Monday Earworm: Tori Amos

When I graduated from high school, I used some of the money people gifted me to buy my first CD player. It wasn’t brand-new technology anymore, but it wasn’t old enough yet for me to be significantly behind the curve. I’ve not often been an early adopter of tech, anyway. My parents had a CD player on their stereo system in our living room, and that was fine, but I was pretty excited about my little boom box. The first CDs I bought for myself that spring were Pearl Jam’s Ten, They Might Be Giants’ Flood, and Tori Amos’ Little Earthquakes. Although TMBG’s album had come out in 1990, it was new to me, and the other two came out my senior year.

I was still a devoted MTV watcher, because MTV was still devoted to playing music videos. “Silent All These Years” was introduced as a breakout video, and the song, the video, and the artist all made a strong impression on me. I was preparing to graduate from high school and go off to college. I wouldn’t be quite the first in my family to attend college, but I would end up being only the second person in my extended family to graduate, after my father’s little sister. I was going to be moving out of my parents’ house and making use of the independence I’d been cultivating since middle school. I was headed off to one of the best schools in the country for Creative Writing, which was my chosen field. I was leaving a thick trail of academic accomplishments in my wake, and the world felt open to me in a way I didn’t even have the life experience to appreciate or recognize at the time. And Tori Amos’ ethereal image and style, her deeply rooted piano, struck chords in me that hadn’t been sounded before.

Little Earthquakes — which was not, incidentally, her first album, though it put her into our consciousness and it might still remain my favorite of hers — made up a significant portion of the soundtrack of that spring and of my first year of college. Even now when I listen to some of those tracks I’m submerged in the emotions those songs shepherded me through during that tumultuous time, even though I’ve long since taken leave of the things that generated them. And as a piano player myself, just listening to Amos’ work plucks at that artistic part of me I still regret not fostering enough when I needed it to. I can blame the fact that I no longer play as well as I did on several things: the death of my cousin, which spiraled me into an abiding and undiagnosed depression; the guy who lived in my dorm who followed me to the practice room at night to sexually harass me while I tried to learn my new sheet music; the multiple and constant demands on my time in my adulthood that made me push that time for myself by the wayside; the people who raised me not to have agency or to put my own needs first. And all of those things are true, but what is also true is that I didn’t make the time for myself, either, even once I had learned how to recognize the need for it.

But I haven’t given up on it quite yet. I do have the sheet music for this album, and every now and then I take it out and play a little from one of the songs. One day I’ll learn a whole one, perhaps. I need to get my piano tuned; I’ll just add that to my endless list.

The school year is about to start again. I went back into my classroom today and started rearranging the furniture that has come back from being in storage during the pandemic. My oldest kid is a senior in high school now — and embarking on the college process, which will ultimately take them away into a world of possibility that they are also not yet ready to appreciate or recognize. I hope I am better equipped to shepherd them through it. We are all in liminal spaces right now, for just a little bit longer.

Tori Amos’ music, and this profound album in particular, has been showing up a lot lately in our Pandora feeds. It’s nice.

Enjoy.

SONIC CHIHUAHUA at the Turn of the Year

As of today, the December issue of the SONIC CHIHUAHUA is ready to go out the door and to a mailbox (or eagerly awaiting open hand) near you!

So how are things going, eight issues in, with my little zine?

Well, frankly, WELL.

I will be the first to admit that restarting this zine after a twenty-nine-year hiatus was an impulsive lark. It was a decision that I made quickly, even if the seeds of that decision had been planted and quietly sprouting for a couple of years or so. And for the first couple of issues this spring, I was very much feeling my way (again) around the mechanics and logistics of putting a project like this together.

Every month. With paper and black pens and scissors and an adhesive roller.

The first issue ended up being almost twice as long as I’d intended, but it was a good length and is one I’ve stuck with. Figuring out the layout of the zine and the formatting of the content that was printed involved a fair bit of trial-and-error, but I got there. During our pandemically deprived social life, the Sonic Chihuahua became my new Friday night jam, and I loved it.

