Unhook Myself from Old Definitions

Nonfiction / Melissa Fite Johnson

 

:: Unhook Myself from Old Definitions ::

  1. Uncon­di­tion­al love

For­mer­ly: the ide­al, the dream, Don­na Sum­mer song, Tupac Shakur song, what I owe my mother

I was 22 and still liv­ing in my child­hood bed­room. My father had been dead six years. My boyfriend Marc and I were play­ing Nin­ten­do when my moth­er and her boyfriend (off-again when he got a girl my age preg­nant, on-again when that girl mis­car­ried) came home. My moth­er walked to my door and knocked, asked if Marc and I would look at her boyfriend’s pho­tographs. He wasn’t a pro­fes­sion­al pho­tog­ra­ph­er, but he took senior pic­tures of his daughter’s female class­mates for free. I said no. She slammed the door and walked away. Marc start­ed to say “Maybe we should—” when my moth­er returned and threw open the door. I knew what her con­tort­ed expres­sion usu­al­ly pre­ced­ed, but since I had com­pa­ny, I was sur­prised when it hap­pened. When she mor­phed. Her voice low and drawn out, she called me a piece of shit, the mid­dle fin­ger of each hand raised and shaking.

Marc and I went to a bar after that. In our booth, I con­fessed my fear that what he’d seen must have scared him. That he would leave. He looked down at his drink, then direct­ly at me. He said he didn’t think he was ever going to leave. We were eight months in. That was twen­ty years ago.

The next day, my moth­er act­ed like noth­ing hap­pened, like she always did after one of her episodes. She told me she loved me, then prompt­ed me to say it back.

 

  1. Guilt trip

For­mer­ly: minor annoy­ance, road trip com­e­dy star­ring Seth Rogen and Bar­bara Streisand, accept­able means of achiev­ing a desired result

After Marc and I had been togeth­er a few years, we decid­ed not to have kids. He sug­gest­ed it, and once I got past my Mid­west confusion—“What would we do instead?” I asked; “What­ev­er we want,” he replied—I real­ized it wasn’t dis­ap­point­ment I felt, but relief. I’d nev­er been able to pic­ture myself as a moth­er. Maybe because I was try­ing to pic­ture myself as my mother.

I told my moth­er about this deci­sion in the car. I don’t remem­ber where we were going, only that I was dri­ving and I’d picked this moment so I could watch the road instead of her. She said I was killing my father a sec­ond time. I was the only one who could pass on his genes.

 

  1. Daugh­ter

For­mer­ly: best friend, Lore­lai and Rory Gilmore, sole sup­port sys­tem, my most defin­ing title

My ther­a­pist says to write a let­ter to my younger self. “Which one?” I ask her. “Any of them,” she replies. “All of them.”

To myself the day I was born: There’s noth­ing wrong with your face, even though your moth­er is con­sid­er­ing plas­tic surgery already, her first instinct not to mar­vel but to pin your ears back so you match the girl in the mag­a­zine clipping.

To myself at sev­en: There’s noth­ing wrong with your voice, deep­er than oth­er girls’. When your moth­er forces you up an octave, calls the house to make sure you don’t slip into your nat­ur­al voice, please don’t feel guilty about for­get­ting to be some­one oth­er than yourself.

To myself at six­teen: You’re allowed to mourn your father how­ev­er you need. When you ask her to stop leav­ing his let­ters on your bed because it’s too much, her response shouldn’t be, “Fine, bitch.”

To myself at nine­teen: It’s OK you told your moth­er about your boyfriend, about the rape. You should be able to trust a moth­er. Her instinct should’ve been to hold you, to help you. Not to say “At least my boyfriend nev­er raped me.”

To myself at 30: You are not a bad daugh­ter, even if she tells her friends she nev­er sees you— despite Thurs­day din­ners, despite Sun­day mati­nees, despite dai­ly emails. You are not a bad daugh­ter, even if noth­ing is ever enough. Mar­ry Marc. Find your dogs at the shel­ter. Make the most peace­ful life you can imagine.

To myself now: I know hard­ly any­one will under­stand. Peo­ple still tell you she’s the kind­est per­son they’ve ever met. But they don’t know her. You’ve spent your whole life keep­ing peo­ple from know­ing her. You don’t have to be silent any­more, to pro­tect her any­more. You nev­er did. This is your sto­ry to share, your life. And you are allowed to leave.

From the writer

 

:: Account ::

Ear­li­er this year my ther­a­pist said my moth­er was the stereo­type of an emo­tion­al abuser—manipulation, cru­el­ty, denial, grand ges­tures and love bomb­ing. It felt like relief, hear­ing that. Feel­ing val­i­dat­ed and seen. I’ve been feel­ing a lot of relief (and grief, to be fair) this year—breaking free of my moth­er, final­ly talk­ing and writ­ing about these for­mer­ly hid­den aspects of my rela­tion­ship with her. My moth­er has nev­er owned or even acknowl­edged her behav­ior, so it would’ve been impos­si­ble for her to tell me to keep it a secret, but some­how I always knew my job was to pre­tend it away, even to myself. So I ratio­nal­ized, I called our rela­tion­ship “com­pli­cat­ed,” I focused on the good. There was a lot of good. When she was her best self, she was one of my favorite peo­ple to hang out with. As I’ve got­ten old­er and more secure, though, as I’ve under­stood what love should look like, I’ve stopped being able to pre­tend. I’ve stopped want­i­ng to. I used to be afraid that if I told peo­ple about this side of my moth­er, they wouldn’t believe me, or they’d think I was exag­ger­at­ing. I was even more afraid that if I end­ed my rela­tion­ship with her, peo­ple would think I was a ter­ri­ble per­son. But I’ve start­ed con­fid­ing in more peo­ple about my moth­er, and I’ve been star­tled to learn how many peo­ple I admire and respect are estranged from fam­i­ly mem­bers. And even though it ter­ri­fies me to be this hon­est about my mother—on some lev­el I still believe I’m break­ing our unspo­ken vow of silence—I actu­al­ly think it’s real­ly impor­tant that peo­ple try to be more open about emo­tion­al abuse, which can feel so ambigu­ous. It’s too easy for peo­ple to doubt their own mem­o­ries or feel like they deserve to be treat­ed this way. For years, that’s what I did, and that’s how I felt.

Melis­sa Fite John­son is the author of three full-length col­lec­tions, most recent­ly Midlife Abecedar­i­an (Riot in Your Throat, 2024). Her poems have appeared in Ploughshares, Pleiades, HAD, Whale Road Review, SWWIM, and else­where. Melis­sa teach­es high school Eng­lish in Lawrence, KS, where she and her hus­band live with their dogs.

Florida’s Mockingbirds Like to Perch on Street Signs: Some Birds I know In South Florida

Nonfiction / Brendan Walsh

:: Florida’s Mockingbirds Like to Perch on Street Signs: Some Birds I know In South Florida ::

  1. Street Roost­er

The neigh­bors across the street bought a roost­er last month, and it’ll be the cause of my death or incar­cer­a­tion. It’s a pre-pre-dawn roost­er. Up at four, crow­ing towards what’s still night for most of us. 

When the roost­er screams, I go out to my lit­tle bal­cony and scream back “SHUT UP,” and then he does for a moment. He actu­al­ly shuts up. I think, did it work, is he gone? Did he run back to his farm, or prefer­ably, to the impos­si­bly vast swamp where he was eat­en by a gator? Two min­utes lat­er, he cawww-caws and I sit up and make a pot of coffee. 

We’ve cul­ti­vat­ed a cul­ture that thrives on space away from oth­ers, on a pro­found lack of com­mu­ni­ty sol­i­dar­i­ty, where a per­son in the mid­dle of a city can pur­chase a roost­er that wakes the entire neigh­bor­hood at four, and face no account­abil­i­ty. Who­ev­er bought the roost­er obvi­ous­ly thought that it might serve some pur­pose to alle­vi­ate their lone­li­ness. They assumed that if they had a stu­pid roost­er peck­ing and yelling out­side their house there’d be some extractable mean­ing. Why else would you buy a roost­er? What’s worse, I believe, is that we aren’t doing any­thing to con­front this. No one feels a right to defend pub­lic space. There’s too much on the line, espe­cial­ly in Flori­da, where any­one can be legal­ly shot with lit­tle provo­ca­tion or explanation.

Still, goad­ed by the encour­age­ment of my abo­li­tion­ist friend who affirmed that “anti-carcer­al­i­ty doesn’t extend to roost­ers,” I called Broward Coun­ty Ani­mal Con­trol, who told me they would send some­one to check on the situation. 

The roost­er has risen ear­li­er since, cer­tain­ly to spite me, though I don’t blame him. In anoth­er con­text, I’d love him. I’ve spent won­der­ful days on farms with roost­ers scratch­ing along the grounds. On a farm, a roost­er serves a pur­pose. They defend and pos­ture and impreg­nate. They aren’t sym­bols of any­thing but them­selves. Here, in the mid­dle of Hol­ly­wood, Flori­da, a city of approx­i­mate­ly 158,000 peo­ple, the roost­er is a sym­bol of loss and the absur­di­ty of a soci­ety drained of its life force yet is still called to wor­ship the gods of com­merce and cap­i­tal­ism. If I were more of a Chris­t­ian, the roost­er might even rep­re­sent a fun­da­men­tal­ist bea­con of the com­ing rapture. 

The roost­er is as native to South Flori­da as I am: not at all. Archae­ol­o­gists believe that the first chick­ens were domes­ti­cat­ed in South­east Asia and Chi­na. Through the migra­tions so com­mon to our species, roost­ers end­ed up in Hol­ly­wood and every oth­er back­yard and farm of the hab­it­able globe. When I lived in Laos, dozens of roost­ers woke me up every morn­ing, but since I looked out at a dirt road where monks col­lect­ed alms from devout Bud­dhist women, it didn’t seem like such a dis­rup­tion. It felt as though every­thing were per­fect­ly in place. 

What most upsets me about the roost­er, oth­er than the sleep­less­ness to which I’ve grown accus­tomed and out­raged, is how he drowns out the birdsong. 

  1. The Flori­da Mockingbird

The Flori­da Mock­ing­bird likes to perch on street signs. It posts up on STOP signs and NO PARKING signs, sings casu­al­ly its life-chang­ing tune, then bursts away to the next sign or branch or streetlight. 

It is offi­cial­ly known as the com­mon mock­ing­bird, but down here, since they seem to be every­where and are the state bird (many oth­er states claim the mock­ing­bird as well), I call it the Flori­da Mock­ing­bird. I don’t real­ly think it makes sense to be proud of one’s coun­try or place of birth, because those are ran­dom occur­rences and abstrac­tions, but it makes per­fect sense to be proud of the birds you live amongst. Of all the things on this human-con­struct­ed earth, bird-prox­im­i­ty seems purest. 

This is my favorite bird in the world, and the only one whose song, so mel­liflu­ous and oth­er­world­ly, has made me cry. Oth­er bird songs have made me want to cry, or feel like cry­ing, but our Flori­da Mock­ing­bird is the only one to do it. 

It was a week­day morn­ing in Feb­ru­ary. I walked out of my unit, looked upon the pool, smooth as an ironed nap­kin, the sun burned hope­ful orange, and the mock­ing­birds whis­tled through the alley­way, echoed in the court­yard, and I near­ly fell over. I believed in God so sure­ly then. It was such an obvi­ous thing, if only for that moment. 

The Flori­da Mockingbird’s plumage isn’t par­tic­u­lar­ly beau­ti­ful. It is small, gray, and unas­sum­ing, with a white bel­ly and two dis­tin­guish­ing white wing bars. When it sings, though, when it sings. It inter­ests me how we’ve even evolved, as this curi­ous­ly destruc­tive ape, to find such a song plea­sur­able. I can’t imag­ine the kind of human who hears the mockingbird’s song and doesn’t feel over­whelmed with won­der. How could you begin to under­stand this kind of per­son? What secret inhu­man­i­ty do they harbor?

It is spir­i­tu­al to exist along­side some­thing so ele­men­tal­ly per­fect. Every day, dur­ing breaks between my class­es, I walk through cam­pus with an eye out for wildlife. I see baby rac­coons and pos­sums, tur­tles, all man­ner of birds (which, don’t wor­ry, I’ll dis­cuss), igua­nas by the hun­dreds, and of course mock­ing­birds. Espe­cial­ly in late spring when cam­pus clears of under­grads, the birds sing even loud­er. On signs for cam­pus safe­ty, and in palm trees, on pic­nic tables, atop lamp­posts, they sing. I’ve tak­en to record­ing their songs and post­ing them to insta­gram. It’s infor­ma­tion that I con­sid­er vital­ly impor­tant. Look! I write. Some­thing is singing some­where! All is not lost!

Short­ly after­wards, I con­sid­er how quick­ly the streets flood from a brief storm, and how the gov­er­nor has made it near­ly impos­si­ble for felons to vote even after the pass­ing of Amend­ment 4, and the ran­dom and cru­el anti-LGBTQ bills sped through the state leg­is­la­ture, the crim­i­nal­i­ty of wom­an­hood, and the denial of a cli­mate cat­a­stro­phe that lit­er­al­ly knocks on our doors. A mock­ing­bird sings some­where and it is beautiful. 

  1. Boat-tailed Grack­le

On cam­pus, the boat-tailed grack­les fight each oth­er over Dump­ster space out­side the din­ing hall. They enjoy stand­ing on moun­tains of trash. Their call is shrill then coy then goofy. Their voice is almost iri­des­cent, like the male’s feath­ers, which look black at first until the light hits them, then they’re shiny greens and blues. When a boat-tailed grack­le takes off, it seems as though its tail is too heavy for its wings. 

Yes­ter­day morn­ing, an hour after I decid­ed to write this, a boat-tailed grack­le dive-bombed my head on the Hol­ly­wood Beach Broad­walk. I took it as a sign from God. Thank you, boat-tailed grackle. 

There’s some cor­re­la­tion between grack­le enthu­si­asm and human exhaus­tion. The more human soci­ety col­laps­es on itself, the more grack­le soci­ety flour­ish­es. Every grack­le is a misanthrope.

  1. Roseate Spoon­bill

Roseate spoon­bills are near­ly per­fect. They’re flamin­go-pink for the same rea­sons flamin­gos are flamin­go-pink: they eat a diet high in crus­taceans with carotenoids. They’re in the same fam­i­ly as the white ibis, a fool­ish-look­ing white or brown feath­ered bird. Bright col­ors play tricks on our sim­ple brains. 

The sec­ond time I saw roseate spoon­bills was with a for­mer part­ner I hadn’t seen in six months. She had moved away to a farm, and I was alone, aban­doned, then quar­an­tined, but we stayed in touch irre­spon­si­bly. Before she moved to the next farm, we decid­ed to do a road trip for old time’s sake, and because we were a bit lost with­out each oth­er. I picked her up at the farm, way upstate near the Geor­gia bor­der. We stayed a night at the farm, and a sum­mer storm washed in and soaked the earth. She lived in a tiny house with a cor­ru­gat­ed iron roof–the rain bounced all night and I rose to pee out­side, off the porch. Such vast qui­et between the raindrops.

Next day we drove down to Cedar Key, a lit­tle-known arch­i­pel­ago on Florida’s Gulf Coast, pret­ty much in the armpit. A poet­ry pro­fes­sor of mine used to talk about Cedar Key in whis­pers because she didn’t want any­one to find out about it. Peo­ple have found out, but not too many. It feels like the past there; some­thing that prob­a­bly-racist folks call “Old Flori­da.” It’s got that part Hem­ing­way, part Faulkn­er, part Viet­namese fish­ing vil­lage vibe. We were imme­di­ate­ly hap­py there. 

Our motel sat near a noseeum-infest­ed inlet, and a bald cypress unfurled roseate spoon­bills at dusk. Pink and green turned green. They flew out into the flat bay. We kayaked, enter­tained by teenaged dol­phin bobs and dives five feet from our ves­sel, then we fol­lowed the coast­line to a small beach, where we land­ed the kayaks to rest awhile. Pel­i­cans hung out in the tide and on the docks, hop­ing a fish­er­man would throw out his bait, or the fried clam restau­rant would chuck a few scraps. Always poach­ing, the pelicans.

Back at the motel, spoon­bills again, roseate as ever, hov­ered back and forth over­head. It can’t be real, I said to her. We rel­ished the words roseate spoon­bill. Who could say such a name and not blush? 

The final night at Cedar Key, we ate a pile of steamed clams on the hotel deck over­look­ing the tree, noseeums bit my ankles to a swollen pink pulp. She asked if I want­ed to go inside. I said no, I want to see more roseate spoon­bills. Maybe they could sense my need­i­ness or the harm they caused, keep­ing us togeth­er when we need­ed a clean break, but they didn’t return. We want­ed pink and wide-beak and honk. We want­ed to stare at what we always shared. The roseate spoon­bill is a self­ish bird in that regard, hoard­ing its bril­liance from us, but it’s also kind to grant any grace in this lit­tle life. 

  1. Brown Pel­i­can

There are a cou­ple of pel­i­cans at the Dania Beach Pier that wait for fish­er­men to make a mis­take or chuck their bait. They have names; nam­ing is a fun­ny thing that humans do. We name unname­able things, dou­ble-name them some­times too. We say “pel­i­can” but we also call it “Stan­ley.” The pel­i­can doesn’t know it’s a pel­i­can, and it cer­tain­ly doesn’t know its name is Stan­ley, or Bri­an, or Karen. The Dania Beach Pier pel­i­cans have learned to linger around us. They approach with their mas­sive gul­lets and gaze into our palms. They look at our hands as the ancients looked to the sky when they des­per­ate­ly need­ed rain. 

Last Feb­ru­ary, I took my vis­it­ing friends to the pier to watch the fish­er­men, and to stand out in the ocean, look south towards Mia­mi and north to Fort Laud­erdale, east into the impos­si­ble atlantic. It was clear and bright, the kind of day you say “this is why, this is why” and peo­ple down here know what you mean. 

The first up-close encounter with a pel­i­can is always rat­tling. They’re large birds, some­times weigh­ing up to ten pounds, with a sev­en-foot wingspan. They walk like tod­dlers around the pier deck, inves­ti­gat­ing fish-stocked cool­ers and buck­ets of chum. Once in a while, they man­age to open an unlocked cool­er and steal a fish. Spec­ta­tors watch and laugh, peo­ple with fish­ing poles chase the ridicu­lous birds into the sky. 

My friends were stunned and fas­ci­nat­ed by the pel­i­cans among us. Dave, crit­ter-lover that he is, attempt­ed to touch one. I told him no, please do not pet that pel­i­can. He didn’t, thank God. We watched peo­ple, all men from the West Indies and South Amer­i­ca, speak­ing Span­ish and Cre­ole and Flori­da Eng­lish, reel in fish and baby sharks. The sea gives, but we take more than it can give. 

