Saturday, May 2, 2026

Q&A with Carla Kaplan

  

Photo by Robin Hultgren

 

Carla Kaplan is the author of the new biography Troublemaker: The Fierce, Unruly Life of Jessica Mitford. Her other books include Miss Anne in Harlem. She is the Davis Distinguished Professor of American Literature at Northeastern University, and she lives in Boston and on Cape Cod.

 

Q: What inspired you to write a biography of writer and activist Jessica Mitford (1917-1996)?

 

A: I was looking for Mitford long before I ever found her. I wanted to tell the story of a funny female activist – to put the lie to the myth that women activists are grim and grey. 

 

And I needed, after my last book – Miss Anne in Harlem – to be able to tell the story of a successful ally, of a white woman who was incredibly effective in civil rights struggles.

 

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

 

A: Mitford was often called a “troublemaker,” as progressives so often are.  And I think she took a certain pride in that moniker, in being seen as someone with the power to stir things up and make a change.  I love that about her.

 

Q: In a New York Times review of the book, Alexandra Jacobs called it “a repository of astounding resourcefulness; a detailed curriculum vitae; a crack against the soft rump of the modern screen-addled slacker.” What do you think of that description?

 

A: It’s a wonderfully flattering description of the book and I take Jacobs to be saying that that Mitford’s long career and all her hard work is a kind of crack – or response – to those who may think they can change society but don’t really want to make the effort. 

 

She shows that you really do have to make the effort. And she shows how much good can come of that.

 

Q: How would you describe Jessica Mitford’s relationships with her sisters, and what do you think accounts for the ongoing interest in the Mitford family?

 

A: I think it was very hard for her to leave her sisters behind – and that is one reason she kept the nickname “Decca” which they had given her perhaps. She learned so much from them about language, and storytelling, and the importance of play, and of following your nose and being curious. They were all denied education and they educated each other. 

 

She couldn’t bear their politics, but I think she genuinely loved them. In my view, their inability to really see how fulfilling her choices were was a source of great heartbreak for Decca.

 

Q: What are you working on now?

 

A: Among a number of new projects, I am putting together a collection of Jessica Mitford’s essays, and especially the essays which have never been republished before. I think they are wonderful reading and important models for the current moment especially.

 

Q: Anything else we should know?

 

A: Thanks for inviting me to participate and thanks for helping shine a light on Jessica Mitford.

 

--Interview with Deborah Kalb. Here's a previous Q&A with Carla Kaplan. 

Q&A with Shirley J. Brewer

  


 

Shirley J. Brewer is the author of the new poetry collection Goddess of Swizzle. Her other books include the poetry collection Wild Girls. She is poet-in-residence at the Carver Center for the Arts in Baltimore. 

 

Q: Over how long a period did you write the poems in your new collection?

 

A: I worked on Goddess of Swizzle for at least eight years! That is, putting the manuscript together and allowing it to evolve.

 

A few of the poems are older – I wrote “Poem Beginning with a Line from Richard Hugo” in my Lyric Spirit class at the University of Baltimore in 2003. But some poems are much more recent, written in the last several years. So, there is quite a span!

 

Q: How was the book’s title (also the title of one of the poems) chosen, and what does it signify for you?

 

A: I knew intuitively when I wrote the poem “Goddess of Swizzle,” that the poem title would make a great book title. The poem is about my bartending experiences in the ‘80s, although I wrote it much after that.

 

The word “goddess” has special significance for me. At the University of Baltimore in graduate school in the spring of 2003, I took a class called Gifts of the Goddess with Dr. Carol Peirce. A glorious class, originated and taught only by Dr. Peirce. We studied a bevy of Greek goddesses – including Aphrodite, Athena, Hera – and found in ourselves characteristics of each goddess.

 

I did a class project where I repainted the living room in my Pasadena townhouse (right before I moved into Baltimore) and then decorated it with objects befitting each of the goddesses we studied. I really lived that class!

 

Dr. Peirce became ill and retired that year from teaching. I was in the last class she ever taught. I feel like I became a goddess in her class. The Goddess in my title is a tribute to her. 

 

“Swizzle” is a noun, a verb, and also an adjective. As a verb, it means “to stir.” In the poems in this collection, I stir a variety of memories, experiences, and reflections. So, Goddess of Swizzle is the most perfect title for this collection.

