I’ve been wanting to refresh the covers for my Waxwood Series for a while. While I love the idea of classic paintings on covers (I’m all about the classics), I also realize these paintings are a flashback into the past that many readers might not be attracted to. Many of us love to look at old paintings, but they don’t always speak to who we are or what we feel today, as individuals or as an era.
I think this is especially true in the past four or five years. There have been so much rushing forward and so many changes (some good, some not so good) we’re all looking ahead at life differently, and there is no going back. We can enjoy the past for what it was, but we also have to look toward the future.
With that said, here are the new covers for Books 1, 2, and 3 of the Waxwood Series.
The Specter Photo Credit:
The Specter Photo Credit: Portrait of Sonya Knips, Gustav Klimt, 1898, oil on canvas, Österreichische Galerie Belvedere, Vienna, Austria: Aavindraa/Wikimedia Commons /PD Old 100
Pathfinding Women Photo Credit: Painting of three women in white, long-sleeved dresses, Charles Perugini, 1839-1918, oil on canvas: Needpix.com /CC0
I discovered these marvelous seascape paintings that give off the vibes (sometimes contradictory) of Waxwood as a place (and if you’d like to read more about the real seaside town that inspired Waxwood, you can read this blog post).
The series has one last book coming out in December. It’s called Dandelions, and you can find out more about the book here. But for now, here’s the fourth and last cover for the series:
Dandelions Photo Credit: Couple painting, Dionisios Kalivokas, 1858, canvas and oil, Corfu National Gallery, Greece: File upload bot (Magnus Manske)/Wikimedia Commons/PD Art (PD old 70)
Below are links where you can find out and purchase the first three books of the series:
If you’d like to know more about the series itself, check out this page.
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Photo Credit: Cross-stitched icon of protest from the second-wave feminist movement, originally created by Gunilla Thorgren, Swedish feminist member of “Group 8” in the 1970s, created by cross-stitch ninja: Cross-stitch ninja/Flickr/CC BY NC ND 2.0
Earlier this year, with the release of my post-World War II short story collection, I wrote a fair amount about some aspects of the second-wave feminist movement, like some of its precursors and aspects. I talked here about Betty Friedan’s 1963 ground-breaking book The Feminine Mystique, which is generally credited as the beginning of the movement. I also mentioned one of Friedan’s concepts, The Problem Problem That Has No Name, and issues women faced in the “occupation: Housewife” era (another of Friedan’s terms). Finally, I discussed consciousness-raising group, a specific and important part of the movement itself.
However, I never really dove into the movement that was very different from its precursor, women’s suffragism. By definition, the suffragist movement was about women’s right to vote, and early feminists fought for that right, which finally became nation-wide in America in 1920. But as I mention here, suffragism was not on the list of concerns for some of these early feminists — gaining recognition as equals was.
I mention this because the second-wave feminist movement begins where the suffragists left off. Suffragism (the right to vote) was what Victorian and Progressive Era feminists wanted, and women can be grateful to them today for achieving that goal. Second-wave feminists in the 1960s took that right to vote, and the political recognition that goes with it, to the next level. They identified issues affecting all women and lobbied for changes related to these issues. For example, at the top of their agenda list was workplace discrimination. Many women were still being hired for women-centric jobs, such as teachers, nurses, and office workers, jobs that stigmatized women with the Victorian separate sphere ideal of nurturers and caretakers. Issues such as affirmative action for women and abolishing segregated help wanted ads, which allowed employers to advertise jobs for women that they felt were suited to them based on gender, helped women get better jobs.
Another issue of concern to women at this time were reproductive rights. The Pill was approved by the FDA in 1961, which was a major step forward for women. It gave many women the right to hold off having children until they (and not society) were ready for them. It also meant women who preferred to focus on a career and not have children could do so.
The second-wave women’s movement, like the first, was not all roses and chocolate, though. Sometimes, within the movement, women did not agree on what causes were most relevant to them at the moment. For example, Friedan became the first president of the National Organization for Women (NOW) in 1966 but stepped down four years later due to concerns of increasing radical views that did not gel with her own. On their part, NOW felt Friedan’s fight for working women was misplaced and not as high on the feminist agenda as she thought it should be.
