Stained Glass

How is this book different from all your other books?

The most obvious answer: in Visible City, there are no description of Shabbat or shul, little grappling with religion and community. My other novels, 
The Ladies Auxiliary
 and 
The Outside World
, were clearly Jewish novels. My subject matter was steeped in questions of Jewish belonging and identity, belief and doubt. In the ongoing panel discussion debates about who is or isn’t a Jewish writer, I always felt comfortable saying I was certainly one. I didn’t feel the label as limiting, didn’t think it prescribed me in any way, but it did describe the place I was writing from, the world from which my imagination sprung.

There was no clear cut choice then, back when I was writing my first two books, to write a specifically Jewish novel. I wrote from what moved me, preoccupied me, fascinated me. I wrote out of my own grappling with my Orthodox Jewish community, a world which has shaped so much of who I am. My Jewish self has always been inextricable from my writing self.

And then here too, when I started writing Visible City, there was no explicit decision to write a different kind of book, no moment when I decided I was going to write a book with less Jewish content. I started Visible City without being sure where I was going. Each piece led me to the next, one interest kindling another, one character creating the need for another. There were Jewish parts that I arrived at along the way – one character was raised Orthodox but no longer is and this leave-taking impacts the choices he makes in the novel. Throughout the book, many of my characters are Jewish, though this isn’t mentioned explicitly. (Academics, lawyers and therapists on the Upper West Side. You don’t need to tell us that they are Jewish. We know! Said one of my early readers.)

For a time, I thought that the book would round some bend, become more specifically Jewish. But as the months and then the years of writing went by, the book continued to take me in different directions. Every book is a surprise, to the writer as much as to the reader. I arrived at underground explorers, historical preservation. I arrived at stained glass windows, an art form I’d always associated with churches and which I was little interested in. But now, I fell in love: the abundance of color, the intricacy of the work, the varying colors illuminated depending on how the light shines through.

Posted on March 14, 2014

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