Period Detail or: The Writer's Dilemna

 

Roan Rose   ISBN:  149224158X

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Writing popular historical fiction always leads to a dilemna--how much period detail can you "get away with" without alienating the casual reader? The audience for historical fiction is broad and it's difficult to find the correct niche, the readers you want to reach and entertain.  My own problem as a writer who hoped to make a few dollars from this "hobby" was exactly this.

Who was I writing for? Where was my "market"?

 

In the beginning, I naively hoped to bring more realism into the world of romance--or rather into my imagined new brand of romantic-historical fiction. Much to the dismay of editors, I could not leave out the flies or the fleas or the dirt, or the endless lugging of water, or the everyday sheer drudgery of an ordinary woman's life in the past. Her hair had to be hidden and her head covered, and her mouth must remain closed.

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Escaping into a dreamworld of history, usually with privileged protagonists who have servants (or slaves) laboring in the background over laundry and cooking and child care, did not particularly call to me. Trips to the backhouse in the winter, housekeeping, and women's cultural and gynecological issues--for example, Constanze Mozart's repeated near-death experiences while bearing six babies in nine years- interested me more. 

Relationships are the key to any storytelling success, but if these are not placed in the context of historical period, I, as a reader, can't take a story seriously. I sincerely try to make my own stories as authentic as I am able by doing research, by attending re-enactments and spending time with the experts there. They, like me, truly want to walk back into another time and place, immersing themselves not only with the pleasures, but the pains and discomforts, of the times in which our ancestors lived. 

Beyond the consequences of living in a world ignorant of germ theory or human anatomy, the second class "weaker sex"status of women was established and enforced by religion, by law and by custom. Women had very few legal rights, no contraception, no protection from abuse by spouses or intimate partners. There were strict rules for dress and deportment which applied to every social class and in every culture. China bound aristocratic women's feet so that girls grew up while enduring excruciating pain and became fit for little but sex, smoking opium and perhaps penning poetry. Victorians forced their girls into binding corsets that produced high-fashion "beauty," but deformed internal organs and shortened their lives.

Such battles appear to be still going on for women globally. Even here in the West, where, I'll admit, things are somewhat better in 2022 than in the world of 150 years ago when we couldn't vote and could be committed to life in an asylum on the say-so of a controlling father or bored spouse. We generally still don't get paid or promoted like our brothers.

 

These and other reflections about the dues paid by creators, brings me to The Northman, a film by Robert Eggers, now exiting movie theaters, a film which I caught just at the end of it's less than glorious run. What happened to this brilliant historical movie at the box office is, in my opinion, a tragedy, but a not unexpected one. (Set this movie beside the 1958 The Vikings and you will see what a long way historical accuracy has come in big-budget Hollywood films.) 

Scholarly research, breath-taking reproductions of weaponry, of clothing, of ships and towns, beautiful photography and settings, an all-star cast who acted their hearts out, a great depiction of Norse/Icelandic magic and an epic love-and-revenge story, it has is a financial "flop." Not even those warrior scenes and buckets and buckets of blood could not attract the same folks who appear to love the two Netflix Vikings series, one I could not watch. 

The reality is there is little that is admirable about Vikings. The Northman showed us why.  Plainly depicted is a society powered by toxic masculinity and a violent proto-Capitalism which involved stealing from everybody else they encountered and either murdering or enslaving the rest.  It is based upon an Icelandic saga, the one which became the inspiration for Hamlet. 

The hero, Amleth, is from a ruling class who are supported by campaigns of murderous ferocity, their wealth and life style supported by robbery and slaving. When his father, a local king, is murdered by his uncle and his mother is (apparently) abducted, Amleth, a mere pre-teen, must run for his life, vowing vengeance as he goes. We have no idea how he survives, but when we next see him, he is grown, a mercenary for Viking slavers in the lands of the Rus. He is now a full-grown berserker warrior, a ripped killing machine who has suppressed every human feeling.  Maybe "anti-hero" is a better designation for this character, although, naturally, that would not be the case for the original hearers of the tale.

I know something about Norse/Icelandic mythology, so I put my--meaningless--stamp of approval   ;)   on the mythic content of the movie. Those many magical episodes made perfect sense in that context. The mix of grim reality and the numinous and terrifying world in which the characters dwell brought the story to life for me. Here, and, and fairly successfully I think, is portrayed the Viking mind-set.  

