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\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n

\n\n \n\n \n \n\n\n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Learn More \n \n \n \n \n \n \n

\n \n\n\n\n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Amazon \n \n \n \n \n \n \n \n

\n \n\n\n\n\n \n \n \n \n \n \n \n \n \n \n \n \n

\n \n\n\n\n\n\n \n \n \n

Contact

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\n \n \n \n \n \n

\n \n \n

\n \n\n","reactComponents":{"ids":["pages"],"items":{"pages":{"ids":["home","books","about","contact"],"items":{"about":"{\"type\":\"Layout\",\"props\":{\"children\":[{\"type\":\"style\",\"props\":{\"pageDefinitionId\":\"about\",\"pageOccurrenceId\":\"about\",\"children\":\"@import url('https://fonts.googleapis.com/css2?family=Chonburi&family=Cormorant:ital,wght@0,400;0,500;0,600;0,700;1,400;1,500;1,600;1,700&family=Federo&family=Oswald:wght@200;300;400;500;600;700&family=Poppins:ital,wght@0,200;0,300;0,400;0,500;0,600;0,700;0,800;0,900;1,200;1,300;1,400;1,500;1,600;1,700;1,800;1,900&family=Raleway:ital,wght@0,100;0,200;0,300;0,400;0,500;0,600;0,700;0,800;0,900;1,100;1,200;1,300;1,400;1,500;1,600;1,700;1,800;1,900&display=swap');\\n\\n :root {\\n /* WIP globals */\\n --global-color-bg: #ffffff;\\n --global-color-text: #0D1317;\\n --global-color-text-accent: #434A41;\\n --global-text-heading-font: \\\"Federo\\\", \\\"Lora\\\", serif;\\n --global-text-sub-heading-font: \\\"Raleway\\\", \\\"Open Sans\\\", sans-serif;\\n --global-text-body-font: \\\"Raleway\\\", \\\"Open Sans\\\", sans-serif;\\n --global-button-color-bg: #B3652B;\\n --global-button-color-text: #ffffff;\\n\\n /* TODO figure out proper viarble name convention elgl --global-bg-color vs --global-color-bg*/\\n /* TODO add --global-color-link: \\\"Shadows Into Light\\\", \\\"Open Sans\\\", \\\"Helvetica Neue\\\", \\\"Helvetica\\\", \\\"Arial\\\", sans-serif;*/\\n /* TODO remove list-item from list below*/\\n /* Colors - Warm palette */\\n --color-primary: #434A41;\\n --color-dark: #0D1317;\\n --color-accent-bg: #B3652B;\\n\\n /* Header */\\n --header-color-bg: var(--color-primary);\\n --header-color-text: var(--global-color-bg);\\n --header-color-link: var(--global-color-bg);\\n --header-font-weight: 300;\\n\\n /* Footer */\\n --footer-color-bg: var(--color-primary);\\n --footer-color-text: var(--global-color-bg);\\n --footer-color-link: #ffffff;\\n }\\n\\n /* Global */\\n a {\\n color: var(--global-color-text-accent);\\n }\\n\\n /* Global */\\n body {\\n color: var(--global-color-text);\\n font-family: var(--global-text-body-font);\\n }\\n\\n hr {\\n border-top: 4px solid #434A41;\\n }\\n\\n /* Header */\\n .header-container {\\n background-color: var(--header-color-bg);\\n color: var(--header-color-text);\\n }\\n\\n .header-container .collapse {\\n justify-content: center;\\n }\\n\\n .header-container nav.navbar {\\n padding: 0;\\n }\\n\\n\\n @media (min-width: 768px) {\\n .container-fluid.hero {\\n /* padding: 3rem 0; */\\n }\\n\\n .container-fluid.hero .heading {\\n font-size: 2rem;\\n }\\n }\\n\\n .header-container nav ul .dropdown-item a {\\n font-family: var(--global-text-sub-heading-font);\\n font-weight: regular;\\n color: var(--global-color-text-accent) !important;\\n }\\n\\n .header-container .nav-container {\\n background-color: var(--header-color-bg);\\n }\\n\\n .header-container nav.navbar .nav-item {\\n padding: 0.25rem 0.5rem;\\n }\\n\\n header .header-container nav.navbar .nav-link {\\n color: var(--global-color-bg) !important;\\n }\\n\\n /* Controls Social Icons in Header only -- I tried to apply .social but that broke it */\\n .header-container a.list-item {\\n color: var(--global-color-bg);\\n }\\n\\n\\n /* Footer */\\n footer {\\n background-color: var(--footer-color-bg);\\n color: var(--footer-color-text);\\n }\\n\\n .legal::before {\\n display: none;\\n }\\n\\n .footer a {\\n color: var(--footer-color-text);\\n }\\n\\n /* Buttons */\\n .btn,\\n .button {\\n background-color: var(--global-button-color-bg);\\n color: var(--global-button-color-text);\\n margin-right: 5px;\\n }\\n\\n /* Social */\\n\\n .social a {\\n color: var(--footer-color-text);\\n }\\n\\n .social svg {\\n width: auto !important;\\n height: 1rem !important;\\n }\"}},{\"type\":\"Header\",\"props\":{\"children\":[{\"type\":\"Container\",\"props\":{\"fluid\":\"\",\"className\":\"header-container\",\"pageDefinitionId\":\"header\",\"pageOccurrenceId\":\"about\",\"children\":[{\"type\":\"Spacer\",\"props\":{\"pageDefinitionId\":\"header\",\"pageOccurrenceId\":\"about\"}},{\"type\":\"Container\",\"props\":{\"pageDefinitionId\":\"header\",\"pageOccurrenceId\":\"about\",\"componentKey\":\"inner-wrapper\",\"children\":[{\"type\":\"Row\",\"props\":{\"pageDefinitionId\":\"header\",\"pageOccurrenceId\":\"about\",\"children\":[{\"type\":\"Col\",\"props\":{\"className\":\"col-12 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url('https://fonts.googleapis.com/css2?family=Chonburi&family=Cormorant:ital,wght@0,400;0,500;0,600;0,700;1,400;1,500;1,600;1,700&family=Federo&family=Oswald:wght@200;300;400;500;600;700&family=Poppins:ital,wght@0,200;0,300;0,400;0,500;0,600;0,700;0,800;0,900;1,200;1,300;1,400;1,500;1,600;1,700;1,800;1,900&family=Raleway:ital,wght@0,100;0,200;0,300;0,400;0,500;0,600;0,700;0,800;0,900;1,100;1,200;1,300;1,400;1,500;1,600;1,700;1,800;1,900&display=swap');\\n\\n :root {\\n /* WIP globals */\\n --global-color-bg: #ffffff;\\n --global-color-text: #0D1317;\\n --global-color-text-accent: #434A41;\\n --global-text-heading-font: \\\"Federo\\\", \\\"Lora\\\", serif;\\n --global-text-sub-heading-font: \\\"Raleway\\\", \\\"Open Sans\\\", sans-serif;\\n --global-text-body-font: \\\"Raleway\\\", \\\"Open Sans\\\", sans-serif;\\n --global-button-color-bg: #B3652B;\\n --global-button-color-text: #ffffff;\\n\\n /* TODO figure out proper viarble name convention elgl --global-bg-color vs --global-color-bg*/\\n /* TODO add --global-color-link: \\\"Shadows Into Light\\\", \\\"Open Sans\\\", \\\"Helvetica Neue\\\", \\\"Helvetica\\\", \\\"Arial\\\", sans-serif;*/\\n /* TODO remove list-item from list below*/\\n /* Colors - Warm palette */\\n --color-primary: #434A41;\\n --color-dark: #0D1317;\\n --color-accent-bg: #B3652B;\\n\\n /* Header */\\n --header-color-bg: var(--color-primary);\\n --header-color-text: var(--global-color-bg);\\n --header-color-link: var(--global-color-bg);\\n --header-font-weight: 300;\\n\\n /* Footer */\\n --footer-color-bg: var(--color-primary);\\n --footer-color-text: var(--global-color-bg);\\n --footer-color-link: #ffffff;\\n }\\n\\n /* Global */\\n a {\\n color: var(--global-color-text-accent);\\n }\\n\\n /* Global */\\n body {\\n color: var(--global-color-text);\\n font-family: var(--global-text-body-font);\\n }\\n\\n hr {\\n border-top: 4px solid #434A41;\\n }\\n\\n /* Header */\\n .header-container {\\n background-color: var(--header-color-bg);\\n color: var(--header-color-text);\\n }\\n\\n .header-container .collapse {\\n justify-content: center;\\n }\\n\\n .header-container nav.navbar {\\n padding: 0;\\n }\\n\\n\\n @media (min-width: 768px) {\\n .container-fluid.hero {\\n /* padding: 3rem 0; */\\n }\\n\\n .container-fluid.hero .heading {\\n font-size: 2rem;\\n }\\n }\\n\\n .header-container nav ul .dropdown-item a {\\n font-family: var(--global-text-sub-heading-font);\\n font-weight: regular;\\n color: var(--global-color-text-accent) !important;\\n }\\n\\n .header-container .nav-container {\\n background-color: var(--header-color-bg);\\n }\\n\\n .header-container nav.navbar .nav-item {\\n padding: 0.25rem 0.5rem;\\n }\\n\\n header .header-container nav.navbar .nav-link {\\n color: var(--global-color-bg) !important;\\n }\\n\\n /* Controls Social Icons in Header only -- I tried to apply .social but that broke it */\\n .header-container a.list-item {\\n color: var(--global-color-bg);\\n }\\n\\n\\n /* Footer */\\n footer {\\n background-color: var(--footer-color-bg);\\n color: var(--footer-color-text);\\n }\\n\\n .legal::before {\\n display: none;\\n }\\n\\n .footer a {\\n color: var(--footer-color-text);\\n }\\n\\n /* Buttons */\\n .btn,\\n .button {\\n background-color: var(--global-button-color-bg);\\n color: var(--global-button-color-text);\\n margin-right: 5px;\\n }\\n\\n /* Social */\\n\\n .social a {\\n color: var(--footer-color-text);\\n }\\n\\n .social svg {\\n width: auto !important;\\n height: 1rem !important;\\n 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Sometime in the fall of 2018, I had a dream of a young boy who – while perched on the top of the armoire (of all places) in my bedroom – told me about a great battle he had been in.

