In late Victorian south London a ‘lower-middle-class’ boy, Arthur Ward, is lingering over his copy of The Arabian Nights. The book falls open at a colour illustration of Scheherazade, mysteriously pictured with a white peacock. Twenty years later, she materialises as Kâramanèh, the dazzling female sidekick of Fu Manchu. Young Arthur, who by now had reinvented himself as Sax Rohmer, was the author of the Fu Manchu novels, and Arthur had faded so far into the background that it seems even Sax Rohmer forgot him. He conjured his pen name from the Saxon, ‘Sax’ for ‘blade’ and ‘rohmer’ which means ‘roamer’. He was in essence the original bladerunner. In this enchantingly playful collection of essays on Rohmer the facts of his life are as vaporous as the pea-soupers that informed his imaginings. As Antony Clayton reports, Arthur’s was a ‘strangely neglected childhood’.
As a songwriter and music-hall sketch writer Rohmer hit the money lode with The Mystery of Doctor Fu-Manchu (1913). The moustachioed super-villain fed the Edwardian appetite for murderous plots involving dacoits and thuggees. He had ‘dragon ladies’ as glamorous assistants. He was an agent of the secret society Si-Fan, and the mastermind behind the assassinations of western imperialists.
In an essay luminous with detail, Ann Witchard describes the sulphurous city in which young Arthur began his plotting, depicted by Whistler swathed in a ghastly yellow, the colour of Wildean decadence. Other essayists provide historical context for Rohmer’s dabblings in the Orient. But what enlivens his fiction is his total disregard for empirical truth. Panics about immigration, a new journalism personified by W. T. Stead, best known for his investigation of child sex trafficking in Lisson Grove, alongside outbreaks of cholera in slums, fed the fears of the reading public.
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