Summer Reading
I haven't had as much time for reading this summer as I had hoped I might. Most of what I've picked up has been the stories I read to Tucker for his bedtimes. But I am working in a bookstore. I am allowed (encouraged) to borrow books. They want us to read because when people come into the store, they want us to be able to talk knowledgeably about the books.
I hadn't realized it until I picked up the three books I've brought home to tell you about my reading, but I've chosen books with a theme of women's culture. There are secrets kept and revealed, hidden and passed down from one generation of women to the next. Maybe it's because I'm spending these weeks in my mother's house, and going from here to the house of my cousin and peripherally to the house of my aunt. I've been thinking a lot about the particular bonds and jealousies of the women in my family. I won't describe those in this blog, maybe later.
The first book that I checked out is one that I've had on my must read list for about a year. Azar Nafisi's Reading Lolita in Tehran. I began reading it, and I was making notes, writing down quotes in my little notebook. Halfway through the book, I had half a notebook filled. So my brother, being an incredible human being that I don't spend nearly enough time telling how much I love him, dropped by the store and told my manager to please ring up that book I had checked out because any book that inspired so many notes, I needed to be able to keep it.
Since I didn't have to return that first one, I checked out two more. 
I have also wanted to read Anita Diamant's novelization of the story of the women from the Genesis account of Jacob, The Red Tent. The back cover says that book is a valuable achievement in modern fiction, combining rich storytelling with a new view of biblical women's society. Narrated by Dinah (dee-nah) the only daughter in a house of twelve sons who spawned the twelve tribes of Israel, the book gives a voice to the voiceless woman who has never appeared as much more than a footnote to the masculine narrative.
"...Had I been asked to speak of it, I would have begun with the story of the generation that raised me, which is the only place to begin. If you want to understand any woman, you must ask about her mother and then listen carefully. Stories about food show a strong connection. Wistful silences demonstrate unfinished business. The more a daughter knows the details of her mother's life - the stronger the daughter."
This passage from the prologue says why such a story is important to tell. In a world of history written by, for and about men, the story of women is often one that fades with time leaving daughters unconnected from their mothers. The narrator addresses this theme directly, "... you come to me, women with hands and feet as soft as a queen's, with more cooking pots than you need, so safe in childbed and so free with your tongues." From the beginning this work is more than a story, it is a bridge reconnecting the daughters of today with the mothers of history.
The third story I have on my table is one in a series of novels by Jennifer Chiaverini which have a quilting motif. In The Runaway Quilt the protagonist of the series, Sylvia, is confronted on the first page with a story told by a quilt. One of the interesting footnotes to the history of quilting, is that the ubiquitous quilt told a secret story of freedom and escape to the slaves of the ante-bellum South. The stitching patterns of the quilt formed a detailed map of escape routes and sanctuary. Sylvia is shocked and dismayed when the woman who shows her a quilt with details unmistakably pointing to Sylvia's own ancestral home. What connection could her family have had with the slaveholding past? What history may have been lost, and can it be recovered with the help of a few antique quilts?
I grew up in Southern Arkansas. My genealogical roots here go deep on both sides of my family. In the research my dad and I have pursued over the past 5 years, we have uncovered more than one story of my ancestors' connections to and repudiation of slavery. I don't know the story that Sylvia may uncover, but I know that part of my own family history includes this painful chapter and I know that it's a deceitful delusion to ignore the threads of reaction running through the lives of the descendants of those who lived it.
Women here and now, then and there, far and near. My connection to the women in these stories in both strong and tenuous in it's different aspects. But looking into their faces I see something mirrored that I want to know better in myself.
Thank you for all your kind birthday wishes. I'm still resting up and recovering from the celebration. And I'm deeply touched by the outpouring of comments and hugs and ecards and ... thank you.
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