History comes alive in HONOR AMONG OUTCASTS — released in conjunction with Black History Month

I’m proud to announce the release today of HONOR AMONG OUTCASTS, the second book in my Civil War-era DarkHorse Trilogy centering on the unorthodox friendship between a Southern abolitionist and a group of escaped slaves.

Set amid the bloody Missouri-Kansas guerrilla war of 1863, HONOR AMONG OUTCASTS takes you on a pulse-pounding journey of desperate men and women caught up in the merciless forces of hatred and fear that tear worlds apart—and affirms the healing power of friendship and love to bring them together.

If you enjoy journeying to the past through fiction, stories depicting actual events, and inspirational tales that will touch your heart, you’ll relish the adventure that awaits in HONOR AMONG OUTCASTS — a great read as a stand-alone novel or as part of the DarkHorse Trilogy.

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Order HONOR AMONG OUTCASTS now on Amazon — print or Kindle. Other outlets to be posted soon.

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What brought this unusual group to Missouri in the first place? Read THE LIES THAT BIND, Book 1 of the DarkHorse Trilogy, and find out. A Readers' Favorite!

And stay tuned for SOMETHING IN MADNESS, the final book in the trilogy, set in Mississippi during Reconstruction.

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And late this year, something completely different...

THE ANTIQUITIES DEALER, a futuristic thriller about antiquities dealer David Greenberg, who is drawn into a conspiracy by an ancient Israeli society to clone the great minds of history — beginning with Jesus Christ — think Hitchcock meets Dan Brown, with a dash of Michael Creighton!

A Civil War Monument Worth Saluting: Lincoln University’s Soldiers’ Memorial Plaza

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With controversies over Civil War and Confederate monuments and statues continuing in the news, I thought it timely to reflect on my experience researching some of the heroes, events and places in Missouri that inspired my upcoming historical novel, Honor Among Outcasts: DarkHorse Trilogy, Book 2.

A particularly moving and historically important site is the Soldiers’ Memorial at Lincoln University, a historically black college founded by the veterans of the 62nd and 65th U. S. Colored Infantry in 1866 to educate blacks after the Civil War.

Just off Missouri Highway 63 in Jefferson City, the state capitol, a visit to the campus of lovely modern university buildings, peopled by a vibrant student body, takes you suddenly and jarringly into a troubled, yet hopeful, time of immense challenges to a people recently freed from generations of subjugation and abasement.

Arriving late-morning, I first stopped at the school’s large ROTC facility seeking directions to the plaza, as students in workout clothing were engaged in strenuous exercise in strict formation, ignoring the summer heat, preparing to serve the nation that the school’s founders so nobly gave their last full measure of devotion to preserve.

Approaching Soldiers’ Memorial Plaza, Lincoln University, Jefferson City, Mo.

Starting up the steps toward the plaza, I found myself passing two isolated bronze-cast Union Colored Infantry soldiers trudging toward the memorial, weary from battle, carrying their backpacks and rifles, their faces and bodies reflecting the hardship and danger they’d experienced. It was an eerie feeling.

Lifting a fellow soldier up to freedom, Soldiers' Memorial, Lincoln University

Continuing, I glanced up and my heartbeat accelerated when I spotted the frieze on the south side of the pedestal depicting a line of marching black Union infantry. Atop the pedestal were four unarmed, uniformed black soldiers: the two standing in front offering books, while another stands behind them. In a dramatic twist, the fourth soldier on the pedestal is kneeling down to lift the lead soldier in the frieze up onto the pedestal. Their hands and arms are locked tightly together: one soldier helping to lift another up to freedom, citizenship and learning! This moving depiction put a lump in my throat; it told the story better than thousands of word could ever hope to.

Museum of Missouri Military History, Jefferson City, Mo.

Blacks Banned from Education
 

Prior to emancipation on Jan. 1, 1863, blacks in Missouri and elsewhere had been barred by law from learning to read and write. Of course, some free blacks were well-educated. And there was some surreptitious learning by bondsmen and -women, a dangerous business for Missouri’s 150,000 slaves, most of whom toiled near the Missouri River that cuts the state roughly in half. The war changed all that.

