WEBVTT - I Was Told Not to Tell Anyone

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<v Speaker 1>Family Secrets is a production of iHeartRadio.

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<v Speaker 2>I did not tell, not my lover, not my parents,

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<v Speaker 2>and they said I couldn't tell a friend. I remember

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<v Speaker 2>my terror that the psychiatrist would not believe me. I'm

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<v Speaker 2>sure I cried. I'm sure I told him I did

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<v Speaker 2>not want to marry the father and was certain I

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<v Speaker 2>could not care for a child. All of this complicated

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<v Speaker 2>further because I'd unwillingly had sex with a man other

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<v Speaker 2>than my lover, so I never knew who the father was,

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<v Speaker 2>and there was no way to find out. My lover

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<v Speaker 2>was one of my professors. In those days, there was

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<v Speaker 2>no taint of the criminal in such a relationship, nor

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<v Speaker 2>were they unusual. You could not have persuaded me then

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<v Speaker 2>that what I felt was not love, but a desire

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<v Speaker 2>to be him, to seize his talent for myself.

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<v Speaker 3>That's Honor More poet, memoist, professor, and author, most recently

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<v Speaker 3>of the memoir A Termination Honors is the story of

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<v Speaker 3>one woman's choice, the kind of choice many of us

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<v Speaker 3>keep secret, and the way that choice ripples quietly throughout

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<v Speaker 3>a lifetime. It's also a story about freedom, connection, expression,

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<v Speaker 3>and the making of a singular life. I'm Danny Shapiro,

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<v Speaker 3>and this is family secrets, the secrets that are kept

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<v Speaker 3>from us, the secrets we keep from others, and the

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<v Speaker 3>secrets we keep from ourselves. So tell me about the

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<v Speaker 3>landscape of your childhood. Where did you grow up, What

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<v Speaker 3>did it look like, what did it feel like.

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<v Speaker 2>I was born in New York City, the oldest of

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<v Speaker 2>nine children, so I was alone for two years. We

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<v Speaker 2>moved to Chelsea in Manhattan, where my father was in

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<v Speaker 2>Divinity School on twenty first Street at General Seminary.

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<v Speaker 4>I was born in the end of nineteen forty five.

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<v Speaker 2>And then we moved when I was five to Jersey City,

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<v Speaker 2>where my parents had what was then called an inner

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<v Speaker 2>city parish, with a great diversity of people, many different

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<v Speaker 2>kinds of people. And then when I was eleven, we

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<v Speaker 2>moved to Indianapolis, where my father continued that inner city work.

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<v Speaker 2>When we left Jersey City there were seven children, but

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<v Speaker 2>when we left Indianapolis.

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<v Speaker 5>There were nine.

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<v Speaker 2>It was a rather populated and chaotic childhood, but also

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<v Speaker 2>very rich, and the church was next door, and that's

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<v Speaker 2>where I learned my love of language and music, and

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<v Speaker 2>I suppose also an interest in standing up in front

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<v Speaker 2>of people and telling stories. My mother had grown up

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<v Speaker 2>in a very I mean, I suppose you would now

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<v Speaker 2>call a dysfunctional family, but I think that's a kind

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<v Speaker 2>of sterile version of it. Her mother was bipolar and

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<v Speaker 2>alcoholic and an artist and a great beauty, and she

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<v Speaker 2>was brought.

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<v Speaker 4>Up that way.

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<v Speaker 2>She and my father were determined he had the same

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<v Speaker 2>kind of wasp upper class, wealthy background. They had this

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<v Speaker 2>ideal after the war, he'd been a war hero. They'd

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<v Speaker 2>married at the end of the war, and she always

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<v Speaker 2>wanted nine children, she said, a baseball team or a

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<v Speaker 2>small orchestra. So we were timed more or less every

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<v Speaker 2>two years. They were very open and proud of belonging

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<v Speaker 2>to planned parenthood.

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<v Speaker 4>And you have to remember then that birth.

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<v Speaker 2>Control was illegal in most states, even for married people

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<v Speaker 2>until nineteen sixty five, and then for unmarried people until

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<v Speaker 2>nineteen seventy two. So they were kind of out there

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<v Speaker 2>and they were quite vocal about it. And when my

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<v Speaker 2>second to youngest sister was born, the columnist in what

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<v Speaker 2>passed for a liberal newspaper and very conservative Indianapolis made

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<v Speaker 2>a joke. You know, I understand the Moors belonged to

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<v Speaker 2>plant parenthood, but they just had their eighth child, so,

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<v Speaker 2>you know, and this.

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<v Speaker 4>Was the baby boom.

