James Spivey talking about The Last Duel
Today I’m delighted to welcome James Spivey who is here to talk about his debut historical novel The Last Duel. Set during the Crimean War, this is a tale of war, romance, feuding brothers and terrifying military incompetence.
Welcome to Writing with Labradors, James. To start with, what made you want to write The Last Duel? Did you always have ambitions to be an author or was it this particular story you wanted to tell?
Writing with Labradors is an excellent name for a group. My childhood companion was a Labrador and the most wonderful, handsome, goofy sod I ever knew.
They generally are.
I’ve always had an interest in history and paid more attention in those classes at school than others. But it was the TV Series Sharpe that really accelerated my interest. I read the books obsessively then moved onto biographies. It was period drama I originally wanted to write and ten years ago wrote a script, which provided the template for The Last Duel. However commissioning such a drama is not inexpensive and I didn’t expect it to go anywhere, but when lockdown went ahead in 2020 I decided to adapt it to a novel.
Why the Crimean War – how did you become interested in it?
If Bernard Cornwell’s Sharpe was my first love, then George MacDonald Fraser’s Flashman series was my second. His writing is peerless and even Bernard Cornwell dedicated a book to him. If you don’t know, it’s a comic and subversive take on the boys own adventure in which the protagonist is the antithesis of a stoic Victorian hero, even though he looks like one. While I was aware of the Charge of the Light Brigade, it was his magnificent book Flashman at the Charge which fired my interest.
This year was the 170th anniversary of those great and shambolic battles; The Alma, Balaklava and Inkerman and there was a disappointing lack of attention given to them. The veterans of Crimea, who endured so much, have been overshadowed by the Napoleonic Wars on one side and two World Wars on the other. But if you study the Crimean campaign you’ll see how it foreshadowed the events of WW1 and the US Civil War; a naïve expectation of a rapid victory turning to an industrialised slaughter in the trenches and a slow, grinding, attritional slog.
The reason I chose it as the setting for my story is because it was the nadir of the ancien regime and the purchase structure in the army. Britain was becoming a modern, industrialised nation while the likes of Lucan and Cardigan were anachronisms who embodied aristocratic entitlement and ineptitude. It also matched the timeframe for the eradication of duelling.
I loved the book. It looks as though a lot of research went into it. Can you tell me a bit about it. What sources did you use? How hard was it to find material? There are loads of published accounts of the Peninsular War, which is my own period. What about the Crimea?
I was ridiculously lucky. I started the novel in the first winter lockdown, but when I went back to work, the writing stalled. A chance conversation with a colleague revealed that her father, John Cotterill was a Veteran of the Sherwood Foresters and a battlefield guide who had toured the Crimea 13 times before that modern Tsar, Vladimir Putin decided he wanted it. John had a bookshelf of materiel which he was kind enough to lend me for a year, thereby imposing a deadline that I just managed to keep. Kinglake’s 9 book series is the most comprehensive. Terry Brighton’s Hell Riders provides an excellent chronological analysis with supporting testimony from the Light Brigade. Obviously I read the journals of Fanny Duberly and William Russell. I think I identified with them as sceptical writers more than the obedient soldiers. “Theirs not to reason why?” I’d have been the first to say, “get stuffed.”
Yes, it’s difficult sometimes to imagine what it must have been like for those men just to have to ride into that.
I’m interested in the idea of the duel and its importance in your book. Did you read much about duelling? How common was it in the run up to this period? I mean during the Peninsular War it was fairly common, it used to make Wellington furious. Which is rich given that he went on to fight a duel. But if this was the last duel, what stopped it?
I started writing about the Crimean War because I was already interested in it, but I only read what I needed on the topic of duelling once I had decided to write about it. I wanted to signal the end of an era in the most dramatic way possible. Social attitudes had changed significantly by the Victorian era so duelling was less common, though naturally Lord Cardigan had fought one in dubious circumstances and avoided prosecution on a technicality concocted by the House of Lords. There was widespread public disgust and Cardigan himself was chased out of a theatre by an angry mob.
The last (recorded) fatal duel in England was fought in 1852 between two French emigres; Barthélemy and Cournet. Barthélemy killed his opponent and was charged with murder. Meanwhile in Ireland, British troops had fired upon a crowd of unarmed Irish peasants and killed six of them. They were arrested and charged with murder but the Attorney General had them released on bail. Barthélemy’s lawyer argued for the same leniency, as they were “honourable” duellists. Unsurprisingly this request was denied, but in doing so, the judiciary had to come down hard on the practice of duelling. It was now harder to escape the penalties, though I suspect a good many more were hushed up.
I suspect you’re right about that. You mingle your fictional characters with real personalities very well. Who would you say was your favourite real character to write about and why?
Easy: Fanny Duberly. It took a huge amount of nerve to smuggle herself to the front line (would you leave your home to go to the front line in Ukraine today?) and a good deal more to defy the social norms of the time, not to mention Lord Lucan. She undoubtedly used her charms to get what she wanted from men, so naturally the gossips had a field day, but there is no evidence of anything else. In fact she never conceived a child, which makes the more scurrilous rumours less plausible. In this day and age her rehabilitation is long overdue.
