We're back with another edition of the Federalist Radio Hour. I'm Emily Dashinsky,
culture editor here at the Federalist. As always, you can email the show
at radio at the Federalist dot com, follow us on Twitter at fdr LST.
Make sure to subscribe wherever you download your podcasts, and if you want
to support our work, you can head over get access to the premium version
of our site at the Federalist dot com as well. Today we are joined
by Faith More. She's a freelance writer, stay at home mom, and
of course a self proclaimed Disney princess addict. We're gonna have to talk about
that, Faith, but also the author of the new novel Christmas Carol.
That's Carol with a K. You can get it wherever books are sold.
Faith, thank you for joining us. Thank you so much for having me.
It's great to be here. Yeah. Absolutely, And people might recognize
your byline. You have written for the Federalists before, in addition to the
Wall Street Journal, the New York Daily News, or Culturated ev all kinds
of different outlets. Faith. If you could start though, just by telling
us a little bit about your background, how you came to write a novel,
It's one of those things that a lot of people want to do but
don't always actually end up doing. But I imagine for you there's a story
behind it. So if you could give us a little of your background,
that would be great. Score. So, yeah, being a novelist is
actually the thing that I always wanted to do since I was a little girl,
and so all of the other stuff work wise has been kind of just
leading up to this moment. So I feel very excited about about this book.
My main job, I always say this is not my job, it's
my vocation. But my main use of my time is that I am a
mom. I'm a stay at home mom. I have two kids, an
almost three year old and an almost nine year old, and that is pretty
much where I spend almost all of my time. But I get about an
hour, maybe an hour and a half a day when my two year old
is napping, to work. And that is when I wrote this novel.
And I before that, I well long before that, I was a teacher.
I taught third and fourth grade for many years, but when I had
my first child, I quit and never looked back. And you know,
I've always wanted to write. I you know, my father is a novelist.
My father is Andrew Clavin, and he really kind of allowed me to
see that telling stories and writing stories is something that you actually could aspire to
grow up to do, which I think a lot of people maybe don't kind
of have in their background. And so it was something that I always kind
of aspired to, is telling stories. And I got out. I started
out in nonfiction just because I, you know, I had had a kid
and I was sort of writing about parenting and I I had actually suffered a
miscarriage, and so I wrote about that and I got into kind of freelance
work that way. But this, the writing a novel, is really what
I wanted to do, and so I feel so so lucky to be here
and it's like a dream come true to be sort of talking suddenly about this
novel that I wrote, which is amazing. So that's kind of my background
a little bit. No I can imagine it's almost surreal, but even you
know, actually, one of the questions there are too many Clayman's, clearly,
there are too many claimons in the world. But one of the questions
I asked your dad recently when he was on the show, is just about
the act mentally of well it's not just mental, but also just like the
act of writing a novel in the age of social media, especially as a
younger person. Can you tell us about that? I mean, first of
all, tell us a little bit about the book, and then maybe if
you could get into a little bit about how it is that with all of
the distractions in the Year of Our Lord twenty twenty three, you're able to
sort of tune those out and dive into a fictional world and create care.
Yeah, that's a great question. So the book is called Christmas Carol.
It's a modern retelling of Charles Dickens as a Christmas Carol, but the Scrooge
character has been reimagined as a workaholic mom named Carol. But her miserliness is
not about her money the way Scrooges is. It's about her time and how
much time she chooses to spend or not spend with her family. And so
the conceit of the story is that on Christmas Eve she kind of suffers an
accident and ends up in this kind of supernatural world where she gets to view
at a distance her past, present, and possible future in the hopes that
she will remember what's really important, which is her family. And so it
follows the Dickens structure of the story, but it completely kind of reworks the
themes and ideas to be more about motherhood and marriage and family and things like
that. So that's the story. It's a great question about the distractions,
you know, for me, I view this time when my kid is sleeping,
when my kid is napping as a kind of sacred space almost, and
it was it took me a while to realize this, but it is kind
of like a ritual that I have. I sort of brew a cup of
tea in a little teapot, you know, and I have a little tea
cup and a saucer, and I bring that upstairs to my desk, and
you know, I pour my tea and then I just I just turn everything
off. I turn off the social media and the email and you know,
and anything that might ping or ding or bother me in any way. And
I try to work for that straight hour, maybe hour and a half,
until he starts calling. I guess the only thing that's not off is the
baby monitor, because then you know, he wakes up and he starts calling
me, and then that's the end of that, but I think for me
very selfish of him. I know, how could he not know that I'm
working? Yeah, but no, it's great. And for me, I
think it's it's about setting aside that time, and that really is something I
learned from my dad actually, that it's it's something you have to work at.
