A few Q and As

What’s The Hidden about?


It is set in the Channel Islands under the German occupation in World War Two. An unexpected visitor forces Dora, a German Jewish refugee trapped by the occupation, and Joe, a young Irish priest, to confront a time they thought buried in the past, and as the story unravels we see how their lives entwined and mirrored each other. For Dora hid her Jewish identity while Joe hid a terrible secret. It’s a story about survival, and shame, about truth and betrayal, about passion and guilt. It’s a story about love and hope.


Why did you write it? What were the inspirations behind it?


One of the untold stories of the Second World War are of women trafficked into prostitution in occupied Europe – and the Channel Islands. There were five Nazi brothels in the Channel Islands, two in Jersey alone. Who were these women? How did they survive? What happened to them after the war? There’s very little known about them because sexual violence was not considered a war crime in 1945 so evidence was not collected. What we know was allusions connected incidentally to other war crimes. I wanted to bring that story to life.


Other crimes against humanity were committed, in the 25 or so labour camps on the Channel Islands and especially in the only SS run concentration camp, Lager Sylt, on Alderney but no one was prosecuted at the time, for reasons we can only guess at.


We’ve forgotten these stories because the tale we tell ourselves of the Second World War is one of English exceptionalism, of little Britain standing up to the goliath of occupied Europe and hides what we have shared with Europe, what we have in common.


I wanted to explore all of these.


Did you do much research?

I read everything possible on the occupation, and I went to the National Archives to read the original papers relating to it, in the hope of finding something on the women in the brothels and the war crimes committed.


As sexual violence was not a war crime, nothing was collected specifically on that. But I did find, in the interviews with the German SS prisoners after the war, an oblique reference to them, from the German Commandant of Alderney, Obersleutnant Schwalm, who remarked that when he took command in 1943 there were about 100 women whom he ordered to be quartered together and on whom he imposed strict visiting hours, and another reference from the garrison commander, Wilhelm Gerhardt, who commented that he’d tried to recruit volunteers in Paris to clean and cook, but the only women who applied were ‘streetwalkers, good time girls and criminal elements.’ Their use as coerced prostitutes is in no doubt: they were subjected to punishments, imprisonment, forced medical examinations, were ‘ruthlessly’ dismissed if infectious and were unpaid.


On the war crimes, the evidence collected by the Director of Public Prosecutions had been sent to Moscow, and no copy kept in the National Archives, but I did find the ‘Wanted Report’ on Maximilian List, the commandant of Lager Sylt until 1944, for crimes committed under his command.


Why did you move from writing history to fiction?


Historians tell stories, I’ve always loved writing, and I wanted a break from academic history into another form of storytelling.


Was the transition hard?


I was, and am, on a steep learning curve. On the face of it, there are crossovers between history and fiction. Both operate with prose, narrative, characters, with mentalities and context. But historians make an argument from the evidence. Novelists create a world from possibilities. A novelist is not constrained by the evidence in a way that a historian is, can invent and circumvent, lie and speculate.


What are you working on now?


A contemporary thriller, set in London. Watch this space.