The Dream Book Blog – Page 23 – Empowering women through fiction and history.

An Eclectic Collection: The Films of Robert Wise

Photo Credit: Film producer and director Robert Wise at the premiere of Air America, 1990, photo by Alan Light: Bebe735/Wikimedia Commons/ CC BY 2.0

Sometimes opportunities come up that are almost a crime to pass up (and y’all know my head is in crime right now with the launch of my Paper Chase Mysteries this year). When author and film historian J. R. Jordan contacted me and asked me to review the revised edition of his book, Robert Wise: The Motion Pictures (Revised Edition), I jumped at the chance.

As many of you know, my first love is classic literature, but I have an equal passion for classic film. I have my favorite classic film directors. Robert Wise is on the top of that list as well. Wise was one of those down-to-earth Hollywood figures who didn’t create a lot of unnecessary drama on the film set. As his nephew, Douglas E. Wise says in the introduction,

“As a director, Uncle Bob’s demeanor and personality were quite even. There was no temper. There was no ego. There was no flexing of power or anything else. He was simply a nice guy and everybody, cast and drew alike, admired him.” (Location 111)

Jordan matches Wise’s personality as a film director with the tone and voice of this book. He writes a no-nonsense, comprehensive guide to forty of Wise’s films, showing the impressive array of genres and approaches to story that made Wise such a talented and respected director. As a historical fiction author and history lover, I especially appreciate how Jordan contextualizes many of the films within the psyche of the moviegoers at the time.

Photo Credit: Simone Simon and Kurt Kreuger in Mademoiselle Fifi (1944), publicity still, cropped, author unknown, RKO Pictures: Ce-CilF/Wikimedia Commons/PD US no notice

For example, Jordan explains how Wise’s decision to direct Mademoiselle Fifi (1944) was a controversial one because of the film’s subject matter and timing. The film takes place during the war between Prussia (a kingdom of German until the end of World War I) and France in the 19th century and portrays the Prussians as victorious over the French. As Jordan points out, when the film was made, “much of France was under Nazi occupation [and resentment] of the German government grew stronger with each day that passed..” (Location 328). In this atmosphere, producers were nervous that a film showing the triumph of Germany over France might not go over well with the public. Wise’s solution was to emphasize the patriotism of the film’s plot and the main character so that, although the “enemy” won the war historically, they lost morally and emotionally.

What really struck me about the book was how its well-researched discussions of Wise’s films really showed the eclectic nature of his career. In his sixty-odd year career, Wise seems to have directed every film genre out there: horror, drama, film noir, musicals, sci-fi, and everything in between. Having said that, the book makes clear Wise did have certain periods in his life where he directed films in one genre more than in others. For example, the 1940s saw horror films such as The Curse of the Cat People and 1945’s The Body Snatchers (one of my personal favorites). The late 1940s and 1950s were the golden eras of film noir, and Wise made his share, including The Set-Up (1949) and The House on Telegraph Hill (1951). And no one can forget Wise directed two of the most iconic and unforgettable blockbuster musicals of our time in the 1960s: West Side Story (1961) and The Sound of Music (1965). Later in his career, science fiction films came into the Wise catalog with films like The Andromeda Strain (1971) and Star Trek: The Motion Picture (1978).

The book Robert Wise: The Movies (Revised Edition) does exactly what the title implies — it gives readers an understanding and appreciation of the films of one of America’s greatest and sadly overlooked directors. It’s a great book for any classic film lover, not just for fans of Robert Wise and his films.

Works Cited:

Jordan, J. R. Robert Wise: The Motion Pictures (Revised Edition). BearManor Media. 2020. Kindle digital file.

Social History: Putting the Human Element Back into History

Photo Credit: Dudley Street, Seven Dials, 1872, Wellcome Images, Wellcome Trust, UK: Fae/Wikimedia Commons/CC BY 4.0

I’m starting out this year as a revisionist (in a sense). I’m revising my perspective on my writing and my passion for history by examining what really makes them tick. For those who have been following my blog for a while, you know I’ve had several transformations in the past years. I started out in 2017 as a contemporary literary fiction writer believing in psychological reality in fiction, something I am still fascinated by and still incorporate in much of my fiction. Then I discovered a way to transform my passion for history, especially women’s history, into stories about resilient women and the nooks and crannies of history that don’t always come up in historical fiction.