A thin guy in a sleeve­less shirt stamped his cig­a­rette as he approached us. A pel­i­can wad­dled near­by, and the guy addressed it by name. The guy said, “You wan­na see a pel­i­can go to sleep?” I said, “No, that’s alright.” I didn’t know what he meant, but I fig­ured it couldn’t be good. Sleep has so many con­no­ta­tions. He replied, “Let me show you.” I said, “Oh shit, what are you going to do?”

He grabbed the pel­i­can by its beak, twist­ed it down. I said, “Stop, it’s okay. You don’t need to show us.” He wasn’t lis­ten­ing. The pel­i­can bare­ly resist­ed, and as the guy brought it to its back, his oth­er hand shift­ed to its bel­ly, which he gen­tly rubbed. For a moment, the pel­i­can bucked back, then it was over­come by the forced com­pas­sion, that coer­cive soft­ness, and its eyes rolled. He loos­ened his grip on the beak, removed his hand from the bel­ly, and stood up. There the pel­i­can rest­ed for ten sec­onds before it roused itself upright and wad­dled off. 

That’s how you put a pel­i­can to sleep,” he boast­ed, lit anoth­er smoke, and went back to his pole. 

  1. Egypt­ian Goose

There’s only one bird that I don’t care for. Hate is such a strong word for a thing that isn’t capa­ble of hat­ing me back (we should be equi­table with our emo­tions), but the Egypt­ian Goose is close. In casu­al con­ver­sa­tion with strangers I have said, “I hate Egypt­ian geese.” Most peo­ple can’t dis­tin­guish between an Egypt­ian goose and a mus­covy duck. In fact, I hear peo­ple call these geese ducks pret­ty reg­u­lar­ly, and I cor­rect them. They don’t look any­thing alike. I don’t real­ize that this cor­rec­tion is annoy­ing until much lat­er, when I’m alone in bed and recount­ing my dai­ly infractions. 

Egypt­ian geese are anoth­er inva­sive species to Flori­da. They’re from, obvi­ous­ly, Egypt, and wide­ly across Africa. They have sleek tawny and white feath­ers, and a dis­tinct­ly white head. It’s a fair­ly hand­some and regal species, though their eyes are red and soul­less; they look like the moment right before a human turns into a zom­bie, that tran­si­tion from liv­ing to undead, empa­thy to vacan­cy. This isn’t to assume that their emo­tion­al expe­ri­ence is devoid of com­plex­i­ty. In fact, I’m sure that they’re incred­i­bly anx­ious and lov­ing (in the bird way). This is most­ly why I’m not fond of them. It’s a clas­sic case of an inva­sive, aggres­sive species get­ting mad at anoth­er species for being inva­sive and aggressive. 

I was first attacked by an Egypt­ian goose in 2017, my first spring in Flori­da. I grew up around Cana­di­an geese, but they usu­al­ly pre­sent­ed a threat in the form of mass-shit­tings along every side­walk in the ear­ly days of New Eng­land spring. The Egypt­ian geese mat­ed and nest­ed and raised their goslings on my cam­pus, pocked with ponds and water­ways, palms and thick­ets. Like a fool, I hadn’t researched the behav­iors of local wildlife before mov­ing down. Sure, I was thrilled by gators and igua­nas, but I nev­er took the time to exam­ine the grit­ty details of aggres­sive bird species. In a way, I sup­pose, I was ask­ing for a lesson. 

After a pre-teach­ing gym ses­sion I walked out­side to sun and heat, the east­ern bronze fold­ing into pink and pur­ple. I hadn’t slept the night before. I have trou­ble sleep­ing, some­times the wak­ing is ran­dom and oth­er times it’s because I have to pee, or because a roost­er moved into the neigh­bor­hood. My fam­i­ly is noto­ri­ous­ly bad with sleep. We always wake first and intol­er­a­bly ear­ly, and some­times we stay up all night wracked with vague anx­i­ety. A goose approached me as I walked past the pond near­est my build­ing, and I took it as a sign of curi­ous friendship.

I greet­ed it with a jovial and exhaust­ed, “Hel­lo goose!” and its pace quick­ened. “Whatcha doin, goose?” I asked with some alarm.

It ele­vat­ed and began honk­ing, then flew towards my face for an aer­i­al assault. I ducked and dropped my bags, but it pur­sued me, flap­ping and strik­ing at the back of my head. I respond­ed with unin­tel­li­gi­ble fear bab­ble, sounds that Egypt­ian geese metab­o­lize as nutri­tion. I hus­tled fifty-feet before the goose relent­ed, and I checked the hori­zons to ensure that no one saw me cow­er and run from a bird much small­er and less pow­er­ful than I. In God’s good­ness, the cam­pus was emp­ty, still too ear­ly for under­grads to trudge to class. Unaware as I was of the nest­ing prac­tices of the goose, I assumed that this was a ran­dom act of dick­ish­ness. When I told my stu­dents lat­er, they laughed and wished that this could have been cap­tured on video. I did too, but only so they could wit­ness the bru­tal­i­ty firsthand.

A few days lat­er, stu­dents showed me their own videos of Egypt­ian goose attacks. While they ate lunch on the quad or on pic­nic tables out­side, a goose flew from nowhere and chased them away, forc­ing them to aban­don their food on the grass. They believed me. The geese are terrifying. 

The geese are also fierce defend­ers of their off­spring, they don’t take shit from humans, and they embody loy­al­ty at the expense of their own safe­ty. I have nev­er tried to kill some­one for step­ping too close to some­one that I loved. I’m not a goose, sure, but I envy their ded­i­ca­tion. The time I’ve spent delib­er­at­ing the most com­pas­sion­ate way to send a breakup text could be time spent fight­ing or swim­ming or fly­ing around. When I’m not sure how to say no to anoth­er oblig­a­tion, or how to tell my fam­i­ly and friends that I love them with goose-like feroc­i­ty. I want to be more of an Egypt­ian goose, lung­ing at the poten­tial dan­gers of the world. I want to forego analy­sis and take up rabid vengeance against the hint of a threat. 

This after­noon I passed a fam­i­ly of Egypt­ian geese. The par­ents flanked a dozen goslings. They hatched about the same time as the mus­covy ducks, but the duck­lings dis­ap­peared a few weeks ago and now their moth­ers and fathers roam the pond’s perime­ter as aim­less and stu­pid as a per­son with­out pas­sion. The moth­er deliv­ered warn­ing honks, and always, since that fate­ful day years ago, I kept my dis­tance. I whis­pered, “it’s okay, mama. I’m just walk­ing past.” She relented. 

I imag­ine that all these geese will grow large and vicious as their keep­ers. They’ll mate and nest. They’ll pre­serve life because it is an inher­ent good to be here, doing what­ev­er it is we do in the time we have. 

  1. Great Blue Heron

I call it the GBH. The acronym is eas­i­er and less weighty. At the Morika­mi Gar­dens near Del­ray Beach, a land­scape of tra­di­tion­al Japan­ese gar­dens sur­round­ing a lake, GBH’s haunt the water’s edge with calm precision. 

I once dat­ed a woman from Mex­i­co who liked to go on adven­tures. I was in a self-imposed quar­an­tine funk, but she grant­ed me com­pas­sion and kept her wan­der­lust sim­ple. We took day trips to not-too-far-off parts of Flori­da, but most­ly we played video games and ate too quick­ly. Towards autumn, which here means the harsh­est part of hur­ri­cane sea­son, we went to the Morika­mi Gardens.

Masks up, we daw­dled the lake. Small gators and soft­shell tur­tles sur­faced and skimmed the water. I tried to impress my date with a mid­dling knowl­edge of Flori­da wildlife and flo­ra. It took me four years to remem­ber what a roy­al poin­ciana looks like, but now that I know, you bet­ter believe I’m going to point that shit out. 

We sat on a con­crete bench while she tried to con­vince me that Bill Gates was a “good bil­lion­aire” and I was unable to acqui­esce, when a great blue heron, slicked-back mohawk and legs like stalks of young palm, pierced the shal­lows. Its sur­gi­cal beak hov­ered three inch­es above the water. How still is this still­ness? How encap­su­lat­ing is this moment before the inevitable strike? And it was done: in like a pin through skin, then out. A min­now flexed for a sec­ond before falling down the GBH’s curled neck. 

I said, “That’s how I want to be.”

Like the bird?” 

The GBH. That’s what I want to be like.” I paused, and she wait­ed in the silence, sure that I’d keep talk­ing, because I would. This is how I am with silence. “That singular…focus. I want to be still and qui­et and strike with accu­ra­cy.” I didn’t, and still don’t, know what I am strik­ing. Per­haps that’s the point.

I think you can do that. You already do, maybe, with your poet­ry,” she encour­aged, because she was kind.

I’m too dis­tract­ed. I’m every­where at the same time. I’d nev­er catch a min­now.” We stood and walked the grounds, but the GBH stayed exact­ly where it caught the fish. Great blue herons make a day, and a life, of the catch, kill, eat. The fish and frogs, the anoles and snakes, must feel grate­ful to slide down the throat of such a grace­ful murderer. 

Great blue herons can kill peo­ple. They’re pow­er­ful enough to punch a hole through the soft parts, and some of the hard parts, of the human body. They don’t want to, but it is pos­si­ble. GBH’s are big birds, great even, which becomes quite notice­able the clos­er you stand to them. They don’t often stand straight up because they’re busy lurk­ing, bend­ing their beaks over glassy shal­lows, or curl­ing their necks inward and flap­ping off into the sky. 

I bought an inflat­able standup pad­dle­board about a month ago. I resist­ed ever try­ing it out, because for some rea­son I resist the things peo­ple fre­quent­ly tell me I will enjoy. For years, Florid­i­ans old and new have said, “You would LOVE standup pad­dle board­ing.” I replied vague­ly with “oh I’ll have to give it a shot.” I didn’t “give it a shot” for four years, then I tried it and, of course, loved it. I rent­ed a board with some vis­it­ing friends, and we launched over the intra­coastal into the man­grove for­est around West Lake Park. 

Man­groves affect me deeply. Their root struc­tures, which sprawl out into the water like witchy fin­gers, bring me shiv­ers and tears. The fid­dler crabs that crawl and fall from their branch­es make a pleas­ant plop sound in the mud and inch-deep water. I stare into man­grove forests and imme­di­ate­ly for­get that I’m human, and that I’m some­times anx­ious or sad. Hon­est­ly, I hope I can be buried in a man­grove and grow into their city of inter­con­nect­ed roots. If you’re read­ing this, please ensure that I’m buried in a man­grove for­est. Thank you.

Pad­dle board­ing in the man­groves shot me back to the time before. I skat­ed along the sur­face, star­ing down schools of needle­fish. The man­groves rus­tled and popped with all the bizarre life they housed. I knew that, unfor­tu­nate­ly, every­one was right. I do LOVE stand up pad­dle boarding. 

So I got this cheap inflat­able one. Stor­ing a real pad­dle­board in my one-bed­room con­do wasn’t an option, so I fig­ured this would do, and it does. It real­ly does. Just today, actu­al­ly, as I was out on the water, sitting/kneeling/lying/standing on the board, a great blue heron took off down the same man­grove trail as me. It curved out, past West Lake, towards fish or some­thing else easy to eat. I gasped. Alone, out on the water with no one to impress, I near­ly choked from the grace of it. 

  1. Sand­piper 

These sweet lit­tle palm-sized sweet­ies skit­ter around the beach like the wind-up toys you’d find at the bot­tom of a Hap­py Meal. Waves rush in, they sprint away, twig-legs kick­ing up infin­i­tes­i­mal streams of wet sand. Waves roll out, they move for­ward, pick at sand fleas until the water forces them five feet west. All morn­ing they do this. Up and down from Hol­ly­wood to Hal­lan­dale. Down and up from Dania to Fort Laud­erdale. They pass by nude bathers at Haulover, in the shad­ows of pen­du­lous penis­es and breasts. They thread the nee­dle of drunk tourists on South Beach, weav­ing between legs and around sunned carcasses. 

Sand­pipers live for ten years. Ten long, adren­a­line-soaked years of flee­ing from water and big­ger birds, from infec­tions and threats of star­va­tion and habi­tat destruc­tion. I only see them when they’re in front of me at the beach, back-and-forth, back-and-forth, cute as any­thing in this world. I’ve nev­er seen their tiny feet dan­gling from a gull’s mouth. There’s so much life we don’t see: move­ment between the jubi­la­tion, the jour­ney from suf­fer­ing to joy to con­tent­ment or wor­ry. Ten years of this, or eighty, or forty-six, or five. 

  1. Amer­i­can White Ibis

I can’t deny this: I have anti-ibis bias

  1. Harpy Eagle

The harpy eagle looks like it wants to fuck­ing kill you. It does. It could. Obvi­ous­ly, harpy eagles do not live in Florida’s wild, though I wish they did. I wish we had more sto­ries and videos of harpy eagles snatch­ing ado­les­cent alli­ga­tors from the swamp and fly­ing off into the hor­ri­fy­ing distance. 

Harpy eagles are native to Cen­tral and South Amer­i­ca. They eat sloths and mon­keys, they’re pre­pos­ter­ous­ly large and pow­er­ful. Their talon grip has more strength than a rottweiler’s jaw. 

Zoo Mia­mi hous­es sev­er­al harpy eagles as part of its Harpy Eagle Project, in con­junc­tion with the Pana­man­ian Gov­ern­ment: the harpy is Panama’s nation­al bird. I don’t think birds should be pit­ted against each oth­er in a bat­tle royale to decide the king of all birds, but I will put my mon­ey on the harpy to van­quish the bald eagle of The Unit­ed States, a less­er eagle by near­ly every met­ric except for recognizability. 

Although I have mixed feel­ings about zoos, espe­cial­ly those that house our great ape cousins, it’s dif­fi­cult to ignore the Siren song (yes, a bril­liant allu­sion to harpies) of see­ing my favorite ani­mals over the course of one walk­a­ble dis­tance. Two years ago, I took a for­mer lover (does that sound pre­ten­tious!?) to Zoo Mia­mi on a harpy eagle mis­sion. I had recent­ly become obsessed with them and their night­mar­ish design. Some things in nature high­light God’s love (see: mock­ing­bird), while oth­ers illus­trate God’s infi­nite vio­lence. Both are crit­i­cal to bal­ance, as vio­lence begets beau­ty (see: the Big Bang), and the harpy eagle is the last stop on the vio­lence-to-beau­ty high­way. I want a harpy eagle tat­too. I watch videos of their scythe beaks pick­ing mon­key flesh to bone. 

We passed by old favorites: the two kind-eyed sil­ver­back low­land goril­las, the howler mon­keys, Cuban croc­o­dile, the giraffes who eat let­tuce from your hands, the orang­utan named Man­go who cov­ers him­self with card­board to block the sun. The harpy eagle enclo­sure is an immer­sive, mas­sive fenced-in cage. Vis­i­tors walk through it, and the harpies are free to fly or walk above and around us gawk­ing, clothed apes. 

Two harpies, one male and one female, stood direct­ly over the walk­way, talons wrapped around the chain, so close I could have test­ed their sharp­ness. They smelled how I wished they would smell: rot­ten meat, nitroge­nous fer­til­iz­er, sharp and fetid and dis­tinct. We paused there, beneath them, as they are our mas­ters, if not in this life then the next. We repeat­ed “oh my God” as the oth­er vis­i­tors glanced up, almost bored, and walked on. The male harpy shit through the fence.

We don’t deserve to look at harpy eagles with­out fear of death. Rev­er­ence is joy­ous and terrifying. 

  1. Anhin­ga 

Anhin­gas flex on every­body, all day, every day. They stand in the sun, push their wings out like gold­en era body­builders, and pose. If you aren’t famil­iar with anhin­gas, your imme­di­ate reac­tion might be, “What the fuck is wrong with that bird?” It’s rea­son­able to think that. They hold the pose for hours. They look stuck, as if their wings locked into place and they’re strug­gling to be free of a mys­te­ri­ous rig­or mor­tis. If a human flex­es their bicep for more than fif­teen sec­onds, there’s a prob­lem. We apply that same log­ic to anhingas.

Of course, anhin­gas aren’t flex­ing, since they are (most like­ly) inca­pable of com­pre­hend­ing the desire to flex, and they don’t have biceps. Anhin­gas hold a bent-wing tableau to dry their feath­ers after div­ing for food. Unlike oth­er water­birds, anhin­gas don’t pos­sess the gland respon­si­ble for pro­duc­ing oil to water­proof feath­ers, so they must air dry in this curi­ous and ridicu­lous fash­ion. Anhin­gas dive and swim like aquat­ic nat­u­rals; from a dis­tance, their heads resem­ble snakes or slith­er­ing riv­er mon­sters ris­ing from the sur­face. After min­nows sate their imme­di­ate caloric needs (God, bless the min­now for feed­ing every­thing), anhin­gas find the sun, spread, and hold, some­times mak­ing eye con­tact with pass­ing humans. Such an unabashed­ly proud bird, the anhinga.

I’ve hat­ed, or feared, my body since I can remem­ber. There wasn’t a par­tic­u­lar incit­ing inci­dent. There were real­iza­tions, com­par­isons, con­ver­sa­tions, but hon­est­ly, for a thing that occu­pies so much brain space, I can’t pin­point a moment. It has fol­lowed me for decades, this lin­ger­ing dis­con­tent, some­times bor­der­ing on pan­ic. I was a chub­by kid from ten to about fif­teen, when I shed twen­ty-five pounds for wrestling sea­son and devel­oped a social­ly accept­able pat­tern of dis­or­dered eat­ing and body dys­mor­phia. The thing is, as a fat­ter kid, I was out­ward­ly jovial. I leaned into the role of comedic big guy, and there were won­der­ful exam­ples: Far­ley, Belushi, Jack Black, John Can­dy. There was some­thing about trans­form­ing chub into charm. I learned tim­ing and sight gags, like putting on too-small clothes and show­ing the right amount of bel­ly. I also learned that it was fun­ny when I over-ate or drank twelve sodas and got sick, because there I was, act­ing how I was gonna act.

I learned how to secret­ly hate my body, to com­pare it to oth­er kids’. Often I’d stand in front of the mir­ror, shirt­less, and visu­al­ize a hot knife cut­ting away all the excess parts of myself. This brought plea­sure, an imag­ined min­i­miz­ing of all that too-much­ness I lugged around. At the same time, I want­ed to look like the heav­i­ly-mus­cled dudes I saw on Mon­day Night Raw: Stone Cold Steve Austin, The Rock, Kane. They flexed and fought, lift­ed weights, bul­lied or stood up to bul­lies.  To tear my shirt off and flex in front of crowds of peo­ple was a deca­dence I thought impos­si­ble. So much of it I couldn’t under­stand, specif­i­cal­ly how could some­one love their skin enough to do that? 

All of my friends on the wrestling team devel­oped dis­or­dered eat­ing pat­terns and body image issues, though we wouldn’t ever describe our rela­tion­ships to flesh and food that way, and I remain one of the only peo­ple who will. It wasn’t the fault of any­one. Yes, there were adults who praised our grit and those who dis­cour­aged it, but ulti­mate­ly we were par­tic­i­pat­ing in a cycle of mas­culin­i­ty that asks boys to leave parts of them­selves behind. In my case, for a long time, I left behind what­ev­er joy I once extract­ed from sim­ple meals and look­ing in the mir­ror. I left behind the anhin­ga-plea­sure of flex­ing like The Ulti­mate War­rior after step­ping out of the town pool, slick with chlo­rine and lotion. 

