WomensHistoryReads interview: Lauren Francis-Sharma

We're nearing the end of Women's History Month -- but not the #WomensHistoryReads Q&Q&Q&A project! The more I thought about authors inspired by women from history, I realized that I'd started out with too narrow a definition. Famous women are far from the only ones my fellow authors find inspiring. So I began reaching out to authors who draw inspiration from any women from history, not just the famous ones. Today's interviewee, Lauren Francis-Sharma, puts it so beautifully below: the women she celebrates in her writing "weren't forgotten as much as never seen." You'll love her insights and answers -- and you'll be dying to read her next book (I know I am!)

Lauren Francis-Sharma

Lauren Francis-Sharma

Greer: Play matchmaker: what unsung woman from history would you most like to read a book about, and who should write it?

Lauren: What a question! So, I'm fascinated by this impending marriage between Meghan Markle and Prince Harry. Yes, because she is bi-racial but also because she's American. It's a standard American fairytale, of which I am often dismissive, but this idea of Harry spending time with Meghan's African-American mother and perhaps one day fathering little afro-wearing redheads both tickles me and frightens the hell out of me.

After the engagement was announced, there was some talk of Queen Charlotte, wife of George III, being the real first Black member of the British royal family. Queen Charlotte was considered very unfair, "ugly" is the word some of her contemporaries used and there seemed to be more talk than usual about this. I've traveled all over Europe and have been on those horribly long old palace visits and I have seen some "ugly" people in those paintings! And when I put a painting of Queen Charlotte next to say Anne of Austria or Marguerite de Valois of France, I don't see any of them more fair or more "ugly" than the other.

So, this has me convinced that perhaps some of those historians suggesting that she is a descendant of a Moor may be, in fact, correct.  Because this is what Europeans were apt to do with a woman who had negroid features--call her ugly. What was her life like as talk swirled around her of her ugliness and her blackness? King George III was known as "Mad King George" so Queen Charlotte, while looked down upon by the court, was also dealing with this husband who by all accounts she loved very much and his declining mental health and the thirteen or so children they had together! Perhaps there's no story there, but if I could have Hilary Mantel's gift for researching, her dogged pursuit of historical data, added to my sensibilities as a Black woman and somehow meld both our approaches to storytelling, we might have one heck of a novel!

Greer: Yes! I would read that novel every day of the week and twice on Sundays. There's got to be a story in Charlotte's perspective. Next question: How would you describe what you write?

Lauren: I have this nagging itch to write women back into history. The New York Times recently began this series where they go back to look at all the obituaries of women who were overlooked by them. And I stress "overlooked by them" because I believe many of those women were and still are celebrated despite being ignored by the Times. With that said, this series reminded me of all the women of color in history who people don't even know to celebrate. Women who weren't forgotten as much as never seen. My grandmother was one of those women. She came to this country, fleeing an abusive husband, leaving her children behind in Trinidad, and within a year, making only $50/wk, managed to save enough to pay airfare for two of the six and then the year after for two more. This was remarkable for an uneducated woman from the rural countryside of Trinidad! And yet this story hadn't been told until I wrote about her in my first novel 'Til the Well Runs Dry. She didn't win any awards in her life, she scrubbed toilets in a New York hospital until she retired, and yet, she is my definition of resilience and fortitude. I write about ordinary women who find ways to joy and hope even while living under remarkably difficult circumstances. 

Greer: Fantastic. What's your next book about and when will we see it?

Lauren: My next project, currently titled One True Place is set between colonial Trinidad and what was then known as the Louisiana Territory in North America. It spans nearly thirty-five years and tells the story of a proud and dignified family whose journey is upended by the arrival of both the English settlers and a gold-scavenging stranger.  I love the idea that I've written my own kind of Western. I absolutely adore this book and I think my readers will too. It has all the elements I look for in a good book--community intrigue, a strong-willed woman at its core, it takes readers to a place they haven't been, there's love and betrayal, an unrelenting familial bond and of course, good history! Grove/Atlantic is publishing it and with any luck, they will have it in stores by Fall 2019. 

Greer: Can't wait!

Lauren: Aah..question for Greer--When you're riddled with self-doubt and maybe you feel like your book didn't do as well as you'd hoped or the reviews weren't as good or maybe your agent and editor don't love a part of something you've written as much as you, to what or to whom do you turn?

Greer: First of all, I love that your question isn't "if" I'm riddled with self-doubt, but "when." Because aren't we all like that? When I'm writing a new book, I am completely convinced one day that it's genius, and the next day I'm equally convinced it's trash. So I definitely have those self-doubt moments, and those moments of "Why is this person getting a review in the Times and I'm not? Why is someone else's book I didn't personally love getting tons of attention? Why doesn't my agent think my book is ready to send out on submission yet when I am just so freaking tired of rewriting it?" Basically every stage of the process has infinite potential for self-doubt. Yay, publishing!

