The Foot Is What You Need It to Be, and an Ox Gave You the Mile

My bookcase was in the wrong spot somehow, like a feng shui thing. Moving it across the room could open up everything. Maybe, if the spot was wide enough. I didn't have a measuring device handy, but seriously, our ancestors tamed fire and wolves using only their wits. So I measured the bookcase the old-fashioned way. 

I walked it heel-to-toe. 

And as I did, I had a thought: This is a horrible way to measure things. A Bob foot depends on how straight I step, whether I'm wearing shoes and how clunky. But that's exactly how those ancestors built up our world, by body part intervals. It's a weird and wonderful story.

Old School

A finger is a common measure across history. A Sumerian noir detective might splash a few fingers of Mesopotamian hooch. Or a hand's worth, the width of the palm. A span measures extended fingertips from the thumb to the little finger. A fathom is the length of outstretched arms, which helped sailors mark off rope for sounding lines. As a bonus, arm span approximates human height. If water is more than a fathom deep, your feet don't touch the bottom. 

The Babylonians and Sumerians were all about the arm. Specifically, the cubit, or a forearm's length from the elbow to the middle finger's tip. The Egyptians got together on a standard, the Royal Cubit (20.6 modern inches). Approved measuring devices--cubit rods and ropes knotted at cubit intervals--made sure nobody went rogue. The Royal Cubit built the pyramids. 

The cubit was the way to go until Greeks stepped in with an idea. Literally. 

To the Greeks, measuring by arms and elbows had an obvious limitation: The world is a big place. They weren't about to go around planning city-states and sea routes with arms and rope. 

"Check it out," the Greeks said. "We're walking around on measuring devices super ideal for distance." The human foot, or a Greek pous (podes in plural), the length of a foot wearing a shoe or sandal. A pace, or a walking step with each foot falling once, equaled 5 podes.

If pacing seems like a variable standard, it was. Taller Greeks took longer strides. Younger ones strode more briskly. Was the pace-taker in good health? Going uphill or downhill? What were the weather and ground conditions? Ten Greeks taking 120 paces would travel ten different distances. The local pous could be anything from 12.4 to 12.7 modern inches. Over 120 paces, that's a six-foot swing.

Still, the Greeks were stepping out distances. The critical distance was 600 podes (120 paces), or a stadion -- literally, "to stand" or "standard." The total harmonized with the Greek base-60 system for precise measurements--a Babylonian idea still around today for marking time, longitude and latitude, and celestial coordinates. The stadion also became a standard track length for footraces. Over time, those races were so popular that the length name latched onto the events and tracks themselves.

The Roman Standard

Unsurprisingly, the Romans borrowed the Greek system. A pous became a pes, and podes became pedes. But the Romans, thinking in scalable terms, used a base-10 decimal system for big stuff like bulk trading and infrastructure. A Roman surveyor stepping off distances had to keep going to a nice, round 1,000 paces--or in Latin, the mille passus. 

Variability was intolerable if you were set on marching around and expanding your influence, which the Romans were. And the Romans could organize.

In the Empire, all roads really did lead to Rome. Their road network moved soldiers and officials expeditiously along mapped routes to even the farthest outpost. Those Roman surveyors used odometers to measure and map their precise-ish distances. At each standard mile, the Romans placed obelisks or stones--millaria--notionally to mark the distance from the Forum. 

More to the point, everyone knew who was in charge. 

Rome stretched the Greek stadion to 625 paces (pedes), or a one-eighth mille. Sporting-wise, the Romans lengthened and looped their tracks for chariot racing (the circus) and more graphic sports. Like the Greeks, Romans just called the whole entertainment venue the Latinized stadium. 

It was quite a time for distance measurements. Order and function.

Well, Rome fell.

And Now For Something Completely Different

Out on their island, all post-Roman, the Old English Anglo-Saxons were getting bloody attached to land measures not based on body parts. The Anglo-Saxon idea? Oxen.

The idea focused on area. The Anglo-Saxons clustered their farmland near rivers, and crucially, they kept oxen to help out. It's no fun turning an ox team and plow. Both dynamics meant most Old English parcels were long but thin. 

A key distance became the "rod." The word had meant a pole or a perch, from the Roman pertica, a pike-ish stick of varying lengths and used for surveying land. Or, of course, for goading oxen. The Anglo-Saxons gauged a rod at fifteen feet. This was the Germanic long foot, roughly 13.2 modern inches.

The oxen couldn't have cared less about math and ratios, but they were invested in their workload. "Aha," the Anglo-Saxons said, having noted how far an oxen team usually plowed without a rest. The Anglo-Saxons dubbed that a furrow's length--a furhlang, or eventually a furlong. The acre ran one furlong long by four rods wide, or what an oxen team could plow in one day. An oxgang--15 acres--was how much an ox could handle over a whole plowing season. 

As not to give the oxen too much say, the Anglo-Saxons improved their survey tools and huddled up on a standard. Everyone decided a furlong should be 600 feet, comprised of 40 rods or 200 yards. Well done, all.

Then the Normans came along. Being the continental sort, they weren't sold on ox-based distances, not at all, and they set about implementing proper Roman distances. The main obstacle was immediate. Immovable. Everyone's property lines were measured in long-established rods and furlongs and taxed accordingly. Using the shorter 12-inch Norman foot would've recalculated each holding to more acreage, which risked a major tax hike and likely revolt. 

How, then, did the Normans solve for converting oxen steps to human paces?

They didn't. The furlong remained at its Germanic length--but it would be comprised of 660 Norman feet, not 600 Germanic ones. A rod stayed a rod--with a 10% promotion from 15 to 16.5 feet. 

Tax crisis averted. Still, England was a growing power. Having its land, sea, and economic interests measured differently left the Crown at sixes and sevens. Someone needed to sort it out.

Cut to 1593. Elizabethan decision-makers were in whatever royal planning committee, everybody stewing over how the whole realm needed global scale but was anchor-tied to rods and furlongs. Fair play to the oxen, the planners admitted. "Oy," Duke Someone said, "what about the Romans and their stadium one-eighth mile business? That was what, 600-something feet? Couldn't we just go with that?" 

They did precisely that. Elizabeth I proclaimed eight Germanic furlongs to be an English mile comprised of 5,280 Norman feet. In 1959, that distance was codified as the international mile, which was greeted with a shrug in Rome. They'd long since moved to the kilometer.

