October 15, 1969: The Moratorium to End the War in Vietnam. A Pause for Reflection in a Polarized America.

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The anniversaries of seminal events that rocked our world fifty years ago are coming hot and heavy this fall. Today, we remember a time when we tried a reasoned strategy to attempt to deal with a generation-defining issue in a country as divided then as we are now.

TIME Magazine Cover: Vietnam Moratorium — Oct. 17, 1969

TIME Magazine Cover: Vietnam Moratorium — Oct. 17, 1969

By the time of the Moratorium, America had been involved in Vietnam, in one way or another, for nearly ten years. Any initial objectives for the war were long gone, the domino theory relegated back to the game it was named after, the war’s progress descended into body counts, the goal now so incrementally small that there was no big picture left or possible. Our defense secretary was telling us that if we killed more Vietnamese than they killed Americans, it was a good week. Period. The Killed in Action Numbers came out on Thursdays.

It was pretty universally agreed that the war was a disaster. What wasn’t agreed upon was what we were going to do about it. Half the country felt we should stay in Vietnam until we “won,” because America had never lost a war. The other half felt that we should cut our losses and get out—those losses being so obvious in the form of body bags containing young adults (many just teenagers) we were seeing each night for the first time on television, on the nightly news, just before dinner, when the numbers of killed and wounded on both sides were announced with a chart, like sports scores. No one could not know—or pretend not to know—what was going on.

On October 15, 1969, America was stuck in an existential dilemma. Who were we if we stayed in Vietnam? What were we if we left? Lines were drawn at the dinner table; people couldn’t talk to their own relatives; friendships were made or lost depending upon which side of the argument you were on. The country was at a loud and strident impasse—no one was budging. And the policies of our new president, Richard Nixon, despite campaign promises, were alarmingly close to those of his predecessor, Lyndon Johnson, who’d abdicated the presidency because he couldn’t figure it out.

One Day in October, Two Days in November, Three Days in December. . . A Strategy That Should Have Worked

THE NORTHERN STAR, NORTHERN ILLINOIS UNIVERSITY, OCTOBER 1969

THE NORTHERN STAR, NORTHERN ILLINOIS UNIVERSITY, OCTOBER 1969

A moratorium is defined as a delay, a postponement, to give time for reflection. The plan for the Moratorium that October was to apply this concept to ensure the country didn’t stumble blindly ahead in a direction that might be wrong. It was to be peaceful: to put the war on pause, while we reflected about how we had arrived at this point. How did the war begin? What were we trying to do? How could we bring it to an end? The theme was grief, sorrow, and solidarity, rather than anger and rage. It was important to demonstrate that a war protest didn’t have to be violent and destructive like the one at the Democratic Convention. Instead, the tent was wide and had room for anyone with doubts about the war and the direction of the country, knowing this cut across all segments of age, race, and economic status. The concept was to build a groundswell—to engage the widest representation of all groups and factions. You didn’t need to be a radical to be against the war. Your desire to end a war that had lost its way was the common thread.

And it worked—huge groups gathered in Washington (250,000), and cities across the country. The idea was to expand it month by month, to increase participation and demonstrate the widespread support across all subsets in the country—civil rights organizations, churches, business groups, universities, unions—to end this war that affected everyone. After all, who didn’t have a connection: a child, a boyfriend, a student, a brother, a cousin—some family, some connection, anywhere. A war experience enters the DNA of a country, our DNA. Our lack of power over its escalation gripped us all: it was time to build our side of the argument. What were Communist dominoes and saving the world for democracy, versus the loss of actual lives? Did we need new ways of looking at conflicts—of considering more carefully how we got into them, and the points at which we needed to get out? Just what were the ethics of unwinnable wars?

Students Went on Strike

The way this played out on college campuses—which represented the largest concentration of draft-age men—was in the form of “strikes.” Students were encouraged to skip classes and attend informal education sessions about the roots of the war, the options for protest, how they could regain power over their lives. Since Vietnam had been around through most of the students’ childhoods, they had grown up with it, and now were in it, without really understanding how the country had ended up where it was. It was time to revisit the Gulf of Tonkin, the French involvement, the anti-communist fear that ensnared John F. Kennedy. Or, to learn about them for the first time.

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Ken Burns traces all this beautifully in his PBS series The Vietnam War, but back on October 15, 1969, no one was piecing it together, talking about what it all meant, what was really at stake, perhaps, versus what had previously been wagered in other wars. We needed new comparators.

Teachers were encouraged to suspend their syllabus of the day and discuss the war with students. The chemistry teachers balked, but the history and political science professors were in heaven. Students came, the straight (in the old definition of representing the norm) and the freaks. People were talking. Check out the excerpt from The Fourteenth of September that takes place on that date, and you’ll see that it was an opportunity for people to talk about what they felt, to finally ask their questions, to face their fears, to begin to understand rather than just react.

Time magazine said the Moratorium had brought “new respectability and popularity” to the antiwar movement.

The Aftermath

The Moratorium was a huge pearl in the string of events that eventually led to the demise of this long national ordeal, that would take until 1975—six more years—to conclude. Though the administration retaliated with Nixon publicly stating that “under no circumstances will I be affected,” he was. The event led to Vice President Spiro Agnew’s infamous speech when he called anyone against the war “effete corps of impudent snobs who characterize themselves as intellectuals” (which would have made an exquisite tweet in today’s world). Significantly, it also resulted in Nixon’s defining “silent majority” address, asking for the support of what he assumed was the vast heretofore quiet bulk of Americans for his Vietnam policy—that we had to stay and win. Peace with Honor, he called it. He conceded the point that South Vietnam wasn’t important, the real issue was that America would lose face. This was startling. From then on, the country knew what it was in for, what side he was on. And each of us had to decide what was more important—an escalating number of soldiers killed with no objective or end in sight, or maintenance of a perfect victory record?  As a young person with your life or that of your friends on the line, you had to wonder if it was worth it when some old guy said it would hit us in our pride. We did not think this was a compelling case for the carnage, not a decade into this war, with a possible additional decade ahead.

Conversations were stirred up, assumptions were being challenged. It was a brief illuminating moment. We learned a lot. It was a start.

Power to the People

We all looked forward to the next phase of the Moratorium on November 15, 1969, which was to be the biggest March on Washington ever. We were empowered and activated to change the world. It felt so good, finally, to think that we could be heard. Illusions about this would be shattered as events progressed rapidly through the end of 1969/1970, but it’s instructive to remember that there are moments when progress did happen, and that it takes so painfully long. We paid a price for not listening to each other back then.

