The Points of View Challenge – A Father-to-Be – Saul Bellow

Saul Bellow (born Solomon Bellows; 1915 – 2005)

Canadian-American writer, best known for his novels The Adventures of Augie March, Herzog, and Mr. Sammler’s Planet, (each winning the National Book Award for Fiction), Henderson the Rain King, Seize the Day, Humboldt’s Gift, (which won the Pulitzer Prize for Fiction in 1976) and Ravelstein. A Father-to-Be was first published in The New Yorker on January 29th 1955 and in Seize the Day on November 15th 1956.

Available to read online here.

This is the last of eight stories in the volume Points of View to be given the style classification by Moffett and McElheny of Biography, or Anonymous Narration – Single Character Point of View. Their introduction concludes: “We have included a large number of selections in this group because this technique is the most widely used for telling a short story and very often used for telling a novel, especially in this century. Examples are Stendhal’s The Red and the Black, Hemingway’s For Whom the Bell Tolls and Marquand’s Point of No Return.”

Spoiler alert – if you haven’t read the story yet and want to before you read the summary of it below, stop now!

A Father-To-Be

On a snowy Sunday evening, 31-years-old research chemist Rogin is on his way to his fiancée Joan’s for supper. She had asked him to buy some items on the way, so he stops at a delicatessen to buy roast beef, shampoo and some other treats he thinks she might enjoy. He allows his mind to wander; thinking about how he has to give money both to Joan and to his brother to get him through college, then he observes the behaviour of the people in the delicatessen, and people on the subway as he starts his journey to Joan’s. There’s a man who thinks no one knows he drinks, two children from different families with the same toy, a dwarf whose sex he cannot determine, and a middle-aged man whose facial features reminded him of Joan. He takes an instant disliking to the man – and becomes upset as he realises he is how any son that Joan gives birth to will look like him. His anxieties escalate when he thinks of how the future could turn out, so much so that he considers ending his relationship with Joan. When he arrives at her home, he is initially frosty and grumpy, but Joan insists on washing his hair with the new shampoo, and this gentle, loving action calms him down so that his mind is once again at rest.

This is a very curious short story for two main reasons. First, very little happens. A man goes to his fiancée’s home via a delicatessen and the subway. Almost all the events of the journey happen in his mind. Second, our hero Rogin does not come across as a particularly pleasant person. True, he is generous, not worrying about the thirty dollars he gave Joan a few days ago, buying extras at the shop so that their supper will be more enjoyable, and we note that he pays for his brother’s college fees. But he is very judgmental; he mentally appraises and criticises all the people he meets and observes on his journey. Sometimes he compares them to himself, and always unfavourably.

Bellow’s concise writing is always effective and tells us more than we need to know. He encapsulates everything about Rogin in his first paragraph; not only his age and profession, but the eccentricities of his appearance (for example, his “preposterous gait”) and the fact that he wears a Burberry coat suggests his wealth. He also tells us exactly what the rest of the story will be about: “the strangest notions had a way of forcing themselves into Rogin’s mind”, and “he fell into a peculiar state”.

“Who is free […] who has no burdens?” Rogin asks himself, as he reflects on both the people around him and his own life. He likes to fantasise about inventions he could make – but doesn’t – and frets about his mother’s changing behaviour and condemns the secret drinker for believing he could fool anyone. He rehearses how he is going to compliment Joan when he meets her, as if he has to plan his spontaneity. He condemns the unthinking crowd because of “how they slept through life” and spends more time than he should trying to decide whether the subway passenger is male or female – something that should be of absolutely no concern to him at all.

But it’s when he allows his fanciful brain to expand on the character of the silent man to whom he takes an instant dislike that it actively does damage to the balance of his character. The title of story is A Father-to-be, but it’s not as though Rogin is shortly to become a father; there’s no evidence that Joan is pregnant, and indeed, it wouldn’t be something that would be acceptable in that time and in that social stratum. It’s just his imagination that, if he and Joan were to have children together, and did have a son, he fears he would grow up to resemble this man, about whom he makes the wildest judgments without knowing the first thing about him. To Rogin he is simply “flat-looking, with his ordinary, clean, rosy, uninteresting, self-satisfied, fundamentally bourgeois face.” “What a curse to have a dull son!” he concludes.

As a result, his demeanour has quite changed by the time he gets to Joan’s, but her loving touch and the possible religious symbolism of a hair-washing ritual – using the shampoo that is a “sweet, cool, fragrant juice” – puts all those damaging thoughts out of his mind. However, one does wonder whether those damaging thoughts are gone forever; and it’s curious to reflect on what kind of relationship he and Joan might have long-term. Will his fears of dull suburban existence come true, or will he just enjoy life for what it is?

Finely and precisely written, it’s a fascinating insight into the way one’s thoughts can wander and drift, and how easily it is to catastrophise. It definitely captures a recognisable moment and tells us more about the central character than he would ever want us to know.

The next story in the anthology is the first of three to be classified by Moffett and McElheny as Anonymous Narration – Dual Character Point of View, Maria Concepción by Katherine Anne Porter.

The Real Chrisparkle meets Claire Bramwell-Pearson!

Vitalii Petrenko and the Secret of the Roman Baths

Vitalii Petrenko and the Secret of the Roman Baths

I recently had the pleasure of catching up with Claire Bramwell-Pearson, author of the new children’s book Vitalii Petrenko and the Secret of the Roman Baths. I hope you enjoy our chat!

Real Chris Sparkle: Greetings Claire! And welcome to the pages of the Real Chris Sparkle, it’s great to have you here! Perhaps we should start off with your telling us a little bit about Vitalii Petrenko and the Secret of the Roman Baths? Don’t spoil the story!

Claire Bramwell-Pearson: I always hate trying to summarise a story without giving away the plot! Vitalii Petrenko and the Secret of the Roman Baths is a Middle Grade action-packed adventure story about a special friendship across cultures. This of course is the unlikely friendship between Ukrainian born star footballer Vitalii Petrenko (10) and local Bath boy and bookworm Edward Austen, also ten. There also may be some scaly magic involved too!

RCS: I’ve read the book and it’s a delight! What gave you the idea in the first place?

CBP: I was approached by a Ukrainian charity, The Friends of Oleksandryia, to write a children’s story about a child refugee who had come to live in Bath.  The founder Zhenya Shkil sent me lots of pictures of Oleksandryia which is an agricultural region in Ukraine and in one of them she was standing with a volunteer in front of a huge statue of a three headed dragon. As soon as I saw the photo I thought haha – I think that we have something here!

RCS: It’s full of entertaining characters – are they all products of your imagination, or have you sneakily based any of them on real people?!

CBP: What a great question! But no, none of the characters is based on real people – they are all products of my very cartoony imagination. However – I have ‘borrowed’ some the names from people I actually know…I hope that they don’t mind too much!

RCS: You live in Bath, so I can understand why you have set the story there, but where does the Ukraine connection come from?

Presentation of the book to the Mayor

Claire Bramwell-Pearson and Zhenya Shkil present a copy of the book to the Right Worshipful Mayor of Bath, Cllr Prof. Bharat Pankhania ©Chris Bramwell-Pearson

CBP: Bath is actually twinned with Oleksandriya and Zhenya Shkil comes from that part of Ukraine. However, she now lives near Bath where there is a very vibrant Ukrainian community.

RCS: That makes sense then! No spoilers, but the story does feature a three-headed Ukrainian dragon, so did you have to do a lot of research to discover more about Ukrainian myths and legends?

CBP: Yes, I did research Zmiy Horynych who is a well-known three headed dragon in Ukrainian folklore and everyone – in particular children – in Ukraine will know him well. However, in the fairy tales he is famous for kidnapping princesses and other dastardly needs. My Zmiy Horynych is a very different dragon indeed!

RCS: And did you have to do a field trip to Loch Ness?

CBP: I have visited Loch Ness many times.  And my parents also lived in Scotland near another famous loch, Loch Leven, where Mary Queen of Scots was imprisoned. But I don’t think that loch had a sea monster!

RCS: I know that in the past you have been an illustrator, but the artwork in the book has been created by Alexandra Dikaia. Do her illustrations bring an extra dimension to the book?

CBP: Yes absolutely! Alexandra’s illustrations are beautiful and very imaginative – and really add another wonderful perspective to the story. There is even a map in the front of the book of Zmiy Horynych’s journey from Ukraine. The illustrations also help the children in Ukraine who are obviously reading Vitalii Petrenko in a second language.

Children in Oleksandriya with the book

Children in Oleksandriya with the book

RCS: The book has already been distributed to some schools in Ukraine – what has the reaction been?

CBP: Oh, they simply loved the book! In Oleksandryia, at one of Zhenya’s school visits the children even dressed up as Vitalii Petrenko, Edward Austen and the three headed dragon Zmiy Horynych. I was so touched. And on one of our school visits promoting the book in the U.K. we had a live stream between a school in Bath and a school in Oleksandryia, which was an amazing and moving experience.

RCS: What next for Vitalii and Edward? Will they have some new adventures together?

CBP: Yes! I have already finished the first draft of the next Vitalii Petrenko book which is just as exciting. Without giving anything away, there is a magic snow globe which contains not just one secret – but two! The story has all the same charming characters and a few new ones too! And yes, of course, Edward Austen is there – as Vitalii’s valiant Dr Watson.

RCS: That’s fantastic news. The book sounds like a perfect children’s Christmas gift – who do you think would most appreciate the story and the characters?

CBP: Yes, Vitalii Petrenko and the Secret of the Roman Baths would make the perfect Christmas gift – either as a bedtime story (the parents will giggle at some of my nods to Jane Austen who lived in Bath) or for independent readers, and of course Ukrainian children will love the references to their culture’s fairytales.

Vitalii Petrenko

Vitalii Petrenko and the Secret of the Roman Baths

RCS: Is there anything more we should know about your book?

CBP: I am absolutely delighted by the reception Vitalii Petrenko and the Secret of the Roman Baths has received by children of all ages and their parents. I have deliberately written the adventure story in a style which is easy to read by a wide range of children, both boys and girls, as Vitalii’s little sister also plays a pivotal part in the story. It’s immensely enjoyable for the parents to read too!

RCS: Thanks for taking the time to chat today, Claire, and best wishes for the book! Send our love to Vitalii and Edward!

 

You can buy the book on Amazon at this link!

The Points of View Challenge – The Five-Forty-Eight – John Cheever

John William Cheever (1912 – 1982)

American short story writer and novelist, best known for his short stories The Enormous Radio, Goodbye, My Brother, The Five-Forty-Eight, The Country Husband, and The Swimmer, and his novels, The Wapshot Chronicle, The Wapshot Scandal, Bullet Park, and Falconer. The Five-Forty-Eight was first published in The New Yorker on April 10th1954. It was later collected in The Housebreaker of Shady Hill and Other Stories in 1958 and The Stories of John Cheever in 1978. In 1955 it was awarded the Benjamin Franklin Magazine Award.

Available to read online here.

This is the seventh of eight stories in the volume Points of View to be given the style classification by Moffett and McElheny of Biography, or Anonymous Narration – Single Character Point of View. Their introduction continues: “Why, in each particular story, does the narrator place the reader at the vantage point of one character only, and why, in each case, has the author chosen the character he has, and not another?”

Spoiler alert – if you haven’t read the story yet and want to before you read the summary of it below, stop now!

 

The Five-Forty-Eight

Blake leaves his office at the end of the day only to realise that he is being followed by a woman. What was her name – Miss Dent, Miss Bent, Miss Lent…? He can’t remember now, but it doesn’t matter much, after all, who remembers their personal assistants’ names anyway? It had been six months since they last met, but he doesn’t want to talk to her so loses himself on the Manhattan streets and dives into a bar where she’ll never find him. He doesn’t have great memories of her anyway; quiet, attractive in her own way, but with ugly handwriting. She invited him back to her apartment once for a drink; after taking advantage of her, he got dressed, returned home, and the next day arranged that she should be fired.

