Melissa Ostrom is the author of the new young adult historical novel The Beloved Wild. Her work has appeared in a variety of publications, including The Florida Review and Quarter After Eight. She teaches English literature at Genesee Community College, and she lives in Batavia, New York.
Q:
How did you come up with the idea for The Beloved Wild, and for your character
Harriet?
A:
The history of the Genesee Valley has interested me ever since I moved to
Orleans County 20 years ago to teach English at Kendall High School.
This
area holds special historical significance in terms of our country’s first wave
of westward expansion: in the early 1800s, many young men left the comforts of
their New England homes and, after purchasing their parcels from the Holland
Land Company, settled here.
The
region (sometimes called Lake Ontario fruit country) still fosters prosperous
farms. Between the sweeping lake, orchards, quaint cobblestone houses, and Erie
Canal, it’s quite lovely. Genesee comes from the Seneca word for “beautiful
valley.” An apt name, indeed.
But
though the area’s history has long intrigued me, an idea for a novel didn’t begin
to take shape until one day when I was trudging around an old cemetery,
searching for a patch of trilliums that I remembered spying the previous
spring.
I
came upon a family plot that gave me pause. If I was interpreting the names and
dates on the antique headstones correctly, they suggested that one man must
have had three consecutive wives. The nearby infant burials provided some
explanation.
I
wondered what it must have been like for a girl to grow up in the early 19th
century when pregnancy and childbirth posed such great risks to women.
Worse
yet, since society prescribed marriage as the only suitable future for a girl,
how nearly impossible it would have been to avoid these dangers! I imagined how
a girl would feel about this, especially if her own mother had died giving
birth to her.
From
this woolgathering, my character Harriet Submit Winter was conceived. And
Harriet does find a way to escape her lot in life. She disguises herself as a
boy.
Q: What kind of research did you need to do to write the book, and did you learn anything that especially surprised you?
Q: What kind of research did you need to do to write the book, and did you learn anything that especially surprised you?
A:
I’m lucky to have some very good friends who know quite a bit about our local
history. These women—Diane Palmer, Adrienne Kirby, and Sharon Root—shared
significant stories about the Genesee Valley pioneers (some of whom are their
ancestors!), as well as family memorabilia, access to the Orleans County
Chapter of the DAR, and several relevant books.
Of
the books, none was more helpful than Pioneer History of Orleans County, New
York, a collection of firsthand accounts compiled by Arad Thomas. These reminisces
amazed me. Most of the early settlers were young—just teenagers with little
money and few worldly possessions—but they were astonishingly brave,
industrious, stoic, and bright.
They
worked hard to finagle clearings in the wilderness and faced every kind of
trial, from sickness and hunger to blighted crops and encounters with bears.
But most persisted, and eventually their farms thrived.
The
pioneer accounts really inspired me. I recall reading about a young gentleman
who owned nothing but an axe when he broached the wilderness. To start with
almost nothing and yet make something of oneself and one’s surroundings? Remarkable.
Q:
What do you think Harriet's experiences--and the experiences of your other
female characters--say about the role of women in the U.S. in the early 19th
century?
A:
It was certainly a rigid role, marked by sameness, as evident in women’s housebound
chores which persisted year-round (as opposed to men’s labors which tended to
vary according to the season) and in terms of what women could do with their
lives. Marry, then bear children: that was pretty much it. Young women like
Harriet couldn’t easily pursue a different path, not without incurring society’s
wrath.
The
lack of autonomy wasn’t only unjust; it could prove extremely problematic.
Rachel
(a parentless girl who must rely on the kindness of distant relations and
neighbors to keep a roof over her head and then maintain her place in a
household by toiling without complaint) suffers abuse and is taken advantage
of. She has no father, brother, or husband to protect her. In fact, not even
the law fully protects her.
Situations
like Rachel’s starkly reveal why laws, mores, and societal perceptions needed
to change.
Harriet
and Rachel hopefully provide a realistic picture of the limited opportunities
available to girls in the early 1800s and the challenges they faced because of
their restricted status.
Q:
Did you know how the novel would end before you started writing it, or did you
make many changes along the way?
A:
I had a pretty good sense that the novel had to end in the way that it did.
I’ve
always been fond of the “boy disguise” trope that shows up in so many wonderful
historical novels. It’s fun to see a girl upend the social order and escape the
drudgery of spinning, sewing, cooking, and canning by masquerading as a boy. Cross-dressed,
she accesses freedoms and enjoys adventures previously denied her.
Plus,
the disguise beautifully fuels titillating imbroglios and (since the girl might
be unmasked at any moment) generates great tension.
Usually
such novels do end in an unmasking. But that customary outcome half-perturbs me.
If the disguise makes possible our heroine’s power, what hope does she have of
retaining that power when she gives up the cravat, boots, and britches—in
short, when she dons her corseted dress again, withdraws to the drawing room,
or returns to the hearth?
This
is the worrisome downside of the boy-disguise trope. I tried to devise an
ending that got around it.
Q:
What are you working on now?
A:
I’m very excited about my second novel, The Unleaving, currently at the
copy-editing stage at Macmillan. It’s contemporary YA, and Feiwel & Friends
will publish it in March of 2019. Here’s a description:
Maggie
is a freshman at her hometown college when she attends an off-campus party in
March. Never in her worst nightmare does she foresee what ends up happening: a
gang rape orchestrated by the Carlton Tigers’ star quarterback, Matt Dawson.
Though devastated, Maggie reports the crime, and her assailants face a serious
repercussion. Unfortunately, this doesn’t put an end to her ordeal—the outraged
Tiger fans see to that.
Wanting
only to escape the backlash, Maggie flees Carlton for western New York and
moves in with her Aunt Wren, a sculptor who lives in a cabin buffered by woods
and Lake Ontario. But this isolated location harbors secrets and situations
that are anything but peaceful. Even worse, the trauma Maggie hopes to leave
behind follows her, haunting her in ways she can’t control—insomnia,
flashbacks, and a panic that persists. These troubles are intensified when she
begins to receive mysterious messages from another Carlton girl who may also
have been attacked. Just when Maggie musters the courage to answer the emails,
the young woman goes silent.
With
a plot that is both urgent and timely, The Unleaving explores the intricacies
of shame and victim-blaming that often accompany the aftermath of assault.
Q:
Anything else we should know?
A:
Only that I appreciate having the chance to talk about my YA historical debut
on your blog, Deborah. Thanks for interviewing me!
--Interview with Deborah Kalb
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