March at night to the White House, led by Coretta Scott King, part of the Moratorium to End the War in Vietnam

March at night to the White House, led by Coretta Scott King, part of the Moratorium to End the War in Vietnam

It makes you wonder if we need a Moratorium today—a time for reflection, to really think about the character of the country. Who are we if we continue on our current path? What are we if we choose another, hopefully better, one? We lose all when we stonewall and stop talking to each other. Perhaps our Moratorium is the impeachment process? It could be. Let’s be open. The sin of what happened fifty years ago was that we took so long to do what was inevitable in ending the war. The horrible price was in loss of life and damage to our national integrity. Our DNA is still frayed. There are echoes of what is at risk at present today in our country. There is a war going for our integrity. But there could be hope.

 Like Judy in The Fourteenth of September who went through a Coming of Conscience journey to a decision where integrity trumped consequences, there are a lot of people today who are or who need to make a similar Coming of Conscience decision. Whether you agree with them or not, you have to admire their willingness to risk personal consequences for doing the right thing. We need so many more of them. The country awaits how this current Coming of Conscience moment will resolve—not just how it will be written about in the history books, but how will happen right now.

We can still change the world. . . if we listen.

All power to the people.


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The First Anniversary of "The Fourteenth of September:" The 50th Anniversary of Everything That’s In It 🎂

It’s been a year since the publication of my debut novel, The Fourteenth of September, and I can’t believe it either. To answer so many of your questions, yes, it has done well (outperforming the average independent book, I’m told) and continues to be of interest. It’s fulfilled all my hopes and dreams, and I’m humbly grateful for the wonderful year I’ve had due to the support of many of you. I intend to continue the ride as long as it lasts, however wild. This last quarter of 2019 alone is filled with the fiftieth anniversaries of so many of the seminal events of the time that are dramatized in the novel: the Chicago Conspiracy Trial, the first Moratorium Against the War, the March on Washington, the first Draft Lottery. Their commemoration shows us how the decades can seem very long ago, and yet as short as a heartbeat, with in-your-face reverberations today.

To be honest, everyone is right when they say publication is not for sissies. Though incredibly affirming and rewarding, it’s also been, in the favorite words of the colorful Joe Dragonette, “three yards and a cloud of dust.” To my surprise, the part that gets so many writers, the marketing, was often overwhelming even to my PR veteran self. But the biggest challenge was always that my topic was so fraught on so many levels. Me, being me, I just couldn’t begin with a simple starter novel with a few characters and a feel-good climax. And that made the hill I had to climb pretty high, though a few major things did finally break in my favor.

 Following is top-line some of what I learned during the year of the launch of The Fourteenth of September.

Vietnam is No Longer the Voldemort of Wars

read the first chapter which takes place September 14, 1969

read the first chapter which takes place September 14, 1969

Timing is everything, and there was a long period when I thought I’d totally blown mine for publication. The book took thirteen years to write (and that’s once I actually put fingers to computer) and I suffered through many questions about why I was writing about Vietnam—a subject no one cared about, I was told. It was the Voldemort of wars, as one of my book-launch salon participants put it: We lost, there were atrocities, and we treated our vets badly. Nothing anyone wants to revisit. And besides, it’s the past, not relevant for today. Why waste your time?

Fortunately,my au contraire moment was created by Ken Burns (The Vietnam War PBS), Steven Spielberg (The Post), the writers of This is Us, and other popular culture curators who reminded us at the fifty-year point after the war that it was time to look back, learn, and even—be still my heart—be entertained. In addition, with the interest in women’s issues and diversity, there was increased openness to new points of view. As a result, once I published, I became part of the zeitgeist. In fact, the New York Times recently pointed out that three of the current bestselling novels are also at least partially set in 1969, with Vietnam themes or plot points: Summer of ’69, Mrs. Everything, and Chances Are…, the latter of which is actually about three college buddies whose lottery numbers pretty much determined their lives.

Unfortunately, world events have lined up to show that if not examined, history will always repeat itself. So alas, counterintuitively, what’s uncomfortable for the country makes The Fourteenth of September more relevant than ever. It was chillingly familiar when Pete Buttigieg reminded us in the second Democratic Debate that wars are “very easy to start and very hard to end.” He was referring to Afghanistan, but the echo to Vietnam, that limped on five years after Kent State turned the country firmly against the war, was loud and clear.

It’s time to embrace the subject of the Vietnam War as we would any in history. Check out the article I wrote about this for Independent Publisher: “Five Reasons Why It’s Okay to Write about Vietnam Today.”

Vietnam Is Still a Tough Subject, but Not One to Shy Away From

—People actually do want to talk about Vietnam, given the opportunity. In over thirty events during the past year, I’d say, men, in general, are eager to share their particular stories—how they did or did not get out of the draft, the near-miss life-saving efforts of helpful doctors, the miracles of lost or destroyed draft documents. They also remember where they were on Lottery Night—in a bar, huddled around a TV in a dorm, in a pool hall—afraid to listen, feeling powerless, their destiny out of their hands. They shared stories personal and painful as if they’d been just waiting for an opening. They talked about what got them through—tales and talismans. The real-life model for the character of Wizard in my novel pulled the remnants of his draft card out of his wallet and reassembled them on a countertop to show me they never left him.

—Women are mixed. They usually don’t feel they have stories of their own and start with those of their men: fathers, uncles, husbands, sons, students, relatives relegated to the dark and never talked about. Once they “claim” their experiences, their stories are as compelling. One woman told me she’ll never forget picking up the paper on the front porch the morning after the second draft lottery to read that if she’d been one of her five brothers instead of a girl, she, too, would have the lowest lottery number and been off to Vietnam. Many were apologetic—they’d been focused on raising kids, or writing papers at college amid the chaos, or just keeping their heads down and their lives moving forward as the world was blowing up. One of the most telling comments was from a seventy-nine-year-old woman in Wisconsin who came up to me after a book club. “I got married young and didn’t go to college,” she said as if I’d judge. “My husband was on the road as a salesmen five days a week and I was overwhelmed raising three kids. I thought all the protesters were entitled rich kids, causing trouble.” She thanked me for showing her their perspective as she revised her own.

—Young people are very curious. Not so much Millennials, who find it hard to relate, but Xers and younger who say they want to hear more about a subject no one talks about or teaches. They haven’t heard about the Lottery and have a hard time believing that it happened as it did—like a game show on television. They instinctively feel that Vietnam is an important part of their history and that others have decided it’s not to be shared. They want to understand why.

It Still Hurts. Time Helps but Doesn’t Heal.

—Vets are still angry. Some violently so. Several of the comments to my Facebook Ads were pretty hot, by vets viscerally reacting to nothing more than the photo of a protest sign and the name of a female author. I tried to engage with a few to tell them the book wasn’t anti-vet, and one did respond, thanking me. But I had to pull back on my audience target, realizing I was pouring kerosene on a wound that was still open.

—Vets are still profoundly hurt about how the war was conducted and how they were treated. Callers-in on radio shows spoke primarily about that. They were anxious to share. I was willing to listen. My attempts to donate some proceeds to The Wall or Vietnam Vet organizations were mysteriously rebuffed. One sympathetic man finally told me it was too much of a reach. The Vietnam Vets were focused on supporting vets of subsequent wars, so they wouldn’t be treated poorly like they had been. When I brought book copies as giveaways to my high school reunion, I had to start by saying the book was anti-war for that war at that time—not anti-vet.

