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Make-believe is my vocation, calling to me since earliest childhood. Not too surprising, for I was raised in a Southern Gothic household, simmering with mendacity and thwarted desires. Back then, I plotted stories for my dolls and scribbled plays of love and murder for backyard productions with the neighbor girls. Living and schooling were necessary preparation for the next story or play. To this day, while truly embracing my lived-life with passion and wonder, I still make sense of it, in part, through make-believe—an act that is both solitary and collaborative—writing dialogue for actors to interpret and novels for readers to perform in their own active imaginations.
In the plague years of 14th century England, a young runaway priest, Nicholas Barber, hides himself by joining a troupe of traveling players and thereby finds himself a new role in a wider world. Nicholas’s story begins at an inflection point, when the residents in a particular town are more interested in an actual crime of murder than in seeing yet another iteration of the traditional religious Morality play. To captivate and keep their audience, the actors—with Nicholas now one of them—create a play of real life about the town’s murder. Their drama evolves in a series of performances as they discover more details of the mystery, at last leading them to its resolution. A fascinating interplay of history, mystery, theater, and human nature! I love this book.
In medieval England, a runaway scholar-priest named Nicholas Barber has joined a traveling theater troupe as they make their way toward their liege lord’s castle. In need of money, they decide to perform at a village en route. When their traditional morality plays fail to garner them an audience, they begin to stage the “the play of Thomas Wells”—their own depiction of the real-life drama unfolding within the village around the murder of a young boy. The villagers believe they have already identified the killer, and the troupe believes their play will be a…
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.
I loved this book for being historical fiction at its finest, and I loved the main character, Mary Deerfield, for being a woman who did not fit within her own time.
It’s 1660s Boston, and Mary is married to an abusive man. Determined not to die at his hand, she must fight against everything in her society to free herself from her marriage.
I loved how this book so insightfully explored the dynamics of an abusive relationship while also bringing to vivid life a distant time and place.
NEW YORK TIMES BEST SELLER • From the acclaimed author of The Flight Attendant: “Historical fiction at its best…. The book is a thriller in structure, and a real page-turner, the ending both unexpected and satisfying” (Diana Gabaldon, bestselling author of the Outlander series, The Washington Post).
A young Puritan woman—faithful, resourceful, but afraid of the demons that dog her soul—plots her escape from a violent marriage in this riveting and propulsive novel of historical suspense.
Boston, 1662. Mary Deerfield is twenty-four-years-old. Her skin is porcelain, her eyes delft blue, and in England she might have had many suitors. But…
I’ve always believed in magic, the kind that’s just around the corner, out of view. I loved books and libraries. So, it was no surprise that I became a teacher, and later, a poet and novelist. Now, as the author of four novels, I want my books to capture what I love best from poetry and teaching: beautiful, unexpected language, a touch of wonder, and themes that probe the big questions of life. A library shows up in most of my novels along with a bit of the fantastic.
What’s a better family secret than a golem tasked with protecting the main character?
Set against World War II in France, remarkable characters that I rooted for faced unspeakable odds. The book is a testament to what makes us human: The power of love and redemption. The golem, Ava, is a fully fleshed character with her own character arc.
'Oh, what a book this is! Hoffman's exploration of the world of good and evil, and the constant contest between them, is unflinching; and the humanity she brings to us - it is a glorious experience. The book builds and builds, as she weaves together, seamlessly, the stories of people in the most desperate of circumstances - and then it delivers with a tremendous punch. It opens up the world ... in a way that is absolutely unique. By the end you may be weeping' Elizabeth Strout, Pulitzer Prize-winning author of Olive…
I’ve always believed in magic, the kind that’s just around the corner, out of view. I loved books and libraries. So, it was no surprise that I became a teacher, and later, a poet and novelist. Now, as the author of four novels, I want my books to capture what I love best from poetry and teaching: beautiful, unexpected language, a touch of wonder, and themes that probe the big questions of life. A library shows up in most of my novels along with a bit of the fantastic.
Wow. The voice in this book takes my breath away. I’ve never read anything else quite like it.
There’s a plot full of adventure, tragedy, and healing, but mostly, there is Rueben Land and his sister Swede, two of the most compelling characters in literature. The story begins with a miracle when Rueben’s father commands his newly stillborn son to breathe.
Questions about miracles, hope, faith, and redemption pepper the story with no easy answers, again asking: What does it mean to be human? That’s a question all great literature grapples with.
When Israel Finch and Tommy Basca, the town bullies, break into the home of school caretaker Jeremiah Land, wielding a baseball bat and looking for trouble, they find more of it than even they expected. For seventeen-year-old Davey is sitting up in bed waiting for them with a Winchester rifle. His younger brother Reuben has seen their father perform miracles, but Jeremiah now seems as powerless to prevent Davey from being arrested for manslaughter, as he has always been to ease Reuben's daily spungy struggle to breathe. Nor does brave and brilliant nine-year-old Swede, obsessed as she is with the…
I am a child of the South, hailing as I do from Warm Springs, Georgia, best known for Roosevelt’s Little White House. My family, indeed the entire community as far as I can tell, were in the thrall of conservative Christian values that had no room for people like me—gay (although I had no word for it for a long time) and physically misshapen (something to be hidden under layers of clothing). I was a boy and then teenager living on the fringes, always on the outside looking in, seeking approval or defiantly hiding to process the uniquely Southern dysfunction around me. I know these protagonists. They’re my people.