Meanwhile, in my Basement

There I was, measuring a bookcase by stepping it off heel-to-toe. In Skechers, size 8.5. The bookshelf was pretty much five Bob feet wide--too wide by half a Bob foot. For the record, a Bob foot is essentially the length they used back in Rome. 

The bookcase and its flow situation sit as they were. I'm cool with one thing, though. Even in failure, I'd joined an ancient tradition based on body shapes and imperial whim and even oxen work ethic, a tradition of measuring badly--but accurately.

The official Bob foot, shod

Lawrence at 60 Years and Counting

Lawrence of Arabia changed my life. I’m not exaggerating. I’d seen pictures before that affected me deeply, and quite a few I’d gone back to see more than once. I knew vaguely about the auteur theory. I realized movies were made, they didn’t somehow spring from the brow of Zeus. But on the most basic level, I didn’t actually understand that a movie was intentional, that it was calculated and specific.

Lawrence changed that, and I can tell you exactly how: the moment when Peter O’Toole holds up the burning match, and blows it out, and they cut to the sunrise on the desert, the music swelling.

I’ve mentioned this before, and it’s subliminal, not literal, the light suddenly dawning, but I remember how jaw-dropping it was – the shot itself, for openers, and at the same time, that I’d been let in on this world-changing secret. I was struck with awe.

Lawrence is back, and not for the first time. It was released originally at three hours and forty-two minutes, a roadshow feature, in December, 1962. Then cut by twenty minutes for general release. Then re-cut in 1970, to 187 minutes. And then restored, in 1988, to 228 minutes – this is the Director’s Cut available on DVD. I just got to see it again, theatrically, in a 4K restoration. Granted, it’s digital, not film, but it’s spectacular.

A word about the cinematography. (Freddie Young won the Oscar for it, Anne Coates won for the editing.) The movie was shot in Super Panavision 70, which is a 65mm negative printed to 35mm, projected in anamorphic – meaning the compressed image on film is widened on the screen. One of the cool things about the newest release is the amount of visual detail. You can argue that there will always be more detail captured on film negative, but the image will degrade, as prints are reproduced from the master negative.

This new digital transfer is probably the best available capture of the original, even if the purist in me kicks against it. You can see the blowing sand, the texture of a man’s skin, in close-up, or the depth of distance. Lean and Freddie Young used a 500mm Panavision zoom lens to shoot Omar Sharif’s entrance, through the dust and the heat coming off the hardpan, the figure seeming to resolve out of a mirage, or a trick of the mind’s eye. Is there really a better entrance in all of the movies?

I went back to see Lawrence twice, the initial 222-minute roadshow release, and then I saw it another three times, in its 202-minute general theatrical release. I couldn’t get enough. My pal John Davis and I could retail entire scenes of dialogue to each other – “The best of them won’t come for money, they’ll come for me” – and ape Peter O’Toole’s mannerisms. I didn’t, at that point, even know David Lean was a big deal, that he and Olivier and the Kordas had brought British cinema back from the dead, after the war, or at least brought American audiences into theaters, which is what mattered to the box office. Later on, when I was living at the Y on Huntington Avenue, I discovered a revival house up the street, and saw Great Expectations for the first time. It was Lean’s two Dickens adaptions that put him on the postwar map, Great Expectations in 1946, and Oliver Twist in 1948, but this wasn’t on my radar. I was just knocked out by the picture itself, and it was icing on the cake to realize it was guy who’d made Lawrence.

Oh, and that Maurice Jarre score!

I think it was his big break. It was sweeping, and eerie, and thunderous, and sometimes all at the same time. Lots of tympani. I tried to recreate it the following summer, at a pump organ. Four of us, teenage boys. Driving a van filled with mattresses up to a summer cabin in Canada, and a shaving kit full of bathtub benzedrine, courtesy of a chemistry-adjacent friend of a friend. The four of us stoned out of our minds and flying, me pumping the foot pedals on that organ with physical fury, and picking out Maurice’s main theme on the keyboard, DOO-doo, doo-doo-doo-doo-DOO-doo. It must have driven the other guys crazy, except that they were doing much the same, banging on a typewriter instead of an instrument. I think this is a story for another time. Too much left in already, when I should leave most of it out.

In any case, I think I’ve hit the highlights. Lawrence is the most important movie of my life, both as a movie that made me think organically about the movies, and as a totem, in terms of personal history. I’m enormously grateful it pointed the way.

Biden Cincinnatus: the Egalitarian Virtue of Restraint

"You have often heard [Washington] compared to Cincinnatus. The comparison is doubtless just. The celebrated General is nothing more at present than a good farmer, constantly occupied in the care of his farm and the improvement of cultivation."

                – French traveller Jacques-Pierre Brissot de Warville after visiting Mount Vernon in 1788

Washington and Lafayette at Mount Vernon, circa 1784

“Tis a Conduct so novel, so inconceivable to People, who, far from giving up powers they possess, are willing to convulse the Empire to acquire more.”

– American painter and former Washington military aide-de-camp John Trumbull, on Washington's resignation of his command, 1784

General Washington resigning his commission before Congress in December, 1783, by John Trumbull

"There are decades where nothing happens; and there are weeks where decades happen." 

                                                                                                                     –Vladimir Ilyich Lenin (attr.)

Good Morning Fellow Sleuthsayers, and Happy August!

And I say this with a July for the Ages just barely in the record books. You hear this sort of thing all the time: "One for the record books." "This is unprecedented," etc., especially in this era of big media covering something as consequential as the election of the most powerful person on the planet as if were the fifth race at the dog track. Usually it's hyperbole.

Not this time, my friends.

Now, no matter your political persuasion, this ought to interest you, especially if you're any of the following:

1. A human being.
2. A lover of history.
3. Concerned about the world you might be leaving for your kids/grandkids, etc.
4. Just love a good story.

So with the assistance of Axios and NBC News, let's timeline this past month and a bit:

June 27, 2024

Debate between President Biden and former president Trump. Biden does poorly.

July 2, 2024

Rep. Lloyd Doggett of Texas becomes the first Democratic congressman to publicly call for President Biden to withdraw from the presidential race.

July 3, 2024

Big Democratic donors including Reed Hastings call on Biden to step aside.

July 5, 2024

George Stephanopoulos interviews President Biden.

July 10, 2024

Senator Peter Welch of Vermont becomes the first Democratic senator to publicly call for President Biden's withdrawl from the presidential race.

July 11, 2024

President Biden accidentally calls Ukrainian President Zelensky "President Putin" and Vice President Harris "Vice President Trump" ahead of a NATO presser.