And even better was the reaction I enjoyed from nearly everyone I sent it to: excitement, enthusiasm, eager support, encouragement. Even, occasionally, someone giving me money for it! (Though financial contributions have always been optional.) There were even a couple of months when the income earned from the zine surpassed the royalties earned on my books!

And the zine grew. Oh wow, did it grow. The distribution, which wasn’t small to begin with, is half again larger than it was when it started, and now I have regular contributors sending me wonderful content to include. I’m loving that!

Without putting too fine a point on it, the Sonic Chihuahua has been, for me, exactly what I needed, exactly when I needed it. And I’ve heard from several readers that it has been what they needed, too, and this also makes me quite happy.

In November, Han and I went to Zine Fest Houston. I’d never attended before and was thrilled that Sonic Chihuahua got in. The event itself was excellent — it was a gorgeous day with perfect weather, the fest was in an open-air warehouse space that caters to arts events, the organizers were totally on the ball, and the crowds were big enough for Han and me to be busy all afternoon but not so thick that we felt unsafe. (And yes, we wore masks.) It was a delightfully good day, and we got to browse around and see dozens of other zinesters and their work. I learned a lot.

  1. For one thing, our little zine was well-received. That’s always nice.
  2. For another thing, there’s a whole bunch of incredible indie and self-publishing and artwork happening out there, and it’s well worth checking out.
  3. And finally, our production schedule is way aggressive! 

Putting an issue out there once a month, turns out, is rather more frequent than most zinesters are doing. (In fact, we encountered maybe none who were, besides us.) Add to that the increasing costs to produce the paper zine, and the fact that a few of my readers have told me they don’t always finish reading it before the next issue comes (there’s a LOT in each one, y0), and the other fact that I would really like to finish at least one of the novels I’m currently writing… 

You can see where this is going, can’t you? I’ve decided that in 2022, volume 3 of the Sonic Chihuahua will come out every other month instead of every month. I’ve also standardized subscription rates — for those who wish to pay for it — and even added a limited digital option (by subscription only). All of this feels like the right direction to go in, for various reasons which are boring but which I’m happy to expound upon if people want me to. (Leave your questions in the comments, if you have them.)

You’ll see the same awesome content as before. You’ll just have more time to enjoy it before the next issue comes out. Also look for more art in the zine, starting with December’s issue this week.

So on balance, I would say the zine has been a highly worthwhile project for me personally and highly appreciated by those who read it, and therefore I will keep making it. Woot! Thank you to everyone who has subscribed and/or read and/or shared photos of the zine on their social media. I appreciate all of this more than you know!

The SONIC CHIHUAHUA: Volume 2, Issues 1-7

Many of you know that after a 29-year hiatus, I restarted my zine, the SONIC CHIHUAHUA, this spring. It has been one of the best decisions I made this year! I’m pleased to report the zine is thriving and growing far beyond my expectations, and that it feeds a part of my creative spirit I wasn’t aware I needed to be fed. It will continue.

For those of you who are not yet subscribers, here is a preview (i.e. a look at the Table of Contents) for each of the issues that has come out this year.

VOLUME 2, ISSUE 1: * Why “SONIC CHIHUAHUA”? What Does That Even Mean??? * The Year of Living Pandemically * apple pie (seriously!) * convo with author Sarah Warburton * a Top 5 List not to be missed! * poetry and art

 

 

VOLUME 2, ISSUE 2:
* A Graduation Message: The Fundamental Lies of Our Culture
* Chocolate Disaster Cake (seriously!)
* convo with Jamie Portwood of Writespace (wide-ranging, and it gets DEEP, yo)
* a Top 5 List not to be missed!
* poetry and art

 

VOLUME 2, ISSUE 3:
* Vacationing in Purgatory: The Spice Lady of Maine
* fiction and bingo
* rainbow trout (seriously!)
* convo with author Adam Holt
* a Top 5 List not to be missed!
* poetry and art

 

VOLUME 2, ISSUE 4:
* The Twi-Moms’ Lament
* yet more fiction
* chocolate chip cookies (seriously!)
* convo with Vali Reinhardt (frontwoman of Black Market Tragedy)
* a Top 5 List not to be missed!
* poetry and art

