Fake News: Brexit and Scottish Independence on the Bigfoot Trail

“You want it to be one way, but it’s the other way.”

-Marlo Stanfield.

I spent much of the last five years nursing a low-level Bigfoot obsession. I never really believed in the creature, but I was fascinated by the human behaviour surrounding the myth. People will go to great lengths to hold onto a fiction. Ostensibly I was researching for a novel. I’ve never been sure what form it would take. A monster story? A mystery novel? Would my book confirm or debunk the existence of a North American Wood Ape? I was never sure. I couldn’t really tell you at any point exactly what it was I was looking for, but I felt I’d know it when I found it. 

Looking back on all of the research now, I think I was actually digging into a specific form of what we would now call fake news.

  People in the bigfoot community will tell you that the Patterson Gimlin film must be real because the costume has never been replicated, even though it has. They’ll tell you the technology to create that costume didn’t exist in 1967, even though it did. 

As human beings we need narrative. And we cling to whichever one feels most comforting to us. 

  I encountered the idea of BLARPING. That’s a perjorative term in the sceptic community used to describe a certain brand of Bigfooter. Bigfoot Live Action Roleplaying. There are groups in the United States, some of them registered non-profit organisations, who dress up in camouflage gear, holster guns, heft expensive equipment, and head off into the forests in search of Bigfoot. Some of them have podcasts and this, ultimately, helped me to realise where my fascination lay. On listening to one of their field reports, I heard a story about how two of them had heard something large moving just around a bend, and assumed it was another in their party. After finding out it wasn’t a member of their group, they…didn’t go looking to see what it was. The story is told in a funny, well-in-hindsight-I-guess-we shoulda way. And that’s a fundamental pattern in BLARPING. Noises that aren’t fully investigated at the time. Shapes in the dark that aren’t identified until after the fact. ‘Well, in hindsight I guess I should have…’ Or, ‘You know, it sounds crazy, but the first time you see one you don’t understand what it is until later…’ Or, ‘I mean yeah, we should’ve followed that noise, but in the moment, you know…’ A repeating pattern whereby men who are in a forest searching for a giant ape seem remarkably lax in following up leads that might lead to a giant ape. 

  It’s almost as if…deep down…they don’t really believe?

It’s almost as if…deep down…belief doesn’t actually matter?

The lies we tell ourselves on the surface, the opiates we take to ignore life, are more important than the truths that underly them. And with that come the rituals, the customs, the small acts that bind us together with other people who claim the same narratives.

As part of this process, I’ve come to believe that fake news isn’t a new phenomenon. It’s not social media. It’s not an invention of the Alt-Right. Fake News is a fundamental part of the human condition. We don’t live in logic. We don’t live in reason. We live in feeling. We react to things based on likes and dislikes, loves and hates, joys and fears. Sometimes, in the seconds, hours, or years that follow, we rationalise our actions and grab onto excuses of logic and reason. But in the moment, we are creatures of emotion. Successful political campaigns are ones that play to these emotions and allow the voters to fill in the blanks when it comes to logic. And fake news in it’s modern form is what’s filled the gap when we fail to acknowledge this. It’s lip service. It’s a meme used to justify hate, fear, hope, or excitement. We cling to the news that matches whatever we want to feel. And sometimes, when bad news is thrust in our faces against our will, we feel betrayed. Angry. We feel out of control, because we haven’t been able to dictate our own mood. 

I’ve spent many hours listening to people more intelligent than me getting wrapped up in debates about free will. Do we have it? Are our actions all the products of conditioning? Are any of us ever really free to decide anything? I…don’t care about any part of this conversation. It’s a cold and sterile fetishisation of reason and will over all the parts that actually make us who we are. Do we have free will? I’ll let the intelligent folk continue to have that debate. I’m more interested in free emotion. Feelings have somehow come to be seen as a trivial part off the process. If someone doesn’t buy into our well-reasoned arguments we say they’re just going by emotion, they’re just going by feeling. But feeling is where we live. It’s where we act, it’s where we react, it’s where we decide. The push to sideline feeling completely in favour of reason and rationality has fundamentally hamstrung our ability to talk to each other, and left room for fake news to mutate and take hold.

We take the narratives that make us feel good. I used to do much the same thing with opiates and amphetamines. There’s a moment in The Wire in which Marlo Stanfield, the up and coming gang figure, flouts the rules in a store, then gets in the face of the frustrated security guard and says, ‘you want it to be one way, but it’s the other way.’ The truth is, that line can be twisted and flipped around to match the fake news world perfectly. “it’s one way, but you choose it to be the other way.”

Once I recognised BLARPING for what it was, I started seeing it everywhere. There’s been a lot of BLARPING going on over Brexit. Pick your own high. Choose your delusion (parts 1 & 2.) Buy the merchandise, wave the flag. Ignore every single expert in preference to your own dopamine hit. Meanwhile, people on the rational, reasoned, calm (losing) side grow exasperated and wonder, why do we keep losing?

Because we’re playing the wrong game. 

There’s going to be a lot of BLARPING as the Scottish Indepdendence campaign picks up. We can already see it. People who built their whole No campaign around staying in the European Union are already shifting to say that being outside of the European Union shouldn’t change people’s minds. That the fact their own promises have been routinely broken for five years doesn’t mean the facts have changed. Everything has changed since 2014, but that only matters is you think facts matter. Arguments will adapt. Flags will be waved. None of them actually believe in Bigfoot, but that’s beside the point, belief doesn’t matter. 

Detox Therapy

The end of a decade. The internet is full of lists. Best films. Best books. Best cussing. I was born in a year ending in zero, so the end of a decade for everyone else always carries a different weight for me. I’m creeping up on forty, and as everyone else wants to discuss entertainment milestones, I find myself thinking of personal ones. It’s not my style to write personal blogs like this anymore. I prefer to let my fiction do the talking. But…there’s something in the air. What are the ten best movies of the decade? What are the ten best albums? What are the ten best versions of myself, right before my own odometer turns over? 

