Mona Simpson

I grew up as an only child with a single mother. Because we were poor and because I knew my father had emigrated from Syria, I imagined he looked like Omar Sharif.

In my 30s, I wrote in the back house of a ramshackle Spanish Revival we rented across from the ocean in the Santa Monica Canyon. I wrote thousands of pages there, but in order to see another adult human being, I had to steal out through the brambly side of the house, along the driveway down to the street.

Once upon a time, my mother lived in the posh downtown of Homs, Syria. She described my grandfather as a king in a storybook, atop a horse, wearing a didashah and pointing a long arm.

I suppose 'My Hollywood' is only as politically meaningful as it is deeply inside the least powerful of its characters. I wanted it to reveal scenes of subtle exploitation, odd instances of accidental power and challenges to decency specific to its time, but also impulses of generosity that transcend our particular era's messes.

Writers collect stories of rituals: John Cheever putting on a jacket and tie to go down to the basement, where he kept a desk near the boiler room. Keats buttoning up his clean white shirt to write in, after work.

The transparency men have enjoyed for generations, about their ability to frankly work while also reveling in fatherhood, is still complicated for women. Which is not to say that anyone can have everything.