July 13, 2024

Assassination attempt on former president Trump's life at Pennsylvania rally.

July 15, 2024

Former president Trump announces Senator JD Vance of Ohio as his vice presidential running mate.

July 17, 2024

President Biden tests positive for COVID. Rep. Adam Schiff of California publicly calls for President Biden to withdraw from the presidential race.

July 18, 2024

Rambling, and at times barely coherent, former president Trump formally accepts the Republican nomination for president, with a record length 90-plus minute speech. 

July 19, 2024

President Biden reiterates that he will stay in the race as at least 25 additional lawmakers call for him to step aside. NBC News breaks the story that members of President Biden's family have discussed what an exit from his campaign might look like.

July 20, 2024

Former speaker of the House of Representative Nancy Pelosi meets privately with President Biden, and informs him that in her opinion and based on available polling data, he cannot defeat former president Trump in the coming election, and and risks killing the Democrats' chances of holding the Senate and re-taking the House. Biden is defiant in response.

July 21, 2024

President Biden announces he will leave the presidential race and immediately endorses Vice President Harris to be the party's nominee. All but a few of his closest aides have no idea he will leave the race until mere minutes before he posts a press release on Twitter announcing his withdrawal.

*    *    *

Twenty-four days? Feels like twenty-four years! Which is why I included the Lenin quote (something he may or may not have actually said. Historians differ on this point.). And I'll skip the following ten days, with the rise of Kamala Harris as the party's nominee, the excitement it has generated, the party and many previously disaffected supporters energized and heartened by the quick coalescing of support around Vice President Harris, and the concomitant floundering of former president Trump's candidacy.

That story has yet to play out, and nothing is certain. So I'll write about that at some point after a certain Tuesday in the coming November.

After all, it's really beside the point of this post.

That point? The "Cincinnatus" factor.

Yes, that's right, not "Cincinnati." "Cincinnatus." Don't get me wrong. Cincinnati's a great city. It's the home of so many terrific things: the Reds, its own namesake variant on traditional chili, goetta, Graeter's Ice Cream, Play-Doh, Preparation-H, Aspercreme, the first truly German-descended beers brewed in America, and of course, long-time friend and fellow Sleuthsayer, Jim Winter (Hi Jim!).

But for the purposes of this conversation, "Cincinnati" will refer to a fellowship aligning itself with tradition of a "Cincinnatus," rather than to the city named in honor of one such worthy.

So what is this "factor" I have dubbed the "Cincinnatus" factor?

Simple: it's the notion that one of the highest of all civic virtues is such respect for great power as to be willing to surrender it, thereby placing the best interests of one's country above one's own selfish desires.

The word comes from the name of an ancient Roman politician and soldier named Lucius Quinctius Cincinnatus (fl. 5th century B.C.). As the story comes down to us from the Roman historian Livy, Cincinnatus earned the respect of his colleagues as both a politician and as a general. Eventually, after a long career serving Rome, he retired from public life to farm a few acres (Livy says it was four acres) he owned outside the city.

Not too far into Cincinnatus' retirement, Rome found itself threatened by a powerful invasion force, with its army surrounded and all but beaten. The current consuls (officials charged with running the city and executing the laws passed by the Roman Senate) were apparently not up the task of saving either the city or its army, and so they followed Roman law which dictated (no pun intended, see next) that in time of emergency the Senate could vote to suspend the Roman constitution and place all power in the hands of a "dictator" for a term of six months.

The Senate voted and the official they chose to serve as dictator was none other than the now-retired Cincinnatus. When the members of that worthy body caught up with the man they had voted absolute power to, he was in the middle of plowing his field. Once the situation had been explained to him, Cincinnatus left his plow standing in the midst of said field, said goodbye to his wife and set off to save Rome and its army.

He was successful in both endeavors.

And it took him just over two weeks (sixteen days) to do it.

And what did he do next? Did he serve out his term and enjoy the perks of absolute power for the next five and a half months?

Nope. Once the danger had passed, Cincinnatus resigned his position and returned to his plow. 

A rare move, rare among Roman dictators (see Lucius Cornelius Sulla Felix and Gaius Julius Caesar, just to name a couple who, for their own reasons, did not follow Cincinnatus' shining example), rarer still among rulers throughout the ages since the fall of Rome. 

You KNOW that rod is not just for show

One need look no further than 17th century English history and the "Protectorate" government of Oliver Cromwell, which while officially a "commonwealth," was in fact nothing short of a military dictatorship. Having fought on the side of the Parliamentary forces against the king's supporters in England's recent civil war, placed at the head of Parliament's military forces, Cromwell took to being an unaccountable autocrat just as quickly as Charles I, the "divine right" king Cromwell helped defeat, depose and eventually see executed. If anything Cromwell was worse than Charles. He was a competent administrator and a shrewd judge of people, where the foppish dullard Charles Stuart was neither of these things.

And that is just one example. History is replete with stories of princes, pashas, caliphs, kings and all other sorts of rulers who, once attaining power, clung to it like grim death.

And our own modern history has its own Pinochets, its Stalins, its Hitlers (I know, too easy, but hey, if the swastika armband fits...), its Castros, its Chavezes, Its Perons, its Duvaliers, its Somozas, its Putins, its Ceaușescus, and so many more.

Which makes the example of America's own "Father of his Country" all the more remarkable.

Yes, none other than George Washington is known in many quarters as the "American Cincinnatus," and the Society of the Cincinnati is named in his honor. Why? Simple. When given the opportunity to seize and hold absolute power at the end of the American Revolution, Washington resigned his commission mere months after the ratification of the Treaty of Paris in 1783.

And then he went home to his farm.

Of course the story doesn't end there. Of course Washington was so highly regarded that he was summoned back into his country's service, first to preside over the constitutional convention intended to codify itself existence as a democratic republic, and then as the first president of that same democratic republic.

And then he did it again. 

After two terms served as president, Washington willingly gave up power again, retiring from public life and refusing to serve a third term.

Instead he went home to Virginia to farm.

Is it any wonder that some of the more poetic among us refer to Washington as "the American Cincinnatus"?

It is just this example that our own current chief executive, haltingly, some would say tardily,  certainly imperfectly, has so recently followed.

Joseph Robinette Biden Jr., easily already the most consequential president of my lifetime (I was born in 1965), when faced with a race he was sure he could win, combined with the failing faith of his erstwhile supporters, did a surprising thing. When his own people told him they thought it best for the nation that he serve out his single term, but step down as his party's nominee for the presidential election this year, he caviled, he argued, I'm sure he stewed and fumed and perhaps even privately raged.