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<v Speaker 2>And my mother, who was competitive in sports and ambitious

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<v Speaker 2>competitive you know, she wasn't mean and competitive, I don't

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<v Speaker 2>mean that.

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<v Speaker 4>But she was.

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<v Speaker 2>She played great tennis, She climbed mountains, she rode horses

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<v Speaker 2>in won ribbons, and I just think she wanted to

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<v Speaker 2>have the most children, and there was the money to

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<v Speaker 2>do it, she did. So it was sort of part

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<v Speaker 2>of her identity to be this very beautiful woman with

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<v Speaker 2>all these children, whom she seemed to take care of effortlessly,

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<v Speaker 2>and she took great pleasure in keeping that household and

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<v Speaker 2>always reading books and always you know, very smart, interesting,

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<v Speaker 2>literary kind of person. In nineteen sixty four she started

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<v Speaker 2>writing a book which she published in nineteen sixty eight,

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<v Speaker 2>which was a memoir of the life and the world

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<v Speaker 2>of Jersey City, and went on a book tour and

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<v Speaker 2>suddenly competed with my father for the limelight. And she

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<v Speaker 2>was at that point forty five. And then she was

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<v Speaker 2>in a near fatal automobile accident which damaged her liver.

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<v Speaker 2>She recovered only two two years later have contract colon

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<v Speaker 2>cancer which metastasized to the liver, and she was dead

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<v Speaker 2>six months after that at the age of fifty, leaving

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<v Speaker 2>nine child of the youngest, of whom was eleven.

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<v Speaker 3>Tell me a bit about your father.

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<v Speaker 4>Well, he was.

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<v Speaker 2>Very tall and very handsome, and every Sunday he would

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<v Speaker 2>put on glistening robes and speak the liturgy and preach.

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<v Speaker 2>And at home he would tell us stories or read

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<v Speaker 2>us stories, and carry us around on his shoulders, which

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<v Speaker 2>was a lot of excitement. But you know, they were

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<v Speaker 2>very busy parents. You know, there was a kind of remoteness,

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<v Speaker 2>but he had a kind of sweet, charming, funny quality.

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<v Speaker 3>You know.

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<v Speaker 2>It was a lot of fun until things start to

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<v Speaker 2>fall apart.

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<v Speaker 3>We'll be back in a moment with more family secrets.

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<v Speaker 3>When Honor goes off to college at Radcliffe, which in

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<v Speaker 3>nineteen ninety nine became part of Harvard, she has a

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<v Speaker 3>boyfriend and she tells her mother that they're planning to

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<v Speaker 3>have as she would have put it at the time, intercourse,

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<v Speaker 3>her mother, by way of offering advice, tells her just

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<v Speaker 3>don't come home pregnant. By this, her mother does not

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<v Speaker 3>mean don't you dare, but rather protect yourself, your body,

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<v Speaker 3>your future, use birth control. In college, Honor majors in English,

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<v Speaker 3>but she spends all of her time in the theater department,

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<v Speaker 3>specifically theater administration.

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<v Speaker 2>I had a secret wish to be a writer, and

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<v Speaker 2>I had taken a writing class and the professor announced

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<v Speaker 2>my story as the best of the semester, and it

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<v Speaker 2>was actually the beginning of my writing. And I was

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<v Speaker 2>also writing, but not studying poems.

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<v Speaker 3>I was a.

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<v Speaker 2>Secret writer, and the girls produced and stage managed the

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<v Speaker 2>boys plays, and there was no support for me to

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<v Speaker 2>be one of the artists. I couldn't imagine it. Basically,

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<v Speaker 2>the girls did the housework and the boys did the performing,

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<v Speaker 2>much like at home. But you know, I was very

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<v Speaker 2>good at it, so it was gratifying. And my memories

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<v Speaker 2>are not awful, except for the ones that were awful,

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<v Speaker 2>you know, except for on reflection, you look back and

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<v Speaker 2>you see what was really going on.

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<v Speaker 3>Right, you just use the word reflection. I kept on

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<v Speaker 3>experiencing the past and the present, like overlaying transparencies. And

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<v Speaker 3>another guest on this podcast at one point a couple

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<v Speaker 3>of seasons ago, said, when you bury a secret, you

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<v Speaker 3>bury it alive.

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<v Speaker 4>Oh interested.

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<v Speaker 3>I just kind of loved that idea because it feels

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<v Speaker 3>very true to me. But in a way, there's a

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<v Speaker 3>way in which two our pasts can be secrets from ourselves,

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<v Speaker 3>or secrets we keep from ourselves, or ways in which

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<v Speaker 3>we don't get until we can until whatever seem opens up,

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<v Speaker 3>and then there it is, it remains somewhat obscured or inaccessible.

