If Not For You

One of the most fun, for me, things about being a writer is being able to pay homage to books and writers I’ve enjoyed or felt a connection to in some way. I do this in at least every book I write–sometimes it’s as little a thing as having one of my characters reading a book I greatly enjoyed–and sometimes it’s a little more sly and tongue in cheek. For one example, I wondered occasionally while writing Bury Me in Shadows if anyone would notice that the name of the plantation house that burned during the Civil Was was Blackwood Hall–I only called it that once or twice; I usually referred to it as “the ruins”–and that it was a ghost story…hence The Ghost of Blackwood Hall, which had always been one of my favorite Nancy Drew mysteries when I was a kid (my favorite books in any series were ones that dealt with ghosts, hauntings, or the supernatural–it never was anything supernatural–in them; even as a kid I had, apparently, this morbid fascination with death and the afterlife that has continued into my adulthood). Vieux Carré Voodoo was also inspired, in some ways, by The Mystery of the Fiery Eye, one of my favorite Three Investigators mysteries–a jewel stolen from an idol that cultists will kill to get back is at the heart of both stories, and I also took inspiration somewhat from Wilkie Collins’ The Moonstone, which I had also read and loved as a child.

I’ve not picked up a Nancy Drew mystery in years to read through, until recently. I remember the series fondly–it wasn’t my favorite, nor was the Hardy Boys; but those books were more easily accessible and easier to find in stores and libraries than the other kids’ series, and with the kind of obsessive behavior I’ve always had–which hasn’t tempered much with the passage of time–once I started reading a series I wanted to read (and own) the complete set. This odd childhood obsession has never abated, even as I am now past sixty; I don’t have room to have all my series books out displayed on bookshelves (they are some of the boxes in the attic and the storage unit) and I think I am missing a few volumes from each series I do collect–but without being able to put them out, it’s hard for me to know which ones I am missing, so I’ve kind of held back on collecting them over the last decade or so. Discovering eBay in the wake of Hurricane Katrina was a big impetus in getting me to start collecting (trying to finish collecting) again, but the lack of space for storage–let alone putting them out on display in bookcases–inhibited me and I began to wonder about the advisability and the point of collecting children’s book series if I was simply going to put them in boxes and store them. It seemed kind of dumb, in all honesty, and so I stopped.

But the kids’ series had an enormous impact on me growing up and as a developing writer. I honestly think that The Haunted Showboat, number 35 in the Nancy Drew series, was my first actual encounter with New Orleans and Mardi Gras; it was either the fourth or fifth Nancy Drew mystery I had actually read (I started with The Secret of Red Gate Farm, The Mystery at Lilac Inn, and The Hidden Staircase; I think the next I read was The Haunted Showboat or Password to Larkspur Lane) and I do believe it was Nancy Drew who introduced me to New Orleans (outside of US History; I knew the Battle of New Orleans and the Louisiana Purchase and all of that, but this was my first non-historical introduction to the city).

I used to be able to list the books in order as well as give some background on the story; my memory isn’t quite as reliable on that score as it used to be. I joined some fan groups on Facebook, primarily to see if there were other alternatives than eBay and scouring second hand stores for the copies of the series books I am missing (and that’s a whole other story; there’s definitely a murder mystery novel that can be built around adult fans of kids’ series, seriously), and have been taken aback by the toxicity that can show up in these groups: hatred of anything new or daring or different to do with the characters (they have gone to TOWN on the new television series for both Nancy Drew and The Hardy Boys–hating changes and updates with the fiery white hot passion of a dozen burning suns–and it inevitably comes down to ‘political correctness’ and ‘being woke’–despite knowing that all the earlier series books were revised in the 1950s thru the early 1970s to get rid of dated stereotypes and racism), but that is a subject for a different time (I’ve not watched Nancy Drew–literally forgot about it–but I’ve liked The Hardy Boys).

Anyway, as I am writing a new Scotty book, I decided to do some research into Nancy Drew and New Orleans–mainly deciding to reread both books that were set, at least in part, here.

So, I went on line (much easier than going through the boxes in storage–which is yet another example of how stupid it is for me to keep storing books) and ordered copies of both The Haunted Showboat and The Ghost of Blackwood Hall, which, according to a synopsis I read on a Nancy Drew website, had Nancy, Bess and George come to New Orleans–which I didn’t remember. I remembered that the book was about Mrs. Putney being swindled out of her jewelry, and it had something to do with spiritualism, which eventually led Nancy and her friends to the abandoned, haunted Blackwood Hall–but I did not remember them coming to New Orleans. This struck me as strange–I certainly vividly remembered other parts of the story, particularly a scene when Ned and Nancy stumbled into quicksand (which, according to everything I read and saw on television and/or movies as a child, I thought would be more of a danger to me at every point of my life).

Both books arrived on the same day, but since I do remember The Haunted Showboat more than I remembered anything New Orleans with The Ghost of Blackwood Hall, I decided to look through the latter and read the New Orleans section again.

Yeesh.

Despite my obsession with collecting and reading the entire series, as I mentioned earlier, Nancy Drew was never my favorite of the kids’ series; I liked The Three Investigators and Ken Holt most of all, and I always thought both Trixie Belden (the original six) and Judy Bolton were better written and more interesting than Nancy (Judy was also a goody two-shoes, but she was more rounded and developed, as were her friends), and looking through The Ghost of Blackwood Hall made me remember why she was never a favorite; the books aren’t very well written. (The original texts were much better than the revised ones, but it was a very low bar to hurdle, seriously.) And yet I had to have all the books and read them all; I watched the 70s television series with pre-Dynasty Pamela Sue Martin; and I still sort of have a soft spot for good ole Nancy; but man, these revised texts are simply terrible–and the later, newer books steadily declined in quality–I remember one where Nancy and her friends, being chased by a bad guy, duck into a room and–this is so stupid, it was even shown as an illustration–hide by sitting in chairs and holding up picture frames because of course the bad guy would look at them sitting still and believe they were a photograph or a painting.

Even as a kid, I knew that was fucking stupid.

