Join Kate’s VIP Club Now!

Follow Me

FacebookPinterestTwitter

Kate's Blog

Subscribe RSS

BOOK REVIEW: A Kiss from Mr Fitzgerald by Natasha Lester

Friday, August 18, 2017



The Blurb (from Goodreads):

It’s 1922 in the Manhattan of gin, jazz and prosperity. Women wear makeup and hitched hemlines – and enjoy a new freedom to vote and work. Not so Evelyn Lockhart, forbidden from pursuing her passion: to become one of the first female doctors.

Chasing her dream will mean turning her back on the only life she knows: her competitive sister, Viola; her conservative parents; and the childhood best friend she is expected to marry, Charlie.

And if Evie does fight Columbia University’s medical school for acceptance, how will she support herself? So when there’s a casting call for the infamous late-night Ziegfeld Follies on Broadway, will Evie find the nerve to audition? And if she does, what will it mean for her fledgling relationship with Upper East Side banker Thomas Whitman, a man Evie thinks she could fall in love with, if only she lived a life less scandalous?

My Thoughts:

Natasha Lester is an Australian writer based in Perth, and A Kiss from Mr Fitzgerald is her first foray into historical fiction, after two contemporary tales published by Fremantle Press.

I was irresistibly drawn to her book by its gorgeous cover and the promise of its title, A Kiss From Mr Fitzgerald. I love books set in the 1920s, which was such a heady period of glamour and new freedoms. And I was intrigued by the premise: the heroine, Evelyn, is determined to become an obstetrician, at a time when women were rarely permitted to study medicine. To support herself, Evelyn becomes a dancer for the Ziegfield Follies.

The book didn’t let me down. Evelyn’s story is full of drama, heartbreak and determination, and the setting of Manhattan in the early ‘20s is brought to glorious vivid life. I particularly loved the scenes when Evelyn was fighting to be allowed to study medicine – they rang really true for me. I’m keen now to read Natasha Lester’s new book, Her Mother’s Secret.

If you love historical fiction you might also like to read my review of one of my all-time favourite books, Fingersmith, by Sarah Waters.

Please leave a comment - I love to hear your thoughts!

THE BEAST'S GARDEN: How a book can change your life

Tuesday, August 15, 2017

Sometimes a book can change your life.


The Diary of Anne Frank was that kind of book for me. 


I read it when I was twelve years old.  I can still remember the awful shock of reaching the end, and finding out that Anne did not escape her attic, that she died in Bergen-Belsen when she was only a few years older than I was. 

I had never read a book like it before. It felt like I had been punched hard in the solar plexus. I could not breathe, I could not cry. My very heart felt bruised.


Anne Frank


I began to write my own diary a few days later. Anne Frank had written hers as a series of letters addressed to an imaginary friend named Kitty. I did the same, but addressed mine to “Carrie”. The first entry was written on 15/8/1978 and began ‘Dear Diary, your name is now Carrie. You’ll be my confidant and my port in which to lay my head and my poor worn-out hopes, thoughts and ambitions …’ 


I have written in my diary nearly every day since. That is thirty-seven years of consecutive diary writing, much more than the two years so tragically given to Anne Frank.


Her diary also sparked in me a lifelong fascination with Hitler, and those few brave people who tried their best to resist Nazism. I began to collect a library of books to do with the Second World War, many of them first-hand accounts and memoirs. I was particularly interested in stories of ordinary people who found within themselves extraordinary courage and strength. I knew that one day I would try and write a novel about someone like Anne Frank. 


The years passed, and I wrote a great many books. More than thirty-five at last count. My books range from picture books to poetry, and from heroic fantasy for children to historical novels for adults. I have written books set in Renaissance Venice and at the court of the Sun King in Versailles, in the English Civil War and in the perilous reign of Mary, Queen of Scots, in the Napoleonic Wars, and in worlds of my own imagining. Yet the Second World War never loosened its hold on my imagination. I continued to read as many books as I could find set at that period, and to continue to think about writing one of my own. 

Fairy tales are another long-held passion of mine. I have just completed a doctorate in the subject, and many of my novels have fairy tale motifs and metaphors entwined through their stories. 


The Wild Girl tells the story of the forbidden romance between Wilhelm Grimm and Dortchen Wild, the young woman who told him many of the world’s most beloved ‘wonder tales’. She told him stories like ‘Hansel and Gretel’, ‘Rumpelstiltskin’, ‘The Frog King’, ‘Six Swans’, ‘The Elves and the Shoemaker’, and ‘The Singing, Springing Lark,’ a beautiful variant on the tale we know as ‘The Beauty and the Beast’. 

Arthur Rackham's illustration for 'The Singing, Springing Lark' 


In this story, the father catches a lark, rather than stealing a rose, and the beast of the tale is a lion by day and a man by night (an arrangement which I always thought might have its compensations). The greatest difference, however, is the ending. In Dortchen Wild’s tale, the heroine must follow a trail of blood and white feathers her lover leaves behind him, and then outwit the enchantress who first cast the curse upon him. The heroine is given three gifts to help her: a dress as golden as the sun, another as silver as the moon, and a griffin on which to escape. 