Blake takes the 5:48 train home, where she unexpectedly confronts him quietly in the carriage. Even though the train is full of the usual daily commuters, many of whom he knows and ignores, no one else seems to realise there’s a new person on the train talking intimately to him. He doesn’t need this kind of confrontation in his life so he gets up to move to another compartment when she warns him that she has a pistol and she will shoot him if he does.

Panicking, he sweats nervously as the rest of his train journey flashes by. Surely someone will notice her and somehow this torment will quickly end? But no, the train reaches his destination of Shady Hill, and she marches him out of the station at gunpoint. Will she kill him? Or will she just degrade and shame him, and make him realise there are consequences to his actions. Is his death worth a prison sentence? Having forced his face down in the dirt, she’s content that she’s a better person than he is, and that he knows it. A job well done for Miss Dent.

Gripping, suspenseful and unpredictable, this is a beautifully written tale that slowly reveals Blake’s callousness and equally slowly reveals Miss Dent’s own story. John Cheever has a real knack for making the reader appreciate the environment in which the story takes place – the smelly wetness of the New York streets, the crowded but comfortable sanctuary that the bar provides, the unspoken dynamics of the train commuters, and how this terrifying encounter is being held in plain sight by two seemingly diminutive and unimportant people against the backdrop of a busy city.

Cheever has Blake constantly noticing tiny details about the people he meets: Miss Dent’s crooked stockings, Mr Watkins’ long and dirty hair, the brevity of Mrs Compton’s smile. Blake himself finds comfort in the blandness and colourlessness of his clothing, rejecting light and colour. Cheever gives us the detail of Blake putting Miss Dent’s rose in the waste bin (“I don’t like roses” he tells her). There’s nothing beautiful or attractive in his life, and he’ll keep it that way.

But to an extent Blake is a product of his environment. Cheever takes pains to describe a store window: “The window was arranged like a room in which people live and entertain their friends. There were cups on the coffee table, magazines to read, and flowers in the vases, but the flowers were dead and the cups were empty and the guests had not come.” Blake’s hollow and false respectability is no different from this sham pretend shop window living room. Sex with Miss Dent was joyless, transactional and meaningless, just a notch on the bedpost. But this is no surprise when you consider his marital life, diarising the two weeks during which he will punish his wife Louise by not talking to her, for not having prepared dinner when he wanted it. No wonder his fourteen-year-old son Charlie chooses to more or less move in with the next-door neighbours.

Even when Miss Dent is pointing the pistol at him, he still doesn’t take responsibility for his own situation. So many things he could have done to avoid this, and maybe he still could; but instead he thinks: “Help would come, Blake thought. It was only a question of minutes. Someone, noticing the look on his face or her peculiar posture, would stop and interfere, and it would all be over. All he had to do was to wait until someone noticed his predicament.” Cheever increases the tension of Miss Dent’s virtual kidnap of Blake by emphasising the surrounding normality of the environment; the same advertising slogans on station after station, the image of the Hawaiian dancer who haunts his journey, the minutiae of other commuters awaiting their trains. Stable lives going about their everyday existence, such as the “men fishing on the nearly dark river, and then a ramshackle boat club that seemed to have been nailed together out of scraps of wood that had been washed up on the shore”. Suspecting he might die at any minute, he finally understands the concept of regret.

The resolution of the story is uncertain right up until the final sentences. Even Miss Dent herself is unsure how this encounter will end, but Cheever explains the conclusion that she draws: I’m better than you. I still have good dreams sometimes. I dream about picnics and heaven and the brotherhood of man, and about castles in the moonlight and a river with willow trees all along the edge of it and foreign cities, and after all I know more about love than you […] I shouldn’t waste my time or spoil my life like this. Put your face in the dirt […] Now I can wash my hands of you, I can wash my hands of all this, because you see there is some kindness, some saneness in me that I can find and use.”

Always remember that actions have consequences, and you can’t always ignore them; and you never know quite how much someone might be suffering. Blake learns this the hard way; but you have little expectation that he will change his ways and become a better man.

The next story in the anthology is the eighth and last to be classified by Moffett and McElheny as Biography, or Anonymous Narration – Single Character Point of View, A Father-to-Be by Saul Bellow.

Review – Death on the Nile, Royal and Derngate, Northampton, 4th November 2025

Death on the Nile is one of Agatha Christie’s most famous stories; its enduring popularity evidenced by its being adapted for film twice, with Peter Ustinov as Poirot in 1978 and Kenneth Branagh in the role in 2022. Christie even adapted the book as a play herself – Murder on the Nile, which appeared in the West End in 1946. Wisely, this production goes nowhere near that play, which isn’t that impressive to be honest. Instead, Ken Ludwig, who also adapted Murder in the Orient Express a few years ago, has created a brand-new adaptation – and certainly taken plenty of liberties with the original.

In the British MuseumI mention this because, if you are an Agatha Christie purist, you might be aghast at some of the changes made. Christie filled her book with several extraneous characters who are all red herrings and play no part in the “plot”, so it makes sense to remove some of them. However, in so doing, Ludwig has also created new characters, such as the Shakespearean actor Septimus Troy and British Museum curator Atticus Praed, primarily to enable a new introductory scene where Poirot attends an unveiling of a priceless sarcophagus on loan to the museum. This provides the museum donors with the opportunity to accompany the sarcophagus on its journey back to Egypt, transporting it on the luxury Nile cruise boat, the Karnak. A sheer flight of fantasy by the writer, but it does at least provide a purpose for the cruise.

The Ottebournes and RamsesOnce we get to Egypt, the play starts to become more recognisably Death on the Nile, although there are still liberties taken – for example, the scene in the book where Linnet escapes being crushed by a falling boulder at Abu Simbel is replaced by her being trapped inside the sarcophagus and only just escaping in time. Ludwig’s script tells its story very clearly and engagingly and Lucy Bailey’s direction, despite a few unnecessarily stylised moments, is clean and effective in presenting the story whilst being honest with the audience as to how the crime was committed. And, most importantly, the play remains true to the book as regards the victim and perpetrator – although some other crimes in the book are omitted in this production.

Poirot introduces the storyLudwig makes Poirot the narrator of the story, bookending it with an opening scene where he accidentally observes Simon Doyle meet Jacqueline de Bellefort at a train station, and ending it with an explanation of what happened to some of the other characters who were not involved with the crime. Ludwig can’t resist a couple of meta moments, with Colonel Race saying he hates the bit in the story where Poirot brings everyone into the room to confront them with a final denouement and Poirot contradicts him saying he loves that bit and goes offstage to prepare for it; and perhaps most cheekily when Poirot announces that Shakespeare’s not at all bad, but he’s no Agatha Christie. Well done, very clever.

Nice setMike Britton’s set gives a good sense of the luxury of the boat, and combined with Oliver Fenwick’s lighting, effectively suggests various distant cabins and lounges, inhabited by transitory shadows, and general gives a convincing vibe of what “boat life” is all about. Unfortunately, the set doesn’t give you any sense of the gentle cruising motion of the boat, nor any sense of passing scenery. There’s a metal railing at the back of the set suggesting that beyond it is the river and its bank, but the backdrop remains firmly rooted in stillness, depicting some sheer rock face, so it doesn’t look as though they’re moving at all. Fenwick’s lighting comes into its own in the final denouement where it shines light on the crime reconstruction in a most satisfying way. And the costumes are arresting, with some glamorous evening dresses, even if they are more suggestive of the 1920s than 30s (that’s the purist in me raising his head again).

LinnetThe performances are mostly very good, occasionally excellent. Esme Hough as Jacqueline and Libby Alexandra-Cooper, in her professional stage debut as Linnet, make a formidably antagonistic duo. Ms Hough is the picture of revenge as she targets her plots against those who have done her wrong, and Ms Alexandra-Cooper is delightfully petulant, rejecting any responsibility for what she has done. The coupling of Camilla Anvar as Miss Otterbourne and Nicholas Prasad as Ramses Praed also works extremely well, with very believable characterisations and an entertaining portrayal of young love.

JacquelineAlways one of my favourite actors, Howard Gossington is great as Atticus Praed, mixing geeky enthusiasm with paternal pride; and Nye Occomore is very good in the slightly underwritten role of Simon Doyle, quietly confident and nicely smug at his success with women. Some of the other characters come across a little too pantomimey for my liking, but I don’t think that’s a failing on the actors’ part, it’s what they’re required to do. Ludwig’s adaptation has made Colonel Race something of a comic buffoon, which is not how Christie presents him at all.

Poirot reflectsMark Hadfield plays Poirot in a very engaging, confiding, understated way; he absolutely looks the part and, in the second Act, commands the stage with his interrogations and crime solving expertise. His French accent is a little unreliable; I’m sure you don’t pronounce très important as tray important but tray zimporton, but maybe it’s a Belgian thing. He also occasionally stumbles over his lines, and that’s very un-Poirot-like, who’s the paragon of precision. But overall, it’s a very good performance and he does convince you that he has little grey cells beyond the dreams of avarice.

Poirot, Jacqueline, Simon, LinnetOverall, an entertaining and diverting adaptation, well staged and acted. Just try not to be a purist if possible! After its week in Northampton, its extensive tour continues through to May 2026, visiting Truro, Torquay, Cardiff, Guildford, Canterbury, Chichester, Cheltenham, Malvern, Aberdeen, Glasgow, York, Sheffield, Edinburgh, Brighton, Birmingham, Nottingham, Dublin, Belfast, Norwich, Cambridge and Plymouth.

Production photos by Manuel Harlan

3-starsThree-sy Does It!

 

P. S. I was most delighted to read about the references to other works in the Christie canon in the programme, as they are almost identical to the references I mention in my Agatha Christie Challenge, so this is a perfect opportunity for me to plug my two-volume book. An excellent early Christmas present for a Christie fan!!

 

Vitalii Petrenko and the Secret of the Roman Baths, a new children’s book by Claire Bramwell-Pearson

Vitalii Petrenko and the Secret of the Roman Baths

Vitalii Petrenko and the Secret of the Roman Baths

The Charitable Association, The Friends of Oleksandriya, in Ukraine, announces the release of a new children’s novella, Vitalii Petrenko and the Secret of the Roman Baths by Claire Bramwell-Pearson. Set in the city of Bath, this is the tale of an unlikely friendship across cultures, sprinkled with oodles of dragon-filled magic. Now available in paperback, this new title is the perfect fantasy read for children aged 8 and beyond.

Vitalii Petrenko and the Secret of the Roman Baths follows talented footballer Vitalii, his mother Tetiana, and little sister Nadia, who flee the war in Ukraine and settle in the outskirts of Bath. Their arrival coincides with fish mysteriously disappearing from supermarkets and ponds all over Bath. Vitalii is befriended by hopelessly disorganised but history-loving Edward Austen who shows Vitalii Roman coins that he has discovered in his back garden. While waiting to consult the Roman Bath’s Curator, Vitalii accidentally drops magic coins into the warm water which awaken a Ukrainian three-headed dragon, Zmiy Horynych…and an unexpected adventure begins.

Author Claire Bramwell-Pearson, illustrator Alexandra Dikaia and Chair of the Friends of Oleksandriya, Zhenya Shkil

Both heartwarming and heroic, the narrative is complemented by captivating illustrations by Ukrainian artist Alexandra Dikaia, bringing the story’s characters and settings to life. Whether read aloud at bedtime, used in a classroom setting, or independently explored at the weekend, Vitalii Petrenko and the Secret of the Roman Baths ignites the imagination while spotlighting Britain’s solidarity with Ukraine in a spellbinding and strikingly original way.