Anyway, so Nancy is hired by a jeweler to help out his client Mrs. Putney–who clearly isn’t the sharpest tool in the shed–who is a widow and received a message from “beyond the grave” from her husband that she needed to bury her most valuable jewelry in the woods for safekeeping. (She’s also told to tell “no man or woman” about this; which is why the jeweler brings her to Nancy because she’s a “girl”–but the jeweler is a man…I guess in her mind he doesn’t count because he’s the one who spots that her jewelry is all fake, once she’s reconsidered her stupidity and dug the jewels back up.) There’s a lot of gullibility and superstition in this book, for the record, that doesn’t really make any logical sense. In a weird sequence of events, Nancy winds up with the name of a man from New Orleans who was an accomplished jewelry designer and “capable of making fakes that look real”–so she decides to follow the clue to New Orleans to look for information on the man. Because of course. Anyway, despite the fact that Mrs. Putney isn’t paying for this trip and in fact warns her not to go–Carson Drew, Nancy’s father, decides to foot the bill for her, Bess and George to fly down to New Orleans and follow this laughable clue that could only be a valuable one in a Nancy Drew mystery. (As I was reading this part again, I started thinking about how expensive this would be back then–the revised text was written in 1967, the original in the late 1940’s–and how amazing it was that all three eighteen year old girls had nothing else to do and could hop on a flight to New Orleans just like that; I am sure even back then it was more expensive to buy a ticket at the last minute.)

None of this mattered, of course, to young Greg when he was reading it the first time…and yes, I am being harsh about a kids’ series book which I am clearly too old for, but c’mon. And I knew when I was a kid that the books weren’t well written. (One thing that always annoyed me about this series and the Hardy Boys was they never really deduced anything or solved an actual mystery; really, the books were usually about catching a criminal whose identity was known almost from the start through a series of contrivances.)

But…

Once they are in New Orleans–after Bess tells a strange woman on their flight where they are staying in city: Nancy, seated in front of them, was sorry their hotel had been named. She had wanted to keep their visit to New Orleans as secret as possible. Um, you’re on a flight to New Orleans. So, since it’s too late to call on the suspect’s former boss, they go sight-seeing–but Nancy ducks into every jewelry and/or pawn shop they come upon.

The trip proved to be pleasurable, if not profitable. Their inquiries led them into many sections of New Orleans. The French Quarter, where the buildings were charming in their elegance of a bygone day, interested them most. Beautiful ironwork, delicately tinted plaster walls, old courtyards, once the center of fashionable Creole family life, fascinated the girls.

On a balcony, a brightly-colored parrot chattered at them in friendly fashion. A smiling woman, bearing a basket of flowers, stopped to sell a flower to each girl. On all sides, the visitors saw interesting characters, and heard the soft-spoken dialect which was a blend of French, Cajun, and Gumbo.

GUMBO IS NOT A LANGUAGE.

And since Cajun is a derivative of French…sigh. And by 1967 New Orleans wasn’t really bilingual anymore. It had begun to die out around the turn of the twentieth century, and it’s definitely a rarity here now to find anyone native who speaks both English and French, or speaks French as their first language.

The next day they visit their suspect’s former employer, who knows nothing, and then do some site-seeing before lunch “in a quaint restaurant.”

“New Orleans is wonderful!” Bess exclaimed. Counting on her fingers, she added, “We’ve seen the banana wharf, the market, the garden district, and that old cemetery where all the dead are buried in tombs above the ground.”

“That’s because this place is below sea level,” said George. “Say, do you suppose that guide that we believed the story about the tomb which is supposed to glow at night with an unearthly light?”

“He said spirits come out and weave back and forth like wisps of fog,” said Bess.

“That’s just what they are–fog,” George declared practically.

“Oh, I don’t for a minute believe in ghosts,” Bess replied quickly.

“I wish we had time to go to Grand Isle, the haunt of Lafitte and his men,” said Nancy.

“Who is he?” Bess asked.

“He was a famous pirate,” Nancy replied. “According to tradition, when burying treasure, he always murdered one of his band and left his ghost to guard the hidden loot!”

I guess Bess never studied about the Battle of New Orleans–and no one at either the Stratemeyer Syndicate or Grosset & Dunlap knew that you capitalize “Garden District.” Then comes a really weird section where the girls visit a spiritualist photographer on whose works sometimes “spirit writing” appears. Naturally, Nancy’s image has a warning to stop sleuthing, and then the lights go out and when they come back on, the photographer is unconscious, along with Nancy, are gone! This for me is a particularly weird section. Nancy is the point of view character, even if at a distance. Why would you then switch to Bess and George frantically searching for Nancy rather than showing her capture and abduction and eventual escape? WHY HAVE THE ACTION TAKE PLACE OFF THE PAGE?

Oh, and when Nancy regained consciousness, she was tied up and trapped in a basement near the Quarter.

A basement. Near the French Quarter. In New Orleans, which we’ve already learned is below sea level and therefore bodies can’t be buried in the ground. So of course we have basements.

But Nancy leads the cops back to the house, where all evidence of her being tied up and so forth have disappeared:

To their surprise the policeman remarked soberly, “This isn’t the first time queer things have happened in this section of the city.”

Ah, so it must be the Faubourg Marigny. Lots of queers lived there and in the lower Quarter back then. But I guess the girls should consider themselves lucky that they found an English-speaking cop–who would never say “this section of the city.” He’d name the neighborhood–“this isn’t the first time queer things have happened in the Marigny.” So anyway, the girls decide to go home, and fortunately, there’s a flight from New Orleans to River Heights within an hour. They pack and head for the airport just in time to catch their flight home–when Bess mentions something else mysterious that is going on that she knows about and just hasn’t mentioned before for some reason, and of course, as always, this side story subplot is connected to the main one.

And that’s where I stopped, since that was the end of Nancy’s adventures in New Orleans.

Sigh.

The Haunted Showboat, on the other hand, opens with an immediate eye-roller for New Orleanians:

“Would a trip to the Mardi Gras interest you, Nancy, and also a mystery to solve?” Bess Marvin asked.

Mardi Gras is French for Fat Tuesday, so basically Bess just asked her if she would interested in a trip to “the Fat Tuesday.” Yes, I am well aware that outside of New Orleans it’s all lazily considered Mardi Gras, but it’s really Carnival. Mardi Gras is quite literally Fat Tuesday, the final day of Carnival, and while I’ve grudgingly come to accept that there’s no way that people will ever not refer to the entire event as “Mardi Gras”–even I have a tendency to get lazy and say”Mardi Gras” when I mean Carnival–it will never not bother me. Of course, Bess isn’t from Louisiana and she can be forgiven for getting this wrong, and even using “the” as unnecessary definitive article can be forgiven. But–and this is something that always annoyed me about both Nancy Drew and the Hardy Boys–never is it mentioned in this book that Nancy and her friends have been to New Orleans before, and never was it mentioned on that previous trip in The Ghost of Blackwood Hall that Bess and George have New Orleans relatives.

