Saturday 2 February 2013

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Today Fringe reprinted “The Revolutionary’s Wife,” a short story from Issue 5. We asked contributor Rosalie Morales Kearns about her new collection, which includes this piece, her craft, and her next big project.

Tell us about the story cycle “The Wives” in your new collection, Virgins and Tricksters. What made you want to write about wives, and how does this cycle fit into the rest of the collection?
“The Wives” consists of four stories: “The Revolutionary’s Wife” (published in Fringe), “The Pirate’s Wife,” “The Priest’s Wife,” and “God’s Wife.”
It started with pirates. I was copyediting a scholarly book manuscript on eighteenth-century British pirates, and came across a quote from a 1724 book that blamed a nagging wife for driving her husband to piracy! So there I was, red pencil in hand almost 300 years later, wondering, “What did she have to say about that?” I’m pretty sure she never had the chance for a rebuttal.

I didn’t write the story right away, but that irritation stayed in the back of my mind. Over time the idea of a story cycle, with various wives, took shape. As a feminist I’m very aware that women’s voices are absent from history. Women of course had voices, but they weren’t the ones to write history, they weren’t the ones to choose which thinkers and artists and other achievers would be honored.
The cycle fits in with the collection as a whole because all the stories feature characters who are marginalized in some way, belittled or ridiculed or shut out of someplace they feel they belong. Now that I think about it, “The Wives” is the most melancholy section of the book. The other stories are more celebratory, with characters who manage to establish connection, to feel great joy.
How did you choose which wives to portray?
There were women pirates, but that’s not what you picture, probably, when you hear the word “pirate.” It’s the same with so many other terms. Soldier. Philosopher. Revolutionary. Priest. God. I ended up going with those last three because of my own reading interests: feminist history and theory, and spirituality in general, including Afro-Caribbean spirituality and early and medieval Christianity.

So why not just write about a female pirate, a priestess, a goddess? It gets back to your question of why wives? I wanted to explore the stories of women who had some of the same job qualifications, let’s call them, as their husbands, but got none of the credit. The revolutionary’s wife, for example, was in fact a revolutionary herself, just as fierce and brave and dedicated–and ruthless–as her husband, but because of his own competitiveness with her he pushed her to the sidelines.
Looking back at this story, six years later, what strikes you about it?
Fringe was the perfect home for a story like this, with its political content and unconventional form–the alternating of omniscience and a first-person narrator answering a journalist’s questions, the movement back and forth in time. I was glad for the chance to revisit the character. I love her despite her flaws. Here was a person who had unfair privileges and didn’t want them: she was from a wealthy white-skinned family in a country with a majority of oppressed and desperately poor black people. She fought to overhaul the society that gave her those privileges. And here she is in old age, still proud and cantankerous and abrasive, indifferent to the fact that history will ignore her accomplishments. She was an angry young woman who has aged into a philosopher.

Tell us a bit about your writing process. Do you write every day? Are you an outliner? A longhand-drafter? A compulsive editor?
I write in longhand at first. It’s easier to go into a semi-meditative state, and dream the scene, with a notebook and pen than with a computer in front of me. Writing every day makes a huge difference; otherwise I lose my momentum, lose my feel for the story. The editing stage comes much later, after the work has had time to simmer in my subconscious.

I would be lost without an outline, completely lost! Even when I’m working on something that isn’t plot-heavy, I like to at least roughly chart out the movement, the shifting of moods, so I know what direction to go in.
What are you working on now?
I’ve just finished a LONG novel, Kingdom of Women. Because the main character is a female Roman Catholic priest, I had to set it in the future, but it’s a not-too-distant future, and/or a slightly-alternate present. I’m seeking a publisher for that, and meanwhile trying to work some more on poetry. After working for so long on a sprawling novel that covers decades, I want to create something that begins and ends on a single page.

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