You know. We often think about kind of artists or you know,
novelists as these kind of like moody people who just wait for the muse to
strike and then they have to sort of rush up to their garrett and you
know, scribble things with fountain pens. But I know from watching my dad
that actually it's a job, just like anything else. You have to put
in the time and the work and that's how it gets done. So I
think for me it's kind of about turning off all of those things, and
I have almost the it's kind of the blessing of not really having that much
time. So the time that I have is feels very important and I'm able
to just sort of dedicate that specifically to the writing. I love that well,
as you were. Just another kind of interesting thing that you did is
looking at a story written by a man, written about a man, you
know, there's some maybe we can get into this some really interesting female characters
in a Christmas Carol in Dickens Christmas Carol. But as you were, you
know, a trying to dig back into this work of classic literature and be
trying to dig back into this very male work of classic literature and look at
it from a different lens. What was that like? Yeah? So one
of the things that I absolutely hate is when they gender swamp characters but it's
basically the same character. Yeah, right, so they take a male character
and then they say, well, wouldn't it be great and so feminist if
it was actually a woman, But then the character behaves in the exact same
way and does the exact same things and makes the exact same choices as the
man did in the story. And I hate that. And so that's one
of the things that I really wanted to avoid with this story was to flip
it so that the themes that I was trying to convey and the characters that
I was trying to convey really worked within the narrative. So that was that
was really important to me. And so I think even though you know,
the Carol character is the scrooge character in a lot of ways. She's not
the same as him, and and her you know, the things that she
wants and the things that she needs are are different than his. It's just
that she's sort of following this trajectory of having kind of gone off course in
the way that he his life went off course, and needing to be kind
of redirected via the lens of kind of what brought her to this place.
You know. The wonderful thing about the Screwge story, which is really what
kind of hooked me into telling this this particular story, is that even though
Evan he's a scrooge in the in the Dickens classic, even though he goes
through this incredible journey of being visited by these three supernatural spirits and seeing his
past and his president looking into the future, at the end of it,
he's really the same guy. I mean, nothing has really changed for him
materially. You know, he's still an old man. He doesn't get to
go back and live it again. His fiancee has still left him long ago,
and he doesn't get her back. You know, his nephew who he
was supposed to take care of, he has grown up without him, and
he has to deal with that the only thing that has changed is his perspective
and his priorities, and you know, that's kind of everything to him,
and that's what the story is about. So for me, that was the
key to this was kind of what would it be like if someone who has
kind of gotten off course in her life for a variety of reasons, was
able to kind of shift her perspective so that she could see what she was
missing back at home. And you know, that's kind of where where the
underpinnings of the story came from. But I really wanted to make sure that
I wasn't just kind of turning men into women and women into men, because
there's there's really no point and it doesn't work because it's not real. It
doesn't it doesn't convey anything true, and so I didn't want to do that.
Well, another thing a lot of people see in Dickens that mirrors from
their perspective today Victorian England kind of Gilded Age time today, is that exact
dynamic of almost a populism. As you were re exploring Dickens and then exploring
some of these themes, you know, as you were writing this book in
the last year, and I'm sure maybe even longer than that. Did any
of that stand out to you, and did any of that you feel important
to convey in your own story. Well, the thing actually that I felt
was connected between this story and the world that we're currently living in was actually
it actually had to do more with what was going on during the pandemic.
