Tuesday, March 17, 2026

Q&A with Stacey Lee

  

Photo by Aaron Blumenshine

 

 

Stacey Lee is the author of the new young adult novel Heiress of Nowhere. Her other books include The Downstairs Girl. She is a founder of the We Need Diverse Books movement. 

 

Q: What inspired you to write Heiress of Nowhere, and how did you create your character Lucy?

 

A: A character always begins with one central truth, and for Lucy, it was that she felt unmoored. She arrives on the island estate in a canoe, with no memory of who placed her there or where she came from—only that a shipbuilding magnate takes her in as a serving girl before his untimely death.

 

I knew from the start that she would inherit his estate, and that her search for identity would parallel her hunt for the killer—before she becomes the next victim.

 

Lucy is the “oldest” character I’ve created, in terms of emotional maturity, and writing her allowed me to explore new dimensions of character—especially love and romantic vulnerability.

 

But at the heart of her story isn’t just a question of who am I?—it’s where do I belong? She’s a girl desperate to find her roots and to feel connected to someone, to something, in a world that keeps her at arm’s length. That search for connection—for kinship, for a sense of home—is what drives every choice she makes.

 

Q: The author Isabel IbaƱez called the book a “dazzling, twist-filled mystery about love, identity and ambition...” What do you think of that description?

 

A: I love it. Writing historical fiction is, for me, not just about reclaiming forgotten stories but about showing how the social mores of a particular era shape a person’s destiny.

 

Lucy’s situation—a girl of no standing, burdened with a heretical birthmark, suddenly in charge of a multimillion-dollar estate—pushes her into conflict with every power structure around her.

 

I like to make things as difficult as possible for my characters—it’s part of the fun! Watching them rise (or fail to rise) to those challenges is where the story’s energy comes from.

 

Q: The story is set on Orcas Island, Washington, in 1918. How important is setting to you in your work?

 

A: Setting is everything—it’s the first thing I think about. I like to vary both geography and era so readers can explore new corners of the world with me. I spent time in my 20s in the Pacific Northwest and even passed the Washington bar exam, fully expecting to live there one day.

 

What I love about that region is how the land and sea are always in conversation. Nature gets right up close to you—the zesty conifer smells, the luminous summer days that more than make up for the brooding winters. Writing this book was a way to live there, a century earlier.

 

Q: How did you research the book, and what surprised you most?

 

A: Alongside library research, I spent time on Orcas Island speaking with naturalists, historians, librarians, and artists. I toured a salmon cannery in Vancouver to learn about fishing practices, explored historic boats in Anacortes, and hiked Mount Constitution—which I renamed Mount Consternation in the book and gave it more attitude.

 

One moment that stayed with me was speaking to a whale expedition naturalist about murrelets, a mysterious seabird that features in the novel. Her face lit up—turns out she’d written her Ph.D. thesis on them! She told me a dozen or so lived nearby but were brooding, so I never saw one in person—but knowing they were there added a kind of quiet magic to the writing process.

 

Q: What are you working on now?

 

A: I’m in that delicious in-between stage—listening for what story wants to speak next. I have a strong sense the sea is calling me again, but perhaps in a very different part of the world this time.

 

Q: Anything else we should know?

 

A: Only that Heiress of Nowhere is, at its heart, about finding belonging in places that weren’t built to hold you. It’s gothic and romantic, yes—but it’s also about resilience, reinvention, and the courage to claim your story, even when no one else will.

 

--Interview with Deborah Kalb 

Q&A with Mangeshig Pawis-Steckley

  

Photo by Jake Kimble

 

Mangeshig Pawis-Steckley is the illustrator of the new children's picture book Canada: We Are the Story, which is based on a poem by the late Richard Wagamese (1955-2017). Pawis-Steckley's other books include Boozhoo!/Hello!. He is an Anishinaabe artist and a member of Wasauksing First Nation. 

 

Q: How did you come to illustrate this picture book focused on Richard Wagemese’s poem?

 

A: I believe this opportunity was made for me. I was searching for my next book deal and asked my agent, Jackie Kaiser, to put out any feelers. She came back a while later and said she had something in the works but couldn’t give me any details at the time. So there was a few months of anticipated waiting. What she came to me with was beyond anything I could have imagined.

