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Bat Wing by Sax Rohmer

S >> Sax Rohmer >> Bat Wing

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"Courage!" exclaimed the girl, "if you knew all that I know about her."

Her face grew sweetly animated as she bent toward me excitedly and
confidentially.

"Really, she is simply wonderful. I learned to respect her in those
days as I have never respected any other woman in the world; and when,
after all her splendid work, she, so vital and active, was stricken
down like that, I felt that I simply could not leave her, especially as
she asked me to stay."

"So you went with her to Nice?"

"Yes. Then the Colonel took this house, and we came here, but--"

She hesitated, and glanced at me curiously.

"Perhaps you are not quite happy?"

"No," she said, "I am not. You see it was different in France. I knew
so many people. But here at Cray's Folly it is so lonely, and Madame
is--"

Again she hesitated.

"Yes?"

"Well," she laughed in an embarrassed fashion, "I am afraid of her at
times."

"In what way?"

"Oh, in a silly, womanish sort of way. Of course she is a wonderful
manager; she rules the house with a rod of iron. But really I haven't
anything to do here, and I feel frightfully out of place sometimes.
Then the Colonel--Oh, but what am I talking about?"

"Won't you tell me what it is that the Colonel fears?"

"You know that he fears something, then?"

"Of course. That is why Paul Harley is here."

A change came over the girl's face; a look almost of dread.

"I wish I knew what it all meant."

"You are aware, then, that there is something wrong?"

"Naturally I am. Sometimes I have been so frightened that I have made
up my mind to leave the very next day."

"You mean that you have been frightened at night?" I asked with
curiosity.

"Dreadfully frightened."

"Won't you tell me in what way?"

She looked up at me swiftly, then turned her head aside, and bit her
lip.

"No, not now," she replied. "I can't very well."

"Then at least tell me why you stayed?"

"Well," she smiled rather pathetically, "for one thing, I haven't
anywhere else to go."

"Have you no friends in England?"

She shook her head.

"No. There was only poor daddy, and he died over two years ago. That
was when I went to Nice."

"Poor little girl," I said; and the words were spoken before I realized
their undue familiarity.

An apology was on the tip of my tongue, but Miss Beverley did not seem
to have noticed the indiscretion. Indeed my sympathy was sincere, and I
think she had appreciated the fact.

She looked up again with a bright smile.

"Why are we talking about such depressing things on this simply
heavenly day?" she exclaimed.

"Goodness knows," said I. "Will you show me round these lovely
gardens?"

"Delighted, sir!" replied the girl, rising and sweeping me a mocking
curtsey.

Thereupon we set out, and at every step I found a new delight in some
wayward curl, in a gesture, in the sweet voice of my companion. Her
merry laugh was music, but in wistful mood I think she was even more
alluring.

The menace, if menace there were, which overhung Cray's Folly, ceased
to exist--for me, at least, and I blessed the lucky chance which had
led to my presence there.

We were presently rejoined by Colonel Menendez and Paul Harley, and I
gathered that my surmise that it had been their voices which I had
heard proceeding from the top of the tower to have been only partly
accurate.

"I know you will excuse me, Mr. Harley," said the Colonel, "for
detailing the duty to Pedro, but my wind is not good enough for the
stairs."

He used idiomatic English at times with that facility which some
foreigners acquire, but always smiled in a self-satisfied way when he
had employed a slang term.

"I quite understand, Colonel," replied Harley. "The view from the top
was very fine."

"And now, gentlemen," continued the Colonel, "if Miss Beverley will
excuse us, we will retire to the library and discuss business."

"As you wish," said Harley; "but I have an idea that it is your custom
to rest in the afternoon."

Colonel Menendez shrugged his shoulders. "It used to be," he admitted,
"but I have too much to think about in these days."

"I can see that you have much to tell me," admitted Harley; "and
therefore I am entirely at your service."