In addition, women of color felt the movement dominated by middle-class white women so the issues most relevant to them were being neglected. They felt their experiences, especially with racism and classism, were overlooked and that separating discrimination by sex and by race was defeating the purpose of abolishing discrimination entirely. While there were many strong voices for women of color and their unique experiences (such as bell hooks and Angela Davis), they tended to be attached more to the civil rights movement than the feminist movement.
If you want to know more about the experiences of women in the post-war era leading up to the second-wave feminist movement, you can check out my book Lessons From My Mother’s Life.
Want to explore the nooks & crannies of history, the stuff that isn’t in the history books?Like social and psychological history and not just historical events and dates? Want in on exclusive sneak peeks, giveaways, and polls? Then sign up for my newsletter! Plus, you’ll get a free short story when you do :-). Here’sthe link!
There are paths in life we have no choice but to follow.
At the close of the nineteenth century, Vivian Alderdice is twenty-six, unmarried, and has no prospective suitors. Now the heiress of the Alderdice fortune, she has yet to fulfill her duty to her family and to society: to marry well and produce heirs.
Her brother’s tragic plight the year before left her and her mother on shaky ground with the San Francisco blue bloods of Nob Hill, and the only way they can re-establish their social position is to win the heart of Monte Leblanc, a wealthy Canadian in search of a wife and looking to become a member of the exclusive Washington Street society.
But a young man on the train tells Vivian things about her grandmother that shake her to the core. Even as she is pursued by the debonair Monte Leblanc, Vivian can’t avoid ghosts from the past who send her on a journey she is reluctant to take.
You can get your copy of the book at a special promotional price from your favorite online book retailer here.
“If the horses are his only vice,” said Mr. Leblanc with a chuckle, “I should say Miss Drysdell is very lucky indeed.”
“But it isn’t.” Cecily’s eyes widened. “Elizabeth Cornwall told me it’s all over England that his grandfather and great-great-grandfather both went mad of the drink. It was like poison to them.”
“Well, my dear, all families have their skeletons,” said Mr. Leblanc.
“Oh, that’s all fine when they are ancient ones,” said Fern. “It’s the skeletons still rattling in the closets that one must be careful of.” Her eyes slid toward Vivian.
Vivian’s hands grew cold, even though the coffee Mrs. Tisher had given her was still warm. “Perhaps there would be no need for the skeletons to rattle if families told the truth from generation to generation.”
“Yes, you are a great believer in the truth, aren’t you, Vivian?” Amber asked. “No matter what the consequences.”
“‘Rather than love, than money, than fame, give me truth.’” Vivian quoted.
“You made that up right now?” Bethel’s voice was sour.
“I didn’t,” said Vivian, smiling. “Henry David Thoreau did.”
About the Author
Tam May started writing when she was fourteen, and writing became her voice. She loves history and wants readers to love it too, so she writes historical fiction that lives and breathes a world of the past. She fell in love with San Francisco and its rich history when she learned about its resilience and rebirth after the 1906 earthquake and fire during a walking tour. She grew up in the United States and earned a B.A. and M.A in English. She worked as an English college instructor (where she managed to interest a class full of wary freshmen in Henry James’ fiction) and EFL teacher (using literature to teach English to business professionals) before she became a full-time writer.
Her book Lessons From My Mother’s Life debuted at #1 on Amazon in the Historical Fiction Short Stories category. She is currently working on a Gilded Age family drama titled the Waxwood Series. The first book of the series, The Specter, came out in June 2019, and the second book, False Fathers, was released in December of that year. Book 3, Pathfinding Women will be out in September 2020, and Book 4 in December 2020.
Tam lives in Texas but calls San Francisco and the Bay Area “home”. When she’s not writing, she’s reading classic literature, watching classic films, cross-stitching, or cooking up awesome vegetarian dishes.