Wouldn’t you think that would have come up in The Ghost of Blackwood Hall? Of course it didn’t, because when book 25 was written they had no idea that Book 35 would return Nancy and friends to New Orleans and Louisiana. (This kind of continuity thing used to drive me nuts; Nancy and the Hardys were ‘well known’ as amateur detectives, and every book opens with a reference to their first series book as well as the most recent, and closed with a teaser for the next, despite the fact that really, every mystery they solved was a stand alone with no connections to the past or the future. A couple of other continuity errors that always bugged me with Nancy is that Ned is mentioned as her boyfriend in the revised text of Number 5, The Secret at Shadow Ranch even though she meets him for the first time in Number 7, The Clue in the Diary; she finds her dog Togo as a stray at the opening of The Whispering Statue’s original text; but she already has Togo in the revised text of earlier volumes and yes, I am aware that I have spent way too much time in my life obsessing about Nancy Drew and continuity errors in the series–and there are a lot.)

Anyway.

If anything, The Haunted Showboat is actually worse than The Ghost of Blackwood Hall in so many ways, and not just in the aforementioned minor ways. First of all, the cousin of Bess and George’s, who invited them down, is named Donna Mae, because back in the day you could always make your audience know “hey this is set in the South” by giving a female character two first names–and always something Mae. (Ellie Mae Clampett is another example; for the record, out of dozen and dozens of southern women relatives there is exactly one whose name was “Something Mae”.) It takes a while for them to get to Louisiana–Nancy’s car is stolen once, and the replacement is sabotaged–because of course the criminals down in Louisiana will stop at nothing to keep this teenager from the midwest to interfere with their plans!–but there’s one part of their trip that is absolutely hilarious: they drive through Mobile on their way to New Orleans, but somehow get to the Mississippi River before they get to New Orleans or the plantation outside of town they are visiting:

Soon the girls reached the broad Mississippi and gazed at the peaceful, somewhat muddy river.

SOMEWHAT MUDDY?

Nancy then follows the River Road and turns inland. This geography makes literally no sense at all. But..it’s Nancy Drew, and the worst is yet to come.

You see, the Havers–who live at Sunnymead–have two black servants: Mammy Matilda and Pappy Cole. And oh yes, it’s just as racist and horrible as you can imagine–especially when you add in the “voodoo drums” they hear when canoeing through the swamp to get to the wrecked and haunted showboat, the River Princess. Anyway, yes, you can just imagine how dated and awful these depictions are. And everyone calls it “the Mardi Gras,” which no one does in the real world, either. The Quarter is referred to (correctly) as the “Vieux Carré”, but an aside says “or the old city”–it means “old square”, not old city–and of course they have lunch at Antoine’s.

There’s also an Uncle Rufus, who lives in the swamp in a tiny cabin and does voodoo spells.

There’s also a swamp episode and a wrecked, haunted showboat in an episode of Scooby Doo Where Are You?, which I’ve always wondered whether it was inspired (or stolen) from this edition.

So, neither book has aged particularly well–I’m still trying to wrap my mind around Gumbo as a language–and I suppose I shouldn’t be surprised by the racist depictions of Black characters in The Haunted Showboat, but the book is still in print and kids are still reading it. Everyone knows that the original texts of the Hardy Boys and Nancy Drew series were updated in the 1950’s and through the 1960’s to get rid of problematic depictions of non-white characters; it might not be a bad idea for them to do it again now. No one should be reading The Haunted Showboat as it stands today, really.

But it was an interesting time travel to revisit the books again. At some point I’d love to talk about all the kids’ series I read when I was a child, but…time.

Straight Back

G’morning, Saturday! How you doing? I slept well, woke up sans alarm, and feel kind of rested and good this morning. The sun is ridiculously bright this morning–it was yesterday as well–but that’s fine. Today is a long day of college football, and I have one errand to run this morning later on. Yesterday was a fairly good day; I got my work done during the day and ran the errands that needed running. I made Swedish meatballs (my version of them, any way) for dinner last night, and we settled in to watch the finale of Bad Sisters and of course, Halloween Ends, which was remarkably different than what I was expecting and despite a slow start, turned out rather interestingly after all.

I did think about the book last night while I was waiting for Paul to be ready for television viewing (and while I was doing some chores and making dinner), so I think I may have some success working on it this morning. I am going to try to get this done, put the dishes away and do some other chores before taking a shower and getting cleaned up to work on the book before I have to run the errands. And while I am of course hoping that Alabama cleans Tennessee’s clock today, the LSU game isn’t until this evening so I have the day pretty much all free heading into that, so there’s no reason I can’t get some writing done today and tomorrow (note to self: check the time of the Saints game today so you can plan accordingly). I don’t need to make another grocery run this weekend–or even order anything for pick-up–so I can pretty much plan on having the time to get things done around here. I have to work Monday morning in the clinic (covering for someone) but I also don’t have to be there until eight-thirty, either. Huzzah!

I also want to start rereading ‘salem’s Lot today; but I also have some other things I want to read as well. There never is enough time for everything, seriously. I have a couple of short stories written by friends that I need to look over (I promised feedback months ago) and I also have that Shirley Jackson Edgar-winning story I want to read, too. At some point I want to drive around the city and take pictures of Halloween decorations too–maybe I can take a walk with my phone tomorrow morning around the neighborhood and the Garden District–because I feel like I don’t document life in New Orleans as much as I should.

But then this blog has never really had a theme other than really just being a kind of diary for me, more than anything else, one where I don’t really talk about personal things as much perhaps as I would in a diary but just a way of situating myself and seeing where and how I am every morning. I have some pending entries that I also need to finish–entries talking about other books I’ve written, other books I’ve read and yet not done an entry for yet–and of course that takes time out of my day every day as well as time away from my other writing. But I do have a rather funny one about Nancy Drew and New Orleans I really should finish sometime–I have a weird love/hate thing with Nancy Drew; my OCD required me to collect and read the entire series, yet she was never really a favorite of mine; there were other juvenile series I vastly preferred to both Nancy and The Hardy Boys–but I had wanted to pay homage to Nancy’s adventures in New Orleans in the new Scotty book, so I reread the two books where Nancy came to New Orleans (The Ghost of Blackwood Hall and The Haunted Showboat) and whoo-boy, were they dated, wrong on almost every level, and horrifyingly racist. (Sidebar: I’ve always wanted to write my own juvenile series, similar to Nancy Drew and the Hardy Boys, and at the same time I’ve always wanted to write a murder mystery set at a fan convention for one of these series–because I belong to some fan-pages on Facebook and let me tell you, those folks are interesting)

I also have my entry about Donna Andrews’ marvelous Round Up the Usual Peacocks to finish, and I also have a rather lengthy entry about Interview with the Vampire I think I’ll wait to finish until I am done with watching the show.