  1. Mus­covy ducks

For a few months, I dat­ed a woman who lived in Flori­da most of her life. She was a social­ist, and she had recent­ly giv­en up on fish­ing because she want­ed to avoid con­sum­ing flesh of any kind. One night, after we’d eat­en Indi­an food and talked about Flori­da pol­i­tics, we stopped by a pond near her apart­ment where she used to fish. All around us, the red wart-faced mus­covy ducks wad­dled and shat and car­ried about their business.

They’re not even ducks,” she said. “They’re water­fowl. I hate them.” 

I hadn’t heard such vit­ri­ol from her, and I was fas­ci­nat­ed at its root cause: this dumb lit­tle duck that camps out at every pud­dle and pond in South Flori­da. They’re all over cam­pus. They don’t give me trou­ble; they part ways when I walk past. They live in Wal­mart park­ing lots where their adorable duck­lings sit beneath truck tires and die in vast num­bers. Peo­ple buy loaves of bread just to feed them. 

She didn’t quite explain why she hat­ed them, oth­er than that they’re inva­sive and they make a mess of things. Fair enough, I assumed, though I found it a bit harsh. It’s hyp­o­crit­i­cal for a human to call any species inva­sive, as we are the cause of so much inva­sive species migra­tion, and we are, of course, inva­sive to many places. Mus­covy ducks are native to Cen­tral and South Amer­i­ca, but they’ve spread north across the US. They’re a stur­dy duck, hulk­ing com­pared to the gracile mal­lards I grew up with, who only stayed for sum­mer and left before the freeze. 

She went on to detail the snake­head fish, an inva­sive species capa­ble of liv­ing out of water for sev­er­al hours. They’re poi­so­nous and can even kill humans if they grow large enough, which they some­times do.

I thought of the igua­nas, per­haps the most promi­nent of the inva­sive non-human ani­mals in Flori­da, and how much I love them. Every one of my breaks over the past school year was spent peep­ing the igua­nas, some­times chas­ing them into the water, but most­ly observ­ing. As a kid, I obsessed over rep­tiles and amphib­ians. The only pets my par­ents let me have were fire-bel­lied toads and a skink that I, bor­ing­ly, named Spike. I col­lect­ed rub­ber snakes, lizards, and frogs. Late spring and sum­mer days were con­sumed by frog and sala­man­der catch­es in the creeks and ponds of my neigh­bor­hood. I begged my mom to stop the car when­ev­er we passed a pond. If you had told me that I would one day live in a place with anoles crawl­ing the sides of build­ings and giant igua­nas sprint­ing through lawns, I would have called you a god­damn dream­er and a liar. That place would be too much like heav­en, and I called myself an athe­ist before I turned twelve.

I can’t imag­ine what it’s like to grow up here. Mil­lions of peo­ple can, but I nev­er will. Alli­ga­tors won’t be mun­dane or a nui­sance to me, and mus­covy ducks will always be Bizarro World ver­sions of the mal­lards and wood ducks of my youth. With the excep­tion of a few things, inva­sion is the norm for South Flori­da. If you were born here, you might feel a cer­tain claim to this land, even if your par­ents or grand­par­ents were once invaders. Unless your ances­tors fought on the right side of the Semi­nole Wars, you are inva­sive. You might look at the intro­duced species and long for the ease of your child­hood, those reck­less sum­mer storms and uncrowd­ed beach­es, and feel as if you’re chok­ing in an embrace with this ecosys­tem. You are; we all are. The thing about inva­sive species is that they upset a habi­tat, change the geog­ra­phy, kill off native species, but they don’t pre­serve any­thing except the rede­fined land­scape they’ve cre­at­ed. The Bud­dhist in me is hor­ri­fied and absolute­ly sure of this.

Mus­covy ducks and snake­head fish, humans and igua­nas, fuck things up. We (because we invaders are all kin) eat up, build on, and shit over all the before-world, and that is awful. But I am calmed by what will come after us. I am con­vinced the alli­ga­tors will remain, old sur­vivors, and the mock­ing­birds, and great blue herons. The pel­i­cans will go on, too, scoop­ing fish in their buck­et throats. Per­haps the harpies will bust free from their cages and build night­mare nests atop aban­doned sky­scrap­ers. Over time, this move­ment and more migra­tions, extinc­tions and evo­lu­tions, will change our lit­tle piece of par­adise entire­ly. We wouldn’t even rec­og­nize it, so sub­merged and wild it’ll be. A flock of roseate spoon­bills will fish from my aban­doned bal­cony. The roost­er will be long dead, too, and maybe we can final­ly get some sleep. 

From the writer

 

:: Account ::

I became an ama­teur bird­er after mov­ing to South Flori­da from New Eng­land in 2016. The vari­ety of birds is astound­ing here, and they always make won­der­ful fod­der for writ­ing and med­i­ta­tion. As we get old­er, some of us become cranky and fear­ful, and some of us become bird­ers. The oft-cit­ed clich­es are the best things to write about (birds, love, loss, flow­ers), and I’m com­fort­able don­ning the scar­let let­ter C for my bird obsession.

Orig­i­nal­ly com­posed in 2021, this essay lives as a con­ver­sa­tion with myself about inva­sive species’ nich­es in South Flori­da. I was anx­ious about the polit­i­cal and eco­log­i­cal state of my com­mu­ni­ty and the world at large (I am still anx­ious about these things). In the haze of quar­an­tine and rela­tion­ship woes and Florida’s spe­cif­ic polit­i­cal insan­i­ty, I retreat­ed to learn­ing more about birds for solace. Around this time, a neigh­bor brought a roost­er onto my block. For months straight, I woke at 4:30 to its hor­ri­ble crow­ing. I obsessed over the lack of sol­i­dar­i­ty my neigh­bors had to wake thou­sands of peo­ple every morn­ing for some vague notion that a roost­er might enhance their lives. I con­sid­ered my oth­er com­mon Flori­da bird friends, both inva­sive, migra­to­ry, and endem­ic to the area, and how to cat­e­go­rize my rela­tion­ship to them.

Bren­dan Walsh has lived, taught, and lift­ed weights in South Korea, Laos, New Eng­land, and South Flori­da. He is the author of sev­en col­lec­tions of poet­ry, includ­ing con­cus­sion frag­ment, win­ner of the 2022 Flori­da Book Award Gold Medal. His lat­est col­lec­tion, novem­ber ninth: poems writ­ten when i was sup­posed to be work­ing from home, was pub­lished by Dip­i­ty Press in Fall 2024. He is co-host of the Fat Guy, Jacked Guy pod­cast with Stef Rubi­no, and you can find him online at brendanwalshpoetry.com.

The Stand-In

Nonfiction / Mary Ann McGuigan

 

:: The Stand-In ::

I don’t want to go to school today. I don’t want to see the looks on their faces when they try to pre­tend noth­ing has changed. But my mother’s all dressed, ready for work, and I can see she’s in no mood for non­sense. “Turn that off,” she says. She means the radio. “Pen­ny Lane” is on, the Bea­t­les’ lat­est, but I do as she says, and I don’t both­er ask­ing if I can stay home.

            Most­ly I like school, but I’m an out­sider. My stan­dard­ized test scores land­ed me in the high­est tier of class­es at Sny­der High School, with almost all Jew­ish kids, all mid­dle class. The school’s pop­u­la­tion is most­ly white, main­ly blue col­lar, like Jer­sey City itself, so Mama says I must be pret­ty bright to be in all their classes.

            I’m a junior, and my two clos­est friends are Jew­ish, but Jew­ish fam­i­lies set up bar­ri­ers that their kids aren’t inclined to ignore. I can’t pledge for a Jew­ish soror­i­ty, and Jew­ish boys aren’t allowed to date me. My friend Sandy says I shouldn’t take it per­son­al­ly. It’s just the way things are. But there’s already enough going on in my fam­i­ly to make me feel like an outcast—steady drink­ing, month­ly bills that leave noth­ing left for new clothes—so their bylaws don’t help.

            I pledged for a Chris­t­ian soror­i­ty last year, when I was a sopho­more, but I rarely show up for their events or hang out with those girls. I feel more com­fort­able with the girls in my class­es. They like books, the muse­ums in New York. They wear the kind of clothes I want. I love going to their hous­es. Some of them live on Kennedy Boule­vard and their par­ents are doc­tors and lawyers. One girl, Sydne, has a grand piano in her liv­ing room. It’s like enter­ing anoth­er world, where want­i­ng things doesn’t have to be a nasty reminder of what you can’t afford.

            Sydne and some of her friends have a dance troop that makes appear­ances at syn­a­gogues and old-age homes across the city. One of the dancers, Helen, had to drop out—she hurt her ankle—but they have quite a few appear­ances com­ing up. Dorothy, the head of the group, asked if I’d take Helen’s place. They know I can dance, because we’ve been at school dances togeth­er, and I’ve joked that in my fam­i­ly kids dance before they can walk. The group per­forms Jew­ish folk dances, so I told them they’d have to teach me.

            They did. I’m a quick study. And the dances are easy to do, cer­tain­ly a lot less exhaust­ing than jigs. They wear jeans and long blue but­ton-down shirts, so cost isn’t an issue. We prac­tice in Dorothy’s base­ment. They have a big fam­i­ly room down there and lots of space. Her mom serves us soda and pret­zels, and she treats me like I’m no dif­fer­ent from any of the oth­er girls, tells me I’m a great dancer. I was start­ing to feel like one of the gang.

            When I told Sandy I had a crush on Joel Feld­man, she remind­ed me that the odds are not in my favor. But Joel jokes with me a lot and I was start­ing to won­der if maybe I had a bet­ter chance with him than Sandy thinks, until last night.

            As prac­tice was end­ing it start­ed rain­ing pret­ty hard and Dorothy’s dad insist­ed on giv­ing me a ride home. Dorothy and Sydne came along. We live on Rut­gers Ave., in the Greenville sec­tion, and I hadn’t thought of it as an espe­cial­ly dan­ger­ous part of town. Dorothy’s dad wound up dri­ving down Jack­son Ave., a part of Greenville that has almost all Black fam­i­lies. We passed some beat-up cars, shut­tered stores, win­dows bro­ken here and there. Dorothy and Sydne took in a breath they didn’t dare exhale. I could see them stiff­en, feel the ten­sion in the car. Final­ly, Dorothy said it. “You live here?!”

            Her father scold­ed her right away. “You’re being very rude, Dorothy.”

            “I’m sor­ry. I just … ”

            The car got qui­et. I glanced into the back seat. Dorothy and Sydne had moved clos­er togeth­er. I think they were fright­ened. They had no com­pass for this for­eign place, no way to see it as anyone’s home.

            I looked out the win­dow, tried to see what they saw, the crooked, bro­ken stoops, the lit­tered curbs, the teenagers out past dark in the rain, hud­dled in door­ways. We turned onto my street, which is qui­eter, very few stores, most­ly two-fam­i­ly hous­es, but at that moment it seemed no less gloomy than Jack­son Ave., no less dingy, even though this apart­ment is a step-up from the one we had before, with an extra bed­room, a big­ger kitchen. But to Dorothy and Sydne it might as well have been a shack in Calcutta.

            Dorothy’s dad pulled the car to the curb, just a lit­tle ways from my build­ing, and said he’d walk me to the door.

            “No,” I insist­ed. “That’s okay, real­ly.” Open­ing the car door, I mum­bled some­thing about see­ing every­one in the morn­ing. I had my key ready, not want­i­ng to delay their depar­ture, because I was sure her dad would be watch­ing to make cer­tain I wasn’t mugged in the time it took to reach my front door.

            Through the win­dow, I could see our TV was on. I rushed the key into the lock, had to try again to let myself in. My mom sat in the dark­ened liv­ing room, her face aglow in the TV light.

            “How was it?” she said.

            “It was fine.”

            I sat down on the couch, so she turned toward me, curi­ous, because it wasn’t like me to sit with her that way. I want­ed to ask her ques­tions, the awful ones that plagued me, the ones I knew she couldn’t answer. Would things always be this way for us? Would we always be set apart from every­one else, strug­gling to make ends meet, liv­ing under cov­er, pre­tend­ing what we had could be enough to feel nor­mal? But the show’s back­ground music rose, sig­nal­ing dan­ger, and Mar­shal Dil­lon said some­thing to Kit­ty, some­thing scary, so Mama turned back to the screen.

            I don’t think she noticed me get up. I walked to the kitchen, in the back of the apart­ment, every­thing dim­ly lit, as if a ceil­ing light might reveal secrets no one wants to see. The room hadn’t changed since morn­ing, but I forced myself to look around, at the spaghet­ti pot still on the stove, at the dish­es still in the sink, the trash con­tain­er half-filled with beer cans.

            In the six years since my par­ents sep­a­rat­ed, my mom has rarely worked less than two jobs. Her tasks pile up before dawn, then lie in wait for her return. I’ve watched her slump into a kitchen chair, her coat still on, a let­ter from a land­lord in her hand, or a final notice from the tele­phone com­pa­ny, her eye­lids near­ly closed, lines deep­en­ing around her mouth, lip­stick worn off. On those nights she needs Gun­smoke or Per­ry Mason, a beer. Yet some­times, on a Sun­day or late at night, before bed­time, she finds an unex­pect­ed energy—maybe the kind she relied on when she was young, danc­ing in parish shows, singing in small, smoky clubs—and tells me I should audi­tion for the senior play, encour­ages my sis­ter to ask for a raise, insist­ing her Gregg short­hand is flaw­less. She must believe there’s a way out for us, and I want to believe that too, but it’s hard.

            I sat down at the kitchen table, not both­er­ing to turn on the light, adjust­ed to the dark­ness and the qui­et, won­der­ing what those girls saw that I can’t see, what they know about my future that I haven’t yet faced. Sandy is right about the odds with Joel. I under­stand that much now at least. But she’s only part­ly right about the rea­sons. It isn’t real­ly about reli­gion. If I con­vert­ed tomor­row, I would still be a pari­ah. There are things about me I can’t change, no mat­ter how many good grades I earn or dance steps I learn.

            I gave my word, so I’ll con­tin­ue with the group until Helen comes back, but I’ll nev­er go to prac­tice again with­out an umbrel­la, no mat­ter what the forecast.

From the writer

 

:: Account ::

            I grew up in a sin­gle-par­ent fam­i­ly, liv­ing pay­check to pay­check. I spent my teen-age years know­ing how poor we were yet des­per­ate­ly pre­tend­ing oth­er­wise. Every teenag­er wants things their fam­i­ly can’t afford to give them. That’s not the kind of angst this piece is about. Days came when noth­ing was cer­tain, not even the next meal. In “The Stand-In,” I try to cap­ture the pain of know­ing you’re an out­sider, that you’ve been dealt a bad hand, and the toll it takes to pre­tend there’s any hope of chang­ing that. It requires remark­able inner strength to face up to the seem­ing­ly insur­mount­able obsta­cles life can put in your way. My moth­er had that kind of strength. But as a young girl, I often found I couldn’t sum­mon it. The bur­den of want­i­ng things I couldn’t have was too heavy. I want­ed life to be fair. “The Stand-In” takes place at a time when I was only begin­ning to see that fair­ness was not an enti­tle­ment, and I’d have to keep going even if it nev­er showed up. 

            The essay is part of a man­u­script in progress called When the Worst Is Over, a mem­oir in essays.

Mary Ann McGuigan’s cre­ative non­fic­tion has appeared in Brevi­ty, Cit­ron Review, The Rum­pus, and else­where. The Sun, Mass­a­chu­setts Review, North Amer­i­can Review, and many oth­er jour­nals have pub­lished her fic­tion. Her col­lec­tion Pieces includes sto­ries named for the Push­cart Prize and Best of the Net; her new sto­ry col­lec­tion, That Very Place, reach­es book­stores in Sep­tem­ber 2025. The Junior Library Guild and the New York Pub­lic Library rank Mary Ann’s nov­els as best books for teens; Where You Belong was a final­ist for the Nation­al Book Award. She loves vis­i­tors: www.maryannmcguigan.com

For the Bird

Nonfiction / Kourtney Johnson

Two months after my step­fa­ther shoots him­self, my orange tab­by finds a baby bird in the front yard. Fall­en fledg­lings are com­mon dur­ing the rainy Okla­homa springs and sum­mers; fresh­ly feath­ered birds drop from the nest before they can fly, hop along the grass and stretch their wings while Mama Bird keeps a watch­ful eye from above, swoop­ing down for the occa­sion­al feed­ing. With­in a week of falling, most bird fly. A res­cuer of tur­tles, dogs, cats, and rats my whole life, I know bet­ter than grab­bing the seem­ing­ly aban­doned baby bird and throw­ing it in a cage. Just leave them be; they’re prob­a­bly fine. 

            But this one is too pink, the tiny body just sprout­ing tubed feath­ers at the edges of its wings. Its small black eyes blink too slow­ly as it shiv­ers. I shoo my cat, cor­ral her inside and grab my gar­den­ing gloves. On my way back out­side, I google, when to inter­vene fall­en bird. The arti­cles stress warmth: does the bird have enough feath­ers to stay warm?

            Naked new­borns are swad­dled in nests of sticks, feath­ers, and what­ev­er insu­la­tion the moth­er can find. Pressed in tight with their sib­lings, they retain heat even through rainy spring nights. My bird is near­ly feath­er­less and grog­gy, move­ments slow. I scoop him into my gloved hands, care­ful of his tooth­pick legs and paper wings, and deposit him into the t‑shirt lined shoe­box I’ve assem­bled, the heat­ing pad set on low. He nods off to sleep almost imme­di­ate­ly, and I place the box on the cor­ner of my desk, hell­bent on sav­ing this bird’s life.

            The first goal is ren­est­ing, Google informs me. The nest will be close by, like­ly in a tall tree or porch gut­ter. Place the nestling care­ful­ly into the orig­i­nal nest. Hide near­by and wait for Mama Bird to return for a feed­ing— she will be close by. Ensure she feeds the returned nestling. If she does, you have suc­cess­ful­ly ren­est­ed the bird. 

            If you can­not find the orig­i­nal nest, or it has been destroyed, you will need to con­struct a new nest and hang it near to the orig­i­nal. Place the nestling in the new nest. Again, hide, wait for the moth­er and ensure she vis­its the new nest. 

            If she ignores the new nest or refus­es at any time to feed the fall­en bird, the moth­er has aban­doned the baby. Please call your local wildlife rehab­ber for fur­ther assistance. 

            I locate the nest eas­i­ly, the high pitch chirps from above my head betray­ing the hid­den home. They’re in my roof, a gap in the cracked porch ceil­ing large enough for what­ev­er bird to slip through. Days of heavy rain had widened the open­ing, rat­tling the nest and send­ing the shiv­er­ing bird on my desk tum­bling. I attempt to slide my hand through the crack and bare­ly get my fin­gers through, let alone a cupped palm and its passenger.