Not long ago, I wrote this blog post about marriage advice in the Gilded Age era. Not surprisingly, age was an important factor, for both men and women, and it’s emphasized in my upcoming book, Pathfinding Women.
Today, we’re used to women (and men) marrying at any age they like. It’s significant that many women and men choose to marry at a later age. My research revealed that the average marriage age today is 35 years old for women and 38 years old for men. I can see several very good reasons for this. Both men and women are generally established in their careers and their lives by their 30’s, so choosing to marry and have a family is a commitment that can richen their lives. Many women prefer to have a career before they take on marriage and motherhood. There is also a level of emotional maturity and intelligence that comes with age that (we hope) makes relationships and child-rearing more painless and fulfilling at later time in our lives.
This is in stark contrast to the marriage age in the 19th century. The average age for women to marry was, roughly, 20 to 22, while for men, it was 26. Why were women marrying at such a young age, nearly 15 years younger than they do today? We want to remember women were not as autonomous as they are today, especially not in the first three-quarters of the century. Due to the separate spheres, many women were dependent on others for their livelihood, and marriage was the primary way they could survive when they came of age. There was also the “cult of True Womanhood” mentality where women’s destinies were to be wives and mothers, so marriage was seen as their goal in life.
Surprisingly, upper class women took the marriage age as more crucial than middle and lower class women. You would think women with social and economic privileges would be more independent than their less privileged sisters, but, in reality, family and social expectations lay heavily upon them (a theme that comes back again and again in the Waxwood Series). Women who expected to marry into high society and/or maintain their position among the blue bloods had to marry young. In her book What Would Mrs. Astor Do? author Cecelia Tichi describes actress and model Evelyn Nesbitt, whose decision to marry the rich but abusive Harry Kendall Thaw came largely from the fact that she was “now over twenty years old, a perilous age for a Gilded Age starlet harboring hopes of matrimony” (Tichi, location 3210). How much over? According to Tichi’s book, when Nesbit married Thaw, she was 21 years old.
In Pathfinding Women, the social standing of both Vivian and her mother Larissa hinge on Vivian marrying again. Vivian and her mother and, in fact, the Washington Street blue bloods that make up their social set are hyper aware of this fact:
Vivian thought with irony of the past few days. “Yes, it would certainly be peaceful for us both if I were to become Mrs. Monte Leblanc.”
“And just what you need at this particular time in your life.”
A pain shot through Vivian. “What do you mean, Mother?”
“You always accuse me of ignoring the truth,” said Larissa. “But you don’t like it when someone else shows you the truth you’ve been ignoring.”
Vivian turned up the gas lamp on the night table and observed her mother’s face illuminated by a yellow halo. “You’ve always been shrewd, haven’t you, Mother?”
“I’m trying to make you see!”
“See what? That I’m not getting any younger?” Vivian’s eyebrows arched. “That’s what you meant, isn’t it? You think I ought to grab the first man that asks me like Cousin Emma did.”
“I wouldn’t go so far as that.” Her mother’s voice was reasonable. “But twenty-six is an age where a woman can begin to expect little out of life if she’s not married.”
You make twenty-six sound like ninety-six,” said Vivian, realizing she was starting to sulk.
Vivian is considered, by the standards of the 19th century, to be well above the marriage age, though she is still young, and this puts her in an awkward position matrimonially, and one that her love interest, Monte, who is considerably older than she is, doesn’t fail to grasp and try to use to his advantage.
Pathfinding Women is the third book of the Waxwood Series and will be out on September 13. But you can grab a preorder copy now at a special price here. To find out more about the series, please go here.
Want more fascinating information about history? Like social and psychological history and not just historical events and dates? Want in on exclusive sneak peaks, giveaways, and polls? Then sign up for my newsletter! Plus, you’ll get a free short story when you do :-). Here’sthe link!
Tichi, Cecelia. What Would Mrs. Astor Do? The Essential Guide to the Manners and Mores of the Gilded Age. Washington Mews Books, New York University Press, 2018. Kindle digital file.