Beryl Bainbridge and Bernice Rubens

Vicky Grut Photo © Bill Williams

We were thrilled when short-story writer Vicky Grut offered to write a piece on the friendship between Beryl Bainbridge and Bernice Rubens. Ever since 2014, when Emma wrote about an inspirational meeting with Rubens, we have been hoping to profile the friendship she enjoyed with Bainbridge.

 

Beryl Bainbridge (1932 – 2010) and Bernice Rubens (1923 – 2004) were friends for almost thirty years. They met on a British Council trip to Israel in July 1977, the first of many such outings. Describing this trip in the Independent’s How We Met’ column, Rubens recalled: ‘The group was Fay Weldon, William Trevor, Ted Willis, Iris Murdoch, Melvyn Bragg and Beryl, who made an impression on me immediately because she was wearing a hat and was quite clearly out to lunch.’

Bainbridge’s version of the occasion was that she was extremely nervous and the flight was delayed, which meant that she overdid it in the hospitality lounge and had to be wheeled out to the plane on a luggage trolley. ‘I didn’t even get going as a writer until 1971 and Bernice had won the Booker Prize before then,’ Bainbridge remembered. ‘I had read her and was quite in awe of her and the rest of the group.’

Bainbridge and Rubens
Beryl Bainbridge and Bernice Rubens, left to right. Photo courtesy Sue Greenhill.

Bainbridge was hardly a newcomer in 1977. She had been publishing steadily since A Weekend With Claude in 1967. Shortlisted for the Booker in 1974, she had won the Whitbread Prize with her eighth book three years later. But Rubens was six years older and probably did seem more confident and established. She was the first woman ever to win the Booker – in 1970 for her fourth novel, The Elected Member. Today she is perhaps best remembered for her second book, Madame Sousatzka (1962), which became a John Schlesinger film in 1988, starring Shirley MacLaine.

Rubens was the author of 26 books and Bainbridge 24, but neither started out as writers. Bainbridge left school at sixteen to join a theatre company in Liverpool, an experience vividly portrayed in her 1989 novel An Awfully Big Adventure. Rubens initially took a more conventional route: a scholarship to study English at Cardiff University, then marriage and teaching English in schools. She followed this with a career as a documentary film maker and scriptwriter, and the novels came later still, when she was in her thirties, as was the case for Bainbridge.

Physically, Rubens was bulky while Bainbridge was girlishly slight. Rubens was Jewish, Bainbridge a Catholic, and their personalities, too, were radically different. ‘When praised I took refuge in a smirk,’ Bainbridge said, ‘Bernice lashed out. When confronted with tragedy I shed tears and crept away; she made inquiries and organised relief.’

But they had some important things in common. Both came from difficult families. Both were devoted to their children and grandchildren but lived alone. Both believed that if they had been happier they would not have needed to write. They also shared an interest in other art forms. According to Bainbridge’s daughter Jojo Davies, her mother would do a painting each time she finished a book. In the attic room where Rubens worked there was a grand piano and a cello next to her desk so that she could reward herself by playing when the writing went well.

Writing in The Times after Bainbridge’s death, their friend Paul Bailey said of the two of them: ‘Bernice could best be described as a fiery particle, for she blew very hot or cold, especially with those she loved. Beryl, by sweet contrast, never judged anybody.’

This was a quality that Rubens valued greatly. ‘Although I have many friends who are writers, I don’t want to talk about [my work] to any of them except Beryl, because – like the Midland Bank – she listens, and she is terrifically loyal. […] I’ve never heard Beryl talk evilly about anybody.’ In their later years, the two friends met fortnightly for breakfast at the Cafe Delancey, just around the corner from Bainbridge’s house in Camden Town.

There are many anecdotes about Rubens sweeping in to avert disaster for Bainbridge, the most dramatic being A. N. Wilson’s assertion that when her publisher Duckworth ran into financial difficulties, the head of the company Colin Haycraft, whom she adored, came to see her and suggested that she sign her house over to them. ‘For a few hours she seriously considered this monstrous demand. Then the steely common sense surfaced – helped by her friend Bernice Rubens shouting from the sidelines.’

Bainbridge once talked about the nurturing quality of their friendship. Remembering that they had never quarrelled, and had ‘no rivalry’, she said, ‘If one of us is miserable then we ring the other. I got drunk at one of her dinner parties and she rang me the next day because she knew I’d be feeling remorse, to tell me I behaved beautifully, which wasn’t true.’ If one of them saw a bad review about the other, she added, then they would ‘ring and not refer to it directly, but support the other in a roundabout way’.

