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Lonicera: A Love Story

by Christopher Neame

123 pages; quality trade paperback (softcover); catalogue #04-0435; ISBN 1-4120-2607-5; US$15.50, C$18.00, EUR12.50, £9.00

At once compelling and foreboding, this easily read novel, which tells of a star-crossed love affair, is sure to put a lump in your throat.

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about the book      about the author      excerpt      catalogue info

About the Book Writings on the sheets of a notepad, found on a park bench in London, intrigued Christopher Neame so much that he determined to track down the author and in so doing learn the outcome of a star-crossed love affair. A young New Zealander, on a gap after university, sets out on a tour of Europe. Soon he realizes he is on a dangerous emotional path. Can he escape? Should he try and run away? Or should he stay and 'face the music'? At once compelling and foreboding, this easily read novel is sure to put a lump in your throat.

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About the Author Christopher Neame's roots are firmly embedded in the film industry. The third of four generations in the business, he assisted on films such as The Anniversary, starring Bette Davis, Peter Sellers' The Wrong Arm of the Law and Lindsay Anderson's This Sporting Life. As a producer he has been responsible for many films and series such as Danger UXB, The Knowledge (BAFTA nominated), The Flame Trees of Thika, The Irish R.M. And Soldier, Soldier. Christopher has several screenplays to his credit including Graham Greene's Monsignor Quixote, starring Alec Guinness, which he also produced (Christopher Award NY and BAFTA nominated) and HE Bates's Feast of July for Buena Vista / Disney. He also wrote the stage version of Monsignor Quixote. In 2003 his autobiographical book, Rungs On a Ladder, (about his formative years with Hammer Films), was published by Scarecrow Press. And 2004 sees the publication of the sequel A Take on British TV Drama (Stories from the Golden Years). He has also written the book and lyrics for a stage musical. Courtenay premiered in England in 2003. (www.courtenaythemusical.co.uk) He is married and lives near Canterbury.

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Excerpt

Prologue

Early one morning late last June I was out walking the dogs in Holland Park when I came across the following pages written in a mature hand. The lined sheets were neatly folded and held in place by a large stone. Subsequently I discovered some of the earlier part had been crumpled as if thrown away and later retrieved. Judging by their initial appearance I assumed they had been left by a student. Probably it was intended, nevertheless I thought I should make some effort to return them to their owner.

The top of the first page gave me no clue as to his or her identity. There was no name, no address, not even a date. I turned to the end. Again there was nothing, so I went back to the beginning and read the first few pages. Becoming intrigued, I decided to continue once I had returned home.

Normally when I read a book I take forever over it. The reason being that as a film-maker I am continuously on the lookout for a subject and consequently visualize each scene as if played before me on a screen. This was different. I read the whole piece in one go. It was probably because I had not embarked on some tiresome action adventure or a period novel with implausible characters. This was about real people.

I should make one point clear immediately. Naturally in reading such an intimate account, I started out with a certain reservation. In a way I was prying into the personal lives of others and ought to keep my nose out. However, this concern was shortly laid to rest by the writer's own words. Clearly he had been happy for it to be seen by others, furthermore such had clearly been his intention when he left the pages where, and how he had.

When I had finished reading, I passed the work on to my wife, who looked at it in a different light, more as a story. Probably this was because she was, perforce, more detached than I was.

Two other professional friends read it in a similar way and between us, despite some small concern about areas of ingenuousness, we discussed the possibility of publication. In itself that would be hard enough to achieve, but without the author's consent impossible.

I am told it takes, on average, only three telephone calls or e-mails to track down anyone you need to find in the world and New Zealand is a small enough place, especially when all but its skiing resorts could be excluded (for reasons that will become evident below). However the country is still large when you have no clues to begin with and live on the other side of the world.

Eventually, with the assistance of a film company I had worked with in Auckland, I succeeded. And then once I had rather presumptuously scanned them, I sent the pages back to 'Lonicera' and asked his permission for me to contact a publisher. I also needed his assistance over something else.

His letter in response came quickly, and happily he appeared eager to help. One paragraph of it is reproduced here.

I still don't know why I wrote about Louisa, because even at the time I knew I wouldn't read it again (certainly not then anyway). But as you rightly suggested in your letter, I am perfectly happy for anyone else to do so. In fact I'd honestly be glad if they did as, at least, I will have expressed my innermost thoughts openly and I think that can only be good. Perhaps as a result, in some strange magical way, I might find myself purged of the terrible doubt that continues to live inside me.

Who knows?

So he saw it all as a declaration.

There was still the other matter. The end of his story. Two months later the final pages arrived in the post and appear here as the epilogue. He also sent me a copy of a letter written by Louisa which I have included in chronological order.

Other than some minor editing for the sake of clarification (including the addition of dates * precise where possible), the changing of names and the alteration of a few locations, both for reasons of prudence, I have made no amendments to the pages as I first found them on the park bench.

Christopher Neame

London - March 2004

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Catalogue Information

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