Interview, Author Gina Marie Guadagnino of The Parting Glass
Hello everyone! After over two weeks of respiratory illness in our house, and all time spent recovering, taking care of home and others (partner, kids, parents), the brakes going out on my car and needing fixed, and then mad crazy catching up on my actual freelance publishing work load that pays the bills, I was able to get back to the Oh, for the Hook of a Book! site today. Alas, I missed putting up my usual St. Patrick Day post with books, movies, and treats. I did make Irish Stew on Sunday though!
I read The Parting Glass by Gina Marie Guadagnino before succumbing to the ick, which meant I read just prior to its March 5 release date, and it fittingly has Irish characters set in mid-1800s NYC! I’ll have a review, and others, I’m catching up on, but I was able to conduct an interview with Gina in which we talk about her books, themes (Irish immigrants, LGBT+ characters), and how she writes historical and dark fiction like me. She even gives writers some good advice, with this being her debut novel.
Enjoy the interview and let us know what you think in the comments!
Hi Gina! Welcome to Oh, for the Hook of a Book! I’m very happy you’ve joined us today. Not only is it Women in History Month, but it’s the celebration of the release of your debut novel, The Parting Glass, which is a book that combines quite a bit – an NYC historical setting, plight of Irish immigrants and the scene of the day coupled with their various relationships, intrigue, as well as love and LGBT+ themes. We have much to explore, especially since I’ve come to learn you are also a writer of dark fiction like me as well.
First, come in and join me. In honor of your arrival, though it isn’t relative to what Irish-Americans would eat or drink in 1837, the time period of your book, I’ve baked my Irish Soda Bread with raisins and brewed some fresh Irish coffee. If it’s too early to make yours with whiskey, then just tell me how you’d like it. Have a seat in my plush library chairs and I’ll be in.
Acutal photo of the Irish Soda Bread my 15 year old daughter and I baked this weekend for St. Patrick’s Day!
Gina: Hi Erin! Thanks so much for having me. I should be good like my protagonist Maire and refuse a belt on a workday, but how often does a girl get to publish her debut novel? So I guess you can make mine a double! That soda bread smells delicious, by the way.
Erin: Mmm, it does – and cheers to special occasions! Now that we are settled, let’s begin. I work, write, and read in history as well as dark fiction and so you’ll find a mix of those peers and readers following along with our talk. First, The Parting Glass is your debut book. Tell us about it in your own words and your inspiration for writing it.
Gina: When I started writing The Parting Glass, I had recently moved to Florida so that my spouse could pursue a PhD, and I was really missing New York. I had either lived or worked or studied on Washington Square for the ten years previous to our move, and all I could think about was going back, so I started writing a short story set on the Square. My primary focus is on historical fiction, so I started thinking about the kinds of people who would have lived and worked there when the brick row houses were new. At first, my goal was to expose the various strata of individuals in a single house, with almost a Downton Abbey kind of feel, but quickly, the stories of Maire, Seanin, and Charlotte came to the fore.
Houses on Washington Square North, New York / Image sent by Gina
Washington Square North / Image provided by Gina
Erin: It’s described as having an “Upstairs Downstairs” feel regarding its use of characters that are the hired help intertwining with the NYC elite they worked for at the time. You’ve studied American history, and Irish history, do you feel most people today realize that this concept didn’t end in the New World even as late as the mid-1800s? (These days, I don’t! lol!) What do you feel most people lack to understand about society in NYC then and how the Irish immigrants fit into it?
Gina: I think that most people have a general idea that American retained a robust servant class throughout the 19th century, yes. The massive influx of Irish peasants fleeing the Great Hunger in the 1840s and 50s resulted in a disproportionate number of Irish domestic servants in the latter half of the 1800s, but The Parting Glass takes place in the 1830s. I tried to use the temporal setting to explore the diversity of New York’s servant class, using the Walden’s household as a microcosm. You have Irish immigrants like Seanin, of course, but you also have New Yorkers of English and Scottish extraction, like the housekeeper and butler, Mrs. Harrison and Mr. Buckley. Then you have former slaves, like Mrs. Freedman and her deceased husband, Frank. Mrs. Freedman her son Young Frank, and the scullion Agnes all would have been slaves before they were freed in New York’s Emancipation Act of 1827. Most of the rest of the servants are people who would consider themselves “native” New Yorkers – so you see that, at the time The Parting Glass takes place, Irish immigrants played a much smaller role than they would only a decade later.
