Monday, June 1, 2026

Q&A with Lee Goldberg

  


 

 

 

Lee Goldberg is the author of the new novel Murder by Design. His many other books include the Eve Ronin series, and he has also produced and/or written many TV shows.  

 

Q: What inspired you to write Murder by Design, and how did you create your characters Edison Bixby and Wally Nash?

 

A: Years ago, I stumbled on a quote from architect Bernard Tschumi, who said "the best way to understand architecture is to commit a murder." I found that concept very intriguing, and it stuck with me.

 

It led me to devour books and research papers on design, and how it can be used to impact or shape human behavior. Standout books included The Design of Everyday Things by Don Norman, A Burglar's Guide to the City by Geoff Manaugh, and Why We Buy by Paco Underhill.

 

All that reading inspired me to create a character who reverses and tweaks Tschumi's premise -- to solve a murder, you need to understand the design of the man-made world that made the crime possible.

 

That gave me away to achieve another desire, which was to write a whodunit that honors the traditions of the genre while shining a light on them and then subverting them—and that’s how Edison Bixby was born.

 

Q: How would you describe the dynamic between the two?

 

A: Evolving. On the surface, it's a rich, debonair, brilliant employer who has it all...and his poor, desperate, employee who is struggling to achieve his dreams.

 

But it's actually a dynamic partnership, and every-strengthening friendship, between two very different men who need each other in ways they still don't realize. They bring out the best...and maybe even the worst... in each other. But together they are better than they are apart.

 

Q: The author Ellen Byron said of the book that “the real magic of this mystery is the way Goldberg turns environments and objects that we take for granted into clues we never would have noticed but for his deft hand.” What do you think of that description?

 

A: Very accurate. It reflects the new way I see the world, thanks to all those books on design that I read...and what I've learned from meeting Don Norman and Geoff Manaugh personally.

 

Q: Did you need to do much research to write the novel, and if so, did you learn anything that especially surprised you?

 

A: I did an enormous amount of research ... perhaps more than I ever have before... and still surprised by what I've learned. We spend very little of our time in an environment that isn't man-made or influenced by human design.

 

Q: This is the first in a new series--can you tell us what's next?

 

A: I've just started writing the new book in the series. After that, I will immediately dive into the next Eve Ronin novel.

 

Q: Anything else we should know?

 

A: I've decided to reject any offers to be the next James Bond.

 

--Interview with Deborah Kalb. Here's a previous Q&A with Lee Goldberg. 

Q&A with Christine Carbo

  


 

Christine Carbo is the author of the new novel The Confession Artist. She also has written the Glacier Mystery Series. She lives in Montana.

 

Q: What inspired you to write The Confession Artist, and how did you create your character Crosbie Mitchell?

 

A: I had completed a four-book crime fiction, ensemble series called the Glacier Mystery Series where each book stands alone and secondary characters are picked up in each new book, à la Tana French (the Dublin Murder Squad series). I play through the entire arc of the protagonist in each but, in essence, all four are part of the same universe.

 

I wanted to continue writing stand-alones set in Montana, but I wanted to try something new with a different voice, pace and energy. I also hoped to try something a little more “high-concept” in nature.

 

But coming up with a “high-concept” idea is no easy task. I was struggling to land on a crime-based idea that really intrigued me when one day my son and I were hiking and chatting about composite sketches and how lots of people can resemble a composite.

 

From there, the idea for The Confession Artist, a thriller about a serial killer terrifying the nation by announcing their next victim six days ahead by releasing a sketch of in the individual.

 

My protagonist, Crosbie, a strong-voiced, somewhat polarizing character, materialized as I began writing. I knew I didn’t want a police procedural structure, but I love how detectives and law enforcement characters in procedurals have built-in ways of following breadcrumbs based on the very work they’re hired to do.

 

So, I compromised and made Crosbie a former cop who’s left the field because of a whole host of issues: harassment, backlash, guilt… .

