Tag: #martywingate

Elise’s Thoughts and Book Descriptions

The House for Lost Children and The German Sisters by Marty Wingate take readers on an emotional roller coaster ride. People will realize how kindness, compassion, and security can help in restoring hope to those who have experienced severe trauma and heartache.

The plot of The House for Lost Children has divorced Lady Louisa Brightford and her best friend/cook, Iris, alone in a countryside mansion. David, her son, is away flying Spitfires for the British Air Force. Trying to keep relevant, she learns of a group of children and their two teachers displaced by a bombing in London. Realizing Oxburrow Manor can be a boarding school for the nine evacuee children, she calls the family lawyer and asks for his assistance in moving them to the mansion.

One of the children, Gracie, is traumatized to the point of becoming mute after being buried in the rubble with her dead mother. Louisa adores all the children and does everything she can to give them a good home but takes a special interest in Gracie. She has not spoken since she lost her mother, but clings to Louisa who continues to offer her love. Louisa also finds herself becoming closer to Jack Barry, one of the teachers. So, when the governors of the charity that run the school threaten to take the children away because she is a divorced woman, she will do everything in her power to keep them.

The second book in the series, The German Sisters, was inspired by the true events surrounding Kindertransport. It’s a bitter- sweet story. The girls, Dagmar and Heike, were sent to an unknown country, England, to escape the horrors of the Nazi persecution of the Jews yet while at Oxburrow with Louisa they have fellowship, love, and begin to heal.

Louisa and Dagmar form a bond and offer each other love and understanding, drawing from each other’s strength. Dagmar realizes as the older child she must be responsible for Heike, but once at Oxburrow a lot of that responsibility is no longer needed. Now Dagmar must try to find out what happened to her parents and does so with Louisa’s help.

These stories seem very realistic. They are both heart wrenching and heartwarming. Readers will take the emotional journey with the endearing characters. The only fault with these books is that there are no more books to read in the series.

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Author Interview

Elise Cooper: Did you do research about the evacuees?

Marty Wingate: I had read about the evacuees while doing research for my other book Glamour Girls. I had also, in my own reading that I’m interested in, come across references to evacuees and where they went. I’ve seen stories on television about it. There’s one of my favorite wartime series, “Foyle’s War,” a British series which had a boy featured, who was an evacuating. So, I knew about the evacuees. And I thought this would be fun having her take in a bunch of children and animals. The idea where a lot of different people stuffed in one house is always fun. In the second book, The German Sisters, readers will see how the children adapted during the book. There are a couple of them that stayed including Gracie, Athena and George.

EC: In the first book, The House for Lost Children, there was a scene where Louisa, the female lead, was worried about losing her mansion. Please explain.

MW: I knew houses had taken in evacuees, and some country houses could be used for any purpose in the war. Sometimes the army would take them. That was what she was afraid of. Her ex-husband would want to burn the place down so he could get it back again, get the land back. They could also be used for hospitals as well.

EC: How would you describe Louisa?

MW: She is a very generous person and considered herself a part of the village. She was not a snobby entitled person. When the children came to live with her, she had welcoming arms along with her cook who happened to be her best friend, Iris. Both women were generous, loving people. Her mom had died and her father was not around a lot because he had to work, so she was pretty much left on her own. She missed having that home life. I think that Louisa was always looking for an opportunity to have that big family that she always wanted. The way she fulfilled the need of hers was to invite all these children and adults to stay at Oxburrow Manor.

EC: How would you describe the setting of Oxburrow?

MC: The village Debden Ash is made up, but Suffolk, of course, is not made up. Suffolk is a real county. And a lot of it is very flat. I love Suffolk. We go to England a lot, and we are always staying, either at the coast in Suffolk or in, western Suffolk inland. I saw a manor and like some characters, the setting just came to me. I pictured it as a country house, but early Victorian, and after several generations of not having a whole lot of money around, getting to be a little shabby. Also, there’s a book by Robert Bly titled Akenfield, which is about a village of the same name. There was a reference in that book of how Akenfield was really hidden away, because it wasn’t on the main road, but a Roman road running by it. Where there was a little fold of land, and so people almost didn’t notice it. People wouldn’t even realize they were passing it because it wasn’t on the main road. So that’s how I created my vision of Oxburrow.

EC: What was the impact of Oxburrow?

MW: It was a place to heal, where children could thrive in both books. It became a home and a family to the children. It helped them with their trauma. And it was mystic. The children felt safe and protected there. I wrote how not only the children, but the adults as well, were disparate people who have their own stories and their own secrets and how they interacted within Oxburrow.

EC: What about Louisa’s relationship with one of the children, Gracie?

MW: The House for Lost Children is Gracie’s story too. Her backstory is that in the bombing, several of the children’s mothers died. Gracie and her mother were buried for two days before they were found in the rubble. This was an actual news story I read of the time. It was just heartbreaking, because they find Gracie’s mother dead, and there’s Gracie holding her hand, and will not let go. Obviously, Gracie has an enormous amount of trauma, thinking her mother’s death is her fault. When she first comes to Oxburrow she is not talking. And of all the children, Louisa sees the trauma in her more clearly. The other children miss their mothers, and they act out a little bit in other ways, but Louisa realizes she can help, and that’s how she and Gracie bond.

