Appropriate Technology

Digital Signature Authentication (Photo credit: Wikipedia)

We changed healthcare insurance providers about a year ago, the new ones being cheaper but - as it transpires - infinitely more annoying. I'd say something like 'yer pays for what yer gets' but experience tells me this is rarely actually the case.

One of their more endearing quirks is requesting a medical report for every claim. This means a call to the provider to request the report and then a traipse down there to pick it up. It's yet another Little Job You Don't Need.

Imagine my glee, then, when the American Hospital's medical records people called to say the report was ready, they could send me a request form to fill out and send back and they would then email the medical report to me. We had, it appeared, finally emerged kicking and crying into the digital age.

This was nothing compared to my rapture when the form arrived gleaming and simply buzzing with potential in my inbox. This wasn't any old form - this was an Adobe EchoSign form. For those who haven't come across EchoSign, it's a cloud-based service that allows you to fill out and digitally sign forms and contracts, validating your identity via Adobe's server. It's smart, neat, secure, highly convenient and - for a Gulf-based organisation, incredibly leading edge. Impressed to bits, I filled out the electronic form and digitally signed it, then sent it back.

You know what's coming, don't you?

They called me up. No, sir, you have to sign the form. Yes, I signed it. No sir, you have to print it and sign it then fax it to us. Or you can scan it and send us the form that way.

But this is a digital form, with a digital signature. In fact, this form is produced using a technology that is entirely meant to support a digital signature. In fact, your hospital has actually paid for this technology as a specific form-signing digital signature solution. It's like buying a new car then pushing it home. It's like having a dog and barking. Do you have a dog? Who does the barking around your place? I mean, surely you're not serious.

Yes sir, we are. The form needs your signature.

I cannot begin to tell you how angry it made me. I don't know why, really. It's just yet another example of technology being used muckle-headedly, we see them every day. It's yet another example of an organisation not 'getting it', but we see those every day. I should be used to it, inured to it. I should shrug it off with a 'Pfft, another one'. I managed to wend through an entire morning of insane, time-wasting governmental bureaucracy getting my ISBN number last week giggling all the way. Why, then, did this little piece of idiocy reduce me to apopleptic, towering rage?

I've come to the conclusion I need a holiday.

Book Post - Shopping Beirut

Part of my list of the fourteen London publishers Robin shopped 'Beirut'  

to - pretty much a 'who's who' of publishing. One by one, I got to cross 'em off...

I started writing Beirut - An Explosive Thriller in late 2009, just after a reader working for British literary agent called Eve White rejected Olives - A Violent Romance after a ‘full read’ with the comment that it wasn’t dramatic enough. Right, I thought. If you want dramatic, mate, you can have it. It wasn't until I'd done with the book that I realised I had created precisely the type of novel I'd set out to spoof with my first attempt at a book, the amusing Space (although I have to point out that Space's first Amazon review cites the book as almost entirely unamusing!).

I finished in June 2010, but it wasn’t until spring 2011 Beirut was picked up by literary agent Robin Wade, who signed me on the strength of it.

Now, for the uninitiated, getting signed by an agent is quite a deal. Step one is typically a query letter which may lead to a request for the 'first three', which is the first fifty pages of your book and a synopsis. If this pushes more of the right buttons, an agent will ask for a 'full read' - by this stage you're very close to the top of the slush pile - let us not forget agents in the UK will receive something like forty brown envelopes full of someone's hope a day. If an agent signs you, you're bloody well made. They're not charity cases, these boys, they're running businesses with that most admirable of objectives in mind - making money. An agent signing you means they think you have commercial potential in the 'competitive market' they all remember to mention in their rejection letters.

I can't begin to tell you how much hope was packed in my heart as Robin touted Beirut - An Explosive Thriller around the London Book Fair. But I was giddy with it - 250 rejections from agents later, I was actually in with a chance here. Robin faithfully reported back on the reactions he got back from each editor. To a man, they rejected it. What's more, it took them seven months to get around to it! The rejection that hurt most praised the book’s qualities but noted the editor in question ‘couldn’t see it selling in supermarkets’.      