I think you’ve done a good job of it in the book. Following on from that, who was your least favourite real character? Was that because they were difficult to portray or because you just didn’t like them? That does happen – you should hear me on the subject of Thomas Picton some time.
Thomas Picton turned out to be a nasty piece of work didn’t he? I was very disappointed when I found out about his conduct in Trinidad. Yet he was a brave and effective commander. Physical bravery isn’t always accompanied by decency as my two candidates for this accolade prove. Lucan and Cardigan (it’s a toss up between the two) were thoroughly detestable, narrow-minded snobs and frequently lacking good judgement. Terry Brighton’s Hell Riders was the first non-fiction I read on the subject and he laid out their failings in technicolour. Spoilt bullies who never grew up and were incapable of admitting fault. I got heartily sick of them.
What did you make of Lord Raglan? In my books of course, he’s Fitzroy Somerset, Wellington’s young military secretary. Everyone loves him and he has his whole life and career ahead of him. What is he like by the time you’re writing about him? What went wrong?
I don’t think anything went wrong with his character, he just grew old. The fact that he died on campaign tells you the impact it had on his health. He thought it was a mistake to invade Crimea, but he believed it was his duty to do so once ordered. It would have been better for everyone if he’d passed the job on to someone else, though I suspect it would still have been too much for him if he’d been younger. After all, the Duke of Wellington preferred obedience to initiative and I don’t think it’s a coincidence that some of his junior officers foundered without his instructions to follow.
The logistical failings of the Crimean campaign began in Whitehall and Raglan didn’t really get on top of them. The bureaucracy must bear the brunt of the blame for these failings, but one of the reasons that Raglan failed to confront them was that, unlike his mentor Wellington, he was too averse to confrontation. For example, when dealing with Lucan and Cardigan over their conduct he merely kept them stationed miles apart instead of disciplining them, thus their feud continued and seeds of disaster were sown.
The fact that the campaign did not have a Commander in Chief like Eisenhower 90 years later was deleterious to the allied effort. The French wanted to attack at the Alma, so Raglan agreed to support them without knowing what it entailed. The result was that British troops took the heaviest casualties. Then the French refused to follow up the victory when the Russians expected Sebastopol to fall immediately and Raglan went along with it when his instinct was to advance. After Balaklava, Lucan told him not to station the survivors of the Light Brigade on the heights above Sebastopol where they were exposed and isolated. But the French requested it and so Raglan insisted upon it. Consequently the horses starved, the men froze, both became sick and died. When Raglan got things right, he was talked out of it, when he got things wrong, he went ahead regardless.
I think that’s a very interesting point about Wellington’s officers. Of course some of them did go on to prove themselves effective commanders – Sir Harry Smith being an obvious example. But he had that kind of personality from the start. More to the point, he remained on active service whereas poor Raglan spent most of his career behind a desk. And I suspect his time with Wellington honed his diplomatic skills more than his tactical ability.
This is your first novel. What was the hardest thing about writing it?
Starting. There’s nothing more intimidating than a blank page. After that it was finding the time. I work about 10 – 11 hours a day, usually 5 days a week. For a year I worked, then came home to write.
Harry and Jack. Where did the idea for their feud come from? Did you find yourself sympathising with both of them or were you firmly on one team?
Oh Team Jack all the way. Their feud isn’t based on any real life equivalent, though I’m sure there were similar ones. But when you have both a huge inheritance and a beautiful woman to fight over, things are bound to get nasty.
And Eliza. Where did the idea for her character come from? Did you realise when you started that she was going to step in and take over?
I first floated the idea for this story on a night out after leaving Uni many years ago and I’m ashamed to say in my original iteration she was merely a plot device to cause friction. It’s a good job I waited another 16 years before writing it because that gave me time to mature. Eliza herself is something of a cocktail, consisting of one measure of Lizzy Bennett and one measure of Miss Marple with a dash of my own quirks thrown in. That mixture happened by accident in the meet-cute with Jack when I wanted to demonstrate her intelligence whilst simultaneously helping the exposition. Suddenly she’s a young Miss Marple and that altered her trajectory somewhat. I had no idea she would have this kind of presence.
I’d say this was definitely a case of one of your characters taking over. I wanted to ask you a bit more about Fanny Duberly who is obviously a real character. I’d come across her in passing but really didn’t know much about her. She was remarkable. Can you tell readers a little bit about her?
I’ll just add a little more to my previous answer. She was born to an affluent middle class family, her elder brother was a cavalryman and that seemed to form an impression on her. She was exceptionally beautiful and was soon married to a cavalryman. When war broke out she was determined to accompany him to the front and wrote a journal of the campaign and provides an eyewitness report of Balaklava. After the Crimea she followed her husband to India where she was again in the thick of it during the Indian Mutiny. I wish I knew more about her life after the war because I’d like to keep her in any future stories, should I write them.
