A longtime student of history, particularly WW2 and the Cold War, my interest was personally piqued when I started to discover more about how my husband’s family narrowly escaped capture by the Gestapo – and certain death in a concentration camp. I’m driven to write novels set in this era for middle grade kids – featuring brave young heroes faced with moral dilemmas– so they can learn about the horrors of antisemitism, tyrants, and war because “those who do not learn history are doomed to repeat it.”
Widge is an orphan in Elizabethan England, where orphans are sadly too common. But Widge is unusual. He has a unique talent which he learned from his first master: he knows a secret kind of shorthand. Sold to a dastardly villain who wants to use that talent to steal Shakespeare’s newest play, Widge finds himself in London apprenticing with the theatre company. Will he steal the play or risk his life to be loyal to the only “family” he’s ever known? Inspired by Shakespeare’s Lord Chamberlain's Men – and a very real problem of plays being stolen – there’s plenty of action, including swashbuckling swordplay. From the first page, I found myself rooting for Widge, hoping he would make the right choice and live to become an actor in the company.
A delightful adveture full of humor and heart set in Elizabethan England!
Widge is an orphan with a rare talent for shorthand. His fearsome master has just one demand: steal Shakespeare's play "Hamlet"--or else. Widge has no choice but to follow orders, so he works his way into the heart of the Globe Theatre, where Shakespeare's players perform. As full of twists and turns as a London alleyway, this entertaining novel is rich in period details, colorful characters, villainy, and drama.
* "A fast-moving historical novel that introduces an important era with casual familiarity." --School Library Journal, starred review
I’ve been fascinated by nonfiction since my teens, by the idea of books about things that really happened. Fiction gets all the kudos, all the big prizes, all the respect. But as far as I’m concerned, trying to wrestle the unruly matter of reality onto the page is much more challenging – imaginatively, technically, ethically – than simply making things up! My book The Travel Writing Tribe is all about those challenges – and about the people, the well-known travel writers, who have to confront them every time they put pen to paper.
Jonathan Raban’s nonfiction books take travel writing to another level. He has a special mastery of the intersection of self, journey, place, and narrative. This collection – of essays, short memoirs, travel pieces, and more – isn’t necessarily his best book (that would probably be Passage to Juneau); but it’s full of brilliant reflections on the writing life, and on the challenges facing the writer as a craftsperson. There’s a particularly memorable section on the difficulties of transferring real-world dialogue onto the page. “You isolate the speaker’s tics and tricks of speech, his keywords,” Raban says, “and make him say them slightly more often than he did in fact; you give him small bits of stage business to mark his silences; you invent lines of dialogue for yourself to break up a paragraph of solid talk that looks too long to be believable. You are trespassing, perhaps, into writing…
'Jonathan Raban is the only person I listen to in matters of travel and books and writing in general. Reading him, talking to him as I have over fifty years, he has made my work better and me happier.' Paul Theroux
'For Love and Money ... is as good a book as there is about the writing life. Delighted that it will be safeguarded in print by Eland.' Tim Hannigan
This collection of writing undertaken for love and money is about books and travel, and makes for an engrossing and candid exploration of what it means to live from writing.…
