Celebrating new books in troublesome times 10: Dee White

Today I’m very pleased to welcome Dee White to my blog to talk about her new historical novel for children, Beyond Belief, which was published by Scholastic Australia in April.

A Story of Hope in Troubled Times

By Dee White

People have likened the current pandemic to life during WW2, but it’s different. Covid-19 is an unseen enemy. Where I live, there are no marching soldiers with guns or snarling dogs chasing us down the street, filling our waking hours and our sleep with terror.

That’s the life my main character Ruben has to endure in my new historical fiction, Beyond Belief, after Paris is invaded. It’s 1942, just after the Vel D’hiv roundup when more than 13,000 Jews were arrested and taken to the Vélodrome d’Hiver (Winter Velodrome) before being transported to concentration camps and killed.

Ruben is one of the lucky ones who flees his home before he and his parents can be arrested. Although he’s a fictitious character, his story is inspired by true events. After the arrest of so many men, women and children, the Algerian Muslims of Paris decided that something must be done. They offered protection to Jews and gave them false identities and helped them escape the city.

Ruben is one of the children who seeks refuge at the Mosque and there he must change his name to Abdul and learn to pass himself off as a Muslim. If his true identity is discovered, he’ll be killed and so will those trying to save him. Even if Ruben escapes Paris, that won’t be the end of his story. Nowhere in France is safe for Jews.

Although Ruben’s life is hard, it has hope – and not just for Ruben, but for the whole of mankind. I wanted this story of interfaith solidarity and support to be about humanity and how strong people are when we unite – and we can make it through adversity if we help each other. I started writing this story four years ago, but here we are in adversity, working together to make it through.

Ruben has to endure hardship and it changes him as a person, but he emerges stronger and more resilient. War is hard. I haven’t glossed over that. But there is hope, that tomorrow things can be different and although it’s a new reality and we emerge changed from hardship, the pieces can be rebuilt.

Although I wrote Beyond Belief for children, adults are connecting with it too. One adult reader wrote to me and said, “I loved the book: despite the suffering and loss experienced by the children, there was such courage and an underlying spirituality and wisdom passed on to them by their parents and the Muslim community. This imbued them with amazing strength.”

I spent a month in Paris researching Beyond Belief. I wanted to walk in my main character, Ruben’s shoes and write his story with authenticity and understanding.  And I wanted to reflect the experiences of all the Jews, gypsies and people with mental and physical illnesses who became victims of Hitler and if they survived, suffered lifelong trauma. My father was one of them.

You can find out more about Beyond Belief and my personal journey writing this book, at my website www.deescribe.com.au my Youtube channel https://www.youtube.com/channel/UC9kDJT5Al7QknKwpCYd09oQ

and at DeeWhiteAuthor on social media.

 

Beyond Belief is available at all good book stores and online from

The Little Bookroom https://www.littlebookroom.com.au/
Squishy Minnie https://shop.squishyminnie.com.au/

Boomerang Books htt https://www.boomerangbooks.com.au/

Booktopia https://www.booktopia.com.au/

Collins Booksellers http://www.collinsbooks.com.au/book/9781760662516

QBD Books https://www.qbd.com.au/beyond-belief/dee-white/9781760662516/

Dymocks https://www.dymocks.com.au/

 

 

Celebrating new books in troublesome times 4: Alison Booth

Today I am featuring a guest post by Alison Booth, writing about the inspirations of and background to her new novel, The Philosopher’s Daughters, whose official publication date is actually today–happy book release day, Alison!

A tale of two very different sisters

By Alison Booth

The Philosopher’s Daughters is a tale of two very different sisters whose 1890s voyage from London into remote outback Australia becomes a journey of self-discovery, set against a landscape of wild beauty and savage dispossession.

For years the idea for The Philosopher’s Daughters just wouldn’t let me alone. I kept imagining 1890s London and two strong young women, the daughters of a widowed moral philosopher. Someone like John Stuart Mill, a great advocate for the emancipation of women. Someone who gives the girls a relatively modern upbringing. Then I thought of altering the sisters’ circumstances so that they separately choose to journey into remote and wild Australia. What might happen to them?  How might they see life at the ‘frontier’ once they are confronted with the brutal dispossession of the Indigenous population? How would their characters develop as they faced danger?

