An image of a child standing behind white fabric draped on an outdoor clothesline.

Mary Grimm

Artist in Residence, 2020

A person in front of a glass storefront with neon open sign.

Artist Statement

I’ve been writing for a long time, and at various points in that long time, I’ve thought that I knew what I was doing. I’m not so concerned with that now. I’ve always been interested in what it means to be a woman in this, our world, and how that has changed from the time of my grandmother. She is at one end of the spectrum of womanness I’ve tried to get at, and my daughters are at the other. I’m trying to write my way along that line, with particular attention to the context—the world that supports these fictional and nonfictional women—with all its colors and textures and disappointments.

While at Headlands

While I’m at Headlands I expect to be working on a number of things. I always need to have back-up projects waiting in line when the main thing I’m working on gives me trouble. That main thing will be a novel set in the ‘30s and ‘40s which is meant to be a re-imagining of my mother’s life. She was a young woman during one of the times in the 20th century when women’s lives were changing and opening up, and I hope to capture some of that painful and hopeful ferment. When that bogs down, I’ll work on various short stories until I can find my way again in the novel.


Selected Works

Red Berry Stew, in the Valparaiso Review, Vol. 9 Iss. 1, Winter 2019.

Back Then, in The New Yorker. June 17, 2019.

The Biographical College, in Orca, Issue 2, Autumn 2019.

The Dream of Her Long Dying, in The Citron Review, Summer, 2019.

When We Lived in the Mall, in The Cabinet of Heed, Issue 26, November 2019.