            I adapt, dump the lotions and sprays from the wick­er bas­ket on my bath­room counter and begin nest con­struc­tion. Try­ing to mim­ic a real nest, I twist branch­es from my front yard into an awk­ward oval and place it in the bas­ket. On the porch, and nail the bas­ket to a sup­port beam as close to the gap as pos­si­ble, test the dura­bil­i­ty, and move the cocooned bird into his new home. It’s ear­ly in the day, sun bright over­head, and I decide to wait in my truck parked in the dri­ve­way to stake out the nest, hope Mama Bird flies by.

            It’s feed­ing time, the nestlings’ screams for food audi­ble in the cab of my closed truck. I spot a flash of wings soar from beside the house and onto the gut­ter, the small brown bird paus­ing for a heart­beat before dis­ap­pear­ing into the cracked roof. She’s quick, flits back onto the edge of the roof. From the makeshift nest, the dis­placed bird shouts, and Mom hears, her head flip­ping quick­ly around, seek­ing the source of the squawk­ing. I hold my breath as she bounces along the roof for a few min­utes before fly­ing away. She returns twice with­in the hour, swoop­ing into the orig­i­nal nest but nev­er feed­ing the nois­i­est chirp­er wail­ing from my makeshift nest. My bird has been abandoned.

            New­born birds are rav­en­ous, eat­ing every half-hour. My bird, shiv­er­ing and lethar­gic, like­ly hadn’t eat­en since I’d found him, and I search for the best way to feed the hun­gry, screech­ing mouth. Thir­ty min­utes lat­er, I spoon sog­gy cat food into a need­less syringe. The chick wails as his head tilts back, tiny yel­low beak agape, wait­ing for the next mouth­ful. I work slow­ly, care­ful each bite is swal­lowed com­plete­ly, no food block­ing the bird’s throat. After a few plunges, the mouth clos­es, silent and con­tent, and he bur­rows into the fake nest, final­ly peaceful.

            I decide to leave him out­side, check every hour for any sign of Mama Bird vis­it­ing the nest. But he’s always scream­ing when I peak my head over the edge, mouth gap­ing, beg­ging. As night falls, the tem­per­a­ture drops twen­ty degrees, and I fear the naked newborn’s abil­i­ty to sur­vive the night. Again, I lift the baby, cup him in gloved hands and relo­cate him to the orig­i­nal box, heat­ing pad ready. The first night, he sleeps in the bath­room, away from the cat but close to help, if my Bird needs me.

            At five the next morn­ing, hun­gry cries echo through my small house. I mix water and bits of cat food, wait for the appro­pri­ate mush lev­el. In the bath­room, Bird is wide awake and impa­tient, scrawny head wig­gling as food descends. We sit in the floor for about fif­teen min­utes, the cat paw­ing curi­ous­ly against the door from out­side. Even­tu­al­ly, Bird’s mouth clos­es, his eyes hood, and he falls asleep in the warmth of the t‑shirt. I clean the bits of food and poop around him, wash­ing my hands and dou­ble check­ing his breath­ing before I head back to bed.

            At a more appro­pri­ate hour for wak­ing, we repeat the feed­ing process, and I return Bird to his faux nest out­side. Social­iza­tion is inte­gral to a bird’s devel­op­ment, for prac­ti­cal things like learn­ing to eat and fly to devel­op­ing a healthy fear of humans. With­in the first few weeks of life, birds imprint on their pri­ma­ry care­tak­ers, baby ducks falling in line behind their moth­er or pen­guins learn­ing to slide along the ice. If dis­rupt­ed, a new­born may claim a human as par­ent, alien­at­ing them from oth­er birds and eras­ing the need to avoid peo­ple. These birds often die when released, unable to fend for them­selves in the wild. I hope by leav­ing Bird out­side, near his sib­lings, he may retain his avian affluence.

            I call a local wildlife rehab­ber who directs me back to the inter­net: I need to iden­ti­fy Bird. I peak into the nest, snap a pic­ture before scrolling through hun­dreds of Birds from Okla­homa life cycle images. With­out feath­ers, many birds look the same, pink, fleshy bod­ies with over­sized beaks. I hold Bird and the birds side by side, remem­ber the size and col­or of his moth­er, nar­row down the options before con­firm­ing: Bird is a House Sparrow.

            Orig­i­nal­ly native to Europe, house spar­rows were intro­duced pur­pose­ful­ly to the Unit­ed States in the 19th cen­tu­ry as a form of pest con­trol. The birds repro­duced rapid­ly and aggres­sive­ly, knock­ing eggs from for­eign nests to lay their own or killing the orig­i­nal moth­ers all togeth­er, and earned Inva­sive sta­tus. They remain one of the most plen­ti­ful species of avian on the plan­et. If able, those with a house spar­row infes­ta­tion should euth­a­nize humane­ly by seal­ing off the loca­tion of the nest, induc­ing star­va­tion and inhibit­ing the moth­er from return­ing, or call their local wildlife rehabber.

            The rehab­ber con­firms when I call: yes, Bird is like­ly an inva­sive species and will be euth­a­nized upon arrival. When will I be drop­ping him off?

            I feed Bird again (remem­ber, every thir­ty min­utes), and he leaps up slight­ly at the sight of my hand, thin legs grow­ing strong enough to lift his tiny body. For the first time, I run a gloved fin­ger along his head, offer the miss­ing touch of fel­low nesters, and real­ize my inabil­i­ty to send Bird to cer­tain death. We repeat the pre­vi­ous day’s rou­tine, and I again secure him in the bath­room, dou­ble check his heat­ing pad before shut­ting off the lights.

            As I car­ry Bird to the nest the next morn­ing, a line of black ants guides my eyes to the dead bird rot­ting just off the porch. It’s anoth­er fall­en nestling, its wings slight­ly more feath­ered than my bird, but still most­ly pink. Half of the body’s already skele­tal, ants and mag­gots strip­ping the flesh from the tiny bones. Car­ry­ing the decom­pos­ing bird to the gar­den for bur­ial, I cry, apol­o­gize for the rick­ety roof, the hard fall onto the pave­ment, my inabil­i­ty to save them too. From his nest, Bird squawks, reminds me of his hunger, and I head inside to mush more cat food.

            For a week, my days revolve around Bird, the con­stant feed­ings, check­ing his weight gain and feath­er growth. He’s pro­gress­ing nor­mal­ly, accord­ing to the bird res­cue forums I’ve joined, and I’ve moved him from small box to free roam­ing the bath­tub as his wings flap exper­i­men­tal­ly. He hops along, flap­ping and wig­gling, and I know soon he’ll begin to fly. His feath­ers fill in, no more pink vis­i­ble between the flecks of brown and black.

            For feed­ings, Bird starts perch­ing on my fin­ger, grip strength­en­ing every time. I keep plac­ing him in the nest out­side dur­ing the day, but I warm to the idea of keep­ing him, won­der­ing if he’s poten­tial­ly imprint­ed on me as his moth­er. I start talk­ing to him, call him, “Pret­ty Bird,” and offer him food from my hand instead of the syringe. I research cages. I say, “It just feels like the right thing to do,” nev­er men­tion the poten­tial hav­oc Bird may bring to less aggres­sive birds or my self­ish­ness in rais­ing an inva­sive species for release. In my world, I just need some­thing to survive.

            One after­noon, I car­ry my mushy cat food bowl up to the nest, say, “Hey, Pret­ty Bird,” and find the makeshift nest emp­ty. I pan­ic, assum­ing anoth­er leap and check the ground for my Bird. No ants, no pink, just grass, and I real­ize he’s gone. I talk to him from the porch, wait for my princess moment, but no Bird arrives to land on my fin­ger or perch in my hair. My cat meows beside me, she too notic­ing the lack of chirps we’ve grown to expect. I dump the food and begin to tear down my nest. My mom calls, asks how Bird’s doing before I inform her of the aban­doned nest. “That’s great. You did a good thing, baby,” and I des­per­ate­ly hope she is right. I leave the nest nailed to the beam, in case Bird comes back, in case anoth­er bird falls.

From the writer

 

:: Account ::

I took a large step away from writ­ing after fin­ish­ing my master’s pro­gram. Still in the weeds of quar­an­tine, I’d grown to dread the act of cre­ation and trans­for­ma­tion, too stuck in my own head for any type of self-reflection.

After my stepfather’s sui­cide last spring, life became very bina­ry: alive and dead, right and wrong. The human world felt too clean, too scrubbed of the heav­i­ness of loss. The ani­mal king­dom is often rec­og­nized as the ulti­mate exam­ple of death and its bru­tal­i­ty, and I found nature to be a great com­fort in the uncer­tain­ty of this grief. Birds I clung to specif­i­cal­ly, with their loy­al­ty, resilience, and gor­geous brutality.

This essay com­bines the truth of my bird reha­bil­i­ta­tion hob­by with the truth of know­ing we can’t save them all; but still des­per­ate­ly trying.

Kourt­ney John­son holds an MFA in Cre­ative Writ­ing from Okla­homa State Uni­ver­si­ty. She now lives in Albu­querque, New Mex­i­co, where she writes about shel­ter ani­mals. Her essays have pre­vi­ous­ly appeared in Wac­ca­maw, Switch­back, and LEVITATE.

Sandys of the World

Nonfiction / Marcy Rae Henry 

 

      I could nev­er tell Ran­di and Sandy apart when they were com­ing down the hall until one of them spoke to me.  Ran­di and I were cool, but she most­ly just said, ‘Hey, how’s it going?’ Her twin on the oth­er hand hat­ed me in the way only one teenage girl can hate anoth­er.  I’d nev­er had class­es or even a con­ver­sa­tion with Sandy, but she’d walk behind me in the halls, snip­ping, ‘Look at that out­fit.  Lati­nas can’t be New Wave.  ¡Qué ridículo!’ 

      Ignor­ing her seemed to piss her off, so that’s what I did—until she start­ed mak­ing com­ments about my body.  Then I turned around and said, ‘You want a piece of this, mami­ta?   Sure are focused on it.’  And I shook my ass down the hall.

      Lat­er, my friends were gath­ered at my lock­er and Sandy strolled by. ‘Check it out.  It’s the bitch-bunch!’ 

      Corey asked her to repeat her­self and, being Sandy, she did. ‘Per­ras, todas.’ She dra­mat­i­cal­ly point­ed at us one by one and jabbed her fin­ger into Corey’s chest.

      Turn­ing to me, Corey said, ‘Hold these, please,’ and hand­ed me her books. Then she punched Sandy in the face.  Fists flew, hair was yanked and I burst into tears. Maybe it was the sur­prise of the whole thing. A crowd gath­ered and the Span­ish teacher ran out of her class­room unsuc­cess­ful­ly scream­ing for them to stop. She didn’t dare get between them, that’s what the secu­ri­ty guard was for, and when Big Mike strolled over, he sep­a­rat­ed them like rag dolls. In those days peo­ple in charge could pad­dle stu­dents, man­han­dle, yell at and threat­en them.  And yet, Big Mike nev­er raised his voice and rarely had to get more phys­i­cal than he did with Corey and Sandy.

      After the fight, the Span­ish teacher called Corey La Bruis­er. ‘Let’s ask La Bruis­er how to say, ‘I would have gone to the movies with La Llorona if I’d had the mon­ey… Be care­ful with the verbs.”  Some­thing that prob­a­bly wouldn’t fly today.  Corey sat in deten­tion for a week, a cou­ple of desks away from Sandy, and from there she snuck me a note. ‘I’ll always have your back.  Love, C.’

***

      Corey and I went to col­lege in neigh­bor­ing states, so we were able to vis­it each oth­er dur­ing breaks and once or twice dur­ing the semes­ter.  After­wards, she stayed in Col­orado, and I moved to Spain.  While I was trav­el­ing around, I’d drop her post­cards and write at length about love affairs, celiba­cy; bac­cha­na­lia, sobri­ety; the vicis­si­tudes of the earth and the stun­ning struc­tures built upon it.  Corey would write via Poste Restante. Same stuff: sex part­ners, poten­tial life part­ners, dream hous­es.  In Dam­as­cus I got a note say­ing, ‘Will you look for a Monop­oly board in Ara­bic?  I’ll love you for­ev­er, C.’ Incred­i­bly, I  found one and sent it to her around the hol­i­days.  When the let­ter I picked up at the post office in Cairo said, ‘Will you come back to be my maid of hon­or?’ I was sur­prised. We were still so young.  Or maybe just I felt that way.   But I sent a let­ter back say­ing, Dear Corey, of course.

***

      Back in Grana­da I planned to take my leave, head back to the States for the wed­ding and work until I’d saved up enough mon­ey to go to India.  Before that, I want­ed to get Corey some­thing spe­cial, some­thing adult.  So, I decid­ed to head to Por­tu­gal to check out the beau­ti­ful blue stoneware. 

      The first stop was Gali­cia, where I couldn’t under­stand a word of Gal­lego and where, pre-inter­net, I met peo­ple who didn’t know where the U.S. was in rela­tion to Europe.  –I assured them lots of peo­ple in the States couldn’t point out Gali­cia on a map.  In San­ti­a­go de Com­postela a cathe­dral hous­es the apos­tle Saint James’ remains, sup­pos­ed­ly con­se­crat­ed in 1211.  I stepped into a tav­er­na with­in the medieval walls and had an espres­so so delight­ful I decid­ed to order anoth­er.  By the time I wad­ed through pil­grims, wait­ed in line to enter the Romanesque church and found an uncom­fort­able pew on the right side of the transept, the caf­feine kicked in.  My heart began pound­ing. Every­thing in the chan­cel was gold­en and glow­ing.  My hands shook and my head hurt, so I put it between my knees. When I looked up, the High Altar was over­whelm­ing. I could taste stone, wood, met­al. Though I’d nev­er done so, I felt as if I might faint.  I won­dered if I should ask favor of the seat­ed fig­ure of Saint James dressed as a pil­grim or the four angels float­ing above.  When I stood up and clutched my chest, a cou­ple of peo­ple close by smiled and nod­ded at me.  They thought I was hav­ing a reli­gious experience.

      Walk­ing across the bor­der into Por­tu­gal, I thought of the only oth­er such bound­ary I’d tra­versed on foot and how my great-great-grand­moth­er wit­nessed this bor­der between Méx­i­co and the U.S. migrate south.  She crossed back and forth, saw peo­ple fight to get their land back and decid­ed to stay north of the new line. One day my great-grand­moth­er also crossed north for the last time. My grand­moth­er crossed back for short vis­its. Through­out col­lege, walk­ing across to par­ty in Juárez was as easy as stat­ing our cit­i­zen­ship on the way in, and slur­ring ‘Mer­can when stum­bling back into El Paso.  No i.d. need­ed, no papers looked at, no oth­er ques­tions asked.  Who knows how many have died in and because of the cre­ation of this border.

      Before the Euro, before Europe’s bor­ders became more porous, the first thing to do when cross­ing one was to change mon­ey.  Not long after doing so in Coim­bra, a city famous for blue and white ceram­ics, I spent most of it on a serv­ing set for Corey.  It was ele­gant, adult and heavy, and I’d hap­pi­ly hag­gled to get the price down.  I stayed in cheap hos­tels filled with oth­er peo­ple my age, peo­ple who talked about how stun­ning Lis­bon was.  Of course, I had to go, even if I knew my expe­ri­ence of it would be lim­it­ed due to lack of funds.  And yet, as soon as I stepped off the train with my back­pack and well-wrapped serv­ing set, some­thing told me to buy the weed I was offered. Con­tent to wan­der up and down the nar­row, trol­ley-filled cob­ble­stones and in and out of church­es, I scratched muse­ums, Cas­cais with the medieval Nos­sa Sen­ho­ra da Luz Fort and Citadel Palace off the list of places to vis­it.  The weed not only made long walks more enjoy­able, it helped with a long night of bed bugs in the first crap room I rented. 

    Next, I head­ed to the Algarve, famed for gold­en coast­lines rimmed with miles of cliffs and beach­es.  I hung out with a group of Alge­ri­ans who taught me about their coun­try.  At that point I hadn’t even seen Bat­tle of Algiers and hung on every word.  In a cheap but unbe­liev­ably clean and bug-free hos­tel in Lagos I met a Cana­di­an, an Amer­i­can and Brit and we all agreed to linger in Lagos where we shared food, drink, smoke and lied top­less on the sand for hours, blue in front of us and blue up above. We’d trade CDs for the day, lis­ten­ing to Deep For­est and Loreena McKen­nitt, writ­ing lists of books and music in each other’s jour­nals. Final­ly, sun-filled, lazy and only able to afford to eat ice cream, I knew it was time to head back to Grana­da.  With bus­es and trains out of reach, I decid­ed to hitchhike—something that wasn’t unusu­al for the place and time.

      A French woman in a con­vert­ible picked me up first.  She was play­ing B‑Tribe and said she always picked up women, espe­cial­ly if they were alone.  After­wards, I didn’t wait long before an Ital­ian cou­ple play­ing Eros Ramaz­zot­ti offered me a lift.  Because of their lex­i­cal sim­i­lar­i­ty, Span­ish and Ital­ian speak­ers can under­stand four out of every five words of the oth­er lan­guage.  So, we had 4/5 of a con­ver­sa­tion.  They told me about their medieval city; I told them about Corey.  Once I entered Spain I was picked up by a man in a small sedan who spoke non­stop in Por­tuguese which, though also a Latin descen­dent, sound­ed more sim­i­lar to French than Span­ish and I most­ly just shrugged, ‘No entien­do.’  Sud­den­ly, he pulled to the side of the road.  We were in a love­ly, forest­ed area; a place where I didn’t want to die.  He motioned for me to wait and jumped out.  I didn’t know if I should do the same, but if I had to bolt, I knew I’d have to leave the serv­ing set I’d been lug­ging around. 

      In the pas­sen­ger mir­ror I fixed my eye on the guy.  He pulled out a long knife.  It glint­ed in the sun­light.  I opened the door and as I got out to run, he shout­ed, ‘San­duiche!’ and held up a beau­ti­ful loaf of bread in one hand and the knife in the oth­er.  The bread dis­armed me.  I walked slow­ly to the trunk and watched him cut two slices of fresh bread and a thick hunk of cheese.  It was one of the best sand­wich­es I ever ate.

 

***

      My last ride into Grana­da was with a Span­ish-speak­ing truck­driv­er. I man­aged to break a plat­ter get­ting into his rig.  Corey didn’t mind.  At the wed­ding recep­tion I told the hitch­hik­ing sto­ry.  She toast­ed our friendship. 

      A few years lat­er she sent a let­ter to India to tell me of her divorce.  I sent back some Tibetan incense and a copy of Sid­dhartha.  By the time I returned from the Himalayas, she was about to mar­ry for the sec­ond time.  I’d been liv­ing off sav­ings.  She’d been build­ing a career.  When I told her about spend­ing hours in silence and med­i­ta­tion, Corey didn’t quite know what to say.  She talked about her cus­tom-made Mer­cedes and $400 bot­tles of wine, and I wasn’t sure what response she was seek­ing.  We went club­bing and she and her part­ner sand­wiched me on the dance floor. In a moment of music and mez­cal she whis­pered in my ear that I was invit­ed to the wedding/honeymoon in Hawaii.  Once again, I was broke and, as I would have been the only guest, I declined.

