Book Review: Marshfield Dreams by Ralph Fletcher

Marshfield Dreams imageChildren’s author Ralph Fletcher seemed to live an ideal life for a child. The oldest of a large clan in the small town of Marshfield, Massachusetts, Fletcher had nearby woods to roam in, numerous bothers and neighbors to recruit for games, and parents who loved him. Fletcher recounts stories from his young days in Marshfield Dreams: When I Was a Kid.

Like Fletcher’s other books, this memoir is written for young readers aged 9 to 12. But moms and dads (and younger kids too) will be equally charmed and drawn in by accounts of mud puppies, raising chickens, new babies arriving almost every year, and bouts of chicken pox and mumps. As I read I found myself wanting to visit Fletcher’s home on Acorn St. myself and explore all the areas he talked about. Reading Marshfield Dreams with your child could bring up stories to share from your own childhood. Kids of today are likely to marvel at the relative freedom children had growing up in the ‘60s and the amount of time many of them spent outdoors.

The chapters are short and accessible. It’s also fun to look at the family photos that appear at the start of each chapter. Fletcher’s family moved away from Marshfield to Chicago when he was 13. This tribute to his boyhood home shows how much his life on Acorn St. continues to live on in his memory.

Interview with Rae Meadows, Author of Mothers and Daughters

A couple of weeks ago I reviewed Mothers and Daughters by Rae Meadows, a book about the complex relationship between three generations of women and their daughters. Today, I’m excited to feature a Q and A with Meadows and her mother, who talk about the mother-daughter relationship as well as the book.

Rae Meadows photo Jane Meadows photo

Rae Meadows and her mom, Jane.

Jane, after reading Rae’s novel, do you feel like you have a different sense of the complexity of the relationship between the two of you? Rae, did you think differently of your relationship with your mother after you had spent so much time with Iris, Sam, and Violet?

Jane: I have always thought my relationship with Rae was pretty straightforward. However, it occurred to me at one point while reading Mothers and Daughters that since Rae’s characters had complicated relationships with their mothers, that perhaps complexity had been part of our relationship, at least for her, and that I had been unaware of its presence. The self-reprimand soon followed that if indeed this was a factor, then I should have caught it and tapped into it.

Rae: My mom and I have had a remarkably un-fraught relationship, but I did think about her often while I was writing this book. She has lived so much life—she’s a beautiful and amazing eighty-one—and I think in pondering questions for the characters, it made me wonder what it would be like to see my mom as a young single woman or newly married or a first-time mother. This past Christmas she mentioned that she once had dated a professional hockey player named Moose, and I was reminded of how even though I have heard a lot of stories about her life, there is an endless supply of things I don’t know.

Do you think (as Iris mentions) that having children is a way to try and understand one’s own mother? Jane, did you learn a lot about your mother when you had children? Rae, did you?

Jane: Perhaps many might find this to be helpful, but personally I never sought to better understand my mother. I didn’t need to. She was an honest, loving, demonstrative being whom I loved and trusted.

Rae: Although for me it wasn’t a conscious thing, I feel like I have learned so much about my mom since becoming a mother. That intense, unfailing love mixed with worry that she exuded is something I know now on a gut level. My mom had breast cancer when her daughters were eight, five, and three, and I don’t think I fully understood what strength and courage this required until I became a mother and tried to imagine myself in the same position.

The existence of the orphan trains is such a fascinating, yet seemingly forgotten part of American history. Rae has said that you introduced her to the subject, Jane, which sparked her to write Mothers and Daughters. How did you hear about the orphan trains? What was your initial reaction to this piece of history?

Jane: I was waiting for Rae to arrive at the airport in Cleveland, and I struck up a conversation with the woman sitting next to me who was also waiting for her daughter. She mentioned that her daughter had done some research on the Orphan Train Movement of the early part of the twentieth century. I had never heard of the orphan trains and was fascinated and full of questions. I, of course, relayed all this to Rae in baggage claim.

