Carol Smallwood has appeared in English Journal, The Yale Journal for Humanities in Medicine, The Writer's Chronicle, The Detroit News. Short listed for the Eric Hoffer Award for Best New Writing in 2009, a National Federation of State Poetry Societies Award Winner, she's included in Who's Who in America, and Contemporary Authors. Writing and Publishing: The Librarian's Handbook, is one of her recent American Library Association books. Contemporary American Women: Our Defining Passages, co-edited, is her 22nd book. Check out her latest, here:
Lily's Odyssey unfolds in three parts with the inevitability, impact, and resolution of a Greek play. The dialogue rings true, the concrete conveyed along with moods and half-tones to paint Midwestern middle class flawed characters with poignancy. The psychological detective novel explores the once largely unacknowledged: it is not only soldiers who get post-traumantic stress disorder and child abuse whether it is overt or covert incest is a time bomb. From daughter to grandmother, Lily's voyage is told with lyricism, humor, and irony using a poet's voice to distill contemporary American women's changing role in religion, marriage, and family.
From the Preface:
Weight of Silence, and Nicolet's Daughter were considered as novel titles but it remained Lily's Odyssey. Odysseus, the epic hero from Greek mythology in The Odyssey, helped by the gods with his band of men, maneuvers the Scylla and Charybdis passage as one of his many adventures in ancient times. Lily, from the Midwest, named by a gardener mother she doesn't remember, struggles with a subconscious she fears will destroy her. Her narrow passage is between reality and disassociation, her time the latter 20th and early 21st Centuries. Her odyssey without help from the gods, reflects a passage through linear labyrinths women interpret as round. Lily's fragmentation is echoed in the writing style.
That evening after we saw Dr. Schackmann, Cal said, "You must realize that building my practice takes all my energy, and accept that as reality." He was mixing his martini before dinner on the glass-topped mahogany sideboard. As he spoke, I studied the sideboard's inlaid rosewood and ebony squares, again thinking he was a good surgeon, widely respected, and it must have been my fault that I wasn't a good wife.
I got a coaster and placed it on the sideboard. He frowned and turned it so the pheasant on the coaster squarely faced him. "You don't even know why you're so dissatisfied," he said, and laughed. "How can you not even know that?"
At the luncheon, I made as many trips as I dared to the restroom without causing people to wonder if something was wrong with me. Inside the unheated cement block room, my long deep breaths came out like smoke signals when I opened and shut my mouth to relieve my clenched jaw, shake my head in disbelief. Each time I went in, I saw cracks in the ceiling that I hadn't seen before. Some natural light came through a small casement window dotted with snow, and I recalled making dots of snow on windows into fairy tale pictures when a child.
When people had complained about the cold rest rooms to Father Couillard, who was the priest before Father Mulcahy, he'd say, "Enjoy the cold while you can, my friends. Where many of you are headed, it will be plenty hot."
Smallwood is a watcher. Her eyes are unblinking. And her ears can detect the mercurial ticks of a heart. As a storyteller, she's as sure as any Preakness jockey. She knows when words need to clip-clop up to the gate, when to bide, and when to unfetter them, to let the truth loose. Truth thunders in Lily's Odyssey.
-Katie McKy, author of Pumpkin Town, Houghton Mifflin, and Wolf Camp, Tanglewood Press.
Smallwood is an incredibly gifted author with a broad range of experience. She demonstrates commitment to conscience in her work through Michigan Feminist Studies, The Yale Journal for Humanities in Medicine, and Best New Writing 2009.
-Sandra Potter, CEO & Founder, Dreamcatchers for Abused Children,