I looked at him suspiciously. He was a boy after all, round-faced and cherubic, hardly the image of a battle-scarred warrior. Yet, I listened. I like stories you see. And besides I had nowhere else to go – I was literally trapped in my own dream.

Noticing my predicament, the boy took his time telling me his war story, peering at me from time to time to gauge my reaction. I nodded along (more out of politeness than interest), and when the boy had finished his story, he leaned back against the wall, folded his arms and observed:

“You don’t recognize me, do you?”

I shook my head.

“I’m Dumpty.”

I stared at him. “Like Humpty-Dumpty who sat on a wall and came tumbling down?”

He nodded.

“Where’s Humpty?” I asked, interested.

Dumpty frowned. “Humpty doesn’t like being a ghost.”

“You’re a ghost?” A shiver ran down my spine. I pulled the duvet over my head seeking its protection.

He nodded again (I think).

“Are you a friendly ghost?” I ventured from under the covers.

“I can be.”

That was promising. I risked a peek. “What does that mean?”

“It depends on whether you’ll help me.”

“Oh.”

Dumpty waited. I got the sense he expected more from me.

I mulled over my options, chewing thoughtfully on my lower lip. I stole a glance at Dumpty and saw him watching me, perched like a frog on the top of my armoire. I sized him up for a sucker.

“How much will you pay me for helping you?” I demanded, a mixture of hope and belligerence in my voice.

Dumpty’s eyes bore into me like a laser. I thought it would crack my skull. I ducked under my duvet again.

I heard him sigh. “Shakespeare was right – the first thing we should do is kill all the lawyers.”

“You want to kill me?” I asked shaken, a part of me wondering how he’d figured out I was a lawyer.

“I might. As I said, it all depends on you.”

Lawyers are not heroes, even if we like to think so. My life seemed to hang in the balance – on the whim of this cherubic-faced kid who had transformed himself into a sinister version of Casper the friendly ghost. My dream was quickly turning into a nightmare. I surrendered.

“Ok, Ok, tell me what you want me to do, and I’ll do it!”

I could feel the weight of Dumpty’s smirk like a pile of sand dumped on my duvet-covered head. “Good. You can come out from under that duvet now,” he ordered.

I came out.

Dumpty came down from the armoire. When I say came down, I meant he took a flying leap and landed directly on my bed, which is a good distance of ten feet. The kid belongs in a circus, I thought impressed.

He sidled up closer to me. He cupped his hands to my ear, and this is what he said:

“I don’t want to scare you, but I really am a ghost. I have flitted through time like you would not believe. I have been to places you cannot even begin to imagine. And I've seen things that would make your eyes pop and I've heard things that would make your jaw drop, and then some. It isn't easy being a ghost - I'm there and yet not there if you catch my drift. And being there and not being there at the same time unfortunately allows people to take liberties with me. They unburden themselves when they should KEEP THEIR MOUTHS SHUT. ZIPPED.” His voice rose to a shout - like a demented banshee - piercing my eardrums. I fell off my bed.

Dumpty stared accusingly at me as I lay slumped on the floor, as if people not keeping their mouths shut was all my fault. I nodded meekly.

He looked mollified. “The upside to being a ghost,” he said in a friendlier tone, “is that I've accumulated a lot of stories. It's been heavy work carrying these stories around with me for such a long time, that I've grown weary. And after some serious reflection - that is, staring at myself in the mirror and seeing stories floating about where my head should be – I’ve come to a decision. I've decided to unburden myself and become a writer. A writer of stories.”

I was impressed. “A famous writer?” I asked.

Dumpty hesitated. “I’d like to think so.”

“You can, you know,” I said, trying to get on his good side. “I can see you have real talent.”

“You think so?”

“Yes, yes I do!” I confirmed. I peeled myself off the floor and sat beside him on the bed. I took hold of his little hand and gurgled in admiration. “You had me spellbound by that story you told me,” I lied.

Dumpty seemed pleased. “That was a good story, wasn’t it?”

I nodded. For the life of me I couldn’t remember the story, but I wasn’t going to let on. The kid had me scared.

“So, when can I read your first novel?” I shifted gears quickly, assuming the role of his literary agent without being asked. (I’d read somewhere literary agents owned nice vacation homes in Greece, and I could see myself living there.)

Dumpty frowned. I had a feeling he was going to burst my bubble.

“Well, that’s just it you see,” he sighed. “I’ve haven’t written my novel yet. The thing is I need a writer.”