"There are lots of elements to it that I like – there’s an austere, almost Le Carre feel which I like and the author can clearly write. The dialogue and plotting stood out for me in particular. I’m afraid though that it is – for my purposes – a bit too low-key; the ‘commercial’ bit of my job title requires me to pick out titles which are going to appeal directly to supermarkets and the mass-market, and I feel that this would be too difficult a sell in that context. "     

It was that reaction pushed me over the edge into self-publishing. "Low key"? The book's an adrenaline soaked catalogue of machismo lunacy and violence! Caviling apart, there was clearly a major change – and massive contraction – taking place in the world of ‘traditional’ publishing and it wasn’t favouring a new author writing hard-to-peg novels about the Middle East.I was clearly wasting my time at the gates of Gormenghast castle. It was time to pack up my motley collection of carvings and take them to market myself.

The whole process had wasted a year. I lost little time in getting Olives into print in December 2011, with a view to following with Beirut the next Spring. In retrospect, this was silly - the whole wearying cycle of promotion sucks down time, as does editing and polishing - publishing Olives taught me an awful lot, not the least lesson being that there are readers out there. I'm not kidding - up until that point it had been about me and my books. Now it was about them and my books. Meeting readers, talking about the characters, their motivations and feelings with complete strangers changes the way you write, it really does. And then Beirut went off for editing and I started getting permissions, readying different files for print, Kindle, and ePub formats.

It's all taken pretty much a year. but a year better spent than one waiting around for publishers to think of new and inspiring ways to say no.

So on December 1st, at 7pm, the Middle East print edition of Beirut - An Explosive Thriller will launch at Jashanmal's book store at the Mall of the Emirates, Dubai. If you can't wait, or you're not in the UAE, you can buy your very own copy from the outlets listed here. The launch is going to be a lot of fun and I'll share details as I confirm things, but do mark the date in your diary!

The E-dirham - One Of The UAE's Best Kept Secrets?

Visa (Photo credit: DeclanTM)

The UAE federal government has quietly retired the old e-dirham card and replaced it with a spangly new card that is compatible with the Visa network. That means it's effectively a pre-paid Visa card and you can use it anywhere you'd use a conventional Visa card - shops, online and so on.


I'm not going to go into the considerable amount of pain I went through to discover this because it would be as tedious to read as it was to go through the process of discovery. Suffice it to say I was applying for an ISBN number for my Middle East edition of Beirut - An Explosive Thriller and found myself holding an out of date e-dirham card with the need to get the new one. Note not all government departments are 'up to speed' on the new card - the National Media Council, for instance, took its fee for my 'permission to print' from an old, also known as 'G1', e-dirham card.

You can get the new 'G2' e-dirham from any branch of National Bank of Abu Dhabi. Just rock up and ask for it and, seven dirhams later, you're holding your own piece of pre-paid Visa. I got mine from the Ministry of Economy office which is on the fourth floor of the Etisalat building in Bur Dubai. There's no application process as such to obtain the card - just flash the cash and pocket the fantastic plastic!

Now you can use any NBAD branch ATM machine to charge the card (using cash) once ONLY. A second charge-up requires you to register the card. This takes ten minutes at any NBAD branch (including five minutes for the fragrant lady with an itchy shayla to get the IT wallah to fix her printer's paper jam) and requires a National ID card or passport and filling out a simple form. The process is instantaneous and now you are free to charge the card up and off you go! Their branches are all listed (as PDF's, oddly) at this here handy link.

This is great news for anyone who couldn't otherwise get a credit card or who doesn't trust themselves with one/want to pay the bank's stupid fees. You can, for instance, give yourself a few hundred dirhams 'splurge' money a month and know you can never overdo it. What's more, you've now got a safe online spending card that'll never expose you to any significant risk of fraud - and all for a once-only charge of seven dirhams - no more outrageous annual fees!

The odd thing is how little coverage there has been of this in local media...

