
Author of bestselling memoir The Salt Path accused of lying
There has been almost universal praise for the life-affirming story of The Salt Path, which has won rave reviews from critics. Until now.
On Sunday, The Observer published an investigation which made a series of claims about the author of the best-selling book on which the film is based.
The report alleged that Winn took tens of thousands from a former employer, and suggests she lied about being made homeless and about the circumstances under which the couple's house was repossessed in the memoir. It also cast doubt over the legitimacy of Moth's diagnosis.
Contacted by The Guardian, Winn said the Observer report was 'highly misleading'.
'We are taking legal advice and won't be making any further comment at this time.
' The Salt Path lays bare the physical and spiritual journey Moth and I shared, an experience that transformed us completely and altered the course of our lives. This is the true story of our journey.'
Raynor Winn – whose real name is Sally Walker, according to the report – took 'around £64,000' (€74,000) from an estate agency and property surveyor where she worked as a bookkeeper. Walker was subsequently arrested, said the wife of the business owner.
The Salt Path describes the couple losing their home after investing a 'substantial sum' in the business of a childhood friend of Moth, whose real name is Tim Walker, according to the Observer, which subsequently failed. According to Winn, the friend claimed the couple were responsible for company debts and took them to court, where the judge ordered the repossession of their house.
The Salt Path book
However, it is claimed the Walkers' house was in fact repossessed after the couple did not pay back a loan used to cover the money Walker took from the estate agency, according to the investigation. The Walkers borrowed £100,000 (€115,000) from a distant relative of Tim's, and the loan was secured against their house.
It is alleged that the relative also helped Walker get a solicitor, who approached her former employer, Martin, with the offer that she would pay back the money and cover legal costs. The Observer claimed that Martin also agreed to sign a non-disclosure agreement, and that no criminal charges were pursued against Walker.
Tim's relative's business failed, and the Walkers' house was ultimately repossessed in June 2013. Yet, while Winn depicts the couple as being made 'homeless' and having nowhere to go, documents seen by the Observer show that the Walkers bought a house in France in 2007, which they still own.
The investigation also casts scepticism over Moth's diagnosis of corticobasal degeneration (CBD), which he has apparently lived with for 18 years. Michele Hu, a professor of clinical neurosciences at Oxford University named in the report, said that she would be 'very sceptical' that it is CBD. 'I've never looked after anyone that's lived that long.'
Following The Salt Path, Winn published two further books, The Wild Silence and Landlines. Each of the books opens with Moth suffering from the symptoms of CBD, before the couple go on a difficult walk, and Moth's symptoms seem to improve.
The Salt Path has sold more than two million copies worldwide since its publication in 2018. Last month, a film adaptation starring Gillian Anderson and Jason Isaacs was released in the UK.
'The film is a faithful adaptation of the book that we optioned,' said Number 9 Films and Shadowplay Features, the two production companies behind the film. 'The allegations made in the Observer relate to the book and are a matter for the author, Raynor Winn. There were no known claims against the book at the time of optioning it or producing and distributing the film, and we undertook all necessary due diligence before acquiring the book.'
A fourth book by Winn, On Winter Hill, is scheduled to be released in October. Michael Joseph, the Penguin imprint that publishes Winn's memoirs, did not comment or respond when asked whether the publication of On Winter Hill would go ahead.
PSPA, a charity which supports people with CBD and had worked with the Winns, has now ended its relationship with the family, according to the BBC. Winn has also withdrawn from the forthcoming Saltlines tour, on which she was scheduled to appear alongside The Gigspanner Big Band at a number of UK venues.
