Mother, mother-in-law, grandmother—the Pulitzer-winning columnist and #1 bestselling author reflects on the roles we play throughout our lives, sharing personal stories and advice on the special joys and complexities of middle age.
It’s a little challenging to suss out why exactly it can be so magical. . . . All I know is: The hand. The little hand that takes yours, small and soft as feathers. I’m happy our grandson does not yet have sophisticated language or a working knowledge of personal finance, because if he took my hand and said, “Nana, can you sign your 401(k) over to me,” I can imagine myself thinking, well, I don’t really need a retirement fund, do I? And besides, look at those eyelashes. Or the greeting. Sometimes Arthur sees me and yells “Nana!” in the way some people might say “ice cream!” and others say “shoe sale!” No one else has sounded that happy to see me in many many years.
Before blogs even existed, Anna Quindlen became a go-to writer on the joys and challenges of family, motherhood, and modern life, in her nationally syndicated column. Now she’s taking the next step and going full Nana in the pages of this lively, beautiful, and moving book about being a grandmother. Quindlen offers thoughtful and telling observations about her new role, no longer mother and decision-maker but secondary character and support to the parents of her grandson. She writes, “Where I once led, I have to learn to follow.” Eventually a close friend provides words to live by: “Did they ask you?”
Candid, funny, frank, and illuminating, Quindlen’s singular voice has never been sharper or warmer. With the same insights she brought to motherhood in Living Out Loud and to growing older in Lots of Candles, Plenty of Cake, this new nana uses her own experiences to illuminate those of many others.
|Product dimensions:||5.25(w) x 6.75(h) x 0.50(d)|
About the Author
Anna Quindlen is a novelist and journalist whose work has appeared on fiction, nonfiction, and self-help bestseller lists. She is the author of nine novels: Object Lessons, One True Thing, Black and Blue, Blessings, Rise and Shine, Every Last One, Still Life with Bread Crumbs, Miller's Valley, and Alternate Side. Her memoir Lots of Candles, Plenty of Cake, published in 2012, was a #1 New York Times bestseller. Her book A Short Guide to a Happy Life has sold more than a million copies. While a columnist at The New York Times she won the Pulitzer Prize and published two collections, Living Out Loud and Thinking Out Loud. Her Newsweek columns were collected in Loud and Clear.
Hometown:New York, New York
Date of Birth:July 8, 1952
Place of Birth:Philadelphia, Pennsylvania
Education:B.A., Barnard College, 1974
Read an Excerpt
Sunlight spreads across the checkerboard tiles in the kitchen, and so do many other things: wooden spoons, a rubber frog, Tupperware, a couple of puzzle pieces, some plastic letters, elements of the obstacle course of the active toddler. Did you know that the wheels on the bus go round and round, all through the town? They do, over and over again, sung by the robotic voice of some plastic magnetic thing on the refrigerator. Oh, and Old MacDonald has a farm. The hokey pokey? That’s what it’s all about.
This soundtrack, I know, will continue into perpetuity, first the nursery song, then the pop song, the rock song, the earworms of motherhood that emanate from the toy radio, the computer, from behind a closed bedroom door with a placard that says please knock. I have been here before. Sort of.
A little hand rests lightly on my leg, a pale starfish of almost no weight, so that I might not know it was there were I not looking down at it as though it were the Mona Lisa, the Pyramids, the Sistine Chapel ceiling. Look at those fingers! Those tiny pillowy knuckles! When Shakespeare wrote, “What a piece of work is man,” he must have been looking at a baby, I think to myself, which makes pretty clear that some crazy switch has been flipped in my brain. The wheels on the bus go round and round.
“Nana,” he says softly, in a high voice that I know from experience will someday be deep and sonorous. But not now. Now it is sweet and light, like something produced by one of the small woodwinds.
“Yes, sweetheart,” I reply.
“Nana,” he says again.
“Nana!” This time demanding, slightly petulant. And that’s when I notice that he is looking at the fruit bowl on the table and when I realize that he is not crooning my name at all, my new name, of which I am so proud.
He just wants a banana and the full word is too much for him at this moment in his development. “Nana” denotes a piece of fruit, not this woman who follows him around as though he were a drum major and she a marching band.
These are useful moments, when we are made to understand where we really rate in the topography of family, if we are smart enough to pay attention and humble enough to accept the verdict. I know you don’t want to consider this if you’re in the same position I am, and I keep hearing that there are people who pay the notion no mind, but we grandparents are secondary characters, supporting actors. We are not the leads. Mama. Daddy. These are the bedrock.
We know this from past experience, our own experience. We were mother and father, most of us, before we became grandmother and grandfather. And because of that it is sometimes hard to accept that we have been pushed slightly to the perimeter. We are now the people whose names come in the smaller print in the movie credits. It’s not that we are unimportant, as anyone who has ever had a grandparent knows. After all, secondary characters are what flesh out the plot: what would Great Expectations be without Miss Havisham, or Romeo and Juliet without the nurse? Mrs. Hudson may not get as much time in the stories as Sherlock Holmes does, but a reader is always very happy to have her show up.
The central figures of my childhood were my mother and father, but an essential part of the plot was my pink-skinned grandmother and gruff and demanding grandfather (Quindlen) and my dark and somber grandmother and gentlemanly grandfather (Pantano). They illuminated the story of where I had come from. Arthur’s grandfather and I, my daughter-in-law’s parents: it will be the same. We provide color, texture, history, mythology. But we are not central.
Mama means Mama. Daddy means Daddy.
But Nana might just be a piece of fruit.
Later on he will be able to say “apple” and “tractor” and even, rumor has it, “pterodactyl,” although at the moment the last is such a welter of undifferentiated consonants that it would take a linguist, or a parent, to figure that out. Soon he has mastered the word “banana,” and when he does, Nana becomes notably me. “Nana, please,” he says when he wants something, often something he is not permitted to have. He is always happy to see me. He is not leveled by the leaving. On the evenings when I give him his dinner, his bath, and his bedtime stories, he sometimes cries as I put him in the crib because he realizes this means I’m all he has. “Mama and Daddy will be home soon,” I say, the magic words.
His grandfather is Pop. For a while there was one word: “Nanapop.” Sometimes there were three: “Nanapopgus.” Gus is a Labrador retriever. That certainly puts things in perspective, doesn’t it?