Unrealistically assuming the baby in her belly wouldn't inhibit the grand plans in the head behind that large tam. |
When you have young children and feel like you can’t get
anything done, that any attempt at creative industriousness is thwarted by the
cries of babes, it is good to remind yourself that many successful women
got very little done when their children were small. For writers, musicians,
artists, and scholars, it’s often impossible to even think about such things until
the children are older.
A few weeks ago, my friend, known online as @chirpingnorton,
and who is also going through the thankless struggle of establishing an
academic career with two small children in tow, tagged me into a tweet: “Look
girls - Claire Tomalin only started her career at 35 after having kids and is
still writing at 79” [Anthony Gardner, "Claire Tomalin: An encounter with the acclaimed biographer of Samuel Pepys" (2003)]
Claire Tomalin. The great biographer of our age. She was
once “crying into a washbasin of baby clothes,” despairing that her ambitions
and capabilities “were going down the plughole with the soapsuds.”
See, there’s time, my bluestockinged sisters!
Anyway, this is a little lesson in not always believing the outward performance. Successful artists who say they just write, perform, create spontaneously are usually fudging the truth.
She also created a public image for
herself, long before women routinely did that. Her friend Sue V. Moore called
Chopin ‘the exact opposite of the typical bluestocking’, without ‘literary
affectations’, ‘fads’, or ‘serious purpose in life’. Chopin herself claimed to
be entirely spontaneous, ‘completely at the mercy of unconscious selection’ and
without much self-discipline. She had no writing studio, she said, and preferred
to write in the common living room, her children swarming around her. She
portrayed herself as a mother who wrote as an unserious hobby.
But her surviving manuscripts show
that Chopin was a meticulous reviser who made many changes before sending a
story out. Moreover, she did have her own writing room, with a Morris chair and
a naked Venus on the shelf, and her
children were young adults, much too large to be swarming rug rats. When Bayou
Folk appeared, her daughter Lélia was
nearly fifteen and her eldest son Jean was twenty-three.
Emily
Toth, "What we do and don’t know about Kate Chopin’s life," The Cambridge Companion to Kate Chopin, ed. Janet Beer (Cambridge
UP, 2008) 21.
Kate Chopin didn't even start writing until her children were well on the way to being grown up. Her household may well have been chaotic, but she, like women before her and after, was bound by social convention to over-emphasis the performance of motherhood, at the expense of the work that really mattered to her. Even as she was writing about that social bind in her own fiction.
Few people can write successfully with small children pulling at their apron strings/laptop cord, and those that say they can aren’t giving the full story.
Hint: someone is paying handsomely for childcare.
Fortunately, if you haven’t achieved what you’re trying to do by
your fortieth birthday, there are decades ahead of you with older children who will
gladly leave you alone to get it done.