A lot of people ask writers where we get our ideas. Here’s how I came to write my latest novel, Since You Went Away.
In 2008, my husband was on a year-long deployment to Iraq. Staying home on a Friday night, I happened upon a 1944 film on Turner Classic Movies called Since You Went Away. Produced by David O. Selznick and starring Claudette Colbert, it’s about a mom and two daughters fending for themselves on the homefront while the dad is off serving in World War II. The film is at once poignant, lighthearted, and somber. I immediately fell in love with the story.
Further research led me to the 1943 novel (of the same name) by Margaret Buell Wilder, on which the movie is based. Discovering Wilder had written the book in epistolary form (one of my favorite genres), I couldn’t help but fall even more in love with the story.
My first thought was, why has no one updated this story for modern times? Since You Went Away is an unusual kind of war movie in that it focuses completely on what’s happening with the family back at home. You could say it’s a war story without the war. I loved the idea of creating a modern-day story that gives readers an intimate glimpse of contemporary military family life in a way that’s accessible and—above all—entertaining. That’s what I set about doing when I started writing the book in 2012. I hope you like Part One.
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Since You Went Away, Part One: Winter
(Rainwater Press, 2017) 172 pages
F I C T I O N
Set against the backdrop of the Iraq war in the year 2008, Since You Went Away portrays in intimate detail the effects of a distant war on the families and returning veterans at home. With an undercurrent of suspense, it is a fly-on-the-wall account of the innermost workings of a military family—their fears and hopes, their struggles and disappointments, their unexpected moments of joy and comfort and laughter.
When her husband Liam leaves on a year-long deployment, Emilie Mahoney strives to be a source of strength for Liam and their two sons. Yet she doesn’t always succeed. Holding down a full-time job, raising two teenage boys, and running a household with a menagerie of pets—all while hosting an Iraqi combat interpreter who comes to live with them as he acclimates to life in the U.S.—Emilie frequently finds herself retreating to her bedroom with a Party Size bag of Lay’s to watch back-to-back episodes of Snapped.
Featuring a deeply human cast of characters ranging from Wade Miller, a charming, charismatic retired Marine officer who watches over the family in Liam’s absence as he struggles with secrets of his own, and the amiable, enigmatic combat interpreter Fakhir al-Azzawi who worries about the safety of his family back in Baghdad as he comes to terms with trauma from his past, to the wacky and bothersome neighbor Agnes Hawkins who always manages to say the wrong thing and whose favorite pastime is watching the goings-on at the Mahoney house from her living-room window, Since You Went Away is at once darkly funny, poignant, and un-put-downable.
This is Part One of a novel that will be released in four parts.
C O M I N G S O O N: Part Two: Spring.
about the author:
Nan McCarthy is the author of Chat, Connect, and Crash, Live ‘Til I Die, and Quark Design. The Chat, Connect& Crash series, originally self-published, was released in trade paperback by Simon & Schuster in 1998 and has been widely translated. Nan regained the rights to the series and published new editions in 2014. A former magazine editor & technology writer, Nan founded Rainwater Press in 1992 and began selling her books online in 1995. Nan and her husband, a veteran who served 29 years in the Marine Corps, are the proud parents of two adult sons. Nan wrote Since You Went Away after taking a ten-year break from full-time writing to care for the family during her husband’s frequent military travels.
In memory of my dad Ben Johnson (1931-1971), who died 46 years ago this January 15th.
(This piece is from the collection Recipes for My Sons: Instructions on Cooking & Life by Nan McCarthy—a work-in-progress of letters to my sons about family, life, and food.)
I don’t have many memories of my dad (your Papa) since he died when I was a kid. So when it comes to the memories I do have, I tend to hold onto them. Unfortunately a lot of those memories aren’t too warm and fuzzy, seeing that Papa was severely alcoholic in the years leading up to his death a few months after my 9th birthday. But there were good memories. And even some of the not-so-good memories are kind of funny now that Aunt Gerarda and I can recall them from a safe distance.
Most of my good memories are fleeting—moments in time that skate across my mind without much context. Like when my dad let me stand on his feet while he walked around the room taking exaggerated steps, holding my hands as I giggled and tried to hang on. Papa was 6’ 4”—tall and lanky—and I was a runt (according to him). He seemed like a giant to me.