Rae: And good thing she did! I didn’t know at the time that the orphan trains would be the basis for my next novel, but I knew instantly they had rich narrative possibilities and I needed to find out more.

As Rae was writing Mothers and Daughters, did she come to you for advice? If not, what kind of advice would you have given her in writing about a mother-daughter relationship? Rae, what advice was the most helpful to you in developing these complex characters?

Jane: Rae is an inspired, gifted writer who needed no advice about writing Mothers and Daughters. The only advice I’d have given her, had she asked, is the same advice I would have given her had she been writing about balloons: make the characters interesting and make it a good story. She seems to have done exactly this without anyone’s help.

Rae: Although I didn’t seek advice exactly, I did use details from my mom’s life in developing these characters. For instance, I remember my mom telling me how when she first got married, she would get all done up and have a cocktail ready for my dad when he came home from work. Iris is from the same generation as my mom, and she enacts a similar scene. And then in a larger sense, my mom has told me about the great agony she felt when her mother was dying in regards to intervention and resuscitation, and this was on my mind in the flashbacks of Iris and Sam.

Which character—Sam, Violet, or Iris—did each of you connect with the most? Why?

Jane: My younger self of fifty years ago strongly identifies with Sam in her relationship to her baby, in her procrastination and lack of focus in returning to her creative work, and in her guilt and subsequent self-chastisement over the aborted Down syndrome fetus. But it’s Iris who is closest to my own age and who has faced some of life’s tougher moments. She’s accepting and talks to herself in a down-to-earth way, without self-pity. Her self-admonishment to “buck up” is one I plan to adopt. It very much suits those of us who are facing our eighties.

Rae: Violet is very unlike I was as a child and, in that sense, she is the most fictional of the three characters. Iris definitely has some of me in her, though she is in such a different stage of life. So I have to say I connected most with Sam, since her character sprang from some of my experiences as a new mother, particularly the anxiety about where creative pursuits fit in after motherhood. From the outside, her life is similar to mine.

Iris mentions that the relationship between her and her daughter has grown closer now that Sam is an adult. Jane and Rae, how has your relationship changed from when Rae was younger versus now?

 

Jane: When a child has become a responsible adult, there is little responsibility for the mother to guide or instruct. Rae and I are friends and, as such, tolerant of each other’s differences and all the best that friendship infers. We are each committed to a helpful, thoughtful, appreciative, and always loving relationship toward each other. Rae was an appealing, charming, loving child. She remains so to this day, only the package is taller.

Rae: Thanks, Mom. I think our relationship has grown into an adult friendship, which I have come to cherish and depend on. My mom is such a neat woman: an accomplished painter, a writer of lovely old-fashioned letters, a believer in alternative medicine and health long before it was fashionable, a person of great faith, a true original.

As I get older, I have really come to appreciate that she finds joy in the everyday—she’s happy puttering around her house and garden. I also love that my mom had a renaissance later in life when she came into her voice, and she is unapologetic about speaking what she believes in, which makes her a great person to talk to.

Rae, how difficult was it to write about the struggles of being a daughter—and a mother—knowing that your mom would eventually read it? Did you find that the writing process became harder with this in mind?

Rae: My mom has always been my most ardent supporter, so I didn’t hesitate in exploring the mother-daughter dynamic between these characters. Luckily my mom is not like Iris or Violet as a mother, so I wasn’t too worried that she would see herself and possibly be hurt by the book. Besides, she survived me writing about an escort service in my first novel, so I figured she would be okay with this one!

Rae has mentioned in interviews that she tested the incredible pound cake recipe that Sam discovers in her mother’s things. Would you each mind sharing some of the traditions or secrets that have been passed down in your family?

Jane: We celebrate Christmas, Thanksgiving, and the Fourth of July with family (grandchildren, parents, grandparents) accompanied by the usual homemade, open-faced apple pie. We also make caramel apples in the fall using twigs from the garden for sticks.

