Molly Ferguson

“I sat there on the starched sheets holding my baby, and my mother held me, and I cried uncontrollably, because I finally understood how much she loved me, and I could hardly stand the grace of it.”
― Leslie Jamison, Splinters

“I knew I’d do anything for money. Throughout college back in Ireland, I’d kept a savings account that I charmingly termed “abortion fund.” It had €1,500 in it by the end. I knew some women who saved with their friends, and they all helped whoever was unlucky. But I didn’t trust anyone. I got the money together by waitressing, then kept adding to it after I had enough for a procedure in England. I liked watching the balance go up. The richer I got, the harder it would be for anyone to force me to do anything.”
― Naoise Dolan, Exciting Times

“Literature composed by women was stored not in books but in female bodies, living repositories of poetry and song. I have come across a line of argument in my reading, which posits that, due to the inherent fallibility of memory and the imperfect human vessels that held it, the Caoineadh cannot be considered a work of single authorship. Rather, the theory goes, it must be considered collage, or, perhaps, a folky reworking of older keens. This, to me --- in the brazen audacity of one positioned far from the tall walls of the university --- feels like a male assertion pressed upon a female text. After all, the etymology of the word ‘text’ lies in the Latin verb ‘texere’: to weave, to fuse, to braid. The Caoineadh form belongs to a literary genre worked and woven by women, entwining strands of female voices that were carried in female bodies, a phenomenon that seems to me cause for wonder and admiration, rather than suspicion of authorship.”
― Doireann Ní Ghríofa, A Ghost in the Throat

“All the while, I keep one ye on Eibhlín Dubh and one on my daughter in her car seat. She grows in that rear-view mirror. Soon, her eyes are open as I turn towards home. Soon, her gurgles can almost be translated into words. Soon, she is tugging at the straps in which I have bound her. Soon, she is smiling back at me. This is how years pass in that mirror: soon, too soon.”
― Doireann Ní Ghríofa, A Ghost in the Throat