What more could anyone ask of a friend?

Beryl and Bernice google
Bainbridge and Rubens, left to right, at a publication party, 1988. Photo courtesy of Sue Greenhill.

LiveShow_thumbnailVicky Grut’s short fiction has appeared in anthologies published by Picador, Granta, Duckworths, Serpent’s Tail and Bloomsbury. Live Show, Drink Included: Collected Stories is published on October 5, 2018, by Holland Park Press. Find her on Twitter @VickyGrut.

 

Edited by Kathleen Dixon Donnelly, who posts at Such Friends, and is currently working on a book, ‘Such Friends’: A Scrapbook Almanac of Writers’ Salons, 1897-1930. Follow Kathleen on Twitter @SuchFriends.

 

It has been a particular pleasure to feature Vicky’s post on a historical pair of female writer friends today since tonight she will be celebrating the publication of Dear Evelyn by her own close writer friend, Kathy Page. On October 5th, Vicky and Kathy will be letting us into the secrets of their long-standing friendship to mark the publication of Vicky’s book, a short story collection called Live Show, Drink Included

If this has inspired an idea for a future Something Rhymed post, please do get in touch. You can find out more about what we are looking for here.

 

 

Hannah Croft and Fiona Pearce: Still Friends Above All

Comedians Hannah Croft and Fiona Pearce became friends at school, followed each other to Oxford and then on to drama school before starting to write and perform sketch comedy together as  Croft & Pearce. Their synchronicity didn’t end here – they even became pregnant in the same week!

We asked Hannah and Fiona about their experiences of writing and female friendship.

Hannah Croft (front) and Fiona Pearce (back)

What were your first impressions of each other?

Hannah: We first met in sixth form when Fi joined my school. I remember seeing a geeky-looking new girl sitting alone in the common room and thinking ‘look at that friendless loser…I think I’ve found a kindred spirit!’

Fiona: Hannah didn’t seem to have many friends despite having been at the school for five years, which was ideal for me. I remember she was very colour co-ordinated – her top matched her necklace which matched her belt which matched her eye shadow – so my first impression of her was ‘purple’.

How did you come to write and perform comedy together?

Hannah: Having discovered this new friendship we clung to it with all our might and followed each other to Oxford and then on to drama school. It was when we were trying and failing to forge our careers as the greatest classical actresses of our generation that we took a step back and began to laugh at ourselves and at the world.

Fiona: I had some friends who were running a sketch comedy night in a basement below a pub on London’s Great Portland Street and they offered us a three-minute set, which we thought would be too short and ended up being around two and a half minutes too long.

Describe your co-writing process?

Hannah: It has chopped and changed over the years as we’ve found our feet, but on the whole we each allow ourselves to be inspired by the everyday and we each make notes separately of things that have made us laugh. Then we put our heads (and lists) together and start to develop the ideas.

Fiona: We tend to come to each other with what we think are completely amazing ideas, and then work them up together and gradually realise they’re flawed, and then very slowly make them better. We improve ideas and start writing from there, either in a room together (normally with tea, coffee and cake that Hannah has made) or over Skype.

Hannah: Our benchmark for a good idea is whether it makes us laugh or not. If it passes that test we deem it worthy of being tested out in front of an audience. You get very direct feedback in comedy, so we tend to let the audience be our script editors.

How do you manage the personal and professional aspects of your relationship?

Hannah: We’ve discovered over the years that our friendship is a very powerful procrastination tool and we tend to kick off each writing session chatting away as friends until we finally give into the inevitable and begin to work, work, work, usually hurrying to make up for lost time. We never learn. But I find it such a joy to have this great excuse to spend so much time hanging out with my best friend and I prize our relationship above all else.

Fiona: Yes, we are still friends above all, which makes it all so much more fun when things are going well, and so much more manageable when we encounter setbacks.

What have been the most significant changes in your writing friendship?

Hannah: We have gradually eased into becoming much more direct with each other as time has passed. In the early years we’d try to be very tactful with each other and humour (no pun intended) each other’s less promising ideas, whereas now, with evermore projects to juggle at the same time, we’ve become less pussyfooty.

Fiona: Yes, less pussy, more footy. At the same time we’ve become more relaxed and playful with our ideas and willing to try things out that we’re not sure will work, which comes from having lots of experience with different audiences on tour.

What are your hopes for your writing and performing careers, together and separately?

Hannah: We’d love to get ourselves on more comedy writing teams – even some in LA where they have comedy writers’ rooms…hell, why not put that out there! – and the big dream is to have our own show on TV.

