Phoebe’s slave tag and Jack’s pirate coin had lost their magic powers once the right people had been reunited with the right objects.
Ruthie wondered if there was something in the past that would have meaning in her future. As long as Duchess Christina’s key continued to glow, Ruthie would want to know what secrets were concealed in it: Is there a mystery waiting for me?
AUTHOR’S NOTE
WHEN I WAS IN FIFTH grade, my teacher, Mrs. Taylor, gave us an assignment to research and write reports on important African Americans. One of them was Phillis Wheatley, and I never forgot her story. She was born in Africa, sold into slavery as a young girl and ultimately became the first published African American poet. Her life was difficult, but her poetry was beautiful. In The Pirate’s Coin, the poem that Phoebe writes was inspired by the work of Wheatley.
Phoebe is a character from my imagination but was sparked by a combination of several figures from history who had purchased their freedom and whose life stories are worth knowing. One is Venture Smith, who was captured as a child in Africa, and then as a man bought his freedom—and that of his whole family—one hundred years before the Civil War. Another is Elizabeth Keckley, who was born into slavery but through her skill as a seamstress earned enough money to buy her freedom. She went on to become the seamstress for Mary Todd Lincoln, and even designed the dress Mary wore at President Lincoln’s inauguration. Her autobiography was published in 1868.
Learning about the very real pirates who could be found off the eastern coast of the United States until the late nineteenth century prompted the story of Jack’s ancestor, Jack Norfleet. A pirate ship did sink near Cape Cod in the eighteenth century, just before the time represented in the room by Mrs. Thorne. The popular image of pirates is often quite different from the reality. I have tried to illustrate with historical accuracy how a man might have become a pirate.
While I was writing this book, I was introduced to two people who actually knew Narcissa Thorne—Alice Pirie Wirtz and Anne Thorne Weaver. Mrs. Wirtz worked with Mrs. Thorne and was instrumental in keeping the rooms in excellent condition for many years. Mrs. Weaver is the granddaughter of Mrs. Thorne, lived with her in Chicago and has great memories of her. I invented the character Isabelle St. Pierre, who is this book’s eyewitness to Mrs. Thorne. She is not a portrait of either of these women, but they certainly informed me about Mrs. Thorne’s great character and temperament.
There is real magic in writing, and for me this is especially true when there is research involved. The process of poking around in the past for characters and context has made me feel connected to the people—and their often-heroic stories—who lived before us.
I’m also interested in the experience we have with art and in museums and love that this “old-fashioned” experience can be as powerful as a movie or a video game. The rooms don’t move or scream or explode. There are no buttons to push or 3-D glasses to wear. Instead, they allow one’s imagination to roam, to spin and whirl in any direction so the viewer is removed from time and place. I hope I have translated this into my books; the feeling of being drawn into a story, lost in it, taken away by it, and perhaps letting one’s own narrative add to the story is also a kind of magic.
Room A12, Cape Cod Living Room. The miniature ship in a bottle (which in this story is a model of the Avenger made by Jack Norfleet) sits on the center of the mantel. The tray made out of a penny is on the three-legged stool.
ACKNOWLEDGMENTS
AS ALWAYS, I WANT TO thank my family, my daughters especially, who are my first readers and critics. Thank you, Maya and Noni. My son, Henry, is always supportive, and I’m so touched that he enjoys going out and buying my books in a bookstore on the very first day. And my husband, Jonathan, who has inspired me as a writer himself, the most tenacious one I know.
I am lucky to have patient friends, especially Anne Slichter, another great reader, and my sister Emilie Nichols, who keeps me laughing.
Mican Morgan at the Art Institute deserves thanks for always taking time to answer my questions about minute details of the rooms. (Of course they’re minute!)
Thanks to the crew at Random House who work so hard on my behalf, notably Nicole de las Heras, Rachel Feld, Alison Kolani, Casey Lloyd, Lisa McClatchey, Lisa Nadel, and all the extraordinary folks in sales.
Thanks also to my wonderful agent, Gail Hochman, and all the people at Brandt and Hochman who take great care of me and make us writers feel secure.
And once again, I am fortunate to work with the remarkable Shana Corey. I cannot imagine a better partner in this process.
ABOUT THE AUTHOR
MARIANNE MALONE is an artist, a former art teacher, and the mother of three grown children. Marianne says, “What one person defines as magic is undoubtedly different to someone else. So I believe in possibilities, because that is where magic is found. Most often, it is unexpected. So keep your eyes open, follow the path you love. You never know where you will find magic, but you will.”
Marianne and her husband live in Urbana, Illinois, where she is currently working on the fourth Sixty-Eight Rooms Adventure. You can visit Marianne on the Web at mariannemalone.com.
ABOUT THE ILLUSTRATOR
GREG CALL began his career in advertising before becoming a full-time illustrator. He works in various media for clients in music, entertainment, and publishing. Greg lives with his wife and two children in northwestern Montana, where he sculpts, paints, illustrates, and (deadlines permitting) enjoys the great outdoors with his family.
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