So I got the idea for the story kind of at the tail end of
the pandemic around Christmas time. So one thing about our family is that every
Christmas we sit down and we watched the Alistair simm version of a Christmas Carol.
And obviously I have read the Dickens for several times and many more times
having written this book, but that is actually the movie is actually the version
of the Christmas Carol. That is kind of imprinted on my heart because it's
something that we would watch every year at Christmas, and so such nerds,
I know, we well, I think it would be nerdy. It would
be probably nerdier to read the book together every year. I guess I'm surprised
you don't do both. Well, that's something my dad and my brother would
do, but I'm a little less intellectual than they are, so we watched
the movie. So but that Christmas. It was kind of the tail end
of the pandemic. And what had happened during the pandemic was that, of
course all of the parents, the working parents have had to come home,
you know, during the lockdown, and everyone was at home with their kids.
Everyone was trying to parent full time and work full time, and everyone
was obviously realizing that that's not something that you can do. It's impossible to
do both. You cannot have it all. And you know, so that
I expected, you know, here, I was having been home the whole
time, because I had been and you know, a stay at home parents
since my older child was born. But the thing that really surprised me actually
was when people would say, and I heard this all the time, people
were talking about how much they were enjoying being at home with their kids and
how different it was to kind of be with their kids twenty four to seven
and realizing different aspects of their kids' personalities and enjoying that time with them that
they didn't normally have. And I thought that was lovely and I was very
excited by that. But then, of course the pandemic ended and everybody went
back to work, you know, so I think for me, it was
the piece that was sort of connected was that this idea of the narrative of
the way that you're supposed to quote unquote live your life and not really being
able to kind of step outside of that and just kind of walking in lockstep
with, you know, whatever you think you're supposed to be doing in your
life, even though you've had this experience of realizing like, wait, hey,
you know, maybe I'm missing something here. You know, maybe this
time that I'm having with my kids now is something that I would like more
of. And so for me, it was about kind of thinking about what
what would it take for someone to actually kind of make a change and step
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as you mentioned, this dynamic that you know it is not universal for women,
but especially your character somebody who's at a law firm in New York that
versus it's it's kind of getting into to lean in territory and correct me if
I'm wrong. But that's a sort of asking women to challenge some of the
assumptions or some of the rallying cries that have been imparted over the last decade
or so. How important was that? I mean, obviously that's central to
the story, But how are you thinking about that as somebody who you explained
earlier prioritizes motherhood and has this very personal experience of sort of making work work
with motherhood, not the other way around, not making motherhood somehow fit into
a work schedule. Yeah, yeah, you know. I mean, I
think the first thing to just say, generally is that the story itself isn't
really a particular trying to say anything to anyone, you know, It's it's
just it's a story. It's not a manifesto. And I think that the
certainly it has themes that people will pick up on, and you know,
and I certainly have my own beliefs, but I think that, you know,
the wonderful thing about stories is that they aren't kind of you know,
speeches or you know, calls to action or anything like that. They're just
kind of a narrative that you might connect to in one way or another,
and it might be different for each person. But I think, speaking for
myself, I think that the lie that we've all been sold is kind of
that in order to be valuable members of society and successful and important, you
know, we as women all have to follow this path. We have to
graduate high school, we have to go to college, we have to graduate
that, maybe we want to get another degree, and then off we go
into the workforce in order to try to climb the corporate ladder, et cetera,
et cetera. And then along the way we're supposed to kind of get
married and have children, because that's also part of a full life. And
but what happens then is, you know, if you're holding as your kind
of north star, like, oh, my my career aspirations and my ambitions,
then the kids and the things that they need and the life that they're
living become a sort of annoying distraction. So you're kind of annoyed by the
fact that like, oh, it's school pickup, but I'm supposed to be
in this meeting or you know, oh, you know the babysitter you know