Then there were the times he’d lie on the floor on his stomach and let us kids walk up and down his back. I thought he was letting us do it solely for the fun of it, but I later learned Papa was plagued with back problems and letting us walk on his back helped him feel better.
Speaking of my dad’s back, Papa was a big nap-taker. (Nana was too, which might explain Coleman’s penchant for napping.) I remember the time my dad was asleep on the family room couch, face down, shirt off, and one of my friends and I decided to play connect-the-dots on his back, using a marker to draw lines from freckle to freckle. (I’m pretty sure we got the idea from an episode of The Dick Van Dyke Show. One can’t help but wonder how many other kids across America got the same idea?) Papa had a lot of freckles, providing us plenty of entertainment. I don’t remember how long he slept or what happened after he woke up. Maybe I blocked it out, because Papa could get pretty mad about things. If he yelled at us about it, we certainly wouldn’t have given him any back talk. (Get it? Back talk?)
If we were being punished for something when we were little, Nana usually made us sit in a chair facing a corner in the dining room. But Papa used a belt or a rolled-up newspaper on our behinds. Seeing him take off his belt when he was angry was not a good sign. I preferred the belt to the newspaper though. The belt hurt like hell, but with the newspaper we’d have to drop our pants so he could swat our bare butts. It didn’t hurt much but it was humiliating.
My dad was an imposing figure and I admit to being afraid of him at times. He kept a 20-gauge shotgun along with a bullwhip in the family room closet. (Yeah, you heard that right. Bullwhip. In the family room closet.) I saw these items every time I needed to wear a coat or use the vacuum cleaner—in other words, at least once a week if not daily. (The family room closet is also where my mom stashed her well-worn copy of Xaviera Hollander’s The Happy Hooker. It was supposedly hidden on the back of the top shelf underneath a pile of telephone books. But I found it when I was 11 or 12. Back then I eagerly awaited the nights Nana was working the floor at the Jerry Pals Real Estate office so I could return to Xaviera’s scandalous stories of life as a madam.)
Papa said he had the shotgun for shooting rabbits but there were plenty of rabbits in our yard and none of them were dead. (Speaking of the yard ask Aunt Gerarda about the time Papa was halfway through mowing the front lawn when he decided he was feeling a bit sleepy. On this particular summer day in the late 1960s, Papa turned off the mower and laid himself down in the grass for a nice long a nap. See, I told you our family likes to take naps.)
When my dad died in January of 1971, my mom gave the shotgun to his best friend, Uncle Ed Morrissey. I never saw that gun again until about 30 years later. I had recently finished writing the book about my dad, Live ’Til I Die, when the four of us traveled to Indiana to visit Uncle Ed and his wife Rosemary.
I hadn’t seen Uncle Ed since Aunt Gerarda and Uncle Dave’s wedding in 1980. During the rather lively after-party at Nana’s house, Gerarda and I noticed at one point Uncle Ed had disappeared. We ran outside into the late summer night and caught up with Uncle Ed, who was walking quickly to his car in an attempt to make an Irish Exit. (Uncle Ed and my dad were masters of the Irish Exit, a means of departure I find highly preferable to the hours-long goodbyes Dad and his side of the family seem to enjoy.)
Back to our visit with Uncle Ed and Rosemary in 2001 or thereabouts. We were sitting in the front room when Uncle Ed went into a back bedroom and came out with the shotgun. “Do you remember this?” he asked. The gun was still in its red and black leather case, exactly as I remembered it. Without even unzipping it, I could clearly picture the red fleece lining patterned with rustic drawings of hunters and various game birds (no rabbits though). “Oh yes, I remember this,” I told him. He placed the gun in my hands. “Here. You take it. It’s yours.”
My dad also owned a couple of handguns which he stored on the top shelf of my parents’ bedroom closet. (One can’t help but wonder why the shotgun and the bullwhip and The Happy Hooker weren’t also stored in the bedroom closet?) Unlike the shotgun, however, after my dad’s death my mom hung onto the handguns. That is until they were stolen in 1978, when I was a teenager. The robbery occurred two days after (and was no doubt related to) an epic party that had taken place at our house in South Holland. This unauthorized event (Nana and my step-father were on vacation at the time) involved approximately 200 or so of my closest high school friends along with a biker gang I hadn’t invited but who showed up anyway after they saw the cars up and down the block and people streaming in and out of the house. (Think Risky Business, except it’s the South Side of Chicago not the North Side, the Tom Cruise character is a girl, and instead of button-downs and Ray Bans the partygoers are wearing bell bottoms and puka shells.)