Writing a novel always throws up many unexpected ideas as well as unforeseen problems, and The Wild Girl was no exception.  Taking place over twenty years, and told from the point of view of a young woman forgotten by history, The Wild Girl was very research-intensive indeed. And, for a long while, I did not have a strong sense of the narrative structure. I knew I wanted to retell one of Dortchen’s stories in some way; I did not yet know how. 


While researching the Grimm Brothers, I was distressed to learn their tales had been banned in Germany after the Second World War, as part of the Allies’ Denazification program. Hitler had loved the Grimm Brothers’ fairy tales and had recommended all German households have a copy on their shelves. I went to bed that night troubled and upset. I loved the Grimm tales too. In times of darkness and fear, they had given me light and comfort. Yet I had always hated the Nazis and all they stood for, including their burning of books. 


I could not get to sleep that night, my mind in turmoil.  Eventually I got up and found myself a novel to read. I chose an old World War II thriller, about the Danish resistance to the Nazis. I read the whole book through, finally going to sleep long after midnight. Just before I fell asleep, I thought again about the novel I was struggling to write and about the beautiful tales Dortchen Wild had told Wilhelm Grimm. I said to myself: “Trust in the universe. The answer will come.” 


The next morning, as I drifted in that hypnopompic state between sleeping and waking, an image rose up in my mind’s eye. I saw a beautiful young woman, wearing a dress as golden as the sun, singing in a vast dark hall. Her audience were German soldiers in black SS uniforms. I knew instinctively that she was some kind of spy, or resistance fighter, and also that she was German herself. 


I wrote in my diary that day, Monday 3rd October 2011: ‘I couldn’t sleep last night for worrying about Wild Girl … I need something new, strange, unexpected, surprising … I woke this morning and lay in that dim borderland between awake and asleep, that place of creative dreaming, and the idea came to me – why not have the secondary tale set in WWII … perhaps she has to flee and live wild in the woods – or joins the German Resistance - & she carries everywhere a copy of the Grimm fairy tales, as a kind of talisman … it feels good, it feels right, it feels hard and scary – but absolutely seems it have some kind of power to it …’  


My unconscious mind had put together two very different desires – wanting to write a novel about resistance to the Nazis and wanting to retell one of Dortchen Wild’s fairy tales – and come up with something quite unexpected. 


That was the beginning of my novel The Beast’s Garden, a retelling of the Grimms’ version of ‘Beauty and the Beast’, set in the German underground resistance to Hitler.


That vision, that not-quite-a-dream, was the beginning of an extraordinary journey of discovery for me. At first, I thought that this story of courage and resistance would be the second narrative strand in The Wild Girl. Slowly I came to realise it was a novel in its own right. I had to put the idea aside as I wrote The Wild Girl and finished my doctorate in fairy tale studies. The idea would not leave me alone, however. I began to read as much as I could about the German Resistance. 


I discovered, rather to my surprise, that many Germans abhorred the Nazis and risked their lives to stand against Hitler. I read about the Swing Kids who played jazz and danced swing in basements and cellars, despite the threat of arrest. The White Rose group of students in Munich printed leaflets calling the German people to rise up against the Third Reich. The Edelweiss Pirates in Cologne did battle with the Hitler Youth and hid deserters from the army. The Baum group in Berlin blew up one of Goebbels’ exhibitions. Other resisters smuggled Jews out of Germany, or hid them in their houses and gardens. Most of them paid for their defiance with their lives.

One of the most successful groups of resisters was based in Berlin. The Gestapo called them the Red Orchestra. They called themselves the Zirkel, which simply means circle. Their members were writers, actors, journalists, musicians and sculptors. Their leaders were a Luftwaffe officer called Harro Schulze-Boysen, his young aristocratic wife Libertas, and their friends Arvid and Mildred Harnack. Mildred would earn the terrible distinction of being the only American woman to be executed by the Third Reich.


Harro & Libertas Schulze-Boysen, who were both executed for their resistance to the Third Reich

I imagined a young German woman (the Beauty of the tale) who marries a Nazi officer (the Beast) in order to save her father. But secretly Ava helps her Jewish friends whever she can. One day she meets Libertas, and is drawn into the dangerous world of the underground resistance. Living a double life, she must spy on her husband Leo in order to help save whom she can. Gradually she comes to suspect her husband is himself involved in a plot to assassinate Hitler. When the plot fails, Ava must risk everything to try and save her husband from a cruel traitor’s death. 


The Beast’s Garden was in many ways the most difficult book I have ever written. I found the research utterly harrowing. For months, every day was spent reading about Hitler, about the Gestapo, about the Holocaust. I wrote the first draft entirely in first person, as if it was a diary or a memoir. But then I found it was too limiting, trying to tell such a big story from just one person’s point of view. I rewrote the entire book, in just six weeks, from a number of different points of view, including that of a Jewish girl in hiding. 

On Thursday 12 February 2015, I wrote in my diary: ‘I finished the novel last night, at 1am … and could not sleep afterwards … very tired now, but oh so happy …’


The Beast’s Garden is my paean to all those ordinary people who found such extraordinary courage and strength of spirit within them during the dark days of the Third Reich, including, of course, Anne Frank and the people who hid her and her family. 


You can read more about my liminal dreaming here and more about my research books for THE BEAST'S GARDEN here


PLEASE LEAVE A COMMENT - I LOVE TO KNOW WHAT YOU THINK!

