Laughter in the End Times

Welcome to my lake-side reading spot.

OK, sorry for the click bait-y title. The gallows humor. I neither take lightly “these uncertain times” we’re enduring, nor do I think we’re in for a siege of locusts next. But then there were murder hornets, so who knows? Those who’ve been around here a while know I’m a worrier. Uncertain times always feel dire until the next round of uncertain times comes along to take their place.

I mean, who here remembers the joys of labor, delivery, and early motherhood?

*raises both hands at once*

End Times at every turn, right? Maybe that’s a bridge too far, but hear me out…when I say that my children’s birth–my guys I love like mad now–felt like the End Times. It was the end of my childlessness, of course, the end of my marriage as one with no children. It was also the beginning of a wonder-filled new stage of life, but that was hard to see through the haze of sleeplessness. I watch the quick videos my husband captured of those times, now, and I train my eyes only on the boys–round-cheeked and elbow-dimpled–because if I glance at then-me, I think of what I wasted. Busy worrying, instead of laughing, through it.

I’ve been drawn to novels with strong themes of motherhood, this summer. (Maybe seeking some kind of fictional map to follow?)

Margo Orlando Littell’s The Distance from Four Points, which I reviewed here last month, features a mother and her teenage daughter, and answers the question (among many other interesting questions): How does motherhood change when a mother takes her teenage daughter from their comfortable present to a past of painful secrets–the home the mother thought she left for good when she herself was a teenager?

Aimee Liu’s Glorious Boy is an ambitious historical novel that follows an American couple and their “beloved but mysteriously mute” four-year-old boy. Family ties are tested–and severed–as the family is evacuated during World War II from their home in the remote Adaman Islands in the Bay of Bengal. At the heart is a question of motherhood: how does one best mother a child so unlike herself he seems, at times, a stranger?

Which brings me to my current read (or one of them), Lydia Kiesling’s debut novel, The Golden State, which draws the reader into the panic-inducing, tear-filled, amorphous days of mothering a young toddler, alone. Here’s a taste:

Finally we sit in the big bed and have milk which is warm in the sippy cup from this morning because I haven’t brought a carton and we have two stories Goodnight Moon and Goodnight Gorilla, trying to emphasize the goodnight aspect and the sleeping aspect, and I decide to forgo brushing teeth and then think no no no it’s too easy to fail to establish good habits and I haul her into the bathroom and poke at her with the toothbrush and she clamps her mouth shut and cries and then I lay her in the Pack ‘n Play turn on the sound machine say “I love you I love you I love you” and close the door and listen to her scream.*

from Lydia Kiesling’s The Golden State

Are your palms sweaty, like mine are, after reading that? Really, the prose is as funny as it is visceral. Though I don’t think I would have found it as funny when my boys were small, so there is such a thing as coming to a book at the right time.

As for my writing, it’s been both heartening and depressing that one of my most popular blog posts remains a post from March, which ties these times to my own Dead Mom Club in highlighting Kübler-Ross and company’s stages of grief. These times can feel like the End Times, but there is still escape, and even laughter, if we look for it.

What are you reading–and writing–this week? Are you able to laugh at all through these uncertain times? Show us whatcha got in the comments!

* Did you notice the quote from The Golden State is one long sentence? (How I love a well-done run-on!) Up for a little writing challenge? Task yourself with writing just one sentence, when you feel stuck. Learn more from “The Case for Single-Sentence Prose in the Age of Insecurity,” by Jason Thayer and featured on the Brevity blog, yesterday.

A Distance Not Too Far to Fathom: My review of THE DISTANCE FROM FOUR POINTS

book cover of THE DISTANCE FROM FOUR POINTS by Margo Orlando Littell, with illustrations of plants

Picture London, Paris, or New York. Got it? Now picture Iowa farm country. How about Main Street USA? Easily imaginable places all, even in fiction. Right? Well, you can have them. I’m here to laud the lesser-known and in-between places in books, the fringes, places where the present hasn’t caught up to a promising past, where things are undefined, even messy—and the characters are gritty, trying to make a place their own. I’m here for the settings that remain open to interpretation, invention, and story.

Take Margo Orlando Littell’s recent novel from University of New Orleans Press, for instance.  The Distance from Four Points is set in the Laurel Highlands of Pennsylvania, murky territory straddling the Rust Belt and Appalachia. Never heard of it? All the better stage for the author to play out that age-old question:

Can you really go home again?

Quick summary: “Soon after her husband’s tragic death, Robin Besher makes a startling discovery: He had recklessly blown through their entire savings on decrepit rentals in Four Points, the Appalachian town Robin grew up in. Forced to return after decades, Robin and her daughter, Haley, set out to renovate the properties as quickly as possible—before anyone exposes Robin’s secret past as a teenage prostitute. Disaster strikes when Haley befriends a troubled teen mother, hurling Robin back into a past she’d worked so hard to escape. Robin must reshape her idea of home or risk repeating her greatest mistakes.”

In Rainer Maria Rilke’s Letters to a Young Poet, the poet says, “If your everyday life seems poor, don’t blame it; blame yourself; admit to yourself that you are not enough of a poet to call forth its riches; because for the creator there is no poverty and no poor, indifferent place.”