 

As an indigenous person I have difficulty describing myself as Canadian because of the legacy of colonization. I personally never imagined myself illustrating a book titled CANADA. The word carries a lot of pain for indigenous people. There were a lot of conflicting emotions at first, but I felt this was a chance for me to reflect and ask myself why? Why did this opportunity come to me? What could I learn from this?

 

The fact that these were Richard Wagamese’s words meant something important to me. I am a spiritual person. I am a believer in synchronicity. When this manuscript came to me, I felt like it came to me for a reason. I couldn’t turn this opportunity away.

 

Q: Can you describe your illustration process?

 

A: I start with thumbnails. I consider the composition and framing, the pacing of the story. I start planning out which moments really need to be shared.

 

With this particular book, it's a story that speaks directly to the reader. I had some ideas I wanted to share along with it, and for that, I had to develop a central character to build the story around. I began developing concept art, character designs and settings. Then, after everything was mapped out I finished the rough illustrations.

 

When I receive the feedback for the roughs I begin making edits and finalizing the illustrations. This is where I clean up the line work and work out the colour palette for the book.

 

Q: What do you see as Richard Wagamese’s legacy?

 

A: Richard has always been a voice of truth. He wants there to be healing even when it is difficult, especially for indigenous people. He has a masterful way of telling the indigenous perspective with the vulnerability and care that it needs.

 

When indigenous people read his stories, we can see ourselves in them. He lays it all on the table – the trauma, the hardships, the potential we have – and says “Here, this is what we are, what are we going to do with it?”

 

He wants us to heal, he wants us to love ourselves and be all that we can be. He wants us all to live on this land together peacefully, it doesn’t matter who you are or where you come from. He was someone who could see beneath the surface and could see the truth. His legacy is showing us the truth.

 

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

 

A: Well this is a story about the spirit. It tells us that we are all connected and a part of something bigger. It follows the perspective of an indigenous girl living in so-called Canada. She is in school and gets a project asking what makes you proud to be Canadian? This makes her feel uncomfortable, uneased. She is conflicted. Why should she feel proud of a country that has taken so much from her and her ancestors?

 

With Richard’s writing, she is taken on a journey of discovery. As she is thinking over this question she is confronted by spirits. Spirits of her ancestors, spirits of all the beings who’ve lived on this land. They take her to witness this grand tapestry of everything and all who are creating this life together. It’s profound really.

 

When all is said and done she receives a message from one of her closest ancestors. Which states “we belong to the land.” This is something that moves her. She realizes there is no Canada. This land can’t be owned. We belong to the land, it doesn’t belong to us. Indigenous people have known this since time immemorial.

 

Illustrating this book made me realize there’s so much more to this country than its governing body. For me, this story is not about Canada. It’s about us, the individuals, the people who live on and care for this land. It’s a celebration of all the living beings (and spirits) who make or have made this land what it is today. We are all connected.

 

Q: What are you working on now?

 

A: I’m in the middle of illustrating a graphic novel based on George Kenny’s experience in residential school,  his son Mike Auksi’s life, and their shared love for hockey. The story was written by Duncan McCue who had the opportunity to interview George and Mike and transcribe their words into the graphic novel format. It’s a beautiful story and coincidently has a lot of parallels to Richard Wagamese’s Indian Horse.

 

Q: Anything else we should know?

 

A: Something special about this book are the spirits; in the final spread there are even some recognizable ones. One is Richard Wagamese. Another is Dave Robertson’s father. I also included my Nan and a close friend, Taran, who recently passed as a way to honour them.

 

--Interview with Deborah Kalb 

Q&A with Alexandra Grabbe

  


 

 

Alexandra Grabbe is the author of the new memoir Seeing Joy: A Story of Life, Death, and What Comes Next. She also has written the book The Nansen Factor. She lives in East Arlington, Massachusetts. 

 

Q: What inspired you to write Seeing Joy?

 

A: When my mother became bedridden, I started blogging to inform family and friends of her welfare. The blog was called “By Bea’s Bedside.” To my surprise, strangers started following. A self-proclaimed “fan” suggested turning the blog into a book.

 

I had an agent in 2008, who submitted my manuscript to a dozen editors at the major publishing companies, but they all refused, unwilling to tackle the subject of death, which, at the time “did not sell.” One agent commented that the prose was too similar to a blog. Whoops! I had to fix that.