 

VOLUME 2, ISSUE 5:
* an essay about the day this country shifted
* kittens and fiction
* pasta sauce (seriously!)
* convo with Sean Fitzpatrick (executive director of The Jung Center)
* a Top 5 List not to be missed!
* poetry and art

 

VOLUME 2, ISSUE 6:
* Embracing My Inner Goth (part 1)
* NeriSiren’s Coffee Grotto
* zeitunes (seriously!)
* convo with renaissance woman Christa Forster
* a Top 5 List not to be missed!
* poetry and art

 

VOLUME 2, ISSUE 7:
* Embracing My Inner Goth (part 2)
* NeriSiren’s Coffee Grotto
* turkey (seriously!)
* convo with Aaron Herrick
* a Top 5 List not to be missed!
* poetry, fiction, and art

12 Days of Earworm-Worthy Christmas Music

One of my Thanksgiving traditions, in place for as long as I can remember, is seeing the Macy’s Thanksgiving parade on television. As a young adult, I would wrap Christmas presents while I watched it. Now that I have children and host the holiday at my house, I don’t catch the whole parade, but I do make sure it’s playing so my kids can see it if they want — Dear Husband is indifferent to this one — and so I can drift in and out of the room to take in snatches of it while I’m preparing dinner or getting the house ready for guests.

This year I happened to see Gwen Stefani performing “White Christmas” in celebration of her new Christmas album. I’ve always liked Stefani well enough: I liked a lot of the music she made with No Doubt and on her own, and I’m a fellow red lipstick devotee. It was a cute performance. Nothing spectacular, but the parade’s singing performances often aren’t, seeing as the artists are lip-synching in sometimes frigid weather and moving around on floats. But I was intrigued by the idea that she’d put out an album.

I don’t follow celebrity gossip all that much, but it has been tough the last year or so to go to the grocery store and not see Stefani’s personal drama splashed all over the checkout aisle. Apparently she’s with a country music singer now? And there’s some ugliness with his ex? I try not to get involved. Well, if I hadn’t known that before, just listening to the song previews of her new Christmas album — which did not list “White Christmas,” by the way — would have told me things had changed format.

The album is a mix of traditional and new, original songs. Just listening to thirty seconds of each song clued me in to a new twang in her voice on all the standards and a mention of God in just about every single new song. Ska this is not.

When I was a child, my younger siblings and I fought all the time. So much, in fact, that I’m not sure how we managed to become friends as adults, except that we all live in different cities. And when I began teaching and read my students’ essays about the good times they shared with their siblings and how they cared for and played with one another, I didn’t see how something like that was possible. It felt like my siblings and I had grown up as outliers.

But there was one utterly magical moment, during a December when we were all in grade school, that I hope I never forget. The three of us had gotten out of bed one night, just randomly and without consulting each other first, and all sat down in front of the huge, lit, decorated Christmas tree in the otherwise dark living room, and we just started singing “Silent Night.” To this day I have no idea how or why we started doing it, but there it was, just one perfect and peaceful moment. Then we all went back to bed. It’s the only time, I think, we ever did anything like that, and I have no idea whether our parents knew about it, since they neither interrupted the moment nor commented on it afterward.

But I like that song.

 

Women Writers Wednesday 10/21/15

I could wax unpoetic here about how I used to teach The Catcher in the Rye back when I taught 9th grade English, about the way one of my colleagues taught it as a Buddhist text, the debate between whether that book is a glorious masterpiece or a slice of Americana that has outlived its usefulness in adult life.

But I’d much rather get out of the way, and just present this week’s Women Writers Wednesday, a thoughtful and elegant look at Joanna Rakoff’s My Salinger Year, which comes to us from Sukhada Tatke.