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<v Speaker 2>Well, when I got to the Drama School, I had

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<v Speaker 2>quite a lot of confidence. I mean, the productions we'd

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<v Speaker 2>done at Harvard had gotten rave reviews in Boston newspapers.

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<v Speaker 2>There had been a review in the New York Times.

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<v Speaker 2>I was kind of a star. So I had a

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<v Speaker 2>lot of confident. That's when I got there. And although

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<v Speaker 2>there had been sexism, what we didn't have a word

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<v Speaker 2>for then, the thing of the boys directing and writing

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<v Speaker 2>and the girls doing the stage managing and assistant directing

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<v Speaker 2>and so on, it was nothing compared to what the

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<v Speaker 2>Drama School was like, which I didn't understand quite The

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<v Speaker 2>theater administration department was run by New York professional theater

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<v Speaker 2>people who happened to be not sexist, so I didn't

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<v Speaker 2>feel the sexism there, but the entire sort of esthetic

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<v Speaker 2>of the place in terms of how women were treated

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<v Speaker 2>that there was, you know, one or two directing students

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<v Speaker 2>who were women, one playwright who was a woman per year. Actresses,

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<v Speaker 2>of course, you know, because actresses were necessary. But it

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<v Speaker 2>was a very patriarchal situation, and it was a little

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<v Speaker 2>bit disguised by the fact that Robert Brustein, who was

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<v Speaker 2>the Dean, was known as the quote unquote red Dean

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<v Speaker 2>because he had written a book called Theater of Revolt

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<v Speaker 2>about you know, avant garde theater in New York. However,

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<v Speaker 2>he was actually quite conservative in ways having to do

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<v Speaker 2>with men and women and having to do with race,

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<v Speaker 2>and having to do with various other things. So you know,

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<v Speaker 2>it was sort of a culture shock. The phrase I

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<v Speaker 2>want to use is put in my place. It wasn't

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<v Speaker 2>exactly that simple. I mean because, as I said, the

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<v Speaker 2>theater administration people were very supportive of me, except that

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<v Speaker 2>wasn't what I wanted to do. The biggest secret was

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<v Speaker 2>that I had a whole life, a whole inner life,

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<v Speaker 2>and a whole beginning to be a life, and a

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<v Speaker 2>whole life with my body that you know, we didn't

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<v Speaker 2>talk about those things then. I mean, think about a

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<v Speaker 2>world where there had been no consciousness raising you know,

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<v Speaker 2>there was now, but that was for our mothers so

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<v Speaker 2>we were sort of on the verge of the sexual revolution.

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<v Speaker 2>The Vietnam War was happening, which put more emphasis on

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<v Speaker 2>the boys because they were in danger of being drafted.

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<v Speaker 2>Although I became a second wave feminist when I came

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<v Speaker 2>to the drama school, you know, I was sort of bifurcated.

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<v Speaker 2>I mean, part of me wanted to write, had this

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<v Speaker 2>dream of writing, but the other part of me was

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<v Speaker 2>definitely going to get married and have kids and the

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<v Speaker 2>rest of it.

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<v Speaker 3>This picture of a future was simply that a picture.

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<v Speaker 3>It wasn't a desire necessarily, nor was it a plan.

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<v Speaker 3>It was an abstraction, an inevitability. It was what women did,

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<v Speaker 3>except that Honor didn't want to be a mother. She

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<v Speaker 3>assumed she'd have babies, she assumed she'd become a mother.

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<v Speaker 3>So in April of nineteen sixty nine, when Honor discovers

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<v Speaker 3>that she's pregnant, this abstraction becomes all too real and

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<v Speaker 3>deeply at odds with what she most desires, which is

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<v Speaker 3>to become a writer.

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<v Speaker 2>Getting an abortion was in nineteen sixty nine illegal, so

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<v Speaker 2>it took some doing to figure out how to get one.

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<v Speaker 2>And on the other hand, our brothers were getting out

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<v Speaker 2>of the draft, and it was.

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<v Speaker 4>An equivalent of that for women.

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<v Speaker 2>There was none of this anti abortion, anti choice rhetoric, ideology, philosophical.

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<v Speaker 4>None of that was in the culture.

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<v Speaker 2>So it was like instant I knew I wanted to

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<v Speaker 2>get an abortion. I wanted not to be pregnant, and

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<v Speaker 2>I had money. I was privileged and white, and I

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<v Speaker 2>was seeing a therapist and had heard about this thing

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<v Speaker 2>called a therapeutic abortion, which is an exception for the

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<v Speaker 2>life of the mother. And I had heard that the

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<v Speaker 2>life of the mother included emotional health. And I had

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<v Speaker 2>an emotionally ill grandmother, so I was familiar.

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<v Speaker 4>With my genes.

