John D. Cressler is a professor and author.
He is the Schlumberger Chair Professor in the School of Electrical and Computer Engineering and the Ken Byers Teaching Fellow in Science and Religion at Georgia Tech. He received his Ph.D. from Columbia University in 1990. He spent 8 1/2 years at IBM Research and 10 years on the faculty at Auburn University before joining Georgia Tech in 2002. His research interests center on the creative use of nanoscale-engineering techniques to enable new approaches to high-speed electronic design and utilization, as required to support the emerging global communications infrastructure. He and his students have published over 700 scientific papers in this field. He has received a number awards for both his research and his teaching, including the 2010 Class of 1940 W. Howard Ector Outstanding Teacher Award (Georgia Tech’s top teaching award), the 2011 IEEE Leon Kirchmayer Graduate Teaching Award (the IEEE’s top graduate teaching award), and the 2013 Class of 1934 Distinguished Professor Award (Georgia Tech’s highest faculty honor).
Emeralds of the Alhambra, his debut novel, and book one in the Anthems of al-Andalus series, was released in June 2013 by Sunbury Press. The second novel in the series, Shadows in the Shining City, was released by Sunbury Press in July of 2014. The third novel in the series, Fortune’s Lament, will be released in 2018. Cressler’s historical fiction is aimed at bringing alive medieval Muslim Spain using compelling love stories.
His non-fiction books include: Silicon-Germanium Heterojunction Bipolar Transistors (2003), Reinventing Teenagers: the Gentle Art of Instilling Character in Our Young People (2004), Silicon Heterostructure Handbook: Materials, Fabrication, Devices, Circuits and Applications of SiGe and Si Strained Layer Epitaxy (2006), Silicon Earth: Introduction to the Microelectronics and Nanotechnology Revolution (2009), Extreme Environment Electronics (2013), and Silicon Earth: Introduction to Microelectronics and Nanotechnology, 2nd Edition (2015) . Reinventing Teenagers and Silicon Earth are intended for general audiences.
He and his wife Maria have been married for 35 years and are the proud parents of three: Matthew, Christina and Joanna. Their three new additions to the family include: Matt’s wife, Mary Ellen (and now Elena, Moira and Jane!), and Christina’s husband, Michael (and now Owen, Amelia and Lucy!), and Eric (baby girl Ramsey is due in 2018).
His hobbies include: hiking in the mountains, mushroom foraging, vegetable gardening, collecting (and drinking!) fine wines, history, cooking, the evolving dialogue between science and religion, IPAs, food as art, and carving walking sticks, not necessarily in that order. He strives for an intentional life filled with social justice ministry, interfaith dialogue, and Ignatian silent retreats. He considers the teaching and mentoring of young people to be his life’s work, with his writing a close second.
Additional Interview with John D. Cressler
One does not normally put ‘engineering professor’ and ‘historical fiction author’ in the same sentence. How did Emeralds of the Alhambra come about?
No argument there! I have always enjoyed writing, and while it has actually been a lifelong dream of mine to write a novel, somehow I never quite felt ready. Novel writing is an intimidating business! I have always been an avid reader, and after a high school/college infatuation with science fiction and fantasy, I moved into more mainstream novels and then literary fiction. To this day fiction is all I read. With each new novel I would find myself wondering what it would be like to try my own hand at fiction. Interestingly, however, the opportunities for writing non-fiction books seemed to materialize naturally as a part of my career as a professor. And it is MUCH easier to get non-fiction published! When I finished my first book, a graduate-level textbook in my research field, I found the process deeply satisfying, and wanted more. My fourth non-fiction book, Silicon Earth, was a little different in genre, in that it was for a general, non-specialist audience, and I got permission to use a non-traditional, breezy and fun narrative style. That worked so well that when I finished it I decided it was finally time to explore whether I had a novel in me. The whole prospect was a little scary because the canvas is so large. What type of fiction? I have a deep love of history and really enjoy well-executed historical fiction, so I took the plunge and started there. It was love at first sight!
