A Review of Cat Pleska’s Fearless
August 13, 2019 § 2 Comments
By Elizabeth Hyde Stevens
In the months before becoming pregnant with my daughter, I got into a stranger’s car and drove out to the Berkshires to attend an Ayahuasca ceremony with a Columbian shaman named Taita Nelson. I was writing a novel about the possibility of psychic healing after my mother’s death from Lewy body dementia. My hope was that I might reconnect with my mother. My brother had told me I was the bravest person he knew. But the truth is that I am far from fearless.
“To my knowledge no one has discovered a gene for self-determination,” Carter Taylor Seaton writes in her essay “The Girl in the Mirror” in the literary collection Fearless: Women’s Journeys to Self-Empowerment. “I don’t think they will, either.” Fearless, published in April by Mountain State Press, is lyrical, sprawling, and forthright, essays mostly, with the occasional microburst of fiction or poetry, all featuring women bravely making their way in the world. “Some challenges,” Seaton writes, “present themselves, like coping with an alcoholic husband or ending life support for your oldest son, and you grapple to overcome them. Others you willingly accept.” After playing the Virgin Mary as a pregnant high school junior and having four children before she was twenty-three, at fifty, Seaton willingly took on the challenge to become a writer and marathoner.
With over thirty formidable writers contributing, Fearless creates a celestial-chorus-like effect, like reading #YesAllWomen tweets or Scary Mommy Confessionals. Yet, unlike the fragmentary moments of online confessions, Fearless provides the context, intelligence, poise, and perspective that only literary explorations can give. The works are short—two or three can be read in the time it takes to read a novel chapter—but long enough to show ongoing-ness of women’s badassery. Brimming with rebellion, duty, loss, fear, motherhood, divorce, poverty, hedonism, hope, and faith, the stories show women as intrepid, infragile, heroic, each writer mounting the audacity to become the hero in her own life.
West Virginians abound, although the stories reach to New York, Los Angeles, Florence, and beyond. Editor Cat Pleska, a seventh-generation Appalachian, grounds Fearless in the peculiarity of the mountains, coal mines, poverty, and pickup trucks where plucky women refuse to do as they are told, and, instead, blaze their own trail: the righteous victory of rebuffing a boss’s harassment, finding the confidence to run away from home or start a global business. Many of the stories are too complex to describe in pull-quotes: the older-self-shocking confidence of a woman giving birth “the natural way.” The pain of losing the love of your life to cancer, even though you divorced him many years before.
Daleen R. Berry writes of the moment she found out—while getting an ultrasound on her right breast – that her husband died, setting off a protracted legal disaster. M. Lynne Squires writes of a rape in which she was not sure if she should hope her roommate comes home to save her or hope to avoid being found in such a shameful state, later vowing “that moment, that experience wasn’t going to define me.” In “Star Child,” editor Cat Pleska writes of the larger-than-life friend from Stitch-and-Bitch meetings who believed in magic, flew her out to Paris, and breezily brushed off the greatest marital betrayal, a tribute to a quixotic, vibrant life snuffed out in an instant.
In “Daughter,” Rajia Hassib denaturalizes and ironizes the task of “raising” a fearless woman. Wracked by mom guilt for failing her daughter, the protagonist anxiously tries to teach her graduating senior to ride a bicycle so she won’t embarrass her new friends at college. All the while, the fully capable teen girl texts friends, likely mocking her, with both thumbs. What else, the story suggests, do we forget to teach young women before they go off into the world?
In one of the rare nods to politics in Fearless, the poem “Women’s March Washington, By God, D.C.,” by Kari Gunter-Seymour, paints a picture of a mounting women’s movement in Appalachia:
Their husband’s mouths gaped,
They board the bus, middle of the night,
Cardboard signs and children in tow,
Their bodies a poem of spine
And gut and cicada music.
Some have never before left the county.
Majestically, Sheila Coleman-Castells imagines a new post-coal, post-poverty future for her chosen homeland where “expectations, stigmas, and inertia” don’t have to define our lives. Her lyrical invocations resonate for her fellow Black Affrilachian women and for women everywhere: “I have to show her, while young, that she has no need to adhere to outmoded cultural ways of being that require her to get ‘permission’ from anyone to be her authentic self. No one who ever asked permission from others would be allowed to let their talents roam free.”
Ultimately, Fearless is not about the lack of fear, but rather about writing a hope for a better future—a hope resounding right now in all parts of the nation where women reside (and vote), but perhaps nowhere as lyrically as the blooming mountains of Appalachia—the hope that, as Maryland Poet Laureate Grace Cavalieri says in “In Every Dream…”: “They no longer need to imagine.”
I didn’t see my mother in the shamanic ceremony in the Berkshires, but I saw powerful internal landscape of loss that helped me let go of my biggest fears. I saw a rose bloom out of my womb. And then I saw my mother’s hair—her thick, charcoal-black, fluffy 1980s-blow-dried follicles sprouting up over mountains, fields, rivers, streams, oceans, and continents all over the earth. I will forever be grateful to have had the courage—and the bravery of women before me—to see that dream.
Elizabeth Hyde Stevens is the author of the pushcart-nominated story “Wolf Memoirs.” Her writing has appeared in McSweeney’s, Salon, The Awl, The Millions, Rolling Stone, RogerEbert.com, and Fast Company. She is the author of the nonfiction book Make Art Make Money: Lessons from Jim Henson which was praised by INC, The AV Club, Brain Pickings, WGBH, and The Boston Globe. Stevens has taught writing at many schools including MassArt, Brooklyn College, Gotham Writers Workshop, and Harvard Extension School. She currently teaches a writing and research seminar at Boston University exploring the future of video games.