It’s made even more pointed in a decade that closes with the ‘final’ Star Wars movie. I tell people that I’m not a Star Wars fan. But for anyone my age that’s a half-truth. Empire Strikes Back came out the year I was born. I’ve grown up in a Star Wars culture, whether I currently engage with it or not. My first toy craze was He-Man, my second was Transformers. Thundercats. The Turtles were my last big toy thing, before I moved into the next stage of my life. But Star Wars was always there. My uncles were only a decade older than me, so the toys I inherited were all still recent. He-Man and Transformers may have been the things I was looking for in toyshops, but Luke, Han, Chewie, and that piano-playing-alien, were what I had in the box at home. (Along with the Six Million Dollar Man, Action Man, a Lone Ranger toy that I was accused of breaking, and a battered metal Batmobile.) It mattered that I was the only kid at school who didn’t have the Millennium Falcon. The films ended before I was attending the cinema, but mine was the generation that had a different kind of Star Wars experience; it came into our homes. The droids and ewoks cartoons. The spin-off movies. The comics. The novels. In the long gap between Return of the Jedi and the special editions, two (close) generations of fans kept the property alive in an analog version of fandom that doesn’t really exist anymore. 

And then we also killed it. 

But I’ll get there. 

  I guess my journey with fandom has matched my evolution as a person. At times I’ve loved things deeply and unironically, at others I’ve kept my affection buried in layers of snark and bitterness. These days I’m mostly found searching out honesty, positivity, and heart. And at some stops along the way, I’ve really not been nice.

  My big theory on life is that we don’t change into different people as we age, rather, we become better or worse at being who we really are. That’s a pattern that holds true in my writing. All of my characters, if you look at them in the right light, are on journeys of self-realisation. They don’t transform, as bad writing advice tends to insist. They either figure out who they are, and survive, or stay trapped in ignorance, and fail. I see that motif in the work of Elmore Leonard. An easy (read: lazy) criticism of his work is that he didn’t handle plot very well. But the truth, which seems both harder and easier to grasp, is that he was solely focused on character. On people who either figure themselves out, and live in the moment, or miss the signs and die. I’m sure it’s also why, when I finally got round to watching The Last Jedi­ over a year after its release, I was so moved by the choices made by Luke Skywalker. I’d grown up with his journey. The angry and frustrated young kid, keen to escape, to race, to blast his problems with a gun, who grew to be troubled by his own darker impulses and inner power, before ‘finally’ choosing to let go of his anger and put down the weapon. Thirty years on we met an older version of the character, and he seemed, to me, to be exactly where he should be. He’s made mistakes in the years since we last met. Big mistakes. His inner battle was never won or lost. It never could be. Good days and bad days. Before too many of the latter, and too many hours staring into his own darker impulses, had led him to withdraw from the world. And then, finally, when that world came calling, and when the universe needed some kind of new hope again, he found a way to make the last stand while also honouring all of his personal lessons. He won by being himself. I found that to be a beautiful storytelling choice, and the most honest way to handle the journey. The Last Jedi seems to be a lesson in people not seeing the difference between what a character in a film says, and what the film itself is saying. Yes, the angry young man (who killed his own father in the previous film) insists you need to kill the past. And yes, Luke Skywalker spend a portion of the film sitting on an island refusing to re-join the fight. But the whole point of the journey was to repudiate those positions. Luke turns up, hope is reignited, faith is rewarded, but it’s all done in a way that stays true to character. 

  On the flip side of that, a lot of people saw their childhood hero die, and they really were not ready for it. We don’t seem to be ready for a lot of things. Emotional honesty. Feelings. Grief. Letting go. Any experience that takes us out of the comfortably numb, detached, ironic existence we’ve carved out for ourselves. Nostalgia seems increasingly to be a storytelling technique employed by writers of my generation. Trading on old emotions, old associations. But my own tastes are for stories that give me emotions in present tense, plugging me into now and tomorrow.

But I’m skipping ahead again. 

  I saw The Phantom Menace on opening night. I saw Attack of the Clones at a midnight screening. I didn’t see Revenge of the Sith in the theatre, and, if I’m honest, I can’t actually remember if I’ve ever seen it. I know the big moments through cultural osmosis, but did I ever really see the film? And what happened, over the course of that trilogy, that sapped my interest? I’m of the generation that cracked the Jar Jar jokes. The cruel barbs that led an actor to contemplate suicide, simply because he’d played a children’s character in a set of big fun movies. I’m of the generation that turned on George Lucas, while accusing him of betraying us, because wedidn’t think he did a good enough job of telling his own damn story. And in saying I’m of that generation, I’m not trying to pass the buck or distance myself. I was one of them. Star Wars never really did anything to hurt me. George Lucas was guilty of nothing more than continuing to tell his children’s morality tales of space wizards and evil lords. But we had all collectively created something, in that space between Return of the Jedi and The Phantom Menace, that was ours. Lucas had handed Star Wars off to us, into our homes, into our toyboxes and our comic books and our dreams, and then he came and demanded it back. How did we handle that? Not well, troops. Not well. Han shot fist, god damn it. He did. I remember it.

I think I do, anyway.

  Somewhere in my twenties I not only fell out with Star Wars, but I would happily tell anyone who listened all about the many problems inherent in the franchise. Because that’s just how damn clever I was. What was I hiding from? Why did sincerity bother me so much? I don’t know, really. At some point all of my pop culture was jaded, cynical. And it felt like the world was matching me. Our heroes had to be broken people. Our idealism had to be buried in irony. Even the Doctor, the character who has two hearts and travels through space and time fixing things and saving people, had to become a PTSD-riddled destroyer of worlds, the lone survivor of a pointless war. 

Here’s a truth, uncomfortable to some. George Lucas owes us nothing. No artist does. If we’ve drawn as little as one second of escape, or comfort, in the work they’ve produced, they’ve done their job. A favourite musician who changes their style is not betraying you. A treasured football player who moves to a different club isn’t a traitor. A beloved filmmaker who makes new films is not stealing the old ones away from you. Harrison Ford does not need to give you a second more of his time, simply because he once did a thing you liked with a whip or a quip. In fact, in giving you that memory, he’s already done more for you than most other people ever will. Treasure that. Keep it. And move on. 

