THEN & NOW: Cholera & Other Lessons

The novels of my Possessed Mystery series all have 2 plots: one modern mystery and one mystery set in some era of history. The stories are somehow related and come together at the end of each book. I've been asked why I do this rather than write straight historical mysteries or straight modern-day mysteries. I've actually be penalized for doing so--I'm told that my books don't qualify for awards given to historical novels. And publishers' marketing departments hate them, because they're not like what everyone else is writing, making them difficult to categorize.

I also put ghosts in my novels, and some readers assume the second historical plot is there to accommodate the paranormal aspect of the book--to explain the ghost's background. Matter of fact, the reverse if true. The ghost is there to connect the two stories, and to help teach a little history in a way that's more fun than a recitation of dry facts.

So why go to the trouble of two stories?

Last night, PBS News reported on the Haitian cholera epidemic and how many Haitians are blaming U.N. Napalese peacekeepers, saying these foreigners brought cholera to their country. Some of their protests have turned violent.

My first thought was: Duffy's Cut.

In late June 1832, Irish immigrants, some no older than teenagers, were hired at the docks and brought to Chester County, PA, to work on the construction of the railroad. Their foreman, Phillip Duffy, was in charge of filing in a ravine between two hills so that track could be laid. 57 of them were assigned to live in a single large shanty. Within 6 weeks, all 57 were reported dead of cholera.

Three years before, a cholera pandemic had begun, probably in India. It spread west through Europe to America, reaching New York by 1832 and the Pacific by 1834. Philadelphia was hit hard the summer of 1832. Many fled the city for the surrounding countryside. At the time, no one knew cholera was caused by bacteria in contaminated water. As shown on the 1830s notice above, the disease was thought to be caused from excesses of alcohol and from eating raw vegetables and unripe fruit. In addition, to the Protestants of the Philadelphia countryside, Irish Catholics were believed, not only by nature of their assumed drinking habits, but by their very religion, to be agents of infection.

Back to the young men of Duffy's Cut. Considering their deplorable living conditions, and with a pandemic of cholera already hitting the Philadelphia area, it's no wonder that by mid-August, a few of the workers came down with the disease. The rest of the workmen left the shanty, seeking food and shelter at houses up on the hills. Reports said they were all turned away and they returned to the ravine, where it was said that they all contracted and died from the disease. Most were buried in a mass grave. The niggling loophole in this story is that cholera never kills 100% of its victims. Like any pandemic, some people have better immunity than others.

Just recently, an archeological dig in the area has unearthed the remains of several of the young Irishmen and the forensic evidence tells a different story. Many died from violence. At least one skeleton showed signs of being attacked with something like an ax. Another has what might be a bullet hole in it. The current theory now is that the inhabitants of those hills did more than turn away the Irishmen. Given their fear of the disease coupled with prejudice against Irish Catholics, its likely that the residents violently forced the men back down into the valley, and possibly murdered the survivors.

So last night, when I listened to reports of Haitians blaming foreginers for their epidemic, and getting violent about it, I see the same mix of fear and prejudice. I see a repeat of history--a lesson unlearned.

A historical story can be fascinating. A modern story touching on the same human failings gives the historical story relevance. Juxtapose the two and hopefully we learn something. That's why I do it.

By the way, I first heard of the story of Duffy's Cut through an old local legend that said the ghosts of the workmen had been seen dancing a jig on their grave. Interestingly enough, the Immaculata University prof who spearheaded the excavation did so after seeing odd lights that looked like human beings jumping around one night downhill from one of the college buildings. He didn't realize it at the time, but Duffy's Cut was located at that spot.

Peace,
Elena

HATE MAIL

I received a chain email this morning. Unless they're incredibly funny, I never pass them on, regardless of topic. I think chain letters are the poorest form of communication. Not only do we use another's (usually a stranger's) words to speak for ourselves, the letters often prey on everyone's superstitions, fears, hopes, weaknesses, and that all too human temptation to play whisper-down-the-lane.

This one, however, stuck with me like a flu bug, so I decided I had to respond. At first I thought I'd just hit reply-all, but what I want to say ought to be said openly, so, although I rarely use my blog as a blatant soapbox, this was important to me.

The chain letter began:
"Great grandfathers watched as their friends died in the Civil War.
"My father watched as his friends died in WW II.
"And I watched as my friends died in Vietnam."

I can't reproduce the entire letter--it's too long--but here are some other statements:

"I'm standing up because the hundreds of thousands who died fighting in wars for this country, and for the American flag."
"Let me make this clear! THIS IS MY COUNTRY!"
"This statement DOES NOT mean I'm against immigration!"
_______________

First of all, I have to admit, none of my great-grandfathers watched their friends die in the American Civil War. (At the same time, none were slave-traders, nor did they slaughter Indians and run them off their lands.)

