对于任何一位母亲、想要成为母亲或曾经做过母亲的人来说，这是一次对母亲身份和艺术之间关系的深刻、挑衅性和机智的探索。
一位伟大的艺术家同时也是一位母亲，他长什么样？不是在“自己的房间”而是在家庭空间中创造意味着什么？在《走火通道上的婴儿》中，获奖传记作家朱莉·菲利普斯（Julie Phillips）穿越了母性与创造力交汇的多变地带。
带着强烈的同理心，菲利普斯唤起了二十世纪杰出艺术家和作家之间亲密而多样的斗争。乌苏拉·K·勒金（Ursula K.Le Guin）在家庭生活中找到了富有成效的稳定，而奥德雷·洛德（Audre Lorde）的古怪、多妻制的联盟让她能够按照自己的方式抚养孩子。苏珊·桑塔格19岁成为母亲，安吉拉·卡特43岁成为母亲。这些母亲有一个或五个或七个孩子。他们在工作室、厨房、车里、床上、书桌上工作，旁边有一个婴儿车。。。。
The Baby on the Fire Escape: Creativity, Motherhood, and the Mind-Baby Problem
An insightful, provocative, and witty exploration of the relationship between motherhood and art—for anyone who is a mother, wants to be, or has ever had one.
What does a great artist who is also a mother look like? What does it mean to create, not in “a room of one’s own,” but in a domestic space? In The Baby on the Fire Escape, award-winning biographer Julie Phillips traverses the shifting terrain where motherhood and creativity converge.
With fierce empathy, Phillips evokes the intimate and varied struggles of brilliant artists and writers of the twentieth century. Ursula K. Le Guin found productive stability in family life, and Audre Lorde’s queer, polyamorous union allowed her to raise children on her own terms. Susan Sontag became a mother at nineteen, Angela Carter at forty-three. These mothers had one child, or five, or seven. They worked in a studio, in the kitchen, in the car, on the bed, at a desk, with a baby carrier beside them….
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