Fiona: Everyone says it’s hard to get a show commissioned but we are still naive enough to believe in our dreams. It was a great experience to write our own series for BBC Radio 4 and we’d love to make something for TV. We’ve been lucky to be taken under the wing of some great comedy writers already and we’d love to work with other experienced comedy greats like Armando Iannucci and Tina Fey…Hell, why not put that out there!

Croft & Pearce won a 2014 Edinburgh Spirit of the Fringe Award and in 2015 they were a BBC Next Big Thing Act. Their episode of BBC Radio 4’s Sketchorama was nominated for Best Scripted Comedy at the BBC Audio Drama Awards and this led to the commission of their first solo sketch show for BBC Radio 4, The Croft & Pearce Show, which was broadcast in March 2016. Following a Total Sell-Out run at the Edinburgh Fringe in 2016, they launched a podcast with their hit characters June & Jean, and embarked on their second UK tour.

Croft and Pearce will be taking their new show, Double Take, up to the Edinburgh Fringe this year. You can find out more about their show here.

You can follow them on Twitter @croftandpearce

Pratibha Parmar and Alice Walker

In March, we announced that Something Rhymed would, for the first time, be open to submissions. It is a particular pleasure that the first profile post we received from our call for submissions came from former City University student Alice Fitzgerald. As she celebrates the publication of her debut novel, Her Mother’s Daughter, she wrote for Something Rhymed about the friendship of her literary heroines Pratibha Parmar and Alice Walker

We also spread the word that we were looking for people to help us out with the editorial and administrative side of things. It was wonderful to hear back from Kathleen Dixon Donnelly, who we knew of through her fascinating blog, Such Friends, which explores the early-twentieth century literary salons of the Irish Literary Renaissance, the Bloomsbury Group, the Americans in Paris, and the Algonquin Round Table. Our thanks to Kathleen for editing this post. 

If you would like to get more involved with Something Rhymed, please find further details here.

You might know Alice Walker as the author of groundbreaking novel, The Color Purple. This would make sense; it was off the back of this book that she made history as the first African-American woman to win a Pulitzer Prize for Fiction, as well as the National Book Award, in 1983, gaining more fame when the novel was made into a film directed by Steven Spielberg in 1985. In fact, Walker is a prolific writer, having penned everything from poetry and essays to short fiction and novels.

Born in 1944, the eighth child to sharecropper parents in Georgia during a time of racial segregation, she is also an activist, best known for her work with civil rights, women’s equality and peace campaigns. She coined the term ‘womanism’ in 1979 to describe a black feminist or feminist of colour.

British filmmaker Pratibha Parmar, meanwhile, was born just over a decade later in Kenya to a family who had emigrated from India to East Africa during the period of the British Empire, and migrated again to England in a group that the British media then termed ‘East African Asians’. Hailing from a persecuted people who had travelled across three continents, Parmar’s work is embedded in political complexity, examining themes such as gender, identity, LGBT issues, race and feminism.

It was Walker’s political beliefs and prominent role as an activist that first brought her and Parmar together. Having written Possessing the Secret of Joy, a novel which touches on female genital mutilation, Walker hoped to make a film on this controversial practice of female circumcision. She wanted to put her words into something more visual and accessible, and Parmar was happy to make that a reality.

The 1994 documentary, Warrior Marks, went on to win awards, and ‘that harrowing journey both triggered and cemented our mutual respect and trust’, Parmar told E. Nina Rothe in 2013 of her relationship with Walker. The two women soon went on to co-publish the book, Warrior Marks: Female Genital Mutilation and the Sexual Blinding of Women.

Alice Walker (left) and Pratibha Parmar (right) by Shaheen Haq, the producer of Alice Walker: Beauty in Truth.

Their friendship now stretches over more than 25 years. Like most of us, they communicate over email. Parmar is now based in San Francisco and Walker has a house in Mexico. There have been more fruits of their friendship, too. In 2013, Parmar made a documentary film about Walker’s life. ‘Two exceptional women, talking about one exceptional woman’s life, with the help of a few really exceptional friends’, writes Rothe in her Huffington Post article.

Parmar’s love, respect and admiration for her friend are clear throughout the beautifully-shot documentary, called Alice Walker: Beauty in Truth, which is Parmar’scontribution to filling this gaping abyss of on screen representations of women as history makers and shapers, women as public intellectuals and visionary leaders’.