Erin: Interesting! What are the types of struggles on the surface that some of your characters are struggling with in society? What public persona is each trying to retain, no matter their social standing?
Gina: In terms of Society with a capital S, Charlotte and Prudence are the characters struggling most with the chafing expectations of maintaining their social standing. Charlotte never questioned that the trajectory of her life would include a grand society marriage before she met Seanin, while Prudence’s love of music had previously made marriage seem a dull prospect. The irony here is that when Prudence actually does fall for someone who would make a society match desirable for her, the potential groom is infatuated with Charlotte. Meanwhile, amongst the society of servants, Maire is struggling to fit in, pretending that she is not Irish. The irony for her is that her brother, who is open about his Irish ethnicity, is better-liked amongst the Walden’s servants than she is.
Erin: What are the challenges they are facing and hiding under the depth of surface? Your characters lead double lives – why did you choose to unravel these themes within your work? What did you hope to show in the parallels?
Gina: I really wanted to subvert the historical marriage plot with which we’re all so familiar. So many books about women set in the early 19th century fixate on the need for women to marry to secure their places in society. Even when those women are conflicted or have other mitigating factors in their lives, respectable marriage is still the ultimate goal. I wanted to explore women for whom that goal was unsatisfactory: queer women for whom marriage was not an option, women who prized art and autonomy over matrimony, women who prized love over status, sex workers who were ambitious about staying sex workers. I wanted to use the hidden narratives to express the unexpected ways in which women like Maire and Liddie were less burdened by societal expectations than more privileged women like Charlotte and Prudence whose lives were laid out before they were born.
Erin: I feel you were courageous in writing these characters, even today. Which was your favorite character to write? Which was the most challenging?
Gina: Liddie was by far my favorite character to write. She’s witty, ambitious, and practical; she doesn’t suffer fools. I had been thinking about writing a character like her for quite a while – 19th century sex workers and brothel owners are a fascination of mine – and she fit so seamlessly into The Parting Glass. Because I love Shakespeare, I gave her a theatrical origin story so that I could have her spouting some of my favorite Bardic quotations. Charlotte was actually one of the hardest characters to write. She’s naturally placid and aloof, very self-contained, and since we only see her through the eyes of the other characters, it was hard for me to strike the right tone with her!
Erin: Of course, your book is well-researched and intelligent in its foundation, but it’s not completely heavy on the themes of the dueling sociality of the characters (meaning it’s an entertaining, captivating read), but also explores love and forbidden desires. What did you decide to push the boundaries of writing and themes for readers? How did you?
Gina: You know, this might sound strange, but I really don’t think I was pushing too many boundaries here. Love and desire are really very basic human emotions that color so much of what we do. That was true a thousand years ago, it was true in the 1830s, and it’s true today. I think that you can write a book with intense political themes and then complicate matters with affairs of the heart and have the whole thing harmonize because that’s just what humans do.
Erin: Of the themes in your novel, what are the primary connections and correlations that you hope readers will leave with? Are you a believer that as people vary, that will vary?
Gina: I hope that people will leave the story aware of how little has changed in our society with regard to the way we legislate women’s bodies, the bias with which we treat immigrants, the marginalization of LGBTQ+ people, etc. And I hope that, being struck by those parallels, people are galvanized to do something about it.
Erin: Your book has been described as having tinges of Sarah Waters, due to its exploration of lesbian characters, but also Edith Wharton mixed with Emma Donoghue (via the amazing author Kris Walderr). To that end, do your characters develop with us in understanding themselves? Does a greater feminine achievement exist or is it a searching of mean for all various people within your characters?
Gina: I think Maire definitely develops along with the reader in terms of who she is and what she’s capable of. Without giving too much away, Maire starts off the book having completely suppressed all her desires in life beyond her desire for Charlotte, and even there, she has ceded her claim to her brother. She is, in many ways, the perfect servant because her mistress’s desires are her own. She doesn’t even believe she has the right to the sexual desire she feels for Charlotte. Over the course of the book, as the secret life Maire has build begins to unravel, as she meets other women who are willing to risk their comfort or their station to achieve their goals, she slowly comes into her own.
