Joy for Beginners (Bauermeister)

Joy for Beginners
Erica Bauermeister, 2011
Penguin Group USA
288 pp.
ISBN-13: 9780425247426


Summary
What would you do with a second chance at life?

Having survived a life-threatening illness, Kate celebrates by gathering with six close friends. At an intimate outdoor dinner on a warm September evening, the women challenge Kate to start her new lease on life by going white-water rafting down the Grand Canyon with her daughter. But Kate is reluctant to take the risk.

That is, until her friend Marion proposes a pact: if Kate will face the rapids, each woman will do one thing in the next year that scares her. Kate agrees, with one provision—she didn't get to choose her challenge, so she gets to choose theirs. Whether it's learning to let go of the past or getting a tattoo, each woman's story interweaves with the others, forming a seamless portrait of the power of female friendships. From the author of The School of Essential Ingredients comes a beautifully crafted novel about daring to experience true joy, starting one small step at a time. (From the publisher.)

Author Bio
• Birth—1959
• Where—Pasadena, California, USA
• Education—Ph.D., University of Washington
• Currently—lives in Seattle, Washington


In her words:
I was born in Pasadena, California in 1959, a time when that part of the country was both one of the loveliest and smoggiest places you could imagine. I remember the arching branches of the oak tree in our front yard, the center of the patio that formed a private entrance to our lives; I remember leaning over a water faucet to run water across my eyes after a day spent playing outside. It’s never too early to learn that there is always more than one side to life.

I have always wanted to write, but when I read Tillie Olsen’s “I Stand Here Ironing” in college, I finally knew what I wanted to write – books that took what many considered to be unimportant bits of life and gave them beauty, shone light upon their meaning. The only other thing I knew for certain back in college, however, was that I wasn’t grown up enough yet to write them.

So I moved to Seattle, got married, and got a PhD. at the University of Washington.  Frustrated by the lack of women authors in the curriculum, I co-authored 500 Great Books by Women: A Reader’s Guide with Holly Smith and Jesse Larsen and Let’s Hear It For the Girls: 375 Great Books for Readers 2-14 with Holly Smith. In the process I read, literally, thousands of books, good and bad, which is probably one of the best educations a writer can have. I still wrote, but thankfully that material wasn’t published. I taught writing and literature. I had children.

Having children probably had the most dramatic effect upon how I write of anything in my life. As the care-taker of children, there was no time for plot lines that couldn’t be interrupted a million times in the course of creation. I learned to multi-task, and when the children’s demands were too many, we created something called the “mental hopper.” This is where all the suggestions went — “can we have ice cream tonight?” “can we take care of the school’s pet rat over the summer?” “can I have sex at 13?” The mental hopper was where things got sorted out, when I had time to think about them. What’s interesting about the mental hopper is that when something goes in there, I can usually figure out a way to make it happen (except sex at 13).

And that is how I write now. All those first details and amorphous ideas for a book, the voices of the characters, the fact that one of them loves garlic and another one flips through the pages of used books looking for clues to the past owner’s life, all those ideas go in the mental hopper and slowly but surely they form connections with each other. Stories start to take shape. It’s a very organic process, and it suits me. So when people say being a mother is death for writers, I disagree. Yes, in a logistical sense, children can make writing difficult. In fact, I don’t think it is at all coincidental that my first novel was published after both my children were in college. But I think differently, I create the work I do, because I have had children.

It’s been more than thirty years since I first read Tillie Olsen. My children are now mostly grown. I’ve been married for three decades to the same man; I’ve lived in Italy; I’ve stood by friends as they faced death. I’ve grown up a bit, and I’ve returned, happily and naturally, to fiction.

Novels
The first result was The School of Essential Ingredients, a novel about eight cooking students and their teacher, set in the kitchen of Lillian’s restaurant. It’s about food and people and the relationships between them – about taking those “unimportant” bits of life and making them beautiful. The response to School has been a writer’s dream; the book is currently being published in 23 countries and I have received letters and emails from readers around the world.

My second novel, Joy For Beginners came out two years later (see how much more quickly you can write when the children are in college?). Joy For Beginners follows a year in the life of seven women who make a pact to each do one thing in the next twelve months that is new, or difficult, or scary – the twist is that they don’t get to choose their own challenges. It has been a marvelous experience to watch this book become a catalyst for readers and entire book clubs, and to read the letters of those who have decided to change their lives or who have simply gained insight through the characters.