Val Beverley smiled and walked away swinging her book, at the same time
treating me to a glance which puzzled me considerably. I wondered if I
had mistaken its significance, for it had seemed to imply that she had
accepted me as an ally. Certainly it served to awaken me to the fact
that I had discovered a keen personal interest in the mystery which
hung over this queerly assorted household.

I glanced at my friend as the Colonel led the way into the house. I saw
him staring upward with a peculiar expression upon his face, and
following the direction of his glance I could see an awning spread over
one of the gray-stone balconies. Beneath it, reclining in a long cane
chair, lay Madame de Staemer. I think she was asleep; at any rate, she
gave no sign, but lay there motionless, as Harley and I walked in
through the open French window followed by Colonel Menendez.

Odd and unimportant details sometimes linger long in the memory. And I
remember noticing that a needle of sunlight, piercing a crack in the
gaily-striped awning rested upon a ring which Madame wore, so that the
diamonds glittered like sparks of white-hot fire.




CHAPTER VI

THE BARRIER



Colonel Menendez conducted us to a long, lofty library in which might
be detected the same note of un-English luxury manifested in the other
appointments of the house. The room, in common with every other which I
had visited in Cray's Folly, was carried out in oak: doors, window
frames, mantelpiece, and ceiling representing fine examples of this
massive woodwork. Indeed, if the eccentricity of the designer of Cray's
Folly were not sufficiently demonstrated by the peculiar plan of the
building, its construction wholly of granite and oak must have remarked
him a man of unusual if substantial ideas.

There were four long windows opening on to a veranda which commanded a
view of part of the rose garden and of three terraced lawns descending
to a lake upon which I perceived a number of swans. Beyond, in the
valley, lay verdant pastures, where cattle grazed. A lark hung
carolling blithely far above, and the sky was almost cloudless. I could
hear a steam reaper at work somewhere in the distance. This, with the
more intimate rattle of a lawn-mower wielded by a gardener who was not
visible from where I stood, alone disturbed the serene silence, except
that presently I detected the droning of many bees among the roses.
Sunlight flooded the prospect; but the veranda lay in shadow, and that
long, oaken room was refreshingly cool and laden with the heavy perfume
of the flowers.

From the windows, then, one beheld a typical English summer-scape, but
the library itself struck an altogether more exotic note. There were
many glazed bookcases of a garish design in ebony and gilt, and these
were laden with a vast collection of works in almost every European
language, reflecting perhaps the cosmopolitan character of the
colonel's household. There was strange Spanish furniture upholstered in
perforated leather and again displaying much gilt. There were suits of
black armour and a great number of Moorish ornaments. The pictures were
fine but sombre, and all of the Spanish school.

One Velasquez in particular I noted with surprise, reflecting that,
assuming it to be an authentic work of the master, my entire worldly
possessions could not have enabled me to buy it. It was the portrait of
a typical Spanish cavalier and beyond doubt a Menendez. In fact, the
resemblance between the haughty Spanish grandee, who seemed about to
step out of the canvas and pick a quarrel with the spectator, and
Colonel Don Juan himself was almost startling. Evidently, our host had
imported most of his belongings from Cuba.

"Gentlemen," he said, as we entered, "make yourselves quite at home, I
beg. All my poor establishment contains is for your entertainment and
service."

He drew up two long, low lounge chairs, the arms provided with
receptacles to contain cooling drinks; and the mere sight of these
chairs mentally translated me to the Spanish Main, where I pictured
them set upon the veranda of that hacienda which had formerly been our
host's residence.

Harley and I became seated and Colonel Menendez disposed himself upon a
leather-covered couch, nodding apologetically as he did so.

"My health requires that I should recline for a certain number of hours
every day," he explained. "So you will please forgive me."

"My dear Colonel Menendez," said Harley, "I feel sure that you are
interrupting your siesta in order to discuss the unpleasant business
which finds us in such pleasant surroundings. Allow me once again to
suggest that we postpone this matter until, shall we say, after
dinner?"

