Sunday, March 1, 2026

Q&A with Jeffrey L. Katz

  

 





Jeffrey L. Katz is the author of the new book Unsettled Ground: Reflections on Germany’s Attempts to Make Amends. He’s a veteran journalist and part-time bookseller. He lives in the Washington, D.C., area.


Q: Why did you decide to write Unsettled Ground?


A: I started to write a memoir about discovering my family’s deep roots in Germany. My parents had both fled to safety during the Holocaust, though many of my relatives were murdered. And then I paused after realizing just how many children of survivors had already published excellent books along those lines. Did I have something new to say?


That’s when I decided to turn more of my attention to the people behind Germany’s powerful remembrance movement. These were the citizen activists, few of them Jewish, almost all of them born after World War II, who broke through four decades of silence and denial about Germans’ widespread complicity for the atrocities.


They pressed their parents, grandparents, and neighbors—many of them perpetrators, collaborators, or bystanders to genocide—to find out what really happened in their hometowns during the Nazi era.


As a result, the country now boasts of new Jewish museums, Holocaust memorials, restored synagogues, and classroom lessons designed to honor its Jewish heritage and teach tolerance. And they’ve built strong connections to descendants of Germany’s former Jewish communities, like me.


Q: How was the book’s title chosen?


A: The title and subtitle evolved along with the book. At one point it was A Home We Never Knew: The Germans Who Welcomed Me in the Land My Parents Fled. Later, I later landed on Unfinished Reckoning. The publisher wisely thought “reckoning” wasn’t great word for marketing purposes, though the notion of “home” and “reconciliation” pop up frequently in the book.


By the way, the green-domed building on the bottom left of the cover is the restored synagogue in Essen, Germany, where my father’s family were members. And the Stolpersteine, or stumbling blocks, on the bottom right memorialize my father’s parents and brothers on the street in Essen where they lived until they were deported and murdered.


Q: How much did you know about your family history as a child?


A: Very little. Of course, I knew that my father had escaped from Germany as a teenager and that most of his family was later killed. I knew that my mother fled from Germany when she was 5, immigrating with her immediate family to Colombia, South America.


But I didn’t know any details about their departures or the heritage they left behind. Partly it was because my parents tried to shield us from the trauma they had endured at an early age. The expression that stuck with me was “you shouldn’t know from it.”


Also, shockingly, I wasn’t especially curious about what they had gone through. I was growing up in America as an American, largely oblivious to what transpired before.


My naivete began to peel away in my mid-20s. I was a journalist writing about some of the thousands of Cuban refugees who came to America in 1980. I told my dad I was moved by the stories they told me.


That’s when he casually mentioned that he, too, had been a refugee. I was stunned. And embarrassed. I said now I’m going to ask you about your escape from Germany and I’m going to write about it for the newspaper I was working for.


Q: The author Marc Fisher said of the book, “In the endless battle between the quest to remember and the human need to forget, Katz pushes to find what really drives people to dig among the shadows of a past that still hides so much pain.” What do you think of that description?


A: Marc touched on an important element of the book. It’s natural to resist dwelling on the past. We tend to want to live in the here and now, to imagine the possibilities and not feel relegated to what’s already occurred, especially if it’s a particularly tragic chapter of history. And yet, how can we move beyond these divisive events unless we resolve them through difficult conversations?


I sometimes describe the book as being about three Rs. A willingness to take collective responsibility for the mistakes of the past. A sincere desire to commemorate them through ongoing remembrance. And that can lead to a reconciliation among peoples.


Yet the challenges of commemorating the Holocaust are mounting, here and in Germany. Antisemitism has risen across the globe over the past few years. Beyond that, young people have a hard time relating to events that happened 80 or 90 years ago.


The audience has also become more diverse. I’ve had the opportunity to speak at quite a few schools about my family’s experiences. Some of the students come from families that have endured their own persecution and trauma, and much more recently than my family has.


Q: What impact did it have on you to write this book, and what do you hope readers take away from it?


A: At its most basic level, I learned not only how my relatives perished in the Holocaust, but how they had lived in Germany for centuries before that.


