Scraping By In The Big Eighties

The author describes how her rejection of the materialism of her generation and her low-budget search for creative fulfillment led her to a duplex in Seattle, a beach hut in Mexico, and a Left Bank convent, but never freed her from her obligations as an American.

Seattle, with its spectacular natural beauty and rough frontier history, has inspired writers from its earliest days. This anthology spans seven decades and includes fiction, memoirs, histories, and journalism that define the city or use it as a setting, imparting the flavor of the city through a literary prism. Reading Seattle features classics by Horace R. Cayton, Richard Hugo, Betty MacDonald, Mary McCarthy, Murray Morgan, and John Okada as well as more recent works by Sherman Alexie, Lynda Barry, David Guterson, J. A. Jance, Jonathan Raban, and others. It includes cutting-edge work by emerging talents and reintroduces works by important Seattle writers who may have been overlooked in recent years. The writers featured in this volume explore a variety of neighborhoods and districts within the city, delineating urban spaces and painting memorable portraits of characters both historical and fictional.

For some, a sense of place is about travel, about plunging oneself into new settings. For others, it is about being?and knowing?home. This book is a collection of essays, memoirs, nature writing, and travel narratives that document the impact this sense of place has on writing. In locations as familiar as Cape Cod or Mesa Verde and as exotic as Krak¢w or Kyrgyzstan, thirteen accomplished writers of contemporary creative nonfiction share some of their most memorable work, disclosing how place alters our perception and influences our insight. ø Taking readers to deserts and forests, islands and mountains, Landscapes with Figures is an encounter not only with places but also with writers themselves. Each contribution is accompanied by an author's commentaryø that discusses the relationship to place in his or her writing. The authors reveal the connections they feel to the places they write about, the role that place plays in the choices they make in relating their experiences, and the strategies and work habits that produce such writing. This compilation is at once a wide-ranging anthology of the nonfiction of place for the armchair traveler and a book about writing for those who aspire to understand and practice the craft, carrying with it the invitation to reflect on one?s own special places.

"Being a man, like being a woman, is something you have to learn," Aaron Raz Link remarks. Few would know this better than the coauthor of What Becomes You, who began life as a girl named Sarah and twenty-nine years later began life anew as a gay man. Turning from female to male and from teaching scientist to theatre performer, Link documents the extraordinary medical, social, legal, and personal processes involved in a complete identity change. Hilda Raz, a well-known feminist writer and teacher, observes the process as both an "astonished" parent and as a professor who has studied gender issues. All these perspectives come into play in this collaborative memoir, which travels between women's experience and men's lives, explores the art and science of changing sex, maps uncharted family values, and journeys through a world transformed by surgery, hormones, love, and . . . clown school. Combining personal experience and critical analysis, the book is an unusual--and unusually fascinating--reflection on gender, sex, and the art of living.

In This Fish Is Fowl Xu Xi offers the transnational and feminist perspective of a contemporary “glocalized” American life. Xu’s quirky, darkly comic, and obsessively personal essays emerge from her diverse professional career as a writer, business executive, entrepreneur, and educator. From her origins in Hong Kong as an Indonesian of Chinese descent to her U.S. citizenship and multiple countries of residence, she writes her way around the globe. Caring for her mother with Alzheimer’s in Hong Kong becomes the rhythmic accompaniment to an enforced, long-term, long-distance relationship with her partner and home in New York. In between Xu reflects on all her selves, which are defined by those myriad monikers of existence. As an author who began life as a novelist and fiction writer, she also considers the nature of genre, which snakes its way through these essays. In her linguistic trip across the comic tragedy that is globalism, she wonders about the mystery of humanity and the future of our world at this complicated and precarious moment in human existence. This Fish Is Fowl is a twenty-first-century blend of the essayist traditions of both West and East. Xu’s acerbic, deft prose shows her to be a descendant of both Michel de Montaigne and Lu Xun, with influences from stepparent Jonathan Swift.

After contracting polio as a child, Sandra Gail Lambert progressed from braces and crutches to a manual wheelchair to a power wheelchair—but loneliness has remained a constant, from the wild claustrophobia of a child in body casts to just yesterday, trapped at home, gasping from pain. A Certain Loneliness is a meditative and engaging memoir-in-essays that explores the intersection of disability, queerness, and female desire with frankness and humor. Lambert presents the adventures of flourishing within a world of uncertain tomorrows: kayaking alone through swamps with alligators; negotiating planes, trains, and ski lifts; scoring free drugs from dangerous men; getting trapped in a too-deep snow drift without crutches. A Certain Loneliness is literature of the body, palpable and present, in which Lambert’s lifelong struggle with isolation and independence—complete with tiresome frustrations, slapstick moments, and grand triumphs—are wound up in the long history of humanity’s relationship to the natural world.

Memoirs are as varied as human emotion and experience, and those published in the distinguished American Lives Series run the gamut. Excerpted from this series (called ?splendid? by Newsweek) and collected here for the first time, these dispatches from American lives take us from China during the Cultural Revolution to the streets of New York in the sixties to a cabin in the backwoods of Idaho. ø In prose as diverse as the stories they tell, writers such as Floyd Skloot, Ted Kooser, Peggy Shumaker, and Lee Martin, among many others, open windows to their own ordinary and extraordinary experiences. John Skoyles tells how, for his Uncle Fred, a particular ?Hard Luck Suit? imparted misfortune. Brenda Serotte describes a Turkish grandmother who made her living reading palms, interpreting cups, and prescribing poultices for the community. In ?Son of Mr. Green Jeans,? Dinty W. Moore views fatherhood through the lens of pop culture. Janet Sternburg?s Phantom Limb muses on the dilemmas of a child caring for a parent. Whether evoking moments of death or disease, in family or marriage, history, politics, religion, or culture, these glimpses into singular American lives come together in a richly textured, colorful patchwork quilt of American life.

Just Breathe Normally opens with a traumatic accident. Shattered perceptions and shards of narrative recount the events, from wreck through recovery and beyond. In lyric prose, the stories spiral back through generations to touch on questions of mortality and family, immigration and migration, legacies intended or inflicted. ø In the wake of her near-fatal cycling collision, Peggy Shumaker searches for meaning within extremity. Through a long convalescence, she reevaluates her family?s past, treating us to a meditation on the meaning of justice and the role of love in the grueling process of healing. Her book, a moving memoir of childhood and family, testifies to the power of collective empathy in the transformations that make and remake us throughout our lives. ø We all live with injury and loss. This book transforms injury, transforms loss. Shumaker crafts language unlike anyone else, language at once poetic and profound. Her memoir enacts our human desire to understand the fragmented self. We see in practice the power of words to restore what medical science cannot: the fragile human psyche and its immense capacity for forgiveness.