Tuesday 23 September 2014

Or Forever Be Damned - article in Perth Gay News

Posted in Perth Gay News 22 September 2014:

C S Burrough's New Novel:


Or Forever Be Damned

C. S. Burrough, a.k.a. Colin Burrough, is best recognised by his tribe for contributions to queer literature, some archived in Australia's National Library. His first published piece was lesbian love story Box and Cotton in Pascoe's 1989 Australian Short Stories series. Over 25 years his words have adorned Australian gay publications: In Outrage magazine's anthology he documented tales of Sydney's early gay bar, the Rex Hotel, in Just Up The Road. His 1995 autobiographical novel, Keeping the Family Name, reached number three on local gay bestseller lists. Following his Capital Q Weekly column of some years, his 2001 fictional serial, Not Grunting Squealing, was a weekly feature in SX News' first six months. His 2009 story, Parlour, appeared in Gay-Ebooks' Christopher Isherwood inspired I Am A Camera.
But outside this niche he covers various genres, including historical fiction, which is where this novel sits. Or Forever Be Damned, a saga spanning eight decades, follows the lives and families of two very different women who escape the slums of northern England's 'Cottonopolis', Salford. Brought together fatefully in the 1930s Slump, a simmering irrational enmity ignites when the two aspirant showgirls meet in youth, burns steadily until death, then lives on, transported to Australia by their progeny.
Burrough discloses that, while this is no gay novel per se, it features important, if not major, lesbian and gay characters. 'Ultimately for a wider readership, this epic also notes the shape of our queer predecessors. We aren't centre stage but cannot be ignored.' He reveals that the later chapters chart vital historical developments towards Gay Liberation: 'These strands are key to the fate of one protagonist.' He assures it is also richly endowed with elements traditionally satisfying to LGBT readers. 'There are strong theatrical threads and related campery. High drama too. And being about two warring women it gets suitably catty, in a nuanced way.'
At a generous 94,000 words approx, Or Forever Be Damned is published by Australian Silky Oak Press and now available eBook from www.amazon.com. Also paperback released from September/October 2014 also from Amazon.
Print covert art is by Shayne Chester.

Purchase this book via the links below:

Tuesday 16 September 2014

Or Forever Be Damned review by Peter Dickerson

Or Forever be Damned 

Peter Dickerson's Amazon review



The author spent 2 years researching this historical saga. The research is obvious. There is great breadth and detail with regard to food, fashion, hardship, illness, culture and politics. The theatre backdrop to the story is essential and fascinating.

This soaring family saga covers generations and decades. It is grand in its involvement for the reader and in the shared experience of the pain and difficulty of the lives which have been endured.
The war decades are very like the despair and hardship described in Down and Out in Paris and London, and The Road to Wigan Pier. When reading during these decades one experiences the shortages, suffering and destruction. It is difficult to believe that humans could survive this horror. Many did not of course.

The characters are flawed, have strengths and talents, and affect each other positively and negatively. The story is very much a tragedy, but it is also a story of lives lived, of decades endured, or relationships shared and destroyed. It is difficult to actually like any of the characters. They are all so flawed and all cause so much destruction though their flaws. They are interesting to observe. The first half of the book is brutal and life is very difficult. The final half of the book is fascinating but remains harsh. The decades swept past.

I have to compare this book to the grand and majestic saga The Mists of Avalon which also covers generations and decades lived and endured. The similarities with the tragedy and suffering of the families in the two books seems worth noting.

A great and memorable read. The level of research and historical detail is noted and very appreciated.

Or Forever Be Damned review by author and performer Julian Wild

I was so grateful to acclaimed author and perform Julian Wild, who wrote on Goodreads:


“Or Forever be Damned…” is a thoroughly engaging family saga that is a work of true historical and social relevance, taking us from the height of British Imperial power and relevance and on through the ensuing decades of decline and decadence: Societal values changing; some for the better, many not so. It is a work of not only historical importance, relayed in painstaking accuracy, but it is a study of social structure, involving disparities of class, religion and region. I was intrigued by the premise of the novel and by the subject matter: such topics within the novel being personally relatable; career situations and regional flavor so on point that only one who truly had lived in these places or times and known these people and their lives could convey such to the reader. And how C. S. Burrough has painted his canvas with such devotion to detail, such accuracy! His evidently painstaking devotion to authenticity is the gift he presents to the generations of readers who will be drawn to this tale. It reads like the historical saga it clearly is, with an ease and flow that is well paced and involving. One is drawn into the storyline from the first chapter.

