The Spanish-American War of 1898

Facebooktwitterredditpinterestmail
This is a very touching image showing that, while the Spanish-American War may have only lasted 4 months, Americans took it very seriously.

Photo Credit: Farewell Arch in South Framingham, Massachusetts, where Massachusetts troops departed for the Spanish–American War in 1898, from Reminiscences of Company F, Second Regt. Massachusetts Infantry, U.S.V., First Brigade, Second Division, Fifth Army Corps, Of Gardner in the War With Spain, With Historical Data, 1906, author unknown: Kges1901/Wikimedia Commons/CC BY SA 3.0

When talking about historical fiction, time matters. Even specific years matter because history has shown that what can happen from one year to the next can rapidly change the world. This was my thinking behind setting the Waxwood Series in the last decade of the 19th century. Book 1 of the series, The Specter, takes place in 1892, and Book 2 of the series, False Fathers, takes place six years later, in 1898.

Authors always have to consider what events occurred outside of the text in the time period in which the book is set and whether to incorporate those events or ignore them (as Jane Austin largely ignores the Napoleonic Wars in much of her fiction). My approach is primarily to focus on the psychological reality of the characters as they live within their time, so outside events may or may not play a role. I am not a fan of historical fiction that includes copious amounts of information dumps about historical events and people in order to create an atmosphere of the past for readers. I believe the specific details of life, especially social and psychological, makes the historical context more real than any detailed description of a historical event that may not be relevant to the characters’ conflicts and journeys.

However, this doesn’t mean that historical events don’t have a place in my fiction. In fact, in False Fathers, the Spanish-American War plays an important role in the story, not so much the events of the war itself as its meaning to Jake Alderdice, the protagonist of the book, and other male characters in the book.

The Spanish-American War stands out in the annals of American history for several reasons. First, it was a very short war. War was officially declared on April 21, 1898 and the fighting ended on August 13, 1898 (though the war officially ended four months later). America involved itself in this war for both financial and humanitarian reasons. And the consequences of the war for the United States helped to push the nation toward one of the greatest changes that occurred during the Gilded Age — it hurled the country onto the world stage.

The war involved fighting in Cuba, a colony of Spain at the time. Spanish rule was oppressive to Cuban insurgents, and they had been fighting three years prior. The brutal treatment of the Cubans by the Spanish gained a lot of sympathy in the United States, thanks to the yellow journalism popular at the time. It was very much on the minds of Americans. Author Gertrude Atherton, in her novel Senator North, published in 1900 and set a bit earlier, shows Washington society discussing the war constantly at their dinner parties and picnics, and outlines some of the great debates going on in the Senate about whether America should or should not enter the war. The thing that pushed America to declare war on Spain was the sinking of the battleship USS Maine, which newspapers played up as having been caused by either mines or torpedoes fired by the Spanish army (though it was never established whether this was really true, or whether it was some kind of technical error having nothing to do with the Spanish). 

A major player in the war was Teddy Roosevelt, who left his position as Assistant Secretary of the Navy in order to join in the fighting with a group of soldiers known as the Rough Riders. This short war made Roosevelt a hero and cemented his emerging political career at the turn of the 20th century. The nation insured independence for Cuba (which helped with political and financial trade) and gained control over the Pacific, including the Philippines, Puerto Rico, and Guam. The war also allowed the United States to declare Hawaii its territory (though Hawaii wouldn’t become a state until 1959).

In False Fathers, which takes place during the summer of 1898, the war is very much on the minds of Waxwood’s resort guests. In one scene, Jake and Stevens, a father figure who guides Jake throughout the book on his journey to manhood, are watching Stevens’ cousin Roger and his friends play billiards, and the subject of the Spanish-American War comes up:

They were, Jake realized, not completely ignorant of all but their tight little world of games and touching the edge of vice. They discussed with some seriousness the war in Cuba, bringing forth different opinions peppered by the usual boyish attitude of having taken words out of the mouths of their fathers or uncles.

“— Says we ought to pull out while the getting’s good,” said Norris Harrington. “It’s not worth the lives already given for it.”