Also, I became as interested in the lives of the non-Jewish members of Germany’s remembrance movement in the places where my relatives lived as I was in my own relatives.


I discovered valuable historical artifacts that confirmed where my ancestors had been and what they had done. And I discovered people who knew my relatives and crossed paths with them, and met some new relatives along the way.


As for what I hope readers take from it, I’d say … Don’t try to hide from history and the hard conversations that may be necessary to fully deal with it. Intergenerational hate can be overcome. And though it’s become less popular to say it now, diversity is a strength.


Q: What are you working on now?


A: I’m enjoying doing book talks. People are eager to engage in the topics covered in the book. My next talk is March 14 at Politics & Prose in Washington, D.C. Beyond that, I’ve been nurturing my love of books while working part-time at Wonderland Books in Bethesda, Maryland. I’m doing some freelance writing and, yes, wondering if I have another book in me.


Q: Anything else we should know?


A: One of the most interesting questions I’ve been asked is whether I feel more grief or gratitude when visiting Germany. There’s a strong sense of both.


I feel an overwhelming sense of grief seeing memorial stones that honor my relatives at the very spot where they were deported. Or when visiting the site of a former concentration camp. It's painful to have a clear sense of how my relatives were persecuted. Those feelings will always be there.


And yet I feel as though I’m reclaiming my family’s history whenever I’m in Germany. I’m grateful whenever I stand where my relatives’ homes were located, silently pray in restored synagogues where they once worshipped, touch their names on memorials embedded into the streets where they were deported, pause at displays that honor my family at museums and pay my respects at tombstones for those who died before the war.


The German remembrance movement is flawed; I get into that, too. But I’m deeply appreciative that it’s helped me and other descendants experience all of this, and that it's put the country's Jewish heritage back on the map, literally and figuratively.


--Interview with Deborah Kalb

Q&A with Timothy J. Hillegonds

  


 

Timothy J. Hillegonds is the author of the new memoir And You Will Call It Fate. He also has written the memoir The Distance Between. He lives in Chicago. 

 

Q: What inspired you to write And You Will Call It Fate?

 

A: There have been two questions I’ve been trying to answer for most of my adult life.

 

The first, which I explored in my debut memoir, The Distance Between, was essentially this: How did I become the exact person I vowed I would never become?

 

The second question, which I’m still considering, is the one I wrestle with and attempt to answer in my newest book, And You Will Call It Fate: How do we reconcile the debts owed to those who simultaneously save and harm us?

 

And You Will Call It Fate tells the story of a chance encounter I had with a former NFL player turned entrepreneur named Sean Dempsey when I was in my early 20s.

 

I was a high-school dropout working in a Baker Square restaurant in the suburbs of Chicago, living a life that was going nowhere fast, and he was a charismatic enigma of a person with a gravity about him that pulled nearly everyone in.

 

For reasons that I still don't quite understand, he offered me a job, and then gave me a chance to get sober, and changed my life in ways that are hard to comprehend, even all these years later.

 

However, he was also a volatile and angry and aggressive man—and, as I later found out, there was a price to be paid for the gift that he had given me. The book is my attempt to make sense of it all, to unpack what happened and see it from the perspective of time.

 

Q: How was the book’s title chosen, and what does it signify for you?

 

A: Titles are famously hard, and coming up with this book's title was no exception.

 

However, I've always found that Carl Jung quote— “Until you make the unconscious conscious, it will direct your life, and you will call it fate.”— to be interesting, and I’ve thought about it a lot over the years.

 

Making the unconscious conscious is what we do when we write—especially when we write memoir— and so it seemed a fitting title for this work.

 

Q: The writer Kristi Coulter said of the book, “In an era where cultural conversations about masculinity can be dismayingly binary, And You Will Call It Fate is exactly the book the world needs.” What do you think of that description?

 

A: Well, to be sure, it's incredibly generous, and I'm forever grateful to Kristi for saying that.

 

She's also getting at something that I care a good deal about, which is contributing to the evolving conversation around masculinity.

 

Though I don’t come at it from an academic perspective, examining masculinity, or as I’ve come to see it, masculinities, has become central to what I write about.