And it's honestly my fellow authors I turn to. Sometimes explicitly, to ask a question about how to go forward, to ask advice: "Have you ever been in this situation? What did you do?" And sometimes just reaching out to them, celebrating the good stuff when it happens -- theirs or mine! -- gives me the confidence and strength to move forward when the stuff is not so good. Some would call it a network, but I feel like that makes it sound a little mercenary, when it's not. It's a community. None of this would be worth doing if it weren't for that community.

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For more about Lauren and her books, visit http://www.laurenfrancissharma.com.

WomensHistoryReads interview: Theresa Kaminski

As a historical novelist, I realize my #WomensHistoryReads interviews have tended to lean in a fiction-y direction, but I also love to read writers who stick more closely to documented history, like today's guest. (Plus, she actually gets to answer "yes" to the historian question!) Enjoy today's Q&Q&Q&A with Theresa Kaminski, author of ANGELS OF THE UNDERGROUND and one of the moderators of the excellent Facebook group Nonfiction Fans: Illuminating Fabulous Nonfiction.

 

Theresa Kaminski

Theresa Kaminski

Greer: Do you consider yourself a historian?   

Theresa: Yes, and I have a diploma to prove it! I could never get enough history classes as an undergraduate so I went on to graduate school. I've been a university professor for 25 years, and I specialize in American women's history.

Greer: Tell us about a woman from the past who has inspired your writing.

Theresa: Anne Frank. I read The Diary of a Young Girl when I was in 8th grade, and it was the most compelling book I'd ever read. I think that's why I became a historian. I had to know the why and how of the larger forces that drove her family into hiding. Although I ultimately ended up specializing in American history, I am still drawn to stories about captivity. Because of that, I ended up writing three books about American women in the Pacific theater during World War II. 

Greer: If you could pick one woman from history to put in every high school history textbook, who would it be?

Theresa: Pauli Murray (1919-1985) She was a lawyer and a civil rights and women's rights activist. During the 1930s, she took a job with the WPA, and she began a long correspondence with first lady Eleanor Roosevelt. Patricia Bell-Scott wrote a wonderful book about that called The Firebrand and the First Lady. Murray served on President Kennedy's Commission on the Status of Women and she helped found the National Organization for Women. In 1977, she became an ordained Episcopal priest, the first African American woman to do so. Anyone who wants to know more should read not only Bell-Scott's book but also Rosalind Rosenberg's Jane Crow: The Life of Pauli Murray

Greer: Definitely sounds like someone we should know!

Theresa: My question for you: What piece of advice would you have given Kate Warne, the real-life woman detective who inspired your book GIRL IN DISGUISE, had you been her contemporary? Would you have wanted to hang out with her?

Greer: I would have been a terrible contemporary -- I'm sure I would have discouraged her from going to Allan Pinkerton's office to apply for a job that was clearly meant for men only, and advised her it was too risky to become a detective, let alone a Union spy. The good news is I wouldn't have been able to discourage her. We don't know much about what she thought or why she took on this incredibly challenging role, but we know that she did -- so she had to be bold and daring and unconcerned with what people thought of her. I probably wouldn't have been in her social circles. I'm a pretty boring person. And as they say, well-behaved women rarely make history. Thank goodness for misbehavers like Kate!

 

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More about Theresa and her book ANGELS OF THE UNDERGROUND at her website, theresakaminski.com

#WomensHistoryReads interview: Ariel Lawhon

A delightful day in #WomensHistoryReads! When I first started planning this massive interview project, one of the first people I reached out to was Ariel Lawhon, whose work I love. (Many, many people have heard me tell the story of how I shouted DAMMIT ARIEL in public when I reached a certain reveal toward the end of Flight of Dreams.) Her highly-anticipated latest novel, I Was Anastasia, is out today. Welcome, Ariel, and all best to you on your fabulous new release!

Ariel Lawhon

Ariel Lawhon

Greer: How would you describe what you write?

Ariel: I’ve always said that I write Literary Historical Mysteries but I’m not sure that this is entirely accurate. Or perhaps I should say that not everyone agrees with this description. Most readers seem to have a different take on my writing and that’s okay. What I do know is that I love to find a person or a moment in history—preferably one at the heart of an unsolved mystery—and build a story around them. Whether it’s a missing judge in 1930s New York (my debut novel The Wife, the Maid, and the Mistress), the doomed last flight of the Hindenburg (Flight of Dreams) or the lingering questions about the final days of Anastasia Romanov (my new novel, I Was Anastasia), my goal is to write a book that drops the reader right into the heart of an historical mystery.

Greer: Do you consider yourself a historian?