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<v Speaker 2>And I just talked to this psychiatrist and got the

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<v Speaker 2>prescription for a therapeutic abortion.

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<v Speaker 3>And you told the psychiatrist that you were sure you'd

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<v Speaker 3>go crazy.

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<v Speaker 2>I mean, he was no idiot. He was the head

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<v Speaker 2>of the Child's Study Center at Yale. His name was

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<v Speaker 2>doctor Albert Solned. Decades later, I was asked to speak

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<v Speaker 2>at Vasser and I was introduced at the end to

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<v Speaker 2>this man. It was Albert Sulnan that I I said,

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<v Speaker 2>Oh my God, I have never gotten to thank you

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<v Speaker 2>for saving my life. I didn't feel I was lying,

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<v Speaker 2>you know. I mean I was exaggerating, perhaps, but I

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<v Speaker 2>didn't feel I was lying. I knew that there was

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<v Speaker 2>no way that I could be a mother. You know,

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<v Speaker 2>my mother had had nine children, and I thought, well,

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<v Speaker 2>she had one child and she ended up at nine,

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<v Speaker 2>what's going to happen to me?

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<v Speaker 4>You know.

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<v Speaker 2>So that's kind of magical thinking, but one does think

0:15:27.920 --> 0:15:28.360
<v Speaker 2>that way.

0:15:28.680 --> 0:15:30.040
<v Speaker 4>So we think back through.

0:15:29.880 --> 0:15:32.480
<v Speaker 2>Our mothers if we were women, says Virginia Wolf.

0:15:32.520 --> 0:15:34.600
<v Speaker 4>So you know I wasn't going to do that.

0:15:38.320 --> 0:15:42.200
<v Speaker 3>To complicate an already complicated situation. Honor does not know

0:15:42.200 --> 0:15:45.920
<v Speaker 3>who the father is. There are two possible men. The

0:15:45.960 --> 0:15:49.760
<v Speaker 3>experience puts Honor in an emotional pressure cooker. She writes,

0:15:50.480 --> 0:15:53.000
<v Speaker 3>no matter how many times I did the mouth, I

0:15:53.040 --> 0:15:57.320
<v Speaker 3>couldn't sort it out. You know, I think so much

0:15:57.480 --> 0:16:03.000
<v Speaker 3>of our lives, as we moved through them, at some

0:16:03.160 --> 0:16:09.480
<v Speaker 3>point involves forgiving ourselves and coming to terms with all

0:16:09.480 --> 0:16:13.000
<v Speaker 3>the selves we've ever been, and in one way or another,

0:16:13.720 --> 0:16:16.760
<v Speaker 3>making peace with those selves, understanding those selves. And so

0:16:17.320 --> 0:16:19.680
<v Speaker 3>if you're saying to a psychiatrist, I was sure I'd

0:16:19.720 --> 0:16:23.120
<v Speaker 3>go crazy, that wasn't a lie. It was something that

0:16:23.840 --> 0:16:26.200
<v Speaker 3>you knew that you needed to say to get a

0:16:26.200 --> 0:16:29.840
<v Speaker 3>therapeutic abortion, but that twenty three year old young woman

0:16:30.960 --> 0:16:35.080
<v Speaker 3>was trying to save her own life, which is then

0:16:35.160 --> 0:16:37.440
<v Speaker 3>what you say to doctor Soulnett all those years later.

0:16:38.120 --> 0:16:41.280
<v Speaker 3>So that process, what did it feel like?

0:16:42.600 --> 0:16:46.960
<v Speaker 2>I was told not to tell anyone, which I took

0:16:47.000 --> 0:16:50.640
<v Speaker 2>to me in any person, including you know, the family.

0:16:51.280 --> 0:16:54.160
<v Speaker 4>I mean, I would not have told my parents.

0:16:54.560 --> 0:16:57.320
<v Speaker 2>We'd never talked about abortions, so I couldn't be sure

0:16:58.080 --> 0:17:01.880
<v Speaker 2>what they would do. I didn't think I could argue

0:17:02.200 --> 0:17:06.280
<v Speaker 2>my position very adequately, so I was told not to

0:17:06.320 --> 0:17:10.080
<v Speaker 2>tell anyone. And the sense I had was that although

0:17:10.200 --> 0:17:15.760
<v Speaker 2>this bad legality as a process, Connecticut was you know,

0:17:15.800 --> 0:17:19.280
<v Speaker 2>it was the site of Griswold versus the state of Connecticut,

0:17:19.359 --> 0:17:24.920
<v Speaker 2>which finally allowed birth control for married people just maybe

0:17:24.960 --> 0:17:29.760
<v Speaker 2>three or four years before my abortion, and I think

0:17:29.800 --> 0:17:31.840
<v Speaker 2>that he was scared, you know, you didn't want to

0:17:31.840 --> 0:17:34.880
<v Speaker 2>lose his license. He you know, he didn't want to,

0:17:35.000 --> 0:17:38.760
<v Speaker 2>like have to defend in court what he'd done, despite

0:17:38.880 --> 0:17:41.200
<v Speaker 2>you know, the psychiatrist and the this and the that.