It is a book to be considered on many facets. There is the startling fact of the changing times’ effects on attitudes, formalities, manners and practices. Then there is the story itself, apart from social relevance. Characters are well drawn and true, memorable for possessing identities gleaned from an authenticity born of knowledge. This genuine flavor makes the characters live. There is not the orthodox protagonist verses antagonist, as characters display both endearing and unfortunate characteristics, being at once sympathetic, then flawed. I prefer this, as it calls upon you, the reader, to reach your own determination as to whom is the more sympathetic and worthy of our emotional investment, thus keeping the reader engaged in the story-line, allowing one to reach one’s own conclusion of any message to be drawn from the epic saga. And epic it is! This is a work to be considered. It is also a work that will live with you long after you finish it.

Whilst reading this work I was wondering what particular message the author might be trying to pass along to the reader, if he had one at all – consciously or otherwise. But as I concluded the final page it came into clarity, exactly what message, what conclusion ought to be drawn from this fine work. I am glad to have read this work for that, and I would wish to thank the author for his efforts to that end. I would highly recommend this work to anyone, and would challenge them to discover what their own sincere conclusions would be upon finishing. Whether or not the author intended it, there is a message.

Monday 15 September 2014

Or Forever Be Damned review by artist Shayne Chester

Artist Shayne Chester wrote on Goodreads


This is a fantastic tale, built around strong, three-dimensional characters and set in a history recent enough for most readers to strongly empathize with. Although the story unfolds over several generations, the narrative drives forward like a locomotive and is at once poignant and exciting thanks to the impeccable wordsmithing talents of this author. I feel like Mona, Ambrose, Kat, Ginny, Thaddeus, Gideon, Martha, Lydia, Sissy, Seth and all the wonderful, warm, ensemble of neighbours have become an extended family. I'd fully recommend it, it deserves a place in the classics.

Sunday 14 September 2014

Or Forever Be Damned review by UK actor Sally Mortemore

Posted at Amazon


C.S. Burrough's extraordinary novel spans eight decades beginning in Salford, Manchester in 1935 as a young woman hangs out the washing across cobbled streets. It is a novel of great capacity not only stretching the years, but also counties and continents whilst exploring familial jealousy, desire, ambition, competition and personal success.

Beautifully structured with a compelling narrative, Burrough writes with great attention to detail and builds such clear, bright images one can taste them in ones mouth forever craving the next spoonful.
Thoroughly recommended.

Or Forever Be Damned review by UK author Wendy Steele

Posted at Goodreads by Wendy Steele


Mona Dingwall is the elder sibling to her brother Ambrose and lives with her family in a row of tiny terraced houses in Salford in 1935. His meeting and befriending of Kathleen Teal, begins a feud between Mona and Kat that lasts through the war and beyond.

Throughout the book Burrough includes references, products and advertising that describe Britain between, during and after the World Wars. Language and dialect are contemporary with each era. Life during this time is graphically described, evoking the smells, sounds, fear and destruction during the Blitz and the long years of rationing that followed.

Mona and her family are beautifully described, against the ever changing background of world events. I loved Sissy and Ginny!

This is a well-written and well-constructed book, following the lives of two women in their search for acclaim on the stage and the families and circumstances that aid or thwart them. For most part, I enjoyed the writing style, happy to look up words in the dictionary, but my only criticism is that sometimes, the descriptions were so long and full of so many long words, I forgot what they were describing! There were fabulous, magical descriptions and phrases but I felt they were sometimes lost in too many words as they didn't shine out as they should.

This is a recommended 5* read for those enjoying historical, well-written fiction.

C S Burrough interviewed by UK author T E Taylor

It was my great pleasure being interviewed by UK writer T E Taylor ...

whose transcript is posted on his blog


Welcome, Colin!  Tell us about your novel, Or Forever Be Damned. 
 
