Welcome to the new Mutterings!
You found your way here, thanks for persisting, but have you seen the shiny new look on the LRK web site to your left? Just the first of many changes, so keep checking with us.
But before we get all excited about things, we need to tidy up the Q&As that came in for May 1st. And kindly forgive any oddities and hiccoughs that come with the shift to WordPress.
Q: What happened to the book club with a Grave Talent? That might have really been an April Fool’s joke that escaped me.
A: No joke, except on me. There must be a law of physics that states the faster the end product, the longer it takes to produce. Hence Internet projects take approximately five times what is anticipated to bring to fruition.
The official announcement will be next week, so get your trumpets polished, and if youâ€™re not signed up for the newsletter you really should now.
Q: Susann asks, I have a question about the title of With Child. I’ve always been curious about it, and would love to hear if there were any particular thoughts behind it. It was the first book of yours I ever read; I picked it off the library shelf because the title caught my eye and intrigued me.
A: Any mother knows that even when you stop being pregnant, you are still, now and forever with child. And the wrench when that child vanishes is the emotional equivalent of miscarriage, no matter the childâ€™s age. The book is about the responsibility we all hold for the young, our own and that of strangers.
Q: Roxanne wants to know, Back on February 7th, in regard to Kate Martinelli’s homosexual relationship, you wrote, “Kateâ€™s orientation has enriched my life in too many ways for me to regret whatever choices the back of my mind made in putting her together. And that is worth a percentage of sales any day.” Other than the obvious en-rich-ment from book sales, I wonder–in what other ways has Kate’s orientation enriched your life?
A: I am amused at the idea that one can link the words â€œrichâ€ with â€œbook sales,â€ but never mindâ€¦ Martinelli has provided me with a firm foothold in a community I would otherwise have only have visited occasionally. Itâ€™s a little like those old television ads with an actor who plays a doctorâ€”Iâ€™m not a lesbian, but I write one, which lends me a certain cachet of respectability.
Q: Kerry says, I have a question about Califia’s Daughters, one of my favorite of your books. In its setting and basic story (utopia/dystopia, etc.) it’s obviously very different from the Russell and Martinelli series. I was wondering if you see or feel any deep similarities — in the characters, e.g., themes, or even your motivation for writing Dian’s story. Thanks!
A: Well, theyâ€™re all about strong women. Not the same woman, by any means, and Iâ€™m not sure the three would even like each other. And I donâ€™t know that Iâ€™d want to be at a dinner party with all threeâ€¦
Q: Carlina from Costa Rica writes, When you wrote Holmes as saying…Ten, fifteen, maybe even twenty years ago, but here, now… did you know then that he and RussellÂ´s relationship was going to go beyond an apprenticeship? Or did that part just write itself? I have always been curious about that and the apopletic fit scene…did he know then?
A: That initial musing on the part of Holmes can be taken as his bemusement at finding himself with an apprentice, after all this time. If the reader suspects there may be more to the future relationship than that, well, that is the writerâ€™s task, to tantalize, is it not?
Q: Gail wants to know, I think I remember you saying that you always have a sort of guiding question or issue for each of your books. I actually think I remember you calling it a theological or philosophical issue. Could you explain that more – or am I completely remembering wrong? If this is your practice can you give us some examples from your books?
A: Hmm, I donâ€™t remember specifically thinking of each book with a philosophical issue, although I do occasionally talk about knowing the flavor of a book before I begin it. The books do have themes, of courseâ€”Beekeeper explores the opening of a mind, Monstrous Regiment confronts the choice a woman makes between freedom and commitment, Folly looks at the way a person can rebuild herselfâ€”but often I am not aware of the theme until I look back at the finished product and say, â€œOh, so THATâ€™s what it was about.â€