is not here today. What do I do? You know, instead of
oh, the percentage of my life as a complete person who hopefully will live
along life, the percentage of my life that involves kids being at home who
need me is actually really small. You know, you have your kid,
and then by the age of let's say three, they're probably in a little
bit of nursery school, and by the age of let's say five, they're
in kind of full time school. And then you know, eventually they're in
middle school and they're able to take themselves to their after school activities and on
and on until they've graduated high school and they're not even there anymore. So
that's kind of the perspective that I take. It's not that parenthood becomes a
complete amputation of anything other than my kids, you know, all of my
creativity and all of my ambition and drive to do anything else. It's not
that. It's that when I've had my kids and they are here, I
would like to spend time with them, they also need me. They need
to spend time with me. I mean, studies have shown that, but
also, you know, here they are these wonderful, beautiful, amazing people
that I have made, and I would like to be a part of their
lives. And I actually can be if I kind of step outside of that
idea that I must be on this continuous upward trajectory. So I think it's
for me. It's really about that. It's not so much oh, you
know, you have to not work, or you have to work, or
you have to do this. It's more how can you reprioritize your life so
that during the time when your kids are home, you can be there with
them, and then as they start to leave the home, you can start
to find the other things that you want to do with your time, because
you certainly don't want your kids to leave and you know, go off to
college and think, oh no, who am I now? I mean,
that's not how it's supposed to be. But you know, you do want
to remember that, you know, there is there is no later when it
comes to your kids, everything that they're doing, they'll only do it once,
and you know, maybe you want to be there absolutely. The other
question that I wanted to ask is you also follow and cover pop culture pretty
closely. Sometimes it's the case that our popular culture is somehow more skeptical of
progressive ideas even when it doesn't realize it. And I think of particularly abortion,
but you know, motherhood is a good example of that too. You
know, the sort of liberals of Hollywood sometimes don't realize you know, their
embrace of femininity there, motherhood there, there's skepticism about the emotional dynamics of
abortion that comes across on the screen in ways that you know, maybe even
surprise them or or are unintentional or unexpected. As you look at, uh,
the literary world today, have you found that to be the case or
and this is you know, my expect My expectation actually is that it's sort
of been dominated. I feel like every time I pick up, you know,
a soft covered novel it's about girl bosses. Now, is that you
know as you see it, is that what's really taken over? Are there
still these sort of hints that women are grappling with this or has it devolved
entirely into propaganda? Yeah? I mean I think that part of the problem
is that publishing is a place where they're still gatekeepers. You know, that
there are still you know, kind of agents and publishers and people like that
who have a particular ideology and a lot of a lot of cases, and
that causes the stories to kind of stop before they can reach the general public.
And that's why this this book, Christmas Carol is being published by Daily
Wire Books, which I feel really grateful for because I think that they are
an organization that kind of understands that stories need to be told and people people
are craving stories, and they're craving the kinds of stories that you know that
used to just sort of be a diamond dozen, like stories where women are
women and men are men, and you know everybody's and you know, motherhood
is celebrated in all of those things, without the kind of preachiness that sometimes
comes with like, you know, I'm trying to tell this story because I
you know, everything else is woke, and you know, I want,
I want my story to be told. And I think sometimes we sort of
overshoot the mark and try to preach a little bit. And I what I
love about what the Daily Wires doing and what they allowed me to do is
that you know, it's it's not and it's just it's just a story.
And I think, you know, we need, we need more of that.
I think the problem, I think is that as a culture we have
become far too literal. You know, I think that I one of the
things, the other things that I write about a lot is is fairy tales
and Disney. And I think, you know, the thing that we've forgotten
about fairy tales, for example, is that they are never they were never
ever meant to be taken literally. So the criticism that comes up when it
comes to sort of Disney princesses or fairy tales in general is kind of like,
well, you know, how could she just she falls asleep for the
whole time, or you know, she needs a man to rescue her.
