“If I could be born
again, I would choose to come in a writer’s form. Too many things these years have ached inside
of me, living in bright bursts of painful contacts with people but never once
on paper. I live in the writers’ souls
of others.” Age 21
I kept a diary from about age 12 until almost 40 years
old. Handwritten. Emotional.
Pages and pages. Books and books. Trying to make sense of love, loneliness and
fear. The usual. I never thought of myself as a writer; merely
someone who kept a diary and loved reading.
Writers were extraordinary beings who inhabited a realm the rest of us
mere mortals could not enter. I would
fall in love with writers: Dostoevsky at
age 12, D.H. Lawrence at 13, Albert Camus at 16, and so on. Most recently, I fell in love with James
Salter who was a pilot in WWII before he began to write.
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James Salter AKA Horowitz |
I read one of his books by accident and then
googled him, and found to my amazement that he was born a Horowitz, my maiden
name. I proceeded to read every book
available on Kindle that he had ever written.
Recently, I mourned his death.
His writing was so vibrant and sexy but he will live forever for those
of us lucky enough to discover him. The
legacy of all artists—immortality.
I documented my first flight away from Australia in the
mid-1970s. As it turned out, I was never
to live there again, although I had no idea back then.
“It is happening. I am flying to Israel. How do we grasp the momentous things which
happen to us? The strangeness of being
suspended, alone, quietly into the mysteriousness of the world. To have just left behind a whole era—of my
first struggles towards independence and womanhood. . . It would be so funny
dying now with all this sophisticated French food on my lap.” Age 24
Always, there was the constant questioning and insecurity
about my own writing. My own writing
life.
“The strange thing
about keeping a diary is the knowledge that it is only for yourself. Knowing that even your style is nothing to
attract comment. I would so dearly love
to be able to write. One thing I can’t quite work out about writing. Does it mean that you have a more complex and
beautiful soul if you can write well? Or
do you just have a special talent of being able to use words in a complex and
beautiful way? I rather suspect it is a
combination of both.” Age 26
In those days, I fell in love with men who claimed to be
writers, although they talked about it more than they actually wrote. I documented them in my diary. I started a new diary when I met a new
man. “A
new man, a new book. Inspiration for my
inner whisperings...”
Just before I turned 30, I met someone who was “the
culmination of all my men. The quickness
and artist’s soul of W, the glamor of X, the generosity of Y and the
sensitivity of Z—and much more... He is so foreign to me, and yet I trust him.”
Age 29
In my thirties I married this culminating man who freed my
creativity, which included writing poetry, short stories and novels in between
my full time job as a social worker and later a fundraiser. We celebrated our 30th Anniversary
in September, 2015.
It didn’t happen all at once. There was the push and pull of creating our
own identities within the marriage. Two
strong-willed people not ever becoming one but becoming better versions of
themselves.
One day, a few years into our marriage, my husband read something
I had written and said that I was good.
I was shocked, of course, and obsessed about whether or not this was
true. Searching for finality, I took an extension
course at UCLA for writers. They would
let me know for sure. Was I good? Or not good?
The UCLA instructor gave us this exercise with a one-line
prompt. Everyone else seemed polished
and confident, and looked more writerly than I felt. I watched them bow their heads and start a
furious word attack. I stared at my
paper and hyperventilated. What was I
even doing here with real writers? Now I
would be found out. Everyone continued
writing except for me. Finally, out of
humiliation and fear, I began. At the
end of the half hour, the teacher asked who would like to read their
works. Hands shot up all over the
room. Not mine. Nevertheless, he called on me, and I read in
a trembling voice. After class, the
instructor told me that I was good. I
was shocked. I didn’t understand why he
said that. Everyone else who had read his
or her piece seemed so much more than I was.
What made writing good?
I wanted to know, definitively.
Was I good or not? I searched for
more writing courses and discovered something called MFAs. (Masters of Fine
Arts—Creative Writing) USC had one. So did Antioch Los Angeles. I thought USC would be so cool and then
discovered I would have to take a GPA exam, whatever that was, before they
would admit me. That seemed ridiculous,
considering the fact that I already had a Masters from the London School of
Economics. What was their problem? The truth was that I was afraid. Besides having left America at age twelve and
not knowing what a GPA was, I figured mathematics would be involved.
