We are thrilled to announce that Rand Raynor will now serve as our West Coast Editor and Representative.
Casa Forte Press’s new Pacific Northwest Representative is a transplant from the Athens, Georgia music scene, where he spent much of his time quoting lyrics of old FM gems with his best mate Ross Shapiro from The Glands and playing drums with a number of acts. A voracious reader, Rand’s knowledge of film, music and popular culture is impressive, to say the least. He has a weakness for crime and pulp fiction. Some of his favorites include Charles Willeford, Patricia Highsmith, Denise Mina (Scottish), and Sara Gran. “And then there’s always Philip K. Dick,” he says.
In New York, he studied Art History at Johns Hopkins University and Media Production before heading to Georgia where he finished his bachelors in Religion. He holds a Masters of Arts Education from Pacific University.
Bookish, in East Atlanta. A stylish, cozy bookstore near the cafes and restaurants. Click for directions.
A Capella Books
This is one of Atlanta’s best known trailblazing indie bookstores. It is revered by the ITP intelligentsia, skateboarders, rockers, and more. It carries rare old and new gems. Click for more information.
ATHENS, GA–AVID BOOKSTORES
Athens is known for being the launch pad for so many internationally-known musicians and visual artists. REM, the B52s, The Glands, Of Montreal, Love Tractor, and the legendary poet-musician Vic Chestnut to name a few. The film Athens Inside Out best describes that fertile red clay that helped sprout so many phenomenal artists. And Casa Forte’s JD Hollingsworth, also a musician, is one of them.
You can find his books at AVID books, a great hangout for locals after brunch at The Grit.
THEY ARE BEAUTIFUL STORES. THERE ARE TWO LOCATIONS:
Not too long ago, I took our books to The Book Tavern, in Augusta. Lovely place and an incredible collection of rare books in Portuguese, French and German. The store sits right on the main boulevard next to very funky, colorful shops and a great cafe.
This impressive collection of used and new books shows the caliber of Asheville’s readers and the store’s smart curators. No malapropisms here.
At the outset: The Titanic and the Californian – the first book to seek to clear Captain Lord of the Californian of the censure he received at the British Court of Inquiry into the loss of the Titanic for not going to the rescue of the survivors.
An Agony of Collisions followed, giving examples of collisions at sea assisted by radar, and suggested reform of the international collision regulations in the light of radar.
Then came the biographies of great naval gunnery officers and a history of great gunnery at sea and of great gunned battleships.
Biographies of Nazi leaders followed for which Padfield received death threats: his biography of Grand Admiral Karl Donitz showed that far from being the unpolitical German naval officer he had been portrayed, Dontiz was an early extreme Nazi.
In Hess, Hitler and Churchill: The Real Turning Point of the Second World War Padfield shows Churchill’s moral greatness resisting Hitler’s blandishments for a compromised peace.
His focus on naval campaigns by which the west and primarily Great Britain spread its influence around the world culminated in his trilogy Maritime Supremacy, for the second volume of which Padfield won the Mountbatten Prize, amassing glowing reviews. Maritime Supremacy is a groundbreaking work linking the values of free trade, freedom of expression, freedom of worship, and democracy to Britain’s trading history and Naval power.
He has appeared regularly on both television and radio discussing Donitz and the Titanic, including Ludovic Kennedy on Donitz and BBC Start the Week.
For six years he spearheaded the campaign against turning RAF Bentwaters into a civil airport. The campaign was a success. His involvement helped protect an area of outstanding natural beauty in Suffolk from aeroplane noise.
He is one of the last remaining crew from the 1957 transatlantic voyage of the Mayflower II. He has remained in continuous contact with the Plimoth Plantation ever since the voyage and has been a guest of honour at important anniversaries.
Peter Padfield came to maritime history not as an academic but as a seaman with a passion for the sea and practical experience of sailing the world’s oceans. This love and knowledge of ships and the sea marks his writing. He rose to international renown in his field without formal training or funding but through the force of his own industry, research, insight and writing. Despite having no credentials beyond his original training as a P&O Officer his literary output enjoys worldwide respect, not least in the USA, and has reached a wide readership. Perhaps it is the lack of a university education in history that has resulted in his unique voice.