I am not going to lie, I was curious about Halloween Ends primarily because I absolutely hated the second film in this sequel/reboot series, or whatever the hell it is considered. I was impressed by the creative decisions made on how to handle this absolutely, finally the last chapter (the end definitively ends it, trust me); but I am not entirely sure how I felt about the focus being moved off Laurie and Michael Myers. I guess I was a little disappointed–I was hoping to see, I guess, a balls-to-the-wall Laurie v. Michael battle, which we did kind of get, but it also wasn’t the primary focus of the film? I appreciated the new story as well as the new cast members like Rohan Campbell (who plays Frank on Hulu’s The Hardy Boys reboot), but I came away a little disappointed, but that was due to my own expectations, not any failure of the film itself. (I was also really amused to no end that Kyle Richards of The Real Housewives of Beverly Hills, who played one of the kids Laurie babysits in the very original Halloween, was brought back to reprise the role in the new trilogy. After listening to her talk about “filming” all season, and “having to focus on learning her lines” while dealing with RHOBH drama…only to watch the actual film to see she has exactly two scenes and at most five lines made me laugh out loud–and of course, Paul shadily said “I find it really hard to believe a bartender in Haddonfield could afford all that plastic surgery” which sent me into gales of laughter. I did enjoy the movie, though, and appreciated the different direction it took. If you’re a fan of Halloween, I think you’ll enjoy it, too–but understand it’s different going in.

All right, on that note I am going to head into the spice mines. Have a lovely Saturday, Constant Reader, and GEAUX TIGERS!

She’s Not Just Another Woman

Well, yesterday was actually quite lovely. I slept extremely well Thursday night and of course, the Anthony Award nominations turned my week around when the news broke that night (I still can’t believe Bury Me in Shadows is nominated TWICE), and I did spend a lot of yesterday trying to thank everyone for their congratulatory tweets, posts, comments and emails–I can’t think of anything lovelier than having to say thank you to people for their kindness–AND then Netflix renewed Heartstopper for an additional two seasons, which warmed the cockles of my cold, dark little heart. I wasn’t able to get as much done as I would have liked–but I did get some important thinking done, and today I am really going to start working on my edits. When I got home from work yesterday I did a lot of cleaning and organizing in order to get it out of the way before the weekend, precisely so I could focus on my edits. We spent the evening, once I’d made dinner (Swedish meatballs over egg noodles, if you were wondering) watching this week’s Under the Banner of Heaven and then one of the two new episodes of Hacks before we turned in early for the evening. I slept marvelously again last night, and feel very rested and a-rarin’ to go this morning. I do have some errands to run–nothing major that will take me away for long; I need to get the mail and put gas in the car–and then I can settle in for a day of editing and writing, which I am strangely looking forward to doing.

It was a rollercoaster of a week, ending withe incredibly pleasant high of having two Anthony Award nominations for the same book–still having trouble wrapping my mind around this, to be honest; I don’t know if it’s ever happened before–but I am not the only person with more than one nomination. Tracy Clark is nominated for Best Novel for Runner and for Best Short Story; S. A. Cosby is nominated for Best Novel (Razorblade Tears), Best Short Story, and Best Anthology for Under the Thumb. I feel confident no one’s ever been nominated for three Anthonys in the same year, as well; Shawn just keeps breaking down barriers with his extraordinary work. The nominations list is also one of the most diverse I’ve seen in all my years in this business, which certainly also bears remarking on.

As always, I still have a ridiculous amount of work to get done; but now that I am all rested this morning and feeling great about things, I am not so worried or stressed about it as I was yesterday or earlier in the week (being tired is so unpleasant, and just opens to the door to stress and anxiety and depression); we will see, of course, how long that will last very shortly, won’t we? I have hopes–although I know going out into the blisteringly hot and humid day to run errands will suck the energy right out of me, sending me quite literally to my easy chair; but I can work in the easy chair–if I make myself do it, which I feel like I can do today. I don’t think I am going to make the deadline for that short story–its fine, really; I was thinking about it last night and realized working on it has been a way of pushing off getting the edits on my book finished because I just can’t face working on it again, but I am over it already. I still don’t know the middle of the story, and I can always finish it some other time and get it done and try to sell it somewhere. It’s a pretty good story–I just need to figure out the middle of it.

Sigh. I hate the middle.

But looking around the desk this morning, there’s things I need to put away and filing that needs to be done; I also got down my Scotty books (with the pages marked with sticky notes for each character’s history and background; this was the initial step to creating a Scotty Bible to make continuity easier for me) and have them stacked neatly on the right corner of the desk underneath some others I’ll be using for Chlorine research (should I ever get around to that, I am beginning to sense the slippage of time through my hot little fingers). This is always the first step of writing a Scotty book; gathering the copies of the old for references. I have the prologue-opening spoof of a more famous book’s opening selected and even written somewhat (A START!) and I am doing some research–I am going to pay homage with the book to two Nancy Drew mysteries (The Ghost of Blackwood Hall and The Haunted Showboat) in this plot/story, so I actually had to sit down and reread both books (another blog post there, but you’ll have to be patient, Constant Reader) this past week–more of a skim, really; just to get some feel for them again since I didn’t really remember as much of them as I would have liked–and yes, I have thoughts (hence the blog post which I’ve already started).

But as I said, I have edits to dig into today, and some filing to do before I run the errands, so it’s perhaps best that I bring this to a close this morning and head into the spice mines. Have a lovely Saturday, Constant Reader, and I will chat with you again tomorrow morning.

Easy Loving

Monday morning and I really didn’t want to get out of bed this morning. I have so much to get done this week it’s kind of overwhelming, to be honest; and the temptation to just stay in bed for the rest of my life and avoid the world was kind of really powerful this morning. Yet the world stops turning for no man, let alone a Gregalicious, so there was naught for me to do other than arise, do my morning ablutions, and start drinking coffee. I did sleep fairly well, despite the enormous stress of a to-do list with incredibly lengthy chores and projects to work on, and feel pretty well rested this morning–if not quite up to dealing with the world at large.