When my publicist emailed with a link to a review of The Fourteenth of September in The Veteran I held my breath. To her, this had been an obvious media target, but I knew better. Now, I’m more proud of this than any other I’ve received:

Few books have taken the time—and space—to examine so thoroughly the collegiate antiwar movement in small-town America. The story held my interest and reminded me of what was going on in Pullman, Washington, around the same time. The tone rang true in every line.

I was interested in the impact that the draft lottery and its rippling effects had on a generation heavily influenced by the chance uncertainty the lottery had on hundreds of thousands of young people. I had barely paid attention to the lottery because I was one of the young men drafted before it was instituted.

This novel opened my eyes to issues that my thick skin and my age had protected me from. We are admonished to read this book and weep, and I actually did shed a tear or two of sympathy.

If you’re like me, after you read this well-written novel, it will be difficult to put it out of your mind.

We Can Still Be Surprised by the Past

In one of my book-launch salons, I met Pam Tarr, daughter of General Curtis Tarr, who was the much-maligned “inventor” of the modern draft lottery. I didn’t know her history but had been warned she’d attend and I should be prepared for tough questioning. That didn’t happen. She was open and sympathetic to the story of characters protesting what had been her father’s program. Later, she told me about how the objective had been laudable—to come up with a uniform, fair program versus the uneven and “bribable” local draft boards than in place. Her father and her family had been vilified and taunted. She told a story of how President Nixon had urged her to be brave. Her best friends were the daughters of Ehrlichman and Haldeman. It had been a hard adolescence and she felt it hadn’t been fair to her family. And, of course, she was right. War does so much unseen damage to so many unappreciated victims. Many of the overlooked are women and girls. I’m hoping she and I will be willing to work together on this story at some point.

Historical Fiction Is a Pathway to Understanding

I’ve always felt that we learn our history through facts and nonfiction, but we understand our history through narrative—where we can actually feel ourselves in the shoes of a character we can relate to and wonder what we would have done. Then, we can begin to know what it was like to weigh the stakes and dangers against the valor and objective, and consider what it was like to live in another time: to make a fateful decision in the narrow vision of a single person’s experience of the past without benefit of the panoramic reevaluation of the present.

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Historical fiction typically takes place at least fifty years in the past. The Vietnam War, as a subject, is now just squeezing into that category by its chin hairs. It’s complicated. Living people bring the lens of their authentic, yet specific involvement to the story. Some feel that unless they had their own experience of Vietnam this story wouldn’t be relevant. This story is only for a Boomer audience of a specific age, in this micro-targeted world. Right? 

And yet, we openly welcome stories of topics of which we have no living experience—the French Resistance, German prison camps, home-front US—in stories like The Lilac Girls, All the Light We Cannot See, The Beantown Girls, The Lost Girls of Paris. Members of book clubs press novels on me about other wars they see as parallel and relevant. People send books, poems: Pandora’s box has been opened. Vietnam is as relevant as today, as nostalgic and fascinating as the yesterday of World War II and all the history that’s gone before. The stories the War has to tell are compelling, gut-wrenching, instructive, revelatory, and

. . . entertaining. The Fourteenth of September, for example, is full of the sex, drugs, and rock and roll of the time. It’s impossible to write about 1969-1970 without being a bit uncomfortable, yes, but also with singing and celebrating.

It’s time to open ourselves to the narrative. Over the next few months, as we commemorate the pivotal events of fifty years ago, this blog will utilize The Fourteenth of September as a lens to allow you to experience this chaotic and prescient time from the perspective of the nineteen-year-old you once have been, will be or still are. And, to consider what you would have done then, and may yet need to do, again in the near future.


 
 
 
 
 

Audiobook of "The Fourteenth of September" Now Available: Leave the Reading to Us

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Now that I have your attention, I will fess up that the novel has been available as an audiobook via Amazon since the book launch back in September of 2018. However, since I didn’t do any specific promotion on the format, it has just been sitting around, quietly, with modest purchases by experienced audiobook fans who knew how to find it. It’s time I gave it some love.

The Casting Cloud

The audiobook deserves its solo spotlight, given all the time and attention that went into producing it, but also because its development challenged me as an author in ways I’d never expected.

Right off the bat, the process of choosing a narrator sounded like great fun, but in practice it was unnerving. I can see why authors so often hate the films that are made of their novels. As a writer, you spend years picturing and “hearing” specific faces and voices in your head, and it’s very hard to envision, if you will, a stand-in. Very. 

Though I was asked many times to narrate the The Fourteenth of September myself, I felt it needed a voice for my nineteen-year-old main character, Judy, that sounded the right age. The casting process for identifying potential narrators was exceptionally efficient. Over sixty professionals sent audition tapes based upon an excerpt I had provided. Just pick one, easy-peasy, right?

Hardly. I did have the foresight to hire an experienced producer to help me with the project—primarily because I was totally focused on the all-consuming production and promotion of the paperback and e-book. We both thought it would be a piece of cake. Not so much.

Thankfully, my producer winnowed the audition tapes down to a dozen for me to review to make it an easy afternoon project. Instead, it was... just... too much. All those voices—all good, all young, all saying the same thing, all sounding so... SIMILAR, but not at all like Judy. I felt instead that I was listening in on a gaggle of her friends at the Tune Room, the site of so much of the story’s action. I finally had to do what I’d been hoping to avoid—listen carefully to each audition over and over, trying to pick the voice I thought I’d want to listen to for hours on tape, but actually found myself looking for reasons to eliminate, so the last person standing (or in this case, talking) would be the obvious choice. It was a bit like shifting through great candidate resumes back in the day but with higher stakes for me and my story. I finally got it down to three, and the producer and I compared our choices and picked a final voice. Whew! I was ready to turn the nuts and bolts over to my producer to get back to the world of words on paper. But no such luck.

Nailing the Voices

Before I could walk away, the producer sent me the recording of the first two chapters, where each of the large cast of characters appeared at least once, to ensure the narrator had the voices correct. I was appalled. None of the voices matched the characters in my head. And all of them—male and female—had two things in common. They were PERKY, and the inflection of every sentence went up at the end. To borrow the vernacular, we SO didn’t talk like that back in 1969. We were happy or sad, sarcastic or whiney, enamored of the curse-word vocabulary we were trying out like truck drivers now that we had left home, but we weren’t full of endless pep every minute. We were never, ever PERKY. And, not being interrogative-loving French, we preferred to swallow the end of our sentences and let the words descend into unintelligible mumblings that our elders would struggle to understand perhaps, but we would never go UP. After all, that implied asking permission, and in Judy’s era we were more likely to be trying to disappear, be sullen, or have POWER. Oh, the Valley Girl of it all. I considered removing the word like from anywhere in my manuscript. It wasn’t there much, but somehow, after listening to the narrator, it sounded as if it were. I can fix this, I thought.

