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Behind the Book by

Jenny Tinghui Zhang, a Texas-based Chinese American writer, holds an MFA in nonfiction from the University of Wyoming, and she is now a prose editor at The Adroit Journal. Her first novel, Four Treasures of the Sky, reveals storytelling skills both vast and specific, bringing shadowy history to light while also displaying a remarkable talent for sensory detail.

Zhang was inspired to write this incredible story after receiving a request from her father, a man of boundless curiosity who has explored nearly every inch of his adopted country. Once Zhang completed the book, her father returned to the site where the novel’s finale occurs.


In 2014, my father was driving through the Pacific Northwest for work. One evening, while making his way through Idaho, he passed a small town called Pierce. His headlights caught a historical marker on the side of the road. He saw, in those lights, the words “Chinese Hanging Tree.” The marker detailed an event in 1885 when five Chinese men were hanged by white vigilantes for the alleged murder of a local white store owner.

My father carried that story with him all the way back to Texas. During one of my visits home, he told me about the marker and asked if I could write it into a story so he could figure out what really happened. His research online had yielded few results, he lamented.

I took the request as a joke. My father has always entertained many curiosities. He’s an Aquarius, a perpetual fixer, a man who reads books about the universe and math and string theory for fun. When he was a child, my father had the kind of mischievous and inquisitive energy that eventually matured into a certain genius. He refused to sit and ride the bus, preferring to hang off the back and balance on the bumper. He played clever pranks on his parents. In high school, he joined the high jump team—back when the conventional jumping form was to do so headfirst.

Read our review of ‘Four Treasures of the Sky’ by Jenny Tinghui Zhang.

When my parents immigrated to Oxford, Mississippi, for graduate school in the early 1990s, there was no room for that kind of man. They lived in a cramped one-bedroom apartment in the married graduate student housing section on the Ole Miss campus, just down the way from the fraternities. They attended classes and worked multiple jobs that paid as little as $2 an hour. And they tried to raise me. Our tenure in America and the fulfillment of their American dream—all of that would be hopeless without a job following my parents’ graduation, the responsibility for which rested on my father’s shoulders. At one point, he flew out to San Jose, California, for the trial period of a job that had the potential to turn into a permanent position. My mother and I waited in Oxford, hoping that this would be the one. He called and spoke about the weather, how the job was going, the mountains that braced the city. I was always worried he wouldn’t make it back home.

Jenny Tinghui Zhang
Jenny Tinghui Zhang

In the end, my father got that job. His company moved us to Austin, where we upgraded to a nice two-bedroom apartment right across from the Barton Creek Mall. When my mother and I visited him at his office, my father proudly showed us the break room, where we could grab handfuls of free coffee creamer and play pool. He looks unstoppable, I remember thinking as I watched my father hold court in that break room.

A few years later, that same company let my father go in a series of layoffs. I came home from school one day and was confused to see him already there. “Your dad got laid off today,” he told me, smiling wide. It was a maniacal kind of smile; there was no joy behind it. Over the next two years, my father would stay rooted at the computer, scrolling through job sites and updating his resume. When the phone rang occasionally, he would leap up to take calls from recruiters. I always felt an oppressive hope during these calls—maybe this would be the one. But things never worked out for him, whether it was because he lacked the skill set, or the English, to make the final rounds. 

With our finances and my college attendance on the line, my father accepted a job at Time Warner Cable as a field technician. He spent his days driving around Austin and climbing poles, helping old ladies with their cable boxes, fixing wires and signals. It wasn’t the job he dreamed of having with his engineering degree, but it was something.

My parents moved out of Austin years ago, but I remain here. When they come visit me, my father always speaks about the city with a familiarity that can only come from having crawled every inch of it, for better or worse. Your dad did a job there, he tells me about Montopolis, Anderson Lane, Travis Heights. The gated neighborhoods of West Austin. The now-gentrified pockets of East Austin. I wonder if he is telling me, or reminding himself. 

“His stories are not simply just thought experiments; they are reminders that no matter where he is, he is always thinking about us.”

Today my father has a different job, one that takes him all over the United States—places that most folks only ever pass through to reach their final destinations. His job is to seek out these forgotten, overlooked places in order to determine where the signal for his company’s radios falters. 

Four Treasures of the Sky

It sounds lonely and excruciating to me, and I often worry about his safety out in these primarily rural areas, but my father loves it. His job has allowed his curiosities to grow, unrestricted by the walls of a cubicle. He makes pit stops to inspect strange roadside attractions, takes pictures of the mountains in Oregon, orders beers at steakhouses in Virginia. He shares these artifacts and stories with me and my mother, leading us down long, meandering thought experiments of what really happened and wouldn’t it be funny if. When he is out there, driving through the endless fields, hills and forests, I know that there is all the room in the world for the kind of man he is, the one who was put aside in my family’s desperation for a stable foothold in America. 