“And let Spain take over?” Andrew Trent scoffed as he spilled two balls in the pocket. “We’re not there for fancy, boy. We’re there so all can see we are a power.”

For these young men who are coming of age in the last years of the 19th century, the war symbolizes the potential for bigger and better things, not only on a national level, but on a psychological level for them as young men going out into the world. The idea of power expands both in the public and private spheres. 

You can find out more about False Fathers here and more about the series here.     

Facebooktwitterredditpinterestmail
instagram

New Year’s in the 19th century

Facebooktwitterredditpinterestmail

Photo Credit: Fanciful sketch of a New Year’s Eve celebration, Marguerite Martyn, 1914, St. Louis Post-Dispatch, 4 January 1914, Editorial Section: BeenAroundAWhile/Wikimedia Commons/PD US

Since this is the holiday season, I’ve been reflecting on the holidays in history, particularly in the 19th century. I wrote about Thanksgiving and, in an older blog, Christmas in the Gilded Age. No historical holiday discussion could be complete without New Year’s.

We have a lot of New Year’s traditions, and it’s fascinating to see where they came from and why. For example, New Year’s has always been a social holiday, more so than Thanksgiving and Christmas, which have been (and still are) mainly family holidays. But the nature of that socialness has changed over time. In the mid-19th century, it was not uncommon to have a “watch night” on New Year’s Eve, where people (especially in rural areas) would watch and wait for the clock to strike midnight so they could leave their old sins behind and begin the new year fresh.

The ones who turned New Year’s into a party holiday was, not surprisingly, the Gilded Agers, and for the same reasons they turned Thanksgiving into a lavish extravaganza of dining out. They wanted to show off, to let all their wealthy and success glitter and glow, basking in their social and financial glory. So they began to throw lavish parties and “invitation only” balls, providing eight-course dinners, and generally making a lot of noise and spectacle. Many of the Gilded Age wealthy who had lavish summer homes in places like Newport started throwing extravagant parties for the new year in those homes that were the envy of may of their contemporaries and of the non-wealthy.

There were other traditions that became staples of what we accept as New Year’s celebrations that came in the 19th century. One of them is the singing of the song “Auld Lang Syne,” a song that signals the sentimental farewell to old friends and experiences. The song was actually an 18th century ballad composed by Scottish poet Robert Burns, and the tradition of singing it at midnight on New Year’s Day began in the mid-19th century, though it wasn’t until later in the 1920s that it became a permanent staple of our New Year’s celebrations.

And the famous New Year’s Eve ball, that gigantic globe of light that drops at midnight every year in Times Square? That originated in 1904 and was first dropped for on New Year’s Day in 1905. The original ball was seven hundred pounds of iron and wood and populated with a hundred light bulbs. The ball has been updated several times, the last time in 2008, so that it now weighs over twelve hundred pounds and, rather than be lowered by hand with ropes, now uses a laser atomic clock located in Colorado.

I don’t think it’s a far stretch to say that we still do, in a way, have our “watch night” where we wait impatiently for the midnight hour to strike so that we can let go of the old year and enter the new. In fact, the reason why New Year’s Day is January 1 has to do with just that idea. Julius Cesar was the one who implemented the new calendar year to begin on that day, naming the first month of each new year January after Janus, the Roman god of new beginnings. Janus has two faces — one face facing front and the another face in the back of his head. Why? So that he can look back to the past and look forward to the present and future. For anyone who has read my fiction, this is exactly what my characters do. So, in essence, if I had to chose a holiday that belonged to the Waxwood Series, it would be New Year’s.

To find out more about the Waxwood Series, please visit this link. The first book of the series, The Specter can be found here and the second book here. The third book will be out in the summer of 2020 and the fourth and last book will be out at the end of 2020 (just in time to celebrate the coming of another new year 🙂 ).    

Facebooktwitterredditpinterestmail
instagram

Release Day Blitz for False Fathers (Waxwood Series: Book 2)!