How The BBC Microcomputer Became The Heart Of Your Mobile

 (Photo credit: Wikipedia)

Warning - Ancient Geek Post

Ever heard of Advanced RISC Machines or ARM for short? Few people have, but this British company's designs power over 95% of smartphones and tablets in the world today and they're now starting to be used in next generation low-powered servers by major players like Dell and HP.

Where did that come from? From the BBC Micro, if you please. Any British Ancient Geeks out there will remember the cream boxes with the black and red keyboards that were made by Acorn Computer to accompany the BBC's computer literacy push back in the early 1980s. It was an odd offshoot of an odd little industry - long sidelined by Silicon Valley, the Brits had been consistent pioneers of computer technologies, but their innovation never seemed to gain traction and company after company was doomed to fail while US corporations powered to dominance.

One of the earliest pioneers of computing - in the 1950s - was actually British tea company Lyons, believe it or not. And the early 1980s was a time when it looked as if we might actually make it back to the top table of innovation - Acorn Computer, Dragon and Sinclair were at the forefront of the British microcomputer boom. It was an exciting time as I can testify as I was, albeit painfully young and utterly clueless, involved in a ground-breaking British startup myself.

Acorn got up to some ground breaking innovation in its BBC computers, which at one stage looked like they might conquer the US educational market as they had conquered the UK. One aspect of that innovation was its groundbreaking adoption of RISC technologies. Reduced Instruction Set Computing was an approach to processor design that threw less complex tasks at the processor at any one time, resulting in faster, more nimble systems. In fact, Acorn's follow-up to the BBC Micro, the Archimedes, was technically superior to its competitors, but it lacked one thing. It wasn't a PC. Acorn ceded the British educational market to PC clone maker RIM and its Nimbus machines.

Acorn span off its RISC chip design business into a joint venture with Apple and silicon valley chip maker VLSI Technology. By 1998 Acorn, now struggling to remain afloat, took the company to IPO, raising some $29 million. Though handy, the money wasn't enough to stop Acorn being split, stripped and sold. VLSI was to last no longer and was acquired by Philips. That left only ARM and Apple standing.

ARM carried on in the background, quietly designing its clever RISC processors and licensing the technology rather than trying to make the chips itself. Its smart, fast, low-power core processors and graphics chips were licensed by a growing number of chip makers around the world. And then in 2007, after almost three years of secretive R&D work, Apple launched the iPhone. At its core, the beating heart of its System on a Chip architecture, a high performance, low-power ARM Cortex 8 processor.

When Google's Android came along, based on the Linux open source operating system (which ARM had presciently worked to support), the world changed. The combination of Apple's innovation and Google's wide-ranging alliance with handset manufacturers transformed mobile, sidelining Nokia and creating a massive inflection point in technology. These new systems needed smart, powerful, small chipsets with low power consumption. And that's precisely what ARM was offering. This week saw Microsoft, painfully late to the market, unveil its Surface tablet computer based on Windows RT - its mobile operating system and the first Microsoft operating system ever to be based on a non Intel processor.

It's based on a chip from a small, 2,000 person company in Cambridge called ARM...

Has Journalism Jumped The Shark?

Gulf News (Photo credit: Wikipedia)

I noticed a story in Gulf News today about Google's cancelled Nexus 7 launch event, which was to have taken place in New York to rival Microsoft's San Francisco Windows Phone 8 event. The gig's been canned because of Hurricane Sandy. The story stood out for me because it was filed under a local byline yet quoted a Forrester Analyst, Sarah Rotman Epps. Epps is a frequently quoted commentator in major US media, so it's quite impressive to find Gulf News quoting her.

In fact,  a quick Google later and we have this story in the New York Times which not only carries Epps' comments but also contains many similar words and phrases to the GN story, which is a summary of the current hotly competitive tablet market. Gulf News doesn't credit the NYT in its story or cite it as the source of Epps' quote.