BOOK REVIEW: The Muse by Jessie Burton

Wednesday, August 02, 2017

The Muse – Jessie Burton 

The Blurb (from GoodReads):

A picture hides a thousand words . . .

On a hot July day in 1967, Odelle Bastien climbs the stone steps of the Skelton gallery in London, knowing that her life is about to change forever. Having struggled to find her place in the city since she arrived from Trinidad five years ago, she has been offered a job as a typist under the tutelage of the glamorous and enigmatic Marjorie Quick. But though Quick takes Odelle into her confidence, and unlocks a potential she didn't know she had, she remains a mystery - no more so than when a lost masterpiece with a secret history is delivered to the gallery.

The truth about the painting lies in 1936 and a large house in rural Spain, where Olive Schloss, the daughter of a renowned art dealer, is harbouring ambitions of her own. Into this fragile paradise come artist and revolutionary Isaac Robles and his half-sister Teresa, who immediately insinuate themselves into the Schloss family, with explosive and devastating consequences . . .

Seductive, exhilarating and suspenseful, The Muse is an unforgettable novel about aspiration and identity, love and obsession, authenticity and deception - a masterpiece from Jessie Burton, the million-copy bestselling author of The Miniaturist.




My Thoughts:

Jessie Burton’s first book The Miniaturist took the literary world by storm a few years ago. It was a magic realist tale, set in 17th century Amsterdam, about a sugar merchant and his young wife, lonely and unsettled in her new home, and entranced by a miniature model of her own house that seemed to reflect and even predict events in her own life. I loved it, and so was eager to read what she wrote next. 

The Muse is her second novel and is very different indeed, which I really like. It shows boldness and poise and faith in her ability to create something new. It has a dual timeline structure, telling the stories of two very different women. The first is Odelle, a black girl from Trinidad who came to London in the mid-1960s in the hope of becoming a poet and author. She is offered a job as a typist in a prestigious art gallery, and then meets a young white man named Lawrie at a party. These two events collide when Lawrie shows her a painting he has inherited from his mother, who had recently killed herself. The painting proves to be a lost masterpiece with a mysterious past.

The narrative then moves to the point of view of Olive Schloss, a young English woman who moves to Spain with her parents in 1936, despite the shadow of civil war. Olive longs to be an artist, but her father is a renowned art dealer and does not believe women can paint. She meets a young Spanish artist and revolutionary, Isaac Robles and his young half-sister, Teresa, and her comfortable life implodes.

I just loved it.  Both narrative threads are expertly spun, creating a tale of love, art and deception that kept twisting in unexpected ways. A fabulous read.


BITTER GREENS: Vampires in Renaissance Venice

Wednesday, April 26, 2017

BITTER GREENS has won the ALA Award for Best Historical Novel 2015!

To celebrate, I'm running some vintage posts about the writing of the novel. Enjoy!


One of my absolute favourite things about writing a novel is all the extraordinary things you discover while doing your research that are begging, no, pleading, no, SCREAMING OUT to be used.

My novel BITTER GREENS is stuffed full of these forgotten, fascinating facts, but my absolute favourite is the burial rites of suspected vampires in Renaissance Venice.




Corpses suspected to be those of vampires had their jaws wrenched open, and a large brick or stone jammed into their mouths, before they were wrapped in a shroud and flung into a plague-pit.

The brick was to prevent them from chewing their way out of the grave.

BITTER GREENS is a retelling of the Rapunzel fairytale, interwoven with the dramatic life story of the woman who first told the tale, the 17th century French writer, Charlotte-Rose de la Force. So you may be forgiven for wondering what on earth that has to do with Venetian vampires. 

Well, Charlotte-Rose de la Force wrote her version of the old Maiden in the Tower tale while locked up in a falling-down old nunnery in rural France in the late 1690s. 

However, an earlier version of the tale was written by a Neapolitan soldier, Giambattista Basile, in the early part of the 1600s, while he was serving the Venetian Republic. 

I have always been fascinated by Venice, and so I at once saw how perfect it would be for a retelling of Rapunzel. All those secret, walled gardens, all those labyrinthine alleyways and canals, all those tall towers and secret passageways. I planned a parallel story, with one narrative thread being the story of Charlotte-Rose, writing in France in the 1690s, and the other set close on a hundred years earlier, in the gorgeous and dangerous world of Renaissance Venice.

I decided to have three Points of View – Charlotte-Rose herself, the Rapunzel character (who I called Margherita), and the witch. It was while writing the story of the witch - who I made a beautiful courtesan and Titian’s mysterious red-haired muse -  that I stumbled across the real-life 16th century woman who had been buried with a brick jammed in her jaws.




The body was discovered in early March, 2009, by archaeologists digging up a mass grave on the Lazzaretto Nuova, an island in the Venetian lagoon where plague victims were taken to die. 

When the skeleton with the brick-jammed jaws was first discovered, project leader Matteo Borrini, a forensic archaeologist at the University of Florence in Italy, said that this was a common practice among people who believed fervently in vampires.

He said that the belief in vampires in the Middle Ages may have begun because the process of decomposition was not well understood. For example, as the human stomach decays, it can release a dark, bloody fluid from a corpse's nose and mouth. As mass burials were often opened up again to add new plague victims, Italian gravediggers would see some shrouds were stained or torn about the mouth, and so surmise that those corpses were those of vampires.