Facebooktwitterredditpinterestmail

False Fathers Front Cover Photo Credit: Photo Credit: Portrait of a Young Man, Ferdinand von Wright, 1860s, portrait, oil on canvas, Finnish National Gallery: BotMultichill/Wikimedia Commons/PD old 100 expired    

Title: False Fathers

Series: Waxwood Series, Book 2

Author: Tam May

Genre: Historical Fiction/Coming of Age

Release Date: December 28, 2019

Sometimes no father is better than a false father.

At nineteen, Jake Alderdice is shy, contemplative, and passionate about art. With the death of his grandfather, shipping magistrate Malcolm Alderdice, he becomes the new family patriarch and heir to Alderdice Shipping and Alderdice Luxury Liner. After two years of mourning, he is ready to add to the family honor just as all the Alderdice men have, but as an artist, not a shipping magistrate. His plans are delayed with his mother announces the family will be retreating to Waxwood, now a fashionable resort town favored by the San Francisco elite, for the summer, fulfilling her father’s dying wish to “go back”. 

On the train, he meets Harland Stevens, an enigmatic but charming older man, who has come to Waxwood as chaperone and guide to his college-aged cousin Roger and Roger’s friends. Mr. Stevens, or, as he tells Jake, “just Stevens”, takes an interest in the young man’s ambitions, and introduces him to the town’s most prominent gallery owner. But when Jake takes his paintings for appraisal, the man delivers a fatal blow — Jake’s mythology-inspired paintings are too original for the market of realistic landscape paintings favored by Gilded Age patrons.

Stevens seizes the devastated and wandering Jake and counsels him toward a more aggressive but moralistic path to manhood inspired by Teddy Roosevelt and Thoreau. Jake proves himself to be more studious and serious than Roger and his friends. Impressed with the young man’s determination to take over his grandfather’s business, Stevens introduces him to The Order of Actaeon, a secret society built upon those ideals favored by his idols.

But the path to emotional maturity and masculine identity is, Jake learns, a complex thing in the Gilded Age. Will his journey free him from the Alderdice family illusions, half-truths, and lies that have kept him a child, just as it did his sister Vivian’s six years before? Or will it lead him into the world of Actaeon, where the hunter becomes the hunted?

You can pick up your copy of the book at a special promotional price at the following online retailers:

Amazon US

Amazon UK

B&N

Apple iBooks (iTunes)

Excerpt

The afternoon sun had arrived with its vengeance of rising heat. Jake took out his handkerchief and wiped at his forehead. At the same time, he felt something inside him shiver. He couldn’t help but think of what Vivian would have said, if she had heard the tale. He knew she would have found it one more reason to avoid Stevens, as the story would have struck her as another way in which Roger had been right about the way in which Stevens and his father engineered their will against the will of others.

“I suppose your father understood you.” He put the handkerchief away and made a shot through the hoop in front of him. 

As Stevens set down his mallet down, Jake felt the weight of his expectant eyes. “I thought you would change your mind.”

“Change my mind?”

“About needing guidance,” said the redhead. “You needn’t be abashed. Other young men such as yourself have come to me when they needed a father too.”

“I didn’t say I needed a father.” Jake looked at the tussled grass at his feet. “I only meant I would be grateful for any ideas you have for me about my new undertakings.”

“As you wish,” said Stevens, though his eyes sparkled in the sun.

About the Author

Tam May grew up in the United States and earned her B.A. and M.A in English. She worked as an English college instructor and EFL (English as a Foreign Language) teacher before she became a full-time writer. She started writing when she was 14, and writing became her voice. She writes fiction about characters who find their future by exploring their personal past influenced by the time in which they live.

Her first book, a collection of contemporary short stories titled Gnarled Bones And Other Stories, was nominated for a 2017 Summer Indie Book Award. She is currently working on a Gilded Age family saga. The first book, The Specter, is now available, and the second book, False Fathers, will be out in December, 2019. She is also working on a historical mystery series featuring a turn-of-the-century New Woman sleuth. Both series take place in Northern California.

She lives in Texas but calls San Francisco and the Bay Area “home”. When she’s not writing, she’s reading classic literature and historical fiction, watching classic films, or cooking up awesome vegetarian dishes.

