Horrible Histories’ Terry Deary: ‘I’m almost ashamed to be a man’

Terry Deary, best known as the creator of the internationally acclaimed *Horrible Histories* series, has spoken candidly about his evolving perspectives on identity, gender, and historical narratives. Recently, the 80-year-old author, who resides in County Durham with his wife Jenny, has been reflecting on his role as a public figure and the contradictions between his past work and current passions. His latest book, *Actually, I’m A Corpse*, marks the second installment in a planned trilogy of crime novels set in 1970s Britain, following *Actually, I’m A Murderer*. While Deary's earlier works focused on dark chapters of history—often critiquing the British Empire—he now turns his attention to the gritty realities of contemporary social issues through the lens of crime fiction.

In discussing the cultural phenomenon of "Football Coming Home," a chant associated with England’s national team during the World Cup, Deary expressed reservations about its implications. “Football coming home—that is a little bit arrogant,” he remarked. He argued that such a phrase implies ownership over the sport, despite its global reach. “It belongs to the world, as do all sports,” he said. This perspective aligns with his broader critique of British exceptionalism, particularly regarding the nation’s historical influence on global sports like cricket and football. Deary emphasized that while Britain played a pivotal role in formalizing the rules of these games, it does not grant it exclusive rights to them.

Deary’s transition from historical nonfiction to crime fiction reflects a deepening engagement with themes of power, injustice, and societal norms. His new series features a diverse cast of characters, including a young female police officer named Aline James, whose experiences highlight the pervasive sexism of the era. Through her struggles, Deary explores the challenges faced by women in male-dominated professions, a theme that resonates strongly with modern discussions around gender equality. “I’m sickened and disgusted by the male aggression towards women, which is being highlighted now, but it’s not seeming to get any less,” he stated, expressing frustration with the persistence of patriarchal attitudes.

The author also reflected on his own encounters with sexism during his research for *Horrible Histories*. He noted the lack of documented histories of women, attributing this gap to the historical neglect of women’s contributions by male-dominated historiography. “It’s appalling that I can’t find enough history of women, because they didn’t matter, or if they did matter, they were ignored by the historians who were part of a patriarchy,” he explained. This sentiment underscores his commitment to challenging traditional narratives and giving voice to marginalized groups.

Despite his critical stance on certain aspects of British culture, Deary remains a firm believer in the importance of storytelling as a means of understanding complex social dynamics. In *Actually, I’m A Corpse*, he delves into the lives of individuals navigating the turbulent landscape of 1970s Britain, where political unrest, economic hardship, and shifting social values created a volatile backdrop. The inclusion of characters like John Brown—a hitman concerned about his aging mother—adds depth to the narrative, illustrating how personal morality intersects with larger societal forces.

As Deary continues to develop his crime fiction series, he plans to further explore the intersection of personal agency and systemic oppression. His upcoming novel, *Actually, I’m A Gravedigger*, promises to delve deeper into the complexities of human behavior within the constraints of a rigidly stratified society. With each book, Deary aims to craft stories that are not only entertaining but also thought-provoking, encouraging readers to reflect on the moral ambiguities that define human experience.