Ethel Rohan was born in Dublin, Ireland, while the nurse and her mother argued: her mother demanded to be allowed push; the nurse insisted the baby wasn’t coming any time soon. Ethel believes she shot into the world because she wanted her mother to be right. Ethel was her parents’ third child and first girl. Two sisters (twins) and another brother would follow. She remembers a home where there was more fighting than anything. She was a lonely, frightened, desperate-for-attention child, the kind of child that gets into deeper trouble. Amidst trouble and anger, she loved to read, act, and recite poetry. In third grade, she received a prize, a glass ashtray, for one of her poems. She has no idea what the poem was about. Her parents enjoyed the ashtray. She danced daily alone in her living room, pirouetting under the melancholy gaze of the gold-framed Sacred Heart of Jesus. Bless this home … Bless this home … She was wire-skinny and yet felt fat to bursting with so much that she couldn’t say. She excelled at debating and public speaking: all that she could say. Ethel is grateful that she also knew in childhood laughing, playing, sharing, caring, rewards, adventures, friendship, beaches, vacations, Sunday drives, and things as simple and precious as toasting bread in the open flames of her living room fire, dripping-with-butter toast that tasted of ashes and made her feel alive, crackling flames wherein she pictured bright things. She broke away for bright things at age twenty-two and settled in San Francisco. San Francisco is home, a place and people that have been very good to her. Shortly after her arrival to the city, her husband ended her winning run at a pool table in an Irish bar on Geary Boulevard and they’ve been together ever since. They have two daughters. Ethel’s daughters are her joy. Her greatest accomplishment is enjoying a happy home with them. “Circling the Drain” (Keyhole Issue 9) and “Air” (PANK, December 2009) are two stories Ethel wrote that hold deep personal meaning and that she believes are, in many ways, two of her strongest. Ethel’s story, “Circling the Drain,” centers on themes that recur in her work: yearning, fear, isolation, madness, abandonment, and loss. At the story’s end, the protagonist makes a crucial shift out of fear, yes, but also love: to give himself over to his wife’s psychosis. Writing “Air” was a moving and powerful experience for Ethel. In the original version of “Air,” the version Ethel believed was “finished,” the protagonist endured a harrowing rape. Ethel’s instincts told her not to submit the work for publication just yet. She set the work aside, but the story’s protagonist stayed with her and demanded a different fate. Ethel rewrote the story, and got it to where it felt “right-right.” For the first time she truly realized her power as a writer and the power of the characters and stories we create: there was now one less girl in the world raped, one more girl who escaped and survived. Ethel Rohan writes because she still feels fat to bursting with all that she needs to say.
[Note: You can read Meg Pokrass' expressive life story here.]