Katherine Keenum

 
Blog post alert: This 1777 eye-witness sketch of camp followers is a reminder that women participate in wars whether military commanders want them to or not. Wives, cooks, laundresses, and prostitutes—for writers of historical fiction, they can provide more than local color. A story could be told from their point of view. Also, of course, consider the artists and photographers who record wars. In this case, what would it have been like to be Swiss-born artist and coin collector, Pierre Eugène du Simitiére, during the Revolutionary War?
 

Anna Nordgren—another Scandinavian female artist who studied first at the Académie Julian and then with Carolus-Duran! She was in Paris at just the time the real Jeanette or my fictional character could have known her. She even exhibited at the Salon of 1879, which plays a part in Where the Light Falls. If I had known Lady in a Train Window when I was first researching the novel, I wonder how it might have shaped my imagination?

Writers are always being asked, where do you get your ideas for stories? and the best answer is always "I dunno." Nevertheless, there are certainly exercises that can loosen imagination, and that's fun whether it leads to a finished story or not. Consider this picture of a small train traveling in the countryside toward encroaching shadows.

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Although the contrast is supposedly between trains of 1837 and 1897, I love the way the speed of "Now" is transferred to the cartoonishly running passengers. Somehow it works visually to suggest surging energy from the oncoming (stationary) engine. And note the two classes of cars in Then, the Pullman car in the background of Now. The whole page might supply an older character's memory. Each vignette might yield a story or a plot point. Small details can add just the needed authentic touch. What would you do with it?

 

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A tip from James Gurney on the release of high-resolution images by the Chicago Art Institute led me back to this 1877 painting by Monet. It was in my mind when I wrote Jeanette and Effie’s arrival in  Read More 

When I saw this image of Colin Campbell Cooper’s Grand Central Station, my first thought was not that it might be helpful for ANONMITY, despite the 1909 date. Instead, the picture instantly recalled Claude Monet’s paintings of the Gare Saint-Lazare, which did inform Where the Light Falls.  Read More 

My husband is transcribing 19th C correspondence at the American Antiquarian Society as a volunteer project. In his last batch of letters, he found two from Frederick Arthur Bridgman to one of the lenders who helped  Read More 

Given the recent snow and ice here in the Northeast, I’ve been thinking about why books set in winter appeal. Even though the action of The Lion, the Witch, and the Wardrobe is directed toward delivering Narnia from the grip of the White Witch, it’s the snow you remember, the  Read More 

It’s hard to know why some topics fascinate us. I ride public transportation whenever I can; maybe that's why depictions of riders in a train or on an omnibus always catch my eye. For my fiction, moreover, it just seems part of world-building to know how my characters get from one place to another and how long it takes them. Mary Cassatt's In the Omnibus" reminds me of crossing the Charles River on the Red Line in Boston during the day when the cars are sometimes uncrowded. For Daumier's more typically crowded omnibus, click here.  Read More 

One of the gee-whiz pleasures for me in researching New York City at the turn of the 20th C is gawking at high-resolution photos on line. In the full view of this one at the Shorpy site, you can read ads on the El staircase and titles on the newsstand. I'm delighted with the  Read More