  Star Wars came out in 1977, and it was for children of all ages. Star Wars came out in 1999, and it was for children of all ages. Star Wars came out in 2015, and it was for children of all ages. I love Doctor Who. The show started in 1963, and was for children of all ages. It started in 2005, and was for children of all ages. The new season begins next week, for children of…

  What changed in me? What changed in my early twenties, that made me turn away from Star Wars? What changed in my thirties, that made me turn back towards a brighter, more hopeful, pop culture? I have no idea. I hope that my big theory on life is right, and this is me getting better at being who I really am. I hope that I’m finding the way to be true to myself while also giving other people what they need of me. 

  When Star Wars came back again, I wasn’t there waiting for it. I’ve tried to figure out why, a few times. It felt like the same frustrations that ‘drove’ me away in my twenties were keeping me away now, but from the opposite perspective. I was very much part of the problem when I was younger, and I walked all of that baggage off. But the problem was still there, in the fandom, and now it was becoming a barrier to entry. The twenty-something version of me would probably have gone back out of nostalgia, simply to wait for chances to snipe. But the thirty-something version of me just didn’t really need to be involved in any of it. 

  I can’t escape the feeling that part of what has kept me away from the franchise is, like that fella in the robes, the fear of seeing too much of myself. With the new trilogy has come reminders of the toxicity that plagued the last one. The middle-aged (mostly) men who aren’t very good at sharing. Something that is probably, if I’m honest, a version of me that I remember, and a version of me that I spent a long time killing. 

  The Force Awakens came and went, and I didn’t go to see it. Rogue One hit the theatres, and I went, because it felt like I might enjoy it, but I came away worried that Star Wars was being made by the wrong people now. It looked and felt like an old Star Wars movie, but also feels (to me) like it misses the heart and soul of Star Wars. It was a cover band. So I decided to give Last Jedi a miss, and sat back, and watched the internet eat itself alive. I watched a woman of colour driven off social media by assholes, simply for being hired to play a character in a movie. And I knew this wasn’t new. If social media had existed twenty years earlier, I would almost certainly have been doing the same thing, without thinking through the implications.

  Eventually I caved and watched both of the two new episodes. Seven and Eight. Ultimately, I think my own journey over the past decade was fully in sync with everything The Last Jedi had to say. Stories -like the Force- are not owned by one protective, exclusive, group. Fandom is for everyone. But it doesn’t always need to be for everyone equally. I think big, bold, positive stories need to reach those who most need to see them. I had my Luke Skywalker. I’ve had my doctors. And, god dammit, as a near-middle-aged man, I got to see Steve Rogers pick up Mjolnir and stand alone against Thanos. A moment we’ve been waiting for since we were children, but a moment that we got to share with other generations, with the children here and now who needed that lesson.That simple movie beat in Endgame, Steve, battered, broken, standing back up on his own, showed how some people will always get back up. Even if the lights are out, even if nobody can see the stand being taken. And the beat that followed, on your left…portals…showed that people like that will never need to stand alone. Faith was rewarded. Faith in people. Not things.

I love finding moments like that in stories now. I found a similar beat in Last Jedi where the last remaining fighters against a fascist regime were asking for help, and standing alone, and one of my childhood heroes, Luke Skywalker, turned up to show that they were not alone, and reignited the same hope he’d sparked in 1977. But older, and wiser, and on his own terms. 

  And half of fandom seemed to hate every single thing about that, and as I stare at the internet, I don’t really understand why.  

The Power Of Point Of View

Making art in the age off Woke Culture and Cancel Culture.

 A few years ago, I sat next to a writer at a publisher’s dinner who seemed to excel at pushing my buttons—coming out with a number of blanket statements that could have been custom-designed to get me angry. The greatest hits included “Well, if young girls today didn’t dress so provocatively, they wouldn’t be asking for trouble,” and “Poor people get stuck in the credit trap, but why should they buy things they can’t afford? Maybe don’t buy that new fridge or cooker until you have the money?” Sure, these were gross opinions, but the worst aspect of all of it was how the writer reacted when I pushed back. “Well, I’m not saying I agree. I’m just asking the questions. It’s what we’re supposed to do isn’t it? Crime fiction, ask the big social questions.” Even though the opinions themselves were objectionable, the unwillingness to stand by the words that had only just left their mouth was what truly enraged me. 

The question of whether artists have any responsibility is a long-standing debate. Does violent media influence real-life violence? Can song lyrics warp our brains? This is all a distraction, which confuses the medium for the people. The media in this context, by and large, is just a delivery system. It’s the manner by which people communicate. It’s the form an artist uses to talk with, or to entertain, an audience. And in the days of social media this has become far more interactive. It’s more of a conversation than ever. I’m not interested in talking about the media. Let’s move that out of the way, and talk about people. The artist is a person. The audience is made up of people. Art is a conversation between them. So, do people have a social responsibility in the things they say? I would argue yes. We’re all part of the cultural conversation, and we can all decide to have a better conversation. Which isn’t to say we need any form of censorship or that people shouldn’t be allowed to say things, but I would like to think artists will, at minimum, take responsibility for the things they say (or produce.) For better or worse. If my words or actions hurt someone, it’s unlikely to be intentional, but I won’t pass off the responsibility for having done it. If it is intentional, if I’m setting out to provoke, then I should take that responsibility. If a writer wants to ask the big questions or start a debate then they need to be willing to stick around for that debate. 

The truth is, rebellion sells. It can be marketed to pretty much any audience, but it seems to sell especially well to angry men who just want it to be ‘told like it is.’ I believe any subject can be joked about or fictionalised. But that only works if the comedian or writer is willing to stand by the work and, importantly, if they have a point of view. The rebellion that sells so well for Hollywood marketing or Netflix comedy specials is only worth anything if it comes from a point of view that stands for something. And we might not all agree on what it stands for, but we can engage with it honestly. 