The Cicada Tree is a wonderful Southern Gothic magical realism mash-up leavened with humor and illuminating reflections on the human condition told in voices that drip with authentic Southernisms. Analeise Newell, this novel’s protagonist, is a complex, not-as-kind-as-she-knows-she-should-be eleven-year-old who drinks whiskey and is a piano prodigy. Her close friendship with Etta Mae, a budding coloratura soprano, sheds light on accepted racial inequities in the Deep South of the 1950s, building to (in the author’s words) a “chain of cataclysmic events with life-altering consequences-all of it unfolding to the maddening whir of a cicada song.”
WHEN AN ELEVEN-YEAR-OLD, WHISKY DRINKING, PIANO PRODIGY ENCOUNTERS A WEALTHY FAMILY POSSESSING SUPERNATURAL BEAUTY, HER ENSUING OBSESSION UNLEASHES FAMILY SECRETS AND A CATACLYSMIC PLAGUE OF CICADAS. The summer of 1956, a brood of cicadas descends upon Providence, Georgia, a natural event with supernatural repercussions, unhinging the life of Analeise Newell, an eleven-year-old piano prodigy. Amidst this emergence, dark obsessions are stirred, uncanny gifts provoked, and secrets unearthed. During a visit to Mistletoe, a plantation owned by the wealthy Mayfield family, Analeise encounters Cordelia Mayfield and her daughter Marlissa, both of whom possess an otherworldly beauty, a lineal trait regarded as…
As a teenager, I began to question the myths my parents told about our family, but when saying so caused trouble, I confided my stories to paper instead. That’s how I became a writer. My first love has always been fiction, but I broke into print writing history—about quirky subjects in which I find deep meaning, like the potato’s revolutionary influence on the Western world, or how the invasion and occupation of Belgium in 1914 foretold Nazi Europe. My fascination with subversion shapes my novels too—my quiet, lonely protagonists would never storm the barricades yet appear radical because of how they live, a circumstance I know well.
I have a soft spot for characters who find strength by dint of superhuman effort, and the way this fifteen-year-old takes charge after the 1906 earthquake—haltingly, uncertainly, as is only plausible—makes me wish I’d met her.
Her path is steeper than the San Francisco hills, yet her refusal to ask for pity wins me over. I also admire how Edgarian uses her protagonist’s coming of age to represent San Francisco’s, a parallel delivered with a light touch.
But above all, the novel explores the fraught relation between women and power; and how Vera walks that tightrope makes compelling fiction.
New York Times bestselling author Carol Edgarian delivers “an all-encompassing and enthralling” (Oprah Daily) novel featuring an unforgettable heroine coming of age in the aftermath of catastrophe, and her quest for love and reinvention.
Meet Vera Johnson, fifteen-year-old illegitimate daughter of Rose, notorious proprietor of San Francisco’s most legendary bordello. Vera has grown up straddling two worlds—the madam’s alluring sphere, replete with tickets to the opera, surly henchmen, and scant morality, and the quiet domestic life of the family paid to raise her.
On the morning of the great quake, Vera’s worlds collide. As the city burns and looters vie…
I grew up in historic old houses. They were haunted too. (Think things that went bump in the night and were rife with the unexplained.) My imagination didn’t stand a chance and caught on fire. Later, I chose history as a career path with research as the job—which is really just solving mysteries. My fiction writing naturally extended from these beginnings and remains heavily influenced by the past. A bonus to the mix is the Celtic storytelling DNA coursing through my veins. I read and write stories that blend the mysterious with the historic and am especially inspired by all things gothic. I'm the author of The Spinster’s Fortune and Campbell’s Boy.
This book was so much fun. It rolls in so many nuances from historic gothic reads while adding its own special takes in clever ways. It brought back fond memories of so many other writers and books for me as I was reading it. It is clearly influenced by many of the greats. But it also stands on its own two feet with rich and layered language and detail. The twist near the end is crafty and pulls it all together. Paulette Kennedy knows what she is doing!
Some houses hold secrets that are meant to be kept forever...
When Eliza Sullivan inherits an estate from a recently deceased aunt, she leaves behind a grievous and guilt-ridden past in New Orleans for rural England and a fresh start. Eliza arrives at her new home and finds herself falling for the mysterious lord of Havenwood, Malcolm Winfield. Despite the sinister rumors that surround him, Eliza is drawn to his melancholy charm and his crumbling, once-beautiful mansion. With enough love, she thinks, both man and manor could be repaired.
