And What a Year It's Been

I’m not sure I’ve ever been so glad to see a year approach its ending as I am to say goodbye to 2022. The year began with a beloved elderly family member going missing (fortunately, he was found before anything bad happened to him) and slogged along from there. A massive project that clogged my work schedule and delayed everything that followed until the beginning of this month, a second crisis (which also ended better than it might have), and an apparently endless series of tasks associated with moving that elderly family member into assisted living left me so tense that three days after my annual Christmas break began, I was just starting to realize that I am on vacation and can get up late or do nothing if I like.

Of course, even this year was not all disruption and chaos. I made the acquaintance of numerous lovely authors through written and podcast conversations; I received an unexpected payment from the New Books Network for ten years of interviews; I had some fascinating outside editing jobs; I acquired several new colleagues whom I enjoy working with; I got a clean bill of health on various issues that had cropped up since the pandemic began; I avoided getting Covid; and my husband and I adopted two gorgeous kittens who are a perfect joy—our older cat doesn’t agree, but that’s a subject for another post.

And last but not least, I finished another novel, the fifth in my Songs of Steppe & Forest series. Song of the Storyteller will be available in early January, as previously announced, and it was a huge amount of fun to write. I also made headway on the next book, and hope to get farther during this break. There are a couple of looming plot holes to fill and two sets of comments from my invaluable writers’ group to address (character inconsistencies, mostly). At the moment, both the story and its main protagonists feel very distant, but regular writing will fix that, and nothing else now stands in the way.

So that’s my year, in a nutshell. Let’s ring out the old, ring in the new, raise a glass of something bubbly, and hope for a less stressful 2023!

 

 

 

Images: Stressed face, Happy New Year, purchased via subscription from clipart.com; kittens © 2022 C. P. Lesley

 

Interview with Darcie Wilde

One of the interesting trends I’ve noticed in the last couple of years (although it’s been developing for much longer than that) has been a diversion of fiction set in Regency Britain from pure historical romance to mysteries, some of them quite gritty in their exploration of the slums and class differences that were as much a part of early nineteenth-century British society as the extravagant parties favored by the haut ton and the bucolic settings of Jane Austen’s novels.

Darcie Wilde’s Rosalind Thorne (now renamed A Useful Woman) series exemplifies this trend in its own particular way. Her heroine, as explained below, exists at the edges of aristocratic society, where she belongs by birth but not wealth. That gives her access to the drawing rooms of the rich and famous, but always as an outsider hired to perform a particular function. Ladylike to a fault, Rosalind combines a mastery of conventional behavior with an independent spirit and an observant eye. Read on to find out more, then seek out not just The Secret of the Lost Pearls—which releases on December 27, next Tuesday—but the earlier books in the series. Although you can read the books in any order, you will get the best appreciation for the various relationships and the fewest spoilers if you start at the beginning and go from there.

This is the sixth of your mysteries featuring Miss Rosalind Thorne. I’ve enjoyed all the ones I’ve read, and I tend to think of them as examples of what might have happened to Lizzie Bennet if she hadn’t married Darcy. How did you come up with this particular take on Regency society?

First of all, thank you for inviting me to your blog! My take on the Regency actually comes—and I should probably apologize for what I’m about to say, but—straight out of Austen. Jane Austen and her contemporaries were very much responsible for creating the modern novel. Like Austen, they dealt with women’s lives, with money, family, love, status, success, and failure. The lives, loves, and travels of all these women are fascinating as well, as were the various reasons they wrote. Some of them were world travelers, some of them were ladies at court, some of them were writing to save their families from ruin. These background stories are worthy of novels in and of themselves. So, in addition to the Great Jane, I’m drawing on this huge, rich mix of fact and fiction to create my Regency world.

Tell us a bit about Rosalind herself—her personality and what makes her the ideal heroine for your novels.

Rosalind is a member of London’s high society. She’s a bit above Lizzie Bennet on the ladder, but she’s in what gets called “distressed circumstances,” because her father abandoned his family. She’s got no money, so she’s got to make shift to make a living for herself, and she’s become a kind of personal assistant to society ladies. Only, while she was busy arranging a social calendar, she also wound up having to solve a murder.

