A lot of us have a tendency to not talk about tragedy with our children. And that is only natural. We want to protect them more than anything. We want them to never feel fear. But in this digital age, children will find out about world events.
Whatever subjects we choose, as women writers we are cataloging historical and cultural events in ways that go far deeper than the two-dimensional stories told by photographs. We get into the heads of our audience in ways that movies still can't.
Part historical fiction, part international mystery, part contemporary romance, part vampire, this book felt like Schindler's List, Bernard Schlink's The Reader, the Twilight Series, Anne Frank's Diary of a Young Girl and The Book Thief in a blender.
Meron and Zadan's partnership initially took shape in New York City at the Public Theater, where, working for producer Joe Papp, they adopted the legendary producer's forward-looking ethos of color-blind casting and championing minority writers.
When did writers start being brands? This question led me through a maze of other squirrely musings. If you write a memoir, are you forever a memoirist? What happens if a thriller writer dares to try his hand at romance?
Romance writers are supportive of each other. They are the Sisterhood of the Traveling Laptops, quick to lend a hand or writing tip to an up-and-coming author. They jump at the chance to encourage their colleagues. They are also fans.
If women's books aren't reviewed, when women's books are declared "less literary, and when women's books on family are declared women's fiction, while men's domestic books are declared brave and eye-opening, it adds many pounds to the micro-inequality pile.