Rita Dragonette, photo by AJ Kane |
Rita Dragonette is the author of the novel The Fourteenth of September. A former public relations executive, she lives in Chicago.
Q: How did you come up with the idea for The Fourteenth of
September, and for your character Judy?
A: The story is based on my personal experiences on campus
during the most tumultuous time of the Vietnam War and the height of the
protest against it—1969-70. I had long wanted to write a story about that era,
which hasn’t been given enough attention and, in particular, to tell it from a
woman’s point of view.
I also wanted to address my interest in the subject of women
and war (my mother was a World War II vet who spent three years overseas during
that conflict) and the marginalization of women’s experiences in war.
With The Fourteenth of September I gave my main character,
Judy, a dilemma with the same emotional gravitas as the one faced by any man of
the time— if drafted would he go to Vietnam or Canada?
Judy’s decision is
equally fraught—she’s in college on a military scholarship but joins the
anti-war movement, risking both future and family, and has to make a
life-altering decision. They are similar coming of conscience questions.
My intention was to eliminate the gender issue and even the
stakes. When there is a war we are all in it—experiences may differ but they
are of equal value. The argument applies across the spectrum of feminist
issues.
I knew Judy well and wanted to tell the story of those times
(so similar to today’s unrest) through the eyes of a young woman on the brink
of adulthood, who open-heartedly believes the world can be changed.
Q: Did you need to do any research to write the novel, and
if so, did you learn anything that especially surprised you?
A: Because I’d lived through the era, I didn’t need to
research from the ground up. I knew the language, the clothing, the setting
and, I thought, all the dates.
However, I was surprised during fact-checking to discover,
for example, that the first Lottery drawing was held the Monday we all returned
to campus after the Thanksgiving holiday, which is particularly cruel, if you
think about it. I was able to use that emotion in the story.
Research also heavily influenced my timeline. I was
determined to keep my story to a single school year, September—May, to coincide
with the time frame that I felt defined the character of the generation
dramatized in the novel—from the first draft lottery through Kent State.
But I found there wouldn’t have been time for any characters
with a low lottery number to actually go to Vietnam before the end of the
story. I had to change the narrative arc of several to accommodate the reality
of what could or couldn’t have happened. Historical fiction has
guidelines—everything in it either needs to have happened or could have
happened.
Q: How would you compare the protests against the Vietnam
War with the protests unfolding today?
A: Issues of history and privilege make comparisons
complicated, but in general if people hit the streets it’s because they feel
they’ve tried all the regular channels, haven’t been listened to, and feel
powerless.
During the ‘69-‘70 time frame of the novel, the world was
equally split, particularly between those who felt America could never lose a
war and those who more realistically felt we needed to cut our losses and get
out of Vietnam. Men too young to vote were being sent to die and no one was
listening—hitting the streets seemed the only way to get attention.
I was actually out in the first night of the street action
in Chicago after the George Floyd murder and it felt so much like what happened
after Kent State, which is depicted in detail in The Fourteenth of September,
and I found the similarities to be startling.
People expressing their right to free speech were murdered
on television. Universities across the country were ablaze in rage and
solidarity. There were factions for destruction as well as for calm. The
National Guard was involved. There were arrests. It took time to recapture the
message. Kent State ended up being very important, a turning point in support
for the war.
The current issues of police brutality and racial inequality
have been longer in making and will take longer to address, but the impetus and
reaction are alarmingly similar. I call it the “hamster wheel of history.” We
need to learn from our historical experience how not to let things get to this
point again and again.
Stories like The Fourteenth of September are instructive,
cautionary, and vital. The stories out of today’s protests will be the
same.
Q: What do you hope readers take away from the novel?
A: My belief is that we learn our history through facts and
nonfiction, but we understand it through narrative. I would like every reader
to experience the six months depicted in the novel in Judy’s shoes and wonder
what they would have done in the same circumstances.
And, if possible, share it with family members and start a
dialogue about how those times impacted their own families—it’s only been 50
years. People have stories to tell, probably have been reluctant to tell. Few
families have been unaffected.
Q: What are you working on now?
A: I’m working on a new novel that is an homage to
Hemingway’s The Sun Also Rises. It’s a contemporary generational story about
expats who have come to San Miguel de Allende, Mexico with their last
dreams.
I’m also working on a memoir in essays and plans for a third
novel about two women during World War II, one German and one American, and the
impact of their war experiences on their families through the generations.
Q: Anything else we should know?
A: The Fourteenth of September is a coming of conscience story.
Judy faces a life-altering choice that she believes will define her character
for the rest of her life. I define coming of conscience, as a point when
integrity trumps consequences.
Today, we are living in times where we are watching people
of great courage make coming of conscience decisions every day: Mitt Romney
voting for impeachment, Captain Brett Crozier of the Theodore Roosevelt who
made a career-ending move to protect his crew from COVID-19, etc. In this
highly charged environment, we will continue to see more.
Judy was right, we have a responsibility to change the
world. Her message is happening as we speak. The Fourteenth of September is
“living” historical fiction, its issues and events as relevant today as when
they first happened.
One final important note. I don’t want to create the
impression that The Fourteenth of September is a tough story. It has many
dimensions: mother/daughter, generation gap, first love, college life,
girlfriends, etc. And, let’s remember it starts in the ‘60s—it’s also full of
sex, drugs, and rock and roll (it even has its own play list). It’s a lively
read. Enjoy.
--Interview with Deborah Kalb. This Q&A also appears on Haunting Legacy.
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