Interior of a silver Volvo wagon, back door pockets stuffed with Candy Ring wrappers, pencils, and rocks; I am looking in the rear-view mirror or over my right shoulder into the backseat, my left hand on the wheel, right hand on the seat back next to me. Two small boys, both with eyes the exact color as my own, stare back at me, pleading or explaining or demanding or questioning or laughing or crying or sulking or fighting or trying to hide. The car smells vaguely Cheerio-like. No matter the music, the soundtrack is chatter and the rhythmic kicking of a seat back. They also like punching each other’s seat warmer buttons with their feet to be annoying.
Margot Kahn and Kelly McMasters have each been described as landscape writers. Kahn mapped the American West in the biography Horses that Buck and McMasters’ memoir, Welcome to Shirley, grappled with a hometown that was as dangerous as it was idyllic. In subsequent work, both writers found themselves writing and thinking about the places harder to locate on a map and much harder still to define: home. Kahn and McMasters are the editors of the recently published This Is the Place: women writing about home, featuring essays by thirty women writers who explore the complex and messy business of making, being, and leaving—or sometimes escaping—home.
The Fault Lines of Home: an Interview with Margot Kahn and Kelly McMasters