Antony Thomas was making documentary films at a time in film and TV when leading producers and executives were backed by their organizations, could stand by their principles and get films made. Three very different commissioners – Charles Denton, Sheila Nevins and Tony Essex – gave him a free rein to make defining, bold films. They were not dominated by the obsession with ratings and chasing “subscriber loyalty”, or hampered by lawyers making risk-averse decisions to protect the brand, as is the case for factual entertainment today.
T. J. Gorton’s debut novel Only the Dead: A Levantine Tragedy (Quartet Books) has been shortlisted for the Author’s Club First Novel Award. The winner will be announced tomorrow, Sunday 17th May, at the Authors’ Club LitFest Online 2020.
The narrative moves back and forth between civil war in Beirut and the Levant of 1915-18, as Vartan Nakashian, an Armenian from Aleppo, looks back over his tumultuous life, involving espionage, betrayal and revenge at a time of war and genocide. Here is an extract to give you a taste of the author’s style and voice. You can buy a copy of the novel HERE
“Dust motes danced in the sunbeams. Leaning back, he watched their senseless, ceaseless movement and for some reason thought again of old Bustros, the patriarch of a great Greek Orthodox tribe. He would be amazed to see his house today, nearly two hundred years after he built it; surrounded by roads and overlooked by an office block, its gar- dens bulldozed for another road that never happened, was never intended to happen. Turned into a no-man’s land where the militias dump bodies, sometimes burning them. Another reason to keep the windows shut, the oily smoke reeking of gasoline and barbecue. As though anyone cared to identify yesterday’s victims. It’s tomorrow’s they’re worried about. Continue reading Extract | Only the Dead: A Levantine Tragedy, T. J. Gorton
TJ Gorton lives between London and SW France, when not locked down. He had a brief academic career teaching Arabic at St Andrews, before being lured into an unloved career working for oil companies, mostly in the Middle East. Since retiring, he has published seven books, from translations of Classical Arabic Poetry, to anthologies of travel writing about Lebanon, Beirut, and Jerusalem. His biography of a 17th-century Druze prince Renaissance Emir: A Druze Warlord at the Court of the Medici by Ted Gorton and debut novel, Only the Dead: A Levantine Tragedy, shortlsited for the Best First Novel Aard, are both published by Quartet Books. Author website. @tedgorton1
Where did you grow up, and what sorts of books were in your family home?
I was born in Texas to a military family, beginning an itinerant life which went on to include spells in Turkey, Japan, Argentina, Turkey again, Beirut, Paris, Oklahoma, and Oxford. Growing up, there were not a lot of books around, though my mother subscribed to the Reader’s Digest so I would read that and anything else I could scrounge.
What books had the greatest impact on you?
One seminal one (early teens) was The Wisdom of the West by Bertrand Russell, who explained the mysteries of Greek philosophy in brilliant graphics and exquisitely clear prose; I still rummage through it from time to time. But the one book that blew my mind at about age 18 was Joyce’s Ulysses. Coupled with a superb English teacher, it opened my mind to the infinite possibilities of literature for remaking the world. Continue reading Interview | T. J. Gorton, author
The extreme good looks and elegance of the Royal Family bestow a festive air on the good works which they promote. Princess Ashraf, the Shah’s twin sister, is passionately involved in the question of women’s emancipation which is still a very revolutionary measure. Princess Shams, as passionately, leans more toward promoting the arts, and is herself a fine musician. Her husband, Dr. Pahleboud, as Director of Fine Arts, exercise a galvanic influence on every aspect of cultural development, while the entire Royal Family is passionate in its love of animals and determination to obtain better conditions for them everywhere, in happy contrast to so much of the East, where the animals lot is usually terrible.
When Roloff Beny photographed the Imperial couple and their children, I asked his majesty that the sitting, which was to be entirely informal, should not be in the Summer Palace, nor in the fabled frame of the Golestan, nor even in their private palace in Teheran, but in the Diamond Room of the Marble Palace, generally used for more stately occasions. Here eyneh-khari decoration reaches its apogee, and it was like placing them in the very heart of the diamond kingdom. But not formally. The little Crown Prince Reza, feting his fourth birthday, and his sister, the baby Princess Farahnaz, saw to that. Continue reading Lesley Blanch Archive | The Magic of Iran 2 (1965)
Iran — the land of the Aryans — the Persia of legend, stands at the crossroads of the world, where the winds blowing across the wastes still carry echoes of Darius the Great and Tamerlane. Here all is extreme, fiery, icy, brilliant, obscure, sumptuous, dilapidated . . .
From greatness to decay, by lassitude and violence, the pendulum of Persian history has swung through three thousand years. But now, led by one man, it swings forward — the Emperor, Mohammed Reza, Shahanshah of Iran, is that man. Beside him stands the young Empress, the Shabanou, Farah, a fitting queen for this land which has always spelled beauty to the rest of the world and now sounds another more urgent note.
Women’s enfranchisement, agrarian reforms, dam-building, find new hospitals — that of Shiraz is held to outstanding in the Middle East — the pioneer work of the Shah’s own Illiteracy Corps, child welfare centres and veterinary clinics, too, are all, like supermarkets, drive-in cinemas, Coca-Cola signs, or double-decker London buses, a part of the new spirit of Iran. Yet, its legendary past, its abiding loveliness, are still its strongest lure; and we marvel more at a minaret than at a television tower. Continue reading Lesley Blanch Archive | The Magic of Iran 1 (1965)