 

Of course, what’s the obvious next step for a young former cop? A PI. So, from there, I had a character who carries emotional baggage, has investigative skills, but who I can still treat like a domestic-suspense or psychological thriller protagonist in many ways since she operates alone and is the target of The Confession Artist.

 

Crosbie’s personality was born from all these currents mixing together and she became a character who could add layers of complications.

 

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 did not know how it would conclude. I started it first just to get writing. I am more of a panster, but I’m the kind of panster who needs to know where I’m ultimately headed.

 

E.L. Doctorow’s famous quote comparing writing a novel to driving a car at night and seeing only as far as the headlights suits me well. We can drive in the fog or the dark with only seeing as far as the end of our headlights and still make our destination.

 

But even in the dark most of know—at least in general— where we want to end up. Are we driving to a store, to a different town, to three states over, to a friend’s house? I usually don’t know what lies immediately ahead, but I need to understand my endpoint.

 

So, after a few chapters in, I wanted to determine who the Confession Artist is and whether my protagonist will figure it out before they meet, and if so, how? With this said, the ending did get altered slightly from my original vision, but not all that much.

 

Q: The novel is set in Montana--how important is setting to you in your writing?

 

A: Very important. In fact, I can be a little obsessive about it. I enjoy the benefit of landscape, urban or rural, acting as an avatar for characters’ emotions. In other words, setting can communicate things characters might not say or do out loud, or things narrators don’t want to hit too square on the nose.

 

For example, a mudslide blocking your protagonist’s car might show how they’re feeling constrained while also showing how they react in such a situation.

 

Smaller, rural communities turn out to be ripe for mystery and thriller dynamics. Everyone seems to know each other or think they do. Memories are selective. Outsiders stand out. Grudges get nursed. Secrets are held. Protectionism runs thick, sometimes at a cost.

 

For a mystery writer, the balancing act between a wild backdrop and the intimacy of the community can become a pressure cooker.

 

But as rich as these elements are, one of the biggest challenges I face is not how well-written or gorgeous a certain description is, but how to keep readers from getting bored with descriptions and settings, or to not the descriptions interfere with pacing.

 

I try to ensure the setting somehow collides with the psyches of the characters in interesting ways, in the connection between place and character. I enjoy the challenge of accomplishing this while also giving the reader a glimpse of the stunning—and sometimes stark—landscape surrounding me in Montana.

 

For Crosbie, she lives alone in a house surrounded by fields on one side and forest on the other. I aimed to connect her sense of isolation—while being targeted by a serial killer—to the portrayal of each spot, linking these places to her dread, vulnerability, survival instinct, anger, and understandably heightened paranoia.

 

Q: A Publishers Weekly review of your writing says, “Carbo paints a moving picture of complex, flawed people fighting to make their way in a wilderness where little is black and white...” What do you think of that description?

 

A: This description is for my Glacier Mystery Series, but I feel like it’s applies to all my writing, including The Confession Artist and even the book I’m working on now, another stand-alone also set in NW Montana.

 

However, I do feel that since I was purposely trying for something a little different in The Confession Artist, there is bit less of a tie-in with the wild setting than in my Glacier series.

 

The Confession Artist could be played out in any location, urban or rural. I just happened to set it in NW Montana because I love to write about the area and how humans construct rules and morals to be able to be in community with one another and how that jives with the surrounding wilderness which has its own set of systems.

 

Q: What are you working on now?

 

A: A stand-alone featuring another female protagonist who steps away from a very overlooked and politically delicate job in the Montana justice system as a death row mitigator after she, against her ethical and professional standards, develops strong feelings for a murderer.

 

But nine months after she steps away, a dead woman, another death row mitigator, is found near the remote cabin where she lives and she gets dragged back into this world that she’s trying to take an emotional break from.  

 

Q: Anything else we should know?

 

A: Thank you so much for having me on your blog! The Confession Artist comes out June 1. For more updates and news on events, you can find me on Instagram (@christine.carbo) or on my website at christinecarbo.com.