 

Q: The poet Sue Ellen Thompson said of the book, “Brimming with life and replete with colors, scents, flavors, and textures, the poems in Shirley J. Brewer's Goddess of Swizzle personify joie de vivre.” What do you think of that description?

 

A: I love Sue Ellen’s description. I think she captures the essence of my book. She also mentions in her blurb that the poems in Goddess of Swizzle “explore every corner of human experience, from vivid childhood memories to sobering adult losses.”

 

There is a balance in this book of light and dark, “but joy is never far off.”

 

Q: What are you working on now?

 

A: I’m getting back in sync with my writing practice after all the energy and effort it takes to put a book of poetry into the world! I’ve spent 10 years or so working on Wild Girls (my fourth book of poetry, published in 2023) and Goddess of Swizzle. The act of writing a new poem brings me so much creative joy. I’ve written two new poems this week!!

 

For now, I’m gathering all my new work – plus older poems not included in a manuscript – together in a folder. I don’t have an exact idea yet what my next project will be – but I can hear it – all those bubbling, exuberant sounds that signify a new concept, a new theme. Something’s in the air! Stay tuned.

 

Q: Anything else we should know?

 

A: The excitement of bringing five books of poetry into the world has been electric! My first book – A Little Breast Music - was published by Passager Books in 2008 when I was 61. The editors took all my poems and chose which ones to include. They decided on the title and the order. So, when I first saw my book, the final product was a delicious surprise.

 

The rest of my books have been more hands on. After Words (2013) is an elegy to a young man murdered in my neighborhood. Bistro in Another Realm (2017) focuses on place, family, love, art, and loss. Wild Girls (2023) includes strong females from my family, history, the arts, the news, and my imagination.

 

And now, Goddess of Swizzle! I can’t wait for the next book, the next chapter. Creativity is Ongoing, Magical, Effervescent.

 

I also want to express gratitude to the three small, independent presses that have published my books: Passager, Main Street Rag, Apprentice House. 

 

--Interview with Deborah Kalb. Here's a previous Q&A with Shirley J. Brewer. 

Q&A with Pauline Steinhorn

  


 

Pauline Steinhorn is the author of the new book Dreaming of the River: A Mother and Daughter's Fight for Survival During the Holocaust. The book focuses on her mother and grandmother. She is also a filmmaker, and she lives in Chevy Chase, Maryland. 

 

Q: Why did you decide to write Dreaming of the River?

 

A: When I was a teenager, my mother, Hajuta (that’s her Polish name), became a Holocaust educator. She talked about her happy life before the war, and her years in slave labor and concentration camps, beginning when she was 13, through her liberation from Bergen-Belsen at 16.

 

She never forgot the words of a man who spoke to her in the Sick Barrack. Most of those there had high fevers and hallucinations, common symptoms of the Typhus epidemic raging through the camp.

 

Hajuta heard him chanting the Shema, the daily Jewish prayer praising one God. He was a member of Parliament and a frequent dinner guest in her home. He looked at her and said, “Hajuta, you’re young and healthy and will survive. You must tell the world what happened here.”

 

She didn’t believe she would survive, but she thought of him many years later, along with the many kind people who saved her life in the camps, most of whom did not survive. She didn’t want them to be forgotten.

 

In 1945, in the displaced persons camp, Hajuta was encouraged to write about her wartime experiences because “no one would ever believe it happened.” For years, she edited those journals, adding her research. Near the end of her life, she said her only regret was not completing her memoir. I promised to finish it for her.

 

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

 

A: My mother’s family, the Feldmans, lived in Skarzysko, Poland, along the River Kamienna. My mother and grandmother fondly remember playing, singing, and celebrating with family along the riverbank.

 

Two years after the German occupation, the family was forced into a Jewish ghetto, a cluster of apartment buildings far from the river. Hajuta dreamed of returning to her childhood home. The river became a symbol of her hope that one day she would return home and be reunited with her family.

 

There was another reason the river was important to Hajuta. My grandparents worked as slave laborers 12 to 14 hours a day, always returning home.

 

Hajuta longed to walk through the forest and see the river. She believed that working in the gardens of the nearby Nazi munitions factory, where her mother slaved away, would be worth it just to see the river. She regularly pleaded with her parents to let her go in her mother’s place. They always said no.