Women's magic--sorcery was very real and much feared by the people of this time--was also powerfully conveyed. Before the Aesir gods of Asgard, were the mysterious, primordial Vanir gods. Among these survivals of earlier times was Freya, goddess of sex and sorcery, one of the few truly powerful female figures in Norse mythology. 

This same kind of Feminine Power is also exercised in other cultures. Olga of the Birch Trees, a Slavic witch enslaved by Amleth's band of mercenaries during one of those atrocity-filled Viking raids is introduced.  Although I tend to resist love stories in such settings, I got into this character. Amleth on his way to revenge (and given a kick-start by his encounter with another Slavic sorceress) naturally responds to Olga's ferocity and she assists him with her knowledge of potions. Additionally tasty was the addition of Icelandic legends concerning their island's clever Blue Foxes. And who could find fault with the Valkyrie carrying the slain-by-the sword warriors to Valhalla, those ritual markings carved into her teeth, howling like a demonic wolf, riding her winged white horse across the stormy sky?

--Juliet Waldron

http://www.julietwaldron.com

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Love, Madness & Mozart

 

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That persistent character who keeps coming back; I think most writers have a few of them. Sometimes they inhabit a book that can’t, or won't, ever be satisfactorily finished. These conundrums are in every writer’s desk drawer and on every hard drive. 

My particular dark horse always returns around her birthday, at the end of April. She’s here, hanging around, just behind the curtains, even during day-light. I’m once again re-re-imagining scenes I’ve already visited many, many times. I’ve journeyed to her world for forty years now.

My Mozart is the first book I ever completed. A satisfactory ending, I think, still eludes me. Like Konstanze of Mozart’s Wife, this young heroine insists on speaking in the first person, which both narrows and deepens her POV. It’s like writing while pinned inside her dress. 

I’ve heard authors talk about having a “channeling” experience with their characters. There are many accounts of automatic writing and spirit dictation, some sounding as if they should be taken with salt. At least that's what my day-light self thinks. However, after the experience of writing this initial, and, perhaps never-to-be-finished story, I believe other-worldly communications can happen. Ordinarily it takes a period of concentration and study to make your characters  ("the dolls") get up and move independently, but in the case of a channeled story, they arrive fully realized, walking and talking.

So here's what I've learned, forty years after my attempt to tell this ghostly story. For a while, at least, after Mozart's death, Miss Gottlieb coped with her tragedies, until, in a final cruel blow, she lost her voice. After that, she appears to have lived on, among of the walking wounded, enduring a life of poverty until her death. Such was the fate of the first Pamina, pure heroine of The Magic Flute.

I'm glad I hadn't known her true ending before I wrote the one for this story. I was willing to follow the fantasy of a limited kind of HEA , not only for my sake, but also, the rational self argued, for marketing reasons.  Any darker ending was too painful--for me, for prospective readers--and, no doubt, for my spirit informant herself.

Wild Tulips 

 

So now it’s tulip-time April, and Green May is on Her way again. Tomorrow is Miss Gottlieb’s birthday, and once more I have glimpses of her spring-time, numinous world, animated by youth, love, and music. It makes sense that the “old” holidays too are upon us, Saint Brigitte’s Day, May Morn, Saint Walpurga’s night, Beltane, and all the other Divine Feminine Maidens who rule the second Cross-Quarter Day of the year.

   

My Mozart is “romance” in the original sense of the word, in the much the same way Romeo & Juliet  may be called "romance." Not romance in the commercial sense, but the old-fashioned bloody insanity of love, the madness which can, so easily, end in tragedy. The true domain of "Romance" is Castle Perilous, which makes drawing a final line under a tale of a hopeless passion so very hard to do. 

~~Juliet Waldron

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Earth Walker

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A powerful connection to the earth is a common theme among all 1^st Nations’ people about whom I’ve read, whether they live north or south of the arbitrary lines European colonists drew upon their home land. In every story I read written by 1^st Nations’ People, there is a recollection of a childhood where adults have carefully fostered a deep consciousness of what European culture commonly puts in a generalized lump called “Nature.” It’s that experience with which we European moderns, the “come heres” of the western hemisphere, are -- every day-- less and less familiar.