Ellen Byron’s book launch last night was marvelous. I was delighted to see she had a very good turnout and sold a lot of books–and she is the QUEEN of swag. I for once didn’t have stage fright–I knew Ellen would be warm and witty and wise and funny; all I had to do was lob some questions at her and she was off and running (she did try to deflect attention back to me a couple of times, but I was ready to turn the spotlight right back on her after a brief answer and succeeded each time). The book itself is lovely, too; you want to get a copy of Bayou Book Thief, especially if you’re a fan of traditional mysteries. The cover is gorgeous, and it’s a fun story with a likable main character and a likable supporting cast, and Ellen’s adoration of New Orleans spills over on every page–and what more can a New Orleanophile ask for? I also picked up a copy of The Westing Game by Ellen Raskin (I saw it and remembered someone recommending it to me a while back, so I grabbed it immediately) and a copy of Albert Camus’ The Stranger, which I’ve been meaning to read for quite some time now (since Camus was inspired by The Postman Always Rings Twice for his own novel, I thought it only made sense for me to finally read the Camus)–I can never walk into a bookstore and not walk out with more than I intended to buy when I walked in (I had only intended to get a copy of Ellen’s finished book; I read a pdf) but that was fine–I wanted both books and let’s face it, I am always going to buy books at every opportunity, but it is time for me to start donating books to the library again.

I am not familiar with the part of New Orleans where the bookstore is located; Blue Cypress Books is on Oak Street past Carrollton, not far from where Carrollton and Claiborne intersect (and yes, the two streets actually run parallel to each other in my neighborhood; welcome to the wonderful and terribly confusing world of New Orleans’ bizarre geography). I would have, as per my usual, simply driven all the way to Riverbend on St. Charles then turned left on Carrollton…but I decided not to do my usual “this is how I know to get there” thing and used Google maps. Interestingly enough, Google maps took me on to Highway 90 then I-10 before getting off at the Carrollton exit in front of Costco and going that way…and it was faster–a lot faster, which I still kind of can’t wrap my mind around, but then again that’s New Orleans geography for you; my mind always thinks in terms of grids where everything runs north and south or east and west, and that isn’t New Orleans. The only actual grid design to anywhere in this city is the French Quarter–and only the French Quarter, at that. I have lived here twenty-six years and still get confused and mystified by how geography works here…which is one of the reasons I think people believe New Orleans is magical and mystical. Where else does geography make no sense other than here?

After I got home, we finished watching The Outlaws, which we really enjoyed, and started watching Gaslit. Julia Roberts is killing it as Martha Mitchell–I’d really forgotten a lot about her, but she was kind of a celebrity at the time, more so than the wife of Attorney General could ever hope to be, frankly–and she was enormously popular; everyone liked Martha Mitchell, because you never really knew what she was going to say next, which naturally didn’t sit well with the president of the time, Richard Nixon. (And again with a show set in the 1970s; sensing a theme–Minx, Candy, Gaslit–all set in the 1970s as a reminder to us all just how awful the 1970s actually were…pay attention, everyone. There’s a reason you never want to turn the clock back, or bring an era back.) I’d actually forgotten about Martha Mitchell–she’s often left out of books I’ve read about Watergate–and she was actually kind of an important cultural figure of the time. If the Nixon idea was to erase her from history, it kind of worked. The 1970s was definitely an odd decade.

As I was lying in bed dreading getting up and facing the world today, I thought, I would really love to have a vacation, you know. A week where I didn’t have a deadline to meet, or go into the office, or really do anything at all other than relax and read and watch movies or television shows I’ve not had a chance to see. It’s been a hot minute, and most of the traveling I actually do tends to be writing related in some way, which means it’s not really a vacation but a work trip. I don’t think I’ve actually had a vacation-vacation since we went to Italy, and that was eight long years ago. We’re talking about possibly going to Puerto Rico or some place in Central America (Costa Rica, if anywhere), but I think it’s past time…although I could also use some time off to stay home and get the Lost Apartment into some semblance of order, a Sisyphean task if there ever was one.

I didn’t finish my short story–the deadline was today and I know there’s no way I can get it finished in time to email off by midnight tonight, particularly since there would be little to no time to revise and/or edit it. It’s a shame, but at least the story is further along at about just over a thousand words than it was at less than two hundred; it’s a great idea but I’m basically stuck in the middle. I know how it ends, I just don’t know how to get it there, so letting it sit for a while is definitely in order. I did start writing the new Scotty yesterday–don’t get excited, I literally wrote maybe 175 words of the prologue; I found the book opening I wanted to spoof (Pride and Prejudice) and since I didn’t want to forget, I started writing it and it flowed along for another hundred words or so before I ran out of steam. The Scotty prologues are always the hardest part of the book for me to write; they are basically a recap of Scotty’s life thus far to get a new reader caught up without having to go back and read the first eight (!) books in the series as well as not spoiling the first eight books in the series should the reader decide to go back and actually read the first eight books in the series. (Something I actually need to do before I really dig in and start writing this thing…I really need to do the Scotty Series Bible and get that done so I have an easy reference without having to page through the books or do a search in the ebooks) I also did some research over the weekend for the book, which entailed rereading two Nancy Drew mysteries, The Ghost of Blackwood Hall and The Haunted Showboat (both books bring Nancy and her friends to New Orleans/Louisiana) and oh, yes, that bit of research definitely triggered a blog post which I started writing yesterday after I got ready for the event and was waiting for it to be the right time to leave. I kind of slam Nancy Drew in the post–but the truth is, despite my obsessive collecting of Nancy Drew books (trying to get the entire original series, with the yellow spines) I never actually liked the books all that much. (Same with the Hardy Boys.) While I appreciate the two series for their popularity and for getting kids to read (and to read mysteries) neither series was ever my favorite–but once I started reading and collecting, I had to keep reading and collecting because I am obsessive–and that obsession with collecting the books, while slightly tempered as I’ve gotten much older (and don’t have a place to display the collection), still exists. (Periodically I do think about emptying a bookcase and refilling it with my kids’ series books; it’s always satisfying for me to see them on the shelves. And yes, I know how weird that sounds.)

And now back into the spice mines with me. Y’all have a lovely Monday, okay?

Heavenly Action

I’ve always been—undoubtedly in part because I love history so much—an enormous fan of books where secrets from the past (even the far distant past) play an enormous part in the present lives of the characters in the story, and that solving those mysteries, learning the truth about the past, is necessary in the present for conflict resolution. As a history buff, the lack of a lengthy history as a nation is something I’ve always thought unfortunate; without ancient buildings and the way that history isn’t sort of always there in our faces the way it is in Italy or other older nations, it’s difficult for many Americans to either grasp, be interested in, or give a shit about our history—we have as a nation the attention span of a goldfish (thanks, Ted Lasso, for that reference).

