A Tonic for the Nation
It is the summer of 1951. London is still pockmarked with bomb sites. Food is still rationed. Men who survived the Burma Railway, the North Atlantic convoys, the firebombing of cities have come home to a country worn to nothing by six years of war and five more of austerity. The war ended in 1945. The damage did not.
The government’s answer: a festival.
Kate Atkinson’s new novel, Our Noble Selves (Doubleday, September 15, 2026), is built around the real Festival of Britain, held on the South Bank of the Thames in 1951. The Festival was the government’s deliberate attempt to give a shattered nation a reason to feel something other than exhaustion. It celebrated British art, architecture, design, industry, and history. It ran from May to September 1951 and drew more than eight million visitors.
Atkinson’s main character, Harry Flynn, is a journalist who spent most of the war as a prisoner of the Japanese on the Burma Railway, forced to work on a project killing twelve thousand Allied prisoners and nearly one hundred thousand Asian laborers. He comes home carrying what cannot be spoken. He finds himself working on the Festival — helping build something beautiful because the country has decided, against all evidence, beauty is necessary.
The other organizers around him are survivors too: a Welshman who spent a week on a raft watching everyone else die, a man with a secret history in intelligence, a fourteen-year-old boy with no father. They are making something out of the wreckage. Atkinson’s author’s note says: “The only thing I made up was the plot to fit around all this.” The real history was strange enough. She simply gave it characters.
One year before the Festival of Britain was conceived, a novelist and playwright named J.B. Priestley sat before a BBC microphone on the evening of June 5, 1940. He had been asked to give a Postscript broadcast following the nine o’clock news.
Four days had passed since the Dunkirk evacuation ended. In nine days, some 338,000 soldiers had been lifted from the beaches of northern France by a fleet of naval vessels and private pleasure boats — small steamers, fishing boats, river launches, paddle steamers — anything capable of crossing the Channel.
Priestley described the pleasure boats. He said they had been “called out of our holidays and our pleasures.” He said the boats — built for summer outings, for families on day trips, for the ordinary happiness of peacetime — had gone to the beach at Dunkirk. He made the boats into an emblem of what Britain actually was: ordinary, practical, humorous, willing. He said: “So to the valour of our fighters and the fortitude of our people, there is added — and it is no small thing — the saving grace of humour.”
The broadcast was heard by millions. His Postscript series continued for months and became one of the most listened-to programs of the war. He was eventually taken off the air — some in government felt he was becoming too popular, too much his own voice. He kept writing. He kept giving the country language for what it was living through.
In 1951, Priestley helped plan the Festival of Britain. He already understood what it was for. He had been doing it another way for eleven years.
Atkinson’s novel is not about the Festival. It is about the people who built the Festival while carrying what they had seen. What those people did was not sentimental. It was not escapism. It was the deliberate act of people who had looked at the worst and decided to make something worthy of the best. Reviewer Kirkus wrote of Our Noble Selves: “What begins as a narrative of personal and collective collapse becomes, by the end, a story about the power of love and connection.”
The answer the Festival gave was not: forget what happened. The answer was: here is what we are still capable of. Here is the architecture we can still raise. Here is the music we can still write. Here is the story we can still tell.
The Power of Authors teaches: writing is not the comfortable work done after the necessary work is finished. Writing is necessary work. Priestley’s broadcasts did not wait until Britain was safe. They did their work in the middle of the danger — giving people language for what they were enduring, restoring dignity to ordinary life, naming the saving grace of humour when humour seemed impossible.
You may be wondering whether your writing matters right now. Whether the world’s weight leaves room for story.
It was 1951. London had bomb sites. Food was rationed. The weight was considerable. They built the Festival anyway. Harry Flynn, who had survived the Burma Railway, helped build it.
Write anyway. Your writing is not the decoration around the necessary work. It is evidence of what is still possible. Write it.
Discover why purpose is the foundation of every sentence worth writing in The Power of Authors by Evan and Lois Swensen.
The Power of Authors is available from Amazon or your favorite bookseller: https://www.amazon.com/dp/1594338698. If you’d like an autographed copy, you can order it here: http://bit.ly/4pgmzjM.

