Rae: Food traditions come to mind for me, too. One of my favorites is eating pie for breakfast. My mom makes incredible pies—apple and cherry are my two favorites—and there is nothing better than coming into the kitchen the next morning and seeing leftover pie (and beating my sisters to it). And my mom used to make rice pudding, the same that her mother made. Unfortunately my daughter is allergic to dairy and eggs so I’ll have to work on a revised recipe.

Each generation of women in Mothers and Daughters struggles with the burdens and joys of being both a mother and a daughter. What do each of you think is the most rewarding part of being a mother? A daughter? The most difficult?

Jane: The most rewarding part of being a mother for me is the unending joy of loving unconditionally and nurturing an offspring, and the most rewarding part of being a daughter is to be the recipient of unending unconditional love and nurturing. I suppose I’d have to say the most difficult part is when complete independence arrives and children leave home. It’s gratifying to watch children grow into healthy, productive adults, but at the same time, acceptance of their independence, along with the realization that you are no longer the center of their world, carries with it a wistful sadness for what used to be and will never quite be again.

Rae: I would agree with my mom about the rewards of being a mother and a daughter. The most difficult thing for me, because of the depth of love I feel for my mom and my daughters, is the fear of possible loss. Also to see struggle in your mother or your daughter is very hard when you are powerless to do anything about it. I explored this some in the relationship between Sam and Iris.

As a mother, there is always that fear of having your children repeat your mistakes. What things did you try to avoid passing on to your children? What advice or wisdom have you tried to instill? ?

Jane: I don’t remember imparting any earthshaking advice. I suppose I thought to teach by example, as my own mother had. It was, of course, a given that there would be no drinking, smoking, or drugs.

Rae: Can I just say when my mom first read this question she said, “But I didn’t make any mistakes.” She was joking of course, but in a way, she’s right. I had the luxury of having a stay-at-home mom who loved being a mom and exuded contentment, and was unendingly supportive. My sisters and I were incredibly lucky. Though her advice on clean living I’m afraid I didn’t quite follow in my younger years. (Sorry, Mom!)

Author Carole Estby Dagg Talks About Writing The Year We Were Famous

Carole Estyby Dagg photo

Carole Estby Dagg

What attracted me first to the story of Great-aunt Clara and Great-grandmother Helga was the astonishing bravado of it: A mother and daughter dared to walk by themselves nearly coast to coast in 1896, meeting the whole range of late-Victorian society from hobos to the next president of the United States, and relying only on each other and the kindness of strangers to survive from day to day.  They carried only what would fit in small satchels, not even a change of clothes, but of course finding room for a stove-heated curling iron.

Seventeen years ago, I started to write, but received rejection after rejection over the next thirteen years.  Finally, Jennifer Wingertzahn, an editor at Clarion who had rejected me a few years before identified my problem and jump-started my imagination on a solution.  I had written an episodic adventure story, with narrow escapes from flash flood, blizzard, outlaw attack, days of being lost without food or water in the Snake River Lava Fields—all based on brief newspaper accounts.

She suggested that Clara and Helga’s story was not just an adventure story, however.  At its heart, it was a mother-daughter story, and each adventure should not only entertain, but highlight the differences in personality between shy and  steady Clara and her more outgoing, suffragist  mother.

At first, I groaned.  Jennifer was asking me to get into the minds and hearts of real people who were no longer alive to be interviewed.  I’d have to make stuff up, and for a librarian who had spent a career in search of facts, that would be hard.  What’s more, wasn’t it arrogant of me to ascribe thoughts and feelings to real people who weren’t here to defend themselves against misrepresentations I might make?

I finally thought of a way to tackle my editor’s request.  For a whole year I gave up reading all contemporary novels and read only books Clara would have read—from classics for school to dime-novels that might have passed from hand to hand among young people.  I put on white gloves at the University of Washington Library to turn the brittle pages of magazines from the 1890’s to get a sense of what issues were on women’s minds.  I read biographies and diaries of women of the time and histories of the suffrage movement.