      After I moved to Chica­go our vis­its became increas­ing­ly spread out.  She came out a few times and I saw her in Den­ver when she was again divorc­ing.  Not long after, she almost stopped in Chica­go while on a busi­ness trip.  In freez­ing weath­er the city is known for, I took a bus and a train to meet her at O’Hare and she wasn’t there.  I called her cell from a pay­phone and wait­ed.  After a cou­ple of hours, hop­ing Corey was ok, I left.  Days lat­er I called her home.

      She answered and said, ‘I met a guy and well, you know, we end­ed up get­ting a room and I missed my flight.’

      ‘And you couldn’t take a moment to stop me from going to the airport?’

      Next time I was in Col­orado we made plans to hang out, but Corey got caught up jet ski­ing and we didn’t con­nect before I left.  We nev­er texted or emailed the way we used to write to each oth­er and didn’t always have each other’s cur­rent address and phone num­ber.  While she was very active on it, I’ve nev­er been on social media and a mutu­al friend told me in pass­ing that she’d seen a post about Corey mar­ry­ing a third time.  By that point we hadn’t seen each oth­er in years and if there was a fies­ta, I wasn’t invit­ed.  It wasn’t as if we’d bro­ken up.  She didn’t like my part­ner at the time, but I knew that wasn’t it—we’d had numer­ous part­ners dur­ing decades of know­ing each oth­er.  It was a nat­ur­al part­ing, brought on by change and distance. 

      Sev­er­al years passed and then, the pan­dem­ic.  And if not dur­ing a world­wide pan­dem­ic, when?  Corey sent an email.  We checked in a cou­ple of times.  When the skies opened up again, she came to Chica­go for a con­cert and, after­wards, came by for food and wine.  It was still that in between time when peo­ple and places had dif­fer­ent rules, dif­fer­ent bound­aries.  She found me more cau­tious about masks and trav­el than she was.  At first, I won­dered about her politics. 

      Then we talked about all the unbe­liev­able mier­da.  The tri­fec­ta of the virus, police bru­tal­i­ty and the splin­ter­ing of the coun­try.  We laughed and cried like we always had, act­ing out scenes from our lives.  There was no need to paint our­selves pret­ty.  To act like things turned out the way we planned.  I swore to always live just a short dri­ve from the moun­tains but end­ed up in Mid­west­ern flat­lands.  Corey built her dream­house, but when her third mar­riage was over, she end­ed up mov­ing around, lug­ging the Por­tuguese serv­ing set to each new place. 

      After trad­ing sto­ries about the Sandys of the world and the unavoid­able Sandys in our lives, she left.  And it was enough.  I don’t mean the mar­riages; there will be anoth­er.  We didn’t promise to stay in touch—we’d both be in Italy that sum­mer and would miss each oth­er by weeks—but we were updat­ed and we were at peace.

From the writer

 

:: Account ::

While shel­ter­ing in place in Chica­go, I found myself writ­ing essays about my abueli­ta and my home­town.  There’s so much more space in my South­west­ern town—between hous­es, peo­ple, on roads, side­walks, in stores.  In Chica­go I stood at the win­dow watch­ing a float squeeze its way down a one-way street as if it had lost its parade.  Grad­u­at­ing high school stu­dents’ names were spelled out in spark­ly let­ters over every inch of the long flat-bed.  It was inno­v­a­tive and ter­ri­bly sad. 

Well before the inter­net became ubiq­ui­tous, ‘Corey’ and I watched oth­er girls cat­fish in all the ways pos­si­ble in the 80s—calling peo­ple, pre­tend­ing to be some­one else, leav­ing notes in lock­ers pre­tend­ing they were authored by some­one else, send­ing piz­zas to some­one who hadn’t ordered them…  We didn’t real­ize the extent to which women and girls were pit­ted against each other.

We didn’t have the lan­guage, among oth­er things, to explain that we’d come of age in a world that embraced gen­der essen­tial­ism and assumed het­ero­nor­ma­tiv­i­ty. Lat­er, we under­stood we could say no to all the com­pe­ti­tions we didn’t sign up for. 

As some­one who’s nev­er had social media accounts, it’s inter­est­ing to look at how rela­tion­ships change as the ways we cor­re­spond have changed. Same goes for social expec­ta­tions, for per­son­al space.  Some of my stu­dents expect me to be per­pet­u­al­ly online.  Some peo­ple my age think something’s wrong if they don’t get a lick­ety-split response. 

After we’d both returned from our respec­tive trips to Italy, Corey and I emailed a few times about buy­ing one of those 1€ stone-crum­bling Ital­ian vil­las to refur­bish.  I won­der if she’s remar­ried by now.

Mar­cy Rae Hen­ry is a mul­ti­dis­ci­pli­nary Xicana artist born and raised in the Bor­der­lands.  She has lived in Europe and Asia and had motor­cy­cle acci­dents in Mex­i­can Amer­i­ca, Turkey and Nepal. She is the author of We Are Pri­ma­ry Col­ors (Dou­ble­Cross Press), the body is where it all begins (forth­com­ing from Queren­cia Press), dream life of night owls (forth­com­ing from Open Coun­try Press) and red deli­cious (forth­com­ing from danc­ing girl press) and recent­ly won the May Sar­ton NH Prize for Poet­ry.  Her work appears or will appear in Sala­man­der, Epiphany, PANK, The South­ern Review, Worces­ter Review, Best New Poets and var­i­ous oth­er jour­nals and has received a Chica­go Com­mu­ni­ty Arts Assis­tance Grant, an Illi­nois Arts Coun­cil Fel­low­ship, a Push­cart nom­i­na­tion, and first prize in Suburbia’s Nov­el Excerpt Con­test. MRae is a dig­i­tal min­i­mal­ist with no social media accounts and an asso­ciate edi­tor for RHINO Poet­ry.  marcyraehenry.com

 

Animal or Winter Solstice

Nonfiction / Julia Kolchinsky Dasbach

 

:: Animal or Winter Solstice  ::

There is something moving inside our walls. Something trying to get out or work its way in deeper.  
Something animal. Alive. I heard it first as scratching in the middle of the night, a sound soft
enough, it could have been my husband, moving his calloused big toe against the sheets or the dog,
twitching in her sleep, her long nails grazing the hardwood, or my son, clawing at the shelf beside his
bed with nails chewed down to skin. The next night, again peeing in the dark after again being
woken by my child screaming out for me, I thought it could have been the toilet tank, something
loose, unhinged perhaps, the way parts of me are slowly coming undone with each sleepless night.
My child’s screams lodged between the cartridges of my neck and ear so every turn of the head
creeks or pops, quiet, but noticeable if you are close. But the night before longest night of the year,
I swear I heard teeth. And an unsteady rhythm, like a woodpecker unable to keep time against the
bark. But this is no bird. This, inside our walls, is wingless and angry. The sound got closer and
louder, chewing, grating, incessant. I pressed my palm to the wall and nearly thought I felt it. Its
longing to be anywhere else. I banged with the heal of my hand, so loud and hard the shampoo fell
down to the shower tile. For a moment, it silenced. I kept my palm on the wall, willing it to stay that
way. Quiet. My child was still asleep. I knew I didn’t have long before he’d be awake again. The
gnawing and scraping returned. Parenthood, a repetition to a point beyond singularity. We tuck
and kiss and hug and calm and hold until everything feels like one long night, indiscernible from another.
Even touch, so repeated it becomes almost unfelt. Almost. I thought I saw a crack begin to form in
the drywall, but I have terrible eyesight. I trust my hands more, and the wall felt cold, smooth,
unruptured. Today, the sun will appear to stand still at its lowest point. I will listen for the moment
it sinks below the horizon. It will be like a slow, steady drip from the faucet. So soft and consistent,
we don’t hear it after a while. I’m sure we will get used to the animal too. It will find a way out or
burrow so deep we forget it was ever there. But I know its body’s longing. The teeth and nails will
persist, eating, moving, devouring the house while we sleep. I know it’s not its fault. Impulse.
Repetition. Animal. How can I blame it for its nature of need unbound by want. Tomorrow,
the night will be a glimmer shorter. We won’t feel this difference. My son will still wake screaming.
Mama! a sound more animal than love. Mama! a hunger. He will refuse anyone else’s hands or words.
He will demand more light and touch, no matter how bright or long each last. He will demand
proximity. The earth closer to the sun. His body close to mine. My palm on the wall close to the
trace of an animal. He will lose his breath and hide under the blankets on the floor at the foot of our
bed. Close your eyes, my love, find your way towards sleep and you won’t hear terror tearing up the
walls.

From the writer

 

:: Account ::

While I had writ­ten most­ly poet­ry, when I had to teach a cre­ative non­fic­tion course, I began to write along­side my stu­dents, read­ing vora­cious­ly and try­ing to learn the form of the lyric essay as I was teach­ing it. So, for the last few years, I have been work­ing on what I now real­ize are linked lyric essays that deal with par­ent­ing a neu­ro­di­verse child with ADHD and autism spec­trum dis­or­der. I often found myself writ­ing the same moment, event, or sto­ry, in both poet­ry and prose, try­ing to fig­ure out which genre and form was the bet­ter fit. With “Ani­mal or Win­ter Sol­stice,” I felt myself enter a hybrid space that found a union between poem and essay. The prose blocks allow me to linger and med­i­tate on some­thing longer, and with a more nar­ra­tive pro­gres­sion, than I might in a lin­eat­ed lyric, but the inden­ta­tions, poet­ry-like, felt nec­es­sary for the move­ment of the piece, the sta­t­ic pro­gres­sion of time.  This was the first lyric essay I wrote where with­in me, and on the page, the gen­res weren’t fight­ing against each oth­er, but rather com­ing togeth­er to cre­ate some­thing new. This was the first piece I did not feel the need to write as both prose and poet­ry, because it had found a way of being both. Tell Me it Gets Eas­i­er, the larg­er book project this piece comes from, is an unfil­tered account of tak­ing care of the many bod­ies depend­ing on mine, while con­tin­u­ing to take care of my own through the act of writ­ing. In oth­er essays from this project, the strug­gles with par­ent­ing over­lap with pro­cess­ing the war in my birth­place, Ukraine, as my now sev­en-year-old express­es his own fas­ci­na­tion with death, vio­lence, and the grotesque. In the essays, I am reach­ing towards under­stand­ing him as much as I am try­ing to under­stand myself, and what it means to be his mother.

 

Julia Kolchin­sky Das­bach (www.juliakolchinskydasbach.com) emi­grat­ed from Dnipro, Ukraine as a Jew­ish refugee in 1993, when she was six years old. She is the author of three poet­ry col­lec­tions: 40 Weeks (YesYes Books, 2023), Don’t Touch the Bones, and The Many Names for Moth­er, win­ner of the Wick Poet­ry Prize (Kent State Uni­ver­si­ty Press, 2019) and final­ist for the Jew­ish Book Award. Her poems have appeared in Poet­ry, Ploughshares, and Amer­i­can Poet­ry Review, among oth­ers. Her recent awards include the Amer­i­can Lit­er­ary Review Poet­ry Prize and a Sus­tain­able Arts Foun­da­tion Grant. She is the author of the mod­el poem for “Dear Ukraine”: A Glob­al Com­mu­ni­ty Poem https://dearukrainepoem.com/. She is cur­rent­ly work­ing on a new poet­ry col­lec­tion as well as a book of linked lyric essays which grap­ples with rais­ing a neu­ro­di­verse child with a dis­abled part­ner under the shad­ow of the war against Ukraine, Juli­a’s birth­place. She is Assis­tant Pro­fes­sor of Eng­lish at Deni­son Uni­ver­si­ty and lives with her fam­i­ly in Colum­bus, Ohio

All That I Can Say Now

Nonfiction / Jasmina Kuenzli

 

:: All That I Can Say Now ::

            It was beautiful.

            That’s what I hold onto. Even after every­thing that hap­pened, the flash­es of glow­ing joy and sud­den, rag­ing warmth, the blasts of cold that shiv­ered me apart and turned my breath to frost, the way he built my Earth only to break open the ground beneath me …

            It was beautiful. 

**

            When was the first time your heart was real­ly bro­ken? What did it feel like?

            It was like this—

            Koi no yokan—a Japan­ese con­cept known as ‘love at sec­ond sight.’ Not love at first sight—you know bet­ter than that. But he is a match, and you are a pyro­ma­ni­ac. And you know it’s only a mat­ter of time.

            Koi no yokan—that boy over there—with the back­wards hat and the Har­ry Pot­ter tat­too, that one who has the best jokes, who always seems like the cen­ter of atten­tion, who feels the strongest out of everyone—you’re going to fall in love with him. And it’s going to break you in half. 

            What do you call koi no yokan if you see the crash, and you don’t do any­thing to stop the train bar­rel­ing down upon you? Even after all the oppor­tu­ni­ties to throw your­self out of the way, you remain there, not even both­er­ing to brace for impact…

            What do you call it, then?

            Insan­i­ty.

 

**       

            On the first day, he stopped and start­ed three sen­tences before he just smiled, show­ing that gap between his two front teeth, “Words.” He shrugged.  Caught me.  

            And I thought, Don’t.

            It was that gap between his teeth. Keep­ing him from being too attrac­tive, too unat­tain­able. It made him look like some­one you could trust.

**

            I don’t want to lie to you, let you oper­ate under any assump­tions. I wasn’t the damsel, inno­cent­ly lured in by some­one old­er and dark­er and dangerous.

He was 18 when we met, and I was 21.

            I was the one who knew better.

I was the one who should have walked away.

 

**

            Spoil­er alert: this is not a love story.

            Spoil­er alert: I’m an unre­li­able narrator.

Spoil­er alert: we nev­er even kissed.

**

            If we didn’t feel like talk­ing, we would sit next to each oth­er and read or write while we drank cof­fee. Lean, ever so slight­ly, against each oth­er. Easy. 

            I nev­er felt ner­vous, nev­er count­ed the spaces between his leg and mine, nev­er mea­sured out the dis­tance between us. I nev­er cal­cu­lat­ed when to break and run.

            With all the oth­er guys, I was crawl­ing out of my skin, inti­mate­ly aware of every hand brush, every acci­den­tal moment of eye contact.

            But I nev­er cared about any of that when I was with him.

            He was safe.

**

            What else?

            We tried to make up secret hand­shakes, but we nev­er could, because for all of my con­sid­er­able men­tal capac­i­ty, I couldn’t get over the way my hand would slide through his.

            He liked to tug on my hair ties, brush­ing his fin­gers against my wrist, when­ev­er he was try­ing to tell me some­thing important.

            We stayed behind dur­ing a thun­der­storm to watch The Princess Bride togeth­er.

**

            We nev­er said it out loud, because say­ing it was a curse. Like the name of a demon or a bogey­man, say­ing the words would spring some­thing enor­mous and ter­ri­fy­ing into being, and it would destroy us.

            What we were build­ing was too insub­stan­tial, too frag­ile to with­stand the weight of language.

            We pre­tend­ed not to hear the whispers.

            And I thought, Please.

**

            But then there was this.

A leaf blew into the pool deck from out­side, and it was shaped like a heart. I picked it up and hand­ed it to him.

For you.”

            He rolled his eyes, but he was blush­ing when he took it.

            When I came back, the leaf was on the ground, shredded.

            “This is what you did to my heart!” I ges­tured to the wreckage.

            “No,” he cor­rect­ed. “This is what you did to my heart.”

**

            And all I’ve got is spec­u­la­tion, and my own insignif­i­cant feel­ings. Try­ing to con­vince a biased jury with cir­cum­stan­tial evidence.

            Con­struct­ing cir­cles of log­ic that nev­er lead to any­thing but more circles.

            I think I wasn’t the only one…

            Koi no yokan echo­ing in my ears, keep­ing me awake at night.

            We could look into each other’s eyes and know what the oth­er was thinking.

            I think

**

             But this is what happened:

            I asked him.

            We drove around for two hours, try­ing to get past the wall that had fall­en between us. A big plas­tic some­thing, turn­ing the car’s space from com­fort to suf­fo­ca­tion. Awk­ward yawned between us, unfath­omable and claus­tro­pho­bic all at once. 

            So that’s it, I thought.

            And then I thought the word that’s still chas­ing me.

            Why?

** 

             Because then there was this.

            He told me he loved me. And then imme­di­ate­ly qual­i­fied it, but not in a weird way. He bab­bled and mum­bled and stut­tered, until I slammed the door in his face.

            We didn’t talk about it. 

            The words unsaid piled up just like the words we said used to, hard­er and hard­er to break through. Our silences were stilt­ed, and I couldn’t sit still if we were even in the same room.

**

            These were the last times that I nev­er knew were the last times. You don’t know the end until it’s over.

            No, that’s not right.

            What I mean is: I thought we were endgame.

            Koi no yokan. Inevitable.

            And we did talk again. We talked about our fam­i­lies, about the par­al­lel lines our lives had run. How we’d been in sync before we met.

            And I could see us in the future, sit­ting just like this. My head on his shoulder.

            I told you I was crazy.

**

            Because it was like this:

            He didn’t care about me if there was some­one else around to see it.

            Like this:

            His eyes fol­lowed her no mat­ter where she was. The way they would fol­low me when she wasn’t around.

            And this:

            “He’s fucked over every oth­er girl. You’re not the only one.”

            This:

            He lost weight and gained mus­cle. Start­ed to look more like a mod­el and less like an awk­ward for­mer band kid who was suf­fer­ing beneath the weight of his inse­cu­ri­ties. Start­ed to look less like you can trust me and more like you don’t have a shot in Hell. 

            It was like this.

            We were still friends, but he only want­ed to talk to her, and he only want­ed to talk about her, and it was rip­ping me open, and even though he could have seen it, he always looked away.

**

            What do I tell you?

            He was my best friend, but only when no one was watch­ing. And he saved my life, but he was hurt­ing me, and he was kiss­ing her, kiss­ing her, and I was cry­ing alone in a bath­room stall, because no one knew or would under­stand, because no one could see me break down, it’s been a year and you’re not even friends any­more, it’s nev­er been you, it was always her, and they’re kiss­ing, and I’m bit­ing my knuck­les to stop from scream­ing, and they’re kiss­ing, and I’m…crazy. 

 

            This:

            I wrote a poem about him, and when it was pub­lished, he and his friends who used to be mine took it and mocked it, read­ing it aloud and call­ing me all the things I’d thought about myself. Imma­ture. Pathet­ic. Crazy.

 

            This:

            He walked out with­out say­ing good­bye, two years, all those long con­ver­sa­tions and the con­nec­tions and the hands against my skin, the way his eyes would fol­low me across a room, gone. Like noth­ing ever happened.

            Koi no yokan. Bullshit. 

 

            This:

            The first time I saw him again, I had a pan­ic attack.

**

.

            But it’s been a long time.