"No, no! No, no," protested the Colonel, waving his hand deprecatingly.
"Here is Pedro with coffee and some curacao of a kind which I can
really recommend, although you may be unfamiliar with it."

I was certainly unfamiliar with the liqueur which he insisted we must
taste, and which was contained in a sort of square, opaque bottle
unknown, I think, to English wine merchants. Beyond doubt it was potent
stuff; and some cigars which the Spaniard produced on this occasion and
which were enclosed in little glass cylinders resembling test-tubes and
elaborately sealed, I recognized to be priceless. They convinced me, if
conviction had not visited me already, that Colonel Don Juan Sarmiento
Menendez belonged to that old school of West Indian planters by whom
the tradition of the Golden Americas had been for long preserved in the
Spanish Main.

We discussed indifferent matters for a while, sipping this wonderful
curacao of our host's. The effect created by the Colonel's story faded
entirely, and when, the latter being unable to conceal his drowsiness,
Harley stood up, I took the hint with gratitude; for at that moment I
did not feel in the mood to discuss serious business or indeed business
of any kind.

"Gentlemen," said the Colonel, also rising, in spite of our protests,
"I will observe your wishes. My guests' wishes are mine. We will meet
the ladies for tea on the terrace."

Harley and I walked out into the garden together, our courteous host
standing in the open window, and bowing in that exaggerated fashion
which in another might have been ridiculous but which was possible in
Colonel Menendez, because of the peculiar grace of deportment which was
his.

As we descended the steps I turned and glanced back, I know not why.
But the impression which I derived of the Colonel's face as he stood
there in the shadow of the veranda was one I can never forget.

His expression had changed utterly, or so it seemed to me. He no longer
resembled Velasquez' haughty cavalier; gone, too, was the debonnaire
bearing, I turned my head aside swiftly, hoping that he had not
detected my backward glance.

I felt that I had violated hospitality. I felt that I had seen what I
should not have seen. And the result was to bring about that which no
story of West Indian magic could ever have wrought in my mind.

A dreadful, cold premonition claimed me, a premonition that this was a
doomed man.

The look which I had detected upon his face was an indefinable, an
indescribable look; but I had seen it in the eyes of one who had been
bitten by a poisonous reptile and who knew his hours to be numbered. It
was uncanny, unnerving; and whereas at first the atmosphere of Colonel
Menendez's home had seemed to be laden with prosperous security, now
that sense of ease and restfulness was gone--and gone for ever.

"Harley," I said, speaking almost at random, "this promises to be the
strangest case you have ever handled."

"Promises?" Paul Harley laughed shortly. "It _is_ the strangest
case, Knox. It is a case of wheels within wheels, of mystery crowning
mystery. Have you studied our host?"

"Closely."

"And what conclusion have you formed?"

"None at the moment; but I think one is slowly crystalizing."

"Hm," muttered Harley, as we paced slowly on amid the rose trees. "Of
one thing I am satisfied."

"What is that?"

"That Colonel Menendez is not afraid of Bat Wing, whoever or whatever
Bat Wing may be."

"Not afraid?"

"Certainly he is not afraid, Knox. He has possibly been afraid in the
past, but now he is resigned."

"Resigned to what?"

"Resigned to death!"

"Good God, Harley, you are right!" I cried. "You are right! I saw it in
his eyes as we left the library."

Harley stopped and turned to me sharply.

"You saw this in the Colonel's eyes?" he challenged.

"I did."

"Which corroborates my theory," he said, softly; "for _I_ had seen
it elsewhere."

"Where do you mean, Harley?"

"In the face of Madame de Staemer."

"What?"

"Knox"--Harley rested his hand upon my arm and looked about him
cautiously--"_she knows._"

"But knows what?"

