It’s classic, the scene of Tiny Tim and his sister looking through the toy shop window while waiting for Bob Cratchit. The world is cold behind them, but inside it a wonderland for children.
You’ll find this in most movie versions of A Christmas Carol. There is even a scene early in Tim Allen’s Santa Clause which is quick homage, with elves hidden among the children. I don’t think that scene ever appeared in the book. I’m not going to swear to it. I’ve read the book many times, and I don’t have time now to prove it to myself, but I’m pretty sure.
The first time I saw that scene in the 1970 movie musical Scrooge, it hit me hard. I wanted to know what else was going on in that toy shop. I wanted to know who ran it, and who made the toys. They couldn’t have been made by the silly proprietor in the movie. Their maker had to have a story to tell — or a story for me to tell.
I was particularly taken by the toy strong man, who eventually appears in critical scenes in Like Clockwork.
So . . . I wanted the builder to be highly intelligent and troubled. I named him Snap early on, with no idea why; then I had to scramble for a reason later in the process. I decided he should be a clock maker; now, why was he making toys instead? He had been cast out, of course, but from where and by whom? I had no idea when I started writing.
I wrote the first chapter and it fell out like water from a tap, including the name of the toy shop, which became the name of the book. Like Clockwork would start out as the story of a toymaker in a clockwork world. It smelled like steampunk, but I found out later that it was a pure time travel story.
At the end of the first chapter Snap turned around and there stood Balfour.
Robert Louis Balfour Stevenson is one of my favorite authors, and Kidnapped, the story of David Balfour, ranks right up there with A Wizard of Earthsea and The Old Man and the Sea as one of my three favorite books. As soon as my Balfour appeared unexpectedly on that London street, I knew that he was an avatar of RLS, but I made sure Balfour himself didn’t know it for quite a while.
Do you want to know where Like Clockwork came from? Other than from an image out of the movie Scrooge, and a lifetime of living, imaginatively, in Dickensian London, the answer is — out of left field. It has been a long time since a book has so completely written itself, chapter by chapter, line by line, with little foreknowledge on my part.
There is an exception to that. The ending came early and largely complete, but filling in the parts between was largely sans outline, sans planning, and sans any kind of reason. That may be part of why I like it so well.
Then Chapter 26, titled 62 – 54 = 9, which was the seventh chapter in my screwed up table of contents, fell out onto the screen. The opening sentence read, “Hemmings was a computer.” I didn’t see him coming at all. I just thought I needed a Babbage to balance the Great Clock. I had no idea how much it and Hemmings were going to take over.
It’s been fun. Throughout the novel there are little pieces of cultural reference and homages, sometimes humorous and almost always hidden. Scrooge himself is almost completely absent, except in feel, until near the end of the novel when he appears briefly in a cameo under an assumed name.
Now that Snap had taken Pakrat with him, and Eve had sent a message that she would be gone today, Pilar was left alone with Lithbeth. She bundled her into a jacket, locked the toy store behind them, and set out to shop. They wandered the streets as if on holiday, talking with the cart vendors, and occasionally buying potatoes or onions. Lithbeth’s eyes were everywhere; she was almost never on the streets in the middle of the day, and things looked different in the strong, filtered light.
Through the grimy windows of an ancient building, Lithbeth saw a small man on a high stool, pen in hand, marking something in a thick ledger. His quick, bright eyes caught her as she passed, and he sent her a smile. She waved back, but then the Ogre came.
He was no larger than the other man, but powerful in his anger. He began to berate the clerk, and Lithbeth turned her face away.
Pilar put a hand on Lithbeth’s shoulder and said, “It’s best not to look into that window. It only makes old Countinghouse treat his clerk even worse than usual.”
“Why does he do that?”
Pilar shook her head. “Some men are like that,” she said. “A master can make his servant’s life a joy or a misery even in small things.”
“Snap would never do that.”
“No, he would not,” Pilar said, and felt a brief moment of peace. Snap would never do that.
Of course, like Scrooge, Countinghouse has to have his come-to-Jesus moment. It comes on almost the last page of the novel.
Dickens stopped dead in the street. The old scarecrow Countinghouse stopped likewise, and cringed at the sight of him, feeling a premonition of things to come.
“Who are you?” Dickens asked, in a voice firm with purpose.
“Countinghouse, not that it’s any of your business.”
“It is my business. Mankind is my business, but you in particular are my business. And you only call yourself Countinghouse because you have forgotten your name.”
“If I have forgotten it, let it remain forgotten.”
“There has been enough of forgetting. It is time to remember. You and I have much business together.”
Poor old codger, people just won’t leave him alone.