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Anne Heagney

AS I SIT AT MY DESK ON THE SECOND FLOOR OF my home in Hot Springs, Arkansas, I am wondering where to begin and what to select from the crowded memories of more than thirty years of writing. Literally millions of words and most of them for Catholic publications.

My attention is caught by my latest book, a juvenile like the rest, DeTonti of the Iron Hand (1959), and I think it might be just as well to start with the end, as it were; to tell something about this story since it also tells so much about myself and my work.

The book, as the reader will note, is dedicated to the memory of my brother, Father Harold J. Heagney, a much better known and more distinguished Catholic writer than myself. His sudden death on March 2, 1958, brought to a sad end our long and happy association of working together for the Catholic field.

Or was the tie really broken? Let me explain why I pose such an odd question. Only a day after my brother's death, a contract arrived from his publishers, P. J. Kenedy & Sons, New York, for his next book-one of their American Background series. It would have been his twenty-second. The twenty-first and last, Chaplain in Gray (1958), the story of Father Abram Ryan, famed poet-priest of the Confederacy, appeared one month after his death and was selected by the Doubleday Catholic Junior Book Club.

Father's publisher, Thomas B. Kenedy, graciously allowed me to write my own name on the contract and go ahead with the story as my brother had planned it. I had kind assurances, too, from Julie Kernan, editor of American Background series. It was a lift to my sorrowing heart to have such confidence placed in me, and I was thankful indeed to undertake the task.

But was I up to it, I asked myself with a feeling close to panic? DeTonti of the Iron Hand - he wore a metal fist to replace his right hand shot away in the Spanish wars - was to be an adventure story primarily for boys. The hero was the chief military aide to the great explorer LaSalle on his discovery voyage to the mouth of the Mississippi River in 1682. Never had I attempted a book with such masculine essence-daring exploits and dangers along the unchartered waterways and in the primeval forests, savage tribes and savage beasts, murder and mutiny, loyalty and courage and high achievement. There were times when I was sunk in discouragement, and it was then I felt the unseen but sustaining presence of my brother guiding and inspiring me as he had from the beginning.

I had come into the religious field through his influence, though I had decided before that to make writing my lifework. A college course in journalism qualified me for a reporter's position on the Arkansas Democrat, Little Rock, which was our family home. I liked my job but it was only a means to an end, for I regarded it as training and experience and a steady income while I was learning to be a creative writer.

I had no intention of specializing as I have in the juvenile and historical fields. I wanted to be a realistic writer and did sell a few rather lurid yarns of the Arkansas oil fields which had been discovered in the early twenties. Let such titles "Midnight at the Birdcage" and "Scarlet Woman" speak for themselves.

But most of my stories were coming back until an observant and sympathetic city editor suggested that I turn my hand to writing for children. It was part of my job at the time (1926) to edit a Sunday children's page and I had a gang of reporters from all the schools to supply me with news. I would regale them with movie parties and ice cream sodas. Tom Mix was in his glory then and they would almost always stay to see the show twice.

"You have a way with kids," my editor pointed out. "They like you-you like them. Why not write children's stories?" And he handed me a copy of Author and Journalist, with a juvenile market list.

"Anything. Anything I can sell," I avowed.

Well, I sold one story after another. Before long I gave up my newspaper job and joined Father Heagney who was doing parish work and writing on the side. Of course, it was only natural for a priest to turn his talents to the Catholic field and he had some wonderful friends among the Catholic editors who recognized and developed his unusual writing ability. It seemed almost inevitable that I too should be drawn into my brother's circle and so by easy and unplanned stages I found myself right in the middle of the Catholic field.

Let one example tell briefly the situation: the case of the well-known priest editor, now retired, of two popular monthly magazines, one adult and one juvenile, who thought so well of my work that he had me writing under a dozen different pen names: short stories, articles, a woman's page,-all came grinding regularly forth from my literary mill, and I'll never forget the thrill that was mine when he said that my brother and I "wrote equally well."

If that sounds like egotism I'm sorry, for I only repeat the compliment to illustrate how closely I followed my brother's lead. Especially, since it was this same editor who first published the fictionized biographical and historical writings for which Father Heagney-and in turn myself-became most widely recognized.

All of my Catholic books come under this category. (I had written two non-denominational type books for older girls with newspaper atmosphere which are out of print.) The first four were published by Bruce, Milwaukee, where I have had a happy and valued association with Ed Weiler, who is in charge of their juvenile department.

Two of my Bruce books, Simon o' the Stock (1955) and The Marylanders (1957) are in their Catholic Treasury series. The others, The Magic Pen (1949) and God and the General's Daughter (1953), are for older girls. I have some happy recollections about each of these brain children of mine. The Marylanders, a story of the Puritan revolt in Lord Baltimore's Catholic colony, was cited in The Writer as an example of quality writing for juveniles; Simon o' the Stock, the story of the little boy who ran away with his little dog from a castle to live in a big old tree and grew up to become the great Carmelite saint who founded the scapular devotion, has been translated by a native missionary for East Indian readers; God and the General's Daughter, the story of beautiful, scoffing Fannie Allen, daughter of General Ethan Allen, who became the first New England nun, has run into several editions and seems to be a perennial favorite with older girls. And The Magic Pen, my first, tells the inspiring story of a nineteenth-century popular novelist, Frances Fisher Tiernan (known in literature as Christian Reid), who became famous at twenty-four. It has not done as well as the others, but I like it best.

Next I worked on a theme which surpassed anything I have as yet attempted: the little-known story of the heroic Catholic nuns who cared for the wounded and dying on the battlefields of the Civil War. With the centennial of the war so near, it should have special interest. I only hope I have done justice to my story of Mother Euphemia (Bruce, Catholic Treasury series, 1961).

Heroines of the Faith are favorite subjects with me and I have written many, many short stories about them for both adult and juvenile magazines. At the suggestion of an official of the National Council of Catholic Women whom I met at a convention, I started writing a series based on the lives of married women saints. These appeared in the Catholic Home Journal, which has since been merged with another Franciscan publication. "Silver Wedding Day," in which a dramatic incident brings about the reform of St. Catherine of Genoa's erring husband, was reprinted in the Family Digest.

For several years my stories of the saints have been appearing regularly in Catholic Miss of America and occasionally in Hi!, two magazines of Publications for Catholic Youth, Minneapolis. Florence Flugaur, managing editor for both, is the kind of editor a writer wishfully dreams about. Now Catholic Miss has consolidated with Catholic Boy and will henceforth be published at Notre Dame. In a "Debby Debate" opinion column in the Catholic Miss twelve copies of my DeTonti of the Iron Hand were awarded as prizes. At the time the book was published Father Keller of the Christophers wrote me that they were praying for its success. And incidentally, as regards the Christopher movement, of which I am a zealous member, I consider it the most dynamic Christian force in America today.

The DeTonti book has brought me letters of commendation from Bishop Fletcher of Little Rock as well as from Senator McClellan and Congressman Norrell of Arkansas, and one from the 1960 Democratic candidate for President of the United States, Senator John F. Kennedy of Massachusetts, who won a Pulitzer Prize in 1956 for his Profiles in Courage. He wrote me: "I think this is a particularly intriguing story for children."

Originally published in The Book of Catholic Authors, Walter Romig, Sixth Series, 1960.


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