula is upstairs in the private collection but, for once, mad old Michelangelo Merisi is not the main attraction. Today is all about Artemisia. It’s all about looking beyond the appalling events of her early life and that famous image of Judith beheading Holofernes (of which we see two other variations on the theme). It’s about Saint Catherine, Bathsheba and Susanna – inevitably surrounded by sleazy, leery men – and other great female figures of the Old Testament – and reminding us that, quite simply, she was a genuinely great artist. Feminist icon – that’s not for me to say – but the art is what remains. It’s what makes her great. It’s why, four hundred years after being the victim of some truly despicable people, she was ultimately the victor.

I’d say this is unmissable but, given it finishes on March 19th, the odds are you already have. And I’m sorry for that. It’s a wonderful exhibition.

There’s time for lunch, of course, at Antica Capri. Caroline has an amazing-looking stew of pasta e fagioli with seafood, under a crispy, charred pizza crust. I have a huge pile of crispy fried anchovies, with a bowl of chips on the side (I didn’t need them. I ate them anyway) and crusty bread. A bottle of Falanghina brings the total up to about 40 euros, and it’s terrific value. And then it’s time to head back to the station for the long, but blissfully comfortable, journey home. Napoli, the bookies predict, will probably officially win the scudetto in the first week of May. Diego will be looking down. I hope Artemisia will be too. There will be no better place in Italy to be…

Gŵyl Crime Cymru Festival 2023


Well, here’s an appropriate post for St David’s Day, as I rattle through what’s been going on over the past few months…

February saw the releases of the paperback of “Angels of Venice” and “Das Venezianische Grab” (“The Venetian Grave”, better known as “Venetian Gothic” – Birgit, my translator, tells me the original title wouldn’t translate very well).

And, indeed, March sees a cracking offer on the eBook of “Venetian Gothic”, available as a Kindle monthly deal for just 99p (only in the UK as far as I know…sorry, I really don’t have any control over these things.)

What else? Well, the next big event will be the hardback of “The Venetian Candidate” in July (and for those of you in Estonia, there should be an edition of “Vengeance in Venice” at some point). There are a few plans for events later in the year, but I’ll stay quiet on those for now.

However, the BIG news is that tickets are now available for this year’s live Gwyl Crime Cymru Festival in Aberystwyth. A lot of people have worked extraordinarily hard to make this happen, and I’m very proud to be involved. The programme is up, and the line-up of writers is exceptional.

I’m in conversation with Belinda Bauer and Louise Mumford on the Saturday morning, and then in the evening with Clare Mackintosh and Katherine Stansfield. But the whole weekend is going to be fantastic – hopefully I’ll see you there!

https://gwylcrimecymrufestival.co.uk/pif/

Oh, and somewhere along the way I even found time to do some writing, for next year’s Nathan Sutherland book.

What I’ve been reading

John Culshaw, Ring Resounding. A brilliantly entertaining account of recording the first complete studio recording of Wagner’s Ring with Georg Solti. Now, this isn’t a universally-loved recording (for what it’s worth, I’d say that it might have been overrated at the time but that’s no reason to underrate it now) but this is a wonderful book, full of stories about that extraordinary cast of singers and musicians.

Siegfried Kracauer, From Caligari to Hitler. An account of the history of German cinema up to WWII. Extremely informative and well-researched (if, admittedly, a little dry), this is one of the pivotal texts on early German cinema. Extraordinary to think it was written as long ago as 1946.

Shirley Jackson, We have always lived in the castle. How have I not read this before? This is fantastic! And if we ever get another cat to keep Mimi company, I think we’d have to call her Merricat…

What I’ve been watching

I like having Big Projects on the go. Back in 2020, musically, it was a complete re-listen of all the Bach cantatas. Last year it was an A-Z of Italian Progressive Rock. And this year I’m attempting to watch every film directed by Fritz Lang. Well, the Project failed at its first hurdle, as the first two silents are lost. Nevertheless, I’ve almost reached Metropolis having enjoyed some of the early minor works, and then the early masterpieces such as Destiny, Dr Mabuse, and the majestic Die Nibelungen. I’ve said it before, I’ll say it again – no director has a better decade than Lang in the 1920s. I’ll be a little sad when we leave the silent era behind, even though I know there’s a lot of good stuff coming up in the Hollywood period.

What I’ve been listening to…

A Steely Dan relisten, from Can’t buy a thrill to Gaucho. Every time I listen to the Dan, I think I should listen to them a little more.

Quite a lot of Wagner, in particular Eugen Jochum’s recording of Die Meistersinger von Nürnberg and his 1954 Lohengrin. Both exceptional.

And a recent discovery has been the film music of Gottfried Huppertz, and, in particular, his magnificent scores for Lang’s Nibelungen and Metropolis.

And I think that might be all for now. Hopefully I’ll be posting again early April with more news and the usual ramblings. In the meantime, cheers to all!