And then he listened to them. And once again, Joe Biden answered his country's call.

I'm not here today to talk about the existential threat this country faces, or how President Biden's action may well have helped rescue it from said threat. I'm not here to talk politics. I'll leave it for others to do that.

I'm just here to point out that without the occasional selfless action of a Cincinnatus, any republic, any democracy, is doomed.

The Cincinnati. May our country continue to produce them.

See you in two weeks!

I'll Have a History/Mystery, Please–with a Twist

Lately I've been writing a good many historical stories--most of them crime stories--and I'm only sorry I didn't start doing it sooner.

A word of clarification, here. When I say historical, I'm not talking so much about the Stone Age or ancient Rome or medieval England. I'm referring more to the past two hundred years or so, and mostly here in this country. 

How did I get interested in this? I blame it on a number of period-specific mystery anthologies edited by folks like Michael Bracken, Andrew McAleer, and others. Contributing to those anthologies has forced me to write a dozen or more stories so far about crimefighters (usually PIs) in the 1930s, '40s, '60s, '70s, and '80s, and at first I couldn't believe how much fun they were to write. By now I'm used to it– and I'm still having a good time. Part of it's the writing, and part of it's learning what's needed about long-ago people, places, and events.

Not that all my historical-mystery shorts have been set in the mid-20th Century. Since I grew up watching endless Westerns on TV and the big screen, I've written and published plenty of those as well, around seventy or eighty stories so far. (You might be surprised at how many of our current mystery magazines are receptive to tales of the Old West– I've had Westerns published at AHMM, Strand, Black Cat Weekly, Mystery Magazine/Mystery Weekly, Black Cat Mystery Magazine, Punk Noir, Pulp Modern, Crimeucopia, Sherlock Holmes Mystery Magazine, even the print edition of The Saturday Evening Post. After all, if you stop and think about it, almost every Western features a built-in crime or two.)

My latest historical mystery appears in the July/August 2024 issue of Alfred Hitchcock's Mystery Magazine. It's called "Moonshine and Roses," it's set in the hills of eastern Kentucky in the 1930s, and it features treasury agent Joe McIinnis, who works for Eliot Ness's Alcohol Tax Unit in Cincinnati. The real star of the story, though, is the long-lost love of McInnis's life, the tough daughter of a moonshiner whose enemies are the official reason for a Fed to be poking around in the area. Maybe because it's a love story and a mystery and a shoot-'em-up adventure story as well, I've had some kind feedback on it from readers already, which always gladdens my doubt-filled heart. If you read it, I hope you'll like it.

The "twist" I mentioned in the title of this post is also a part of my Hitchcock story, mainly because I can't seem to resist inserting plot twists whenever I can. By the way, I think they work best when the entire story doesn't depend on the twist, and when the surprise provides a final "gotcha" onto the end of an already satisfying conclusion. (Think Die Hard, instead of The Sixth Sense.) Doing that kind of add-on ending (sometimes called a "double twist") isn't always possible, or even advisable--but with a little prior planning and foreshadowing, it often is, and when it works, I think it can help the story.

Questions: Do you write, and/or like to read, historical mysteries (novels or short stories)? In your opinion, how far back must you go, to be able to call a story historical? Is it cheating a bit, to use the too-recent past? How about Westerns? How about the amount of research that's required with any kind of period fiction? Do you do a lot of study beforehand, or are you already familiar enough with certain eras to write accurately about them? How about historical series stories? With regard to twist endings, do you often incorporate those into your fiction? Has that been successful for you? Do you like to encounter those kinds of reversals in the stories of others? 

Whatever kinds of stories you create--present-day or historical, straightforward or convoluted, standalone or series--I wish you the best, with all of them.

Write on!

Historical Inaccuracy

Historical Inaccuracy in movies is nothing new. It's called poetic license.

Historical Inaccuracy in non-fiction articles is not usual and not good. If there are facts, get them right.

Case in point was the article put up on Google Alerts from The Loveland-Reporter Herald of October 21, 2023. A review of the movie THE BUCCANEER (Paramount Pictures, 1958) with historical notations.

There's no problem with the writer expressing opinions about the movie. I agree with many of them. The casting of Yul Brenner as Jean Lafitte was a good choice, so was Charlton Heston as Andrew Jackson, Charles Boyer as Dominique You and Claire Bloom as pirate Bonnie Brown. However, the wonderful Inger Stevens, who plays Louisiana Governor William C. C. Claiborne's daughter who has a love affair with Lafitte, well, Claiborne did have a daughter at the time but she was three years old.

However, the article describes the "well done" battle scenes, which were clearly filmed on a Hollywood sounds stage where the dialogue and sounds of horses and bagpipes echo from the walls of the sound stage. British troops wearing kilts march slowly in a wide line to their deaths, when in fact they marched at the quick-step in two long columns. There were no kilts worn at the Battle of New Orleans. The Scottish 93rd Regiment of Foot (Sutherland Highlanders) wore trews, tartan trousers – their winter uniform as the Battle of New Orleans, The battle itself involved six engagements from December 14, 1814, through the climactic battle on January 8, 1815, to the final engagement south of New Orleans at Fort St. Philip, January 9-17, 1815. It occurred in one of the coldest winters in Louisiana history. Hence, no kilts.

As much as the writer of the article suspects "there is a grain of truth in the song" The Battle of New Orleans sung by Johnny Horton, the British did not run after the battle as the song goes, “They ran through the briers and they ran through the brambles/ And they ran through the bushes where a rabbit couldn’t go/ They ran so fast that the hounds couldn’t catch ’em/ On down the Mississippi to the gulf of Mexico.” This is untrue.

In fact, the British withdrew to its original position at the start of the climactic battle, the de la Ronde Plantation, and waited to see if General Jackson was dumb enough to come out from behind his formidable fortifications to try and destroy the British army. Jackson was too asute to try this. His job was to protect New Orleans and he remained behind his fortifications between the British army and the city.

The new commander-in-chief of the British Expedition (Generals Pakenham and Gibbs were killed at the battle and third-in-command General Keane so severly wounded he was supposed to die), GeneralJohn Lambert conducted a disciplined, orderly withdrawl of his defeated army back through the swamp to the Royal Navy ships outside Lake Borgne. He was decorated for this strategic withdrawl. He left Louisiana to capture Mobile, which highlights the fallicy (restated in the article) that The Battle of New Orleans was fought after the war ended.

