Welcoming Lydia Norah Connally

I have eight grandchildren, the first one born in 2010 and the newest one born two-and-a-half weeks ago. With the birth of each child, I’ve written a blog post, and today it’s a pleasure to write about Lydia Norah Connally, born September 28, 2019 in Peru. I haven’t met Lydia yet, only spoken to her on WhatsApp (which is a woefully inadequate way to love a baby). But in December, Rory and I will travel to Peru and have the joy of meeting her in person and holding her.

Lydia Norah Connally

Lydia is the third child in her family. Her parents, Brendan and Erin, are missionaries among the Quechua people of the Andes. Lydia has two older brothers: six-year-old Oliver, and almost-three-year-old Joel. Lydia, like her brothers, will grow up with both Peruvian and US citizenship. She will speak Spanish, English, and some Quechua. She’ll have friends from three or four continents, because she’ll grow up with Peruvians and the children of other missionaries. Lydia is a child of the world and of the Christian gospel.

Top: Lydia. Bottom left: Brendan with Lydia. Bottom right: Oliver with Lydia

She is also the daughter of two very strong, smart and kind parents, and I know that Lydia will spread love and hope, just as they do. I deeply believe that Lydia and her brothers are gifts not only to our family but to a world in need. I watch with pleasure as the goodness of God unfolds in their lives.

Oliver, Joel and Lydia with their loving Quechua nanny, Ana
Erin and Lydia

Creating the “Soundtrack” of a Novel

As a writer I’m often asked how I chose my novel’s setting or how I came up with the story line. Last fall, for the first and only time, I was asked how I chose the musical pieces in my book. It’s a great question.

Naturally, the person who asked is a musician: Svend Ronning, the concertmaster of Symphony Tacoma and artistic director of Second City Concert Series. He invited me to read from The Songs We Hide at a Second City performance of Hungarian music. Of course I jumped at the chance. It was an incredible privilege to share the stage with the Girsky Quartet, who masterfully performed Bartok, Haydn, Kertag and Kodaly. In an interview leading up to the joint concert and reading, Svend asked me, “What are some of the works you chose for your book and why did you choose them?” Here is the answer I gave:

In choices like this, writers often go with what they already know and love, and that was the case for me. For the most important songs in the book, I chose some that I could “hear” as I wrote. I used Caro Mio Ben by Giuseppe Giordani as a recurring song in the life of the female character Katalin Varga, because it’s a grieving love song and she’s been deeply affected by a past love affair. The song is also appropriate to her classical singing style. For Peter Benedek, a peasant, I chose a song from the Hungarian folk tradition, Folszallot a Pava. It would have been natural for him to hear the song while growing up, yet it’s musically rich enough that Katalin could use it in voice lessons. The words speak of Hungary’s suffering. 

I also included the Ave Maria that’s set to the intermezzo from Mascagni’s Cavelleria Rusticana. Katalin teaches Peter this piece when she wants to give him more difficult music. It’s crucial, though, that she doesn’t give it to him until they know each other pretty well, because anything having to do with religion would be politically risky. Sharing a risky song was an act of trust between them. Thematically, the song also connects Katalin and Peter to something higher than their own hardships, so it offers a thread of hope.  

That was what I said in the interview. I’d like to add a few more comments:

  • First off, by very happy coincidence, my editor Catherine Treadgold is a singer and used to give voice lessons. She suggested songs for my character Katalin to sing in an audition scene, and I was grateful to have the advice of a professional on this.
  • Since my characters were young and Peter was inexperienced as a singer, I needed to choose vocal music that wouldn’t have been impossible for them. So I opted for songs that had a manageable range and not too many vocal theatrics. But the pieces had beauty and emotional depth, and that was important for the story. So . . .
  • Finally, I want to say again that I chose songs that I love. I have CDs of Caro Mio Ben  (Cecilia Bertoli singing) and Mascagni’s Ave Maria (sung by Andrea Bocelli), and the beauty of these pieces has haunted me for years. I could picture Katalin singing Caro with pain in her heart, and I could sense that the Mascagni melody, which Peter first heard on violin, would have touched and lingered with him. Likewise, the melody of Folszallott a Pava is mournful but deeply moving, and I felt it captured the longings of my characters, especially Peter.

I want my readers to hear what I hear, and what my characters hear. When I incorporate music into my stories, maybe it’s my way of creating a “soundtrack” for them. So imagine the sound. Nothing is as emotive as music.