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  • How to Make an American Quilt
  • Written by Whitney Otto
  • Format: Trade Paperback | ISBN: 9780345388964
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How to Make an American Quilt

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ABOUT THE BOOK ABOUT THE BOOK
ABOUT THE AUTHOR ABOUT THE AUTHOR
READER'S GUIDE READER'S GUIDE
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Synopsis|Excerpt

Synopsis

"Remarkable...An affirmation of the strength and power of individual lives, and the way they cannot help fitting together."
THE NEW YORK TIMES BOOK REVIEW
An extraordinay and moving reading experience, HOW TO MAKE AN AMERICAN QUILT is an exploration of women of yesterday and today, who join together in a uniquely female experience. As they gather year after year, their stories, their wisdom, their lives, form the pattern from which all of us draw warmth and comfort for ourselves.
A MAJOR MOTION PICTURE COMING OUT FALL 1995
-- with Maya Angelou, Winona Ryder, and Rip Torn

Excerpt

At first,I thought I ould study art.Art history,to be exact. Then I thought,No,what about physical anthropology?--a point in my life thereafter referred to as My Jane Goodall Period.I tried to imagine my mother,Sarah Bennett-Dodd (called Sally by everyone with the exception of her mother),camping with me in the African bush,drinking strong coffee from our battered tin cups,much in the way that Jane did with Mrs.Goodall.I saw us laid up with match- ing cases of malaria;in mother/daughter safari shorts;our hands weathering in exactly the same fashion. Then,of course,I remembered that I was talking about my mother,Sally,who is most comfortable with modernity and refuses to live in a house that anyone has lived in before,exposing me to a life of tract housing that was curious and awful.

Literature was my next love.Until I became loosely acquainted
with critical theory,which struck me as a kind of intellectualism for
its own sake.It always seems that one has to choose literature or
critical theory,that one cannot love both.All of this finally pushed
me willingly (I later realized)into history.

I began with the discipline of the time line --a holdover from
elementary school --setting all the dates in order,allowing me to fix
time and place.History needs a specific context,if nothing else.My
time lines gradually grew more and more ornate,with pasted-on
photographs and drawings that I carefully cut from cheap history
books possessing great illustrations but terrible,unchallenging
text.I was taken with the look of history before I arrived at the
"meat "of the matter.But the construction of the time line is both
horizontal and vertical,both distance and depth.Which,finally,
makes it rather unwieldy on paper.What I am saying is that it
needed other dimensions,that history is not a matter of dates,and
only disreputable or unimaginative teachers take the "impartial "
date approach,thereby killing all interest in the subject at a very
early age for many students.

(I knew,in a perfect world,I would not be forced to choose a
single course of study,that I would have time for all these interests.
I could gather up all my desires and count them out like valentines.)

The Victorians caught my eye almost instantly with their
strange and sometimes ugly ideas about architecture and dress and
social conventions.Some of it was pure whimsy,like a diorama in
which ninety-two squirrels were stuffed and mounted,enacting a
basement beer-and-poker party,complete with cigars and green
visors pulled low over their bright eyes;or a house that displayed a
painting of cherubs,clad in strips of white linen,flying above the
clouds with an identical painting hidden,right next to it,under a
curtain in which the same cherubs --babies though they were --are
completely nude.Or a privileged Texas belle 's curio cabinet that
contained a human skull and blackened hand.Or still another
young woman (wealthy daughter of a prominent man)who insisted
on gliding through the family mansion with a handful of live kittens
clinging to the train of her dress.

I enrolled in graduate school.Then I lost interest.I cared and
then I didn 't care.I wanted to know as much about the small,odd
details that I discovered here and there when looking into the past
as I did about Lenin 's secret train or England 's Victorian imperial-
ism or a flawless neo-Marxist critique of capitalism.

There were things that struck me as funny,like the name
Bushrod Washington,which belonged to George 's nephew,or the
man who painted Mary Freake and her baby,known only as the
Freake Limner.And I like that sort of historical gossip;I mean,is it
true that Catherine the Great died trying to copulate with a horse?
And if not,what a strange thing to say about someone.Did Thomas
Jefferson have a lengthy,fruitful affair with his slave Sally Hem-
ings?What does that say about the man who was the architect of the
great democratic dream?What does it say about us?Did we inherit
the dream or the illicit,unsettling racial relationship?