Google, Apple’s fiercest competitor, recently released its 7-inch Nexus 7 tablet for $200. Amazon recently introduced seven new Kindles, including a 7-inch tablet for $160 and an 8.9-inch tablet for $300. Barnes & Noble’s Nook tablet, which starts at $200, has also sold well. Combined, the three companies have sold about 15 million of these smaller, cheaper tablets, according to estimates by Forrester Research.  
New York Times

Google, Apple’s fiercest competitor, recently released its 7-inch Nexus 7 tablet for $200. And Amazon recently introduced seven new Kindles, including a 7-inch tablet for $160 and an 8.9-inch tablet for $300. Barnes and Noble’s Nook tablet, which starts at $200, has also sold well. Combined, the three companies have sold about 15 million of these smaller, cheaper tablets, according to estimates by Forrester. 
Gulf News

Googling one phrase from the story, which didn't sound very GN 'entrench a 49 per cent share', gets yet more interesting results and another three paragraphs 'lifted' from tech blog Know Your Mobile. The search is here - looky at results one an' two!(This search no longer works - see update below).

But Gulf News is by no means alone in producing stories based on a quick Google, a re-hash of news reports and the odd cut and paste. Just that cursory look into a hooky sounding story in GN shows that chunks of information out there are getting copied and pasted all the time. Why bother hunting down a source to quote when you can just camp select and sling in a sneaky CTRL C CTRL V? Why research a story when you can just mix up some rumours from tech blogs (forgetting to quote them, particularly if they're not particularly authoritative) and have it rehashed and popped into the old CMS in a couple of minutes?

I can remember local journalists complaining that PRs made them lazy by providing them with content on a plate - and my fury that they didn't use press releases as releases were intended to be used - as a source of information from which to build a story rather than as something to run verbatim. Well, now it's not PRs but Google - and as a result original content gives way to cut and paste journalism that masks its sources and gives credence to the incredible. Repeated verbatim, passed on from news source to news source. The same facts, the same truths, parroted without ever going through a filter of reality checking or qualitative assessment.

Welcome to The New Journalism.

Update. Gulf News has reacted to the above post by quietly posting an update of the offending story with the paragraphs referred to above removed and NYT credited for the Rotman Eps quote. The updated story is linked here.

Book Post - Beirut In Print

Beirut - An Explosive Thriller will be in UAE bookshops by December. With a little luck (and the permission of censors) it will go on sale in Lebanon some time in January. If there's a Lebanon left for it to go on sale in.


It's odd, watching history threaten to take away the setting of your book. I suppose few writers have that problem, but writing books framed by the backdrop of the Middle East makes it something of an occupational hazard. The odd thing is I have long feared Israeli action against Iran's nuclear programme would sideline the plot of Beirut, I hadn't reckoned on Syria collapsing and drawing Lebanon into its conflict.

I remain an optimist, though. Lebanon has been through a number of aftershocks since the 15-year earthquake that flattened Beirut and claimed 150,000 lives. It can muddle through this one, too. With many friends there, with a longstanding fondness for the city, I have to believe that.

Meanwhile, I've got my UAE permission to print, I just have to get my ISBN and finish formatting the manuscript for the book's prnted size- this one will be in a standard format for thrillers, smaller than Olives - A Violent Romance and chunkier, too.

I'd much rather have stayed with an online only edition, but there are too many hurdles for the majority of people in the UAE to jump - it's clear that, as with Olives, people want to buy from a local bookshop rather than go online and the majority still don't have e-readers or use their tablets as reading devices. Amazon, and Apple et al, still do not serve content to this region. And I have the strong feeling that the print edition of Olives generated much of the word of mouth that fuelled online sales (as of now, sales have been split pretty evenly between the Middle East and International editions).

I'm planning on a launch sometime in the first week of December - as things get finalised you will be the first to know. In the meantime, start saving up (cover price will be Dhs59) or if you can't wait, you can go here to buy Beirut in print, delivered to your doorstep FREE or as an ebook which is just as free for delivery and considerably faster.

What's Your Favourite Colour?

Color your World (Photo credit: Michelle Brea)

For some time, The Niece From Hell was in the endearing habit of filling any untoward social silences by incessantly asking 'What's your favourite colour?' until you either answered her or bludgeoned her into stillness with a spade.

While she has now thankfully outgrown the habit, I am frequently reminded of it when I see brands 'seeking engagement' online. The prevailing wisdom from many 'experts' is that you should ask questions to obtain 'engagement'.