0:17:41.520 --> 0:17:44.960
<v Speaker 2>I mean, what was communicated to me was somehow if

0:17:45.000 --> 0:17:47.440
<v Speaker 2>I told anybody, I might not get the abortion.

0:17:48.119 --> 0:17:49.920
<v Speaker 3>And that was where your fear resided.

0:17:50.720 --> 0:17:54.640
<v Speaker 2>Yeah, I really did not want to be pregnant. As

0:17:54.680 --> 0:17:57.440
<v Speaker 2>I try to explain to people who don't really understand

0:17:57.760 --> 0:18:01.320
<v Speaker 2>or didn't live through the sexual Revolution, a time when

0:18:01.320 --> 0:18:03.960
<v Speaker 2>everybody was sleeping with everybody all the time.

0:18:04.440 --> 0:18:08.240
<v Speaker 4>You know, it's actually wild, you know. So it felt

0:18:08.280 --> 0:18:09.040
<v Speaker 4>like part of that.

0:18:10.080 --> 0:18:15.720
<v Speaker 2>And when I would reach these markers in which I

0:18:15.720 --> 0:18:19.399
<v Speaker 2>would realize I probably wasn't going to have children, I

0:18:19.520 --> 0:18:22.880
<v Speaker 2>had no regrets, you know, I really didn't. And when

0:18:22.920 --> 0:18:25.800
<v Speaker 2>I said I always get sad in April, it was

0:18:25.880 --> 0:18:29.199
<v Speaker 2>really sort of thinking it in my seventies.

0:18:29.520 --> 0:18:31.600
<v Speaker 4>I wonder if that's why I get sad in April.

0:18:31.640 --> 0:18:33.520
<v Speaker 4>I always thought it was just the change.

0:18:33.200 --> 0:18:36.600
<v Speaker 2>Of season, and then it would be sad, not so

0:18:36.680 --> 0:18:42.080
<v Speaker 2>much that I didn't have children, but about the passage

0:18:42.080 --> 0:18:42.600
<v Speaker 2>of time.

0:18:42.720 --> 0:18:43.640
<v Speaker 4>About who was.

0:18:43.640 --> 0:18:47.440
<v Speaker 2>That young woman who didn't have a care in the world,

0:18:47.960 --> 0:18:54.480
<v Speaker 2>who then suddenly had a real care and suddenly had

0:18:54.520 --> 0:18:59.560
<v Speaker 2>to make a decision, and who had a rather jolting

0:19:00.320 --> 0:19:06.159
<v Speaker 2>confrontation with herself. Her It's like, oh, I have a self,

0:19:06.240 --> 0:19:09.520
<v Speaker 2>Oh I better protect this self. That was really what

0:19:09.720 --> 0:19:13.879
<v Speaker 2>was at stake, and that was really what I came

0:19:14.000 --> 0:19:18.440
<v Speaker 2>to consciousness of I didn't like to say, oh, now

0:19:18.480 --> 0:19:20.520
<v Speaker 2>I have a self. It wasn't like that. It was

0:19:20.600 --> 0:19:23.840
<v Speaker 2>just I had made this decision. I knew that I

0:19:23.880 --> 0:19:27.960
<v Speaker 2>could somehow take care of myself in a way. Not

0:19:28.080 --> 0:19:31.280
<v Speaker 2>that I didn't have ups and downs in life, but

0:19:32.280 --> 0:19:36.280
<v Speaker 2>it was a real decision for myself on my own,

0:19:36.560 --> 0:19:39.840
<v Speaker 2>and in that sense, it was a gift that I

0:19:39.920 --> 0:19:42.920
<v Speaker 2>was told I couldn't tell anyone, even though that made

0:19:42.920 --> 0:19:43.600
<v Speaker 2>it lonely.

0:19:45.640 --> 0:19:48.240
<v Speaker 3>I want to talk a little bit about shame because

0:19:48.240 --> 0:19:52.440
<v Speaker 3>it comes up, and it comes up for all of us.