Inserting bricks and stones into the mouths of suspected vampires was thought to stop them chewing their way out, feasting on other corpses, and stalking the night looking for fresh blood.

Suspected witches (often thought to drink blood too) were also buried with bricks in their jaws. Further studies on the skeleton found on the Lazzaretto Nuova show that she was a lower-class woman of around 61 to 71 years of age, which is surprisingly old for a woman of that time. 

Matteo Borrini says this may show that the old woman had been accused of being a witch. In medieval Europe, many people believed the devil gave witches the power to cheat death.

All this was, of course, a gift to a novelist writing partly from the point of view of a witch in 16th century Venice. 

To see how I used this particular gift, well, you’ll just have to read the book .... 

Read more about BITTER GREENS or BUY IT HERE!

BITTER GREENS: The facts behind the Fiction of the Sun King & his Court

Wednesday, April 26, 2017

BITTER GREENS, the winner of the ALA Historical Fiction Prize 2015, is set in the corrupt and glittering court of Louis XIV, the Sun King. Here are some fascinating and little known facts about France at that time ...




In recent months, I’ve been visiting a lot of Book Clubs who have read my novel Bitter Greens. Some have cooked me French onion soup; others have poured me fine French champagne. All of them have been full of questions.

Most questions begin ‘Is it true ...?’

Some of the most eagerly asked questions were about the court of the Sun King, and so I thought I would write a little more about this most imperious of kings. It is all really quite fascinating. 


Yes, it is true that the Sun King used to ride out in a coach with his wife and his two favourite mistresses. 

Yes, it is true that he married his bastard children’s governess (although he never acknowledged her as his wife).

Yes, it is true no-one except another royal was permitted to ever sit in his presence (except at the gambling tables, one reason why gambling was so popular with his footsore courtiers). Even his own sons had to remain standing, though his daughters were allowed to squat on little footstools, a privilege that they fought over bitterly.

Yes, it is true that courtiers had to bow or curtsey to any dish being carried to his table.

Yes, it is true that it was considered rude and vulgar to knock at a door. Courtiers grew the nail of their little fingers long so they could scratch at a door.

The etiquette of the court at Versailles was extraordinarily rigid.

Take the King’s daily routine.

He was surrounded at all times by his courtiers and soldiers – three or four thousand was the usual number.

Every morning, a chain of servants and courtiers passed each item of clothing to the king. For example, the Valet of the Wardrobe brought the King's shirt, passed it to the grand chamberlain, who handed it to the Dauphin, who passed it to the King. 

He had one servant whose only job was to present him with his golden goblet of wine. 

The King ate alone, watched by up to 300 people at a time. At one meal he is said to have eaten "four platefuls of different soups, a whole pheasant, a partridge, a plateful of salad, mutton hashed with garlic, two good-sized slices of ham, a dish of pastry and afterwards fruit and sweetmeats."

The King expected all noblemen to live with him at Versailles. Anyone who preferred to live on their own estates soon fell from favour. The King would simply say, ‘I do not know them’, and favours would be passed to those who danced attendance upon him. 
 
Louis XIV was Europe’s longest serving monarch. He reigned for 72 years and 110 days. He out-lived his son, and his two eldest grand-sons (all three were named Louis too). He was succeeded by his five year old great-grand-son, Louis XV. 

And, yes, it is true that vichyssoise was invented because it took so long for the King’s soup to reach him after being passed along a long chain of tasters to ensure it was not poisoned. If the King ate cold soup, everyone must eat cold soup. 


Read more about Bitter Greens here and BUY IT HERE 

BITTER GREENS: Juliet Marillier interviews me about the writing of my novel 'Bitter Greens'

Wednesday, April 26, 2017




When BITTER GREENS was first published, Juliet Marillier interviewed me on Writers Unboxed - here is that interview for your reading pleasure:  

JULIET: 
Kate, congratulations on this wonderful new novel and thanks so much for agreeing to talk to Writer Unboxed. Bitter Greens is one of those books that breaks out of recognised genre moulds – it’s part historical novel, part fairy tale, and part serious examination of gender roles, power and cruelty in 16th and 17th century France and Italy. What would you like our readers to know about the story ?

KATE:
I began wanting to retell the Rapunzel fairy tale, which has fascinated and puzzled me ever since I first read it as a child. I’ve always loved both fairy tales and retellings of fairy tales, but it seemed to me that most reworkings of the Rapunzel story sidestepped the biggest problems in it. For example, why did the witch want to lock her in a tower. Why was Rapunzel’s hair so impossibly long? Why didn’t Rapunzel ask the prince to bring a rope so she could climb down and escape? 

The other big problem with fairy tale retellings, I think, is that they can lack surprise and suspense, the two ingredients I consider the most important in creating a compelling narrative. The stories are so well-known that it’s difficult to build suspense, or create switches and reversals, when the reader knows the story so well. Most writers solve this problem by subverting the tale, but this usually fails to surprise as well. I wanted to be faithful to the haunting, beautiful feel of the familiar tale, while still writing a gripping, unputdownable novel. 