Ariel: That is a great question and don’t really know how to answer it. I’ve always thought of myself as a temporary expert in the subject of my current novel. I immerse myself in that subject, learning everything I possibly can. But—and this is important—the file that holds all of that information gets deleted as soon as I move on to my next book so that I can fill it with new information (think Benedict Cumberbatch’s “mind palace” in Sherlock—except without the…ahem…chemical stimulants). There was a time that I could tell you anything you wanted to know about Tammany Hall and mob activity in early twentieth century New York City. A few years later I could recite facts about Zeppelin aircraft in general and the Hindenburg specifically on demand and with great enthusiasm. And I spent the last few years up to my eyeballs in Romanov history. But I’ve just started another novel so those details are starting to get a bit fuzzy now. To answer your question, I think I am disqualified from being a historian simply because I’ve always imagined historians to be experts in one subject and to retain what they learn for a lifetime. But who knows, maybe my definition is wrong? If I do qualify, please let me know so I can add that to my bio.

Greer: What do you find most challenging or most exciting about researching historical women?

Ariel: Simply put, in terms of the challenge, I want to get it right and that is very, very hard. Especially when you are working with limited information or the information you have comes from a slanted viewpoint. Keep in mind that when women write about women they do so in a very different way than when men write about women and most of the biographies and articles available from the last hundred years or so were written by men. Twice now I’ve written about women who published their own autobiographies and it has been fascinating to compare those books with what has been written about them by men. That said, I love the process of unraveling an historic figure, of discovering who she really was. The women who came before us are identical to the women we know and love today. They are complex and difficult and passionate and inspiring and deeply human. And it is that humanity that I try to put on the page.

Greer: And you're so, so good at it.

Ariel: My question for you: I recently saw the announcement for your next novel, WOMAN NINETY-NINE (Congratulations! It sounds amazing!) and I’m curious why you decided to write this particular book and why now?

Greer: Thank you! My initial inspiration for writing a novel set in an insane asylum was a weird confluence of the Nellie Bly episode of "Drunk History" and the Elvis Costello song "(I Don't Want To Go To) Chelsea," but the specific shape it took was very much influenced by our current political and social environment. It's set in 1888 and I've been describing it in all sorts of ways. The flip one is "a 19th-century 'Orange is the New Black.'" But I also think of it as the story of a group of angry, brave women fighting a rigged system, and I wouldn't think of it that way if I hadn't been inspired by women who fit that description today. One of my favorite things about writing historical fiction is that it's never really just about the past.

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Learn more about Ariel and her amazing books at these links:

http://www.ariellawhon.com/ 

www.twitter.com/ArielLawhon

Instagram: ariel.lawhon

Newsletter

my review of AMC's The Terror premiere up at CHIRB

While it may feel like I've been a full-time #WomensHistoryReads interviewer lately, I've also been working on other things, including book and literary adaptation coverage for The Chicago Review of Books. (The good news is I'm already done with copyedits on my next novel, WOMAN NINETY-NINE, so at least that's not on my plate! Just 83 other things, ha.)

Here's a link to my review of AMC's "The Terror," which premieres tonight, mixing history and horror. Is it for you? Read here to find out.

WomensHistoryReads interview: Kristin Harmel

What better way to ease into a Monday morning than with a delightful #WomensHistoryReads Q&Q&Q&A? You'll love today's answers (including an adorable childhood photo!) from Kristin Harmel, whose latest novel THE ROOM ON RUE AMELIE will be hitting bookstores tomorrow. Welcome, Kristin!

Kristin Harmel

Kristin Harmel

Greer: What book, movie or TV show would your readers probably be surprised to find out you love?

Kristin: For those of you who don’t know me yet, there’s probably no better (or more embarrassing) introduction to me than hearing me admit my lifelong passion for Superman—the 1978 version with Christopher Reeve, which I was wholly obsessed with as a child. I still watch it with embarrassing frequency. I even wonder, in the back of my mind, whether my decision to become a journalist (and later a novelist) was somehow rooted in a latent desire to actually be Superman—or Lois Lane.

All joking aside, though, I think my obsession with Superman has some common threads with the writer I’ve become. First of all, I do best with stories that are rooted in the issues of family, legacy, and the struggle of good vs. evil, all of which Superman certainly explores. I also like to write strong heroines who are on a journey of discovery, and let me tell you, I think Margot Kidder’s Lois Lane was a pretty amazing heroine, especially considering that she appeared on screen forty years ago. She was a good female role model who had learned to work hard and to not fear asking for what she deserved in life, and I think that’s a journey many of my characters are on too. And now, before I delve too insanely into an essay about why Superman is amazing or how I still swoon over Christopher Reeve’s beautiful blue eyes in that film, please allow me to distract you with a photo of my childhood best friend (Jay Cash) and me, wearing our matching Superman shirts. In case you were wondering, we also owned capes. Naturally.

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Greer: An unforgettable introduction! And quite possibly the cutest thing ever. Love it. What’s your next book about and when will we see it?

Kristin: Although it feels as if I’ve been waiting about a thousand years for this book to come out (I suspect every writer feels that way about new releases!), you’ll actually be seeing my next novel tomorrow! (3/27)! I actually can’t believe that the publication day is finally here! It’s called THE ROOM ON RUE AMÉLIE and is the story of an American newlywed, a French Jewish teenager, and a British Royal Air Force pilot whose lives collide in Paris during World War II. It’s based, in part, on some real-life stories of Allied escape lines running through France, including the Comet Line and the Shelburne Line, both of which relied heavily on women.