            And all I can say now is:

            It was beautiful.

 

            And this:

            My best poems are about him.

 

            This:

            I will nev­er again won­der if I am capa­ble of lov­ing some­one that much.

 

           And I don’t think you ever real­ly fall out of love with some­one you’ve loved like this.

 

            I don’t think you ever love the same way twice.

From the writer

 

:: Account ::

            When I was 22, I learned an impor­tant les­son: You can be wrong about your soulmate. 

            When I met the sub­ject of this piece, I felt some­thing I nev­er felt before. A sense of know­ing, of under­stand­ing that couldn’t be shak­en, no mat­ter how hard I tried to ignore it, or talk myself out of it. A few weeks lat­er,   I came across the term koi no yokan while read­ing, and I knew exact­ly what it was:  a Japan­ese con­cept mean­ing love at sec­ond sight. I was sure: it was only a mat­ter of time.

            Unre­quit­ed love is an embar­rass­ing emo­tion to have when you’re 22. All of your friends are going off on adven­tures in love, rid­ing the roller­coast­ers of first rela­tion­ships, the post-apoc­a­lyp­tic breakup may­hem, of ‘real’ love.  But you are stuck at the sta­tion, wait­ing for a train that’s nev­er com­ing. Unre­quit­ed love means mem­o­riz­ing tiny lit­tle things about the oth­er per­son every day, and tal­ly­ing them up like a score­board of spec­u­la­tion, all for that most stub­born and dan­ger­ous of emo­tions: hope.

            He was one of my clos­est friends. There were times when I would get that feel­ing again, and my vision would zoom into the future, and I would see our slow talks, run­ning laps around each other’s brains, tak­ing note of all the knick­knacks and hang ups, the sud­den pit­falls and the places hid­den by cur­tains, where we nev­er let any­one else go. There were times that I felt under­stood in a way I can’t explain, a way that went beyond words. I thought that was cer­tain­ty, the call of two souls across space and time to one anoth­er. Koi no yokan. Inevitable. 

            But just because you believe some­thing, doesn’t make it true.

           Still,  I lit a can­dle and held it in the fog of his grow­ing dis­tance, of the girls he did want that he always took home, the way he always ignored me when­ev­er they were around. I wait­ed, and I was calm and petu­lant and fear­less and ter­ri­fied and awed at the strength of my devo­tion. It took a year to accept what was, instead of what I wanted.

            When I final­ly real­ized it was over, I wrote it all down. “All That I Can Say Now,” is that piece, where I lay out all the evi­dence, from the first day to the last. Where I try to con­vince myself that unre­quit­ed love wasn’t crazy; or even if it was, it was beau­ti­ful. When I first wrote it, I called it my “All Too Well.”

            “All That I Can Say Now,” says, in the same wild, heart-stop­ping defi­ance that can have you writ­ing hand­writ­ten notes in your favorite book, dri­ving through the lights of Austin, scream­ing your heart into the steer­ing wheel, sink­ing to the floor in a bath­room stall, and pick­ing up a shred­ded leaf from the dis­gust­ing pool deck: “I was there. I remember.”

 

Jas­mi­na Kuen­zli is an author of poet­ry, cre­ative non­fic­tion, and fic­tion and has been pub­lished with Crow & Cross Keys, The Blue Riv­er Review, The Elpis Pages and many oth­ers. When she isn’t writ­ing, Jas­mi­na can be found weightlift­ing, run­ning, and hold­ing impromp­tu dance par­ties in her car.  Her life goals include land­ing a back flip, get­ting legal­ly adopt­ed by Dwayne “The Rock” John­son, and being a con­trib­u­tor on Drunk His­to­ry. She would like to thank Bren­na and Sarah, who hear all these sto­ries first, and Har­ry Styles, who is sun­shine dis­tilled in a human being. Find her on Twit­ter @jasmina62442.

Like a Polaroid Transfer 

Nonfiction / R G Pagano 

 

:: Like a Polaroid Transfer  ::

I Along the Way.

1

The point of liv­ing in Italy the first time was to write a nov­el, some­thing that had escaped me. So I had this idea that I would try again, not know­ing what would emerge while fol­low­ing Nan­cy wher­ev­er she might wan­der and learn­ing more Ital­ian along the way.

            “Only a kitchen is miss­ing,” Gio­van­ni emailed, “which could be installed in the entrance. I could close the entrance with a glass wall and sep­a­rate it from the stair­way. To get to the flat you would go through the gar­den, our liv­ing room, and up the stair­way to the sec­ond floor.”

            “Gra­zie,” I replied.

            Around Inde­pen­dence Day, sev­er­al weeks before our depar­ture, Nan­cy received her sab­bat­i­cal, along with a let­ter from the super­in­ten­dent of schools, who out­lined all terms includ­ing what Nan­cy want­ed to do most — paint and live in Italy.

 

2

I met Nan­cy in Boston on my way to the Muse­um of Fine Arts. On that snowy day, we talked about our lives — look­ing sky­ward, catch­ing snowflakes, float­ing with the wind.

            Nan­cy told me about All Soul’s Day in Venice, and the Lido where she found a green-tiled Hun­gar­i­an hotel among palm trees and over­grown vines. Her descrip­tion of its emp­ty patio and three-door entrance at the top of cres­cent stairs made of cement engaged me.

            Ten months lat­er, we were married.

 


3

At the edge of Bas­sano del Grap­pa, near the baby Dolomites, we live on the top floor of a large home with a gar­den. Exot­ic plants and old pine trees com­mune with a Bel­gian Sheep­dog named Gedi, sev­er­al cats and ducks, and five duck­lings promised to a friend after the summer.

            Chic­ca, the moth­er duck, likes to go inside the house, most­ly for Gedi’s water but also to be in a cool place away from the August heat, not a bad instinct except she’s not trained.

            I’m not sure you can train a duck.

            She doesn’t know, so I car­ry her out­side to the pond where she pre­tends to walk on water.

            Once dur­ing din­ner in the gar­den, Chic­ca tossed my nap­kin on the ground, more than once. I car­ried her to the pond, but she returned after I car­ried her back again until I locked her in the laun­dry room by the garage, which worked except she’s not trained.

 

4

We’d bicy­cle with traf­fic, sig­nal­ing with our hands or using the side­walk to the old hos­pi­tal, then enter­ing the old part of Bas­sano past medieval walls and our favorite pizze­ria, against more cars and around peo­ple, by a stat­ue of Gia­co­mo da Ponte in a pri­vate square. Coast­ing down­ward took us by Palaz­zo Rober­ti, where Napoleon Bona­parte stayed twice before the end of the 18th cen­tu­ry, and into Piaz­za Garibaldi.

            Bicy­cle racks wait­ed along­side a 13th-cen­tu­ry church across from our usu­al stop for espres­so before con­tin­u­ing through Piaz­za Lib­ertà toward a stat­ue of San Bassiano, our way through the cen­ter past build­ings with colon­nades and a Zodi­ac clock across the top of the town hall. For­mer flour, oil, and salt ware­hous­es sped by, and ceram­ic and antique stores and places to buy grappa.

            Ponte Vec­chio, a wood-cov­ered bridge designed by Andrea Pal­la­dio in the mid­dle 1500s, nev­er dis­ap­point­ed. Dur­ing sum­mer, we saw men in the Brenta Riv­er swing­ing fish­ing rods, caus­ing their lines to arch in the wind. Swans glid­ed upstream. Behind us stood the back of a yel­low build­ing scarred with bul­let marks left from the Great War.

            Late in the after­noon, over­look­ing the Brenta Val­ley and its hills, we’d some­times pause under the umbrel­la trees with black cross­es and the names of men or the unknown who were hung on Sep­tem­ber 26, 1944 for resist­ing the occupation.

 

5

On an Inter­ci­ty train, we left the rain storms after weeks of intense heat.

            Gray clouds hung close to the hills.

            Nan­cy opened a small box of 12 water­col­or cubes, and with six brush­es, a white palette, and water in a yogurt cup, pro­ceed­ed to paint. Her ini­tial work formed a tow­er with high volt­age wires and pur­ple moun­tains along the top, and brown fields and trees along the edge. The wires appeared to fall off the paper.

            The train climbed hills before going into a tun­nel; then came out as high as the clouds in the dis­tance float­ing through val­leys and above fields of sunflowers.

            The ini­tial wash of anoth­er water­col­or showed a woman titling in front of two large win­dows. Nan­cy added col­or — red to her dress, pink to her face, brown to the tile floor, and blue around the windows.

            “This is a woman wait­ing at a train sta­tion,” Nan­cy said.

 

6

Atri­pal­da is nes­tled in a green province, with vine­yards over hills along­side tree-lined roads over more hills, and vil­lages wind­ing around the tops of oth­er hills, and in the dis­tance, pine-cov­ered mountains.

            Atri­pal­da had been my first home in Italy. It was where I learned Ital­ian — where I wrote Ital­ian words I had heard in con­ver­sa­tion or over­heard or read in the papers, and their Eng­lish mean­ings lat­er. Read­ing was eas­i­er. The words did not move into each oth­er the way they did in con­ver­sa­tion to pro­duce a rhythm that did not dis­crim­i­nate between begin­nings or endings.

            I was there for six months sev­er­al years after the 1980 earth­quake, and six months two years lat­er, not far from the birth­place of my grand­fa­ther near the church of Sant’Ippolisto.

 

7

Before the wed­ding, Nan­cy and I stepped inside Sant’Ippolisto.

            We inspect­ed the restora­tion, look­ing up at what was saved after the earth­quake and what was not, and how the two were joined with post-mod­ern lines and shapes to bal­ance what had sev­ered the sym­me­try. Below, we saw crypts with bones of ear­ly Chris­tians in cas­es of glass and bronze in a chapel with fres­coes on its ceil­ings and walls, and beyond the chapel, oth­er fres­coes of baby angels hold­ing flags, staffs, and flowers.

            The baby angels were above us, above the bride and groom too, inject­ing joy into the cel­e­bra­tion out of the choir and through­out the church, with Sant’Ippolisto and San Sabi­no, the patron saint and pro­tec­tor of Atri­pal­da, giv­ing their blessings.

 

8

They were most­ly but­ter­flies whose broad wings were still yel­low and orange and pur­ple on slen­der frames, next to wasps and oth­er winged insects, black with anten­nas longer than their bod­ies, and metal­lic beetles.

            Gio­van­ni start­ed the col­lec­tion in his teen years.

 

9/11

We were in the gar­den that after­noon. It was after­noon for us in Bassano.

            On can­vas, Nan­cy was paint­ing red flow­ers inside scrub veg­e­ta­tion with white palms on long stems under pine tree branch­es, and in the back, a fence with vines.

            I was writing.

            Chic­ca, Drake, and Duck, and the five duck­lings, almost ful­ly grown now, were bathing in a pond behind us and Gedi, asleep in the sun and dream­ing I suppose.

            “That’s the cell­phone,” Nan­cy said.

            I looked down and reached for the phone from under the news­pa­pers. It rang again, and inside its win­dow, ANSWER? appeared.

            “Pron­to,” I said. “Ciao Carmelina.”

            “Hai sen­ti­to Riccardo?”

            “What?”

            “… into the Twin Towers.”

            “You’re break­ing up.”

 

II Seek­ing Cover.

10

The sky was almost white. The morn­ing mist obscured the hori­zon and con­cealed the moun­tains, but in the gar­den enriched the greens and yel­lows to cre­ate an illu­sion that noth­ing else existed.

            Birds awoke on pines taller than the house.

            Rain start­ed to fall.

            After flap­ping his wings, Duck set­tled down and fell into a kind of med­i­ta­tion. He was still except for his breath­ing. By the end of the morn­ing, Duck was stand­ing on one leg, lean­ing and stretch­ing it in some yoga way. Then on the oth­er leg, he extend­ed a wing, point­ing and hold­ing the position.

 

11

A small stat­ue of Saint Antho­ny of Pad­ua saw us off. From his niche on a stone col­umn, which along with its twin marked the way to our neighbor’s corn­field, he looked as we walked past him and baby Jesus that he held next to dried ros­es in a worn vase behind a wire screen.

            I car­ried a French easel, oil paints inside of it, a Plex­i­glas square and can­vas, some­times two, along with my writ­ing note­books. Nan­cy had the rest — brush­es in a jar and tur­pen­tine in anoth­er, both inside a Grand Marnier tin, and rags.

            Nan­cy paint­ed out­doors at Ca’ Cornaro, before the cold when the day began to draw back.

            On one can­vas, she inter­pret­ed a stone path­way cov­ered with vines. Autumn vines, cast­ing their shad­ows, lined across the stones mov­ing over the edge of the path and turn­ing up and slant­i­ng on the grass towards a gray wall and the ever­greens behind it. Beyond the vine cov­ered walk­way, a stat­ue enters the painting.

            The stat­ues watched over us — Apol­lo and Artemide among the ferns and cac­ti on our way up the stair­way, Pomona in the court­yard, and three chil­dren of Fati­ma, but most of all Vir­gin Mary, who accom­pa­nied us out of this Renais­sance vil­la designed as a coun­try res­i­dence for rest and agri­cul­tur­al works among a for­est of cedars and pines.

 

12

I won­der if most artists have a sense of what they want to express, or if their instincts guide them to cre­ate and recre­ate before fin­ish­ing, then see­ing how far their work has moved away from the begin­ning and what has hap­pened along the way. The process, alive and dis­cov­ery-filled, might be more impor­tant than the result.

            Like an instant out of a Polaroid. Like a Polaroid transfer.

           The emul­sion, lift­ed from the instant and trans­ferred to water­col­or paper, con­veys an emo­tion­al con­tent cre­at­ing art that reveals who we are. Some­times the images are bare­ly rec­og­niz­able and some­times they are too familiar.

            If art reflects human­i­ty, what does it show? What did it show before Sep­tem­ber 11th? Did it warn us, cry out for help? Or is it impos­si­ble to say know­ing what hap­pened will bend the expla­na­tions mak­ing them seem some­thing else — mak­ing the symp­toms obvi­ous and eas­i­ly fore­see­able, caus­ing us to feel guilty as if we could have changed some­thing, done some­thing to pre­vent it, spec­u­lat­ing in “what ifs” to bring back our fel­low Amer­i­cans, then feel­ing angry and afraid and sad and want­i­ng to under­stand the holes in the fam­i­ly of man.

 

13

At the 49th Venice Bien­ni­al, South Kore­an artist Do-Ho Suh installed a room filled with minia­ture carv­ings of peo­ple under­neath a glass floor. These fig­ures look up with out­stretched arms and hands push­ing against the bot­tom side of the floor, want­i­ng to get out but con­fined to sup­port the floor on which we walked.

 

14

It was Dante look­ing for farm mice who chased the ducks out from under the bush­es and their home, except for Chic­ca know­ing that cat too well to be bullied.

            Drake regained his balance.

            White Col­lar, one of the five orig­i­nal duck­lings, used his beak to throw water on the oth­er duck­lings, except for Grey. I wasn’t at all sure if Grey was part of the five or adopt­ed, but I couldn’t see Chic­ca adopt­ing any duck.

            I saw light in the stu­dio at the top of the house.

            I could see Nan­cy painting.

 

15

The col­ors are work­ing,” Nan­cy told me.

            She filled the paper with water­col­or — a bright strip around the edge to frame the soft­er tones against nine trees bend­ing with the wind she could not paint the way she could paint the sky. The leaves inter­twined to cast a place in the shade.

From the writer

 

:: Account ::

Dur­ing the 2001/02 school year, I accom­pa­nied my wife on her art sab­bat­i­cal in Italy. While Nan­cy paint­ed in her stu­dio, I hand wrote impres­sions about our experiences.

The unpub­lished col­lec­tion includes past vis­its to Italy, pri­mar­i­ly about my Ital­ian her­itage. The impres­sions acknowl­edge the ani­mals, even a baby mouse or topoli­no. They ref­er­ence heav­en and hell, Dan­te’s tow­er in the Valle di San­ta Felic­ità. They are sto­ries about the Great War on Monte Grap­pa, the 49th Venice Bien­nale on human­i­ty, Padre Pio and his stig­ma­ta, Sep­tem­ber 11th and under­stand­ing why while recov­er­ing from bronchial pneumonia.

Like a Polaroid Trans­fer” is a small slice of that col­lec­tion. The slice is more sub­tle, more flash in its struc­ture; yet still con­veys the inflec­tion point after the events of 9/11, which moves the work from obser­va­tions to seek­ing out sim­ple places of peace.

This work, like the unpub­lished col­lec­tion, com­bines aspects of a jour­nal, mem­oir, and reminiscence.

 

Rich Pagano lives in New­ton, Mass­a­chu­setts. His writ­ing is some­times lyri­cal and often visu­al but always in the direc­tion of mean­ing-mak­ing. He resided in Italy for a peri­od of time and fre­quent­ly trav­els there with his wife, draw­ing on those expe­ri­ences for his cre­ative work.

 

Versions of Truth

Nonfiction / H. P. 

 

:: Versions of Truth ::

I. 

In this ver­sion, you are talk­ing to me and her at the same time. I am not the only one you’re send­ing dai­ly emails to. I am not the only one who com­mis­er­ates with you about the per­plex­i­ties of being human and a writer at the same time. But I mis­took your Face­book posts and Spo­ti­fy playlists as signs for me when they were for her. It’s hilar­i­ous. Every­one but me is crouch­ing in laugh­ter. I’m crouch­ing, too. In agony. Worst hang­over ever.

 

She’s hit­ting your arm now. She’s say­ing, between chuck­les, “That poor girl!” She’s look­ing in your eyes now. You’re look­ing in her eyes now. You’re say­ing, between chuck­les, “That poor girl!” You are tak­ing her arm now. You are mak­ing it soft. You are mak­ing it yours.

 

II.

In this ver­sion, you are talk­ing to me and try­ing, ever so slow­ly, to be my lover. In a few years. In a decade. In what­ev­er time our lives need to align like stars and plan­ets in an eclipse. You are try­ing to be my friend first, some­one I trust. You are try­ing to let me know that it’s okay to lean on you.

 

I am so close to rest­ing my head on your shoul­der. I am so close to hang­ing onto your arm for bal­ance. I am so close to inhal­ing the air you expel from your lungs. You are so close to inhal­ing the air I expel from my lungs. You are so close to leav­ing your arms open. You are so close to tip­ping your body side­ways so I can reach your shoulders.

 

III.

In this ver­sion, you are talk­ing to me like one of the orphans you vis­it on week­ends. You see me but you don’t real­ly know who I am beyond my weak­ness and my need. You only see me because of my tears. Because of the scars I thought I already cov­ered up with my tattoos.

 

My orphan­hood is not the only thing you should know about me. I am telling you I am also a capa­ble KTV singer. I am also a mod­est­ly suc­cess­ful jester. I am also a self-taught make­up artist. Tell me more about you. Tell me about your four sib­lings. Tell me how you learned to play the gui­tar. Tell me your bad jokes. Tell me your go-to karaoke song. Tell me why you love orphans.

 

IV.