JULIET: I loved the complexity of the novel, especially the way you intertwined the stories of three very different women.  Each thread is told in a different voice and each is distinctive in style. Did you plan from the first to structure the book that way? How did you go about putting the three threads together ?

KATE
I am a fervent believer in the importance of planning the internal architecture of a story. I think structure is the invisible underpinnings of the narrative, and any book which fails usually does so because of a poor internal structure. So I always think very carefully about how I’m going to build my narrative. 
My initial plan was to have the three narrative threads being equal in length, and braided together like a plait, so that the structure of the novel symbolically reflected the key motif of the Rapunzel fairy tale, the impossibly long plait. 

Usually I write in third person multiple POV, but I felt very strongly that the frame narrative, the story of Charlotte-Rose and how she came to write her fairy tale, should be told in first person. I had never written in first person before, but I really enjoyed it, and I found Charlotte-Rose’s voice came to me strongly right away. I wrote the entirety of Charlotte-Rose’s story, from the beginning to the end, indicating where I thought I would intercut with my other two narrative threads. 

I then told the story of Margherita (my Rapunzel character) in third person, and in a far more simple style, because this was a tale being told to Charlotte-Rose by another. Once I had finished the whole story, I then wove these two together, making sure I kept a fine balance between the two different tales. 

Only then did I turn to the third narrative thread, the tale of the witch Selena Leonelli, who is a Venetian courtesan, and muse to the artist Tiziano. Her story was much darker, and seemed to me to have a kind of potency or intensity, that would be dissipated if I broke it up to interweave with the other two tales. It woudl also mean too much chopping and changing. So I changed my plan, and made the witch’s tale the dark heart of the novel, the unexpected midpoint reversal which changed everything you thought you knew about Charlotte-Rose’s and Margherita’s stories. 


JULIET: You’re an extremely versatile writer, with a body of published work including award-winning novels for children and young adults, two best-selling fantasy series for adult readers, collections of poetry and an earlier literary novel. What drives you to keep challenging yourself as a writer?

KATE:
I always think that the great dangers for any creative artist are smugness and predictability. Market pressures mean that writers are constantly being asked for more of the same, yet it is very difficult to keep writing the same storyline, with the same characters, and not start to feel stale and monotonous. 

I always want to write better than I have before, to keep pushing myself to create something fresh and unusual and exciting. I want my readers to know they will find a vivid, compelling, surprising and emotionally moving story every time they sit down with one of my books. It’s easier to win new readers than it is to win back dissatisfied readers. 

Of course, every time someone loves one of my books, they write to me begging me to write a sequel, or another just like it. I always tell them that I hope they’ll read my other books too, and love them just as much.


JULIET: 
I know Bitter Greens was written as part of your work on a doctorate in fairy tale retellings at the University of Technology in Sydney (correct me if this is wrong.) How different was this experience from writing your earlier adult novels? Did the academic side of things put any constraints on the way you created the book? Was your process different?


KATE:
I thought, when I first began to conceive and develop the idea of doing a retelling of Rapunzel, that it would make a fascinating doctoral project.  ‘Bitter Greens’ was a very research-intensive book to write, and it seemed a good way to maximise all those long hours reading through scholarly fairy tale articles.  I had actually written a novel before under university supervision – my novel ‘Full Fathom Five’ was written as my thesis for my Master of Arts in Writing. (Although I wrote it in my 20s, it was my eighth published novel).
I do not feel my doctorate put any constraints on me in a creative sense. My supervisor, the novelist Debra Adelaide, was more concerned in helping me find the voice of my protagonist, and to help me learn to be a better writer. 

I am always eager to learn, and so I was grateful to her for her close scrutiny of my work. I’m not used to showing my early drafts to anyone and so I did find that difficult, but she was very tactful.

I actually love writing articles and essays as well as poems and novels, and so I’ve been enjoying the theoretical aspect of the doctorate as well. I like to know everything I possibly can about a time or a place or a person or a subject before I write about it, and so I would have studied just as intensively for the novel as I am now doing for my exigesis. I am writing about the many different retellings of Rapunzel, from the earliest Maiden in the Tower tales right down to Disney’s ‘Tangled’ and the use of Rapunzel motifs in advertising and popular culture. It’s fascinating. 

JULIET: There must have been a huge amount of research behind Bitter Greens, though you use your historical material with a storyteller’s light touch – it’s never laid on too heavily. I understand you travelled to France and Italy with your children to do research. Tell us a bit about that.

KATE:
I did! It was wonderful. I have always taken my children with me on research trips. They’ve been to London, Paris, Venice and Edinburgh, to the Isle of Skye, Sussex, Gascony and Lake Garda. They’re lucky children!

I feel it very important to actually go to the places I describe in my books. A writer doesn’t simply describe a mountain, or a lake, or a castle, or a city street. They need to imbue that scene with some kind of emotional significance. They need to know what the characters would hear, and smell, and feel. 

Kate writing in Florence

JULIET: 
The book is beautifully structured. I particularly loved the Rapunzel poems by various writers that stand at the start of each section.  What do you think it is about this particular fairy tale that grabs people’s imagination?

