A familiar London landmark
Here is what two thirty-something-year-olds, who have spent a lot of time in many various types of churches and who have often travelled into London by rail, sound like watching the last two episodes of Around The World With Willy Fogg:
– King’s Cross? From Liverpool?
– Westminster Cathedral? Really?
– Well, this is a Spanish programme. Maybe they’ve decided he’s Catholic.
– Why is he wearing vestments in the street?
– At least they’ve got the colour of the stole right.
– No, that’s Westminster Abbey. They’re just wrong.
You may well point out that the hero of Around The World With Willy Fogg is a lion who wears a top hat, and that’s a fair point. This is children’s television, and one might as well put the increasing price of stamps down to the fact that Postman Pat now has a two vans, a motorbike, and a helicopter as expect logic. But sending the Liverpool trains to King’s Cross requires me to believe not only in a world where animals wear clothes, but also in one where all the northbound trains leave London from one sole station. Which would make much more sense than the real world, but there we go. Actually, thinking about it, I can’t fault Willy Fogg’s decision to avoid Euston. It’s one of my least favourite stations, ahead of Birmingham New Street and only slightly behind Gatwick Airport.
One of the other eyebrow-raising things about Willy Fogg was the way that Fogg’s acquaintances at the Reform Club seemed to know about his movements almost as soon as he does. This despite the fact that the action is set during a period of history where news cannot travel across the sea any faster than a human (or a top-hat-wearing lion) can. I can give Willy Fogg a pass on this one, but I’m less indulgent when Joseph O’Connor makes the same mistake in Star of the Sea.
We all have our own areas of expertise, our own sensitivities, our own knowns that may well be authors’ unknowns. And so, when a character is meant to know more about a particular subject than their author does, and when a reader knows more than the author, any mistakes are likely to come to the surface.
Apart from how to get to the North West and the difference between Westminster Abbey and Westminster Cathedral, I know enough about the career of Kathleen Ferrier, for example, to know that she was singing the role of Orpheus when she broke her leg on stage, not Eurydice, as Rose Heiney assumes in The Days of Judy B.. And that wouldn’t be a problem, except for the fact that it’s Judy B.’s singing teacher, who really ought to know better, who says that. I know enough about the Church of England to know that it’s unlikely that a bishop would wear a ‘soutane’ to a secular function, as Kate Lace assumes in The Chalet Girl, and very unlikely that he’d call it that.
I know enough to know that I’ve almost certainly missed something myself.
And so, as I wait for the edits to come in on A Spoke In The Wheel, I am nervous. I am nervous about what I may have got wrong about professional cycling and about disability benefits and about how flood defences work. I am nervous about what I may have got wrong about the road to Preston and about doping and about working for a charity. I am nervous about what other people will see that I cannot.
Where possible, I have asked people who know more about those things than I do to read the manuscript and advise me, but I know that it’s inevitable that something is still going to slip through the gaps. I can only hope that it’s not going to be something too embarrassing.