And we've forgotten, right that these stories are actually kind of metaphors and allegories
for other things, you know, for growing up, for you know,
mental crises, for you know, warnings of not talking to strangers and things
like that. And I think that's actually true of all stories. Worries are
essentially sort of symbolic or metaphorical in some way. And I think what's happening
now is that in forgetting that, I think on both sides of the political
divide, in forgetting that the stories are sort of becoming less and less real
and less and less kind of emotionally valid, and I think we kind of
need to step back from that and kind of remember what a story is and
how it's different than an argument, for example. Yeah, and you know,
actually I sort of was tasting at the beginning when reading your bio and
your love of Disney princesses, because it's just it's Disney is what it is
these days. But that's actually one of the areas of pop culture that has
always shown even self proclaimed feminists are still attracted to traditional femininity, and in
some ways they now want to performatively resist that. And I guess I just
you know, this isn't so much a question as a conversation point, you
know, as somebody who follows this, I've basically tuned out of Disney at
this point because every time I see Disney News it's the same thing. Yes,
but that seems to be part of the struggle that is happening internally at
Disney, when they're trying to reimagine old stories and then create new stories.
Yes, that's exactly right. So I think Disney seems it's almost not to
care whether they make money at this point anymore. I mean, maybe they're
just making so much money off of whatever they've got going on, and it
doesn't it doesn't matter, because all they're doing now is kind of trying to
quote unquote correct the mistakes of the past. You know, they oh,
you know, we're going to make the live action Cinderella or snow White or
whatever it is. But you know, the prince is not going to rescue
her. She's going to rescue herself. But you know she's going to be
a feminist and oh, she's going to save herself. But really what's going
on is that the movies that they're, the new movies that they're making,
where they try to kind of put forward these much more almost masculine female leads,
aren't doing as well as the movies from the past that everybody loves,
you know, the Little Mermaid and Beating the Beast and you know, Aladdin
and all of those, and further back Cinderella and Sleeping Nudy and snow White.
So there instead they're like, oh, well, we're going to remake
those movies because those are the movies that people actually like, you know,
those are the movies that people actually are drawn to, even though they kind
of want to apologize for them because they think that they're so horribly anti feminist
and so horribly bad for little girls. And you know, of course,
we are always getting kind of celebrities saying, oh, I've banned The Little
Mermaid from my house because my daughters will not watch that or whatever. But
the truth is that the reason that those stories are great and that we love
them is not because, oh, we're so brainwashed by the patriarchy. It's
because those stories are speaking to us about universally truth things. But they're speaking
to us in the language of allegory and metaphor and symbolism, and we actually
instinctively understand that language, even children do. And people are always yelling at
me because they're like, yeah, well, you're saying that snow White is
really about, you know, a girl growing into her womanhood, but kids
don't know that. And the truth is that you're right, they can't articulate
that, but they know it. They do know it, just like you
know it and I know it, even if we can't articulate it either.
So I think it's there is this kind of push and pull going on right
now, which is that we are drawn to these stories. We love these
stories, our children are drawn to them. And yet if we're you know,
if the feminists are so concerned, because you know why, I'm trying
to raise my daughter to you know, play with trucks, but she just
keeps putting little tiars on them. You know what am I supposed to do?
You know? So I think for us, you know, for for
me and for people who are creating art now and trying to kind of tap
into what's real, we have to remember the kind of symbolic underpinnings of stories
and what they do and how they work, so that we can we can
recapture people again in the way that those old stories still do m And actually,
back to your point, that's another one I wanted to pick up on.