KATE: 
Rapunzel is a tale about love, sex and power. Psychologically speaking, it is normally interpreted as a tale about a young girl on the brink of puberty who is kept locked away from the world by a mother-figure who seeks to protect her. Only by defying her mother, and coming to terms with her own sexuality, is the girl able to grow into maturity. However, like all fairy tales it is open to much deeper interpretations. 


JULIET: Some passages of Bitter Greens must have been exceptionally challenging to write. I’m referring in particular to scenes of sexual violence, part of your realistic depiction of the society those women lived in. I found parts of the book extremely disturbing to read. What were your reasons for choosing to present this material so openly?


KATE:
It is true a few scenes were exceptionally difficult to write. In particular, the gang rape of Selena’s mother. I had to get up and leave the computer, and come back to it, only to flee again. Yet it felt important to me, both psychologically in the development of an understanding of what drove Selena to do what she did, and historically, to illuminate what life was like for women of that era. One of the things that most fascinated and disturbed me about the Rapunzel tale is that it is a woman who imprisons another woman. Why? What led her to do such a terrible thing?  Most retellings of Rapunzel never truly examine this, and yet it was one of the questions that first spurred me to explore the tale.

Although it was so awful to write, it seemed to have a ring of truth about it.

JULIET: 
When you were first considering writing this, you said it would be ‘a dark gothic retelling of a dark gothic fairytale.’ It’s certainly a gritty and challenging story, revealing among other things the unsavoury reality behind the frothy and glamorous French court. Do you think most fairytales have that shadow about them, the darkness beneath the charming surface? 


KATE: 
I do indeed. It is one of the things that most intrigues me about fairytales. I love the haunting beauty of them, the magical strangeness, the joyous triumph over adversity. Yet I am also drawn by the darkness of them, the sense of a cost to be paid for that joy. 


JULIET: I understand you’re already well into a new project, a novel about Dortchen Wild, the Grimm Brothers’ ‘girl next door’. And it includes a retelling of a Grimm fairytale, ‘Allerleirauh’ or ‘All Kinds of Fur.’ Can you tell us about the new novel? 


KATE: Oh, yes, I’m completely obsessed with Dortchen Wild now, just like I was completely obsessed with Charlotte-Rose de la Force last year. I think I’m drawn to the forgotten, cobwebbed corners of history, particularly when it relates to extraordinary, neglected women.
A drawing of Dortchen Wild by Ludwig Grimm

Dortchen Wild was twelve when she met the Grimm Brothers. She lived next door to them, above her father’s apothecary shop, and was the source of some of their most compelling and unusual stories. She told Wilhelm Grimm ‘Rumpelstiltskin’, ‘Hansel and Gretel’, ‘The Frog King’, ‘Six Swans’ (a favourite of mine as you well know, Juliet!) and ‘The Singing Bone’ (about a murdered boy whose bones are used to make a harp that then sings to accuse his murderers). She told a very gruesome version of ‘Bluebeard’ called ‘Fitcher’s Bird’, the primary difference being that the heroine saves herself and her sisters, and a very beautiful version of ‘Beauty and the Beast’ called ‘The Springing, Singing Lark’. A key tale of hers was ‘Allerleirauh’ or ‘All Kinds of Fur’, better known as ‘Deerskin’ or ‘Catskin’ about a princess whose father wants to marry her. 

I’m interweaving the beautiful and rather tragic story of Dortchen and Wilhelm’s love affair with her tales, drawing upon ‘All-Kinds-of-Fur’ in particular (Dortchen’s father was a very stern and strict man who forbade her to see her one true love, and who may indeed have abused her). 

BITTER GREENS: The Facts behind the Fiction of Charlotte-Rose de la Force's life

Wednesday, April 26, 2017


To celebrate International Women's Day, I thought I would spotlight the real (and unjustly forgotten) historical women whose lives I have drawn upon in my fiction.

First off the rank is Charlotte-Rose de Caumont de la Force, the 17th century fairy-tale writer who is best known for having written the best known version of 'Rapunzel'. I drew upon the true events of her dramatic and tempestuous life to write my novel Bitter Greens . 

This blog was first published in September 2014.


My novel BITTER GREENS is, of course, a work of imagination.

However, in weaving a tale of fancy I have used as the immovable pegs the known facts of Charlotte-Rose de la Force’s life, few as they are.

Even the year of her birth is open to argument, ranging from 1650 to 1654. I travelled to Château de Cazeneuve in Gascony and, with the help of her baptismal records, was able to confirm it as the earlier date. I also saw her baby pram and the simple white family chapel where she was baptised.

Chateau de Cazeneuve, in Gascony, France


Of her childhood, we know only that she met King Louis XIV in 1660 at the Château de Cazeneuve, and that two years later her mother was imprisoned against her will in a convent in Bordeaux.

Charlotte-Rose went to court at the age of sixteen, and was maid-of-honour first to the queen and later to the Duchess of Guise.

She had an affair with Moliere’s protégé, the actor Michel Baron, who notoriously left his nightcap in her bedroom one night.

Michel Baron, the 17th century French playright


Later, Charlotte-Rose was engaged to the Marquis de Nesle, the betrothal ending in scandal after a pouch she had given him was found to have toads’ feet and spells in it. As a result, Mme de la Force “came to the attention” of the King during the infamous Affair of the Poisons.

