Writing What I Know and Where I've Been

"A writer must have a place to love and be irritated with. One must experience the local blights, hear the proverbs, endure the radio commercials, through the close study of a place, its people and character, its crops, paranoias, dialects, and failures, we come closer to our own reality... Location is where we start."

— Louise Erdrich, quoted in A Jury of Her Peers, by Elaine Showalter

Outside my window at this hour the smoke billows up from the neighbor's chimney and the pink sky goes sweet blue, toward black.

This is my home, my view, my slice of somewhere, and again and again, it appears in my books.

I write about suburban Philadelphia because as a teen I lived here and as an adult I returned here. I write about Juarez because once, in 2005, I took a trip across the El Paso border that changed my life. I write about a cortijo in southern Spain because I've been there, because once a man tall as royalty took me out into his dusty hectares in an open-to-the-sky jeep and said, Might I introduce you to my fighting bulls? I conjure a secret poet at Radnor High School because I once was one of those, and I story ghosts through a garden much like Chanticleer, down the road, because I spent two years walking through, week after week, and because a stone I had made for my mother rests there, beneath the katsura trees, and because I don't know where I'd be without seeds and all they beget.

I write where I've been, who I've been, what feels like mine. I have this place that I love. I begin here.

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Grace Paley on Plot

[Paley] insists that life continues beyond the confining plots of tragedy or comedy; she hates plot, "because it takes all hope away. Everyone, real, or invented, deserves the open destiny of life."

A Jury of Her Peers: Celebrating American Women Writers from Anne Bradstreet to Annie Proulx by Elaine Showalter, pg 462,

Leave it to Paley to so brilliantly express this particular propulsion that in so many ways defines my own approach to my work: Everyone deserves the open destiny of a life.

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A Jury of Her Peers: what a girl should want

For the 11th question of her What a Girl Wants series, Colleen Mondor asked a number of us one of her typically challenging questions: What does it mean to be a 21st century feminist, and on the literary front, what books/authors would you recommend to today's teens who want to take girl power to the next level?

Lorie Ann Grover, Laurel Snyder, Loree Griffin Burns, Margo Raab, and Zetta Elliott all came through with reliably interesting responses. I was caught up in a series of corporate projects and could not respond in time.

Today, however, I'd like to put my two cents in by recommending Elaine Showalter's A Jury of Her Peers: Celebrating American Women Writers from Anne Bradstreet to Annie Proulx to readers of any age, gender, or race who wish to understand and celebrate just how hard women have had to work to put their voices on the page—and how women's voices have and will continue to shape us.

Anne Bradstreet, one of this nation's first women writers, entered print, in Showalter's words, "shielded by the authorization, legitimization, and testimony of men." In other words, Showalter continues, "John Woodbridge, her brother-in-law, stood guarantee that Bradstreet herself had written the poems, that she had not initiated their publication, and that she had neglected no housekeeping chore in their making."

No vanity allowed, in other words, and no leaving those dishes in the sink.

Showalter's book—which yields insight into the stories of Phillis Wheatley, Julia Ward Howe, Harriet Beecher Stowe, Emily Dickinson, Edith Wharton, Willa Cather, Dorothy Parker, Zora Neale Hurston, Pearl Buck, Shirley Jackson, Harper Lee, Sylvia Plath, S.E. Hinton, Grace Paley, Joan Didion, Lorrie Moore, Jayne Anne Phillips, Sandra Cixneros, Amy Tan, Louis Erdrich, Jhumpa Lahiri, Gish Jen, and so many others—is itself a piece of history, for it is, unbelievably, the first literary history of American women writers.

Showalter suggests that the development of women's writing might be classified into four phases: feminine, feminist, female, and free. Anyone who wants to know just how we got to free (and to ponder, with the evidence, whether or not we're really there) should be reading this book.

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The Books I Bought This Week

I have a funny habit of buying books when I know—it's an unbeatable, unbearable fact—that there will be no time to read them. They sit on the chair that sits opposite my desk, their lovely perfect spines toward me. They tease, they seduce until I finally give in—slip one into my bag and take it with me, everywhere.

I steal into a page or two while waiting in the Whole Foods line. I read while warming up for Zumba. I hover over pages while on hold on conference calls. I say to my husband, "Go ahead. No, seriously. You watch that show on the air battles of World War II; I'm just going to go upstairs."

It feels so good it almost feels wrong.

Here are the books that came into my home this week, in the order in which I believe I will read them. (I've already started The Disappeared, and so far it's the dream I thought it would be after reading the review in last week's Times):

The Disappeared (Kim Echlin)
The Girl with Glass Feet (Ali Shaw)
How I Became a Famous Novelist (Steve Hely)
A Jury of her Peers (Elaine Showalter)
Unfinished Desires (Gail Godwin)

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