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On The Table Read Magazine, “the best entertainment eBook magazine UK“, author Samuel Charlton shares what inspired his debut novel, The Boy From Manfucia, which explores the themes of protest, migration and the rise of the far right.
I interviewed Samuel Charlton about his life and career, being inspired to write about the rise of the far right in The Boy From Manfucia, and his creative writing process.
I am a novelist with a keen interest in current affairs, politics and human rights, and believe that literature and storytelling play a vital role in shaping our society for the better. I also work as an English teacher in Ealing, London, and enjoy sharing my passion for literature with the next generation.
My first book, ‘The Sun Will Fall’, was a story of a young British volunteer and a Kenyan farmer working to sustain a Kenyan farm during the climate crisis. I first wanted to write this book after returning from Kenya as a volunteer in international development, where as a White-British volunteer in a former British colony I came to realise the complexity, inequity and hypocrisy of a Western-led development system, and decided to explore the pitfalls and problems of this system head on. I believed this could be best achieved by writing a novel on the subject.
I first began writing this novel when I returned to England, where I also started to work for a small charity in Kent, England, that aimed to promote diversity in the community and in the country, focusing on a project that promoted the memorialization of black and Asian soldiers for their services fighting for Britain during WW1, a contribution that was largely ignored by remembrance services in the country. Exploring the relationships and power imbalances between different cultures and nations, especially when it came to cultural and national memory, helped to develop my ideas in my writing.
This first novel, which was not released, took me three years to write. This experience was vital in learning how to write a long novel – which is exhausting work!
My second and latest release, ‘The Boy from Manfucia’, took me three and a half years to complete.
‘The Boy from Manfucia’, a novel focusing on the attempts of a British human rights lawyer to rescue a refugee called Shayan from persecution, was inspired by my continued frustration with the human rights system and the liberal West, which is happy to criticize other countries for human rights abuses while failing to deal with them within their own borders. Being a native of Kent, England, I was inspired by the government’s problematic decision to house asylum-seekers in defunct military buildings along the coast while they awaited refuge.
My biggest challenge was dealing the moral complexities of characterising a refugee from another country; it is a constant balancing act between empowering them, depicting them with realism, and voicing them imaginatively, while also avoiding the trap of the white-savior complex. I can never really say that I have succeeded in this, but it is an issue that must be dealt with carefully when writing any sort of social protest work.
Dahlia, the human rights lawyer who is given the task of saving Shayan from persecution, is also suffering from her own trauma. I was inspired to write this heroic character by a family member who also dealt with severe mental health difficulties. She also embodies the complexity and values of the liberal West, and like any tragic hero she is a flawed character.
The antagonist, the Tyrant Seeker, is a far-right provocateur who is inspired by a range of figures who sow discord and division in Britain and beyond for their own purposes. He is a threat not just to refugees and minorities, but also to the security of the nation.
The inciting incident is the accusation that Shayan has committed a terrorist attack in the totalitarian state of Manfucia. The task of Dahlia is to investigate the truth behind his indictment.
The central conflict in the book is not between characters, but between two contrasting belief systems: autocracy and democracy. Both are vying for not just political power and territorial control, but also moral superiority. The book investigates the ever-tightening contest between the two in our current world, and the catastrophe that could unfold when restraint, truth, and understanding is lost.
I like to write freely. I begin my novels with an opening scene that encapsulates all the central ideas of the story, then let the narrative unfold from there chapter by chapter as I am writing. It is a much more enjoyable and creative experience, and I am firm believer that the best way to be one step ahead of the reader is to avoid preconceived plot plans.
The book took several edits on my part, and an edit from a friend. I like to keep out editorial interference as much as possible – I’m quite precious!
I would say to keep your ear to the ground and to keep your eyes open. All literature comes through close observation and experience of the world.
My next book is going to focus on jazz – its socio/political importance, its whole-heartedness and its rich, complex and fascinating history. The novel will explore the issue of performance in politics, as well as the social and economic threats posed to music culture as a whole.
I try to keep pride out of it – I think my biggest wish is to help people see the world in a different way, and find to resonance with my book, particularly on the issues of mental health and trauma. Then it is worth the effort.
Kindle: https://amzn.to/40BmI7o
https://www.goodreads.com/book/show/217136940-the-boy-from-manfucia
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