Author Claire Bramwell-Pearson completed a Communication Arts Degree and subsequently worked on ITV’s successful cartoon series The Telebugs, followed by Walt Disney’s groundbreaking Who Framed Roger Rabbit? Following a stint in New York, she worked for Steven Spielberg on Balto, We’re Back and American Tail II, and Warner Bros Studios on Space Jam and Quest for Camelot. In 2019, New York’s renowned Gotham Writers Workshop led her to the wonderful Writing for Young People MA at Bath Spa University.

Alexandra Dikaia is a Ukrainian illustrator, writer, and concept artist with over fifteen years of experience in design and illustration. She is the author and illustrator of The Moonmill Fairy Tales and founder of Add Magic Academy, where she leads creative courses and challenges. She has been a featured speaker at Women Techmakers events inspired by Google and she illustrated a non-fiction book about chocolate for the prominent Staryi Lev Publishing House. Her art blends simplicity with profound meaning, embodying her philosophy of healthy minimalism and creativity as a path to self-discovery.

Children in Oleksandriya with the book

Children in Oleksandriya with the book

The Friends of Oleksandriya is a charitable association that promotes support and solidarity for Ukraine, particularly between Bath & North East Somerset and Oleksandriya. It believes that by working together, a difference can be made to people’s lives and a better world can be created. The team is made up of volunteers who are passionate about helping others and creating impact.

Since its establishment, The Friends of Oleksandriya, in partnership with the Rotary Club of Bath, managed to raise more than £100,000 to buy 13 7.5kW generators, a 70kW generator for the Children’s Hospital in Oleksandriya, and a 100kW generator for the Central Hospital of Oleksandriya. The Friends of Oleksandriya believe that everyone deserves access to basic human needs such as food, shelter, education, and medical care. In December 2024, Oleksandriya received a 200kVA generator from the charity for one of their hospitals, as well as over one thousand Christmas presents for children of all ages.

Zhenya Shkil, Alexandra Dikaia and Claire Bramwell-Pearson

Founder and trustee of The Friends of Oleksandriya Zhenya Shkil says: “We were extremely lucky to be introduced to a graduated writer for Young People from Bath Spa University, who has an incredibly original vision and vibrant imagination. When we first met, I told Claire about a children’s café I went to in Oleksandriya and how there was a huge statue of Ukrainian fairytale characters outside it. One of them was Zmiy Horynych and the other was Kotyhoroshko, who fought Zmiy Horynych, and I showed her the picture. She managed to take the antagonist of the story and transform him into a sympathetic character, moving him to Bath and creating a magical world, a new form of folklore.”

Now available in paperback, the book was featured as part of the Bath Children’s Literature Festival and can be purchased from a range of local independent shops, including Mr B’s Emporium, the Bath Abbey Gift Shop, Topping & Company Booksellers, Bathford Community School, and the bookshop in Bradford-on-Avon. The official book launch will take place on Saturday 8th November 2025 at 2pm at the Bath Royal Literary and Scientific Institution. It’s free to attend and everyone is welcome; all the details can be found here. In addition, I hope to introduce The Real Chrisparkle readers to the author Claire Bramwell-Pearson in an interview very soon!

The Points of View Challenge – Act of Faith – Irwin Shaw

Irwin Shaw (1913 – 1984)

American playwright, screenwriter, novelist, and short-story author, best known for his novels The Young Lions and Rich Man, Poor Man.

Act of Faith was written in 1946, and first published in The New Yorker on February 2nd in the same year. It was later included in the short story compilation Act of Faith and Other Stories also in 1946.

Unfortunately I have not been able to find a free copy to read online.

This is the sixth of eight stories in the volume Points of View to be given the style classification by Moffett and McElheny of Biography, or Anonymous Narration – Single Character Point of View. Their introduction continues: “What the stories have in common is the presentation of the inner life of a single character rather than of several or of none.”

Spoiler alert – if you haven’t read the story yet and want to before you read the summary of it below, stop now!

 

Act of Faith

The Second World War is over, but American soldiers are still stationed in Europe. Olson, Welch and Seeger survived Omaha Beach and are now considering their post-war futures. They’re not far from Paris and who can resist visiting the French capital? But none of them has been paid for three months. What can you do in Paris without money? Olson and Welch decide to ask their commanding officer, Captain Taney for a loan, but they delegate Seeger to do the negotiations. Why not? He can only say no.

In fact Taney says yes but can only muster up 200 francs – the equivalent of four dollars. That’s not going to get them very far. But Welch remembers that Seeger has a Lüger, taken from the body of a German he killed. He can get sixty-five dollars for that. That would certainly buy them a night on the town.

Seeger, meanwhile, has received a letter from home. In it, his father pours his heart out to his son about how life is now in America. Seeger’s brother Leonard was killed in action, and his brother Jacob is home but suffering badly with what we now know to be PTSD. Even harder to bear is the fact that the antisemitism rife in Europe has reached the States and the family – who are Jewish – realise that life is no longer the safe comfortable existence they always knew. Even their friends are turning against them.

Seeger doesn’t know what to think. Is all this sacrifice of war in vain? Would it not have been better if, like Leonard, he hadn’t survived the war so that he would not have to see the suffering of his parents? At that point Olson and Welch tell him that they know his Lüger is very important to him and ask him not to part with it if he isn’t completely sure. There are other ways of spending time in Paris. Seeger asks them directly, “what do you guys think of the Jews?” To which they reply that they have no idea what he means and that they’ve never heard of the Jews, and maybe he should ask them an easier question. Filled with hope and the confidence to tackle the prejudice at home head-on, Seeger agrees to sell the Lüger: “What could I use it for in America?”

A fascinating short story, notable for the fact that the action takes place in one continent but the substance of what it’s all about takes place in another. On one hand, it reveals the evil of antisemitism – indeed all prejudice – as it quietly grows all around you, and if you do nothing to prevent its growth, you’re part of the problem. It also shows that a simple expression of kindness and positivity may be all that’s needed to make the future optimistic; Olson and Welch’s flat-out refusal to participate in any antisemitic comments make Seeger feel safe and supported.

Shaw really gets to the heart of his characters in this story; you can sense the likeable laddishness of Olson, the earnest decency of Seeger and the keen practicality of Welch. Although they are of different levels of superiority, there’s no division between them. Shaw’s writing even invites us in to understand the characterisations of the minor characters, such as Taney speaking “like a man who has never quite got the hang of army regulations”, or describing Seeger’s father’s letter as “on the stiff white stationery with the University letterhead in polite engraving at the top of each page”.

The most powerful aspect of this story is the mental journey that Seeger undertakes, over a very short space of time, from being a confident, skilful soldier, to wading through a sea of self-doubt and second-hand grief, and then going back to a positive frame of mind again. A very satisfying and also thought-provoking piece.

The next story in the anthology is the seventh to be classified by Moffett and McElheny as Biography, or Anonymous Narration – Single Character Point of View, The Five-Forty-Eight by John Cheever.

The Points of View Challenge – Enemies – Anton Chekhov

Anton Chekhov (1860 – 1904)

Russian playwright and short story writer, best known for his plays The Seagull, The Cherry Orchard and Three Sisters.

Enemies was written in 1887, and first published in the collection In the Twilight in the same year.

Available to read online here.

This is the fifth of eight stories in the volume Points of View to be given the style classification by Moffett and McElheny of Biography, or Anonymous Narration – Single Character Point of View. Their introduction continues: “Thus the story is told from the point of view of both the speaker and the character, the first person and the third person, Sometimes it is very difficult to separate the two persons and their points of view.”

Spoiler alert – if you haven’t read the story yet and want to before you read the summary of it below, stop now!

Enemies

Doctor Kirilov is in a state of shock; five minutes earlier his six year old son, Andrey, died from diphtheria. His wife is kneeling by the boy’s body in silent mourning. But there is a knock at the door; all the servants have been sent away because of the danger of catching the disease, so it is left to Kirilov to answer the door. A pale man named Aboguin pleas for the doctor to come with him as his wife is severely ill, at death’s door it seems, and Kirilov is the only doctor available.

But Kirilov refuses. How can he deal with other problems when his one and only son has just died, and his wife is the only other person in the house? Aboguin begs him – he cannot save Andrey, but he could save his wife. Eventually, after much pressure, Kirilov caves in and accompanies Aboguin on the hour long journey to his house.

But when they arrive, the house is silent; Aboguin thinks this is a good sign at first as no one was panicking about his ill wife. But it quickly becomes apparent that Aboguin has been tricked; his wife was not ill, and just used his absence as a ruse to run off with their regular visitor – and clearly her lover – Papchinsky. Furious at the deception, Aboguin rages against his wife and his situation. But Kirilov is also enraged, at having his own personal hour of distress pointlessly wasted for nothing; and no matter how Aboguin deals with his own situation, Kirilov despises him and everything to do with him for the rest of his life.

A simple tale, but with complex emotions and suffering on both men’s part. Aboguin has no sympathy with Kirilov’s situation but only puts himself first. Similarly, Kirilov has no care about what happened to Aboguin and only thinks of himself. Circumstances and selfishness render them enemies. But is it as straightforward as that? Are they both selfish? Isn’t it reasonable to expect a doctor to come to the aid of a dying woman if he possibly can? And is it reasonable to expect that someone who has lost their only son a mere five minutes earlier needs time to grieve and comfort his wife?

Chekhov’s writing – or at least the translation by Robert N Linscott – is dense and heavy. There is a class distinction between the two men, with a deliberate contrast between their appearance. Kirilov is tall, plain, slovenly dressed, tangled hair, pale grey complexion, and his lips are “unpleasantly sharp, ungracious and severe”. Aboguin on the other hand is solid, fair, robust, exquisitely dressed, noble, leonine, even revealing “a subtle, almost feminine, elegance.” It’s striking that Chekhov makes the point that the Kirilovs are too old ever to have another child: “their right to bear children had passed away, alas! forever to eternity. The doctor is forty-four years old, already grey and looks like an old man; his faded sick wife is thirty-five. Andrey was not merely the only son but the last.”

Far from uniting the two characters in their hours of need, the events of this story divide them, harshly and unequivocally. There’s no right or wrong way to react to grief; and one can never understand the complexity of an individual’s sadness and devastation.

The next story in the anthology is the sixth to be classified by Moffett and McElheny as Biography, or Anonymous Narration – Single Character Point of View, Act of Faith by Irwin Shaw.

The Paul Berna Challenge – The Secret of the Missing Boat (1966)

In which Berna takes us to a quiet corner of Britanny, near Vannes, and introduces us to intrepid young sailor Fanch and his friend Lise. Fanch is inseparable from his little fishing boat, the Petit-Emile, which he has recently upgraded with a sail, a mast and a larger hull all gathered from jetsam and with the agreement of the Receiver of Wreck, Monsieur Riou, in Langle. But the authorities seem much more interested in the Petit-Emile than one might expect – what secret does the little boat have that demands so much of their attention?

Unusually, The Secret of the Missing Boat was first published in 1966 in English by The Bodley Head, and then in French in 1969 by G. P. Rouge et Or under its original French title L’Épave de la Bérénice, which translates literally as The Wreck of the Berenice, with illustrations by Barry Wilkinson, who had also illustrated The Mystery of the Cross-Eyed Man and Gaby and the New Money Fraud. The Secret of the Missing Boat was translated, as usual, by John Buchanan-Brown. My own copy of the book is a 1972 reprint of the Puffin edition. There are a few copies currently on sale online if you want to buy one!

Berna’s Parisian cityscape that dominated his last few books is here replaced by a maritime environment, an island-dotted bay in Brittany, where boats replace cars and old rural methods haven’t been replaced by modern development.  Where, in the past, he has given us a map of Puisay, here he provides a map of the coast and all the islands. It’s fun to make a comparison with a real map of the area as it’s largely faithful and accurate, which helps the reader to become more closely associated with the district; all apart from the inclusion of Ile-Goulvan, Ile-Hervé, Cow Island and La Teigne, and some playing with the area around the Seven Marshes.

