69ers, the novel of the 1969 Isle of Wight Festival of Music, has finally been released as an e-book. Retitled When Dylan Sank the Isle of Wight, and with a new cover, the book is retailing at £3.59 (less than six dollars) and can be purchased here.
For reviews of the book, check out the paperback version, while you can find extracts on this site, along with a host of original archive material about the groundbreaking event around which the story is built. It’s a story about another age, but one which takes a hard look at those times (and hopefully an entertaining one) rather than wallowing in nostalgia. I really hope the e-book’s going to be read by people of all ages, and more reviews are welcome, even in the unlikely event that you do not enjoy it!
I am indebted to photographer Chris Dorley-Brown for unearthing a video from the BBC archives proving (once again) how wonderfully objective Aunty Beeb really is. The scathing tone of this news item about the 1969 IOW festival may come as a surprise to some, but not to those of us who remember just how hostile the British establishment once was towards pop festivals. But it was this hostility which made the festivals of the time – Woodstock, IOW69 and 70 – so interesting and politically charged.
Chris is the grandson of the man my Dad knew as “DB”, who employed him as electrical contractor for the Island Industries Fair, indirectly leading to him becoming the contractor for the IOW festival.
Among the major tv news programmes in the UK, people might expect Channel 4 News to be most attuned to the legacy of Pete Seeger, but yesterday’s obituary of the great man contained a horrible howler: it claimed that “the infamous Isle of Wight festival” was the occasion when Dylan controversially went electric. They had clearly confused IOW 1969 with the Newport Folk Festival of 1965 – possibly because the present day IOW festival takes place near Newport IOW. As readers of this blog will be well aware, IOW 1969 took place near Ryde, featured a downbeat and rather conservative performance by Dylan, but did not involve widespread booing or Pete Seeger threatening to cut the wires to the sound system.
Channel 4’s error was compounded by a selective quote from Seeger, referring to that threat, but taken completely out of context: Seeger was objecting to the distorted sound and the fact no-one could hear Dylan’s words. He was not opposed to electrification per se and made the point that Howlin Wolf had performed an electric set the day before, without any objections. Certainly there were purists in the folk movement, but they did not include Seeger. He was a man who, despite his middle-class roots, did more than anyone to champion the self-expression of the working-class and the emancipation of the oppressed. He had the guts to stand up to McCarthy’s Un-American Activities Committee and to decisively reject his early admiration for Stalin. I believe he was wrong to also reject revolutionary politics for a belief that fundamental change could be achieved incrementally, and even wronger to celebrate Obama’s presidency as evidence that “this land is our land”. But Dylan could certainly have learned from his steadfastness in devoting his life to the greater good.
Great to see the continued interest in this website and healthy sales of 69ers. Do have a good look round the archives if you haven’t visited before. Meanwhile my teen novel The Last Free Cat continues to make waves in the USA: a great little review from a teen reader recently on Teen Ink which is one of the best summaries of the book I’ve seen. Many more reviews also on Goodreads which demonstrate that readers either love it or hate it – fortunately the lovers are in a large majority! The fact that some don’t like it at all does not surprise me. The book has a powerful sense of right and wrong which will not be shared by those of a conservative disposition. It prides me greatly that Albert Whitman recognised this in choosing the book for their very select imprint, which you can read about here.
The novel has also been re-reviewed in the key journal School Library Review (no link available) where it was first reviewed in 2008, and on Kirkus.
All this attention to a book written in Cardiff, Wales, has however failed to impress the organisers of the first Cardiff Children’s Literature Festival, which takes place in March this year. Despite the fact I have been singlehandedly flying the flag for Cardiff on the children’s literature stage for over 25 years, in China, Japan, Australia, the US, South Africa, Taiwan, half of Europe and more, they have decided I am surplus to requirements. Never mind the 300,000 books I have sold, nor the quarter century of school visits and community arts projects through which I have sought to inspire generations of young people in South Wales. Never mind the fact I have been published by almost every major publishing house in the UK as well as those abroad. I will leave my books to speak for themselves and others to judge whether the Cardiff Children’s Literature Festival will be devalued by my absence. In the meantime thanks to all those who have bought 69ers, The Last Free Cat or any other of my 56 books: it is your views I value.
There’s no mistake, I smell that smell, it’s that time of year again – though this year’s IOW festival line-up indicates that we are steadily moving to the stage when it will be indistinguishable from a Radio One roadshow. Still, money talks, punters are prepared to pay for it, and the idea that festivals offer some kind of gateway to a new way of life has long been put to bed. When Paul McCartney and co can so easily be drafted into the service of the establishment for a Jubilee concert, the transformation of popular music from scourge of the elites to their willing bedfellows is almost complete.
69ers looks back to a different era. If the thought of Gary Barlow consorting with Prince Charles and the military wives curdles your coffee, you will surely enjoy re-experiencing the hope and idealism that lay behind the first great UK festival, when Bob Dylan emerged from exile to appear at Woodside Bay, Isle of Wight, in August 1969. But the novel does not go in for simplistic nostalgia: it dissects the naive idealism of the hippy project and explores the contradiction in capitalism which would eventually end in the triumph of a more permissive form.
It’s also a coming-of-age story, a love story, a review of the the 1969 music scene, and contains some of the most excruciating sex scenes ever committed to print. Just click on the book to the right and a signed copy could be yours in a couple of days. The novel is also available close to the festival site at Newport Waterstones.
My latest royalty statement shows that 69ers is actually selling quite well in the USA, despite the fact I’ve not marketed it there, nor sold any books personally stateside. The world of booksales is a perennial mystery. I’m looking forward to promoting the book further in 2012, on the back of two big publishing events for me: The Last Free Cat is being brought out in the US by top publishers Albert Whitman, and my 100,000 selling picture book You’re A Hero, Daley B is being reissued by Walker Books. I’m hoping to do some promotional events with illustrator Axel Scheffler – Daley B was the now famous illustrator’s first picture book.
For music fans, I’m now putting the finishing touches to This is the Sound of Adamsdown which will be released shortly, as will a CD of my own songs as sung by me!
69ers is still selling well – Waterstones on the Isle of Wight have now ordered their third boxfull and my own online store on Amazon has been consistently busy. There are numerous reviews on the web, all of them very complimentary: fans of the book have been most generous in spreading the word.
I have had many editors during my 25 year writing career, of varying abilities, but there is one person whose opinion is more important to me than any other: Natalie, my partner of 16 years. The best-read and most literate person I’ve known, a published writer herself and an experienced BBC journalist (not to mention a fantastic mum!), I trust Natalie’s judgement implicitly: if she tells me a story or book is not worth publishing, it’s back to the drawing board.
Though 69ers is set before Natalie was born, she gave the novel the thumbs-up – though she did find a couple of flaws, I’m glad to say. At 55,000 words, it’s a bit short for her tastes, but then I write for people with a short attention span, like myself!