After that year of immersion in the 1890’s, I was ready to revise yet again.  By then I had decided that Clara and Helga were more than Clara and Helga Estby.  They were prototypes of the emerging New Woman, on the leading edge of social change, daring to do what men—and most women—thought was impossible.  By being so heroic, they surrendered themselves to the mythmakers and I became one of them in The Year We Were Famous.

My editor had sent me back to the revision cave to find the heart of the story.  According to the starred review in Publishers Weekly, after seventeen years and twenty-nine rejections, I had found it at last.  The review read: “The journey in itself is amazing, but Dagg’s tender portrayal of a mother and daughter who learn to appreciate and forgive each other makes it unforgettable.”

Because of the way their trip ended, their own records were destroyed and they never wrote the book they had intended to publish.  One hundred and fifteen years later, I took up the challenge to tell their story for them.  I hope Great-aunt Clara and Great-grandmother Helga approve.

All best,

Carole

Carole Estby Dagg

www.CaroleEstbyDagg.com

trailer: http://www.youtube.com/watch?v=32EWPJt8i_A

 

Book Review: The Year We Were Famous by Carole Estby Dagg

The Year We Were Famous cover image

Seventeen-year-old Clara longs to escape the confines of her family homestead in small Mica Creek, near Spokane, Washington. But finances are tight, and the family is in danger of losing their home and land if they don’t raise the money needed. When Helga, Clara’s mother, comes up with a plan to walk from their home to New York City as a way to earn money, Clara goes with her. The question is, will her trip show a way for her to leave home forever, or will it bind Clara more tightly to the family and neighbors she leaves behind?

The Year We Were Famous by Carole Estby Dagg is a fictionalized story based on real events from the late 1800s. Helga and Clara are the author’s great grandmother and great aunt, and Dagg breathes life into their saga through Clara’s eyes.

At eighteen, Clara chafes at the life of drudgery that comes from living on a farm and the prospect of marrying someone not for love, but for reliability and proximity. Restrictions on women in particular were strict in those times, and they were limited in the ways they could earn money. Helga is active in the suffragette movement and takes the opportunity to promote the vote for women on their trip.

Through Clara’s eyes, the country the two women pass through and the challenges they face come alive. Railroads were crucial for life in those times, and travelers often depended on the kindness of strangers they would never see again

While the real Clara did keep a journal of her trip and the two hoped to write a book about their experience, their adventure was never captured in publication and Clara’s journal was destroyed. In a note at the end, Dagg says she hopes “Helga and Clara would not wince at the words I have put in their mouths or the thoughts I have put in their heads.” To readers, the important thing is that the story is well told and brings this time in history to life.

I highly recommend The Year We Were Famous for mother-daughter book clubs with girls aged 12 and up. Issues to discuss include women getting the right to vote, differing views of women and their abilities between then and now, young people making decisions about their future, and what we can learn when we travel far away from home.

I received a copy of this book from the author for review.

Book Review: Second Fiddle by Rosanne Parry

Second Fiddle imageJody and her friends, Giselle and Vivian, can’t believe their music teacher has to cancel their trip to Paris for a musical competition. It was supposed to be the last chance they would have to play together before Jody and Giselle leave the U.S. Army base in Berlin and return to the U.S.

Then they witness the attempted murder of a Soviet soldier by his own officers. The girls realize the only way they can truly save his life is to smuggle him out of Berlin. And that trip to Paris may be just the way to do it—if they can figure out how to pull it off.

Second Fiddle by Rosanne Parry is set just after the fall of the Berlin Wall. As children of military or diplomatic parents, the girls in the story all live in homes that are highly disciplined. They’re good kids, and because they’ve moved often they know how to adapt to different environments. But Giselle and Jody are nervous about their impending move. They’re not sure they will fit in with the kids at school in the states, and they don’t want to lose their friendship in the process.

