None of my books fits easily into a category, and the End of Forever trilogy follows that tradition. If you could point to one thing that unifies all fifteen novels and you were being kind, it might be a certain breadth and depth of character, or the themes of the search for oneself, the search for meaning, for life, for how to learn to live with what we’ve been given, and how to rage against our fate. But those are quite broad.

If you’ve come to my books through Red Leaves, you might think I wrote mysteries. If you came to me through Eleven Hours, you’d think I wrote suspense novels about women in jeopardy. If you came to me through Road to Paradise or Tully or Lone Star, you’d think I wrote coming of age stories about young, vastly different from each other women on the precipice of adulthood. If you came to me through A Song in the Daylight, I don’t even know what you’d think. That I was nuts? That I was a lunatic? That you worried for my sanity, and for your own? That weeks later you couldn’t get Larissa out of your mind?

And try to classify The Girl in Times Square. We live the story through Lily’s eyes, yes, but what kind of a story is it? A mystery? A mortal struggle? A family drama? A love story? All of the above, or none of the above?

If you came to me through The Bronze Horseman, you might think I wrote historical romance novels, though I would quickly dispel of you of that by leading you into the devastation of a besieged Leningrad and then ending the story the way I did, and then giving you Tatiana and Alexander, which resembles the movie Aliens more than it resembles a romance novel; and after that, The Summer Garden, which is a story of an operatic love told through the prism of 50 years of everyday life. Romantic in parts, yes, but very un-romancy. The Bronze Horseman‘s prequels are also their own kind of stories, for, though you may love my heroine Gina, we are constantly questioning her choices, even though intellectually we understand why she must make them.

So there you have it. My dozen novels before The Tiger Catcher. Each one of them different from the one before and the one after. And The Tiger Catcher is just like them. At the heart of all three End of Forever novels is a male protagonist, a reluctant hero who in first story draws the sword out of the stone. End of Forever has what made me want to be a writer in the first place and has kept me reading and writing ever since.

It has passion in it, and heartbreak; it has joy and humor, great love, and profound friendship between men. It has life and death stakes, grave danger and rousing adventure; it has betrayal and bloodshed, and the most brutal of wars. Plus it has other things that I never expected to write about: the superhuman effort to turn back time, the obsessive nature of a man’s single-minded quest at the cost of all other things in his life, and the magic realism of altered existence, where the life you actually live is a dream, and the ghost life you search for is reality.

With The Tiger Catcher, A Beggar’s Kingdom, and Inexpressible Island, I wrote three of the kinds of books I myself wanted to read. I hope that when you read them, you will enjoy them. All the things I am as a writer are in these novels.

As always, thanks for listening and reading. I hope to hear from you.


The Tiger Catcher
A Beggar’s Kingdom
Inexpressible Island covers

All the Paullina books before End of Forever

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