For nearly two decades, Jerome Groopman has been writing for The New York Review of Books about all matters medical. In our latest issue, he reviews Andrew Leland’s memoir, which recounts the writer’s experiences as his eyesight declined. “The history of blindness is marked by humiliation and exploitation,” Groopman writes, but also by “liberation, epitomized by the development […]
A Woman’s Persuasion follows a young heiress as she breaks away from her father’s expectations, seeking true love and independence amidst the challenges of family dynamics and societal norms. What was the inspiration for the setup of your story?
This book is a careful chapter-by-chapter modern translation of Jane Austen’s Persuasion. I was sitting in a lecture at a conference for the Jane Austen Society of North America, listening to the speaker and audience members talk about adaptions, and how many different adaptations there are for Pride and Prejudice. Someone said that Persuasion doesn’t get adapted much, because it just isn’t as relatable nowadays. I was sitting in the back row, thinking, “Oh yes it is! You just have to have the stakes right.”
I got home, pulled out my Complete Works of Jane Austen, and read through Persuasion. And I was convinced I was right. If Captain Wentworth was another woman, and the year is 2007, the family is going to have objections. A family objecting to the person you fall in love with is a familiar story to many, many people. I did trade racism for classism in the case of Aunt Hayter. And instead of vague observations about Anne’s complexion in the original story, I used weight as a modern-day obsession over appearance.
Can you share insights into your process for developing the complex family dynamics and societal settings in the story?
The complex family dynamics are in Jane Austen’s original. Writing this story was to prove a point: that Persuasion is every bit as timeless as Pride and Prejudice, and to do that I wanted to change as little as possible. At the very beginning, establishing Sir Walter’s vain character, the original talks about a book called The Baronetage. I used Who’s Who in America. It worked exactly the same way.
The process was pretty simple. I had the road map right in front of me: I would read a chapter, think it over, cackle a little, and start typing. Sometimes it came very quickly. The story starts in New York, instead of England. In the original, the family has to “retrench” because of irresponsible spending. In my version, I set it in 2007 during the financial crisis of 2007-2008: a whole lot of financiers went down in flames; same economic crisis where a family has to figure out what they’re going to do.
Sometimes, for the settings, I had to think a little longer about what I was going to use as the modern American substitute. I’ve been to Rhode Island many times, it was easy to use that for Regis-Lyme. It took me a while to realize that, instead of finding an American naval base so that the story continued where it made sense to have a Navy captain, what I needed to do was change military branches. I lived in Dayton for 20 years, home from Wright-Patterson Air Force Base. Now I can go back to writing about what I know. Always write about what you know.
What challenges did you face in making Anne a relatable character to readers from various backgrounds?
I know not everyone relates to Anne. Heck, the recent TV movie of Persuasion that has gotten a ton of flack for being a poor adaptation – it looks to me like the writers could not relate to Anne, so they tried to turn her into a spunky Elizabeth Bennet kind of character. If you can’t relate to the characters, why are you making an adaptation of that story…?
I use weight as a way to talk about being unhappy – with life, with yourself. When Anne decides she doesn’t like what she sees in the mirror, and decides to start the fight to feel better about herself, it’s a battle everyone, from all sorts of backgrounds, faces. It’s never an easy battle. I’ve had people say the issue was triggering for them, and my book hit way, way too close to home. I was sorry to cause pain, but I am not sorry that I spoke the truth so accurately. And weight is just a metaphor (albeit one that so many of us in the post-Covid years can relate to). There are so many ways we can look in the mirror, and say, “I don’t like what I see. It’s time to change that.”
It’s part of the power of Jane Austen’s writing – she writes about the human condition. All sorts of backgrounds can relate to love, pain, screwy family dynamics, and choices you wish you could unchoose.
What is the next book that you are working on and when will it be available?
Sadly, at the moment my writing is a bit stalled. I have filed for divorce, I am simultaneously job hunting and getting ready to put a house on the market. I started no fewer than FIVE books in 2022, and did no fiction writing in 2023 (I teach historical dancing – including Regency dances, of course – and I have a 9-volume series on historical dance that is in search of a publisher). But I miss writing terribly, and I need to get back to it when my life settles down! There are characters beating on the inside of my head, demanding to get out.
