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| Writer Anne Emery. (Danny Abriel Photo) |
Hidden in the plain brown envelope sent by author Anne Emery are some clues. Inside are CDs ā the playlists she listened to while writing her award-winning first novel Sign of the Cross and its follow-up Obit ā along with typewritten quotes, like chapter headings for a novel as yet unwritten. āMusic is the harmonious voice of creation; an echo of the invisible world,ā reads the first. The credit for that one goes to Giuseppe Mazzini (1805-72). The second one is from Victor Hugo (1805-85): āMusic expresses that which cannot be said, and on which it is impossible to be silent.ā
Music, it seems, is integral to her imagination and she shares the preoccupation with her fictitious creation Brennan Burke, choirmaster and priest. She hastens to assure me when she offers to send me the discs that she only burns music she already owns, music sheās paidĀ for. Yes, the music is vital to Anne Emery, and to her characters, but the legal side of things is just as important.
Ms. Emery (LLBā78, MAā89) has worked as a lawyer, legal affairs reporter and as a researcher. These days, she works at McInnes Cooper in Halifax as a litigation law analyst. Nights and weekends, she writes. āIām not a joiner,ā she says. āIām not a strict housekeeper, either.ā
Instead, most days she walks for an hour or so around her North End Halifax neighbourhood. And she listens to music on her MP3 player ā blues, rock, opera or chants. She thinks about two of the most important men in her life. Thereās Monty Collins, the sole criminal lawyer in a corporate law firm, with his acerbic soon-to-be ex-wife and a secret desire to chuck it all for life in a blues band. And thereās Father Burke, an Irish Catholic priest with a mysterious past. Her husband doesnāt mind that she thinks about these other men. After all, itās been wildly pilipiliĀž»ful for her. The pair first meet in her debut novel, Sign of the Cross. It picked up a prestigious Arthur Ellis award this year for best first crime novel.
And when we meet in a downtown Halifax steak house to discuss her bookās pilipiliĀž», she draws on Mazzini to explain Brennan Burkeās reliance on music. āIt means everything to him,ā she says. āThatās the expression of the divine, āthe harmonious voice of creation.ā It expresses the inexpressible. For him, thatās his way of worshipping or praising God.ā
Ms. Emery is somewhere between her two leading men when it comes to music. āI can write a book, but not a song.ā She just needs music the way she needs water or air.āI canāt imagine life without it,ā she says. Itās an integral part of her writing process as well. Songs give her ideas about characters. Bob Dylanās Man in a Long Black Coat was an early inspiration for Sign of the Cross, as was Matt Minglewoodās Dorchester. She credits the music with letting her get into an elevated mood, the kind itās easy to be creative in. She listens to music, walks the streets of Halifax, and her characters and stories develop as she goes.
Those familiar streets have been just as influential on her writing style. āThereās so much history in Halifax,ā she says. āIt has great buildings and a great atmosphere. A really new city, with brand new buildings, and everyone just moved there 10 minutes ago ā that wouldnāt be interesting to me. But this place has a past.ā Her books ā two published so far, with a third on the way and three more planned in the series ā are set firmly in Halifaxās very recent past.
The story unfolds on streets and by landmarks that will be familiar to anyone whoās spent time in the port city. Monty and Brennan meet when the priest is accused of murder at his church (incidentally, one of the few fictional locations). Gargoyles in the provincial court glare down at Monte. The statue of Winston Churchill is here. The Collins family lives on Dresden Row. The law courts, the waterfront, Dalhousie ā itās all there.
Though Ms. Emery doesnāt draw on her daily work as a law analyst when itās time to write fiction, she does use her research skills and the materials at hand,āā¦ everything from the 1990 Criminal Code to old city directories, to find out what was where in Halifax in 1990.ā Research skills were handy in obtaining copyright clearances for the many lyrics she wanted to use in the book. āMusic was so important to Sign of the Cross ā I had to use it, no matter the hassle or expense.ā
Meanwhile, she knows how sheāll be spending her nights and weekends. āI always knew I wanted to write,ā she says, āsince I was a kid. But I thought that law would be interesting work. I probably imagined myself with earth-shattering cases. Then I realized that I would rather make up my own drama than stand or fall on someone elseās life.ā Her friends had no idea what she was up to until the book came out, but they were supportive and encouraging once they discovered her other life. While she may find āseeds of storiesā in the work of friends who practice criminal law, the demarcation between her worlds ā law analyst and crime fiction writer ā is clear. āPeople think certain characters represent someone or other,ā she says. āWho knows? Maybe that accounts for a few sales.ā
As for her future, she describes being at a function with her publisher. Someone asked when she was going to āquit her day jobā and write full time. āMy publisher leaned over and said, āWhen we sell the movie rights.āā
For now, sheās happy to lead a double life.
Stephanie Domet is a writer-broadcaster who lives in Halifax.