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In pleasant contrast to the recent flood of haunting childhood memoirs, A Girl's Life is about growing up in a functional family, about nurture, serenity, wonderment, and the stabilizing contributions an unencumbered heart makes in the life of an observant child. Marianne Gingher makes the events of a "normal" girlhood not only engaging but distinctly illuminating and explores rites of passage that are as persuasive in shaping an artist's sensibilities as are privations. A meditation on the comforts of home place and family, A Girl's Life celebrates the last era in America, the 1950s and 1960s, when it was still possible to enjoy a cynicism-free girlhood -- when "it was still safe for children to take gifts from strangers and not yet unwise for them to leave the doors of their hearts unlocked". As Eudora Welty wrote in her autobiographical memoir One Writer's Beginnings, "A sheltered life can be a daring life as well. For all serious daring starts from within". The seventeen personal narratives collected here corroborate Welty's conviction. Arranged in a loose chronology, the tales document a southern white girl's middle-class initiation into the adult world. The first section, "Sanctuary", recalls Gingher's earliest impressions of family dynamics and shelter, a child's yearnings and resourcefulness. "Truths and Grit", the second section, deals with the tempering of bliss, a young girl's first encounters with corruption and mortality. In the final group of essays, "Metaphors and Pies", Gingher explores the contributions her recollections of childhood make in her ongoing trials as a parent and a writer. That her own childhood still informs and inspires her present life is perhapsits greatest legacy.

In times of great uncertainty, the urgency of the artist's task is only surpassed by its difficulty. Ours is such a time, and rising to the challenge, novelist and poet Fanny Howe suggests new and fruitful ways of thinking about both the artist's role and the condition of doubt. In these original meditations on bewilderment, motherhood, imagination, and art-making, Howe takes on conventional systems of belief and argues for another, brave way of proceeding. In the essays "Immanence" and "Work and Love" and those on writers such as Carmelite nun Edith Stein, French mystic Simone Weil, Thomas Hardy, and Ilona Karmel--who were particularly affected by political, philosophical, and existential events in the twentieth century--she directly engages questions of race, gender, religion, faith, language, and political thought and, in doing so, expands the field of the literary essay. A richly evocative memoir, "Seeing Is Believing," situates Howe's own domestic and political life in Boston in the late '60s and early '70s within the broader movement for survival and social justice in the face of that city's racism. Whether discussing Weil, Stein, Meister Eckhart, Saint Teresa, Samuel Beckett, or Lady Wilde, Howe writes with consummate authority and grace, turning bewilderment into a lens and a light for finding our way.

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