The Giver of Stars

I’m delighted to share with you the exciting news about author Jojo Moyes latest release, THE GIVER OF STARS, which is based in truth.

Come along with me to find out more about this intriguing story and see what the author has to say.

In her first novel since her global bestselling Me Before You trilogy, Jojo returns to historical fiction with THE GIVER OF STARS (Pamela Dorman Books; On sale: October 8, 2019; 9780399562488; $28), a powerful novel that Jojo says she loved writing more than any other. Based on the true story of the Packhorse Librarians of Kentucky, THE GIVER OF STARS takes readers on an unforgettable journey, following five extraordinary women driven to enact change through the magic of libraries.

          Alice Wright is stuck. After a whirlwind romance, she agrees to marry the handsome Bennett Van Cleve, leaving her native England behind for a new life in Kentucky. But soon after arriving, Alice finds her new life—with her oddly distant husband and overbearing father-in-law, not to mention the unfamiliar culture of her new home—as stifling as her old one.

          When a call goes out for local women to deliver books to the underserved mountain families as part of Eleanor Roosevelt’s traveling library program, Alice sees the opportunity as a lifeline and enthusiastically signs on. The group’s leader, and soon Alice’s greatest ally, is the clever and daring Margery, a woman who refuses to be cowed by men or convention. Soon, Alice and Margery are joined by others, including Beth, the mischievous middle child of eight brothers; Izzy, the shy, disabled girl who never thought she’d ride a horse and whose singing lifts the spirits of the group in times of trouble; and Sophia, a fiercely intelligent black woman who defies the town’s segregation laws to work for the library. Together, these five diverse women form an unbreakable bond and become known as the Packhorse Librarians of Kentucky.

          The women become the face of change in their staunchly traditional town, standing against the odds to fight both for education and defy public opinion to be with the men they love. Enduring harsh conditions and braving a multitude of dangers—from devastating floods to belligerent moonshiners—the women saddle up and ride hundreds of miles a week to bring books to those who have never had any, sharing the gift of learning in a time where fact was at war with religion and ignorance.

At times funny, at others heartbreaking, THE GIVER OF STARS is a richly rewarding novel of women’s friendship, of true love, and of what happens when we reach beyond our grasp for the great beyond.

First, let me share a letter written by Jojo to you the readers.

Dear Reader,

Fifteen months ago, I read an article in the Smithsonian magazine about the Horseback Librarians of Kentucky—a group of young women employed by the US Government’s WPA scheme to go into the mountains after the Great Depression and take books and magazines to families who might not otherwise read a word.

Enduring harsh conditions and braving all kinds of dangers—snakes, treacherous mountains, moonshiners and criminals—they would saddle up and ride hundreds of miles a week to read to the sick, teach children, encourage the spread of facts in a time where religion and snake oil salesmen were able to battle for people’s minds. They often faced fierce resistance, both for their sex and from families who were suspicious of any reading materials other than The Bible, but worked together in a system that lasted seven years across several states, bringing everything from recipes to comic books, classics and biological texts to these remote families. Many of them became beloved to the people they served.

The photographic images of these young women were extraordinary, and their relevance to today hit me hard. I traveled to this remote area of East Kentucky on three separate research trips, rode the trails that the librarians would have ridden and stayed in a remote log cabin so that I could experience nature as they would have done (and was roundly told off for moving a snake with a stick). I fell in love with the landscape and the storytelling people who inhabit it.

The Giver of Stars is the result—a story of five such women from very different backgrounds, brought together in a tiny community in the mountains of Kentucky. The story is fictional, but I have rested it on a skeleton of facts. I can honestly say I have never loved writing a book more, or been more inspired by my subject matter. I really hope everyone enjoys reading it as much as I have loved creating it.

Jojo Moyes

PS. I was built in a library. My parents didn’t have much money when I was growing up so the weekly visit to the local library was a key part of my education, and my love of reading. Libraries are one of the few resources where people can be sheltered, educated and entertained without having to pay, and it pains me that they are under such threat. Without knowledge, people have fewer opportunities to move upwards. I hope The Giver of Stars shows just how they can change lives—even, or especially, today.

Now come along as Jojo answers some questions about her writing and her new release.

Author Jojo Moyes

Fans who follow you on social media might have tracked your trip to Kentucky to research THE GIVER OF STARS. What was your research process like?

Jojo

Oh, I love research. I don’t believe you can write effectively about a place without immersing yourself in it. I need the sights and smells and stories. I visited Kentucky three times between 2017 and 2019 and stayed in a tiny cabin on the side of a mountain, rode horses along the trails the women would have ridden, and talked to a lot of people, to try and get not just the facts, but the rhythms of the language.