Author as Actor... Not

After years making business presentations, I told the producer I would settle this quickly. I recorded my own voice reading my own first two chapters, filled with my own intended tone and inflection, so easy then for the narrator to imitate, right? I was sure I’d be great. I’d once harbored an inclination toward the stage. The narrator would probably be in awe, and I needed to be prepared to keep her dauber up by reassuring her that she could do it, perhaps not as well, but she’d be fine.

Again, a surprise. I virtually slapped myself in the face. First of all, it was exhausting. Forget the character voices: I could hardly manage to keep the energy of my voice up let alone on inflection pitch for twenty pages in one sitting. And I... there is no more politic word to use... sucked. As the narrator might put it, “I am SO not an actress, ya know?” I couldn’t listen to myself, and above all, I DIDN’T SOUND LIKE JUDY. It was so hard to wrap my head around that. A few decades on or not, I deep down inside guess I thought the words in my mind would come out the way I heard them, sounding like Judy, and Wizard, and Vida, and David, and all my other characters. It wasn’t age, it was... like listening to your voice on the telephone. It wasn’t me and it wasn’t Judy. Instead I sounded vaguely like a more nasal version of my sister and the guys sounded like cheery kids, not the voices I needed to communicate the sarcastic bravado in the face of fear that ruled the story’s Draft Lottery time frame.

I feared what the narrator would think when she listened to my version; suddenly I felt that I was the one auditioning. “You call this acting?” I could hear her complain. “Don’t give it to her,” I said to my producer in a middle-of-the-night, follow-up email. Too late. “It did confuse her,” the producer admitted. “I think her narration is fine,” she added after a long, diplomatic pause, asking how I wanted to proceed. Someone needed to listen to the narration chapter by chapter as it was recorded, to be sure it was accurate, words weren’t dropped, etc. “It was critical,” she said.

I humbly told the producer to take me out of the loop and just run with the project. Like Puff, this little dragon sadly slipped into her cave, realizing that there was a reason I had chosen the boardroom over the stage in my earlier career.

In the end, I came to see why movie directors ban authors from the set. We are pathetic, not capable of suspending our belief. We are in love with the vision we put in words, yes, but also the one in the netherworld between the words we write with our inside voice and how they are delivered out to the world. Mere mortal actors/narrators who cannot hear inside our minds will never rise to this impossible-to-articulate ideal. And in fact, once I was out of it, things proceeded just fine; as pointed out by my producer, the narrator may not be “me,” but she is Judy. And isn’t that the point? I was a bit taken aback—after all, there would be no Judy without me—but of course she was correct.

 
Listen to an excerpt from the audiobook.
 
A message from Marissa DuBois, audiobook narrator.

At this point audible Judy is doing pretty well. See listener reviews on Audible and Goodreads, and listen to the excerpt. And also hear the narrator, Marissa DuBois, talk about her excitement for the project in this interview. Then, check out the audiobook yourself, which is available on Amazon on the same page as the other formats for The Fourteenth of September. One tip, be sure to turn up the speed when you listen, Judy has a lot to say... she needs to talk fast.

Audio Is Cooler Than You Think

My first audiobook was my own novel and that helped me catch the bug for my long, fair-weather walks along Lake Michigan and car rides. The more you use it, the more you think about where to use it. My trainer listens to audiobooks while she cleans her apartment, an idea I can absolutely get my head around. I’ve begun to inventory life activities that don’t require paying attention.

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Above all, to my friends and family who tell me they support my story but just aren’t “readers,” or who only read nonfiction: Please try The Fourteenth of September on audiobook, and Judy’s voice will make it all go down in an exciting way. Let me know what you think... and about new creative ways to listen. I personally, for example, think my brother should read it during those endless hours of home repair and tinkering in the garage. I mean, he’s already on engineering-genius autopilot—he can listen to a story at the same time, right?

Time flies when someone’s telling you a story.  For me, the audiobook experience is like Mrs. Sellen, my first-grade teacher, reading us Dr. Seuss’s The 500 Hats of Bartholomew Cubbins. Its like a personal movie. They talk and you imagine. You know, just like a book. Hands free. Enjoy!


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Coming of Conscience Scholarship Recipient Announced

Isabel Odom-Flores & Rita Dragonette

Isabel Odom-Flores & Rita Dragonette

As I wrote back in February’s blog post, the Coming of Conscience Scholarship that was created in the spirit of the journey of the main character, Judy Talton, in my novel The Fourteenth of September had attracted a record-breaking 200+ applicants. The scholarship was open to all students (undergrad and graduate) at Northern Illinois University (NIU), the real-life model for the fictional university in the novel. It was designed to encourage meaningful activism and bold personal responsibility. Applicants were asked to write an essay to describe their understanding of Coming of Conscience, to share an example of a Coming of Conscience moment of their own, if possible, and, above all, to indicate their plan for how they will use their degree to help change the world. Essays were evaluated by a faculty committee established by the NIU Foundation, who chose the final recipient.

I’m very pleased to share with you that the scholarship has been awarded to nineteen-year-old sophomore Isabel Odom-Flores, a Communication Disorders major, in the College of Health and Human Services.  

A Generation Committed to Giving Others a Voice

"Coming of Conscience is as simple as 'doing the right thing' and as difficult as realizing 'your whole life depends upon it'"
— Scholarship Applicant

Isabel’s essay was one of so many who told the stories of lives changed by brushes with injustice, tragedy, and violence as well as the day-to-day courage it takes to live a life of integrity. If anyone is worried about how committed the allegedly self-absorbed younger generation is to making a difference in the lives of others, these stories will disavow any concerns. Students wrote, not surprisingly, about bullying of all kinds, cheating, sexism, and drugs, but also about abuse, gun violence, difficulties with trusting the police, and overcoming restrictive cultural norms in first-generation immigrant households. In the main, applicants had faced situations that inspired them to train for careers in law, political science, and advocacy to help address what they feel strongly are injustices and issues that must be overturned. A second majority of those are going into medical school or nursing and teaching to help those who need assistance. The commitment to using the personal fear and rage of what they went through to help others is universal.

Many are unexpected: A young woman who still had to fight to convince her parents to let her go to college. Another who became a nutrition major after the death of a young, obese cousin because of the unhealthy diet of a culture. A Christian aspiring actor and singer who turned down a major role in a play because of skimpy dress, who is now a dance major dedicated to art with modesty. Each is a story of integrity trumping consequences. Some have learned the hard way.

As one student put it. “Do I regret the choice I made that hurt others and eroded their trust and confidence in me? Most definitely. Do I regret the lesson I learned and carry with me each day? Never.”

