Showing posts with label historical fiction. Show all posts
Showing posts with label historical fiction. Show all posts

Book Review: ‘River Aria’ by Joan Schweighardt

From the pen of talented historical novelist Joan Schweighardt comes another well-crafted, meticulously researched story about family, community, immigration, oppression, the environment, and having to face the consequences of one’s actions.

It’s 1928 and the Great Depression is looming around the corner when two impoverish but talented mixed-raced—Amerindian and European—Brazilian immigrant cousins travel to NYC to find a better life and fulfill their dreams. Estela, a singer of arias and a product of the Teatro Amazonas during the time of the rubber boom, has a beautiful voice and dreams of becoming a famous opera singer; Jojo is a fisherman and a gifted artist. As a start, Estela is offered a seamstress position at the Metropolitan Opera House while Jojo is offered a scholarship at an art school. Will they achieve their dreams against all obstacles? If yes, at what price?

River Aria is the third installment in this author’s series and is focused on the next generation of the family featured in the first book. There is so much I enjoyed about this novel! The worlds of art and music in 1920s NYC come together engrossingly. The multifaceted, original characters—you don’t often read stories about indigenous people from Brazil—and their struggles to find purpose and meaning in a complex, ruthless city that is a character all on its own, kept me riveted. Parentage and identity are big themes with both Estela and Jojo as they struggle with their origins and how it affects their lives. Having read other books by Schweighardt, I’ve become familiar with her literary prose. She always strives for depth, and she pays great attention to detail.

The author visited the rainforest, as well as Manaus, the Amazon, and Rio Negro as part of her research, and considering the authentic feel of the plot and characters, I’m not surprised. In spite of this, however, the writing doesn’t get too heavy-handed, which is sometimes a problem in this type of book. I particularly recommend River Aria to historical fiction fans who have a special interest in the rubber boom that took place in Brazil in the early 1900s and how it affected the fishing villages and the indigenous people living there.

Find out more at www.joanschweighardt.com

New Historical Romance: The Rising Place, by David Armstrong



Genre
: Historical Romance

Author: David Armstrong

Website: therisingplace.com 

Publisher: The Wild Rose Press

Purchase Link: The Rising Place by David Armstrong


About the Book:


The Rising Place is based on an interesting premise: What if you found a hidden box of letters from World War II that belonged to a reclusive old maid who had just died—would you read them? And what if you did and discovered an enthralling story about unrequited love, betrayal, and murder that happened in a small, southern town over seventy years ago?


When a young lawyer moves down south to Hamilton, Mississippi to begin his practice, one of his first assignments is to draft a will for Emily Hodge. “Miss Emily” is a 75-year-old spinster, shunned by Hamilton society, but the lawyer is intrigued by her and can’t understand why this charming lady lives such a solitary and seemingly forgotten life.


After Emily dies, the lawyer goes to Emily’s hospital room to retrieve her few possessions and bequeath them as she directed, and he discovers a sewing box full of old letters, hidden in the back of one of her nightstand drawers. He takes the letters back to his office and reads them, and he soon learns why Emily Hodge died alone, though definitely not forgotten by those whose lives she touched.


About the Author:


David Armstrong was born and raised in Natchez, Mississippi. He is an attorney, former mayor, and former candidate for the U.S. Congress. Currently, he serves as the Chief Operating Officer for the city of Columbus, Mississippi. David received both an undergraduate and a master’s degree in political science from Mississippi State University, before going on to receive a law degree from the University of Mississippi. 


The Rising Place Place, David’s second novel, was made into a feature film by Flatland Pictures before it was published by The Wild Rose Press. His third novel, The Third Gift, will be released by The Wild Rose Press this summer. He has also written four screenplays.


David is the father of two grown sons, William and Canon, and lives in one of the oldest and most haunted antebellum homes in Columbus with a snarky old cat named Butch.


Find out more: therisingplace.com 


Read an excerpt! 


When Emily Hodge died, I assumed I would be one of the few people at her funeral. She had lived such a solitary life. She didn’t really seem like a loner, but that was before I learned about the murders and Miss Emily’s past.


She had no family that I was ever aware of. Once, though, when I went to see her in the retirement center before she moved to the hospital, she said something about a “Mr. Wilder” who had visited her years earlier when she used to live in her little yellow house. But I wasn’t sure who this Wilder fellow was or where he was from, and I doubted he was still alive. That was a long time ago, like Miss Emily had said.


