ST. MARTIN’S GRIFFIN
A Reading Group Gold Selection
KAROLINA’S TWINS
About the Author
• A Conversation with Ronald H. Balson
Behind the Novel
Keep on Reading
Also available as an audiobook from Macmillan Audio
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ST. MARTIN’S GRIFFIN
A Conversation with Ronald H. Balson
Please take us into the process of writing Karolina’s Twins. What inspired you to tell this story? How did you develop these distinctive characters? Are any characters or incidents drawn from real life?
When I was on my book tour for Once We Were Brothers, I met a lot of survivors and children of survivors. Many of them chose to share their stories with me (even though they may not have shared them with their own families). They were all incredible—stories of courage, determination, strength, and love. One such person sought me out and talked to me on the telephone. She told me that she had read many books on the Holocaust but that only Once We Were Brothers got it “just right.” She told me she thought she was reading about her own family. I had to meet her. We spent an afternoon over salads and ice teas and she told me about her experience. I was in awe. Never had I heard such stories. When she got to the part about the twins, I knew I had to write about it. I asked her permission and, with nonchalance, she said: “sure.” I told her that I wouldn’t write it as a biography but as a work of fiction—one with court scenes and romance—and she approved. Most of the characters are drawn from real life, but some are of my own invention.
How did you approach your research? Did you take any artistic liberties in terms of historical facts or events?
My research is exhaustive. I try very hard to make sure that the setting and historical background are accurate and authentic. There are no artistic liberties with regard to the historical facts. The characters, of course, are fictional and their role in the historical setting (i.e., Colonel Muller) is imaginary.
Do you have a favorite scene in Karolina’s Twins?
It’s hard for me to pinpoint a “favorite” scene. Of course the train scene is very powerful for me, but I am partial to the scenes in the ghetto—those involving Lena, David, Yossi, and Karolina.
Is there any material that ended up on the cutting-room floor (so to speak)? What if any editorial advice did you either refute or adhere to?
Yes. There were scenes involving Arthur that were deleted because, as my editor kindly pointed out, they were inconsistent with Arthur’s character.
Your previous novel, Saving Sophie, was about the formation of, and subsequent tensions surrounding, the State of Israel. What draws you to write about Jewish issues and identity? Furthermore, what do you hope readers—Jewish and non- alike—will take away from your work?
Jewish issues are important to me, but the issues in my novels are not singularly Jewish, especially those concerning World War II. I do have a strong connection with Israel. I have family there and I’ve been there many times. I think it’s fair to say that the state of affairs in the Middle East involves us all.
Are you currently working on another book?
I am in the middle of a murder mystery set in Antrim, Northern Ireland. The story is rich in Northern Ireland’s history, especially during the years of the sectarian war known as The Troubles. In the story, Liam Taggart’s uncle has been killed and Liam returns to Northern Ireland to search for the killers.