Clear Springs: A Memoir

Clear Springs: A Memoir

5.0 3
by Bobbie Ann Mason

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In this superb memoir, the bestselling author of In Country and other award-winning books tells her own story, and the story of a Kentucky farm family, the Masons of Clear Springs. Like Russell Baker's Growing Up, Jill Ker Conway's The Road from Coorain, and other classic literary memoirs, Clear Springs takes us back in time to recapture a way of life


In this superb memoir, the bestselling author of In Country and other award-winning books tells her own story, and the story of a Kentucky farm family, the Masons of Clear Springs. Like Russell Baker's Growing Up, Jill Ker Conway's The Road from Coorain, and other classic literary memoirs, Clear Springs takes us back in time to recapture a way of life that has all but disappeared, a country culture deeply rooted in work and food and family, in common sense and music and the land. Clear Springs is also an American woman's odyssey, exploring how a misfit girl who dreamed of distant places grew up in the forties, fifties, and sixties, and fulfilled her ambition to be a writer.
A multilayered narrative of three generations--Bobbie Ann Mason, her parents and grandparents--Clear Springs gracefully interlaces several different lives, decades, and locales, moving from the industrious life on a Kentucky farm to travels around the South with Mason as president of the Hilltoppers Fan Club; from the hippie lifestyle of the 1960s New York counterculture to the shock-therapy ward of a mental institution; from a farmhouse to the set of a Hollywood movie; from pop music concerts to a small rustic schoolhouse. Clear Springs depicts the changes that have come to family, to women, and to heartland America in the twentieth century, as well as to Bobbie Ann Mason herself. When the movie of Mason's bestselling novel In Country is filmed near Clear Springs, it brings the first limousines to town, even as it brings out once again the wisdom and values of Mason's remarkable parents. Her mother,  especially, stands at the center of this book. Mason's journey leads her to a recognition of the drama and significance of her mother's life and to a new understanding of heritage, place, and family roots.
Brilliant and evocative, Clear Springs is a stunning achievement.

Editorial Reviews

Melanie Rehak

Into this maudlin era of tell-all autobiography about adultery, incest and ill-fated love comes Bobbie Ann Mason's Clear Springs, a memoir that heartily resurrects a family type long gone from nonfiction: one with roots. Mason's parents and paternal grandparents -- who lived in the same house for many years, just one of the problematic realities that save her tale from turning into the idyll it might have been under the eye of a less honest writer -- were farmers in Kentucky, and she spent her childhood watching them struggle with the contingencies of weather and crop failure. Even as a girl, Mason saw far beyond the limits of the cornfields and berry bushes that surrounded her, and she was encouraged in her worldly ways by a mother who believed in her abilities and wanted to save her from continuing the family tradition of working too hard just to survive.

Christy Mason, largely deprived of opportunity yet ever aware of its power, instilled a strong-willed independence in her child from the very start. Consider the anecdote about little Bobbie Ann's first-grade pageant. Assigned the role of a daffodil, she prevailed upon her mother to sew her a costume:

"This won't do," she said doubtfully when she spread the length of crinkly crepe paper next to me. "Yellow's not your color."

Mama drove to school and informed Miss Christella that yellow was not my color. Blue was my color, because of my eyes ... "She has to be a bluebell," Mama said firmly. "Bobbie's not a March flower."

Mama exchanged the yellow crepe paper for blue and I became a bluebell.

For in the end, although this is certainly a story about family, it is more a story about women and social evolution. As modernity tore through the Kentucky countryside in the '50s, leaving the teenage Mason with an insatiable appetite for store-bought food and drive-in movies, women of her grandmother's generation refused to participate, while those of her mother's generation took what they could get but knew that ultimately progress would change their children's lives, not their own.

Luckily, however, for readers of Mason's work, which draws lyrically on her Kentucky upbringing, the pull of family and homeland can be difficult to elude, even when one strikes out for the city intending to do precisely that. In Mason's case, the city was New York, where she wrote for a TV fan magazine and lived in a seedy hotel in Times Square when she moved there in 1962. She went because, as she puts it, "It merely seemed inevitable. New York had burned its authority into my brain long ago."