 

I'm deeply interested in how we come to understand ourselves as men—and what it means to “be a man,” as it’s so often put—and what happens when we take the invisible scripts we've been handed by other men, and by society, and by women, and put them under a microscope.

 

I think what Kristi is getting at in that quote is that many people assume that there's one way to be a man, and that you either are or are not. But, of course, that’s a false choice. And probably the wrong question to be asking in the first place.

 

Because I’m much more interested in what it means to be a flawed human trying to navigate this life, in all its complexities, while being accountable and ever open to change.   

                                                              

Q: What impact did it have on you to write this book, and what do you hope readers take away from it?     

 

A: For so many reasons, this was a difficult book to write. I've been wrestling with how to tell this story for the better part of 10 years.

 

I've written two memoirs now, and I've found that with each of them, after I’ve finished, I’ve been left with a feeling that I betrayed someone. I’m sure I’ll be unpacking that in therapy for the rest of my life!

 

But, jokes aside, it’s hard to tell hard stories, especially when they intersect with the stories of people you know and love. But that’s the work of a memoirist and it’s work I don’t take lightly.  

 

Q: What are you working on now?

 

A: I’m working on a book about running and what it means to live a good life—to have a “good run” as we might put it.                                                                              

Q: Anything else we should know?                                                   

 

A: Just that I'm thankful for anyone who takes the time to read the book. It feels like now, in the age of AI, and when we’re all just so darn busy, that having someone spend their time reading an actual book by an actual human is an incredible gift.

 

--Interview with Deborah Kalb 

Q&A with Joseph Coelho

  


 

 

 

 

Joseph Coelho is the author of the new middle grade novel Relic Hamilton, Genie Hunter. His many other books include the poetry collection Werewolf Club Rules!. He lives in Kent, England. 

 

Q: What inspired you to write Relic Hamilton, Genie Hunter, and how did you create your character Relic?

 

A: I studied archaeology at UCL and have long missed my stint on dig sites. I have yearned to bring my interest in archaeology into my writing and the world of Relic Hamilton felt like the perfect vehicle. 

 

It took me a long time to find Relic's name, but the name always feels like a great starting point for a character once that is established everything else falls into place.

 

I wanted to give my protagonist a name that spoke to his love of history and a generational interest in the past with his family-owned antiques shop, Anansi Antiques. It was important to me that Relic was essentially a kind and brave kid but still complex nonetheless so as the series progresses we see some of his light and shade.

 

Q: How did you create the world in which the novel is set?

 

A: The book features lots of well-known London landmarks, some of my favourite, in fact. It was very easy to bring to these favourite haunts of mine to life, it was just a case of sharing my passion for the British Museum and London Aquarium and of course The Natural History Museum. 

 

The genie realm came to me more slowly as I started to build out the rules of the world, its history, and its quirks. The key was the idea that genies are just as complicated as us and that those found in lamps have been put there for a reason!

 

There is a lot of genie lore to build on but I didn't want to depend solely on that so you'll see in the book that genies come in all shapes and sizes. I have also introduced sprites; these are a sort of animal from the genie realm that when bonded with humans can give them unimaginable powers and Relic has six of them!

 

Q: What do you think Hyun Song We’s illustrations add to the story?

 

A: Hyun has done such a fantastic job at bringing these characters alive; he has a real attention to detail and a brilliant way of giving the characters depth. I adore his illustrations of the Hermitic Sodality of Genie Hunters and of course Relic's genie sprites that give super-hero like powers.

 

There is a sense of movement in his larger action scenes that make me think of the live action version of the story or the animation. For me his illustrations dance. 

 

Q: The Kirkus Review of the book says, “The momentum of the storytelling, We’s full-page and spot art illustrations, and the combination of prose and poetry come together to create a portrait of an unlikely hero that unfolds in a fantastic middle-grade voice.” What do you think of that description?

 

A: I am honoured and touched by this kind starred review from Kirkus. It was always my aim to write something that my younger self would have loved to read, something that would, I hope, enthrall and captivate both in its story-telling but also in the way it is written. 

 

Q: This is the first in a trilogy--can you tell us what’s coming next?