Rosalind has had opportunities to follow the path expected of young society women during the Regency. What does it tell us about her that she ultimately embraces the moniker of “a useful woman” (and what does that mean)?

I found the concept of “the useful woman,” in a book written in 1826 by (deep breath), Lady Marianna Spencer Stanhope Hudson. It was titled Almack’s. In its day, this book was a huge, scandalous tell-all about a specific group of society women who ran London’s most famous and most exclusive ballroom. It was the place you wanted to go to see and be seen by potential marriage partners. Anyway, in the middle of this book, there’s one paragraph where one character is talking about another and saying “she’s really become such a useful woman.” It’s only a couple of lines. But the idea was that if a single woman had fallen on hard times, her better-off friends would start inviting her to their houses to stay, sometimes for months. In return, she’d do things for them like help with their correspondence, organize their social schedules, make calls for them, and generally make herself useful. In return, she’d get free room and board for the duration of her stay, she’d also get to use the carriage and be invited to all the parties, so she could still be a part of society, even if she couldn’t really afford it. 

 

I had never heard of anything like this before, and I immediately said “This is the character I want to write about!” and that was when Rosalind came into being.

Now, Rosalind takes this concept three or four steps further. The problems she helps her ladies with are not only organizing social functions, but things like blackmail, and, of course, murder.

Adam Harkness assists Rosalind in the cases she chooses to take. How would you describe him and his role in the books? What makes him a good partner for Rosalind?

Adam is an officer at the Bow Street police station, so he’s got a lot of investigative experience of his own. But what makes him perfect for Rosalind is he understands and respects her. They also have complimentary freedoms. As a Bow Street “runner,” Adam doesn’t have access to the kind of aristocratic homes and lives Rosalind does, and that can be a real problem if he has to investigate a murder in high society. Rosalind, on the other hand, is limited in her movements simply because she’s a woman, whereas Adam has a lot of freedom, to, say, be out late at night on his own. So, the pair of them have plenty of ways they can each help each other out of (or into) trouble.

Please set up the mystery in this sixth novel. Who is Bethany Douglas, and why does she seek out Rosalind’s services?

Bethany is a distant acquaintance of Rosalind. Beth is happily married to a man from a rich family, but she’s also got a set of extremely problematic relatives; her mother’s a hypochondriac, her father drinks, one sister is relentlessly anti-social, the other ran away with a ne’er-do-well and is now back, claiming that the ne’er-do-well is dead. And as if that wasn’t enough, it now looks like the extremely valuable heirloom necklace her husband’s family gave her as a wedding present has been stolen, possibly by a member of her problematic family. She needs Rosalind to find out what happened to the pearls and get them back without creating any kind of scandal. And from there, things get a little complicated…

There is an implied tip of the hat here to Jane Austen’s Pride and Prejudice, which also supplies the epigraphs to most of the chapters—specifically to the relationship between Lydia and Wickham. What made you want to include that element?

I’d recently rewatched my favorite version of Pride and Prejudice (for the record, it’s the 1995 version with Jennifer Ehle and Colin Firth), and I got to thinking about Lydia and Wickham, and about the fact that it really must have been tough for the younger sisters in the Bennett family. They must have been so tired of always being compared to their entirely amazingly perfect older sisters. As I thought about it, I wondered what would have happened if instead of Lydia just being a silly little girl with no moral compass, Lydia was a schemer, and what if she went to Wickham and they together hatched the plan to run away and blackmail Darcy into paying to get Lydia married or returned home. Okay, in my version, she’d still have no moral compass, but she’d also have some guts, and some smarts.

The pearls mentioned in the title are a quite remarkable piece of jewelry. Describe them for us, please.

I love jewelry, so I had a lot of fun creating that necklace. In the Regency, it was pearls, not diamonds, that were considered the most precious gem. The necklace itself is three strings of pearls—two white and one black, with one large drop pearl in a gold and diamond setting as a pendant.