This sort of thing is not considered scholarly or academic or of
consequence,these small footnotes.And perhaps rightly so.Of
course,I loved the important,rigorous historical inquiry as well.
What I think I wanted was both things,the silly and the sublime;
which adds up to a whole picture,a grudgingly true past.And out of
that past truth a present reality.

You could say I was having trouble linking the two.

I wished for history to be vital,alive with the occasional quirk
of human nature (a little "seriojovial ");I imagined someone saying
to me, Finn,what ever gave you the idea that history was any sort of liv-
ing thing?Really.Isn 't that expectation just the least bit contradictory?


Then Sam asked me to marry him.

It seemed to me a good idea.

Yet it somehow led me back to my educational concern,which
was how to mesh halves into a whole,only in this case it was how to
make a successful link of unmarried to married,man to woman,the
merging of the roads before us.When Heathcliff ran away from
Wuthering Heights,he left Cathy wild and sad,howling on the
moors,I am Heathcliff,as if their love were so powerful,their souls
so seamlessly mated,that no division existed for them,save the cor-
poreal (though I tend to believe they got "together "at least once),
which is of little consequence in the presence of the spirit.

All of which leaves me wondering,astonished,and a little put
off.How does one accomplish such a fusion of selves?And,if the af-
fection is that strong,how does one avoid it,leaving a little room for
the person you once were?The balance of marriage,the delicate,
gentle shifting of the polished scales.

Let me say that I like Sam tremendously.I love him truly.

The other good idea was spending the summer with my grand-
mother Hy Dodd and her sister Glady Joe Cleary.Their relationship
with me is different from that with the other grandchildren;we
share secrets.And I probably talk to them a little more than my
cousins or their own children do.I think they have a lot to say and I
am more than willing to hear it.All of it.Whatever strikes them as
important.

To me,they are important.

So my days are now spent watching the quilters come and go,
lazily eavesdropping on the hum of their conversation and drifting
off into dreams on my great-aunt 's generous porch;thinking about
my Sam,my sweetheart.Or lying on my back,in the shade,in Aunt
Glady 's extravagant garden,removing the ice cubes from my tea,
running them across my face,neck,and chest in an effort to cool
down from the heat.

I could wander over to the Grasse swimming pool,but it is al-
ways so crowded.Sophia Richards says you never know who you 'll
meet there --as if I want to meet anyone.As if I am not already stay-
ing in a house that has quite a bit of "foot traffic."

The quilters have offered to make a bridal quilt in honor of my
marriage,but I tell them to Please continue with what you are doing as
if I never arrived to stay for the summer .Sometimes I say, I can 't think
about that now
(as if anyone can think clearly in this peppery heat).I
can see this puzzles them,makes them wonder what sort of girl it is
who "cannot think about " her own wedding..

This amuses me as well,since,at age twenty-six,I have lost
track of the sort of girl that I am.I used to be a young scholar;I
am now an engaged woman.Not that you cannot be both --even I
understand that --yet I cannot fathom who I think I am at this time.
Whitney Otto|Author Q&A

About Whitney Otto

Whitney Otto - How to Make an American Quilt

Photo © John Riley

Whitney Otto is the bestselling author of How to Make an American Quilt (which was made into a feature film), Now You See Her, and The Passion Dream Book. A native of California, she lives with her husband and son in Portland, Oregon.

Author Q&A

A Conversation with Whitney Otto

Diana Abu-Jaber
is Writer-in-Residence at Portland State Univer- sity and author of the novel Arabian Jazz .She is also a food writer who frequently dines with Whitney Otto .

Diana Abu-Jabar:The quilt and the making of quilts forms a central motif in your novel.Tell us about how you came upon the idea of quiltmaking for the book and why you decided to use it.

Whitney Otto:I was in a two-year graduate writing program at UC Irvine and during our summer break we were expected to con- tinue writing in order to have something to give the workshop when the term resumed.I had had a very lazy summer and waited until the last minute,so that when I did finally sit down to write,I really had no idea what I wanted to write about.As I sat at my typewriter,I found myself writing this story title "How To Make An American Quilt "before promptly going back to trying to think of something to write about.There I was,working to come up with something,anything,and in the meantime sort of putting down this quilt story as a way of attempting to jumpstart an idea. By the end of two days I had a 24-page short story called "How To Make An American Quilt,"which reads like an abridged version of the novel.And the thing is that even when I had finished this short story --that I didn 't want to show to my teacher because I thought he would think it lightweight and make remarks about the ways in which I spend my time --I was still worrying about what to write about.