It was this exploration that led him to that historical marker in Pierce. Just another pit stop. Another curiosity along the way. My father asked me to write out the story of what happened, and I did. It turned into my debut novel, Four Treasures of the Sky. I took the story he told me and worked my way backward to an imagined beginning. What I didn’t realize was that the story was not really about what happened in Pierce. It turned out to be about a girl named Daiyu who is kidnapped from her home in China and shipped across the ocean to America before making her way back home through the American West. 

This journey is not without struggle, as you can imagine. Faced with the threat of bad men and women, anti-Chinese racism and the question of fate, Daiyu pushes forward, traversing strange landscapes and lonely days. Her journey takes her to places I have never wandered, but places I imagine my father has and will. Perhaps unconsciously, I am thinking of him when I think of her.

•••

Right before the COVID-19 pandemic, my parents decided that they would start traveling more for pleasure. They went to Rome—the first trip abroad they’ve ever taken in their 30 years in America, not counting all the trips back to China to care for their parents. We were never able to travel much during the years when my father didn’t have a job, but for the first time, they could imagine Paris, London, Washington, D.C. They wanted to visit New York City, having worked there as a delivery runner and a hostess during their grad school years. This time, they would experience it as tourists, not two people trying to survive. 

When the pandemic hit, all of those dreams disappeared. Instead, my mother began accompanying my father on his work trips. It’s a good deal: When my father is done with his job assignment, he turns into a tour guide of sorts, taking my mother to the roadside attractions, national forests and waterfalls he finds on Google Maps. My mother is a good adventure partner. They wander together, propelled by my father’s curiosities.

“My father overcomes hills, skips down valleys, cuts through the trees.”

Last summer, my father got another job assignment in Bend, Oregon. My mother went with him, and after the job finished, they drove over to Idaho, to Pierce. I had begged them not to—I was afraid that they would be attacked, given what was in the news lately. But my parents went anyway. They walked through the town, all 0.82 square miles of it, and documented their journey, sending me videos and pictures of the historical markers, the inns, the fire department, the old courthouse. They walked to the woods nearby, back to the historical marker that started it all. 

In the videos, taken by my mother, my father walks ahead, charting the course for the Chinese Hanging Tree. The forest floor is lush and verdant. The pines shoot upward. My father overcomes hills, skips down valleys, cuts through the trees. He is wearing a pale blue polo and baseball cap. His hands are at his waist. When they reach the site of the hanging, my parents stop. The camera points upward, to the ceiling of branches and leaves, and what little sky can manage its way through. It catches my father in this shot: He is looking around, breathing hard.

“It’s just here,” he murmurs. There is no sentimentality in his voice, no grand gesture of reunion. Just acknowledgment and the respect of observation. The true pleasure of his exploration, I realize as I watch the video, is in sharing it with those he loves. His stories are not simply just thought experiments; they are reminders that no matter where he is, he is always thinking about us. In a way, Four Treasures of the Sky is my attempt to tell him a story, too.

The camera points back down, this time stopping at my father. “Now that we’ve seen it,” he says, “we can go.” He turns, plodding his way through the brush, making his way toward whatever curiosity comes next.

Zhang’s author photos by Mary Inhea Kang

Jenny Tinghui Zhang makes her debut with Four Treasures of the Sky, a spirited tale of Chinese calligraphy and one girl’s journey of self-acceptance in late 19th-century America, inspired by a request from her father.
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Prolific Joanna Trollope, descendent of equally prolific 19th century novelist Anthony Trollope, publishes romances in England under the pseudonym Caroline Harvey. Her U. S. popularity stems largely from Masterpiece Theatre adaptations of contemporary novels published under her own name, like The Choir and The Rector’s Wife. Banking on name recognition to reach an American market already acquainted with Trollope, Viking plans to publish Harvey novels under the Trollope name, starting with The Brass Dolphin.

Trollope sets her tale of self-discovery on rocky, history-laden Malta. Its stony heights and its peculiar mixture of middle East and Europe, of ancient and modern cultures, intensify protagonist Lila Cunningham’s internal conflicts about status, social class, and her own sense of place. A hand-forged door knocker in the form of a brass dolphin serves first as icon for the island of Malta, later as symbol for young LilaÔs discovery of her genuine self.

World War II, with its heavy Axis bombardment of this tiny English outpost, intensifies Lila’s sense of isolation and self-pity. She despairs of realizing her dream of release from a life of poverty and dutiful care of a crippled father. Trollope, who was herself born during World War II, renders the fatigue and grief of wartime experience mingled with the stuff of high romance.