Will Rosalind and Adam continue their adventures? Where can we expect them to go next?

As a matter of fact, I’m just finishing their next book. This time the mystery hits closer to home than their other adventures have, and both Rosalind and Adam will find themselves having to make some very consequential decisions about what they want for their futures, and their relationship.

Thank you so much for answering my questions!

Thank you for inviting me!

Darcie Wilde is the author of five previous historical mysteries featuring Miss Rosalind Thorne and as many historical romances. Find out more about her at http://www.darciewilderomancecom.



Images: The First Quadrille at Almack’s and Portrait of Princess Dorothea Lieven, a patroness of Almack’s,  wife of a prominent Russian diplomat, and acquaintance of Rosalind Thorne public domain via Wikimedia Commons; portrait of Darcie Wilde © Chris Amos.

Moving Forward

Just about two weeks from now, I will press the button that officially releases my latest Russian novel, Song of the Storyteller, into the world. The book has been ready for a month, but I learned the hard way that late November/early December is not a good time to publish something new. The demands of Christmas shopping slow everything to a crawl, and even purchasing author copies can take five times as long as normal. Not to mention that the general flood of new releases tends to overwhelm those of us who don’t have the luxury of a big publisher with a fully staffed publicity department at our backs.

No, January—when people have recovered from the holiday madness, perhaps received e-devices of some kind as presents, and (at least in my part of the world) are looking at months of chilly days and long, dark evenings—is a much better time to launch a new book. So this post is a prequel of things to come, not an actual announcement.

Some books are fun to write: they flow like mountain water from the fingers onto the screen; their characters cooperate with interesting takes on things and problems that anyone can relate to, naturally sharing their views with the author because that’s who they are. Other novels have to be hauled, howling and protesting (or, more often, squirreling their secrets away like so many October hazelnuts), into the light.

I’ve had a couple of the latter in this series, as well as some of the former. Juliana (Song of the Siren) was desperate to tell her story; I could barely keep up with the flood of information she poured into my head from morning to night. Grusha (Song of the Shaman) and Darya (Song of the Sisters) were the shy sort; for different reasons, it took me a long time to find the strength at the center of each of them and coax it out to a place where I could see it. Solomonida (Song of the Sinner) had a strong character from the beginning, as well as an interesting problem, but complicating her situation enough to create a compelling story took a lot of work.
 

Then came Lyuba: Lyuba the storyteller, the natural, the heroine I’ve always dreamed of writing. Self-aware even at sixteen, with a fiery temperament offset by her sharp observation of others and of social convention, Lyuba is determined to wrest what she wants from life in the same way as she plots her fairy tales and takes mental notes for the family saga that we know from The Shattered Drum she will one day write. And the situation she faces is both historically real (except for her part in it, of course) and tailor-made for fiction.

In December 1546, Grand Prince Ivan of Russia (soon to be known as Tsar Ivan the Terrible) decided to marry. He too was sixteen, and for various reasons it was decided that he would select a bride from among his own aristocracy rather than make a diplomatic marriage with a foreign princess. A call went out to all the principalities under Moscow’s control, demanding the nobles present their daughters to the government servitors sent to the provincial towns to make the initial selection. Those girls (we don’t know how many), as well as others representing the great Moscow families, were investigated and gradually winnowed to a small group, from whom Ivan selected a bride. Anyone who has read any of my previous Russian novels can guess that Lyuba’s father would leap at this opportunity like a man-sized salmon.

The summoning of potential brides in itself was not uncommon. Ivan’s father had held such a bride show twice, and later tsars continued the practice until Peter the Great abolished it in the eighteenth century as too medieval and Russian. But what makes it perfect for fiction is that the families who got their girls into the contest took it with deadly seriousness—and I do mean deadly. Candidates were poisoned, girls suddenly developed mysterious ailments that lasted just long enough for them to be given the boot, skeletons were dragged out of closets and shoved back into them. Lyuba and her best friend, Anna, are right to wonder if they will make it out of the Kremlin alive.