 

A: Well naturally this is a spoiler-free zone, but suffice to say that Relic gets more than a little help from some unusual quarters in book 2. In essence we see the beginning of a team starting to form, of which Rania (the half-human, half-genie doctor teen) is a large component. 

 

We discover that there are other groups battling other magical and mystical beings and it is to one of these groups that Relic and his team must turn to for help when they realise that a genie wish has opened The Door Of The Dead!

 

You can expect heists, travel to the digital realm, and the origin of a whole new hero!

 

Q: Anything else we should know?

 

A: Book 3 is in the works and coming out next year so watch this space to see how Relic, his new team, and his new powers evolve! I'm having a blast writing it and bringing new exciting characters in the fold.

 

--Interview with Deborah Kalb 

Q&A with Sylvia Rouss and Rick Penn-Kraus

   

 

Sylvia Rouss
  

 

Sylvia Rouss is the author and Rick Penn-Kraus is the illustrator of the new children's picture book The Little Acorn's Big Adventure. Rouss's other books include the Sammy Spider series. Penn-Kraus's other books include Steve McQueen: The Last Interview.

 

Q: What inspired you to create The Little Acorn’s Big Adventure?

 

SR: As a teacher, I always enjoyed taking my students on “nature walks” and observing the world through their eyes. Children are often captivated by the grandeur of trees, noticing details that adults may overlook.

 

Equipped with magnifying glasses, they would closely examine the rough bark, marvel at its cracks and crevices, and get excited when they spotted insects crawling along the trunk. They collected fallen leaves, acorns, and pinecones, fascinated by the colors and patterns of leaves and the textures of acorns and pinecones.

 

Their curiosity led us to research trees, where we discovered that trees can live for hundreds or even thousands of years. Additionally, trees are essential to ecosystems, providing food and shelter for both animals and humans.

 

Through our research, we also found that trees hold significant meaning in many cultures and religions. One memorable discovery was a Talmudic quote: “There is no plant without an angel in heaven tending it and telling it, ‘Grow!’”

 

Inspired by these experiences and findings, a story began to form in my mind. The resulting book uses minimal text and poetic rhythm to capture nature’s subtleties, and it was only recently that I decided to submit it for publication.

 

Q: What do you think Rick Penn-Kraus’s illustrations add to the story?

 

SR: Rick’s illustrations truly bring the story to life. I am deeply appreciative of his remarkable talent. The artwork on each page beautifully captures the intricacies and wonders of nature, and his illustrations alone can tell the story.

 

I find myself drawn into his art, making me feel part of the depicted scenes. Rick’s ability to capture the magic of nature allows readers to experience it firsthand, and I am extremely pleased with the result.

 

Rick Penn-Kraus

Q: How did you create the illustrations for the book?

 

RPK: I usually create pencil sketches to start each children’s book I illustrate, but this one was different. This book’s visuals are almost impressionistic, in a thick painterly way. I found that sketching in pencil first did not help me bring out that quality.

 

I almost had to go backwards in my process, starting with the completed painted piece, then reworking it to fit the story. That way I got the full color and texture impact from the beginning, and that inspired me.

 

My original sample submission pieces to the publisher almost looked like fingerprinting—and they loved it.

 

All the illustrations were created using Adobe Photoshop and a Wacom Intuos tablet. I have every media imaginable at my disposal this way, as well as brush and pen tips. That includes digital oils, pastels, inks, textures, and so much more.

 

I wanted the digital pieces to look like I created them with actual paint. With Photoshop I can also paint on separate layers, which gives me incredible control. Often I have separate layers for the animal’s eyes, body, legs, and multiple layers for background trees, foliage, and other environmental elements.

 

I can recolor them, resize them, and continue to rework the pieces without have to start over or mess around with what I already painted.

 

Sylvia’s text left me lots of room to interpret the scenes and action, which I love. Sometimes I came in close with the illustration, other times much further away.

 

I always want the reader to be surprised and intrigued when they turn the page, but feel the illustration makes perfect sense. If they are eager to turn the page to see what’s next, I’ve done my job.

