I grew up in the South, but so close to New York, one and a half hours by train, that I didn’t even know it. In spite of my ignorance, my early memories feel peculiarly Southern— the high-ceilinged, wide-porched house that belonged to my grandmother, fans spinning lazily overhead, rugs rolled and stored and couches slipcovered with light cotton every summer. In the drowsy, sleep inducing heat, we watching my grandmother drink thimbles of bourbon starting at exactly five, tucked ourselves behind wing-chairs to listen to arguments about family politics, played invented games of chess with the tiny silver boxes on the multi-shelved mahogany display table. My grandmother wore her silver hair in a perfect bubble, had a closet lined with Lilly Pulitzer dresses, shoes in matching colors underneath. We hid between the dresses, trying to find the signature, “Lily,” hidden in the stems, petals, paisley swirls. Everything smelled faintly of gardenias.

Her husband, who died when my father was fourteen, still loomed over the house, his portrait across from the spiral staircase, hands larger than his head, in the distorting perspective they also used for Abraham Lincoln’s memorial. In the kitchen was Brit, a light-skinned African American man who spoke with a faintly British accent, like Carey Grant, wore white gloves when he served hors d’oeuvres and called my father “Mr. Tim.” In the kitchen was Martha, with white hair, watery eyes and milky skin, who came from Ireland when she was fourteen to work for my grandmother, only a few years older and newly married. In the kitchen was Mary, who kept a jar filled with Toll House cookies. We grabbed cookies by the fistful, racing dozens of times a day between the front of the house and the back. The front: finials shaped like pineapples, Corinthian columns, a tall, ticking grandfather clock. The back: watery fluorescent lights, everything painted hospital green.

Martha’s room was on the far side of the kitchen, along with a small sitting area with a portable t.v. that sometimes played, sound off, during parties. She died in her sleep, childless, far from the family she left behind. Mary died not long after, an event marked principally by my grandmother as an inconvenience— no cook ever understood the rules of the kitchen as well, they put their hands too chummily on my grandmother’s shoulders when they greeted her in the morning, suggested crude side dishes like Jello salad, failed to master the art of butter balls. I stood with my hands on either side of the empty glass jar and wondered why Mary died. Her hair, a pale shade of pink, made it hard to guess her age. Only years later did I remember Brit, bent with grief in the sitting area, shoulders shaking, eyes boiled by sorrow.

Last night D. spent an inexplicable amount of energy trying to convince me that the Internet is not a destructive habit, but my way of feeding my creative self. I said, no, it’s not. She argued: lots of writers and artists need to do other things– garden, clean their kitchens– isn’t that where you get your story ideas? I said: no, it isn’t. She said: how do you know it isn’t? I think about my long days, seven in the morning until one or two the following morning, the hours spent avoiding my work, my family, locked in the grip of a problem that won’t be solved, the hours I have added up, trying to imagine how much time I have lost, trying to figure out why I haven’t produced any stories. I say: hundreds of hours. She says, I’m just playing Devil’s advocate. I say, I don’t need a Devil. I need to write.

Mark Twain came downstairs every night and read what he wrote during the day to his family at the dinner table. When I first learned that fact it seemed wonderful. I’d like to have a built in audience, every night. Now I wonder– when did his family read their stories? To whom? He was the only one who read, night after night, the whole edifice of his family about him and his career. Which is not to say he wasn’t generous, or that he wasn’t loving, but just that he had the Y chromosome advantage, a conviction so deep it wasn’t even conscious, that what he had to say was important, that it might be the most important thing at the dinner table, night after night, decades upon decades.

Something incredibly tragic, Shakespearean, about the end of his life– he died alone, his wife and two beloved daughters dead before him. The third daughter, the one who lived, described as willful and temperamental, was unable to enter, even to walk past, the huge house he built for them all to share.

I saw the finale of Big Love yesterday. When I tried to tell Jesse about it this morning I cried, talking about the old couple, Frank and Lois, lying together on her bed, with the syringe and vial beside them on the table. What made me cry was the long view I had of their relationship, because I have been watching them not just for two hours, but for five years, long enough to have my own old memories of their marriage. They fought every day, regularly tried to kill each other, and then Frank did end up killing her in the end, not because he hated her, but because he loved her. He held her like a child and told her stories as she died, knowing that after she was gone he would have nothing left in the world. She was his last thing and he let her go, because she asked him to help her, and she was suffering.

Big Love worked for me because in addition to being about family, it was a story about a man with a huge ambition– to make polygamy, that crazy idea, legitimate and legal. In each season Bill took that goal further, raising the stakes– not just to be safe, but to come out of the closet; not just to come out of the closet, but to win a senate race, to wipe out the snake pit of his childhood, to change the law so that other polygamist families could live out in the world without fear. Polygamy is a cool arena. But what gives the series life is the protagonist’s driving goal, to make polygamy legitimate in the world. It’s a story about family, and all the challenges that any family has. But they aren’t just drifting along having their daily struggles. Bill keeps pushing them all forward, towards a more difficult, risky, impossible end.