Isabel’s Coming of Conscience

With Judy Ledgerwood, Acting Dean, College of Liberal Arts and Sciences & Ray Earl-Jackson, Director of Advancement, College of Liberal Arts and Sciences

With Judy Ledgerwood, Acting Dean, College of Liberal Arts and Sciences & Ray Earl-Jackson, Director of Advancement, College of Liberal Arts and Sciences

Coincidentally, as Isabel and I discovered when we met recently, she and the fictional Judy Talton share a struggle to be able to afford to go to college, the life-line of a scholarship that could make all the difference in their futures, and issues of integrity that could cause them to give it up. She’s agreed to allow me to share her story in this post. Read full essay here.

In her essay, Isabel Odom-Flores recounted a painful yet instructive moment of Coming of Conscience. She always knew that college was going to be hard to pay for and was “going to take any help I could get.” As a gifted softball player, her answer came through athletics when she was offered a scholarship to play on a new team at her community college, joining other girls who were excited to play the sport they loved as well as pay for the education they sought.

It soon became obvious the promised funds were to come “later,” according to their coach, and in exchange for serious ongoing harassment. After a year of this, Isabel was faced with a dilemma, turn the coach in and give up her scholarship, putting her future and that of the other team members at risk, or, as her teammates urged, just put up with it for the vital scholarship money—a #METOO moment at the tender age of eighteen.

“I was signed to be on full scholarship for the next school year. I was promised sophomore team captain and a starting position. I had worked hard the last ten years to become a leading student-athlete in college. I knew all of that was at jeopardy if my coach were to lose his job.” But she realized that someone had to put a stop to this. “Harassment in the workplace is wrong. Harassment in schools is wrong. Harassment everywhere is wrong.”

She tried to turn the coach in twice—once as a single, complaining voice that wasn’t believed—and mustered amazing courage to try again, finally and successfully, by convincing the team to join her in a collective complaint. The coach was let go, the integrity of the softball program restored… but the team members each lost their scholarship money. Isabel had already used the money her parents had saved for her education and was struggling to apply for burdensome student loans.

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At the same time, the payoff in integrity was character-forming. Isabel now knows her mind, and has found what she calls her “firm voice” and plans to use it. Her plan for her Coming of Conscience scholarship money is to ultimately obtain a master’s in speech-language pathology to help others, literally and philosophically to have a voice.

“I will advocate in my workplace for anyone who is experiencing harassment anywhere. Spreading knowledge on what qualifies as harassment and what does not. Spreading knowledge on how to file a harassment claim under the equal employment opportunity commission. Spreading knowledge will break down the barrier that separates people from staying quiet to finding their voice.”

“I have grown to have a firm voice and use it when there is an injustice. I especially feel compelled to advocate for other women. Equality and harassment in the workplace or anywhere must be taken seriously. I will never again turn a blind eye in any setting.” 

I’m particularly glad to learn that the Coming of Conscience scholarship will more than compensate for the scholarship funds Isabel lost through her decision of valor—a contribution to the voice she will never again question.

A Coming of Conscience Journey

What a surprise, Ruth Sender, Isabel's grandmother met me at the Wheaton Author's Fest to thank me for funding the scholarship.

What a surprise, Ruth Sender, Isabel's grandmother met me at the Wheaton Author's Fest to thank me for funding the scholarship.

I had a bit of a push-back on using A Coming of Conscience as the tagline for my novel. But I was convinced that Judy’s story, a metaphor for what the country was going through during the Vietnam years, was beyond a typical Coming of Age. The latter follows a young person on their journey through complications from which they emerge ready and resilient enough to face the world as an adult. Judy goes through this as well. However, her journey is deeper: the issues she weighs are beyond her maturity and experience and will define her character for the rest of her life. Coming of Conscience works better. As Isabel and the other applicants’ essays illustrate—this is a complex world of diversity, 24-hour news, and social media that amplifies everything, where character is being formed at an increasingly younger age. We watch world figures hashing out issues of integrity every day on the news. Children are listening… but as these applicants demonstrate… they are also learning.

We Can STILL Change the World

My intention for the scholarship was to allow young people to take pride in the hard decisions they’ve had to make and use them to become bold and active, never settling for something that they can impact. The world will always need changing for the better. I’m ever so much more confident after reading these stories. I’ll be sharing excerpts with you in future posts.

These brave young people are on the front lines of the future, as we have been. I couldn’t be more proud and confident that history doesn’t have to be a hamster wheel and we won’t need to keep starting over.

 
 
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Coming of Conscience: A character-defining personal decision or action where integrity trumps consequences.
 

 
 

Women’s History Month: A Matter of Standing

Standing: status, rank, position, station, level, footing, reputation, estimation, stature, eminence, prominence, prestige, esteem, illustriousness, importance, consequence, influence, distinction, noteworthiness, validity, sway, clout
 
The women of new congress

The women of new congress

Women’s History Month isn’t an anniversary I typically celebrate or to which I pay much attention. Early in my career, in fact, like so many of us, I worked hard not to differentiate. Making an issue of being a woman in the workplace seemed to underline the very differences I was trying to equate. However, as I type this, I admit to feeling ashamed of myself and that—though I’m dying to meet Gloria Steinem in real life—I hope she doesn’t inquire about the details of my feminist record. It’s there, but in my younger years I did work harder for what seemed more immediate, achievable goals, like ending the Vietnam War. I would say I don’t feel tragically ashamed, more like the descendant of a suffragette being admonished by her ancestors: “Do you realize what we went through?” I’ve always been on the right side—but not raging. I wanted my career and achievements to speak for, not themselves, but for me. I had earned that standing, regardless of gender, I felt. Looking back, after learning how hard it was to be heard, even when you did everything right—even way beyond right—I wonder what on earth I was thinking about. Why did I feel I had to prove anything?

Standing: That Which Is Assumed for Others Often Needs to Be Earned or Proven for Women

Lori Lightfoot (right) and Toni Preckwinkle, run-off candidates for mayor of Chicago

Lori Lightfoot (right) and Toni Preckwinkle, run-off candidates for mayor of Chicago

Shame is certainly not the word I apply to this past year. This is a shout-it-from-the-rooftops time. From the speak-up success of #MeToo to the feminism of Congress (I love saying that) to the fact that in my city of Chicago, we are going to have an African-American woman as mayor. She might even be a lesbian. Those aren’t the reasons I’d vote for a mayor, but it’s all pretty cool to see that the field is feminine, so the choice is gender neutral. I’m hoping the campaign will be civil and issues-oriented. The road is rocky ahead, as we can already see from snide comments about these remarkable women. Yet, to be standing tall on this road is significant.

The Issue Is Long-Standing

The extraordinary and hard-earned events of the year aren’t, however, why the standing of women has been on my mind. I launched a novel in the fall, The Fourteenth of September, a woman’s story of Vietnam. I’ve been talking about it across the country and answering continuing questions about why I would write a book about that war from a woman’s point of view: What was my intention? Why would it matter? How could there be a story if women weren’t even in the war? Their lives weren’t on the line, were they? These aren’t judgmental questions, they come from a point of genuine curiosity, and an eventual thrill that there even is a story about women during that war.