***

Envy Joanna Rakoff for her Salinger Year

For any JD Salinger lover, or for that matter, any literature lover, Joanna Rakoff’s My Salinger Year is a delectable treat into which one can bury oneself and come out, once done, feeling refreshed and thrilled. Envy is not an accident, but a lingering feeling which accompanies every turned page.

courtesy of www.penguinrandomhouse.com
courtesy of http://www.penguinrandomhouse.com

The book opens in New York, which remains the thread that binds the writer’s experiences as she maneuvers through the complex, multifarious labyrinth that is the city and her own life. Rakoff’s is a story of hundreds, even thousands, of young aspiring writers in New York whose “tote bags (are) heavy with manuscripts.” After completing her Master’s degree in English Literature, she ditches her “college boyfriend” and makes her way to New York with dreams of becoming a poet. But like everyone coming to a big city, she is in want of a job that can pay her. Within days, she finds herself being interviewed in an anachronistic and dark office of Harold Ober Associates, which she refers to as “the Agency” in the book. She lands the job only when she assures her interviewer that she can type: on a typewriter.

It is only after she starts working at the Agency that she realizes the enormity of whom it represents. “Never, ever, ever are you to give out (Jerry’s) address or phone number,” her boss tells her on her first day at work. Among the first funny moments in the book is Rakoff’s confession that the only Jerry who comes to her mind then is Seinfeld.

Considering herself an earnest student of literature, Rakoff had never regarded Salinger as a serious story-teller. “I didn’t want to be entertained. I wanted to be provoked,” she says in her defense for having skipped the most influential American writer of the 20th Century.

One is often left feeling that Rakoff happened to be in the right place at the right time. But how many would have done justice to their Salinger year the way she does?

As a perceptive observer and gleaming story-teller, Rakoff’s narration brings to life the charming moments—charming, however, often exclusively to the reader and not to those living them—that take place in this Agency which clutches its old ways. Her recounting is laced not with contempt for the older generation which refuses to move forth with time, but with nonchalant amusement. My Salinger Year is as much a story about the literary and publishing world in Manhattan and the wave of transition that had hit it, forcing it to make the shift from Dictaphones and typewriters to computers in the dot com era, as it is a coming-of-age memoir where Rakoff is forced to gallop into adulthood.

The writer of her story reminds me of my favorite Salinger character, Franny Glass, who is trying to understand the ways of the world, slipping into depression every now and then.

Rakoff is at a crossroads that life brings one to when one is evolving and struggling to find one’s self. She learns that she has to repay a loan her father had taken for her education without her knowledge, ends up with a job she doesn’t necessarily like, gets her life entangled with a reckless boyfriend who is differently wired from her, and comes to terms with the changing arc of friendship with a woman she calls her best friend. Jenny, like Rakoff, had dreams of writing but gave them up for a suburban path which she deems easy. “‘I know,’ I said reflexively, but I didn’t. I didn’t want to be normal. I wanted to be extraordinary. I wanted to write novels and make films and speak ten languages and travel around the world. I wanted everything. So, I thought, had Jenny.”

The protagonist of the story, Salinger himself––for who else could be a protagonist in a book mentioning the man––is behind phone conversations with Rakoff, or hushed discussions surrounding him. His is a continual presence, of course, as his name lurks around in the cupboards of the Agency on hard paperback editions of his books.

What surprised me most pleasantly was the portrayal of the reclusive writer who had, in my imagination, metamorphosed into a grumpy old man begrudging his popularity; someone he barely resembles during his limited interactions with Rakoff over the phone. His tone is genial, almost affable when he refers to Joanna with names other than her own, thanks to his debilitating hearing.

Rakoff’s struggles as an aspiring writer in New York are as real as the struggles of Salinger’s characters, although bereft of the sense of unresolved grief that stings the latter. Salinger’s characters, be they the most popular adolescent hero Holden Caulfield or the war veteran Seymour Glass who commits suicide, are rife with melancholia and gloom. Rakoff meets them at a time when her own life is prickled with angst, much like the fraternity and sorority in Salinger’s work.