I have no idea whatever happened to my dad’s bullwhip. What a strange item to have in one’s family room closet growing up. I wish Nana was still here so she could tell us more about that. My guess (and Aunt Gerarda concurs) is that he most likely got it from someone he knew at the stockyards or while working one of the livestock exhibitions at the Amphitheater, which was next door to the stockyards.
As I’ve mentioned innumerable times, my dad had a very successful career—first as the assistant manager of the Amphitheater on Halsted Street and later as the director of special events at McCormick Place on Lake Shore Drive. In fact some of my best memories of my dad are of going to the various trade shows he ran at McCormick Place like the auto show, the boat show, the sportsman’s show, the housewares show, and the electronics show. I also have fond memories of going to his events at the Amphitheater like the flower show and the dog show.
Best of all were the times he took us to the rodeo and the circus at the Amphitheater. These memories are special because he would sit with us at the rodeo and the circus (if not for the entire show, at least part of it). Normally, at his other shows, we’d be with Nana while he ran around behind the scenes doing work stuff.
Speaking of shows at the Amphitheater, I am interminably jealous of Aunt Gerarda who was “there” when Nana saw Elvis Presley in concert. It was March of 1957—the first concert where Elvis wore the legendary gold lamé suit—and Nana was seated near the front with her parents (my Nana and Papa) while my dad worked backstage. In spite of the fact that she was six months pregnant with Gerarda, Nana stood on her chair the entire concert, along with 12,000 other screaming fans. Seeing as I am Elvis’s Number One Fan, it would have made a much better story if it was me inside my mom’s tummy that night instead of my sister, who I am sure doesn’t even like Elvis all that much.
Getting back to my dad’s career, he worked long hours, late nights, and since most of the shows went on weekends, he often worked Saturdays and Sundays too. Plus he traveled extensively on business. After his alcoholism started to get the better of him, he was in the hospital for long stretches of time the year or two before he died. Which is to say he wasn’t around very much in the nine short years I had with him.
One of the more indelible memories I have of my dad is the time he made creamed chipped beef on toast, aka Shit On a Shingle, for Aunt Gerarda and me. Nana was out somewhere and Papa was in charge of us that night—a highly unusual occurrence. That he cooked dinner for us made it even more memorable.
Shit On a Shingle, Papa-style
Melt 2 Tbsp. butter in a saucepan over low heat. Oh hell, just turn up the heat to medium because Papa was impatient like that. While butter is melting pour yourself a cup of coffee leftover from this morning. It’s going to be a long night taking care of the girls; caffeine will help. On second thought make that half a cup of coffee and fill the rest of the cup with whiskey. Eleven-year old Gerarda has the chicken pox and she is not a happy camper.
When the butter is melted (whoopsie daisy, it’s a little on the burnt side), whisk in 2 Tbsp. flour to form a roux. As you’re standing at the stove making the roux (or trying to at least), the youngest curtain-climber (age 7, aka Nancy) is tugging at your pant leg asking if she can stand on your feet. That was all fun and games a few weeks ago but you have serious business to take care of. You tell the runt to go get herself a bottle of Coke from the garage even though Dorothy said the kids have already had their ration of one teeny-tiny glass of Coke per day. I can drink the entire bottle myself? she asks. Hell yeah. Get your sister a bottle too. She’s getting a little whiny about those damn chicken pox.
Whisk in 1½ cups warm milk. Forgot to warm the milk? It’s okay, dump it in there anyway. Oh, you’re supposed to add the milk gradually, a little at a time? No problem! Everybody loves lumpy Shit On a Shingle, right? Maybe a little whiskey will help smooth it out. If not, a little more whiskey in the coffee couldn’t hurt either.
Turn up heat on stove to medium. Oh yeah, it already is on medium. Crank that sucker up to high then. The runt is back by your side, holding a bottle of Coke in one hand and tugging at your pant leg with the other. Daddy, she says, Gerarda isn’t feeling so good. You glance behind you to see Gerarda sitting at the kitchen table, looking a little green, her bottle of Coke half-empty. You drank your damn Coke too fast! you tell her. No I didn’t, she says. I don’t feel good because I have the chicken pox!