I had the idea for the book a long time ago, while researching my 2012 novel, THE SWEETNESS OF FORGETTING (which takes place partially in WWII Paris), and I really liked the idea of placing an American woman in Paris at the start of World War II to see how she’d get involved (not least of all because I was an ex-pat in Paris myself during a portion of my twenties). But I was unsure of how realistic it would be to have an American woman living in Paris AND helping out on an Allied escape line without calling attention to herself—until I read about Virginia d’Albert-Lake, an incredibly inspiring woman who was just thirty and living in France in 1940 when the Germans invaded. She helped save the lives of more than sixty American and British airmen before being arrested and sent to a concentration camp. THE ROOM ON RUE AMÉLIE isn’t her story, but she became the jumping off point for Ruby, my plucky American main character, who summoned her courage in the face of danger, just like Virginia did. For both of them, it was about standing up for goodness in the face of evil.

Greer: What do you find most challenging or most exciting about researching historical women?

Kristin: Because Ruby Benoit, the main character of THE ROOM ON RUE AMÉLIE is fictional (and is simply inspired by the real-life Virginia d’Albert-Lake), I think I had a bit of an easier time with researching the character herself. The things she did and said just had to be true to her personality, and historically accurate, rather than having to mirror every single detail of a real woman’s life. But because I’m setting stories in the past, there are so, so many details to juggle to make sure I’m getting things as accurate as possible. For me, the bigger details—movies the main character might have watched, music she might like, a car she might have driven, the operational details of an escape line—are easy. It’s the little details—the color of her lipstick, the way she heats her apartment in the winter, whether she can make phone calls or send mail during wartime, etc.—that are so much harder. I find that as a writer, I have to go through volumes and volumes of information, combing through hundreds of pages of research to find a little detail here or there that can bring a scene alive. And as a former journalist—who was always conscious that fact errors were fireable offenses—I am always incredibly paranoid that I’ve gotten details wrong. I seriously have knots in my stomach even thinking about it now! Writing historical fiction is hard, but I love every second of the journey.

Greer: Agreed, and agreed.

Kristin: Thank you very much for inviting me to answer a few questions today!

Greer: My pleasure!

Kristin: And my question for you: As a writer, do you find it easier to base characters directly on real women from the past? Or do you find it easier to create characters rooted in the past, based loosely on real people?  I’m curious to hear your take on the pros and cons of each approach! 

Greer: Well, I often struggle with coming up with names for my characters, so at least with real-life people we get to skip that step if we want! But I think loose inspiration is easier in most ways. In a way I had the best of both worlds with GIRL IN DISGUISE, given that Kate Warne was a real-life figure from history but there wasn't really that much information on her in the historical record. We know a few cases she worked on, we know she claimed to be a widow, we know she helped save Abraham Lincoln's life, and that's pretty much it. So I still had plenty of freedom to develop character and plot in almost -- ah, that almost -- any direction I wanted.

My next book was even more loosely inspired by history, in that I used intrepid newspaperwoman Nellie Bly's undercover trip into a notorious mental asylum as a jumping-off point. I felt like I wouldn't bring anything new to the story of a journalist, so instead my main character feigns madness to rescue her sister from the asylum where she's been sent by their parents. That opens a huge number of doors but still grounds my characters in a specific time and place.

Of course the problem with real-life inspiration is that it's so often unbelievable! Apparently it was not that hard to get thrown into a mental asylum in the 1880s, especially if you were poor, or pretending to be. As Nellie put it, "The insane asylum on Blackwell’s Island is a human rat-trap. It is easy to get in, but once there it is impossible to get out. And that's what my main character Charlotte is up against in Woman Ninety-Nine. She impulsively gets herself committed to the asylum without realizing what she's risking: her future, her sanity and her life.

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Read more about Kristin and her books at the links below:

Web: KristinHarmel.com

Facebook: Facebook.com/kristinharmelauthor

Twitter: Twitter.com/kristinharmel

Instagram: Instagram.com/kristinharmel

 

WomensHistoryReads interview: Jenni L. Walsh

I'm pleased as punch to interview Jenni L. Walsh for today's #WomensHistoryReads Q&Q&Q&A. Jenni's novel BECOMING BONNIE is a fascinating fictional spin on how Bonnie Parker might have gone from churchgoing teen to compromised moll, with her journey to notorious criminal due to be explained in the upcoming sequel, SIDE BY SIDE. And good timing -- the e-book of BECOMING BONNIE is on sale for a limited time for $2.99. So make like Bonnie and snap it up! Read more about Jenni and her inspiration below.

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Greer: How would you describe what you write?