My third novel was published in early 2013. The Lost Art of Mixing returns to some of the characters from The School of Essential Ingredients whose stories simply weren’t finished (although I have to say, even I was surprised to learn where those stories went).  It begins one year later, and throws four completely new characters into the mix, in an exploration of miscommunication, serendipity, ritual, and (well, of course) food. (From the author's website.)

Book Reviews
In Bauermeister's sensual second novel, a party for a woman who has beaten breast cancer results in six friends reconnecting, not just to each other but also to parts of themselves they had long neglected. Admittedly an "incongruous group," with each woman at a different point in her life, Kate's friends agree that each "will do one thing in the next year that is scary or difficult." Kate selects tasks for each of her friends; undertaking the tasks will bring heartbreak, joy, and adventure to everyone. Bauermeister's (The School of Essential Ingredients) evocative prose creates a magical world where gray goo becomes "forgiving dough" in an oven and a woman protects herself from loneliness by hiding in an unruly garden. Kate's well-meaning tasks, be they as grand as a trip to Venice or as banal as baking bread, push the friends toward much-needed awakenings. A book designed to both fill you up and make you hungry for life.
Publishers Weekly


(Starred review and a "Best Book of the Year.") Bauermeister has created a cast of textured and nuanced characters who individually and as a group speak to what makes women interesting and enigmatic. Her prose is velvety smooth, revealing life at once mournful and auspicious. Joyful, indeed.
Library Journal

Discussion Questions
1. The second she touched the dough it seemed to latch on to her skin, clinging to her hands, greedy and thick, webbing her fingers. She tried to pull back, but the dough came with her, stretching off the counter, as unyielding as chewing gum. Clay was nothing like this.

Daria tells Henry that she works with clay because she likes to play in the mud. Later we learn that her mother loved to bake bread. Why has Daria embraced working with clay, yet maintained such a tenuous relationship with bread-baking? Aside from its associations with her mother, what is it about bread that makes Daria nervous?

2. At one point towards the end of their marriage, Caroline describes her desire to simply walk away and leave Jack as "almost overwhelming. Almost." And yet she can never forgive Jack "for the way he had blown open the door of their marriage first and left. Jack-in-the-box, turning his own handle, springing up and out, hands free."

Why is Caroline unable to forgive Jack for leaving, when she herself says she almost left? Why had she chosen to stay? What is Caroline really angry about?

3. Early on, Kate says that she's not used to being alone with her body, having seen it as "the property of others" for so long. Later, Caroline wonders "if she had treated more things as a part of herself rather than an accessory, perhaps everything would have turned out differently."
Does Kate ever reclaim her body? What kind of life events can make women to feel disconnected from their bodies?

4. Caroline's powerful devotion to her son, both before and after his birth, arguably marks the beginning of the rift that ultimately divides her and Jack. Kate blames the dissolution of her own marriage on the same thing, saying "My husband said he didn't want to be married to Robin's mother anymore." And yet, Sara's dedication to (and seeming inability to be separated from) her own children in no way weakens her marriage with Dan. Why is this? How is it that the same responses to the act of having children can have such different results?

5. Marion is described as "originally from the Midwest, a geographical inheritance that didn't so much cling as grow up through her." In many ways, Marion and Daria are complete opposites. How is Daria's personality shaped by being the much-younger sister? How are Marion and Daria's relationships with their mother different, and how are they shaped by those relationships?

6. How are the mothers in this circle—Sara, Kate, Marion, Caroline—shaped by their children?

7. I grew up with you, Caroline had wanted to tell [Jack], when he said he was leaving her, twenty-five years later. You are a grown-up. But she knew, looking at his face, that it wouldn't make any difference. That it was, perhaps, precisely the point.

Later, Elaine asks Ava whether anyone has ever told her that she needs "to grow down a little." What does being a "grown-up" actually mean?

8. In what ways are the themes of age and maturity explored? Are age and maturity the same thing to these women?

9. What does Hadley's garden—and Kate's challenge that she take care of it—symbolize?

10. Caroline says "You could never be certain what you would find in a book that had spent time with someone else… Bits of life tucked liked stowaways in between the chapters." Later Caroline finds Jack's biopsy report tucked into one of his abandoned thrillers at the beach house. How does this knowledge change her understanding of the rough period she and Jack went through during Kate's chemo? Had she known about the biopsy at the time, would Caroline have done anything differently? Was Jack right to conceal it from her?

11. What challenges would you give to your own loved ones? To yourself?
(Questions issued by publisher.)

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