Books like The Moonflower Vine — picked by fans

By chance, I was entrusted with rare historical documents about the immigrant generations in our family, which inspired this novel and grounded it in reality. Who wouldn’t wonder why they came? Besides, I have always been fascinated by pre-modern times and how steam power changed everything and dragged us along, kicking and screaming. And, even though they arrived in America in 1836, I grew up on the farm where they lived, so I heard tales of their amazing journey. It may be 186 years on, but it’s time to tell their story, which, it turns out, is a story for us all.  

Since childhood, when I first witnessed Mary and Collin grow hale and hearty by breathing in fresh air from the moor while sinking their hands into the soil of The Secret Garden, I have been drawn toward stories featuring the healing power of nature. And when I discovered Karana, resilient and resourceful,  fending for herself on The Island of the Blue Dolphins, I realized nature could be as violent a mentor as she could be nurturing, less a wellspring for the thirsty than a fiery forge for the spirited. The mystifying interplay of this gentle/fierce duality and its effect on the lives of characters continues to intrigue me and influences my writing. 

History and historical fiction are my abiding passions, and as a child of the Missouri Ozarks, I’ve always been drawn to depictions of Midwestern and rural life in particular. I have studied 19th-century utopian communities for many years and have always been fascinated by the powerful appeal of such communities, and the internal dynamics that always seem to arise within them. My novel series follows the rise and decline of one such community, using it as a microcosm for American culture in general. What might seem like a byway of American history is to me a powerful source of insight.

Foreign cultures have always intrigued me. I am a Midwesterner who lived for several years in Latin America, teaching English and later doing field work in anthropology. As a young woman, I lived through a violent coup d’état in Chile, and I drew on that experience when I later wrote about political upheaval in Guatemala. A Ph.D. in anthropology gave me the opportunity to spend time in Guatemala and Mexico, some of it in Mayan towns. My love of historical fiction stems from my desire to enter and understand other worlds, and I am grateful to authors who spin their magic to bring far-off places and times to life. 

I’m a writer who grew up in the Midwest, moved away for a while, and has now raised my own kids here. I love reading other writers' takes on what kinds of stories they see unfolding here. As I get older, I realize that great stories can grow out of the ground anywhere, with the right amount of sunshine, darkness, and water. 

I am fascinated by the idea of good people, moral people, people you know and like and love, who make terrible choices, wrong decisions, and mistakes that can’t be undone. And when the person who makes the mistake is a mother—my God! How the world turns on them. We live in a society where mothers are judged so harshly, where they are not allowed mistakes, where they are barely allowed to have a life or a want or a desire or a longing not connected to mothering. And so I write about this, and I read about this.

I experienced unusual events as a child. Over time, I accepted that some things exist outside rational/empirical/logical understanding. Many years later as a chaplain, I listened to patients share their life stories. Those in the final stage of life often described experiences of stepping through the veil between this world and the next. Although the mystical may not be talked about, it is always present. It can be a knowing that guides you forward in a positive direction or stops you dead in your tracks to protect you. And in a moment of grace, it can offer a reassuring glimpse of the journey ahead.     

I am a novelist who loves stories that express deep emotions and life-changing experiences, suspenseful stories that explore how humankind responds to tragedy, to heartache, and to joy, so that is what I write. My stories don’t come from me; they come through me. I often listen to scene-setting music full blast over and over again as scenes form in my head and the words pour onto the page. I don’t write my stories in order. I usually know the beginning and end, but I write whatever scene I “see” and then arrange them in the right order when I’m done. 

I was a military spouse for 26 years. My husband was stationed at MCAS Cherry Point NC and MCB Camp Lejeune NC, both for two years. We (he and I and our four children) lived on the base. He also served two tours in Vietnam, just like Doreen’s husband, and also at Headquarters, Marine Corps later. The fictional Marine base and town where this takes place is modeled after Camp Lejeune and the adjacent town. I did see the same sign welcoming us to Klan country, on Easter Sunday morning 1972 and have never forgotten it. I also knew Queenie’s counterpart. This novel is in no way autobiographical—I was never as brave as Doreen. 

I am passionately keen on poetry of many types because, whether rhyming or not, most poetry employs rhythm which is something that has a subconscious appeal to human senses. For children, rhyme provides an easy introduction to poetry and I enjoy using it because children themselves love it. Mums tell me that they are asked to read the same book time and time again – and not to try to skip any spreads! At the age of three, before she could read, my son’s goddaughter knew the whole of You Can’t Take an Elephant on the Bus by heart. The rhymes children hear when very young remain with them, sometimes forever.