The second half of the novel, set in 1893, mostly takes place in the Northern Territory of South Australia. Together with the top of Western Australia, this was one of the last areas of the continent to be appropriated by white colonisers.  At that time and in that part of Australia, the frontier wars were still being fought, largely over the establishment of the cattle industry, although they weren’t recognised as frontier wars back then. Indeed, only relatively recently has the full extent of settlement massacres and beyond been documented. See this article: https://www.theguardian.com/australia-news/ng-interactive/2019/mar/04/massacre-map-australia-the-killing-times-frontier-wars

A theme that has long fascinated me is how children are shaped by the preferences and attitudes of their parents. And the closer we are to a parent the harder it can be to move away from their influence and develop in one’s own right. This is the burden in The Philosopher’s Daughters that is carried by Harriet Cameron, the older of the two daughters. It takes her some time – and a journey to Australia – to learn who she is and to slough off some of her father’s expectations about what she should do with her life.

The Northern Territory has for many years held a particular attraction for me. This began with my own father’s reminiscences of the years he spent there as a very young man after the 1942 bombing of Darwin by the Japanese, an experience that was crystallised into his evocative novel Up the Dusty Track, published by what was then the NTU Press. I visited the Northern Territory for the first time in 2002 for the Darwin launch of his novel.

On that Darwin visit I not only fell in love with the Territory landscape but also witnessed a level of casual racism that I found quite shocking. I wanted to write about it, but it took me some years to work out how I was going to do it, although right away I knew it had to be historical.

In doing the background research for the novel, I was aware that, for our history, we rely upon the words of others. And when we read those words we should ask ourselves whose stories are missing. Typically, it will be the stories of those who held no power at the time. The women and of course the Indigenous inhabitants. They are who The Philosopher’s Daughters is about.

Connect with Alison on social media:

Website: https://www.alisonbooth.net/

Facebook: https://www.facebook.com/AlisonBoothAuthor/

Twitter: @booth_alison

Instagram: https://www.instagram.com/alisonboothauthor9723/

Blog: https://www.alisonbooth.net/blog

Buy Links:

Booktopia: https://www.booktopia.com.au/the-philosopher-s-daughters-alison-booth/book/9781913062149.html

Fishpond: https://www.fishpond.com.au/Books/Alison-Booth/9781913062149

RedDoor Press: https://reddoorpress.co.uk/books/the-philosophers-daughters/

Waterstones: https://www.waterstones.com/book/the/alison-booth/9781913062149

Some photos from the 2019 HNSA conference

Over the weekend, I was at the biennial conference of the Historical Novel Society of Australasia(HNSA) which this year was held in the pleasant and spacious surroundings of the University of Western Sydney’s Parramatta South campus. It was a fabulous weekend, with a program filled to the brim with brilliant speakers and thought-provoking presentations, as well as excellent food and a collegial, convivial atmosphere, an excellent conference bookshop, great organisation, many catch-ups with friends, including fellow writers, meeting new people too–and witnessing some great demonstrations of armour and fencing! Here are some photos from the three days of the conference–and congratulations to all the HNSA team for a truly exceptional conference-I was proud to be involved.

 

Conferences, exhibitions, launches: a very busy few weeks coming up!

Later this month and into next month, I am going to be having a very busy and very interesting literary time!

First up is the wonderful Historical Novel Society of Australasia Conference, which this year is being held at the University of Western Sydney in Parramatta, Sydney, from October 25 to 27. The biennial HNSA conference is one of my favourite literary events: there’s always really interesting speakers, a fabulous program, and a warm, collegial atmosphere. This year’s certainly no exception, and I’m privileged to be involved with the Conference in several ways: as a speaker, a workshop presenter, judge of the HNSA short story contest, and, a great honour, being the Conference Patron as well. Looking forward so much to it! Tickets are still available for this fantastic event, so check out the program here.

