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Western Writers

An Interview with Deirdre McNamer


By Jenny Shank, 8-20-07

Missoula-based writer Deirdre McNamer’s fascinating new novel Red Rover tells the story of the unexplained death of a Montana man shortly after he returned from serving in South America with the FBI during World War II, and the ongoing lives of the family, friends, and acquaintances that survived him.  McNamer will discuss the book tonight at The King’s English in Salt Lake City (August 20, 7 p.m.), and at the Tattered Cover in Denver on Tuesday, August 21 (7:30 p.m.).  I recently interviewed Deirdre McNamer via email about the true events that inspired the novel, the structure of the book, the subtlety of her writing, and her experience as a member of a family of writers.

NewWest: I read that Red Rover is based on events in your own family that you were initially researching for a nonfiction book.  Which aspects of Red Rover are based on facts you uncovered in your research?

Deirdre McNamer: The answer to that question is dealt with at some length in the Penguin author interview online. In brief, I had an uncle who joined the FBI and was sent during WWII on an undercover assignment to Argentina. A year after the war he was found dead of a shotgun wound in his Missoula apartment. The coroner told the newspaper it was suicide, but she filed a death certificate that listed the death as an accident and gave a different location for the shot than she had given the newspaper. The FBI file concluded the death was an accident. The family was only told it was apparent suicide and only recently learned what was on the death certificate and in the FBI file. So this book is an attempt to posit a scenario for what might have happened and why.

Other factually based chapters are the first one–two young boys riding their horses to the Sweet Grass Hills – which is something my father and his brother liked to do. And the second chapter, about flying B-29s during WWII, is based on my father’s experiences as a pilot during the war. The family’s trip to Missoula after learning of their son and brother’s death is also pretty close to how it happened.

NW: How and when did you decide that fictionalizing this story was the best way to proceed?

DM: After working on it for a couple of years, I realized that I wasn’t going to get to the factual end of the story. Secret agencies like the FBI know how to keep their secrets. Also, many people who might have known something about my uncle’s death are now dead. Also, when I was trying to write it as nonfiction, I felt constrained. What a relief it was, finally, to call it fiction, make it fiction, and have all the freedom that fiction gives you –the freedom to inhabit character’s minds, to introduce new characters, to write with a sense of exploration, trusting that the sentences themselves, written well enough, will somehow have the power to create a fictional story that feels, to the reader, like felt experience.

NW: Red Rover covers a large swath of time, and has a fairly large cast of characters, but your page count is a very economical 264, and the prose has the concision of poetry.  How did you achieve this?  Did you carve the current book from a larger manuscript, or had you lived with the characters for so long that you could explain a lot about them in a few sentences?

DM: I wrote this book in sections and then moved the sections around to try to achieve the sort of tension I wanted to convey. I wrote and rewrote and rewrote, until each sentence, virtually, was the way I wanted it. It didn’t ever get much longer than it is now, but it took me quite awhile to “load up” those relatively few pages so that the entire, complete, somewhat complicated story got told in a satisfying way.

NW: The chronology of Red Rover is scrambled, which enhances the mystery.  Did you write it in its current order?  How did you decide how to structure the chapters and parts?

DM: Basically, the book is organized as a sort of excavation, each section going a layer deeper into the personalities, motives, actions and secrets of the characters involved. A given section might contain several characters and various times, but my thought is that a certain layer of knowledge is offered to the reader via those people and times And then a new layer is reached with the next section.

I scrambled the chronology for exactly the reason you note, that the story’s suspense and mystery are enhanced by doing that.

NW: Why did you decide to organize the first section of the book around Lindbergh’s visit to Montana?:

DM: Well, at the beginning of a book a reader is looking to orient herself or himself. At that point, this book’s characters are living lives apart from each other, but their lives will ultimately intersect. I wanted to hint at a connection-to-come by having four of the characters see Lindbergh on the same day in 1927, in different parts of Montana.

NW: Opal Mix is a great character.  How did you come up with her?  Her marriage with Porter is unusual as well--what was the inspiration for this?

DM: Writing this book started with a question I was left with after reviewing the circumstances and documents relating to my uncle’s death. The coroner clearly lied—either to the newspaper or on the death certificate she filed. So the question is: Why would a person do that? That question launched my efforts to create a believable fictional character with believable motives, and I wanted to make her both unlikable and unforgettable. So I spent a lot of time with that character. I also thought about what it might have been like to be in a marriage in the 1930s that was essentially closeted, in terms of how the man and woman really related to each other.

NW: You very much respect the intelligence of your readers.  There were several passages that were so subtle I had to reread them, such as the oblique suggestion (on page 97) that Opal suffered abuse at the hands of her uncle, and in a few places (I think) suggestions of homosexuality that were never fully spelled out (such as when Whitcomb thinks of himself as a “damp match.").  Or maybe I’m just a prurient reader and inventing these undertones!  Why did you decide to mention these incidents with such subtlety?

DM: You’re not inventing them. Porter Mix is homosexual, and Whitcomb is bisexual. Opal felt threatened by her uncle. But I didn’t want those aspects of their lives to usurp the story, to take center stage, so I didn’t shine a spotlight on them.

NW: Many of your characters in this book die and/or suffer from unusual ailments (peritonitis, toxemia, señor lobo).  How did you come up with their diseases?

DM: I’m interested in autoimmune diseases and sudden, completely unexpected, deaths, because both things seem so cruel and whimsical, in a sense, and we humans have a hard time getting our minds around random-seeming cruelty and the big cosmic surprise.

How important do you think the Montana setting of your book is to the way the characters and the story develop?

DM: It’s what I know, certainly, but I also think the Montana landscape and weather have a kind of unfashioned grandeur, a largeness, to them, to the extent that they almost become characters on their own. So they populate the book, in a sense. On the other hand, many parts of the story itself could have happened anywhere.

NW: You mention in your acknowledgments page that you read your father’s diary to help you re-create the wartime B-29 bombing missions.  Did your father speak about his time at war much?  Did you ever interview him about it?  Did he want you to have his diary?

DM: He didn’t talk much about it until he went to a reunion of his bomber wing in the 1980s, and I pumped him for information about who was there and what they all had done during the war. He was a pilot of a B-29, flew 31 missions over Japan, was decorated. He gave me the diary of his war experiences because it ends with the death of his brother, and he knew I was writing something that had to do with that death. It was a very generous thing for him to do, and the diary itself is very precise and moving.

NW: Is your father a writer, too?  What is it like to be a writer in a family of writers?  Do you and your sisters help each other with your drafts?

DM: My father isn’t a professional writer, but he and my mother are both fine natural writers. Both of my sisters, Kate Gadbow and Megan McNamer, are published writers and very good ones. We don’t help each other with drafts but we read and admire the finished work of each other. It’s great to be in a family of writers and readers. Talking about books is something we’ve always done and continue to do.

NW: What are you working on next?

DM: A novel. I’m excited about it but feel I’ll jinx it if I say more.



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