Over 100,000 black servicemen fought bravely for the United States during the war, hoping to free their people and preserve the Union. Of course, their primary motivation was personal freedom, which military service granted, a farsighted policy of President Abraham Lincoln. But another major incentive to enlist was the chance to learn to read and write, offered by the abolitionists of the American Missionary Association who taught blacks at their regimental schools — a story not widely told.

Yes, black soldiers fought for their freedom and for the country where they were born; but we should remember that they were fighting for the right of every person to fulfill his or her potential as human beings.

By the time the war ended (technically), the nation’s impoverished black population, following generations of debasing enslavement, was hungering for knowledge, a significant addendum to our great national epic. The newly freed people believed that only through learning could they avoid being re-enslaved and that learning would also open the doors to prosperity and full citizenship for themselves and for their children.

Unequal Pay for Blacks

Adding to their sacrifice, black infantrymen were paid less than whites. When the Union began accepting black soldiers, the military only paid black soldiers $7 a month, while white soldiers received $13. There was an attempted strike by black troops in the East to protest this inequality, but the leading black sergeant was hung, and it took an act of Congress in 1864 to grant equal pay to blacks, who faced such challenges stoically and bravely. You can find full details at the National Archives.

Educator James Milton Turner, Boonville, Mo.

Tribute to Educator James Milton Turner
 

Another significant memorial I found was in Boonville, which promotes several nearby historical Civil War sites, mainly skirmishes and raids. But I was captivated by a memorial in Morgan Street Park just off Main Street, which among the visages of the town’s early luminaries, including George Caleb Bingham, stands a bust of black educator James Milton Turner.

Born into slavery in St. Louis County in 1839, James Milton Turner founded a remarkable 52 schools for black citizens after the Civil War. In their desire to be educated, even as desperate as their economic situation was, post-war blacks founded and taught at their own schools — and taxed themselves to support them. (One former Confederate, none too pleased by the development, complained black schools were “springing up like mushrooms after a rainstorm.”) The bust of James Milton Turner is modest; yet his legacy is profound, far-reaching.

Yes, the Civil War was perilous for blacks, but the peace was no less threatening, nor less deadly. I was heartened to find such respectful tributes to those black citizens of Central Missouri who suffered and sacrificed for a more perfect Union.

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Actual Events Depicted in Honor Among Outcasts

* Drawing inspiration from Missouri’s 62nd and 65th U. S. Colored Infantry, Honor Among Outcasts features the fictional Missouri State Militia 9th Colored Cavalry, the DarkHorse Regiment, outcasts all, who proudly and honorably serve their country. The DarkHorse troops also get entangled in the black-white pay discrepancy, but in an ironic and humorous plot twist, which I won’t divulge here.

* Quantrill’s 1863 Massacre of Lawrence (Kansas), where 400 Confederate guerrillas/bushwhackers actually burned the town and slaughtered its male citizens.

Painting by George Caleb Bingham showing the destructive General Order No. 11 at The State Historical Society of Missouri, University of Missouri, Columbia, Mo.

* The Union’s General Order No. 11. In Honor Among Outcasts, four black members of the fictional 9th MSMCC, attempting to protect a pro-secession family from being murdered by corrupt Union troops, risk death by defying orders. The infamous Order 11 actually wiped out four entire counties to clear them of pro-Confederate citizens and supplies against any potential Southern invasion.

* And in 2018, fiction will again follow fact in the final novel of my DarkHorse Trilogy, Something in Madness, when former slave and Union veteran Big Josh Tyler (inspired by the likes of James Milton Turner) returns to Mississippi during Reconstruction determined to form a school for blacks, but is confronted by the Southern Black Codes and deadly “Gun Clubs.”

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Think today’s political climate is bad? Look at Civil War Missouri, where atrocities between neighbors were commonplace

Union General William Tecumseh Sherman’s famous phrase, “War is Hell,” was never more true than along the Missouri/Kansas border during the American Civil War.

