I have had a lot of people ask me why the books in my Grape Series have similar titles. They do indeed: My Grape Year (currently writing)
My Grape Paris (to be written)
My Grape Town (to be written)
My Grape Baby (to be written)
Interspersed between these will be a scattering of smaller memoirs (memoirellas?) such as My Grape Wedding, My Grape Cellar, My Grape Summer, etc.
For our French life, "grape" has always been highly emblematic. Our network of vacation rentals is called "Grape Rentals". I liked the play on the word "great" plus in my mind a grape evokes so many things that are profoundly Burgundian - the earth, tradition, the rhythm of the seasons, the combination of man and nature to create something truly sublime...
These titles came to me right away, whereas the title for my paranormal romance continues to elude me. The working title is "Silver Fish", pulled from the poem by early Canadian poet Isabella Valency Crawford that inspired my epic story idea over a decade ago.
The line goes "Love is like a silver fish, shy of line and shy of gaffing."
Unfortunately, I was informed very quickly by my fellow writers (who are, thank god, blunt when they need to be) that "silverfish" were also pestilential insects that called for reliable fumigaters. Not really an association I wanted for a paranormal romance. So....back to the drawing board, except that I'm still waiting for that lightning bolt of inspiration. If you have any ideas, please help me!
Anyway, back to The Grape Series. I realized after I had already decided on the "Grape" titles that one of the reasons having the almost-identical title repeated again and again was that it reminded me of my first love in the world of memoir writing:
Who else is with me on this one?
At Thanksgiving dinner this weekend when my sisters and I were gushing over the "Little House" series my brother-in-law Mark said, "Christ! I frickin' hated those goddamned books." Maybe there is a gender split here, but in any case I LOVED them. Also, I have never forgotten this section near the end of Little House in the Big Woods that struck me as a six-year-old when my mom read Suzanne and I the whole series one winter, and stays with me still. To me, it embodies the magic of memoir:
When the fiddle had stopped singing Laura called out softly, "What are days of auld lang syne, Pa?"
"They are the days of a long time ago, Laura," Pa said. "Go to sleep, now."
But Laura lay awake a little while, listening to Pa's fiddle softly playing and to the lonely sound of the wind in the Big Woods. She looked at Pa sitting on the bench by the hearth, the firelight gleaming on his brown hair and beard and glistening on the honey-brown fiddle. She looked at Ma, gently rocking and knitting.
She thought to herself, "This is now."
She was glad that the cosy house, and Pa and Ma and the firelight and the music, were now. They could not be forgotten, she thought, because now is now. It can never be a long time ago.