Next up is the Artstate Festival, to be held in Tamworth, October 31 to November 3. I’m involved in this in several ways, as an author, a small-press publisher, and a contributor to an anthology and an exhibition, both of which will be launched in Tamworth during that time. On October 31, wearing my Christmas Press hat, I’ll be participating, with my Christmas Press partners as well as  fellow local publishing house Little Pink Dog Books, in the Creative Hot Spot Publisher Pitch Day, which will give children’s writers and illustrators an opportunity to pitch work to one or both publishing houses.

That evening, I’ll don my author hat again, as a contributor to the fabulous anthology Dark Sky Dreamings: An Inland Skywriters Anthology, which is themed around people’s relationship with the sky in all its aspects, and which will be launched at a great astronomy-themed event, in conjunction with the Tamworth Regional Astronomy Club, at Bicentennial Park in Tamworth at 8.30 pm: telescopes and stars will be a feature of this unusual launch!

Then on November 1, I’m speaking at an Artstate/Arts North West event called Authors’ Cafe, where authors chat with readers and other interested people about their work. That the evening, I’ll be attending the opening of an exhibition called Art Word Place, which is an Arts North West project, where New England-based writers were paired with New England-based visual artists to create joint works. I’m one of the writers, and I had the good fortune to be paired with the fantastic painter Angus Nivison. His visual response to my poem is just extraordinary! If you’re in the region, come check it and all the other works out, the opening is on at the Tamworth Regional Art Gallery at 5.15 pm on November 1, but the exhibition itself is on till December 8.

There will be other events later in November that I’m a part of, in Armidale, Sydney and Melbourne, but I will write about them later, in a separate blog post. It is certainly a very busy time!

 

Fabulous new cover for a well-loved book of mine!

I am thrilled to reveal here the fabulous new cover for a brand new edition of one of my most popular  and long-lasting books, The Hunt for Ned Kelly. Published by Scholastic Australia, The Hunt for Ned Kelly was first released in 2010 and in 2011 won the Patricia Wrightson Prize for Children’s Literature in the NSW Premier’s Literary Awards. Over the years it has gone through several reprints and editions, including book club editions, has sold very well and continues to do so, and appears in lots and lots of libraries too. I absolutely loved writing this book and am really happy that it has been so successful and reached so many readers! And now, nine years down the track of first publication, the book is to be re-released in August this year, newly clothed in this fantastic, eye-catching, Sidney-Nolanesque cover by Scholastic designer extraordinaire Chad Mitchell. Isn’t it absolutely gorgeous!

If you want to know more about the story of The Hunt for Ned Kelly, you can have a look at my You Tube trailer for the book, or the Scholastic teachers’ notes for it. There’s also a lot of reviews around online.

And below, for interest, is the original book cover–striking too, but I think this new one is in a different league altogether!

Looking forward to the HNSA Conference!

I’m really looking forward to the 2019 Historical Novel Society of Australasia Conference, which this year will be held in Sydney, 25-27 October.

I’m delighted to have been asked not only to be a presenter and judge of the short story prize, but also Conference Patron. 

With a theme of ‘History Repeats’, and a packed program full of interesting panels, great workshops and masterclasses, pitching sessions and more, this promises to be absolutely fantastic for anyone interested in historical fiction.

Early bird registrations are open now, so head on over and have a look!

The Hollow Bones : an interview with Leah Kaminsky

Today I’m delighted to bring you an interview with Leah Kaminsky. Leah is an award-winning Australian writer whose published work includes fiction, non-fiction and poetry. Her second novel, The Hollow Bones, has just come out with Penguin Random House Australia. Set just before World War Two, The Hollow Bones tells an extraordinary, gripping story of obsession and ambition, recreating a bizarre SS-sponsored expedition made by German scientists to Tibet, aimed at proving the Himalayan origins of the ‘Aryan race’. With its beautiful evocations of nature and complexity of characterisation juxtaposed with chilling depictions of Nazi racism and lunatic ideas in action, this is a potent novel which explores many disturbing themes, with a light yet deep touch.