Jenni: I'd like to think my books are a mashup of historical fiction and women's fiction.  Women's Historical Fiction, if you will. My novels are set in the 1920s and 1930s (so far!), but more than just the era, I strive to bring my real-life protagonists to life. In Becoming Bonnie and Side by Side, both featuring Bonnie Parker of "Bonnie and Clyde" infamy, the story is very much about Bonnie's personal journey and life experiences.

Greer: What do you find most challenging or most exciting about researching historical women?

Jenni: You know that feature in US Weekly? "STARS--THEY'RE JUST LIKE US!" Well, I often have that thought when I'm researching historical women. Their lives may be very different than my own (i.e. I've never raided a prison like Bonnie Parker), but they still have many of the same emotional and physical struggles we all face. I find that aspect exciting, intriguing, and humanizing. The challenge, I've found, is trying to bring the woman's real voice to life. Sometimes it can take a while for the voice to fully form in my head.

Greer: What book, movie or TV show would your readers probably be surprised to find out you love?

Jenni: Gold Rush! And I'm #TeamParker all the way. If you haven't seen the show, it's set nowadays, but I find the gold rush from the 1800s so interesting. Methinks I'd love to write about it someday! In fact, I see Wikipedia has a page on "Women in the California Gold Rush"!

Jenni: Question for you: How would you describe your next novel's leading lady in three words?

Greer: Great question! If I had four words, I'd say "In over her head," but with three, I'll just give you three adjectives: loving, loyal, and unprepared.

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WomensHistoryReads interview: Eva Stachniak

So many wonderful #womenshistoryreads authors, so many wonderful #womenshistoryreads books! The series continues today with Eva Stachniak, most recently the author of THE CHOSEN MAIDEN. I could tell you about her amazing inspiration for this book, a forgotten woman whose story needed to be told -- but will let Eva do that directly with her answers below. And I love her term for what she writes: "archival fantasies."

Eva Stachniak

Eva Stachniak

Greer: Tell us about a woman from the past who has inspired your writing.

Eva: I’ve always been drawn to strong women who defined themselves in opposition to the prevailing expectations society had of them. So far my characters have been inspired by an 18th century Greek peasant girl who married into Polish aristocracy, a minor German princess Sophie of Anhalt-Zerbst who became Catherine the Great, and—most recently—extraordinary Bronislava (Bronia) Nijinska, a younger sister of the brilliant 20th century dancer Vaslav Nijinsky.  The Chosen Maiden, my last novel, tells the story of her life and art.

It was Bronia’s indomitable strength that captured my heart. Strength to fight for her own place first in the Imperial Theatres of St. Petersburg and then in the predominantly male focused Ballets Russes. Strength not to give up when she was told she didn’t have the body of a ballerina or that she should interpret her brother’s visions and not bother with her own. Strength to resist the repressive regimes determined to engineer her soul, and, in the end, to pick herself up after each paralyzing loss life dealt her and to keep on fighting. 

Greer: How would you describe what you write?

Eva: I write historical fiction based on research. I like to call my novels archival fantasies, for although I stay true to existing sources, I allow myself my own interpretation. 

I write about women whose lives have touched me on a personal level, with whom I can identify. My characters—like me—are immigrants who have to redefine themselves in another culture, rebuild their lives from the ground up. 

Greer: What do you find most exciting about researching historical women?

Eva: The realization how much has changed in our understanding of history, how important and fruitful it is to seek the once forgotten or overlooked points of view. I love researching the lives of servants or palace spies, those on the margins of power, whose voices have to be pried from the official accounts. I love examining the circumstances of their lives, seeking what it is that I can learn from them, in spite of all the differences between us.

I believe that we have a lot to learn from this forgotten past… 

Greer: Agreed. Most historical novelists I know are drawn to writing about the past precisely because it can help us gain a better understanding of our present.

Eva: What literary pilgrimages have you gone on or hoping to go on?

Greer: What a great question! I wasn't able to visit the grave of Kate Warne, the real-life inspiration for my novel GIRL IN DISGUISE, before the book came out, so I was thrilled to visit while on book tour promoting the hardcover. She's buried in the Pinkerton family plot in Chicago's Graceland Cemetery. I took Kate some flowers and said thanks. It was a really powerful moment. And her name is spelled Kate Warn on her tombstone, so I took her an E. That was one of my favorite book tour experiences, and I love book tour, so there's a lot of competition.

 

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Official web page  www.evastachniak.com

FB: https://www.facebook.com/EvaStachniak.Author

Twitter:  @EvaStachniak

Instagram: estachniak

WomensHistoryReads interview: Fiona Davis

I'm thrilled to welcome bestselling author Fiona Davis to the blog today for a fun Friday #WomensHistoryReads Q&Q&Q&A! Especially because I'm currently devouring her debut novel THE DOLLHOUSE on audio and I am hooked. She talks about THE DOLLHOUSE below as well as her follow-up, THE ADDRESS, both of which will send you into fits of envy over classic New York City real estate. And I can't wait for her upcoming THE MASTERPIECE, inspired by an art school once hosted within Grand Central Terminal! Don't miss her answers about the iron-clad rules of the Barbizon Hotel For Women (no pants!) and a chance to see Cousin Matthew like you've never seen him before.

