“Any writer who lives in England for any length of time will sooner or later find herself writing a historical novel.” Zadie Smith reflects on writing her latest book, “The Fraud”—and encountering Charles Dickens at every turn.
” has very little to do with real Tudor syntax: it is Mantellian through and through. All three bring news. Not all historical fiction cosplays its era, and an exploration of the past need not be a slavish imitation of it. You can come at the past from an interrogative angle, or a sly remove, and some historical fiction will radically transform your perspective not just on the past but on the present.
The plight of the Tichborne Claimant, as he came to be known, was a cause célèbre of its day, not least because the Claimant’s star witness and stoutest defender turned out to be a Jamaican ex-slave called Andrew Bogle, who had worked for the Tichbornes and insisted that he recognized Sir Roger.
This extraordinary story struck me like a found art object: perfect for my purposes. One of those gifts from the universe a writer gets once in a lifetime. But it was eight years before I finally sat down at my desk to unwrap it. In the meantime, I did everything I could to avoid writing my historical novel. I stayed in America, far from British libraries and court transcripts. We had another child. I wrote four more books.
I could be minding my own business reading about, say, an uprising in Jamaica, and suddenly there he was again, signing a petition on the matter. I’d be reading about a long-dead, long-forgotten writer, William Harrison Ainsworth—a resident of my neighborhood—and there Dickens would be, befriending him.
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