As I was worrying about whether to show the story to anyone,that very teacher,Don Heiney,called my home (something he never did)and asked what I had written over the summer.I said I did have this one short story."Good,"he said,"Bring it by my house sometime today and I will read it tonight."Though this was not in my plans,I reluctantly did as he asked.

That night he called again,excited,telling me that he hadn't seen anything quite like my story and what did I think about turning it into a novel?It was,I have to say,a pretty wonderful moment and about a year later I did make it into a novel,though not in the way he suggested.I wrote the story in 1988,and the novel in 1989.

DAJ:How did you do the background research?Have you done any quiltmaking yourself and did you enjoy it?Have you ever belonged to a quilting circle?

WO:Since I knew nothing about quilting,but knew what I wanted to do novelistically,I had to fill in the blanks with re- search.However,since I was writing a story I did not want to do rigorous,academic type research --I wanted something lighter, more anecdotal --so I went to a store that sold quilts,bought some books with pictures of quilts and a little basic information.None of the books were how-to books.

I don't quilt.I don't even sew.In junior high I ended up taking home ec.not once,but twice.And I still ended up bringing home one of those little pink slips to my parents saying that I was not doing passing grade work,primarily in sewing.

I mistakenly believed that there was maybe 5000 quilters in this country,that it was some sort of incresingly rare art.Clearly,I had no idea how popular and thriving quilting is.After the book came out,I met my first quilters,went to my first quilt shows and was fairly amazed by the entire culture of quilting.

The thing that drew me to the subject has a more writerly genesis: prior to writing the short story that became the novel,I had often constructed my stories in a kind of collage form.Why?I don't know,but that was simply my inclination as a writer.So,I think the idea of something that was a collage form (a quilt),that could be taken apart and reassembled and taken apart and reassembled interested me.The structure of the book reflects the structure of a quilt (it is a word quilt,actually),and quilting was an activity that bound the character's stories,as well as the characters them- selves together,and it worked metaphorically.For me,much of the book is about the contradictory needs for company and soli- tude.It is also about a group of women --who are not necessarily friends --meeting once a week to make art.

DAJ:The novel plays with point of view and perspective, sometimes switching between characters,and in several sec- tions,the narrative refers to "you."How did you decided to construct this point of view?

WO:As I mentioned,the collage approach was one that was natu- ral to my storytelling,and I found a single point of view too limit- ing for what I wanted in this book.It seemed,too,more in keeping with a quilt to have multiple points of view.As for the "you "--I was trying for an "instructional "tone,to set the voice apart from the women 's voices in the story.

DAJ:Even though there 's a good-sized cast of primary charac- ters,would you say this novel really belongs to one character or do you feel its evenly shared?

WO:I feel it 's evenly shared.Because the opening is in the first- person voice of Finn Bennett-Dodd,the reader may perhaps feel she is telling this story.But almost immediately the instructional voice takes over,then each character's consicousness is inter- spersed.The small end piece moves back to Finn,but this time we see her driving with Anna and asking her questions,so one could then presume that the whole story is told by Anna to Finn. The other thing the ending does is to lead the reader directly back to the beginning;it is not an opened ended story end.It is circular rather than conclusive.

DAJ:Why did you construct the book about an ensemble cast rather than one primary character?

WO:Because I wanted that quilt feel,and because,as I said,that is my narrative tendency.

DAJ:Even though so much of the story is about friendship,the notion of transgression and betrayal comes up frequently in the story,from the elderly sisters smoking pot to the large scale betrayals that these friends and colleagues perpetrate against each other.Are you particularly interested in the no- tion of betrayal?

WO:Yes,actually.Maybe this is a good time to say that I'm not sure writers choose the themes or ideas or subjects that they end up putting on the page.That said,for me,notions of friendship, love,trust,and betrayal compel me because it is so hard to be true in this life,because life is complicated and most of us are (often movingly)flawed.An ideal coming into contact with the real.The writer James Baldwin says "I think ...that the finest principles may have to be modified,or maybe even pulverized by the demands of life,and that one must find,therefore,one's own moral center and move through the world hoping that this center will guide one aright."