I found so interesting about how difficult it becomes to focus on a story
in and of itself when you're kind of clouded, or you're you're mentally sort
of there's a fog of activism that's maybe clouding your creativity. You know,
we all have perspectives and biases and ideologies, and it's perfectly fine for those
to inform your art. In fact, that's where some of the best art
actually comes from left, right, whatever, just but everybody you know agrees
on Bob Dylan for example. But as you were kind of confronting this specifically
somebody who thinks about how it's affected art from the left recently, how did
you deal with that yourself? Well, it's a it's an interesting question because
it's it's not something that I had to really think too much about, because
even though the career that I've had so far as a writer has been in
kind of basically in freelance kind of opinion pieces, and so I do think
a lot about the culture and a lot about you know, what messages things
are sending and what I want to convey. As you know, my values,
the thing, the core of me has always been just that I want
to tell stories. I love to read stories and watch stories, and I
want to tell stories. And so when this story came to me, it
didn't come to me as a kind of It didn't come to me as a
kind of thesis. It didn't come to me as you know, this is
the value that I want to impart or this is the message. It did
not come to me as a message. It really came to me as a
story. It came to me as like, what if Scrooge was was a
mom? You know, what if Scrooge was a workaholic mom? And you
know who among us has not had this thought exactly what if Scrooge was a
mom? But I think you know, the feminist would love that, right,
No woke left would love what if Scrooge was a mom? But you
know, I just it came to me in that way as a story,
and I think as I told the story, it became about like, well,
why why would this person have shut off so completely the side of herself
that has to do with her kids. And it was important to me that
it wasn't because she's evil, you know that, It wasn't just that she's
like a horrible person, so let's just hate her. It was important to
me that she was a good person and that we so so that we cared
whether she found her way back to her husband and her kids again. Otherwise
why would I mean, maybe we would want her to get a divorce or
something if we really hate her. So that that's kind of so then I
sort of followed that down, like, well, what would have happened,
Well, you know, there would be this not to give spoilers, but
you know there would be this trauma in her life, and she would have
wanted to go in one direction. I mean like Scrooge, right, Scrooge
wants to kind of initially sort of help people and follow modern progress and all
these things, and then he gets kind of, you know, mixed up
in the in the whole kind of commerce of it all. And I think
that's the same for Carol. She gets kind of downtrodden and mixed up.
And that's that was kind of it for me. I just I wanted to
tell this story. And I think that, you know, knowing myself as
I do, that that kind of makes sense because that's that's who I am.
You know, I'm not really I'm not a pundit or you know,
a big sort of intellectual mind. I am a mom. You know,
my day is filled with diaper changes and whether school pickup and nap time are
going to coincide and what do I do about that? And you know,
we sing a lot of songs and we play a lot of games, and
that's that's kind of who I am. And so in a lot of ways
kind of a surprise to me that suddenly the story is about anything at all
other than you know these characters that I agreet. The Watch Dot on Wall
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Markowski on Apple, Spotify, or wherever you get your podcasts. When you're
writing a character like Carol, I'm just curious, as this is from the
perspective of somebody who's never embarked on such a difficult journey of creating a fictional
person, how are you able to kind of figure out where you start and
your character begins, Oh, do you mean, like? Is she like
me? Is that what you mean? You know, she's a product of
you no matter what. So you know, as you're you're kind of thinking
of creating a distinct voice for a fictional person, but you're the person who's
creating this fictional person. And how do you kind of separate, you know,
your own personal instincts from those you think this creature of your own making
might be. Yes, I imagine it's probably a little bit what a little
bit what it's like to be crazy because I don't see her as a part
of me at all. I see her as a separate entity. You know,
there is a way in which I mean honestly, as I was saying
before, you know, writing is a job. It's work, and you
sit down and you you know, I outline a ton just to make sure
everything is going to make sense, and I think about who the characters are,
and I write little kind of bios for them, and you know,
who are they and how they interact with each other and how do they relate
to each other? So I kind of have that sort of skeleton to begin
with to write, and that's really helpful for me personally. But when you
sit down to write, it is almost like channeling someone, you know.
It's almost like you're like the medium at the seance or whatever. It's almost
like you know these people and these characters are somewhere out there and you just
kind of have to channel them through you onto the page. And it is
a weird thing. I mean, they do things that you didn't expect or
plan. You know, sometimes these characters become a way that you didn't really
know that they were going to be. I mean, I think initially I
didn't really understand that Carol was going to be so kind of traumatized. You
know, she really goes through a lot to bring her to the place where
she is this kind of workaholic person who really, you know, has to
decide to make up a reason to go into the office on Christmas Eve.