“What? But you said you wanted to be a writer!” This kid was getting on my nerves.

“Yes, but I don’t want to write.\" He looked thoughtful, gazing at me with his large, round and protruding eyes. \"I want you to write for me,\" he decided. \"I’ll give you the stories and you do the writing.”

I was confused. “You want me to be a ghost-writer?”

Dumpty nodded, looking pleased. “That’s it! I couldn’t have said it better – I’m the ghost and you’re the writer. That makes sense, doesn’t it?”

I could see his point.

“But why?” I persisted, still not understanding why he wanted me to write for him.

And then it all came out and I knew my destiny was sealed.

“I’m very sensitive,” sighed Dumpty. “Since childhood I’ve never liked being criticized.”

His eyes started rolling around in his head. I think he was remembering all the times he’d been criticized. I gazed at him, trying to look sympathetic. But it wasn’t easy – we lawyers are not the caring types; we don’t go around holding hands and singing Kumbaya. Shakespeare did have a point, I had to admit.

The eye-rolling stopped. “I hear that all writers – even famous ones – get criticized. Is it true?”

As his potential future literary agent, I had to break it to him. “Yes,” I muttered under my breath.

“See, that would make me very upset,” Dumpty shouted, his eyes rolling faster and faster like a Dutch windmill under water. “I won’t stand for it - especially being criticized by people who don’t even know me! It would really hurt my feelings.” He glared at me. “And you know what happens then, don’t you?”

“What?” I bleated, horrified by his shouting and eye-rolling.

“Hurt people, hurt people. Especially ghosts.”

It took a moment to sink in. I gulped. “You wouldn’t hurt me, would you?”

The shouting and eye-rolling stopped. Dumpty calmed down. He even smiled at me. I could feel pressure at my back. Someone was twisting my arm. It hurt like hell.

“Ok, Ok, I’ll be your ghost writer,” I yelped. “I’ll take all the criticism for your stories. I swear no one will ever criticize you again!”

And that, my friends, is the true story of how I became a writer.

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Sometime in the fall of 2018, I had a dream of a young boy who – while perched on the top of the armoire (of all places) in my bedroom – told me about a great battle he had been in.

“You don’t recognize me, do you?”

I shook my head.

“I’m Dumpty.”

I stared at him. “Like Humpty-Dumpty who sat on a wall and came tumbling down?”

He nodded.

“Where’s Humpty?” I asked, interested.

Dumpty frowned. “Humpty doesn’t like being a ghost.”

“You’re a ghost?” A shiver ran down my spine. I pulled the duvet over my head seeking its protection.

He nodded again (I think).

“Are you a friendly ghost?” I ventured from under the covers.

“I can be.”

That was promising. I risked a peek. “What does that mean?”

“It depends on whether you’ll help me.”

“Oh.”

Dumpty waited. I got the sense he expected more from me.

I mulled over my options, chewing thoughtfully on my lower lip. I stole a glance at Dumpty and saw him watching me, perched like a frog on the top of my armoire. I sized him up for a sucker.

“How much will you pay me for helping you?” I demanded, a mixture of hope and belligerence in my voice.

Dumpty’s eyes bore into me like a laser. I thought it would crack my skull. I ducked under my duvet again.

I heard him sigh. “Shakespeare was right – the first thing we should do is kill all the lawyers.”

“You want to kill me?” I asked shaken, a part of me wondering how he’d figured out I was a lawyer.

“I might. As I said, it all depends on you.”

“Ok, Ok, tell me what you want me to do, and I’ll do it!”

I could feel the weight of Dumpty’s smirk like a pile of sand dumped on my duvet-covered head. “Good. You can come out from under that duvet now,” he ordered.

I came out.

He sidled up closer to me. He cupped his hands to my ear, and this is what he said:

Dumpty stared accusingly at me as I lay slumped on the floor, as if people not keeping their mouths shut was all my fault. I nodded meekly.

I was impressed. “A famous writer?” I asked.

Dumpty hesitated. “I’d like to think so.”

“You can, you know,” I said, trying to get on his good side. “I can see you have real talent.”

“You think so?”

Dumpty seemed pleased. “That was a good story, wasn’t it?”

I nodded. For the life of me I couldn’t remember the story, but I wasn’t going to let on. The kid had me scared.

Dumpty frowned. I had a feeling he was going to burst my bubble.

“Well, that’s just it you see,” he sighed. “I’ve haven’t written my novel yet. The thing is I need a writer.”

“What? But you said you wanted to be a writer!” This kid was getting on my nerves.

I was confused. “You want me to be a ghost-writer?”

Dumpty nodded, looking pleased. “That’s it! I couldn’t have said it better – I’m the ghost and you’re the writer. That makes sense, doesn’t it?”

I could see his point.

“But why?” I persisted, still not understanding why he wanted me to write for him.

And then it all came out and I knew my destiny was sealed.

“I’m very sensitive,” sighed Dumpty. “Since childhood I’ve never liked being criticized.”