Fiona Davis photo credit: Kristen Jensen

Fiona Davis photo credit: Kristen Jensen

Greer: Tell us about a woman (or group of women) from the past who has inspired your writing.

Fiona: I got the idea for my first book, THE DOLLHOUSE, after looking at an apartment for sale in what used to be the Barbizon Hotel for Women and is now a condo, here in New York City. I learned that a group of older women who’d been residents for decades – back when boys weren’t allowed above the public areas and you couldn’t wear pants to cross the lobby – had been grandfathered in to rent-controlled apartments on the 4th floor during the renovation. I was curious about their perspectives, how they’d seen the building and the city change over time. For example, in 1966 you could stay at the Barbizon Hotel for Women for a week for $6.75, while today the penthouse is going for $17 million. I couldn’t shake the idea, and decided I had to write a novel about it. While the characters in the novel are fictional, the ladies of the fourth floor continue to inspire and fascinate me.

Greer: And thank goodness for that. Do you consider yourself a historian?

Fiona: I’m more of a fiction-writing journalist with a love of the past, I’d say. I use my journalism background when I research my novels to uncover historical nuggets that may have been lost to history, and then embed them in the story. For example, for THE DOLLHOUSE, set at the Barbizon Hotel, I tracked down and interviewed women who’d lived there back in the day. Their stories were both hilarious and sometimes shocking. For my second book, THE ADDRESS, which is set in the Dakota, one of NYC’s oldest apartment houses, I was able to get a couple of amazing tours of the building by current residents, from the basement to the top floors where the servants used to live. For my third book, which takes place in Grand Central Terminal and comes out in August, I discovered that an art school existed at the very top of the building’s east wing from the 1920s to the 1940s. During an interview with an architecture historian, I learned of a female artist who made a huge splash during the Jazz Age and then disappeared, and she became the inspiration for one of the protagonists.

Greer: What book, movie or TV show would your readers probably be surprised to find out you love?

FionaHigh Maintenance is a series I adore. It’s about an affable, bicycle-riding pot dealer in Brooklyn. Each episode focuses one or two of his clients, and are narrative gems featuring quirky twists – the perfect embodiment of a visual “short story.” I really enjoy the diverse cast, which includes some of New York’s best actors and actresses. Be sure to check out the early, ten-minute versions that appeared on Vimeo before it got picked up by HBO. For example, there’s one of Downton Abbey’s Dan Stevens as a cross-dressing stay-at-home father. Moving, funny, and smart.

Greer: Okay, definitely intrigued enough to give it a shot!

Fiona: My question for you is: If you were told you could time-travel back to a different time and place for a couple of weeks, where would you go, and in what era?

Greer: So many possibilities! I just finished doing boatloads of research about Northern California, including San Francisco and the Napa Valley, in the 1880s, so the temptation to go there might be too strong to resist. (Especially if I could go now, while I still had time to fact-check my next book before it comes out in 2019! Wouldn't that be a lovely opportunity?) But San Francisco was so interesting then, when they were really coming out of the wild frontier period post-Gold Rush, trying to establish the city as a major capital of culture, society, all the things the East Coast cities had in spades. And most of the architecture from that period was wiped out in the 1906 earthquake, so it's one of the harder places to recreate how it must have looked then, based on how it looks today. You still have the hills and the Bay, those have always been there, but the buildings and people and traffic over that topography, I'd love to see how it all fit together in those years.

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Fiona Davis’s most recent novel is THE ADDRESS (Dutton); her website is fionadavis.net.

 

 

WomensHistoryReads interview: Elise Hooper

Another day, another #womenshistoryreads interview! Today I'm talking to Elise Hooper, author of THE OTHER ALCOTT, about historical fiction (of course), revisions that today's history textbooks need, the fascinating Dorothea Lange, and how moviegoers are getting the wrong impression of Jenny Lind.

Elise Hooper

Elise Hooper

Greer: How would you describe what you write?

Elise: I write historical fiction about women who haven’t received starring roles in traditional retellings of history but tend to be lurking, largely unobserved, in the footnotes and endnotes of non-fiction books. These women have often played an important role in history but tend to be undervalued. In the case of May Alcott, my main character in The Other Alcott, she was a trailblazing painter of the 1870s but people tend to focus their attention on her much more famous older sister, Louisa. When I think about my characters and their stories, I’m particularly interested in exploring how women have navigated the call to produce creative work while balancing their ambitions with love and family.

Greer: What’s the last book that blew you away?

