Алистер Маклин - The Lonely Sea

I don’t have to start work at nine a.m., and I don’t: I usually start between six and seven in the morning. But then, though I often work a seven-day week, I don’t work a fifty-two week year.

Being in a position where there is not one person, anywhere, who can tell you what to do – and that’s the position I’m in – is quite splendid. But no one is wholly independent. I have a responsibility towards my publishers.

Publishing houses are not, as has been claimed, a refuge for rogues, thieves, and intellectual criminals who depend for their existence on their expertise in battening on the skills and talents of the miserably rewarded few who can do what the publishers are totally incapable of – string together a few words in a meaningful fashion. Some publishing houses are run by people who are recognisably human. Mine is notably one of those.

I feel some responsibility, though not much, to book editors. Collins New English Dictionary defines an editor as one who revises, cuts, alters, and omits in preparation for publication. I feel moderately competent to attend to the revising, cutting, etc., before it reaches the editor. But they can be of help, to some more than others.

I feel no responsibility whatsoever towards book critics. The first criticism I ever read was of my first book, H.M.S. ‘Ulysses.’ It got two whole pages to itself in a now defunct Scottish newspaper, with a drawing of the dust jacket wreathed in flames and the headline ‘Burn this book.’ I had paid the Royal Navy the greatest compliment of which I could conceive: this dolt thought it was an act of denigration.

That was the first so-called literary review I ever read: it was also the last. I’m afraid I class fiction book reviewers along with the pundits who run what it pleases them to term ‘writing schools’. One must admire their courage in feeling free to advise, lecture, preach, and criticise something which they themselves are quite incapable of doing.

My greatest responsibility and debt are to those who buy my books, making it possible for me to lead the life I do. Moreover, while deriving a perfectly justifiable satisfaction in pointing out my frequent errors of fact, they never tell me how to write. I am grateful.

One great benefit arising from this freedom is the freedom to travel. I do not travel to broaden the mind or for the purposes of research. True, I have been to and written about the Arctic, the Aegean, Indonesia, Alaska, California, Yugoslavia, Holland, Brazil, and diverse other places, but I never thought of writing about these locales until I had been there: on the obverse side of the coin I have been to such disparate countries as Mexico and China, Peru and Kashmir and very much doubt whether I shall ever write about them.

About future writing I really don’t know. From time to time, Mr Chapman has suggested, a trifle wistfully I always think, that some day I might get around to writing a good book. Well, it’s not impossible for no doubt to the despair of all those book reviewers I never read, I wouldn’t like to retire quite yet.

Alistair MacLean, the son of a Scots minister, was born in 1922 and brought up in the Scottish Highlands. In 1941 at the age of eighteen he joined the Royal Navy; two-and-a-half years spent aboard a cruiser was later to give him the background for HMS Ulysses, his first novel, the outstanding documentary novel on the war at sea. After the war, he gained an English Honours degree at Glasgow University, and became a school master. In 1983 he was awarded a D. Litt from the same university.

He is now recognized as one of the outstanding popular writers of the 20th century. By the early 1970s he was one of the top 10 bestselling authors in the world, and the biggest-selling Briton. He wrote twenty-nine worldwide bestsellers that have sold more than 30 million copies, and many of which have been filmed, including The Guns of Navarone, Where Eagles Dare, Fear is the Key and Ice Station Zebra. Alistair MacLean died in 1987 at his home in Switzerland.