****
Many, many years
ago – decades, in fact – I found myself spending a few days on a holiday in
Sarawak. We had signed up with a company that took you up river from Kuching,
then a really small town, to visit the famous longhouses. Here we met the
indigenous Dyak people who, not that long ago, had been headhunters and many of
whom still lived on the most basic slash and burn cultivation and the food they
could catch in the jungle. We even caught a tiny mouse deer ourselves and
contributed it to the collective pot. It was a magical few days and almost
certainly unrepeatable, for the last couple of decades have seen logging
destroy much of the habitat the Dyaks rely on to live while mass tourism means
that trips like those we made then are probably by now impossible.
It was on that trip that I first came across James Brooke. The museum in Kuching had an exhibition of Sarawak's history with a large display on 'The White Rajahs' next to a much smaller display on 'The Colonial Era'. I was confused. The White Rajahs were clearly, well, white. Why was it that while the tone of 'The Colonial Era' was rather disapproving (it mainly seems to have consisted of killing the Governor), 'The White Rajahs' display hinted at a Golden Age?
The answer seems to have been the extraordinary relationship the first White Rajah, James Brooke, had with the people of Sarawak. Sarawak then was a province of a much bigger country ruled by Muda Hassim in Brunei. Hassim gave the rule of Sarawak to James Brooke as a reward for Brooke's help suppressing a rebellion there. Brooke insisted that Sarawak was not part of the British Empire and he set out to rule as an enlightened despot.
At the centre of the exhibition was a portrait of James Brooke. It was a copy of the one in London's National Portrait Gallery.
It was on that trip that I first came across James Brooke. The museum in Kuching had an exhibition of Sarawak's history with a large display on 'The White Rajahs' next to a much smaller display on 'The Colonial Era'. I was confused. The White Rajahs were clearly, well, white. Why was it that while the tone of 'The Colonial Era' was rather disapproving (it mainly seems to have consisted of killing the Governor), 'The White Rajahs' display hinted at a Golden Age?
The answer seems to have been the extraordinary relationship the first White Rajah, James Brooke, had with the people of Sarawak. Sarawak then was a province of a much bigger country ruled by Muda Hassim in Brunei. Hassim gave the rule of Sarawak to James Brooke as a reward for Brooke's help suppressing a rebellion there. Brooke insisted that Sarawak was not part of the British Empire and he set out to rule as an enlightened despot.
At the centre of the exhibition was a portrait of James Brooke. It was a copy of the one in London's National Portrait Gallery.
Portrait of Sir James Brooke by Sir Francis Grant
National Portrait Gallery London. Used with permission
National Portrait Gallery London. Used with permission
Years passed and I found myself writing lots of non-fiction, often anonymously. I decided that I owed it to myself to write the novel I've always planned for. We were moving into an age when Western armies were invading remote countries, often with noble intentions but sometimes with terrible consequences. I wanted to write about how good people could end up involved in questionable wars and horrifying massacres. I remembered that James Brooke had himself been involved in a massacre which, at the time, had horrified liberal opinion in Britain and resulted in a Commission of Inquiry in Singapore. I decided to go back to my original novel and rewrite it as a much darker piece with a flawed hero.
I wanted to get close to Brooke as a man, rather than just as a historical figure, and I thought this could best be done through the eyes of someone who knew him and shared his experiences. I tried to think who this could be and came to the idea that the story could be told from the point of view of a sailor on his ship, the Royalist. And that was how John Williamson came into being. Unlike Brooke, who is very closely based on the historical figure, Williamson is almost entirely fictional. The real James Brooke had an interpreter called John Williamson and I just borrowed the name. (The real Williamson was half-Malay and died quite early on.)
Once Williamson came into the story, his role just grew. He had started out as a narrative device but, as time went by, he became central to the story. Partly, I think, this is because everything was seen through his eyes and so I found myself thinking more and more about how he felt about things and partly because I tried to use Williamson as a figure who reflected Brooke's relationship with the Dyaks. So Brooke 'educates' him but at the same time Williamson finds that the relationship stops him developing fully as his own man. By now, what had started as a historical novel with a bit of romance became much more a romance set in a historical story.
The whole 'gay' bit never seemed that important. The real Brooke was almost certainly gay, all the characters around him were men: if he was going to have a relationship, it was always going to be a gay relationship.
John Williamson has grown on me since I invented him and Accent are planning to publish another John Williamson story. Fortunately the date on which Williamson departs Singapore at the end of "The White Rajah" means that I can put him in India just before the Indian Mutiny breaks out. So that's what I've done: Williamson travels to India, falls in love (again) and is once more caught up in historical events that leave him making uncomfortable choices about who he is and where his loyalties lie.