While U.S. and British representatives agreed to end hostilities, initially signing a peace treaty at Ghent, Belgium, on December 24, 1814, the British and Americans were already fighting outside New Orleans. They just finished the second engagement on December 23, 1814 and fought again on December 28 and January 1, before the climactic battle on January 8. The Treay was not ratified by the U.S. Senate and Parliament until February 17, 1815, ending the War of 1812.

OK, it's a review of an inaccurate movie. Just don't add historical inaccuracies in an analysis.

I worked long hours accumulating 72,000 words of historical research before I wrote my epic novel BATTLE KISS. I made it as accurate as I could make it, so much so, my 16,303 word  January 8 battle scene was published in the historical journal SOUTHEAST LOUISIANA REVIEW (Vol. 4, Winter 2012/2013).

The article THE BUCCANEER can be found at: https://www.reporterherald.com/2023/10/21/trivially-speaking-the-buccaneer-seized-a-place-in-movie-history/

The book:

https://www.amazon.com/Battle-Kiss-Novel-New-Orleans-ebook/dp/B0069VMOI0/

Thanks all for now.

  www.oneildenoux.com 

The Ambassador's Fancy Boots

 It happened that a certain Janus Imperial of Genoa lay slain."

                                                – Coroner's Inquest Report, City of London, August 27, 1379

At first glance it appeared that the altercation began over boots.

Like these, perhaps?

By the time the dust had settled, two London juries, the royal government, the city of London, London's powerful trading elites, the king and his uncle/chief advisor were all involved, and what had first seemed a street fight over boots quickly showed itself to be a bloody skirmish in a vicious economic war.

For starters, the victim was not just any Genoan. "Janus Imperial" (in Italian, "Giano Imperiale") was actually Genoa's ambassador to England. And the two thugs detained and charged with his murder weren't just any street toughs: they were rough-and-tumble street merchants. More on that in a bit.

First, the particulars of Imperiale's murder, then the background which showed it to be vastly more than a killing during a street brawl.

The altercation started in front of Imperiale's London residence, located in St. Nicholas Acton Lane. Imperiale was seated in front of his house, when two local men, John Kirkby and John Algor, crossed in front of him, once, twice, and finally a third time. Each time one of the men trod, supposedly innocently, on Imperiale's fancy boots. According to later court testimony, Kirkby "went past Giano Imperiale's feet and came back three time, on each occasion stumbling over his feet. for the sake of picking a quarrel between them."

The third time was the proverbial charm, and a brawl broke out between the two men and several of Imperiale's retainers. Imperiale was cut down, stabbed twice in the head, the coroner's report noted the cuts were "seven inches long and deep into the brain."

Imperiale, as it turned out, had come to London on a safe passage guaranteed by the government of King Richard II, in the person of the king's uncle and most influential courtier, John of Gaunt, Duke of Lancaster. The purpose of Imperiale's visit to England was a diplomatic mission. He had come to London to negotiate a new trade agreement between the merchant guilds of Genoa and Richard's government. And since the king was a minor and his uncle influential (if not particularly well-liked), the Duke of Lancaster would be negotiating on his nephew's behalf.

A highly speculative portrait of John of Gaunt commissioned two centuries after his death.

The agreement was intended to cover the export of England's most lucrative product at the time: wool. The Duke of Lancaster was intent on cutting out the wool trade's middle men (in this case the established merchant guilds in London) as part of an on-going feud between the duke and his supporters within the royal government and not just the merchant guilds, but the city government of London itself.

The merchant guilds and their leaders had become vastly wealthy as a result of their participation in the exportation of wool. John of Gaunt found these captains of industry–who provided the royal government with massive loans intended to financially support the English crown's on-going and decades-long war with France–far too independent for the country's good. Worse, as many of these "lords of wool" did their civic duty by holding elective office within the city of London, they also infected the city government with their "independent streak." The root of their feud with the Duke of Lancaster was at their determination to keep the Duke from interfering in London's city government, and in Lancaster's equal determination to involve himself in the city's government whenever and however he saw fit.

"Gold on the hoof"

Lancaster's plan to cut his opponents out of the wool trade involved a treaty with Genoa calling for that trading city's merchant vessels to cease sailing up the Thames River and calling for their cargoes at the port of London. Instead they would call at the smaller, more easily controlled port of Southampton. Said agreement would be more convenient (and thus more profitable) for the Genoese and the  English crown would directly receive the cut of the trade London's wool merchants had counted on as their own for more than a century.

This all came to naught with Imperiale's murder. No Genoese ambassador, no trade negotiations, and therefore, no new trade deal. And the answer to the question of cui bono pointed a finger straight at London's merchant elite.

Throw in the fact that Kirkby and Algor were eventually run to ground, tossed in jail, and indicted on murder charges arising from Imperiale's death. Two successive London juries found the two men not guilty of murder. The fix was clearly in.

After nearly a year of legal maneuvering, Gaunt managed to have the two "street merchants" taken from London to await a trial before the duke himself and a picked "jury" of his closest allies among the English nobility. Dragged before this assemblage of lords after nearly a year in jail, Algor cracked.

The two men had acted on orders of London's governmental and trading elites, Algor said. Recruited through the very guilds which sponsored and protected men such as themselves, they had been sent by their masters to target Imperiale because a number of wealthy and influential men in London had begun to hear rumors of the deal the Genoan was negotiating with the Duke of Lancaster, and "in the event that he could bring his plans to conclusion, Giano Imperiale would destroy and ruin all the wool merchants of London."

Algor also named names, including that of the serving lord-mayor of London, the popular (and very wealthy) Sir John Philpot. It had been Philpot himself who, acting in his capacity as lord-mayor, arrested both Algor and Kirkby for Imperiale's death.

Because he provided evidence against several of his masters and his accomplice, Algor's life was spared. He reminded in jail until released in 1384, after which he disappeared from the public record. 

As for Kirkby, he was dragged still protesting his innocence to the gallows, where he was hanged, drawn and quartered-the traitor's death. This was Gaunt's final card to play. Plotting against a diplomat who enjoyed the Crown's protection was not just criminal, he insisted, but treasonous.

And while Philpot and the rest of the wealthy wool elite of London never faced any formal charges of treason, they were tarred with the same brush, and the taint of "treason" on their parts undermined these men and their peers in their public positions, making it more difficult for them to continue to rule in London.

