“There is nothing intrinsically un-writerly about any subject,” Baer says, when I bring up the long-simmering debate about whether creativity can happily cohabit with parenthood. “I think about all the coming-of-age stories we have about baseball—all those classics. Why do we think motherhood is somehow less than baseball?” (Is it because it flattens our narratives, confines them to small spaces, makes those eras in which we left lovers in the rain and wore shirts with creative sleeves recede into a hazy past?) To discount the experience of motherhood as creative fodder is, she says bluntly, “misogynistic.”
If parenting is the overt subject of What Kind of Woman, misogyny is its bracing undercurrent. The book overall is an affirmation of a woman’s perspective and experience—and in that way a feminist statement—but then there are more explicit cris de coeur, sometimes playing out on a larger stage (like, say, an election).
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