Grub Street Launch Lab: Our Bodies, Ourselves?

Harvard Book Store and Grub Street welcome authors PEGGY SHINNER and RHONDA RINGLER CUTLER for a reading and discussion of their respective works You Feel So Mortal: Essays on the Body and The End of Bliss.

On You Feel So Mortal: Essays on the Body

Feet, bras, autopsies, hair—Peggy Shinner takes an honest, unflinching look at all of them in You Feel So Mortal, a collection of searing and witty essays about the body: her own body, female and Jewish; those of her parents, the bodies she came from; and the collective body, with all its historical, social, and political implications. What, she asks, does this whole mess of bones, muscles, organs, and soul mean? Searching for answers, she turns her keen narrative sense to body image, gender, ethnic history, and familial legacy, exploring what it means to live in our bodies and to leave them behind.

Over the course of twelve essays, Shinner holds a mirror up to the complex desires, fears, confusions, and mysteries that shape our bodily perceptions. Driven by the collision between herself and the larger world, she examines her feet through the often-skewed lens of history to understand what makes them, in the eyes of some, decidedly Jewish; considers bras, breasts, and the storied skills of the bra fitter; asks, from the perspective of a confused and grieving daughter, what it means to cut the body open; and takes a reeling time-trip through myth, culture, and history to look at women’s hair in ancient Rome, Laos, France, Syria, Cuba, India, and her own past. Some pieces investigate the body under emotional or physical duress, while others use the body to consider personal heritage and legacy. Throughout, Shinner writes with elegance and assurance, weaving her wide-ranging thoughts into a firm and fascinating fabric. 

On The End of Bliss

It's 1929, and Edith and Reuben Merkal, a couple from Long Island, are living the charmed life. Then the stock market crashes, ushering in the Great Depression. Reuben loses his construction business as well as the house he built for Edith and named 'Bliss.' The Merkals are victims of the times. Even so, they blame themselves and each other for their misfortunes. At first, Edith watches helplessly as a devastated Reuben does nothing about finding work. Eventually, she takes a job as a salesgirl, and comes to relish her growing independence. After Reuben reluctantly becomes involved with Sea Forth's small Jewish community as it fashions a response to an anti-Semitic incident, he begins to understand the reasons behind his life-long ambivalence toward his religion. His awakened sense of responsibility towards Europe's beleaguered Jewish population helps him put his own problems in perspective.