2023

Happy New Year, everyone!

Well, 2022 was a pretty good year all things being considered. The Angels of Venice was warmly received and – despite rail strikes and a truly insane heatwave – I managed to do a few events in the UK to promote it and met up with a few mates along the way. Less positively, I also managed to give James Oswald Covid (he was, typically, ever so nice about it).

Elsewhere, I was lucky enough to be a guest at the wonderful Headread festival in Tallinn, just in time for the Estonian release of The Venetian Game. Lovely city, lovely country and we met some great people as well.

David Hewson, Gregory Dowling and myself held a well-received event at the Studium bookshop in Venice and hopefully we’ll look at doing something similar again this year. And, on a personal level, I celebrated turning 56 by visiting the Dario Argento retrospective in Turin. Caroline, bless her, was ever so patient with me…

Anyway, this is just a quick post to keep you all up to date with what’s happening in Nathan-world over the following months.

February is a busy month, as that sees the release of Das Venezianische Grab (the German edition of Venetian Gothic translated, as ever, by the wonderful Birgit Salzman, and the UK paperback of The Angels of Venice.

July 13th sees the release of this year’s Nathan adventure, The Venetian Candidate which is now available for pre-order (and did I ever tell you how much authors love pre-orders?) The paperback edition will follow in February 2024.

At some point there’ll also be an Estonian edition of Vengeance in Venice – more information on that as I get it.

Event-wise, there’ll be the Gwyl Crime Cymru Festival in Aberystwyth, from 21st-23rd April. There will be more, much more, information on this to come – but suffice to say that a lot of very talented people have worked extremely hard to make this happen, and it is going to be epic.

I hope, as last year, to be doing a few signings/events around the UK when Candidate comes out. Again, more info as I get it. But hopefully I won’t get Covid this time..

The big news, however, is that I’ve been delighted to sign another contract with my publisher, which will see the Nathan series running at one book a year until 2026. I find still find that hard to believe. It doesn’t feel like six years since the release of The Venetian Game and now, suddenly, we’re talking about a ten-book series (and hopefully beyond). As I’ve said before – this is all down to you.

With my thanks, as ever, for all your support; and wishing you a very happy 2023!

Listening with Nathan : Terra in Bocca

On the face of it, there was little that was particularly special about I Giganti. Formed in 1964, they were another Italian beat group amongst many, albeit one that once supported the Beatles, and their early work is pleasant and poppy but with nothing particularly special about it. There certainly wasn’t anything to suggest that they’d one day make one of the pivotal albums in the canon of Rock Progressivo Italiano, 1971’s Terra in Bocca (a title that might be translated as ‘Soil in the mouth’).

It’s a genuine concept album, broken up into movements but with no break in the music. In the Sicily of the 1930s a young man, sickened by the corruption in his village that sees the supply of water being abused and controlled by two shadowy figures, takes matters into his own hands and decides to dig his own well. He will, he says, give any supply he discovers to the villagers for free. As a result of which, he is murdered. His father swears vengeance, and shoots the assassin in the face at a crossroads. So far, so operatic but it’s so, so much more than that. It might seem like a perfect short story, but the tragedy of it all is that it isn’t : the supply of water in Sicily has often controlled by the Mafia and the provision of fresh water to villages has frequently been interrupted so that organised criminals can maintain a monopoly on the supply.

It’s a hugely ambitious, angry and passionate piece of work. If you come at it from a strictly prog rock point of view you may be disappointed – there are no long virtuoso instrumental passages to be found. Mellotron and flute add a little texture but, really, this is an album that lives and dies on the vocals and the lyrics. The vocals are raw and impassioned, whilst the lyrics are rich, complex and a brilliant insight into both the Italy of the past and the country about to descend into the nightmare of the murder of Aldo Moro and the “Years of Lead”. Quite simply, if Leonardo Sciascia had made a Prog album, this would have been it.

Terra in Bocca had a troubled history. The “M” word is never mentioned, but everybody knew what it was all about and, as a result, it was never played on RAI. The group dissolved shortly afterwards. There were various reunions over the years, but they never achieved the same heights again. Bass player and vocalist Sergio Martino died in 2006. And then, when it might seem as if the band and the album might be seen as nothing more than an interesting footnote in Italian prog history, they won the 2011 Premio Paolo Borsellino , in memory of the great anti-Mafia magistrate. The three surviving members of the band played an acoustic version of the album at the awards ceremony. 40 years on, Terra in Bocca had finally achieved the recognition it had always deserved.

Unlike albums by Le Orme or PFM there is, as far as I know, no English language version of this; although the lyrics can be found in translation on the web. I would urge you to listen to it. It’s a highlight of Italian Prog, to be sure, but it’s more than that : it’s a profoundly courageous piece of art.