The protagonist in THE GIVER OF STARS, Alice, is a British woman who moves to Kentucky after marrying an American man. Why did you choose to include a British character in this very American novel? 

Jojo

Well, it felt pretty audacious to be writing about Appalachia, even with research. I felt that if much of it was seen through the eyes of someone unfamiliar with that world, it made everything a little more accessible. Given it was such a closed world, I also liked the tensions inherent in introducing someone “foreign” into it.

Jojo

Literacy and censorship are huge issues in THE GIVER OF STARS, something that affects the women of the novel very differently from the men. Why did you choose to focus on these issues, and do you feel they are still relevant today?

Jojo

I think they’ve never been more relevant. We live in an age where the very notions of truth and facts are under attack—without knowledge we are prey to anyone who can work up a smart speech. Without knowledge women have little control over their own bodies. There are numerous ways in this book in which the acquisition of knowledge changes lives—protecting their homes, educating their families, liberating themselves from marriages.

Many of your books deal with class struggles, and THE GIVER OF STARS features families from vastly different backgrounds. Why is this an important subject matter to you, and how did you approach writing about class set during the Great Depression?

Jojo

I did a lot of reading, and as with the modern day, the poor seemed to be disproportionately affected. To read about the mining communities of Depression era America is to see class inequalities laid bare in the most explicit way. Many miners were little better than indentured slaves, while the mine bosses made fortunes off the backs of their labour. Disputes like Harlan were what happened when people attempted to push back. Also, I wanted this book to be full-blooded, in terms of the violence of the age, as well as the love stories. You can’t write about Kentucky of that period without bringing the class struggles into it.

The librarians in THE GIVER OF STARS are incredibly positive about sex for women living in early twentieth-century Kentucky—the librarians quietly distribute a book focused on female pleasure, and one of the women stoutly refuses marriage, despite carrying on a relationship with a man for several years. Was it essential for you to emphasize women’s agency in a time when it was so limited? Were any of the characters based on real women you encountered in your research?

One of the reasons I wanted to write this book in the first place was that I wanted to write about a woman of a certain age (i.e. not 21) having great sex with a mutually respectful partner. It happens! And yet so often in fiction we don’t see it. A woman’s lot in Kentucky at that time was a pretty rotten one much of the time—it was a very patriarchal society, and domestic violence was rife—but I also discovered that the women of the state are tough, proud, funny and resilient. I wanted Margery to reflect that, even while the inequality showed through elsewhere.

THE GIVER OF STARS is your first novel following the Me Before You trilogy. How did it feel to step away from characters you’ve been writing for so long?

Jojo

It was tough leaving Louisa behind, but I fell so hard in love writing this book that from the moment I arrived in Kentucky I pretty much forgot her. I have never enjoyed writing a book like I enjoyed writing this one: I wrote when I was meant to be on holiday, at weekends, whenever I could spare half an hour to sit down. I didn’t want to leave it, or these women. That rarely happens. So in that respect it was the loveliest way to leave Me Before You behind.

The librarians develop very close relationships with their horses, spending long, solitary days with them while delivering books. Do you feel a special kinship with horses? Why are the horses so important to the story?

Jojo

I have loved horses since I was five years old. For me they were a route to strength, independence, and have given me some of the loveliest relationships of my life. I felt that this shone out of those pictures of the women—and of the reports I read. These were partnerships, and the horses and the women understood each other.

What draws you to historical fiction?

Jojo

I think it’s always story, whether it’s modern or historical. Some fact or snippet just lodges in my brain and I can’t shift it. If it stays for months then it’s usually insisting on being written about. It’s no coincidence that this contains horses, love stories and library books—three of my favourite things…

What does the title THE GIVER OF STARS mean? 

Jojo

The Giver of Stars is the title of a poem that forms a pivotal moment of the story. It’s a beautiful, tender, romantic poem that spells nothing out but leaves you a little breathless and it was written by a woman who couldn’t express what she really felt—a little like Alice and Frederick.

What are the main themes of the book? What do you want people to take away from reading THE GIVER OF STARS?

Jojo

I wanted to write a book about women who had agency, and did worthwhile things, rather than simply existing in a romantic or domestic plotline. These women achieved epic things, and, more importantly, supported each other while doing it. I reject the constantly pushed narrative that says women must always be in competition with each other; in my experience other women have been my greatest friends and supports and I wanted to show that. Mostly I want to entertain and transport the reader a little, to make them laugh and cry. I really hope readers enjoy reading THE GIVER OF STARS as much as I’ve enjoyed writing it.

