More TGWDTM Resources - Author Interviews

All of our Bridge Summer Reading Program students are really loving author Kelly Barnhill’s Newbery Award-winning novel The Girl Who Drank the Moon! And, we’re excited to say they’ll be having a Skype discussion with Barnhill during the July 13th meeting!

Happy dance!

To prepare, we’re looking over all the fantastic interviews Barnhill has conducted in recent years. We found a comprehensive list of resources at the Texas Bluebonnet Award website. (The Girl Who Drank the Moon appears on the 2017-2018 TBA master list!) Join us in learning more about this fantastic author!

Kelly Barnhill’s blog:

About Kelly Barnhill:

Kelly Barnhill on writing The Girl Who Drank the Moon:

Newbery Magic: Adam Gidwitz in conversation with Kelly Barnhill (SLJ):

Kelly Barnhill on her 2017 Newbery Medal:

Kelly Barnhill on winning the Newbery for The Girl Who Drank the Moon:

Meet-the-Author- Book Reading for The Girl Who Drank the Moon:

Kelly Barnhill talks with Roger:

Publishers Weekly Q&A with Kelly Barnhill:

Interview with Kelly Barnhill:

Using TGWDTM in your class? Check out TBA's comprehensive list of resources: 



Author Spotlight: Kelly Barnhill

To get everyone excited about our discussion on The Girl Who Drank the Moon at our Bridge Summer Reading Program, we wanted to give a bit of background information about TGWDTM’s fabulous author, Kelly Barnhill. For someone who has an extensive repertoire of interesting odd jobs, it comes as no surprise that Barnhill is the author of such imaginative stories. In fact, she has previously been employed as a janitor, bartender, waitress, secretary, activist, park ranger, church-guitar-player, and teacher - all of which have given her experiences that help her tell the stories in her books.

Her first published piece of writing (at least, according to her website) was an essay titled “Toy Soldier” that appeared in the January 2007 issue of Altar. Since then, she has published numerous short stories and novellas. Most notably, though, she is the author of seven novels (three of which are works-in-progress) and one novella.

Aside from The Girl Who Drank the Moon, which was published in August of 2016, her other titles include Iron Hearted Violet (2012), The Mostly True Story of Jack (2011), and The Witch’s Boy (2014). She received the Newbery Medal in 2017 as well as fellowships from The McKnight Foundation, The Jerome Foundation, and the Minnesota State Arts Board. She is the recipient of the World Fantasy Award, the Parents Choice Gold Award, the Texas Library Association Bluebonnet, and a Charlotte Huck Honor.

She lives in Minnesota with her husband, Ted, and three children. She is a self-confessed dog-owning cat person with a range of superpowers including superior soup-making and the ability to make people feel awesome about themselves. We are so excited to be reading one of her creations as a part of our Bridge Summer Reading Program!

Want to read more of Barnhill's works? Check out these other titles: 

Happily Ever After? The Nuances of Romance & Social Class in Late 18th-Century America

This week, we're exploring the second half of Laurie Halse Anderson's Fever 1793 with our Bridge Summer Reading Students. Thankfully, GLA Marketing Intern Katie Norton is here to give us some context for Mattie's relationship woes, exploring how social class influenced 18th-century women's marriage prospects. Let's dive in!

As we’ve seen in Fever 1793 so far, social class significantly influenced daily life in post-Revolutionary America. Although the new structure of American government distributed land ownership - and therefore political power - to a larger portion of lower- and middle-class people, a definite hierarchy still remained intact. And, as we’ll see, the nuances of this hierarchy directly impacted Mattie Cook and other young women of her time regarding courtship with potential suitors, subsequent marriages, and the legal status and power they would enjoy in adulthood.

Rungs on the Social Ladder


At the very top of the social pyramid were the “gentry” class of wealthy landowners and merchants, financiers, local magistrates, church vestrymen, and councilmen. These people held the most power in their communities because of how much influence they had in religion, government, and business/trade. Wielding such power didn’t necessarily secure approval, though. As we’ve seen in our last post on women’s clothing during this time, Mattie thinks of the Ogilvie family and the rest of the upper-class as “snobbish” (46) and impractical.


Below the gentry was a class of “middling” who made their living as tradesmen (blacksmith, silversmith, printing, millinery, etc.), doctors, lawyers, and store-owning merchants. class of people usually didn’t have as much money or land as the gentry, so they didn’t hold as much social power. This is probably where Mattie and her family fell in the social order; they definitely had some power because they owned their home and their coffeehouse, but they were directly responsible for keeping up and running their coffeehouse, so the gentry (i.e. the Ogilvie family) looked down on them for not having enough money to hire/purchase enough servants/slaves to handle the work on their own.