Social Media Links

Website

Blog

Facebook

Facebook Readers Group 

Facebook Blog Page

Twitter

Pinterest

Instragram

Goodreads Author Page

Amazon Author Page

BookBub Author Page

a Rafflecopter giveaway Facebooktwitterredditpinterestmail
instagram

The Odd Duck: The Character of Jake Alderdice

Facebooktwitterredditpinterestmail

[Jake Teaser]

Photo Credit: Father and son (Thomas Hopewell and his son Timothy), Frank Buchser, 1861, oil on canvas, Galerie Koller: Botaurus/Wikimedia Commons/PD art (PD old 100)

In an earlier version of False Fathers, my second book in the Waxwood Series, Jake Alderdice tells his mother how people have always thought of him as an “odd duck.” To me, this summarized Jake’s character not only in the story but in the canon of my own writing.

I won’t lie. Writing about Jake was a struggle for me for many reasons. On the one hand, since the Waxwood Series is about the deterioration (physically, mentally, and emotionally) of the Alderdice family, Jake’s story had to be told since he’s Vivian Alderdice’s younger brother. But I was nervous about writing the story of a male main character, even though Jake’s psychological reality was familiar to me.

The story I conceived of Jake in the original 3-part novel about the Alderdice family (which I talk about here) included Jake’s story. In fact, his story is the only one that remains more or less true to my original conception of it from that novel, in the sense that Jake comes of age amidst psychological circumtances many young men usually don’t have to deal with. But I realized when I started rewriting the story that I didn’t really know Jake at all. My own uneasiness about writing male characters (especially central ones) kept me from really digging deep into his character. I knew some things about him — that he was an artist, taught by his grandmother, that his mother had a particular loathing for him she didn’t have for his sister, and that his identity as a man (and the only surviving male of the family) was instrumental to his evolution. I liked him, but he felt remote to me, much more so than his sister Vivian or Gena Payne, the main character in Book 3 of the series.

What gave shape to the character of Jake was the historical time frame. When I wrote the book as contemporary fiction, Jake didn’t seem all that much different from other young men. He didn’t go for “sowing his wild oats,” but so do a lot of young men these days. He was an artist, but so are many others. His mother treated him as if he were a mistake, but so do a lot of other mothers (unfortunately).

So why did the historical context change this? Simply, I started to see Jake’s character against the backdrop of the Gilded Age. The psychology of gender has always interested me, not only regarding women but men as well. When I started researching masculinity in the Gilded Age (some of which I talk about here and here), I realized how complex the idea of what it meant to be a man back then was, almost more complex than what it was to be a woman (since women had some support with the suffragist movement and the New Woman ideal). As I wrote the drafts for this book, I got to know Jake better and understood his struggle to figure out who he was, not only in the shadow of the family half-truths, lies, and myths, but with his own personality and quirks that did not suit the growing ideals of masculinity at the end of the 19th century. 

So he became a character I appreciated and thought I could make readers appreciate as someone looking for what he wanted to be in a chaotic world with contradicting messages and conventions (not unlike young people in our world today). I could see not only his struggles, but also what he learns about his family, those around him who profess to help him, and, most importantly, himself. 

To learn more about Jake, you can check out the series page here. To order your copy of False Fathers, which is now at a special preorder price, go here. Plus, you can read a bonus excerpt from the book if you join my readers group here.       

Facebooktwitterredditpinterestmail
instagram

The Story of Actaeon

Facebooktwitterredditpinterestmail

Photo Credit: Diana and Actaeon, Francesco Albani, 1617, oil on copper, Louvre Museum, Paris, France: JarektUploadBot/Wikimedia Commons/PD Art (PD Old 100 1923)

For Book 2 of the Waxwood Series, False Fathers, the mythical hunter Actaeon and the story of Diana and Actaeon become metaphors in the book. At one time in the writing process, they were so important I gave the book the title Tales of Actaeon. I talk about that a bit in this blog post. In order to understand how the metaphor is important in the novel, it’s necessary to know a little about Actaeon and the myth.