Their decision to take the soldier to Paris, and the events that follow, can provide great things to discuss in a mother-daughter book club with girls aged 9 to 13. Issues to talk about include kids taking on responsibility, asserting their independence, contributing to important family decisions, and deciding whom they can trust. There’s also plenty to talk about in regards to the Soviet Union, the Berlin Wall, military family life, and visiting Paris. I highly recommend it.

The author sent me a copy of this book to review.

Interview with Barbara Dee, Author of Trauma Queen

Barbara Dee photo

Barbara Dee

Yesterday, I posted a book review with giveaway information about Trauma Queen, author Barbara Dee’s latest book. Today, I’m featuring an interview with Barbara. who has also written This Is Me From Now On, Solving Zoe, and Just Another Day in My Insanely Real Life. As I mentioned in my review, I believe Trauma Queen is a great book for mother-daughter book clubs to read and discuss. It’s funny, and it brings up serious issues about the mother-daughter relationship that should provoke good discussions.

How did you decide you wanted to be a writer?

BD: Actually, I’ve always wanted to be a writer! In fact, I wrote my first book when I was five years old. It was called “Mitchell Colleps,” and it was about a naughty boy who had a robot who ate Spanish rice. What strikes me now (other than the Spanish rice-eating-robot!) is how much dialogue I wrote. It’s still my favorite thing to write!

If you’re curious, you can see a photo of “Mitchell Colleps” on my website,  http://www.barbaradeebooks.com/about.html. I’ve also shared it on http://www.VYou.com/barbaradee.

Your books are often humorous. Do you think you have a sense of humor all the time or mostly when you are writing?

BD: Humor is very important to me, so I try not to save it all for my writing! Actually, my whole family is really funny. The point of dinner conversation at our house is to crack each other up. In fact, the “Funny Word List” in Just Another Day in My Insanely Real Life started out as something we came up with one evening over hamburgers!  We’re also all obsessed with Monty Python, which we quote all the time.

Trauma Queen is a fun play on words for drama queen, which is a term often associated with teenage girls. Why did you decide to turn the tables in this book and have the mom be flamboyant and the daughter be responsible?

 

BD: As a mom myself, I hate to admit this, but I know that many girls, when they turn twelve or thirteen, start to look at their moms a bit critically. Even when they love their moms deeply, they’ll cringe at things their moms do or say. This sort of embarrassment is such a common tween emotion that I thought it would be fun to write about a truly off-the-charts embarrassing mom—a performance artist who has very few inhibitions, and who actually believes that “there is no such thing as negative publicity.” I wanted to show how brave and creative this mom is, as she tries to balance her work with her family obligations—but also how challenging from the daughter’s point of view.

One of the things Trauma Queen is about is how these two—the flamboyant, artistic mom and the responsible, sensitive daughter—figure out how to communicate with each other. I think they do it in a unique way that works for both of them, and in the end, I have high hopes for their relationship.

When you were a teen did you tend to be more like Marigold or her mom?

 

BD: Oh, I was definitely more like Marigold (but my own mom was nothing like Becca)! I was also very much like Evie in This Is Me From Now On—a good girl who is both fascinated and horrified by someone with a freer spirit.

Random acts of culture and organized performance events for flash mobs have been getting more popular lately. Do you see this as different than the performance art that Marigold’s mom creates, and if so how?

BD: Well, I’m not an expert on flash mobs, but from what I understand about them, they’re often pretty abstract. Becca’s performances usually make some sort of point (for example, she once wrapped herself in Saran Wrap to make fun of plastic surgery). She’s also such an individual that I can’t imagine her organizing 5000 people by Twitter for a pillow fight, or being part of a crowd that suddenly freezes in Grand Central Station.

Are you or have you been active in theater?