"That is the question which we are here to answer, but I am as sure as
it is humanly possible to be sure of anything that whatever Colonel
Menendez may tell us to-night, one point at least he will withhold."

"What do you expect him to withhold?"

"The meaning of the sign of the Bat Wing."

"Then you think he knows its meaning?"

"He has told us that it is the death-token of Voodoo."

I stared at Harley in perplexity.

"Then you believe his explanation to be false?"

"Not necessarily, Knox. It may be what he claims for it. But he is
keeping something back. He speaks all the time from behind a barrier
which he, himself, has deliberately erected against me."

"I cannot understand why he should do so," I declared, as he looked at
me steadily. "Within the last few moments I have become definitely
convinced that his appeal to you was no idle one. Therefore, why should
he not offer you every aid in his power?"

"Why, indeed?" muttered Harley.

"The same thing," I continued, "applies to Madame de Staemer. If ever I
have seen love-light in a woman's eyes I have seen it in hers, to-day,
whenever her glance has rested upon Colonel Menendez. Harley, I believe
she literally worships the ground he walks upon."

"She does, she does!" cried my companion, and emphasized the words with
beats of his clenched fist. "It is utterly, damnably mystifying. But I
tell you, she knows, Knox, she knows!"

"You mean she knows that he is a doomed man?"

Harley nodded rapidly.

"They both know," he replied; "but there is something which they dare
not divulge."

He glanced at me swiftly, and his bronzed face wore a peculiar
expression.

"Have you had an opportunity of any private conversation with Miss Val
Beverley?" he enquired.

"Yes," I said. "Surely you remember that you found me chatting with her
when you returned from your inspection of the tower."

"I remember perfectly well, but I thought you might have just met. Now
it appears to me, Knox, that you have quickly established yourself in
the good books of a very charming girl. My only reason for visiting the
tower was to afford you just this opportunity! Don't frown. Beyond
reminding you of the fact that she has been on intimate terms with
Madame de Staemer for some years, I will not intrude in any way upon
your private plans in that direction."

I stared at him, and I suppose my expression was an angry one.

"Surely you don't misunderstand me?" he said. "A cultured English girl
of that type cannot possibly have lived with these people without
learning something of the matters which are puzzling us so badly. Am I
asking too much?"

"I see what you mean," I said, slowly. "No, I suppose you are right,
Harley."

"Good," he muttered. "I will leave that side of the enquiry in your
very capable hands, Knox."

He paused, and began to stare about him.

"From this point," said he, "we have an unobstructed view of the
tower."

We turned and stood looking up at the unsightly gray structure, with
its geometrical rows of windows and the minaret-like gallery at the
top.

"Of course"--I broke a silence of some moments duration--"the entire
scheme of Cray's Folly is peculiar, but the rooms, except for a
uniformity which is monotonous, and an unimaginative scheme of
decoration which makes them all seem alike, are airy and well lighted,
eminently sane and substantial. The tower, however, is quite
inexcusable, unless the idea was to enable the occupant to look over
the tops of the trees in all directions."

"Yes," agreed Harley, "it is an ugly landmark. But yonder up the slope
I can see the corner of what seems to be a very picturesque house of
some kind."

"I caught a glimpse of it earlier to-day," I replied. "Yes, from this
point a little more of it is visible. Apparently quite an old place."

I paused, staring up the hillside, but Harley, hands locked behind him
and chin lowered reflectively, was pacing on. I joined him, and we
proceeded for some little distance in silence, passing a gardener who
touched his cap respectfully and to whom I thought at first my
companion was about to address some remark. Harley passed on, however,
still occupied, it seemed, with his reflections, and coming to a gravel
path which, bordering one side of the lawns, led down from terrace to
terrace into the valley, turned, and began to descend.

"Let us go and interview the swans," he murmured absently.