The eye-rolling stopped. “I hear that all writers – even famous ones – get criticized. Is it true?”

As his potential future literary agent, I had to break it to him. “Yes,” I muttered under my breath.

“What?” I bleated, horrified by his shouting and eye-rolling.

“Hurt people, hurt people. Especially ghosts.”

It took a moment to sink in. I gulped. “You wouldn’t hurt me, would you?”

The shouting and eye-rolling stopped. Dumpty calmed down. He even smiled at me. I could feel pressure at my back. Someone was twisting my arm. It hurt like hell.

“Ok, Ok, I’ll be your ghost writer,” I yelped. “I’ll take all the criticism for your stories. I swear no one will ever criticize you again!”

And that, my friends, is the true story of how I became a writer.

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Arms Wide Asunder is a work of fiction woven into the tapestry of true historical events that took place in India during the mid to late 18^th century, a time of great upheaval. It is a period that fascinates me for many reasons and stirs up my imagination in so many ways, that it ultimately led me to sit down and write this novel.

The Battle of Plassey – where my novel begins – was fought in June 1757. The key players in that battle were: Siraj-ud-Daulah, the Nawab (ruler) of the wealthy province of Bengal; Mir Jafar, the Nawab’s uncle and his most important general; and Robert Clive, who led the British forces.

If you were present on the plains of Plassey that hot and muggy June day of 1757, you would have observed a large native army (of between thirty to fifty thousand men) vanquished by a much smaller “British” force (comprised of a few hundred European mercenaries and a couple of thousand Indian sepoys fighting alongside). Depending on which side you cheered on, you may have felt either a deep sense of shame or a great sense of vindication. Shame, perhaps based on your perceived inferiority to the white colonialists who had easily won the day, and vindication, based on your imagined superiority over the brown-skinned natives.

But both feelings, I submit, would have been inaccurate that day. The point is that Plassey was not a great victory in the traditional sense of how battles are fought and won for one side to feel superior over the other. Putting aside (or maybe because of) the rather strange behavior of the Bengal army not to keep its gunpowder dry during the heavy rainstorm the previous evening (thus making their cannons virtually useless during the battle), there was hardly any action of note. A few skirmishes here and there – like the one Mohan Roy (the fictitious Diwan of Bengal) fought – but very little else.

Yet, Plassey changed everything. It was a 9.5 magnitude earthquake in the figurative sense. It ushered in two hundred years of British colonial rule over India, first under the East India Company (the world’s first mega corporation) and ultimately under the direct authority of the British government. India became the ‘jewel in the crown’ of the British empire. It turned the small island nation of Britain into the world’s leading superpower (until the U.S. came along), eclipsing all its European rivals in wealth, colonies and stature.

And what of India? Before Plassey, Bengal was the richest province in India (if not the entire world) and India was one of the world’s largest economies, with somewhere around one-third of the world’s GDP. When the British left India in 1947, India had less than two percent of the world’s GDP. In two hundred years of British colonial rule, India had been bled dry; its resources exploited to Britain’s advantage, its riches used to power Britain’s industrial revolution, and its wealth and treasures stolen and taken to England by men such as Clive, never to be returned.

There is a movie called “Sliding Doors” where a single unremarkable event can change one’s life. Same with Plassey and India. I often wonder what would have been India’s fate had Mir Jafar not betrayed his country and gone over to Clive’s camp. This single act of betrayal changed the outcome of the battle and India’s fate in the two hundred years to follow.

Would India have been the first country in the world in the 19^th century, instead of Britain if Mir Jafar had been a patriot? Would India’s vast resources have been used to power its own industrial revolution and economic development, instead of playing catch-up as its now doing? Would India now be sitting on the Security Council in the place of Britain?

I suppose it’s possible, but one can never know. But I do know that there were men like Mohan Roy who gave their lives for their country. And women like Anjolie (Mohan Roy's daughter) who sacrificed everything to get justice for her people. To men and women like them – of whatever race, of whatever country, of whatever creed, of whatever religion – I say bravo.

One of the most satisfying aspects of writing this novel was losing myself in my characters: seeing the world as they must have seen it; experiencing their lives as they must have lived it; speaking the words as they must have spoken it. I was the scribe taking their dictation, that’s how I often felt as my fingers danced across the keyboard. They wanted their stories told; they wanted their lives known. They may be a fiction of my imagination, but they are very much alive to me. They live in every corner of my mind, and now on the pages of my book.

For historic figures like Clive, I let him speak for himself during the most important moments of his impeachment trial. There was no point in creating dialogue for him when he spoke so brilliantly for himself in Parliament. There is a record of his speech, and it is superb oratory. I tweaked it a little so it would flow better, but those are his words not mine.

Clive’s impeachment trial was held in a chamber just off the House of Commons, not in historic Westminster Hall as I have it. I chose Westminster Hall for a purpose: it has been the venue of some of England’s greatest trials, including the impeachment trial of Clive’s successor Warren Hastings, who became the Governor General of Bengal soon after Clive’s impeachment. It is only fitting that Clive – one of the most important men in England of his time – should have been tried in the grand, historic setting of Westminster Hall instead of a cramped, poky chamber of little consequence.