You turn back to the stove. Were you supposed to be stirring the roux this whole time? Nevermind. Just scrape those brown bits from the bottom of the pan and mix them in with the roux, which is more like a glob at this point.
Runt is tugging at your pant leg again. Daddy, she says, Gerarda’s crying. What? You turn around to look at your oldest, who is in fact crying. Jesus H. Christ Gerarda! you say. How many times have I told you… Laugh and the world laughs with you; cry and you cry alone.
This overly familiar pep talk only causes Gerarda to cry harder. Daddy, I don’t feel good! Here, you say, grabbing her half-empty Coke bottle and filling it with whiskey. Drink this. It’ll make you feel better. All of it? she asks. Yes. All of it.
While Gerarda attempts to chug her very first Whiskey and Coke at age 11—making retching noises behind you as she does so—try to focus on chopping 8 oz. dried beef (made right down the street at the Carl Buddig factory) and add it to the roux.
Daddy! This drink tastes terrible! Gerarda cries. Just finish it, you say without turning around. At this point take another swig of your “coffee” and proceed to add a shit ton—and I mean a SHIT TON—of pepper to the saucepan, until the entire mixture has become grayish in color. (In other words, until it looks completely unappetizing.)
Meanwhile, ignoring the runt tugging at your pant leg and the gagging noises Gerarda is making at the table, pop a couple pieces of bread in the toaster and when it comes up tell the runt to butter it while you put in two more pieces of bread. Now you hear whimpering and sniffling behind you but you refuse to turn around because there’s two more pieces of toast to be buttered and you’ve got shit to do.
Place a piece of toast on each of two plates for the girls, then place two pieces of toast on your own plate. Grab the saucepan and evenly distribute the lumpy, grayish gobs onto each piece of toast. Voila! You have now made Shit On a Shingle. Tell the runt to grab a plate and sit down. Holding your plate in one hand and Gerarda’s in the other, you finally turn around, only to find Gerarda, head resting on the kitchen table, completely passed out.
It’s hard to lose a parent at any age. No matter how old we are, a parent’s death affects us deeply and profoundly. Yet there’s something singular about losing a parent in the formative years, when our brains are at their most malleable. From that point forward, every moment in one’s life is experienced through the lens of loss. It shapes who we become, the career paths we take, the partners we choose, how we raise our children, our willingness to take risks and live life to the fullest. Because we know at any moment it can all be taken away from us. For better or worse, the parent we lost at an early age remains a compelling presence throughout the rest of our lives, reminding us that life is hard, life is unfair, life is transient.
The Saturday my dad took Aunt Gerarda and me on a spur-of-the-moment excursion to the Shedd Aquarium stands out in my mind as one of the more carefree memories I have of him. I don’t remember many of the specifics of that day. (Other than the fact that Nana was still asleep when we left the house and Papa didn’t leave her a note. And yeah, she was pretty pissed with him by the time we strolled through the door that night.) But I do remember the giddy excitement of being on an adventure with my dad.
In the many times I’ve returned to the Shedd since then—on school field trips, with friends, and later with all four of us when you kids were little—my feelings from that day have stayed with me. When I walk through the galleries of the original wings of the Shedd, marveling at the beautiful sea creatures from all over the world, what I remember most about that day with my father is the feeling of being loved. I didn’t really know that’s what it was at the time, but now that I’m a parent I understand. When a parent takes a child on an excursion to the zoo or the park or a ballgame or a museum, it’s not really about the destination. It’s what the parent is telling you by taking you on that adventure: “I love you. I care about you. And I want there to be more happy times in your life than sad times.”
I can’t say for sure if that’s what my dad had in his heart that day. If all he wanted was to go see the fish at the aquarium, he certainly could have gone without us, seeing as he left us in the dust more often than not. But something made him choose to take us with him that day. Somewhere deep inside him, he wanted to be a good parent.
Occasionally I receive inquiries from students who’ve been assigned the unfortunate task of keeping a dialectical journal or writing a paper on one of my books. I love chatting with students and I always make an attempt to answer student emails when time allows. Here’s an interview with a high school student in Chicago who read Live ’Til I Die for her AP English class.