First of all, Leah, congratulations on the publication of The Hollow Bones! It’s an amazing and memorable novel and must have taken a great deal of work. Can you tell us something about its genesis, and how you went about researching the background of the novel?

Thanks for those kind words, Sophie. It really has been an interesting journey researching and writing THE HOLLOW BONES over the last 3-4 years. I first came across the material that sparked the idea behind the book while researching my last novel, THE WAITING ROOM, in which I touched on the critical role physicians played in the Third Reich during WWII. As a doctor myself, I have always been fascinated by the beauty of science, so I was gobsmacked when I stumbled across World Ice Theory, or Welteislehre, a pseudoscientific idea postulated by a steam train engineer, Hanns Hörbinger, that became the platform of the Reich in the 1930s, embraced by the German populace as well as high ranking politicians such as Himmler and Hitler. The Nazis banned the teaching of Einstein’s Theory of Relativity on the basis that it was considered ‘Jewish science’. The ice crystal became known as the building block of the universe, based on a bogus belief that the sun was the only star in the sky. Hörbinger postulated that an icy moon crashed to earth thousands of years ago, destroying the civilisation of Atlantis, which lay buried under the Himalayas. I was fascinated and horrified to learn of a German expedition to Tibet of a group of SS scientists, sponsored by Himmler himself, sought to uncover the true origins of the Nordic Aryan race amongst the Tibetan peoples. This little-known story of their leader, 26- year-old zoologist Ernst Schäfer, drew me in as I tried to imagine what sort of man would go to such lengths in the pursuit of academic success and admiration of his peers.

Main character Ernst Schäfer is a complex person—a lover of nature and a ruthless hunter, a man who can show a kind of tenderness towards people like his wife’s disabled sister Margarete, yet whose cold ambition leads him to appalling acts; a man of science who dissents privately about the ridiculous ‘scientific’ theories of the Nazis yet who is quite prepared to serve the regime for his own benefit. Tells us something about how you created his character.

I wanted to look at the complexity of someone growing up in pre-War Germany, and the inherent moral choices confronting individuals as they witnessed the dramatic changes taking place around them. Ernst Schäfer, a forgotten character in history, spent most afternoons of his childhood exploring the forest of Thuringia which lay on the edge of his tiny village. Early on, he became a keen collector and hunter, filling his room with a menagerie of creatures. I was interested to see how this childhood innocence and passion for nature could go so terribly wrong. I read widely, looking at the history of the Third Reich and the SS through personal stories. I painstakingly translated Schäfer’s books, field diaries and letters from the original German, my research taking me to dark places I have always been fearful of exploring. As the daughter of a Holocaust survivor, I went way past my comfort zone in an attempt to examine what leads a man to tread the treacherous terrain of moral compromise. I trawled the archives of the Academy of Natural Sciences in Philadelphia, finding photos, documents and even detailed equipment lists and invoices for Schafer’s earlier expeditions to Tibet.

‘Science is pure and elegant in itself, not a pony to be ridden around a circus ring,’ Ernst tells a scoffing Bruno, a fellow researcher and member of the expedition, at one point. Yet despite this lofty private attitude, Ernst publicly kowtows to Nazi pseudoscience to further his own obsessions and ambitions. It’s a perfect example of what happens when the line between science and politics is blurred too far. Can you expand on that?

Yes. I think that’s what struck me so much about these little-known events. Even though it all happened in pre-war Germany and Tibet, it is so relevant today. The story of the corruption that occurs when science and politics become bedfellows is still palpable today, with contemporary debates raging around climate change and sustainability, as well as animal rights. 

The juxtaposition between Nazi Germany and traditional Tibet is very striking: how did you go about evoking those very different settings and atmosphere?