But she lasted only a year before moving upstate, her first stop on the way back home to Kentucky, and during that short time it became clear where her heart lay. Not many young women living in a supposedly thrilling metropolis and destined for literary success would be able to recognize the sum of their youthful experience with the wisdom and simplicity of Bobbie Ann Mason: "I was walking up Sixth Avenue in midtown among lighted skyscrapers, just about dark. It was milking time, I thought." -- Salon

Michiko Kakutani
...[P]owerful in its depiction of the lives of the author's relatives....For Ms. Mason's fansthe primary interest...may lie in its revelation of just how rooted the themes of her fiction remain in the facts of her own life...."I'm aware that something larger than myselflarger than our familyis ending here," Ms. Mason writes. "A way of life with a long continuitytracing back to the beginnings of this countryis coming to an end." —The New York Times
Josephine Humphreys
In the process of taking a close look at her own beginnings, Mason gets to the heart of a whole generation. A purely nostalgic thrill...the memories stirred up will be intense. —The New York Times Book Review
NY Review of Books
One of those rare writers who, by concentrating their attention on a few square miles of native turf, are able to open up new and surprisingly wide worlds for the delighted reader.
Thoroughly engaging, brimming with home truths...and in touch with what's important.
Library Journal
Best known for her novel In Country (LJ 10/1/85), Mason here delves into her family background and childhood as a way of finding patterns and connectedness in life. She recalls the experience of growing up on a farm in Clear Springs, KY, in the 1940s and 1950s, occasionally alluding to the general prejudices against "country people" vs. city dwellers. The most poignant aspect of this memoir is the material Mason elicits from family members, especially her mother, who responds at times with "Oh, you're straining my little watery brain!" Mason concludes the memoir, which centers around her mother (orphaned at age four), with a memorable chapter about an experience that ultimately demonstrates the persistence, endurance, and perseverance of her mother even after 77 years. Mason proudly and vividly portrays incidents and individuals in a way that makes the reader feel like a witness and an acquaintance.--Jeris Cassel, Rutgers Univ. Libs., New Brunswick, NJ Copyright 1999 Cahners Business Information.
Kirkus Reviews
An appreciative but often bittersweet meditation on southern family and cultural change by the author In Country (1985) and Feather Crowns (1993). Like many small-town girls, Mason fled her hometown of Clear Springs, Ky., for more exciting locales—the University of Kentucky, New York City, New England—only to be inexorably drawn back. The narrative alternates between remembrance and present-tense visits to the farm where she was raised. Telling her own story, Mason is by turns vivid (as when she writes of her idyllic post-WWII childhood) and vague (describing her troubled young adulthood in the 1960s she airily declares, "The counterculture saved me" without clearly explaining how). Her early years were typically writerly and not terribly compelling: she was ostracized at school for her precocious love of books; early literary influences included Nancy Drew, the Bobbsey Twins, and Little Women. Her adventures as fan club president for the popular crooners called the Hilltoppers do add some needed spice. But the fiction writer seems far more engaged when divining the motivations and character of family, particularly her paternal grandmother and mother, whose stories are inextricably linked. Mother Chris is a resilient, hardworking woman whose life is nevertheless subjugated to the demands of her husband and mother-in-law. Chris's bleak childhood as an orphan raised (but not loved) by relatives who were caretakers at the county poorhouse provides Mason a context for her own privileged upbringing and eventual rebellion. Grandmother Ethel, also hardworking but an inflexible matriarch prone to nervous breakdowns, dominates the family and provides a link to the disappearinglifestyle that fascinates Mason. As she struggles to extract her family's history from their silence and emotional reserve, she learns about herself and makes a valuable connection between the family's evolution and the larger cultural transformation of the South. A few dull stretches aside, this is a sharp, perceptive family memoir. Lucky is the clan who has a writer of Mason's caliber to preserve and interpret its history. (Author tour)

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Food was the center of our lives. Everything we did and thought revolved around it. We planted it, grew it, harvested it, peeled it, cooked it, served it, consumed it--endlessly, day after day, season after season. This was life on a farm--as it had been time out of mind.

The area around Clear Springs, on Panther Creek, was one of the first white settlements in the Jackson Purchase. In the spring of 1820, Peyton Washam, his fifteen-year-old son Peter, and a third man whose name has been forgotten came to Panther Creek from Virginia with a plan to build a cabin and plant some corn. Mrs. Washam and the seven other children, whom they had left in a settlement about a hundred miles away, would come along later. Before the men could begin building, they had to slash a clearing from the wilderness. It was tougher than they expected. They had plenty of water, for the place abounded with springs, but they soon ran out of food and supplies. They sent for more, but before these arrived they were reduced to boiling and eating their small treasure (half a bushel) of seed corn--the dried corn that would have let them get out a crop. Then Peyton Washam came down with a fever. He sent for his wife to come quickly. She arrived late at night and got lost in the canebrake--a thicket of canes growing up to thirty feet high. Frightened in the noisy darkness, she waited, upright and sleepless, beneath an old tree till daylight, according to the accounts. She hurried on then, propelled by worry, but when she reached her husband's camp, she was too late. He had died during the night. Afterwards, she lived out his dream, settling in the vicinity with her children. The area her husband had chosen eventually grew into the community where a dozen branches of my family took root.

