100 Books Like The Moonflower Vine

By chance, I was entrusted with rare historical documents about the immigrant generations in our family, which inspired this novel and grounded it in reality.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 love delving into a world unlike my own and navigating along with a young hero of a story. Sometimes rooting and sometimes cringing at the decisions they make. A story that challenges a young boy resonates with me, and what makes the coming-of-age description in a book is having the young hero deal with grown-up problems, often before he is prepared. All decisions have consequences, and all problems, no matter how seemingly trivial, have significance to the user. I enjoy stories that capture just this type of world and ones that do it in a manner where it is not forced. 

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. 

I thought I was going to be a farmer, but some serious practical experience after I finished school put paid to that idea. I then focused my attention on conservation, before turning to travel writing. All of which led, eventually, to a growing interest in development issues and how people can make a living from the land. The result is over a dozen books, some of which are narrative-driven travelogues – many based on my experiences in Africa and elsewhere; and some of which focus on the nitty-gritty of agriculture, agroforestry, and related issues. My most recent book, Land of Plenty, provided a state of the nation account of British farming during the tumultuous year (for farmers, at least) when the UK voted to leave the EU.

Linda is an award-winning author and travel enthusiast. Her two-book memoir series, French Illusions, is based on her diaries from 1979 and 1980. She has completed an adaption of these books into a screenplay and is currently seeking representation. Originally from Seattle, Linda now resides in Saint Petersburg, Florida with her longtime husband near her youngest daughter and grandchildren. To this day, she tells people that she is thankful for her storybook life.