0:19:52.640 --> 0:19:55.800
<v Speaker 3>I think if we're thinking and we're you know, feeling

0:19:55.840 --> 0:19:58.840
<v Speaker 3>back into the selves that we were. You write at

0:19:58.880 --> 0:20:01.440
<v Speaker 3>one point about being in a zoom meeting. I think

0:20:01.480 --> 0:20:05.920
<v Speaker 3>with this biography group that you're part of, and everybody

0:20:06.040 --> 0:20:08.960
<v Speaker 3>was talking about what they're working on and what their

0:20:09.000 --> 0:20:13.080
<v Speaker 3>subjects were, and you know, you really you have this

0:20:13.160 --> 0:20:16.000
<v Speaker 3>kind of like hot flash of shame. We just kind

0:20:16.000 --> 0:20:17.000
<v Speaker 3>of don't want to say.

0:20:16.760 --> 0:20:17.560
<v Speaker 4>It, right.

0:20:18.080 --> 0:20:20.720
<v Speaker 3>I'm wondering, and there are other places where shame makes

0:20:20.720 --> 0:20:23.480
<v Speaker 3>in an appearance, and I'm wondering whether that surprised you

0:20:24.359 --> 0:20:26.640
<v Speaker 3>or where that resided for you.

0:20:28.160 --> 0:20:33.280
<v Speaker 2>I resided in the same place that leaking during menstruation resided.

0:20:33.440 --> 0:20:37.800
<v Speaker 2>You know, it's shame of the body, shame of I mean,

0:20:37.800 --> 0:20:40.639
<v Speaker 2>what I've come to call it in the process of

0:20:40.920 --> 0:20:43.639
<v Speaker 2>publishing this book and talking about this book is I

0:20:43.640 --> 0:20:47.800
<v Speaker 2>think it's a cultural silence about the inner lives of women,

0:20:47.880 --> 0:20:51.679
<v Speaker 2>including their inner physical lives, and we're just not you know,

0:20:51.720 --> 0:20:55.879
<v Speaker 2>it's just not in the discourse. That's why for me

0:20:56.320 --> 0:21:01.800
<v Speaker 2>the Democratic Convention, when those four women told their abortion stories,

0:21:01.960 --> 0:21:04.280
<v Speaker 2>I thought that was a sea change in the culture.

0:21:05.400 --> 0:21:09.320
<v Speaker 2>I mean, that was extraordinary. This idea of a cultural

0:21:09.359 --> 0:21:12.680
<v Speaker 2>silence has come upon me in the last month as

0:21:12.720 --> 0:21:17.879
<v Speaker 2>I've traveled. What I'm talking about is the shame of

0:21:18.400 --> 0:21:21.720
<v Speaker 2>admitting I have a female body in a context in

0:21:21.800 --> 0:21:25.760
<v Speaker 2>which I don't feel entirely. It's not that I don't

0:21:25.760 --> 0:21:29.800
<v Speaker 2>feel welcome, but I feel other. So that's the shame.

0:21:29.920 --> 0:21:32.639
<v Speaker 2>And it's what I discovered in writing the book, really

0:21:32.960 --> 0:21:38.320
<v Speaker 2>is that this decision I made was a moment in

0:21:38.400 --> 0:21:40.199
<v Speaker 2>my inner life. I mean, it was a kind of

0:21:40.240 --> 0:21:45.119
<v Speaker 2>opening to my inner life and the interior of a

0:21:45.119 --> 0:21:50.320
<v Speaker 2>woman's imagination and the interior of her body are linked.

0:21:51.280 --> 0:21:55.720
<v Speaker 2>And are we going to allow this conversation to take

0:21:55.760 --> 0:21:56.760
<v Speaker 2>place or not?

0:22:03.040 --> 0:22:24.199
<v Speaker 3>We'll be right back. When Honor's memoir comes out, she

0:22:24.320 --> 0:22:27.400
<v Speaker 3>goes on book tour, traveling in the country to talk

0:22:27.440 --> 0:22:32.280
<v Speaker 3>about something that had previously felt verboten, nearly impossible to

0:22:32.320 --> 0:22:36.240
<v Speaker 3>talk about. This could have been daunting, it might even

0:22:36.280 --> 0:22:40.160
<v Speaker 3>have felt undoable. And yet what Honor discovers while she's

0:22:40.200 --> 0:22:44.639
<v Speaker 3>on the road is the beautiful, alchemical, communal response to

0:22:44.720 --> 0:22:49.600
<v Speaker 3>truth telling. As Audrey and Rich once wrote about Emily Dickinson,

0:22:50.520 --> 0:22:54.080
<v Speaker 3>it is that which is under pressure, especially the pressure

0:22:54.119 --> 0:22:59.280
<v Speaker 3>of concealment, that explodes into poetry. And by poetry here,

0:22:59.760 --> 0:23:02.080
<v Speaker 3>I'm mean profound human connection.