The Duke of Lancaster celebrated this victory over the City of London, but it proved to be a short-lived one. Within two years Gaunt would be barred from holding direct royal authority as a result of his mismanagement of the on-going war in France, his own person ambitions to win the crown of Portugal for himself (in a disastrous and expensive military operation financed by the nearly bankrupt royal treasury), and his part in mismanaging the royal government's budgets. War, after all, could prove very expensive, especially losing one, as he did in Portugal.

So, in the end, the whole fracas was not over shoes, but over wool, which is to say, over trade, which, in turn is to say, over money, and the power it brings.

And that's it for me. See you in two weeks!

What was, what could be, and everything in between.

One reason I love reading history is it’s already happened.  No need to fear impending catastrophe; we already know how the story turns out.  At least in the opinion of the historian, who may differ from others in the field.  And some historical commentary is energetically revisionist.   But generally, you’re safe from new, alarming events suddenly cropping up.  

I especially enjoy history where things worked out well for us, an outcome that at the time was seriously in doubt.  The big daddies of these stories focus on the American Revolution and World War II.  In fact, you could start reading books on these subjects when you’re ten years old and never live long enough to exhaust the supply. 

I like reading about all the stress and worry flooding the nervous systems of people like George Washington and Dwight Eisenhower, whom we think of as implacable, irresistible over-achievers, fully confident that things like crossing the Delaware River in December, in open boats, to attack a bunch of well-trained German mercenaries was a swell idea that was sure to work out just fine.

Eisenhower wrote an apology for the failure of his planned Normandy invasion and stuck it in his pocket the night before D-Day:

"Our landings in the Cherbourg-Havre area have failed to gain a satisfactory foothold and I have withdrawn the troops. My decision to attack at this time and place was based upon the best information available. The troops, the air and the Navy did all that bravery and devotion to duty could do. If any blame or fault attaches to the attempt it is mine alone."

It’s powerful reading, also poignantly written.  I’ve never undertaken anything close to what he faced, though I’ve had plenty of moments when I prayed to a God I’m not sure I believe in, “Oh please, Lord, don’t let me f**k this up.”   

I also like to learn that something we all thought had happened one way, has turned out to be something entirely different.  This results from either fresher, better research, or the historian re-examining an event unblinkered by the prejudices of prior commentators.  Or both. 

Despite the fulminations of people unhappy about academics rethinking American history, since much of it throws treasured, self-congratulatory tropes overboard, I’d much rather know.   A good example is the Revolutionary War. Historians like Rick Atkinson are explaining that it was really bloody and awful, with plenty of gruesome excess on both sides of the conflict.  Well, yeah, all wars are like this.  And rather than making our success ignoble it should instruct us that it was one hell of a fight, one over which our ancestors gave their all.

Another benefit of reading history is it reminds us that our humanity hasn’t changed that much, if at all, since people started writing things down.  While technology has evolved, the thoughts, feelings, anxieties, hopes and dreams are all pretty much the same for the Mesopotamian grain merchant as the Wall Street Master of the Universe.  The grunt hauling stones to the pyramid or the slob on the subway trying to make his way home.

How is this germane to the fiction writer?  First off, history has a steadying influence over creative writing.  Things that have happened provide the context for what could have happened, even in science fiction.  Especially. 

Plausibility, credibility, believability.  Some writers hate the notion of being pinned down by the reality of human experience, but any editor will tell you that otherwise promising fiction can be utterly thwarted by flights of fancy launched from unsteady moorings.  You know when you’re reading it that the author is confusing invention with absurdity.  The great jazz musicians knew their scales and classic harmonic relationships.  Joyce, Pound, Stravinsky and Picasso never said abandon all prior structure, but to adapt, modify and innovate within established forms. 

Listeners and readers know this instinctively.  It’s an agreement with the artist.  Know your history, and trust the creators to know it as well.  And it goes both ways.  New Journalism was premised on describing real events with the flair and artistry of fiction.  The historians we love today understand this, and eagerly employ novelists’ techniques to power their tales of the past.  

Everyone’s better for it. 

Rumors of the Lost Ark

History is a mystery, and I think that's why there's a number of us - Rob Lopresti, Doolin' Dalton, myself, and others - who are fascinated with history, archaeology, and all that old, old stuff.

Rob Lopresti wrote a great blog post a couple of weeks ago about hypnogagia, literal patterns that your eyes see just before you sleep (or when you shut your eyes extremely tight:  mine are black patterns on a yellow background), and their relationship to the symbols at Newgrange burial chamber in Ireland. (HERE) I've had hypnogagia all my life - in fact, last night I was awakened by a rattling, like of bones in a cup; twice.  

And Rob's piece yesterday was on archaeologists' interpretations of what they find, which (especially in the olden days) sprang more from their own ideas of what they should find and not what was already there.  And this post is sort of along the same lines - stick with me on it.

A while ago, I wrote a blog post on Paleolithic Languages (Older Than You Think), where paleolinguists have determined that there are 23 ultra-conserved words, "proto-words," that don't just still exist in almost all current language families, including Inuit-Yupik, but still sound remarkably alike. They go back at least 15,000 years, and are a window into a time of hunter-gatherers painting in Lascaux and trying to survive the end of the Younger Dryas (the next-to-the last mini-Ice Age):

thou, I, we, ye, who, what, this, that, not,

man/male, mother, hand, old, black,

give, hear, pull, flow, spit,

bark, fire, ashes, worm

BTW, I've always wondered what worm they meant– a snake (like in the Newgrange / Knowth sculptures)? A garden worm? The dog's worms?  The worm you put in uisce beatha (whiskey) to make it stronger?

So, a very long time ago, almost everyone in Asia, Africa, the Middle East, and Europe spoke the same language.  Or at least the same trading language.  The exceptions might be Australia (which had been cut off from the rest of the world back around 50,000 BCE) and the Americas, about whose isolation from the rest of the world is undergoing more and more under debate.

NOTE: Everyone talks about the Bering Land (really Ice) Bridge being the way that people got from Asia to Alaska to drifting down the Americas to Tierra del Fuego, BUT – there's more and more evidence that people settled across the Americas earlier than is allowed by that theory.  (Latest evidence is 23,000 year old footprints at White Sands, New Mexico.)  Plus they'd have been freezing all the way.  

Much more likely is by boat.  Our modern world is obsessed with land travel because (unless you cruise a lot) that's what we do.  Planes, trains, and automobiles. But before the combustion engine, most major hauling and travel was done by boat, barge, canoe, ship, skiff, etc.  And Thor Heyerdahl, for all his quirks, proved you could sail from South America to the Polynesian islands.  