Searching for Zen follows a young boy from Earth who is given a divine destiny and the chance to impact civilization if he confronts humanity’s dark side and discovers the meaning of love. What was the inspiration for the setup of your story?
A long time ago, I lost someone and decided to drive across Canada alone. I felt like my life was all but over. I felt like I had wasted all my potential and listened to Beck’s Sea Change for the first 20 hours. After a while, I needed to change my mindset, so I decided to tell myself a story to help change my mindset. I needed to remind myself what I felt was most important. The story, of course, has changed a lot in the past 20 years.
Zen goes through many changes and challenges, shaping who he becomes. A lot of time was spent crafting the character traits in this novel. What was the most important factor for you to get right in your characters?
I was hoping you feel him being lost. So all his powers and potential are not what is really important, but finding a family and love was what was most important. Maybe just me, but I think it’s finding those connections that really matter in life.
What were some themes that were important for you to explore in this book?
I feel like the current situation of our world is darker than it has been since I’ve been alive, and many feel lost. I just wanted to be a small voice to remind people what is important.
Will there be a follow-up novel to this story? If so, what aspects of the story will the next book cover?
I have 6 other stories or books, but I do have a plan for 2 more books for Zen. The next might be Zen headed to the spiritual realm and look into that. I don’t see my story as a spiritual one really, but I do think faith is important. I like leaving that open to interpretation, but I was trying to blend a more modern take on fantasy religion or faith.
In Murder Under Redwood Moon, a young woman’s peaceful existence in the mountains is disrupted by cryptic visions. paranormal activity, and a series of murders. Where did the idea for this novel come from?
First, I have always LOVED the witch theme. As a child, I loved the good witches – Glinda (Wizard of Oz), Mrs. Piggle Wiggle (my fav book) and Samantha Stevens from Bewitched. As a late teen and adult, I relished in the wickedness of horror and the evil witch. When I found the Suspiria (remake) and Eggers – The Witch a few years back, it brought my fascination with this genre present. Cannot forget Melisandre, though really, she falls into a category all her own! Nevertheless, with a background in Holistic Theology, it piqued my interest in studying Celtic Paganism, and I was pleasantly surprised to find quite a reverence for the culture/philosophy. That brought me full circle to the good witch aspect.
Second, I have long been fascinated by True Crime, specifically serial killers. For the true crime reader, there is a combination of Easter eggs within the book. I invite the wise ones to figure that out.
Finally, though I find evil characteristics intriguing, I am an optimist at heart. So, I wanted this spooky, scary sense to the book, but also wanted it light.
Quite a contraindication of thoughts, but, yes…that was my train of thought.
I find the world you created in this novel brimming with possibilities. Where did the inspiration for the setting come from, and how did it change as you were writing?
I lived in the Santa Cruz Mountains for about seven years, and in Santa Cruz County for a combined total of about thirty years. Just before the ease of the cell phone came out, my friends and I dreaded heading into the mountains lest our cars break down or run out of gas. Remember – I thrived on horror movies at that time as well – ha! So, there’s always been this spooky reverence as to what mystique existed amongst the trees. Like a wild animal – you admire it but wonder if it could break free and eat you.
Also, to begin the story, I just envisioned the beauty of the great horned owl amongst the redwoods – something I would see quite often – and the story bloomed, page by page.
What was your favorite character to write for and why?
I loved Auntie–her endearing quirk and ditzy-ness. And I loved the Sheriff–the dry reality that he inhabits, yet aware of the mystical. Arista is the upbeat person I wish I could have been at her age. Really, there is a bit of me in each of my characters. Even for the killer, my Editor helped me tap into my intolerant side. That, plus my awareness of the vileness of a serial killer and how they must view the world.
I feel that Murder Under Redwood Moon has all the makings of a first installment in a fascinating series. Do you have plans for a second book?
Murder Under Redwood Moon is Book 1 of the Murder, Tea & Crystals Trilogy. Book 2 – Moonset on Desert Sands – is under contract and in the final editing stage – to be released in March 2025. Book 3 is unnamed, yet almost complete.