To make a side by side historical comparison, for example, the Habsburg dynasty dominated central Europe for almost six hundred years, whereas the first European to actually arrive and establish a colony were under the aegis and flag of the Habsburg king of Spain—and that was in the early sixteenth century.

Secrets of the past casting a shadow over the lives of the living is often a theme in Gothics, my favorite style of novel/writing (noir is a close second). Rebecca is of course the master class in secrets of the past; the first Mrs. deWinter might not actually be haunting the halls of Manderley literally, but her ghost is definitely there. Victoria Holt’s romantic suspense novels inevitably were set in some enormous old mansion or castle, with potential ghosts a-plenty everywhere you turn. Phyllis A. Whitney’s one novel set in Britain—Hunter’s Green—also has a classic old British mansion with a potential ghost in it. Maybe it was the childhood interest in kids’ series, with the reliance on secret passages, hidden rooms, and proving that ghosts were frauds; every episode of Scooby Doo Where Are You? had the gang proving something supernatural was quite human in origin.

One of my favorite Nancy Drew books when I was a kid was The Ghost of Blackwood Hall; I don’t really remember much of the story now, other than a fraudulent haunting was involved and a woman—Mrs. Putney—was being swindled by a medium? (Reading the synopses on a Nancy Drew website, apparently part of the story involves Nancy and the gang coming to New Orleans, which I absolutely do not remember; my only Nancy Drew-New Orleans memory is The Haunted Showboat—involving yet another haunting. Interesting.) When I was writing the original short story (“Ruins”) I needed a name for the old burned-out plantation house; I decided to pay homage to Nancy Drew by naming it Blackwood Hall, and naming Jake’s maternal ancestor’s family Blackwood (his grandmother was a Blackwood, married a Donelson; Jake has his father’s last name, which is Chapman). I did think about changing this from time to time during the drafting of Bury Me in Shadows, but finally decided to leave it as it was. It might make Nancy Drew readers smile and wonder, and those who didn’t read Nancy Drew, obviously won’t catch it.

Hey, at least I didn’t call it Hill House.

But writing about ghosts inevitably makes one wonder about the afterlife and how it all works; if there is such a thing as ghosts, ergo it means that we all have souls and spirits that can remain behind or move on after we die. So what does writing about ghosts—or writing a ghost story—mean for the writer as far as their beliefs are concerned?

Religion primarily came into existence because ignorant humans needed an explanation for the world around them, combined with a terror about dying. It is impossible for a human mind to comprehend nothingness (whenever I try, I can’t get past “there has to be something in order for there to be nothing, you cannot have nothing unless you have something” and that just bounces around in my head until it starts to hurt); likewise, whenever I try to imagine even the Big Bang Theory, I can’t get past “but there had to be something to explode” and yeah, my head starts to hurt. Even as a kid in church, studying the Old Testament and Genesis, I could never get past “but where did God come from?” I don’t begrudge anyone anything that gives them comfort—unless it starts to impede on me. I’ve studied religions and myths on my own since I was a kid; the commonalities between them all speak to a common experience and need in humanity, regardless of where in the world those humans evolved; a fear of the unknown, and an attempt to explain those fears away by coming up with a mythology that explains how everything exists, why things happen, and what happens when you die. (I am hardly an expert, but theology is an amateur interest of mine, along with Biblical history, the history of the development of Christianity, and end-times beliefs.)

Ghosts, and spirits, have been used since humanity drew art on cave walls with charcoal to explain mysterious happenings that couldn’t be otherwise explained. I am not as interested in malevolent spirits—ghosts that do harm—as I am in those who, for whatever reason, are trapped on this plane and need to be freed. This was a common theme in Barbara Michaels’ ghost stories (see: Ammie Come Home, House of Many Shadows, Witch, Be Buried in the Rain, The Crying Child) in which the present-day characters must solve the mystery from the past; why is the ghost haunting this house and what happened to them that caused them to remain behind? I used this theme—spirits trapped by violent deaths in this plane whose truth must be uncovered in so they can be put to rest—in Lake Thirteen and returned to it with Bury Me in Shadows. I did, of course, worry that I was simply writing the same book over again; repeating myself is one of my biggest fears (how many car accidents has Scotty been in?), but the two books, I think, are different enough that it’s not the same story.

At least I can convince myself of that, at any rate.

There’s a few more ghost stories I want to write, actually; (it also just occurred to me that there was a ghost in Jackson Square Jazz, the second Scotty book) any number of which come from those legends my grandmother used to tell me as a child. I have this great idea for one I’ve been wanting to write set here in New Orleans for a very long time called “The Weeping Nun;” I have the entire ghost’s story written in my head, I just don’t have a modern story to wrap around it (same issue I have with my New Orleans ghost story book, Voices in an Empty Room) and of course there’s “The Scent of Lilacs in the Rain,” a short story about another Corinth County ghost I started writing and got to about five thousand words before the ghost even made an appearance. That great length is why I shelved the story—and now, of course, I realize I can do it as a novella, which is amazing news and life-changing, really. “Whim of the Wind,” the very first Corinth County story I ever wrote, is also kind of a ghost story, and maybe someday I’ll find the key to making it publishable (although I think I already did figure it out, thanks to the brilliance of an Art Taylor short story).

I’ve always believed part of the reason I was drawn so strongly to New Orleans is because the past is still very much a part of the present here—though not so much as we New Orleanians would like to believe, as several Facebook groups I belong to about the history of New Orleans often show how often and rapidly the cityscape has changed over the years—and you can sometimes even feel here, at times, under the right conditions (fog and/or mist are usually involved) like you’ve gone back in time, through a rip in the time/space continuum; which is something I’d actually like to write someday here—but that’s just an amorphous idea skittering through my brain.

And of course, I have an idea for a paranormal series set in a fictional parish here in Louisiana. I think about it every now and again, but am really not sure how I want to do it. I know doing a paranormal Louisiana town series will get me accused of ripping off Charlaine Harris’ Sookie Stackhouse novels, but that’s fine. I don’t think I would be doing vampire kings or queens or any of the directions Ms. Harris went with her series. (Monsters of Louisiana and Monsters of New Orleans—paranormal/crime short story collections—may also still happen; one never knows, really.)

