This month: letter-writing and pie baking in Adrienne Shelly’s lovely film, Waitress:

According to family history, when my aunt claimed, at a picnic, that her pie crust was better than her mother’s, grandma threatened to throw the pie at her head. My mom kept quiet, just grateful that grandma had already imparted her pie crust secrets to her.

People take fierce pride in a fine, flaky pie crust, and in fact my mom’s is so good that for years, I was too intimidated to attempt it myself. Pie crust isn’t complicated, but unlike bread or cake, it is finicky and unforgiving. Handle it too much, or add too many drops of ice water, and it turns tough instead of toothsome. The best way to learn pie crust is to watch at someone’s elbow (preferably of course a mother or a grandmother, who can tell you family stories while you bake) and then practice until you get the touch of it.

Jenna Hunterson (Keri Russell, expressing little of her Felicity-era perkiness) learned about pie-making from her mother, who’d bake Car Radio Pie or Jenna’s First Kiss Pie while singing to her daughter. Now Jenna, the Waitress of Adrienne Shelly’s nuanced and surprisingly funny film (2007), is stuck in a bad marriage to a childish husband and unhappily pregnant. Although she keeps baking the popular Marshmallow Mermaid and Chocolate Strawberry Oasis pies for the diner where she works, she’s hoping to bake her way out of town and into a new life. Meanwhile, she can’t stop imagining new pies, like Pregnant, Miserable, Self-pitying Loser Pie (“oatmeal and crumbled fruitcake, flambé of course”) or Baby Screaming Its Head Off In the Middle of the Night and Ruining My Life Pie (a brandy-soaked cheesecake); her pies tell stories, but right now, they aren’t such happy ones.

Read the rest at Literary Mama!

This month at Literary Mama, Jennifer Ruden’s essay about her writing home:

When I moved to Oregon to attend graduate school, I managed to blow most of my savings just getting from Baltimore to Eugene; the trip, if I recall correctly, involved a lot of national forests and a lot of beer. By the time I arrived in Oregon, I could barely pay rent. Like most graduate students, I found some place cheap, bought all my furniture used, and ate a lot of Top Ramen. I did manage to luxuriate in one purchase: A desk. After all, I took writing pretty seriously in those days.

The one I chose was enormous, a Mack truck of a desk with a marble slab on the top, filing cabinets, drawers, the whole enchilada. If this desk had a voice, it would have been a deep baritone like James Earl Jones and would have said, “This is where you write. You hear?” And of course, I listened.

Head over to Literary Mama to read more about Jennifer’s desk and where she writes now that she’s a mother.

Inspired? Check out our writing prompt and send us a piece about your own writing space! Responses received by July 15th will get personal feedback from Literary Reflections editorial assistant, Kathy Moran.

Here’s another chance to see what your favorite Literary Mama editors and columnists are reading these days; take a look! Me, I’m off to update my Amazon wish list…

Check out all the good Father’s Day reading over at Literary Mama, including Libby’s column, my column, and one of the new features that we have been working hard on: a reading list!

The fabulous Violeta Garcia-Mendoza, one of my editorial assistants over at Literary Mama, is going to be teaching a 10-week workshop for beginner mama poets. If you’re an expecting, new, birth, step, adoptive or grandmama wanting to learn more about the joys of poetry, as well as create and present your own poems in an encouraging and inspiring workshop format, this is the place for you!

Among others, topics will include: reading & writing as a poet, poetry of remembering & remembrance, forms and how to make them relevant, and the rigors and rewards of revision.

The workshop will run from July 1st to September 9th. Cost is $250. Class size is limited. For more information or to register, please write violeta724 at earthlink dot net

Dionne Ford just wants five minutes to work on her novel. Here’s how her day begins:

Every morning starts at a deficit. The day has not even begun, and I’m already behind. I hear shouting: “I want to take a shower!” “I don’t want to take a shower!” “I need to take a shower!” “Get up!” It could be my husband. It could be one of my daughters. It could be my subconscious. I mean to get up before them all, to sit quietly and listen for guidance for the day, some instruction that will steel me when my plans all go to hell.

Click on over to Literary Mama to see if she ever gets those five minutes.

Libby’s latest column is up at Literary Mama, and definitely worth a read. Here’s a taste:

The girl is entranced by books. One of the first places we see her is in a bookshop, where she slides a ladder around to find and borrow a book she can’t afford to buy, a book she wants to reread. The astonished proprietor (“but you’ve read it twice!”) gives her the book and she leaves, rereading the book as she walks, singing happily.

“Oh, isn’t this amazing/It’s my favorite part, because, you see/Here’s where she meets Prince Charming/But she won’t discover that it’s him, ’til Chapter Three!” She sits by a fountain and settles in to enjoy the book, sheep crowding her at every side, water falling behind her.

I’d never seen myself in a cartoon character before, but watching Belle on the big screen transported me back almost twenty years, to a summer of rereading. Staying at my grandparents’ house in Connecticut, we had only the books left behind by my mother and her sisters. Like the movie’s Belle, I carried my books outside. Grandpop had planted a Christmas tree grove and the trees formed lanes and little rooms, circles carpeted with pine needles and hidden by thick branches. I would carry a book into the cool shade of one of these pine chambers and read, inhaling the musty fragrance of old books along with the sap-infused air of the grove. Disney’s Belle brought that former self back to me, reminded me of who I’d been and who I hoped my daughter might become: an outside reader: taking books outdoors and unmooring their stories.

Read more at Literary Mama!

The first time I was pregnant and poring over name books, I quickly realized that naming a child is the one decision a couple makes that allows no room for compromise. If your favorite name happens to be the same as your partner’s 3rd grade playground nemesis, that’s it; you have to find another option. An old Saturday Night Live skit shows a couple arguing so fiercely about naming their baby — each of them turning the other’s suggestion into a playground taunt — that they wind up divorcing.

