Author Interview: Nina Schuyler (Part 2) [in Bloom]
As a writer who is a woman, who also happens to be a mother of two small young kids – do you feel that motherhood has specifically influenced your writing? And if so, how?
My quick response: Writer’s block? I don’t have time.
On a more honest note, I have a two-and-a-half year old, and the world for him is full of wonder. A toddler’s way of moving through the world is slow, full of curiosity, and easily and delightfully dazzled.
An artist, any artist, works to see the world anew. Having a young son who naturally sees the world with bright eyes, well, it’s a blessing. He’s pointing out to me so much beauty and mystery.
Finally, I’ve learned to get the writing done any way I can. I am so flexible now I should be a contortionist. I have no rituals, no lighting of candles or music or anything. I manage to write nearly every day. If it’s only a sentence, or a revision of a sentence, I call that writing and let it feed me.
And are you and Mr. Timer still good friends?
We are. But I can now go for about 45 minutes instead of just 30. My two-and-a-half year old is older now. I wrote that [blog post] when he was just 1. Now I have more energy and can focus for longer periods of time.
Mr. Timer is still my buddy. He helps me bake and he helps me write.
You mentioned in an interview that you’d “love to read more novels with female characters that shake up and out of the stereotype. More females who experience anger, raw ambition, intellect, sexual hunger, arrogance, a solid ego, authority, power.” Who are some of your favorite women characters who fit such a description? Who are some of your own favorite writers (NO gender specified here on purpose!) who have created such women?
Lily Briscoe in Virginia Woolf’s To the Lighthouse for her ambition and passion for her art, painting right to the very end of the novel. J.M. Coetzee’s Elizabeth Costello in the book of the same name for her intellect, her honesty, her solid ego. Elizabeth Strout’s Olive Kitteridge in the book by the same name is dear to me. Olive gave me permission to go ahead and create a complex female character, full of impatience and patience, who is stern, driven, and utterly devoted to her art and her children. Leda in Elena Ferrante’s The Lost Daughter, for her brutally honest ambivalence toward motherhood. Grace Paley’s first person narrators, especially in her short story collection, Enormous Changes at the Last Minute.
Do you think writers who are also women (won’t dare use “women writers”!) need to create more female characters like those you describe above? Just as authors get outed, noted, criticized, or applauded for writing beyond their ethnic box, do you think authors can or should write beyond their gender?
Absolutely. In my first novel, The Painting, I wrote my way back into the 19th century in Japan and Paris during the Franco-Prussian War, inhabiting both men and women. It was thrilling.
Now that I’ve outed that word—sex, albeit via “gender”—I have to mention your blog post, “Writing Sex,” in which you confess, “I have to write a sex scene. It’s inevitable.” I love that “inevitable.” In the post, you channel the words of Edmund White (“Most sex is funny…”) and Ernest Hemingway (“…and for her everything was red, orange, gold-red from the sun on the closed eyes, and it all was that color, all of it, the filling, the possessing, the having, all of that color, all in a blindness of that color”). How come no exemplary scenes by writers who are women?
You’re right. I’m not sure there’s one author, but let’s add the “Song of Solomon” from the King James Bible. Anaïs Nin. Marguerite Duras’s The Lover. I’m thinking of writers who do sex in an interesting way. Oh, Toni Morrison’s scene in Beloved between Sethe and Paul D. Garner.
I’d love to hear from your readers about their favorite sex scene in literature.[…click here for more]
Author interview: “Q&A with Nina Schuyler (Part 2),” Bloom, January 8, 2014