I was born in Hull, England, in 1948, three weeks after the death of my father,
Ken. My mother, May, was evicted from her home as it was tied to Ken’s job as a motor mechanic, so I was born in a neighbour’s
house. The midwife expected May’s grief and shock to cause me to be stillborn, so she abandoned her early in labour
to attend another woman. In a bizarre co-incidence, my future stepfather, Bert, and his then wife helped deliver me. Days
after the birth, May took me and my sister to live with her parents in a council house already full with her younger siblings.
May’s death in a car accident, two days after my sixteenth birthday and
a few days before I took ‘O’ levels, meant I left school with few qualifications.
Grieving, I left home to join the Royal Air Force as an apprentice photographer.
The discipline of the first year served me well; certainly, the physical activity, boxing training, and abundant food turned
a seven stone weakling into a strong and fit young man. Recognising I had made a mistake in joining the forces, I left a few
years later.
I returned to East Yorkshire, and worked as a colour printer at an aircraft factory
and then a graphics technician at the local art college. I married Val, my childhood sweetheart, and moved to Colchester as
a press photographer. Val found work as a teacher in the town. Disenchanted by sensationalism of local news stories, I left
the paper to work as a freelance. The flat we occupied was on a farm and I enhanced my income by labouring on the land. During
this spell, I started to write fiction as well as the factual photographic articles I’d had published in magazines such
as Amatuer Photographer and Photography.
I entered a playwriting contest run by the Radio Times, took 3rd place and had
my play, Hitch Hiker, broadcast on BBC Radio 4. They commissioned a second play but the producer left for pastures new and
the project was abandoned. A literary agent thought I had talent and encouraged me to write plays for radio and television
but, after a number of near misses, I eventually abandoned this activity. The short freelance spell ended when security of
tenure was lost at the farm and I needed employment to get a mortgage. I managed a shop until the company decided to sell
shotguns and crossbows; a trade I couldn’t support. I took a job selling photographic goods and printing services to
shops in East Anglia and East London. Although relatively successful, lying to gain orders was a problem and, after a year,
I joined the civil service, working for the Employment Service in many roles.
Domestic life and various other factors, including a lengthy spell of serious
illness, had curtailed my writing for a few years. I grew apart from Val and, after eighteen years of marriage, left the marital
home to her.
I met my second wife, Valerie, (yes, really) on a training course, Managing Change,
and we fell in love on sight. Happy with my new love, I resumed my writing around this time, penning some short stories and
winning a few competition prizes.
I worked in the holiday cottage industry after we moved to Settle in the the Yorkshire
Dales. Just prior to the Millennium celebrations, I was made redundant along with several of my coworkers. I found a job,
in a Comet call centre in Hull, and moved back to East Yorkshire.
Valerie and I have a teenage daughter, Kate, of whom we are prodigiously proud.
I currently live as a happily married man in a small market town, working part time for the local authority. A spell of ME/CFS, which caused the need for part time employment, seemed to stabilise after four
years, towards the end of 2006. Of course, this complaint never really goes away and I still have relapses; a lengthy one
started in February 2009 and is slowly declining.
Several of my short stories have been published and you can read some free
on my site. My re-worked novel, Breaking Faith, is published under the auspices of the Arts Council sponsored website,
www.YouWriteOn.com. Please buy and read it. I am currently writing short stories and working on
a romantic comedy and a fantasy novel for which I will soon be seeking publishers.
I know almost nothing about Graham Greene,
William Golding or J.K. Rowling but that hasn't stopped me enjoying their books. On the other hand, I know a bit too much
about Jeffrey Archer and Katie Price (Jordan) and I have never enjoyed their books.

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| Click on picture to go to Amazon.co.uk |
'Breaking Faith'
One of the great pleasures of reading indie authors is that they are often literary
Luddites, exuberantly smashing the commercial frameworks imposed on their more industrially-produced cousins, replacing them
with a more zestful, fresh, individual and – might I say – compelling approach to their work.
It is not that they do not recognise as well as anyone the existence of the rules and formulae drawn up to
govern the structure, content and style of mainstream modern literature, it is just that they prefer to explore other creative
options for the good of their, and our, souls. “Know what you should do then do as you like” was the moral guideline
I was schooled in by my parents and it is the literary guideline of many indie authors too.