I’m seeing a lot of complaints about woke culture and cancel culture. But what do these things mean? It’s not a new idea that people will be offended by offensive things. And I struggle to think of anyone who has truly been ‘cancelled’ for things they’ve said. Kevin Hart resigned from hosting the Oscars? Well…he resigned. That’s a thing he did, himself. And he could have simply apologised for the homophobic jokes that led to the outrage. Mel Gibson—of massive anti-semitism fame—said some of the most racist things you can imagine, and he’s back working again. Dave Chappelle gets on stage and talks about things he’s not allowed to say, despite the fact he’s talking about them, on a Netflix special, for which he has been paid millions, and countless alt-right thinkpieces are born. I don’t care to debate whether he can say those things, because the point is he did. Nobody stopped him. The special is still on Netflix. He still banked that cheque. A large part of comedy is about establishing the premise of your joke. Claiming to have just taken a flight, when you haven’t. Talking about a breakup you’ve just been through, when you’ve been married for ten years. Claiming from stage, to a theatre full of people, that you’re about to say a thing you can’t say. Chappelle established a premise so well that we’re still debating it months later. The whole moral panic of cancel culture seems, to me, to have a dark and cynical heart. It’s conflating two different things. The idea that comedians (or other celebrities) can be cancelled for the things they say—which isn’t really true—and the idea that some comedians (and other celebrities) have been firmly asked to leave the room because of horrible things they did. How deep into a debate on cancel culture do you need to be before someone mentions Louis CK? A comedian who has been cancelled. Except, he built a very successful career off the back of offensive material, and nobody ever stopped him. He was loved for doing it. He was kicked out of the room because he kept whipping his dick out in front of women. And even then, he’s making a good living on the road, playing to crowds who lap up his jokes about things he’s not allowed to say. 

 The idea of separating the art from the artist only ever seems to be discussed in extremes. In relation to directors or musicians who’ve done horrible things, to painters with bad personal lives. But there’s more to it than that. Point of view matters. The reason someone sets out to tell a story matters. The person behind an edgy joke matters. To bring it back to my point about us all being people, and all being part of one big conversation, all of our experiences and points of view factor into the things we say and do. The person I am influences the jokes I tell, or the novels I write. I have a point of view, and that is how people can judge whether to trust my intent on a joke, or how to read the novel. I can either believe a Hollywood director is honestly wanting to start a conversation with some tough questions, or I can read his own words about woke culture ruining everything, but I can’t do both. Because the intent behind the art is part of the art.

 That writer I had the misfortune to share a dinner with seemed to think that they should live in a world without consequence. But in being unwilling to stand by their own words, they were telling me that words don’t matter. And I fail to understand how any writer can think that. Railing against cancel culture or woke culture is really just a signal to me that you either don’t believe in the work you’re putting out, or you don’t think you should ever face any consequences for what you do. Cancel culture isn’t a thing. It doesn’t exist. But cowardice does. 

Who is Marah Chase?

Marah Chase and the Conqueror's Tomb 3D.jpg

Who is Marah Chase?

Well, to answer that is really to answer who is Jay Stringer?

My brain has always been split in two. Half of me wants to be Elmore Leonard, to write quirky crime characters, plotting heists, in street-level stories, showing the conversations that happen when authority figures aren’t around. The other half? Steven Spielberg. Stan Lee. Jack Kirby. Ray Harryhausen. I want to blow shit up, and have car chases, have sword fights with statues, and swing at big, daft, fun ideas.

But there’s no way to be both, right?

Sure there is. I came to realise, the biggest problem I was facing in my career, was my own ideas about what the career needed to be. My first three books were hardboiled crime tales set in the Midlands. My next two were louder, funnier, more violent, and set in Glasgow. Two very different series of books. But I’d still gotten it into my head that I needed to stick to one overall tone -street level crime- to reach an audience. The Spielberg side of my brain was clamouring to be listened to, the Leonard side of my brain was, frankly, demanding a break.

I would keep trying. I wrote a couple books that were supposed to be fun but ended up as oddities. As a writer stuck between two warring impulses. Those books Just. Didn’t. Work. I wrote an action adventure set in the 40’s that just read like a flimsy pastiche. They’re doomed to stay in the drawer.

That’s when I looked again at one of my big influences. Chris McQuarrie. McQ gained fame (and a way-too-early academy award) for writing The Usual Suspects. A quirky, intelligent, dialogue-heavy crime story. (We won’t focus too much on that film now because…tainted by human trash.) His next major credit had been The Way of the Gun, a dark little oddity of a crime movie that I truly love. It was slightly obnoxious. It didn’t care whether you liked it. And it was a crime movie about criminals. From a writer (and first-time director) who was feeling trapped by the fact Hollywood only wanted him to keep doing the one kind of story. And when he did tackle a big project, he always found a way to ground it in the same spirit. This is the guy who decided the place to start an X Men movie was in a concentration camp. But if you’ve come to hear McQ’s name for the first time in recent years, it’s as a guy who writes and directs big movies. Edge of Tomorrow. Mission Impossible: Rogue Nation. Mission Impossible: Fallout. Looking at his directorial credits is kinda nuts. First film: Way of the Gun. Tiny crime movie, vehemently rejected. Second film: Jack Reacher. A Tom Cruise vehicle. A big movie that was really just a small crime movie at heart. Third film: Mission Impossible.

If the guy who influenced me so much in my teens could shift gears like that, why couldn’t I?

I thought back to the very beginning. Way back before I’d written a novel, before I dropped out of University, to the young guy writing short stories and scripts. My brain was split in two, but I was young and sure the two sides could co-exist. I was writing dialogue-driven heist stories starring two different versions of myself, sarcastic kids named Fry and Fuller, and I was writing stories about a rogue archeologist-turned-treasure hunter named Marah Chase.

Yep, she’s been around in my head for that long. I had Chase kicking around in here long before I met Eoin Miller or Sam Ireland. I can date her creation pretty close to the fall of 2000 or spring of 2001. Why? Well, that’s the period when my head was owned by one specific album. Kids in Philly by Marah. It was a fun, loose, freewheeling album. Slightly chaotic. Both old and new at the same time. And in my mind, stealing that name for my character was the best way to signify what -and who- she was.

So if the me of 2000/2001 had been so sure, so confident, that I could embrace both sides of my writer brain without fear of losing anyone, and if the writer who’d been a major early influence on me was managing to do the same, why was I holding back?

I opened up to the idea of listening to who Marah Chase had become now, after (at the time) fifteen years in my head. And she was fun. I had fun writing her. People that I passed early pages to had fun reading her.

