A Quote by Janice Erlbaum
I didn't set out to write a book with no real male characters, but men were not important to my narrator, who was much more interested in maternal and pseudo-maternal love, so they were unimportant to me. I didn't even notice the lack of men in the story until I finished it. But once I did notice it, I was kind of delighted. Apparently, my subconscious is totally sexist.
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My novels are never truly finished, even if they're published and sitting on the shelf. While I may no longer be interested in spending time with that particular set of characters, I can't help but think about all the ways the book could be different, the small, insignificant tweaks that no one but me would ever notice.
What I see is not a world of male oppression and female victimization, but an internation conspiracy by women to keep from men the knowledge of men's own frailty. A strange maternal protectiveness is at work.
It's funny - for a long time, I didn't know I was writing a book. I was writing stories. For me, each story took so long and took so much out of me, that when I finished it, I was like, Oh my gosh, I feel like I've poured everything from myself into this, and then I'd get depressed for a week. And then once I was ready to write a new story, I would want to write about something that was completely different, so I would search for a totally different character with a different set of circumstances.
We notice things that don't work. We don't notice things that do. We notice computers, we don't notice pennies. We notice e-book readers, we don't notice books.
I was raised by maternal grandparents who were born in 1890 and 1899, respectively. They were British subjects; George V was the cousin of the tsar. The Romanovs were very real in their household.
The range of what we think and do is limited by what we fail to notice. And because we fail to notice that we fail to notice, there is little we can do to change; until we notice how failing to notice shapes our thoughts and deeds.
I've always kind of gravitated toward characters who are a bit distant from the narrator or the point-of-view characters, so that's kind of important to me, to set up a different character who would be the point-of-view character for the story.
[A] couple I had known - who were old friends - asked me what I was going to work on next. I told them I wanted to write a near future book about AIDS concentration camps. They were vehement in their response: they thought it was a terrible idea. Their words both shocked and saddened me. "Do you really want to write a book about homosexuals?" they asked me. "Won't people who read your work be influenced toward sin?" I notice that I don't hear from them much lately.
Maternal mortality health is a very sensitive indicator. All you need to look at is a country's maternal mortality rate. That is a surrogate for whether the country's health system is functioning. If it works for women, I'm sure it will work for men.
Women notice details that most men don't. They notice if your belt and shoes match. They notice what kinds of foods you like to eat. They notice all the details, then make assumptions about every other area of your life based on these details.
Empathy probably started out as a mechanism to improve maternal care. Mammalian mothers who were attentive to their young's needs were more likely to rear successful offspring.
When I had finished the book I knew that no matter what Scott did, nor how he behaved, I must know it was like a sickness and be of any help I could to him and try to be a good friend. He had many good, good friends, more than anyone I knew. But I enlisted as one more, whether I could be of any use to him or not. If he could write a book as fine as The Great Gatsby I was sure that he could write an even better one. I did not know Zelda yet, and so I did not know the terrible odds that were against him. But we were to find them out soon enough.
The love story between the hero and the heroine has to be at the center of the book. I think that's pretty true in my books. I usually write a secondary love story, with maybe nontraditional characters. Sometimes I write older characters. I'm interested in female friendships, and family relationships. So I don't write the traditional romance, where you just have the hero and the heroine's love story. I like intertwining relationships.
A woman has all too much substance in a man's eyes at the best of times. That is why men like women to be slim. Her lack of flesh negates her. The less of her there is, the less notice he need take of her. The more like a male she appears to be, the safer he feels.
If you and your church were to disappear off the face of the earth tomorrow, would anyone in the community around you notice you were gone? And if the community did even notice would they say 'we are really glad they are gone', or 'we are really going to miss them'?
The range of what we think and do is limited by what we fail to notice. And because we fail to notice there is little we can do to change until we notice how failing to notice shapes our thoughts and deeds.
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