And they don’t want any part of the contest. Each of them is in love with a young man she cannot have, and neither has any interest in becoming Russia’s first tsaritsa. And if that seems strange, in a world where so many young girls dream of becoming princesses, well, really, would you want to be the wife of Ivan the Terrible?

I should note that while I was working on the final revisions for this novel, Russia launched its unprovoked invasion of Ukraine. As I write this post, that war continues, and for those of us who have spent our adult lives studying the long and complex history of that region, it feels as if the world has shifted on its axis. Given Russia’s current status as an international pariah, even to write sympathetically about the country’s past in a novel is a source of confusion and doubt. The tragedy of lives lost, infrastructure destroyed, childhoods fractured, injuries inflicted, cold and hunger endured makes Lyuba’s struggles trivial.

But I also know that many Russians are equally horrified by the actions of their government—indeed, many Russians have Ukrainian family members. And that is why I nonetheless hope that my fiction can, if nothing else, reveal some of the political assumptions, historical realities, and beliefs about Russia’s place in the world that continue, even five centuries later, to influence its actions.

Among other things, those actions are based on the lie that Ukraine is, and always has been, a part of Russia. The same justification was given for the annexation of Crimea. But my novels take place at a time when neither Crimea nor Ukraine was considered part of Muscovy. Perhaps that is one contribution they can make to the discussion.

You can find out more about Lyuba’s story at https://www.fivedirectionspress.com/song-of-the-storyteller. Meanwhile, I will be returning my fictional focus to Anna, the center of the next novel and, alas, another of those heroines who requires a gentle touch and lots of patience if she’s to find her way into the light.

Image: Grigory Sedov, Tsar Alexei Choosing a Bride (1882), public domain via Wikimedia Commons.

Money, Beauty, and the Power of Music

I had heard of C. W. Gortner as a writer of Tudor-era historical fiction long before I actually had the opportunity to read one of his books. That one, The Romanov Empress, had nothing to do with the Tudors (Gortner, who has a Master’s in Renaissance history, had long since moved on from the sixteenth century) and everything to do with my other great academic love: the history of Russia and the Soviet Union more generally. But by the time I read it, I had already agreed to let Jennifer Eremeeva have the fun of interviewing Gortner for the New Books Network.

Fast-forward a couple of years, and I received a pitch for his next book, The First Actress, about Sarah Bernhardt. The novel—more or less contemporaneous with The Romanov Empress, which focuses on Marie Fyodorovna, the Danish princess who became the mother of Nicholas II—arrived at another moment when I had no space in my interviewing schedule, but we set up a written Q&A for this blog. So when I received a message from this year’s publicist about the release of Gortner’s The American Adventuress—featuring Jennie Jerome, the mother of Winston Churchill—I was determined to move heaven and earth, if need be, to talk to Gortner for New Books in Historical Fiction. That interview went live yesterday. It was a fun conversation, very revealing about Jennie and her world, and the novel is already in print, so give it a listen and then read the book. It’s the perfect time of year, after all, to dive into an enchanting saga about glittering society parties, royal liaisons, and aristocratic scandals that can show up even The Crown.

The rest of this post comes from New Books in Historical Fiction.

From Lucrezia Borgia to Marlene Dietrich, Empress Marie Fyodorovna of Russia, and most recently the actress Sarah Bernhardt, C. W. Gortner has made a career out of finding strong, fascinating, real-life heroines for his novels. In The American Adventuress, he focuses his attention on Jennie Jerome, the mother of Winston Churchill.

From the moment we first meet her as a sassy and defiant twelve-year-old schoolgirl, Jennie charts her own course—to the consternation of her more conventional but in some ways wiser mother. Her father—an entrepreneur hovering on the edge of elite New York society—adores and supports this second daughter whose character so resembles his own, but some shady business dealings and a long-term affair with Jennie’s piano teacher eventually undermine his marriage. Jennie’s mother flees with her three daughters to Paris, where the girls complete their education. Then the Franco-Prussian War begins, and the family moves to London and safety.

