Book Review: LOVE, SEX & 4-H

It’s practically unthinkable that anyone in northern Michigan would not know the name – and the work – of Anne-Marie Oomen. Her poetry, plays, magazine essays, and especially her books of memoir have long established her as a distinctive northern voice. Her place and time come through in everything she writes, and her writing is both lyrical and accessible.

Elsewhere, a couple years ago, I addressed the question “What were the Sixties (really) like?” I will not repeat what I wrote then, but if you missed the earlier post, you might want to go back and read it, and after you do, you’ll be even more ready to dig into Anne-Marie Oomen’s latest book.

Love, Sex, & 4-H – the title alone spoke to me! Oomen joined 4-H early, at age 8, when her mother became a group leader. The oldest child in her rural farm family, little Anne-Marie sought in 4-H an escape from farm animals! My exclamation mark is very personal, because I joined 4-H in upper elementary school hoping that membership would be Step #1 to horse ownership. It wasn’t. (No one explained to me that ours was an “urban” club rather than a farm club.) The sewing projects through which Oomen progressed over the years, going all the way to fashion modeling at Michigan State University, left me cold. I stopped early on, with the horrid gathered skirt requirement. Ugh! I did not stay with 4-H past grade school. But I loved the Head, Heart, Hands & Health pledge. Anyway, enough about me....

As Oomen tells the story of her adolescent years, political awareness was far from her life. The larger world intruded only with time-stopping events; otherwise, clothes and boys dominated her personal Sixties consciousness. As I have said many times, the Sixties were different for everyone who lived through them.

Here were sex and love dressed in church clothes, shirt collar just starting to unbutton—utterly seductive, surreptitious as snakes. Except for the fierce familial love of my people, I had no authentic understanding of either of those lunatics, love and sex, as they were expressed in that time. But I had 4-H, and, because of that, I knew this much: I knew how love and sex would be dressed.

Oomen’s experience in the Sixties, then, is not the story of a young radical in the making. Questions about love and sex, however, have come to young men and women in every historical decade of American life, regardless of any larger political context, and they always will. Oomen’s story, while hardly remarkable in itself, is told with remarkable frankness, and that, along with her always beautiful writing, is its strength. She neither paints her adolescence in false colors nor glosses over occasional petty, even shameful behavior. It’s all there, from the first stirrings to the slippery “everything but” slope.

Oomen might have subtitled this book A Memoir of the Sixties, since it covers the decade 1959 to 1969, her life from age 8 to age 18, and it is very much a young Michigan farm girl’s coming of age in that decade when ordinary adolescent turbulence took place in a larger national context of social turbulence. Of the three memoir books she has written – the first two were Pulling Down the Barn, stories of her rural northern Michigan family, and House of Fields, telling of her educational journey – Love, Sex, & 4-H does the most to situate one girl’s experience in a larger perspective. Oomen has many readers who did not grow up on farms or attend one-room schools, but all of us either lived through or (for the younger readers) have known from the classroom the major events of the 1960s. We have all, too, lived through teenage confusions, hopes, and fears, trying to redefine in those years our roles as sister, daughter, friend, and girlfriend (or, for boys, obviously, brother, son, friend, and boyfriend).

New readers are still discovering Anne-Marie Oomen’s book for the first time. Two young women came by chance to the bookstore on Tuesday afternoon, and, urged by Anne-Marie and her Northport bookseller, also attended the author’s formal presentation at the Leelanau Township Library the same evening. One of them was about to embark on an M.F.A. program in creative writing; both were excited to be able to meet and “hang out with” such an accomplished book author. They planned to return to their campsite and read Uncoded Woman aloud around the campfire. “You have to read the poems in order,” I cautioned them. “No skipping around, because there is a narrative.” Anne-Marie took over then and told them something about the protagonist of the poems and the maritime signals that name each poem.

Besides memoir, essays, and poetry, Anne-Marie Oomen has written seven plays for the stage, only one of which I have seen performed – and that one much too long ago. It told the story, all in verse, of farm women in the area now part of Sleeping Bear National Lakeshore. The power of the drama, very minimally staged, surprised and moved me. I want to see it again.

What a privilege and joy it was to spend hours on Tuesday with writer Anne-Marie Oomen! Even without paid vacation or sick leave, there are some very tangible benefits to this bookselling gig. I have the pleasure of introducing my writer friends to one another, bringing writers to readers, and, always, enjoying my small place in American literature’s northern territory.

Book Review: VIRGIN SOUL (or, "What were the Sixties really like?")

“What were the Sixties really like?” When a younger friend asked me this question, in a moment I suddenly felt many years older, realizing that what was “just yesterday” to me was a historical period to my youthful friend. But how to answer her question? I’ve been thinking about it for years now (haunted by the question still, obviously), as another two decades have slipped past. Here's an overview from Wikipedia to get you started, if you were "born too late" to be one of us, but --

There can be no single answer to what the Sixties were like, because they were different for everyone who lived through them, even if only American experience is considered. How old were you in the Sixties, for starters? A little child, a college student, part of the workforce, or someone “over 30,” one of those the young were told not to trust? Male or female, black or white or yellow or red or brown? Living in San Francisco or Chicago; Selma, Alabama; Aberdeen, South Dakota; or in the wilds of Maine? Rich or poor or in-between?