Another way to look at it is that the men in the book are not espe- cially villanous --nor are the women virtuous.For example, Sophia's husband's disappearance (after 20 years together)is a response to Sophia 's inflexible manner as well as her belief that men leave.Or,as painful as it is for Glady Jo when her husband sleeps with her sister,Hy,Arthur truly does want Hy,on some level,to be Glady Jo.Even a man like Dean,the selfish artist,is simply frustrated by his lot in life --which most people in a cre- ative field can relate to --yet his wife,Em,is the one who feels the fallout from his infidelities.And so on.

A fall from grace does not contradict a deeper goodness.It is part of being human,and for my characters,they might misstep,but then they try to find that grace again.At least,that is how I see them.

DAJ:In an attempt to deal with her feelings,one of your char- acters uses broken fragments of china to create a sort of mo- saic or collage on her walls.Where did you come up with the idea for this?

WO:Someone suggested to me that this was similar to the works in the 1980s by Julian Schnabel --whom,I am embarrassed to say, I had not heard of at the time I wrote this book.Actually,I think I had read some kind of human interest piece in a magazine about a man who had affixed seashells all over the walls of his house.So when Glady Jo and Arthur's house was stewn with the wreakage of her wrath,it came to me that the shards of broken objects would look good on the walls --and be weird,as well.Disquieting.It also worked with the central idea of the quilt,that is,coming apart and reassembling.It mirrored the collage aspects of the novel it- self as well.It seemed that it was a physical manifestation of sal- vaging a broken marriage;a way of not leaving it,though it is now existing in another,different form.

DAJ:Several of these characters --particularly the older women --are forced to confront the difference between their private desires and the cultural norms of their generation.Do you think that this sort of restriction on women's indepen- dence has relaxed?Are women today better able to follow their dreams?

WO:Yes.I think there have been enormous strides for American women in my lifetime.It is reflected in education (more women with college degrees)and in the work place (in a greater variety of professions,including politics),though there has been a some aspects of a feminist backlash.If anything,going to a woman physician,for example,is not unusual,but the idea of a woman president is still a novelty.And to some extent women still have to work harder,to prove something.The playing field isn't en- tirely level yet,but,it is better than it was for my mother's gen- eration in terms of pursuing one's dream.It is just that women's issues --because some of the larger elements have changed --have become more refined,more complex.It still is not over.

DAJ:There 's a directness to your writing that doesn't shy away from making clear statements about the experiences of these characters.Does this sort of approach violate the old writing axiom "Show,don't tell?"Do you think of yourself as an opin- ionated writer?

WO:There is no end to my opinions on everything!!!It is a fine line between not trusting the reader (giving into the urge to spell it all out,as it were)and simply offering up the story,allowing it to be understood or interpreted according to the whim of the reader.I do like a good pronouncment now and then --and even if it is what I believe in my non-writing life --I try to keep it within the realm of the story and the character.If a character makes a statement,it might sound like something I say,but it would be a mistake to make that assumption,because it might be what I believe --or it might be what I believe,say,in the guise of the character only.But,you know,it is a misconception that anyone can write if they just have a story;that there is no craft involved at all,that no choices (words,structure,plot,what to keep and what to delete)are being made.Most writers write because they have something to say,not just a story with nothing underneath. Often they say what they want to say through the story;another old axiom,"Fiction is the lie that tells the truth."

DAJ:How to Make an American Quilt is very much immersed in the investigation of women's lives and relationships.Do you think of it as a feminist book?

WO:To a certain extent,it is a feminist book because it is talking about women's lives;the men really exist more on the periphery. But then,is a novel that focuses on men with women at the pe- riphery a man 's book?One that does not touch on the universal experiences for men and women?I feel that this book has as much for men as it does for women,and that it too deals with universal themes and ideas.Or,even if something I read could be construed as a man's book,why shouldn't I read it anyway?Part of the pleasure of reading is being different people,going different places,looking at the world in a different way.I think most true readers --who really love to read --tend to read all over the place anyway.

Still,this has always been a hard question for me because I have often said that I would like to be considered an American writer, or just a writer,and not a Woman Writer (though I certainly am that and don't want to distance myself from it).Men are not called male writers --they are just writers,and I think women who write should be offered the same consideration.If for no other reason than because,in this country anyway,if we label someone a woman writer,it seems to allow people to subtly dismiss her work.To say,it is good for what it is,that is,womens fiction.And I really feel there are only books one loves and books one doesn't love,not books that are masculine and feminine,and that one (masculine)type covers grand themes,the state of the world,and one's soul,while the other (feminine)is only concerned with the small disturbances of the domestic sphere.Let me say here,the disturbances of the domestic sphere are not lesser events,nor are they small.