My high school mathematics teacher’s name was Mr.
Scott. I was sixteen, soon to be
seventeen, but still counted on my fingers that I hid under my desk, ashamed
that Mr. Scott would be disappointed. I loved
the class because, there, I could study his beautiful square hands as he
explained all the various incomprehensible formulas to us. I would furrow my brow in great concentration
and nod occasionally so that he would think I was smart. When he turned his back to write on the chalkboard,
his shoulders were so strong and broad. I marveled at the strength of him. When he turned around to ask us questions, he
would push a strand of sand-colored hair out of his Bondi Beach blue eyes and I
felt a sharp pain straight through my under-developed but tender breasts to the
thin walls of my heart. The more I studied
him, the less I understood about algebra and calculus.

My mother ended up hiring a tutor that we could barely
afford. I don’t remember his name but he was a thousand years old. Eventually, I passed, but barely.
I enrolled at Antioch because they gave me credit for my
degrees and never asked me to take a silly exam. It was creative writing, for God’s Sakes, not
rocket science. What could that have to
do with mathematics? Seriously. There, I was sandwiched between the extreme
young and much older folks. I was excited
but intimidated—probably a good combination to throw myself into the writing
life. Even if I was a pretend writer, I
had made this huge commitment of time and money, which had to count.
I just wanted to know if I was good; if I would make it in
the world of writers. But all I learned
that I was better than some and not as good as others. Slowly, I began to understand the real
question: What was I going to do with
that knowledge and where would it take me?
We were told over and over again that everyone could learn to be
better. But could anyone learn to be
great? I doubted it. I focused on ‘better’ and tried not to feel too
shabby, or even worse, untalented.
I entered the program with the whisper of a short story and
left with 100 pages of a novel. In
addition, we were required to write a dissertation. Mine turned out to be about mothers in
literature and mine in life.
“I am still grappling
with my flawed mother. In many ways, she
is the terrifying figure of my childhood, which also means that I am stuck in
that hypervigilant place: I am watchful
and then full of hope, joyous and then crushed and furious. And then it starts over again. Will I ever be able to release my own
unrealistic expectations of her? I can’t
help longing for that flawless mother even though I know she doesn’t exist even
in good literature, where the best characters—the ones that endure—are
imperfect, complex and interesting. Admittedly,
I never wanted an interesting mother, just an emotionally healthy one. Though I am prepared for a not-so-happy
ending, I am also hopeful that the journey I have undertaken through this paper
has brought me new insights about my mother and myself. Perhaps forgiveness is simply ‘having given
up all hope of having a better past.’ (Lamott 210) But then the future, ah the
future, is wide open.” Grappling with the Flawed Mother: In Life and
Literature. Lisa Horowitz Brooks. 2001
One might argue that
was my most important learning at Antioch.
My mother died several years ago, and now, when she visits me in my
dreams, she’s a softer, kinder mother.
And I’m a better daughter. The
past is suddenly better.
Flush with my degree and newfound friends, I felt very
writerly. I even went to a writer’s
retreat at Squaw Valley, where writers sold their wares to agents and
publishers with the ‘pitch’. There were
so many bad writers there, with a few good ones sprinkled in between. The pretense of the organizers was to help all
writers to be successful. The reality
was to help a few really talented ones or commercial ones (neither of whom
really needed the help) and let the rest of the poor schlubbs underwrite the entire operation. Give them enough hope so that the leaders
could keep paying their bills, even though they knew the odds were against the majority. The whole thing made me nauseous. I felt embarrassed and lost there, wondering
which category I really fell into. Going
home was a relief.
I was working at a job that frankly bored me. I had been there too long and knew where all
the bodies were buried. I looked forward
to rushing home every night to write. I
would stress over every extra minute of my under 12-mile mile commute—ranging
from 30 to 95 minutes depending on the dysfunctionality of LA traffic.
Once home, after my shower and while I cooked dinner, I
worked on my fledgling novel. It grew
and grew although I wasn’t sure where the flowers started and the weeds ended. So I joined a local writers’ group to help me
prune. The leader had great instincts
and I agreed with much of her critiques of the other writers.