As with any friendship that spans a length of time, one has seen the other change and grow. Speaking of Walker, Parmar told Bernard Boo in a 2013 interview on Way Too IndieShe’s gone through so many different experiences over the last few decades that I’ve known her, I’ve seen her grow, I’ve seen her suffer, I’ve seen her speak out about things even when she knows it won’t make her popular with people. Through all of that, I would say that there is an essence that’s never changed. She has a very strong inner core and will that’s powered her through her life.’

There have been hard times, too; Warrior Marks earned them criticism for not being African women. But Walker had wise words for her friend. Pratibha. Teflon,’ Walker told Parmar. She said I had to develop a skin like Teflon. She’s had to have done that to survive’, explains the filmmaker.

HERMOTHERSDAUGHTERWritten by Alice Fitzgerald, whose debut novel Her Mother’s Daughter is out now with Allen & Unwin. You can follow her on Twitter @AliceFitzWrites

 

 

    Edited by Kathleen Dixon Donnelly, who posts at Such Friends, and is  currently          working on a book, ‘Such Friends’: A Scrapbook Almanac of Writers’ Salons,                 1897-1930.

Companions, mentors, fairy godmothers: Alice Fitzgerald, Margarita Gokun Silver and Nicola Prentis

When one of Emma’s former City University students, Alice Fitzgerald, shared the good news about securing a publisher for her debut novel, Her Mother’s Daughter, we asked her to write about the female writers who have influenced her own literary journey.

It is with great pride and pleasure that we celebrate today’s launch of Her Mother’s Daughter with Alice’s post on her own writer friends. And we will follow up soon with her piece on the bond between her literary heroines Alice Walker, author of The Colour Purple, and British filmmaker, Pratibha Parmar.

If you would like to write for Something Rhymed, or help in other ways, please find further details here.

Alice’s debut novel, launched today by Allen & Unwin.

You have school friends, university friends, work friends, going-out friends, and then you have writer friends. There is something particularly nourishing about writer friends. They get you in a way others don’t. They understand the loneliness, the lows – which feel so low and so all-encompassing when they come – and the highs – just as high and all-encompassing when they (allbeit more rarely) come.

They dedicate time to reading your work, whether it be an essay, or an article, or the first draft of your novel, or the second, third or tenth draft… They are by your side, even if you don’t live in the same city any more, and are at the end of the WhatsApp group on your phone. When you get nervous and disillusioned because the writing process is so hard, and then the publishing process is equally as hard, and brings with it its very own anxiety show, they are there with an ear, and with wise words that make you feel instantly better.

I met Margarita and Nicola at a writer’s group in Madrid six years ago. I didn’t know then that our friendship would become among the most important, and most fruitful, to me. It has happened slowly and gradually. They have been my companions, accompanying me through writing and editing my first novel, then pitching to agents, then through the quest of finding a publisher. They have both encouraged me and pushed my writing in equal measure.

Margarita, particularly, has played a bit of a fairy godmother when it comes to the publication of my novel. She found my agent and pointed me in her direction, because she liked ‘dark’ writing. Later, she had a helping hand in the manuscript getting into the hands of the publisher that picked it up.

For their part, they have both continued to carve out careers as freelance writers/journalists, with enviable bylines and accomplishments. Nicola published her novel and is currently working between journalism, ELT, and copywriting (lots of strings…). Margarita’s own novel came out in the US in 2015. Since, she has written a memoir in essays and is currently burrowing away at a new project. We’ve also seen her branch out into journalism, at which she is a dab hand.

From the left: Margarita, Alice, Nicola, and another writer friend, Julia, in Madrid.

There is the personal side, too, of course. Since I’ve known her, Nicola has had her first and then second child. When I had mine, we traded stories and knowledge on breastfeeding and baby weight gain. Margarita, whose daughter is on the cusp of going to university, serves as a reminder that we must enjoy every minute. While we’re in the midst of nesting and the beauty and madness of raising young children, she finds her nest is free of its fledgling.

They have both moved cities – one now lives in Girona, and the other in Athens. But our mobile chat group keeps the line open, and our weekly call, when we talk through ideas, projects, goals, and anything else happening in our lives, is great encouragement and really eggs me on to edge forward.

And forward we go, coming together every now and then when our paths cross, for some pizza and face-to-face discussions when one may ask the other what it’s all about?, or for a glass of wine and a bout of banter – light and literary-free.

Alice Fitzgerald’s debut novel Her Mother’s Daughter is published today by Allen & Unwin. She’s on Twitter as @AliceFitzWrites.

Nicola Prentis is a double award-winning fiction writer with books for English language learners. She also writes about parenting, travel, food and the English language for various places including Quartz, Cosmo and WSJ.