And that yellow frame house of hers on Monmouth Avenue has gone through several tenants since Miss Emily moved out and went to the Methodist Retirement Center. Most of the asbestos shingles on the front bottom of the house were covered now with kudzu vine and badly cracked, and Miss Emily would have hated they were so noticeable, so I never told her. I realized several years ago that there were some things it was best Miss Emily never know about.


I never understood why Miss Emily didn’t marry and have her own children. She certainly was attractive enough, in her younger days. She showed me an old picture of herself one Sunday afternoon at the General Hospital when I went by her room to visit. She was a “striking woman,” as she herself commented. But it was more than just a striking woman I saw in that faded, seventy-year-old photograph. She was beautiful. Standing on the running board of an old Ford in a long, pink dress with a cream-colored, flapper hat on her head, she reminded me of someone from that old Bonnie and Clyde movie. It was hard to believe the pretty young woman in that photo was her. I probably stared at it too long, and it seemed to make her uneasy that I thought she was so beautiful.


“You were a lovely girl,” I awkwardly told her. When I handed the picture back to Miss Emily, she replaced it in a brown sewing box and slid it into the bottom drawer of the nightstand next to her bed. After she closed the drawer, I somehow knew Miss Emily would never show anyone that photograph of herself, again.


On the day of her funeral, it started raining about eight o’clock that morning. It was to be only a short, graveside service—just like she wanted—with no open casket, and she specifically requested that no flowers be sent. It was the only request of hers I didn’t honor. I couldn’t bear the thought of that precious lady, who had lived and died all alone, being buried without flowers. It just wasn’t right, so I ordered the finest arrangement of yellow roses I could find. I thought the color was appropriate, considering how much she loved her yellow house on Monmouth Avenue, and she always liked roses. As I’ve matured, I’ve learned that sometimes people want things but just don’t know how to ask for them. I do believe Miss Emily would have liked those yellow roses.


It was a simple, Methodist prayer service that lasted only twenty minutes. No one cried during the service. I don’t think Miss Emily would have wanted that. It’s hard to cry for someone you don’t really know. But the old black people there seemed to know her as they passed by her casket after the last prayer. And when Reverend Elton read the quote from Saint Theresa (Miss Emily’s favorite saint), “Let nothing disturb you; let nothing frighten you. Everything passes except God. God alone is sufficient,” all the black people shouted a loud, “Amen!”


But the most intriguing thing of all was that gray-haired stranger who kept staring at the small headstone next to Miss Emily’s grave that read, “Baby Boy, 1942,” and who then stayed after everyone else had left. As we were leaving, I noticed from my car that the old man was crying. He picked a single yellow rose from the arrangement on top of Miss Emily’s bronze casket and then gently placed it on the small grave, in front of the headstone. When my wife and I drove away, I looked back before we left the cemetery. The gentleman was limping away in the rain with his cane.  


Before she died, Miss Emily had already disposed of most of her possessions, but there were two beautiful paintings and an antique rose vase still in her hospital room that she had left to a friend. She had given away all her clothes to a couple of nurses who promised they would take them to the Salvation Army for her, but I doubted that would ever happen. I remember commenting to Miss Emily years ago, when I was still a young lawyer, that a friend had once promised to retain our firm and then sought legal services elsewhere. Emily said, “Don’t put too much stock in other people, David—they’ll just disappoint you.”


As I was about to turn off the light and leave her empty room, I remembered the sewing box of letters in the bottom drawer of the nightstand next to her bed. I also remembered that wonderful old photograph of her leaning against a car on the beach, which she had shown me several years ago. I didn’t know why at the time, but I wanted that picture. I would keep it as a remembrance of this dear lady I had come to love.


I didn’t open the letter box until after I had returned to my office. I don’t know if Miss Emily would have liked my reading her letters, but I think I finally understand her now and why she died alone, though definitely not forgotten. I know I’ll never forget her. How could I?