0:23:05.200 --> 0:23:08.240
<v Speaker 2>When I was working on the book, and women would say,

0:23:09.200 --> 0:23:12.439
<v Speaker 2>what are you working on? And I'd say, you know,

0:23:12.480 --> 0:23:14.560
<v Speaker 2>a book about my pre row abortion.

0:23:15.119 --> 0:23:16.000
<v Speaker 4>And there would be a.

0:23:16.000 --> 0:23:19.400
<v Speaker 2>Moment, and then she would tell me, I mean, this

0:23:19.440 --> 0:23:22.760
<v Speaker 2>is ninety eight percent of the time she would tell

0:23:22.760 --> 0:23:26.439
<v Speaker 2>me her abortion story. And then there would be another

0:23:26.520 --> 0:23:30.480
<v Speaker 2>beat and she would say, you're the first person I've

0:23:30.520 --> 0:23:33.240
<v Speaker 2>ever told the latter maybe eighty percent of the time,

0:23:33.280 --> 0:23:39.200
<v Speaker 2>but so shockingly frequently that it caught my attention since

0:23:39.280 --> 0:23:43.760
<v Speaker 2>the book has been published. It's the lift driver, It's

0:23:43.880 --> 0:23:46.520
<v Speaker 2>the woman sitting next to me on the airplane, who

0:23:46.640 --> 0:23:49.880
<v Speaker 2>overhears me talking to a friend with whom I'm doing

0:23:49.960 --> 0:23:53.240
<v Speaker 2>a gig, and I'm using the word abortion rather loudly,

0:23:53.280 --> 0:23:55.560
<v Speaker 2>and she notices that everyone in the plane is kind

0:23:55.560 --> 0:23:59.000
<v Speaker 2>of looking strangely at me, and she leans over and says,

0:23:59.560 --> 0:24:02.960
<v Speaker 2>thank you for what you're doing. It's like that, you know.

0:24:03.040 --> 0:24:07.080
<v Speaker 2>It's reading at a bookstore in Minneapolis, where my sister lives,

0:24:07.160 --> 0:24:10.080
<v Speaker 2>and all of us, many of us, go back to

0:24:10.119 --> 0:24:14.919
<v Speaker 2>her house afterward. In all the conversations, virtually all the

0:24:14.960 --> 0:24:18.439
<v Speaker 2>conversations after the readings have to do with women sharing

0:24:18.560 --> 0:24:22.920
<v Speaker 2>their experiences. And then we go back to her house

0:24:22.960 --> 0:24:25.760
<v Speaker 2>and it continues. And these are women who know each other.

0:24:25.800 --> 0:24:27.480
<v Speaker 4>I mean, these are a.

0:24:27.480 --> 0:24:30.600
<v Speaker 2>Community of friends, and they're saying things that they've never

0:24:31.520 --> 0:24:36.680
<v Speaker 2>told anyone before. And so what I have come to.

0:24:38.440 --> 0:24:41.280
<v Speaker 4>Is that every woman.

0:24:41.800 --> 0:24:45.600
<v Speaker 2>It's not about oh they had such a terrible time.

0:24:46.160 --> 0:24:49.600
<v Speaker 2>Oh it hurt the next day. I mean there's that too,

0:24:50.240 --> 0:24:55.600
<v Speaker 2>but it's more I wanted my life, I wanted my freedom.

0:24:55.880 --> 0:24:59.719
<v Speaker 2>It was completely shocking to me that so many people

0:25:00.040 --> 0:25:05.840
<v Speaker 2>shared my exact experience. So that was when I started thinking,

0:25:06.359 --> 0:25:10.000
<v Speaker 2>a thinking, calling it a cultural silence, and I just

0:25:10.119 --> 0:25:11.080
<v Speaker 2>knocked on the door.

0:25:11.840 --> 0:25:12.920
<v Speaker 4>That's how I feel.

0:25:13.160 --> 0:25:19.920
<v Speaker 2>And it's been stunning and very moving to me that

0:25:20.359 --> 0:25:26.240
<v Speaker 2>women I've known, even women in my community of friends,

0:25:27.080 --> 0:25:30.120
<v Speaker 2>I may have known they had an abortion, but that's

0:25:30.200 --> 0:25:32.680
<v Speaker 2>different from what was it?

0:25:33.480 --> 0:25:35.639
<v Speaker 4>What was it that made you decide to have an abortion?

0:25:35.800 --> 0:25:39.439
<v Speaker 2>What was it like to get the abortion? How did it?

0:25:39.720 --> 0:25:39.920
<v Speaker 4>You know?

0:25:39.960 --> 0:25:42.480
<v Speaker 2>And then they always talk about how it affected their life.