How does writing non-fiction compare with writing fiction?
Good question. They are very different in many obvious ways: tone, narrative style, subject matter. I find that writing fiction requires much more contact with your material, an obsession of sorts. I think what I most enjoy about writing fiction are the nearly constant tapping of my imagination, and the unanticipated discoveries in plot and character that result. The creative energy this produces is amazing! A real creative high unlike anything I have experienced. Let me give you a feel for this. In writing Emeralds, I first mapped out the synopsis in a few pages, to bind the themes and characters and historical events that I wanted to address. Then I expanded that synopsis into a chapter-by-chapter thumbnail, each of which was maybe a quarter page of what factually happens in that chapter. This allows me to make sure all the plot twists and timing angles gel properly with the overall story trajectory. I did this for the whole book before beginning my writing. Then, when it was time to compose, I took the first chapter thumbnail and expanded it into the various chapter scenes, fleshing the chapter out to about a page, no more, so that I had a good sense of the story that would transpire. Then I set this aside and began composing from scratch. The magical part of the process is that inevitably the characters and plot threads begin to deviate from the plan, assuming a life of their own. I love this! Almost on a daily basis, as I was driving to work, thinking about my characters, it would jump into my head, “well, of course, she needs to do this!” or “obviously this needs to happen!” Things I had never anticipated before actually doing the writing. That creative element is unique to fiction and I find it deeply satisfying. As a side note, I also discovered that writing about love is the world’s most potent aphrodisiac!
How did you end up with medieval Muslim Spain as a setting for your novel?
Well, after I narrowed it down to historical fiction, I spent quite a bit of time on the web just exploring history. I have always loved European history, so one magical day, I stumbled upon medieval Muslim Spain. The more I explored the more amazed I was, particularly since it is a period of history so rich in its message for our modern world and yet so little appreciated by most people. Imagine, a period of over three hundred years with Muslims, Jews, and Christians living in harmony! An existence proof we owe it to the world to recall. I was quickly locked in on medieval Muslim Spain. At that point, I ordered a ton of books on medieval Iberia and began to immerse myself in the period, to learn the history. I was after a short span of years that was of pivotal importance, and yet contained the themes I was after. That led me to Granada, the Alhambra Palace, Sultan Muhammad V and Ibn al-Khatib, and the Castilian Civil War (1366-1369). I was set for historical backdrop. I knew I wanted to wrap the book around a love story between a Muslim and a Christian, and that fell right into place.
Tell us about the Alhambra.
The Alhambra, what a magical place! The Alhambra is the best preserved medieval Islamic palace in the western world, perhaps in the whole world. It is located in Granada, in Andalusia (al-Andalus in Arabic), in extreme southern Spain. “Alhambra” refers to the entire walled fortress that clings to the long and narrow red-soiled ridge overlooking Granada. The red hill itself is the source of the palace’s name (‘al-hamra’ is Arabic for ‘red’). Unlike today, in the fourteenth century the towers and walls of the Alhambra would have been white-washed and the hill laid bare for defense, a stunning white on red contrast. The fortress is compact, as dictated by the terrain, about one hundred yards wide and seven hundred yards long, and is nestled within the walled and garrisoned city of Granada. The Alhambra complex contained the Royal Palace of the Sultan, the complete functioning town that supported it, all of the judicial and administrative services required to run the Nasrid Kingdom, and a separately castled garrison. The Alhambra and the walled city of Granada itself were, for all intents and purposes, impregnable, and were never captured by force of arms, only surrendered (in 1492 to Isabel and Fernando, the “Catholic Monarchs”). The Alhambra’s population in 1367 was roughly two thousand, including a garrison of perhaps three hundred elite troops, compared to about sixty-five thousand inhabitants in Granada proper, a very large city by fourteenth century standards.
Tell us about the research you did for the book. Did you visit Spain?