The discussions have been like peeling an onion. The first comments are usually from men, sharing their experiences of the Draft Lottery, but then, slowly but surely, the women’s questions begin. They have stories of experiences as well—of impact, not combat. As the queries deepen, so do my answers, and I find myself going back to my childhood where issues of inequity began for so many of us. Mine was a bit unusual, so the disconnect was clearer.

Both my parents were in World War II. My mother actually saw much more action than my father (I’ve always loved saying that). She was a nurse, a first lieutenant, overseas for three years. My father was sent to Panama, out of the war, and came to Europe after D-Day but in time for the Battle of the Bulge. I don’t want to compare their experiences and assess which one had it worse, since that will undermine my whole point, but the details are significant to set up the issue.

Edith Finnemann Hoey, 1st Lt., Army Nurse Corps

Edith Finnemann Hoey, 1st Lt., Army Nurse Corps

My mother had stories (and scrapbooks) that we pried out of her years later that were amazing: in Patton’s army, helping perform meatball surgery in twenty-hour shifts in a tent on the front, dipping her cup into a tub of cold coffee to keep awake before rotating behind the lines for a little rest before it would start all over again; part of a team on VE day that liberated Stalag 11 in Heidenheim, Germany. As the daughter of Danish immigrants she could understand German, and when the captured men smiled and called the Americans names—just like in the movies—she giggled that she could wait for the killer moment, then answer back in their own language, showing she had understood all along, stunning them that this twenty-six-year-old farm girl could smack them back in place. It was cold in Heidenheim, and the prisoners had little clothing. They were huddled in the fetal position to keep warm . . . for years. Her job, as head of triage, was to take their limbs and try to pull them apart to see if there was any range of motion, any hope for life. Just take a moment to imagine what that would be like. But she didn’t want to talk about it. Not, we thought, because most vets didn’t, but because she had found that “no one wanted to hear it.”

When conversations began, she was usually shut down with “but you were just a nurse.” It was my father who was the sanctioned target of a bullet that could kill him, so his stories were the real war stories. My mother didn’t have the necessary standing to be taken as seriously, so she went silent. Eventually she began to agree—maybe what she’d been through hadn’t been that important after all. Maybe her contribution hadn’t been that significant.

Even as a child I remember thinking it so odd that the war experiences of my parents would be assessed and weighed differently. It didn’t make sense. They were equally brave and patriotic. What they went through was equally dangerous and horrific. Why would a scale be applied? Though my mother’s life could also have been lost, it wasn’t technically on the line. She didn’t have standing. Therefore, she didn’t have respect. And yet, though I could imagine my father shooting someone, I couldn’t picture him having the patience and compassion to slowly coax frozen limbs away from bony rib cages and out into the light.

Do We Need Standing for Respect?

When it came to Vietnam, the war of my generation, I was surprised to see similar circumstances happen firsthand. In the antiwar movement, where so many women were involved, despite early feminism it was often very hard to be taken seriously. In the depths of the terror over the Draft Lottery, you could participate, organize, empathize, comfort, but—as you could be told in a snap—you could never really understand what the guys were going through because you would never face a bullet or wonder if you could kill someone. We were often marginalized, just at the point when we felt we were breaking through with our own contributions. We didn’t have the standing to be taken seriously.

The Fourteenth of September is a story of those women. My intention was to pose a female dilemma with the same gravitas and emotional intensity as the decision the men had to make about going to Vietnam to die or to Canada, another kind of death. I call it a Coming of Conscience novel. I wanted to explore how a woman would approach the decision of integrity trumping consequences, how she’d weigh the same factors of duty, security, future, and conscience. It’s as close as I could come. I wanted to give my character Judy the standing she deserved, and, I suppose, however little and late, my mother.

Before my mother died, she talked about how disappointed she was. She’d felt her daughters would fare so much better without the many restrictions of her time. Though there’d been a lot of change, she thought that in her long ninety-year lifetime, we’d have settled this issue of standing.

Standing Tall

My mother has been gone for over a decade but would have been gratified about the achievements of women in this year, celebrated in this Women’s History Month. We’re far from settled, but we are certainly standing taller and perhaps, at some point, we’ll naturally loom so large we won’t have to think of it at all. And someday Women’s History will just be History.

In the interim, I won’t let it pass. I’ve scheduled posts and Facebook ads on the issues I’m writing about, and I’m celebrating. Today, I totally assume standing for my story, for my “record,” and I’m standing up—just like Mom.

 
My mother, sometime in the 1940’s, standing tall and fearless. I have no doubt she’d pull that trigger.

My mother, sometime in the 1940’s, standing tall and fearless. I have no doubt she’d pull that trigger.

 

 
 
 

Thank You: The Coming of Conscience Scholarship Is Fully Funded with 200+ Applicants to Date

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SOCIAL GIVING CAMPAIGN

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Coming of Conscience: A character-defining personal decision or action where integrity trumps consequences.
 
 
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The tag line for my book The Fourteenth of September, which came out this fall, is “A Coming of Conscience Novel,” a designation intended to echo yet distinguish it from the typical coming of age experience. In the story, which takes place during one of the most difficult times in our country’s history—The Vietnam War—the main character, Judy Talton, is plunged into a dangerous journey of self-discovery. She ultimately makes a character-defining decision with huge ramifications for who she is and what she will become. Her dilemma parallels that of America at the time: What are we if we stay in Vietnam? Who are we if we leave?

I call her decision a “Coming of Conscience,” which I define as an issue of character—when integrity trumps consequences. One of the concerns at stake for Judy is the hard-won scholarship that is her ticket to the independent future she desperately desires.



Paying It Forward

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In the spirit of Judy’s journey, as part of the launch of The Fourteenth of September, I initiated a social giving program to fund a scholarship at Northern Illinois University, the real-life model for the fictional college in the novel. The scholarship is intended to encourage young people in today’s equally challenging times to engage in meaningful activism and bold personal responsibility. It’s to be awarded to the student who best demonstrates their understanding of what Coming of Conscience means to them, and their plan for how they will use their degree to help change the world in whatever way their beliefs guide them.

When the program was launched, I asked you to help me fund the scholarship either by sharing my posts or a photo of your copy of the novel, or by making a short video to share your own personal Coming of Conscience moment. For each involvement I donated money to the scholarship fund, and some of you also gave direct cash contributions.

I thank you so much for your participation and I’m happy to report that the $10,000 scholarship is fully funded and that there are a record-breaking 200+ applicants.




We Can STILL Change the World

WATERGATE PROSECUTER AND MSNBC CONTRIBUTOR, JILL WINE-BANKS.