 

Q: The educator Mark Vicker-Willis called the book a “beautifully written and illustrated tale of renewal, hope and possibility.” What do you think of that description?

 

SR: I value Mark’s perspective. At its core, the story is about the challenges an acorn faces as it tries to take root and grow into a sapling. Mark, as an educator, recognizes the deeper theme that translates into a lesson for life.

 

Throughout life, we all encounter obstacles that encourage us to reflect on past challenges and learn from them. We are sustained by the belief that each new day brings opportunities and the chance for personal growth.

 

Q: What are you working on now?

 

SR: I have written a story about the imaginary village of Chelm inhabited by extremely foolish people who consider themselves to be very wise. The idea was inspired by historical tales found in Jewish, German, and English literature. These humorous stories focus on how the villagers devise the most absurd solutions to any problem.

 

Through my research, I found these stories to be both funny and charming. Although they were originally intended for adults, I chose to create a version that would be entertaining for young children. I am currently seeking a publisher for this manuscript.

 

Q: Anything else we should know?

 

SR: Rick and I are pleased that another story I wrote and he illustrated, You’re Not Invited, is currently under consideration for publication in Hebrew. Additionally, another book I wrote, In My Preschool, There is a Time for Everything, has just been published in Spanish.

 

--Interview with Deborah Kalb. Here's a previous Q&A with Sylvia Rouss. 

March 1

 


 

ON THIS DAY IN HISTORY
March 1, 1913: Ralph Ellison born.

Saturday, February 28, 2026

Q&A with Natalie Hyde

  




 

Natalie Hyde is the author of the new middle grade novel Briarwood. Her other books include Swept Away. She lives in Flamborough, Ontario, Canada. 

 

Q: What inspired you to write Briarwood, and how did you create your character Callie?

 

A: Inspiration for my writing usually comes from several different sources and then swirls together to create something new.

 

In the case of Briarwood, it started with an article I read while doing research for a nonfiction book. It was about nanoparticles and it mentioned that scientists had discovered that when they added light to water that contained specific nanoparticles, the water boiled in about 20 seconds.

 

This fascinated me but I wondered what that could possibly be used for. Then I remembered the steam technology of the Industrial age and how steam powered huge turbines, locomotives, and ships. But what if it powered small engines, too. What would happen then?

 

Then the setting came out of my memories of summer camps.  When I was young, I was a Girl Guide and I loved going to Guide camp on Lake Huron each summer. So, these ideas combined to become the steampunk summer camp, Briarwood.

 

As for creating Callie, like many of my main characters, she is partly based on my own life experiences. Like Callie, I grew up in an immigrant household. I remember being embarrassed at times for being different—different clothes (for a while, my mother sewed my entire wardrobe), different food, different culture. But like Callie, I learned to rise above the bullying and forge my own identity.

 

Q: What do you think the novel says about secrecy?

 

A: There is a lot of secrecy in the book! But secrecy is not one thing: black or white, good or bad. It is a bit of both.

 

Sometimes secrecy can protect someone or something--like Archer’s work from being stolen or Hank’s reputation from being ruined by his brother’s actions. But it can also be damaging, like when someone hides bad intentions—the mole, or it raises the risk of danger that others could help with if they knew—the threat against Archer.

 

I think more than anything, the story shows that secrets usually don’t last—The truth will out, as the saying goes. Over time, secrets will be exposed and we have to deal with the truth.

 

Q: The Kirkus Review of the book called it an “inventive, immersive celebration of curiosity, courage, and learning.” What do you think of that description?

 

A: I love this description! It is a story of curiosity—starting back with Callie’s g-g-Grandfather Theo, Tesla, Archer, and up to the newest generation of bright scientific minds. It shows where curiosity and imagination can take us.

 

And often that curiosity needs courage. When you put forward new ideas, new technology, or even push back on ignorance, bullying, or hate, you have to be brave. I think many of the characters in Briarwood are brave—brave enough to be themselves, brave enough to face fears, and brave enough to fight injustice.

 

As for celebrating learning…that is something I firmly believe in and worry we are losing that when learning is ridiculed in the news, TV, or movies. I think those who push forward our knowledge of the world, our history, and ourselves should be the real celebrities.

