While I made great efforts to stay true to history, conflicting research materials occasionally forced me to choose the most likely among them. The notable liberties I consciously took for storytelling purposes involved the following: inmate number AZ-257 was actually assigned to Rudolph “Jack” Hensley; the “Rule of Silence” was relaxed late, not early, in 1937; in the early prison years, movie showings under Warden Johnston were limited to holidays and special occasions, later to become monthly events; and, to my knowledge, Ralph Roe’s landscape detail prior to working in the mat shop is fictional.
In addition, Burton “Whitey” Phillips’s assault on Warden Johnston in the mess hall occurred a few weeks earlier while prisoners were in line to exit; to subdue the attack, Whitey was tackled by officer Joseph Steere and knocked out with a billy club by Lieutenant Culver. As for duties at the warden’s residence: it was the wife of Warden Madigan (Johnston’s successor) who was said to have left the radio on and newspapers lying around, and the warden’s greenhouse was actually built and tended by Elliot Michener many years later. The lower, rose-terrace greenhouse, however, did stand during the story’s timeline and was cared for by inmates.
For information about Alcatraz, I relied heavily on the following books: Alcatraz: The Definitive History of the Penitentiary Years by Michael Esslinger; Alcatraz: The Gangster Years by David Ward with Gene Kassebaum; Guarding the Rock by Ernest Lageson Sr. and Ernest Lageson; and from inmates’ perspectives: Alcatraz: The True End of the Line by Darwin E. Coon and On the Rock by Alvin Karpis. The documentary I found most intriguing was National Geographic’s Alcatraz Breakout: New Evidence, featuring a U.S. marshal who uncovered evidence strongly suggesting that the inmates known for the Great Escape actually succeeded in crossing the bay, though we will likely never know for sure.
To learn more about vaudeville and burlesque, respectively, I highly recommend the documentaries Pioneers of Primetime and Behind the Burly Q: The Story of Burlesque in America. From creative ways strip acts evaded decency laws to chorus line girls blowing bubbles for bathtub routines, the tales included in these videos—as was the case for much of my research for this novel—often left me saying, “You just can’t make this stuff up.”
Please turn the page for a very special Q&A with Kristina McMorris.
Who or what was your greatest inspiration when creating Shanley Keagan?
My late maternal grandfather’s roots all trace back to Ireland. Since he and I were very close, I’ve always had a special fondness for all things Irish, most of all his limericks, which never failed to make me laugh. My visits there only solidified how much I enjoyed the music, the people, and of course the breathtaking landscape.
Still, when I set out to write a 1930s story about a guy from Brooklyn caught in a web of crime that leads to Alcatraz, I assumed he’d be Italian American. But while imagining his history, I pictured him on a ship and realized he was an immigrant from Ireland. You see, my grandfather was dark Irish with an olive complexion, brown eyes, and wavy black hair. Growing up, I often heard my mother say how her dad was easily mistaken for an Italian. Fortunately, that memory came back at just the right time.
Were there other characters in the story that were influenced by real people?
For creating the Capellos, historical memoirs about Italian immigrant families in New York were tremendously helpful. But also, during my college years, I was fortunate enough to live in Florence, leaving me with a lifelong passion for Italy (and not just for their amazing food and wine!). So, Mr. and Mrs. Capello were largely shaped by people I met there. At a friend’s house in Genoa, I remember we’d barely finished eating and her mother was already gearing up to cook the next meal, always insisting that we weren’t eating enough.
I also drew on a lifetime of experiences with my father. Although he emigrated from Kyoto, many of his traits seem to parallel those of a typical Italian immigrant father, such as his passion for family, his determination (okay, stubbornness), his heavy accent even after four decades in the States, and his deep pride in being American. In fact, much like Shan’s reaction upon seeing the Statue of Liberty, my father still speaks about how, back in Japan, his chest would tighten every time he heard “The Star-Spangled Banner.” And like Mr. Capello, my father still has a penchant for practicing English words over and over (every so often, we make him say “aluminum” just for fun).
Which historical facts surprised you most while researching for this book?
The first one that comes to mind is “Machine Gun” Kelly serving as an altar boy at Alcatraz. The irony still makes me smile—as do many tales from the burlesque circuits, and the creative use of teacups during Prohibition. On a more sobering note, I was astounded to learn about the “Rule of Silence,” which many claim was one of the greatest hardships at Alcatraz, along with the monotony. I also had no idea that Al Capone had literally gone insane during his time there, due to the onset of paresis from syphilis. And I was equally surprised by all of the ways inmates were able to create and hide weapons while imprisoned, and even skirt the metal detectors!
Were there other interesting true accounts that didn’t make it into the final draft?
There were definitely some entertaining facts I wanted to include but held back for the sake of story. I recall two that involved Capone at Alcatraz: the first was a formal reprimand he received in the mess hall for not eating the outside edges of his cake, since wasting was forbidden; and how he would subscribe to magazines that were later passed around to his approved list of fellow inmates, sometimes scratching their names off in retaliation for one grudge or another—while in the past, he would have likely settled the score with a bullet.