Margarita Gokun Silver is a writer and artist living in Athens, Greece. Her work has appeared in The New York Times, The Washington Post, BBC, The Guardian, Oprah, and The Atlantic, among others. You can find her on twitter @MGokunSilver.

 

Doris Lessing and Muriel Spark

Since this month marks the centenary of Muriel Spark’s birth, we were keen to investigate whether the famed author of The Prime of Miss Jean Brodie turned to another female writer for support. We instinctively felt that she might have found something in common with fellow grande dame of post-war British literature, the Nobel Prize-winning author of The Golden Notebook, Doris Lessing.

A recent memoir by a male friend of Spark confirmed our hunch, but mentioned the friendship only in passing. Other biographies miss out the relationship altogether. Turning instead to the words of Lessing and Spark themselves, we were delighted to find that they mention each other in print. What’s more, we discovered a cache of their unpublished correspondence. The Doris Lessing collection is held in the British Archive for Contemporary Writing at the University of East Anglia, and a letter and telegram to her friend are currently on show at the National Library of Scotland, home to the Muriel Spark Archive.

Both diminutive women with immense intellects, Doris Lessing and Muriel Spark seem destined to have crossed paths. Born just a year apart into a world ravaged by the First World War, they would each grow into outspoken women who dared to question convention.

Such a destiny could hardly have been predicted when, at nineteen, both girls married older men and immediately fell pregnant. However, while each of these young wives cradled their new-borns with one arm, they attempted to write with the other. Lessing – who grew up in Southern Africa – had already published stories in local magazines, and Edinburgh-born Spark was now winning local prizes for poetry. During this period, unbeknown to each other, these two future literary stars were both living in Zimbabwe, then known as Rhodesia.

Muriel Spark in 1940. Photo by G H Addecott. Every effort has been made to obtain permission to reproduce this photograph

Looking back on this time, they’d each feel that their lives would have been easier if they had met during these inter-war years. The newly married Spark had felt horrified by the casual racism she encountered in Southern Africa, and her husband proved an unstable, violent man, prone to shooting his revolver indoors. The Second World War had broken out by this stage, trapping a frightened, lonely Spark thousands of miles from her Scottish home. ‘How I would have loved to have someone like Doris to talk to’, she later recalled.

By the early 1940s, Lessing, too, had begun to feel disturbed by Rhodesia’s race relations, and disappointed by her marriage. She threw herself into literature and politics, joining a communist book club, ordering novels from London and getting her hands on New Writing magazine, which championed working-class writers alongside their middle-class contemporaries. When Lessing later discovered that Spark had also treasured this wartime publication, she found herself wishing she had known of this other female writer on her doorstep. Long conversations about their shared reading, she felt, could have offered much solace during that difficult time.

But their paths were not fated to cross until they had divorced their husbands and relocated to London. Each woman would remain forever dogged by her choice to forge a new life for herself: Lessing had left her two eldest children with their father in Southern Africa, and Spark had placed her son in a Rhodesian boarding school for a year before he was brought to Scotland to be raised by her parents.

Doris Lessing with her cat, Black Madonna. Every effort has been made to obtain permission to reproduce this photograph

These women, who had so much in common, finally met in the mid-1950s. But, by then, Lessing was known as the celebrated author of The Grass is Singing, which had come out when she was in her early thirties, whereas Spark was a few years off publishing her first novel at the age of thirty-nine. Describing their early years of friendship in an essay, Lessing – who had been part of a cash-strapped crowd of bohemians and communists – recalled her surprise at her new friend’s traditional furniture and tasteful clothes.

Their unpublished correspondence reveals, however, that their similarities far outweighed their differences. During their enduring friendship, the pair reminisced about Rhodesia; celebrated literary successes and commiserated about professional frustrations; and shared the glare of the media spotlight – trained so often throughout their long years of fame on their controversial decisions to leave the upbringing of their children to other relatives.

The surface-level differences in their novels – Spark’s much-praised acerbic wit versus Lessing’s radical politics – bely deeper similarities. Like that of their mutual friend Iris Murdoch, both women’s work was shaped by an interest in philosophy and religion – subjects they discussed. While Spark credited her development as a novelist to her conversion in 1954 to Roman Catholicism, Lessing turned her back on communism and in the mid-1960s immersed herself in Sufism, a mystical strand of Islam. Yet they both remained anti-establishment at heart – two fiercely forthright authors who dared to point out hypocrisy and absurdity whenever and wherever they found it.

We are looking forward to the UK paperback publication on March 1st  of our co-written book, A Secret Sisterhood: The hidden friendships of Austen, Brontë, Eliot and Woolf, which is available for pre-order now.      