Berna has left his usual descriptions of gangs behind, in favour for concentrating on his two main children characters, both of whom lead remote, solitary lives. Fanch and Lise’s competence in criss-crossing between islands on all sorts of simple boats lends an air of adventure and excitement, mixed with a sense of idyllic, quiet, leisurely childhood. But there’s nothing leisurely about their lives; they work all hours, frequently heavy, physical labour, often getting up before dawn and going to bed early, exhausted. They’re children, but with adult responsibilities. In a typically male oriented world, Fanch makes sure he neverthless has as much fun as possible; Lise is given the role of being sensible and responsible. So whilst Fanch and Cogan go off to have an adventure on the restored dinghy, for example, Lise makes do with basic seaman skills, such as untangling the lines and drying out the old vessel.

There’s a strong contrast between the two younger characters and everyone else in the story. Fanch and Lise are the only two children, and the adults in their lives all represent various levels of discipline, instruction or enforcement. Fanch needs to keep his distance from Blackbeard, his teacher, otherwise he’ll get into trouble for not going to school. He also gets into trouble with the likes of Tanguy and Stephani, and Benny, Pat and Fredo. He loves Mamm and Uncle Job, but they are strong believers in discipline and Mamm completely rules the roost – what she says, goes, and no arguing. Even M. Jégo constantly tells Fanch what he must do, as he works for the Jégo family as well as his own. It’s only when Fanch comes to terms with Blackbeard – M. Cogan – that they can work together and become friends. And there’s a consequent enjoyable relationship with the two adult camping travellers, Manoel and Picou. This is not the first time Berna has used a teacher who is remote or aloof and then brings them into a heroic role – this also happens in Flood Warning.

But it’s not just a one-way relationship between Cogan and the children. By getting involved in the children’s exploits, Cogan rediscovers his own inner child and gets an enormous escapist pleasure from accompanying them on their exploits, and even living temporarily on Ile-Goulvan courtesy of Mamm. In addition to the parallel with Flood Warning, it’s also very reminiscent of the pleasure and value that Commissioner Sinet derives from working alongside the children in the Puisay books.

In the first chapter, Berna fills in some excellent descriptions of his main characters. “Lise was only just twelve. Despite its poverty, life on the islands of the Little Sea was healthy and it had made her tough without repressing the high spirits natural in someone of her age. Although she had a forgiving nature, she was scrupulously honest in matters of right and wrong.” We later discover that she has a very strong association with Fanch: “she needed Fanch’s clumsy devotion as much as the love of her parents. They had played and grown up together, and their companionship made the happiness of their lonely life. Lise did not want to lose him and she dreaded his going as the worst thing that could happen to her.” And she is very concerned that he might get into serious trouble: “if she was to keep him she would have to make him more sensible; she would have to disarm the enemies who threatened his freedom. But, above all, she would have to stop him getting into such serious trouble as would lead to his being sent away for good and all.”

As for Fanch, we quickly discover that he is totally driven by the maritime life and wants nothing else: “While his schoolfellows were racking their brains over the Maths paper, he had been far up the river above Noyalo exploring a forsaken piece of marshland which was only covered once in three years by this particular high tide […] There were few greater excitements for Fanch than these brief glimpses of hidden territory that might be revealed at any hour of the day or night by the capricious movements of the ever-present ocean.” His confidence in the water encourages him to be cheeky with the likes of the Harbour Master; where others especially of Fanch’s age might show him more respect, at first he refuses his demand that he presents himself to him: ““I can hear you quite well from here”, Fanch answered, unabashed […] the quick-tempered Harbour Master snapped, going very red in the face. “You come up here, and be quick about it, or the sergeant will have you up by the ears!” “I shouldn’t count on that,” Fanch said, firmly but politely.”

This is another of Berna’s works where he deals sensitively with the prospect of boys growing up and becoming men, leaving behind their old childhood pursuits. Fanch is never happier than when he’s out on the water, but his teacher M. Cogan makes him think twice about how not having any qualifications will restrict his opportunities once he’s an adult. “Fanch took a deep breath, filling his lungs with the good sea air. He let his gaze wander to the fresh sunlit horizon and the innumerable islands studding the pale blue sea. The thought of giving up his childhood’s paradise brought tears to his eyes. “I know you’re right,” he murmured, “but I don’t want to lose it all.””

Berna is a master of the art of creating a sense of excitement and mystery out of the simplest description. “At high tide, the horizon encircles a calm sea studded with tiny grey or green islets, the antechamber of the wide ocean. But at low water, the ebb slowly reveals a drowned landscape which seems suddenly to rise stark against the sky. A thousand secret paths seem to link the mainland once more with the ruins sunk for ten or twelve centuries in the mud of the tidal channels.” No wonder Fanch loves to go exploring. The book is littered with brief descriptive moments that reinforce the scene so beautifully and powerfully. If I am honest, however, I feel the book is very slightly let down by the nature of its ending. The treasure they find is extraordinary and unique, but I really feel it stretches the imagination of the reader beyond what is a reasonable outcome. But you might feel differently!

Here’s my chapter by chapter synopsis of the book. If you haven’t read the book yet and don’t want to see any spoilers, here’s where you have to stop reading!

 

Chapter One – The Petit-Emile. Fanch navigates his little boat, the Petit-Emile, through narrow waterways towards the village of Locmariaquer, accompanied by his friend Lise and an eel that they have caught. Fanch wants to make sure that he doesn’t run into Monsieur Cogan, the school master, also nicknamed Blackbeard. Fanch has never taken school seriously, much preferring to venture out on the waters discovering hidden nooks and crannies along the coast.

While he is waiting for Lise to return from her Aunt Annick’s, the Harbour Master Monsieur Tanguy, the Customs Officer Stephani, and two other gentlemen call to him to answer a few questions. Tanguy wants to know where his new sail and mast came from – and Fanch tells him he took some jetsam and made them from it; with the approval of Monsieur Riou, the Receiver of Wreck. And what about his new hull? That was from an abandoned boat that only emerged at a recent bore-tide. Fanch towed it to show M. Riou, who confirmed there were no boats reported missing, so allowed him to take it, at least on a temporary basis. But Tanguy is not satisfied and warns Fanch that he may have to return it to its rightful owner.

Fanch takes Lise back to her home on Ile-Hervé, and then on to his own home on Ile-Goulvan. He lives with his foster mother, Madame Guidic (Mamm) and her brother Uncle Job; and he discovers that a lodger has moved in from Paris for a short while – Monsieur Cosquer, who insists that Fanch calls him Benny. Fanch instinctively distrusts him, as Benny tries to find out more about the family he is staying with. The lodger tries to smooth the waters by offering to crew for Fanch the next time he goes out.

Chapter Two – The Seven Marshes. Benny gets up early and, from his bedroom window, watches Fanch herding fifteen Friesians towards fresh pasture. Quickly getting dressed, he goes outside and finds the Petit-Emile by the beach; whilst Fanch is away he takes the opportunity to have a good look around it. But Fanch catches him and starts to get annoyed at his persistent questions. Benny requests a trip on the boat but Fanch refuses, saying he has to help the Jégos on Ile-Hervé with their oyster-parks. Later, Fanch and Lise discuss how to handle Benny and his curiosity; she suggests he takes advantage of the good tide tomorrow to take him wherever he wants.

The next day they go out in the boat together. Benny says he doesn’t mind where Fanch takes him, but Fanch knows he wants to go back to the spot where he found the hull, the Seven Marshes. It’s foggy, and Benny can’t recognise where he is, but Fanch is such a good sailor that he has no problem navigating even under difficult weather conditions. Fanch, however, gets fed up with Benny’s constant criticism and hands over the controls of the boat. Fanch confronts him with the suggestion that this isn’t the first time he’s been on board this boat, and they get into an argument. Eventually Benny reveals that he is on a search for treasure, but he will give no further details which makes it hard for Fanch to help. But they agree to return to the Seven Marshes later that evening.

Chapter Three – The Voyage of the Waikiki. Lise keeps a watch-out towards Ile-Goulvan, expecting to see Fanch in the Petit-Emile. But her mother tells her that Job let her know that Fanch and the lodger went off very early that morning. She still expects him back later to help with their work. Lise reflects on how much she relies on Fanch for companionship and is concerned that it might not last: “Fanch is heading for trouble even though he won’t admit it.”

There’s an unexpected arrival on the Ile-Hervé in the form of the Waikiki, a blue and white American launch with two burly men aboard, Pat and Fredo, and a lot of fishing tackle. They’re friendly to Lise, they ask about the island, and tell her they’re looking for someone who is lodging somewhere in the area. Lise senses there’s something wrong but decides to mention that there is someone, staying on the Ile-Goulvan. The men go off in pursuit in a hurry, whilst Mme Jégo asks Lise to take the punt to Ile-Goulvan to return baskets and collect milk and vegetables. When she arrives, the Waikiki is already moored up.

When Pat and Fredo land, they try to run up to the house silently, but Mamm sees them and demands to know what they want. They say they are looking for their old friend Benny Cosquer, whom Pat accidentally describes as a “rat”. Mamm suggests they return the next morning, when she will have had time to arrange lunch for them. But the men are too quick for her and insist on looking through Cosquer’s luggage, as he has “something of ours”. They ransack his room; and Mamm, furious, tells them “Fanch’ll make you pay for all this”. They tie her up, much to her surprise amusement; because then Uncle Job appears with his shotgun and demands they lie flat down until Cosquer returns. Lise appears and releases Mamm, apologising for having sent the men over to her island. Mamm decides that Benny Cosquer is a trouble-maker and will be leaving the island that evening with his “friends”.

Meanwhile Fanch and Benny are still squabbling on the Petit-Emile, but when Benny notices the launch moored up on Ile-Goulvan, he asks Fanch to bring the boat in at a quiet hidden location. However, the secrecy is in vain, for Job sees them and quickly shouts out that the three of them should leave the island immediately. Benny makes a dash for it, and “there was quite a scuffle in the tamarisks before the pair finally caught him”. “The three hundred francs for his board and lodging are in an envelope. The old lady won’t touch stolen money… Now get out of it quick, and don’t you ever come back to the Ile-Goulvan!”

But Fanch has unresolved business, and running towards the men, hits both Pat and Fredo with an oar until they both fall face down in the mud. Benny finds this hilarious. “The punishment he had inflicted on the thugs seemed paltry. Mamm Guidic had given him a home; she had tended him in sickness; she had recused him from the horrors of the orphanage, and her person was sacred.” When Fanch tells her why the men were interested in the Petit-Emile, Mamm insists ““then you’ll strip her right away and sink her in the channel,” she said coldly. “The flood tide tonight may make a present of her to some other fool. I’m not having any more of this nonsense here.””

Chapter Four – The Castaway on La Teigne. Lise and Fanch go through the sad process of stripping everything out of the Petit-Emile, during which Fanch finds Benny’s map that the latter had tucked away at the bottom of the boat. Lise suggests scuttling the map along with the rest of the boat. Fanch is keen to make the Petit-Emile as light as possible so that it travels far and quickly. Removing the bung, Fanch waits until the water is up to his knees before walking off and on to Lise’s punt alongside. Once the boat is sunk, he finds Benny’s map still soggy in his back pocket. They look at it – they don’t recognise what it shows, which is some red markings around a coastline. In the end Lise suggests that they should keep it: “you never know, someone a bit more honest than Benny and a bit sharper than we are might find it handy one day.”