It's an historical saga spanning eight decades, following the lives and families of two very different women who escape the slums of northern England’s ‘Cottonopolis’, Salford in the 1930′s Slump.  Mona — a poor but respectable Protestant teenaged factory girl, is tormented by sibling rivalry over her favoured artistic younger brother, Ambrose. Untrained and against parental orders, stage struck Mona resolves to outshine Ambrose, furtively pursuing a theatrical career. Into her journey, Mona unearths her younger bĂȘte noire, Kat — a Catholic rough-diamond child-veteran entertainer who, conversely, yearns to escape theatre life. So begins their lifelong enmity — a simmering irrational enmity that lives on in modern day Australia.

What was idea that led you to begin writing the book?
 
I've always loved the great historical fiction classics, including family sagas, and thought it a shame, as trends change, seeing them phased out, shelved for posterity. Most popular contemporary fiction – crime, sci-fi, fantasy, whatever – does  little for me as a reader, so I'd feel a fraud as a writer, producing what I won't consume. I'd met countless classic saga fans who felt similar: browsed library shelves becoming dismayed, having exhausted this special genre of yore.  I thought, if nobody else will top up supplies, why not me? The challenge nagged at me for ages before I caved in and took it on. I've also, from decades of consuming historical non-fiction, acquired knowledge of various periods, which felt unused, sitting in my head. My passion for historical trivia needed expression. Then there was my weird theatrical background, which others were fascinated with. As a storyteller it made sense to combine these two fields at some point.
 
How far does the novel draw upon your own experience?
 
Very little. Like everyone, I have family experience, geographical experience and professional experience, which came in useful, but this story covers mostly times and places I didn't inhabit. The characters are entirely created, not drawn from those in my life.  
 
You have been writing since 1989.  Would you like to say a little about your earlier work?
 
When I first left England, many years ago, someone suggested I keep journals of my first impressions of places, to reflect on, in hindsight. I travelled extensively with my theatre work and spent many hours in trains, boats and planes, watching foreign places whizz past, passing my time just thinking and writing. After some years I had all these written words and had developed a skill I liked using. I did journal articles, weekly columns, essays, short stories, novellas, and along the way my memoirs. I think all those writing stages needed to unfold to get me to this one. I just kept going, doing whatever came next, it wasn't a planned, structured vocation. A lot never reached publication and some is listed at AustLit:
 
What writing projects to you have planned or in progress at present?
 
I'm tied up with this novel's release, which is in two phases. The eBook was released just weeks ago and the paperback is out in coming weeks. I'm not ruling out spinoffs or sequels, but have no time yet to plan anything.  I'll stay with literary fiction though, a book of short stories really appeals to me. Also a screenplay of one of my favourite classic novels is a far off dream, but I'd rather not say which, I might jinx myself.
 
How do you plan and organise your writing – any tips?
 
It starts with some character entering my head, in some situation. Then I do rough sketches, pastiches, let it evolve spontaneously. Only when I see a basic outline forming do I draft a short, rough plot outline. I resist predetermining the conclusion, the situations are driven by the characters' decisions as I write. I then rewrite everything many times from start to finish. I start this by condensing the word count until it's a tight as possible without losing mood, style or cadence. Then I reread and rewrite, over and over. I wake at strange hours and jot down insertions and adjustments that come in my semiconscious states. Hard plotting from the outset is my literary death – I leave that for the fast-fiction industrialists.
 
You have had a career in the performing arts.  Is this still a part of your life?
 
No. I grew up in theatre, trained full time in Performing Arts, then worked for a long time in the business until I craved different experiences. That world demands all of you, there is no other life when you're there. It remains an ingrained part of me though, and will always be in me.
 
Do you have any other talents or interests that you would like to share with us?
 
I'm fascinated with English history, hated it at school, maybe it's a nostalgia thing. I also love animals, sunshine and beaches. And I still travel when I can.
 
As someone brought up in Britain who has lived for many years in Australia, do you consider yourself British, Australian, or a bit of both?
 
I'm an English born Australian, a citizen of both and equally proud of both.
 
What question would you have liked me to ask that I didn’t?
 
Why do you keep writing?
 
And what is the answer?
 
Dogs bark, drunks drink, writers write.
 
Many thanks for those insights, Colin, and good luck with the book!
 

C S Burrough interviewed by Bulgarian author, journalist and TV commentator Ognian Georgiev

It was my great pleasure being interviewed by Bulgarian author, journalist and TV commentator Ognian Georgiev ...