And I say, why not from / to China?  For one thing, while Africa and Europe see a human in the Moon, Chinese, Aztec, and much Native American lore sees a Rabbit in the Moon.  

But the real mystery isn't how a tiny core of hominids communicated with each other via a common language.  The real mystery is why, once the Last Glacial Period (c 115,000-11,700 years ago) ended, all across the globe - husbandry and agriculture begin? By 9,000 BCE, From the Fertile Crescent to Papua New Guinea to the Yangtze Basin, people we have hard-core evidence of humans growing crops.  Raising domesticated animals for food.  And that's probably not the true date of the beginning the "revolution", because pottery for storage and processing (including the fermenting of certain grains, i.e., alcohol! Something to drink, people!) dating back 20,000 years ago has been found in China and Japan.  We don't know the half of it.  

So:  how did everyone know what to do, in such widely disparate places, once the weather let up?  We don't know.  One Hundred Thousand Years of Ice is going to grind up a lot of evidence that we will simply never find.  But we have the oral traditions...

Well, my old friend and frequent thinking / drinking buddy John Franklin and I have discussed this many a long hour, and we both believe that 

(1) Humans (of any species / subspecies) have been in touch with each other for a very long time.  

(2) Before the Last Glacial Period (c 115,000-11,700 years ago), there were technologically advanced hominid civilizations.  For all I know, advanced enough that they caused a nuclear winter, because that is apparently what civilizations do: we grow and grow and grow and then one day we grow ourselves right out of our habitats.  As Jared Diamond once wondered, what was the man who cut down the last tree on Easter Island thinking?  Probably about the [equivalent of] money he was about to make selling it.  

(3) Anyway, over 100,000 years ago, something happened, and what followed was 100,000 years of Ice.  

But we have the stories of what came before:  stones walking themselves to their sites (Egypt and Easter Island)! People flying through the air on magic carpets! Rings / stones (Solomon's Seal) that allowed people communicate with the animals and around the world!  Stones that talk!  And the myths / fairytales!*  Those are memories, passed down for so long they became myth, of technology that used to exist. Just as in 10,000 or 100,000 years people (should the human race survive) will remember planes, cell phones, Zoom meetings, etc., as stones, rings, rooms, etc. 

John Franklin says the civilization(s) undoubtedly knew what was coming.  So, you're facing extinction by massive climate change, and it's a crapshoot as to how long it will last and who's going to survive it.  What do you do?  Give up? Or try to out ways to condense important information to something that will be understandable for literally millennia, and training people how to pass it along?**  (Of course, there's always denial...  If you don't think about it, Maybe it will go away.)

And we've discussed what powered these ancient civilizations.  Most of technological history has been humans trying to replace muscle power with anything else that will work.  Windmills, waterwheels, levers & fulcrums, railroads, cars, computers, etc.  But to run these things you have to have some kind of fuel.  So what did they use 100 millennia ago?

Franklin says that the best way to figure out what fueled pre-Last Glacial Period technologies is to look at what's considered rare but valuable today. He plumps for gold.  Gold is an excellent conductor and holder of electricity.  I remember reading once that the Ark of the Covenant could well be a description of how to build a battery:

“First let them make a Chest using acacia wood: make it three and three-quarters feet long and two and one-quarter feet wide and deep. Cover it with a veneer of pure gold inside and out and make a molding of gold all around it. Cast four gold rings and attach them to its four feet, two rings on one side and two rings on the other. Make poles from acacia wood and cover them with a veneer of gold and insert them into the rings on the sides of the Chest for carrying the Chest. The poles are to stay in the rings; they must not be removed.  Place The Testimony that I give you in the Chest. Now make a lid of pure gold for the Chest, an Atonement-Cover, three and three-quarters feet long and two and one-quarter feet wide.  Sculpt two winged angels out of hammered gold for either end of the Atonement-Cover, one angel at one end, one angel at the other. Make them of one piece with the Atonement-Cover. Make the angels with their wings spread, hovering over the Atonement-Cover, facing one another but looking down on it... I will meet you there at set times and speak with you from above the Atonement-Cover and from between the angel-figures that are on it, speaking the commands that I have for the Israelites.  (Exodus 25:10-22, The Message Bible)   

I pointed out to Franklin that the Ark is empty, except for "the Testimony," and usually a battery has more technical stuff in it (look it up yourself) than a scroll.  

His reply:  "Who says 'the Testimony' was a scroll? That could be a code word for some practical knowledge. And those aren't angels: they're cherubim.  Fairly frightening creatures - four faces, two wings, definitely nonhuman. Transmitters? Receivers? Perhaps. Consider that no one's supposed to touch the Ark, except the specially trained Levites, and even they're only supposed to carry it using poles overlaid with gold.  No hands on.  Uzzah, the one man we know of who reached out and touched it dropped dead. Sounds like electrocution to me."  

I've heard worse theories.  

So say he's right, and before the Last Glacial Period, their technology was fueled by gold. It would explain why the racial memory of gold as the source of power and wealth.  Granted, it's beautiful, but it's not especially useful... Anymore. And yet, since ancient times, alchemists have tried to transmute lead into gold (Zosiumus of Panopolis, c. 300 CE provides the earliest record to survive) via the philosopher's stone, which is / was ...????  Who knows? 

It would also explain why gold today is generally hard to find, in low concentrations, and expensive to process - the Old Old Ones*** used most of it up.  

Franklin:  "So, imagine a world, ten thousand, fifty thousand years from now, where there are whispers of a powerful energy source, that gave immense wealth and power to those who could control it. A dark energy, a black energy, dark oil, night coal, that harnessed the dark forces of the universe and gave unimaginable power. And there are still remnants of it:  the Tears of Saturn and the Blood of the Moon, the Night Gifts are horded by Kings. The nobility and wealthy wear it, in their hair, on their faces. Priests sacrifice it to the gods, kings are embalmed in it, buried in caskets with it. A vial of it is immensely precious. A necklace of jet or obsidian is like diamonds today. And no one has any idea that these once fueled an entire civilization. They just know it's valuable. Powerful."   

"Okay," I said. "So they revere oil and coal. But what are they using for fuel?"

"Something we've never thought of, of course." Franklin said. "Depends on what survives the Pyrocene."

Global map of average annual area burned (percentage of cell burned) 

for 1960 to 2000; data from Mouillot and Field (2005). LINK

^* And all the old myths.  And some new ones.  There's a Great Flood in every oral tradition, along with a blind king, a Cinderella, and the oldest are of a blacksmith cheating the devil.  

