MICHAEL J. COOPER emigrated to Israel in 1966 and lived in Jerusalem during the last year the city was divided between Israel and Jordan. He studied and traveled in the region for eleven years and graduated from medical school in Tel Aviv. Now in retirement after a forty year practice of pediatric cardiology, Cooper lives in Northern California and is able to devote more time to volunteer missions and to writing.
His debut novel, Foxes in the Vineyard, set in 1948 Jerusalem, won the grand prize in the 2011 Indie Publishing Contest. His second novel, The Rabbi’s Knight, set in the Holy Land at the twilight of the Crusades in 1290, was finalist for the Chaucer Award for historical fiction. His just-completed third novel, Wages of Empire, is set in Europe and the Middle East during WWI and won the 2022 CIBA Rossetti Award for YA fiction along with first-place honors for the 2022 CIBA Hemingway award for wartime historical fiction. All three novels stand-alone, though they’re connected by the common threads of Jerusalem’s Temple Mount, the St. Clair/Sinclair bloodline and the subversive notions of coexistence and peace.
Wages of Empire begins in the summer of 1914, when sixteen-year-old Evan Sinclair leaves home to join the Great War for Civilization. Little does he know that, despite the war raging in Europe, the true source of conflict will emerge in Ottoman Palestine, since it's from Jerusalem where the German Kaiser dreams to rule as Holy Roman Emperor. Filled with such historical figures as Gertrude Bell, T.E. Lawrence, Winston Churchill, Faisal bin Hussein and Chaim Weizmann, Wages of Empire follows Evan through the killing fields of the Western Front where he will help turn the tide of a war that is just beginning, and become part of a story that never ends.
Michael Cooper stops by In Reference to Murder to take some Author R&R about researching and writing his books:
For writers of historical fiction, research is a paramount. To be sure, writing any type of fiction requires research, but with a historical, and especially one set in a remote time and place, the writer must be positioned to inform the reader about every detail of the setting and time period. To “get things right,” or even close to “right,” a massive amount of research is required. And to make things even more challenging, the research shouldn’t show; the weaving of historical detail into the story should be so subtle as to be invisible. Nothing wakes the reader more rudely from the dream of a good story than a ham-handed display of detail. Or, to put it simply, the writer must be able to show without showing off.
In referring to requisite research as “massive,” the task appears exhausting and thoroughly unpleasant. Clearly, if one only follows the adage of “write what you know,” only minimal research might be required. However, if we are drawn to write outside of ourselves, outside of the confines of our known world, we have no choice but to do a prodigious amount of research. But the secret of doing this, and actually enjoying it, can be encapsulated in an alternate adage: “Write what you love.”
And that’s been my joy in researching and writing my series—having spent my formative years living in Israel, I actually look forward to returning there in my mind, to a land where history waits for you around every corner— remembering the quality of light in early morning and toward evening, tasting the freshness of mountain air and the sun-heated warmth of the desert, or the joy of floating in the Sea of Galilee at night beneath a sky crowded with stars.
Likewise, it’s been invigorating to select interesting historical characters and to create compelling fictional characters—for their nobility, humor, and brilliance; for their passions, human failings, and for their interesting, ingenious, and sometimes evil designs. And then, there are those wondrous times when a historical or fictional character takes over, dictating the action and dialogue, and all one has to do is sit back and transcribe.
The other thing about writing in this genre is the wonderful way that historical events and, indeed the historical characters provide the scaffolding for stories that are, at once, very old, and still being written. Also, as I researched and wrote all my books, I was often astonished by fascinating elements of hidden history, unsolved mysteries, and unbelievably engaging and bizarre characters that insisted on being included in the final draft. In this genre, storylines arise organically from the historical timeline, and from the historical characters themselves—creating a portrait that is enhanced by the fictional characters who allow for additional surprises, plot twists, betrayals, loves and alliances. And, as each book progresses, I love watching the weave tighten as storylines are drawn together.
And historical novels set in wartime offer the writer an even richer buffet—with all the elements for compelling stories; drama, heroism, conflict, tension, intrigue, action, heartbreak, and perhaps romance. And the effect of armed conflict on history is itself dramatic since war is an accelerant to history, and often with dramatic changes in human and natural topography.
Lastly, as writers of history, we also seek out the compelling tension between knowing and unknowing—to engage with our historical characters in the grip of their threatening present, infused with their anxiety at the uncertainty of outcome, the unknowable future. And we, knowing their future, are touched by the poignancy of their ignorance.
But now, it’s our turn to be anxious in our ignorance in a time of great uncertainty—with war in Ukraine, the Middle East, and in a time of civil strife in our own country bordering, it often seems, on civil war. Now it’s our turn to share the anxiety of having no idea as to the outcome of all this conflict.
Clearly, Wages of Empire is a novel about war in a time of war, holding up a mirror to time past that reflects on present uncertainties and current wars. And so we ask the obvious questions—what do present wars have to do with the past? What do our present travails have to do with history? In a word? Everything.
You can read more about Michael Cooper and his writing via his website and follow him on Goodreads. Wages of Empire is now available via Koehler Books and all major booksellers.