Back in Judy’s day, young people spoke out and ended a war. Here in the present, we’re faced with many issues and choices… all of which have consequences, many of which involve integrity. Now more than ever, we need Coming of Conscience moments to define the character of each of us, and of our country.

The essays of the scholarship applicants speak of dreams and plans that are bold and meaningful, and I’ll share some of them in future posts. Meanwhile, thank you for your help in making those thoughts crystallize, the first step in making change happen.

 
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Help grow the Coming of Conscience Scholarship at Northern Illinois University and inspire more talented students toward activism and growth into their personal, social and political maturity. For information on ways to give, please call our toll-free number, 1-877-GIV-2NIU (1‑877-448-2648)
 

 
 
 

December 1, 1969: A Date Which Will Live in Irony

First birth date being selected in the First Vietnam Draft Lottery

First birth date being selected in the First Vietnam Draft Lottery

Forty-nine years ago tomorrow was the date of the first Vietnam Draft Lottery, the day the phrase “to win the lottery” became, not a prize, but a death sentence. It was also a marker for a generation not unlike December 7, 1941, the date of the Pearl Harbor attack, characterized by then president, Franklin D. Roosevelt, as a “Date Which Will Live in Infamy,” a phrase which itself featured an ironic word referring to the dark side of famous. Perhaps that’s what war does to us? Keeps us mired in subtext, unable to talk straight.

I named my debut novel The Fourteenth of September, the birth date of the Number One lottery “winner” drawn on 12/1/69—straightforward, and crystal clear. All irony upfront and intended.


When Your Birthday Became Your Destiny

CLICK TO SEE VIDEO CLIP OF ACTUAL LOTTERY DRAWING ON 12/1/1969

It was the day a new program was implemented to determine the order of the draft-age men who would go to Vietnam at a time when the life expectancy under fire could be as low as six seconds. Pieces of paper with each of the 365 days of the year were placed into individual plastic capsules, mixed together in a giant container and pulled out, one by one. If your birthday was the first date pulled, you were Number One, and so on. If your number was 100 or under, you were most likely a dead man walking, on your way Vietnam. If your number was 300 or higher, you were considered safe, and could feel free to “live your life as you’d planned,” and also, according to President Nixon, stop protesting the war, which was the whole point. If you were in the 200s, you were in limbo. The new system would be “fair,” they said. And, in fact, the definition of a lottery is “an event with an outcome governed by chance.” And chance is always fair, right? Just like destiny.

But it’s also something you can’t hide or protect yourself from. All you could do was hold your breath and pray as you waited to hear your birthday, a date once so joyous, to be called in fateful order. You’d never think of it the same way again.

A Real-Life Horror Story

Click to read Shirley Jackson’s “The Lottery”

Click to read Shirley Jackson’s “The Lottery”

I’d already learned not to trust the word lottery. The first horror story I’d ever read was “The Lottery,” Shirley Jackson’s Twilight Zone-like story of a drawing where the “winner” is stoned to death. It was magnificent and terrifying. I read it in school, as so many of us did. The New Yorker just ran it again for Halloween and I shared it, netting an angry comment from a Facebook friend who’d had the wits scared out of her by being forced to read it in sixth grade by a teacher she still can’t forgive.

That’s how I’ve always felt about the actual Draft Lottery. It scattered our wits to smithereens. And, though people with high numbers felt they were “lucky,” and if pressed you’d had to concede it was “fair,” no one thought it was humane. Even today, it’s still impossible to forgive.

All those capsules with “winning” birth dates, mixed up really good, chosen, opened, and pinned in order to a bulletin board. Seriously? Regardless of how it worked out in the end, on December 1, 1969, the Draft Lottery presented as a sick game show to determine who would die first—and on television! This was a formal government program being administered as a spectacle. Not quite Wheel of Fortune, but right up there. Hunger Games without the panache. How had this already surreal war come to this? I was astonished at the time, wondering if Jackson would demand royalties for having her concept usurped by the military. The last line of “The Lottery,” sums it up best. “It isn’t fair, it isn’t right.”

The Stories We Still Carry

milo ventimiglia in Vietnam Arc of NBC's This is us

milo ventimiglia in Vietnam Arc of NBC's This is us

During this fall’s launch of my novel, which coincides with the time frame of the build up to first Draft Lottery, I’ve had many audience members share their lottery numbers, or those of their fathers or other relatives. I get emails with only a number in the subject line: 151…263…319… and from a surprising number of people who were born on September 14. Those of the time still want to share their stories of chance won or lost, survivor guilt, close calls, friendly doctors, fortunate injuries, mixed-up records, turning the upper age limit of 26 just in time, being thankful for once in their lives for being too short, too tall, too fat, too thin. All are touching, surprising, different. Many comments are about the generation gap between patriotic WWII parents and Vietnam-era children, who knew this war was very different but not how to articulate it to be understood by mom and dad. Some are terrible: a friend called his father with his 300+ number and instead of rejoicing was told he should now be a man and enlist. Some are wonderful: a business leader’s father told him later in life that he’d had it all planned that if his son was drafted, the entire family would move with him to Canada.

Those of one generation want to share; those of another have questions. Younger audience members are curious. They want to know the details; they can’t believe the details. They can’t believe no one talks about this. Lots of them saw the lottery episode on The NBC television program This Is Us back in October. The show is in a story arc where a son is seeking to learn about his father’s experiences in Vietnam so he can better understand himself and the dynamics of his own family. That’s it in a nutshell—why it’s important to remember and understand history. It teaches us, if we confront it unafraid, for the lessons it holds. It also shows us we still don’t have the answers we didn’t have back then.

The Stories We Have Yet to Tell

The story I tell in The Fourteenth of September is a rare female point-of-view of that time, specifically of women on college campuses. There, the largest concentration of draft-age men in the country were their classmates—frantic and furious—waiting for their lottery numbers, and for the long war to end before they graduated or flunked out and their numbers would kick in.

Lottery Night from a women's POV, as read by the author 10/4/2018

I spent December 1, 1969 being nudged out of the communal television room in my dorm. The Lottery drawing would be telecast that evening. The room was small with limited seating. No room for the girls who’d gathered there for support. We couldn’t possibly understand what the guys were going through, or so we’d been repeatedly told. That wasn’t fair either.

I vividly remember the day I came up with the idea for the female protagonist of my novel to have the same birthday as the Number One. Read the chapter here. I’d long been seeking a dilemma for my main character that would be as emotionally intense as what the men of the time were going through—a way to exemplify how deeply, and equally, women were involved, not because their lives were on the line like the men, but because their generation was on the line. We were all “in it” together, side by side.

I don’t recall the sequence of events that led to the aha! moment, but I do remember thinking the title idea was good. I had dinner with a friend that night and told her. The shudder that went through her was all I needed to see. That shudder is what I want every reader to feel. That with the flip of the chromosome coin, anyone could be Number One. On December 1, 1969, we were all Number One.