Robin Barefield lives in the wilderness on Kodiak Island, where she and her husband own a remote lodge. She wrote her first novel, Murder Over Kodiak, powered by a generator, miles from the nearest road. No MFA. No publishing connections. No high-speed internet.
The ceremony is the same every year. The names are the same. The readers change — grown children now where small children once stood, grandchildren where children once stood. The memorial pools fill the footprints of the towers. The water falls continuously.
Open a browser you do not normally use. Type your name. Hit search.
He had grown up in Bujumbura, the capital — the son of a French father and a Rwandan Tutsi mother. In 1994, the genocide in neighboring Rwanda killed between 500,000 and 800,000 people in one hundred days. Civil war followed in Burundi. His family left. He grew up in France.
The morning after. The folding tables are back in the garage. The leftover food is in the refrigerator. The unsold books are stacked on the dining room table. The banner is rolled up in the corner.
Lee came to the United States from Seoul at age three, with his mother and sister, to join his father, a psychiatrist who had immigrated earlier. He grew up in Westchester County, outside New York City. As a child, he often translated for his Korean-speaking mother. He stood between two languages for her, carrying her words into English and the world’s words back to her.
Monday morning. A bookstore manager sits down with forty-seven unread messages. She has an hour before the store opens. She is deciding which emails deserve her attention and which ones can wait.
The novelist Ella Camposanto has arrived in Sicily with her twelve-year-old daughter, Manuela. They are staying near the ruins where the narrator’s grandmother once worked on an archaeological dig. The summer is full of volcanic rumbles and sudden storms. The narrator’s mother is beginning to forget.
When I was publishing Alaska Outdoors magazine, the head of the journalism department at the University of Alaska sent me a submission. It was so poorly written, I took it for a joke. I answered it as a joke, only to learn the author was serious. He simply had such an inflated self-image; his writing read like a spoof. It was no spoof.
At 8:15 on the morning of August 6, 1945, Kiyoshi Tanimoto was on the outskirts of Hiroshima, unloading a handcart at a house in the suburb of Koi. He was two miles from the city center. He had slept poorly — the overnight air-raid warnings had kept him up — and he had risen early and set out with the cart.
Two books publish on the same Tuesday.
Among the nineteen longlisted novelists this year are writers who have been writing for a long time before this first novel existed.
You check your Amazon page for the first time after your launch team has done its work. The reviews are there. Three in the first week. Your heart lifts. Then you notice the label beneath one of them.
This is Publication Consultants’ motivation for constantly striving to assist authors sell and market their books. Author Campaign Method (ACM) of sales and marketing is Publication Consultants’ plan to accomplish this so that our authors’ books have a reasonable opportunity for success. We know the difference between motion and direction. ACM is direction! ACM is the process for authorpreneurs who are serious about bringing their books to market. ACM is a boon for them.
Release Party
Web Presence
Book Signings
Facebook Profile and Facebook Page
Active Social Media Participation
Ebook Cards
The Great Alaska Book Fair: October 8, 2016


Costco Book Signings
eBook Cards

Benjamin Franklin Award
Jim Misko Book Signing at Barnes and Noble
Cortex is for serious authors and will probably not be of interest to hobbyists. We recorded our Cortex training and information meeting. If you’re a serious author, and did not attend the meeting, and would like to review the training information, kindly let us know. Authors are required to have a Facebook author page to use Cortex.
Correction:
This is Publication Consultants’ motivation for constantly striving to assist authors sell and market their books. ACM is Publication Consultants’ plan to accomplish this so that our authors’ books have a reasonable opportunity for success. We know the difference between motion and direction. ACM is direction! ACM is the process for authors who are serious about bringing their books to market. ACM is a boon for serious authors, but a burden for hobbyist. We don’t recommend ACM for hobbyists.

We’re the only publisher we know of that provides authors with book signing opportunities. Book signing are appropriate for hobbyist and essential for serious authors. To schedule a book signing kindly go to our website, <
We hear authors complain about all the personal stuff on Facebook. Most of these complaints are because the author doesn’t understand the difference difference between a Facebook profile and a Facebook page. Simply put, a profile is for personal things for friends and family; a page is for business. If your book is just a hobby, then it’s fine to have only a Facebook profile and make your posts for friends and family; however, if you’re serious about your writing, and it’s a business with you, or you want it to be business, then you need a Facebook page as an author. It’s simple to tell if it’s a page or a profile. A profile shows how many friends and a page shows how many likes. Here’s a link <> to a straight forward description on how to set up your author Facebook page.



Mosquito Books has a new location in the Anchorage international airport and is available for signings with 21 days notice. Jim Misko had a signing there yesterday. His signing report included these words, “Had the best day ever at the airport . . ..”



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