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I'm always looking for new ways to use popular narrative forms, especially mysteries and thrillers, to communicate a deeper understanding of our past. Mid-century America fascinates me, particularly how LGBTQ+ people and members of other marginalized communities navigated that socially conservative time. What does the post-WWII era tell us about who we are today? While my three novels are historical fiction, I'm only incidentally a historical fiction writer. I was drawn to the 1940s and 1950s because I wanted to recreate a certain mood that detective fiction and film noir of that period evoke. I'm equally drawn to tales of the gothic and supernatural. I'm working on a contemporary novel-length ghost story about my (and our nation's) complicated relationship with nostalgia. Regardless of the genre, I love morally complex characters, rich atmospheric prose, and, of course, a gripping story.
I enjoy connecting with readers because I believe a book isn't complete until it has been imagined in the reader's mind. Discussing my work with a reader is a journey completed. I'm also a seasoned fiction writing instructor. I teach fiction writing in a low-residency MFA program at the University of Nebraska Omaha and to undergrads at Virginia Commonwealth University, so I'm always excited to discuss craft techniques and how to navigate the ever-changing publishing world with aspiring writers.
I love questions, so don't be shy!
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In May 1954, Lionel Kane witnesses his apartment engulfed in flames with his lover and writing partner, Roger Raymond, inside. Police declare it a suicide due to gas ignition, but Lionel refuses to believe Roger was suicidal.
A month earlier, Judy Nightingale and Philippa Watson—the tenacious and troubled heroines from The Savage Kind—attend a lecture by Roger and, being eager fans, befriend him. He has just been fired from his day job at the State Department, another victim of the Lavender Scare, an anti-gay crusade led by figures like Senator Joseph McCarthy and J. Edgar Hoover, claiming homosexuals are security risks. Little do Judy and Philippa know, but their obsessive manhunt of the past several years has fueled the flames of his dismissal.
In the wake of Roger’s death, Lionel searches for clues, but Judy and Philippa threaten his quest, concealing dark secrets of their own. As the crimes of the past and present converge, danger mounts, and the characters race to uncover the truth, even if it means bending their moral boundaries to stop a killer.
"Set in 1954, Hall of Mirrors is a stunner and something rare for a historical mystery. Copenhaver has alchemized the intimacies and pain of midcentury queer characters into something more universal and timeless, reflecting back to us the closets in which marginalized people have been forced to live, and their righteous struggles to break free."
—Los Angeles Times, Paula Wood
Philippa Watson, a good-natured yet troubled seventeen-year-old, has just moved to Washington, DC. She’s lonely until she meets Judy Peabody, a brilliant and tempestuous classmate. The girls become unlikely friends and fashion themselves as intellectuals, drawing the notice of Christine Martins, their dazzling English teacher, who enthralls them with her passion for literature and her love of noirish detective fiction.
When Philippa returns a novel Miss Martins has lent her, she interrupts a man grappling with her in the shadows. Frightened, Philippa flees, unsure who the man is or what she’s seen. Days later, her teacher returns to school a dark shell of herself. On the heels of her teacher’s transformation, a classmate is found dead in the Anacostia River—murdered—the body stripped and defiled with a mysterious inscription.
As the girls follow the clues and wrestle with newfound feelings toward each other, they suspect that the killer is closer to their circle than they imagined—and that the greatest threat they face may not be lurking in the halls at school, or in the city streets, but creeping out from a murderous impulse of their own.
"Philippa Watson and Judy Peabody … each bring loneliness to a friendship that burns with intensity from the get-go.
—Sarah Weinman, The New York Times Book Review
A lurid crime scene photo of a beautiful woman arrives on mystery writer Bunny Prescott's doorstep with no return address—and it's not the first time she's seen it. The reemergence of the photo, taken fifty-five years earlier, sets her on a journey to reconstruct the vicious summer that changed her life.
In the summer of 1945, Ceola Bliss is a lonely twelve-year-old tomboy, mourning the loss of her brother, Robbie, who was declared missing in the Pacific. She tries to piece together his life by rereading his favorite pulp detective story “A Date with Death” and spending time with his best friend, Jay Greenwood, in Royal Oak, VA. One unforgettable August day, Jay leads Ceola and Bunny to a stretch of woods where he found a dead woman, but when they arrive, the body is gone. They soon discover a local woman named Lily Vellum is missing and begin to piece together the threads of her murder, starting with the photograph Jay took of her abandoned body.
As Ceola gets swept up playing girl detective, Bunny becomes increasingly skeptical of Jay, and begins her own investigation into the connection between Jay and Lily. She discovers a series of clues that place doubt on the identity of the corpse and Jay’s story of how he found it, and journeys to Washington, D.C. in search of Lily. In D.C., Bunny is forced to recognize the brutal truth about her dear friend, and sets off a series of events that will bring tragedy to Jay and decades of estrangement between her and Ceola.
“Copenhaver makes a powerful debut with this unconventional novel that mixes a coming-of-age tale with a puzzling mystery and a haunting portrait of the experiences of the LGBTQ community in the 1940s. ”
—Library Journal (Starred Review, Debut of the Month)