Erin: You’ve achieved something all writers search for with a debut novel, to be published traditionally by an exceptional house. How did this process happen for you? What do you feel helped you to accomplish this? (And congratulations!!)
Gina: Thank you! (clink Irish coffees!) It was a slow process. It took me five years to write and revise the novel – I think by the time I got around to querying agents, I was using draft 5. And then it took me about 18 months – and 181 query letters! – before I was offered representation by the amazing Alexandra Machinist at ICM. Alexandra truly believed in this novel – in its messy characters and complicated themes – and she had a vision of the type of editor to whom it would appeal. Trish Todd at Atria (formerly Touchstone) connected with the novel right away, and in our first call together, I knew my book was going to be in great hands.
Erin: In addition, what tips would you have for aspiring novelists?
Gina: I know that everyone says “be tenacious; don’t give up,” and while that’s obviously true in my case, I will also say “find the right allies.” Not every novel is right for every agent or every publisher. So figure out what your core message or values are, and find others who share them. Those are the people who will help propel your vision.
Erin: In looking through your website, I noticed that you not only write short stories like me (I have published a collection of dark poetry and stories and have contributed so anthologies in the genre), but that you’ve written dark fiction as well! I think dark fiction lends itself well to short works. What have you enjoyed about writing darker stories? Which has/have been your favorite(s) you’ve written?
Gina: The thing is, I never actually sit down and say to myself, “okay, I’m going to write something dark.” I set out to write something historical, or something with a supernatural element, or even something comical, and then they just come out dark anyway! I’m not sure what that says about me! Perhaps ironically, the one time I did try to write a truly dark story – about a woman who is unable to remember whether or not she committed a murder – I was unable to get it published. But that was years before Girl on the Train and that whole genre, so maybe I should try submitting it again!
Erin: You should! I was thinking I wanted to edit an anthology of women and crime, and this would be perfect. Now I just need someone to publish it and let me curate it. haha!
I’m wondering if you’re like me in how your writing and reading adventures cover a wide array. Are there darker elements you’ve brought to your longer or historical fiction like The Parting Glass? If so, what or why not? (In my personal opinion, I feel like the obsession element leans toward that!)
Gina: Obsession can be very dark, and lead people to dark places, so that’s certainly an element in my longer fiction, as in The Parting Glass.
Erin: Do you feel you will continue to write dark flash or short story pieces? What about a novel trending more towards dark fiction or horror?
Gina: Can I tell you a secret? I kind of hate writing short stories! It’s so hard for me to be concise and wrap up a short story neatly or satisfyingly. I have enormous respect for talented short story writers because that style of writing is such a struggle for me. In general, I tend to write longer work, with rare and occasional sparks that become standalone short stories. My current work in progress is something I’m calling a “reverse gothic novel.” In a traditional gothic novel, the characters believe that horrific and wild and sometimes supernatural things are happening around them, but in the end, there is a perfectly logical (if sometimes far-fetched) explanation. My latest novel, which takes place in the 1810s, is about a family who prides themselves on being so logical and rational that they never suspect that the events unfolding around them are as wild and outrageous as they really are!
Erin: That sounds fun and Gothic is my thing. Keep me updated!
I believe that you are completing more graduate studies, but in Irish studies this time? What have you studied previously and why, and also, why now Irish studies? How does this help you, or will help you, in your writing? Do you plan to write more historical novels?
Gina: I did my undergraduate work in English with a double minor in Medieval and Renaissance Studies and Irish Studies, and I also have my MFA in Fiction. I plan to write many more historical novels set in Ireland and the Irish diaspora, and I wanted to pursue a degree in Irish Studies to support the research I do for my novels. I find the academic work I do deeply inspirational, and I already have so many avenues I want to explore as a result of my studies.
Erin: Some easier questions now! What are some of your favorite historical reads? What are some of your favorite dark fiction reads?