 

When Hajuta’s youngest sister, Eva, came home in tears, inconsolable, after hearing older boys say the Nazis planned to kill all children under 10, my mom, then 13, once again pleaded to go in her mother’s place. Her parents agreed. At the end of an exhausting day, Hajuta and the other women were shown to newly created barracks and told they weren’t going home.

 

A few months later, ghetto residents who couldn’t work and those under 16 were sent to the death camp Treblinka. At 13, Hajuta would have been in a cattle car bound for Treblinka. Dreaming of the river and being confined to the slave labor camp saved her life.

 

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

 

A: I conducted research at the United States Holocaust Memorial Museum and online through Yad Vashem, the Arolsen Archives, and other sources. I read books and watched video testimony from family members who lived in the ghetto and in the camps, as well as from others.

 

The Germans kept detailed records, including the dates and locations of prisoners' incarceration. I researched every date, place, and person mentioned in the book and added details not found in the journals. 

 

It was a surprise to read about some people in the book. There was a doctor, Dr. Ada Bimko, whom my grandmother, Bronia, worked with. Dr. Bimko, aka Dr. Hadassah Bimko Rosensaft, saved over 140 children in Bergen-Belsen and was one of the founders of the Holocaust Museum.

 

Her son, Menachem, a human rights lawyer and a significant founder of the Children of Survivors movement, wrote the Introduction to Dreaming of the River.

 

My mother did enormous research. I filled 12 boxes with my mother’s papers. Since I had typed much of her memoir, I initially pulled out the latest version and started from there.

 

The biggest surprise came about two years after my mother died when I found my grandmother’s journals, translated from Yiddish. Bronia never spoke about the war, and she was no longer alive to ask questions.

 

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

 

A: The Holocaust warns us of the dangers of hatred, prejudice, and apathy. It also reminds us how fragile democracy is and how easily government and society can turn against minority groups. 

 

By sharing stories of Holocaust survivors, we become aware not only of the victims' struggle but also of the strength of the human spirit. I hope it inspires people to be kinder, speak up when they see hatred and prejudice, and fight against authoritarianism and fascism.

 

Q: What are you working on now?

 

A: I’m carrying on my mother’s legacy by becoming a Holocaust educator. I speak at schools, synagogues, and community centers, and, most recently, on radio shows, podcasts, and in book groups.

 

I’ve returned to writing essays. The Wall Street Journal published an op-ed that included a story from this book. I wrote an essay for Moment magazine about eating a cake in Florence that reminded me of my great-aunt’s orange cake.  

 

To balance the sadness I felt in writing about my family, I started painting. I’m now exhibiting my paintings in group shows in the D.C. area.

 

Q: Anything else we should know?

 

A: Friendship played a crucial role in the camps. In the barracks, the women called each other shvesters, meaning sister. They cared for one another and did their best to keep their spirits up. They told stories about their families, shared recipes, recited poetry, and sang. When my mother was sick, they half-carried her to work and did her work for her. I was impressed by the courage, resilience, and compassion of these women. 

 

Bronia developed alliances with German and Ukrainian guards who looked the other way when she lied about the seriousness of her patients’ illnesses.

 

Holocaust survivor Viktor Frankl, author of Man’s Search for Meaning, wrote about the importance of preserving one’s humanity and finding purpose even in the worst circumstances, including Auschwitz.

 

Bronia found her calling as a nurse. She was determined to stay alive to save others and her oldest daughter. In the slave labor camps, she convinced a Polish supervisor and the town’s pharmacist to smuggle medical supplies into the camp.

 

At night, prisoners with sprained ankles or infections from handling munitions without safety gloves lined up outside her barrack for treatment. These inmates would have been killed if they couldn’t work. She would have been killed if she had been discovered. Bronia saved many lives. She’s the hero of this story.

 

--Interview with Deborah Kalb 

May 2

 


 

ON THIS DAY IN HISTORY
May 2, 1903: Benjamin Spock born.

Friday, May 1, 2026

Q&A with Melinda Leigh


 

 

Melinda Leigh is the author of the new novel You Can Tell Me. Her many other novels include the Morgan Dane series.  

 

Q: Why did you decide to base a new series around your character Olivia Cruz? 

 

A: I first introduced Olivia in book four of the Morgan Dane series as a romantic interest for Lincoln Sharp. I liked Olivia so much that she ended up getting a larger role in Save Your Breath. When my editor asked me for a new series idea, Olivia came to mind immediately.