For those who aren’t familiar with Jojo, here’s a bit of background on her.

Jojo Moyes is the #1 New York Times bestselling author of The Giver of Stars, Still Me, After You, Me Before You, The Peacock Emporium, The Horse Dancer, Paris for One and Other Stories, One Plus One, The Girl You Left Behind, The Last Letter from Your Lover, Silver Bay, and The Ship of Brides.

She lives with her husband and three children in Essex, England.

Thanks for stopping by today. I know today’s post is a bit lengthy, but I thought you’d enjoy the interesting tidbits. Does a story have more weight with you with if it is based in truth?

A Good Enough Mother

I’m delighted today to share a fascinating new book with you by author Bev Thomas that hits bookstores today. What happens when an experienced therapist starts breaking all her own rules? This is the fascinating question at the core of A GOOD ENOUGH MOTHER (Pamela Dorman Books / Viking; On Sale: April 30, 2019) – a powerful debut novel about motherhood, grief, and obsession set inside the secret world of therapist and patient.

Ruth Hartland is an experienced therapist at the top of her game. The director of a renowned psychiatric unit for trauma victims, she is wise, intelligent, successful, and respected by her peers. But her calm professional demeanor belies a personal life full of secrets and sadness.

The mother of grown twins, she is haunted by the fact that her son Tom, a beautiful but fragile boy who could never seem to fit in, disappeared eighteen months ago. So, when Dan—a volatile new patient bearing an eerie resemblance to Tom—wanders into her waiting room, it’s not long before her judgment becomes clouded, boundaries are crossed, and disaster ensues.

Bev’s debut novel is a powerful page-turner about motherhood, grief, obsession, and the importance of letting go.

A clinical psychologist herself, author Bev Thomas has in-depth knowledge of therapy and mental health and takes readers inside Ruth’s head with rich detail and realism. Who among us hasn’t wondered what goes on in the private thoughts and life of a therapist? What is it like to be a sounding board for someone else’s troubles—and how do you deal with your own demons in the meantime?

A deeply compelling narrator, Ruth is poised on the outside but troubled within, incapable of moving on, fixated on how she failed her son and whether he can be found. With her family in pieces and her marriage crumbling, Ruth finds this new patient Dan is both a balm and a landmine—he is clearly unstable and manipulative, but he is also the shadow son she might actually be able to save. As Ruth twists herself into knots about her duties as a mother and a therapist, she becomes frantic and reckless, events spiral out of control, and her once calm and orderly life is violently disrupted.

A GOOD ENOUGH MOTHER will have readers on the edge of their seats, but it is also a brilliant, beautiful story of parenting, of how love consumes us and how difficult it is to heal from tragedy, even when we must.

Here’s a conversation with Bev.

The protagonist of A GOOD ENOUGH MOTHER is Ruth Hartland, an experienced therapist who specializes in helping trauma victims. You were also a clinical psychologist for many years and have an in-depth understanding of this world. What made you want to explore the patient-therapist relationship in fiction and how did your real-life experiences inform the novel?

Bev:

In my work, I had always been very interested in grief and loss – powerful emotions that not only underpin the human condition, but frequently find their way into the therapy room. But I was initially reluctant to explore the therapeutic world in fiction, as I didn’t want the focus to be on a patient. It was only when I flipped the concept and made the protagonist a flawed therapist instead, that the story began to emerge. What if a brilliant therapist is blindsided by feelings of grief about her own missing son? What if one of her new patients reminds her of him? And so the story began. 

All the detail around the case work is fictionalized, but the world is real. The workings of a National Health Service [NHS] department, the therapy work, and the understanding and treatment of psychological difficulties are very much drawn from my experience of working as a clinical psychologist in the public sector.

How do you feel about the way therapy is typically depicted in popular culture, including books, movies, and television shows? And why do you think people are so consistently fascinated with this subject?

Bev:

I find that in popular culture, therapy is often used as a plot device rather than something to be explored in its own right. There are many different types of therapy, but since my training was in the psychoanalytic model, it was this area that I wanted to explore in greater depth in fiction. It places emphasis on the transference, the relationship between therapist and patient, and the importance of boundaries, and these are the elements that get played out in Ruth’s story. 