Football with my cousin, 1950's

Instead of gazing at screens all day, most folks my age (+70) remember playing outside regularly, especially during school summer holidays. My house was near a dairy farm and the surrounding fields were in hay and alfalfa. The farmer didn’t care if my mother and I roamed across them, or if I went by myself to a wonderful pond adjacent to a woodlot. In the spring it was full of tadpoles, crayfish, and blue gills. Later, in summer, it was full of multicolored frogs. Butterflies and dragon flies sailed above muddy flats, and floated over flowering plants, whose names I did not know, although I much admired their bright colors and floating seeds.  

Sometimes I’d see rabbits, fox, or woodchucks, or come across deer at their midday rest.  Red-winged blackbirds nested among the cattails; purple martens performed their fighter-pilot maneuvers over the pond.  At home, we even had a mud nest of barn swallows every year on the far end of our porch—off-limits to us until they’d finished rearing their adorable, plump, dun-breasted family.

For several years as a young teen I was sent to a summer camp--my parents' were fighting their way toward a divorce--for the entire three months. This particular camp was truly rustic, with unheated cabins, water you carried in buckets, and a bunch of retired police horses. These days it would probably be closed down as unsanitary and unsafe. You could take a bath--if you were willing to go to the owner's house--once a week. Otherwise, you "bathed" in the farm pond in the afternoon.

Some water came into it from chilly springs , but a creek flowed in at one end and over a dam at the other, so it was constantly in motion. The pond had been part of the original farm for years, so it was established. Water snakes cruised among the lily pads and cattail beds. While those reedy spots were green and inviting in the slanting afternoon light, we stayed as far away as possible, treading water and playing mermaids in the middle with friends.

It was, among us campers, a badge of honor to never go to the big house and take a bath. How humiliating! How sorry we were for the girls whose parents insisted upon it! The rest of us washed our bodies and our hair in the pond. We floated bottles, half filled with air and half with shampoo, as well as cakes of Ivory soap on the surface beside us. After a day of playing games, hiking in the woods, riding and grooming horses, and entertaining ourselves with marathon games of jacks--we dismantled the ping pong table to use the smooth wooden surface--everyone was ready to wash off the sweat before dinner.

When I returned home at the end of August, at my mother's insistence, I marched straight upstairs and ran the bathtub full. Standing naked before the mirror, I could see the brown dirt residue left from three months of "bathing" in a silty farm pond. The swim suit outline was shades darker than my suntan.

Many years ago, my granddaughter was taken for a walk in the woods for the first time when she was around two years old. Her entire experience of "outdoors" up until then had been playing in groomed suburban yards, or passing through parking lots and shopping malls with her Mama. After a first walk with her daddy on a nature trail, she haughtily pronounced the leaf and stick strewn paths “messy and uneven.”

It’s a funny story, but it’s also sad, as it shows how limited a modern child’s experience often is of this world in which she lives.  Fortunately for her, Dad got the message. From then on, he spent time with his girl out-of-doors, so she wouldn’t suffer from what I’ve come to look upon as Nature Deprivation. She can now out-walk her Grandma any day.

Snow picnic, 1970's, at a favorite spot

When she went to college, this eighteen year old was surprised to find "Walking" was a physical education course. As phys. ed. was required of freshmen and sophomores, she signed up, and then she was again surprised by the exhaustion and pain of which her classmates complained.

Considering all this, I guess it’s no wonder that so many people today are disrespectful of the earth, especially if shopping malls, macadam, and the virtual world are all they experience. It’s not only a great emotional and spiritual misfortune for them personally, but I believe this disconnection is the root cause of our civilization's current mega-scale disregard for our only home, our birth mother. 

Pipeline explosion

I’ve been reading To You We Shall Return by a Lakota author, Joseph Marshall III. This is part of an ongoing attitude adjustment exercise, as I hope to broaden my outlook and see the world through another cultural lens. (The one with which I was raised seems to have ever so many blind spots.) From that book is a Traditional Lakota Prayer to Mother Earth: 

 Grandmother,

You who listen and hear all,

You from whom all good things come,

It is your embrace we feel

When we return to you.

~~Juliet Waldron

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Genesee's story:

 Red men & White, at war in the world and in her blood.