Last year, I completed the Waxwood Series, my Gilded Age family saga set among San Francisco’s elite. I discovered that my real passion for history lies more in its social and psychological aspects rather than its politics and events. Those terms can sound a little vague and academic, so this month, I’ll be talking about what social history is and what it means in my fiction.

Let’s begin with a simple definition: Social history is history with the human element thrown in. Not that political or economic history isn’t about humans, as all history inevitably is. But you’re more likely to read a book about or set in the Civil War, say, where the people or characters are players in the big event. Social history looks at the people who participated in history, how they were affected by it, and how they influenced it. In my Civil War example, a novel might be about African American soldiers (actual or fictional) and their daily struggles not only with the war itself but with the racism surrounding them on the battlefield, forsaking a more blow-by-blow account of the events of the war. Social history gives us a window into the way people lived and breathed in their time and, sometimes, the values and beliefs they held that we want to acquire or release in the 21^st century.

Social history is actually an academic field of study that emerged in the turbulence of the 1960s and 1970s. This isn’t much of a surprise, since much of the social awareness that emerged during these times required knowledge of the past. For example, the Civil Rights movement was built on the oppression and heinous crimes of slavery and on racism not only of the present but of the past. Similarly, the second-wave feminist movement, as I discuss here, took the issues the 19th-century suffragists were fighting for to the next level.

When I say I focus more on social history than on political and economic history, I mean that how my characters live and relate to their environment matters to me. The more academic perspective of social history often looks at the bigger picture, like the movements, systems, and structures of history. These are important, but I also find the way people related to these social structures and lived within them (or rebelled against them) is part of what makes history so fascinating and relevant to us today.

Vivian Alderdice, the main character of the Waxwood Series, is a great example. Like many 19^th century women, she is locked in social systems and structures with very rigid definitions of what women should and shouldn’t do. She’s a member of the Nob Hill elite, adhering to the social norms of the aristocratic class (which is especially true in Book 3 of the series, Pathfinding Women). Later, she moves into suffragism and progressivism, but, just as she had to revise her position in her Nob Hill world, she also has to examine her values and beliefs against those of her new world (which you can read about in the last book of the series, Dandelions).

In my upcoming historical mystery series, The Paper Chase Mysteries, social history plays a huge role. The series begins in the first years of the 20^th century when many people were still reluctant to leave behind Victorian values for the complexity and fears of the modern. Like Vivian, the series main character is a social reformer, and when she moves from San Francisco to the small, dusty town of Arrojo, her forward-thinking ideas aren’t always embraced, appreciated, or understood.

You can find out more about that series here. The first two books of the Waxwood Series, which were re-edited and refreshed in 2020, are here and here.

Want to explore the nooks and crannies of history that aren’t in the history books? Like social and psychological history and not just historical events? Want in on exclusive sneak peeks, giveaways, and surveys? Then sign up for my newsletter! You’ll get a free short story when you do.

Release Day Blitz for Dandelions!

release day, historical fiction, series, family saga, family drama, women's fiction, Gilded Age, 19th Century, women's history, resilient women, US history

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)

Title: Dandelions

Series: Waxwood Series, Book 4

Author: Tam May

Genres: Historical Women’s Fiction/Family Saga

Release Date: December 20, 2020

She had more in common with her nemesis than she wanted to believe…

For Vivian Alderdice, the 20^th century begins with a new start. Now a working girl and progressive reformer like her friend, Nettie Grace, she has forsaken the Gilded Age opulence of Nob Hill for the humbler surroundings of Waxwood’s commercial district. Rather than whittle away her days with other wealthy young women in gossip, parties, and flirtations, she sells talcum powder and strawberry sodas to customers at Nettie’s Drugstore and helps the poor to read at the Waxwood Women’s Lending Library and Reading Room.