Dislocated by poverty from her dream of London ( because that’s where things happen ), unhappily chained to an eccentric father she sees as worthless, Lila holds the Maltese world at arm’s lengthÐdespite the attentions of a young Maltese nationalist, Alfonso Sabila. Then she goes to work for Count Julius of Tabia Palace in the Silent City, and meets his two handsome sons, Max and Anton. Trollope knows better than to leave a plot at the level of melodrama. Her characters have intricate inner lives. She permits them slow and organic unfolding. She has the gift of making readers like an unlikeable protagonist. She does her homework, rendering her fictional worlds real, based on responsible research. She creates convincing if inconclusive endings that feel like life. In The Brass Dolphin the war itself proves a testing ground for Lila. She must come to terms with her narrow resentments, her oblique snobbery toward Maltese peasants, her desire to retreat into a sheltered world of refinement. If Lila can finally hang the dolphin knocker at her front door, readers, too, should come to a keener understanding of painful modern issues of caste and class.

Joanne Lewis Sears profiles artists for the Montecito Journal in California and writes travel articles for Senior magazine.

Prolific Joanna Trollope, descendent of equally prolific 19th century novelist Anthony Trollope, publishes romances in England under the pseudonym Caroline Harvey. Her U. S. popularity stems largely from Masterpiece Theatre adaptations of contemporary novels published under her own name, like The Choir and The Rector's…

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Mark Twain Remembers is a fictitious account of a major American literary figure looking back at an incident which changed his life forever. It is a novel, but — as would be any book attempting to be a speculative biography — it is also opinionated. A substantial portion of the book and at least two complete chapters are devoted almost solely to the themes of slavery and God. The novel begins with Twain speculating about who will win a major boxing match after the turn of the century: A black man, or a white man. Twain is not sure who he hopes will win and it brings back the memory of a former slave. Twain then tells about himself, what the world was like when he was born, and the experiences that made him the man he is (although fictional in this particular case).

Mark Twain Remembers follows the adventures of Twain from a man who has never shaken hands with a black man to a man who owns one. Twain wins a slave in a poker game for the single purpose of setting him free, but the black man won’t take his freedom out of fear of what such freedom means. A friendship develops, and a lot of understanding as well.

If one has followed the unfair remarks against Mark Twain over the years, regarding his literary portrayals of minority characters set in the late 1800s (some people even suggesting that his books be banned from schools), one cannot help but think that Thomas Hauser wrote this novel in response to those allegations of prejudice. "To arrive at a just estimate of a man’s character, one must judge him by the standards of his time," Hauser writes in the voice of Twain. Mark Twain wrote America as he saw it then. The novel implies that if Twain wrote today, his subject matter would be different. The caricatures would probably be much worse, but we wouldn’t see it.

Clay Stafford is a writer and filmmaker.

Mark Twain Remembers is a fictitious account of a major American literary figure looking back at an incident which changed his life forever. It is a novel, but -- as would be any book attempting to be a speculative biography -- it is also opinionated.…

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Jenny Tinghui Zhang’s spirited first novel, Four Treasures of the Sky, follows a girl’s epic three-year journey from her provincial home in northern China to San Francisco’s Chinatown and then to the mountains of Idaho.

Born in the late 19th century, Daiyu is named for a mythological beauty who dies tragically when her lover is forced to marry another. Throughout her story, Daiyu struggles to overcome her namesake’s fatalism and discover a more purposeful, loving self. She must also cope with the poverty and prejudice that shape her daily existence.

After her parents abruptly disappear and her doting grandmother can no longer support her, 13-year-old Daiyu is sent to the city to fend for herself. She assumes the identity of a young boy, naming herself Feng, and scavenges for food and odd jobs. Eventually she is taken in by a calligraphy master, who teaches her the discipline of ink brush, ink stick, paper and inkstone—the Four Treasures of the Study, which are mirrored in the novel’s four main sections. The practice of calligraphy continues to inform Daiyu throughout her perilous journey, and a recurring pleasure of the novel is Daiyu’s meditations on the shape and meaning of Chinese ideograms as they apply to circumstances in her life.

Author Jenny Tinghui Zhang shares how her father’s spirit of exploration inspired this artfully crafted first novel.

In a food market one day, Daiyu is kidnapped. When the kidnapper discovers Daiyu’s female identity, he hides her in a barrel and ships her to a brothel in San Francisco’s Chinatown. The descriptions of this trip are terrifying. Equally as visceral are Zhang’s depictions of brothel life: the food, the feel of the rooms, the rivalries and friendships of the prostitutes, the subterfuges and cruel economics that make these places possible. In these moments, the author’s skill for sensory detail shines.