 

There Jennie makes the acquaintance of an odd-looking but charming and intelligent young man, Lord Randolph Churchill, who proposes marriage almost right away. Jennie falls madly in love, and soon they are courting in earnest despite opposition from both their families.

A gifted pianist, a beauty, a free spirit, and a loving if often-distant mother, Jennie lives life to the hilt: spending extravagantly, flirting outrageously, neglecting her children, and breaking convention in ways that defy our views of the constraints placed on Victorian women. But whatever her faults, Jennie herself is unforgettable, and it is Gortner’s achievement that he brings her so vividly to life.

Images: Jennie Jerome in 1880, with her two sisters, and with Lord Randolph Churchill in 1874—all public domain via Wikimedia Commons.

Interview with Rosemary Simpson

I’m sure I’ve mentioned before that I love finding a new series, especially one that explores elements of history less well known to me. Rosemary Simpson’s Gilded Age Mysteries came to my attention with book 7, set at Niagara Falls at a time when it was threatened by industrialization and the accompanying pollution.

Having read the latest installment, I was sufficiently intrigued to go back to the beginning to learn more about society heiress Prudence MacKenzie and her ex-Pinkerton investigative partner, Geoffrey Hunter. It’s a lovely series, well worth your time. Read on to find out what their creator has to say.

Death at the Falls is the seventh of your Gilded Age Mysteries. What attracts you to late nineteenth-century New York high society, broadly defined?

The late 1880s and early 1890s are a time that very much resembles our own age. Women’s issues are coming to the fore, and the wealth disparity between the very rich and the very poor has created enclaves of luxury and power alongside tenements of unrelieved poverty and disease. New inventions are becoming a part of everyday life: the telephone, electricity, elevators, experiments with horseless carriages. Railroads crisscross the country, making transportation rapid, affordable, and safe. Corrupt political machines dominate city, state, and national governments. High finance is controlled by a very few unscrupulous men who dominate the banking houses and stock exchanges. Advances are being made in medicine, but the poor are victims of diseases such as diphtheria, whooping cough, tuberculosis, typhus, and scarlet fever.

Seemingly oblivious to the harsh realities of most working lives, New York society in the Gilded Age whirls through rigidly exclusive rounds of balls, debutante presentations, nights at the opera, dinners at restaurants such as Delmonico’s. Women spend their days making social calls and being fitted for gowns that typically cost more than a laborer can earn in a lifetime. Men lose themselves in business, clubs, cigars, and mistresses.

Prudence MacKenzie and Geoffrey Hunter allow me to write about both worlds, about high society and the criminal underbelly of New York City. I’m also fascinated by what I learn as I take my characters out of their comfortable milieus and into places and situations most individuals of their wealth and social backgrounds would never dream of going.

 

Prudence MacKenzie is one of your two main characters. When we first meet her in What the Dead Leave Behind, she’s not in a good place, as we would say today. Describe her situation at that point in time.

Prudence’s father, a famous and well-respected judge in New York City, has died recently, leaving his daughter all of his considerable wealth. She is engaged to be married to a man she’s known since childhood. It’s not exactly a love match, but she trusts and admires him. The book opens in March 1888, during the night of possibly the worst snowstorm ever to have blanketed the east coast. Prudence’s fiancé is one of its victims—or was he murdered? Laudanum administered by a greedy and unscrupulous stepmother nearly robs Prudence of her fortune and her freedom. Only when she meets and engages the services of an ex-Pinkerton Southerner does it look like she’s found someone who can help her fight the laudanum addiction, foil the plots of her avaricious stepmother, and forge a new life for herself outside the confines of Gilded Age society.

How has she grown or changed as the series progresses?

Prudence’s decision to become an inquiry agent in the firm of Hunter and MacKenzie, Investigative Law, is an enormously daring step for a young woman of her age and social rank. She has to learn the detective skills that her partner mastered during his career in the Pinkertons and fend for herself in some of the seediest and most dangerous neighborhoods of the city while maintaining the social contacts that allow her to solve crimes that society would rather cover up. She becomes more self-confident with every case and more attracted to dangerous situations that a seasoned detective would avoid. She’s also falling in love with her partner, although she tries her best to deny it. Marriage means subservience during the Gilded Age, and she’s just taking her first steps toward independence.  