 

Released today in the USA: A Secret Sisterhood: The literary friendships of Jane Austen, Charlotte Brontë, George Eliot, and Virginia Woolf

In London tonight we plan to celebrate together with a glass of bubbly and a home-cooked meal. We’ll be raising our glasses to the US edition of A Secret Sisterhood, which Houghton Mifflin Harcourt are publishing stateside today. And we’ll also be toasting all the readers of Something Rhymed who encouraged us to write a book on female literary friendship.

It won’t be long before we get to help this edition make its way into the world during our US book tour.

We’d love to meet some of you in person at the following engagements in New York City, San Francisco, and Los Angeles:

Thursday 26 October, 6-7.30pmEmily Midorikawa and Emma Claire Sweeney in conversation with Kate Bolick at NYU Bookstore, New York City

Saturday 28 October, 2-4pm – The Jane Austen Society of North America – NY Metropolitan Region and the Brontë Society American Chapter: Conversation with Emily Midorikawa and Emma Claire Sweeney (chaired by Miranda Beverly-Whittemore) at Shakespeare & Co, New York City

Wednesday 1 November, 6pm – A Celebration of Literary Sisterhood: Emily Midorikawa and Emma Claire Sweeney in conversation with Mary Volmer and Cheryl Crocker McKeon at Book Passage, San Francisco (event sponsored by the WNBA-SF, Saint Mary’s College MFA in Creative Writing)

Tuesday 7 November, 7pmEmily Midorikawa and Emma Claire Sweeney present and sign A Secret Sisterhood, in conversation with Elizabeth L. Silver, and joined by Julia Fierro and Caeli Wolfson at Vroman’s Book Store, Pasadena

Wednesday 8 November, 6pm – Emily Midorikawa and Emma Claire Sweeney in conversation with Prof. Michelle Carriger at UCLA (event sponsored by UCLA’s English Department and Friends of English)

In the meantime, we have upcoming UK events at Chawton House Library, Bloomsbury Literature Festival and Wantage Literary Festival.

We long ago promised each other that we would try our best to enjoy the process of getting published, because we knew all too well that chances to celebrate can be few and far between. Today seems a good time to reflect on A Secret Sisterhood’s publicity highlights to date:

Reviews

Medley of vivid narratives – The Atlantic 

Midorikawa and Sweeney have committed an exceptional act of literary espionage. English literature owes them a great debt – The Financial Times 

Glorious insights into female rivalry and female solidarity and the delicate balancing act required to ensure one doesn’t override the other – The Herald

These forgotten friendships, from illicit and scandalous to radical and inspiring, are revelations – Kirkus 

Evocative and well-researched ode to female solidarity – Publishers Weekly

Best Holiday Reads 2017 – Observer 

The Most Anticipated Books of Fall 2017 – Publishers Weekly

Articles, essays, excerpts and interviews

Daily Telegraph

BBC History Extra

I newspaper

Irish Independent

Irish Times

Red Magazine

Times Literary Supplement  

And there’ll be more soon in Kirkus, Lenny, LitHub, The Millions, The Paris Review, Smithsonian, and TIME.

Next week…

We’ll be back with another guest blog from another pair of modern-day female writer friends.

 

 

 

 

Katherine Anne Porter and Eudora Welty

Some time ago, Tessa Hadley suggested that we explore one of Eudora Welty’s female alliances. When blog reader Elizabeth Ahlstrom also wrote to us to mention Katherine Anne Porter’s mentorship of Welty – a fellow writer from the Deep South – we were further intrigued.

This literary bond particularly piqued our interest since we have long felt indebted to the authors who took us under their wings when we were starting out. And, more recently, we thanked our lucky stars when Margaret Atwood generously agreed to write the foreword to A Secret Sisterhood: The hidden friendships of Austen, Brontë, Eliot and Woolf.

Katherine Anne Porter’s lifestyle, roaming from place to place and lover to lover, bore little resemblance to that of Eudora Welty, who returned to her family home in her early twenties and remained there unmarried until her dying day.

But, a few years later in the late 1930s, when the middle-aged Porter came across Welty’s short stories in the Southern Review, she knew she had found a kindred spirit in the twenty-eight-year-old.

The two women shared a deep admiration for the work of Jane Austen, Virginia Woolf and Katherine Mansfield, and, as Southern writers, they considered themselves ‘bathers in the same sea’. Here, felt Porter, was a talent to nurture.

