As Derek B. Miller sat down to write his seventh novel, The Curse of Pietro Houdini, something magical happened. “I wrote a great first sentence that somehow embedded the whole book,” he says, speaking from his home in Spain. “This is the only time this has ever happened to me.”
Miller had already chosen the setting for this spellbinding historical saga—a Benedictine abbey near Montecassino, Italy, during World War II. In 1944, American pilots dropped more bombs on this hilltop sanctuary than any other single building, mistakenly believing it to be occupied by German forces. While stories abound about the invasion of Normandy, few Americans are familiar with this military operation.
“I have a Ph.D. in international relations,” Miller notes, “and I didn’t know about it.” Part of the reason, he explains, is that “it’s just not a good old-fashioned American hero story. The battle went on for months and months and killed a lot of people.” What’s more, the abbey had been housing thousands of irreplaceable manuscripts and art, sent there for safekeeping in 1943. Thankfully, night after night, a German and an Austrian officer, with the help of the monks, loaded this treasure trove into carts and moved it to Rome before the Allied destruction began—a secretive mission described in his book. “I don’t think an abbey has called out to have its own story since The Name of the Rose,” Miller adds, referring to Umberto Eco’s famed murder mystery.
“I just love big, opinionated, risk-taking, take-no-prisoners central characters.”
Miller was introduced to the Montecassino abbey while working on a previous novel, Radio Life, which was inspired by the acclaimed 1959 science fiction classic A Canticle for Leibowitz, a post-apocalyptic story about monks who protect books during nuclear war and its aftermath by hiding them in an abbey. The book’s author, Walter J. Miller (no relation) was a radioman and tail gunner whose role in the Montecassino abbey bombing left him with post-traumatic stress disorder and undoubtedly inspired Canticle. Now, Derek Miller wanted to explore the setting of the abbey itself, but he was having trouble deciding what story he wanted to tell. “This isn’t nonfiction,” Miller says. “I didn’t want to be an academic. I wanted to be a dramatist. And I wanted to find the story within the story that could be mine.”
The plot finally began to emerge when Miller wrote that first sentence—“Pietro Houdini claimed that life clung to him like a curse and if he could escape it he would.” Instantaneously, one of the novel’s two main characters sprang into focus. As his name implies, Houdini is a larger-than-life character who may not be what he claims to be: a “master artist and confidant of the Vatican.” “I just love big, opinionated, risk-taking, take-no-prisoners central characters,” Miller says.
“Once the name popped out,” Miller continues, “once I had Houdini and a curse, and the abbey all sort of there, I realized that interrogating the curse mattered. And I was wondering who else was there? Who was he talking to? Who would care about something like that?” Before long, Miller envisioned an orphaned 14-year-old—Massimo—whom Pietro finds lying battered and beaten in a gutter. The two walk up the hill to the abbey, setting into motion a vibrant, well-crafted tale that’s rich in history, drama, intrigue, tragedy and well-placed doses of humor—at which Miller excels. Ultimately, he has created a story about both the heroics and the horrors of war, as well as the powerful bonds that can form in the midst of calamity.
Massimo’s first-person narration convincingly guides the book, and it is framed by an introduction and conclusion written from Massimo’s adult perspective decades later. “When I’m writing,” Miller explains, “I really have no idea what’s going to happen next. I only had milestones and a chronology [of historical events] that I decided to stick to seriously, partly because I’m a scholar.” Many readers, in fact, may be reminded of Anthony Doerr’s beloved World War II novel, All the Light We Cannot See. “This is going to sound shocking,” Miller says, “but I haven’t read it yet.”
Similarly surprising comparisons were made after the publication of his award-winning novel, Norwegian by Night: People complimented him on doing such a wonderful job writing Scandinavian crime. “I said, ‘That’s interesting, I’ve never heard of it.’ I thought I was writing a story about an old Jewish guy running through the woods in Norway. But apparently, it was part of an entire genre that I was unaware of, even though I was living in Norway at the time.”
“I haven’t really written love stories as such—you know, boy-meets-girl, that kind of thing. But there is, very much with Pietro and Massimo, love.”
Both Norwegian by Night and The Curse of Pietro Houdini feature an adult and child paired as main characters. “A lot of my books are really quite multigenerational,” Miller says. “It gives me tremendous scope for wisdom, dialogue, humor, misunderstanding and competing interpretations. And it’s fun, because old people being frustrated with young people, and young people being frustrated with old people is just hilarious.”
Miller also describes the pairing as a “useful literary device,” saying, “It’s always helpful for somebody in the know to have somebody to talk to who’s not in the know for the benefit of the reader. And in my books, there’s a lot going on.” Such a marvelous embarrassment of riches is certainly the case in The Curse of Pietro Houdini, in which many of Pietro’s discussions of art, history and the war with Massimo serve as vital backstory provided in an entertaining fashion. Miller points to the power of the connection that these characters establish, saying, “Being alone and then finding someone to connect with in the midst of that loneliness is essential in the human experience. I haven’t really written love stories as such—you know, boy-meets-girl, that kind of thing. But there is, very much with Pietro and Massimo, love.”
“Writing is a full-contact blood sport,” Miller concludes. “It’s a crazy way to make a living—almost an impossible way.” He started trying his hand at fiction during a number of unscheduled months spent waiting for his Ph.D. program to begin in Switzerland, and he continued with the craft alongside his studies. He eventually published his third manuscript, Norwegian by Night, in 2008, after 12 years of writing. That book came together when he elevated Sheldon Horowitz, who had been a minor character in a draft manuscript, to a central character. He turned out to be such a wonderful personality that Miller later wrote a prequel about his childhood, the suspenseful tragicomedy How to Find Your Way in the Dark.
Now Miller is working on a book set in the late 1950s on the coast of Spain, where Salvador Dali had his house in Cadaqués. Miller and his family live about an hour south of Barcelona, after living and working in Norway for a number of years (Miller’s wife is Norwegian). “I needed a change and it’s an adventure for the kids,” he says. “Life is short, so you take some bold decisions, if you’re so inclined.”
At some point, Miller hopes to finally visit the Montecassino abbey, which has been rebuilt since the World War II bombing. He says, “My deep, deep hope is that I can get The Curse of Pietro Houdini translated into Italian and that I have an excellent reason to go.”
Read our starred review of The Curse of Pietro Houdini.
Author photo by Camilla Waszink.
“It’s kind of a whole new layer of vulnerability for me to tell all these [personal] stories,” she says, comparing her process to “taking an ice cream scoop to my insides” and revealing “those deep-down things that you don’t want to talk about and you don’t want to deal with.”