But sometimes the scars of the past leave bitterness behind …

Harland Stevens, the man who ruined her brother’s life two years before, appears like another specter in Vivian’s life and, in spite of herself, Vivian is compelled to help him escape from a hell of his own.

You can get your copy of the book at a special promotional price from your favorite online book retailer here.

Excerpt

As she watched him stroll down the boardwalk, his hands in his pockets, nodding at ladies as he passed but without the leering eye of his college boy days, she felt again the wave of uncertainty engulf her like the sea wind. She was alone now with this large, silent man.

“Since you prefer everyone call you Stevens,” she said, glancing at the redhead, “that’s what I’ll call you from now on.”

Though the redhead did not speak, she saw his lips sway as if he were trying to answer her. She felt a surge of relief as she led him down the boardwalk.

As with the hotels, the place was empty. As it was Saturday, men had come down from their city jobs to spend the weekend with their families. She suddenly feared she might encounter people she had known the previous summers in Waxwood and couldn’t help but wonder what they would think. Would they see her as a little plain in her shirtwaist and gray suit but nonetheless fashionable, and Stevens looking for all the world like the new century’s gentleman with his stiff collar and tie tucked inside his closed vest? Would they guess their eyes were feasting upon a Washington Street blue blood nearly fallen from grace and a once vibrant, commanding man, now a hollow shell of silence and perhaps madness?

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 the city’s 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 of wary freshmen in Henry James’ fiction) and EFL teacher (where she used literature to teach business professionals English) 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 has also published a Gilded age family drama set in Northern California at the close of the 19th century which tells the story of the Alderdices, a family crumbling in the midst of revolutionary changes and shifting values in America’s Gilded Age. Her current project delves into the historical mystery fiction genre. The Paper Chase Mysteries is set in Northern California at the turn of the 20^th century and features amateur sleuth and epistolary expert Adele Gossling, a young, progressive, and independent young woman whose talent for solving crimes comes into direct conflict with her new community, where people are apt to prefer the Victorian women of old over the New Woman of the new century.

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 yummy vegetarian dishes.

Social Media Links

Facebook: https://www.facebook.com/tammayauthor/

Facebook Readers Group: https://www.facebook.com/groups/tamsdreamersRG/

Twitter: https://twitter.com/tammayauthor

Pinterest: https://www.pinterest.com/tammayauthor/

Instragram: https://www.instagram.com/tammayauthor/

Goodreads Author Page: https://www.goodreads.com/author/show/16111197.Tam_May

Amazon Author Page: https://www.amazon.com/Tam-May/e/B01N7BQZ9Y/

BookBub Author Page: https://www.bookbub.com/authors/tam-may

I’ve got a giveaway going on with 4 chances to win a prize! You can enter here.

Dandelions Launch Giveaway is here!!!

The Progressive Era’s New Woman

history, women, Victorian era, Progressive era, turn-of-the-century, New Woman, Gibson Girl

The drawing above is the prototypical Gibson Girl. Interestingly, her features are very delicate and feminine, and her expression is flirtatious to emphasize the idea that she was there to serve men, not threaten them.

Photo Credit: Gibson Girl, Charles Dana Gibson, 1901, pen and ink drawing, published in The Social Ladder (1902) by Charles Dana Gibson: MCAD Library/Flickr/ CC BY 2.0

I originally wrote this blog post last year for Women’s Equality Day. As I’ve been working on the last book of my Waxwood Series, which is set at the turn of the 20^th century, the New Woman has emerged as an amazing icon in history embodied in the series protagonist, Vivian Alderdice, and in some of the women around her.

Women’s suffragism wasn’t just about politics. It was also about the psychological realities of women’s lives. Years of being locked in the cage of the separate sphere ideology made women anxious to get out. The separate spheres placed boundaries on their physical, social, emotional, and spiritual lives. When women’s rights came to the forefront, many women realized it was time to break free of those limitations, and the only way to do it was to create a new kind of woman. It should be no surprise that she emerged with the new century when America was leaving behind the cobwebs of the past and looking to a bright, shiny future.

