Crosswinds at Campo Carcasso-- A Journey of a Thousand Tales is purely a work of fiction. I created the characters, places and events of the quasi-historigraphical story from my imagination. I did not fashion the protagonists after real people, living or dead; except those of obvious contemporary artistic celebrity and political or historical fame, and of whom, I may have taken chronological liberty.
Incidents in the elite French Foreign Legion are partly fact-based, related to me by my father who served in Morocco in the 1930s, and who was the real-life wounded deserter who stowed away from Rabat to Liverpool on the ship Herlick in November 1933.
CAMPO CARCASSO is a fictional place I named for an ancient Roman fortress in the Languedoc and purported source of my maiden name. The storied olive groves and vineyards never existed; however, Umbria in the heart of Italy is rich with olives, grapes and Etruscan cities of the dead.
Many archaeological incidents and artifact descriptions, necropoli excavations and the Magna-Graeco, Pompeian and Roman antiquities featured are partly fact, partly fiction borne of my imagination and juxtaposed in time, place or space to illiminate the story. If archaeological terminology, methods of excavation or vernacular are not accurate, I apologize, as the story emerges from my logical assumptions and creative inventions. If I did manipulate factual methodologies or historical timelines for dramatic effects, please accept my humblest apology.
My approach to writing the quasi-historigraphical novel within certain creative confines was to invoke the horror of war, intrigue, mystery, murder, avariciousness, lust, desire and revenge; the enduring aspects of the human drama.
The character studies of my imagined protagonists portray riveting internal and external life journeys; defining how families may emerge and merge bonded by the the twin emotions of piercing hate and extrutiating love.
Linguists who are curious about the misspellings of Italian; my characters speak the Sicilian language and imagined vernacular of the groves to create an authentic voice of the island people. I purposely situated the novel in England, Ireland, Italy and Sicily; backdrops of where I lived and traveled and the countries of my children's heritage.
- Anita Carcass Venezia