I presented bits and pieces of my novel and got feedback. Too much feedback. Being a social worker by training, I like to
make people whole. Slowly, slowly, I
began to write for the common denominator.
I got some accolades.
Applause. But slowly, in a
strangulated way, my novel took many detours and dead ends. I tried to stay true to myself and sometimes
rebelled against the group consensus and went the opposite way. But wasn’t that still kowtowing to the group? And was it really serving the story? I could no longer tell.
By the time I left, I wondered if the rewritten novel was
really mine or the sum total of everyone in the group. Or if that was a bad thing. Wasn’t collaboration supposed to be good? There were definitely benefits of being in a
writers’ group: support to market your book, get an agent, not give up, work,
work, work. I, an overachiever, did it all. Wrote the synopsis. Polished the first few chapters to
perfection. Sent out the pitch letters
to search for the agent. Etc. Etc. I received some polite interest and some
polite rejections. I recalled the many greats
who had been rejected innumerable times and went on to achieve fortune and
fame. But still, I felt like an
imposter. And disheartened. I stopped
reading other writers, afraid it would further dishearten me.
And then, a life change.
I got a new job. Bigger than
anything I had done before. My heart was
no longer in the ‘marketing myself’ business.
I quit the writing group and stopped writing. Dead. Full
stop. Nada.
Yes, I had to write things for work. And yes, it was a job that stretched me to
capacity and used parts of myself I never knew I had. And yes, I was relieved to put the marketing
of that novel behind me. Perhaps I did
not have the temperament for rejection.
Perhaps I needed to focus on those activities that brought me
accolades. Like my job. For which I was paid a very decent
salary. And felt happy every day. And so I stopped writing. Except for marketing materials for work, a
newsletter for the service club I joined, and an occasional blog. But I began to read voraciously on my Kindle. I read dozens and dozens of writers. When I found a great one, I read every book
he or she had ever written. I fell in
love with many female writers amongst the men.
Ann Patchett. Meg Wolitzer. Alice Hoffman. Amy Bloom.
Tara Ison and Alice Sebold (my Antioch mentors.) Donna Tartt. Anais Nin.
Iris Murdock. Janet Turner
Hospital. And many, many more.
Lately, I’ve begun writing non-fiction. Takes a leap of faith to assume reality is
interesting enough to not have to spin tales.
Although there is a certain amount of tale spinning even in memoir where
one has to frame things, and the frame one choses is very personal, creative
and subject to interpretation. Just like
our lives.
Who knows what the future will hold? I no longer stress about ‘being discovered’,
or winning writing accolades. Or being
bad or good. I am way too old. Now writing feels personal. A way to communicate with my loved ones. A way to make sense of the world. Because I know that all the tough stuff is
yet to come. Although I had a painful childhood
and young adulthood, my thirties to now have been rather lovely. That is certainly not everyone’s
reality. I read about all these dire
scenarios of young people diagnosed with dreadful diseases, or people shot in
the prime of their lives, or rape victims and on and on. I have this theory, unproven, that the fact
that I suffered so much in my younger years has earned me a reprieve during my
middle/late years. I keep waiting for the reprieve to end. Because I understand that the longer one survives,
the tougher the learning. About
sickness, and death. About loss of too
many things to document. About becoming
one of the invisible older women for whom men no longer rush to open doors,
check you out in restaurants, and fall all over themselves to be your friend. If they do rush over to you it is because they
think you may fall on the uneven pavement,
or keel over in the street. Some respectful people (men and women) probably had stellar
mothers whom they have elevated as saints and treat older women gently and
kindly. I could benefit from this in my
final years. I hope. I pray. And then, I think, being smart and
kind and very experienced might be valued.
Even if your hands are twisted with arthritis, and your neck hangs in
pouches, not to mention your fallen breasts.
But then I remember that I am not really so kind. I am very private. Very critical. Very selective. Kind of like my mother. No one will really care if an old woman writes
stuff. Even if it's good. Certainly not the agents or
publishers, who will not have years of payouts to hope for. So, now that I'm jaded, I am starting
again to write about love, loneliness and fear.
Hey, cut me some slack. I’m just an
old broad.