Rakoff’s Salinger moment was somehow waiting to happen until she entered her 20s. Perplexed by her own life and curious about the legend, she embarks on her Salinger journey on a weekend her boyfriend goes to a friend’s wedding alone. She pores over his work, reading one book after the other until she is done. That’s when she begins to relate to, even appreciate, the fan mail addressed to Salinger, that she painstakingly answers as part of her job.

courtesy of guzelonlu.com
courtesy of guzelonlu.com

Salinger’s work is timeless and age is only an unnecessary constraint. To bracket his work as being for children or teenagers is as good as depriving one’s life of the treasures required to enrich it. After all, what are love, loss, grief, nostalgia, despair, isolation, and desperation, if not lifelong companions? My Salinger Year celebrates these and pays homage to a man who deserves every bit of it.

***

Sukhada Tatke is a freelance writer and journalist based in Houston. She has previously worked in Mumbai at The Times of India and The Hindu. Her writings have appeared in Scroll.in, Texas Monthly, and The Houston Chronicle. Her pet topics include social inequality, cultural heritage, and everyday life. She tweets at @ASuitableGirl, and you can find more of her work on www.sukhadatatke@contently.com.

***

To see more kinds of reviews like the ones in this series, check out these blogs by Melanie Page and Lynn Kanter. And of course go to the Sappho’s Torque Books page here to see other reviews by me and by other contributors to the Women Writers Wednesday series.

The Women Writers Wednesday series seeks to highlight the contributions of women in literature by featuring excellent literature written by women authors via reviews/responses written by other women authors. If you’d like to be a contributor, wonderful! Leave a comment below or send me an email, tweet, or Facebook message with your idea.

The Pep Rally I Cannot Forget

“We’ve got spirit, yes we do! We’ve got spirit, how about you?” the cheerleaders yell at one-third of our student body at a time. The children repeat the chant back to them: lower school’s high-pitched squeal as they indulge for a moment in sanctioned hyperactivity; middle school’s thick tenor as they toe the line between wanting to please their beautiful, smiling cheerleaders and practicing disaffection; the seismic grunting of the upper school whose voice is filled up mainly with the dark yell of the football teams.

I grew up and still live here in Texas, where some boys learn to play football before they learn to write sentences with punctuation. And after twenty years in education, most of it in a high school, there are three things I’ve done more of than most people I know: listen to commencement speeches, recite the Pledge of Allegiance, and attend pep rallies.

This weekend is homecoming. Yesterday morning’s rally was typical fare: excellent gymnastics from our athletic cheerleaders to some of the most bastardized pop music I’ve ever heard; hilarious relay races performed by selected students; questionably funny/unintentionally offensive banter from the student emcees; cheering from the entire student body, the youngest kids always the loudest. There’s a certain persistent tension between wanting to support my student athletes, whom I genuinely like and appreciate for how hard they work in my challenging English class, and being a little put off by the showy displays of ego, the occasional misogyny, and the weird association some within football culture make between their sport and fighting a war. I find it difficult, sometimes, to reconcile that machismo with the thoughtful, earnest attempts to understand Shakespeare at their tender age, their noble, generous struggle to write the most engaging personal essays and the most thoughtful literary analysis they can. On Fridays, I want to ask them, Who are you, really? Which you is most you? How much of that stuff do you believe? How much of it do they, like Tim O’Brien says, feel in their guts? Which part of them is the most real?

 

football players drawing

 

But of all the debatably outrageous things I’ve seen at pep rallies over the course of my life­­––including, once, seeing a boy rip the water balloon-soaked t-shirt from his body in front of everyone––nothing compares to what we were subjected to when I was in second grade, and every time I attend a pep rally, I cannot help but think about it.

It was 1981 in Houston. That year, Reagan had entered the White House and survived an assassination attempt, Pope John Paul II had survived an assassination attempt, and we had launched the Space Shuttle program and with it, the collective aspirations of every Star Wars fan I knew, myself included, that one day we would personally explore the heavens. On a more intimate scale, Han Solo had taken the job of Badass Archaeology Professor in Raiders of the Lost Ark, Lady Diana had married Prince Charles in the most Cinderella dress I’d ever seen outside of a Disney movie, and I’d won my first spelling bee. Our teacher had shown us a picture in the newspaper of a unicorn born in California, cementing my passionate belief that these mythical creatures were real, and no amount of skeptics claiming it was just a one-horned goat could sway my fervor. The world lay at our feet, rich with possibility and promise. I planned to be an Egyptologist and had my father wake me up at 5:00 on a Saturday morning so I could watch the funeral of Anwar Sadat on television, because I wanted to see him entombed in a pyramid.