 

I’ve been writing Bree Taggert police procedurals for several years now, so a lead character who writes true crime gives me the opportunity for new storylines. I’m excited!

 

Q: What inspired the plot of You Can Tell Me?

 

A: I wanted the storyline to pull in Olivia’s trauma from Save Your Breath so that readers would understand her background in the first Olivia Cruz book. In order to achieve this goal, the plot also needed to be very personal. Therefore, having one of Olivia’s friends go missing seemed to be the logical starting point. 

 

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

 

A: I like to vary the season to provide variety both for me as a writer and for the reader. Different weather challenges can be used to complicate my characters’ adventures.

 

Upstate New York works because the region has four full seasons and because the area has elements of rural and suburban communities. It’s also just a few hours from New York City, so I can pull from any of those elements. I’ve written books in different settings. So, I can be flexible.

 

Q: How would you describe the dynamic between Olivia and your character Zoe?

 

A: Olivia and Zoe are friends that have been through a lot together, including the end of their traditional journalism careers as news shifted from print to online format. They’re close in age, and they’ve been friends long enough to understand each other.

 

This is why Olivia knows that something bad happened to Zoe. She knows that Zoe would never just vanish and abandon her life and career.  

 

Q: What are you working on now? What’s next for Olivia?

 

A: I’ll be starting Olivia’s second book, I Know Your Secret, shortly. At this moment, I do not know anything about the plot. It might be a cold case or another missing person. I don’t plot my books out ahead of time. I just come up with a scenario, start writing, and let the plot develop organically. This should be fun. 

 

Q: Anything else we should know?

 

A: I’m planning at least three Olivia Cruz books, alternating them with installments in my Bree Taggert series. Join my newsletter, follow me on social media (I’m mostly on Facebook and Instagram) to keep up with my progress. Hope you all love the new series.

 

--Interview with Deborah Kalb. Here's a previous Q&A with Melinda Leigh. 

Q&A with Kate Clark Stone

  


 

 

Kate Clark Stone is the author of the new novel The Last Sunday in May. A former attorney, she lives in Tennessee. 

 

Q: What inspired you to write The Last Sunday in May, and how did you create your character Mack?

 

A: I’ve attended the Indianapolis 500 since I was 6 years old. It’s a family tradition! The race itself is held on the last Sunday in May, and that’s where the name of the book comes from. 

 

The year my daughter was born, not a single woman was driving in the Indy 500, and I felt really frustrated by the male-dominated industry of this sport that I love. So I wrote about it!

 

Mack has had so many personalities over the years I worked on the book (she started out as a teenager in a YA version) but I realized I wanted to write about motherhood and ambition, and how those things don’t have to be mutually exclusive. Mack and I have very little in common, but she has so many of my own fears and insecurities around parenting and work.

 

Q: How would you describe the dynamic between Mack and your character Leo?

 

A: Mack lives hard and fast, so the attraction to Leo is instant. But because of her past, she moves cautiously, and Leo helps her let loose with tenderness and patience.

 

Q: What do you think the novel says about the role of women in motorsports?

 

A: I hope The Last Sunday in May shows that there is a place for women in motorsports. The barriers between women and success on the track has nothing to do with talent or skill, and everything to do money and gatekeeping. Racing is a sport where gender and body composition have no bearing on success and yet there’s still such a huge preference for men by sponsors and teams.

 

I absolutely believe a woman can win the Indy 500, if she has the same financial, structural, and logistical support that men have had since the first race was held in 1911.

 

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

 

A: There’s no shame in wanting what you want! Motherhood (and parenting in general) doesn’t have to be an obstacle to doing the thing that makes your own heart sing. I think particularly for my generation of moms, we sacrifice so much of ourselves so that our children can have everything. But moms also get to live a life full of passion, joy, and fulfillment!

 

Also, I hope readers feel a sense of hope. No matter what has happened to them or whatever obstacles stand in their way, hope is vital. Hope kept me going over the six years it took me to write The Last Sunday in May, and for the three years it took me to get to publication.

 

Q: What are you working on now?

 

A: I’m working on something very different! I’m writing a book about Southern country club moms who behave very badly. It’s a lot of fun to write!

 

Q: Anything else we should know?