Less than two years after his acquittal, Clive was dead. He was only forty-nine. He was found with his throat slit in his London townhouse. But how did he die? Was it suicide or was he killed? We may never know. But the circumstances of his death; the secretive nighttime burial in an unmarked grave; the lack of inquest or investigation into the manner of his death, all suggests a cover-up.

But by whom and for what reason? Was it to cover up the shame of suicide as some historians have suggested? It’s possible. Clive had suffered from bouts of depression in his youth and twice tried to kill himself. But that was long before he had achieved the great heights to which he had ascended in his career. In the year prior to his death, he had vanquished all his enemies and been exonerated by Parliament of all crimes; in fact, he was lauded and feted for the great service he had rendered to his country. Clive was lord of all he surveyed, and easily the richest man in England. Was this a man who would commit suicide when he could look forward to spending the rest of his days in great comfort and peace? Hardly.

Perhaps Clive was driven to suicide by guilt, for having abused his position as the Governor of Bengal to enrich himself, for putting into place policies that led to the terrible famine of Bengal that decimated a once vibrant economy and left in its wake three million dead. But this was a man who showed no remorse whatsoever during his impeachment trial, brushing aside any responsibility for what had happened in Bengal. If you read his impeachment defense, you will find he made this amply clear. Was this therefore the man who would commit suicide because he was plagued by guilt? Hardly.

The most likely scenario is that Clive was killed. But by whom and for what reason? I have unraveled that mystery for you in Arms Wide Asunder.

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The most likely scenario is that Clive was killed. But by whom and for what reason? I have unraveled that mystery for you in Arms Wide Asunder.

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The great Bengal famine of 1769-71 – which prompted Anjolie to return to India to help her people and, in its aftermath, took her to England to seek justice for the three million souls who had perished – is barely a footnote in history. Even as a student of history, I had never heard of it before researching my novel. But I had certainly heard of Clive, and his fellow empire builders – Hastings, Lawrence and Havelock – all key players in the British East India Company. In fact, at my school the “Houses” bore the names of these four men. I was in Hastings House and when I became house captain in my final year at school, I was gifted a copy of Rudyard Kipling’s poem “If” by the headmaster. This late 19^th century poem – penned by an ardent imperialist at the turn of the century – is about stoicism and courage in the face of adversity. I suppose it was written for young Englishmen as they quit the playing fields of their schools and set about the work of empire building. Yet, I liked the poem, so I carried a copy of it with me until it frayed and tattered, taking solace and strength from its uplifting words in some of my darkest and most trying moments.

You might think (from reading the above) that I attended a school in the heart of England, where Clive, Hastings, Lawrence and Havelock were all, at one time or another, schoolboys, before they became famous alumni for striding across the globe like Colossus to build an empire. You might even think of me as an admirer of the erstwhile British Empire that – for almost two centuries – colonized, exploited and subjugated more than half the world’s population.

You would be wrong on both counts. The school I attended is as far removed from England as is physically possible – at the other end of the world, up on the high reaches of the Himalayas close to India’s border with China. From my dorm room – on a good day – I could see the peaks of Kanchenjunga (forty crow miles distant) and, if I was especially lucky, Mount Everest as well. Yet – in this high and remote corner of the globe – the world of Clive, Hastings, Lawrence and Havelock lived on, as if time had stopped, and the British had never left India.

I loved my school (and I thrived there) but, looking back, I realize I had been thoroughly brainwashed by an institution that functioned (oddly enough in an independent India) as the last vestige of empire. During the three month winter holidays, when I descended to the plains to see my parents, I remember feeling disoriented by the real India, as if I had stepped out of a time capsule. Worse still, I felt an air of superiority, as if I was somehow better than my fellow-countrymen and women. I cringe now when I think of it, but then I don’t think it bothered me very much.

In 2019 – when I started researching and writing Arms Wide Asunder – I had lived more than half my life outside India, the land of my birth. As my novel and its characters took shape, I felt India tugging at my heartstrings, gently at first but more insistent as time went on and my book neared completion.

In the course of my research, I had decided to do field work – to see (and experience) for myself the key places, locales and houses that I describe in the book. Because I live in the south of France, it was easy for me to visit the sites located in France and the U.K. but getting to India was altogether a different proposition when the pandemic broke out, and borders began to shut. I had to be patient (for almost two years) before I could get to India, but patience has a way of paying off.

I finally landed in India in November 2022, not sure what to expect. I still had two chapters to write, so – at first – I hid myself in a hill station in the south of India where I toiled ceaselessly for about six weeks until the book was done. And then I set off on my field work (notebook in hand and completed manuscript in my backpack) to check, verify, and correct (where necessary) my narrative. It was great fun – for almost four months, I traveled from place to place and relearnt the history and beauty of India, meeting along the way old friends, cousins and relatives. The blinders I had worn as a schoolboy slowly came off, and I saw the other side of the story – the story that is often forgotten – and which needed voice.