The New Woman was born in the latter part of the Gilded Age in the wake of progressive reforms. So many changes were happening during this time — the shift from rural to urban living, the rise of big business, social and political movements — and women wanted and needed to be a part of it. This made it impossible for the Angel in the House to survive. The New Woman, in fact, pitted herself against this ideal.

She was anything but complacent, docile, and submissive. Illustrator Charles Dana Gibson’s “Gibson Girl” was the typical New Woman. First created in the 1890s, she was young and single, pursuing fun and leisure with as much vigor as her male companions. Gone were the layers of petticoats and bustles. Gone were the tight bone corsets that made the Angel in the House so fragile and helpless and limited her mobility. In her place was a woman who wore fewer layers, dressed in a narrow, moveable skirt and shirtwaist (the equivalent of a t-shirt in those days), and donned a corset that didn’t limit her as much as those worn by her mother and grandmother.

Her freedom went well beyond her dress. She established her own identity separate from any man’s and proved her strength not only emotionally but physically. It’s no surprise that, although the bicycle was invented in the early 19th century, bicycling was not an acceptable activity for women until the 1890s. The fussy requirements of dress and chastity in the Victorian era hardly allowed for a comfortable ride (not to mention a modest one). This changed with the Gibson Girl who was often depicted as a bicycle enthusiast. The New Woman was not only willing to take on sports but male-dominated careers as well. For example, in Gertrude Atherton’s novel Mrs. Belfame (1916), the New Woman appears as a group of reporters who cheer Mrs. Balfame on when she goes on trial for the murder of her husband. They are willing to engage in the “yellow journalism” popular among their male contemporaries at the time.

While the New Woman represented a fresh, contemporary approach to womanhood, she wasn’t necessarily a rebel. She gave women a new image, true, but one that wouldn’t threaten the male order and would, in fact, even please men. Gibson, for example, frequently pictured his ladies engaged in the art of flirtation, emphasizing the idea that, in spite of her “masculinized” appearance and manners (masculine for that time, that is), she was still “just a woman,” interested primarily in love and marriage.

In Book 1 of my series, The Specter, the New Woman first appears in the character of Marvina Moore, a widow who stirs Vivian’s interest in suffragism. As the series progresses, Vivian shifts from a debutante and heiress of the last century to a progressive reformer of the new. In Book 3, a conversation about bicycles ensues:

“You forget, Mr. Leblanc,” she said, “many young women nowadays prefer the bicycle to the scrub board.”
“Oh, that’s only a passing fad,” he insisted.
“Are you going to turn into one of those New Women, Vivian?” Amber asked archly.
The woman made it sound so much like an insult that Vivian colored. “It would be a sight more flattering than a nagging wife,” she retorted.

In Book 4, Vivian’s feet are firmly planted in New Woman territory, right down to her sensible dress and athletic prowess.

In my upcoming historical mystery series, The Paper Chase Mysteries, the series protagonist, Adele Gossling, also emerges as a New Woman. She’s the Gibson Girl in every way, including her unhesitating involvement in crime investigation. In the opening of the first book, Adele arrives at a small town still caught inside the net of Victorian ideals in an automobile. Anyone owning a car, let alone a woman, at that time when they were still considered passing fads, was seen as more of a nuisance than an innovator.

Adele soon establishes herself in town as an independent woman who owns her own home and runs a stationery store. She prefers to help the town sheriff and his deputy (her brother) solve crimes than participate in teas and socials that were the primary occupation for women who were unmarried.

If you’d like to read The Specter, you can find all the information for the book here. You can read more about the series here. To find out more about my historical mystery series, coming in 2021, you can check out this page.

Want more fascinating information on history? Like social and psychological history and not just historical events and dates? Then sign up for my newsletter! Plus, you’ll get a free short story when you do :-). Here’s the link!