I initially applied for funding that might enable me to travel to Berlin and Tibet to help with research. When the funding didn’t come through I thought I might need to drop the project. Then I remembered the words of my dear, late friend, the painter Yosl Bergner, who told me he could never visit the places he painted as it would ruin his imagined vision of them. I realised then that the places I was writing about no longer existed – their histories couldn’t be suspended in time. So, I set about visiting Tibet and Germany of the 1930s through books, photos and old film recordings, in a kind of virtual tour of the imagination. This brought my settings to life for me. In a strange way, I think literature lets you visit places that no longer exist. I think visiting modern-day Tibet and Germany may have spoilt my initial vision.

The passages featuring the enigmatic and touching figure of Panda, taken from Wild to be in the Glass country, lend a touch of whimsical fantasy which nevertheless has a serious purpose. Can you tell us something about that?

I visited the library at Academy of Natural Sciences in Philadelphia while I was on my US book tour for The Waiting Room. While I was there, I walked around the dioramas and was shown through the archives and storage in the basement. I came across a four-month-old taxidermied panda that Ernst Schäfer had shot on one of his earlier joint American-German expeditions to Tibet. I felt so sad learning about the background to how this panda ended up at the museum. Several months later, I was at Varuna, the Writer’s House, on a fellowship I was awarded by the wonderful magazine Griffith Review. The tiny voice of Panda insisted on being heard. I tried to ignore it at first, thinking it was a bit strange to have a stuffed animal’s POV I the book, but it took over and became the beating heart of the novel.

Most of the characters in the novel are based on real historical figures—not only Ernst, his team, and his wife Herta, but also major Nazi leaders of the most monstrous kind. What kinds of challenges did you find in recreating encounters such as those Ernst has with Himmler and Göring?

The biggest challenge really was to find the voice of Schäfer’s first wife, Herta. I found so much information about all the other real-life characters, which enabled me to inhabit them relatively easily. I was very aware of not wanting to make them caricatures – they needed to mirror my protagonist, Ernst Schäfer. Herta was the only one who seemed to have disappeared entirely from history. This was in reality a gift, because it allowed me to imagine who she might have been – a woman with a moral conscience living inside an ideological nightmare, watching the man she loved make choices she disagreed with. She and Panda are the only true fictional characters in the book, and also play the role of moral commentators, checking the emotional temperature of those around them.

Many prominent Nazis, especially but not only Himmler, were greatly influenced by fringe and occult elements: by esoteric mish-mash philosophers, quack anthropologists, amateur mythologists, self-proclaimed psychics and mystics and so on, as well as pseudo-scientists. How did you research this aspect of the regime, and how do you think this occult attraction fed into their racist, supremacist ideology?

Reading about the wackiness of all these pseudoscientific and occult beliefs, held by leaders such as Himmler and Hitler, sometimes had me laughing out loud. Until, that is, I began to understand the powerful impact these ideas had on the Reich’s platform which upheld expansionism, racist ideology, genocide, as well as forced sterilisation and involuntary euthanasia of those with mental health issues and disabilities. The Ahnenerbe, or Ancestral heritage organisation, established in 1935 under the auspices of Himmler as an offshoot of the SS, was dedicated to proving that Germans were direct descendants of the Nordic Aryan race, which fed directly into Nazi ideology and its gruesome results. The existence of a school that trained dogs to ‘talk’ and tap out the alphabet, so they could participate in espionage for the gestapo, sounds like something straight out of a comedy, but Hitler took all this very seriously. The slippery slope of #fakefacts into popular belief is especially evident today.

The Nazis became, at least in the West, an image of pure evil, an aberrant and alien phenomenon. That image could distract from the reality of what happened—and make people complacent. And sometimes was evoked inappropriately, lessening the impact of that reality. Today, as the generations to actually go through that period die and revisionists attempt to re-interpretations, how do you think society can guard against the threat of forgetfulness? Can we really learn from the past?

I don’t believe in the concept of pure good and pure evil. The most dangerous state to my mind is complacency and indifference. I think we are doomed to repeat history if we don’t learn from it. It frightens me that recent surveys show that 5% of people in the UK are outright Holocaust deniers. In the US, 65% of millennials and 41% of the general population have never heard of Auschwitz. I think education is the key to understanding our differences and engendering tolerance and compassion. And of course, as a writer, I believe in the power of literature to change people’s lives. The Nazis understood the power of the written word, so much so that they burnt books that didn’t fit their twisted world view.