 

--Interview with Deborah Kalb 

Q&A with Carlisle Richardson

  


 

 

Carlisle Richardson is the author of the new novel The Soft Underbelly. His other books include the children's picture book Rose Grows Veggies. He is a former diplomat who served as ambassador of St. Kitts and Nevis to the United Nations. 

 

Q: What inspired you to write The Soft Underbelly?

 

A: I’ve always wanted to write Caribbean crime novels. My favourite genres are crime fiction and spy novels, but growing up, there were very few, if any, novels in these genres with Caribbean protagonists. There were none that I could point to as an example from the Caribbean.

 

While I enjoyed what I was reading, I knew that there was so much material about the Caribbean and its people that could be used in these novels. I wanted to see my reality reflected as well. I wanted to write like John le Carré and Robert Ludlum, two of my favourite authors growing up, but with a Caribbean perspective.

 

So, I started writing down my thoughts based on news headlines, or observations I had throughout the years. I would write them down and file them away.

 

Working in international relations helped because I observed the intrigue taking place just below the service. Also, reading about and researching events taking place around the world helped me to frame different ideas into a Caribbean context.

 

Eventually, the various thoughts started forming into one story, and the outline for The Soft Underbelly was drafted.

 

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

 

A: When I lived in New York, I was riding on the Long Island Railroad in New York going home after work one Friday evening. I liked to read different news magazines on the commute and on this occasion, I was reading an article about corrupt politicians in another country and how they were destroying the potential of that country.

 

I started reflecting on how important it was for political leaders to inspire their countries to be great rather than tapping into the lowest impulses to get elected and stay in power.

 

It was at that point, like a lightbulb, the phrase “The Soft Underbelly” came to me. All the thoughts I had been jotting down had not fully formed in my head yet. But as soon as I wrote down the phrase, I started constructing the outline, based on the various things I had written down.

 

The Soft Underbelly signifies how corruption at the highest level starts seeping into the very fabric of a society, and eventually destroys everything. So, I wanted to show why it was so important for persons in positions of power to inspire their populations to maintain a high moral standard.

 

Q: Did you know how the novel would end before you started writing it, or did you make many changes along the way?

 

A: For this novel, I did not know how it would end. I began with a few of the main characters and decided to let them lead me to the conclusion based on their personalities, motives, and the way the story unfolded.

 

I did make changes to the ending a few times, but that was after I had embarked on the journey to that point and wanted a fitting conclusion that would satisfy me and the readers who would potentially embark on this journey.

 

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

 

A: That the Caribbean is much more than what they traditionally read about. It is a complex, fascinating place, much more than a tourist destination or hurricane zone. Also, that it is not a place where only bad things happen to the locals, who then want to flee to other countries.

 

I hope readers who are not from the Caribbean want to learn more about the region and read more books by native authors. I want them to demand authentic representation about the region and its people, and not have it only as the background or its people as the supporting cast.

 

I hope readers appreciate that stories of international intrigue can be based there, featuring characters from the region, and be just as entertaining as those based in other countries.

 

For persons from the Caribbean and other island nations around the world, I hope they feel seen and accurately represented. I hope they feel proud that someone with a similar background to theirs wrote this book and I hope they feel inspired to write their own stories as well.

 

Q: What are you working on now?

 

A: I am writing my second political thriller which I hope to complete next year.

 

I have also recently published a children’s picture book on sustainability called Rose Grows Veggies. It is the first in a series I call The Sustainability Series. I am currently finalising the second book in that series and drafting the outline of Book Three.

 

Q: Anything else we should know?

A: To learn more about the launch of The Soft Underbelly, my publisher Hansib Publications is available to provide information. Their website is www.hansibpublications.com, and the email is info@hansibpublications.com. The book will be available on June 1, through Amazon, independent bookstores, in ebook format, and with other online sellers.

 

--Interview with Deborah Kalb 

June 1

 


 

ON THIS DAY IN HISTORY
June 1, 1937: Colleen McCullough born.