The brothel is the first place Daiyu comes face-to-face with American anti-immigrant racism. Recent laws have forbidden Chinese women from being admitted to the country, while male laborers are still allowed in, so a secret trade of trafficking young girls has emerged. Daiyu is eventually able to escape and, disguised as a boy once again, travels to Pierce, Idaho, where a coal-mining boom has attracted Chinese miners. There the novel comes to its startling conclusion.

Though Daiyu’s story is shaped by true historical inequities, Four Treasures of the Sky comes to life through her journey to self-discovery and self-acceptance.

Jenny Tinghui Zhang’s spirited first novel brings history to light through the story of a girl’s journey to self-discovery and self-acceptance.
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Australian author Colleen McCullough is probably best known for her beloved bestseller, The Thorn Birds. But in the years since the release of that brilliant work, McCullough has concentrated on other topics, mainly her epic series, The Masters of Rome. Now, in her latest, Morgan’s Run, McCullough returns to her beloved down-under to tell the story of that nation’s birth.

At the center of this powerful narrative is the gentle Richard Morgan. The son of an English tavern-keeper, Morgan is a hard working and devoted son, husband, and father. However, after the devastating deaths of his wife and son, Morgan falls in with unsavory company and finds himself the victim of an elaborate set-up. He ends up a convict in some of England’s worst prisons.

By chance, he is chosen to board the infamous First Fleet, which transported over 500 males and over 100 females from England to the mysterious Botany Bay at the end of the 18th century. But this was not a pleasure cruise. After spending many anguishing months aboard the filthy prison vessels, Morgan and his fellow inmates found their worst nightmares were just beginning: they were expected to civilize the hostile land.

A man of quiet strength and strong moral convictions, Richard Morgan is one of Colleen McCullough’s most compelling characters. He stands out among the rest of the convicts due to his keen intelligence, common sense, and gentle willingness to help others. Throughout his trials and tribulations, Morgan remains dignified, even in horrible situations that would have broken a lesser man. In Morgan’s Run, McCullough has created an epic drama rivaled only by her own bestsellers. But she has also interwoven throughout the story a detailed and precise history of life in England during the American Revolution, as well as the beginnings of the foundling nation of Australia. And, amazingly enough, though much of the book dwells on the hardships endured by Morgan, there are also moments of joy and beauty. Romance can be found in the oddest places, and McCullough includes moments of passion among the grief and heartaches of life. In her author’s notes, McCullough explains that the real Richard Morgan is the four-times great-grandfather of her husband, and that she found his story fascinating. Readers will find themselves agreeing with her, as they follow his unforgettable journey in Morgan’s Run.

Sharon Galligar Chance is the senior book reviewer for the Times Record News in Wichita Falls, Texas.

Australian author Colleen McCullough is probably best known for her beloved bestseller, The Thorn Birds. But in the years since the release of that brilliant work, McCullough has concentrated on other topics, mainly her epic series, The Masters of Rome. Now, in her latest, Morgan's…
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If you’re looking for a sweet, nostalgic Regency romance—all stately ballrooms, gallant suitors and sparkling repartee over tea with tiny sandwiches—keep looking. There’s nothing prim or proper about Lex Croucher’s dazzling debut novel, Reputation, which is so boldly, audaciously modern in its portrayal of 19th-century mean-girl culture that I kept waiting for someone to inform the heroine that on Wednesdays, they wear pink.

Georgiana Ellers is eager to find a society as exciting and glamorous as her favorite books, but her expectations are low. With neither money nor connections, her social opportunities are limited to what her aunt and uncle can provide, and their idea of excitement differs dramatically from hers. She is suffering through a dreadful party with bad lighting, worse punch and dismal company when in steps Frances Campbell. From that moment, nothing is ever dull again.

Frances is so sparkling, so vibrant and lively and witty and daring, that readers will be forgiven for thinking that she’s Georgiana’s love interest. Certainly, Georgiana is instantly smitten. Croucher understands the fierce, passionate crushes girls have on their friends—the yearning to be in another person’s orbit, to have them think of you as clever and charming. Romantic attachment makes the heart beat faster, but friendships burrow deeper under the skin; you feel them all the way to your bones. And that’s ordinary friendship. Frances is anything but ordinary. In addition to the giddy pleasure of her company, she exposes Georgiana to a world of fantastic wealth, endless indulgence and absolute debauchery. It’s fun, it’s dizzying, it’s literally intoxicating—and it’s very, very dangerous.

