It's interesting, if disconcerting, to find oneself living in a state of Australia under an administration which seems intent on resurrecting regressive notions in criminal law that were part of the eighteenth century background to The Raven's Seal, or even my new work.
A writer is always on the hunt for new ideas, but this shows me that ideas of crime, law and punishment are always in flux, and that historical attitudes can find currency, and relevance, today. Hence historical fiction is not always about the dead past but instead a dialog between past and present, the character of ourselves as we were and as we are now. Sometimes, the past in fiction illuminates, as we glimpse of ourselves in the historical mist.
For example, the eighteenth century of The Raven's Seal was a period of great economic growth and upheaval: in many ways the foundation and apex of modern capitalism. But the cost of this growth was massive and growing inequality, a broad process of dispossession – an issue more than familiar to us today. In this case, as the few gain extraordinary wealth and the many lose prosperity and stability, I wanted to ask who the real criminals were: where was the invisible hand moving like a pick-pocket's, who could guide it, and who really grew wealthy at the expense of others? This mystery persists with us today, although the causes and policies that contribute to it are not particularly opaque, only the solution. What stands out from the eighteenth century experience is that though the markets are a game, they are by no means a neutral game: those who get to set the rules come to disproportionately reap the prizes, and at the same time label their play by the illusory name "fairness". In the case of The Raven's Seal, the codes of crime and punishment, privilege and service, were part of these rules.
We still live with the legacy and attitudes of the deep eighteenth century. In A Hangman for Ghosts, I'm interested in the "System" as a notion and a mystery, and the system of penal transportation which transplanted whole blocks of the "criminal classes" from one land to another. The task is to weave the story of crime and discovery around it. But as a character notes in The Raven's Seal, if you want to find who's guilty, first ask: "who profits?".