Her love affair with the much younger Charles de Briou caused more scandal, particularly after she dressed up as a dancing bear to gain access to him. They wed, but their marriage was annulled in the courts.

In 1697, she was banished to the abbey of Gercy-en-Brie after writing some satirical Christmas verses and under suspicion of having an affair with the Dauphin.

 

The Dauphin


She wrote ‘Persinette’ and various other fairy tales while imprisoned there, publishing them anonymously the following year.

 The mystery of how Charlotte-Rose de la Force came to know of Giambattista Basile’s fairytale ‘Petrosinella’ may have been solved in 2007 by the fairytale scholar Professor Susanna Magnanini. She conjectures, in ‘Postulated Routes from Naples to Paris: The Printer Antonio Bulifon and Giambattista Basile’s Fairy Tales in Seventeenth Century France’, that a copy of his fairytale collection may have been brought to Paris around the time of the explosion of literary fairytales by French writers Charles Perrault, Charlotte-Rose de la Force, Marie-Jeanne L’Héritier and others. If so, these French storytellers would have had to have read Basile in his original Neapolitan dialect, which is strikingly different to both Latin and Italian. 

The story ‘La Puissance d’Amour’, told by Charlotte-Rose in the novel on the night she first meets Charles de Briou, is a paraphrasing of one of her actual fairytales, which has never before been translated into English.

Similarly, ‘Bearskin’, the story about a princes turned into a she-bear, is one of Henriette-Julie d’Murat’s most famous fairytales, and she was indeed a cousin of Charlotte-Rose de la Force.

I first heard about Charlotte-Rose de la Force in an essay by Terri Windling, 'Rapunzel, Rapunzel, Let Down Your Hair', in Endicott Stduio's Spring 2006 Journal of Mythic Arts. This was the first seed that led me on my journey to discovering the life of this extraordinary writer.

My primary source for the facts of Charlotte-Rose's life come from "Mademoiselle de la Force:  auteur mèconnu du XVIIͨ siècle", by the French academic Michel Souloumiac, which I had translated into English, again for the first time. My secondary source was "Letters from Liselotte: the collected letters of Elisabeth Charlotte, Princess Palatine and Duchess of Orléans, 'Madame', 1652-1722", in which she recorded the gossip of the Sun King's court. Charlotte-Rose is mentioned a number of times.


Researching and writing the life of Charlotte-Rose de la Force was like assembling and putting together a gigantic jigsaw - it required patience, dedication and persistence. I feel, however, that I have discovered one of the most fascinating women ever forgotten by history.

Read more about BITTER GREENS or BUY IT HERE!

SPOTLIGHT: My notebooks for my novel BITTER GREENS

Wednesday, April 26, 2017

My novel BITTER GREENS (a retelling of Rapunzel interwoven with the true life story of the woman who first told the tale) is being studied this semester at the University of Queensland. The class tutor (and one of my all-time favourite writers) Kim Wilkins asked me if it was possible to show the students some of the pages from my notebooks. 

I realised I had never posted about my working techniques for BITTER GREENS, and so this seemed like the perfect opportunity to do so. 

            


I buy a new notebook whenever I begin a new book. Normally, I try and buy something really beautiful and special, but for BITTER GREENS I had been given a pile of plain black notebooks and I thought I had better use those first. 

To make them pretty and special, I stuck images on the front:


       


These are the covers for the notebook devoted to the story of Charlotte-Rose de Caumont de la Force, set in 17th century Paris and Versailles and the abbey of Gercy-en-Brie in the French countryside. The paintings are not of Charlotte-Rose herself, but of anonymous 17th century French ladies that spoke to me somehow. This is the only image I was able to find of Charlotte-Rose de la Force:



This is the cover of my notebook for the scenes set in Renaissance Venice, which tell the story of Margherita (my maiden) and Selena Leonelli (my witch). The image is one of Titian's most famous paintings of the mysterious women who was his muse. It is called 'Woman with a Mirror' and you can see the original in the Louvre (I did!) 

       

The opening pages of my notebook - the pink stick-it note was from a dinner party where I met some Germans who told me the perfect place to set my Rapunzel scenes in the tower - Sirmione in Lake Garda.  I ended up setting this scenes a few miles away at Rocca del Manerba:


       

Some early pages from my notebook.


It is always very important to me that I plan my key turning points as early as possible in the writing process. I try and find the underlying pattern in the story, which is a process I find very exciting and liberating - it helps me know my key emotional beats, and the scenes which I wish to foreshadow early in the story. BITTER GREENS was a complicated story, so I created a graph like this for each of my major characters - seeing where their stories intersected and how many words each section should be. I often change my graph as the story develops and I learn more about my story - in which case, I draw this diagram again and again, as I try to understand the key underpinnings of the story's architecture.  

These are the opening lines of BITTER GREENS, written longhand in my notebook. I often write key scenes longhand first, to slow myself down and think through what I want to say. Typing is an amazing technological breakthrough for writers, but it can lead to quick and facile writing. I like to write slow and deep and thoughtful at times - usually for my most important scenes or when a line or paragraph is causing me trouble and always, always, always, when I am writing poetry.