This story vexes me. What a bold but pathetic beginning! What careless, untrained pioneers. How could Peyton Washam and his cohorts have run out of food so soon? If they arrived in the spring, they should have planted that seed corn before long (between mid-April and mid-May). Why, in a mild Kentucky spring, did they not get a garden out right away? How could they have run out of supplies before they got their corn in the ground? Of course they had to clear some canebrake, which wasn't easy. But it wasn't as hard as clearing trees. You can even eat cane like a vegetable. In May, there would have been a carpet of wild strawberries. If Peyton Washam was too sick to forage, why didn't the kid and the other guy go pick something? What kind of pioneer eats his seed corn? Why didn't they shoot a squirrel?

Mrs. Washam is the hero of the tale. She survived and her children joined her. She probably could handle a gun. I'm sure she knew how to get out a garden. I picture her coming alone with a basket of corn-bread and fried pies, looking for her sick, hungry husband, trying to follow directions scribbled on a piece of paper. Turn left before the canebrake. Follow the creek to the large old tree. Or maybe Peyton Washam's handwriting was bad--maybe he meant an oak tree.

This was the rough and foolhardy beginning of Clear Springs. The expedition was a man's notion, with a woman coming to the rescue. The men were starving without her. It makes perfect sense to me, in light of everything I know about the rural life that came down to me from that community. When I think of Clear Springs, I think first of the women cooking. Every Christmas we went out to the Mason homeplace for a grand celebration dinner that included at least a dozen cakes. And in the summer we went to big homecoming feasts--called dinner-on-the-ground--at nearby McKendree Methodist Church, which was on Mason land.

One day Mama and Granny were shelling beans and talking about the proper method of drying apples. I was nearly eleven and still entirely absorbed with the March girls in Little Women. Drying apples was not in my dreams. Beth's death was weighing darkly on me at that moment, and I threw a little tantrum--what Mama called a hissy fit.
"Can't y'all talk about anything but food?" I screamed.

There was a shocked silence. "Well, what else is there?" Granny asked.
Granny didn't question a woman's duties, but I did. I didn't want to be hulling beans in a hot kitchen when I was fifty years old. I wanted to be somebody, maybe an airline stewardess. Also, I had been listening to the radio. I had notions.
Our lives were haunted by the fear of crop failure. We ate as if we didn't know where our next meal might come from. All my life I have had a recurrent food dream: I face a buffet or cafeteria line, laden with beautiful foods. I spend the entire dream choosing the foods I want. My anticipation is deliciously agonizing. I always wake up just as I've made my selections but before I get to eat.

Working with food was fraught with anxiety and desperation. In truth, no one in memory had missed a meal--except Peyton Washam on the banks of Panther Creek wistfully regarding his seed corn. But the rumble of poor Peyton's belly must have survived to trouble our dreams. We were at the mercy of nature, and it wasn't to be trusted. My mother watched the skies at evening for a portent of the morrow. A cloud that went over and then turned around and came back was an especially bad sign. Our livelihood--even our lives--depended on forces outside our control.

I think this dependence on nature was at the core of my rebellion. I hated the constant sense of helplessness before vast forces, the continuous threat of failure. Farmers didn't take initiative, I began to see; they reacted to whatever presented itself. I especially hated women's part in the dependence.

My mother allowed me to get spoiled. She never even tried to teach me to cook. "You didn't want to learn," she says now. "You were a lady of leisure, and you didn't want to help. You had your nose in a book."
I believed progress meant freedom from the field and the range. That meant moving to town, I thought.

Because we lived on the edge of Mayfield, I was acutely conscious of being country. I felt inferior to people in town because we grew our food and made our clothes, while they bought whatever they needed. Although we were self-sufficient and resourceful and held clear title to our land, we lived in a state of psychological poverty. As I grew older, this acute sense of separation from town affected me more deeply. I began to sense that the fine life in town--celebrated in magazines, on radio, in movies--was denied us. Of course we weren't poor at all. Poor people had too many kids, and they weren't landowners; they rented decrepit little houses with plank floors and trash in the yard. "Poor people are wormy and eat wild onions," Mama said. We weren't poor, but we were country.