Searching for Howard

 “The twentieth century horror story’s dark and baroque prince” – Stephen King

I first read HP Lovecraft by accident. I think it must have been in the early 1980s, and mum and dad – knowing I was into this sort of thing – bought me an anthology of horror tales for my birthday. Or was it Christmas? The expected writers were present – Poe, Stoker, Bradbury, Dahl – along with a number that were completely unfamiliar to me. It was one of those books made for dipping into, rather than reading cover to cover, and I imagine I’d have first picked out those stories by writers I’d actually heard of; and so it was some time before I came across The Hound.
The story itself follows a familiar enough path : two grave-robbers steal a jade amulet from a crumbling cemetery in Holland and are pursued to their deaths by, well, something (we never do find out quite what it is). So far, so conventional. And yet there was something so compelling about it, something about that gorgeously overwrought, baroque prose that drew me in; as well as hints of a back story of which I knew nothing. Who on earth was Abdul Alhazred? Did the Necronomicon actually exist?
The Hound isn’t a particularly highly regarded work in the Lovecraftian canon. The author himself considered it “a piece of junk”. And, looking back at it now, I can see that, yes, it’s never knowingly underwritten. I don’t care. I love it for the splendid Gothic romp that it is and still recall the thrill of reading it for the first time.
H P Lovecraft, I thought, flicking back to the opening page to double-check the author’s name. I wonder if he’s written anything else? Well, he had but might as well not have done given that little of his work was in print in the UK at that time.
Let’s move on a few years. I’m in my late teens, just about to leave for university, and my best friends and I have become obsessed with a role-playing game called Call of Cthulhu. The strange thing is, we’ve become obsessed with a game set in the worlds of H P Lovecraft without actually having read much Lovecraft. Beyond The Hound the only thing I’ve managed to find in print is his lengthy essay Supernatural Horror in Literature, which gives me a fine list of authors to check out if only they were in print too. Fortunately, Tenby library comes to the rescue as they have hardback collections of some of the key works. We borrow them on rotation all that summer. I think we actually photocopied the whole of The Call of Cthulhu as well. If the role-playing game took its name from the story, we reasoned, we should probably try and be familiar with it.
And now it’s 2022, and the writer who, effectively, never made it beyond the pulp magazines in his lifetime is now published by Penguin Classics. The complete works are on my Kindle, and two handsome Italian hardbacks are on my shelves. We may dream that one day Guillermo del Toro will be able to film At the Mountains of Madness but, in the meantime, we can console ourselves with a Cthulhu cuddly toy and a pint of Lovecraft Unnamable Black Lager. In other words, Lovecraft is mainstream. Which means he isn’t ours anymore. Whisper it (in darkness, of course) but he’s actually considered to be a proper writer.
It’s safe to say that his work isn’t of uniform quality. Much of it, yes, is overwritten and the criticism that he never met an adjective he didn’t like isn’t entirely undeserved. And yet the man who gave us hack-work such as Herbert West : Reanimator also gave us works of genuine, cosmic power such as The Colour out of Space and The Case of Charles Dexter Ward; as well as charming minor pieces such as The Cats of Ulthar.
I knew a reasonable amount about HPL as a man from those volumes of the Collected Letters still in print, as well as Frank Belknap Long’s Dreamer on the Nightside and Sonia Lovecraft’s memoir The Private Life of HP Lovecraft. Nevertheless, a few months ago, I decided it was time to attempt that Everest of Lovecraft scholarship, S T Joshi’s I am Providence, a two-volume expansion of his original H P Lovecraft : a Life, that restores 150,000 words cut from the original. Yes, you read that correctly. 150,000 words.
It’s doubtful if any person living knows as much about Lovecraft as Joshi, and very few – if any – have been as responsible for his critical rehabilitation. He’s a man of immense erudition, yet not one to suffer fools gladly (by “fools”, I mean “the rest of the world”) and also a man possessed of, shall we say, Strong Opinions. So I shall tread lightly…
It’s a story of a life lived out in letters, of friendships forged with people he would never meet face-to-face, and it’s chronicled in minute detail. Truly, there is no aspect of his life that goes unturned here. Elsewhere, Joshi’s analysis of the stories themselves is typically incisive, and occasionally provocative. His analysis of Lovecraft’s reputation in the years following his death is spot-on. And, to his credit, he doesn’t attempt to shy away from Lovecraft’s racism.
However, it has to be said that many of those 150,000 words were originally cut for a reason. You’ll learn more about the small press scene in 1920s New England than you really need to know. You can join in with Joshi in hypothesising about the precise identity of the violin sonata that Lovecraft performed in front of an audience in 1899. And you’ll come to understand exactly why “Cooking with Howard Phillips Lovecraft” was never going to be a best-seller.
A cautious recommend from me, then. If you’re a Lovecraft buff you need to read this (or, more likely, you have already). The casual reader might find the sheer weight of detail a little intimidating. But as a chronicle of a life extraordinary in its ordinariness it’s likely to remain the definitive work for some time to come. I think the “old gentleman from Providence” would have approved.