... who posted these results on his excellent blog 


Questions:

1. What is your book Or Forever Be Damned about?

It is an historical saga spanning eight decades, following the lives and families of two very different women who escape the slums of northern England’s ‘Cottonopolis’ in the 1930′s Slump.


2. How you decide to write the story?

I was always fascinated with historical detail and love reading fiction classics, including family sagas. I also grew up around, and then worked in, the theatre for many years, so have a thorough working knowledge of that industry, its people, background and traditions. This peculiar mix of ideas has whirled around in my head, like a spectre which I wanted to exorcise, work out of my system by expressing it in my own unique fictional form. After writing various other genres I wanted, for a long time, to create my own dramatic saga, using my combined knowledge of history and theatre, and incorporating my own literary style and character creations.


3. What was the biggest challenge during the write up process?

My own need for historical precision. I spent two years painstakingly researching the novel's historical timeframe and geography, so as to accurately position each fictional character: geographically, circumstantially, socially, professionally, emotionally and stylistically. The more fine detail my historical research uncovered, the more fascinated I became and the more compelled I was to delve even further. It became challenging imposing my own limits onto this exercise, tempting to continue indefinitely.


4. Tell us something more about your main character? Is it close to someone from your real life?

There is no orthodox protagonist verses antagonist.  Instead I have two main female characters, each sympathetic yet flawed. Mona, who we meet first, is a poor but respectable Protestant teenaged factory girl, tormented by sibling rivalry over her favoured artistic younger brother, Ambrose. Untrained and against parental orders, stagestruck Mona resolves to outshine Ambrose, furtively pursuing a theatrical career. Into her journey, Mona unearths her younger bĂȘte noire, Kat, a Catholic rough-diamond, a child-veteran entertainer who, conversely, yearns to escape theatre life. So begins their lifelong enmity. The reader decides who is the more sympathetic, but is unpressured into siding. Neither woman is based on anyone from my personal life. Their various relatives, too, are entirely fictional, an exercise in human drama, explorations of the human psyche.


5. How much time you need to finish the story and to publish it?


This story took two years and is published. That timeframe is normal for anything I write. 


6. What about your other novels, short stories and novellas?


I've written and published various stories and novellas over 25 years, some are listed on AusLit  http://www.austlit.edu.au/austlit/page/A18776?mainTabTemplate=agentWorksBy


7. Who are you?


I’m a Sydneysider who writes. I love cats, sunshine and beaches, ride a scooter and read a lot. My name is Colin.


8. What are your writing habits?


When tied to a project, I write at all times of the day and night. I also go for long periods without writing, to 'recharge' my creative motor.


9. Are you satisfied by the sales of the book and do you plan another one?


It is too soon to say about this book's sales, but I am delighted with its critical reception.


10. What are you doing to promote by the best possible way your book?


I mostly share information about it on social media.


11. Which is tougher to write, a theater production script or a novel?


I wrote scripts and produced theatre as a full time drama student. I find novel writing the hardest most demanding as that requires so much more narrative than mere dialogue and staging. Narrative style and rhythm is the essence of good literature, for me, not just plots and characters. 


12. Your version on who was hidding behind Shakespeare's works?


I believe he wrote his own material, borrowing from ancient Greco-Roman classics. I believe he also at times wrote under instruction from powerful political propagandists. I am unconvinced that his actual penmanship needs calling into question. He learnt on the job, in theatre, becoming resourceful and erudite via his educated patrons.


13. As a book reviewer, what are the most common mistakes that new authors are doing in their first novels?


1.      Not investing in having material professionally proof read. I've read and reviewed some really clumsily thrown together work. As a reviewer I'm far more forgiving than most readers I know who, once confronted with enough typos and errors, will just never consider another book by such and such a writer.

2.       Making writing choices based on what's popular. 'Impersonations' in attempts to cash in. Whether they're aspirants of the fantasy, supernatural or erotica varieties, there's this sense of  'if he/she can write this, so can I.' But fluke alone, not talent or skill, had much to do with those 'he/she' successes. The result is one great generic mass. Popular trends are creative comfort zones where operators gather for the safety in numbers, then struggle to compete with each other. It’s a mistake getting lured anywhere just because multitudes are already there and seemingly doing OK. The downside of following fashion is becoming invisible, indistinguishable, unmemorable.