The Stone Witch of Florence is Rasche’s debut novel, and is based on original research she conducted on the uses of gemstones in medieval medicine at the Cooper Hewitt Museum and on site in Italy.
She lives in Brooklyn, New York, with her husband, daughter, and two cats.
From my Q&A with the author:
How much work does your title do to take readers into the story?Visit Anna Rasche's website.
The Stone Witch of Florence does a lot of work to take readers into the story! The (Blank) of (Blank) is a really classic title formula, and it was something my agents and I landed on before pitching the book to publishers. We wanted to make sure the most tempting bits of the story were apparent right away: the gem magic, the history of witchcraft, and the evocative Florentine setting. My working title was actually The Plague Saint, which is a historical reference to a specific set of saints that were prayed to in plague times. I still like it, but I'm glad we moved on from this because it didn't communicate more magical and fun parts of the book.
What's in a name?
I thought a lot about my characters' names. I named the protagonist Ginvera after reading the essay "Some Women Named Ginevra" by Everett Fahy. It's about a series of marriage portraits painted in the 15th century, and how challenging it is to learn anything about the portraits' subjects. So I imagined a full life for my own Ginevra. For the nuns of Sant' Elisabetta, I was given a list of names by the historian Dr. Gillian Jack of women who actually resided at the convent during the 14th century. Taddea and Agnesa are two of those women. Though we know nothing about the lives of the real Taddea or Agnesa, it's a nice way to remember women who are almost invisible in the historical record. Lucia's surname Tornaparte is an old Florentine name, but beyond that I liked how it played on the English phrase "torn apart" because this character is pulled between two identities. Lastly, for the bishop, Fra Michele, and Fra Simone, these are the names of the real historical figures that occupied these roles during the black death. That's why their names are so long and hard to pronounce!
How surprised would your teenage reader self be by your new novel?
I don't think she would be surprised at all; I think she'd be really into The Stone Witch. I have loved gothic-leaning tales of far-off places for as long as I've been a reader, and classic fantasies like The Hobbit or The Lion, the Witch, and the Wardobe were a staple (at least, on VHS...I think Iwas a grown up before I read either of those books in print). I also used to read a lot about ancient mythology from Egypt, Greece etc. so my interests have very much remained consistent as I've gotten older in this regard.
Do you find it harder to write beginnings or endings? Which do you change more?
Endings for sure. Coming up with the exciting set up, or "hook," if you will, for me is fun and rather quick. Figuring out where that hook goes, that's a whole other story...or, I guess it's the same story. But it takes me a while to get there.
Do you see much of yourself in your characters? Do they have any connection to your personality, or are they a world apart?
Definitely. For Ginevra and Lucia, especially, I gave them hopes, fears, and anxieties that will be familiar to a lot of women---and men, for that matter---in the 21st century. How many of us know what it's like to have a romantic partner leave without warning or kindness, or to not have your talents taken seriously because of something inherent to your personhood? But: I also think for the most part I'm an optimist, and this is something that my characters definitely share. Even if I'm wallowing in self pity, some part of my brain is still looking for the solution and to move on to what's next.
What non-literary inspirations have influenced your writing?
Everything. Big things like art and architecture and the times we live in. Small things like a funny turn of phrase, or a bit of conversation overheard on the subway.
--Marshal Zeringue