 

 

 

 

A Chat with Joan Schweighardt, author of 'The Last Wife of Attila the Hun'

Joan Schweighardt is the author of six books. In addition to her own projects, she writes, ghost writes, edits and blogs for private and corporate clients.
Mayra Calvani: Please tell us about The Last Wife of Attila the Hun, and what compelled you to write it.
Joan Schweighardt: The Poetic Edda, which I read and studied in college, includes a collection of legends that travelled from Germanic territories to Iceland with the Vikings and were shared orally for centuries before they were finally recorded in the thirteenth century. I fell in love with some of these legends, and when I saw that they insisted on including the historical Attila the Hun in some of their narratives, I began to read the history of the times Attila lived in. When I found places where the legends and the history intersected, I began to write the book.
M.C.: What is your book about?
J.S.: The Last Wife of Attila the Hun weaves together two threads: In one, Gudrun, a Burgundian noblewoman, dares to enter the City of Attila to give its ruler what she believes is a cursed sword; the second thread reveals the unimaginable events that drove Gudrun to this mission.
M.C.:  What themes do you explore in The Last Wife of Attila the Hun?
J.S.: The book explores many themes, but one that I was particularly interested in is how the needs of the community and the needs of the individual impact one another. I think balancing community and individual needs in the times we live in is an important issue that gets played out in political and social arenas regularly. I was surprised to find the same issue coming up in the research I did for the book.
M.C.:  Why do you write?
J.S.: My husband is a photographer. He explores the world through the lens of a camera. He’s very exacting about lighting, about composition, etc. In the same way, I explore the world through writing, writing and reading and researching.
M.C.:  When do you feel the most creative?
J.S.: When I’m working on a project I feel really passionate about.
M.C.:  How picky are you with language?
J.S.:    When I was a younger writer, I wanted each of my sentences to be a thing of beauty. It didn’t matter to me that what I thought of then as a beautiful sentence could slow down the plot or that some of my beauties could be somewhat over the top. My first editor begged me to make changes to some of the purple sentences in my first novel, and I conceded a bit, but not as much as I should have. When a reviewer said of that novel that it was “concertedly poetic” I was aghast. That was several books (and many years) ago. Now I go for precision, which has its own kind of beauty.
M.C.:  When you write, do you sometimes feel as though you were being manipulated from afar?
J.S.: No, I can’t say I feel manipulated. But I’m very grateful for the insights and flashes of inspiration when they come.
M.C.:  What is your worst time as a writer?
J.S.:  If I’m writing something and it doesn’t feel “good” to me I usually continue anyway, thinking that I’ll get to good and then I can go back and fix the section I didn’t care for. But sometimes the path leads to a dead end and I know I’ll have to backtrack quite far.
M.C.:  Your best?
J.S.:  The best is when the ideas are coming so fast I can hardly keep up with them, when I’m making notes on paper napkins or deposit slips from my check book, whatever is handy.
M.C.:  Is there anything that would stop you from writing?
J. S.: I don’t think so.
M.C.: What’s the happiest moment you’ve lived as an author?
J.S.: Nothing can compare to the first time you get a call from a publisher saying, “Welcome aboard.” Permanent Press is run by a husband and wife team, Judith and Martin Shepard. Judith called me one day after I’d sent in my submission and said, “I like the way you think. I’m halfway through your manuscript and I want to make sure it’s still available.” I was a wreck waiting to hear back from her, thinking, What if she hates the second half? What if she hates the ending? But then I got the call from Marty Shepard a week later saying they wanted the book. I was very happy. They published my first three novels.
M.C.:  Is writing an obsession to you?
J.S.: I write for my own pleasure; I write for clients; I write for a charity for which I do volunteer work. I’m not sure that means I’m obsessed, but it might.
M.C.:  Are the stories you create connected with you in some way?
J.S.: Again, because I’ve been writing so long, I can make comparisons between myself as a younger writer and myself as a seasoned writer. I played some role in my earliest novels, yes. But the more I write the more I get away from myself. The story in The Last Wife of Attila the Hun has almost no connection to me personally, though a couple of the minor characters are modelled after people I know. I recently completed a new novel, and there is no part of it that is connected to my real life, except for the fact that I visited the Amazon rainforest, where much of the action takes place. I’ve gone from writing about different aspects of my own life to being a magpie: I pick up shiny things wherever I find them and add them to my nest.
M.C.:  Ray Bradbury once said, “You must stay drunk on writing so reality cannot destroy you.” Do you agree?
J.S.: Stay drunk on something, whether it’s writing or painting or glass blowing.
M.C.:  Do you have a website or blog where readers can find out more about you and your work?