The trouble is, true engagement comes from asking questions that matter, that are genuinely seeking answers. Blindly ending every post with 'What do you think, what's your favourite chocolate moment?' is at the least insincere. It can also lead to some hilarious moments, as the Lebanese mobile company asking just such a question got caught out by a rather large bomb last week. One delightful response to the question (which was something like 'We love furry animals, what's your favourite furry animal?') was 'Why don't you stop screwing around on Facebook and go fix the mobile signal that's down so we can contact our family and friends?'

A meaningless question topping off every communication also quickly just blends into chatter. It's such a shame - the chance to recruit consumers and use their feedback to genuinely hone a product, its distribution and its marketing is being wasted by brands hiring agencies to make social media go away - the online version of that wholly disempowering entity, the call centre.

What do you think? What's your favourite question?

Beirut, Bombs And Chaos Theory

Rafic Hariri beirut 2 (Photo credit: Wikipedia)

I follow the #Beirut hashtag (Tweetdeck's multiple columns are a wonderful thing) and so it was that I had just finished putting up Friday's guest post by Micheline when I caught the first tweets from Achrafieh as people reported a loud explosion, some asking 'What was that?'.

The tweets quickly became more specific, Ashrafiyeh pinpointed and a large blast. People close by talked of the ground moving, while an increasing number of tweets mentioned Sassine Square - a busy area of restaurants and cafés. There was a sense people were holding back from saying it was a bomb, perhaps a gas cylinder. Anything, in fact, but a bomb. Nobody wanted to admit it could be that.

The first twitpics showed a black cloud above the city. Now tweets talked of a bomb, people linked the location to the headquarters of the March 14 movement - the anti-Syrian coalition named for the date of the last such bombing in Beirut - the massive car bomb that killed Rafiq Hariri.

News started flowing thick and fast. A car bomb, very big. People were reporting casualties. The first images from the scene came in, confirming what people had feared - a massive explosion in the busy area. The phone network was down but 3G was still working. Mainstream media reports were mentioned, LBC first to the news. The volume of retweets was going up as mainstream outlets were quoted. Some outlets ran with graphic images of body parts and pools of blood. Reports of deaths from mainstream outlets, one dead said one outlet, two said Reuters, three said another. The UK's Guardian was quoting tweets and showing twitpics on its website, many people cited Reuters' reports. Twitter started carrying calls for blood from the hospitals, queues built of up people volunteering to donate. One Lebanese news channel was reporting it wasn't a car bomb, another that the bomb was actually in a bank.

Joining in the fray, reporting at Twitter speed, mainstream outlets were helping the confusion as they posted information without confirmation and certainly lacking the 'context and analysis' that have been so often cited as a reason for their relevance. The volume of retweets was very high now,  voices from around the region joining what had been a very local conversation.

It was horrible to watch. So many friends in Beirut and here, worried for loved ones who lived or worked in the area and then, as the news sank in, so much bitter disappointment that once again the lives and hopes of ordinary people are to be sacrificed, that the optimism was to be ground out of everyone and replaced by fear. Waking up the next day to the headlines confirmed that yes, this was an assassination, that a key member of the March 14 movement was dead, along with seven others and tens more had been injured.

As so many times before Twitter looked like a Lorenzian water wheel. Initially it efficiently carried eye witness reports, the first news breaking and confirmed by multiple sources and twitpics. With the huge increase in volume comes retweets and second generation shares, the water wheel starts to become more erratic and it becomes harder to filter the information.

What I found interesting was the sight, the first time I have noticed it, of mainstream media sources getting right in there and posting flows of unconfirmed information, reprocessing tweets and posting 'breaking news' with clearly little attempt at filtering the raw data. People quickly quote mainstream sources because we have so long been told we can depend on them, yet the information they were providing was of no different quality to that being shared by eye witnesses. Mainstream media were retweeting witnessesx. I thought it a dangerous precedent.