Student: I wanted to know a little more about the last section of every chapter. From what I can tell it looks like a switch from the actual memoir to an update of the present day. Was the intention of adding these parts in the book more for the reader or for yourself? I personally liked reading the process that you went through trying to bring this book together.
Nan: Yes—the first-person interludes at the end of each chapter are updates from the present day (“present day” being the two-year period in which I wrote the book, 2000-2001). Although my main purpose in writing Live ’Til I Die was to tell my father’s story, the secondary story (intertwined with my father’s story) was my attempt to put the pieces of his life together and therefore gain a better of understanding of who he was. With this perspective in mind you can’t really have one without the other. If it was just a straight-up account of my father’s life it would have been a biography. That’s why the book is subtitled “a memoir of my father’s life”—because by using the term “memoir,” it’s understood that the telling of his story comes from a very personal place, colored by my relationship with him as his daughter as well as by his relationships with his friends.
Student: Reading your book was nothing like anything I have ever read. I enjoyed the format in which the stories were told and how you had each chapter in chronological order. Not that I had a problem with it, but were there any times in which you felt as though the stories overlapped too much and it seemed repetitive? Was this on purpose to emphasize that certain events actually happened?
Nan: The way the various voices were arranged and edited was extremely purposeful. I had hours upon hours of tape recordings of interviews with each person who knew my father. I transcribed these recordings verbatim, then printed out the transcriptions and made comparisons between and among the various viewpoints, finding patterns and common themes as well as discrepancies. As the story of my father’s life began to take shape through the cumulative telling of each person’s story, my goal was to accurately convey the key events and emotions presented by each person.
I never doubted the veracity of the events as they were described to me so no, the repetition was not meant as a means of corroboration—although by their very nature those shared recollections did ultimately serve as a sort of corroboration. And while many of the interviewees talked about the same events, the fact that each person’s recounting of that event came out slightly different was fascinating to me. People have different memories of shared events because we each recall and interpret a particular event based on our various life experiences, personalities, and world views. With that in mind I find it remarkable that the stories my dad’s friends told me were as similar as they were. I believe those similar perspectives are a result of my dad’s friends’ shared upbringing and cultural backgrounds in a very specific place (Chicago’s South Side) at a unique moment in time (1940s, ’50s, and ’60s).
Student: You clearly state that your goal “from the start was to explore a world beyond [your] own memories of [your] father, to get to know him through the eyes of his peers” (231), which is what you did. I cannot even imagine how much work that might have been! I bet it was such a rewarding experience for you to see all of it come to together in the end.
I know you must be super busy so I’ll try to keep this short. I would love to know more about your use of rhetorical devices. Specifically speaking, when Maggie Quinn said, “Of course, it was tempting to want to ask such patients, ‘How could you do this to yourself?’ and to ask the family, ‘Why did you let it get to this point?’’ (11), was this an appeal to pathos? If you could direct me to a few more examples that would be great.
Nan: I appreciate the citations! Yes, writing Live ’Til I Die was an incredibly rewarding and satisfying experience. It was also surprisingly uplifting. A lot of people might think writing a book about my father dying so tragically at such a young age would be depressing but it really wasn’t like that for me. Of course I am always sad at the loss of him, but the experience provided me with a sense of compassion for my dad that I didn’t have before I wrote the book—and coming from a place of compassion is always uplifting.
Re: rhetorical devices and pathos. I don’t think much about literary devices when I’m writing (and I’d venture to say it’s the same for most writers). Although it helps to have knowledge and understanding of such devices, when it gets down to the actual writing of a novel (or memoir, in this case) I’m going by instinct, trying to find the words and sentences that will most accurately and efficiently convey a particular scenario, emotion, or thought. When I’m writing I’m not thinking “Oh, a rhetorical device or an appeal to pathos would work well here.” That’s not to say that an after-action study of a particular work is pointless. As a student of literature it’s necessary for your understanding of the writing process and of the work itself to break it down and understand the various devices being used. But as a writer I’m not consciously thinking of anything but putting words and sentences together in a way that best expresses what’s happening in my head.