Not that she’s a bag of laughs. Who is Marah Chase? She’s difficult. She’s angry when you want her to laugh, she laughs when you want her to be angry. She’s a mercenary who isn’t comfortable with that choice. She’s an adventurer who has lived life without a plan. She’s gay. She’s not a “kick-ass heroine” because she lives, and survives, in the real world, where she’s smaller than most of the men she comes up against, and has to be intelligent about how she fights. But because of this she can also kick some ass. And she just can’t seem to keep from getting in car chases, motorcycle chases, hanging off the side of moving vehicles, and finding fascists and nazis to punch. In her first adventure she’s teaming up with a British spy to go up against ancient cults to find the tomb of Alexander the Great and foil a Westminster coup. In the second adventure, that I’m finishing up now, she starts out looking for the Fountain of Youth but soon learns the trail actually leads to [REDACTED] and that every history book on the planet may soon need to be changed.

And I realised, after letting her run across the pages for a full book, that she wasn’t that far from my quirky crime characters. She’s a rebel. She’s someone who lives in a space that authority figures don’t mingle in. She’s still, really, pulling off heists. She’s a bag of contradictions. She’s just telling a story on a larger canvas, with 99% more explosions. (There was that time a small gas canister blew up in the Miller trilogy…)

And embracing this new voice allowed me to embrace representation in the way I’d been trying to for years in my crime novels. For me, it’s never been about a gimmick. It’s never been about marketing. It’s never really been about making books about representation issues. I wanted to populate my book with diverse and interesting characters, and to say to readers of all backgrounds, you are welcome in my fiction for who you are, not what I can make you. The problem was, as a cis straight white able-bodied author, I found that if I didn’t specify what ethnicity, gender, or sexual orientation a character was, the reader’s default would be to assume they were cis, straight, able-bodied and white. But then, if I did specify, as a crime writer who likes tackling issues in his work, it was too easy to slip down the road to tackling the issues. And then you start to worry that this will be seen as a marketing gimmick. ‘Buy my books because I have X in it.’ Which defeats my whole intention. But then, oddly, embracing the big fun ideas of Marah Chase showed me that was another limitation I was imposing on myself. In writing the equivalent of a summer action movie, I was starting to populate the cast with the kinds of characters who haven’t typically been featured in big summer action movies. And in this new writing voice, they simply were who they were. (I can’t wait for you to meet Hass in Chase 2. He’s trans. He’s Muslim. He’s strong as hell, and loyal to Chase. And only the latter two elements are important to the story.) Finally, my characters could just be who they were, with no need to explain themselves.

So who is Jay Stringer?

He’s a writer who’s finally let go of the limiting rules he’d imposed on his own career. There are times I want to give you the cinematic equivalent of small heist movies full of character actors and crackling dialogue. There are times I want to give you the big summer blockbuster. I’m sure there will be times, soon, when I want to give you some horror or sci-fi. I don’t have two sides of my brain at war with each other anymore. I just have one brain that wants to enjoy writing stories. I hope you come along for the ride.

Pegasus Books, and my editor Katie, got the point of the whole project and jumped on in for the ride. The first Marah Chase adventure drops -probably from the side of an aeroplane- on July 2nd. And it’s already had some awesome people saying awesome things.

Here’s some praise for Marah Chase and the Conqueror’s Tomb.

Stringer, author of the Sam Ireland and Eoin Miller mysteries, has a winner here with Marah Chase―pulse-pounding adventure, in the best Indiana Jones tradition, with a charismatic gay woman fueling the action.”
Booklist (starred)

Stringer effortlessly weaves a complex web of espionage and betrayal around a rip-snorting, larger-than-life adventure in the spirit of Indiana Jones.
Antony Johnston, creator of 'Atomic Blonde' and 'The Exphoria Code'

A fun, new twist on the traditional adventure tale, Jay Stringer’s Marah Chase and the Conqueror’s Tomb updates and re-imagines the Indiana Jones-style treasure hunter narrative. Marah Chase is cunning, empowered, and queer, a Lara Croft for the 20th century. The action propels forward at a breathless pace, each chapter a cliff-hanger. A delight to read!
John Copenhaver, author of 'Dodging and Burning'

If you merged Ocean’s Eleven with Indiana Jones, you’d get Marah Chase and The Conqueror’s Tomb―a high-octane, pulse-pounding race to save the world from an ancient weapon.
Julie McElwain, author of the Kendra Donovan Mystery Series

A full-throated adventure that combines the politics of contemporary terrorism with ancient myths. With conspiracy theories and a sassy heroine, Marah Chase and the Conqueror’s Tomb will keep you turning the pages to the very end.
Tessa Lunney, author of 'April in Paris, 1921'

Ever wonder what Raiders of the Lost Ark would be like if it was set in the present day and Marian Ravenwood got to do all the cool stuff instead of Indiana Jones? Marah Chase and the Conqueror’s Tomb gives you a chance to find out. Jay Stringer has given readers a ripping yarn with all the elements of a multi-dimensional spy adventure: a dangerous, high-stakes quest, formidable adversaries, international intrigue, love and lust, loyalty and betrayal, cliff-hanging suspense a la Dan Brown and, best of all, a cast of characters that will keep you thinking about them and wondering what they’ll do next. Then there’s Stringer’s deliciously ambiguous approach to the potentially supernatural. Is it magic or technology? Read it and decide for yourself.”
Maya Kaathryn Bohnhoff, co-author of the New York Times bestselling 'The Last Jedi'

Robin Hood in Stringerville Stood

I’ve been on a deep dive into the Robin Hood myth recently. Why? Well, you may find out in the next couple of years, if all goes well. But way before I took any professional interest, I’ve always been drawn to the story, and the character. If your childhood is in the midlands, while Robin of Sherwood is on television, and you have a surname that comes from archery….there’s a good chance you’re going to be invested in the myth of Robin Hood.

I realised recently that much of my own writing could be seen as one spin on the character or another. I have an unsold novel sitting in a drawer that my agent pitched to publishers as ‘Robin Hood meets Elmore Leonard, set in the modern day.’ And many of my frustrations with the current British crime fiction market could be summed up with the question, ‘why are our stories all about the Sheriff?’ 