Sunday, May 31, 2026

Q&A with Yermiyahu Ahron Taub

  


 

Yermiyahu Ahron Taub is the author of the new poetry collection Night Breaks in the Garret: Poems and Peregrinations. His other books include The Education of a Daffodil.  

 

Q: How was the title of your new collection chosen, and what does it signify for you?

 

A: Let’s take the two parts of the title separately. “Night Breaks” is, of course, a play on “Daybreak,” but here I was thinking of night having a dawn of its own, of the dawn of night with its strands, or ropes, of rest and unrest. And with that darkness comes risk, the danger of breaking. So the specter of breaking, or shattering, is also at work here.

 

The first part of the Yiddish/Hebrew title, Aloys-ha-layleh [עלות-הלילה/Alot-ha-lailah], transfers the form “aloys,” or “rising,” from the accepted term “Aloys ha-shakher,” [עלות-השחר/Alot ha-shahar] meaning daybreak, or the rising of the day, over to night. Instead of descending into darkness, a rising is invoked here, thereby exhorting the reader to rise into the night ... and into the garret itself. 

 

If the first part of the book’s title works with time, the second part is concerned with space. The garret has always been a suggestive word for me, evoking the lair of the starving artist devoted to his art in solitude below the eaves.

 

While there’s much to critique in that somewhat romanticized trope and while I am not a starving artist and my home is not actually a garret, I found it useful to enter, to fully inhabit, and indeed to call upon, the word when reflecting on my home. A space apart, if not away, from the street and the polis; a space close(r) to the moon and stars. And indeed, a colleague and I have jokingly/seriously referred to my home space as the garret.

 

Q: How did you choose the order in which the poems and essays were presented in the collection?

 

A: As I discuss in my notes at the end of the book, I largely (though not entirely) eschewed the strictly chronological in this book. The beginnings and ends of the section were particularly important for setting a tone.

 

I felt that “Entreaty” would function well as an overture as it heralds one of the book’s key themes: differences in expectations and goals within a family paired with a persistence in attachments between members despite those differences.

 

“Glass Dreams” mines that lode further and functions as something of a bookend. “Fellow Travelers” is a crossing-over poem and seemed like a fitting bridge from the first to the second section. In between, the narrative poems “City of Sweets” and “Village Tableau, Far From the Parade,” with their explorations of desire and danger, worked well together.

 

The meditations "Polemic on Pallor and Parchment and “Activist's Retreat” both explore the relationship of action and words in the public sphere.

 

Section II begins on somber notes—the mourning of relationships, loved ones departed, and the insistence on making a way in the here and now (“M and M and the Queen Greet the S Queen,” “(Not Entirely) New World Rituals,” “Unanswered Questions Around the Endemic Bend,” and “Object Lessons/Treasure, Retained”).

 

And the last five poems of the book move towards, if not uplift exactly, then something close to it: a muted rapture in and appreciation of the everyday. So overall, consideration was given to whether the poems worked well next to each other and whether they helped build and sustain a poetic and emotional arc. 

 

Unlike a novel, an autobiography, or arguably, a work of journalism or scholarship, a poetry collection has more latitude when it comes to the ordering of the text. Rather like a curator preparing an art exhibition that isn’t chronologically based, the poet can play with juxtaposition of color, shape, texture, sound, and numerous other elements.

 

So even as I worked with all the ordering themes and points elaborated above, I also felt a sense of freedom in the book’s curation. 

 

Q: The writer Barbara Krasner said of the book, “True to this volume’s

‘poems and peregrination’ subtitle, Yermiyahu Ahron Taub invites us to accompany him on a lyrical journey of transitions, transformations, and translations.” What do you think of that description?

 

A: I think it's an apt description that gets to the heart of the book’s goals. Transition of the self from strict Orthodoxy to a life different from but still inspired by Orthodoxy. Also, a transition in identity that never was. Transformation from rupture to self-acceptance. Transformation from “stuck-ness” to cautious resilience.