^** BTW, Gregory Benford's non-fiction Deep Time:  How Humanity Communicates Across Millennia (1995) is worth a read. I recommend the first part (Ten Thousand Years of Solitude), about a government project he was involved in, trying to figure out how to communicate the danger of buried radioactive material to people far in the future. The last part (Stewards of the Earth) is about what future peoples (say, 100,000 years from now) will think of what we leave behind. 

^*** With apologies to Cthulhu…

Now for some BSP:

Josh Pachter's Paranoia Blues is one of the five finalists for the Anthony award in the Best Anthology category, and Ed Aymar's "Still Crazy After All These Years," from it is a finalist in the Best Short Story category! And I am honored to have "Cool Papa Bell" in it!

Available at https://downandoutbooks.com/bookstore/pachter-paranoia-blues/

And on Amazon HERE

The Mound Builders

Wednesday, Rob wrote about Neolithic graves in Europe. We hear about burial mounds, bogs, and even buried boats, mostly in the British Isles, but we know less about our own prehistoric Native Indian culture that preceded what we consider First Nation.

I grew up a short distance (a brief bicycle ride or a longish walk on little-boy legs) from an Indian mound called Hogback. It’s one of the simpler prehistoric Indiana burial sites, especially compared to the Serpentine Mound many miles east. The region was known as a finder's gold mine of points (arrowheads), spear tips, and birdstones.

The latter was a throwing weapon carved into an elongated form to fit the hand. While most birdstones were simply shaped without regard for museums that might come long after, a few have been found carved into the likeness of a bird with folded wings. An ancient craftsman had taken the time and effort to indulge in aesthetics, an astonishing reach across time and space.

Mounds

Indian mounds dotted the landscape through the Illinois, Indiana, Ohio belt, but also could be found in New England and New York. Some have been bulldozed, flattened for farming, or simply, disgustingly, used for easily obtained road-building material. Fortunately, others remain, some accessible by the public.

A curious question has arisen. Genetic research has shown the four major native American bloodlines descend from migrants traversing the Bering Land Bridge, a fifth strain suggests a prehistoric European migration.^† Not only is the DNA distinctive, but napping technology and burial practices differed. Were the mounds from this ancient group?

Classmates, Lela, Diane, and Kristi, found this fascinating documentary.

That Which Remains

One day I mounted an expedition to search the mound (no digging, just scoping the ground) and I made a find. It was a perfect, miniature axe head. I rushed home to show my parents.

brachiopod

My dad took one glance and said, "Not an axe head." I must have looked stricken because he handed it back and smiled. "It's much, much older. It's a brachiopod."

That was cool. And emblematic of Dad, an encyclopedic Google before Google. How many fathers could instantly identify a brachiopod by name?

Credit

Inspiration and following links are thanks to bright, beautiful, and brainy classmates Diane, Lela, and Kristi. They are an amazing resource.

• DNR: Indiana’s Prehistoric Mounds and Earthworks
• NPR: Prehistoric Treasure In The Fields Of Indiana
• PDF: Paleolithic, Neolithic, Copper, Iron Ages of Indiana

^† Distant European ancestry isn’t unique amongst anomalies. Melanesian and Australian genes have unexpectedly popped up indigenous American populations.

Women in the Military: From History to Mystery

 Okay, this post isn't really by moi.  I'm merely fronting for my good friend here.

It is my pleasure to introduce Alison Bruce to all you SleuthSayers!  Alison is the Executive Director of Crime Writers of Canada (yes, she took over from me a few years ago, bless her!)  With a dad who was in the Canadian Navy, and a British mother who was in the Royal Observer Corp during WW-II, her take on using history to embrace story-telling is particularly inspiring, I think.  Take it away, Alison!

Women in the Military:  From History to Mystery

by Alison Bruce

My favourite teacher of my favourite subject knocked the academic wind out of my sales in grade thirteen.  He told me, "You'll never be an historian."

I was hurt, angry, and determined to prove him wrong.

It turned out he was correct.  After graduating with a double major in history and philosphy, I finally got it.  I write stories, not history.

I decided to do my undergraduate thesis on women in the military in World War 1 and 11.  The focus would be World War 11 because my aunt was in the British Auxiliary Territorial Service (ATS).  I grew up listening to the war experiences of my aunt, mother (Observer Corps) and grandmother (first time in the workforce.)  Unlike Nana and Mum, however, my aunt kept in touch with the women she served with. With their help, the bulk of the paper was going to be based on the stories of women in the military.

They were able to reach out to friends of friends and post my call for volunteers locally, something I couldn't do in Canada.  (This was the 1980s.  No World Wide Web to access.)

If I'd had enough time to gather more stories,I might have written a good popular history book.  But, as my academic advisor pointed out, I didn't have enough primary research other than stories.

That was okay.  By this time I had added Philosophy as a second major, and had given up on the idea of teaching because of the horror stories I was hearing from friends.  (What do you mean I would be expected to wear  pantyhose and a skirt or dress?) I had also started my second novel.  (I lost the first one in the woman's washroom at college.)

Fast forward a quarter century.  I still love to research history, or almost anything else, but prefer to write stories.  I've used research to write a mystery set in the old west, a romance set in the American Civil War, three mysteries set in Canada, and one in the Arctic Ocean involving the US and Canadian Navies.  Now I'm going back to the stories that put me on the road to becoming a writer.

I don't know of any author who has written about being in the Royal Observer Corps.  If you do know of such a book, fiction or nonfiction, please let me know in the comments.  It was made up of volunteers except for a few naval officers who ran the outfit.  My mother's tales of her service were largely self-deprecating, but that just makes them tailor-made for storytelling.  And all those stories I listened to when I was writing my paper?  Grist for the mill.  I only wish my professor was still alive so I could send her a copy of the book...when I finally finish it.

Alison Bruce is the Executive Director of Crime Writers of Canada. She writes history, mystery, and suspense.  Her books combine clever mysteries, well-researched backgrounds, and a touch of romance. Four of her novels have been finalists for genre awards.

 GHOST WRITER 

In her role as ghostwriter, Jen Kirby joins a Canadian Arctic expedition to document and help solve a forty-year-old mystery involving an American submarine station lost during the Cold War. The trouble is, there are people—living and dead—who don't want the story told, and they’ll do anything to stop her.

https://www.amazon.com/Ghost-Writer-Alison-Bruce-ebook/dp/B07Q6SS1K3