In our new issue, Joyce Carol Oates’s “The Woman at the Window,” two point of views are woven into a complex story of sex, violence, longing and connection. Contributing Editor Patrick Ryan took this unique piece through its paces, and so I am turning the introduction reins over to his steady and talented hands. I hope you’ll all read Joyce Carol Oates’s fascinating Q&A that tells how this piece began with a painting, and then became a poem, and is now a powerfully unnerving, voice-driven story that will grip you from the first page to the very last sentence.-HT
Paintings with people in them always suggest a narrative. Part of the fun of looking at, say, Vermeer’s “Girl Reading a Letter at an Open Window” is wondering what the story is behind the image. Why does this pregnant woman reading the letter look so sad? Who is the letter from? Is it bad news? Maybe from the unborn child’s father? We can’t help but wonder about the context and start filling in the blanks. But it takes an imagination as colossal as Joyce Carol Oates’s to look at Edward Hopper’s painting, “Eleven A.M.” and create the story you’re about to read.
In the painting, a woman—naked but for a pair of high-heeled shoes—sits in a chair and stairs out through an open window. The woman seems to be waiting for something. The title of the painting tells us only the time of day. As Oates reveals in her interview with One Story, one of her starting points in writing about this woman is that she is forever trapped in her waiting; it is, forever, eleven a.m.
Waiting for what? Waiting for whom?
We’re honored to welcome Joyce Carol Oates into the One Story family, and we’re delighted to present to you “The Woman in the Window.”