However, here's the story of my great-grandpop, Carmen Ronca. In the 1880s, he worked in the marble quarries of Italy, which was dangerous and back-breaking. He could read. So he wanted to come to America, then bring over his wife and children. He didn't except streets paved with gold; he just wanted a better life and more opportunities for his family. He was poor, so when a chance to work his way over to America in the boiler room of a Portugese steamer came up, he jumped at it. What he didn't realize was that the steamer's crew took advantage of his enthusiasm and ignorance of their language. The steamer landed, not in North America, but in South America.

Carmen was able to work his way north as far as Mexico and tried to use his papers at the Texas border. The officials told him no, he had to go to Ellis Island. He didn't have the money. Meantime, the U.S. railroads were hiring Mexicans (because, gee, they worked cheaper and would do work Americans were unwilling to do in conditions Americans wouldn't touch), so Carmen was hired as a Mexican to build and repair America's railroads. Technically, he was an illegal immigrant. After a year or so of this, when he was in Pittsburgh, he was told they were sending him back to Mexico. He showed his immigration papers, and some sane official processed him through Brownsville, PA. He got a job in coal mine, in even more horrendous working conditions, but was finally able to bring his wife and family over to America. After a few years, he move to eastern PA to be near other relatives. He worked in the limestone quarries. Limestone, Carmen said, was at least easier to cut than marble, and he was out in the fresh air.

Carmen never became a citizen, but he flew both the American and Italian flags over his house every day of the rest of his life. His sons fought in World War I, and his grandsons in World War II. Somewhere in the U.S. Army archives is a photo of Richard Ronca holding the Nazi flag after his unit liberated the town of Colmar, France. Major Robert Ronca served in Korea, then led the first air mission over North Vietnam. A few weeks later he was killed in action when his plane was shot down.

One other story: my grandfather, Giuseppe Ciccocioppo, came to America in 1912. Even before becoming a citizen, he served in the U.S. Army in World War I. He kept his Army nickname, Joe Chicco, because Americans treated him better. During World War II, Joe would walk down to the train station each day to see off or welcome home troops. His son Francis served in the Army in Europe. His other son, Joe B. Chicco, served in the Navy aboard the USS Mobile in every major naval engagement from August 1943 to the end of the war. You can read this son's WW2 diary at www.1945chicco.blogspot.com. As a result of his service, Joe B. also suffered from severe chronic PTSD until the day he died.

I get a little tired of folks like the person who wrote that email, who seem to think immigrants have nothing to do with America's war sacrifices. Take a look through the database at http://militarytimes.com/valor/ -- of those who died in Iraq and Afghanistan, most don't have your basic Sons of the American Revolution names. A big percentage are Hispanic, and a huge percentage of those are Mexican.

Whoever wrote that email had an ancestor who was an immigrant--doesn't matter how far back in time you go. Yet, in saying he's not against immigration, he shows that he sets himself apart from, and obviously in his own mind, superior to, immigrants.

He says this is HIS country. Well, no sir, it isn't. America is a democracy, which means none of us can lay singular claim to it. We share ownership, and stewardship. And all of us are descendants of immigrants.

Please don't let people like this spread hate and division. The world doesn't need any more of either.

Peace,
Elena

FEAR

If there's one thing you can count on in most mystery novels, it's that at least one of the good guys -- the protagonist, the faithful sidekick, the innocent but helpless love interest/family member, maybe even all of humanity -- ends up in enough danger that the reader will turn page after page to find out how they'll eventually be saved.

So it behooves us mystery writers to know how to monger fear.

Fortunately, we have no dearth of mentors. Alfred Hitchcock, for instance. Here's a quote:

"There is no terror in the bang, only in the anticipation of it."

His most famous example (and I paraphrase) is of a couple sitting at a table, talking. A bomb goes off. Everyone's surprised. Maybe the couple narrowly escapes, maybe not. Either way, shocking but not scary.

Same scene, same couple, only now we, the audience, can see the bomb. We know it's set to go off at 1 o'clock and we're shown a clock on the wall that reads quarter to one. We become part of the scene. We want to warn the characters (assuming we like them). As each minute ticks by, the suspense (and with it, our fear) builds. That's good writing.

If you're afraid Hitchcock's advice might be dated, you need only channel surf news channels to see how trendy scaring people is these days. No one remembers hard facts, they remember scary phrases like "death panels." Politicians, political pundits, and even some folks who call themselves journalists have become masters of the art.

Fact is, no one WANTS to remember the truth. We'd rather be fooled if it means being scared. The great majority of Americans, on both the left and the right, would rather hear a slew of conspiracy theories than a sane explanation.

A good mystery writer can come right out and say Mr. X committed the murder early on, then fill the next 350 pages with red herrings and ticking bombs. Readers will be taken in. And enjoy every minute.

As Hitchcock also said:

"Always make the audience suffer as much as possible."

(or was that FOXnews?)

Boo,
Elena