 

The transformation of the world itself, through climate change, is also a key theme of the book. It was important for me to look outward, to balance explorations of the inner self with a depiction of the world around us.

 

And of course, translation: the usage of two languages, English and Yiddish, the resolve to bring both languages into conversation, despite the enormous graphic design challenges, was paramount.

 

Also, the alliteration of Barbara Krasner’s phrasing—transitions, transformations, and translations—replicates the alliteration, which, as Krasner notes in her blurb, is such a major feature of the book.  

 

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

 

A: I wanted the book to be based on, or characterized by, a radical candor coupled with a rigorous yet sensual use of language. While the book examines some difficult themes, I wanted the poet’s direct gaze, the fruits of those excavations, to provide a rewarding experience for the reader. Perhaps not immediately, but over time. 

 

Much of this book was written during a 2023 residency at the Rockvale Writers’ Colony, a magical place in rural Tennessee. And yet a significant portion was also written before that.

 

This is my first poetry collection since The Education of a Daffodil: Prose Poems, which was released nine years ago in 2017. Some of the poems (“The Light at the Beginning of the Tunnel”) took some 30 years to come into being.

 

So I would reiterate here the oft-invoked adage “Trust your process.” This is something which I need to remind myself of rather frequently. Sometimes, it truly does take time to “bring pen to paper,” to bring words to life.

 

Allow yourself the interlude, or interludes, of focused introspection, the gestation of the decades … as well as the surprise of sudden inspiration. Art arrives when it is ready. You’ll know when that is. Be ready to receive and foster it, to provide welcome.

 

Q: What are you working on now?

 

A: I have two translation projects in the pipeline. One is a cache of correspondence between the Yiddish writers Blume Lempel (1907-1999) and Chava Rosenfarb (1923-2011) that I've co-translated with Ellen Cassedy, and the other is an autobiography by the folksinger and matriarch of a Yiddishist dynasty, Lifshe Schaechter-Widman (1893-1974). 

 

Q: Anything else we should know?

 

A: This book is characterized by variety: variety of form (poem, micro-fiction, meditation, monologue, micro-essay, etc.), variety of styles (spare, baroque, etc.), and variety of language (English, Yiddish), a variety of voices.

 

I wanted this book to be about what happens when those disparate elements are brought together not necessarily to create a harmonious whole, but to chart, and perhaps forge, a kind of coordinated consonance, an equanimity hard-earned.

 

I'd like to conclude this Book Q&A on a note of gratitude. Gratitude to all the editors who gave these poems their first home and who continue to create space for literary creation.

 

Gratitude to Finishing Line Press for taking a chance on a multi-lingual, multi-script manuscript with big poems stretching over multiple pages and to the design team for creating such a beautiful book.

 

Gratitude to artist Joshua Meyer for allowing the use of one of his paintings as the cover art.

 

Gratitude to the readers who have read and will read this book and who have supported my work over the years. And gratitude to you, Deborah, for your interest and for this forum.

 

And congratulations to you, Deborah, on your new mystery novel, Everything She Most Admired!

 

--Interview with Deborah Kalb. Here's a previous Q&A with Yermiyahu Ahron Taub. 

Q&A with Kenneth G. Peters

  


 

 

 

Kenneth G. Peters is the author of the new book Georgetown's Retail Past: Generations of Shops and Restaurants in One of America's Great Historic Neighborhoods. He is a retired attorney, and he lives in Washington, D.C.

 

Q: What inspired you to write Georgetown’s Retail Past?

 

A: Before coming to Washington in 1971, I lived in Philadelphia and Boston, two very historic cities. I was fascinated by their history, and I loved being in particular buildings or places and wondering about those who had lived or worked there in the past. When I came to Washington, I began reading everything I could find about its history, and my interest in that history has continued ever since. 