 

A: I’ve lived in Tennessee for all my adult life, but I’m a born-and-bred Hoosier. My dad loved IndyCar and we shared a love of racing. He died in 2023 and never got to read The Last Sunday in May. I wish I could share the book with him, but more than anything, I wish we could go to one more Indy 500 together.

 

--Interview with Deborah Kalb 

Q&A with Nora Gold

Photo by Yaal Herman
  

 

 

 

Nora Gold is the author of the new novella Doubles. Her other books include In Sickness and In Health/Yom Kippur in a Gym. She is the founder of the literary journal Jewish Fiction.

 

Q: In your new novella’s acknowledgments, you write that Doubles was inspired by your work as a social worker and social work professor. Can you say more about that, and about how you created the book’s narrator?

 

A: When I was a social worker in the 1980s, one of my jobs was working with the families of children and adolescents with autism, some of whom were living in group homes. Part of my role was to visit them there and assess how they were doing. As I mentioned in my acknowledgments in Doubles, many of the administrators and staff in these places were caring and committed professionals.

 

However, there was one particular visit I made that was so shocking and disturbing to me that I remember it to this day. I arrived mid-morning on a weekday, and the kids there were all just sitting around watching TV. Instead of being educated, stimulated, and helped to grow academically, developmentally, and socially, they were merely being babysat.

 

I was appalled. I didn’t see anyone being overtly unkind to the kids, but neither were they engaging with them; and although at the time I did not see neglect as a form of abuse, we now know that it is, and obviously this experience registered with me emotionally as such.

 

In retrospect – even though I was not aware of this when writing Doubles – I believe that this long-ago group home visit is what prompted the scenes in this book where the kids are just sitting around, day after day, doing nothing.

 

As for how I created Doubles’ narrator, I really have no idea. I don’t believe I created her.  She came to me fully formed. She created herself.

 

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

 

A: The title, Doubles, just came to me, and as soon as I heard it, I felt it was perfect because the concept of a “double” is so rich and resonant. There is one point in this book where the narrator refers to her sister as her “double”: the girl who is free, not institutionalized as she is, and who is therefore able to do all the things the narrator used to do, and wants to do again, but can’t.

 

I think many of us have “doubles” in our lives, in the sense of some other “me” that exists in our minds. This might be a shadow self, or a what-if self, or a self that we wish we were, or might have been, or think we still could be.

 

The “double,” of course, is also a theme in literature: think Dr. Jekyll and Mr. Hyde or The Picture of Dorian Gray.

 

Last but not least, “double” is a mathematical concept – and in this book, math is everything to the main character. It is her language, her home, and her hope. So the title, Doubles, signifies, captures, and expands on, all these elements.

 

Q: Why did you set the story in 1968?

 

A: The late ‘60s are a time that I lived through, remember vividly, and find historically fascinating. On the one hand, this was a period of seismic social, political, and cultural change; on the other hand, it was still quite conservative in many ways.

 

It was a fluctuating and liminal time, which is an interesting context in which to set a story. So I made this novella about a girl living in this era, with all its complexities and contradictions.

 

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

 

A: I hope readers come away from reading Doubles with greater empathy and compassion for young people living in institutional care, not only in the past but in the present. Despite the good intentions of many professionals in the child welfare field, the system itself remains flawed and can be very damaging to the children and adolescents who are dependent on it.

 

I’d also like readers to come away from this novella with increased respect and compassion for young people in general. A 12-year-old, for example the narrator of Doubles, has considerable knowledge, and even wisdom, about the world, including the capacity to see through the lies, games, and pretenses of adults.

 

In a way, this book is a plea to take children and adolescents seriously, to not underestimate them, to recognize their dignity, fragility, strength, struggles, and beauty, and to treat them with the respect, compassion, and love they deserve.

 

Q: What are you working on now?

 

A: I’ve recently started something new, which will end up being either a story or another novella. I’m at the beginning of this new project and I’m enjoying it immensely.

 

Q: Anything else we should know?

 

A: I love the main character of Doubles. One doesn’t always love one’s characters, but I love this girl – her spunkiness, sensitivity, intelligence, sense of humour, strength, and truth-telling.

 

Like some many of us, she searches for, and fortunately finds, a language that can help her survive (in her case, the language of numbers and math). This whole novella, in a sense, is about the importance of language, and finding, or creating, an inner language through which we can tell our truth.

 

--Interview with Deborah Kalb. Here's a previous Q&A with Nora Gold.