Elisabeth Grace Foley

Historical Fiction Author

Summer Reading 2016

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A pattern has emerged over the last couple of years: I begin putting down titles for my summer reading list practically just after New Year’s, and by the time May rolls around I’m champing at the bit to dig into it…and to talk about it! A side-effect of making the list early, of course, is that I occasionally swipe a title off it if I’m really desperate for something to read anytime in the spring. This year I swiped Barchester Towers by Anthony Trollope and The Brandons by Angela Thirkell (a double dose of Barsetshire!) and I remain unapologetic. Barchester Towers in particular was exactly what I needed in a dry reading season—and anyway, there are plenty of books left in both authors’ series if I want to read them in the summer!

So without further ado, here’s this year’s list:

Cluny Brown by Margery Sharp
Escape the Night by Mignon G. Eberhart
The Ivy Tree by Mary Stewart
Storming by K.M. Weiland
Where There’s a Will by Mary Roberts Rinehart
Doctor Thorne by Anthony Trollope
Moccasin Trail by Eloise Jarvis McGraw
Greenwillow by B.J. Chute
Tales of the South Pacific by James Michener
Conagher by Louis L’Amour
The Great K&A Train Robbery by Paul Leicester Ford
When Books Went to War by Molly Guptill Manning
Romeo and Juliet by William Shakespeare

Seventeen by Booth Tarkington

(Review links added later.)

I admit, I have fun making my summer reading lists kind of like Irish stew—a little bit of everything on there. More Westerns this year, as I seem to have been slacking off on my Western reading for a while; and a couple of titles that have an oblique connection to the World War II research I’m doing (my research-reading list will carry on through the summer, too).

What does your summer reading list look like? I’d love to see it!


image: “Woman in a Boat” by John Singer Sargent

Why Genealogy is Good For Historical Fiction Writers

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My interest in putting together my family tree has always stemmed from my fascination with history. Answering the questions of Where were my ancestors at this point in history? What were they doing, and how did they live? forges a link between us and the past, a curiously immediate and emotional link—it’s a different feeling than one gets from merely reading and studying history from the foreign vantage-point of the twenty-first century.

On the other hand, the more I dig and discover, the more my writer’s imagination feeds off the little scraps of information I piece together. My amateur-level genealogical research has already led from hazy possible beginnings among the Normans of William the Conqueror’s time, to the early colonial settlements of Massachusetts; from brick row houses in Dublin to textile mills in New York; from farms in Vermont and Minnesota to a boarding-house in California; through orphanages and Army barracks, through Castle Garden and Ellis Island—from Constantinople to Marseilles to Bremen to Texas. The mere listing of individuals’ professions on census records are myriad little sparks of the imagination, begging to be blown into the flame of a story someday. Farmer. Laborer. Sawmill worker. Woolen mill foreman. Teamster. Chauffeur. Mechanic. Domestic servant. Schoolteacher. Housekeeper. Photographer. Railroad fireman. Clerk. Carpenter. Tailor. Café owner.

The answers to who and what my ancestors were create another set of questions: What did this place look like when they lived here? What kind of a living did a man in that profession make; what kind of clothes did his family wear? How and where did the paths of this couple first cross? The figure of an ancestor in the foreground makes me want to learn more about the background…and to resurrect all those forgotten stories in imagined stories of my own.

Of course, there’s even more prosaic ways that researching genealogy can inspire a historical fiction writer. Character naming, for instance. If you ever run dry when trying to name characters, just take a look over a census for the time and place you’re writing about—or even just look at the names in your own family tree. To give you a slight idea of what a fruitful resource this can be, here’s just a sampling of women’s names that I’ve seen, as either first or middle names, among my own ancestors and their relations:
Agnes – Almira – Amelia – Amy – Anna – Aurora – Belle – Bertha – Bessie – Beulah – Blanche – Bridget – Calista – Catherine – Della – Eileen – Elizabeth – Ella – Emily – Emma – Essie – Estella – Ethel – Etta – Fidelia – Frances – Grace – Harriet – Hazel – Honora – Ida – Irene – Jane – Jemima – Jennie – Jerusha – Josephine – Julia – Julietta – Laura – Lela – Lena – Louise – Lucinda – Lucy – Luna – Margaret – Mariah – Marion – Mary – Maud – May – Myrtle – Ora – Phoebe – Rebecca – Ruth – Sarah – Sophronia – Susan – Susanna – Teresa – Ursula – Valeria

You could write a dozen novels and not exhaust that list.

When it comes to colonial and early America, the names can be particularly unique and entertaining. One New England ancestor of mine, name of Manassa Sprague, had brothers named Hiram and Cyrenius, and another rejoicing in the full name of Governor Galusha Sprague. Another ancestor had a brother named Independence, while some of the more interesting women’s names I’ve spotted included Alpha and Czarina. How a woman born in New Hampshire around 1800 (Independence’s sister, by the way) was given a name that is Russian for “empress” is a curious question in and of itself.

