I’ve been thinking about my grandmother recently. This is my paternal grandmother, the longest-lived of my four grandparents and the only one I came to know well. Her name was Rose – like so many women of her generation – and the name suited her personality: under her smooth exterior (held in place by corset and garters) there were thorns.
People use a lot of words to describe women like Rose. Hard. Cold. Judgmental. Even unloving. But – and it’s a big but – Rose was a mother, to four children. She has nine grandchildren now, most of us with advanced degrees, thriving in every corner of this country. How do we reconcile what we knew of her with what she gave us?
A couple weeks ago I visited a book group that had read my first novel, The Little Bride. The women were discussing my protagonist, Minna Losk, a Jewish orphan who travels to America in the 1880s as a mail-order bride. They were talking about how complicated she is – how along with being strong and compassionate she can also be stubborn and selfish. One woman said she forgave Minna all of it, because of what she’d been through. “She’s a survivor,” she said, and the other women nodded. “She reminds me of my grandmother,” the woman went on. “And my grandmother was not a nice woman.”
Immediately, others began to speak.
“My grandmother wasn’t nice, either.”
“Mine was very cold.”
“I never saw my grandmother smile.”
The table erupted in laughter. Then the women began talking about their grandmothers, and why they thought they’d been the way they were. They wondered about stories they’d heard – of immigration, or abuse, or miscarriages. And they wondered about stories that might have been kept a secret.
As they talked, I started wondering about Rose. Most of her stories had been about my grandfather’s history, or about her children. She hadn’t often talked about herself. What was her story, not the public version but the private one? What were her secrets? How had she become the woman I knew?
That conversation opened up a new door for me in my relationship with my grandmother. Fiction can do this, I think – it can lead us, however circuitously, to new compassion: for difficult characters, yes, but also for the people in our own lives. I feel closer, suddenly, to my Grandma Rose. I can hear her scolding me – “But I’m not even alive.” But I don’t think that matters one bit.
Anna Solomon is the author of Leaving Lucy Pear and The Little Bride, and a two-time winner of the Pushcart Prize. Her short fiction and essays have appeared in publications including The New York Times Magazine, One Story, Ploughshares, Slate, and more. Coeditor with Eleanor Henderson of Labor Day: True Birth Stories by Today’s Best Women Writers, Solomon was born and raised in Gloucester, Massachusetts, and lives in Brooklyn with her husband and two children.