TRAVELING WHILE FEMALE by BARBARA O’NEAL

LUCY BURDETTE: I am always so happy to welcome writer Barbara O’Neal to the blog—and even happier that her newest book, A THOUSAND PAINTED HOURS, will be published in August. (I have already pre-ordered.) She has some interesting thoughts today on traveling as a single woman…

BARBARA O’NEAL: Last night, I was on a fairly empty train rather late, at the SFO airport. It was grim lighting, that tungsten glow that makes everything seedy.

It occurred to me with some surprise that I wasn’t worried about it. As a young woman, I would have been looking over my shoulder, checking for men who might be dangerous. Constantly. I am still aware—I’m not a fool; I can still be pickpocketed or mugged—but this is no longer an overarching, constant, tense, alert worry. I walk through the world like a man. At ease. Sure. Because I have crossed into the blessed territory of invisibility.

What a delight.

Eating dinner at the airport food court, I saw a young man pass, staring at a very young woman at a table in front of me. She was eating. Her hair was a little messy from travel. She didn’t notice him, but he walked twenty feet staring at her so obviously that it irritated me. I wanted to stand up and whack him with my purse. Keep walking, bud.

I remembered when it was me worrying about the unwanted attention of some random guy, finding a place to sit between an old woman and a mother with a child so the strange man couldn’t sit near me.

My son, age 25 or so, talked about going out to the New York clubs with a small group of women. One was very fearful, jumping at shadows, worried about alleyways and knots of guys on the street. Her friend said, “Don’t worry, Ian is with us. No one will mess with us.”

He said, recounting that story to me later, “I had no idea women worry about this all the time. All. The. Time. Did you know?”

Um, yes, son. I did.

I’m taking my granddaughter to Japan next month. She’s 14 and leggy and eccentric, with a wild head of hair that draws the longing gaze of white women (“I love your hair”) but also the meanness of boys at middle school. I feel some sense of relief about the safety of that country, but I also know I will be instructing her constantly, quietly, on how to be female while traveling. I want her to be mighty. And safe.

I honestly worry less about this one than her younger sister. My wild-haired girl is fierce and knows her own mind. She’s the girl other kids ran to when they were being bullied. Her sister is pliant and a pleaser and very pretty in that way some males want to claim—if it is beautiful, it is mine. We will go somewhere, too, in a couple of years. She longs for Germany, which she visited a couple of years ago. I will instruct her carefully.

I wish this was not necessary. I wish I had not spent 40 years sizing up every space I walked through. I traveled anyway, but often I was nervous.

Now I stride through the world like a white man, able to occupy any space without apology or fear. I just wish my granddaughters could begin here, instead of waiting decades to age into it. 

Readers, do you worry when you’re traveling or otherwise out of your element?

More from Lucy, Barbara has some news for the upcoming A Thousand Painted Hours: If you would like a signed copy, you can order one now, and we have some very special things that go along with it. The first is a giveaway of an original piece of collage art I created to commemorate the book. One golden ticket in the books will win the original art.

To order a signed copy, visit Author, Author

You can also pre-order all the other versions—kindle, hardcover ($2 off if you order now), paperback or audio, which is going to be especially fantastic this time. I’ve heard the clips from my narrator and I am so very excited. Pre-orders really help visibility of a book, so I appreciate any help in that direction.

Chekov's Gun in Ulster American

 LUCY BURDETTE: The week before last, John and I dashed into New York to see the play Ulster American at the Irish Repertory Theater. This is a small theater on 22nd street, so it has none of the razzle dazzle of Broadway. But on the other hand, the theater is very cute, the sets simple but perfectly done, and the audience is very close to the action and the actors. 

(Photo from the Irish Rep Instagram)

Two years ago we saw Kate Mulgrew (the cook called Red from Orange is the New Black) in The Beacon, and we’ve supported the theater ever since. The Beacon was both a wonderful show and wonderful performance even if a dark story. (To be fair, the shows we’ve seen are universally Irish and always dark.)

Ulster American takes place on the eve of rehearsals for a new play whose director, playwright, and star actor (Matthew Broderick) are meeting for the first time. The play was dark all the way through, ending with a bloody denouement that I won’t describe in case you go to see it. 

There were some disparate discussions and elements throughout the performance that caught my attention along the way (Maggie Thatcher, a jar of pencils, an eye patch). This had me thinking of Chekov’s Gun:  "One must not put a loaded rifle on the stage if no one is thinking of firing it". Apparently Chekov was talking about the efficiency of a narrative, recommending that everything unnecessary to the denouement should be removed. And believe me, everything I noticed on that stage showed up again by the end!