Book Post - Beirut And The Disposable Character

   Lynch called across to Leila. ‘Where’s Deir Na’ee?’
   She uncurled and came to him, looking over his shoulder at the screen, her blouse opening to show the warm brown mound of her breast. ‘Deir Na’ee? The lonely home? Sounds like something up in the Bekaa. Never heard of it. Try Googling it. Might be a village somewhere.’
   ‘And “Spike”?’
   She paused, then turned to regain her place on the sofa. ‘No idea, habibi. I’m not a phone book.’
   Lynch chuckled, the search phrase ‘Deir Na’ee’ for some reason returning the Irish poem A bhonnán bhuí, The Yellow Bittern. He read it out loud, the Irish words coming back to him from the mists of distant childhood, the disinfectant reek of the Sisters of Charity’s classroom. ‘A bhonnán bhuí, is é mo léan do luí, Is do chnámha sínte tar éis do ghrinn, Is chan easba bidh ach díobháil dí, a d'fhág i do luí thú ar chúl do chinn.’
   Leila was laughing at him. ‘What are you saying?’
   ‘It’s Irish. Deir Na’ee gets that in Google. Christ alone knows why.’
   ‘That is not a language. It sounds like dogs fighting.’
   ‘Póg mo thóin.’
   From Beirut - An Explosive Thriller

Today brings a treat - a guest post and quizzing from Micheline Hazou, patroness of genteel blog MichCafé, friend and Beirut wandering companion as well as beta reader of Beirut – An Explosive Thriller...

It is quite exciting to be a beta reader. It is also something I take very seriously.

I had the privilege to beta-read Alexander McNabb’s first novel, Olives – A Violent Romance. I was even more flattered to be offered the chance to beta-read Beirut – An Explosive Thriller a couple of months ago.

It’s not as easy as it seems, because you often get sucked up in the story and forget to keep an eye out for anything that might be wrong, from proofreading to translations and anything you don’t quite like. So I had to re-read many a chapter with that in mind.

From the first few pages of Beirut I felt Alex had come into his own. I got caught up in the “explosive” thriller and rediscovered the main character, Gerald Lynch, in another light. Whereas he had seemed pompous, uptight and unlikeable in Olives, here he is chasing the bad guys with a conscience and sexy on top of it.

As with Olives, I was drawn by the local female character in the book. I can identify with them. And I wonder why they are so disposable. As most of you have read Olives by now, you must know Aisha Dajani’s fate. But Leila Medawar? Why, Alex?

As described in the book, Leila Medawar is the “student activist, dissident, blogger and poet to the leftist anti-sectarian intelligentsia. Born into wealth and privilege she was heart-rendingly idealistic… beautiful dark haired Leila, lover of freedom, equality and British spies. Well, spy.”

Without giving too much away, here are a few questions I would like to ask about Leila Medawar, Gerald Lynch’s lover:

I like Leila Medawar. She humanizes Lynch. Why is she so disposable?
That's partly why she's there. And partly it seals her fate. It's odd but I seem to have this habit of killing the characters I love the most, from the delicious Kylie in my first book, Space, through to a number of characters in Olives, Beirut and, yes, Shemlan.

I often recall an incident involving The Niece From Hell. We were on a walk along the Thames when I was pulled up by the realisation I recognised a particular bench on the towpath. ‘Wow,’ I exclaimed. ‘I killed a guy on this bench!’

The niece glanced carelessly at the bench and shrugged. ‘Whatever.’

I know I am involved in murdering a number of attractive Arab women, but don't take that personally - I'm an equal opportunities killer. I do for a number of occidental men in my books too. And some of them are quite ugly.

On the bright side, it's probably a good thing I'm getting this stuff out of my system. And anyway, there are a thousand and one Leilas...

I sound like I’m gabbling guiltily. I probably am.

How come she knew he was in intelligence?
It's how he met her - when on a surveillance job involving a student protest. In fact, that’s not mentioned until much later in the book in the 'beta' MS but part of the feedback from readers made me bring that history right up front.