Later that day an exhausted Fanch returns home, but not before M. Jégo asks him why he got up so early. Fanch is desperate to go exploring and he feels lost without his boat; but Jégo reminds him he will get his old boat back very soon. Uncle Job warns him the next day will be busy with produce and they will need to be at Sarzeau market early. Nevertheless, Fanch wakes in the middle of the night, and attracted by the moonlight, walks along the cliff edge. In the distance he could hear a cry; “two miles, or even less, from the Ile-Goulvan, someone was in trouble.”

On the isolated island of La Teigne, Benny had been crying out for hours, trying to attract attention of people ashore. Fanch takes a punt and starts heading towards his voice. “The boy could hardly recognize his fellow-sailor of the morning. Benny’s clothes were torn and the blood which caked his bruised and swollen face made it look almost black in the moonlight.” Pat and Fredo had taken Benny back to the Seven Marshes but were unable to find anything, so they beat him up and left him on La Teigne to fend for himself. They were looking for his map – they found one, but Benny says it won’t get them very far. Fanch vows to help him but, because of Mamm, returning to Ile-Goulvan is not an option. Fanch suggests landing on Cow Island, where there will be shelter, and Fanch will come and leave him food whenever possible. Fanch tells Benny that they scuttled the Petit-Emile and he is furious.

Fanch returns home and starts work. They load up the punt, then head for Cow Island to do the milking. Benny has washed and was having a relaxing cigarette, as though he were living in the lap of luxury. He gives Fanch three hundred francs and asks him to buy him some clothes; Fanch suggests going over to Saint Arzhel to collect his old boat, the original Petit-Emile. The next day he bumps into the parish priest, who promises not to tell the schoolteacher that they had met.

Chapter Five – The Wreck of the Berenice.  Fredo and Pat have been observing the comings and goings on Ile-Goulvan and Cow Island from their vantage point near the Hotel Armoric. They think Fanch’s black boat is like the one they had seen previously on the River Noyalo. Pat favours keeping a close watch on him, whereas Fredo suggests they force him into working for them by means of physical violence. They approach him, but Fanch isn’t impressed. “You’re a couple of thugs!” he shouts as he outpaces them, running to the crest of the dune.

However, Fanch gets a nasty surprise as he runs straight into the arms of M. Cogan, aka Blackbeard, the schoolmaster. Cogan admits he was only there to keep an eye on the two suspicious men, but now that he has caught Fanch he won’t let go. “There’s a nice little room with bars across the windows waiting for you back at the school. You’ve all summer in front of you to swot up for the entrance exam to the High School at Lorient”. Despite Fanch’s protests, Cogan persists, and Fanch is sincerely touched by the teacher’s belief in him. “It’s time you started to grow up and make your plans for the time when you’ll be a man. You’ve got to break out of this little world of yours because the older you grow the more cramping you’re going to find it. Mamm Guidic knows this perfectly well and she knows she only holds you now by a thread […] do you think I’d go to all this trouble over someone I didn’t think worth it?” Fanch knows he’s right; and the sadness of the situation is of no comfort to either of them. However, Fanch invites Cogan to help him rig up the Petit-Emile, a chance for the two characters to come together in the same cause. Cogan suggests a compromise which allows Fanch to do some studying in his spare time. But Fanch tells him his spare time is taken up with jobs on the farm as well as dealing with the two suspicious men. Cogan is eager to hear about what’s been going on. He tells Fanch how treasure can mean more than one thing to different people: “the most ordinary little pebble can turn out to be a treasure for someone who knows what he’s looking for.” He suggests Fanch does some excavating with a pickaxe on Ile-Goulvan: “these islands were once the tops of hills and nearly all of them have one or two megaliths on them.”

Cogan suggests they try to interview Benny but Fanch thinks it would be a waste of time. His idea is to speak to M. Tanguy but he’s uncomfortable about doing it on his own. Cogan, however, isn’t “scared of the old boy. If he does know anything, he won’t refuse to pass it on to me.” They set off, and when Tanguy spies him in the distance, he and Stephani place a bet as to whether he’ll make it there safely in that little dinghy. When he realises Fanch is accompanied by Cogan, he’s delighted that the schoolmaster has finally caught up with him. However, his mood swings when Fanch tells him he scuttled the other boat. Cogan quizzes Tanguy on whether they’ve had any mysterious enquiries about a lost or hidden boat, and both Tanguy and Stephani explain they’ve had several.

Tanguy tells them of the Berenice, a twelve-ton cabin cruiser that was stolen some time earlier. It seems to have gone completely missing. Tanguy suspects it’s part of a wider criminal activity. He suggests sending a dredger over to Ile-Goulvan and getting Fanch to sift the sand for traces of the Berenice. In the first instance, Fanch and Cogan arrange to meet at Kerivau, and then they’ll sail to Cow Island to catch up with Benny.

Chapter Six – Robbery on the Island.  Passing Ile-Hervé, Fanch sees Lise on the shoreline. She tells him that Pat and Fredo had found Benny on Cow Island and abducted him. This is a blow to Fanch, although Cogan reminds him that they’re bound to lead them to the Berenice. Lise reminds Fanch he has the map; but he’s left it behind on Ile-Goulvan. Cogan realises that Fanch didn’t find the map much use because he couldn’t read it. Fanch suggests that Cogan takes a room at the farm for a few days. Lise will be there too.

Mamm is honoured to have Cogan come to stay. They’re eager to read the map – it shows one continuous coastline, and some writing on it: “S. E. Grey church tower beyond cross-shaped tree. N. E. Red and white pylon slightly to right of parrot’s beak”. Cogan assumes the parrot’s beak must be a rock, and that the red and white pylon must belong to an electricity grid line. There’s a landmark marked K, which Fanch identifies as the old brick works at Kerguenen: “you can only see that landmark five months of the year […] by the end of May they’re completely hidden by the trees.” They continue to pore over the map with various theories. It’s Lise who recognises the shape of the horn on a map on the wall in the farmhouse.

During the night, the sound of a motorboat engine wakes Fanch and Cogan. Uncle Job has already gone out to investigate, and he reports that three men were in the boat going past at first, and that there’s only one coming on the way back. Cogan assumes that the other two have landed already, and the third will probably join them; they are concerned for Mamm and Lise’s safety, sleeping alone in the house. They take up different positions to keep watch; but Fanch is so angry that he can’t stay still, and when Pat comes along towards the house, Fanch sticks out his foot so that he comes crashing to the ground. But the villains out-trick the heroes, and it’s not long before Benny, Pat and Fredo are in the house. They snatch the map off the wall, the glass smashes and they tear off a part of it. But then Mamm appears, armed with a broom, which she wields like a lethal weapon, sending it crack across Benny’s face. The men escape, but it’s Lise who has the last laugh – the men won’t get far as she has poured two pounds of sugar into the petrol tank of their boat.

Chapter Seven – Grey Church Tower beyond Cross-Shaped Tree. Fanch, Lise and Blackbeard head off to the Seven Marshes. They don’t have Benny’s map but Fanch can remember its clues perfectly, and he has his own methods of navigation. He tells Cogan that his motivation for all this is to be the first to find the hull of the Berenice and open the cabin door. When he asks Lise the same question, she replies, “I’m not looking for anything […] All I want to do is share something nice with Fanch.”

But there’s another problem. A man in a motorboat checks them out and calls out “You’re not to go any farther!” He insists they change course and tie up at Le Passage. Blackbeard shouts back, refusing to obey and the man gets hysterical: “you’re one of the three crooks who wrecked my best boat on the Mare’s Nose!” Cogan identifies himself to the owner of the Waikiki who calms down. It was obviously Lise’s sugar treatment that has upset him! However, he later accuses Manoel and Picou, two campers in a canoe, of the same thing. Cogan defends them and then invites them to join their adventure.

The two boats proceed as far as the Petit-Emile will go. Blackbeard goes with Manoel and Picou along the channel. Lise and Fanch moor the Petit-Emile and continue on foot. Fanch is convinced the “grey church tower” is the one at Kérandré. They meet up with the others – they can see that Cogan has obviously noticed something. Lise discovers the cross-shaped tree, so they’re on the right track. And then – Fanch finds the Berenice! It’s a sorrowful sight, all caked in mud. Fanch makes the first move and pushes the cabin door open. And there sits Benny. He reveals that he is an insurance inspector, and that Pat and Fredo are in a police van taking them to Paris. And then Benny reveals the whole tale. The treasure he has been seeking is the theft of the Head of Gilgamesh from an archaeological dig in Iran, which has been passed from dealer to dealer and amassed a huge value. But it’s not in the Berenice – presumed to be at the bottom of the sea.

Chapter Eight – The Golden Eyes of Gilgamesh. Sometime later,  Benny and two men arrive on Ile-Goulvan. Mamm is not welcoming, but Benny says they need to see Fanch – and she tells them that he has something for them too – the clothes that Benny had asked Fanch to buy for him all that time back. Benny advises him that the search for Gilgamesh is still not over, if he would like to come up to the wreck of the Berenice, but Fanch refuses. Blackbeard is still a resident; the experience of the past few weeks has made them all nervous. Mamm, however, allows Manoel and Picou to visit, camping out on the island and enjoying the occasional meal in the big kitchen. One day they report that the Seven Marshes is a hive of activity: “the place is alive with treasure-hunters in dungarees and frogmen’s outfits, Some of them are up to their waists in mud dragging with grapnels.”

Cogan and Fanch drive Mamm’s Friesians back from Cow Island. M. Jégo meets them, saying he has something exciting to show them. So they jump aboard – together with Lise who was already there – and head off towards the wreck of the Petit-Emile II, which had reappeared despite being scuttled. Mamm agrees that Fanch can keep her, “but take good care that it doesn’t bring the police and the burglars and all that crowd of nasty people who don’t belong here. Otherwise I’ll get cross.”

Cogan and Fanch set off on the new dinghy, leaving Lise to disentangle the hand-lines and coil them on the old boat. Her work done, she pauses to relax and observe the waves and reflections. Then – a shock of recognition! ““Gilgamesh,” she said in a choked voice. “He’s here, right under the bows.”” Fanch says she’s imagining things, but then he admits “there was a concrete mooring-block in the bottom of the dinghy when I hauled her out of the mud […] it was a good weight, and I used it to double the anchor block of our mooring-buoy”. With all their strength and might they heave up the mooring-buoy; and “up came Gilgamesh, the water streaming off him as he half emerged from the blackish matrix which the slow steady action of the waves had partially worn away.”

Mamm won’t have it in the house, and insists they take it to Locmariaquer at once. Benny, Tanguy and his team are not impressed that Fanch has returned yet again. But without a sound they deposit the head on the desk and remove its covering. Words fail everyone! It’s agreed that Fanch can keep the dinghy, but Lise is disappointed to have given up Gilgamesh so quickly. Cogan makes Fanch confess when he actually found the head; but Fanch does not feel guilty because he had kept a promise to Lise. “Ever since we were children, […] Lise’s always asked me to find her a treasure. I only kept quiet about this one, to give her the joy of finding it herself.”

To sum up; As always, Berna writes credible and powerful characters, facing a variety of challenges, which all turn out for the best. The reader might well identify with Fanch, its hero; Lise takes a more subservient, dismissive role and perhaps isn’t someone with whom many young readers might want to identify. But the book tells a moral tale and clearly delineates between good and bad behaviour without ever coming across as prissy or goody-goody. That’s the last we see of Fanch, Lise and the maritime life of Brittany, and if you’ve read the book – or are re-reading it now, I’d love to know what you think about it, so please add a comment below. Next up in the Paul Berna Challenge is a very different change of style and tone, Un Pays sans légende, translated into English as They Didn’t Come Back. I look forward to re-reading it and sharing my thoughts about it in a few weeks.

The George Orwell Challenge – Spilling the Spanish Beans (1937)

You can read Spilling the Spanish Beans online here.