Gina: Well, we’ve already mentioned Sarah Waters and Emma Donaghue; they’re obviously high on the list. I love the works of Lyndsay Faye – particularly her Gods of Gotham trilogy. For medieval historical fiction, Nicola Grifith’s Hild and Ariana Franklin’s Mistress of the Art of Death – the latter of which definitely qualifies as a dark read! I also love Jo Baker’s Longbourne, and Helene Wecker’s The Golem and the Jinni, which certainly has some dark elements to it. And speaking of Kris Waldherr, as we were a moment ago, her debut novel, The Lost History of Dreams, is a delightfully dark historical work, out next month!
Erin: We have a lot of reading interests in common! Since it’s Women in History month, who is a woman of history that you feel more people should know about and why?
Gina: I’m going to go with Asenath Hatch Nicholson, who I just learned about in my Irish Women’s History class. She was a social reformer and philanthropist (despite often being in dire financial straits herself) who was deeply concerned with the plight of the Irish in Five Points, and eventually became instrumental in the relief efforts during the Great Hunger. She was a fascinating and complicated woman with a mind of her own. While I don’t agree with all of her political or religious views, she was a true humanitarian, and a unique spirit. Go look her up!
Asenath Hatch Nicholson / Image provided by Gina
Erin: And since it’s March, and St. Patrick’s day was something we recently celebrated (one of my favorites!), can you share with us a favorite St. Patrick’s day recipe, story or legend, or something unique for readers?
Gina: This might sound a little out there, but go with me. My all time favorite Irish dessert is something I once had in a pub in Dublin in 2001. It was a huge slice of soda bread, topped with a scoop of Guinness ice cream, covered in dark chocolate whiskey sauce. Over the years, I have tweaked various recipes until I have perfected my own version of it, which I’ve attached. If you have a soda bread recipe of your own that you love, feel free to substitute that. And, like Ina Garten always says, if you don’t want to make your own Guinness ice cream, store bought is fine!
Irish Soda Bread:
3 cups flour
1 tsp salt
1 tsp baking soda
1 tsp baking powder
3 tbs caraway seeds, plus more
1 cup raisins
1 ½ cups buttermilk
Preheat oven to 425. In a large bowl, mix flour, salt, baking soda, baking powder, caraway seeds, and raisins. Add the buttermilk. Dough should be sticky, but easy to handle. Knead into a ball with floured hands. Place in a floured pan or cookie sheet, flouring only under the loaf to prevent burning. Flatten into a 7-inch circle with your hands. To allow expansion, cut a deep cross from side to side in the top of the dough with a sharp knife dipped in flour. Bake for 40 minutes, or until the bread is crusty brown. Cool before slicing.
Guinness Ice Cream:
12 ounces Guinness stout
2 cups heavy cream
2 cups half and half
3/4 cup brown sugar
1 vanilla bean, split in half lengthwise
6 raw egg yolks, sterilized
In a large saucepan, simmer the Guinness until reduced by 3/4 in volume, about 8 minutes. Combine the cream, half and half, and sugar in a medium, heavy saucepan. Scrape the seeds from the vanilla bean into the pan and add the vanilla bean halves. Bring to a gentle boil over medium heat. Remove from the heat.
Beat the egg yolks in a medium bowl. Whisk 1 cup of the warm cream mixture into the egg yolks. Gradually add the egg mixture in a slow, steady stream, to the rest of the warm cream. Whisk thoroughly until thickened. Cover with plastic wrap, pressing down against the surface to keep a skin from forming. Chill in the refrigerator for 2 hours.
Remove from refrigerator and add the Guinness reduction, whisking until well blended. Pour into the bowl of an ice cream machine and freeze according to the manufacturer’s instructions. Transfer to an airtight container and freeze until ready to serve.
Dark Chocolate-Whiskey Sauce:
2 cups whipping cream
¼ cup honey
¼ cup whiskey
20 ounces bittersweet chocolate, finely chopped
2 teaspoons vanilla extract
In a medium saucepan, combine cream and honey over medium heat until just simmering. Reduce to low and add the chocolate and vanilla, whisking until smooth. Remove from heat and whisk in the whiskey. Let stand until cool but still pourable. Serve over Guinness ice cream.
Lay a thick slice of soda bread at the bottom of a bowl. Add a generous scoop of the ice cream and smother the whole thing in chocolate-w
Erin: WHAT?!! Irish Soda Bread sundae. Oh, my! Thank you for the recipes!