EC: Did Louisa in Gracie’s mind become her new mom?

MW: Gracie wears Louisa’s clothes because it soothes Gracie and helps her feel safe. Gracie’s mother loved her daughter and now that love, that support, and that security is gone. She knows her real mother died, but has a good replacement in Louisa, realizing she has security and love once again. I can’t say that Gracie would ever get rid of all that guilt, but it becomes understandable, just like grief does after a while, it doesn’t hurt as much.

EC: Why was divorce considered so bad?

MW: I turned in the first draft of the manuscript I had a conversation with my editor who is younger than I am. She said, ‘I don’t understand why that’s bad.’ I realized that I had to paint a better picture about what divorce looked like during those times. Louisa couldn’t get remarried in the Church of England at that time. There was still a huge stigma. Louisa and Jack grow close but she was afraid to commit to marriage. I think she did not face up to her hidden fear. that maybe she was the one that wrecked her marriage. She questions if it was her fault. We take on guilt that we shouldn’t a lot of times, and that’s what had happened to her.

EC: Divorce played a role for Mrs. Harrison, the children’s guardian and head mistress. Do you agree?

MW: Mrs. Harrison did not look beyond the person, because Louisa divorced. I think that she acts in that way because believes she is right. I think she’s a very caring person. She’s a very good teacher and always good with the children. She could not imagine letting the children share a house with a woman who had broken the rules, whether they were moral rules or the rule of law. She’s just too strait-laced, and it was very difficult for her to get through that. She did, but it was very difficult.

EC: What about Jack Berrie?

MW: The First World War was an awful war, where he lost friends, and was traumatized. He got married, had a baby, and his wife died, which certainly didn’t make it any better for Jack. He had a rough life, until he ended up falling into what he had always wanted to do in the first place, and that’s be a teacher. He’s a diamond in the rough.

EC: The second book, The German Sisters, has a powerful scene about the children having to leave their parents. Please discuss this.

MW: There’s a wonderful documentary from a few years ago called “Into the Arms of Strangers.” There were interviews with adults who had been part of the children’s transport coming out of Austria, Czechoslovakia, and Germany. They told amazing stories of how children had to say goodbye to their parents. The scene on the platform and on the train, came from one of those actual stories. The parents were devastated in having to give up their children and send them to a foreign country, England, but they wanted them to be safe. They wondered if they will ever see each other again.

EC: In the second book, Louisa eventually takes in two Jewish German evacuees. Can you describe the older sister, Dagmar?

MW: Dagmar and her sister Heike were two children who were part of the British rescue operation known as the Kindertransport. She’s responsible. She grows up too soon. She’s calm, fearful, a worrier, feels guilty, an observer, and is afraid for her parents. At the beginning of the story, she is ten years old when her parents say goodbye to them on the platform. The parents explained, ‘We must do this, we must get you out, but don’t forget to write the letters.’ Well, Dagmar took this on, literally, feeling she was the only one that could do this. And so that’s what follows her through the story.

EC: How would you describe the younger sister, Heike?

MW: She is sociable, attentive, sweet, happy, and rambunctious. She just bounces back. She’s tearful at first. She misses their parents, yet she thrives at Oxburrow. I think the two sisters are quite a contrast. She just fell in with Gracie and Athena, the two girls from the first book. It’s like, they are a threesome now, that she’s just that kind of girl.

EC: How would you describe George?

MW: I love George. He’s a bookworm. He was quiet in the house when there were a lot of children, but in the second book he gets a bigger part. He and Dagmar both have a way of ordering their world. They want things in the right place. I was so pleased that George had a friend. He and Dagmar are both inquisitive and love to learn, especially about maps. George and Athena have their mothers die in the bombing in the first book, but their fathers are still alive. Athena’s father is a jazz musician in London. Sometimes she thinks she hears him on the radio playing in his orchestra. And George’s father is in the merchant navy on some ship somewhere. They have that hope that they will be a family, but in the meantime, they are quite content to be with Louisa.

EC: What role does Rebecca play in the story?

MW: She has secrets and is too direct at times, can be abrupt. She works for the Jewish Refugee Committee. Her sister, Mrs. Gedge, is a Quaker and Rebecca is not. She is caring and responsible.

EC: Next book?

MW: I got a two-book deal for the historical fiction. So, it looks like these are going to be the only two. I’ve really enjoyed writing them, and I love writing about World War II.

My next book is a Christmas mystery, titled A Murder is Rehearsed, coming out in November. Its set in England and Scotland, maybe in Wales too. There is a tradition going back to early Victorian times to put on a pantomime at Christmas. They’re comedy parodies that are hugely popular even today in theaters at Christmas time. I’ve decided to set this murder mystery at a production of Cinderella in a little town in Kent in England, in 1952. Cinderella’s coach, is on a fly rigging, up above the stage and then comes down when it’s time for Cinderella to look as if she’s getting in her coach to go to the ball. But someone releases the brake on the fly rigging and it falls and hits the actor who is playing the fairy godmother and kills him.

THANK YOU!!

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