What I do consciously think about is the rhythm of the words I’m writing, which is why I often read my work aloud as I’m working. If I verbally stumble over a word or phrase, it’s a sure sign it needs to be written more efficiently. The other thing I’m conscious of when writing is using my words in the sparest way possible. I’m always searching for the simplest, most direct way to evoke whatever is going on in my brain. This is more a matter of style and the way I like to write; other writers take different approaches and that’s what makes it fun to read books by a variety of authors.
With that in mind I don’t think I could provide you with specific examples of particular literary devices in my own work because I haven’t studied my work from that perspective. Everything that’s there was written instinctively and whatever literary devices I may have used were entirely subconscious. Having said that, if you’d like to ask me about particular passages I am happy to explain my thought process at the time of writing each scene.
Regarding the specific example you mentioned where nurse Maggie Quinn says it’s tempting to ask how an alcoholic can do this to himself or how a family can let it [alcoholism] get to that point, these are common themes and questions that often come up among people who haven’t personally experienced addiction (either within themselves or with a loved one). I felt these questions in particular were important to reference because it’s natural to wonder how a person like my dad, who appeared to have everything—intelligence, good looks, successful career, loyal friends and a loving family—could throw it all away because of an addiction. This is really one of the key questions in the book and by having the nurse frame these issues right up front it’s setting the tone for everything that follows.
One of the main reasons I used the nurse’s perspective to bookend my father’s story is that I wanted to showcase the physical effects of alcohol addiction. Most addiction memoirs focus on the social and emotional fallout of addiction (losing a job, losing friends, divorce, legal trouble, etc.) but I don’t know of any other (non-medical) book that goes into such detail about what alcohol addiction does to a person’s body physiologically. This is why I took the time to interview a real-life ICU nurse who had experience treating alcoholic patients. Understanding the absolute horror of how a person’s organs deteriorate due to prolonged alcohol abuse really speaks to the power addiction has over a person and helps answer the questions mentioned above.
So to answer your question, no, it wasn’t an appeal to pathos so much as acknowledging a very basic, universal, philosophical question behind our desire to understand how a person becomes an addict, why it’s so difficult to overcome addiction, and why some people are able to recover while others aren’t. The second question (how can family members let it get to this point) acknowledges the genuine helplessness family members experience as they witness a loved one being destroyed by an addiction. The interviews with my dad’s family and friends that follow the prologue illustrate perfectly how one can witness someone crossing over to addiction and not even realize it, then being absolutely powerless to change the course of events once the addiction has taken hold of a person.
Student: And lastly this is more of a ‘thank you’ than anything. I appreciate that you added pictures of your family and of your father’s friends. I used it as reference when I was reading and it was nice to have a face with most names.
Nan: Thank you—I’m glad you enjoyed the photos. They are a treasure to me.
Christmas Day 1970, Our Lady of Mercy Hospital, Dyer, Indiana.
Christmas used to be a time of sadness for me. I was nine when our mom took my sister and me to the hospital on Christmas Day to visit our dad. It was the last time we’d see him alive. He died three weeks later of alcoholic cirrhosis. He was 39 years old.
We knew at the time he was very sick. In fact, I remember curling up with my mom in my dad’s favorite oversized green chair one night before Christmas, my head in her lap, Christmas lights twinkling. He’d been hospitalized several times before. “I don’t think he’s going to make it this time,” she told me.
The Intensive Care Unit was decorated for Christmas, and one of the nurses had put a Santa hat on my dad’s head. He was awake, sitting up in his hospital bed. He tried to smile at us, but even at that young age I could see the sadness in his eyes. I don’t think I touched him. I was afraid of all the tubes and how sick he looked.
For many years afterward, Christmas never felt real to me. The happiness seemed forced, superficial. Sure, getting presents was fun. But there was no joy in it. During Midnight Mass, my mom cried.
Then I fell in love and got married. A family of my own. New memories to make. At first it was just my husband and me, a few gifts around a Charlie Brown Christmas tree. But our love was plentiful and genuine. Then our sons were born. More memories to be made. My mom in her pink terrycloth bathrobe, watching us open gifts on Christmas morning, a cup of coffee in her hand and a smile on her face. New traditions, like the Santa footprints in front of the fireplace and a birthday cake for baby Jesus. Our boys jumping up and down in their pajamas, giddy with excitement. Pure joy on their faces. Pure joy in my heart.