         

I have a very visual imagination, so I like to be able to "see" things before I describe them. Consequently I am always sticking in maps, diagrams, and photos into my notebooks, or drawing little maps for myself (this sketch is of Margherita's tower)

An early chapter outline

  

Lists of characters

              

Random pages I thought you might find interesting

     

My notebooks are not particularly pretty - my handwriting is awful and my drawings even worse. They are, however, a record of the creative process from the earliest ideas through to the finished product. I date my pages, keep a record of my word counts, and say where I am when I am working on that page (Paris, Venice, Florence and the south of France all feature in these pages.) 

Writing BITTER GREENS was an extraordinary experience for me. No book I have written has ever dug so deeply into who I truly am. 

 I have written a lot on my blog about Bitter Greens - I hope you will go and explore further! Or take a look at my Pinterest pages on Titian's paintings of his muse, Rapunzel  or my inspirational pinboard for BITTER GREENS

But - most of all - I hope you love the book!

THE 50/50 PROJECT: Finishing my Doctorate & Publishing my Exegesis

Wednesday, April 26, 2017

THE 50/50 PROJECT: Finishing my Doctorate & Publishing my Exegesis

 


My novel BITTER GREENS was written as the creative component of a Doctorate in Creative Arts at the University of Technology, Sydney.

It retells ‘Rapunzel’ in a Renaissance Venice setting, entwining the fairy tale with the dramatic true-life story of the 17th century French noblewoman who wrote the tale as it is best known, Charlotte-Rose de Caumont de la Force. She was second cousin to Louis XIV, the Sun King, and a maid-of-honour at the royal court in Versailles. She wrote her story ‘Persinette’ while locked away in an impoverished convent by the king, as punishment for her wild and wicked ways (which included dressing up as a dancing bear to try and rescue her much younger lover). 




BITTER GREENS  took me seven long years to research and write, including the four years that it took complete my doctorate. 

As the theoretical component of the degree, I also wrote a 30,000-word dissertation on the history of the Maiden in the Tower tale, examining why this tale haunted my imagination above all others, and why it has continued to be told and re-told for so many hundreds of years.



I am very glad and proud to announce that my doctoral dissertation is to be published in book form by the wonderful people at FableCroft.


THE REBIRTH OF RAPUNZEL: A MYTHIC BIOGRAPHY OF THE MAIDEN IN THE TOWER will also include a number of essays and articles on fairy tales and folklore. 

FableCroft said, in their press release: “This unique collection will include Kate’s research on the Rapunzel story that underpinned her stunning, award-winning novel, BITTER GREENS … The book is not your usual reference work, but an wonderful exploration of the subject matter, written in Kate’s clever and engaging style.” 


FableCroft have released both a hardcover print edition as well as an accessible ebook version, with cover art by Kathleen Jennings.



A SKETCH OF KATE FORSYTH BY KATHLEEN JENNINGS


You can buy the book now! I hope that you  find the book a fascinating companion book to BITTER GREENS




PLEASE LEAVE A COMMENT – I LOVE TO KNOW WHAT YOU THINK!



BOOK REVIEW: The Wonder by Emma Donoghue

Wednesday, March 29, 2017

BLURB:

In the latest masterpiece by Emma Donoghue, bestselling author of Room, an English nurse brought to a small Irish village to observe what appears to be a miracle-a girl said to have survived without food for months-soon finds herself fighting to save the child's life.

Tourists flock to the cabin of eleven-year-old Anna O'Donnell, who believes herself to be living off manna from heaven, and a journalist is sent to cover the sensation. Lib Wright, a veteran of Florence Nightingale's Crimean campaign, is hired to keep watch over the girl.

Written with all the propulsive tension that made Room a huge bestseller, THE WONDER works beautifully on many levels--a tale of two strangers who transform each other's lives, a powerful psychological thriller, and a story of love pitted against evil.


MY THOUGHTS:

I have read Emma Donogue’s brilliant collection of fairy-tale retellings Kissing the Witch: Old Tales in New Skins but have not yet read any of her novels. I have heard such high praise of her writing, however, and I was so interested in the premise of her new novel, The Wonder, that I bought it as soon as it hit the bookshops.

The story begins with an English nurse, who had trained with Florence Nightingale during the Crimean War, arriving in a tiny Irish village to watch over a little girl whose family claims can survive without food. She lives on ‘manna from heaven’, and so is thought of as a kind of miracle. People come to her to be blessed, and leave the family gifts in return. The nurse, Mrs Wright, thinks it is all a sham, and determines to reveal the truth. However, slowly, all her preconceptions and prejudices are turned upside-down, and she discovers a very different truth to what she had expected.

I first read about cases like this in Joan Jacobs Brumberg’s brilliant history of Anorexia Nervosa, Fasting Girls. She shows how food-refusal by girls and young women stretches all the way back to medieval times, when saints and martyrs refused food or purged themselves of food as a sign of their religious devotion. In the nineteenth century, there were many cases of so-called ‘fasting girls’ including the famous case of Sarah Jacob, the ‘Welsh Fasting Girl’ who eventually died of starvation at the age of twelve after a watch was set over her by the local doctor. 

The Wonder is inspired by such real-life stories but, in the true art of fiction, transforms it into something much greater. The Wonder is a story about faith, about love, about secrets, and about the mysterious ways in which human lives intersect and impact on each other. I loved it.


Subscribe RSS

Recent Posts


Tags


Archive


Blogs I Follow