There’s bigotry—heaps of it, ranging from racism to chauvinism to classism to homophobia. There’s relentless mockery of any easy target, even within the “in” group. There’s peer pressure, slut-shaming and marriages so toxic that you wonder how they ever managed to reproduce. There’s an intense attempted rape depicted on the page and the heartbreaking aftermath of another assault. But for all that, Reputation is far from a dark story. While the book doesn’t shy away from the messier aspects of high-society life, it’s also filled with humor and charm, often via Georgiana, who is a refreshingly funny and frank protagonist. Her relationships are deep and complex, beautifully developed and sometimes shockingly sweet. And while a large portion of the story focuses on Georgiana’s feelings for her newfound friends, Croucher also weaves in a romance that provides a lovely contrast. Where Frances and her friends are wild, Thomas Hawksley is calm. Where they are spontaneous, he is deliberate. And where they bring out the worst in Georgiana, he brings out the best.

Reputation is not always an easy read, but it’s a vivid and fascinating one. And it’s definitely not quaint.

Reputation is not always an easy read, but author Lex Croucher’s take on the Regency period is vivid, fascinating and the opposite of quaint.
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There’s nothing better than settling down to read a novel and immediately sensing that you’re in the hands of a gifted storyteller. Such is the feeling from the first pages of Dolen Perkins-Valdez’s illuminating third novel, Take My Hand, which was inspired by a 1973 lawsuit involving Minnie Lee and Mary Alice Relf, 12- and 14-year-old sisters who were sterilized without consent in Montgomery, Alabama. Their horrific, groundbreaking case eventually shed light on thousands of other impoverished, primarily Black girls and women who had been sterilized across the country under federally funded programs.

Perkins-Valdez fictionalizes this injustice through the narration of Civil Townsend, a 23-year-old Black woman who begins her first nursing job at the Montgomery Family Planning Clinic in 1973. Alternating between these memories and her present in 2016, Civil describes her privileged, educated upbringing in Montgomery, calling herself “five foot five inches of know-it-all.”

Civil’s boss, the clinic’s white director, assigns her to give birth control shots to 11- and 13-year-old India and Erica Williams, who live with their father and grandmother in a dirt-floor, one-room cabin. Perkins-Valdez describes Civil’s first visit to the cabin in visceral detail, as Civil fights off nausea at the stench and horror at the filth. Civil wants to help the family, who are grieving the loss of the girls’ mother to cancer and wrestling with India’s inability to speak, but she struggles with her role in overseeing the girls’ reproductive health: India and Erica aren’t sexually active, and the shots haven’t been proven to be safe.

In 2016, Civil is a doctor in Memphis on the eve of retirement, and she returns to Alabama to try to make peace with the ghosts of her past. This modern-day perspective deepens the novel, adding layers of context while contrasting young Civil’s youthful exuberance and confusion with her older, wiser, sharply honed ruminations. “I understood how a person could get so caught up in doing good that they forgot that the people they served had lives of their own,” she muses.

As reproductive rights continue to be at risk, Take My Hand could hardly be more timely. Perkins-Valdez offers an intriguing, detailed look at the way the government deals with such cases, with appearances by Senator Ted Kennedy, who establishes a committee “to investigate federal oversight of healthcare-related abuses,” and Caspar Weinberger, secretary of the Department of Health, Education and Welfare. Perkins-Valdez’s fictional characters are well rounded, although hints at romance between Civil and the sisters’ father seem somewhat contrived.

With plenty to ponder and discuss, this gripping story is particularly well suited for book clubs. Take My Hand tackles a variety of issues related to race, poverty, class and women’s rights while presenting a memorable, astute examination of boundaries: moral, personal, professional and governmental. It’s a challenging, enlightening novel that will stay with readers.

Dolen Perkins-Valdez’s illuminating third novel was inspired by a 1973 lawsuit involving sisters who were sterilized without consent in Montgomery, Alabama.
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As she has consistently proven in historical novels such as The Alice Network and The Rose Code, Kate Quinn is a master at crafting an intoxicating, well-balanced blend of immersive period details and deft character work. With The Diamond Eye, she returns to the fertile storytelling terrain of World War II for a tale inspired by the extraordinary life of Russian sniper Lyudmila “Mila” Pavlichenko, known as “Lady Death.”

Mila becomes a mother at 15; six years later, amid an impending divorce, she promises her son that she’ll teach him to shoot. In between working on her dissertation at Kiev University and raising Alexei, she finds that she’s brilliant with a rifle. When the Nazis invade the Soviet Union, her elite skill becomes a key asset in the Red Army’s fight to defend the motherland. Mila sets off for war and marches into her own legend.

In each of her novels, Quinn displays an innate awareness of how history can be warped by time and power. In The Diamond Eye, we don’t just follow Mila’s journey into war; we see her actions in sharp contrast to what the Soviet government will later say she’s done. Mila’s perceptions of events are shown in relief to those of the men around her, and even to the perceptions of the American public, thanks to a 1942 press tour hosted by first lady Eleanor Roosevelt. That press tour forms the novel’s narrative spine, unfolding in sections that alternate with Mila’s larger wartime odyssey. This structure steadily ratchets up the suspense as it becomes clear that Mila is not as welcome in the U.S. as she was led to believe.