We had three wardrobes--everyday clothes, school clothes, and Sunday clothes. We didn't wear our school clothes at home, but we could wear them to town. When we got home from church, we had to change back into everyday clothes before we ate Mama's big Sunday dinner.

"Don't eat in your good clothes!" Mama always cried. "You'll spill something on them."
Mama always preferred outdoor life, but she was a natural cook. At harvest time, after she'd come in from the garden and put out a wash, she would whip out a noontime dinner for the men in the field--my father and grandfather and maybe some neighbors and a couple of hired hands: fried chicken with milk gravy, ham, mashed potatoes, lima beans, field peas, corn, slaw, sliced tomatoes, fried apples, biscuits, and peach pie. This was not considered a banquet, only plain hearty food, fuel for work. All the ingredients except the flour, sugar, and salt came from our farm--the chickens, the hogs, the milk and butter, the Irish potatoes, the beans, peas, corn, cabbage, apples, peaches. Nothing was processed, except by Mama. She was always butchering and plucking and planting and hoeing and shredding and slicing and creaming (scraping cobs for the creamed corn) and pressure-cooking and canning and freezing and thawing and mixing and shaping and baking and frying.

We would eat our pie right on the same plate as our turnip greens so as not to mess up another dish. The peach cobbler oozed all over the turnip-green juice and the pork grease. "It all goes to the same place," Mama said. It was boarding-house reach, no "Pass the peas, please." Conversation detracted from the sensuous pleasure of filling yourself. A meal required meat and vegetables and dessert. The beverages were milk and iced tea ("ice-tea"). We never used napkins or ate tossed salad. Our salads were Jell-O and slaw. We ate "poke salet" and wilted lettuce. Mama picked tender, young pokeweed in the woods in the spring, before it turned poison, and cooked it a good long time to get the bitterness out. We liked it with vinegar and minced boiled eggs. Wilted lettuce was tender new lettuce, shredded, with sliced radishes and green onions, and blasted with hot bacon grease to blanch the rawness. "Too many fresh vegetables in summer gives people the scours," Daddy said.

Food was better in town, we thought. It wasn't plain and everyday. The centers of pleasure were there--the hamburger and barbecue places, the movie shows, all the places to buy things. Woolworth's, with the pneumatic tubes overhead rushing money along a metallic mole tunnel up to a balcony; Lochridge & Ridgway, with an engraved sign on the third-story cornice: stoves, appliances, plows. On the mezzanine at that store, I bought my first phonograph records, brittle 78s of big-band music--Woody Herman and Glenn Miller, and Glen Gray and his Casa Loma Orchestra playing "No Name Jive." A circuit of the courthouse square took you past the grand furniture stores, the two dime stores, the shoe stores, the men's stores, the ladies' stores, the banks, the drugstores. You'd walk past the poolroom and an exhaust fan would blow the intoxicating smell of hamburgers in your face. Before she bought a freezer, Mama stored meat in a rented food locker in town, near the ice company. She stored the butchered calf there, and she fetched hunks of him each week to fry. But hamburgers in town were better. They were greasier, and they came in waxed-paper packages.

At the corner drugstore, on the square, Mama and Janice and I sat at filigreed wrought-iron tables on a black-and-white mosaic tile floor, eating peppermint ice cream. It was very cold in there, under the ceiling fans. The ice cream was served elegantly, in paper cones sunk into black plastic holders. We were uptown.

The A&P grocery, a block away, reeked of the rich aroma of ground coffee. Daddy couldn't stand the smell of coffee, but Mama loved it. Daddy retched and scoffed in his exaggerated fashion. "I can't stand that smell!" Granny perked coffee, and Granddaddy told me it would turn a child black. I hated coffee. I wouldn't touch it till I was thirty. We savored store-bought food--coconuts, pineapples, and Vienna sausages and potted meat in little cans that opened with keys. We rarely went to the uptown A&P. We usually traded at a small mom-and-pop grocery, where the proprietors slapped the hands of black children who touched the candy case. I wondered if they were black from coffee.

In the summer of 1954, when I was about to enter high school, my mother got a chance to run a nearby restaurant on the highway across the train track. My parents knew the owner, and one day he stopped by and asked Mama if she'd like to manage the place. She wasn't working at the Merit at that time, and she jumped at the opportunity.
"Why, anybody could cook hamburgers and French fries for the public," Mama said confidently. "That would be easy."