DAJ:Why did you choose to conclude the novel with the story about Marianna,the young woman of mixed race?Did her story have particular significance to you?

WO:Marianna 's story was a natural conclusion because she is the youngest in the circle,so chronologically it made sense,and be- cause race and class (economics)are the American story in many ways.America is supposed to be the classless society --though we know it isn't.And throughout the book there are historical refer- ences to race (specifically white and African-American)and the idea that one race cannot be looked at or thought of separately from the other.We are all Americans,we are all in this together.

And I don't mean that in a Pollyanna,melting pot manner;I mean the relationship has,historically,been a fraught and diffi- cult one all around,but we are part of each other absolutely.

Not focussing on the other groups that are also American and also have an unjust history was a novelistic choice I made.I am a fiction writer,not a historian (though I do have a degree in his- tory);I'm not writing a treatise;so finally,all the things that went into this novel were made with regard to the demands of the story.(Again,the craft of writing:Flaubert wrote something to his mistress Louise Colet that I have always liked.He said,"One must not think feeling is everything.Art is nothing without form.")I don 't believe this book to be a definitive story of America;it wasn 't meant to be --that is why it is "an American quilt " and not "the American quilt."

DAJ:Do you believe it's true that "the best men cook for you?"

WO:Well,you know,the way to a woman's heart is through her stomach ...

About the Book|Discussion Questions

About the Guide

About this book
"INTENSELY THOUGHTFUL...In Grasse, a small town outside Bakersfield, the women meet weekly for a quilting circle, piecing together scraps of their husbands' old workshirts, children's ragged blankets, and kitchen curtains...Like the richly colored, well-placed shreds that make up the substance of an American quilt, details serve to expand and illuminate these characters...The book spans half a century and addresses not only [these women's] histories but also their children's, their lovers', their country's, and in the process, their gender's."
--San Francisco Chronicle

Discussion Guides

1. How To Make An American Quilt moves between a more tradi- tional story-telling format and a more educational series of sections that focus on the making of quilts,and the historical significance around them.What do you think of these sec- tions of the novel?How did they add to your experience of the story?

2.The novel plays with point of view and perspective,some- times switching between characters.In several sections,the narrative refers to you .Who does this you refer to?How do you feel about the use of this alternating perspective?

3.Would you consider the women in the quilting circle to be friends?Do they like each other?What purpose does the quilting circle serve in their lives?

4.What is the effect of telling these stories through a group of main characters as opposed to focusing on a few characters? Do you like or identify with some of the characters better than others?Which ones?Ms.Otto also offers the reader a variety of stories in this novel rather than one central char- acter.What is the effect of this variety?

5.In an attempt to deal with her feelings of betrayal,Glady Joe uses broken fragments of china to create a sort of mosaic,or collage,on her walls.What do you make of her impulse to do this?Why does she do this?

6.Sophia is a very physically powerful and exciting character as a young woman who undergoes a painful transformation. What do you think caused this change to take place in her?

7.In her interview,Whitney Otto says that she would like to be considered an American writer and not a woman writer.Why does she say this?Do you agree with her?Are there certain authors that you consider specifically women writers?

8.After the death of Constance 's husband,Em 's husband Dean takes to spending long amounts of time with Constance. They are not physically involved,yet they seem to have a powerful connection.Do you consider their relationship a betrayal of Em?Why or why not?

9.After Laury enlists,his friend,Will,begins to call Laury 's mother,Corrina,on the phone and they discuss apparently inconsequential things.Why do you think Will does this? Why do they seem to have such a special connection?

10.Anna and her great-aunt Pauline own a special quilt called The Life Before .Pauline 's employer 's wife covets this quilt. What is it about this quilt that makes it so special?

11.Constance,by her own admission,has trouble making friends especially with other women.Yet she manages to be- come good friends with Marianna.What do you think is the reason for their friendship?What draws them together?

12.At the end of the novel,Finn says,"I 'll tell you what makes me happy about marrying Sam,that is,about marrying in general:I know our marriage has just as good a chance of be- ing wonderful as it does of missing the mark."Why does she say this?And why would such a thought make her feel happy about marriage?


  • How to Make an American Quilt by Whitney Otto
  • April 12, 1994
  • Fiction - Literary
  • Ballantine Books
  • $15.00
  • 9780345388964

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