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Honestly,
what’s on my desk right now? A changing pad, some baby wipes,
those tiny baby nail clippers that scare me to death to use,
some organic diaper rash cream and a fat orange cat.
And I’m forced to ask
myself: How did this happen? How did I end up smack dab in the
middle of The Feminine Mystique? I’m a published
novelist. I’ve had a nice career as a sitcom writer. And yet,
about six months ago, my Room of My Own – which I’d fought
valiantly to keep through my first marriage and now two years
into my second – is, suddenly, the baby’s room. I live in New
York City, on the Upper West Side, in a two bedroom
apartment. It is not a good time for us to move. So, just before
baby Harry arrived, twenty-eight boxes of books went down three
flights of stairs and into storage someplace in the Bronx. A
part of my spirit went with them.
But let me, mostly to
torture myself, take a step back in time and think wistfully
about my desk, and my office, as it was B.H. (Before Harry). My
desk is a solid mission-style oak antique, not particularly big,
but with nice cubbies on the sides and a drawer filled with all
sorts of random things, but the one that springs to mind is a
river rock given to me by a dreamy Portuguese guy I slept with
while on a bike tour of the Alentejo. (Again, B.H. Sigh.) One
wall is covered with bookshelves, with books double
stacked. There’s a window that looks across a tree-filled back
yard and into the rear of the brownstones across the way, in,
well, a Rear Window sort of set-up, which is why I keep
my back to it. I can’t write facing a window. I often go to a
writers’ retreat in Ireland called Anam Cara, and I end up
closing the curtains in my room because otherwise I just watch
the cows chew grass for hours.
To the right of my
desk on the wall is a huge corkboard, I’d say four feet by six
or so. The Big Board, as I think of it, has 5 by 7 index cards
with scenes and moments and big-picture structural elements
thumb-tacked all over it. Sometimes colored markers get
involved, making it a great time waster. There’s a desk lamp
from Pottery Barn, and a wooden tray to my right with a coffee
cup and a Diet Coke.
My favorite office
things: the two volume Oxford English Dictionary, a
rolling library-style book caddy from the Levenger catalog, a
sign my sister painted for me that says "Solvitur Ambulando"
("It is solved by walking"), an old framed head shot of a
70s-era Woody Allen, and hatboxes containing scraps of paper
pertaining to various present and future projects.
Let’s see, what
else. Music is often playing, and my husband often reminds me my
taste in writing music is pretty drippy: Windham-Hill-y type
stuff, or – and I have no idea how I got on this particular kick
– Celtic Christmas instrumentals. I’m also big into smelly
candles, and what with the music and the candles and the smells
and the evocative Portuguese sex rocks, my writing room
resembles nothing so much as a New Age bookstore. The only thing
missing is a Zen desk fountain – believe me, I’ve been tempted –
but I’m afraid it would make me perpetually need to pee.
Okay. Back to the
present. I’m in Starbucks at 86th and Columbus, a few
blocks from my apartment. Harry is at home with Claudia, who
takes care of him every day from 9:30am to 1:30pm, so I can
write. At my feet is a truly geeky black backpack with a label
that proclaims it the Z Force. I’ve got my white MacBook, no
wireless internet, and a vente coffee. It’s doable. I can work
this way. I can focus.
I hear a baby
crying. But it’s not my baby. I take a sip of coffee and
keep writing…
When
Sarah was 24, she published The Official Slacker
Handbook, and was subsequently lured out to Hollywood to
write for Murphy Brown, Spin City and Veronica’s Closet. She
left TV to work on her first novel, The Big Love, which
came out in 2004 and has been translated into 23 languages. She
is currently writing a television pilot for NBC called George &
Hilly, and her long-awaited second novel, Secrets to
Happiness, was released in March 2009.
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