0:25:42.560 --> 0:25:44.439
<v Speaker 2>I wanted to be a writer. I was not going

0:25:44.520 --> 0:25:47.720
<v Speaker 2>to let this stand in my way. I had plans,

0:25:48.680 --> 0:25:50.840
<v Speaker 2>you know. I had a plan to spend a year

0:25:50.840 --> 0:25:54.719
<v Speaker 2>in Europe. I had a top fellowship in history at Columbia.

0:25:54.800 --> 0:25:57.840
<v Speaker 2>I was going to study with Henry Steele Commager. Did

0:25:57.920 --> 0:26:00.040
<v Speaker 2>you think I was going to have a baby instead? No?

0:26:01.320 --> 0:26:04.480
<v Speaker 2>You know, it's sort of or the lift driver. I

0:26:04.560 --> 0:26:06.720
<v Speaker 2>you know, I raised two children. I had a son

0:26:06.760 --> 0:26:10.119
<v Speaker 2>at seventeen and a son at you know, twenty three,

0:26:10.240 --> 0:26:13.440
<v Speaker 2>and I was done and I came to Los Angeles

0:26:13.800 --> 0:26:16.679
<v Speaker 2>from Texas for a new life, and.

0:26:16.960 --> 0:26:19.600
<v Speaker 4>I didn't want another child, you know.

0:26:19.680 --> 0:26:22.560
<v Speaker 2>And this was after she had said kind of when

0:26:22.560 --> 0:26:24.800
<v Speaker 2>she asked me what my book was about, she kind

0:26:24.800 --> 0:26:29.080
<v Speaker 2>of timidly said, did you feel the great empty news?

0:26:29.119 --> 0:26:32.040
<v Speaker 2>After I said no, I did not. All I felt

0:26:32.119 --> 0:26:36.119
<v Speaker 2>was relief that I wasn't pregnant. And then she opens

0:26:36.200 --> 0:26:39.520
<v Speaker 2>up with, yes, I moved to Los Angeles for freedom.

0:26:39.600 --> 0:26:40.840
<v Speaker 4>I wanted my own life.

0:26:41.600 --> 0:26:46.320
<v Speaker 2>So these are like these real conversations with women I'd

0:26:46.359 --> 0:26:46.920
<v Speaker 2>never met.

0:26:48.160 --> 0:26:49.440
<v Speaker 3>How is that sitting with you now?

0:26:50.440 --> 0:26:54.199
<v Speaker 2>It's fantastic. I mean, it's it's a gift, you know.

0:26:54.359 --> 0:26:58.080
<v Speaker 5>It makes me tear up every time I tell someone

0:26:58.119 --> 0:27:03.520
<v Speaker 5>about it because it's so huge and it's so much

0:27:03.560 --> 0:27:12.280
<v Speaker 5>bigger than me, and I feel honored, privileged that I

0:27:12.400 --> 0:27:15.600
<v Speaker 5>have been able to write my story in such a

0:27:15.640 --> 0:27:20.359
<v Speaker 5>way that women can hear it.

0:27:21.440 --> 0:27:25.400
<v Speaker 2>I'm so grateful, really, I am so grateful that I've

0:27:25.400 --> 0:27:29.600
<v Speaker 2>been able to communicate. And it's a lesson. I tell

0:27:29.600 --> 0:27:33.359
<v Speaker 2>this to my students. But the deeper the truth you write,

0:27:33.440 --> 0:27:37.639
<v Speaker 2>the more you reveal about the nature of being human.

0:28:00.119 --> 0:28:04.159
<v Speaker 3>Family Secrets is a production of iHeartRadio. Molly Zacure is

0:28:04.160 --> 0:28:07.320
<v Speaker 3>the story editor and Dylan Fagan is the executive producer.

0:28:08.600 --> 0:28:10.600
<v Speaker 3>If you have a family secret you'd like to share,

0:28:11.000 --> 0:28:13.439
<v Speaker 3>please leave us a voicemail and your story could appear

0:28:13.440 --> 0:28:16.800
<v Speaker 3>on an upcoming episode. Our number is one eight eight

0:28:16.880 --> 0:28:21.080
<v Speaker 3>eight Secret zero. That's the number zero. You can also

0:28:21.160 --> 0:28:26.000
<v Speaker 3>find me on Instagram at Danny Ryder. And if you'd

0:28:26.000 --> 0:28:28.480
<v Speaker 3>like to know more about the story that inspired this podcast,

0:28:28.880 --> 0:28:30.760
<v Speaker 3>check out my memoir Inheritance.

0:28:56.920 --> 0:29:01.120
<v Speaker 1>For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

0:29:01.200 --> 0:29:03.280
<v Speaker 1>or wherever you listen to your favorite shows.