You know, I didn't really I didn't really know that about her until I
started telling the story. So I know that's kind of a woo woo answer,
And I wish there was some other, like really clear and concrete thing
I could say, but it really is kind of just like meeting these people
and then transcribing them. Yeah, I mean, I would think there actually
isn't a very clear answer to that question because of you know, lastly,
Faith, how did you approach the You talked about this a little bit earlier,
but you know, one, what is it that you like about Dickens?
What is it that you love about Dickens? And then how did you
sort of keep to the integrity of the story as best you could while also
you know, kind of putting your own perspective and spin on it. Yeah,
that last part was really important to me. You know, I didn't
want to kind of trample all over this story that's such a classic and so
beloved by so many people. I didn't want to kind of I really wanted
to do it justice. And that piece was all about the outline. It
was all about kind of I had an outline of of the Dickens story,
and then I had an outline of mine. I had, you know,
character sketches of the Dickens characters and then character sketches of my characters, and
I you know, really worked hard to kind of, you know, incorporate
different pieces from from Dickens into mind so that if you know and love the
Dickens story, that I hope that you will feel like I kind of did
it justice. And I wove in the different kind of narrative things and the
character traits and arcs that that we were there and forgotten the first part of
your question, something about Dickens just basically, you know, what do you
like about Dickens, you know, I mean, and maybe even about this
particular story. You know that it's such a beloved story, although you know
that the act of you know, doing a novel based on that story,
retelling that story takes fandom to another level. Personally, Yeah, well,
I mean I do love Dickens, but I think that for me, a
Christmas Carroll is not my favorite Dickens novel. I would say probably David Copperfield
is my favorite fellow, maybe closely by Bleak House, but so for me,
it really actually is the movie that I love so much, which is
kind of not necessarily the best intellectual answer, but is the truth. And
that is something that's true about me, is that, you know, even
though I grew up in this household with with my dad and with my brother
Spencer, who is a fantastic intellect, I am kind of the book it
maybe me Yeah, I know, right, you know, No, I
mean an amazing mind and both of them. I am not like that,
you know. I was always kind of having to approach the classics kind of
slant wise, like by watching a movie or you know, going to a
play about something and then kind of finding out what the plot was, and
then going back and reading the real thing, because it always very hard for
me to read and understand, you know, the books of the past.
And so you know, for me, it's really this this movie that we
watch because because it has so much to do with our family and it holds
such emotional weight for me. And you know, all we have so many
kind of inside jokes and little things that we say to each other that are
just quotes from this this movie and we use them as kind of emotional touchstones
to kind of convey things to each other. So, you know, I
think it made sense for me to reach for that story when I was trying
to tell a story about about something that was really important to me, which
is which is family and children and the gratitude that you feel or sometimes forget
to feel for your kids and for your family. And so I think for
me it was that was the story that just spoke directly into my kind of
emotional self because of that holiday tradition that we have. That makes so much
sense. That's beautiful. So the book is already out faith right, people
can go get their copies now, Yes, absolutely, wherever you buy books,
Amazon or Daily Wire or anywhere you get your books. Well, there
you go again. It's called Christmas Carol faith More. Any novels that you're
going to be working on soon? Is this? You know? Are you
already working on another one? I already am, but I can't really share
too much about it right now, but I'm very hopeful that it will.
It will see the light of day, so stay tuned. It's about how
one of the craven men becomes president I assume, yes exactly, and how
but the you know, their daughters and sister is secretly the mastermind behind it
all. Of course, actually I would read that dotting that down now.
Thank you, faith More once again is the author of Christmas Carol faith Thank
you so much for joining the show. Thank you so much for having me.
This is great. Of course you've been listening to another edition of The
Federalist or radio hour. I'm Emialindrisinski, culture editor here at The Federalist.
Will be back soon with more. Until then, the lovers of freedom and
anxious for the friend we have in the o