History – the saying goes – is written by the victors. And that is certainly true if you read the glowing accounts of the British Empire, which I – like many other impressionable Indian schoolchildren of my age – were fed (even as late as) in the 1980s. But no matter: learning is a lifelong process, and truth has a way of eventually coming out. An unvarnished history of the British Empire is now being written by historians such as William Dalrymple, whose 2019 book “The Anarchy” is a fascinating account of the British East India Company as it went about its business of pillaging India. I learnt a lot from it. I hope other students of history will read The Anarchy (and books like it) side-by-side with books that extol the virtues of the British Empire, so a balanced view can be formed.

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Dann is going thru life-changing events. She has lived her whole life being mistreated by her own mother and now her husband's family. Lies and scandal everywhere she turns. She doesn't know who to believe. If she could only remember what happened that night, it will bring things to light, uncover any wrongdoing, and expose the people behind it all.

Finding all of this out after years is just fueling Dann's fire for payback. Her momma may have been a horrible mother and person, but one thing she taught Dann was how to be a horrible vengeful bitch.

And nobody is going to be unscathed...

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And nobody is going to be unscathed...

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Francie & Finch Bookshop

Join us on for a reading and booksigning by Matt Schur, author of the inspirational book of poetry, Cross Sections. Mark your calendar for First Friday, 8/6 at 5p for the event. Bonus—Live music by singer/songwriter Ingrid Griffin to follow!

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Francie & Finch Bookshop

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Francie & Finch Bookshop
Click here to RSVP

COME VISIT WITH AUTHOR MATT SCHUR! WE WILL BE CELEBRATING THE RELEASE OF MATT’S RECENT PUBLICATION IMPERFECTLY PERFECT ON SATURDAY, APRIL 15TH AT 4:30. WE’LL SEE YOU THERE!

About the Book:

Imperfectly Perfect is a collection of poetry and prose pieces examining life and faith, brokenness and healing. Author and poet Matt Schur draws upon his experience working with people experiencing homelessness as well as his theological training to create a work that is simultaneously affirming and a call for change.

Order a copy of the book at Francie & Finch Bookshop

","value":"

Francie & Finch Bookshop
Click here to RSVP

COME VISIT WITH AUTHOR MATT SCHUR! WE WILL BE CELEBRATING THE RELEASE OF MATT’S RECENT PUBLICATION IMPERFECTLY PERFECT ON SATURDAY, APRIL 15TH AT 4:30. WE’LL SEE YOU THERE!

About the Book:

Order a copy of the book at Francie & Finch Bookshop

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As Dann breaks free from an abusive family, she must uncover the lies and expose the scandals. Revenge fuels her payback.

And nobody will go unscathed...

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As Dann breaks free from an abusive family, she must uncover the lies and expose the scandals. Revenge fuels her payback.

And nobody will go unscathed...

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Aaron Patt is a bartender-turned-author from Deland, Florida. After a long career slinging drinks behind the bar and raising a son (now in the military), She embarked on her bucket list goal to become an author. Aaron's debut novel Age of Forgotten Demons is inspired by many of her own childhood experiences.

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A reading of “The Night Before” by Matt Schur, from Imperfectly Perfect

A dramatization of what might have happened the night before the Last Supper and Jesus’s betrayal and arrest. Jesus is having a hard time sleeping. He reflects on the events of the day just ended, and ponders what is to come, along with Judas’s role in it all.

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A reading of “The Night Before” by Matt Schur, from Imperfectly Perfect

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Julie Alden Cullinane is a writer and poet whose artwork, poetry, and short stories have been published in Stylus, Plexus, The Boston Globe, The Graduate Review Volumes VI & VII, Chapter House, OPEN: Journal of Arts & Letters, and Red Wolf Periodical.

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Hello Book Worms!

I'm Tyfany and I am glad you stopped by today. I'm always looking for my tribe to follow me on the journey. If you like poetry, self-help, and contemporary romance, you're in the right place. Subscribe to my newsletter to receive a free book, exclusive excerpts, monthly giveaways, and much more. You must stay in the loop to get the scoop!

Your information will only be used to share updates on Tyfany's creative work. It will never be shared with third parties, and you can unsubscribe at any time.

","value":"

Hello Book Worms!

Your information will only be used to share updates on Tyfany's creative work. It will never be shared with third parties, and you can unsubscribe at any time.

"}}}}}},"poetry":{"components":{"items":{"headingCollections":{"content":{"data":{"expression":"Collections & Anthologies","value":"Collections & Anthologies"}}},"headingPage":{"content":{"data":{"expression":"POETRY","value":"POETRY"}}},"headingPoems":{"content":{"data":{"expression":"Individual Poems & Essays","value":"Individual Poems & Essays"}}},"text":{"content":{"data":{"expression":"

Collections & Anthologies

Spellbound: A Collection of Poems. The Graduate Review, 7, 7-15. (2022)
A cyclical personal collection of work regarding the life of a student-mother-sister-daughter-employee. Written under the mentorship of Professor John Mulrooney at Bridgewater State University. Collection includes...

