The founder of Ploughshares, forty years ago this fall, DeWitt Henry is a novelist and memoirist who teaches at Emerson College in Boston. His books include Safe Suicide: Narratives, Essays, and Meditations, a collection of linked essays on his generation and on his quest for psychological and spiritual truth; and a novel, The Marriage of Anna Maye Potts, about a working-class Philadelphia woman whose life is upset by the death of her father and by her younger sister’s takeover of the family home, which won the 2000 Peter Taylor Prize for the Novel.
A publisher’s synopsis:
A masterful memoir of a young boy’s passage from childhood to adulthood in a family of privilege torn by dark secrets: alcoholism, mental illness, dysfunction. As a complicated coming of age story, Sweet Dreams charts the journey of DeWitt Henry, well-known author, editor, publisher and educator, in his earliest struggles to find and achieve his own creative destiny. It is what Richard Hoffman calls “…a remarkable feat of memory delivered in extraordinary prose.”
In a review, boston.com wrote:
While his older siblings escape into unhappy marriages, Henry seeks a refuge in literature. By fourth grade, he’s printing a newspaper (the Swiftset Rotary News) for his classmates. He ships off to Amherst, studies with Eudora Welty, writes a novella, and dreams of being a published author. At the Iowa Writers Workshop, the novelist Richard Yates mentors him. He eventually finishes a doctorate at Harvard and settles in Cambridge where, besides teaching and writing, he helps launch the venerable literary magazine Ploughshares.
Recently he sat down with Rusty Barnes for a wide-ranging interview for Night Train. Some excerpts:
Recognizable “real people” in art tend to assume that the art is about them, when it’s not. Strangers don’t care about them. They aren’t newsworthy entities. Nor is good memoir about the memoirist. The character and life of the memoirist is only an occasion for writing about the reader: the reader’s heart; the reader’s need for clarity and meaning. There is always the risk of failed art, of course, when literalness fails to serve figurativeness.
With my brother the problem wasn’t so much hurting his feelings as it was in challenging his own necessary fiction about our past. He objected to early drafts of my memoir supposedly on the basis of facts. His version was a whitewash, of course, and it was contradicted by the witness of my mother and other siblings as well as by all sorts of documentary evidence. He had his own reasons—or needs—to see our parents’ marriage as “happy” and our upbringing as positive. Yet oddly enough he was proud when “Distant Thunder” (the early childhood section in my memoir) was reprinted in The Pushcart Prize, and apparently handed it around to his colleagues, friends, and patients. . . .
As we worshipped Mom, Dad was the heavy, the family millstone. Chuck was the only one who wanted to see Dad differently, and who later in life, even though he himself was a surgeon, imitated Dad’s materialism. He was also the only one of us to succumb to alcoholism himself. In writing the book, I honestly believed that truth would set us free, all of us, including our children in their lives.
Initially, the richest and most inspiring memoir I knew was Stop Time by Frank Conroy, at least if you don’t count Wordsworth’s The Prelude. As I wrote more, and at different stages in the years of revising, along with Conroy, I loved Maxim Gorki’s autobiographies, especially Chidhood. Once I started teaching memoir writing, in addition to these two, I studied Annie Dillard’s An American Childhood (besides her humor and her lyrical prose, I loved her optimism), the Conroy-influenced This Boy’s Life by Tobias Wolff , and the Wolff-influenced The Liars Club by Mary Karr. I respect but was never smitten by Nabokov’s Speak, Memory. I liked Russell Baker’s Growing Up and Maureen Howard’s Facts of Life. More recently, I have learned from Jim McPherson’s A Place Not Home, James Brown’s The Los Angeles Diaries, Philip Roth’s Patrimony, Kathyrn Harrison’s The Kiss, Richard Hoffman’s Half the House, Andre Dubus’s Broken Vessels, Jamaica Kincaid’s My Brother, and Jerald Walker’s Street Shadows.
I think of literature as a conversation between the dead, the living, and the unborn. I read to join in and talk back. I reread (and teach) favorites in this spirit, from all of Shakespeare (and writing about Shakespeare) to the American Short Story, with a focus on Anderson, Hemingway, Welty, Yates, McPherson, and Munro. Outside the classroom, I reread for different needs: to sharpen my idea of the novel, for instance (Ford’s Sportswriter, Fitzgerald’s Gatsby, Tolstoy’s Anna Karenina, Yates’s Revolutionary Road). In college, I saturated myself in all things D.H. Lawrence, but haven’t felt the urge to revisit Women In Love for years. I do reread Elizabeth Bowen’s Death of the Heart and Tim O’Brien’s The Things They Carried.