Did Robin Hood really exist? And does it matter? Historian Stephen Knight argues that our obsession with the real identity of Robin Hood is a symptom of modern tabloid thinking, and that there’s much more to be learned from studying the evolution of the legend, and how it reflects the time it’s being told in, than to analyse one specific time in history for any written record of one person. As a writer, I can see the strength in his argument. Ultimately storyis how we observe the evolution of our culture. The legends we tell, and the way that we tell them, define who we are. 

It could well be that there was no realRobin Hood. He could be a social invention. A figure we needed to create, to tell ourselves who weare, and borrowing aspects from other legends along the way, developing into….ummm….(checks notes)….Kevin Costner. 

But I think another reason story exists is to solve mysteries. To fill the black holes in our knowledge. In times gone by, we filled it by creating gods and monsters, and using them to carry morality tales. In more recent times, we write and read fiction. I think the central drive in staring at a mystery is because we need to stop it being a mystery. And so, even though as a writer I understand completely where Dr Knight is coming from, it’s also as a writer that I can’t help but be drawn into the mystery of finding the real Robin Hood. 

We all know the story. Or think we do. Film and television shows of the past century have focused in on one particular version, and that’s become our go-to. Set somewhere in the 1190’s, during the third crusade, we meet Robin (or Robert) of Loxley. A Lord who returns home from the crusades to find Prince John is usurping the throne of the beloved Richard the Lionheart. And the scheming Sheriff of Nottingham is enforcing harsh taxes on the people of England. Robin rebels against this tyranny, and becomes outlawed, finding refuge in Sherwood forest. Everything ends in a swordfight on a staircase, and Robin wins the heart of Maid Marion, who may or may not have been his childhood sweetheart.

On the face of it, however, this version of the story is the easiest one to do away with. King Richard wasn’t Sean Connery. He wasn’t a beloved king. In fairness, he wasn’t a tyrant either. In looking at Richard, it’s best to remember the trap that waits for historians: hindsight. We look back and use the way things turned out to frame people’s motivations. Was Richard good or evil? Neither. He was a man. He was likely vein, and certainly impulsive. He made rash decisions and seemed mostly interested in war and acquiring land. He spoke French and Latin, and barely stepped foot on English soil. He grew up in his father’s territories of what we would now call northern France and spent the vast majority of his ten year reign fighting wars in Europe and the Middle East. He didn’t sneak back into the country, as per most modern retellings. That was first added into the Hood story by Walter Scott, in the novel Ivanhoe. It’s much easier to give in to the hindsight trap and paint Prince -later King- John as a tyrant. He shared the ego of his elder brother, but seems to have lacked the charisma, or the talent for war. He was given more to political scheming and greed, raising regular taxes at an unprecedented rate, and importing foreign mercenaries to appoint as Sheriffs when the Barons started to resent his authority. One particularly grizzly event that shows his nature is when he captured a political enemy, Matilda de Braose, and starved her to death in a dungeon, along with her young son William. He was such a bad king that English Barons invited the Kings of both France and Scotland to invade and take over the throne. 

It’s easy to see how Robin Hood could have risen up during  John’s reign to fight back. But the main reason I dismiss this era so readily isn’t because of a lackof a Robin Hood figure, but rather, because of the existence of one. Wait, what? Yes. 

There was a powerful Lord, by the name of Fulk FitzWarin, who became embroiled in a land dispute with King John and found himself outlawed. He fought a guerrilla campaign against the crown for three years, and was eventually pardoned and reinstated. However, rather than fighting a Sheriff in Nottingham, or cutting about in Sherwood, FitzWarin was a Marcher (the Welsh border) and his fightback against the king was a largely national one, taking place across many locations. And, though his story bears many parallels to the version of Robin Hood we now know, he had his own mythology spring up around his actions, one that co-existed with that of the Sherwood bandit. And there’s nothing to suggest he ever went by the name Robin. In addition, none of the surviving early stories of Robin Hood mention either John or Richard. If John was such a vital part of the tale, as he so clearly is with Fulk, surely he would be named in the earliest surviving ballads? So it’s possible, if not probable, that many of the elements we now know as ‘Robin Hood’ have been borrowed from Fulk FitzWarin, but it appears just as probable that we’re looking somewhere else for the genesis of our hero. 

But am I correct to use the locations of Nottingham and Sherwood as qualifying features? Not necessarily. 

The earliest surviving ballads to mention Robin Hood place him in Barnsdale. And, though there are other places in England to share that name, the details in the ballad seem to suggest the Barnsdale of Yorkshire. The geographical references are entirely consistent with that setting and its surroundings. There are problems with the idea. As I’ve said, there is at least one other Barnsdale in England. And the ballad, by definition, is simply the only surviving written version of something that was passed around orally. The version we have was printed sometime after 1492 and is estimated to have been written around 1450. Since most searches for a realRobin Hood focus on candidates between the 1190’s and 1320’s, we can see there’s a period of at least130 years between the ‘real’ story and the ballad. And stories told in oral tradition will be localised in the telling. Whichever tavern you’re sat in, as the balladeer relates their tale, is going to be not far from where all of this took place. Just as a stand-up comedian will both localise and universalise their stories. Robin hood will have taken place in the village next to you, and in every village you can imagine. So really all that we know for sure about this ballad, the Little Geste of Robin Hood, is that it was written down by someone who knew the Barnsdale of Yorkshire quite well. And although this is the earliest surviving ballad, we have other poems and texts that survive from around the same time, if not slightly earlier. There is much evidence that Robin Hood was related as much in village plays and poems as he was in song, and there are as many early references to Sherwood as there are to Barnsdale. And although the Barnsdale of Yorkshire was a large wood, it wasn’t a Royal Forest, which has always seemed like an important part of the story. 

But this Nottingham/Yorkshire divide matters very much to the people of those two regions. There is local pride, and tourism at stake. And hell, if you have a chance to claim Robin Hood as your hometown hero, you’re going to take it, aren’t you?