The launch of JD Hollingsworth’s first book, The Work, was an immense success. We nearly sold out. There are a few left before the new batch arrives. We will also be prepared for larger orders in the next few weeks.
For now, if you are interested in purchasing the book, please send an email to:
Please include your name, address or addresses you’d like your book (s) shipped to.
We will soon have a list of bookstores where you may find The Work.
If you have any further questions, please call me at 470 707 5810.
“From a certain point on, there is no more turning back. That is the point that must be reached.” Franz Kafka, the Zurau Aphorisms, n. 5.
When Kafka Meets the UK’s Family Court
Fiona Padfield’s New Fiction Rings True to Survivors
By Helena Cavendish de Moura
The evidence was clear, fastidiously documented. The medical expert’s testimony suggested abuse. All leads pointed towards a logical outcome. But in Fiona Padfield’s new novel, Allegation 17, we enter the UK’s Family court system where logic is closer to Kafka’s Trial than of modern-day jurisprudence. The author has taken some risks in writing this novel, based on a true story.
“This book was written out of a searing sense of injustice and despair and desperation that a mother was prevented from protecting her child,” said Padfield, an established writer who was discouraged to publish this controversial novel.
“It shows how the effect plays out on an individual psyche. How it ricochets across the extended family and beyond.”
Set in an idyllic Welsh village, Allegation 17 tells the story of a single mother and her legal struggle to protect her child from unsupervised visits with an unstable father whose history of domestic abuse and questionable sexual behavior is not enough to convince the court.
It is an all-too-familiar scenario with devastating endings for women in the UK where the secrecy of the courts, designed to protect victims, can have the opposite effect. It is, to some, a disguised gag-order designed to intimidate. It is an indictment of a system survivors claim punishes the innocent.
“Freedom speech is alien to British justice,” said Padfield. “In a criminal trial, Journalists are admitted. Justice is open. But in Family Court, only selected journalists are allowed, the material is restricted. They can’t just report on what goes on,” said Padfield.
“I think the book is important because currently, the only information coming out Family Courts is through legal representatives or vetted journalists which means it is still tightly controlled,” she said.
It puts on trial the very institutions that are here to protect – Family Services, the judiciary, the police – wracked by prejudice and presumption. But the book does more than advocate for women. It is a deeper study into our psychological makeup, how humans can survive trauma from feeling marginalized by justice.
“ Although this particular story is about a woman, I would like to point out that it is not just mothers who are badly burned by the Family Courts. Fathers also get damaged in its wake.”
The story is told by the inner voice of a woman facing insurmountable obstacles as she struggles from one hearing to another. Padfield’s rich narrative and vivid imagery helps us understand the emotional journey of a victim of sexism, her despair and solitude, the theatrics of a legal system apparently blind to suffering.
She is exhausted by the bullying and betrayal of individuals and institutions whose role should be to support and protect.
“When I say the story plays out on the an individual psyche, this includes all the added pressures such as home visits by social workers, psychiatric services check- ups,” said Padfield.
“Going to court is one of the most traumatic experiences. Everything about one’s psyche is questioned. The things one would say to a psychiatrist could suddenly up for grabs,” she said.
Her narrative shifts from bitter experiences to the healing of the present. Her vulnerability and emotional breakdown as she seeks to protect her young children eventually make her whole – strong enough to make her voice finally heard.
“At core, it’s about survival. Surviving despair. Surely, it shouldn’t be the role of the Family Court to push parents towards suicide,” Padfield said.
Through this woman’s inner voice, Padfield maps a woman’s fragmented thought process. Like many This form of Post Traumatic Disorder is all-too-familiar and it comes back to haunt them in the court.
Rachel, the protagonist, is sent to a Court Psychiatrist to be evaluated. Her ex-husband isn’t.
“The husband’s medical notes don’t undergo the same tooth-comb scrutiny as Rachel’s,” she said.
Allegation 17 is also timely: a petition to reform the UK Family court is gaining traction and survivors’ groups are raising their voices at last.
According to a 2016 study by the Women’s Aid and Queen Mary University of London, court harassment of women prevailed in Family Court and that children’s lives were at risk because victims were not being given safe or fair hearings.
