Water Music: A Cape Cod Story follows a twelve-year-old girl whose family is falling apart in all directions who finds solace in her music and her love of Cape Cod. What was the inspiration for the setup of your story?

I confess that Water Music was inspired by personal experience: my deep love for the many summers I spent on Cape Cod with my family, as well as my love for the cello and the music that has nourished me my entire life.

Like Lily, I had a marvelous elderly cello teacher each summer. And like Lily, my family had its share of discord. I wanted to explore how a girl, growing up in the 50s, might try to make sense of friction in an extended family, and how the women in her life were navigating (or resisting) the roles open to them.

Why choose this place and time for the setting of the story?

In a way, Water Music is my love song to the Cape Cod of the 50s, before Kennedy’s presidency and the National Seashore brought it to the attention of mainstream vacationers. But the 50s were also incredibly strict about expectations for women’s roles, and I wanted to explore how a young girl might try to make sense of all that.

It was important to me to include the sinking of the Andrea Doria in 1956. She was youthful—she had completed only one hundred crossings. In contrast, the Ile de France, who came to the Doria’s side, had launched a quarter of a century earlier. I saw in that relationship a potent—and poignant—mirror of the longed-for mother-daughter relationships in Water Music, both between Lily and her mother, and between Lily’s mother and grandmother.

I imagined the motif of the tether—the bridge that tethered Cape Cod to the mainland as well as the searchlight that “tethers” the Ile de France to the Andrea Doria—to be expressions of fragile family bonds. Especially between mother and daughter.

What were some themes that were important for you to explore in this book?

The 50s were brutal on smart, talented, educated women. I saw in Lily a confusion about how to understand her own prospects versus those of her mother. And how, in music, they both found the potential to redeem both their faults and disappointments.

When working on Water Music, the idea of competition—both as a destructive force and an impetus for growth—wouldn’t let go of me. For me, the rivalry between Lily’s father and his brother contrasts with the competition Lily frames for herself while learning the cello.

What is the next book you are working on, and when will it be available?

I’m working on a novel about a stolen cello. It’s a love story with a mystery. In it, I try to look at which loves serve to define us and which ones we must let go of. Competition—and what it can drive us to do—also plays a role in this book. There is also a mother-daughter subplot. I guess that’s an itch I keep needing to scratch!

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