What can you tell us about Geoffrey Hunter, your hero?

Geoffrey Hunter comes from a wealthy North Carolina plantation family that owned thousands of acres of land and hundreds of slaves before the Civil War. Too young to have fought in the war, he was sent north to an exclusive boys’ school where his Yankee education clashed with his father’s politics. Geoffrey left the South and his family to join the Pinkerton National Detective Agency, settling in New York City when he became disillusioned with some of the agency’s clientele and anti-labor tactics. He lives in a luxurious apartment at the Fifth Avenue Hotel, one of the city’s most prestigious establishments. Like Prudence, he’s independently wealthy but bored by the society life he’s expected to live. He’s in love with Prudence, but stepping cautiously, knowing that to move too quickly might seem threatening to a young woman tasting newfound freedom from male dominance.

What takes Prudence and Geoffrey to Niagara Falls? What do they find once they get there?

Prudence and Geoffrey are asked by Prudence’s English aunt to help a friend of hers with a legal case whose details Lady Rotherton deliberately leaves vague. Prudence, who has just passed the bar—only the second woman to be admitted to the practice of law in New York State—is eager to test her legal skills. What they find is a complicated family drama in which a grandmother denies the legitimacy of her son’s daughter in order to retain control of the family fortune. As the deaths mount up, the case becomes more complex. Old jealousies mingle with corruption, greed, and the fortunes to be made as Niagara changes from a sleepy little tourist town to a mecca for development.

The Niagara they encounter is, to put it politely, in transition to the place we know today. How would you describe it in 1890?

Niagara in 1890 is on the cusp of massive development in hydroelectricity as well as tourism. It had been a favorite vacation spot for many years, but until legislation created the Niagara Reservation in 1885 on the American side and the Niagara Parks Commission on the Canadian side, the three spectacular waterfalls and the surrounding land were exploited by private speculators who had little or no regard for the preservation of the area’s natural beauty. Contemporary pictures show factories spewing debris and wastewater over the cliffs and into the Niagara River. Everything costs money, even peering through a knothole in the wooden fences erected to block the view. Things improved for tourists once Frederick Law Olmsted’s design for a free public park became reality, but the power of the falls remained a magnet for the new and fiercely competitive electric power companies.

And last but not least, who is Crazy Louie?

Crazy Louie is an entirely fictional character who dreams of being the first person to go over Niagara Falls in a barrel and live to tell about it. The stunt, if successful, would make him world famous. He’s been experimenting with different woods, various barrel shapes, and animal passengers for years now. Louie is an oddball character of whom Niagarans are rather fond, but nobody knows where he gets the money for his experiments.

What are you working on now?

I’ve just completed Death Wears a Hidden Face, Gilded Age Mystery #8, to be published by Kensington in November 2023. Prudence and Geoffrey must solve a murder that takes them into Chinatown, where they encounter a culture neither has experienced before. The historical base of the book is the effect that the prejudicial Chinese Exclusion Act of 1882 had on the population of Chinese laborers who had been recruited to work in the California gold fields and build the transcontinental railroad. I’ve started the research for Gilded Age Mystery #9, which takes place in the New York City world of vaudeville and legitimate theater. No title yet!
    
Thank you so much for answering my questions!

Rosemary Simpson is the author of the Gilded Age Mysteries and two stand-alone historical novels, The Seven Hills of Paradise and Dreams and Shadows. Find out more about her at https://RosemarySimpsonBooks.com. 

Images: “The Protectors of Our Industry," Puck  cartoon showing various robber barons riding on the backs of workers; hand-colored lithograph of the Niagara suspension bridge (1856), crossed repeatedly by Prudence and Geoffrey in their attempt to solve this case; and Horseshoe Falls, Canada (1869)—all public domain via Wikimedia Commons. Photograph of Rosemary Simpson © Richard H. Simpson.