As hard as it was sometimes to write, I think Bury Me in Shadows turned out better than I could have hoped. I think it captured the mood and atmosphere I was going for; I think I made my narrator just unreliable enough to keep the reader unsure of what’s going on in the story; and I think I managed to tell a Civil War ghost story (it’s more than just that, but that’s how I’ve always thought of it and that’s a very hard, apparently, habit for me to break.

I hope people do read and like it. We shall see how it goes, shall we not?

Was It Worth It?

I’ve always been a reader; my earliest (and most of the happiest) memories of my early years is of reading books that I deeply loved. I think it was the 4th grade where I really began to read series books of mysteries for kids; I’m not sure which was the first one, but it was either The Three Investigators’ The Mystery of the Moaning Cave or Trixie Belden’s The Read Trailer Mystery. When I discovered Nancy Drew and the Hardy Boys and the rest, I decided I not only wanted to be a writer when I grew up but wanted to write a similar type series. I wrote my very first “book” in the fifth grade, called The Mystery of the Haunted Mansion, and of course it was really derivative and more of a pastiche; I don’t remember the name of my main character, but I had a friend type it up for me, and then I bound it inside cardboard and drew a cover for it (which I still remember; it was basically a rip off of the original cover for Nancy Drew’s The Ghost of Blackwood Hall). The concept of a mystery series for kids has never really left me, and always periodically came up again throughout my life…until I actually started writing seriously. About fourteen years ago I thought about it again; going so far as to actually come up with a series character…and it came up again in conversation with a friend who actually writes middle grade the other day (That Bitch Ford, to be exact) and the idea has continued to swirl in my head ever since. Yesterday morning, I went through my horribly disorganized file cabinet, looking for the file folder labeled KIDS’ SERIES and took it out of the file. Inside are yellowed pages of book synopses, lists of possible titles, characters, different series…and as I paged through it, I also found traces of things that eventually showed up in my work since I actually became a published writer: the name of a town, character names, etc.

But I moved the file from the cabinet and put it in my inbox; at some point, perhaps this weekend, I’ll start going through it and seeing what might actually be of use to me. It’s not something I’m going to work on now–heavens no, there’s still too much else I have to write that I am already behind on–but it’s something to think about for the future, for sure.

And as I glanced over some of the titles, some of them were clearly “inspired/influenced” by Scooby Doo Where Are You and Jonny Quest. One–The Mystery of the Galloping Ghost–may have even been used in the Ken Holt series; I’d have to check to be certain, but I definitely think so. (And yes, I know titles cannot be copyrighted; both Ken Holt and The Three Investigators uncovered The Secret of Skeleton Island, for example) And I literally just watched the Jonny Quest episode with the gargoyle last week (on my list of titles is The Mystery of the Stone Gargoyle), and there’s also one called The Mystery of the Lost Crusade–I have thought, for many years, about writing a Colin stand alone called The Lost Crusade–and now I see that I had come up with that very title at least fifteen years earlier, before it swam up to my consciousness again. And surely The Witch of the Swamp was inspired by a Scooby Doo Where Are You episode I rewatched lately, about a witch in a swamp. And there’s The Mystery of the Crying Nun–I currently have a short story in progress called “The Crying Nun” (it’s a New Orleans ghost story). And The Mystery of the Haunted Airport was definitely a rip-off of a Scooby gang adventure.

There’s even detailed character descriptions, and plot summaries for more than ten of the “books.”

Something worth exploring, since I have nothing else to do.

We watched another episode of Dark last night, and boy, you have to hand it to the Germans when it comes to atmosphere and creepiness. They are slowly but surely explaining what is actually going on in this little German town–we’re only two episodes in–and the lovely thing is it’s most likely, based on last night’s episode, nothing we were thinking it was going to be. I love shows that surprise you like this; Orphan Black was really good at this, and I love having no idea where the story is going or what could possibly happen next. Those shows inevitably end up being my favorites to watch.

I slept very well again last night, and am working from home today with a lot of things to get done for the day job as well as a lot of things to get done for various things this weekend–both writing wise and volunteer wise–and I also have to make groceries at some point this weekend as well. The summer weather has finally kicked into it’s usual high gear–I don’t know why it always blindsides me every year, but there you have it–and so going out into the heat to do anything is always an energy-suck and exhausting. I also want to get deeper into my reading of Kelly Ford’s wonderful Cottonmouths–I’m not sure why I am having so much trouble focusing on reading this summer, but there it is–and think next will be a reread of Mary Stewart’s The Ivy Tree. I’m also going to spend some time culling the books again this weekend, even though there’s no place for me to take them to donate because of the pandemic. I also need to take some bags of beads to the donation drop for those as well–which will also be a lot of fun in the heat, yay–but it’s just clutter, you know.

And the thing is I want to declutter, and it’s not like we’ll go the rest of our lives never getting more beads. Catching them is more fun than keeping them, anyway.

And on that note, tis back to the spice mines.

Mighty Love

I love nothing more than a great ghost story (which is why, although I loved the book, I was enormously disappointed with Peter Straub’s Ghost Story; it’s an amazing novel and a horror classic and one of my favorite horror novels of all time, but it is emphatically not a ghost story). I’m not sure why I love them so much, but even as a kid, reading the mysteries for kids I always gravitated towards the ones with some kind of ghostly title: The Ghost of Blackwood Hall, The Haunted Fort, The Phantom of Pine Hill, The Ghost at Skeleton Rock, The Haunted Showboat, The Ghost in the Gallery, etc. The ghosts and hauntings in these books were never real–just like the ghosts and monsters on Scooby Doo Where Are You? weren’t–but I still was drawn to them.

There was an ABC Movie of the Week when I was really young that I absolutely loved: The House That Would Not Die. It starred Barbara Stanwyck as a woman who moved into a house she’d inherited from a relative, along with her niece, and of course, the house turned out to be haunted. The story was terrific and it scared me a lot–and you can never go wrong with Barbara Stanwyck; I may even have watched it with my grandmother, who was a big Stanwyck fan. A few years later, we were somewhere–some people my parents knew had invited us over for dinner, and before and after, as the adults, my sister and I were deposited in the den to watch television and entertain ourselves while behaving. They had books, which I gravitated towards, I pulled down a volume of Reader’s Digest Condensed Books and found a ghost story inside. As I started reading, I was drawn into it and I realized it was the same plot, the same story, of the TV movie I’d liked, and kept reading. I read the entire thing that evening–it was condensed, after all–and thought, oh, I’d like to see that movie again.