 

So, then the manuscript went through multiple revisions, with me distancing it from the blog format. At one point, I hired a developmental editor who suggested getting the reader out of the bedroom, so I started adding passages about my mom’s life before my birth, transforming the narrative into something far beyond what I had first imagined, more rewarding, more complex, more complete in its scope, and I created the subtitle, A Story of Life, Death, and What Comes Next.  

 

Q: How would you describe the dynamic between you and your mother?

 

A: During my adolescence, Bea was the kind of mother who would swallow you whole if you weren’t careful. I must admit that it was a challenge being her daughter, although I loved her and she loved me. She was an intellectual and often I felt inferior. I resented the fact that she left Monday through Friday to work in an office in downtown D.C.

 

When I moved to Europe in my early 20s, she repeated what her therapist had suggested, that I had left America to put an ocean between us, which wasn’t true. I learned to tolerate such statements, but they did hurt.

 

I really had no idea what lay ahead when my husband Sven accompanied me back from Europe in 1997 to care for my parents. I had no experience as a caregiver. I simply loved them and wanted the best for them. Sven was able to retire from teaching and accompany me. My dad passed in 1999 at 97.

 

During the last seven months of my mother’s life, when she was 96, the dynamic between us shifted. Suddenly, she became the child, and I assumed the role of adult. I get emotional simply thinking about it now. It was such a privilege to spend time with her and experience her end-of-life.

 

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

 

A: One day, I bustled into my mom’s room for a diaper change and suddenly realized something unusual was taking place. She was in the middle of a conversation, talking to someone, but the bedroom was empty. Her gaze remained on the ceiling, where her visitors usually appeared. Her face radiated happiness. “I see joy,” she said then.

 

Seeing joy seemed like such an unusual concept that it remained with me when I searched for a new title for my revised manuscript which I had simply thought of as “By Bea’s Bedside” for 15 years. This new title opened up a whole new vista to the caregiving experience.  

 

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

 

A: I hope readers realize that caring for an elderly parent can be incredibly rewarding. Circumstances do not always allow people to make this choice.

 

In my case, I had wanted to move back to the United States for many years. Sven was at the end of his career teaching history, so he was willing to accompany me. My parents had a big house in a marvelous place, Wellfleet on Cape Cod. I wanted to keep the house in the family, so that was my first motivation.

 

After my dad passed, my mom was still going strong, so Sven and I started a bed & breakfast in 2004. We could leave her alone for short periods until 2006 when bursitis of the knee sent her to the hospital. She failed at rehab, perhaps purposely, and became bedridden.

 

That was when the spirits of deceased friends and family started visiting. They came a lot. At first, I didn’t have a clue as to what was going on, so I did research.

 

I found similar experiences mentioned in a book called On the Threshold of the Unseen. “There are some remarkable instances where the dying person, before the moment of transition from earth, appears to see and recognize some of his deceased relatives or friends.”

 

Turns out there’s a modern name for this phenomenon. Hospice nurses call it “visioning.” The presence of my mother’s “invisible people” helped me understand that death is not something to fear.

 

I’m hoping readers will come away with the same message and also understand that what may seem like an impossible task – caring for an elderly parent – actually can be extremely rewarding.  

 

Q: What are you working on now?

 

A: My WIP is historical fiction set in 865 Scandinavia. I’m fascinated by history and have done a lot of research on the period.

 

My protagonist is not a Viking out for plunder. Arne Perdersen is more of an Everyman. I wrote his story because too many novels set in 9th-century Scandinavia emphasize men of the same ilk as the Lindisfarne raiders of 793.

 

I wanted to create a love story with a gentle hero who follows a different path to show the men of America, who are apparently struggling today, that macho is not the only option. Peace-loving Arne chooses not to join the Heathen Army raiding England in 865.

 

His world is dramatically altered by his love for a woman, an older woman in fact. Tragically, they are separated, but he will keep a promise her made to her, returning 12 years later from faraway Constantinople to find her and claim their son.

 

Q: Anything else we should know?

 

A: The portrait on the cover of Seeing Joy is of my mother. It was painted when she was 25 by Russian Ć©migrĆ© artist Sergei Soudeikine. People don’t always realize, so I like to point this out. The painting hung over her bed, so it gets discussed in the memoir. The Koehler Books designer Catherine Herold added the stars. For me, it’s the perfect cover!