Irish names, on the other hand, present a challenge to the researcher in that they’re all the same. If you’re looking for an ancestor named William or Edward, chances are there’ll be at least five Williams or Edwards sharing his surname in any given city.

Historical fiction writers, have you explored your family history? How has it influenced your writing?

Western Short Fiction: A Cross-Section

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It’s been a while since I’ve talked about Western fiction on here, and I decided it was time to do something about that. Today I’d like to share some short story collections by Western authors who’ve influenced much of what I’ve written in the genre so far.

Why did I begin by writing short stories myself? Well, probably because I thought the mindset of years back still prevailed—the years when hundreds of all-fiction magazines were the proving-ground for young authors. You started with short stories, got your name in front of the public, and then you graduated to novels. Also, at the time I got into indie publishing there was a lot of excited talk about short fiction undergoing a revival in the digital age because of convenience and short attention spans (although now many people are agreeing that the e-short renaissance never really materialized as much as they thought it would). Anyway, I began by writing short stories and I don’t regret it, because the work I put into them was so much honing of my writing skills.

When it comes to the Western genre, I think I’ve probably read equal amounts of novels and short fiction. But many of my favorite Western authors made their mark during that heyday of magazine fiction, and so about half the books on my list of top favorite Westerns are short story collections. Here are three of the best:

Heart of the West by O. Henry

Though perhaps best-known for his New York City stories, O. Henry spent a significant amount of his life in Texas and wrote around forty Western stories altogether. Only a baker’s dozen of them are collected in one all-Western volume, Heart of the West; the rest are scattered throughout his other collections. If you’ve got his Complete Works on your shelf like I do, you’re all set—but otherwise, Heart of the West is a good place to begin. When I talk about O. Henry’s Westerns here, though, I’m referring to his whole body of work. To get an idea of the variety of tone and subject, compare just a small sampling: “Madame Bo-Peep, of the Ranches,” a lyrical, almost-novelette-length ranch romance; “The Roads We Take,” a brief tale of outlaws with a twist ending that packs a sharp punch; “The Pimienta Pancakes,” a pure comedic cow-camp delight; “Art and the Bronco,” a wry combination of frontier legend with politics and publicity; and “Friends in San Rosario,” in which we are shown a small Texas town in which the early pioneers have settled down into leading citizens. All these, and more, show the same wit, wordplay and eye for colorful detail as the most famous of Henry’s stories, applied to the landscape of the turn-of-the-century West.

The Complete Western Stories of Elmore Leonard

I’ve long been meaning to re-read this volume from cover to cover and try to write a good review. I can’t 100% recommend every single story in it, but most of them are excellent. I’ve never read another author who can sketch character and setting and describe action in so few words. Leonard’s territory is the Southwest—there’s even a map at the beginning displaying the area in which most or all of the stories are set—a desert landscape of Army posts and Apache reservations, abandoned silver mines and adobe villages. Often the stories build high suspense, from the well-known “3:10 to Yuma” to the highly creative “Under the Friar’s Ledge.” Many of them—and I’d say this is a defining feature of the collection—take a familiar Western scenario, such as the pursuit of bank robbers by a posse in “Blood Money” or cattle thieving in “The Rustlers,” and lift it to another level through a keen focus on the interplay between characters.

 

The Hanging Tree by Dorothy M. Johnson

I’ve always hated the idea of a divide between “westerns” and “serious historical fiction,” but the best way I can think of to describe Dorothy Johnson’s writing is that it bridges that gap completely. Her characters and her stories are complex and the outcome often bittersweet, and in reading them one glimpses the scope of the whole West against whose backdrop they are set. Each story in the collection is equally well-crafted and will stick in your memory, but my favorites are the poignant “The Gift by the Wagon,” the title novella “The Hanging Tree,” and the rare dash of humor in “I Woke Up Wicked,” a tongue-in-cheek tale of a cowboy who “accidentally” joins an outlaw gang.

What is it that these three very different authors have in common? I’ve thought about it, and noticed three things.

  • One: good writing. I don’t need to elaborate on this; read any of them and you’ll see that for yourself. Each author’s style is different, but their command of the English language is uniformly excellent.

  • Two: unexpectedness. We all know about O. Henry’s famed twist endings, but one thing that I noticed and appreciated about both Leonard’s and Johnson’s stories was that in very few could I make a guess at how they would end. As I’ve said before, I don’t think you have to avoid the tropes of the Western genre to achieve originality or unexpectedness; I think the key lies in filling those situations with well-developed, complex human characters, who will make the reader question what they’re going to do next.

  • Three: variety. All three of these writers successfully mined the wide, colorful panoply of characters and situations the American West has to offer. Pile all three of their works together and survey the casts of characters and you will see what I mean: men, women and children; black, white, Mexican and Indian; miners, soldiers, settlers, sheep ranchers, cooks, storekeepers, schoolteachers, politicians, doctors, bankers, plus plenty of appearances by the three essential figures of lawman, outlaw and cowboy.

Have you read any of these stories? Which were your favorites, and why?