CHAPTER VII

AT THE LAVENDER ARMS



In certain moods Paul Harley was impossible as a companion, and I, who
knew him well, had learned to leave him to his own devices at such
times. These moods invariably corresponded with his meeting some
problem to the heart of which the lance of his keen wit failed to
penetrate. His humour might not display itself in the spoken word, he
merely became oblivious of everything and everybody around him. People
might talk to him and he scarce noted their presence, familiar faces
appear and he would see them not. Outwardly he remained the observant
Harley who could see further into a mystery than any other in England,
but his observation was entirely introspective; although he moved amid
the hustle of life he was spiritually alone, communing with the
solitude which dwells in every man's heart.

Presently, then, as we came to the lake at the foot of the sloping
lawns, where water lilies were growing and quite a number of swans had
their habitation, I detected the fact that I had ceased to exist so far
as Harley was concerned. Knowing this mood of old, I pursued my way
alone, pressing on across the valley and making for a swing gate which
seemed to open upon a public footpath. Coming to this gate I turned and
looked back.

Paul Harley was standing where I had left him by the edge of the lake,
staring as if hypnotized at the slowly moving swans. But I would have
been prepared to wager that he saw neither swans nor lake, but mentally
was far from the spot, deep in some complex maze of reflection through
which no ordinary mind could hope to follow him.

I glanced at my watch and found that it was but little after two
o'clock. Luncheon at Cray's Folly was early. I therefore had some time
upon my hands and I determined to employ it in exploring part of the
neighbourhood. Accordingly I filled and lighted my pipe and strolled
leisurely along the footpath, enjoying the beauty of the afternoon, and
admiring the magnificent timber which grew upon the southerly slopes of
the valley.

Larks sang high above me and the air was fragrant with those wonderful
earthy scents which belong to an English countryside. A herd of very
fine Jersey cattle presently claimed inspection, and a little farther
on I found myself upon a high road where a brown-faced fellow seated
aloft upon a hay-cart cheerily gave me good-day as I passed.

Quite at random I turned to the left and followed the road, so that
presently I found myself in a very small village, the principal
building of which was a very small inn called the "Lavender Arms."

Colonel Menendez's curacao, combined with the heat of the day, had made
me thirsty; for which reason I stepped into the bar-parlour determined
to sample the local ale. I wars served by the landlady, a neat, round,
red little person, and as she retired, having placed a foam-capped mug
upon the counter, her glance rested for a moment upon the only other
occupant of the room, a man seated in an armchair immediately to the
right of the door. A glass of whisky stood on the window ledge at his
elbow, and that it was by no means the first which he had imbibed, his
appearance seemed to indicate.

Having tasted the cool contents of my mug, I leaned back against the
counter and looked at this person curiously.

He was apparently of about medium height, but of a somewhat fragile
appearance. He was dressed like a country gentleman, and a stick and
soft hat lay upon the ledge near his glass. But the thing about him
which had immediately arrested my attention was his really
extraordinary resemblance to Paul Harley's engraving of Edgar Allan
Poe.

I wondered at first if Harley's frequent references to the eccentric
American genius, to whom he accorded a sort of hero-worship, were
responsible for my imagining a close resemblance where only a slight
one existed. But inspection of that strange, dark face convinced me of
the fact that my first impression had been a true one. Perhaps, in my
curiosity, I stared rather rudely.

"You will pardon me, sir," said the stranger, and I was startled to
note that he spoke with a faint American accent, "but are you a
literary man?"

As I had judged to be the case, he was slightly bemused, but by no
means drunk, and although his question was abrupt it was spoken civilly
enough.

"Journalism is one of the several occupations in which I have failed,"
I replied, lightly.

"You are not a fiction writer?"

"I lack the imagination necessary for that craft, sir."

The other wagged his head slowly and took a drink of whisky.
"Nevertheless," he said, and raised his finger solemnly, "you were
thinking that I resembled Edgar Allan Poe!"

"Good heavens!" I exclaimed, for the man had really amazed me. "You
clearly resemble him in more ways than one. I must really ask you to
inform me how you deduced such a fact from a mere glance of mine."