I hope you can manage it. She’s a real gift to a novelist.
Writing battles can be challenging but you really set yourself up for a big battle in your first book. Tell me about the Charge. What was it like to write about it? Did you find it difficult?
This was the moment I had always intended to write about, so was excited when I reached it. My daily word count increased significantly when I started Balaklava. In some respects it was easier to write as the work is already done for you. I took the eyewitness accounts and worked them into my description. The tricky bit was the chronology. There was so much information to stay on top of. At one point I confused the events of my original script with documented fact! Thankfully my editor picked up on that.
There have been so many opinions about this but I’m curious to hear yours. Who do you think was mostly responsible for what is known as one of the most infamous blunders in British military history?
There has been a move in recent years to blame Nolan and claim that he deliberately charged the Don Cossack battery on purpose to prove a point he wrote about in his book on cavalry tactics. I don’t buy that for a minute. The accusation depends upon conflating his original assertion; that cavalry could take an enemy battery if it had previously been subjected to bombardment, with what happened at Balaklava, which was a frontal assault against a battery, which had not been softened up by artillery and was flanked by two other batteries of cannon. In these circumstances a frontal assault was suicide and he would have known this. Furthermore if he survived he would have been court martialled because Captains don’t get to decide strategy on the hoof (no apologies for the pun) without consequence. So either he committed career suicide or actual suicide.
However I do believe he bears a large portion of the blame for not relaying the message carefully. He let his personal feelings cloud his judgement and misdirected Lucan, who ought to have had the sense to clarify his orders, but he too responded poorly to be being addressed impudently by a junior officer.
Raglan himself made a mistake by ordering an advance in the first place. After restricting any initiative from Lucan and refusing him the ability to attack when opportunities presented themselves, Lucan can be forgiven for being confused by his Commanding Officer’s switch from extreme caution to recklessness. Raglan’s orders, as intended were foolish anyway. Sending a cavalry division, unsupported by infantry against troops that were occupying hilltop redoubts was pure folly and shows how much pressure he was feeling at that moment. Given that his orders specifically mentioned infantry support too, its hardly surprising Lucan was confused when told to attack immediately.
Cardigan really was not to blame for the charge, but he was to blame for deserting his men immediately afterwards. The speed with which he returned and his own justification that there was nothing else to do at that point is extremely poor and demonstrates why Lucan and Raglan were right to be cautious of giving him any authority.
So to summarise, Raglan issued a poorly worded, foolish order, which was miscommunicated and then misunderstood by a hot-tempered ADC and a General who was both over arrogant and under intelligent. So there’s quite a bit of blame to share around.
Yes, it’s hard to pick one single culprit out of that lot. It was genuinely shocking that Cardigan just disappeared off without at least finding out what happened to the men who survived. I believe some of them were taken prisoner by the Russians weren’t they?
Yes, 58 troopers were taken prisoner and one of them, Private Wightman, wrote an account of their treatment at the hands of their Russian captors. Apparently they lived in better conditions than their comrades camped outside Sebastopol. The Russians were quite impressed by them and treated them with respect, giving them the freedom of the town and a plenty of food. One, Private Henry was given over to the custody of a Russian lady and stayed in her home. He was quite distressed when he was exchanged in a prisoner swap and returned to his regiment. Very Flashman behaviour!
What’s been the biggest learning curve as a first time author?
Discovering exactly how much research is required and even then you may fall short. Myths are being busted all the time. I may write something with absolute certainty and discover afterwards that is not the case. I spent longer than I should have liked trying to discover whether “Trooper” referred to the horse or the rider. Research is like an onion, you just keep peeling off one layer after another.
Oh, I’ve also discovered that I’m not as grammatically astute as I always thought. My editor’s red pen corrections demonstrated that.
And the big question, and I know you’ve already been asked this…are you going to write a sequel? If so – without spoilers of course – what should we expect?
I hadn’t envisaged one when I started writing, but by the end I had an idea for a sequel that picks up where I left off. It’s tricky to describe without spoilers, but the emphasis will be on Bayons Manor, not the Crimea and will give Eliza a chance to exercise her little grey cells. Once again my biggest obstacle is time, but I am going to give it a shot. I’ll still probably finish my next book before George RR Martin releases Winds of Winter though.
I think that’s entirely likely, and I genuinely hope so. James, thank you for joining Writing with Labradors today. The book is great and it’s fascinating to learn a bit more about how it came to be written. Good luck with it.
You can read my review of the Last Duel here.
James Spivey was born in Dewsbury, West Yorkshire. From an early age, films and history were his twin passions. He graduated from Bradford University and now works for ITV as a cameraman. He spent several years as a Parish Councillor and is a volunteer for a canine search and rescue team. His pastimes include roaming the English countryside often with a dog or two by his side, running an Airbnb and exploring places with a rich cultural heritage whether at home or abroad. Meet him on Twitter / X here.
The Last Duel is now available on Amazon.
The Last Duel by James Spivey: a review