Wolitzer began publishing her wry, feminist fiction at 44. Encouraged by her novelist daughter Meg, she wrote a wrenching story for a new collection.
“Above all, be the heroine of your own life, not the victim,” said the writer, reporter and filmmaker Nora Ephron in a 1996 commencement speech at her alma mater, Wellesley College.
Wolitzer’s gifts for capturing time and character are on fine display in the title story, first published in 1966 in the Saturday Evening Post. The unnamed narrator, a pregnant woman in a grocery store, encounters a distressed woman with two children blocking the produce aisle. “There is no end to it,” the woman cries out. “How can I bear it?” In the ensuing fracas, her fellow shoppers stare and buzz, manifesting more judgment than compassion. The “madwoman” is identified, her husband called.
Each of these stories is like a circus clown car, stuffed with more meaning than Wolitzer’s deceptively simple sentences seem able to contain. She practices the art of social satire: “Howard and I went to a class where I learned to breathe,” she writes sardonically in “Photographs,” of a couple “married in those dark ages before legalized abortion.” The unenthused mother-to-be is given “a vitamin supplement that came in pink-and-blue capsules.
This is the writing of a self-proclaimed late bloomer, bursting with half a life’s worth of observations. “I was raised by my housewife mother to be a housewife,” says Wolitzer now. “I went along with the plan. My writing was a surreptitious ‘hobby,’ something I did in rare moments alone. I took that time-worn advice: ‘Write what you know.’ So my early fiction takes place in the familiar terrain of supermarkets, playgrounds, bedrooms and kitchens.
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