Spotlight | Lesley Blanch and the Art of Narrative Non Fiction

Narrative non fiction: a new category

When Lesley Blanch wrote that “Journey into the Mind’s Eye is not altogether autobiography, nor altogether travel or history either. You will just have to invent a new category . . .” the label narrative non-fiction did not yet exist. Her autobiography about the early part of her life was published in 1968. She was ahead of her time. Like Rebecca West and Truman Capote, Lesley Blanch was experimenting with different forms and techniques to tell a damn good ‘true’ story.

Lesley Blanch claimed she could not invent, hence choosing biography rather than fiction, although her storytelling was underpinned by a vivid imagination and scholarly research. The Sabres of Paradise: Conquest and Vengeance in the Caucasus took six years to complete and required thorough investigation in Russia and Turkey.

What is narrative non fiction?

Narrative non-fiction is not just a convenient label used by publishers to help booksellers categorise their titles and display them, or a new genre fresh out of American writing schools for literary critics to argue about. It is favoured by clever young editors like Leo Hollis at Verso, or Richard Milner at Quercus, as a way to get across difficult, or dry, ideas in an engaging manner. People are most interested in other people and their experiences, not the dusty archives of research. To take the reader on a scientific, or philosophical, or historical journey of discovery by means of a series of a well-written scenes knitted together to form a compelling whole, as opposed to recounting how A then B then C happened in a cut-and-dried linear fashion, makes for a more exciting read and a saleable book.

Continue reading Spotlight | Lesley Blanch and the Art of Narrative Non Fiction

Lesley Blanch Archive | W.R.N.S. on the Job, British Vogue, November 1941

Lesley Blanch was Features Editor of British Vogue 1937-45. During the Second World War, she was on the front line of women journalists covering a wide range of topics. She covered various aspects of Britain at war for the Ministry of Information, and documented the lives of women in the forces with her friend the photographer Lee Miller.

It is an indisputable fact that occupations and professions breed their own particular type. There are occupational faces, as there are occupational diseases, except in the case of the bored, spoiled, overfed idler, now fortunately rarely seen, save at luxurious hotels in ‘safe’ areas, where the face, and its accompanying malaise, might be described as non-occupational.

The ostler cannot be mistaken for the chauffeur, though doctors and lawyers, like poets and scientists, often pair indistinguishably. But the soldier, the sailor, and the airman are each distinct and apart front each other.

Continue reading Lesley Blanch Archive | W.R.N.S. on the Job, British Vogue, November 1941

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