The second time around, we had to at least pretend to consider our son Ben’s suggestions, like “Telephone” and “Benna.” Eventually we agreed on two girl’s names and crossed our fingers that these would be enough. But I packed the name books in my hospital bag, just in case. In the pictures of us in the hospital after our second son’s birth, a whiteboard listing various possibilities is visible in the background: Daniel; Josiah; Leo; Elijah. We left the hospital with our red-haired beauty still unnamed, and the hospital staff distressed. “What’s really the problem with filing this paperwork later?” I asked. “Well,” someone finally admitted, “If the baby doesn’t have a name, it makes it harder for us to bill you.”

Well then, I thought, I’ll be rushing right back.

It took us three days to settle on Elijah, three days during which our friends and family — all of whom had seen that whiteboard — kindly kept their opinions to themselves.

This all came back to me when I went to see The Namesake (Mira Nair, 2006) with a friend who is expecting the birth of her second daughter any day. She and her husband haven’t yet settled on a name (although their four year old lobbies hard for her choice by making elaborate drawings of the letter C) and as we waited for the lights to dim I thought of how often lately she and I have sat through to the very end of a film, reading the credits carefully in search of potential names.

Read the rest of the column here at Literary Mama.

This month’s Literary Reflections essay first came to me as a submission for the book I’m co-editing, Mama, Ph.D. I was torn when I read the essay: the writing knocked me out, but it didn’t particularly address the writer’s academic career. Happily, Julia co-wrote another essay for the book, and I got to use this for Literary Reflections. Here’s a long blurb:

When people asked me when I planned to get pregnant, I used to say, “After my first book.” I’d chosen to put my energies elsewhere, and I figured publication was such a long shot that I’d have plenty of time to live and write in peace. When a book came and a few people remembered that promise, I had to think fast. “After a second book,” I replied, ridiculous. I know Harriet Beecher Stowe wrote Uncle Tom’s Cabin at the kitchen table after her children were tucked in bed, and I imagine that people learn much about life as their children grow. Somehow, though, I still carry the old notion that negotiation is impossible, that a woman must be completely given over to one or another kind of work, and that if her attention ever wavers, terrible things happen.

This message comes from as far back as my first memory, which is little more than a few frozen images. I’m three years old, out behind a farmhouse in Turbotville, Pennsylvania, under a fir tree. The boughs are so thick that the grass is stunted, and long cones like corn cobs clutter the ground. Wandering between them, I see my oxblood, buckle shoes with little cut-out daisies on the toes. I don’t know what I’m doing out here after supper; my dad and older brother are elsewhere; Mom is at work. As I wander toward the place where the lawn drops down a steep bank to the road, I see fields and the next farm’s corn crib on the other side. Something over there rustles the tall grass: Sally Ann, my cat, stalking a field mouse? Suddenly she darts down the bank and, without looking, without thinking, I dash toward her.

Then I see the rounded front of a 1950s sedan, hear a loud screech, and see sky, although I cannot say in what order. Mostly I recall the sky and one red shoe flying against it for a long, long breath.

My eyes open. Stretched out on the grass beneath the branches, I see my father’s face, feel him touch my cheek, my shoulder, “Jules, Jules…” He is more distressed than I have ever seen him. Is he angry with me for crossing the road alone or for losing my shoe? Another strange man stands nearby; later I will learn that he is rushing to the hospital, where his wife is giving birth. The man and my father say “Geisinger” and “ambulance,” but I know I am fine. At the emergency room, I obey the white-coated men who ask me to follow their fingers with my eyes, and I hold still while they take X-rays, but all the while I know it is pointless. I can’t understand why the adults keep saying I am such a brave girl. What this first memory means, I now believe, is that even though enormous things may hit me sometimes, I’ll be OK in the end, and mercifully I’ve always known this in some small, strange way.

But when my mother tells this story, she starts by saying, “The first night I went back to nursing…” For her, it is a story about neglect and what happens when a mother isn’t there to watch her children.

Read the rest of “Fine: On Maternity and Mortality” here at Literary Mama.

This month, in honor of Literary Mama’s special focus on stepmothers, I tried to get Ben to watch The Sound of Music with me.
He wasn’t so interested, but still, I wound up seeing the film in a whole new way.

Here’s an excerpt:

Hollywood movies from Cinderella to Stepmom typically represent stepmothers as problems, or much worse, but The Sound of Music (Robert Wise, 1965) is the only film I’ve seen that solves the “problem” of a woman by turning her into a stepmother.

We first meet Maria dancing in green mountain fields high above the city of Salzburg; she’s dwarfed by her landscape (as she will be dwarfed by buildings, institutions, and situations throughout the film), but carefree as she sings. She doesn’t look like a problem, just a joyful young woman reveling in the beautiful countryside.

Tolling bells call her to attention and she races down the mountain only to arrive at her convent home late for Mass, again. The nuns have already been singing, “How do you solve a problem like Maria,” and before long the wise Reverend Mother, one of the film’s several childless mothers, arrives at her answer: send Maria away from the abbey to serve as governess to seven unruly, motherless children.

“Really?” asked my son Ben, when I told him the story of Maria and the von Trapp children. Despite my best efforts to entice him into watching the film with me, he kept wandering out of the room, more interested in his new Lego set than the singing and dancing on screen. But the idea of the pretty young Maria in charge of seven kids stopped him in his tracks.

He stared at the screen as Maria, a victim of the children’s prank, bounced up from the pinecone left on her seat. He turned to me slowly and asked, “Is she a grown-up?”

Read the rest of the column here, and let me know what you think!