 

--Interview with Deborah Kalb 

March 17

 


 

ON THIS DAY IN HISTORY
March 17, 1846: Kate Greenaway born.

Thursday, March 12, 2026

Q&A with Madeleine Henry

  


 

 

Madeleine Henry is the author of the new novel The Last Celebrity. Her other books include Name Not Taken. She lives in New York. 

 

Q: What inspired you to write The Last Celebrity, and how did you create your character Fiona?

 

A: I was fascinated by celebrity culture, specifically by celebrities who seem more hated than loved. Even the darlings of entertainment can still draw intense venom in the comments sections of any E! News or Entertainment Tonight Instagram post. It’s a place of polarity. So, I started thinking about how that hatred might manifest at the extreme.

 

My intention with Fiona Hart was to craft a heroine who’s easy to root for. Fiona is a bestselling author, made famous by her underwater fantasy series, The Redfins.

 

She lost her parents in a car accident as a teen, and this has left her with an enduring internal homelessness. As a result, she views her closest friends as family. She has much deeper relationships with them, and would do absolutely anything for them--even risk her own life, against all odds.

 

Q: What do you think the novel says about today’s celebrity culture?

 

A: No spoilers 😊 I leave all conclusions up to my readers!

 

Q: Was the Nomen group in the novel based on an actual organization?

 

A: No, thankfully! The Nomen are an entirely fictional terrorist group. 

 

As dark and gruesome as they are, though, I did want parts of their mission to resonate and strike a chord. Maybe we do, as a society, care too much about the famous elite. Maybe this obsession really does matter. I wanted the Nomen’s philosophical core to feel true and valid, even if the group’s methods are indefensible.  

 

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

 

A: The short answer is no, I did not know how it would end.

 

That’s because I wrote this novel out of order. First, I wrote several chapters from Fiona’s underwater fantasy series, The Redfins. Then, I wrote more than half of another targeted author’s novel. I kept zooming in at different points, then using all of that work to enrich the story and give it as much realism as I could. 

 

Q: What are you working on now?

 

A: I am always at work on the next book, and hope to share more soon.

 

Q: Anything else we should know?


A: For those who would like to keep up with my work, I share updates on my social media (especially on Instagram, @MadeleineHenryYoga) and website, www.itsMadeleineHenry.com. Thank you so much for learning more about The Last Celebrity!

 

--Interview with Deborah Kalb 

Q&A with Garrett Peck

  

Photo by Casey Addason

 

 

 

Garrett Peck is the author of the new book The Bright Edges of the World: Willa Cather and Her Archbishop. His other books include A Decade of Disruption. He lives in Santa Fe. 

 

Q: What inspired you to write The Bright Edges of the World?

 

A: Hello everyone, readers and Willa Cather fans and Cather fans who are readers. And thank you to Deborah Kalb for hosting me once again. My name is Garrett Peck, and I’m an author, independent historian, and tour guide in Santa Fe. My latest book is The Bright Edges of the World: Willa Cather and Her Archbishop (University of New Mexico Press). 

 

I first encountered Willa Cather in 1998. My mom used to attend a continuing education conference in Santa Fe called Creativity & Madness, and she suggested that we have a trip to the city together. She knew how much I love history, and Southwestern history is especially complicated and rich. She assigned me to read Cather’s Death Comes For the Archbishop before the trip. I was 30 and that was my first encounter with Cather - we didn’t read her in California schools. 

 

I fell in love with Cather’s writing, which so beautifully and sparsely evokes the Southwest, as well as with Santa Fe. I came back to Santa Fe so many times (I lived in the D.C. area for 27 years) that I finally decided I should just live here. So I moved to the City Different in 2021.

 

As I’m a tour guide, I set up a Willa Cather’s Santa Fe walking tour, and now have a book published about how Cather wrote her “best book” (her words), Death Comes for the Archbishop. I focused on Cather’s travels to the Southwest: she came here six times between 1912 and 1926, and that inspired three novels, the last of which was Archbishop. I wrote the book conversationally and it has 80 images. You’re going to want to visit New Mexico after reading this book! 

 

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

 

A: I began working on The Bright Edges of the World long before I moved to Santa Fe. Crucial to the story are Cather’s letters, which are snapshots of her travels. She usually wrote on hotel stationery when she traveled, so we can follow her trail. I’ve quoted from hundreds of her letters.