By this definition, Margo Orlando Littell is a poet. For me, it’s the setting of Four Points, a fictionalized version of the author’s own hometown, that makes the novel shine. Forty-something MC Robin’s hometown appears to her to be a “poor, indifferent place.” This setting is a lot like the places that dot the Pennsylvania landscape that separates my home in Maryland and my childhood home in Ohio’s Rust Belt, places where invariably my car radio loses NPR’s signal and tunes in only country music. Where tunnels through the mountains, tiled like giant bathrooms, are the highlight of the trip. Where mock-alpine ski resorts attempt to lure passersby off the Pennsylvania turnpike. I’ve happily sped through these places seeking finer points, the reinvented and cosmopolitan Pittsburgh, for one.

The author paints a picture of Four Points from Robin’s perspective: “It was coal country, or used to be, and it wasn’t always terrible. Long before she was born, businessmen made millions here, gaining wealth from the coke ovens in the foothills. Now the crumbling mansions…were barely audible echoes of the town’s better years.” This is a place many leave, but enough stay for unemployment to be high; a place old industry forgot and new-wave industry, like medicine, higher education, and tech, haven’t yet found.

Still, a place like this, steeped in the glories of a crumbling past, isn’t past—but is fully present—to the residents eking out a living there, today. And, upon her return to Four Points, this is a reality Robin has to face, and quick.

The novel starts off rather breathlessly, and we’re thrust into Robin’s predicament. Her husband died and left her with nothing to keep her and her daughter’s heads above water—except some pretty cruddy rentals in her hometown. A hometown she had tried her best to forget, living in a monied Pittsburgh-area enclave, where she’d remade herself—or fooled herself into thinking she had. A “decadence,” of forgetting where she came from and what she did to survive, the author calls it, of forgetting the “familiar equation” of “sex plus money.” This isn’t uncharted territory for women’s fiction—a salacious past comes to haunt the MC’s present—but the author handles it well.

The details of land-lording, re-making this human-built landscape with her smarts and own two hands, raises this bookclub novel to a higher level. Robin, who only recently wouldn’t be caught without her “Va-Va Vino” nail polish, takes to ripping up ruined linoleum in her tenants’ places with those nails, breaking them to the quick. This kind of work, needed to sustain herself and her daughter, does a lot to renew Robin’s sense of self, even in grief. Work, as it often does, has a way of teaching characters (and, by extension, us readers) about their capacity for living: “Tonight, the paint would dry, and in the morning the apartment would be whole. Not new, not beautiful, but ready to live in.”

The author exhibits a local’s keen sense of the distinct sights, sounds, and tastes of this place, where Sheetz and Walmart serve as modern beacons in the wintry gloom. But this is also the kind of place where communities still come out for parades on feast days and fill the same ethnic church pews their grandparents did; at home, old recipes, like Eastern European Halushki, are still passed down to the next generation. Maybe it is in such in-between times, teetering between ages—when will these hills experience their next Gilded age?—when we cling to the traditional foods that comfort, the language (all the “Yinzes!”) shared. Maybe it’s in these moments that we find grace.

I would have liked a bit more rumination in these pages on the grace found in this novel’s place. We get a brief mention of it, and there are fleeting prayers for Robin, who won’t budge from the necessity of sending her daughter to Catholic school, even when money is terribly scarce.

That touch of grace and Robin’s role as landlord reminded me of the biblical parable of the wicked tenants (Robin does have one or two), but more loosely about the need to be worthy “tenants” in this life leased to us here, in the earthly communities we call home. Will Robin turn her back again on her home, on a hard-won livelihood “cleaved to boilers and shingles, sewage stacks and electric grids.” Or, will she waste her gifts, trying to run away from herself again?

I’ll let you read to find out.

In a bit of life imitating art, the author also tried her hand at being a landlord in her hometown during the course of writing this book, and her expertise shows in her prose. You can read about that backstory and everything else related to The Distance from Four Points at her website: margoorlandolittell.com

Paris in springtime? Let’s face it: none of us is flying anytime soon. So, how about Four Points at the turning of a season—from the pages of this engrossing novel:

Robin left Four Points at five, the magical hour when the light over the mountains turned fiery and lit every branch on the maple-blanketed hills. The world was wet and weary, winter pulsing deep as blood, but in the pink sky and dripping ice from the bridges, she sensed spring. It really would come, softening those bristly mountains and coloring the sooty landscape of steel and coal. Another winter was breathing to a close…

From Margo Orlando Littell’s The Distance From Four Points

Anyone from such a place will tell you that harsh winters are worth it for the release of spring that follows—springs worth a whole book, and many more trips home.

~~~

Margo Orlando Littell grew up in a coal-mining town in southwestern Pennsylvania. Her first novel, Each Vagabond by Name, won the University of New Orleans Publishing Lab Prize and an IPPY Awards Gold Medal for Mid-Atlantic Fiction. She lives in New Jersey with her family.

Note: I received an electric copy of this book from the author’s publicist, in the hopes I would enjoy it, which I did. The book’s summary and the author’s bio, along with all the quotes, are from the book. The author was kind enough to supply photos (along with their captions) from her hometown.

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