This had me thinking about the novel I’m writing—do I take out bits and pieces that don’t advance the narrative? How would I even know at the beginning of a book what will become important by the end?

Red readers and writers, do you think about this question when writing or reading? How often do you notice things in a book that aren’t necessary or don’t belong? 

Amy Ephron's UNSEASONABLY COLD is IN SEASON!

 HALLIE EPHRON: Today it's my great pleasure to welcome my sister Amy Ephron to Jungle Red! She's a lot younger than me and still she beat me, getting started writing years before I took the plunge.

Her brand new book, UNSEASONABLY COLD, is off to a great start.

It's a mystery and a love story. The tag line:
A socialite living in late 1930s New York City, disappears without a trace.

And it just got a fabulous review in AIR MAIL Magazine:

The place is New York; the year is 1939. War is the backdrop of Amy Ephron’s latest novel, a suspenseful noir that travels between the bohemians of Greenwich Village and the aristocrats of uptown. But the society set is far more preoccupied with another matter: the mysterious disappearance of heiress Jane Abbott. None more so than her best friend, Liza, who is haunted by the foreboding last words Jane said to her. Unseasonably Cold’s atmosphere is Wharton and Towles; its page-turning plot is pure Christie. - Air Mail Magazine

Today I'm thrilled to host Amy here on Jungle Red.

Amy, tell us about the crime/event that inspired you to write UNSEASONABLY COLD.

AMY EPHRON: It wasn’t really a crime... unless it was.

When I was in my 20.’s a dear friend had an “accident” on the island of Kauai — toppling from a mountain cliff. His glasses were left on the mountainside.

There was a lot of speculation. Did he fall? Did he jump? Was he pushed? There were rumors someone had been with at the time.

He’d always been so jovial and unconditionly kind. I’d never known about the depression, the heartbreak, or that there might have been drug use. Secrets, illusions, perfectly masked.

His loss was so unexpected….it was an awful and long lasting loss.

HALLIE: I know you started writing UNSEASONABLY COLD years ago... what made you set it aside? And then (lucky for us) what made you pick it up and write to the finish line?

AMY: I wrote three kid’s novels, ‘The Castle in the Mist’ ‘Carnival Magic’ and ‘The Other Side of the Wall’ for Philomel/ Penguin, took a screenplay job, and wrote a silly/fun book (‘The Amazing Baby Name Book')with my daughters Maia Wapnick and Anna Ephron Harari.’

So the manuscript for UNSEASONABLY COLD was just waiting to get finished.

HALLIE: 1930s New York City: What is it about that period that intrigues you.

It was a time a bit like today. The division of wealth and class differences was extreme. So were political and religipus views, discrimination rampant, women’s rights. The war was just beginning, the end of which was so uncertain and unknown, almost a mirror for the story, as no one knows what was happened to Jane.

I think so many people now are experiencing loss that is hard to fathom. 

[Photo by Katrina Dickson]

HALLIE: What kind of research did you do to make the period and the characters come so alive?

AMY: Thank you for saying that. It was a very interesting time for art, what was hanging at the Met, theatre, the world’s fair, beginning Hollywood.

I also researched clothes and food and existing clubs and restaurants which was very fun. But I researched it as it came up. I’ve previously read a lot of fiction and nonfiction about that period.

A bestselling earlier novel of mine “A Cup of Tea” (based on a Katherine Mansfield story - don’t believe in stealing, I bought the rights from her estate.) A story of love, disloyalty, and madness, is set in New York and France at the time of the U.S. entrance to World War I.

HALLIE EPHRON: A wonderful review of the book in AIRMAIL called the book a "historical thriller" -- do you think that feels right?

AMY: Unseasonably Cold is a bit of a hybrid: lit fiction, mystery, love story, historical fiction, noir. I hope it finds many fans! Thanks for having me and being my sister!

HALLIE: It's a terrific book and it will appeal to a broad range of crime fiction readers, and on to straight up Agatha Christie. Hopefully it will also send readers off to find A CUP OF TEA as a chaser.

ABOUT AMY EPHRON: Amy Ephron is a best-selling, award-winning novelist and children’s book author. She is also a journalist, screenwriter and producer. She was a contributing editor to Vogue, The New York Times’ T magazine. She has published in print and online at Airmail Weekly, The Los Angeles Times, Newsweek, The Daily Beast, Harper’s Bazaar and more. Unseasonably Cold is her 10th novel.