Joseph’s Coat, by Vastine Bondurant, opens with a captivating scene that immediately immerses readers into the heart of a 1920s New York setting, replete with love, loss, and mystery. This supernatural drama unfolds around the lives of Kate and her husband, Giovanni, whose deep passion for each other is shadowed by a recent, devastating loss. Their hope to find solace by adopting a boy from a local orphanage soon encounters the twists typical of an enthralling mystery, as hidden secrets begin to surface, threatening to unravel their lives.
The novel contrasts the intimate, sometimes erotic life of the couple with the broader backdrop of the Catholic Church. In a modern literary landscape, it is refreshing to encounter characters like the priests and nuns in this story—flawed, yet fundamentally benevolent, striving to live by their faith.
Vastine Bondurant excels in narrative delivery, employing a mix of engaging dialogue and prose to weave the present with the past. Her transition from realism into the paranormal is skillfully executed, and while the prose occasionally embraces the familiar, it generally maintains a vibrant, original flair. The descriptions are richly drawn, effectively capturing the emotional landscape of the characters, as seen in passages like, “Kate’s resolve, the reason she had come, suddenly melted, drizzling into a pool of doubt at her feet.”
The research behind this novel is evident, providing a detailed and authentic glimpse into the era. The linguistic nuances, particularly the Irish and Italian accents, enrich the narrative, adding a layer of lyricism and enhancing the atmospheric quality of the setting. Joseph’s Coat is a compelling paranormal story marked by its atmospheric depth and memorable characters whose journeys resonate well beyond the final page.
Joyce Yarrow’s novel Stolen Lives, the second installment in the Zahara series, deftly combines historical intrigue with supernatural elements to create a compelling narrative. The protagonist, Alienor, is not only a journalist but also a psychic, gifted with the ability to witness past events through the eyes of her female ancestors. This unique ability embroils her in a dangerous quest to uncover the fate of family members lost under Spain’s Francoist regime and to reunite mothers with children forcibly taken at birth. As the story unfolds, Alienor’s connection to her ancestors deepens, leading her to the discovery of distant relatives and putting her in the crosshairs of unknown adversaries. Her psychic journey also uncovers a trove of stolen gold coins, bringing peril to those she holds dear. This raises a poignant question: Are some stories too perilous to pursue?
Stolen Lives is a masterful blend of suspense and drama, characterized by its fast pace and the seamless integration of multiple timelines and hidden secrets. Yarrow’s narrative prowess is evident in her creation of robust, stubborn characters who are willing to challenge limits to seek justice. While the use of foreign terms occasionally challenges the reader, it ultimately enriches the authenticity and depth of the setting. The novel culminates in a satisfying resolution, providing relief after a series of intense, disheartening events.
For readers drawn to historically rich thrillers that boast engaging dialogue and resilient characters, the Zahara series promises to be a rewarding experience. The author’s notable work captivates and educates, leaving a lasting impression with its intricate storytelling and vivid characterizations.
Joyce Yarrow’s Stolen Lives is a testament to the power of historical narratives woven with supernatural flair. Through its intricate plot and dynamic characters, the novel not only entertains but also invites readers to ponder the ethical implications of delving into painful pasts. This balance of thrill and thought makes the Zahara series a valuable addition to the shelves of those who appreciate thrillers enriched with history and heart.
To provide the best experiences, we use technologies like cookies to store and/or access device information. Consenting to these technologies will allow us to process data such as browsing behavior or unique IDs on this site. Not consenting or withdrawing consent, may adversely affect certain features and functions.
Functional
Always active
The technical storage or access is strictly necessary for the legitimate purpose of enabling the use of a specific service explicitly requested by the subscriber or user, or for the sole purpose of carrying out the transmission of a communication over an electronic communications network.
Preferences
The technical storage or access is necessary for the legitimate purpose of storing preferences that are not requested by the subscriber or user.
Statistics
The technical storage or access that is used exclusively for statistical purposes.The technical storage or access that is used exclusively for anonymous statistical purposes. Without a subpoena, voluntary compliance on the part of your Internet Service Provider, or additional records from a third party, information stored or retrieved for this purpose alone cannot usually be used to identify you.
Marketing
The technical storage or access is required to create user profiles to send advertising, or to track the user on a website or across several websites for similar marketing purposes.