The Yorkshire connection has led to one of the more favoured candidates for the job. Historian Joseph Hunter found records in court scrolls of a Robert Hode of Wakefield. A number of other writers, including Graham Phillips, have dug into the records of the time to piece together a trail of clues that this man could in fact have been outlawed, and that his later life could possibly mirror Robin Hood’s later years as told in the Geste. Furthermore, the King of the Ballad is named as Edward (with no number), and historical records show that Edward II travelled north, to Nottingham, during Hode’s lifetime circa 1323. This would appear to match with the part of the ballad that shows the King travelling to Robin’s forest and offering him a pardon. And sure, the King didn’t visit Barnsdale, but it’s not hard to allow that Robert may have travelled south into Sherwood, or that some messages may have been passed, or that there’s some other grain of truth to that aspect of the story. Such an event would also go some way to explain the Yorkshire/Nottingham crossover, and perhaps Hode was active as an outlaw in both areas. This all ties up nicely, and on the face of it matches up to the ballad. An important element of all the earliest stories is that Robin isn’t a lord or knight. He’s a yeoman. The full meaning of the term has led to much debate, but it could be simplified to say a skilled worker. And Robert of Wakefield would appear to fit this bill. He was also married to a woman whose name starts with an ‘M’ asin Matilda rather than Marian. (My research showed that Marian is often an afterthought in the search for Robin.)

Case closed? Well, not quite. It would take a whole separate blog post (or indeed a book, and there are several I’ll recommend later) to weigh up all the pro’s and con’s of this candidate. Some of the most compelling evidence used to support his claims can fall apart under close scrutiny. And it takes a leap of faith to look at a few scattered court records from 700 years ago and link up all the separate names into one person. And, as I will discuss a little later, it appears the name ‘Robin Hood’ was already known as criminal alias by the middle of the previous century. Having said that, it can’t be ignored that Robert Hode of Wakefield’s life does seem to fit closely into the ballad. As I said earlier, balladeers would localise their tales. Even if you’re as sceptical as me that Robert Hode was the originof the myth, it’s still quite possible he’s part of the development of it. And also possible that the surviving ballad is including elements of this local hero. 

Okay. So, I mentioned that ‘Robin Hood’ was already known as a criminal in the previous century. Records have been found from 1262 showing that someone named William had his name amended on a court scroll to ‘William Robehood’. A previous entry shows him as ‘William, son of Robert Le Fevre.’ (Le Fevre being a French term for Smith.) This is generally taken to mean that his name was adjusted to reflect the fact he was a criminal, and therefore that ‘RobeHood’ was already used as a form of shorthand for a bandit or outlaw by 1262. (I have a slightly different question about this, but I’ll return to that later.) If this reading of the records is correct, then we can narrow down our search. 

Do the same kind of records give us any other clues? Yes. There is a Robert Hood/Robertus Hood, from Sheffield (that Yorkshire connection again) who shows up on records as at outlaw circa 1225. Almost nothing else is known about this figure, but we do know that two of the people who are likely to have crossed paths with him -or at the very least to have known about him- were Eustace of Lowdham and Brian de Lisle, both of whom have been identified by different writers as candidates for the Sheriff figure. Eustace was serving as Deputy Sheriff of Yorkshire around the same Robertus Hood found himself on the wrong side of the law, and was later briefly appointed as Sheriff of Nottinghamshire and Derbyshire. De Lisle was a chief justice of the Royal Forrest, and himself later served in post in Nottingham. It’s extremely tempting to think this Robertus is our man. In knowing so little about him, we have room to fill that blank space with our own narrative. But in truth, that would be taking the same leap of faith that I used to weaken the case of Robert of Wakefield. 

All of this is based around finding someone with a name that matches the legend. Is that necessary? I’ve already shown that some of the key elements of the legend, Nottingham, Sherwood, the King, even the time, are all up for debate. So do we have candidates who don’t even have the right name? The answer is yes. And they make for possibly the strongest current contenders. 

First, let’s jump to 1265. The Barons of England rose up in their second rebellion of the century, led by Simon de Montfort (of incredible anti-Semitism fame) and attempted to depose King Henry III (John’s son, but a figure long overdue some attention and reappraisal.) When this rebellion failed, many of the people involved were outlawed. One of these outlaws, Roger Godberd, fled to Sherwood (though this is sometimes disputed, with counterclaims he used a forest in Leicestershire) and led a campaign of violence against the local Sheriff. Indeed, he was captured, taken to Nottingham Castle, and escaped. At one point, Godberd and his gang members were protected by a Knight, Richard Foliot, who sheltered them in his castle. This is a key detail. Looking back to the Little Geste of Robin Hood, one of the most important elements of the story -and one that doesn’t appear to have been borrowed from other outlaw cycles- is when Robin and Little John are sheltered by Sir Richard of the Lee. This is such a strong parallel, that it becomes hard to overlook. And also, in some speculation I’ll add myself, Henry’s son, Prince Edward (later of Braveheart fame) was an active combatant during the rebellion. He led troops into many of the final battles. So is it possible that a Prince Edward, playing a role in the real events, was later adapted by balladeers into King Edward, as they both localised and universalised the tale? Roger feels like a strong candidate to me almost exactly becausehe has a different name. The Robert of Wakefield theory revolves around stringing together a lot of vague records to make a man with the right name fit. But the story of Roger Godberd is making no attempt to bend to fit the myth. There’s not even any records that he was ever referred to by the name Robin Hood. It’s almost as if he’s sat there, in history, daring us to write him off. He doesn’t care what we think. He just has the simple fact that the recorded events of his life very closely match the legends of someone known by a different name. But there is one other main drawback to his claim. The date. Godberd, and his actions, all took place afterthat court scroll of 1262. Which still makes me look earlier. 

As I mentioned, de Montfort’s rebellion was the second one to take place that century. If we look earlier in the 1200’s, we find another candidate. A man who served as a Royal Bailif during the time of King John, before being outlawed. He led a rebellion against the King, which included a small army of archers who operated in the forest, cutting off supplies from people who were trying to send goods and money to their monarch. And furthermore, none of this is left to legend. We know this man existed, and that he did these things. And in fact we know he was later rewarded by the crown and accepted back into society. So, sounds pretty slam dunk, right? Well I agree. Except for a few details. He has a different name, operated in a different place, and rebelled against a different King. 

