When you hear the name Sheree Fitch, you may think children’s books, Mable Murple’s creator or simply one of CanLit’s most beloved player of words.
You’d be right, of course, on all counts, but there is also her adult fiction and poetry and if you’ve missed that, you’re missing a lot.
In This House are Many Women came to me in a most magical way (what I call the Sheree Fitch effect) and I’ve been reading and re-reading it for months so that it’s pretty much found a permanent spot on my coffee table and sometimes bedside table. Poetry combined with story in poetic form, about and from the perspective of women in both difficult and joy-filled situations… motherhood as a homeless woman, daily rituals, escaping domestic violence, finding connection in friendship, and learning to trust oneself. There aren’t enough books from these perspectives, that of women in shelters, and women ultimately helping women.
It’s the kind of thing, thankfully, most women will never know first hand, but … if you’ve ever wondered what it might be like to leave your house in the dead of night while someone is threatening to kill you if you leave and you keep leaving anyway, keep running out the door because it’s become apparent to you that your chances of living are much slimmer if you stay (chances of living happily are nil), so you keep running, not sure to where or to what, all you know for now is why...
… if you’ve ever wondered what happens next, then this is the book to read.
It’s Milk and Honey for grown ups. Only better, and in a league of its own.
First published in 1993 and reissued in 2004 by Goose Lane, In This House are Many Women is a collection of poems that read like prose, a journey through the life of women. Women in peril. Women as community. Women as resilient survivors. While there is plenty of gritty reality, there is much humour, love, hope and, ultimately, the message that women helping women is how it’s always been, and that is no small potatoes.
In other words, it’s a gem of a book and I’m stunned that I haven’t come across it before. Since discovering it I’ve made a list of people I want to give it to, not the least of which are women staying in shelters.
The first of four sections opens with a suite of poems following the journey of escape, beginning with ‘The Runner’—
past women with drawstring mouths
women with wombs puckered out
from plum to grape to raisin
women who have never known
what wetness means
In ‘What Rhonda Remembers About the First Five Minutes’ there is arrival at the shelter, the sound of a buzzer, strangers, lights, attention, the imagined chorus of:
someone new is coming
someone new is coming
someone new is coming
— giving the sense of entering a prison. That this house of many women is safe and nourishing takes time to discover. At first it’s only not home. The windows are bullet proof, there are security cameras everywhere. The doors are locked, everyone is a stranger, the police are on speed dial. At first there is the matter of safety, then how to simply function, how to deal with the impossibility of emotions running through you while, at the same time, you are numb to all feeling.
In ‘Edna’, the narrator looks at her swollen face in a mirror “wishing I could see the wrinkles”.
Each poem is another woman’s story. You can almost imagine the conversations as women feed their children or sit in communal areas, drinking coffee, smoking, biting their nails as they listen to one another.
In ‘Valerie Listens to Gwendolyn’, the narrator explains how the leaving went for her:
I did not leave because of his violence
I left because of mine
I got another phone call
from another woman
I went in and watched him sleeping
saliva like dried chalk
made a rim around his open
a perfect target
I had a gun
I placed it on his pillow
then I left.
There are poems about the NIMBYness toward shelters, revelations about the homeless, the roles women play when they share a space, who mothers the others, who is most in need of what and who will provide the whats. Unsurprisingly, from a writer who understands the child mind, there are meditations and revelations from a child’s perspective too (as in god wears flannel shirts).
One of my favourites is ‘Advice’, which is a list of exactly that, beginning with:
Read everything Gloria Steinem ever wrote
her last book first
and ending with:
The best answers will always be questions
You can always call your aunt.
Another, ‘Grand LaPierre, Newfoundland’ tells in pure Fitchean style, the essentials of writing a poem as if one’s life depended on it:
...it doesn’t have to rhyme
but it must always have a beat
Fitch is writing here from the inside and the outside. One has the feeling she is both part of this world and an observer at the same time.
The thread running through the book is that words are a lifeline, the writing of our lives, the sharing of our stories, that through kindness and connection with others (including Peter Gzowski’s voice), all kinds of hurdles can be overcome, that we are not alone. It’s not only about women in dire straits, but about women being strong in the way of women…
So you can understand why I can’t bear to shelve it. When a book like this crosses your path it’s good to keep it close, to open it often.
2 thoughts on “this is not a review: ‘in this house are many women’, by sheree fitch”
I did only think Sheree Fitch wrote children’s books, and I’m happy to see this. I’ll look for it. I delight in the little treasures I always find strewn through your posts, like the (missed) familiarity of Peter Gzowski’s voice and the chortle-inducing “Milk & Honey for grownups.” Thanks, Carin.
You’re the best kind of treasure hunter. And finder.