No doubt fired up by his experiences in northern England, witnessing the poverty and working routines of miners, which led to the publication of The Road to Wigan Pier, Orwell now turned his attention to an international stage; the events and lives of those caught up in the Spanish Civil War. He had travelled to Barcelona in December 1936 to collect material for newspaper articles, and maybe stay and fight in the war. He only took a day to conclude that he wanted to enlist, and he was sent to Alcubierre on the Aragon Front.

Spilling the Spanish Beans was his first written work concerning the war; a mixture of news reporting, political opinion and eye-witness account. An essay in two parts, it was published on 29th July and 2nd September 1937. Having left Spain in June 1937, he had travelled (with his wife Eileen) to Banyuls-sur-Mer, in the far south of France, less than ten miles from the Spanish border. He started writing the essay there. It was to be called Eye Witness in Barcelona, and it was agreed that it would be published in the New Statesman. However, its editor, Kingsley Martin, rejected it on the grounds that it could “cause trouble”. Fortunately Philip Mairet, editor of the New English Weekly, and always a strong supporter of Orwell’s work, accepted the essay for publication.

As a historical document written about the war, Part One of the essay is not so much a simple account of its causes or the manner in which the war was waged, but much more about how its reporting was – in his opinion – a distortion of the truth so that newspaper readers in Britain would have a poor understanding of what was really happening. And, despite what Orwell considers to be clearly made-up stories published in the likes of the Daily Mail, in fact he attributes the misinformation to the leftwing papers: “It is the left-wing papers, the News Chronicle and the Daily Worker, with their far subtler methods of distortion, that have prevented the British public from grasping the real mature of the struggle.”

The basis of Orwell’s argument is “that the Spanish Government (including the semi-autonomous Catalan Government) is far more afraid of the revolution than of the Fascists.” Orwell himself witnessed the fact that, when he left Barcelona in June 1937, “the jails were bulging […] but the people who are in prison now are not Fascists but revolutionaries; they are not there because their opinions are too much to the Right, but because they are too much to the Left.”

This may be the moment in Orwell’s life when any sympathy he felt for, or connection he felt with Communism was lost. We know of his criticism, veiled and not-so-veiled, of Communism in the likes of his later works Animal Farm and Nineteen Eighty-Four. And in his previous book The Road to Wigan Pier, he spoke warmly of socialism being the answer to the nation’s problems – even if he had problems with socialists themselves. In that book, for example, he was very complimentary about the good work of the National Unemployed Workers’ Movement, which had been founded by the Communist Party of Great Britain. But it’s in Spilling the Spanish Beans that he first recognises that “so few people in England have yet caught up with the fact that Communism is now a counter-revolutionary force; that Communists everywhere are in alliance with bourgeois reformism and using the whole of their powerful machinery to crush or discredit any party that shows signs of revolutionary tendencies.”

Orwell goes on to illustrate how, in his opinion, many months after the war has started, nearly all progress that had been made by the Republicans had been reversed: “As power slipped from the hands of the Anarchists into the hands of the Communists and right-wing Socialists, the Government was able to reassert itself, the bourgeoisie came out of hiding and the old division of society into rich and poor reappeared, not much modified.” Orwell cites “the breaking-up of the old workers’ militias, which were organized on a genuinely democratic system, with officers and men receiving the same pay and mingling on terms of complete equality” as being just one instance of regrettable regression; “the undoubted purpose of the change was to strike a blow at equalitarianism.”

Foreign interference had, in his view, added to the process; arms provided by Mexico and especially Russia meant that they could “extort terms as well. Put in their crudest form, the terms were: “Crush the revolution or you get no more arms.”” Russian influence always raises what Orwell calls “the Communist prestige”, and although the Communists denied that there had been any pressure from the Russian government, he notes that “the Communist Parties of all countries can be taken as carrying out Russian policy; and it is certain that the Spanish Communist Party, plus the right-wing Socialists whom they control, plus the Communist Press of the whole world, have used all their immense and ever-increasing influence upon the side of counter-revolution.”

Part Two of the essay looks at the wider political implications of the war. Orwell warns of the dangers of Communist anti-revolutionary propaganda, which would deny that the Spanish Government is crushing the revolution, “because the revolution never happened.” He considers the relevance it might have in England, “if England enters into an alliance with the USSR […] for the influence of the Communist Party is bound to increase.”

“Broadly speaking,” Orwell proposes, “Communist propaganda depends upon terrifying people with the (quite real) horrors of Fascism. It also involves pretending […] that Fascism has nothing to do with capitalism […] Present Fascism in this form, and you can mobilise public opinion against it.” He goes on to provide some rhetorical instances about how one might contradict someone “who points out that Fascism and bourgeois democracy are Tweedledum and Tweedledee”, including labelling them a Trotskyist; and there is a whole paragraph explaining the ins and outs and nuances of what Orwell describes as “this terrible word.”

Orwell describes how various categories of politicians, or indeed, anyone expressing a political opinion, would, one by one, be presented as traitors. “The logical end is a regime in which every opposition party and newspaper is suppressed and every dissentient of any importance is in jail.” He believes that the Anarchists and then the Communists “have succeeded in killing enthusiasm (inside Spain, not outside)” and made conscription necessary as a result. “A revolutionary army can sometimes win by enthusiasm, but a conscript army has got to win with weapons.”

What is Orwell’s prognosis for the future? “All prophecies are wrong, therefore this one will be wrong, but I will take a chance and say that though the war may end quite soon or may drag on for years, it will end with Spain divided up, either by actual frontiers or into economic zones.” In the event, Spain certainly remained a whole nation; even today calls for a separate Catalonia are heavily cracked down on by the Spanish government. He goes on to predict: “and thus we are one step nearer to the great war “against Fascism” […] which will allow Fascism, British variety, to be slipped over our necks during the first week.” Orwell was partly right; the start of the Second World War was only two years away. However, the “British Fascism” didn’t take hold as he thought it would or as quickly as he envisaged. He predicted this oncoming British Fascism in The Road to Wigan Pier too. But that’s not to say it might not still happen.

This is a very dense and intricate piece of writing, heavily factual and insightful from the point of view of one who had been there and fought the war. It’s not an easy read, nor to be honest, is it a particularly interesting one. You get the sense that Orwell needed to get his acute experiences and memories out of his system and apply constructive reason to his material. His experiences would, of course, be worked up into Homage to Catalonia, his next book, which he would set about writing instantly and would be published the following year.

The Paul Berna Challenge – A Truckload of Rice (1968)

In which we return to Puisay, its wise head of Police, Commissioner Sinet, and its most popular family, the Thiriets, whom we met in both The Clue of the Black Cat and The Mule on the Motorway. How can a goldfish in a bowl provide a clue to the identity of the thief who has stolen the money raised by Geoffrey and Lucien Verdier to buy a truckload of rice for people suffering famine in India? If anyone can work it out, it’s Commissioner Sinet; but never underestimate the importance of Bobby Thiriet to help clinch an investigation.

A Truckload of Rice was first published in 1968 by G. P. Rouge et Or under its original French title Le Commissaire Sinet et le mystère des poissons rouges, which translates literally as Commissioner Sinet and the mystery of the goldfish, with illustrations by Prudence Seward, a watercolourist and etcher born in London in 1926, and believed to be still alive today. As “A Truckload of Rice”, the book was first published in the UK by The Bodley Head in 1968, and translated, as usual, by John Buchanan-Brown. My own copy of the book is the first edition. There are a few copies currently on sale online if you want to buy one!

This is the third and final book in the sequence of novels set in the fictional Parisian suburb of Puisay, following on from the excellent The Clue of the Black Cat and The Mule on the Motorway. Once again the end of the previous book sets the scene for the next book, with the story that shops in Puisay are giving away a free goldfish to every customer. The Clue of the Black Cat remains, in my humble opinion, Berna’s masterpiece, but A Truckload of Rice comes close with an entertaining and unpredictable plot about the theft of the sum of fifteen hundred francs that has been raised by the people of Puisay to go to famine relief in Chandrapur, in India.

Unlike the last book, Berna doesn’t furnish us with a map to locate the various areas of Puisay, but we do know from the rounds made by the tramp Thank-You-Kindly, that Puisay is near Orly, Choisy-le-Roi, Louvigny-Triage, Athis-Mons, Massy-Palaiseau, Antony and Sceaux, all of which are real locations. However, unlike the previous book, the locations in this book only play a relatively minor part; it isn’t necessary for us to have any idea of where the places are in relation to each other. Also, unlike most of Berna’s books, there’s no sense of gang membership. The young journalists who work on the Puisay Students’ News are only briefly mentioned, and we only hear of two of Geoffrey and Lucien’s schoolfriends. This book is much more in the tradition of Magpie Corner and The Mystery of the Cross-Eyed Man, in that there are no more than one or two central young characters with whom Berna’s readership can easily identify.

And once again, it’s a very male-centred story, with very few female characters, all of whom are peripheral except perhaps for Catherine Verdier, Geoffrey and Lucien’s mother. The only girls that appear in the story are a brief mention of Gisèle and Caroline, who both attend the private Institution Garnier and whose only interaction with the story involves them giggling at some very minor flirtatious behaviour from Geoffrey. There’s also a couple of short conversations with Belle, Bobby Thiriet’s sister, but she plays no active part in the story at all.

Commissioner Sinet is still in charge at the local police station, assisted by Monsieur Malin, who appeared in The Mule on the Motorway and Inspector Valentin, a bright officer, but whose abilities and attitudes are occasionally found wanting. Lagneau, Geoffrey’s teacher, is unimpressed with Valentin’s attitude towards the theft: “the pickpocket on the 196 is nothing more than an unenterprising sneak thief. And he didn’t get away with all that much when he robbed the boy.” Lagneau replies: “Geoffrey […] reckons the cost, not in the paper francs in the envelope but in what they meant – the food snatched from the mouths of people dying from hunger […] Self-interest still hasn’t got its hold on those boys and girls and they’re far more giving than we are. The fact that a million and a half human beings suffer from hunger as if it were a disease, that ten thousand people die from this cause every single day of the week, has struck home far deeper with them than with their elders.”

Sinet remains very predisposed to approaches from the local children – much more than from the adults, in fact. There’s a moment when Sinet must pretend that Geoffrey and Lucien are his sons, to make their appearance less obvious when they’re out investigating. Sinet has a fatherly feeling towards the boys as he walks with them down the Voie du Renard. He loves to be associated with the youngsters. “Grown-ups bored him. They always wanted a logical answer […] Whatever their age, children would follow for preference a clue which the police would consider outside the range of their investigations.” I’m sure Berna’s characterisation of Sinet encouraged children everywhere to have greater trust in the police.

In the previous book, the distinction between the haves and have-nots in the town was less because the Thiriets had moved from the Rue Mirandole to the Belloy Estate; a move from poverty to gracious living. With Bobby hobnobbing around the stables and mixing with much more gentrified folk, the bad old days seemed a thing of the past. In this book, the Verdiers are firmly rooted in the Rue Mirandole and it’s clear that money is a problem. When it becomes necessary for Mme Verdier to find fifteen hundred francs unexpectedly out of nowhere, it’s not going to be easy. Nevertheless, Catherine Verdier is upbeat about the prospect, as the most important thing is the honour of the family: “It won’t kill us! We’ll just have to do without one of two luxuries: the holidays will have to be shorter and we’ll have to go to the country and not to the seaside; less pocket-money for you, and fewer treats; you’ll have to wear your old clothes until they are threadbare and I shall have to put off buying a new bed for Lucien.”

There are always individual moments in Berna’s writing which stand out for their impact, or humour, or simply because they combine eloquence with simplicity. A good example of this is in a brief description of Geoffrey, who is a robust, enthusiastic boy who throws himself into everything. There’s a delightfully subtle description of this robustness, when Catherine and Lucien are waiting for Geoffrey to arrive at the flat. “Then there was a half-hearted tinkle of the bell. The two looked at one another and raised their eyebrows: it could not be Geoffrey, for he generally sounded a carillon.”