Certainly, the battlefield slaughter and destruction in the eastern part of the country was brutal. But the savage guerrilla war fought in western Missouri took violence and inhumanity to a new level—even by today’s standards.

Pre-war hatred a way of life

During the antebellum period, the counties bordering the Missouri River, with its rich bottom-land, were home to the majority of the state’s slave population. Hemp, a valuable commodity, was grown on plantations there and shipped east to St. Louis for transit via the Mississippi River down to New Orleans.

Decades of bloody conflict between pro- and anti-slavery factions were prevalent along the Missouri/Kansas border, which meant bad blood was already at the boiling point, waiting only for secession to touch off an explosion.

And explode it did.

Prior to the war, anti-slavery Kansas Jayhawkers and pro-slavery Missouri Rowdies raided each other back and forth across the border, spreading killing and destruction. (As part of this conflict, anti-slavery martyr, John Brown, became infamous for massacring pro-slavery civilians in Kansas.)

Battle of Pea Ridge (Missouri), March 7-8, 1862

After the Confederates were defeated at the Battle of Pea Ridge, many returned to their western Missouri homes. But Kansas Jayhawker raids stirred them to action again. In retaliation, the Confederates became guerrillas, called bushwhackers, and an escalating cycle of horrors, pitting neighbor against neighbor, was born.

How bad was the violence? As nasty as it gets.

Both the Confederate guerrillas and the Union guerrilla-hunters carried out scalpings and displayed the trophies on their horses’ pommels. Yes, Americans actually did this to other Americans. Civilians were robbed and murdered; homes, farms, and towns were burned.

Quantrill's infamous raid on Lawrence, Kansas

On Aug. 21, 1863, Quantrill’s Confederate guerrillas raided Lawrence, Kansas, burning the town, massacring its men and boys. To clear out western Missouri, the base of most of the guerrilla activity, the Union issued General Order No. 11. Under Order No. 11, the Union army destroyed four entire Missouri border counties, burning the farms of loyal Unionists and Confederate sympathizers alike. The whole area became known as “the burnt district,” and that, in fact, is what it was.

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NOTE: Researching the Civil War for my DarkHorse Trilogy brought this tragic period in our history into focus for me. Placing the characters in Honor Among Outcasts (book 2 of the trilogy) into this treacherous landscape allowed me to dramatize one of the book’s central themes—that friendship and love can overcome violence and intolerance. Naive, maybe. But who knows what people trusting each other can achieve!

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Watch for news about Honor Among Outcasts, scheduled for release this fall by TouchPoint Press!

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If you haven't read book 1, The Lies That Bind, order now!

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Stranger than Fiction: The Intersection Between History and Imagination

The other day I was thinking about why so many of us love historical fiction. Why historical fiction, an adaption built upon past reality, as opposed to literary fiction, mystery or thriller genres, wholly based upon creative or imaginary constructions? (Some historical fiction is, in fact, quite literary.)

For one, history is much richer than most writers’ imaginations. As human actions are so varied and unpredictable, actual history is, therefore, far stranger than fiction. Yet, if you think of the figures of the past as real people—flesh and blood creatures with fears and desires like our own—then even their most improbable actions make perfect sense. We know what they did—that part is history. But deducing their motives, understanding the conflicts inherent in their times—and writing about them in a way that shows them to be parallel to the issues of our time in a meaningful way—takes imagination.

We writers tend to sculpt history’s icons to fit narratives that justify our own belief systems, to use the real struggles of historical figures to prove that our own ideas are somehow the inevitable result of humankind’s progress. But the men and women of the past were not chess pieces moved by the grand hand of history. They were people as complex and contradictory as you or I, living in what was not really a simpler time. Far from it.

Bringing History Alive
In every crisis throughout history, the result was in grave doubt at the time it transpired. Thus, the real drama that makes a good story already exists. It is up to the writer to bring it alive. Further, not all the historical forces we admire today succeeded. Look at Athens, its Golden Age snuffed out by military force. Or consider the Roman destruction of Jerusalem. The so-called “Good Guys” sometimes lose; and their cause, if not lost entirely, can be delayed, often for centuries.

