Anne here, and today I'm interviewing Sulari Gentill, an Australian writer who writes excellent historical crime novels, set in the 1930's, with absolutely gorgeous covers, similar to travel posters of the times.
Some of you might remember that I recommended Sulari's books back in April. Now she and a small group of other Australian crime writers are about to tour the USA and I thought I'd ask Sulari a few questions about her series.
Anne: Sulari, where did the original inspiration for a crime series set in the 1930's come from?
Sulari: Writing can be quite an isolating obsession. I spend a great deal of time in my own head, and while that’s fine for me, it is awkward for those who live with me… or rather, live with my body while my mind is wandering. For me, great part of the challenge in being a writer is making my imaginary world work with the real world in which I actually live. And so I made a pragmatic decision to build a bridge towards the poor man who had married a lawyer and then found himself financially and otherwise tied to someone who refused to do much else but write.
I looked for a story to which my husband could relate, so that I could bring him into my head… and perhaps not have to come out so often, myself. Michael’s particular area of expertise is in the extreme right-wing movements of the early 1930s in Australia and the world, and so, conveniently, it is this context in which the Rowland Sinclair Series is set.
By basing my books in this period, I rather cleverly ensured Michael would keep editing my novels—he cares far too much about the genuine history of the time to let me play with it unsupervised! I also procured for myself an invaluable source of information. It is one thing to read about a time, and another to have the opportunity to discuss it with someone who is an expert in the era. For me, a dialogue with an historian affords a richer understanding and fuels the kind of creative excitement that is fundamental to bringing history to life.
Anne: I really enjoy Rowly and his friends, and also the contrast with his upper crust family. Tell us about Rowly.
Sulari: Rowland Sinclair first introduced himself when I started poking about in the 1930s. I’m not really sure where exactly he came from—he just seemed to step out from between the pages of history. He is a young man born of the rural establishment, and raised in conservative privilege, but who naturally gravitates to the left wing Bohemian set of Sydney. Rowland opens the family mansion to the all manner of destitute artists, poets and writers, three of whom become his constant and loyal companions. At the beginning of the series, Rowland has no interest in politics—he just wants to paint—but as the 30s progress, and the clouds of war gather over Europe he finds, he too, is called upon to make a stand.
Anne: The first book in the series is set almost entirely in and around Sydney, and the political divide, one aspect of which resulted in the infamous de Groot incident. De Groot was a right-wing military man who disrupted the grand opening of the Sydney Harbour Bridge by galloping through the crowds on his horse and slashing the ceremonial ribbon with his sword — all to prevent the Labor Party State Premier from opening it, as planned. There's a video here of his infamous action.
Are all the books set in Australia?
Sulari: No—not at all. In fact, they first book closes with Rowland and his friends boarding a ship to leave Australia. To date different books of The Rowland Sinclair Mysteries have been set in Nazi Germany, London, New York, Shanghai and Boston. One of the challenges in writing an international series like The Rowland Sinclair Mysteries is that in the 30s travel was painstakingly slow, and Australia is a long way from just about everywhere. I have to allow weeks in my timelines for Rowland to cross the seas!
Anne: The books are fiction, but well grounded in history. What kind of research do you do for the books?
Sulari: I suppose my primary research technique was to marry an historian… though, to be honest, I was a lawyer when I married Michael and had no idea he would prove to be so useful!
Aside from that, the only “method” I follow is to research as I write, rather than in a block before I begin. That way I avoid “writing my research” and also ensure my research is targeted. Of course, I’m still not immune to going down the occasional rabbit hole, only to emerge with a detailed but largely useless knowledge of subjects like “plumbing in the 1930s” or “cooking with liver” or “the history of men’s undergarments”…
Anne: Such absorbing subjects. LOL. I particularly enjoy the historical "bon-bons" you include in every book, where a real, usually well-known historical figure appears in passing. And for those who don't recognize them, there are notes at the end of each book. Are they fun to find?
Sulari: They are a delight to find! Generally speaking wherever there appears in space in the narrative for a peripheral character of some sort, I will try to fill that role with a real historical figure. I think it gives both the figure and story context. And I shamelessly use Rowly to meet the people of that era who I find interesting, to shine light on figures who seem to have been forgotten by popular history.
Anne: And of course, his coming from such a privileged background helps enormously with making those contacts. Can you give us a little taste of Roly?
Sulari: From A Prodigal Son the prequel novella which was written as gift for fans who were a little irate when the publication of Book 7 was delayed The full text of A Prodigal Son may be downloaded for free at http://www.rowlandsinclairnovella.com (Anne adds that you can also click on any of the titles or covers and read the opening of each book on amazon.)
Rowland Sinclair stood at the bay window, staring out at the precise, manicured gardens of Woodlands House. Not that he could see much of note in the darkness. But he knew well what was there. The gardens had not changed in his lifetime, any new or spontaneous growth clipped back into straight lines and obedient shapes. The house, too, was unaltered. After eight years abroad, Rowland had returned to find the Sydney residence of the Sinclairs exactly as it had been when he was shipped off to school in England. Grand, elegant, unyielding—a grim gothic artefact that seemed to glower at the optimism and celebration of the 20s. Rowland hated this house.
The portrait hanging above the mantle reflected its surrounds, a sombre depiction of a man in the prime of his power, if not his life. An almost colourless image but for the dark blue eyes that marked all the Sinclair men. As Henry Sinclair’s likeness glared down at his youngest son, Rowland felt an old defiance rising. The painting was too true to life. He turned away, shaking his head slowly. It had been eight years since his father had died and yet, Woodlands remained Henry Sinclair’s house.
Not for the first time, Rowland wondered what he was doing here.
Anne: You're traveling to the USA in a few weeks. What are you looking forward to?(Below is Sulari's tour schedule.)
Sulari: In late October and early November this year, I will be touring America with three fellow Australian writers (Jock Serong, Robert Gott and Emma Viskic). It sounds like the beginning of a joke—Four writers walk into the US… We’ll be visiting New York, Dallas, Phoenix, Santa Cruz and San Francisco and I am looking forward to everything – meeting Americans, talking to readers and writers, writing in a New York coffee shops, driving across the desert, appearing at Bouchercon and in bookshops along the West Coast, meeting my US publishers, crossing the Golden Gate Bridge, and even just travelling with colleagues. We’ve been thinking about little else for months and have tried to anticipate everything. Of course, inevitably, something will go awry, and I am even looking forward to that… because when things don’t go to plan, stories begin.
Anne: They sure do. All the very best for your US tour, Sulari, and thanks so much for joining us here on Word Wenches.
Sulari will be giving away a book to someone who leaves a comment, or identifies this person who appears in one of Sulari's books as a historical walk-on "bon-bon" character. While in New York, on the way back from Europe, Rowly's friend, the sculptress Edna, goes dancing with a young Englishman, Archie Leach, who is hoping to break into the US acting world.