What else do you have planned for 2019 or beyond besides anything you might have already mentioned? What is the future looking like for you? What are you most looking forward to?
Gina: I’m actually headed to Ireland soon on a research trip for novel number three. It’s going to be set in Donegal during the Great Hunger, and I’m hoping start drafting it this summer. I haven’t been to Ireland since 2006, and I’m really excited to be heading back. I’ll be there for over a week, and in addition to my research in Donegal, I’m looking forward to visiting some old favorite spots, and getting to a few new places I’ve always wanted to visit.
Erin: Where can everyone find you online to connect?
Gina: My website is www.ginamarieguadagnino.com, and I can be found on both Instagram and Twitter at @mymarginalia – because you can’t spell marginalia without Gina!
Erin: Thank you so very much Gina for enduring all my questions! I have an overactive curiosity for people, places, things. I hope that you will stop by again in the future and wish you the best of luck with The Parting Glass and all things in the future. Let’s kick back and enjoy a few more drinks before you go!
Gina: Thank you so much, Erin! It’s always such a pleasure to sit down and talk with people like you who have such a deep appreciation for the historical! Thanks for making this a fun visit!
The Parting Glass, Information –
Pub date: March 5, 2019
Will a brother and sister’s steadfast vow withstand their wild devotion to the same woman? THE PARTING GLASS, a tempestuous nineteenth century love triangle threatens all that one secretive servant holds dear, is Gina Marie Guadagnino’s lush and evocative debut.
Posing as a lady’s maid in 1837 New York City, Maire O’Farren must tread carefully. The upper echelons of society despise the Irish and Maire, known to her employers only as Mary Ballard, takes great care to conceal her native lilt and lineage. Nor would the household be pleased with a servant who aids her debutante’s midnight assignations with a stable groom. Least of all would they tolerate a maid who takes a stronger liking to her charge than would be deemed entirely suitable for her sex.
Maire tends to wealthy young heiress Charlotte Walden’s every whim and guards her every secret. Though it pains her, Maire even delivers her brother Seanin to her beloved’s bed each Thursday night, before shedding her clandestine persona and finding release from her frustration in the gritty underworld around Washington Square. Despite her grief, Maire soon attracts the attentions of irreverent and industrious prostitute Liddie Lawrence, who soothes Maire’s body and distracts her burning heart.
As an English baron and a red-blooded American millionaire vie for Charlotte’s affections, Seanin makes calculated moves of his own, adopting the political aspirations of his drinking companions and grappling with the cruel boundaries of class and nationality. As Seanin rises in rank in a secret society and the truth of both women’s double lives begin to unravel, Charlotte’s secrets soon grow so dangerous even Maire cannot keep them. Forced to choose between loyalty to her brother or to her lady, between respectable society or true freedom, Maire finally learns that her fate lies in her hands alone.
Deeply researched and finely rendered, THE PARTING GLASS captures the delicate exuberance of nineteenth century high society, while examining sexuality, race, and social class in ways that feel startlingly familiar and timely. Perfect for fans of Sarah Waters’s Fingersmith and Emma Donoghue’s Slammerkin, Guadagnino’s captivating upstairs/downstairs historical fiction debut will leave readers breathless.
Gina Marie Guadagnino, Biography –
Gina Marie Guadagnino received a BA in English from New York University and an MFA in Creative Writing from the New School.
Her work has appeared in the Morris-Jumel Mansion Anthology of Fantasy and Paranormal Fiction, Mixed Up: Cocktail Recipes (and Flash Fiction) for the Discerning Drinker (and Reader).
She lives in New York City with her family.
Praise for The Parting Glass –
“Downton Abbey meets Gangs of New York in this darkly compelling debut. A claustrophobic love triangle of stifled desire and class warfare plays out to deadly, devastating effect. A gem of a novel to be inhaled in one gulp.” —Kate Quinn, New York Times bestselling author of THE ALICE NETWORK
“Knotted thickly with secrets both fervid and calculating, to read THE PARTING GLASS is to enter a jungle of passions and lies. Immaculately researched and gorgeously written, this book is noteworthy for its grasp of the agony caused by hiding cracks in the human heart. A thoughtful, lyrical, sensuous, moving tour-de-force.” —Lyndsay Faye, author of JANE STEELE
Thanks for joining us today!