BD: When I was a kid, I was often cast as The Narrator in school plays. (Who knows why—maybe because I loved to read?)  With such a dull role to play, being onstage wasn’t much fun for me. In college I reviewed plays for my school newspaper, which I really enjoyed. But that’s basically the sum total of my theatrical experience. I do love going to the theater, though, and I’m so happy that my three kids do, too.

Do you have a good theater warm-up exercise to recommend for mother-daughter book club members?

BD: Here’s one. Pair each mom with a daughter (not her own). Tell them to have a 30-second conversation consisting of YES and NO. (Assign YES to one, NO to the other. You might want to have them switch words at the 15-second mark.) The pair can use only these two words during the conversation, and they must maintain eye contact for the entire 30 seconds. It’s amazing how much you can say with these two words—if you don’t start laughing!

To see a video interview with Barbara Dee, see the Simon and Schuster website: http://books.simonandschuster.com/Trauma-Queen/Barbara-Dee/9781442409231

Book Review: Trauma Queen by Barbara Dee

Trauma Queen imageBarbara Dee’s last book, This Is Me From Now On, was one of my favorites from last year. So I was looking forward to reading her latest, Trauma Queen, about a girl and her mother and how they learn to understand important things about each other. Just as I had hoped, the book was a delight to read. Here’s my review:

Marigold feels she has more reason to be embarrassed of her mother than most teenaged girls. Her mom, Becca, is a performance artist who gets attention for doing what a lot of people consider weird. She’s also not shy about saying what she thinks about someone—and when she uses her performance art to parody Marigold’s best friend’s mom…well things don’t work out so well for Mari.

Now that the Baileys have moved to a new town, Mari hopes she can keep her mom out of the limelight and start living a normal life. Then Becca offers to teach an after-school improv group of Mari’s classmates, and she’s back to worrying about losing everything she’s built up again.

Trauma Queen by Barbara Dee is a funny and thoughtful look at what happens when the daughter is the responsible one in her family and she feels the need to mother her own mother. Becca is a free spirit, who doesn’t consider consequences before she acts. In response, Mari is super-organized and personally conservative. They each need to find a way to acknowledge and respect each other’s strengths without dismissing the things they don’t particularly like about each other.

There are so many issues for mother-daughter book clubs to explore when they read Trauma Queen, including getting along with family members even when your personalities are very different, respecting someone else’s choices although you disagree with them, ways moms embarrass their daughters, and more. I highly recommend it for groups with girls aged 9 to 12.

Publisher Simon and Schuster provided me with a copy of this book to review.

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Book Review: Mothers and Daughters by Rae Meadows

Mothers and Daghters imageMothers and Daughters by Rae Meadows is about three generations of women all trying to do the best they can as they raise their daughters. Each has a tale to tell of their relationships to their mothers, as well as how they relate to their own children.

Sam is the modern mother of an infant. She can’t bear to be separated from her daughter for even short times. She knows she can’t go back to the woman she was before her baby was born, even though there’s a part of her that longs to create art with her pottery wheel.

Sam’s mother is Iris, who tells her story from her retirement home in Florida, where she is spending her final days in a struggle with cancer. Iris remembers the hard life she spent growing up on a farm in Minnesota, and her mother, Violet, who never showed much affection.

Violet loved her daughter, but she harbored a secret about her past and the true place she was born and grew up. It’s left to Sam to puzzle out the story her grandmother never talked about, the details of which only the reader of the novel knows.

Mothers and Daughters examines so many emotions a woman can feel in relation to her children: protective, loving, helpless, powerless, inadequate, fierce and invincible. Each of the women profiled has to break away from their mothers and become independent. They each do it in their own way, influenced heavily by the times they live in. It touches on the story of the Orphan Trains that took children away from their lives in New York City to farms in the heartland, and the shame these children often took with them as they went. It’s a powerful book that captures the joys as well as the heartaches of being either a mother or a daughter.



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