Welty never forgot the helping hand she received from the more established writer, looking back with wonder at her first letter from Porter, which seemed to come ‘out of the clear blue sky’. Porter invited the younger woman to visit her in the two-room apartment she shared with her third husband in Baton Rouge, Louisiana – 150 miles south of Jackson, Mississippi, where Welty lived with her mother in their large mock Tudor home.

It took Welty six months to gather the courage to take Porter up on the invitation. She twice got halfway there before turning back. But, one midsummer day in 1938, mutual friends drove her down to Porter’s home, where she enjoyed a convivial evening, the open windows letting in a welcome breeze as she listened intently to the conversation.

True to her word, Porter went out of her way for the modest, young writer, nominating her for a Houghton Mifflin Harcourt award, introducing her work to Ford Madox Ford, and inviting Welty to accompany her to Yaddo – a prestigious artists’ colony in Saratoga Springs, Upstate New York.

Katherine Anne Porter (left) and Eudora Welty (right) at Yaddo in 1941                                                                                    © Eudora Welty LLC; courtesy Welty Collection, Mississippi Department of Archives and History.  All Rights Reserved. The Eudora Welty Foundation.

At Yaddo it became clear that the outwardly shy Welty shared with her glamorous mentor a love of socialising and a knack for friendship. Neither woman got much work done during their two months together because they could not resist the temptations of companionship: Welty tried to teach Porter to drive and they made excursions to view the renovations at the nearby colonial home that the recently-divorced Porter had just purchased.

That summer, Porter did begin work on a foreword to Welty’s first collection of short stories, A Curtain of Green – an act that Porter herself predicted would add $10,000 to the book’s sales. But the gesture was not without its complications. Porter, who had always struggled with deadlines, failed to turn it around on time. Welty chose to postpone the publication date rather than chivvy on her mentor, and the book did eventually come out complete with Porter’s promised foreword.

Their bond would always combine the literary and the social. One of Welty’s abiding memories of Porter was an evening they spent together in the late 1970s. By this stage, both women had been awarded Pulitzer Prizes and Porter would soon honour her protegée by presenting her with a gold medal from the National Institute of Arts and Letters – an occasion for which Porter had prepared months in advance with the purchase of an Italian silk pant suit.

Despite recovering from cataract operations and suffering with a broken hip, the eighty-four-year-old spent all morning cooking for her friend. The pair began with spears of asparagus, butter melting onto their fingers, followed by ‘dainty catfish fingerlings’, which they ate using golden cutlery. They finished up with strawberries and champagne, celebrating and chatting all afternoon.

When Porter died at the age of ninety, Welty took a group of friends out for a crab supper after the memorial service so that they could reminisce in a style that would capture Porter’s spirit. And Welty looked back on her bond with Porter more publicly too. She wrote a tender essay about it for the Georgia Review, and her introduction to the Norton Book of Friendship conjures up the way friends give tribute to one of their group who has passed away: ‘As if by words expressed they might turn friendship into magic, the magic that now, so clearly, it had been.’

An Invitation to our Female Literary Friendship Event at the British Library, July 11 2017, 7.15-8.30pm:

We are honoured to be sharing a stage with novelist Kate Mosse, the founder of the Women’s Prize for Fiction, and her friend, the biographer Rachel Holmes. We will be talking about the friendships that we have explored in A Secret Sisterhood and they will be sharing details of their own literary friendship.

If you are free, we would love to share the occasion with you too.

Tickets can be reserved by calling +44 (0)1937 546546 or emailing boxoffice@bl.uk

A Secret Sisterhood: in the media

With our book A Secret Sisterhood just out in the UK, it gives us such pleasure to look back on the past three years running Something Rhymed together.

By the time we launched our blog at the beginning of 2014, with this post on Katherine Mansfield and Virginia Woolf, we had been researching the subject of female literary friendship for some time already. But, over the months that followed, it was the enthusiasm of Something Rhymed readers that encouraged us to explore the subject of female literary friendship in far greater detail in a book.

A Secret Sisterhood features the stories of the literary friendships of Jane Austen and amateur-playwright-cum-family-governess Anne Sharp; Charlotte Brontё and early feminist author Mary Taylor; George Eliot and Harriet Beecher Stowe, of Uncle Tom’s Cabin fame; fellow Modernists Katherine Mansfield and Virginia Woolf.

Literary journalists and friends Arifa Akbar and Katy Guest interviewing Emma and Emily during a friendship-themed literary event at New York University London to mark the launch of A Secret Sisterhood© Rachel Gilbertson

We thought you might be interested in the following articles and reviews, which give something of a taster of the book. We’re also hard at work on pieces for the I newspaper, and the TLS, among others, so do look out for those.

