FOR A WHILE THERE, I enjoyed a correspondence with a woman who happened to also be a writer. She was 10 years older than me, but claimed to be a hundred years ahead of me. She had been born in 1969. Me in 1979. She claimed that I was stuck in the 1920s. She claimed to be a woman of the 2020s. We barely got along but it was, but her own admission, quite vivid even though she was an ardent feminist and argued that I would never be able to understand her brilliance on account of my “feeble male brain.” I found her view of men startlingly grotesque.
One of her core critiques of me was that my favorite writers were only “dead white men.” This was not true, though certainly Scott Fitzgerald, Ernest Hemingway, and Jack Kerouac were all dead and of Northwest European provenance. Yet Haruki Murakami was still living and was not white by any metric. He was Japanese. This was swept under the carpet. He may not have been white, but he was male, which still made him suspect and lacking in feminine virtue.
The sad thing is that I thought she was right. It wasn’t that I hadn’t read Margaret Atwood or Annie Proulx, it was that they hadn’t left much of a trace on my own writing. I recalled the brouhaha in ’16 over Gay Talese’s admission that he had no female writers that inspired his own career. However, the more I thought about it, I realized that this was not correct. I had been inspired by a lot of women writers. They just aren’t the ones you would think about in the pantheon of women writers. No Zadie Smiths, no Virginia Woolfs, no Toni Morrisons, no Sylvia Plaths, no Joan Didions. Not even JK Rowling was on my list. There are some familiar names.
- Esther Forbes (1891-1967). It’s kind of interesting how little we know about and have heard about the author of Johnny Tremain. Even after looking for information on her, I can’t say I discovered anything particularly stirring. It seems she was a Yankee lady who had a career in publishing and in the writing of historical novels. I read this book many times when I was about 10 years old. It certainly left an impression, or at least inspired the idea that it was possible to write fiction at all.
- Lynn Reid Banks (1929-2024). Also when I was a kid, my friend’s mom brought me autographed copies of The Indian in the Cupboard and The Return of the Indian. I still have these on my shelf. Again, I think the idea that it was possible to write stories originated with multiple readings of these books.
- Blue Balliett (born 1955). I read her 1984 book The Ghosts of Nantucket: 23 True Accounts about a million times when I was an adolescent. I can still see traces of her style, her descriptive writing, and different themes in my own stories, articles, and books. I know I have lifted phrases from her books too, but for me it’s the same kind of borrowing that goes on in blues music, for example. It’s unintentional, but even my “dream stories” follow some of the layout that her ghost stories had.
- Anaïs Nin (1903-1977). Well, here is someone who might past muster among the feminine literati. I haven’t read of all of her books, but I do own Little Birds and Delta of Venus. I think women writers are more capable of what I call “layer cake writing,” which is that they are able to move between different levels of perception or experience, so that something that might seem trivial, a slight detail, speaks volumes about a person’s inner world. Nin taught me to pay more attention to those small details and how they can be so evocative.
- Leonora Carrington (1917-2011). A British-born Mexican surrealist. This is a writer I also know little about, even though it seems she produced quite a body of work. I came to possess a collection of her short stories some years ago called The Skeleton’s Holiday and I have never been the same since. This completely changed my approach to writing, even my approach to writing straightforward nonfiction work. I began to tap more into my subconscious and to produce automatic writing thanks to that book.
I don’t know what happened to my feminist writer friend. She disappeared one day during the pandemic and I never heard from her again after that. None of my letters were returned and that, as they say, was that. I did come across her once more. It was unexpected. I was dreaming and found myself on the north coast of Australia, of all places. It was near one of those coves that are known to be full of hungry sharks. There were a series of canvas tents pitched in the hills around the cove and, while walking by one, who should step out but Madame Ardent Feminist herself. She was dressed in her finest khaki explorer attire. She seemed to be happy there, wherever it was she had gone to. At least that’s what she told me.