 

Visit Leah’s website here.

Follow her on Facebook.

And on Twitter.

 

An interview with author Marina Osipova

Today, I’m delighted to bring you an interview with award-winning historical fiction author Marina Osipova, whose first novel,The Cruel Romance, I read last year and loved. With its elegant writing, deeply evocative setting in wartime Russia, richly-drawn characters and tragic yet affirming story, it is an accomplished and memorable work. Marina has just released her second novel, How Dare the Birds Sing, and to celebrate I asked her a few questions about the book and her writing in general.

First of all, Marina, congratulations on the publication of How Dare the Birds Sing! It looks fantastic–I’ve just bought a copy and can’t wait to read it. Can you tell us about the novel and what inspired it?

Thank you, Sophie, for buying my book and for your readiness to allocate time in your extremely tight schedule to read it. I hope you’ll find the story interesting.

What inspired me? A difficult question for me to answer. It just happened. I was not yet done with The Cruel Romance when the story of Lyuba started germinating in my mind, or more accurately, in my heart. Unfortunately (you have to see me smile), it happens again and again. How Dare the Birds Sing was not published yet and already three other stories began pressuring me.

What was the road to publication like for this book? And how have readers responded to it so far?

The road to publication was not easy. First, and it was a month of thrilled anticipation, two editors from the Big Five requested The Cruel Romance and the ms of How Dare the Birds Sing for consideration. It was not out of the blue: one of my friends, an amazing author, recommended my work to them. Though they praised my writing and the stories . . . you can anticipate what their verdict was. Then, a small press publishing company from the UK expressed interest in How Dare the Birds Sing, but we did not agree on the terms. After spending tons of time researching possible publishers for my book, I chose Draft2Digital. Unfortunately, they help with e-publishing only. So, the process is not over for me. Despite that, I’m glad I decided to self-publish, which offers me more flexibility throughout the process. I like having control over all aspects of my career.

I am very pleased with the readers’ response to my newly published book. And the reviews are great. I’m humbled by praises from readers like: “A riveting WWII novel,” “A truly fascinating tale,” “The writing is excellent,” “Hard to put down.”

Your earlier novel, the wonderful, bold, memorable and tragic novel, The Cruel Romance, is also set in wartime and about the dreadful effects of war and occupation on people’s lives and potential–in all kinds of ways, including the possibility–or impossibility–of love in such circumstances. What draws you to tell these stories?

I hear this question time and again. It is known that wars are the most dramatic time in the history of humankind and WWII was the most brutal of them, full of universal and single-person drama. That’s what readers expect from fiction books—drama, right? Why WWII? I think, as a Russian, I inherited the horror and memory of that time. It’s in my blood. Besides, in the Soviet Union, preservation of the memory about the heroism of its people was a part of the broad propaganda. I, though, would call it nurturing patriotism and am thankful that the official policy of the state was to instill in the youth the feeling of respect and appreciation for what the prior generation sacrificed to preserve our life as an independent nation.

There is another reason for me to write about the Great Patriotic War: Thanks to The Nightingale, Lilac Girls, The Indigo Rebels, and other brilliant books, the stories of European women in their fight against the occupation of their countries has become broadly familiar. I believe ordinary Russian women who had to endure four years of Nazi invasion deserve the same.

Telling stories of unsung heroines is my humble tribute to the women who worked on the home front producing armaments, like Serafima from The Cruel Romance, or who were fighters on the front or partisans, like my heroine Lyuba from How Dare the Birds Sing who, after being captured by Germans, was subjected to slavery in the Nazi labor camp as hundreds of thousands of others were.

As a writer of Russian origin, you are no doubt influenced by the extraordinary literary heritage of your native country—how would you characterise that influence in your own work?