Student, lawyer, secretary, grocery store cashier, factory line worker, teacher, or Peace Corps volunteer? A draftee in Vietnam, conscientious objector in El Paso, refugee in Toronto, or a protestor at Berkeley? Singing and playing in a rock-and-roll band? Member of the Black Panthers or Students for a Democratic Society, or Young Republicans, or the Country Club?

There were peaceful demonstrations, and there was violence, and there was the undeclared war, and there were drugs, and there was also the continuation of American suburban life, with big weddings and brides in white. Toward the end of the Sixties there was the Pill, but all along there were pregnancies (planned and unplanned), abortions, and young families, some hippies, others mainstream. And for those in their ‘teens and 20s, there was exciting music, poetry everywhere, plenty of available sex and drugs, a lot of lofty ideals, and a minefield of dangerous pitfalls.

That's why I say there is no telling what the decade was “really like,” except in terms of individual lives, but if you weren't there and want a close-up view I just read a new novel that presents a convincing picture through one particular window.

Virgin Soul

by Judy Juanita

NY: Viking, 2013

$26.95

We meet the novel's protagonist, Geniece Hightower, in Oakland, California, in the summer of 1964. Just out of high school, she enrolls in Oakland City College, “City,”

. . . a raggedy, in-the-flatlands, couldn’t-pass-the-earthquake-code, stimulating, politically popping repository of blacks who couldn’t get to college any other way, whites who had flunked out of the University of California, and anybody else shrewd enough to go for free for two years and transfer to Berkeley, prereqs zapped.

Geniece is a journalism major. Right away meets Huey Newton. Right away she loves sitting on the campus lawn, listening to the “black intellectuals and the white boys from the W.E.B. Du Bois Club talk.” Quickly she learns that light-skinned black students (“yellow, high yellow, sandy yellow, mellow yellow, sandy mariney, light brown, peach, or caramel skin; the line stopped there”) had one hangout, darker-skinned blacks like herself another. She lives at the Y (10 p.m. curfew) and works 20 hours a week at the county welfare department in Oakland. She’s launched into life but still has her aunt and uncle’s warning in her head:

“We want you to be a virgin until you graduate from college. If you’re not a virgin, you won’t graduate. Once you have sex, you can’t think about anything else.”

Judy Juanita’s novel is divided into four main sections, one for each of Geniece’s four years of college. Sophomore year she is introduced to Black Muslims and has her hair cut into a natural: “Sleek, short, very African.” She wonders what “being in love” feels like and if she is in love. No longer living at the Y, she allows a boyfriend to hold political education classes in her apartment, and she cleans and cooks for those who attend.

I knew I was becoming militant. I just didn’t know if I wanted to become a militant. Malcolm X, Betty Shabazz, the protesters, the sit-in demonstrators down south were my heroes. I loved them from a distance and on paper. But the militants I met, mostly the guys on the soapbox on Grove Street, were harsh and abrasive and condescending to everyone, not just white people. And they made people do things. . . . I didn’t want that kind of power over people. I just wanted it over myself.

Huey Newton isn’t the only real person readers encounter in the pages of this work of fiction. Bobby Seale is there, and Stokeley Carmichael, too. The war in Vietnam is audible always in the background.

Junior year is a turning point for Geniece, as one black group goes one way and the Black Panther Party (BPP) for Self-Defense another. She enrolls at State and lands a work-study job in Admissions, date-stamping application entries from all over the world.

Lives came out of the words: how little money one’s father made; the off-the-wall place one had traveled to; family crises; serious illness defeated; political activity noted like a badge of honor – “I belong to the W. E. B. Du Bois Club.” They weren’t afraid: “I participated in the freedom rides.” Stuff I never mentioned: “The protest changed my whole life.” State was a destination for radical students: “I’m a child of a union family.” Dissidents. The streets of Berkeley were the pull for people bucking the system. Nonconformists. State was pulling people like me. I was not an in-between. I was a junior facing a cast of thousands wanting to be right where I was, a part of something big, essential, swimming in the big ocean.

In the course of her college career, it is not until her junior year that Geniece sees herself at the center of social change taking place across the country. Before that she felt like “an in-between”; now she is, as people said in the Sixties, “where it’s at.” But she is not yet where she will be at the end of her senior year. . . .

I don’t want to give away too many details of this story, because it’s the details that make the central character’s life a real one and make that time period come alive. Her social and sexual and romantic relationships are important to her development as an adult. Her feelings for journalism wax and wane, but editing the Panthers’ newspaper is an important job she takes very seriously. Also with the BPP, she confronts the question of guns for self-defense, and a volunteer job through the Tutorial Center introduces her to two young, self-sufficient black girls neglected by their battered mother. Education is not limited to the classroom. (It never should be.)

But Geniece Hightower is determined to graduate in four years, so she wisely avoids serious involvement with drugs. While music is part of her life, it also remains, like Vietnam, in the background. Race, class, and gender relationships – politics within and beyond the university – the future she will have as a Black American woman – this young woman maintains ties to her family at the same time she is finding her own way in the world.

Personal, political – political, personal – yes, this was the Sixties. Judy Juanita gives readers a very real look at that exciting and turbulent time through the eyes of her strong, questing protagonist. There are pages when the prose lifts into lyricism, so it should be no surprise that the author’s writing has for years encompassed poetry as well as reporting. This is her first novel. I’m glad she wrote it and hope it won’t be her last.