- The Guardian
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Consider the things that happen in our lives: Messy and often incoherent incidents best understood in the rearview mirror, if we can understand them at all. Then consider what we read about life, how it's presented to us in books. As readers, we're used to consuming other people's lives as if they're lessons in how to live: How to deal with adversity and how to overcome it. Things might go badly in our own lives, but we're fundamentally optimistic, so we want true stories that conform to that worldview. If reality is a show, then we want our narrator to win. And the publishing industry supplies those tales. The tragedy-to-triumph structure that such books conform to only tangentially resemble the reality we inhabit. A recent Observer article investigated Raynor Winn, the author of the hit memoir The Salt Path, and cast doubt on the twin inciting incidents of the book: Her husband's illness and the circumstances of their debt and subsequent loss of their house. Outcry ensued. There is how you remember things and there are the facts. Some facts can't be established except through memory — for example, how you felt at a certain time and place — and depend on a certain literary artfulness. Then there are others you can verify simply by looking at your bank records, checking your old messages or emails, or consulting your diary. What about the fact-checking process? Commentators have asked this question in relation to the Winn book. The truth is that much of what's published doesn't undergo the forensic examination by an editor that we might like to imagine. Partly this is related to the economics of publishing: There are fewer people, each carrying out a vast array of tasks, resulting in less time to do the kind of in-depth editing that can smoke out factually inaccurate material. Many of the factual mistakes in books might be honest mistakes, but that doesn't make them any truer. The other side of it is that nobody wants to question a good story, not even book publishers. Writer Raynor Winn, husband Moth, and dog Monty. A recent 'Observer' article investigated Winn and cast doubt on the twin inciting incidents of the book: Her husband's illness and the circumstances of their debt and subsequent loss of their house. Picture: Ben Russell Consider this process: A book proposal is sent to an editor. The proposal is circulated to others at the publisher and, at a weekly editorial meeting, everyone — other editors, the marketing department, the publicity department — get behind it. It gathers a momentum within the publishing house that's unstoppable. They think of it as a surefire hit and plough their resources into it to give it the best chance of achieving bestselling status. (It gets increasingly difficult as the momentum builds to suggest that some of the facts might be suspect.) One key reason for getting behind it is that the author can more easily generate publicity because the book is about his or her life — they've lived it and can speak with authority in the media about it. The narrative arc of the book is their own personal arc. The author can do interviews on This Morning or The One Show, talking about their triumph over adversity. Excerpts of the book can be serialised in magazines. Effectively, the author is the book and the book is the author: The gap between life and the written word has been closed. Fine, unless that means you must live a lie. The public — whether they've read the book or not — invest in the author's struggle and ultimate triumph, in which they can play a part by buying the book and helping the author to achieve financially secure, even millionaire, status. We're participating in this process as consumers, playing a small part in the rise of a figure who we identify with. Inevitably, we feel betrayed when what we believed to be a true story is just, well, a story that seemed to resemble the truth. The rise of the reality TV show over the last three decades has opened a dark portal to celebrity for ordinary people. Such shows construct situations in the attempt to reveal the essential character of the participants: Those who are rewarded invariably reveal some kind of authenticity in spite of the falsity of the construct. It seems like we've absorbed so much of the reality form that it has become difficult to separate the true from the false anymore. We're used to taking others' stories at face value without probing too deeply. The prevalence of social media presents the possibility of curating selves that might only be tangentially related to the reality of our lives. If someone tells us a tall tale in the street we might be a bit sceptical, but if they spout it on social media, or on a podcast, we might take it as fact. This is mass media with little to no editorial intervention, yet still carries the weight of authority no matter how much we hear about 'fake news'. Books reflect this augmented reality, and we — no matter how much we believe ourselves to be above gullibility — can embrace it without question. We don't have to believe everything we read; a healthy scepticism keeps us sharp and, indeed, ensures we remain good readers of books and even life. (One of the reasons for the current decline in non-fiction book sales, I've heard, is the rise of podcasts which allegedly fulfil the same function for many people as sitting down to read about a topic. I don't wish to tar all podcasts with the same brush, but I've heard more bullshit facts from people whose source is invariably a podcast — one helmed by a minor celebrity who might have skimmed Wikipedia — than I've heard from people who've read about the same subject in a book.) There's life in a book. Writers can let current and future readers know about what it was like to live and think in the world in a certain place at a certain time. I'm not a huge fan of the self-help genre but, as I've got older, I've begun to acknowledge that honest communication — be it in life or in art — can have a useful, even therapeutic, effect. That doesn't mean that the book has to be a confessional account of the emotional life of the author, but rather that it has a ring of plausibility and truth about it. I look for a relationship between life and the page that's not necessarily direct transcription, but rather reflects an author's close examination of the events and feelings that they or their subjects have experienced in life. Something that tells the reader in a relatively unvarnished way what it was like to be alive. Exaggeration and embellishment aren't compatible with such an approach. I think that's the central betrayal when a work of non-fiction becomes economical with the truth. 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