Even when the Good Guys triumphed, it was often only by a razor’s edge. Take the American Revolution. Was democracy certain to survive against the powerful British world empire? Not at all. Was the Union destined to win the America Civil War? In fact, was slavery necessarily destined to end in the Nineteenth Century? Perhaps without Abraham Lincoln’s personal predisposition against the South’s “peculiar institution,” 1865 might have been just another year.

Literature is Character
And that gets to my main point—that historical figures were real people, with depth, personal quirks, and dimensions that even the greatest writers would have difficulty creating. Think of Abraham Lincoln as a fictional character. Problems with depression. Burdens that would crush most humans—including the loss of two beloved children! And his wife who had deep problems of her own. Not to mention he had a chaotic war to manage. Yet, his wisdom soared above his time. His mercy and foresight are justifiably legendary. And the whole poor boy/self-taught/log cabin background? How about rising from a country lawyer to represent the powerful railroads? And taking a stand against slavery, with his great Cooper’s Union speech, and then becoming president?

And Lincoln’s wit and storytelling? He was a great writer himself, not merely his speeches, but also his use of simple country humor to explain very complex issues.

How could you possibly conceive of a greater character than that?

Two Categories
There is more than one type of historical novel. One type takes actual events and, through good writing, dramatizes them. This is what Michael Shaara has done in The Killer Angels, one of the novels in his trilogy in which he dramatizes battles of the Civil War.

Then there is the imaginative use of the past to create an entirely new story, an alternative history, with deep themes. Joseph Conrad does this in Heart of Darkness, which makes an important statement about imperialism. Or E. L. Doctorow’s Ragtime, which mixes historical figures and fictional characters to reveal issues surrounding racism, marriage, women’s rights, and more.

My novel, The Lies That Bind (Book 1 in my DarkHorse Trilogy), is this second category of fiction. Using some unusual twists and concepts, The Lies That Bind attempts to create a new experience for the reader, even though it is set in a familiar place and time, a rural hamlet in antebellum Mississippi. Using this method enabled me to offer the reader different perspectives on race, gender, family dysfunction, friendship and brotherhood, power lust, economic markets, and a host of other issues. Precisely because The Lies That Bind isn’t tied to actual events, I was free to add in surprising plot twists, as well as pathos, irony, humor, really anything that I felt fit the story.

There is much good reading out there to fulfill and enlighten historical novel readers of all kinds. For me, I’m re-reading Umberto Eco’s The Name of the Rose.

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Historical Novel Society Review of The Lies That Bind: “The action and drama are compelling from the first page to the exciting conclusion. The animosity between the French plantation and Hurst builds to an exciting and surprising climax. Antoinette is so mysterious, one doesn’t know of her mission until the end. Highly recommended, and I am anxious to read the next installment.”

Playing with Story Structure to Delight the Reader

Last Saturday, I participated in the St. Louis Writers Guild’s annual Writers in the Park event, where area writers could attend workshops, network and sell their books to the public. One of the sessions I attended was David Lucas’ (president of the SLWG) presentation, which outlined several types of novel structure. Listening to him made me think about the ways in which I use these techniques to structure my novels.

Telling the Story
As I’ve mentioned before, I’m working on Honor Among Outcasts, the follow-up to The Lies That Bind (book 1 of my DarkHorse Trilogy). My novels are so imaginative, one could assume I develop them by “seat-of-the-pants” method. I confess, I do like to let the stories go where they will, to create interesting characters and to let their natures build the action, to let them surprise the reader and me. As a writer and a reader, I like the little surprises that show up in a story as much as anyone.

However, there is much more method to my madness than that.

The Structure
David covered the four-part structure, which I often rely on to give the story a spine, to make it easy for the reader to follow.  For example, the first two sections might encompass these elements:

·      The Set-up. To establish The Lies That Bind, I put all the major characters in a troubling situation in the first quarter of the book. For instance, Durksen Hurst, my “hero” (or anti-hero),  and his partners, a group of slaves, devise a scheme to build their own plantation called DarkHorse. By the end of that section, they’ve acquired the land and are in a pretty precarious position, having to build a plantation and not get exposed, with death and danger lurking around every corner.