Not long into their marriage, Eliza fears that she should have…
Make-believe is my vocation, calling to me since earliest childhood. Not too surprising, for I was raised in a Southern Gothic household, simmering with mendacity and thwarted desires. Back then, I plotted stories for my dolls and scribbled plays of love and murder for backyard productions with the neighbor girls. Living and schooling were necessary preparation for the next story or play. To this day, while truly embracing my lived-life with passion and wonder, I still make sense of it, in part, through make-believe—an act that is both solitary and collaborative—writing dialogue for actors to interpret and novels for readers to perform in their own active imaginations.
From her shocking first sentence to her final transcendent words, the narrator compelled me to travel with her through her memories of a lifetime on what might well be her last afternoon. In fact, I read the book in a single day, a unique experience for me since I am a slow reader who hears every word and pictures every action in my mind. Drawn to both reading and writing with a Southern Gothic sensibility, I was spellbound by the unfolding tale of a complex and courageous woman’s survival during the era of the American Civil War. This novel reads like a mesmerizing dramatic monologue delivered on the stage of history.
Emma Garnet, the heroine of Kaye Gibbons's sixth novel, takes the reader on a Southern journey through place and time, from 1842 to 1900. We see her first as a plantation owner's daughter, pampered by servants yet self-taught in subjects not then in the woman's sphere. As a girl, she does not question the South's peculiar institution, but gradually she recognizes the brutality of slavery. Still, during the Civil War, she works tirelessly in a Southern military hospital, ministering to the wounded out of her fervent sense of loyalty to the South. Throughout the conflict Emma Garnet contains her own…
Make-believe is my vocation, calling to me since earliest childhood. Not too surprising, for I was raised in a Southern Gothic household, simmering with mendacity and thwarted desires. Back then, I plotted stories for my dolls and scribbled plays of love and murder for backyard productions with the neighbor girls. Living and schooling were necessary preparation for the next story or play. To this day, while truly embracing my lived-life with passion and wonder, I still make sense of it, in part, through make-believe—an act that is both solitary and collaborative—writing dialogue for actors to interpret and novels for readers to perform in their own active imaginations.
Biography is one of my favorite ways to explore history, and this double-biography is a doozy. The feud between Sarah Bernhardt and rival actress Eleonora Duse comes to dramatic life on the page as these remarkable women thrill theater audiences across the globe with their on-stage performances and off-stage scandals. Bernhardt created her public persona as the first superstar, and her name and fame certainly endure. But Duse intrigues me even more in contrast with the Divine Sarah. Unlike Bernhardt playing herself while playing a role, Duse disappeared into her roles with her natural, believable style of acting. Her technique revolutionized the theater from the late 19th century onward. And Duse’s style is the one that I find plays best in my head each time I read a novel.
The riveting story of the rivalry between the two most renowned actresses of the nineteenth century: legendary Sarah Bernhardt, whose eccentricity on and off the stage made her the original diva, and mystical Eleonora Duse, who broke all the rules to popularize the natural style of acting we celebrate today.
Audiences across Europe and the Americas clamored to see the divine Sarah Bernhardt swoon-and she gave them their money's worth. The world's first superstar, she traveled with a chimpanzee named Darwin and a pet alligator that drank champagne, shamelessly supplementing her income by endorsing everything from aperitifs to beef bouillon,…
Make-believe is my vocation, calling to me since earliest childhood. Not too surprising, for I was raised in a Southern Gothic household, simmering with mendacity and thwarted desires. Back then, I plotted stories for my dolls and scribbled plays of love and murder for backyard productions with the neighbor girls. Living and schooling were necessary preparation for the next story or play. To this day, while truly embracing my lived-life with passion and wonder, I still make sense of it, in part, through make-believe—an act that is both solitary and collaborative—writing dialogue for actors to interpret and novels for readers to perform in their own active imaginations.
Dickens created a panoply of over-the-top characters scripted for dramatic and comedic acting out in readers’ heads and in Victorian parlors where parents read his books aloud to their families. Dickens, too, could not resist acting his part as the famous author portraying his characters. With his vast talent and imagination and his theatrical inclinations, he toured himself to exhaustion performing his works before crowds of transfixed fans. This page-turner of a biography delves into a series of mysteries in the novelist’s life, including that of his public readings, which may have contributed to the curious circumstances of his death—all the while, revealing Dickens as a visionary artist as intriguing as any of his literary creations.
A Book of the Year in The Times & Sunday Times, Daily Mail, Spectator, Irish Times and TLS.
'Superb' Daily Mail, 'Book of the Week'
'Brilliant' The Times, 'Book of the Week'
'[A] vivid, detailed account' Guardian, 'Book of the Week'
'Hugely enjoyable' Daily Telegraph
'Fascinating' Spectator
Charles Dickens was a superb public performer, a great orator and one of the most famous of the Eminent Victorians. Slight of build, with a frenzied, hyper-energetic personality, Dickens looked much older than his fifty-eight years when he died. Although he specified an unpretentious funeral, it was inevitable that crowds flocked to his…
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