Q. What made you decide to write a novel
about the Civil War in Georgia? A. I had long been interested in the fact that many citizens
and towns in the South were, in fact, against the war from the beginning.
My own hometown, Madison, Ga., had a sizeable minority that was against
the war, and I combined that with stories I’d heard from my own family’s
involvement in the conflict.
Q. How much of A Distant Flame is true? A. I spent ten years researching and writing
the book and had it vetted by a Civil War historian before even submitting
it to my agent. Virtually everything that happens during the battles from
Dalton to Atlanta in the spring of 1864 in my book is factually accurate,
down to the weather. The movements of troops, the outcome of engagements,
the lay of the land—all of this is accurate, I believe. Still, I
want to make clear I am not a historian, and where necessary, I sometimes
changed facts, though only in small, insignificant ways.
Q. What history should someone
wanting to know about the Atlanta campaign read? A. I would strongly recommend a book called
Decision in the West by Albert Castel.
Q. What kinds of material did you use in your
historical research? A. In addition to many books, which are cited
at the end of the novel, I read diaries, letters, newspapers, and official
government records of the war in writing the novel.
Q.How do you decide what
is “true” when so much was happening on both sides during the
Atlanta campaign? A. That’s a fair question. A historian’s
duty is to balance everything, to use primary documents, and to make a
judgment about what sources can be relied upon. A novelist’s duty
is to tell what he or she sees as “true” in the context of
the story. I imagined only a bare fraction of what was really happening—more
than that would not be manageable in the format of a novel.
Q.What do you think about
the idea of the Old South? A. That it’s largely a myth that came
from the ashes of the South’s defeat. While I honor those who fought
and died on both sides, I think that most of the South’s positions
in the war were in error and that slavery was a grave moral evil that had
to be eradicated. I am therefore glad that the South lost the war.
Q.Did you have relatives
who fought in the war? A. Two of my great-grandfathers did, and one
was wounded at the Battle of Griswoldville near Macon and walked home to
South Carolina after he healed. He was part of the Athens (Ga.) Home Guard.
Interestingly, I found out after finishing the novel that my nine-greats
grandfather Alexander Herring, Jr., was also the great-grandfather of Abraham
Lincoln.
Q.Some authors’ books
are much alike throughout the course of their careers. Yours have all been
quite different from each other. Why? A. The short answer is that I hate to repeat
myself. A more accurate one is that my interests range across many topics
and time periods, and I have gone toward what interests me.
Q.How does being a creative
writing professor at the University of Georgia affect your writing? A. I frequently have superb students, both graduate
and undergraduate, who challenge me and give me a fresh outlook on writing.
I love teaching, and it keeps me involved with many of the great books
that I routinely teach.
Q.What other Civil War novels
would you recommend? A. There are hundreds, but I’d particularly
recommend The Killer Angels by Michael Shaara; Andersonville
by MacKinley Kantor; Cold Mountain, by Charles Frazier; The
Red Badge of Courage, by Stephen Crane; and The Wolf Pit,
by Marly Youmans.
Q.Did you read everything
available on the Atlanta Campaign to craft your novel about it? A. Hardly. Authoritative estimates claim between
50,000 and 80,000 books have been published on the American Civil War,
and there are thousands of still-unpublished letters and diaries, as well
as many yet-uncovered contemporaneous news accounts. Not even the best
Civil War historians have read more than a fraction of what’s available.
It isn’t humanly possible.
Q.Is the fact that so many
people know so much about the Civil War a problem in writing a novel about
it? A. A huge one. But it’s also an interesting
challenge, and I had a great deal of pleasure doing it.
Symphony No. 17: Tenebrae
This symphony is subtitled "Tenebrae," which is a religious service in the Christian church but literally means "shadows" or "darkness" in Latin. It is a quiet, contemplative symphony, a single movement for full orchestra. (29'48")
Symphony No. 18: For the Civil Rights Martyrs
This work is subtitled "For the Civil Rights Martyrs" and is in memory of James Chaney, Andrew Goodman, and Michael Schwerner, murdered in Mississippi in the summer of 1964 while working for Civil Rights. It is also in memory of all who died in the struggle. It is in two movements, "The Lynching" and "Souls."
One: The Lynching (15'25")
Two: Souls (14'25")