The report, What about my right not to be abused?” Domestic abuse, human rights and the family courts, is critical of the UK courts’s policy of allowing an abusive ex-partner to cross-examine a survivor, breaching “…the survivor’s human right to be free from degrading treatment.”
The studies showed that unsupervised contact with an abusive parent was most likely to be awarded in the cases outlined in the report as a result of a “systematic gender discrimination and a culture in the family courts” that silences women and fails to protect the human rights of survivors, adding that women were often blamed for suffering abuse.
“There is a petition kicking off going to Theresa May about corruption in the Family Courts. This is timely for my book but complete coincidence. “
“I hope my book may bring comfort to mothers and fathers currently going through the system, knowing they are not alone in their despair.”
The firing squad is in place for the new government’s first execution. There’s a festive atmosphere in the crowd, and national media’s live-streaming of the event is also available to spectators at home. We haven’t watched a public execution in 142 years, since 1876, back when the slave Francisco was hanged in the town of Pilar in Alagoas state. Now, it’s a different method. Handsome imported rifles will put down this traitor to fatherland and family values, a short and frightened little fellow accused of writing criticisms of the government’s improprieties. The public supports it and that’s all that matters, the new President announced to a press corps readied for the spectacle. Corporate sponsors include a cosmetics company and a bank.
During the week, through consistent announcements, the media covered the upcoming execution with a certain sobriety. But gradually, as the audience grew larger than expected, livelier spots began to emerge, like ads for football and Formula 1. On TV news shows, reports profiled family and friends of the soon- to -be- deceased, and, despite their sadness, expressing optimism for the government’s innovative ways of directing people to respect authority and preserve traditional values. “It just couldn’t stay the way it was,” noted the defendant’s mother, an enthusiastic supporter of the new regime. In a show of patriotism, she didn’t shed a tear.
O pelotão de fuzilamento está a postos para a primeira execução do novo governo. Há um clima de festa na plateia e os telespectadores também poderão acompanhar o evento transmitido em cadeia nacional. Desde 1876, há 142 anos, não víamos uma morte pública, demandada pelo Estado, quando o negro Francisco foi enforcado no município de Pilar, em Alagoas. Agora, o método é outro. Belos fuzis importados abaterão o traidor da pátria e da família, um sujeito assustado e baixinho, acusado de escrever impropérios contra o governo. O povo apoia, é o que interessa, disse o novo presidente a uma imprensa já preparada para o espetáculo. Os patrocinadores são uma empresa de cosméticos e um banco.
Durante a semana, em chamadas regulares, a TV anunciou o fuzilamento com certa sobriedade. Mas aos poucos surgiram vinhetas mais animadas, como nos anúncios sobre futebol e Formula-1, pois a audiência tem sido acima do esperado. Nos telejornais, matérias com a família e amigos do futuro morto que, apesar de tristeza, viam na medida governamental uma forma inovadora de conduzir o país dentro de padrões de respeito à autoridade e preservação dos bons costumes. Não dava para ficar do jeito que estava, observou a mãe do réu, eleitora entusiasmada do regime recém-inaugurado. Numa demonstração de patriotismo, ela não chorou.
Fiona Padfield is a formidable woman.I am very fond of her writing style: bare, honest and introspective, her narrative gently breaks down the societal structures that imprison women: the UK’s sexist court system and the general public debate on women’s bodies and learned perceptions.
Her writing style allows emotional and moral forces to dwell effortlessly in her stories. Her fiction is dialectic and there is no surprise here: Fiona is an accomplished English playwright and actress who became a national sensation with her controversial play Strip, directed by Sir Peter James at the Lyric, Hammersmith, andSnapshots, which was produced at the Manchester Royal Exchange and directed by Braham Murray. She now lives and writes from a farmhouse in the Welsh countryside.
“Dialogue is boldly replaced by an almost novelistic narrative style…The play be giving voice to the views of a striper and a so-called sexual deviant – subjects that society generally keeps under wraps – rouses interest in the ﬁrst place. In this case, there is the additional intriguing fact that Padﬁeld herself spent six months as a stripper. At any moment, then, one feels that she may be speaking with autobiographical veracity through her ﬁctional character.Padfield gives a fierce, concentrated performance…“
She kindly sent Casa Forte Press this short piece which I very much love.