85 books like Caleb's Crossing

I spent the 1970s as an officer in the U.S. Navy UDT/SEAL Teams, giving me insight into the military aspects of peacebuilding. I have spent the last forty years researching and teaching international marketing and negotiations at USC and UC Irvine, after receiving a Berkeley PhD. I was also the director of the UC Irvine Center for Citizen Peacebuilding for ten years. I have published four books on international negotiations and all my ten books in print are on the topic of peace in families, neighborhoods, commerce, and international relations.

I’ve always had a passion for history and the American West in particular. From a young age, my reading reflected my passion, with a few mysteries in the mix. I didn’t read many romance novels until one day I was flying to another city and I forgot to pack a book. My assistant drove me to the airport and she pulled a historical romance novel from her handbag. It was her favorite and she was an expert on romance novels. Before my plane landed, I was hooked—and I’m still hooked. That started my career as a historical romance novelist.

Ever since I stumbled through the “Early Roman Empire” paper in Finals using I, Claudius by Robert Graves, I have held a deep admiration of those authors who can portray the complex world of Rome with such authority. I went on to teach the Greeks and Romans for 25 years, so I have grown to love these characters—Caesar is a philandering schemer, Augustus has ice for blood, Livia is a skilled practitioner of poisons… How can one resist such entertaining people who operate in a system where the upper classes must compete through bribery, intrigue and occasional revolutions? 

Schoolteacher turned writer. With the encouragement of my old college friend, the great Michael Crichton I began writing detective novels—paperback originals at first, then a hardback thriller called Target of Opportunity, which was a detective novel but included a long section of historical background about the Resistance in southern France. From there I moved to biographical fiction: novels about Thomas Jefferson, Andrew Jackson, Ulysses S. Grant. Then straight historical fiction, often with a Parisian background, because I’ve lived and worked in that marvelous city and can’t get enough of it.

I recall my younger self looking at the reading lists on Oxford University history courses, and asking, “Where are all the women?” I have always wanted to know what it was like to be there, in any century up to the present. How did families form and pass on their values, what did people wear and eat, when (and if) children learned to read, and what were people’s daily routines? Political, military, and economic history is important, but I have flourished in the social history trenches. I discovered women writers and historians have more acute antennae for the details I wanted, even when writing about wars and dynasties.

Growing up in Plymouth, MA, I was steeped in the history of the Pilgrims, eventually working as a tour guide at Plimoth-Patuxet.  After I retired as professor emerita from the University of North Carolina at Chapel Hill, I wrote and published a series of mysteries. That experience and my New England background buoyed my confidence that I could write about a Pilgrim woman, keeping true to the history of the Plimoth Colony. The story of Mary Allerton Cushman’s life was the result. It was long-listed for the Devon and Cornwall International Novel Prize. 

Many of my English ancestors came to New England during the so-called Great Migration of the 1630s. I also have Native American ancestors, and as I researched both groups I couldn’t escape the feeling that something important was missing from our contemporary understanding of the period. In the novel that became Will Poole’s Island, I was in a sense driven to recreate the age, or at least to complicate our received mythologies about it. A central theme of the book is the collision of two radically opposed worldviews that had in common a preoccupation with the visionary and the unseen; this is also a theme of the five narratives described below.

I’ve loved reading novels about strong, quirky women since childhood (Nancy Drew, Ramona Quimby, Harriet the Spy, the heroines of Judy Blume novels, just for starting examples!). As I grew into writing my own stories, I also started studying women’s history. I merged these two interests to begin writing historical novels with strong women protagonists. I love the challenge of researching to figure out the details of women’s day-to-day lives–so many unrecorded stories!–and I love to advocate for the idea (fortunately not as revolutionary as it once was) that a woman can be the hero of her own story and that each woman’s story is important to tell.  

Many of my English ancestors came to New England during the so-called Great Migration of the 1630s. I also have Native American ancestors, and as I researched both groups I couldn’t escape the feeling that something important was missing from our contemporary understanding of the period. In the novel that became Will Poole’s Island, I was in a sense driven to recreate the age, or at least to complicate our received mythologies about it. A central theme of the book is the collision of two radically opposed worldviews that had in common a preoccupation with the visionary and the unseen; this is also a theme of the five narratives described below.

I write historical fiction set in New England and based on the lives of real people. My New England roots go back to the 1630s when my English ancestors first came to the region so I’m steeped in its traditions and literature. I love doing the research for my books, especially when my characters lead me in new directions. I spent ten years digging into the conflict between the Puritans and the indigenous Natives and in the process discovered a largely forgotten story that has long-lasting implications for our day.