Lynch isn't really very good at observing some of the traditional modalities of intelligence, he's far too Arabised for that. Leila is very much into his 'home life'. They live a cocooned existence together - she has his key, they keep their relationship secret (she leaves the room when Palmer comes from the embassy with Lynch's ticket because they have agreed discretion is the way to go for both of them) and Lynch knows who she is. She trusts him not to spy on her and he, I rather think, trusts her not to use her relationship with him in her activities.

Where is Leila’s family? How is it that she was able to live with Lynch, and then in the flat he provided her?
She doesn't actually live with him, just has a key and comes around a lot. He was hoping the flat in Hamra would be a bolthole for them both but was surprised by the strength of her reaction to the news he would be shacking up with another spy type.

Her family is living in Dubai, as it happens - but she's got away with going back to Beirut to study at AUB. That gives her independence beyond reason - and the freedom to go out with a man over twice her age.

And no, it's not one of my secret fantasies sneaking into a book. There's a certain journalist living in Ain Mreisse who might be influencing some of Lynch's lifestyle...

What is the story of the Orrefors tumbler?
I've long been a huge fan of Orrefors glass and have a number of those beautiful pieces with the blue teardrop.  It just seemed natural that it should sneak into the book - and tells us that Leila's moneyed, incidentally. That stuff's hideous expensive.

Leila being particular about how she takes her whisky is a mannerism I stole from a rather lovely Lebanese friend...

I also let my personal preferences sneak in with the Lamiable champagne later in the book, which is a stunning single grower extra brut - a hard champagne to make well as it has little or no 'dosage' and is therefore incredibly dry. I have a nice chap called Charles who ships it to me in the UK. One has a literary agent and a vintner, don't you know...

Why the choice of Proust? And which of his works was she reading? 
Remembrance of things past of course, silly! Probably The Prisoner, a reflection of Lynch’s ardour for her mixed with a desire to control her, perhaps why he offers her the flat in Hamra. Leila’s not Albertine, of course – but she is enjoying casting herself in the role.

Leila is possibly reading it because she likes Proust, or because she likes to be seen to be liking Proust – that’s a very Lebanese dilemma. She was reading it in the original French because, of course, she speaks French like a native. And she likes to tell friends she finds the Moncrieff translation sloppy.

Why did Lynch only try calling her? Why didn’t he go over to see her? And why didn’t she have protection?
He was scared of finding some ape from AUB in her bed. He was also rather busy saving the world and flying to and from Europe. He talked to the concierge, too, which just confirms his worst fears.

Lynch had checked with the concierge and yes, she moved in to the flat in Hamra. Yes, she had indeed taken male company, the old crone told Lynch, laughing dirtily and pocketing the fifty thousand lire tip.

There was no protection - Lynch operates as a lone wolf most of the time, he's not often part of the 'framework', but a maverick operator Channing uses for the messy stuff. His approach to intelligence is 'go local, go low-key' rather than bringing in the Keystone cops every time. It's one reason why he prefers to use a servees rather than an embassy car.

Part of Lynch would also let her cool her heels, perhaps even be angry at her and take an 'Youse know what? F youse too' approach to her flouncing off like that. And yet she's under his skin. Not quite as much as Michel gets under hers, though...

Does Lynch fall in love again in Shemlan (please say yes…).
No, but Shemlan is very much a love story – although not a very straightforward one.

Don't forget all you need is to click on this here handy link to get your own print copy of Beirut - An Explosive Thriller shipped to your doorstep or downloaded instantly to your reader!

The Displaced Nation

Just in case you could care less, I was interviewed recently by US-based expat blog The Displaced Nation and they posted it today. A wide-ranging chat, we talk about how I got to the Middle East, books, wine, literary controversy and stuff.

It's linked here.

In one of those odd little marvels of serendipity that is the Internet-driven process known as 'discovery', Displaced Nation's ML Awanohara was trawling the Interwebs looking for expat food stuff and stubbed her toe on dead food blog The Fat Expat. That led her to my books and a quick read later she was hot on the interview trail.

Unlike many writer friends who have an abhorrence for the evils of publicity, I enjoy interviews. They often focus on my favourite subject. Me. I must check with my agent and see if that seems immodest. I'm sure it's fine...