As I drove my daughter to school yesterday, I was distracted (at a stoplight) by
a sticker slapped on the bumper of the van waiting in front of us.
Where Does a Woman Belong?
In the White House.
My daughter said, “They must like Hillary.”
“Maybe.” Then, trying not to sound like an old codger, I mentioned how grateful
I was that messages like this were part of her everyday life. “When I was your
age, the response to that question would have been . . . In the Kitchen.”
“Wow.” My daughter gave me a compassionate smile. That was then. This is
now. Thank God. She turned the music up, and we drove on.
I am a pre-Title Nine woman, raised in a community that didn’t take kindly to
the likes of Betty Friedan or Gloria Steinem. In my world, Billie Jean King’s
defeat of Bobby Riggs was greeted with bemusement. When Helen Reddy sang “I Am
Woman,” people looked heavenward or changed the radio station. Maybe women were
strong, maybe invincible, but they didn’t make a big deal out of it. They didn’t
roar.
I came to assume that, with a few exceptions from the nineteenth century, women
wrote Really Great Books for Kids. Men were the ones whose serious
books got seriously taught, whose names identified schools, streets,
towns, literary tendencies. (I had friends who attended Longfellow, lived on
Dickens Court, or in the city of Lowell. In high school, everything turned
Kafkaesque.)
I was nearing the end of college when I began to understand there really were
women authors out there, working hard and producing incredible books. There
always had been. Perhaps the bright light of acclaim didn’t shine on their
efforts. Or, worse, they weren’t published in their lifetimes, or at all. But
they existed. (This was around the time that I realized that Great Books for
Kids were actually literature, too.)
I began to seek out overlooked or forgotten authors. I wondered what determined
a “Classic.” Who decided who got published? Broke my heart, the things I read,
about gender and class, race and ethnicity, genre and marketing, connections and
power. Breaks my heart today. It’s getting better. But there are still those
writers . . . “Silences,” author Tillie Olsen calls them in her book by the same
name. “The silences I speak of here are unnatural,” she writes, “the unnatural
thwarting of what struggles to come into being, but cannot.”
One woman who suffered such silence, and also managed to have a voice, shaped my
characterization of Ruth Warren, the central character of my novel, BROKEN GROUND.
I first saw a photograph of Sanora Babb on the dust jacket of her novel, WHOSE NAMES ARE UNKNOWN,
originally slated for release by Random House in 1939, but only published by the
University of Oklahoma Press in 2004. Babb’s strong features and (from what I
later read) even stronger character continue to evoke Ruth for me. She has an
open, attractive face that seems completely of her time. Neither tall, nor thin,
by no means cover-model-perfect or movie-actress-beautiful, she appears hale and
hearty; her firm jaw communicates strength and determination. No matter who
holds the camera, Babb seems completely present—wise, kind, and observant. With
her alert, intelligent eyes, she has the gaze of the best journalists. And she
was one.
Babb based her lyrical and intimate novel, WHOSE NAMES ARE UNKNOWN, on her field notes from her work
with the Farm Security Administration during the 1930s, and her own early
experience as a child of the High Plains. The book addresses the same subject
matter as John Steinbeck’s THE GRAPES OF WRATH. But in
tone and style the books stand in sharp contrast. (Among other things, critics
say that Babb writes her story from an insider’s perspective; Steinbeck’s
fable-like tale is delivered as if from the outside, looking in.) When THE GRAPES OF WRATH
received great acclaim, it was decided there just wasn’t enough readership
potential for similar material—Dust Bowl Refugees, migrant farmworkers, the
Great Depression. “What rotten luck,” Babb’s editor wrote, and then he shelved
WHOSE NAMES ARE UNKNOWN.
Here’s the thing. Babb’s supervisor at the FSA loaned her notes to Steinbeck
while he was working on TGOW. Her work fueled and informed his.
Sanora Babb persevered. She wrote other books and articles, married the
Chinese-American cinematographer James Wong Howe in France because of
anti-miscegenation laws in the States, went on to edit literary magazines and
become Secretary for the West Coast League of American Writers. She survived
blacklisting during the McCarthy era. She ran a Chinese restaurant owned by her
husband. But WHOSE NAMES ARE
UNKNOWN was only published when she was 97, 65 years after she wrote it, a
year before her death.
