All through my childhood a self-portrait, painted by my mother hung above my parents’ bed. I was fascinated by this image of the stern face of my very beautiful mother with her long wavy chestnut hair. In the painting my mother’s body was buried in the sand up to her neck. Behind her, churning waves cascaded onto the shore. A blue sky was visible. A few seashells were scattered around and a large shiny green beetle was crawling over the sand. On the surface this image of my mother with her long curly hair seemed quite serene but as a child the painting disturbed me. It was as if this painting held a key – but to what? My father loved the painting and often commented on it…
I can remember playing at the seashore. My father would dig holes and bury both his children up to their necks in the warm sand that also held us fast…
I had one reoccurring childhood nightmare of waking up and not being able to breathe. Continue reading “Re-Visioning Medusa: Part I by Sara Wright”
My sense of direction is, at best, poor. In spite of that, I love a road trip. With the advent of affordable GPS (Global Positioning System) devices, driving long distances has become easier. Unfortunately, that tool (GPS) is not always reliable. Sometimes I get lost. I have a hard time figuring out how to get back on track. Like Blanche DuBois in “A Streetcar Named Desire,” I’m forced at times to depend on the “kindness of strangers.” Getting lost, though, becomes part of my road trip adventure.
I have just returned from the brook where I offered up my Toad Moon prayers to the song of the Hermit thrush and to the rippling waters – first honoring my body with a poem written just for her, and then by repeating my hope/belief/intention that the search has ended and my house will get the structural help she needs without invasive machines scarring my beloved trees and land… I release my doubt – a plague that has incarcerated me for months.
Friends, it has been a few months since I’ve posted in this community. I’m amazed at how much our world has changed since then. Here in the northern hemisphere, spring came and went. It felt like a tide of turmoil rolled in, leaving debris all along the shore and now we are trying to clean it up while keeping our eyes on the sea for more dangerous waves that are coming.
As I write this in late June, the news is still pretty depressing. Pandemic. Politics. Corruption. No no no. I can’t write anything current and cheery, so here’s another bit of distracting nonsense from my so-called archive.
About six months ago I was hired to write a curriculum for a Jewish organization on biblical women in ancient and contemporary midrash. Midrash—the ancient process of creative interpretation of sacred text that began two thousand years ago and continues to this day—has been one of my fields of expertise, and women in midrash is a particular specialty. I knew the first lesson I wrote would be on Eve (Chava in Hebrew), the first woman of Genesis. Yet as I began to write lessons, I started with Sarah and Hagar, then proceeded to Rebekah and Lot’s wife, Rachel and Leah, even Asnat (Joseph’s wife) and Naamah (Noah’s wife). It became clear over the months that I was avoiding Eve. Whenever I began to think about beginning “her” lesson, I grew anxious and immediately began to think of something else. Only when I had already written six of my ten lessons did I finally, reluctantly, begin to research ancient legends and modern feminist poems on the first foremother of the Bible.
— for Alex, a nurse I met who is also a poet, and all nurses
When I wrote Murder at the Rummage Sale, my agent warned: “You have to have a sequel in mind!” I was supposed to write a second domestic cozy, same setting, same characters, different victim. But what came to mind was a memory. When I was a troubled teen visiting England, my uncle gave me a map and let me go sightseeing in London on my own. It was early winter 1968, the war in Vietnam was raging. I did not want to be an American; so I faked an accent, wore an eccentric hat, and called myself Eliza Doolittle. When a man picked me up, I did not know how to break out of character. I ended up drunk in his flat. I just managed to fight off rape. The man must have figured out that I didn’t add up and could land him in trouble. He took me back to my uncle’s office. The kernel for All the Perils of this Night is: what if he hadn’t? What if, like so many others, I had been trafficked? I couldn’t shake that “what if.” So I wrote the standalone sequel, no domestic cozy but what I would call a numinous thriller. 