Elise: I couldn’t get enough of Prairie Fires by Caroline Fraser. As a girl, I adored the Little House books and read them over and over, made my dolls calico dresses and bonnets, and threw sheets over chairs to create covered wagons in my family’s living room. In the 1980s, when the Little House television series aired, I fell in love with Melissa Gilbert’s plucky little “Half Pint” and never missed an episode. When my own daughters reached the age to be introduced to the series, I read along with them and discovered a whole new experience. The risks the Ingalls took both fascinated and horrified me. I hadn’t understood the family’s extreme poverty and many run-ins with danger when I read the books as a child, but as an adult, I was astounded. Prairie Fires brought it all to life and Caroline Fraser did an excellent job of framing the Ingalls’s experience with both a wide-sweeping historical lens and psychological analysis of the real people behind the beloved characters. In this excellent non-fiction book, the Ingalls family becomes a fascinating touchstone to learn about a period when our country experienced astounding economic, technological, and social changes.

Greer: If you could pick one woman from history to put in every high school history textbook, who would it be?

Elise: Since I teach high school history and literature, I love this question! I’d focus more on the nineteenth-century’s fights for women’s rights by women abolitionists, suffragists, and labor rights activists. Textbook chapters on World War II also tend to be very male-oriented and focus on the military battles and political leaders, but this was an extraordinary time when women contributed significantly to winning the war through their code breaking work and atomic science research. My students are also always captivated by the civil rights movement of the mid-twentieth century, but I think the mainstream narrative focuses too much on male leadership and must include more women activists, such as Fannie Lou Hamer. (See, I tried to game that question a little bit by proposing some pretty major edits to U.S. History textbooks while providing just one name.)

Greer: What’s your next book about and when will we see it?

Elise: I’m working on revisions for a new novel about Dorothea Lange, the pioneering documentary photographer of the 1930s and ‘40s. While most Americans recognize her work of Dust Bowl migrants, especially her iconic “Migrant Mother” image, few know much about the woman behind the art. Her story is a remarkable one about a woman persevered with her professional ambitions despite many challenges, including a physical disability due to a childhood bout with polio, a troubled marriage, the privations of the Great Depression, and the government’s censorship of her photos. She made many difficult decisions that will fascinate modern readers. This novel will be released in early 2019 by William Morrow.

Greer: That sounds fabulous! Can't wait.

Elise: My question for you: I’m obsessively watching "The Crown" these days and find myself forming a whole new impression of Queen Elizabeth II. Who do you think is another woman whose story has been largely misunderstood and could make for an intriguing television series?

Greer: I'm clearly biased, but I think Kate Warne, the first female detective and the subject of my latest novel GIRL IN DISGUISE, would make a great subject for a TV series. Not so much that her story has been misunderstood, more that it is rarely discussed at all!

But to suggest someone else... I recently read about how opera singer Jenny Lind, also known as the Swedish Nightingale, is used in the movie The Greatest Showman as a kind of villain -- when in real life she was smart, charitable, business-savvy, and a lot of other things the movie didn't show. After reading this article at The Geekiary, I would totally be on board with a Jenny Lind series that sticks closer to the actual truth! (Musical numbers optional, but strongly encouraged.)

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For more about Elise and her books:

www.elisehooper.com

Twitter and Insta: @elisehooper

https://www.facebook.com/elisehooperauthor/

WomensHistoryReads interview: Anne Boyd Rioux

I met Anne Boyd Rioux when we did a joint event at Kramerbooks in Washington DC to promote her book about Constance Fenimore Woolson -- a name that should be far better known, and a book I highly recommend to serve that purpose. I'm thrilled to welcome Anne to the blog for a #WomensHistoryReads Q&Q&Q&A to talk about other forgotten women writers whose names we should know, how Woolson's writing stands up to that of her contemporary Henry James, and whether boys should read Little Women. (Plus it turns out I have THOUGHTS on what writers can do to make sure the movement to call attention to the stories of forgotten women isn't just a fad. One of my favorite questions so far in this series.)

Anne Boyd RIoux

Anne Boyd RIoux

Greer: Tell us about a woman (or group of women) from the past who has inspired your writing.

Anne: I have always been fascinated by how and women have been able to pursue their ambitions to be serious writers and artists. It requires a lot of single-minded devotion, while women have historically been told to live for others rather them themselves. My first book was about the first generation of American women writers to view themselves as serious artists, and the books I have written since then have all grown out of that early work I did in graduate school.

One of the writers that I included was Constance Fenimore Woolson (1840-1894), who has always struck me as the most ambitious, dedicated, and accomplished one of the bunch. She was an amazing writer who had been almost completely forgotten. When she was remembered, it was as a close friend of Henry James and not as a famous writer in her own right, which she was. Even most scholars of American literature had never heard of her. It was important to me to share her story with a wider audience, to help her reclaim the critical and popular acclaim that she experienced in her own lifetime.