Scorpio
Spellbound
Four Little Birds
Our Hawk: Michael’s Poem
The Privilege of Details
Called Home
Stolen Goods
Sit In It
HIStory

Summer : A Collection Of Poems, Poets Choice. (2022)
Anthology edited by Sandra Dsouza.

title of poem

Individual Poems & Essays

The Porcelain God Is Female, OPEN: Journal of Arts & Letters. (2023)

Big Need, Chapter House Journal, WNTR 23: POETRY. (2023)

How to Give up Writing, Red Wolf Periodical, Issue One - 03.23. (2023)

The Summer that the Hawks Came, PLEXUS, Issue IX. (2021)

","value":"

Collections & Anthologies

Scorpio
Spellbound
Four Little Birds
Our Hawk: Michael’s Poem
The Privilege of Details
Called Home
Stolen Goods
Sit In It
HIStory

Summer : A Collection Of Poems, Poets Choice. (2022)
Anthology edited by Sandra Dsouza.

title of poem

Individual Poems & Essays

The Porcelain God Is Female, OPEN: Journal of Arts & Letters. (2023)

Big Need, Chapter House Journal, WNTR 23: POETRY. (2023)

How to Give up Writing, Red Wolf Periodical, Issue One - 03.23. (2023)

The Summer that the Hawks Came, PLEXUS, Issue IX. (2021)

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When the Hand of the Universe Has to Turn You in the Right Direction
MERC Conference: Feb 2023: Graphic Novel, 2022

Spellbound: A Collection of Poems
The Graduate Review, E VII Fall 2022 Poetry Edition, 2022
A cyclical personal collection of work regarding the life of a student-mother-sister-daughter-employee. Written under the mentorship of Professor John Mulrooney at Bridgewater State University. Collection includes...

Scorpio
Spellbound
Four Little Birds
Our Hawk: Michael’s Poem
The Privilege of Details
Called Home
Stolen Goods
Sit In It
HIStory

Summer 2020: Three Poems
The Graduate Review, E VI Summer 2021 Poetry Edition
Collection includes...

When the Hawks Came
Black Coat
Common as Breath

Summer : A Collection Of Poems
Poets Choice. (2022)
Anthology edited by Sandra Dsouza.

title of poem

","value":"

When the Hand of the Universe Has to Turn You in the Right Direction
MERC Conference: Feb 2023: Graphic Novel, 2022

Scorpio
Spellbound
Four Little Birds
Our Hawk: Michael’s Poem
The Privilege of Details
Called Home
Stolen Goods
Sit In It
HIStory

Summer 2020: Three Poems
The Graduate Review, E VI Summer 2021 Poetry Edition
Collection includes...

When the Hawks Came
Black Coat
Common as Breath

Summer : A Collection Of Poems
Poets Choice. (2022)
Anthology edited by Sandra Dsouza.

title of poem

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Poem
Washington Square Review, Summer 2023

Gasoline Shampoo
Salmon Creek Journal, Spring 2023

Michael’s Poem
Bulb City Press, May 19, 2023

The Red Line
Underscore_Magazine, May 15, 2023

The Next Slaughter
Anti-Heroin Chic, April 19, 2023

The Porcelain God Is Female
OPEN: Journal of Arts & Letters, April 18 2023

Yes, March 12^th & Seasick
Swim Press, March 2023

Big Need
Chapter House Journal, WNTR 23: POETRY. February 2023

How to Give up Writing
Red Wolf Periodical, Issue One - 03.23, February 2023

The Summer that the Hawks Came
PLEXUS, Issue IX. October 24, 2021

Eavan Boland and Domestic Violence & Poetry Collection Birds of Pray
MERC Conference, Academic Paper, Feb 21, 2021

The Meek Little Christmas Tree
The Boston Globe, Poetry Contest Winner, December 1990

","value":"

Poem
Washington Square Review, Summer 2023

Gasoline Shampoo
Salmon Creek Journal, Spring 2023

Michael’s Poem
Bulb City Press, May 19, 2023

The Red Line
Underscore_Magazine, May 15, 2023

The Next Slaughter
Anti-Heroin Chic, April 19, 2023

The Porcelain God Is Female
OPEN: Journal of Arts & Letters, April 18 2023

Yes, March 12^th & Seasick
Swim Press, March 2023

Big Need
Chapter House Journal, WNTR 23: POETRY. February 2023

How to Give up Writing
Red Wolf Periodical, Issue One - 03.23, February 2023

The Summer that the Hawks Came
PLEXUS, Issue IX. October 24, 2021

Eavan Boland and Domestic Violence & Poetry Collection Birds of Pray
MERC Conference, Academic Paper, Feb 21, 2021

The Meek Little Christmas Tree
The Boston Globe, Poetry Contest Winner, December 1990

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