·      The Development. The second section begins with Antoinette, whom Durk loves, ready to abandon him on her own secret mission. Antoinette, too, has her set up and development. You will find Cassandra-like, mysterious Antoinette a very complex woman, certainly not a typical “heroine.” Additionally, in this section, Durk and his partners clash with the wealthy and powerful Frenches (Devereau French and his mother, Missus Marie Brussard French), who are trying to do them in.

A word here: In defiance of typical structure, The Lies That Bind has a second hero (or “anti-hero”) in Durk’s antithesis, Devereau French. Devereau, who is struggling for his own freedom from his manipulative mother, is not your typical villain. Rather, Devereau has his own set of problems, which will delight and amaze. Readers will see how Durk’s and Devereau’s problems are different—and yet the same.

Sections three and four have their own characteristics, but that’s for another blog.

It may seem that I’m constantly defying structure; yet I am really just playing with standard structure. My goal is to produce constant surprises for the reader and, I confess, to amuse myself!

Mythology as Structure
In his presentation, David also tied storytelling to Joseph Campbell’s writings on myth. Campbell studied all the world’s myths and found common elements among them, elements that are found in the most successful fiction. Theoretically, every story we read is, in essence, a new myth. One can argue this stuff all works based on our basic human wiring. Right?

Campbell writes that all myths, symbolically, feature a hero on a journey. The hero leaves the ordinary world and is called to an adventure. In The Lies That Bind, Durk plunges into the swamp/forest; he and his partners scheme to build an egalitarian plantation in a slave society.

According to Campbell, at some point the hero is tested and discovers who his allies and his enemies are. Clearly, Durk’s partners are his allies: their lives all depend on trusting each other. And the Frenches are his enemies. Right? Not so fast!

Devereau (my other “hero”) is being driven by his mother to destroy Durk and his partners. However, Devereau resists—he doesn’t want to do it. Now Devereau, as a second hero, is defying the mythological structure. Is he a friend or enemy of Durk’s? Why won’t he accept the role of enemy?

Finally, there is resurrection in the hero’s story, where the hero’s final problem is solved. Here, too, I give it all a twist so that the reader is surprised and left nearly breathless. Does Durk solve his problems (many of which he created himself)? Does Devereau gain freedom from his mother? Does Devereau defeat Durk or vice versa? Or do they both experience something a bit more ambiguous?

Of course, there are more stages to a myth than the ones I’ve provided. To learn more, see Campbell’s ground-breaking work, The Power of Myth. (See Bill Moyers PRB series.)

As you can see, from beginning to end, The Lies That Bind toys with traditional structures. I hope I’ve played well on readers’ expectations and delighted them with the book’s many shockers.

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News Flash! The Lies That Bind received two new flattering reviews this summer:

·      Historical Novel Society: “The action and drama are compelling from the first page to the exciting conclusion. The animosity between the French plantation and Hurst builds to an exciting and surprising climax. Antoinette is so mysterious, one doesn’t know of her mission until the end. Highly recommended, and I am anxious to read the next installment.”

https://historicalnovelsociety.org/reviews/the-lies-that-bind-book-one-of-the-darkhorse-trilogy/

·      Midwest Book Review: “The debut novel of author Ed Protzel's 'Dark Horse Trilogy' series, ‘The Lies That Bind’ is a deftly crafted and consistently compelling read from beginning to end. While strongly recommended for community library Historical Fiction collections, it should be noted for personal reading lists that ‘The Lies That Bind’ is also available in a Kindle edition ($4.99).”

http://www.midwestbookreview.com/sbw/jul_16.htm#Fiction

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Arrange a Visit
I love speaking to book clubs, organizations, bookstores or libraries about writing, history, or (of course) The Lies That Bind and my DarkHorse Trilogy.

To request a visit, just send me an email at: ed.protzel@att.net.

Speaking at Left Bank Books, St. Louis