Similarly, in the southern states (Maryland, Virginia, the Carolinas, and Georgia) whose economies were based on agriculture, small farmers were considered a part of the middle class, but somewhat under the middling because of the manual labor their work required. These farmers usually owned a small plot of land and might have had one or two slaves to help the family maintain the crops and household.


At the bottom of the pyramid were the African Americans, with freed black people - like Eliza - having more social status and power than enslaved field hands and house servants, although such power was drastically less than that of any white person. Slavery wouldn’t be abolished until 1865 and African Americans wouldn’t win the right to vote until 1870, so even if a freed black person owned property, he or she wouldn’t have any political power whatsoever. Freed black people usually worked skilled jobs as blacksmiths, silversmiths, printers, etc. and earned wages to support themselves. When Mattie asks Eliza to be her partner in owning/running the coffeehouse, Eliza has an opportunity to become Mattie’s equal - something that was quite rare for freed Africans during this time.

Women, Class, and Marriage

White, middle- and upper-class women during this time experienced an interesting shift in political power as their relationship status changed. When the constitution was written, all of the colonies agreed to the dissolution of primogeniture laws, which said a father’s land would be inherited by his oldest son. Instead, each state instituted a law that said all of a father’s land and wealth should be distributed evenly among all children, meaning daughters had as much of a right to inherit and own property as sons. Although older, unmarried women were generally stigmatized as spinsters or Old Maids, single women had the power to own land, support themselves in any job that didn’t require a license exclusive to men, enter into contracts, buy and sell real estate, accumulate personal property (cash, stocks and bonds, livestock, slaves), sue and be sued, act as guardians, write wills, and act as executors of states.


When most single women did marry, they still maintained some degree of legal status, but relinquished virtually all of their autonomy. This was premised on the idea of coverture, which essentially assumed that a family functioned best if a male head of the household controlled all of its assets. As such, married women could not own property independently of their husbands except in the event the couple had established something called a marriage settlement, which was basically a special contract that was rare and even illegal in some states. Wives were allowed to sue their husbands and gain support from the court if it was discovered that a husband wasn’t maintaining a lifestyle for his wife that was commensurate with his social status. This included the establishment of a dower, which consisted of one-third of a husband’s property if the couple had children and one-half if they did not. Dowers were meant to provide for the wife and children in the event of the husband’s death and formally recognized the wife’s dependent position on her husband.

Of course, a dower is not to be confused with a dowry, which was comprised of the real estate and personal property a father gave to his daughter upon her entrance into a new marriage. When a young couple began courting (mid-late teens for young women and late teens-early twenties for young men) and subsequently announced their intention to marry after several years of courtship, fathers gave a dowry as a measure of good faith to ensure their daughters would be properly taken care of. Because Mattie’s father dies when she is very young, Mattie must rely on her mother, her grandfather, and Eliza to guide her through the process of deciding the right man to marry - something that becomes a serious point of contention in Mattie’s relationship with her mother. Mattie’s mother, Lucille, wants Mattie to marry a man like Edward Ogilvie who will be able to provide a comfortable life for Mattie, but because romance has taken on a bigger societal influence in marriage and relationships, Mattie can’t help but find preference in Nathaniel Benson as a suitor despite the fact that he is a painter’s apprentice and therefore a fellow member of the “middling” class.

As we follow Mattie’s navigation through a wide range of problems - from tea with the Ogilvie family, to contracting Yellow Fever, to finding the “right” mate - we should think about how her social status and those of the other characters in the novel add an extra layer of complexity to the plot. Her identity as both a member of the “middling” class and as a female offer her privilege and power in some ways but hardship and adversity in others; it is only through her determination and resiliency that she will be able to overcome her problems and thrive in a world after the Fever.


Kaiti Photo.jpg

Kaiti Norton is a 90’s baby, cat mom, and lit nerd just trying to find the perfect karaoke song. Her research interests include women and gender in literature. #nastywoman

Snobbery & Stays: Fashion as Social Marker in Fever 1793

Although the Philadelphia of Laura Halse Anderson’s Fever 1793 often reflected ideals (such as equality and independence) that motivated the American Revolution, society was still separated by social class. As such, clothing often revealed one’s place in that hierarchy. Halse Anderson’s protagonist, fifteen-year-old Mattie Cook, gets a crash course in this lesson when attending tea with women from the fashionable Ogilvie family.

First, a little background on what women wore during the Revolutionary era and after. Before this time, people often looked to England for fashion inspiration. Wealthy women might don restricting corsets, voluptuous hoop skirts, excessive fabrics, large hats, powdered hair, and high heels. Around the 1790s, though, dresses began mirroring French styles with more natural empire waists, thinner fabrics, slimmer skirts, and subtler hair styles. In 1793, however, facets of earlier, more extravagant styles still held favor with many elite families ("Historic Threads" and "The Revolution" ).