 

Q: What do you hope readers take away from the story?

 

A: First of all, I hope that readers have fun. I also hope that the story incites a feeling of wonder—wonder at the world and at the possibilities of science.

 

I also want them to be left with a feeling of hope. As we stretch the boundaries of what we know and understand, so much can change for the better. The future isn’t something to be feared but to be excited for.

 

Q: What are you working on now?

 

A: As is usual with me, I am working on a few different projects. One is a nonfiction book about one of the first woman doctors in Canada, another is a middle grade fantasy story, and then I am just getting the first inkling for a new middle grade story.

 

Also, now that I have grandchildren, I wouldn’t mind branching out into a picture book—but we’ll have to see!

 

Q: Anything else we should know?

 

A: Just that if there ever was a steampunk treehouse camp, I’d be the first to sign up to go there!

 

--Interview with Deborah Kalb 

Q&A with Elizabeth Partridge

  


Elizabeth Partridge is the author of the new children's picture book biography Imogen: The Life and Work of Imogen Cunningham. Cunningham (1883-1976), a photographer, was Partridge's grandmother. Partridge's other books include This Land Was Made for You and Me. She lives in Berkeley, California. 

 

Q: Why did you decide to write a children’s picture book biography of your grandmother, photographer Imogen Cunningham?

 

A: I often thought about writing a book on my grandmother, Imogen. It took me a long time to decide to actually write it, rather than just imagine writing it. I had a close relationship with Imo and I wasn't sure how to make my inside feelings for her appear on the page to share with others.

 

The first thing I did was find sources where she had talked with other people about her life to find out what I didn't know about her. Then I could combine my experience of her, and what she'd told me about her life, with what she'd said in interviews and oral histories.

 

I also knew many family stories from my dad, her son, who was a great raconteur. I ended up with lots to say, and then had to decide what was important to keep. That's always a good problem to have as a writer!

 

Q: What do you think Yuko Shimizu’s illustrations add to the book?

 

A: I adore Yuko's illustrations. She brought so much to the manuscript I'd written. She illustrated Imo's childhood so richly that Imo's whole world sprung to life.

 

Then once Imo picked up a camera and started photographing, Yuko went all-out. She not only illustrated Imo's photographs in her art work, she made these amazing views where the reader is seeing what Imo sees through her camera lens.

 

Q: The Publishers Weekly review of the book says, “An artist’s joy for photography resounds in this absorbing picture book…the warmth-filled work emphasizes Cunningham’s childhood love of the outdoors and her close, supportive relationship with her father.” What do you think of that description?

 

A: This review really captured what I hoped to get onto the page, so I was thrilled. It also called out a part of Imo's story that was incredibly important to me.

 

Imo's father, Isaac, was incredibly supportive of her, as well as being quite a character in his own right. I had heard stories about him all my life from my father, who was close to him, as well as hearing stories from Imo about him. I wanted Isaac to really figure in the manuscript as a tribute to him.

 

I also wanted to give a bit of his supportive nature to any kid reading the book who wants to be an artist but doesn't have that kind of amazing support. He lives on in the book with Imo, encouraging kids to go for their dreams.

 

Q: What impact did it have on you to write the book, and what do you hope readers take away from it?

 

A: With her father's support, Imo lived the artistic life she wanted to live. And what a legacy she left all of us in her photographs! I want readers to have a feeling for her and when they encounter her images as they grow up they will bring a bit more to looking at her work than they might have. 

 

Working on this book was deeply moving. It opened up floodgates of memories I have of being with Imo. That was a gift to me!

 

Q: What are you working on now?

 

A: I've got two artists I'm working on right now. I'm doing a picture book on Edith Heath who started Heath Ceramics and nearly singlehandedly revolutionized the kinds of tableware we use these days.

 

I’m also doing a longer more complicated manuscript on Hung Liu, an American painter who grew up in China and was profoundly shaped by Mao's cultural revolution. It's complex and beautiful because of the politics and how they shaped Hung's work.

 

--Interview with Deborah Kalb. Here's a previous Q&A with Elizabeth Partridge.