But that’s still only one story of women of the time. At a recent book event I met the daughter of Curtis Tarr, the government official charged with revamping the selective service system which, until it became the Draft Lottery, had been insufficiently random. Tarr had been vilified during the day, the target of many of the people I wrote about in The Fourteenth of September. She remembers suffering through it as a teenager, about it being unfair. There are so many stories we’ve been afraid to tell.

The Fourteen of September is one; perhaps hers will be next.

The Lessons of the Lottery: It’s Time for Another Coming of Conscience

In a famous Star Trek episode, the population of a planet in a future world took pride in the fact that they’d eliminated war. Instead, after times of political conflict when war would be inevitable, it was instead simulated by computer. After, individuals identified as those who would have been casualties had the war been “real”—would get notices to report to extermination centers, where they would obediently submit to painless and efficient deaths. They were so proud they’d come up with such a civilized way to conduct war without damage to their fine cities.

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Throw birth dates into a container, draw lots from a box, computerize casualties, create volunteer armies of those with few other opportunities. Civilized? You’d think we’d have figured it out by now.

War may be pointless, as the Ken Burns documentary The Vietnam War illustrated so well, but it’s apparently also irresistible, as evidenced by the rapidly multiplying hot spots around the globe. It’s also ever random. Anyone can be in it. With a blink of an eye, one less chromosome, or an emotional tweet, we—or someone we love—can become a soldier deployed to a war zone, a refugee fleeing civil strife in Syria or gang wars in Honduras, or their mothers facing loss. All of us casualties of chance.

How we choose to confront war/conflict shows who we are—our character, our conscience. Do we unite or separate? Sacrifice our young or disadvantaged, or find a better way? Chance is the lottery of life. As long as someone is in a war, we’re all in it.

The subtitle of The Fourteenth of September is “A Coming of Conscience Novel.” It’s about the development of character. My female protagonist’s journey of self-discovery mirrors what the country was debating at the time. Who are we if we stay in Vietnam? What are we if we leave?

On this anniversary day of the Vietnam Draft Lottery, the country is in another Coming of Conscience moment. We’re again fighting for our character, on many fronts. What do we stand for today? What are we to be relied upon for and by whom? When does integrity trump consequences? We’ve come full circle in the hamster wheel of history. How ironic.

Back on December 1, 1969, I’d never considered what my own number would have been had chance dictated I’d been born a boy. I looked it up as I was considering the title for my novel, hoping it would be a single digit, for optimum dramatic effect. I was born on November 4. I would have been #266…

I would have been in limbo…

With no more control over my life than a Central American mother fleeing certain death for her children, a poor inner city kid who enlisted for college money stationed in the Middle East, or a war orphan in Yemen.

 

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It’s PUBLICATION DAY for The Fourteenth of September: Let’s Make It Memorable

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I have to admit this is an exciting day. This story’s been on a long journey—from actual experiences decades ago, to in my head for what seems even longer, to the drawn-out writing process which took twelve years, and the always bumpy road to publication. This book has gestated long enough to be a monster, and sometimes it’s felt like that. It’s more than time this baby was born. And I can’t wait to share it with you. Please help me make it a success.


So Far So Great

It’s coming out on a high tide after lots of belly-to-belly marketing, as you may have noticed. (I hope you aren’t too sick of my face in that headshot or—egads!—the cover of the book.) I put a lot of irons in the fire early on, not really knowing what would click, and I’ve been gratified by the pre-publication reception to The Fourteenth of September. Pre-orders are strong (thanks to so many of you), reviews have been favorable, media coverage abundant, and the book has even done well in early awards competitions.

. . . a moving tribute to lives altered by chance.
— Foreword Clarion Reviews
Dragonette shows us what we can be, both in our best and our worst.
— Windy City Times Reviews
 

Read or Listen

There’s even more going on now that the book is out in the world. In addition to paperback and ebook formats, the audiobook is now available on Amazon, narrated by actress Marissa DuBois, who had a blast juggling the various character voices in the book’s large cast. Check out what she has to say in her video, and take a listen to a three-minute excerpt via SoundCloud. And, if it really puts you in the spirit, check out the soundtrack, full of the circa 1969-70 tunes that punctuate the action of the story.

 
This is a book that book clubs can sink their teeth into: It will provoke intense discussion across generations, between mothers and daughters, neighbors on both sides of the political spectrum, men as well as women.
— Jacquelyn Mitchard

Read Together

Above all, The Fourteenth of September is a discussion book, with a multitude of topics to fuel any interest. And, its appeal is cross audience. Certainly, those of you who were around during the 1969-70 time of the novel will approach it from the vantage point of experience, but as historical fiction, its story of a young woman coming of age and conscience during wartime is appealing to all audiences. Check out the new Official Book Club Guide, including discussion questions by best-selling novelist Jacquelyn Mitchard. Please consider it as a selection for your book club and feel free to refer it to others.

Share What You Think

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I thank all of you for your support throughout the process of bringing this book to fruition, and I hope you’ll help me take it over the finish line by sharing and spreading the word. In particular, I’m hoping you’ll be sufficiently intrigued to read the story of Judy Blue Eyes in The Fourteenth of September and, once you do, post a review on Amazon and Goodreads. There’s simply nothing that helps more to give a book momentum.

Help Me Make a Difference

The tag line of The Fourteenth of September is “A Coming of Conscience.” That defines Judy’s journey in the book—when integrity trumps consequences. But it also resonates as a call to action even today.

In that spirit, I am initiating a social-giving campaign as part of the launch of The Fourteenth of September to encourage young people to engage in meaningful activism and bold personal responsibility as they continue their education.

The initial iteration of this program will fund a Coming of Conscience Scholarship for a student at Northern Illinois University, the real-life inspiration for the fictional university in The Fourteenth of September. The scholarship will be awarded to a student who best demonstrates their understanding of what a Coming of Conscience means, and their plan for how they will use whatever degree they choose to help change the world in whatever way their beliefs guide them.

To help fund this up-to $10,000 scholarship, I ask you to either share a post on the program, a photo of your copy of The Fourteenth of September, or a thirty-second video of your personal Coming of Conscience (or one you’d like to see) across your social media channels, using the hashtag #ComingofConscience. Or, all three for triple the exposure and funding. See all program details here.

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Coming of Conscience—a character-defining personal decision or action where integrity trumps consequences.
 
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Celebrate with Me

I’d love to hear from you—about what you thought of the book, what memories or thoughts it conjures up, what your Coming of Conscience experiences have been, or how you think we can amplify that program. Or, just to say hi and stay in touch. If anyone will be in or visiting Chicago on October 24, please join me at my Book Launch Party at Women and Children First bookstore, at 7 p.m. We can take a photo of ourselves with the book to post on the spot and also make a lasting memory.

I can’t thank you enough for your support and hope we can continue. I have three more books keyed up, and I’m looking forward to to telling you about them.

Lovely Rita

 

 
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