In this ver­sion, you are talk­ing to me about Sartre and Beau­voir and that’s when I real­ize you’re the one I’ve been wait­ing for. You are the one I want to be my lover. You can be the sub­ject of my end­less long­ing, my best love poems, and my sap­pi­est KTV songs.

 

I have no boyfriend in this ver­sion. I have no one at home wait­ing for me. I have all the time in the world to fall in love with you. I have all the heart in the world for you to break open. I am hand­ing you a knife. I am hand­ing you a gun. I am hand­ing you a bomb. Destroy me. Please.

 

V.

In this ver­sion, you are talk­ing to me about tak­ing up Phi­los­o­phy in col­lege and there’s noth­ing more to it. You aren’t hid­ing the fact that you are a priest. You did not get ordained in 2018. You did not become the youngest priest in your province. You did not ful­fill your mother’s dreams for you.

 

You can get mar­ried in this ver­sion. You have no church wait­ing for you. You have all the time in the world to fall in love with me. You have all the heart in the world for me to break open. You are hand­ing me a knife. You are hand­ing me a gun. You are hand­ing me a bomb. I will destroy you. As gen­tly as quick­ly as hun­gri­ly as possible.

From the writer

 

:: Account ::

This essay is my attempt at pin­ning down a flur­ry of emo­tions from a recent heart­break I had. It is an uncon­ven­tion­al love sto­ry, to say the least. There are lay­ers upon lay­ers of hurt and betray­al. Essen­tial­ly, this is me telling myself mul­ti­ple ver­sions of the same sto­ry. For bet­ter or worse, I have decid­ed to share it with the rest of the world. I am not expect­ing sal­va­tion or clar­i­ty. My love has been doomed from the start. There were more ques­tions than answers from the start. But writ­ing about my grief is my way of reach­ing out to myself and say­ing, “You don’t need to drown.”

 

There is a lot of rep­e­ti­tion in this piece. I also used stream of con­scious­ness writ­ing. The goal was to be as raw and vul­ner­a­ble as pos­si­ble. This is prob­a­bly the only space in the world where these feel­ings will see the light of day. I am con­tent with that.

 

H.P. is a heart­bro­ken poet from the high­lands of the Philippines.

Ne me quitte pas

Nonfiction / Karis Ryu

 

:: Ne me quitte pas ::

 

**CW: men­tions of death.

Did you know?

            In ele­men­tary school, I was assigned to the same table as a boy I had a crush on and start­ed scor­ing low­er in class behav­ior because of it. When I got my report card back and saw the unfa­mil­iar let­ters star­ing back at me, the wave of shame that hit was sud­den and colos­sal. Before the age of ten, I learned that lik­ing boys came at the expense of being myself. So I cut him out of my head as quick­ly and as sharply as he had popped into it, and through sheer force of will I drilled back into myself the words MY FUTURE IS MY OWN MY FUTURE IS MY OWN.

            In mid­dle school, the clos­est I came to telling a boy I had a crush on him was by proxy. He was old­er, and a line of girls had already liked him. I scoffed ini­tial­ly, so sure I would nev­er join that line, and then a few months lat­er I was run­ning out of rooms the moment he entered them. On my last day, two younger girls approached me with mis­chie­vous eyes and asked if they could tell him.

            “Why not?” I shrugged, feign­ing non­cha­lance. The truth was I was relieved, because I actu­al­ly want­ed them to tell him. I want­ed him to know with­out hav­ing to tell him myself. I think I was afraid that if I told him myself, I would trem­ble and my spir­it would crack into pieces and he would end up tak­ing some of me with him, parts of me I would nev­er get back.

            I was twelve: old enough to under­stand that girls who felt things and said so lost their faces and nev­er got them back.

*

Did you know?

            I am twen­ty one and I am so young. Peo­ple are so quick to press their hands to their fore­heads and per­form dra­mat­ic faux strokes when they hear how young I am. We are in the same place, yet I am three, four, five, six, ten years younger. I have worked so hard to get here. All I have done is work. After all, MY FUTURE IS MY OWN MY FUTURE IS MY OWN.

            At first I thought he was impressed. Then he kept pok­ing at it, pok­ing at me, in nudges of embar­rassed laugh­ter and patron­iz­ing nods that bol­stered his pride by push­ing me down. Now I can­not help but won­der whether my pres­ence emas­cu­lates those who have to breathe the same air as me. So I wor­ried, when I real­ized how well we got along, that you would poke like he had. I wor­ried our silences sig­naled your dis­com­fort. I wor­ried our silences sig­naled your bore­dom. That my pres­ence damp­ened the room with how heavy it was. That my pres­ence bur­dened you with how too-much it was. My worst fear con­firmed, set in stone, the cold hard truth: I am a strange and over­whelm­ing con­coc­tion of fren­zy and fear and too many ideas, and you say I am bril­liant, but that is only as long as I am at arm’s reach because if you look any clos­er, you will real­ize what I already know: I am unpalatable.

            A boy I liked said this about me once, that I was too good for the guys at school. That’s all well and good, but where does that leave me? Some­times com­pli­ments don’t mean shit if you’re lonely.

            I am twen­ty one. I am sit­ting out­side of a cof­fee shop and cry­ing because I am so young, yes, but being so young at this stage in this place means that I am alone. I am alone, and it is heart­break­ing. I have a bright future ahead of me, so they say, but I can­not do any­thing about it right now because I am so young. I might have grown up quick­ly and I might know how to do lots of grown-up things, but ban­dag­ing my own bro­ken heart is not one of them. So I sit on this bench and cry because that’s what girls in love and pain do.

*

Did you know?

            When I was thir­teen I walked cir­cles and cir­cles around a lake in my neigh­bor­hood. When we lived in a city a one-hour train ride from my mother’s birth­place and a thir­teen-hour flight across an ocean away from mine. Cou­ples dou­ble-ped­aled duck boats across the water. At night some­one would busk on the plat­form, their voice echo­ing through the mic and through my head.

            When I was thir­teen I thought a lot about death. I thought a lot about whether or not I want­ed to die, and how I had no answer. I thought about how my lack of an answer at the very least sig­naled how I felt about life: that is, my utter lack of a desire for it. Yet I could not bring myself to die.

            I looked at every­one around me and remem­bered I was sur­round­ed by a dialect adja­cent to my mother’s, a lan­guage I kind-of-under­stood and just as much kind-of-didn’t, a lan­guage I was so glad not to speak and just as much longed to.

            Yet I could not bring myself to die.

            I thought about death so much I believed I no longer thought about boys. That wasn’t true, because there was a boy that year, there was always a boy, wasn’t there, for each new wound that the world ripped into me that I then fum­bled to balm with what­ev­er sub­stance was closest—whatever would do for a fan­ta­sy. I thought more and more about death in the hopes that it would make me think less of the boy, of what I want­ed him to be and what I knew he was not. Dying was eas­i­er. Dying felt more mean­ing­ful. It is more poet­ic to die than to like a boy. It kind-of-worked.

            I walked the lake in a bizarre jaunt that the bright­ness of the sun made even more macabre. I walked the lake while think­ing about dying while lis­ten­ing to a marim­ba play while Regi­na Spek­tor asked peo­ple not to leave her, feel­ing some­what more livened up by it but then because of that, feel­ing sad­der than before. Yet I could not bring myself to die.

*

Did you know?

            I am praised a lot for my hon­esty nowa­days, which is inter­est­ing because it’s when I’m being hon­est that I’m most wor­ried about being dis­hon­est. Like I’m deploy­ing my hon­esty because I know that’s what works, that’s what endears me to peo­ple. At the same time, I can­not help the things that come out of my mouth and I am very much at the mer­cy of the per­son sit­ting across from me as I help­less­ly watch, eyes crossed, my guts push out from between my teeth and spill onto the table. I am ter­ri­fied of being per­ceived as a too-earnest child and noth­ing more, but this is the only way I know how to be that feels the clos­est I can ever get to “true.”

            I’m sure you would rather be with some­body else right now, some­one nicer, some­one more pleas­ant, not some­one who was born with a tri­an­gu­lar mouth and had to train her­self out of a rest­ing bitch face by star­ing into a mir­ror and push­ing the cor­ners of her lips up for years. Here are some things I have learned over those years:

            I am admired; I am not approached. I am a stat­ue; I am not a girl. I believed that too for a while, but I am tired now. I am a girl. I was a girl all along. I will always be a girl. A girl who gig­gles and feels and cries and loves and flut­ters and laughs like every­one else.

            When I was nine­teen, I walked all the way down a hill in the dead of the night. It was a dead night. My legs were dead and my eyes were dead but my soul refused to die. It just refused to fuck­ing die. I could have walked for­ev­er. I could have walked until I died.

            Please, I cried. Let me die.

            Please, it begged. Don’t leave me, too.

            I am just a girl who does not want to be alone.

*

Did you know?

            I think I am thank­ful I did not take my life that night, or that oth­er night, or that oth­er oth­er oth­er night when I thought about doing it. It has tak­en me years to get to this thought. Late­ly I’ve been think­ing it more and more. Here are just a few:

            I think it when it is our sec­ond week of col­lege and we sit next to each oth­er in a small group where we both feel out of place. You, too? we gasp, look­ing at each oth­er. We walk in the same direc­tion after it’s over and after a while of talk­ing out­side your dorm build­ing, you say to me: Hey, do you want to just come inside? So we talk inside your dorm for two more hours, and that night our friend­ship is born.

            I think it when I turn sev­en­teen and my plan was to sit in my dorm and eat a dou­ble-choco­late Insom­nia cook­ie alone. That is when you call me, a girl you bare­ly know, because Face­book said it is my birth­day and am I doing any­thing to cel­e­brate? Let’s get froyo. No, don’t bring mon­ey, you are treat­ing me to froyo because it’s my birthday!

            I think it when years pass and it is my birth­day again, and anoth­er you waves a card into my hands, say­ing HAPPY BIRTHDAY, YOU ABSOLUTE ANIMAL, which I know is a com­pli­ment because I know you. The card is almost illeg­i­ble because of your noto­ri­ous­ly loopy pen­man­ship but I can read it. It is detailed, love­ly, and tru­ly some­thing only you could write to me.

            I think it when it is the mid­dle of what was look­ing like the best semes­ter of col­lege yet, but a virus hits our lit­tle life of laugh­ter and sud­den­ly we are three friends sit­ting in Meet­ing Street Cafe, angry and in shock but most of all scared that our first time togeth­er in this booth might be our last one too. Yet all we can do is smile for one anoth­er, trem­bling mouths hold­ing up taut frames. Lat­er we sit by the water and we can­not help it, the words that flow out of us. When peace like a riv­er atten­deth my way. When sor­rows like sea bil­lows roll. What­ev­er my lot, Thou hast taught me to say. It is well, it is well with my soul. We cry and I won­der if I will ever know ten­der­ness like this again.

            I think it after I move to a new city and we have known each oth­er for maybe a month at most when you invite me over for bagel brunch, and I assume that this is for some par­ty or gath­er­ing because the only way I would be includ­ed in an invi­ta­tion is if it was a mass one. But I show up at your house and it is just me, and I ask you if any­one else is com­ing and you smile and shake your head and say no, today it’s just me.

            I think it when you remem­ber me on New Year’s and send me a text because I am who you’re thank­ful for.

            I think it when you invite me at ten o’clock at night on an impromp­tu excur­sion to the beach because you missed me, you say, and there is anoth­er one of us, anoth­er friend, look, you again, you’re there!—to love is to be one and isn’t that won­der­ful—in the pas­sen­ger seat of the car you are dri­ving, and there is a pack of lychee beers in the back, and any­way you’ll be in front of my apart­ment in three min­utes so get dressed and don’t go to sleep!

            I think it when two years after we cried by the water, you are grad­u­at­ing and at your depart­men­tal cer­e­mo­ny we stand there beam­ing at you. We hand you a bag, and inside that bag is our gift: a cook­ie from Meet­ing Street Cafe. I almost cried while I stood in line for it, did you know? So cir­cles do end some­where after all.

            I think it dur­ing the silences between our con­ver­sa­tions every time you walk me home. I won­der if this is spe­cial for you, too. I think about how wor­ried I was and at times still am that no one would ever want to exist with me like this. I think about how there is no one else I would rather exist with right now than you. I hope I mean some­thing sim­i­lar to you, and while that hope is tinged with fear that I am wrong, it is beau­ti­ful pre­cise­ly because it is frag­ile, and I would much rather cling to it than have noth­ing to cling to at all. Any­way, we keep going, held by the same deep indi­go sky each time, in mur­mur and laugh­ter and silence, cush­ioned in all that I do not yet know how to say but want to let you know some­how. I am scared of what will hap­pen when I do find the words. I am scared I already have them. I am scared of what they mean. Of los­ing my face. My room­mate told me once that to ask for a place in someone’s heart is to ask for per­mis­sion to break it one day. God for­bid, but it could hap­pen. I don’t want to hurt you. Even in my own fear of my own heart­break, my first thought is of you. That scares me most of all. But some­times I dare to believe that your word­less thoughts might be search­ing for me too. I dare to trust that what­ev­er we are fig­ur­ing out togeth­er is good, very good.

            (To make a dec­la­ra­tion is to, in the back of your mind, always won­der just a lit­tle bit if you even believe what you are declar­ing. But to feel any­thing at all is to risk being wrong, and that ten­sion is what makes life real. So lean into it. Embrace it.)

            I think God is telling me there is a way. A way to con­fess with­out los­ing my face. A way to love that keeps the heart intact.

            (Or: Love is an exer­cise in trust.)

            I used to think that love was about what is said. What is spo­ken aloud. What is com­mu­ni­cat­ed through touch, through stare, what is pro­ject­ed onto a wall in blaz­ing let­ters and yelled from across a long, long room. That love is some­thing you can­not miss.

            But love is trust, and silence is sound. Love is hav­ing faith in what has not been said. Believ­ing in a glance and per­haps in the absence of a touch entire­ly. Maybe you are care­ful with how you touch me because I am some­one to treat with care. Maybe we sit side by side because we hope the time we give each oth­er says what we do not speak aloud, because the dam hold­ing back every­thing we could say or do is so thin and oh, how excit­ing and ter­ri­fy­ing it is, how dear­ly I would hold you to me if you would let me. But first I have to let you know.

            Love is as shy as it is bold. It is shy because it is bold. It takes the breath out of you to expose the heart for one sec­ond. Blink and you might miss it. But if you do, that’s okay. Trust that it is there, because you are loved. You are loved and so you love, because I trust you, I trust you.

            You are my friend. You say my name. “Have you ever judged some­one for being hon­est about their feelings?”

            No, I respond. I always thought they were brave.

            “Exact­ly.” You nod your head. You say my name again. “So why are you scared?”

            In May, you tell me how strange it is to think we have only known each oth­er for less than a year, because you feel like, in the best way, a life­time has passed between us. And I say, I can’t com­pre­hend some­times how I love you as fierce­ly as I do. And you say, you know where it says that eter­ni­ty is writ­ten on our hearts or some­thing like that, and I think, yes, and you say, in feel­ing like I’ve known you for a long time, eter­ni­ty is the free­dom to love you as if I have.

From the writer

 

:: Account ::

As the read­er can tell, I was twen­ty one years old when I wrote this piece. It has been revis­it­ed and revised peri­od­i­cal­ly since then, but at the beat­ing heart of this con­fes­sion of an essay was and is the earnest­ness of a per­son craft­ing a bur­geon­ing def­i­n­i­tion of love as she learns to love oth­ers and to love herself.

The inspi­ra­tion to write this piece first struck me one spring after­noon, while I cried on a bench out­side of a cof­fee shop near my apart­ment. (This scene made it into the essay. In a way, per­haps I start­ed there.) I was, in short, pro­cess­ing many firsts: my first year out of col­lege, my first year in a new city, and the chances I had tak­en on expe­ri­ences and peo­ple dur­ing that time. The love those risks had brought me, but also the hurts and the losses—and the heart­break of real­iz­ing that the time had come to say good­bye again. Grow­ing up as a mil­i­tary child, I had built up anti­so­cial detach­ment mech­a­nisms in order to mit­i­gate the hurt of get­ting attached. Twen­ty one was the year I tru­ly began to shed those walls—and had to face the beau­ti­ful consequences.

These ongo­ing tumults wouldn’t quite resolve for some months’ time. But writ­ing this piece over those dif­fi­cult sum­mer months kept me com­pa­ny dur­ing peri­ods of lone­li­ness, con­fu­sion, and grow­ing pains. I have, of course, grown since I first wrote this, and am shar­ing the expe­ri­ences and feel­ings of a past me, but I con­tin­ue to hold this piece dear­ly for its vul­ner­a­ble hon­esty. That’s the per­son I want to stay true to in all that I write and do.

 

Karis Ryu is a writer, artist, and grad­u­ate stu­dent cur­rent­ly based in New Haven, Con­necti­cut. She grew up mov­ing fre­quent­ly across North Amer­i­ca and the Pacif­ic as a U.S. mil­i­tary child of Kore­an descent. Her work has pre­vi­ous­ly appeared in Chaot­ic Merge Mag­a­zine, HerStry, The B’K, and oth­er pub­li­ca­tions. Find her in a cof­fee shop, a library, or at karisryu.com.

Unspoken

Nonfiction / Faye Srala

 

:: Unspoken ::

            Sis­ter, can I come in? The door opens slight­ly, par­tial­ly obstruct­ed by fur­ni­ture behind it. Yap­ping dogs come run­ning. Down, DOWN! STOP IT, you yell. Some­where inside a TV blares a com­mer­cial and the par­rot who learned how to bark long ago adds to the cacoph­o­ny. The cats arrive, their lethar­gy hav­ing been defeat­ed by their curios­i­ty. I take small steps into your house, care­ful not to step on lit­tle paws; they are not so care­ful with me. I try to get clos­er to you for a hug but give up in the brown and black eddy swirling below my knees.

            Can we talk? My mind is mud­dled. Wispy images flick­er, like a pho­to aban­doned in a damp base­ment. Water spots obscure por­tions, and the edges blur. Shards of bro­ken glass pulse frac­tured images; a man, legs plant­ed wide, his fists clenched, leans into a woman scream­ing. Nei­ther are whole, they are dis­tort­ed by fuzzy edges of the same torn pic­ture, pieces are miss­ing. Can you remem­ber? I ask, was it real? Stop it, you yell – the dogs are chas­ing the cats. Stop it, stop it,the par­rot chimes in from her perch in the cor­ner. Frag­ments of improb­a­ble scenes flick­er in my mind. They seethe and froth, just out of the cor­ner of my eye, slink­ing, sneak­ing, and sulk­ing. They want out – you open the door and four­teen ani­mals sprint for the back­yard. You fix your­self a drink and ask if I want one too.