Daily Telegraph: Emily and Emma on How Jane Austen’s mystery woman was edited out of history

The Pool: ‘You don’t think you can find out anything new about Jane Austen…’ says Emma. Kate Leaver interviews us.

Yorkshire Post: Emily asks Why are so many female authors portrayed as eccentric, lonely spinsters?

Litro: Emily and Emma discuss The Lost Art of Letter Writing

Foyles: Jonathan Ruppin interviews us about Jane Austen, Margaret Atwood and how to write together and stay friends.

Writers & Artists: Emma and Emily talk about Literary Sisterhood

Women Writers, Women[’s] Books: Emma and Emily on The Art of Co-Authorship

Byte the Book: Rebekah Lattin-Rawstrone reviews A Secret Sisterhood

Islington Gazette: Emily on A Secret Sisterhood: Uncovering the hidden friendships of great literary women

Sarah Emsley: Emily and Emma consider First Impressions: Jane Austen’s radical female friendship

The Writing Garnet: Emma and Emily talk about being Travellers on the Same Road

Annecdotal: Anne Goodwin reviews A Secret Sisterhood

Greenacre Writers: Emily and Emma In Conversation

 

Next week

We have an event coming up at Waterstones Crouch End in London. If you can make it, we’d love to see you. Tickets are £4 and can be purchased in advance here.

Details of our other forthcoming events are listed on our Events Calendar.

This month

We’ll be profiling another pair of female writer friends, suggested to us by one of our readers. If you have an idea for a pair of literary pals you’d like to see featured on Something Rhymed, do please let us know. You can do this by leaving a comment or visiting the Contact Us page.

 

A Secret Sisterhood – available for pre-order

Even though writers are supported by a team of people at their publishing house, bringing a book into the world can sometimes feel a lonely business. There’s usually one person hunched over her desk, one name on the cover and one person travelling to interviews and events.

We feel so fortunate to be able to share the experience. During the most intense periods of editing A Secret Sisterhood, we stayed in each other’s homes for days on end, took walks together during our breaks, and cooked each other late-night bowls of pasta.

Now that our UK publication date is almost upon us, we’re working in the same room once more. This time our advance copies are stacked on the desk beside us, our names side by side on the cover – alongside Margaret Atwood’s, who generously wrote our foreword.

Now available for early purchase. Every pre-order raises the book’s profile with retailers.

In keeping with the theme of A Secret Sisterhood, during our years of research and writing, a great many individuals and organisations have extended the hand of friendship to us – not least the readers of this blog. Your confidence from early on that this subject deserved to be explored in greater depth inspired us to write this book.

We’re hoping to meet lots of you in person during the coming months at some of our events. We’ll be interviewed by Michèle Roberts and Sarah LeFanu at Waterstones Gower Street; talking with Kate Mosse at the British Library; and delivering the keynote speech at the 46th Annual George Eliot Lecture. Details of these and other events can be found here, and we’ll be adding to it regularly over the coming days and weeks.

Just to add:

The UK edition will be out on 1 June. The US edition, with a slightly different title (A Secret Sisterhood: The Literary Friendships of Jane Austen, Charlotte Brontë, George Eliot, and Virginia Woolf) will be out on 17 October. We’ll say more about this nearer to the time, but both editions are available for pre-order now. The US edition is currently heavily discounted if you pre-order it here.

A Foreword by Margaret Atwood

When our UK publishers, Aurum Press, asked us to find a major contemporary author to write the foreword to A Secret Sisterhood, Margaret Atwood immediately sprung to mind.

Some of you may remember that Margaret kindly shared a link to Something Rhymed on social media not long after we first launched. We were particularly touched by this gesture since we know that Margaret understands the importance of female literary friendship first-hand. She is a longstanding friend of Nobel Prize-winner and fellow Canadian, Alice Munro. You might well find more details about their relationship cropping up on our site in the new year…

But how could we possibly get our request to Margaret Atwood? Ironically, given that she is a keen user of new technologies, the answer lay in the lost art of letter writing – something we wrote about in the early days of this blog. We plucked up the courage to slip the handwritten note into Margaret’s hand after a public lecture, and then we waited…

secret-sisterhood-revised-cover

The new addition of Margaret Atwood’s name to the front cover tells you all you need to know for now about her response! Come June 1st, A Secret Sisterhood will be available from bookshops, our stories of female literary friendship coming after Margaret’s wise and funny reflections.

As you can imagine, we are delighted by this generous example of sisterhood, and are truly humbled to be sharing our cover with her.