 

And of course I visited all the places she wrote about, including Acoma Pueblo, Albuquerque, Canyon de Chelly, Chimayó, Hopi, Laguna Pueblo, Mesa Verde, Santa Fe, Taos, Taos Pueblo, Winslow, and much more. She really got to know the Southwest quite well, and her evocative descriptions were her own experiences that she transposed onto her fictional archbishop, Jean Marie Latour. 

 

The biggest surprise for me was how well Cather got to know Pueblo culture. New Mexico has 19 Pueblo Indian tribes, and Cather visited most of them, as well as numerous Ancestral Pueblo sites such as Homolovi, Mesa Verde, and Pecos Pueblo. She subtly wrote about Pueblo faith and wove that into the narrative.

 

I didn’t realize how extensive her knowledge was until I started composing the chapter called “Native Faith,” and that had me examine how Cather incorporated Pueblo culture, history, and spirituality. 

 

Here in Santa Fe, you’ll meet Indigenous people every day, as they are our neighbors, and we are theirs. New Mexico’s population is 12 percent Indigenous. I think it’s so important that people see Native peoples as they are - not looking down on them, nor placing them up on a pedestal, but meeting them where they are as human beings. I’m blessed to know so many Native people. 

 

Q: What do you think still fascinates readers about Willa Cather (1873-1947) and her work?

 

A: Like the Greek playwrights, Shakespeare, and Chekhov, Cather remains deeply relevant, even though her most significant body of writing is from a century ago.

 

She examined contemporary issues through the lens of the past, although many people misjudged her as a nostalgist (she insisted that she was not). And she examined questions of human nature: family, friendships, love, midlife crises, mortality, and more. Those are always relevant.

 

In My Ɓntonia, she wrote about and celebrated immigrants on the Nebraska prairie in 1918. We’re still having this debate about immigration, between those who want to let new people become Americans, and those who want to shut the gates. 

 

A common theme in Cather’s work is to pick up a person or persons and plop them down on the frontier and to see how they adapt. She had to do this as a pioneer child, and that theme resonated with her during her entire writing career.

 

Death Comes for the Archbishop is an unusual Western novel - there are no gunfights, stagecoach robberies, or cattle rustling - but she chose an unusual topic: the friendship between two French Catholic priests working on the frontier of the American Southwest.

 

Friendship of course is an eternal theme. And her prose is just stunning. This is the peak of Cather’s career, and like I said she called it her “best book.” 

 

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

 

A: The title comes from page 273 of Cather’s novel, and it is one of the most beautiful passages of prose that Cather ever wrote. It is set in the final chapter of the book, “Death Comes for the Archbishop,” which is also the name of the novel.

 

This brilliant chapter has us going into the mind of the dying Archbishop Latour. Latour has decided to remain in New Mexico after his retirement, rather than return to his native France, as he has fallen in love with the desert.

 

Cather wrote: 

 

Beautiful surroundings, the society of learned men, the charm of noble women, the graces of art, could not make up to him for the loss of those light-hearted mornings of the desert, for that wind that made one a boy again. He had noticed that this peculiar quality in the air of new countries vanished after they were tamed by man and made to bear harvests. Parts of Texas and Kansas that he had first known as open range had since been made into rich farming districts, and the air had quite lost that lightness, that dry aromatic odour. The moisture of plowed land, the heaviness of labour and growth and grain-bearing, utterly destroyed it; one could breathe that only on the bright edges of the world, on the great grass plains or the sage-brush desert. (Archbishop, 273) 

 

Death Comes for the Archbishop is a novel set on the frontier. The frontier is disappearing, and Latour is hanging on to see the last of it. As a child, Cather’s family were pioneers in Nebraska, and she saw the prairie grass plowed under so farmers could grow alfalfa, corn, and other crops. Many of the archbishop’s experiences in the novel were her own. 

 

Q: What are you working on now?

 

A: I have a long list of books to write (the Cather book is my ninth). The most immediate is a history of Prohibition in New Mexico, which no one has ever addressed in book form (there are a few scholarly and legal articles out there, but no one has given this epoch the full treatment). The working title is Prohibition in New Mexico: Mayhem and Moonshine in the Land of Enchantment

 

I want to go to Scotland in a couple years and explore the backstory of the first beer brewer in the Washington, D.C., area. His name was Andrew Wales and he came from Edinburgh to Virginia in 1765 at the age of 28.