Mrs. Ogilvie and her daughters reflect this continuation and clearly dress to impress; their fashion choices align with the wealthy elite and the earlier, more cumbersome clothing. As Mattie observes, “[Lady Ogilvie]  sailed across the room like a man-of-war, showing the brocade tips of her shoes and layers of lace-trimmed, starched petticoats. Her overpowdered hair left a trail behind her that settled like smoke on the carpet” (47). Not only does such clothing signal the Ogilvies’ wealth, but it subtly references naval skirmishes of the American Revolution. A “man of war” was a large frigate used in battles at sea. Given that English elitism and American egalitarianism were often pitted against each other, Halse Anderson’s word choice reveals continuing class warfare at the heart of American society. It aligns Mrs. Ogilvie with the stuffy elitism that is a holdover of the English class system.

Her daughters’ style also signifies wealth and status. They “swept into the room, dressed in matching pink and yellow bombazine gowns and wearing their curled hair piled on top of their heads” (48). Such rich fabric and elaborate hair mark them as part of the upper crust, and the their behavior in general - openly hostile to having their brother marry into the Cook family and take on their lesser status and “unsuitable” trade - support Mattie’s estimation of them as “snobs” (41).

Mattie and her mother’s clothing situate them as lower in the social pecking order. The everyday tasks of running a busy coffee house demand functional clothing. “We had tea-buying clothes, tea-brewing clothes, and tea-serving clothes,” explains Mattie, “but we had no taking-tea-with-the-Ogilvies clothes” (42). Simply put, they work on the production side of the tea trade rather than the consumer side. Mattie’s mother must “wear her unfashionable ivory-colored gown, last seen at a victory ball after the war,” and Mattie deals with not having “a proper short gown to cover the bodice” of her “church petticoat.”


While Halse Anderson spends time describing particular details of the Ogilvies’ wardrobe, she only focuses on the basic elements of the Cooks' wardrobe, such as the bodice, the petticoat, and the outermost gown. And Mattie clearly isn’t comfortable donning the dressier garments that her mother and Eliza force her to wear for tea. “I had to breathe in short puffs as we waited at the front door of the Ogilvie mansion," she explains. "The stays bit into my stomach and my shift was already sweat-soaked. If this was how the upper- class felt all the time, no wonder they were all so cross” (46).

This afternoon tea, then, helps us situate the Cook family within Philadelphia's evolving social scene, and it ties into questions of who might be a suitable husband for Mattie in the future. As her mother tells her that "'it's not too early to search for a suitable man,'" Mattie begins to realize her social status - and the way she presents it to the rest of society - may have a bigger impact on her life than she ever realized (43). 


"Historic Threads: Three Centuries of Clothing." Colonial Williamsburg Museum Collection. 2017. Colonial Williamsburg Foundation. Web. 11 June 2017. 

"The Revolution and the New Republic 1775 - 1800." 2016. Web. 11 June 2017. 

Bridge Summer Reading: Fever 1793

We're kicking of the Bridge Summer Reading Program with an epidemic; Yellow Fever, to be exact!

Laurie Halse Anderson's Fever 1793 (2002) is a gripping tale of how fifteen-year-old Mattie Cook struggles to survive the Philadelphia Cholera outbreak of 1793. We follow along as she witnesses the havoc of this turbulent time and learn about how family concerns, social structures, and gender expectations would have influenced Mattie's experience growing up in late-eighteenth century Philly. 

*Book overview from back cover. 

"Literature 4 Life" Benefit & Slam Showcase a Success!

We’re so thankful for everyone who came out on April 7th to our “Literature 4 Life” Benefit & Slam Showcase. Between our silent auction (featuring almost 40 items!), live music by Latitude 35, and slam performances by Olivia Riggins, Black Atticus, Summer Awad, Madi Mansouri, and Knox Generation student Tiler Okoreeh-Baah.

Until next year!


Special Thanks

Auction Donors

Alliance Brewing Company,  Barnes & Noble, Breezeway Yoga Studio, Danielle Evans Photography, Dollywood, Dr. Jim Boyd, Ed Sullivan, First Watch, Gemstones by Alyssa Elaine, The Egg & I, EH Artwork, Est8te,  Knoxville Zoo, Lost and Found Records, The Muse Knoxville, Naked Monkey Tattoo,  Nothing Bundt Cake, The Open Chord,  Putt-Putt Fun Center, She Makes Things Knox, Striped Light, Three Rivers Paddle Sports, Union Ave Books, and Wild Lavender Spa.

"Friends of GLA" Sponsors

McKay's Used Books, Dennis H. Owen, and The Music Corp.

Service and Merchandise Providers

Eric Wilder Graphics, Joseph Woods, Latitude 35, Olivia Riggins, Riot Printing LLC, Spaces in the City, and Striped Light.