Other tidbits that didn’t make the final cut included the fact that families could pay to watch baseball games in public stands at the Leavenworth penitentiary; that at one time, corruption at the Atlanta penitentiary enabled inmates to live in a luxurious hotel near the prison rather than in the cell house; and that notable escape attempts at Alcatraz had relied upon secret help from up to twenty prisoners. On a separate note, I was also amazed by the dark nature of such silent films as Broken Blossoms, in contrast to popular lighthearted features starring the likes of Charlie Chaplin.
What proved to be the most important or rewarding part of your research?
Aside from interviewing people and hearing their stories firsthand, I love hands-on research the most. For previous novels, my favorite experiences were a ride on a restored B-17 and a pilgrimage at Manzanar War Relocation Camp. For The Edge of Lost, it was undoubtedly my night tour at Alcatraz. Later, while writing scenes set in the mess hall or cellblock or on the docks, I was able to close my eyes and recall the gas canisters on the walls and the thunderous sound of the prison doors slamming shut.
Had you planned the major plots twists at the end of the story when you first set out to write the book?
I’m typically such a plotter, since my novels are usually set during World War II and therefore are heavily dictated by a historical timeline. In this case, I had a strong sense of the plotline, but at least half the story unfolded in a different way than I’d first envisioned. This included the major twists toward the end of the book. Since I personally didn’t see them coming, hopefully most readers won’t either!
What was your greatest challenge in writing The Edge of Lost?
I admit, I spent an embarrassing number of hours just sitting in a chair, staring at a map of Alcatraz Island, feeling like an inmate trying to conjure a way to escape with only the tools and resources a prisoner could have possibly acquired at the time. On some days, it was enough to make me batty.
Also, as I mentioned, the 1940s was my usual comfort zone when it came to historical writing, so tackling the ’20s and ’30s was a bit daunting, especially when combined with multiple ethnicities and cultures spanning from vaudeville to Alcatraz. I care so much about accuracy that it was easy to obsess about the tiniest details—only to cut them later when storytelling took priority. I
’d venture to guess every historical novelist knows exactly what I’m talking about. But then, I suppose that’s why writers tend to keep chocolate and wine on hand. In my case, a nice Italian red.
A READING GROUP GUIDE
THE EDGE OF LOST
Kristina McMorris
ABOUT THIS GUIDE
The suggested questions are included to enhance your group’s reading of Kristina McMorris’s The Edge of Lost.
Discussion Questions
1. Love, forgiveness, redemption, loyalty, and sacrifice are among the most prominent elements in the book. In your opinion, what was the main theme of the story?
2. At a young age, Shan learned to quickly adapt to his surroundings, much like a chameleon. How did this ability both help and hinder his personal growth?
3. Who were your favorite and least favorite characters, and why? Were there any you disliked at first but grew to care for later? If so, what altered your opinion?
4. Early on, Shan became dependent on humor to survive and later recognized how trust and likability are often cultivated through making people laugh. Discuss how different each segment of his life would have been without this skill.
5. From Uncle Will’s exchanges with Doc O’Halloran, Shan observed, “When a person had something you needed, it was best to show you were worthy.” How did this belief translate into Shan’s relationships with each member of the Capello family?
6. From Irish pubs to Bronx supper clubs, and burlesque shows to prison cells, The Edge of Lost features several diverse parts of history. Did you learn something new from the story? What was the most interesting?
7. In recalling his late parents, “Shan felt the weight of their absence, as heavy as stone on his chest.” How did this traumatic childhood loss influence his future choices?
8. Not only Shan, but Mr. Capello, Nick, and Josie all sought a form of redemption. Do you think each one fully achieved that? Is it possible to right a wrong with an unrelated act?
9. In hindsight, much of life could be viewed as ripples set into motion by a handful of pivotal events. How different would Shan’s life have been if he had never left Ireland? How would this have affected the lives of the other major characters?
10. The deeply held secrets of many characters were revealed throughout the story. Do you agree with their reasons for keeping those secrets? Is withholding the truth the same as lying? Is it always best to be forthcoming?
11. In an effort to help others, Shan chose to enter the scene of the robbery and later to escape with Sadie. Would you have done the same in both situations? If not, why?
12. How do you imagine Shan’s life five years after the end of the story? Do you think he ever reunites with the Capellos?
13. Though alluded to, Sadie’s outcome was never fully depicted. Do you think she ever found her mother? If not, where do you picture her?
14. How did you interpret the cover art of The Edge of Lost when you first began reading the story? Has your view changed since finishing the book?
KENSINGTON BOOKS are published by
Kensington Publishing Corp.
119 West 40th Street
New York, NY 10018
Copyright © 2015 by Kristina McMorris
All rights reserved. No part of this book may be reproduced in any form or by any means without the prior written consent of the Publisher, excepting brief quotes used in reviews.
Kensington and the K logo Reg. U.S. Pat. & TM Off.
ISBN-13: 978-0-7582-8118-0
ISBN-10: 0-7582-8118-8
ISBN: 978-0-7582-8118-0
First Kensington Electronic Edition: December 2015
The Edge of Lost Page 32