Therapy is about enabling a person to make sense of their own life story. I think the general fascination with therapy in the media is partly because it’s such a private world: just two people talking in a room. There’s both an intimacy and secrecy to that relationship. In my book, people come to therapy feeling desperate, and hope their lives will change for the better. By opening a window into this world, the reader becomes a fly on the wall, and by seeing it all through Ruth’s point of view, the reader is simultaneously party to, and full of, her anxieties and struggles. People are endlessly fascinated and intrigued about other people’s lives, but I believe it’s more than just curiosity. I think people want to ‘listen in’ to learn about what makes people tick, in order perhaps to apply that learning and wisdom to their own lives.

There is clearly an appetite for this subject matter. Among recent works of nonfiction, there is the brilliant An Examined Life by the psychotherapist Stephen Grosz, where he writes beautiful case study vignettes. They read like perfect short stories that teach us about life, love, emotions and relationships. On television, the series In Treatment with Gabriel Byrne was an excellent portrayal of the complexities of psychoanalytic psychotherapy.

A GOOD ENOUGH MOTHER is also, as the title suggests, about the responsibilities and challenges of motherhood. Why did you choose to ground the novel in Ruth’s role as a mother and in her relationships with her children—and were there particular themes or issues you hoped to explore?

Bev: 

In my clinical work, I became particularly interested in attachment theory, and how this can affect the relationship between a mother and child. The title is taken from the writings of Donald Winnicott, a British pediatrician and psychoanalyst. It refers to the necessary progressive detachment of a mother to her child, so that the child is able to develop appropriate independence. The aim is for something less than perfect, not all encompassing, enabling a child to learn to thrive. In the book, the irony for Ruth is that, despite her best intentions, it is her own difficulties in separating from her son that contribute to his problems. 

Attachment and mothering are key themes in the book, reflected in the relationship between Ruth and her mother, Ruth and her son Tom, and also what we come to learn about the relationship between Dan and his mother. We also see how patterns can unintentionally be repeated through the generations. And in making Ruth the mother of twins, I wanted to help the reader to see differences in the way she parents her two children. Carolyn, as the overtly less ‘needy’ child, gets much less attention and focus, which clearly affects their relationship.

I think the book highlights a general tendency towards ‘over parenting’ and perhaps taps into the maternal anxiety of our generation. We are bombarded with messages that encourage perfection, success, and the emotional happiness of our children. And while we of course need to offer love and support to our kids, we also need to know when to stand back and let them find their own way, however painful that might be. 

Because of your background, you already had firsthand knowledge of psychological therapy and psychoanalytic theory before beginning this book. But you did do some additional research while writing. Can you talk a little bit abot what that process looked like, and what you learned more about?

Bev:

I did further research into the psychology of trauma. It was something I had encountered in my clinical work, but I was able to deepen this understanding through research, particularly into the psychoanalytic understanding and treatment of trauma. I came to appreciate the difficult and enormously valuable work done by therapists who treat the survivors of awful tragedies and traumas. We might read those stories on the front page of the paper, or see them on the evening news, but we don’t always think about how those people go on to live their lives after experiencing such terrible events. While Ruth is a flawed character, I hope readers will gain an insight into the psychoanalytic model of therapy and the extraordinary work done by skilled therapists in this field.

I also did further research into missing persons. I was appalled by the statistics of young people and adults that go missing every year.  My research focused on the lives of families and loved ones who are left in an awful limbo, a state that has been described as an ‘ambiguous loss’—a particularly painful psychological experience that is punctuated by hope, uncertainty, and a lack of closure.

From the first introduction of Dan—Ruth’s new patient who bears a striking resemblance to her missing son—it is clear that he is damaged and manipulative. Yet Ruth is drawn to him all the same, and the reader must wait with bated breath to see just how bad things get. How did you go about building suspense, and were you inspired by any other novels or films?

Bev:

I probably spent an inordinate amount of time on the opening chapter! It really needed to set up the book, revealing simultaneously both the risk and the inevitability of Ruth’s choice to continue seeing this patient. The reader needs to know it’s unwise, but also to understand the pull. In the book, the two parallel stories of Dan and Tom are interwoven. In each strand, there are important questions to which the reader wants answers, and it is the slow and steady revelations that build suspense, continuing until the narratives collide and come to a climax at the same time.

Unsurprisingly, I’m drawn to books and film that explore psychological and emotional complexities. One film that gets a mention in the book is Ordinary People, which is an extraordinary film about the aftermath of grief and loss in a family. I am endlessly fascinated about why people do the things they do.  The books and films I enjoy the most are often about ordinary people’s lives. The dynamics of family life are steeped in conflict and tension and encapsulate huge drama.