I went with her to inspect the restaurant--a square cinder-block building with a picture-window view of the highway. There were no trees around, just a graveled parking area. It was an informal sort of place, with a simple kitchen, a deep fryer, a grill, some pots and pans. There were five or six tables and a counter with stools. Mama saw potential.
"Catfish platters," she said. "Fish. Hush puppies. Slaw. French fries."

I was so excited I couldn't sleep. Running our own little restaurant could mean we wouldn't have to work in the garden. I wanted nothing more to do with okra and beans. Besides, the restaurant had an apartment above it. I wanted to live there, on the highway. Marlene was still running her frozen-custard stand nearby, and now I too would get to meet strangers traveling through. Mama and I inspected the apartment: a living room, a kitchen, and two bedrooms. It was all new and fresh. I loved it.

"Oh, please, let's move here," I begged, wishing desperately for novelty, deliverance, and an endless supply of Co'-Colas.
Mama's eyes lit up. "We'll see," she said.
A restaurant would be ideal for her. "It's a chance to make big money," she told me. She told the owner she would try it for a while, to see how she liked it. If she became the manager, then she would rent it for a hundred dollars a month.
"If it works out, maybe I could make a hundred dollars a week," she said.

I tagged along with her when she worked at the restaurant. I felt important waiting on customers--strangers driving along the highway and stopping for a bite to eat right where I was. I wanted to meet somebody from New York. When I drew glasses of foamy Coca-Cola from the fountain, the Coke fizzed over crushed ice. I made grilled-cheese sandwiches in the grilled-cheese machine. I experimented with milk shakes. I was flying.

Most of all, I loved the jukebox. The jukebox man came by to change records and insert new red-rimmed paper strips of titles: Doris Day and Johnnie Ray duets, "Teardrops from My Eyes" by Ruth Brown, and "P.S. I Love You" by a Kentucky vocal group called the Hilltoppers. I listened avidly to everything. I was fourteen and deeply concerned about my suntan, and I was saving pocket money to buy records.

The restaurant had a television set, which sat in a corner with something called a television light on top--a prism of soft colors which supposedly kept people from ruining their eyes on TV rays. I had hardly ever watched television, and I was captivated by Sid Caesar's variety show and I Love Lucy. When the evening crowd came in, Mama trotted back and forth from the kitchen with her hamburger platters and catfish platters. She would stop and laugh at something Lucy and Ethel were doing on the screen.

Mama had to give up the restaurant even before the trial period ended. She didn't do it voluntarily. Granddaddy stepped in and told her she had to.
"We need you here at home," he said. "Running a eating place out on the highway ain't fitten work."

Daddy didn't stand up for her. "How would you make anything?" he asked her. "By the time you pay out that hundred dollars a month and all the expenses, you won't have nothing left. First thing you know, you'll get behind and then you'll be owing him."
Granny said, "And who's going to do your cooking here?"

That was that. Afterwards, Mama cooked her hamburger platters at home, but they weren't the same without the fountain Cokes and the jukebox and the television. I thought I saw a little fire go out of her then. Much later, her fire would almost die. But my own flame was burning brighter. I had had a glimpse of life outside the farm, and I wanted it.

I can still see Mama emerging from that restaurant kitchen, carrying two hamburger platters and gabbing with her customers as if they were old friends who had dropped in to visit and sit a spell. In the glass of the picture window, reflections from the TV set flicker like candles at the church Christmas service.

And then the blackberries were ripe. We spent every July and August in the berry patch. The tame berries had spread along the fencerows and creek banks. When they ripened, Mama would exclaim in wonder, "There are worlds of berries down there!" She always "engaged" the berries to customers. By June, she would say, "I've already got forty gallons of berries engaged."

We strode out at dawn, in the dew, and picked until the mid-morning sun bore down on our heads. To protect her hands from the briars, Mama made gloves from old bluejeans. Following the berries down the creek bank, we perched on ledges and tiptoed on unsure footing through thickets. We tunneled. When Mama saw an especially large berry just out of reach, she would manage to get it somehow, even if she had to lean her body against the bush and let it support her while she plucked the prize. We picked in quart baskets, then poured the berries into red-and-white Krey lard buckets. The berries settled quickly, and Mama picked an extra quart to top off the full buckets. By nine o'clock the sun was high, and I struggled to the house with my four gallons, eager to wash the chiggers off and eat some cereal.