After King John signed, and then withdrew, the Magna Carta (this is misleading, as it wasn’t called the Magna Carta until a later reissue, but that’s the term people know it as now) the Barons of England rebelled. It’s worth pointing out, for all that it’s easy to paint John as a tyrant, very little is known about what ‘normal’ people thought of him, all we know is that the Barons hated him. And, as much as it serves people on the political right in the current climate to hark back to Magna Carta as the moment ‘we’ all became free, it’s important to remember the document was about a tug of war between a King and his Barons. Very few of us reading now would have been considered ‘free men’ at the time, and so few of the privileges and protections in the document would have applied to us. Magna Carta is an important step on the road to rule of law and of citizens rights, but it is onlythe first step, of many. Anyway, political rant aside. After John went back on his word, the Barons led a revolt. As part of the civil war, the French invaded and occupied much of the south of England. William of Kensham, a Royal Bailif loyal to John, wasn’t having this. He was outlawed by a crown he didn’t owe loyalty to, for defending one that he did, and led group of as many as one hundred archers in a guerrilla war in the forest of the Weald, on the south coast. The Weald at the time was still a vast ancient forest, far larger than Sherwood, and William was able to regularly prevent the French troops from passing supplies inland to the castles they occupied. This small army played a vital part in the war, and John himself wrote to William to thank him for his efforts.

William was active at pretty much the exact time we would need the original Robin Hood to have existed. His exploits fit very easily into the profile of our mythical hero. A yeoman, leading a band of archers, using a vast ancient forest to ambush soldiers and run away, directly impacting the ability of one King to usurp the throne of the other. We also know his activities were celebrated nationally, he became a very famous figure, and his actions spawned a whole host of ballads and poems. He’d become largely forgotten until recently, when historian Sean McGlynn identified him as a contender. 

Between William of Kensham and Roger Godberd, we could possibly see the composite form of the legend come together. William provides the overall heroic profile, Roger brings some of the key specific criminal actions. Over time, could these two men become merged into one, mythic hero? Perhaps along the way stealing some romance from Fulk FitzWarrin?

Yes. 

No. 

Maybe?

Based on all the available information, I would argue this is the most likely scenario. That Robin Hood of Sherwood Forest is a blend of William of Kensham and Roger Godberd. The story told and retold, always shaped to fit whatever we need a hero to be. Maybe even, along the way, Robert Hode of Wakefield was added into the mix, with two outlaws of a previous century filtered through a local hero, and told as Robin Hood of Barnsdale. For now, my theory rests there. 

And yet. 

There are still questions. Still some thorny objections. That figure from 1225, Robertus Hood, still calls to us. He would be in the right place, at the right time, with the right name. Maybe his story will always be lost to us. Or maybe, in the coming years, a new document will turn up, a previously lost court scroll, or a different poem, some extra detail that fills in his life and gives us the answers. 

There’s also one lingering doubt I can’t shake to this ‘composite hero’ idea. If we have two (or more) different people, with completely different names, how did we settle on ‘Robin Hood’? And why would it have become a known criminal alias by 1262? True enough, Robert was a very common name. And historians have found enough people with variations on Hode/Hood to suggest that, if not common, it wasn’t uncommon. Is it possible that ‘Robin Hood’ is simply a ‘Joe Public’ type of name, something applied to say that this hero could be any of us? Maybe. But, though Robin was an increasingly common nickname for Robert, it’s also a name of French origin. And, in a century when war with -and invasion by- France was a persistent danger, would English folklore have adopted a French name for their everyman figure? That doesn’t ring true to me. But that’s purely a gut feeling. 

And I didn’t play fair right at the start. In dismissing the 1190’s, I skated by on one other possible candidate. Long before pop culture solidified around Robin of Loxley, Robin’s surname was sometimes given as variations on Fitzodo or Fitzooth. And, although Loxley is often assumed to be town of the same name in Yorkshire -largely because of the Ballad’s link to Barnsdale- there is also a Loxley in Warwickshire, only a few miles away from Shakespeare’s Stratford. There’s a record of Robert Fitzodo, a Knight who lived in Loxley, who appears to have been stripped of his knighthood during Richard’s reign. And there’s a grave in a nearby churchyard that matches a drawing of Robin Hood’s grave dated from 1670.  And that would bring the story right back to where we started. A Knight who was disinherited during the reign of Richard the Lionheart. He wasn’t from either Barnsdale or Nottingham, but Fulk FitzWarrin proves outlaws during that time could operate over large areas.  

Is this the real Robin? For my money, and again, based on current information, I still feel like the William/Roger composite is most likely. And the fact that John and Richard are absent from the all the earliest ballads and poems still leads me to rule out the 1190’s. Could Robert of Loxley be a historical coincidence? Someone we only notice now because of later additions to the story? But Robert of Loxley clearly can’t be completely ignored when looking for a real….Robert of Loxley. 

And that really brings us to the end. As frustrating at it is, we may never know more than this. Historians have been scouring records for hundreds of years, and all it’s done is raise more questions. And I have an additional theory. One that I think is new and hasn’t been researched. I’m not ready to share it yet, because it may well frame my own take on the story, but I do want to add something else to the conversation. Let’s go back to 1262, and that court scroll of William Robehood. As we’ve seen, this has been compared to a previous entry that shows William to be the son of Robert le Fevre. The conversation here seems to have focused solely on the question of whether the change to Robehood shows that Robin Hood was established as a shorthand for ‘criminal’ by the 1260’s. But what if the clerk was being more literal than that? William son of Robert becomes William RobHood. Is it worth trying to find more information of Robert le Fevre? Could William literally be the son of someone known to the court clerk as Robin Hood? 

 

Suggested bibliography.

The standard bearer for Robin Hood research is still, for my money, JC Holt’s book.

For more information of Roger Godberd, I would suggest you check out David Baldwin and for the William of Kensham link I throughly enjoyed Sean McGlynn’s recent work.

If you want to deep dive into the Robert of Wakefield theory, with references to Robert of the Warwickshire Loxley, try and track down a copy of the out of print work by Graham Phillips.