At my small, private elementary school, we gathered together in the gym on Fridays for prayer service in the morning and a pep rally in the afternoon, festooned in the blue-and-gold buttons and spirit ribbons we could buy for a quarter each week and pin to our clothes to show support for our team. Some of my cousins also attended this school, and one of them, Craig, was in the eighth grade. I loved Craig, who was kind and fun and always had a hug for me when I saw him around campus, even though I was a little kid. He also played football, a fact I hadn’t realized until one day, at a pep rally, he and a bunch of his classmates and teammates were brought up onstage, put onto metal folding chairs, and blindfolded. What was about to commence was a kissing contest.

Now, remember that this was the barely-post-1970s, pre-AIDS era of kissing booths. Every carnival and state fair, on television and in real life, had one. Even our little parish’s church bazaar did, replete with a Farrah Fawcett lookalike inside it.

 

Farrah Fawcett
Doesn’t she look excited to be here? Come on, Farrah, give us a kiss.

 

So the idea that the boys were all going to be kissed at the pep rally was entertaining. They were blindfolded because they were going to judge the kissing on a scale from one to ten, with ten being the highest. They were instructed to keep their hands on the sides of their chairs. As the principal explained the rules, the boys grinned, huge bracey smiles stretching to the edges of the folded bandanas over their eyes. In their uniform navy trousers and white Oxford shirts, their pimpled faces largely obscured, it was hard to tell them apart.

Then came the kicker. The girls who were going to be kissing the boys, whose smooches would be evaluated by them, were our junior high teachers. That’s right, the middle-aged women who taught these kids grammar, theology, social studies, algebra were now going to plant their puckers on them, too. The one man on the academic faculty, the junior high science teacher, was exempt from this game.

The student body roared with laughter and glee. The boys, now trapped on their folding chairs by blindfolds and the cheering crowd, grinned or snickered or squirmed, but not a single one stood up or yanked off his blindfold or even held up his hand to halt the proceedings or ask a question. A few of them rapidly fidgeted their sneakers back and forth. Their chairs were spaced a few feet apart, so if they were talking to each other, I’m not sure much of it got through between the bandanas around their heads and the noise of the younger students, the children whom they, as eighth grade boys, were routinely told to man up in front of, to set a good example for as the leaders of the school.

The kissing started. One at a time, a teacher would go to her boy and smooch him on the lips. The crowd whooped and hollered. Then the boy would grin again, still blindfolded, and give his rating. Craig got the most laughs when he pronounced his religion teacher––a tall, stocky grandmother with close-cropped salt-and-pepper hair––a fourteen. Soon the kissing was done. The teachers moved offstage, anonymous to the football players at least during the glistening moment of the pep rally. The boys were told they could remove their blindfolds, and their faces were red as they observed their fellow students cheering for them, laughter mingling with the yells. They were dismissed from the stage and left the daïs to be consumed by their classmates sitting criss-cross applesauce by grade level on the gym floor. It took a while for the noise to die down.

I don’t know who thought any of that was a good idea, but it never happened again, and frankly, by the time the next pep rally rolled around, no one was even talking about the kissing contest anymore. It joined the ranks of other inconvenient memories, pushed down out of the way like the fraying polyester ribbons we collected from one school year to the next, wore every Friday during football season. They were the things we believed we didn’t have to mention, the tattered flags we pinned to our sleeves next to the shiny new ones, entire outfits made of fluttering blue and gold strips to show that we, yes, we had the most spirit, we were the most dedicated fans, we would do whatever it took to support our team.

Women’s Writers Wednesday 9/16/15

This week’s installment comes to us from Mary Lynn Ritch, who has written a response to Gina Tron’s memoir You’re Fine. (You might remember Tron from, among other places, this blog last month, when she herself had a guest post about Amy Jo Burns’ Cinderland in our WWW series.)