Christmas is real to me now. But I’ve learned it’s not just about the happy times. Like any family, we’ve had our share of sad times during the holidays. Living far away from loved ones, missing out on annual family get-togethers. Christmases when one or both of us were without a job and money was tight or nonexistent. My mom’s last Christmas when she was in hospice at our house, knowing it wouldn’t be long before she, too, was gone. The year Christmas was just the boys and me, when Pat was serving in Iraq for thirteen months, his only physical contact a hug from the USO lady on Christmas Day.
I’ve come to realize that even though Christmas didn’t feel real to me when I was young, it was every bit as real then as it is now. It’s just that life and death, sickness and loneliness and tragedy don’t take time off for the holidays.
It’s no wonder Christmas lights, Midnight Mass, and Santa hats held a particular sadness for me as a child. But now I understand how much those seemingly superficial efforts at holiday cheer during the end of my dad’s tragic life mattered. “We’re not giving up on Christmas,” they said. The Santa hat mattered because it held hope. Hope that next year would be better (and if not next year, the year after that). Hope that a frightened little girl would one day make a better life for herself than the hand her mom had been dealt. That she wouldn’t fall prey to addiction the way her father had, even though her DNA was stacked against her. That she would one day find someone who loved and respected her, and together they would bring new life into the world. That they would raise their children to be better human beings than they were, leaving the world a little kinder than they found it.
In celebration of Halloween, a list of my top ten favorite scary books.
1. Let the Right One In, John Ajvide Lindqvist
2. Pet Sematary, Stephen King
3. People Who Eat Darkness (nonfiction), Richard Lloyd Parry
4. The Exorcist, William Peter Batty
5. In Cold Blood (nonfiction), Truman Capote
6. The Girl Who Loved Tom Gordon, Stephen King
7. Helter Skelter (nonfiction), Vincent Bugliosi
8. Misery, Stephen King
9. Rosemary’s Baby, Ira Levin
10. The Witching Hour, Anne Rice
The first three books on the list are the ones that scared me the most. I read John Lindqvist’s Let the Right One In while traveling alone in Chicago. I had to wait until I got home to finish it because it was too scary to read alone in my hotel room at night. I read Stephen King’s Pet Sematary in 1983 when my husband and I were first married. He was away—I don’t remember where—on military travel. I was staying at my parents’ house. I finished reading the book around 2 a.m. and I was too scared to get out of bed to turn out the light. So I called out for my mom (I was 21 years old at the time), and she climbed into bed with me. One of the reasons People Who Eat Darkness is so damn scary is because it’s true crime—and we all know that truth is not only stranger than fiction, it’s a helluva lot scarier sometimes too.
I loved Anne Rice’s Vampire Chronicles but those books didn’t scare me as much as the ones in my top ten list. I also loved Stephen King’s The Shining but again, it didn’t scare me as much as the others.
Some scary books on my TBR list: Frankenstein by Mary Shelley, Bram Stoker’s Dracula, Bird Box by Josh Malerman, and The Shining Girls by Lauren Beukes.
New 2014 editions of Chat, Connect, & Crash are now available from Amazon, iTunes, Barnes & Noble, and Kobo.
It’s been almost twenty years since I first wrote and self-published Chat in 1995. Now the books have come full circle and are once again self-published under the Rainwater Press imprint. One of the things I’m most excited about is the original ending to Crash—as it was written in 1997—has been restored. I’ve also added details to some key scenes and streamlined the message headers for a smoother and better reading experience. Another thing I’m excited about are the new covers by David High of High Design. David designed the original, self-published editions of the trilogy back in 1995, and I’m beyond delighted with his fresh, eye-popping designs for the new edition.
The books are currently available in ebook format. The year 2020 will mark the 25th anniversary of the Chat, Connect, & Crash series. By then I hope to be able to offer print versions of the books, along with a few other surprises. (I’ve also been working on a new novel completely unrelated to this series, scheduled for release at the end of 2017—stay tuned.) Meanwhile, click the links below for purchase information on the new editions of Chat, Connect, & Crash. And, as always, thank you for your support.
Click here to find online booksellers for Chat: book one.
Click here to find online booksellers for Connect: book two.
Click here to find online booksellers for Crash: book three.
Questions? Please use the contact form on this website to contact Nan.