 

I led a walking tour about him in Old Town Alexandria and wrote a 10,000 word biography of the man in 2015, which may surprise you since he’s an obscure 18th century figure. He had a three-decade commercial relationship with George Washington, selling him ale and barley, and was a Tory (a loyalist) during the War of Independence and helped lead a prison break of British sailors, soldiers, and loyalists.

 

I want to explore the world he came from and where he apprenticed in Edinburgh before he came to Virginia. His life coincided with the Scottish Enlightenment, and I’m thinking of calling the book Enlightened Ale: A Transatlantic Brewing History

 

Q: Anything else we should know?

 

A: I’m taking my Cather book, The Bright Edges of the World: Willa Cather and Her Archbishop, on the road in spring 2026. Besides Santa Fe, I’ll be traveling the country to Albuquerque, Colorado Springs, Crested Butte, Dallas, Denver, Lincoln, Omaha, Provincetown, Red Cloud, Washington, D.C., and more.

 

I hope to see you at one of these author talks and book signings. I’ve got them listed on my website at https://www.garrettpeck.com/new-page. And if you are part of a book group and want to discuss Cather, you can always invite me to join remotely. There’s a Contact me page on my website. I’m happy to meet fellow Cather readers and fans. 

 

--Interview with Deborah Kalb. Here's a previous Q&A with Garrett Peck. 

Q&A with Charlie Scheidt

  


 

 

Charlie Scheidt is the author, with Kat Rohrer, of the new family memoir Inheritance: Love, Loss, and the Legacy of the Holocaust. He is the chairman emeritus of Roland Foods. 

 

Q: Why did you decide to write Inheritance, and why did you choose to collaborate with Kat Rohrer on the book?

 

A: Weeks before passing away in 1988, my mother told me about documents she had saved and hidden in an armoire. It turned out to be an overwhelming trove of nearly a thousand.

 

At the time, I was too preoccupied really to deal with that inheritance—mourning her death, raising a family, running and growing the company my parents had founded. But I was curious and from time to time would look at some of the material. When I did, I saw names I’d never heard, the kernel of stories I didn’t know existed, and endless mysteries. 

 

It wasn’t until 2009, after visiting Frankfurt for the first time, that I decided to organize and really understand the stories and secrets contained in the stash my mother had saved and bequeathed to me. I realized I knew frightfully little about my family history, what my loved ones had gone through, and I needed to know and understand. 

 

But it was too large an undertaking to do alone. I needed help. Soon after returning, I happened to meet Kat Rohrer at a video shoot about the history of the company my parents had founded. That meeting involved pure chance and perfect timing. The beginning was practical. I had a vast number of letters and documents, in no particular order and mostly in German, so I needed someone who also spoke German.

 

Sometime later Kat revealed that she too had been wrestling with a family legacy but from the other side—her grandfather was a “true believer” and had abandoned his family to fight for and support the Third Reich.

 

I appreciated her honesty. She had the burden of her family history; I had the burden of silence about my family history. Neither of us imagined the relationship would deepen to a friendship and last 15 years and counting.   

 

Q: How much of your family history did you know growing up, and how did you research this book?

 

A: I grew up an only child in a German-Jewish refugee family in New York City. My parents, aunt and uncle, and Shabbat dinner guests spoke German to each other. German was my first language.

 

From an early age, I was aware of being a very lucky kid: my father provided well for us, I was growing up in safety, and I was surrounded by a loving and intact family.

 

But there was mystery and silence about one subject—the Holocaust and its impact on the family. I only knew that a bad guy named Hitler hated Jews and killed many, and that my father fled out the back door of his office across some railroad tracks and out of Germany.

 

For my parents and family, silence was both protection and survival. They wanted to move on, live in the present, try to forget all they had witnessed, what and whom they had lost. And they wanted me to feel safe and be able to build a future unburdened by what had happened to them.

 

But the upheaval that led my family to become refugees left deep scars, ones I sensed growing up but did not understand. Silence about the past is its own inheritance—the emotional residue of trauma passed down without explanation. Looking back, I see how deeply that shaped my sense of self, my anxieties, and my connection to my family’s past, present, and future.

 

My family’s story was much richer—and more complicated—than the fragments I occasionally was told. After reading many hundreds of letters and documents, I understand far better the community in which I grew up.

