Richard Osman discusses his new novel ‘We Chase Shadows’
“Normal. Is there any sweeter word in the English language?” sighs one of the characters in Richard Osman’s latest novel, We Chase Shadows, reports BritPanorama. The word derives from the Latin “norma”: a carpenter’s square for measuring right angles. Osman’s career in puzzle setting – through quiz shows like Pointless and House of Games, along with popular crime novels like his Thursday Murder Club series – suggests a fondness for safe spaces where reliable rules apply.
Osman, speaking from the back of a car en route to a book signing in Wales, frequently references “normal” as a defining feature of his identity and preferences. While he has become a staple of British television, regarded as a national treasure, he maintains a connection to his small-town roots in Haywards Heath, raised by a single mother. He recalls enjoying the comforts of “normal” primetime TV, preferring “regular” bread to sourdough, which he finds uncomfortable at breakfast.
Standing at 6ft 7in, Osman self-identifies as a “reluctant lighthouse.” He has openly discussed his “abnormal” relationship with food, stemming from his father’s departure when he was nine, and candidly addresses his past struggles with binge eating. “I don’t want to talk about these things, I really don’t,” he admits, yet acknowledges that many approach him to share their own experiences related to food with similar openness.
He believes that by being honest about his own struggles, he can help alleviate the shame surrounding such topics. “I can stop the doom loop of shame, which makes everything so much worse,” he explains. Despite the discomfort the subject brings, it has become a familiar conversation starter during public encounters.
Osman’s success as an author, with sales exceeding 17 million, likely resonates with a collective longing for normality. In We Chase Shadows, the second novel in his globetrotting We Solve Murders series, he continues that theme. Osman skillfully weaves unexpected elements into his narratives while ensuring the resolution aligns with established norms of crime fiction.
The genre’s historical appeal during tumultuous times, such as the rise of fascism in the 1920s and 30s, reflects a societal desire for order and stability. This pattern appears relevant again today, as readers flock to Osman’s works for comfort amidst a changing world where fractures in social cohesion are visible.
Despite studying politics and sociology at Cambridge, Osman largely refrains from engaging in political commentary. He argues that opinions from entertainers seldom influence public sentiment. “Nobody in the world has ever gone, ‘Before I vote, I just need to check on who George Clooney thinks I should vote for,’” he remarks, underscoring his belief in the separation of entertainment and political discourse.
He emphasizes the importance of games and books as “lovely” outlets for human interaction, allowing conversations over otherwise trivial subjects. Osman recalls choosing absurd topics to stand firm on, valuing the light-hearted debates that offer respite from more serious discussions.
Born in 1970 with nystagmus, a condition affecting his vision, Osman found solace in audio experiences rather than visual engagement during childhood. He cherishes devising games over traditional reading, even considering novel-writing akin to playing chess with oneself. He balances the fun of creativity with emotional connection, revealing that moments of inspiration can strike unexpectedly.
As he heads deeper into Wales for his book signing, Osman expresses excitement over readers discovering his work through personal recommendations. He shares a recent encounter with an RNLI officer who first picked up The Thursday Murder Club during a rescue mission, highlighting the community that his writing fosters.
Reflecting on the nature of reality television, which he helped develop in the 1990s, he addresses the intricate relationship between entertainment and empathy. He proposes that formats which require participants to judge one another, like crime novels, also allow viewers to explore human behaviour without consequence.
We Chase Shadows humorously navigates the mundane experiences of British gangsters while delving into darker themes such as the black market in pharmaceuticals. Osman candidly speaks about his own struggles, linking his experiences with food to the narrative’s exploration of addiction and unaddressed issues in society.
As he concludes the conversation, Osman shares hopes for a literary culture healing itself, noting an increase in young readers seeking tangible books over digital distractions. “The pendulum of culture always swings back,” he asserts, optimistic about the future of literature and its enduring impact on readers.
‘We Chase Shadows’ by Richard Osman is published by Viking, £25