"I will tell you, sir," he replied. "But, first, I must replenish my
glass, and I should be honoured if you would permit me to replenish
yours."

"Thanks very much," I said, "but I would rather you excused me."

"As you wish, sir," replied the American with grave courtesy, "as you
wish."

He stepped up to the counter and rapped upon it with half a crown,
until the landlady appeared. She treated me to a pathetic glance, but
refilled the empty glass.

My American acquaintance having returned to his seat and having added a
very little water to the whisky went on:

"Now, sir," said he, "my name is Colin Camber, formerly of Richmond,
Virginia, United States of America, but now of the Guest House, Surrey,
England, at your service."

Taking my cue from Mr. Camber's gloomy but lofty manner, I bowed
formally and mentioned my name.

"I am delighted to make your acquaintance, Mr. Knox," he assured me;
"and now, sir, to answer your question. When you came in a few moments
ago you glanced at me. Your eyes did not open widely as is the case
when one recognizes, or thinks one recognizes, an acquaintance, they
narrowed. This indicated retrospection. For a moment they turned aside.
You were focussing a fugitive idea, a memory. You captured it. You
looked at me again, and your successive glances read as follows: The
hair worn uncommonly long, the mathematical brow, the eyes of a poet,
the slight moustache, small mouth, weak chin; the glass at his elbow.
The resemblance is complete. Knowing how complete it is myself, sir, I
ventured to test my theory, and it proved to be sound."

Now, as Mr. Colin Camber had thus spoken in the serious manner of a
slightly drunken man, I had formed the opinion that I stood in the
presence of a very singular character. Here was that seeming
mesalliance which not infrequently begets genius: a powerful and
original mind allied to a weak will. I wondered what Mr. Colin Camber's
occupation might be, and somewhat, too, I wondered why his name was
unfamiliar to me. For that the possessor of that brow and those eyes
could fail to make his mark in any profession which he might take up I
was unwilling to believe.

"Your exposition has been very interesting, Mr. Camber," I said. "You
are a singularly close observer, I perceive."

"Yes," he replied, "I have passed my life in observing the ways of my
fellowmen, a study which I have pursued in various parts of the world
without appreciable benefit to myself. I refer to financial benefit."

He contemplated me with a look which had grown suddenly pathetic.

"I would not have you think, sir," he added, "that I am an habitual
toper. I have latterly been much upset by--domestic worries, and--er--"
He emptied his glass at a draught. "Surely, Mr. Knox, you are going
to replenish? Whilst you are doing so, would you kindly request Mrs.
Wootton to extend the same favour to myself?"

But at that moment Mrs. Wootton in person appeared behind the counter.
"Time, please, gentlemen," she said; "it is gone half-past two."

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Fidel and Che: a revolutionary friendship

After last week's fairly open theme, I thought I'd go with something a bit more structured this time. As I type this, I'm listening to Steeleye Span and thinking about the great ballad traditions of Britain and Ireland. What is a ballad? I suppose the most inclusive definition would be that it's a singable narrative poem: that covers a multitude but will do for the moment.

Ballads in English stretch back to the middle ages, with fine examples to be found among the Scottish border ballads and the English Robin Hood poems. These early ballads are among the best-known poems and stories in the language, and form part of the common heritage of English speakers everywhere. They gave rise to a tradition of ballad-making that endures down to the present day.

In fact, most poets since have tried their hand at the ballad at one time or another, and the result has been to deny any definition more specific than the one I ventured in my first paragraph. If you look around the internet, you'll come up with a wide selection of poems that are called ballads but have little in common formally. Stanza length varies from two to 10 or more lines, and all sorts of metrical and rhyming patterns are used. A good number will be singable in only the loosest possible sense, and at times the narrative tends to get lost in a mesh of more-or-less successful verbal embroidery.