In the book, the male secret society that plays a role in Jake’s coming-of-age is named The Order of Actaeon. When I was looking to name the fraternity, I had the idea of using a mythical character that represented some of the fraternity’s values and also lent itself to the theme of masculine identity, which is so prevalent in Jake’s story. I came upon the story of Actaeon, the grandson of Thebes’ founder and first king. I was intrigued by Actaeon for several reasons. Unlike many mythical characters, he is rather a mystery. Little is known about him except that he was a hunter and well trained by the centaur Chiron. He’s identified as a Theban hero, but there is no record of a specific deed or act of heroism on his part (at least, none that I could find). All accounts of him focus on the same thing — his encounter with Diana (Artemis) and his fate in her hands.

Diana was known as the virgin goddess of the hunt. She abhored the idea of marriage, and she and her maidens were none too kind to any man who dared try and court them. Her life was about freedom and independence, as this suited her wild nature. Any man who tried to mess with her or one of her maidens did so at his peril. 

The story goes that, one day, Actaeon was wandering in the woods with his dogs and came upon Diana and her maidens bathing naked in a stream. As noted above, Diana and her nymphs were modest ladies, and the idea of a man invading their private sanctuary did not please them. Diana, in her rage, splashed water into Actaeon’s face and cursed him. Almost immediately he began to sprout horns and, within moments, he had turned into a stag. Stumbling back into the woods, he came upon his hunting dogs (which, according to some accounts, number in the 20’s). They did not recognize their master and took him as game, jumping on him and devouring him. Thus, the dogs the hunter had trained to kill had now turned him into the hunted.

The story is generally considered to be a metaphor for human sacrifice to the mythical gods and goddesses. But to me, this is too simplistic a reading. Diana didn’t sacrifice Actaeon — she punished him for daring to impose upon her and her maidens in their moment of nakedness. He compromised their chastity, and this was severe enough to warrant his fate in Diana’s eyes. So there is quite a feminist side to this story when we look at it in modern terms.

How much Actaeon was responsible for his own end has been highly debated. Many versions of the myth show Actaeon as an innocent victim of Diana’s wrath, a hunter who was just wandering around the forest and happened to be in the wrong place at the wrong time. However, others point out that Actaeon was known for his arrogance and predatory skills (both with game and women), and he may had had a rivalry going on with Diana, since they were both skilled hunters. It would stand to reason that, as hunting is generally considered a “manly” sport, Actaeon would deem himself as the superior hunter to Diana.

In False Fathers, the idea of the hunter plays a role in the theme of masculine identity in the Gilded Age, which is Jake’s is struggle. The fraternity he is invited to join capitalizes on the character of the hunter as part of their masculine identity — cunning, wily, skilled, but also ethical in terms of how and why they hunt. Hunting was more accepted as a necessity for many living in rural 19th century America than it is today, so it would have been more about utilitarianism than sportsmanship. The Order of Actaeon believes in all this, so much so that hunting is one of their main fraternal activities.

There are also some references to the myth of Diana and Actaeon in the characters of Vivian and Stevens, the older man who becomes Jake’s father figure in the book. Stevens sees Vivian, with her rebellious nature, as a modern-day Diana. In fact, he refers to her often as “Diana with her crown of thorns.” Vivian, in turn, reminds him that the wrath of Diana is nothing to be toyed with, referring to the story of Actaeon’s fate:

[Stevens] then turned to Larissa and Marvina and explained, “I told Jake his painting of his sister matched my impression of Diana, the Grecian wood nymph. I don’t think she cared for the idea.”

“You seem to have forgotten,” Vivian said. “That wood nymph turned a man into a stag and let his own hunting dogs eat him alive.”

Stevens looked at her with amusement and fascination, the turbulence gone. “She had good reason. Actaeon came upon her in the woods, and she was compelled to punish him for violating her chastity. If one has committed a crime or a sin, one must pay for it.”

These metaphors of Diana and Actaeon will come back in Book 4 of the series, Dandelion Children.

To read more about False Fathers, which will be out on December 29, 2019 and is now available for preorder, you can go to this link. I also have an excerpt from the book that involves Jake with The Order of Actaeon in my readers group here. And to read more about the characters in this upcoming book, you can check out the series page here.

Facebooktwitterredditpinterestmail
instagram