 

When I retired from practicing law in 2012, I realized I now had an opportunity to really pursue my interest in local history, and I began looking for ways to do so. I did some work researching the history of people’s houses and enjoyed it, but the projects only came along sporadically. I needed a research project that I could do on my own schedule. Since I have lived in Georgetown for 19 years, something about the neighborhood’s history seemed worth exploring.

 

I noticed that while there has been much written about Georgetown’s houses and its institutions, little has been written about the neighborhood’s non-industrial commercial past. I decided to research that untilled ground and see where it would take me. After a while, I concluded that there was enough material for a book, and I resolved to write one. 

 

Georgetown’s Retail Past is not by any means the definitive book about the neighborhood’s retail history. Rather, it is a first effort on which I hope others may build in the future.

 

Q: How did you research the book, and what did you learn that especially surprised you?

 

A: I had two main sources. One was public records: the census, city directories, land records, building permit records, tax records, survey atlases, and records of the District of Columbia Surveyor. My legal training and experience were helpful, as I was familiar with those records and knew how to navigate and interpret them. 

 

City directories were a particularly important source. The first step in my research was to collect city directory listings for all retail businesses on Wisconsin Avenue and M Street (the neighborhood’s two main streets) for 30 selected years from 1860 to 2014. I entered those directory listings into a database – actually, a large Excel spreadsheet. 

 

In the course of my research, whenever I found information in other years’ directories about businesses on the two main streets, I added it to the database. The database now contains 12,400 directory listings, and I continue to add to it as I learn new things.

 

The database enabled me to see the mix of Georgetown businesses change in response to economic trends like the transition from horses to cars for transportation, the evolution of grocery stores from small corner shops to (eventually) supermarkets, the decline of the barbershop and the advent of home appliances in the 1920s. 

 

The database made it possible to see how the owners of bars and liquor stores coped when Prohibition suddenly made their businesses illegal. It revealed how individual businesses moved around, and helped me identify family relationships among the owners of different stores. 

 

The second major source was the press: the Washington Post and Evening Star as well as a local newspaper called The Georgetowner. Georgetown merchants were ordinary people who did not often draw the attention of the press. Only some Georgetown businesses advertised, but their ads were revealing. Obituaries were a source of biographical information. Sometimes there were articles about neighborhood stores, often covering traumatic events like fires, robberies and liquidation auctions.

 

I used other sources as well. The Georgetown Citizens Association has for some years conducted oral history interviews with long-time neighborhood residents, transcripts of which are available on its website. 

 

The Peabody Room in the Georgetown Branch of the District of Columbia Public Library has a collection of files about each building in the neighborhood, containing press clippings and photographs from the past. Going through those files was one of the first steps in my research. Ancestry.com was an important resource because the census, city directories, and other records are searchable there.

 

What surprised me was how many Georgetown stores were owned by immigrants. We generally do not think of Washington as an immigrant destination, perhaps because until after the mid-20th century Washington lacked the kind of vibrant immigrant neighborhoods found in cities like New York, Chicago, Boston and Baltimore. 

 

Immigrants were here, though, and I discovered that many of them owned stores in Georgetown.  For example, 83 (29 percent) of the 289 stores on the two main streets in 1920 had foreign-born owners. I could not identify the national origins of all 289 owners, so there may have been other immigrants among them. 

 

Some immigrants’ families ran multiple businesses for multiple generations. An example was Hyman Brodofsky, who arrived in the United States in 1892 and started a clothing store. Seven of his descendants over the next three generations ran stores in Georgetown. Bridge Street Books, founded by Brodofsky’s great-grandson Philip Levy (now deceased), still is owned by the family today. 

 

The entrepreneurial spirit of the immigrant merchants is impressive. If someone’s first store failed, we see him or her try again later. When markets changed, they adjusted their inventory and their business models, as happened during the Great Depression or when ready-made clothing caused dry goods stores to fade away. They bought the buildings in which their stores were located, and in many cases invested in other buildings as well. Late in their lives, many of them lived in suburbs like Bethesda, Chevy Chase, Silver Spring, and Arlington.