Sanora Babb inspires me on many levels. Where does a woman belong? Surely she
confronted this question. Then she turned up the music and drove on.
Set in the 1930s, BROKEN
GROUND is the story of a young oilrig widow who tries to escape her grief
and the Texas Dust Bowl by heading west to attend college. There she becomes
immersed in the lives of Mexican migrant workers in a camp near Los Angeles, and
learns of the long-term repatriation program of that era—the forced deportation
without due process of people of Mexican heritage, many of them U.S. citizens.
Ultimately, Ruth and her friend, WPA worker Thomas Everly, must decide what
stand they will take in the fight against this injustice.
Giveaway
One reader will win a copy of BROKEN GROUND. Just leave a
comment below.
When a young oil rig widow escapes her grief and the Texas Dust Bowl, she
discovers a surprising future—and new passion— awaiting her in California in
this lyrically written romance by the author of SING FOR ME.
Newly married to her childhood sweetheart, twenty-one-year-old Ruth Warren
is settling into life in a Depression-era, East Texas oil town. She’s making a
home when she learns that her young husband, Charlie, has been killed in an oil
rig accident. Ruth is devastated, but then gets a chance for a fresh start: a
scholarship from a college in Pasadena, CA. Ruth decides to take a risk and
travel west, to pursue her one remaining dream to become a teacher.
At college Ruth tries to fit into campus life, but her grief holds her
back. When she spends Christmas with some old family friends, she meets the
striking and compelling Thomas Everly, whose own losses and struggles have
instilled in him a commitment to social justice, and led him to work with
Mexican migrant farmworkers in a camp just east of Los Angeles. With Thomas,
Ruth sees another side of town, and another side of current events: the forced
deportation of Mexican migrant workers due to the Repatriation Act put into
place during President Herbert Hoover’s administration.
After Ruth is forced to leave school, she goes to visit Thomas and sees
that he has cobbled together a night school for the farmworkers’ children. Ruth
begins to work with the children, and establishes deep friendships with people
in the camp. When the camp is raided and the workers and their families are
rounded up and shipped back to Mexico, Ruth and Thomas decide to take a stand
for the workers’ rights—all while promising to love and cherish one another.
Karen Halvorsen Schreck is the author of the historical novel SING FOR ME (Simon &
Schuster), which was praised in a Publishers Weekly starred review as
“an impressive debut.” She has received various recognitions for her work,
including a Pushcart Prize, an Illinois State Arts Council Grant, and an
Evangelical Press Association award. Her young adult novel WHILE HE WAS AWAY WAS a
finalist for the Oklahoma Book Award, and DREAM JOURNAL (Hyperion) was a 2006 Young Adult Booksense
Pick. Karen lives with her husband and their two children in Wheaton, Illinois.
14 comments posted.
I remember the "in the kitchen" remark and hope it's not something my daughter and future generations never have to suffer.
But the story of Sanora is fascinating! Thank you for sharing her with us!
sara
(Fresh Fiction 1:45pm May 6, 2016)
Your book sounds AMAZING! Can't wait to read it! I love that quote about how well behaved women don't make history. I don't remember exactly how it goesd. When I was little, my grandmother worked in a factory making clothes for pregnant women. She and my granddad had a rooming house. She was such a strong woman and she made an incredible impression on me. I've always tried to be strong for my own daughter.
(Sandy Fielder 6:32pm May 6, 2016)
This reminds of the scene in The Grapes of Wrath where protestors are beaten and from reading Cesar Chavez's biography and his fight for the Hispanic migrant farm wokers. I'm also glad that the story of the Hispanic migrant farm workers is told. The children of these migrant workers are also separated from having an equal education.
Sometime facts are difficult to absorb and historical fiction just makes it easier to understand.
(Kai Wong 3:11am May 8, 2016)
Will be looking forward to searching the library for your books....Interesting...Thank you..
(Karen Dieffenbaugher 9:39am May 10, 2016)
Well..... I would love to read this book . This world is in such a mess now and seems like it also was back years ago . What is it going to be like years from now ? So sad yet so great . Thanks for the chance to win your book .
(Joan Thrasher 10:21am May 10, 2016)