The Kitchen
on Maple Street
A sample chapter from a fictional memoir, followed by the interview worksheet questions that produced it. This is what the process looks like from the inside.
The Kitchen on Maple Street
The kitchen on Maple Street smelled like lard and cornmeal in the morning, and by afternoon it smelled like whatever was burning on the back burner. Something was always burning on the back burner. My mother didn't believe in low heat.
She kept the radio on the windowsill above the sink, tuned to a gospel station out of Meridian that came in clear on Sundays and scratchy every other day of the week. She didn't seem to notice the static. She'd sing right along with it — her voice and the radio's voice and all that crackling white noise blended together into something that, to me, just sounded like home.
There were seven of us children, and the kitchen wasn't built for seven children. It was built for one or maybe two, with a table that could fit four if everyone kept their elbows in. We ate in shifts during the Depression years. My father would eat first, then the older children, then my mother and the little ones last. She always said she wasn't hungry. I didn't understand until I was a grown woman with children of my own that she was keeping herself hungry so we wouldn't have to be.
The icebox sat in the corner by the back door. In summer, the iceman came on Tuesdays and Thursdays, and we would trail him up the back steps just to stand close to the cold. He never ran us off. He was a heavyset man named Mr. Jasper — I never knew his last name, only that he had large hands and always smelled of sawdust from the packing, and that he would sometimes chip off a small piece of ice and hand it to the youngest child without being asked.
We had a Victory garden during the war years — a long strip of it running along the side fence. My mother grew butter beans, okra, and something she called "long tomatoes" that I have never seen in a grocery store since. They were narrow and pale, almost yellow, and she pickled them in tall glass jars that she lined up on a shelf in the pantry like a row of amber bottles. Opening one of those jars in the middle of winter was the closest thing to summer we had.
People ask me now if it was hard, growing up the way we did. I tell them I didn't know it was supposed to be different. The kitchen was full. There was always a sound coming from it — my mother's voice, or the radio, or something boiling over on the stove. I have lived in larger houses since, with better kitchens, and I have never once felt as settled in any of them as I felt sitting at that crowded little table, keeping my elbows in, listening to the radio crackle through the static and my mother singing right along anyway.
Interview Worksheet — Childhood and Early Home
These are five questions from the "Childhood and Early Home" round of Dorothy's interview worksheet, along with her responses as she wrote them. The chapter above was shaped from these answers — the editor's job was to listen for what was alive in her telling and give it form on the page. Dorothy's language is preserved throughout; the structure is the editor's.
There are stories like this
in your family right now.
A set of questions, answered at their pace, shaped into something that lasts. Two editions — a 40 to 60 page portrait, or a 100 page heirloom with photos.
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