One of the fundamentals for me in writing this book was to ensure the characters make ‘psychological sense’.  I wanted the reader to really believe in them as characters; back stories, motivations, emotions and subsequent behaviors had to be believable and true. 

In many ways, Ruth represents the archetype of the “wounded healer.” Can you expand on that idea a little further, and what it means in the world of this book?  

Bev:

The “wounded healer” was a term originally created by the famous psychoanalyst Carl Jung. It refers to the idea that analysts are compelled to treat patients because they themselves are ‘wounded.’  

Many people in the caring professions come to the work because they are interested in it, but also perhaps because they have also had difficult personal experiences.  Therapists, just like all people, deal with the complexities of emotional and family life, and this can often add, rather than detract, from ability to do a good job.

As is highlighted in the book, however, a problem arises if work becomes a way of trying to heal a personal problem. For Ruth, helping and fixing was something that was rooted in her complicated childhood. She was the child of an alcoholic, and after her father left her family, she was the sole caretaker of a mother who was volatile and inconsistent. Undoubtedly, this life experience played a part in her decision to train as a therapist – and probably contributed to her being an extremely good one.

Yet, it is her more recent, current grief for her missing son that is her undoing. She is ‘wounded’ by this trauma, so at the very time she needs to be pulling back, she sinks in deeper, and Dan becomes a focus of her feelings of grief and despair. 

Therapists are not immune from the tragedies of life, and support and supervision are essential to ensure that their work is not compromised by their personal lives. In the book, Ruth has a supervisor, but she is not honest with him, hiding crucial information because she knows exactly what he would say if he knew the truth. She fails to practice what she preaches. 

Without giving too much away, A GOOD ENOUGH MOTHER culminates in a terrible act of violence. But the book doesn’t end there, and instead shows the characters working through the aftermath—confusion, grief, penance, acceptance. Why was it important to you to examine the effects of trauma and to grapple with the toll that this violence takes on the characters?

Bev: 

There is a multilayered aspect to the book, as I wanted to create mirroring between the emotional experiences of the characters. We see how Ruth’s childhood feeling of suffocation and lack of individuation at the hands of her mother is mirrored in her relationship with her son. We also see how her unresolved trauma regarding the disappearance of Tom draws her inexorably to Dan, as she’s compelled to try to find a way to ‘fix’ him, in a way she has failed to do with Tom. Dan was looking for a mother; she was looking for a son. It was a perfect storm. Interweaving these stories was fundamental to the plot, but I also wanted to make sure the emotional fallout following the tragedy was similarly multilayered. It couldn’t be a clearcut line of blame and responsibility that would fall at the door of one person – life very rarely works that way. It felt important to show the subsequent emotional unravelling in all its complexity.

What do you hope readers take away from A GOOD ENOUGH MOTHER?

Author Bev Thomas

Bev:

First and foremost, it’s a book of fiction, and so I hope they enjoy it and find the narrative thought-provoking. But I also hope they learn something new about the model of therapy, and the fact that you don’t need to be in a therapy room to find the concepts useful. I hope people will take away the value of acknowledging and experiencing our feelings. While Ruth thinks she is in control of her world, she is in denial about the strength of her deep feelings of grief and loss. But these feelings seep out. While there’s no instant ‘cure’ for such feelings, talking and connecting with them is essential. Ruth’s state of denial involves the suppression of feeling and that is what causes problems. 

I’ve worked in the NHS for many years, and currently work with staff teams in mental health services. On a daily basis I work in a system that is stretched and under-resourced. Mental health problems are increasing and services to support people are decreasing. It was my aim to highlight this pressure in the book. In one chapter, when Ruth works with a traumatized staff team, we see firsthand the tragic impact of the unavailability of in-patient beds for a desperately unwell patient. Services for mental health patients are shockingly underfunded and as a patient group, they are often disenfranchised and without voice and power to demand better services. One in four people will be affected by a mental health problem in their lives regardless of culture and social class, so this is an issue we should all be paying attention to. In particular, the book highlights adolescent mental health issues and so I hope it will draw attention to our responsibility for the youngest and most vulnerable in our society.

Now for those who aren’t familiar with the author, here’s a bit of background on her.

Bev Thomas was a clinical psychologist in the NHS for many years. She currently works as an organizational consultant in mental health and other services.

She lives in London with her family.

Thanks so much for stopping by today. So, what are your thoughts about a therapist that starts breaking all her own rules? Do you think there are certain times and circumstances that allow that?