I spent almost nine months on background research before laying pen to paper. The credenza in my office at home where I write is lined with over ten feet of references on all things al-Andalus which I digested. As I describe in my blog entry, in the fall of 2010 I spent two weeks in Spain doing on-site research: Seville, Córdoba, Jaén, and Granada. I had all I needed factually at that point, but I still needed to absorb the scenes, burn them into my minds’ eye. See the sky, the landscape, the architecture, and most importantly close my eyes and bring the palace to life as it would have been six hundred years ago. There is no substitute for this type of on-the-ground research. I virtually lived in the Alhambra for six days, and that proved invaluable when writing. Fortunately, the Royal Palace itself is mostly preserved in the same form it was when my story takes place.
What are your writing habits?
Like most novelists, I find that I need significant “face-time” with my characters and story. I am a morning person, up at 5:15 am during the work week. After prayer time, breakfast and the paper, I retreat to my office by 7:15, and work without interruption until about 9:30-ish. Monday through Friday. I do not write on the weekends, but instead prefer to do some mental mull-over of my characters and story. Each morning when I start writing, I first re-read and tinker with my previous section or two, then I begin new material once I have found my groove. I repeatedly write, re-read and revise as I compose, so I manage only a few pages a day. I aim for a chapter a week. Slowly but surely the novel grows. I wrote Emeralds in about fifteen months. When I close down each morning, I do a quick catch up on email, then off to campus. I still manage to beat all of my graduate students into the office!
Tell us about your prose style.
I utilize a third-person/objective/limited narrative scheme. The narrator sees all but does not know all. It is a very visual style. The reader stands with the narrator and is invited to observe and draw their own conclusions of what they see (the so-called camera-eye perspective). The action unfolds in the present tense, which I find lends dramatic weight to the story. I lean towards impressionistic descriptions of places, sights, sounds, and smells. One of my major jobs in writing historical fiction is to create a well-developed sense of the time and place in the reader’s mind, and I find this impressionistic approach works well. I also adopt a modest amount of magical realism, choosing to bring certain inanimate things to life – in Emeralds, for instance, the constellations are participants in the story. My writing style is perhaps a bit unusual, but I think it works quite well.
Which fiction authors most inspire you?
There are so many wonderful novelists working today, so inspiration is never hard to find. I try to read them all, with a steady diet of all the major fiction award winners. Some contemporary standouts for me include: Michael Ondaatje, Mark Helprin, Hillary Mantel, Tim O’Brien, Kent Haruf, Alice Munro, Jennifer Egan, Jonathan Franzen, Tom Rachman, and Colum McCann. The list could go on and on.
Who are you reading right now?
I just finished Jaimy Gordon’s Lord of Misrule, the 2010 National Book Award winner. Absolutely brilliant! Her prose is remarkable, with a lovely impressionistic style that I much admire, and her characters are just beautifully crafted.
Emeralds of the Alhambra is book one of a series called Anthems of al-Andalus. What comes next? And when will book two be out?
Yes, Emeralds in the first in a series of at least three novels dealing with medieval Muslim Spain. Book two is called Shadows in the Shining City, and is set in late tenth century Córdoba, at the height of the Golden Age of the Umayyad Caliphate. A remarkable period of cultural and intellectual enlightenment. This period is also the pinnacle of convivencia (coexistence), the time when Muslims, Jews and Christians lived together in harmony. So Anthems of al-Andalus is not a trilogy in the traditional sense, with one book following the next chronologically. Book three will come back to Granada, but in the late fifteenth century at the fall of the Nasrid Kingdom. There will, however, be a linkage between all three books, so don’t despair! I am presently 250 pages into Shadows, with a target delivery date of next August. I expect it is be released around the end of 2013. A fantastic story of epic proportions that I lifted straight out of history. Stay tuned!
Are all of your novels going to be centered on love stories?
Absolutely! The timelessness of love is the most riveting subject I can imagine writing about. Big, epic themes wrapped around love stories. My life’s blood!