The Diamond Eye is a remarkable combination of immersive wartime storytelling, rich detailing and wonderful pacing. What really makes The Diamond Eye land, though, goes beyond Quinn’s mastery of her chosen genre. This is, first and foremost, an exceptional character piece, a study of a woman who is a killer, a mother, a lover and, above all else, a survivor.

Kate Quinn’s track record for delivering captivating historical fiction continues with the remarkable story of the notorious Russian sniper known as Lady Death.
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Review By Sharon Galligar Chance Noted African-American author Connie Briscoe remembers as a child seeing two portraits of very light-complexioned women on her grandmother’s bureau and asking who the two white women were. She was told they were her great-great grandmother and great-great aunt. And they weren’t white ; both had been slaves up until the end of the Civil War. Being naturally curious, Briscoe set out to uncover the family history. From this research came A Long Way from Home. This emotional narrative is a multi-generational story of slavery, freedom, and the unbreakable bonds of family, as told through three unforgettable women. A Long Way from Home recounts the lives of Susie, her daughter Clara, and her granddaughter Susan. Born and raised as privileged house slaves on Montpelier, the Virginia plantation of President James Madison and his wife Dolley Madison, these women are united by love, a fierce devotion to each other, and, ultimately, a desire for freedom. For Susie, life holds no promise beyond the plantation. As a personal maid to Miss Dolley, she is content. Daughter Clara, however, longs to control her own destiny despite her mother’s words of caution: . . . You don’t know a thing about freedom, ’cause I don’t know anything about it. It takes money and know-how to live free. You don’t just up and do it. Life changes for both women with the death of James Madison and the departure of his wife for her town house. As a result of neglectful management, the plantation eventually falls to a series of owners, each posing a new threat to Susie and Clara and the other longtime Madison slaves. ÊAmid these devastating changes, Clara grows to womanhood and becomes a mother herself, giving birth to two light-skinned daughters, one of whom is Susan. She never reveals the identity of the girls’ white father, and raises them as slaves. Yet the threat of separation is forever lurking, becoming a terrible reality when the younger daughter, Susan, is sold to a wealthy businessman in Richmond. She must create a new life, and it’s in Civil War-torn Richmond that she finds love and the long-held dream of freedom. Briscoe vividly recreates her family’s history with dignity and honesty. This passionate tale pays homage to the African-American experience during the 1800s and to the ancestors, both black and white, whose lives and histories became forever entwined.

Sharon Galligar Chance is the senior book reviewer for the Times Record News in Wichita Falls, Texas.

Review By Sharon Galligar Chance Noted African-American author Connie Briscoe remembers as a child seeing two portraits of very light-complexioned women on her grandmother's bureau and asking who the two white women were. She was told they were her great-great grandmother and great-great aunt. And…

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1943 and all that The British long have boasted that their island nation has not been invaded by a foreign power in nearly a thousand years, not since William the Conqueror’s little expedition in 1066. It’s a pretty boast, and it’s almost true. They tend to overlook that Germany invaded the Channel Islands, off the coast of France, in 1940 and occupied them throughout World War II.

The story of the occupation has been told before, most succinctly in Alan and Mary Wood’s Islands in Danger. But that was historical fact. Tim Binding now tells it in historical fiction in Lying with the Enemy (Carroll and Graf, $24, 0786706570), a novel set on Guernsey in 1943 that combines war story and whodunit to thumping great effect.

There are understandable reasons for shoving aside the inconvenient fact of occupation, because it brings in its train the embarrassing issues of capitulation and, especially, collaboration. The embarrassment was as true then as today. For what were they now? What identity did they possess? thinks Ned Luscombe, Guernsey’s unwilling police-inspector-by-default. England kept quiet about the Channel Islands as if she were punishing the islands for letting the side down. Collaboration is the subject of Lying with the Enemy (seemingly expressed in the possible double meaning of the title, though the British title was Island Madness). Are you a traitor, the story implicitly asks, if you work for the occupiers in order to support your family? Are you more of a traitor if you’re a businessman whose enterprise supplies the work? Are you a greater traitor still if you operate, or buy from, a black market when people are on near-starvation rations? The story asks these questions not because the author has the answers or even necessarily believes in the concept of treason but because the questions are always on the minds of the populace.

