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BESTSELLER

The interviewer sipped a pineapple-strawberry smoothie in the living room of Harold Kraft’s palatial Diamond Head home and looked out across the vast expanse of lanai and swimming pool to the only slightly vaster expanse of the Pacific Ocean. It was late afternoon, and the sun was easing westward toward the flat line of the horizon, the gradual change in the light promising yet another incredibly beautiful Hawaiian sunset. The granite floors of the living room and lanai glittered as if inlaid with flecks of gold, the stone ending at the pool, one of those knife-edge affairs that dropped into a spillover as if falling all the way to the ocean. A Jacuzzi bubbled invitingly at one end of the lanai. A bar and cooking area dominated the other end, complete with hollow coconut shells used for tropical drinks at the frequent parties the author gave.

The home was conservatively valued at fifteen million, although the price of real estate is always subject to what the market will bear and its measure is not an objective exercise. Homes around it had sold for ten million and up and lacked both the extensive grounds and the unrestricted view that took in most of Honolulu. Bare land went for five million in this neighborhood. The numbers were unimaginable for most people. The interviewer lived in Seattle in a home he had bought fifteen years ago for somewhat less than what Harold Kraft earned in a month.

Kraft wandered in from his study where he had gone to answer a private phone call, leaving the interviewer to sip his perfectly mixed drink and admire the view. He strolled over to the bar with a brief apology for taking so long, fixed himself an iced tea, crossed the room to the couch where the interviewer was patiently waiting, and sat down again. He was tall and slender with graying hair and a Vandyke beard, and he moved like a long, slow, elegant cat. He wore silk slacks and shirt and hand-tooled leather sandals. His tanned face was aquiline, and his sandy eyes were penetrating. There were rumors of reconstructive surgery and a rigorous training regimen, but that was fairly commonplace with the rich and famous.

“Good news,” he announced with a smile. “Since you’re here, I can share it with you. Paramount just bought rights to Wizard. Two million dollars outright. They want Sean Connery for the title role, Tom Cruise for the part of the Prince. What do you think?”

The interviewer smiled appreciatively. “I think you’re two million dollars richer. Congratulations.”

Kraft gave him a short bow. “Wait until the merchandising kicks in. That’s where the real money is.”

“Do you write your books with an eye toward movie sales?” the interviewer pressed. He wasn’t getting nearly enough out of Kraft to satisfy either himself or his magazine. Kraft had published three books in two years and dominated the bestseller lists for most of that time, selling more than five million copies in hardcover. But that was practically all anyone knew about him. For all his notoriety and success, he was still very much a mystery. He claimed to be in exile, but he wouldn’t say from where. He claimed to be a political refugee.

“I write to be read,” the author replied pointedly. “What happens after that is up to the consumer. Sure, I want to make money. But mostly I want to be happy.”

The interviewer frowned. “That sounds a bit …”

“Disingenuous? I suppose it does. But I’ve done a lot of things and been a lot of places, and I don’t have much to show for any of it. What I have is myself, and my writing is an extension of myself. It is very hard to separate the two, you know. A writer doesn’t just punch a clock and go home at the end of the day. He carries his work around with him, always thinking about it, always polishing it up like the family silver. If you’re not satisfied with it, you have to live with your dissatisfaction. That’s why I want to be happy about what I do. More important to be happy than to be rich.”

“Doesn’t hurt to be both,” the interviewer pointed out. “You’ve had an amazing string of successes. Do you ever think about what it was like before you were published?”

Kraft smiled. “All the time. But I sense an attempt at an end run. I have to remind you that try though you might, you won’t get me to talk about my earlier life. Ground rules for this interview, right?”

“So you’ve said, but my readers are quite curious about you. You must know that.”

“I do. I appreciate the interest.”

“But you still won’t discuss anything about yourself before you were published?”

“I made a promise not to.”

“A promise to whom?”

“A promise to some people. That’s all I intend to say.”

“Then let’s discuss your characters and try coming into your life through the back door, so to speak.” The interviewer harbored hopes of publishing a book himself one day. He fancied himself very clever with words. “Are they based on real people from your old life? For instance, the misguided King of your magic land, his inept court wizard, and the snappish dog who serves as his scribe?”

Kraft nodded slowly. “Yes, they exist.”

“How about your protagonist, the renegade wizard who saves the day in each book? Is there some of you in him?”

Kraft cleared his throat modestly. “A bit.”

The interviewer paused, sensing he was finally getting somewhere. “Have you ever dabbled in magic? You know, played at conjuring spells and the like? Has that been a part of your life?”

Harold Kraft was lost in thought for a moment. When he came back from wherever he had been, his face turned serious. “I’ll tell you what,” he said. “I’m going to make an exception to my rule of never talking about my past and tell you something. There was a time when I did play about with magic. Small stuff, really—nothing serious. Except that once I did stumble quite inadvertently on something that turned out to be very dangerous indeed. My own life as well as those of others was threatened. I survived that scare, but I made a promise to certain people that I would never use … that is, dabble, in magic again. I never have.”

“So the magic in your books, the conjuring and the invocations of spells and the like, has some basis in real life?”

“Some, yes.”

“And the tales you weave, those spellbinding stories of monsters and elves, of mythical creatures and wizards like your protagonist—do these have a basis in real life as well?”

Kraft slowly raised and then lowered one eyebrow. “A writer writes what he knows. Life experience enters in. It usually takes a different form than the reality, but it is always there.”

The interviewer nodded solemnly. Had he learned anything from this exchange? He wasn’t sure. It was all rather vague. Like Harold Kraft. He covered his confusion by checking the tiny tape recorder sitting on the coffee table. Still spinning. “Would it be fair to say that the adventures you write about in some way mirror your own life?” he tried again.

“It would be both fair and accurate, yes.”

“How?”

Kraft smiled. “You must use your imagination.”

The interviewer smiled back, trying not to grit his teeth. “Do you have other stories left to tell, Mr. Kraft?”

“Harold, please,” the author insisted with a quick wave of his hand. “Three hours together in the journalistic trenches entitles us to conclude our conversation on a first-name basis. And to answer your question, yes. I have other stories to tell and some time left to tell them, I hope. I’m working on one now. Raptor’s Spell is the title. Would you like to see the cover?”

“Very much.”

They rose and walked from the living room down a short hall to the study, which served primarily as Kraft’s office. Word processors and printers sat at various desks, and books and paper were piled all over the place. Framed book covers hung on the walls. A koa-wood desk dominated the center of the room. From the stacks of writing on the top of this desk, Kraft produced a colored photo and handed it over to the interviewer.

The photo showed a bird that was all black save for a crown of white feathers. The bird was in the act of swooping down on a malevolent being that resembled a mass of thistles. Lightning streaked from the bird’s extended claws. Dark things fled into a woods at the bird’s approach.

The interviewer studied the photo for a moment. “Very dramatic. Is the bird representative of someone from your earlier life?”

Horris Kew, who now called himself Harold Kraft, nodded solemnly. “Alas, poor Biggar, I knew him well,” he intoned with a dramatic flourish.

And gave the photo a nostalgic kiss.