 

I also was surprised by how long Georgetown has been a retail center.  All the way back in 1830, there were 132 retail stores on the two main streets, including a dozen dry goods stores, nine shoemakers, two jewelers, five clothing stores, three bookstores, and 37 grocers. By 1877 there were 262 stores on the two main streets, and the number has been that many or more ever since.

 

Q: What do you see as some of the most common perceptions and misconceptions about Georgetown?

 

A: An obvious and accurate perception is that Georgetown today is an affluent neighborhood of expensive homes. However, many people may not realize that Georgetown has not always been such an upscale enclave. It began as a tobacco port. Later, after the Chesapeake and Ohio Canal opened with its terminus in Georgetown, the neighborhood was a canal port.  

 

The Georgetown waterfront was an industrial area, occupied by mills, power plants, cement plants, and even a rendering plant. While there were a few affluent families, Georgetown was a largely working-class neighborhood through World War I. It had a distinctly small-town character, despite its connection to the nation’s capital.

 

In 1915, the wife of the secretary of war was overheard lamenting to a friend that, in order to find a house with a yard suitable for her children, she might have to go to Virginia. The wife’s friend said, “Too bad! You will have to pass through Georgetown.” That kind of perception may have made today’s historic, restored Georgetown possible, because for decades developers were not interested in the neighborhood. 

 

Surprisingly little has been written about the process by which the working-class neighborhood became today’s Georgetown. Restoration began with a few people who came to Washington during the 1930s to work in New Deal government agencies and faced a housing shortage. 

 

The WPA Guide to Washington, published in 1937, refers to journalists, government employees and others who “appreciated the charm that lay beneath dilapidation” and bought small Georgetown homes. In the 1950s the process gained momentum, and the Kennedy family’s connection to Georgetown cemented the neighborhood’s new image in the early 1960s.

 

A common misperception is that there is no subway station in Georgetown because neighborhood residents opposed it. While there were a few opponents, it actually was construction challenges that ruled out a Georgetown station, particularly the difficulty of tunnelling under hundreds of historic structures and how very deep underground the station would have had to be to be in order for the trains to run under the river. 

 

Washington’s Metro system was originally intended primarily to bring commuters to downtown Washington, and the planners may have been less motivated to overcome these challenges because Georgetown was not then an employment center. 

 

Q: Where did you find the photos you used in the book?

 

A: There are 98 photographs in the book. Fifty-nine are recent photos of buildings that in the past housed stores that the book talks about. I took those photos myself. I do not pretend to be a great photographer!

 

I was not able to find many photographs of retail Georgetown from the past. It is likely that because of the neighborhood’s past déclassé image there was not much interest in photographing its commercial streets. 

 

The historic photos that I did find came from the collections of the Library of Congress, particularly the Historic American Buildings Survey and the National Photo Company Collection. A handful came from other sources, such as the Smithsonian and the Kiplinger Library at the D.C. History Center. 

 

Q: What are you working on now?

 

A: A good question, to which I wish I knew the answer. Georgetown’s Retail Past has just been published, so I am only now beginning to cast about for another project. 

 

Researching and writing Georgetown’s Retail Past took 12 years, because I was not working at it even close to full time. It was a retirement project to which I turned my attention as I was inclined and as time permitted. At the age of 77, I am not sure I have enough life expectancy left for another project like that! 

 

I definitely will be pursuing my interest in Washington history in some form, though. Perhaps a smaller, more narrowly focused book or some articles.

 

Q: Anything else we should know?

 

A: Although I have said a lot here about trends, the book at its core is about individual businesses and their owners. It contains short histories of 159 Georgetown businesses: who started the business and when, where was it located, what the building was like, what businesses had been there before, what the store sold, were there other owners in later years, did it advertise, what members of the founder’s family were involved in running it, how well-known was it, what challenges did the owners have to overcome, and, especially, what about it was noteworthy or unusual? 