Conquerors and conquered manage to get on, sometimes swimmingly. Marjorie Hallivand, doyenne of Guernsey’s pre-war smart set, is exhilarated by the war and the German officers, especially Major Lentsch, the island’s commandant: They were of the same class, after all. Even those not of the island’s petty aristocracy, like Veronica Vaudin, find it advantageous to be pliant. What surprised these men, still dressed in their once-feared uniforms, was how quickly the women had embraced their way of life. The sharpest expression of the collaboration is the relationship of Guernsey women to the German men. War in an insular backwater apparently having inflamed both the island’s inhabitants and the author’s imagination, there is copulation on a wholesale scale, though its distribution as always, whether in war or peace is unequal. Luscombe and Lentsch, however, have equally shared the favors of Isobel van Dielen, though at different times. Isobel is the daughter of a wealthy, widowed contractor who is helping the Germans with a monstrous construction project being built by 16,000 slave laborers, known as foreigns, who toil in brutish conditions, ignored by the islanders. Luscombe and Lentsch are enemies in love and war, until Isobel turns up dead, her mouth and nose filled with cement. Her death and the search for her killer bring them gradually closer together, though Luscombe initially suspects that Lentsch had something to do with the murder. Here the novel’s tight construction tightens still further, as it screws itself up to rush down the multiplying dark avenues of a proper and highly satisfying murder mystery. Why has Isobel’s father disappeared? Did he kill her, as many islanders believe? Was the charming and cruel Captain Zepernick, who likes to romp au naturel through the Victor Hugo house with Veronica, involved in some way? Or was Isobel killed by one of the foreigns? The murderer and motive, revealed at the very end, are more banal than anything suggested by those possibilities. By that time we have learned of the fundamental decency of Lentsch and of the supposedly sluttish Veronica.

We also learn that much of this activity has been driven behind the scenes by a possible visit to the island by Hitler, to whom, throughout the story, the author refers in capitals He, Him, His like a deity. Germany was His after all, like the world is God’s, and who knows? maybe the future will wipe out the distinction.

But by that point in history such a consummation was not in the cards, however devoutly some Germans and some others wished it. Ah, war who the enemy, who the friend? Is collaboration treason? It depends.

Roger K. Miller is a freelance writer in Wisconsin.

1943 and all that The British long have boasted that their island nation has not been invaded by a foreign power in nearly a thousand years, not since William the Conqueror's little expedition in 1066. It's a pretty boast, and it's almost true. They tend…

Even aside from Sylvia Plath’s literary output, there’s always been intense interest in the writer’s short, tragic life, which ended in 1963 with her suicide at age 30. Debut novelist Lee Kravetz’s The Last Confessions of Sylvia P. is a fascinating fictional re-creation of Plath’s final decade, a paean to the allure of poetry and an investigation of the mysterious sources of literary inspiration, as told by three women close to Plath.

When Plath enters the coveted Boston poetry workshop run by famed poet Robert Lowell, her arrival ignites the professional and personal jealousy of Agatha Gray, a contemporary who publishes under the pseudonym Boston Rhodes. Plath is the Mozart to Rhodes’ Antonio Salieri, “a success in all the ways I was not,” as Rhodes bitterly summarizes it. As she describes in a lengthy, anguished letter to Lowell, Rhodes is convinced that Plath is the only thing standing between her and the status of “Major Voice” in the confessional poetry movement emerging in the 1950s.

Estee, a master curator at a struggling Boston auction house, also has her own personal connection to Plath’s story. In 2019, three spiral notebooks containing a previously unknown draft of Plath’s posthumous semi-autobiographical novel, The Bell Jar, are discovered in the attic of an abandoned home. As Estee supervises the sale of the notebooks in her final auction before retirement, she wrestles with her misgivings about allowing this literary treasure to pass into private hands.

In addition to the voices of these fictional characters, Kravetz introduces Ruth Barnhouse, the real-life psychiatrist at McLean Hospital in Massachusetts who treated Plath with several unconventional therapies following the poet’s first attempted suicide in 1953. Ruth describes her difficult work with Plath’s persistent depression in a series of candid journal entries: “Miss Plath is no longer chasing literary prizes, top marks, or perfection,” she writes. “I fear she is chasing death itself.”

Rotating between the three voices, Kravetz skillfully orchestrates a chorus of regret and longing that swirls around Plath. The women, each of whom has been touched by Plath in markedly different ways, try to make sense of their lives and their relationship to hers. Into this narrative Kravetz cleverly inserts a subplot that pursues the mystery of how Plath’s notebooks fall into the hands of a pair of aliterate Boston house flippers. The Last Confessions of Sylvia P. will intrigue admirers of Plath’s work and likely introduce her to a new group of readers.