My book Constance Fenimore Woolson: Portrait of a Lady Novelist was published by Norton in 2016, along with a collection of her stories that I edited, Miss Grief and Other Stories (with a foreword by the novelist Colm Toibin). They were reviewed on the cover of the New York Times Book Review and reviewed widely in newspapers and online. I was thrilled with the positive response to Woolson. Critics thought her writing was just as good as Henry James’s, which is what I’ve been feeling for a long time. The Chicago Tribune named the biography one of the best books in 2016. (Now I’m working on a proposal to get her novels and more of her short stories into print. Stay tuned!)

https://anneboydrioux.com/books/books-constance-fenimore-woolson/

Greer: Which other forgotten women writers do you believe deserve renewed attention?

Anne: There are so many! In fact, we know today that there were more women writing and publishing in the 19th century than there were by the mid-twentieth, but they have been buried in neglect. I often teach little-known women in my courses, and my students are astounded. They are always asking me, Why haven’t we heard of them before? Here are three of my favorites:

Alice Dunbar-Nelson (1875-1935)—She was a Creole who grew up in New Orleans and wrote some fascinating stories set there. Then she went on to become a journalist and civil rights activist. Buried in archives are tons of work that she couldn’t get published in her lifetime because they dealt with the persecution of African Americans or lesbian themes. Today some scholars are working on bringing these works to light for the first time.

Sui Sin Far (1865-1914)—Her real name was Edith Maude Eaton, but she published under a Chinese pseudonym. She and her sister, the daughters of an English father and Chinese mother, are considered the first Asian-American fiction writers in the U.S. She wrote some fascinating stories set in Chinese communities along the West Coast in the first decade of the twentieth century. And she wasn’t shy about exposing the rampant prejudice against the Chinese in those days.

Kay Boyle (1902-1992)—She lived in Europe in the 1920s-50s and was witness to the rise of fascism, WWII, and its aftermath—and she wrote about all of it. Her powerful stories were published in major magazines, and she was correspondent for The New Yorker after the war, covering the Nuremberg Trials.

I’ve written about all three of these women in my newsletter, “The Bluestocking Bulletin.” (http://eepurl.com/dhnSBP), which features a profile of a little-known woman writer every month or so.

Greer: I'm a proud subscriber myself! What’s your next book about and when will we see it?

Anne: My next book I’m calling a “biography” of Little Women. The beloved novel by Louisa May Alcott is turning 150 this year, so my book is a celebration of its legacy but also an examination of what it means to us today. As my own daughter was growing up and figuring out what it meant to be a girl and a woman in our culture, I wondered if Little Women, and its portrait of the rebellious Jo March, would still matter to her in the way it had for earlier generations. (I gave her the middle name Josephine, after all.) So the final chapter looks at what girls are reading and watching today and examines how so many of the most popular heroines today (Hermione, Katniss, Rory Gilmore) are descendants of Jo. Other chapters examine whether boys should read Little Women (spoiler alert: yes!), how the films have captured it over the years, its massive impact on the development of women’s literature, and, of course, how Alcott wrote it in the first place.

Meg, Jo, Beth, Amy: The Story of Little Women and Why It Still Matters is coming out on August 21 from Norton. Even before that, in July, I’ll be talking about it at the Alcott home in Concord, MA, and at Edith Wharton’s estate in Lenox, MA. I will also be at the American Library Association in New Orleans.

https://anneboydrioux.com/little-women/

Anne: My question for you: Reading and writing about forgotten women seems to be a hot thing to do right now. How do those of us who care about shining a light on historical women (almost all of whom have been forgotten) tap into the excitement while making sure that it’s not just a fad? #womenshistoryisheretostay

Greer: First of all, I love your hashtag and plan to start using it all over the place! I love that there does seem to be a movement, particularly in historical fiction, to foreground the stories of real women from history. Even better, whereas a few years ago these books focused on the wives or daughters of famous men, now it's women who were or should have been famous in their own right. And many of us are lifelong history nerds, so not only are we having a wonderful time sharing these names and stories with readers, but we're building and strengthening our shared community by communicating with each other, confiding in each other, about these things we've found. It feels great!

But, as you so rightly asked, is it a fad? How do we make it not be a fad? How do we get ready to combat the agents or editors who, three years from now, might say, "Oh, aren't there enough books about forgotten women already?" And I think part of the answer has to be that we keep delivering the best possible work to our readers. The seeds of the end of a fad are often sown by a drop-off in quality. If you're writing a story about a forgotten woman just to "ride the trend," it shows. Readers who get their hands on a book like that and are disappointed are less likely to pick up the next one that comes along.

So for the authors whose passion truly drives them in this direction -- and I can't tell you how enthusiastic so many of the authors participating in these #womenshistoryreads interviews have been -- I say, keep writing these stories and push yourself to write them better than you ever thought you could. And to writers who want to lay claim to a forgotten woman's story just because they want in on the trend, I humbly suggest finding a different topic. People like you, Anne, or authors like Erin Blakemore, Karen Abbott, Mary Sharratt, you were surfacing women's stories before it was cool and you'll still be doing it if it becomes a less "hot" thing to do. We've been here, we're here, we'll be here.

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