 

Some readers may be intrigued by Georgetown’s retail history because they are curious about what was here before their own time. Georgetown’s Retail Past contains plenty to satisfy that curiosity.  It tells the stories of stores and restaurants from as far back as the 1830s through the 1940s.

 

Other readers may be intrigued because of nostalgia, an interest in hearing about businesses that they patronized years ago. Restaurants in particular may inspire such nostalgia, because Georgetown has been a dining and entertainment center since the 1960s. Fifty-three of the book’s historical sketches are of restaurants and stores that were popular in the years since 1960.  

 

The book relates the story of the cultural and legal clash during the 1960s and 1970s between residents seeking a quiet, genteel neighborhood on one side and owners and patrons of youth-oriented bars on the other. It also tells of the opening and impact of the Georgetown Park mall. 

 

--Interview with Deborah Kalb 

Q&A with David Ly

  

Photo by Joy Gyamfi

 

 

David Ly is the author of the new novel Not All Dragons. His other books include the poetry collection Mythical Man. He is the poetry editor of This Magazine

 

Q: What inspired you to write Not All Dragons, and how did you create your characters Rhys and Delia?

 

A: The story first came to me as the ending image of the novel, inspired by my poem "Boy" from my debut poetry collection Mythical Man. I knew where the protagonist was going to end up, what happened to him, and so it was a matter of asking myself who he was and why he was in the position he finds himself in. I'm not sure how or when it happened, but I remember that his name was always, clearly Rhys. 

 

Delia was someone created as a guide for Rhys through Lanilia. I knew it had to be a mermaid as water was a central image, and I think I was further attached to her when I came up with the term "Mernese" to describe her culture and language. I wanted to create mermaids in a way that I've never experienced, so the term set a foundation for what I ended up doing.

 

Q: How would you describe the dynamic between them?

 

A: In their own ways, I think they’re both a bit guarded: Delia takes her role of protector of the estuary very seriously, so she is naturally suspicious. And Rhys is afraid of a lot, making him a bit unsure. But at the same time, Delia is curious. Rhys piqued her curiosity and once she saw how much help he needed, they found an unexpected friendship in each other. 

 

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

 

A: This was such a challenge for me to do. Since fantasy can require very intense world-building, I was intimidated by the task. I didn't want to get lost in the details; (over)explain things to readers, telling instead of showing. For a long time, Lanilia wasn't named anything and I simply referred to it as "the Country" as a placeholder to make myself feel a bit more in control. 

 

But working with my editor, AGA Wilmot, they really asked the right questions, encouraged me to dive deeper into the lore, and show how the land and its magical inhabitants are connected. Naming the setting was me mumbling sounds, seeing what felt easiest to pronounce and the most lyrical.

 

What unexpectedly helped me create the setting was naming the different species of fruit. Combining common words was very fun to make things like: mourningberries, sunpearls, wellshells, and hushmangos (that grow sweeter in environments that are quietest, and are the ones I want to try the most).

 

Q: The author Lindsay Wong called the book “a thrilling and evocative exploration of reclaiming one’s identity, memory, self and kin.” What do you think of that description?


A: I'm very grateful to have Lindsay say that. I really admire her writing, who she is as a writer, and her work ethic. So when she picked up on themes I had in mind while writing, it was quite affirming.

 

Q: What are you working on now?


A: Right now, I’m poking around my manuscript for my third poetry collection that’s due out this fall with Anstruther Books, an imprint of Palimpsest Press. It’s done editing, but I’m still playing with new poems that may or may not make it in.

 

When I’m not working on my poetry, I’m slowly making progress on a new novel (unrelated to Not All Dragons).

 

Q: Anything else we should know?

 

A: I hope readers enjoy Not All Dragons, and that they can recognize that not all fantasy stories need to have grandiose character arcs, super intricate systems, or epic battles. I want Not All Dragons to be considered a story with a quiet protagonist who is not unusually gifted, but finds himself in unusual circumstances to see why he matters.

 

--Interview with Deborah Kalb