Umberto Eco

 

“Until then I had thought each book spoke of the things, human or divine, that lie outside books. Now I realized that not infrequently books speak of books: it is as if they spoke among themselves. In the light of this reflection, the library seemed all the more disturbing to me. It was then the place of a long, centuries-old murmuring, an imperceptible dialogue between one parchment and another, a living thing, a receptacle of powers not to be ruled by a human mind, a treasure of secrets emanated by many minds, surviving the death of those who had produced them or had been their conveyors.”

― Umberto Eco

First Book

 I haven't nagged you about First Book in a while, but they're putting books into the hands of kids who would otherwise go without. 

If you can, consider giving. You can learn more HERE.

King Tut and the Bugatti

 And then again, some facts in historical mystery are simply a matter of grinding it out. For instance, when you need a car to get your heroes from Luxor to Cairo as quickly as possible. The train simply won't do. This happens in The Strange Case of the Pharaoh's Heart.

First of all, you should realize that without the car, Tutankhamun might never have been discovered. Lord Carnarvon, the sponsor of the dig, was mad for cars early on. The faster the better.

And in 1903, he had the dubious distinction of being in the world's first car crash. 

Lord Carnrvon

A bad crash, with a crushed skull and a broken jaw, and lacerated lungs, which left him prone to severe lung infections. Doctors recommended he spend his winters in a dry climate--say, Egypt? He fell in love with the place, fell in love with Egyptology, and finally decided to get into the tomb-digging business. He hired a fellow named Howard Carter, and the rest as they say, is history.

But back to my problem. Where to get a car? Our heroes came to Luxor aboard a dahabeah (another whole story). Well, it's true, I could make up any car owned by anybody. I wouldn't even have to name the kind of car. But historical fiction is made up of these thousand details which anchor our stories in reality, and create a bond of trust between writer and reader.

So I decided to make the car Lord Carnarvon's car, left garaged in a tomb (which is where they did keep them) when he went to Cairo and died. So what kind of car would Lord Carnarvon have driven?

This was actually easy to uncover, since Carnarvon was so well known for his love of cars (and horses and yachts). Of course, I could have gone with a Ford, since he had provided one for the dig, but I, wanted a fast car. Before the end of his life, Carnarvon was into Bugattis (although he had just purchased a Bentley, which he never got the chance to take home.)

Bugatti. That's just brimming with sexy. (Although to tell you the truth, I know zero about cars and couldn't tell a Bugatti from a VW Bug.) A Bugatti would do.

But now I needed a Bugatti made before 1923, when Carnarvon died,

And I needed a four-seater, which could carry five in a pinch.

And fast. Faster than a train, which I already knew made the trip from Luxor to Cairo in about ten hours.

Which is about how long it took me to find my Bugatti. (And I get down on my knees and praise the internet every day.) I looked at a lot of Bugattis. Most were two-seaters. Some, for racing purposes held only one. I found a few that might be four-seaters, but I couldn't be sure from the pictures. And while the specs told me what horsepower they were and how many cylinders they had, not a single one mentioned the number of seats.

So as the sun was rising, I found it. The 1923 Bugatti Type 23 Torpedo. Lots of pictures, including one of the back seat.

Sold. That is, if I could just find out--yes! Top speed 62mph. And since my driver is a professional racer, I'm going to posit that she can make it to Cairo in under seven hours.

Now I just have to decide whether it gets them all the way there or breaks down in the desert. Which would mean I'd have to get under the hood of the thing. 

Um... I'm thinking they make it.

Tom Stoppard

 "The whole art of movies and in plays is in the control of the flow of information to the audience. . . . how much information, when, how fast it comes. Certain things maybe have to be there three times."

--Tom Stoppard