Flash forward and I am in college, browsing in a second-hand bookstore when I find a worn paperback copy of the book. Pleased and delighted at the opportunity to not only read it again but read the entire version? For fifty cents? Absolutely.

It was Ammie, Come Home, which is one of my favorite ghost stories, and favorite novels, of all time. It was written by Barbara Michaels–for another dollar I picked up two more of her novels, Witch and House of Many Shadows. I loved all three books, but I’ve always preferred Ammie, considered it my favorite. Over the years Michaels–and her alter-ego, Elizabeth Peters-became one of my favorite writers of all time. I love her books, no matter what the name or brand or whatever you want to call it; they are all witty, with strong, likable female characters, there’s some little dash of romantic interest involved in all of them, and a very strong suspense component. The Peters novels were more mysteries; the Michaels sometimes involved the supernatural, and sometimes they didn’t.

But, oh, how I love Ammie, Come Home, and I recently, during my isolation, took it down and made it a part of this year Reread Project.

Ammie Come Home Barbara Michaels Fawcett Crest 1968 harry bennet cover art

By five o’clock it was almost dark, which was not surprising, since the month was November; but Ruth kept glancing uneasily toward the windows at the far end of the room. It was a warm, handsome room, furnished in the style of a past century, with furniture whose present value would have astonished the original owners.. Only the big overstuffed sodas, which face one another before the fireplace, were relatively modern. Their ivory brocade upholstery fitted the blue-and-white color scheme, which has been based upon the delicate Wedgwood plaques set in the mantel. A cheerful fire burned on the hearth, sending sparks dancing from the crystal glasses on the coffee table and turning the sherry in the cut-glass decanter the color of melted copper. Since her niece had come to stay with her, Ruth had set out glasses and wine every evening. It was a pleasant ritual, which they both enjoyed even when it was followed by nothing more elegant than hamburgers. But tonight Sara was late.

The darkening windows blossomed yellow as the streetlights went on; and Ruth rose to draw the curtains. She lingered at the window, one hand absently stroking the pale blue satin. Sara’s class had been over at three-thirty…

And, Ruth reminded herself sternly, Sara was twenty years old. When she agreed to board her niece while the girl attended the Foreign Service Institute at a local university, she had not guaranteed full-time baby-sitting. Sara, of course, considered herself an adult. However, to Ruth her niece still had the touching, terrifying illusion of personal invulnerability which is an unmistakable attribute of youth. And the streets of Washington–ven of this ultrafashionable section–were not completely safe after dark,

Even at the dying time of year, with a bleak dusk lowering, the view from Ruth’s window retained some of the famous charm of Georgetown, a charm based on formal architecture and the awareness of age. Nowadays that antique grace was rather self-conscious; after decades of neglect, the eighteenth century houses of the old town had become fashionable again, and now they had the sleek, smug look born of painstaking restoration and a lot of money.

Ammie, Come Home is possibly one of the best constructed, if not the very best, ghost stories I’ve ever read. As you can see from the opening paragraphs, Michaels does an exceptional job of setting everything up, giving us insights into her main character, Ruth Bennett, and her relationship with her niece. We go on to find out that Ruth is probably in her mid to late forties, was widowed in World War II, never remarried, and for the most part, it’s implied that her husband’s death pretty much was the end of any romance in her life; something she isn’t terribly interested in. This is, of course, foreshadowing–but not the way the reader might think. Yes, in the opening scene of the book, which features her niece Sara getting a ride home from one of her professors, that ah, yes, Ruth and Dr. Pat MacDougal are going to fall in love-but there’s more to Ruth’s history than that, which of course is the mark of the truly terrific writer. We also glean that childless Ruth has grown deeply fond of her niece Sara–and disapproves of Sara’s boyfriend Bruce (mainly because of his youth, the way he dresses, and what she thinks of as his smug superiority).

(This last, by the way, is the only part of the book that feels dated. Written and originally published in the 1960’s, Sara and Bruce are both college students and Pat works at a college–he’s a cultural anthropologist with a specialty in superstitions and rituals–so, as anyone who knows anything about the 1960’s knows, it was a decade of youthful rebellion and anti-establishmentarianism. There are occasional asides from both Ruth and Pat about the generation gap–this was also the first time this phrase was used, during this period–where the kids want to make change. There are a few mild arguments over that, but it’s always very good natured and never gets very deep. But the very generation gap is part of the structure of the novel; when strange things start happening in Ruth’s home, particularly involving Sara–Ruth and Pat immediately think of mental illness; Bruce is the only one open-minded enough to see the truth; that the house is haunted by a malevolent spirit–and there may even be more than one.)

It’s also very clever of Michaels to use that generational divide to explore the notions of the supernatural and a spirit world–because Bruce is given a forty-eight hour deadline to convince the older two in their quartet that Sara isn’t mentally ill but is being haunted. So, as Bruce convinces them–helped by more apparitions and events in the house–the reader is also being convinced that what’s going on in the house is supernatural in origin. How she does it is a master class in suspense/horror writing; and there are some lines that just the reader to the bone: And what looked back at her through Sara’s eyes was not Sara.

The ghost hunters eventually get to the bottom of the haunting of the old house in Georgetown by finding out the deeply hidden truth about what happened there centuries earlier, and finally freeing the spirits trapped to the house.

And maybe the creepiest, yet saddest, thing is the disembodied voice they hear, over and over, in the back yard, calling Ammie….come home…..come home…..Ammie…. —which is described as “it sounded like what the wind would sound like if it had a voice.”

And despite the dated 1960’s references, the book still holds up, over forty years later.

I rediscovered Michaels in the mid to late 1980’s, which was when I also discovered that she also wrote the Elizabeth Peters novels, and that the absolutely delightful Crocodile on the Sandbank, which I’d loved, wasn’t merely a stand alone, but the first book in a long-running, and completely fantastic, series featuring heiress Amelia Peabody and her Egyptologist husband Emerson. There isn’t a single dud in the Amelia Peabody series–and there are smart, funny, clever, and intricately plotted–and over the years the Peabody-Emerson clan had children, raised them, and those children grew up to be involved in the adventures of their parents–and every book, save one, actually took place in Egypt at the turn of the twentieth century. I need to reread Crocodile on the Sandbank, and in fact, would love to revisit the entire series. She wrote two other series as Elizabeth Peters as well–the Vicky Bliss series and the Jacqueline Kirby–as well as stand alones; every Peters novel is a gem, as is every novel she wrote as Barbara Michaels.

And now back to the spice mines.