 

The list of surprises is very long. For example, I discovered that many family members among whom I grew up escaped danger just in time, were lucky; others, who I had never even heard of and were very important to my family, were murdered, victims of the Nazi genocide. I knew none of this.

 

Regarding the research for the book, after my mother died, I asked her living relatives to write down and tell their own story and that of their family. This was both to gather information and to try and stay connected to that side of my family.

 

When we embarked on the research, Kat and I started with the many hundreds of documents I inherited. Later research involved online resources, U.S. archives, and overseas archives.

 

In addition to factual surprises, the most emotionally meaningful research was, after years of remote research, going to the towns, cities, and apartments where my family once lived.

 

Those trips and experiences made an enormous difference in my emotional involvement in the family history and in the writing of this book. Having read their letters, it was poignant and impactful to be there and imagine them in that environment.

 

Before going, Kat and I contacted local archives, historical societies, and groups that take care of Jewish cemeteries and found people were very willing to help.

 

Q: The author Kerry Whigham said of the book, “It reminds the reader that every refugee, past and present, is only seeking what we all deserve: love, safety, and a life free from persecution.” What do you think of that assessment?

 

A: This comment is his plea, and mine: that we regard refugees not as “others” and somehow a threat to “us,” but as fellow human beings with similar needs, including “love, safety, and a life free from persecution.”

 

Very few families choose to leave the culture and land of their birth unless forced to do so. Migration and creating a new home in a different language, legal system, and social structure, is very difficult. Refugees, including my family, focus all their energy on building a good future in their new environment for themselves and for future generations.

 

There are today tens of millions of refugees in our world. Inheritance provides first-person accounts of what it means to flee, always be on edge, persecuted, scared. My family members were for many years stateless human beings, deprived of a home, no country willing to give them a passport.

 

I hope reading about their lives as refugees leads more people to empathize with today’s 120 million displaced people, forced to flee their homeland where—like my family—they have often lived for centuries.

 

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

 

A: My voyage of discovery is my version of something universal: the search to understand where we come from, our roots, and how the past shapes us.

 

Writing the book changed me in ways I didn’t fully anticipate. The process of traveling, researching, reading, and asking difficult questions became a way of confronting a long-standing silence in my family.

 

My parents’ generation had understandable reasons for keeping painful memories buried—they were focused on survival and on building a future. I came to this story later, with the distance, time, and perspective they never had.

 

In uncovering and piecing together what happened, I felt I was doing it not only for myself, but for my children and future generations. I also felt a responsibility to my parents and family to tell their stories honestly and shed light on what happened and can so easily happen again.

 

I hope that readers will recognize in my family’s history the larger patterns of persecution, displacement, and resilience that continue to shape the lives of refugees around the world today—people who, like my family, carry scars but press forward and make great sacrifices in hopes of creating something better for the next generation.

 

Q: What are you working on now?

 

A: I devote much time and effort to refugee support and related issues, and I am actively involved with nearly two dozen NGOs and university programs across the country. 

 

I’ve started thinking about a sequel to Inheritance. In writing the book, there were important episodes and pieces of history that had to be left out simply because they didn’t fit within the scope of one volume. I find myself returning to those stories, and exploring them more fully may be the next chapter of this journey.

 

Kat and I are also working on developing a film based on our travels and the history we uncovered together to write Inheritance. Retracing my family’s path across Europe was an emotional and powerful experience, and we believe the places, the discoveries, conversations, and all the people we met along the way lends itself naturally to the screen.

 

Q: Anything else we should know?

 

A: Many families carry silences, even secrets and lies, and avoid speaking about the past to the next generation. Refugee families such as mine have particular reasons for doing so.

 

But I believe that silence about past displacement, persecution, and trauma is itself a kind of harm, depriving survivors of the freedom to share their experiences and feelings, and leaving the next generation without a clear understanding of the world that had shaped them. Uncovering that past and its impact became the work of Inheritance.

 

I will be speaking on podcasts and at virtual and in-person events related to the publication of Inheritance through May. In the fall, more events are planned around the U.S. as well as in France, Holland, and Germany, where much of Inheritance takes place.

 

I am also happy to engage with book clubs and coordinate on book talks. Please get in touch via my website, www.InheritanceMemoir.com, where you can also sign up for my newsletter and find details for all upcoming events, and via social media on Instagram, Facebook, and LinkedIn.

 

--Interview with Deborah Kalb