Let me declare straight off that Stuart Aken’s pointedly joyous ‘Breaking Faith’ is the
output of such an independent and questing mind. However, if you like to slot books as automatically and systematically into
standardised categories as the priapic photographer Leighton Longshaw likes to slot his …. no, no, I’ll come
back to that later …. then this novel may pose you something of a challenge.
At
first I thought it was some form of hybrid of Stella Gibbons’ ‘Cold Comfort Farm’, of Emily Brontë's
‘Wuthering Heights’, of the Elle McPherson film ‘Sirens’, and of E.M. Forster’s ‘A Room
With A View’ with its ringing closeted declaration that the only crime in love is for those who love each other to be
forced apart, but halfway through the book I realised that it is something considerably more surprising - the unlikely revival
of the Victorian high-moral literary melodrama. You might well quibble that the morals espoused by this work are not very
Victorian, nor very moral, but I am sure that there was many a Victorian master of the house who retired to his study to indulge
his taste for similarly stimulating reading material. It would definitely not be for the eyes of the women and the servants
of the household though, and it would like as not come wrapped in deceptively bland packaging, which is how appropriately
this book started out although it now sports a cover much closer to sex on legs. Indeed, if you want the briefest of summaries
of the plot, that was it. Faith starts out in bland packaging and ends up as sex on legs.
To provide
a more detailed resumé of the story, it revolves around the shamelessly libidinous Mr. Leighton Longshaw who enthusiastically
and compulsively slots himself into the moist nether regions of his willing photographic models as plentiful opportunities
arise. Then, for want of a Girl Friday, he hires the reputed village idiot, Faith, albeit one ready-furnished with a conversational
vocabulary of around 100,000 words. Something, I cannot think what – call it male intuition – hints to him that
there is more to this woman than meets the eye.
As in all
the best moral works, the names of the characters say it all. Faith comes tarnished by the hell-fire religious bigotry of
her father but, given a few determined applications of Silvo, is soon all burnished and wondrously bright. Her two sisters
are called Hope and Charity. Hope, with heavy-handed (not to mention tasteless) irony is paralysed from the brain down as
a result of a surgical misfortune although her abusive father hopes to revive her come what may. Charity is as charity does.
She is supplied with seemingly inexhaustible resources and very few requirements for eligibility for hand-outs other than
youthful masculine energy and good looks.
And the moral?
I have a bit lost count of how many of the characters have spouted it now, so it is almost certainly that free sex is fun
but that it has to be stirred through thoroughly with true love and steadfast, honest passion for it to be alchemised into
a truly satisfying blend – not a bad moral really.
And not a
bad book either. It will almost certainly contain enough pert nipples and lubricated crevices to please discerning customers
- there is a passage where Leigh and Netta couple seven times in a night and I think we get all the balls and whistles on
each and every one of them – and there is no debating that this is a huge page-turner, partly because it is well-written
and partly because the characters are so appealingly fleshed-out in personality as well as in anatomy. Several reviewers both
on the jacket and on Amazon state that this book is hard to put down and that was my experience too. At 343 dense large-format
pages it is quite a weighty book but I read it effortlessly within two days. You will certainly race through the last few
chapters as it makes an unexpected breakneck dash for the finishing line.
Whether this represents
a realistic social depiction of an albeit niche 1970s North Country lifestyle is another matter. Maybe it was discoverable
in the Yorkshire Dales but it never reached the East Yorkshire Wolds that I ever stumbled across, although I believe that
it put in the odd appearance in Holderness from the 1950s onwards. However realism, by definition, is not what moral tales
are all about. They seek to point the way towards the ideal, and if some of the dialogue sounds like it has been drafted and
voted upon as manifesto composites at the annual conference of the Socially Liberated Party, so be it.
One word
of advice - don’t be tempted to present it to any Aunt Matildas for Christmas, unless you want to see them off. They
would probably much prefer one of the original Victorian high-moral literary melodramas - ‘Eric or Little By Little’
maybe where the reader continually discovers the headmaster in his study on his knees in prayer. In ‘Breaking Faith’
he wouldn’t be praying – his prayers would already be well on the way to being answered. (TR).