***

I met Gina a few years ago when we both had essays published about having similar awful high school experiences. Since then, she has become one of my closest friends whom I talk to almost every day. She is also, honestly, one of my favorite writers.

 

When I found out she was writing a book, I knew that I had to buy it because I knew it would be all of three things—manic, crazy, and ultimately hilarious. Her memoir, You’re Fine. published by Papercut Press, is by far one of her most impressive pieces of work about getting lost in the mental health system.

YOU'RE FINE.

 

In all honesty, I’ve read many memoirs by people whom I’ve never met who have stories that I am amazed by because I’ve lived a sheltered life. I know my silver spoon upbringing is the reason why my go-to books are dark memoirs. I usually choose books about hard drug addiction, murder, cults, sexual abuse for the fact that they all spotlight something I’ve never known. The stories never affect me personally other than my being amazed that the writer made it through the other side to live to tell their tale. That was, until I read You’re Fine.

 

The memoir starts off with Tron’s being dropped off at a mental health facility. Her conversation with the cab driver is hilarious and sad at the same time.

 

Throughout the book we learn Gina’s downward spiral into the abyss was triggered by many things, but ultimately due to a rape and the loss of her mother. In the process, she got addicted to cocaine and did a stint at a mental health ward. Tron’s views of the people in her life during that difficult time are without much judgment even though it’s obvious to the reader she was sometimes taken advantage of. Those parts were a bit hard for me to read, and there were times when I had to put the book down because I was so upset people treated her the way that they did.

 

I can’t say that I didn’t enjoy the book. It was captivating from start to finish. My favorite parts included her hilarious interpretations of her crazy dreams as well as her always unfiltered and hysterical take on her surroundings. I absolutely loved this book while learning it’s hard to read a memoir written by someone you care about. This book is for anyone struggling with grief as much as it is for anyone who has survived rape and drug abuse. This book is for anyone needing to figure out what it means to be fine.

***

Mary Lynn Ritch

 

 

 

Mary Lynn Ritch is a writer based out of Atlanta, Georgia.  She has been published in VICE, Ladygunn, and various other publications.

 

 

 

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To see more kinds of reviews like the ones in this series, check out these blogs by Melanie Page and Lynn Kanter. And of course go to the Sappho’s Torque Books page here to see other reviews by me and by other contributors to the Women Writers Wednesday series.

The Women Writers Wednesday series seeks to highlight the contributions of women in literature by featuring excellent literature written by women authors via reviews/responses written by other women authors. If you’d like to be a contributor, wonderful! Leave a comment below or send me an email, tweet, or Facebook message with your idea.

Women Writers Wednesday 9/9/15

First, I must apologize for the hiatus. School started, I got a novel out the door, we’re still settling into the new house, and there’s been some travel. The hiatus ended up being rather longer than I anticipated. Hopefully we’re back on track now, and even more hopefully I’ll be producing more original content on the blog again this fall.

This week’s installment of Women Writers Wednesday comes to us from Jackie Parker, who has written a response to Elizabeth Alexander’s memoir The Light of the World.

***

How does a woman survive when the light of her world suddenly is blotted out? Her husband, soul-mate, beloved father of her two boys, painter, chef extraordinare, her best friend, lover, and the carrier of her African DNA, dead, right before dinner, having bought the salmon, opened the frosty white wine.

Even though this is a memoir of loss and survival, it is a celebration of life. It tells the story of a marriage of depth and passion, friendship, and joy, a marriage of art, one that lasted fifteen years but felt to them like twenty-five. “So much struggle and joy.”

THE LIGHT OF THE WORLD cover

The author is the celebrated poet, one of our finest, Elizabeth Alexander, a finalist for the Pulitzer Prize, the author of the beautiful “Praise Song for the Day,” delivered at the 2009 inauguration of President Barak Obama.

How can she bear to write this, I kept wondering, as I read, breathless, the beauty and loss unfolding on the very first pages. What gave her the courage to begin? It is so intimate. So present.