The influence was and is enormous. Starting with Alexandr Pushkin, Leo Tolstoy, and Fyodor Dostoevsky, Aleksandr Ostrovsky and Ivan Turgenev, Anton Chekhov and Maxim Gorki and the writers who wrote about the Great Patriotic War, like Aleksandr Solzhenitsyn, Vasily Grossman, Lev Kopelev, Konstantin Simonov, Yuri Bondarev, to name a few, all of whom shaped (and continue shaping) me as a writer with their brilliant ability to look beyond the time and human psyche.

You have also lived around the world, both as you were growing up, and as an adult–how do you feel that cosmopolitan experience has influenced your work?

This is another highly interesting question of yours, Sophie. Living abroad gave me not only the factual knowledge and experience of different cultures and political systems but also the feeling of how much unites us—the same everyday problems, the same sources of joy and love. But most importantly what influences my work is that I can feel for both protagonists and antagonists in my stories. As one reviewer of The Cruel Romance said, “There are no good liberators or bad invaders—there are good and bad people.” This is my credo as a writer—no prejudices.

Did you always want to be a writer, even as a child? And how did you get started on your writing career?

To be a writer? No, as a child I wanted to be a doctor, maybe because my dolls didn’t object to my sticking them with needles; then a fisherman (that is a fisherwoman)—I lived with my parents on the Volga River then—later, an operetta singer-dancer (without having any ear for music at all although I endured three years in a music school); then my small child’s interest in learning German and the love of this language overwhelmed all my other numerous interests and I decided my future profession must be related to anything that would involve the German language. And it did until I immigrated to the United States in 2001. That’s when I started writing (first, some flash fiction). My English language teacher, who I fed a story to every week, was impressed and suggested I “must publish” them. I published my first book in 2016.

You have won many awards for your writing–can you tell us more about them?

Yes, to my delight, my first submissions to literary contests, most of them to Romance Writers of America, were well received. Every one of them, big or small, are dear to my author’s heart. The list of them can be found on my website, www.marina-osipova.com.

But I’d like to tell you briefly about one in particular. It was my very first manuscript, which title had undergone several transformations from Margarita and her Master to Ark of Hypocrites to Garden of Weeds. I sent it to Pacific Northwest Writers Association literary contest and, surprisingly, happened to find myself among the finalists in the mainstream category. At the conference in Seattle, in the huge hall during the announcement of the winners, the chair asked the finalist to rise to their feet one category after another. Mine was the very last. Eight finalists stood up. The chair congratulated us and offered us our seats again but immediately changed her mind. “Wait, get up again.” We stood up. “All men and only one woman among the finalists!” I remember she sounded incredulous. When my category came up, I held my breath. Then, “And the first-place award goes to Marina Osipova.” Later, another finalist told me I exclaimed loudly.

What’s coming next? What new projects are you working on?

There are so many stories I want to tell! After my WIP, which is the sequel to How Dare the Birds Sing with the working title, I’ve Got to Know Who I Am, there will be a third book, and I already have a clear idea about another story outside of the series.

Thank you, Sophie, for inviting me to participate in your interview. A big honor for me. I can’t help but express my admiration of you as a brilliant writer and a wonderful person who helps other writers achieve their goal—to be a good author. Congratulations on your astounding and well-deserved achievement, the Order of Australia for services to literature.

 

Cover reveal for Black Wings, my adult historical novel

I am thrilled to reveal the beautiful cover of Black Wings, my adult historical novel which will be published in October by The Greystones Press in the UK. Can’t wait! Here’s the basic blurb(there will also be a fabulous cover quote by the lovely Kate Forsyth, which will be revealed later!)

It’s 1788 in the Vendée in western France, and change is in the air. Reform 
is being talked of in the great world beyond, in Paris, and even the peaceful village inhabited by Jacques Verdun and his friends – aristocratic painter Edmond de Bellegarde, his beautiful cousin Flora, and young farmer Pierre Bardon – seems touched by new possibilities. But as events both in Paris and in the local community start to gather pace, as revolution breaks out and the traditions of centuries start to break down, friendships will be severely tested in the most unexpected of ways. And when pitiless civil war comes, who will be left to testify to old feelings, and old loyalties?