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Content Warning: This section of the guide includes discussions and depictions of domestic and sexual violence, rape, and suicidal ideation.
Miriam Toews is a Canadian writer and author of nine books. Born in 1964, she grew up in a Mennonite colony in Steinbach, Manitoba, Canada. Her father, Melvin C. Toews, was an elementary-school teacher who lobbied to establish the first public library in Steinbach. He lived with bipolar disorder for most of his life and eventually died by suicide. Toews also lost her older sister and only sibling to suicide 12 years after her father.
Although Toews’s parents were relatively free-thinking, she left home and the colony when she was 18, burdened by the community’s overall atmosphere of shame and strictness. Many of her novels are set in Mennonite colonies and are critical of the religion. In an interview with the New York Times, Toews discusses the ramifications of growing up in the colony: “If you don’t end up filled with self-loathing and/or guilt and/or inexplicable rage, living in that community, then you are not paying attention” (Porter, Catherine. “Miriam Toews’s Mennonite Conscience.” New York Times, 28 Mar. 2019).
The women of Women Talking embody all of these emotions and characteristics. In an interview with The Guardian, Toews names the affinity she feels with the historical victims and the characters she creates: “I felt an obligation, a need, to write about these women […] I’m related to them. I could easily have been one of them” (Onstad, Katrina. “Miriam Toews: ‘I Needed to Write about These Women. I Could Have Been One of Them.’” The Guardian, 18 Aug. 2018) Additionally, her father’s and sister’s struggles with mental illness and suicidal ideation recur regularly in her work. August Epps, the narrator of Women Talking, is only saved from suicide when Ona Friesen, who struggles with anxiety, finds him and suggests he join the women to take the minutes. Ona, like Toews’s sister, is the elder of the Friesen sisters; Salome, the younger, is arguably the strongest and most rebellious of the characters. As in many of her novels, parallels can be drawn between these fictional characters and the members of the Toews family.
Women Talking was inspired by real occurrences in a remote Mennonite colony in Bolivia. Toews prefaces her novel with an author’s note, naming the genesis of the book and summarizing the horrific events that took place in the Manitoba Colony from 2005 to 2009. Time magazine called the rapes of women a “historic and horrifying case of gaslighting,” noting that the “abusers, men in their own community, told the victims, 3 to 60 years old, that their attacks had been perpetrated by ghosts” (Patrick, Bethanne. “Confronting Demons in a Mennonite Colony.” Time, 15 Apr. 2019).
As in Toews’s novel, the abuse in the Manitoba Colony was widespread. Erna Friessen, a Canadian Mennonite woman who worked with the women who experienced abuse in the colony, told Vice reporter Jean Friedman-Rudovsky that “[t]he scope of sexual violence within Old Colonies is really huge,” and that “more [women in the colony] have been victims of abuse than not” (Friedman-Rudovsky, Jean. “The Ghost Rapes of Bolivia.” Vice, 22 Dec. 2013). She added that the colony is “a breeding ground for sexual abuse” and that “[t]he first step is always to get them to recognize that they have been wronged. It happened to them, it happened to their mom and their grandmother, so they've always been told [to] just deal with it” (Friedman-Rudovsky).
Another similarity between the fictionalized colony of Molotschna and the historical Manitoba Colony is the reason the leaders finally sought outside intervention. Friedman-Rudovsky reported that “Manitoba residents told me that they handed the gang over to the cops in 2009 because victims’ husbands and fathers were so enraged, it’s likely the accused would have been lynched. (One man who was believed to be involved and caught in a neighboring colony, was lynched and later died from his wounds)” (Friedman-Rudovsky). These colonies, both the fictional and the historical, keep their secrets close and only seek outside assistance when circumstances demand it.
Although there are few cases as widespread and horrific as the one in the Manitoba Colony, Toews says that abuse in Mennonite colonies such as these is not surprising: “I was horrified but not surprised. The details were shocking but these types of crimes have always occurred in places like this. Extremist, closed communities are ripe for violence” (Onstad). In fact, denial and gaslighting still existed in the colony in Bolivia when Friedman-Rudovsky visited in 2013 and interviewed its members: “The Old Colony leaders I spoke with denied that their communities have an ongoing sexual abuse problem and insisted that incidents are dealt with internally when they arise,” he wrote, and added that “[a]nother minister denied that even this episode had happened” (Friedman-Rudovsky).
Similarly, the women in Toews’s novel—like the women in Bolivia—when confronted with an untenable situation, face the same two choices their ancestors did, according to Friedman-Rudovsky: “Centuries ago, the original Mennonites in Europe, faced with persecution, had a choice: fight or flight. Given their vow of pacifism, they fled—and they have been doing so ever since” (Friedman-Rudovsky). When the women of Molotschna choose to leave, although they are striking out for places unknown, they are following in their predecessors’ footsteps. The novel’s real-world context is thus inseparable from its consideration of both The Violent and Repressive Nature of Patriarchy and Keeping Faith in a Religion Steeped in Hypocrisy.
Four years after the novel’s release, Women Talking was adapted into a highly acclaimed feature film. Directed by Sarah Polley and released in 2022, the film won an Oscar for Best Adapted Screenplay in 2023. Polley’s adaptation is largely true to the novel, but she does makes one major choice that shifts the narrative. While August Epps narrates the novel, Polley chooses a female narrator. Polley uses the child Autje’s future adult voice—speaking to Ona’s unborn child—in a decision that extends the story beyond the confines of those two days in June. At the close of the novel, August asks Salome to give the minutes to Ona, who, like the other women in the colony, cannot read. Salome responds, “What will she do with them? Use them as kindling?” and August replies, “Her child will read them” (208). The film’s narrative device not only conveys that the women succeed in leaving and that Ona’s baby is born and survives but also proves another benefit of that departure—women can read in their future. This change in narrative voice also moves the film more fully into the perspective of the women, unmediated by a male perspective. Film editor Christopher Donaldson talked to Variety about his and Polley’s reasoning behind the decision: “There was this feeling that the voice of August, which had been so central to the novel and easily transferable to the script, was the wrong prism through which to envision the film” (Tangcay, Jazz. “How ‘Women Talking’ Pulled Off the Riskiest Change from the Book to the Movie.” Variety, 31 Jan. 2023).
The film, with its changes and script alterations, received critical praise even as it was passed over for some prestigious nominations. For example, the Academy of Motion Pictures nominated the film for Best Picture and Best Adapted Screenplay, but director Sarah Polley was ignored as best director. Marina Fang calls the film “a microcosm for societal question on forming democratic systems and trying to escape abusers and abusive situations” and notes that the slight was “no surprise and totally in line with [the Academy’s] abysmal record” (Fang, Marina. “No Women Were Nominated for the Best Director Oscar This Year.” Huffington Post, 24 Jan. 2023).
Toews’s novel was published just as the Me Too movement began and women were telling their stories about abuse and marginalization in Hollywood and elsewhere. The film was released a few years later, after interest in the movement began to fade from the headlines. The absence of women among the 2022 director nominations illustrates women’s ongoing difficulty making themselves heard.
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By Miriam Toews