From picking blackberries, I learned about money. I wouldn't eat the berries, even on my cereal: I wanted the money. One summer I picked eighty gallons and earned eighty dollars--much more than Mama made in a week when she worked at the Merit. Granny said food was everything, but I was hungry for something else--a kind of food that didn't grow in the ground. Yet I couldn't deny that we were always feasting. We ate sumptuous meals, never missing dessert. Once in a while, Daddy brought home exotic treats--fried oysters in little goldfish cartons or hot tamales wrapped in corn shucks. At Christmas, the dairy he drove for produced jugs of boiled custard, and we slurped gallons of it even though it was not really as good as Granny's, which was naturally yellow from fresh country eggs. Granny complained that store-bought eggs were pale. When the cows needed feed, Daddy took a load of corn from the corncrib to the feed mill and had it ground and mixed with molasses and wheat and oats. He brought it home and filled the feed bin, a big box with a hinged lid, like a giant coffin. I would chew a mouthful now and then for the sweetening.

One spring I rode the corn planter behind Daddy on the tractor. He had plowed and disked and harrowed the ground. Sitting in a concave metal seat with holes in it, I rode the planter, which drilled furrows to receive the seed. At the end of each row I closed the hoppers so they wouldn't release seed while he turned the tractor in a wide loop. When he nosed down the next row, I opened the hoppers at his signal, so that the seed would trickle out again, evenly spaced, behind the drill. The planter covered the seed behind us. We didn't talk much in our awkward caravan. As we rode the long hot rows, rich floods of remembered music accompanied me as vividly as if I had been wearing a Walkman. Top Ten numbers like "Ruby," "The Song from Moulin Rouge," and "Rags to Riches" rolled through my head with the promise that I would not have to plant corn when I grew up.

As I look back, the men recede into the furrows, into the waves of the ocean, and the women stand erect, churning and frying.

What People are saying about this

Alice Munro
To see so clearly the plain wonders of life you must escape but not deny — that's a glorious thing to do.

Meet the Author

Bobbie Ann Mason has won the PEN/Hemingway Award and was a finalist for the National Book Critics Circle Award, the American Book Award, and the PEN/Faulkner Award. Her books include Spence   Lila and Feather Crowns. She lives in Kentucky with her husband.

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Clear Springs 5 out of 5 based on 0 ratings. 3 reviews.
Anonymous More than 1 year ago
Kentucky people are the most compelling souls on this eatth. They teach us so much, for they know the eatth bubbling up between their toes. Great book.
Guest More than 1 year ago
wish there was more books that related to growing up in ky
Guest More than 1 year ago
¿ I didn¿t want to be country anymore¿ -Clear Springs. Bobbie Ann Mason¿s book Shiloh, and other stories earned the Ernest Hemingway Foundation Award for fantastic works of fiction. Her memoir Clear Springs is her story about her growing up in Kentucky as a country girl who wanted more than a country life. She speaks about her family and their traditions and the struggles that people have to go through to hold on to these things, and portrays the worry you feel when you hear of the possibility that you might be losing everything you¿ve ever known because of change. She also shares the story of three generations of women: Bobbie, her mother, and her grandmother, from Bobbie¿s point of view. It shows Bobbie¿s struggles to find what she really wanted to do with her life as she moved ¿Up North¿, betraying the heritage of a farmer¿s daughter and going out to see the world. It tells about the suffering her mother faced, who would have probably left for the big city if she hadn¿t married early. And it tells about her grandmother, stuck to tradition, cautious, and who despised change. This book shows that Bobbie Ann Mason wasn¿t just an author, a shadow of a being without a past, just a being that wrote for whatever reason. Bobbie Ann Mason was a person with feelings and dreams and doubts, just like all of us. Her tale has pain, and sadness, and loss, as well as the triumph and happy moments. It captures that urge that every young person has, when they want to just leave the nest behind and go out and see the world for themselves that feeling of curiosity as to how far we can go and what we can accomplish in our lives. Something I¿ve noticed most adults lose at a certain age. Her memories of childhood are vivid and detailed. Thus, like the fiction she writes, her story is moving and real: something we can all relate to, no matter what age we are. I know that anyone who has felt that they wanted more in their lives than what they have, may it be to travel, or to have more materialistic things, or, to just have a different family, will love this book. I know I did, and I can tell you, I will definitely read it again.