Lee Kravetz’s novel is a fascinating fictional re-creation of Sylvia Plath’s final decade and a paean to the allure of poetry.
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In pop culture, the women of the French Resistance often look as though they are poised to step onto a Chanel runway once they dispatch their current obligations. Think Ingrid Bergman in Casablanca or pop artist Roy Lichtenstein’s beret-clad cartoon sharpshooter, crying out, “Now, mes petites . . . pour la France!” Our war heroines are often portrayed as beautiful, camera-ready and hypercompetent—but available for rescue by our heroes.

In the cinematic sweep of Sisters of Night and Fog, Erika Robuck artfully upends this trope. Although Violette Szabo and Virginia d’Albert-Lake fill central casting’s ideal of la femme de la résistance, they come across as actual people. Because they were.

During her meticulous research for The Invisible Woman, her World War II-era novel about Allied spy Virginia Hall, Robuck encountered stories about Szabo and d’Albert-Lake. She initially intended them to be characters in the earlier book, then realized that each woman’s story needed more space, so a trilogy was planned. But when Robuck discovered that the arcs of Szabo and d’Albert-Lake intersected in an almost miraculous way, this novel was born.

In many ways, the structure of Sisters of Night and Fog parallels the narrative arc of Roberto Benigni’s 1997 Academy Award-winning film, Life Is Beautiful. When war breaks out, there are rumblings and stirrings, inconveniences and portents. Then, as the monster draws nearer, life takes a quantum leap into something worse but still bearable. In one scene, a woman who houses Violette in Rouen reacts with Gallic stoicism to a pre-bombing leaflet warning her to leave the city: “Petite, I’ve lived seventy years, through two wars. If I go out in a blast, that’s how I go.”

Violette and Virginia are not so lucky as that. They both fall into the hands of the Nazis and are moved from jail to concentration camp. Survival is a minute-by-minute endurance test, and Robuck wrings out every sweat-laden drop of emotion from their plight. You can almost feel your stomach growl when she describes the half-pint of thin rhubarb soup allotted to the prisoners each day. Horror pervades every corner of the camps, yet Robuck manages to keep humanity’s candle flickering at the gates of hell.

Violette and Virginia are two women whose stories needed to be told, particularly now that most of the people who fought in WWII are gone. Robuck has done their memory great honor.

The stories of real-life French Resistance fighters Violette Szabo and Virginia d’Albert-Lake needed to be told. Erika Robuck has done their memory great honor.
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Several years ago, in Ford’s Theatre Museum in Washington, D.C., I found myself staring at the Deringer pistol that John Wilkes Booth used to assassinate President Abraham Lincoln. I stood there, transfixed, amazed that this small, surprisingly delicate and decorative weapon could change the course of American history. I felt similarly mesmerized as I devoured the 480 pages of Karen Joy Fowler’s triumph of a historical novel, Booth. I was torn by conflicting urges: to race ahead to see what happens next, or to read slowly and savor Fowler’s exquisite language and fascinating rendering of the various members of this legendary American family.

Many readers will begin Booth with the basic knowledge that John Wilkes Booth came from a famous theatrical family, but it’s unlikely that they’ll know just how celebrated and fascinating the Booths were, or that their lives were full of drama well before John Wilkes picked up that pistol. Think of Louisa May Alcott and her storied New England upbringing, and then pivot to something darker.

Fowler has previously written several short stories about the Booths and explains in an author’s note that she decided to write about them in novel form “during one of our American spates of horrific mass shootings.” She wondered about “their own culpability, all the if-onlys” and “what happens to love when the person you love is a monster.”

The Booths’ lives play out on their 150 acres of farmland in Bel Air, Maryland, in a mixture of 19th-century horror and family drama. John Wilkes was born in 1838, the ninth of 10 children, four of whom would die before reaching adulthood. They faced poverty, hunger and disease while patriarch Junius Booth, a famous Shakespearian actor, was on tour much of the year. He was an alcoholic with deep, dark secrets, which Fowler hints at with one simple sentence early on: “A secret family moves into the secret cabin.”

The story is told primarily by three of John Wilkes’ siblings—Rosalie, Edwin and Asia—all of whom are equally fascinating and well voiced. Early scenes narrated by Rosalie are particularly powerful and memorable. Fowler includes short passages about Lincoln and his family, ratcheting up the tension of what’s to come. With a master’s touch, she also incorporates vital depictions of racism through the lives of an enslaved family that works on the Booth farm, and shows how the issue of enslavement divides the Booth family through the years.

Like the very best historical novels, Booth is a literary feast, offering much more than a riveting story and richly drawn characters. It offers a wealth of commentary about not only our past but also where we are today, and where we may be headed.

Karen Joy Fowler discusses the literary and political inspiration behind ‘Booth,’ her wholly original American history novel.

Karen Joy Fowler’s Booth is a triumph in its fascinating rendering of a legendary American family.

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