What comes across most strongly from the story is the sense of urgency to raise money for people who are less well off than themselves; even those with few assets of their own show generosity towards the Chandrapur famine. It’s almost as though the Indians, thousands of miles away, are personal friends of the Puisay people; the drive to raise as much money as possible is a matter of unmitigated honour to them. As a result, there’s no competitiveness between the various teams of fund-raisers; there doesn’t need to be, as they’re purely motivated by the thought of raising as much money as possible: “There was no question of beating anyone else’s record. The money which they had collected up and down the streets went to swell a common fund, provided mainly by the generosity of ordinary people. As each emptied his tin upon the classroom table, he or she had the feeling of adding a little bit more to the lifegiving supplies promised to the starving inhabitants of Chandrapur.”

There’s only one instance of rejection of this kind reaction. Outdated language warning alert: This is spoken by the tramp Thank-You-Kindly, who turns on the boys when they try to get him to donate: “Things have come to a pretty pass when the working-man has the bread taken out of his mouth to feed a bunch of wogs!” Berna also doesn’t shy away from emphasising the full honour of dying from starvation, with a clinically brutal description of the process that seems out of place in a children’s book: “First of all the stomach swells up and then the skin gradually becomes drier and drier until it begins to crack. If malnutrition is not halted at this stage, the hair goes grey in a matter of days and then starts to fall out in handfuls; the eyes go dim and glassy; the person’s mind begins to wander, and then he collapses through sheer physical weakness. He may lie for a time oblivious of his surroundings, but not for long. He soon finds himself trapped in a nightmare. Scarcely aware of the daylight, he takes one, two, three steps even, only to collapse in the blazing sunshine of the street.”

Finally, it’s curious that Berna describes the exotic fish as a guariba – as that is actually the proper name for the brown howler monkey, native to Brazil!

Here’s my chapter by chapter synopsis of the book. If you haven’t read the book yet and don’t want to see any spoilers, here’s where you have to stop reading!

 

Chapter One – The Goldfish. Commissioner Sinet arrives at his desk to discover a goldfish in a bowl. The bowl is small but the goldfish is even smaller. He’s not impressed and demands to know who thought it was funny to leave it there. But Madame Michon, the charwoman, explains that she has given it to him, as it was a free gift with some shopping she did earlier with police funds. It’s a promotional stunt, and about twenty local shops are giving these goldfish away. She assumes that M. Brault, who has opened a new pet-shop, is behind the scheme; everyone who wants to buy fish food, or a larger bowl, or a companion fish, will go to him!

Meanwhile a flag-day is being arranged. The head of the Freedom from Hunger office, and indeed mayor of Puisay, M. Filleul, is on the phone to Sinet to remind him it will take place tomorrow and there’ll be a number of young helpers from the local schools on the streets, rattling tins and encouraging donations for their cause: A Truckload of Rice for Chandrapur. They’ve already raised thirty-five thousand francs through the generosity of local businesses and wealthy individuals. But they’re hoping for at least the same amount to be raised by these young people from the Institution Garnier and the Saint-Maur school.

Doctor and Mrs Kasterin have brought an elderly gentleman to Puisay, Durga Chandar, from his native Rajputana to emphasise the poverty plight that they are trying to address with their fund raising. M. Loetzen, the charity organiser, had suggested that Puisay should be twinned with Chandrapur, to give an extra spur to the effort; an idea that the Town Council agreed unanimously. The different areas of the town are to be divided up between different collectors; there should be no problem in the rich areas like the Avenue de Paris, but there might be some resistance in the poorer areas, like the Rue Mirandole or the Rue Général-Thuboeuf. But M. Lagneau of the boys’ school is convinced his hard-working collectors will do well. They have already worked out their targets: number one on their list is the tax collector in the Rue Mirandole!

Chapter Two – The Flag-Day. Geoffrey and Lucien Verdier can’t wait for the day to come; Geoffrey was out of bed at 7am making hot chocolate for his brother, his mother and himself. They plan to spend the whole day selling flags, so they need a good breakfast. Their mother, Catherine, is proud of her boys and is the first to donate; just five francs, but it deserves a flag. Inspired, Geoffrey and Lucien decide to donate that fortnight’s pocket money to the cause; giving their time alone somehow seems insufficient, when children are starving in India. Even Mme Hubert, the building’s caretaker, is happy to make a donation – having already been forewarned that she should by Mme Verdier.

As previously decided, their first port of call was to be the tax collector’s office. They go up the stairs to the main office where M. Chalus, the tax collector, is loudly complaining to those local citizens who were behind with their payments. Geoffrey is firm with M. Chalus, but Chalus is adamant; he will not give any money to the fund. Eventually though, they shame him into donating, on the understanding that the boys would tell everyone else how generous M. Chalus had been. They had hoped he might donate fifty francs, but he surprises them with a donation of one hundred francs. “They went downstairs with heads held high and in quick succession fleeced the Chief Clerk, the cashier and his underlings with a briskness that cheered the discontented citizens queuing at the counter.”

Chapter Three – Thank You Kindly. Thank-You-Kindly, the tramp, so called because he always uses that phrase to wheedle money out of unsuspecting passersby, is targeting the streets of Puisay for people to give him a few francs. He spots the rich and posh Mme Aubineau, whose dog he likes to flatter in order to get her to give him some money. She gives him a franc, just to get rid of him. Geoffrey and Lucien spot him and are outraged that he should be targeting the same people as them, but for a much lesser cause – he only drinks his money away. They bound up to him and shame him into giving them Mme Aubineau’s franc. Then they advise him to leave town, because with two hundred or so collectors on the go, he’s not going to secure any cash from his begging. Naturally they then turn their attention to Mme Aubineau herself, who flat out refuses to donate at first. It takes a combination of Geoffrey telling her exactly what happens when you die of starvation, and recounting the generosity of M. Chalus, to get her to part with ten francs.

It’s only 9.30 am but they already have a tin full of cash and not many flags left over, so the boys head to the school where teachers M. Lagneau and Mlle Collet are working hard, managing the counting of money and the distribution of flags. Geoffrey and Lucien have collected three hundred francs so far; the other collectors, Gisèle and Caroline, Big Bob and Prosper, have brought in about the same amount. Lagneau’s suggestion of sandwiches and lemonade is replaced by a very welcome celebratory steak and chips, and at 2.00pm the collectors all go out again to continue their good work.

Chapter Four – The Blind Man Shows His Hand. Towards the end of their round, Geoffrey and Lucien pay a call on M. Léonard’s grocery store on the Boulevard de Rungis. He’s happy to donate and gives them a fifty franc note. Geoffrey gives him all the details about how the collection is being handled and tells him about M. Loetzen, Doctor Kasterin and Durga Chandar. Meanwhile, Lucien is intrigued by the row of goldfish bowls in M. Léonard’s shop. The storekeeper offers him one, but Lucien declines as it simply wouldn’t be practical to try to pin flags on lapels whilst holding a goldfish bowl.

Back at the count, the boys are just twenty centimes short of one thousand five hundred francs – an extraordinarily successful day. It’s agreed that Geoffrey will accompany M. Lagneau back to M. Léonard’s in the hope that he will exchange all the small change for big notes. The grocer is happy to oblige and gives them three five hundred franc notes in exchange for their cash. Geoffrey chooses a goldfish to give to Lucien, but decides not to take it at that moment, saying he will come back for it. Instead, Geoffrey has the honour of taking the money to the Town Hall, and giving it Mme Filleul. Lagneau tells Geoffrey which bus to take, and then walks on to the Belloy Estate.

The bus is very full. Just before he’s due to get off, a blind man asks Geoffrey’s help to get off and walk with him a little of the way. Geoffrey of course is as helpful as he can be. Eventually the man walks off once he knows where he is. However – Geoffrey discovers that his jacket has been slit open with a razor and the money has been stolen. All that effort and generosity wasted; what a disaster – and will people believe him?

Chapter Five – A Costly Sense of Humour.  Lucien is buzzing with excitement when he gets home and can tell his mother all about their day’s adventures. But when Geoffrey appears, he confesses that he had been standing outside their apartment for the last five minutes: “I heard you laughing and I didn’t dare ring.” Geoffrey tells them both about the theft of the money, the damage to his new jacket and that it was the apparently blind man who did it. Geoffrey goes on to say that he feels he can’t tell anyone, because they’ll all think he stole it.

Catherine takes control of the situation by deciding that they’ll have to pay the fifteen hundred francs out of their own pocket. It will mean borrowing from the neighbours, asking her employer for an advance on her salary and cutting their expenses generally. “In the meantime, we’ll just have to tighten our belts… like the Indians in Chandrapur.” Geoffrey is relieved that she isn’t cross with him and believes him. Lucien is furious but understands.

Geoffrey takes the borrowed money – fifteen one hundred franc notes – to the Town Hall and hands it to the disagreeable and unfriendly clerks, who take his envelope and dismiss him without thanks. Thinking back on the day’s events, Geoffrey feels wretched. ““I shan’t ever get involved in working for charity again.”” But when Lagneau witnesses the envelope of cash being opened, he realises that something has happened – it’s a different envelope, and there are fifteen notes rather than three. Concerned, he decides to visit the Verdiers. He arrives as they are just settling down for dinner and can tell instantly that Geoffrey has a frightened look on his face. He explains that he saw the envelope and the bank notes had changed: “the only possible explanation which occurred to me on the way here is as melodramatic as you could wish and the look on your face isn’t exactly encouraging… Own up, now, you lost the envelope, didn’t you?” Geoffrey tells him what happened and shows him his ripped jacket. Lagneau tells him he should have come straight to him and it could all have been settled easily – but having done what they have done, it will be very difficult to return the money to the Verdiers? Catherine emphasises that she doesn’t want her children to be under suspicion. Lagneau understands – but is appalled at the personal sacrifice the family has had to make.

Chapter Six – The Man on the Bus.  Lagneau wastes no time in coming to see Commissioner Sinet with Geoffrey. With great efficiency, Sinet’s backroom staff have all the facts about the numbers of blind people in Puisay. When they eliminate all the obviously inappropriate suspects, they quickly decide the culprit must be M. Rougier, “a disabled soldier […] Very respectable gentleman.” When they pay him a visit, it is Rougier himself who answers the door; and Geoffrey is in no doubt that he was the man whom he helped off the bus. Sinet questions him further; and it emerges that there was a fat man standing next to both Rougier and Geoffrey, who rudely bustled past Rougier – and with his limited vision Rougier could identify the fat man also had a white stick. One more clue: Rougier felt that the man had a cardboard flag in his buttonhole.

Geoffrey realises only a few people could possibly have witnessed Lagneau giving him the sealed envelope and is determined to pursue his own investigations into who it might have been. But Sinet quickly discovers that there were at least fifty people in the street who could have seen the money being handed over. He’s determined to get to the bottom of the crime.

Chapter Seven – A Drop of the Right Stuff. Next day Sinet decides to follow up on the evidence so far and identifies the only blind man in the area who is fat. However, this is a dead end, as this M. Mancheron is also bed-ridden and completely incapable of committing the crime. Meanwhile, at school, life goes on as normal for Geoffrey and Lucien. Lagneau is convinced Geoffrey is completely innocent but appreciates that his mother did exactly the right thing. Geoffrey tells Lagneau that there was something suspicious that happened the day before – but he can’t quite put his finger on it. M. Léonard, too, is perplexed;  he notices another five hundred franc note in his till, but he was certain he had given them all to Geoffrey and Lagneau the day before. Why was there another note in the till? It even has a memorable serial number: 12345.