The answer is buried in the acknowledgement section at the end of the book, where the author thanks her publishers and editor at Grand Central: Gretchen Young, Jamie Raab, and Deb Futter, who “envisioned this book before I did, dared to ask for it…”

Ah, so it was their idea, I thought. That’s why she wrote it. And what a good thing for us to know, as women, as writers. We hear so much about the terrible aspects of the publishing business, but there are wonderful aspects as well, the women who encouraged Elizabeth Alexander to do this, write this, the support she was given in order to bring forth this brave book.

And, such a beautiful book. Written in sections, it has amazing recipes — for Ficre’s food was legendary — it describes meals, gives us the names of their many friends, as well as imaginary conversations, dreams, takes us to farflung parts of the world Eritrea where Ficre was born and his family still live, to France, Italy. Teaches us history, for the author is also a professor of African American Studies at Yale.

There are titles of loved books, artists. Favorite music. The description of the paintings Ficre did, the one he made to commemorate their first meeting containing an eye on a plate! And images of their children to be, spirits.

And there is the story of their meeting, their powerful love. Their family story, all of it an extended love story. Friends and family always present, gatherings around their large tables. The garden that Ficre loved. And flowers, always flowers. Wait till you read about The Plum Blossom!

The lines bite like poetry. No ideas but in things. To tell you the way the book begins is to spoil its impact. But we must know the end first, I think, because everything that comes after it is even richer. No matter how much beauty a life holds, it will end. If there is love, the end is tragic, Elizabeth Alexander teaches us, right from the start. Only beauty can redeem loss.

At the center of the book is Ficre, from Eritrea. Have you ever heard such words? Eritrea the tiny country in Africa. Ficre walked through its killing fields at sixteen, to escape, to live. How he made his way to the United States is a book in itself.

Ficre is a man who lights every corner of the world he inhabits with his beautiful being. The phrases he speaks, the food he makes, his gentleness and patience. His fathering. His husbanding! His clothing — the bright pink shirt. His painting studio.

The language of Elizabeth Alexander is precise and gorgeous. The meticulous attention to things, the things of this world, that is at the heart of poem-making animates every sentence.

To read The Light of the World is to be invited into lives that make you want to stand up and dance for joy, and weep for the journey that we humans must take.

One week after her husband’s death Elizabeth Alexander returned to teach her final class of the semester. She gives us the words with which she ended her lecture. They include this: “Art tries to capture that which we know leaves us, as we move in and out of each other’s lives…”

By the end of this book we know what is left. The sons, taller than their father had been. The wife, alive and able to feel, once again, the beauty of the world. The move to a new city.

And yet, days, weeks, months after finishing The Light of the World I felt Ficre, his living essence, as if I had known him in life. I mourned that he was no longer on the earth. What a gift Elizabeth Alexander has made for us. What a book!

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Jackie Parker
Jackie Parker

Jackie Parker is the author of the recently published Our Lady of Infidelity: A Novel of Miracles (Arcade Publishing), available on Amazon, OUR LADY OF INFIDELITY coverthrough Booksamillion, and in bookstores throughout the US. She is an award-winning poet who leads workshops for writers and for people of all ages, backgrounds, and abilities in community and health care settings in Los Angeles and throughout the country. She is also a teacher of meditation and occasional blogger for the Huff Post. Connect with her on Jackieparker.co.

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To see more kinds of reviews like the ones in this series, check out these blogs by Melanie Page and Lynn Kanter. And of course go to the Sappho’s Torque Books page here to see other reviews by me and by other contributors to the Women Writers Wednesday series.

The Women Writers Wednesday series seeks to highlight the contributions of women in literature by featuring excellent literature written by women authors via reviews/responses written by other women authors. If you’d like to be a contributor, wonderful! Leave a comment below or send me an email, tweet, or Facebook message with your idea.

Women Writers Wednesday 8/19/15

Sorry for the silence lately. School has resumed, and the last couple of weeks have been extremely busy because of it, in addition to some other pressing writing deadlines I’ve been trying to meet. But today the Women Writers Wednesday series resumes!

In this week’s post, Gina Tron takes a critical look at a memoir about a timely subject, sexual assault, in her guest post about Amy Jo Burns’ CinderlandContinue reading “Women Writers Wednesday 8/19/15”