So, what should a ballad be? Well, "proper" ballad stanzas are quatrains in which the first and third lines have four stresses and the second and third have three. The lines will rhyme A-B-C-B or A-B-A-B. It's as simple, and as difficult, as that. Here's an example, from Robert Burns's extremely singable Comin Thro' the Rye:

Gin a body meet a body
          Comin thro' the rye,
Gin a body kiss a body –
          Need a body cry.

Burns wrote a good number of ballads, and his lead was followed by many 19th-century poets. Two examples that I particularly like are Robert Browning's Confessions and Christina Rossetti's Up-Hill, but you can find ballads by just about any Romantic or Victorian poet if you look for them.

There is a long, strong tradition of ballads and ballad singers in Ireland, too. It is hardly surprising, then, that the great appropriator of tradition, WB Yeats, tried his hand at the form. At least four of his poems have the word "ballad" in the title; the pick of the bunch, for my money, is The Ballad of Father Gilligan, which may have benefited from having been written with a specific tune in mind.

Ballads continued to be written in the 20th century; perhaps the most unexpected exponents were Ezra Pound, with his Ballad of the Goodly Fere, and WH Auden. In fact, the ballad The Quarry is probably my favourite Auden poem.

And so, this week I invite a chorus of balladeering. You may choose to go the whole hog and write in ballad stanzas or you might prefer to take a more liberal view of the formal requirements. Either way, sing up and – as they say at all the best Irish sessions when calling for a bit of hush for the singer – one voice please.

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Obituary: Donald Westlake

The disputed Holocaust memoir, written by Herman Rosenblat, which was dropped from Penguin Group's publication schedule at the end of December is now set to appear as a work of fiction.

Rosenblat's memoir - which Oprah Winfrey called "the single greatest love story" she had heard in two decades in television - recounted how as a teenage boy in a Nazi concentration camp, he was kept alive by the food which was thrown to him by a young girl, Roma Radzicky. Penguin's US imprint Berkley Books had planned to publish the story, which sees Rosenblat reunited with Radzicky on a blind date years later, as Angel at the Fence: the True Story of a Love That Survived, next month.

But a Holocaust historian said it would have been impossible to approach the fence in the Schlieben concentration camp to throw food over it, concluding that this part of the story was made-up. Berkley initially defended the book, saying it was a work of memory, but then decided to cancel its planned publication, and demanded the return of the advance it had made to Rosenblat. A $25m film based on the book, to be called The Flower of the Fence, is still going ahead, with production due to start this year.

Publisher York House Press based in White Plains, New York, has entered into a tentative agreement with the film production company to publish a novel based on the film script early this spring. It said the book would be "grounded in fact", and would rise "to the proper levels of artistic value, ethical conduct and social responsibility".

A spokesperson for York House Press condemned the attacks which were made on the 80-year-old Rosenblat after the veracity of his story was questioned, describing them as a "savage" response to what was otherwise "a credible, heart-wrenching, and verifiable account" of his time in the concentration camp.

"No deliberate untruth is permissible, but beneath any fabrication is motivation and intent. We believe Mr. Rosenblat's motivations were very human, understandable and forgivable," the spokesperson said. "It is beyond our expertise to know how Holocaust survivors cope with their trauma. Do they deny, try to forget, rationalise or fantasise and promote fiction along with truth? Perhaps the coping mechanisms are as individual as the survivors themselves."

The president of the company producing the film, Harris Salomon from Atlantic Overseas Productions, said the book, "regardless of its shortcomings", would "challenge, educate and enlighten" readers about the horrors of the Holocaust. "The documented fact, acknowledged by his critics, is that Herman is a survivor of concentration camps," he said.

But Rosenblat's agent, Andrea Hurst, said that neither she nor Rosenblat were involved with this version of his story. "Usually book rights from films come out after the movie is released," she told guardian.co.uk. "I think the timing on this is very insensitive."

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