Léonard goes to the Welfare Offices, where he meets Lagneau. He explains the curious situation regarding the notes. Lagneau has a solution: someone has since returned to the shop and used it to pay for their goods, or to exchange it for smaller notes. Together they seek out Sinet. They decide to return to the shop to question Mme Léonard. She remembers someone about 7.00 pm, coming in to buy a bottle of brandy and used the five hundred franc note to pay for it. She remembers him being “cheery, fat, with a hat pulled down over his face and dark glasses. He looked rather like a clown in mufti.”

Geoffrey and Lucien are also at the shop. Geoffrey says they have come to collect the goldfish that M. Léonard had put aside for Lucien. However, Mme Léonard apologises and explains that it has been given to someone else – the man who paid for his brandy with the five hundred franc note. “Geoffrey laid his right hand on Lucien’s shoulder. “And the two of us, “ he said to the amusement of all, “are going to follow the clue of the goldfish.””

Chapter Eight – The Clue of the Guariba.  Geoffrey and Lucien pay a call at the exotic fish store recently opened by M. Brault. He tells them that a few of the free fish he gave away were more than just mere goldfish; and Geoffrey’s description of the fish he chose for Lucien leads Brault to deduce it is a guariba. Its water mustn’t drop below 22 degrees Celsius and it lives on green water weeds and plants with tender leaves. Clearly, all Geoffrey and Lucien need to do to find the money is find the guariba!

Meanwhile, one of Sinet’s men has tracked down a man who was shamming blindness, and is conning people into buying his door-to-door wares. He knows he’s not really blind, as the officer saw him get into a car and drive off. His name is Alfred Peignon; but as soon as Sinet sees him, he realises it’s not the same man who bought the brandy – his description is completely different. However, Sinet continues to question him and discovers that Peignon knows another sham blind man; a man who parked a car, a grey DS with a white roof, put on dark glasses a hat and took out his white stick, and got the same bus that Geoffrey and Rougier did. Sinet insists that Geoffrey takes a look at Peignon to find out if he saw him on the bus – but Geoffrey doesn’t recognise him.

Lucien explains the whole story about the guariba to Sinet. They are, in fact, looking for nine guaribas, not ten; as Sinet himself also has one swimming about on his desk. And Geoffrey drops a bombshell to the extent that he just has a slight suspicion that the truckload of rice bound for Chandrapur won’t reach its destination. Lagneau is annoyed at the accusation, but Geoffrey can’t explain why he feels it.

Chapter Nine – The Trap is Set. It’s Saturday, and business is brisk at M. Brault’s exotic fish store. Sinet – alongside Geoffrey and Lucien – wants a list of all those people who have made themselves known to him as being lucky winners of a guariba. One is Madame Deuzy, and we know she’ll have nothing to do with the crime, as she was so helpful in the cases of the Black Cat and the Mule. Another is the esteemed M. de Saint-Véran, a local VIP well known to Sinet as a bank director and business executive. Yet another is Mme Aubineau, from whom the boys struggled to obtain a donation of ten francs; she wouldn’t be seen dead on a bus. Then there was M. Samson, from Voie du Renard, “a district with a bad name […] A big, middle-aged man. Drove a 2 CV” and he paid with a five hundred franc note.

Sinet and the boys arrive at Voie du Renard, trying to look as inconspicuous as possible, just like a father taking his sons out for a walk. Stopping outside M. Samson’s house, they engage him in conversation, mentioning that M. Brault had said M. Samson was an expert in tropical fish and that the boy had just taken possession of a guariba. Samson takes them to see his aquarium; he has already bought a companion guariba for his free one. Sinet establishes that the second fish cost fifty francs, but Lucien gives the game away that they are investigating a theft and Samson recognises that Sinet is the Commissioner of Police. On further questioning, Samson reveals that the five hundred franc note he used to buy the fish with was given to him as part of his retirement pension. He also discloses that he is  a retired police officer, and he and Sinet reconcile over their mutual professions. Back at the station, Sinet’s men have got the numbers of all the grey DS’s with white roofs in Puisay – there are ten of them, just like the guaribas.

Chapter Ten – Bobby Takes a Hand. Inspector Valentin explains that the owners of these cars are very unlikely to be involved in the case, as they are all respectable, employed people. One of them is M. de Saint-Véran, but Sinet finds it impossible to believe he can be wrapped up in this crime. Another is notable local doctor, Doctor Lavalette. There’s a M. Milard, a butcher who makes ten thousand francs a day from his shop, so he’s unlikely to need the money; another belongs to the wealthiest chemist in town and the sixth to Mlle Amandine, who runs the new fashion shop in Belloy. Then there’s M. Potter, whose car has no wheels, and M. Gourel, a disabled ex-serviceman. The other two belong to M. Filleul, the mayor and Doctor Kasterin of the Freedom from Hunger campaign!

Back at M. Brault’s shop, the seventh guariba-owner emerges as a young lady comes in announcing she’s going to keep her free fish. Sinet sends Valentin to trail her once she has left the shop; he finds out that she lives with her mother on the Belloy Estate and was given the fish by the man that runs the leather shop in the arcade. Annoyed by his approach, either the young lady or the mother gave him a good smack around the face. Later an elderly couple returned their guariba saying it was impossible for them to look after. But then another man appeared, looking for a companion to his guariba; he instantly arouses the suspicion of Sinet and Lagneau. He does not leave a name, and they decide to follow him. This leaves Lucien alone, observing another boy around his own age in the shop; he was from the lycée and wore one of the charity flags. It turns out that the boy owns the tenth and final guariba. He’s come in to buy a cheap aquarium, he can’t afford anything better. His name: Bobby Thiriet.

Meanwhile, Sinet and Lagneau are still following the owner of guariba number nine. He turns on them and demands to know why they are following him. Refusing to help them, he refers them to the caretaker and slams the door on them. The caretaker names him as M. Vibert, an architect. His car is in a scrapyard as he hasn’t driven since his wife became semi-paralysed in a car crash. He confirms that Vibert has fifty or so fish in his aquarium.

Back at M. Brault’s shop Sinet is delighted to discover that Bobby Thiriet owns the final guariba and that Lucien has gone off following him. “Bobby will lead us straight to your thief, simply by getting a confession out of that goldfish everyone around us has been laughing at for the last couple of days.”

Chapter Eleven – The Accusing Goldfish. Bobby knows Lucien is following him and eventually confronts him about it. After they realise that they both know the poverty stricken area in which Lucien lives, and where Bobby lived, the ice is broken between them. Lucien wants to see Bobby’s goldfish – and Bobby doesn’t understand Lucien’s interest. But he’s curious now, especially since it was the clue of the black cat that had stimulated Bobby’s attention a few months back. He invites Lucien in to see it, but Bobby’s sister Belle has bad news: the cat has upturned the glass bowl, and eaten the fish. Lucien explains his interest and Bobby is fascinated. “Your goldfish could convict a man, at least in a rather roundabout way. It’s a terrific story! I’ll tell Charlie Baron about it! He’s chief editor of the Puisay Students’ News. We’ll run it as a 25-part serial.” Lucien’s story reminds Bobby and Belle of how their own family had been tricked out of money.

Lucien finds out that it was Colonel Brousse, the owner of the Saint-Just Riding Club, and who has offered shelter to Quicksilver in The Mule on the Motorway, who gave him the fish. Bobby is keen to confront him about it. They leave for the Riding Club, just before Sinet arrives at their flat and Belle tells him they have gone to see Brousse. Sinet instantly follows and arrives just in time to see Bobby and Lucien ask the colonel about where he got the goldfish. He explains that it was given to him by his son, Joel. In turn, he had been given it by a fat man in a grey DS with a white roof. Joel says that they had seen him before – “Wednesday evening at Doctor Kasterin’s lecture… he was sitting on the platform, next to that old Indian with the beard.”

He was describing Monsieur Loetzen.

Chapter Twelve – In the Bag. Geoffrey had suspected something was wrong all along but couldn’t say anything for definite. He recollects something about M. Loetzen in conversation with M. Lagneau: “On the evening of the flag-day, when you’d finished adding up the takings. His enthusiasm was just as insincere as congratulations. You don’t thank boys of fifteen by patting them on the cheek. Bob and his mate Prosper were just as embarrassed as I was. I’ve thought pretty hard about that little scene.” Sinet has deduced that Loetzen is “just a sneak-thief after easy money.” But what about the Kasterins and Durga Chandar? Could they be implicated in the crime too?

It turns out that Loetzen has been using the Kasterins’ car ever since the appeal opened. After further questioning, Geoffrey agrees that he did recognise the blind man – it was when they met Rougier without his glasses on, and he remembered how different the two men looked. “I was appalled when I realised he reminded me of Monsieur Loetzen. You see I couldn’t imagine that a crook could be as treacherous as that or prepared to rob such a respectable charity as the appeal.”

Sinet confronts M. Filleul with these suspicions. He confirms that it was Loetzen who “put himself forward for the job [of publicising the appeal] saying it was in line with what he did for the Red Cross.” He also advises that Loetzen had asked “for two large cheques to be made out in favour of the firms who are to supply the aid.” Sinet tells him to delay the cheques at all costs. He advises the boys to go home, have a good sleep, and return to the Town Hall in the morning. “But this was not enough to appease Geoffrey’s thirst for revenge. What is more, the good Commissioner was wrong to overlook the fifteen hundred francs replaced by Catherine Verdier.” Sinet gives Lucien his guariba, as though it were a consolation prize.

Geoffrey leaves Lucien halfway home; determined to get his revenge, he decides to catch a 196 bus in the hope of trapping the thief. And there on the bus is Loetzen, with dark glasses and white stick, sitting behind the conductor. Geoffrey doesn’t know how he’s going to catch him but catch him he will. He watches a woman laden with parcels stand next to him, with her handbag dangling right in front of Loetzen’s view. Temptation beyond endurance for Loetzen; and it’s at the very moment when Loetzen has his hand in her handbag that Geoffrey grips his hand to drag him off the bus and straight to the police station.

Chapter Thirteen – Durga Chandar. Sinet reveals to Loetzen that it was Peignon who confirmed his involvement. The cut-throat razor, that Loetzen used to cut through jackets or handbags, lay on the table – full of excuses, Loetzen dismisses it as his bunion remover. Mme Léonard appears and confirms he was the man who bought the brandy and used the five hundred franc note; then Joel Brousse appears and confirms he was the man who gave him the goldfish. Geoffrey demands the return of his mother’s fifteen hundred francs; then Lucien demands eighty francs to mend Geoffrey’s jacket. On return of the cash, they let the felon leave the police station – but outside he walks into a trap, as two officers are there to take him to the police headquarters on a couple of dozen more charges.

The next day Geoffrey and Lucien head off to the Town Hall. Loetzen’s place on the Committee has been taken by M. Chalus, the tax inspector. The ceremony was dull with endless speeches, and the old Indian, Durga Chandar, seemed unimpressed by it all. There was the usual chatter; Brousse offers Geoffrey the chance to ride Quicksilver at the stables for nothing and Mme Kasterin has reserved a place for Mme Verdier with her sons at the banquet. But no one was talking to Durga Chandar – except Lucien, who realised what the problem was. In all the debate about Indian famine, no one had remembered to offer the old man anything to eat! It only took the offer of some chocolate to melt the ice.

To sum up; A beautifully written and constructed book that brings all the goodness and charity (literally) out of its main characters and stresses the importance of honesty and decency. The story is told briskly, taking place only over a matter of four days or so. It’s also a very successful children’s whodunit! Sadly, this would be the last time we would meet the Thiriet or the Verdier families. If you’ve read the book – or are re-reading it now, I’d love to know what you think about it, so please add a comment below. Next up in the Paul Berna Challenge is a completely different scenario, with no associations with any of his previous works, L’Épave de la Bérénice, translated into English as The Secret of the Missing Boat. I look forward to re-reading it and sharing my thoughts about it in a few weeks.