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There are two types of historical novels: those that focus on accuracy and those that are more concerned with capturing the essence of a particular time period. The former pays attention to every detail, from food and clothing to vocabulary, to ensure historical accuracy. The latter, known as fancy dress novels, aim to recreate the overall atmosphere of the past. Attitude and vibe take precedence.
The same distinction can be made for historical dramas in film and television. Take Marie Kreutzer’s Corsage, for example, which can be considered a triumphantly fancy dress movie. The poster alone, featuring Vicky Krieps in 1870s evening wear and silk gloves, boldly flipping the middle finger, perfectly captures the rebellious spirit of Empress Elisabeth of Austria. It may be anachronistic, but it effectively conveys what lies beneath the surface.
James Clarke, the author of the award-winning novel The Litten Path, explores similar themes. Set during the 1984-5 miners’ strike, his debut novel meticulously recreates the historical context. His subsequent work, Hollow in the Land, consists of interconnected short stories set in present-day Lancashire. With Sanderson’s Isle, his second novel, Clarke takes us back to 1969, the turbulent months leading up to the moon landing.
Although the novel is titled Sanderson’s Isle, the main character and narrator is actually Tom Speake. In the beginning, Tom is accused of being a doubting Thomas and a peeping Tom. It is through his voyeuristic tendencies that he meets Joe Sanderson, who becomes a surrogate father and mentor for him. Sanderson, with a name reminiscent of JG Ballard’s enigmatic characters, introduces Tom to a hidden world within their everyday lives and provides profound insights.
However, Sanderson himself is struggling to regain his intellectual prowess. Known for inventing New Journalism, he finds himself overshadowed by American writers like Wolfe, Mailer, and Capote. He ends up as a host of a popular TV travelogue, Sanderson’s Isle. Clarke portrays Sanderson as a witty but exhausted character who often quotes himself, leaving the aphorisms to Tom Speake. The secondary characters are also vividly portrayed, with Ivan’s Cockney stature and Jill’s habit of going quiet for extended periods of time.
One of the great pleasures of Sanderson’s Isle is Clarke’s descriptions of landscapes. From the gritty streets of east London to the vividness of the Lake District, Clarke’s prose paints a vivid picture. For example, he describes Thirlmere as having an “easy bliss” accompanied by the whine of woodland chainsaws.
As the story progresses, Tom finds himself living with Ivan and Jill in their Walthamstow lockhouse. In his pursuit of finding his father, Tom unwittingly commits a serious assault, prompting the police to chase him. When the opportunity arises to accompany Sanderson on a research trip to the north, Tom sees it as his chance to escape. He hopes to find refuge in a rumored hippy commune called the Foundation near Keswick.
It is at this point that the anachronisms in Tom’s narration become apparent. His 60s threads are revealed as mere fancy dress. The commune, described as “off grid,” and the term “wild campers” were not used until much later. During Tom’s drug-induced trip, he envisions “winking neon fractals.” However, fractals were not described until 1977. These anachronisms highlight the chaotic nature of the period, as the boundaries between the dying 1950s and the emerging 70s were blurry.
James Clarke’s Sanderson’s Isle challenges readers to consider the social and cultural complexities of 1969. The novel emphasizes the bigger picture rather than getting caught up in minute historical accuracies. Clarke’s portrayal of Tom’s disillusionment with the community mirrors our own frustrations with the world we inhabit. Sanderson’s Isle, published by Serpent’s Tail, offers a thought-provoking exploration of history and identity.
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