            I sit at the din­ing table and fid­get while I wait, care­ful­ly craft­ing my open­ing words. I part the drapes beside me a lit­tle. A wel­come blade of sun­light cuts a yel­low swath through the dim­ness illu­mi­nat­ing float­ing par­ti­cles of dirt and fur rear­rang­ing them­selves. Unopened UPS deliv­er­ies lin­ing the walls come into focus; throw rugs and pre­car­i­ous­ly stacked junk mail com­plete the tow­ers, and I won­der in what way the for­got­ten specters of our past man­i­fest them­selves in my life. Nei­ther of us sleep. I was well into my twen­ties when I real­ized the gaunt dark and hol­low eyes of insom­nia wasn’t just a genet­ic attribute. I take a sip of the drink you hand me and wince at the glass of iced vod­ka with a splash of orange juice.

            I need to know. We can speak about it now, can’t we? Sure­ly you can explain why my child­hood is veiled behind a shroud, like a body unfit for view­ing. Do you know how hun­gry I was, or that I was four going on five when our father asked me to kiss his…, That’s enough, STOP IT, you rise to break up a cat fight. The par­rot starts to sing her ABCs in a crack­ling falsetto. 

            Your pets, they found sanc­tu­ary with you after mis­treat­ment and neglect. My splin­tered mem­o­ries, like these ani­mals, need res­cu­ing. They need to find a home too, some­where they can be safe from harm and learn to be them­selves. Some­where they can run, with­out judge­ment. Just one place of com­fort. Can they have a home with you too? You’re the only oth­er one that knows them.

            Let’s rem­i­nis­cence, sis­ter, pre­tend we’re just like every­one else. Let’s talk about our fam­i­ly tra­di­tions; except when we get to the part about what dad did, instead of in stitch­es at his antics, like nor­mal peo­ple, we’ll talk about the time mom need­ed stitch­es. Instead of crack­ing up at his pranks, we’ll talk about mom’s cracked ribs. WILL YOU STOPYou scold Pro­fes­sor Jame­son for gnaw­ing on Cook­ie. STOP IT STOP IT, the par­rot can’t help herself.

            Was mom very bold or just naïve when she gave our father his walk­ing papers? Did she know what await­ed her? Was it nor­mal to watch our mom raise her fists in the air and scream at an impo­tent sky, then drop to her knees and pound the floor in fury hop­ing the phys­i­cal pain replaced the emo­tion­al. God and the dev­il were house guests that nev­er left; we fed them, but not our­selves. As the hands of jus­tice hov­ered above us unde­cid­ed whether or not to snatch us up in the rap­ture, depraved pul­sat­ing pais­leys of flame nipped at our heels. Pros­per­i­ty preach­ers con­vinced her their offer­ing plates on our table was all that was need­ed to tip the scale. “Sow what you have in order to reap what you need. God will pro­vide,” the TV preach­er would bel­low. “Plant the seed and it will grow. The Lord mul­ti­plies the reward for a faith­ful fol­low­er.” Delight­ed to be the con­duit, his voice would cul­mi­nate in a crescen­do to encour­age the hes­i­tant. Mom gave. She gave until the cock­roach­es fled in search of spoils else­where. She blamed her­self for our dif­fi­cul­ties. Her faith was not strong enough. Maybe it was nor­mal to pre­pare din­ner from a few crack­ers and moldy cheese. Maybe that’s why mom liked wine so much, it kills the taste of cheese mold. It does.

            Years have van­ished between this per­vert­ed parade of night­mares that flair in bits of strobe light and dis­si­pate upon wak­ing. This miss­ing time, is this the rea­son nei­ther of us had chil­dren, or why you live block­ad­ed in per­pet­u­al twi­light, or for my for­mer youth­ful pow­er­less­ness to thwart unwant­ed male atten­tion? I tried once, remem­ber? I asked if you were hun­gry, too. The next day you gift­ed me two cats, res­cued from abuse. Like I need­ed a dis­trac­tion. I was think­ing too much. Please, talk to me. Hmmm? You say, as your eyes swing back from the menagerie of fos­ter fails.

            They tum­ble, swirl and curl. They need to be let out, they ask you to go out, they can’t escape on their own, they need your help, your con­sent. You open the door and a rotat­ing vor­tex of mad­ness races away.  But you’re hap­pi­er when they’re in, bet­ter than when they’re out. It’s safe to keep them in, so no one can see how many there are, or how unac­cept­able they are, even though they need to get out occa­sion­al­ly, but once they do, peo­ple will see, they’re too exposed, you’re too exposed. Bet­ter to bring them back in, where it’s more com­fort­able. You close the slight part in the cur­tains, end­ing the dance of the dust.

            The par­rot bab­bles her full reper­toire in her pierc­ing scratch; hel­lo, good­bye, A B C D E F G, peanut mm mm, bad bird bad bird whatcha gonna do (to the tune of the TV show “Cops” theme song), hel­lo, good­bye, A B C… All this inter­spers­es with bark­ing and hissing.

            My drink is fin­ished. The ani­mals come run­ning when I stand up. Wag­ging tails fol­low swarm­ing teeth and claws. I pick my way care­ful­ly through them and the cats mount­ed on box­es like sen­tries man­ning a tur­ret over­look­ing a fortress. You move the small table behind the door so I can leave eas­i­er. The parrot’s acrid voice ris­es above the rest, good­bye.

            Unspo­ken doesn’t mean nev­er hap­pened, dear Sis.

From the writer

 

:: Account ::

Unspo­ken” is true in its entire­ty, except for the part about the cock­roach­es, they actu­al­ly stayed. I’ve writ­ten a series of poems and prose pieces in an attempt to under­stand, and heal, a painful child­hood. In all of my work, my intent is to place the raw ache, humil­i­a­tion, and rage on the paper while still hon­or­ing my moth­er for her brav­ery and unwa­ver­ing mater­nal instincts, who nev­er expect­ed to be a sin­gle moth­er in the 1970s. It’s not easy to be hon­est after a life­time of try­ing to sup­press mem­o­ries, and some­times cre­ative choic­es can help explain the inex­plic­a­ble. This is why I chose a metaphor – the dis­trac­tion of a house full of ani­mals is used to avoid con­fronting the past. It is an apt choice to describe the rela­tion­ship between my sis­ter and I, who is old­er and suf­fered through those extra years with our abu­sive father. My cre­ative lib­er­ties are inspired by Bren­da Miller’s “A Case Against Courage in Cre­ative Non­fic­tion,” which appeared in AWP Writer’s Chron­i­cle, Oct/Nov 2011. In her essay, Miller makes the argu­ment that some­times courage doesn’t always pay off in CNF, some­times cow­ardice in the form of metaphor, syn­tax, imagery, or using a con­tain­er, much like a her­mit crab uses a shell for pro­tec­tion, pro­duces bet­ter literature.

 

Faye Srala is a retired chemist liv­ing in Ida­ho pur­su­ing a cre­ative out­let with writ­ing. She earned a BS in Chem­istry from the Uni­ver­si­ty of Col­orado at Col­orado Springs, an MBA from the Uni­ver­si­ty of Utah, and is a cur­rent Eng­lish major with the cre­ative writ­ing empha­sis at Ida­ho State Uni­ver­si­ty. She wait­ed until retire­ment to pur­sue an artis­tic out­let because her career was both reward­ing and demand­ing, and because she didn’t trust her cre­ativ­i­ty enough make a switch. When not busy with class­es, she bakes deca­dent desserts, drinks wine, and hikes off those calo­ries in the exten­sive Ida­ho wilderness.

Smoke

 Nonfiction / Caitlin Cowan

:: Smoke::

        In 1989, I lit myself on fire, just a lit­tle bit. At a Fourth of July bar­be­cue, some­one gave me a sparkler and it caught the hem of my dress on fire. Every year the sto­ry looms like smoke, is smoke, made of and by its fog­gy tongues. I was three. I was on fire. I’ve nev­er for­got­ten that day, though I’ve for­got­ten every fire­works dis­play I’ve ever watched. It’s easy to remem­ber the first time you ever felt tru­ly alone.  

X 

        My father liked to smoke a cig­ar on the Fourth of July. More than any­thing, he liked to light the fire­works with their glow­ing tips. No—most of all, he liked run­ning away from the spark­ing promise of their explo­sion, cig­ar in hand, boat shoes on his feet though the lake was neigh­bor­hoods away and we nev­er used it any­way. One day, years from now, he’ll run our boat up on some rocks in Lake Michigan—my moth­er will say he did it to ensure it would have no val­ue when it was ordered to be sold in their divorce. But that blaze comes lat­er. For now, a con­trolled burn. 

        The Fourth was the only time my moth­er allowed him to smoke. Or at least the only time when her protests were qui­et enough for him to ignore them. An occa­sion­al cig­ar seemed like a mid­dle-class indul­gence, not a lethal habit. I expect that he looked for­ward to this hol­i­day very much. Mos­qui­tos, smoke, sparkling, and the tang of tobac­co. 

        The way he feigned his fear: that’s what I remem­ber most. After bend­ing low in the grass to light the puny legal fire­works we’d pro­cure in a mul­ti­pack from a local Mei­jer, he would anoint the fuse with a kiss of his cig­ar. He would run, mut­ter­ing a lit­tle too loud­ly, oh shit! He would com­i­cal­ly dart away from the siz­zling dis­play as fast as he could, as if he were actu­al­ly in dan­ger, as if the great­est dan­gers he would face were behind, not ahead of him. He would smile, almost imper­cep­ti­bly, as he ran. All mem­o­ries I have of his per­for­mance on the Fourth are now, so many years into his absence, the same mem­o­ry. 

        Allen Carr, author of The Easy Way to Stop Smok­ing, says that the occa­sion­al smok­er suf­fers much more than the habit­u­al one. The habit­u­al smok­er is able to assuage his crav­ings on a near-con­stant basis if he choos­es, while the social or occa­sion­al smok­er must dis­ci­pline him­self ter­ri­bly. Think of how hard he must work, Carr says, to sus­tain him­self between smokes. I think that my father was this kind of smok­er. No, he was not the pious reformed smok­er my moth­er imag­ined him to be nor the invet­er­ate liar, furtive­ly smok­ing at every oppor­tu­ni­ty, steal­ing away in the night to crouch behind the garage with a Marl­boro, as I once imag­ined him to be. I think he abstained most of the time in order to smoke some of the time, assur­ing him­self that his dark­er impuls­es could be con­trolled. But some­thing that can com­bust will always com­bust. If you can burn, you burn. 

X  

        Gestalt psy­chol­o­gist Fritz Perls, an invet­er­ate smok­er for all of his 76 years on earth, once wrote that smok­ing sep­a­rates the self from oth­ers. When I heard this wis­dom for the first time, it star­tled me like a sud­den crack­ling in the sky. I knew it to be true in every sinew. 

        Smok­ing sur­rounds you with a lit­er­al bar­ri­er, if an eas­i­ly pen­e­tra­ble one: a cur­tain of gray pol­lu­tion that’s all your own. Even smok­ers pre­fer not to be enveloped in some­one else’s smoke, choos­ing to stay safe­ly ensconced in their own. It’s pri­vate. Blow­ing smoke in someone’s face can be con­sid­ered bat­tery in some places in the world; in oth­ers, it’s an invi­ta­tion to fuck. There is inti­ma­cy in that cor­rupt­ed air: the smoke enters your body, gets to know you inside, then makes itself vis­i­ble out­side, hav­ing absorbed some­thing essen­tial from you. Per­haps it’s even stolen a lit­tle piece of your life. 

        Though I bare­ly remem­ber the moment of my first cig­a­rette, I remem­ber the path that led me there acute­ly. It wasn’t pouty-lipped celebri­ties let­ting them dan­gle beau­ti­ful­ly from their lips or the allure of being trans­gres­sive. It was their emo­tion­al short­hand, I think, that I admired the most. 

        Before my senior year of high school, I had to decide whether or not to take AP Cal­cu­lus. I’m only a lit­tle ashamed to say that I took it out of arro­gance, out of a sense of chal­lenge. I earned two A+ grades on the first two exams. Then, hav­ing already got­ten into the Uni­ver­si­ty of Michi­gan, I let the heavy man­tle of aca­d­e­mics go. I fin­ished the year with a D in AP Calc. I then received a let­ter from the uni­ver­si­ty say­ing that my offer of admis­sion might be revoked because my senior-year grades had slipped.  

        Gripped by ter­ror, uncer­tain­ty, and res­ig­na­tion, I became a fist of pain. I had not secured admis­sion to any oth­er schools. I had been raised to val­ue edu­ca­tion over every­thing else, and when I found out that I might not go to col­lege, I felt as if I’d been hand­ed a death sen­tence. It was, I can see now, my first inter­ac­tion with grief since my par­ents had split up when I was 12. But an 18-year-old can do a lot of things that a 12-year-old can’t. And one of them is pur­chas­ing a pack of cig­a­rettes at a gas sta­tion, as I did after receiv­ing that let­ter from the aca­d­e­m­ic review board. 

        An 18-year-old can find a phys­i­cal out­let for her pain. She can find a spot under a tree. That tree will not be in a park or a qui­et for­est. It will jut out from some com­mer­cial land­scap­ing near a strip mall or park­ing lot, because that’s what the vis­tas of sub­ur­bia are. She will sit and smoke cig­a­rette after cig­a­rette, bare­ly inhal­ing at first, but brav­ing up to inhale deep­er and deep­er as she goes along. Sick­ness will set­tle in.  

        She can think to her­self, You are no longer alive. Your life, brief as it has been, is over. You do not serve a pur­pose. You are not as smart as every­one says you are, as you think you are, you arro­gant lit­tle shit. You will nev­er escape this sor­did town, your mother’s house, your reach that per­pet­u­al­ly exceeds your grasp. Cig­a­rettes seemed to be the best way to tele­graph to myself a sin­gu­lar, per­verse mes­sage: I am bad and fucked up. And though I would get into U of M after my teach­ers wrote let­ters on my behalf, I would hold onto my smok­ing habit for anoth­er 15 years. It helped me keep myself separate—separate from myself. 

X 

        Dusk. Chok­ing. The Fourth of July. And yes, the run­ning. This is the fire and the rest is the tinder—two years lat­er, my moth­er made me hold an unlit cig­a­rette to shame my father. Six years lat­er I would write an award-win­ning school essay about avoid­ing cig­a­rettes, drugs, and alco­hol, though I would not be offered any for two more years beyond that. Four­teen years lat­er, I would buy my first pack of cig­a­rettes, and when I tried on that shroud of smoke, it felt like it was made just for me. I wore its nox­ious lace for decades, always smelling vague­ly of burn­ing.  

        Why couldn’t they see I was on fire? I was burn­ing and they didn’t know. No one could help me. Every breath choked me so my brain said run. I had to keep run­ning. If I stopped: pain. Like I always would, when some­thing went wrong I ran away from oth­ers, ran toward myself, into myself. My moth­er insists that it was a minor inci­dent: noth­ing more than a singe. A scorched dress. But to a child, there is no sense of rel­a­tiv­i­ty: not now and not ever. I have so few mem­o­ries of my ear­ly child­hood. This one pulsates—has its own heat.  

X  

        One thing I know for cer­tain is that I start­ed smok­ing because it seemed like the adult thing to do at that pre­cise junc­ture in my life. Look­ing back, I think that young girl, crouch­ing under a tree and won­der­ing how she would get the stink of cig­a­rettes off her hands before she went home, want­ed some­one, an actu­al adult, to see that mes­sage and send help. 

        But no one saw it. My moth­er saw my aca­d­e­m­ic fail­ure but did not see my pain. I think she would con­tin­ue to turn a blind eye, and a blind nose, on my pain in its var­i­ous forms for years. When I ran out to grab bak­ing pow­der from the store on Christ­mas Eve for a pie, when I got up ear­ly to go to Star­bucks to buy us both lat­tés, run­ning out to the car at the mall to drop off our bags because they were “too heavy.” I think to myself now, she must have known. Though I’ve now quit for good, my part­ner was able to smell my only slip-up on me even though I hadn’t smoked in eight hours, had brushed my teeth, and had washed my face. If he could tell, then so could she. She had so many more chances to see, and smell, the truth.  

        Some part of me thought I was get­ting away with my furtive smok­ing, dous­ing myself in Design­er Imposters Coco Made­moi­selle, rolling the win­dows down to let the wind have its way with my hair, stud­ding my cheeks with sug­ared mint gum so strong it made my teeth ache. The oth­er part of me wished to god that I would get caught. I remem­ber a friend of a friend in high school say­ing that her moth­er issued her the fol­low­ing warn­ing: If you come home smellin’ up of spray with gum in your mouth, you’re ground­ed. She was smart enough, as I assume most human beings are, to rec­og­nize the smell of the cov­er-up as eas­i­ly as the smell of the crime. 

        There were times when my moth­er would say “Give me a hug!” soon after I walked through the door after a night out with friends while I was home from col­lege for the sum­mer or vis­it­ing over Christ­mas dur­ing grad school. I used to think this was a test. Maybe it was. I don’t under­stand why she didn’t explode with anger when she smelled it, if she did. I kept think­ing, sure­ly, this time… But I got to keep my secret for years. Some­how, it stayed down there with every­thing else, ready as kin­dling. 

X 

        I didn’t tell my moth­er about the let­ter that came from U of M at first. I sim­ply sweat­ed it out, held my fear like anoth­er body, breath­ing life into it with every pass­ing day. This pat­tern of rely­ing only on myself, of hid­ing the most dif­fi­cult parts of my life from my moth­er, of retreat­ing, Scor­pi­onic, into my hole, fos­so­r­i­al like the star sign I was born under, nev­er abat­ed. A divorce, a breakup, a trau­mat­ic cross-coun­try move… I dealt with these things alone, smok­ing my way through them, wreathed in gray, dis­si­pat­ing gar­lands that kept me apart from oth­ers.  

        But the smok­ing itself, of course, was the thing I hid most ardent­ly from my moth­er. Even after she caught me smok­ing one day out­side the Tar­get I worked at dur­ing the sum­mers between semes­ters, even after she tear­ful­ly invoked the child­hood asth­ma that had hos­pi­tal­ized me count­less times in my child­hood, her own father’s col­lapsed lung, her best friend’s death from lung can­cer. 

        It was as if noth­ing she said and noth­ing I did had any mean­ing at all. We were both locked in a dance, out of breath. One night, when I admit­ted to her that I had been smok­ing while on the phone with her, she said “I can’t believe I’m your ash­tray.” She sobbed. Sobbed. To this day I do not under­stand her histri­on­ic reac­tion. It’s so sil­ly it makes me laugh. What does it even mean? It is, like most things, not about me. It’s about her. Some­times I think she is angry at her own par­ents, who smoked for decades. That night, and so many nights after, I stared into her inex­plic­a­ble pain, look­ing into the black abyss of the tele­phone con­nec­tion. I lived in that void for­ev­er, inured myself to real­i­ty and to my own body, burn­ing myself in earnest, mak­ing up for the mere scorch­ing I’d suf­fered as a child. I had made myself into her worst night­mare. And for a long time, it felt so, so good.  

X 

        I remem­ber my baby thoughts, far away from the adults assem­bled on the lawn, can still taste the sour­ness of the smoke. It burned: some tiny, styl­ish frock my moth­er had prob­a­bly pur­chased at Jacobsen’s in down­town Birm­ing­ham, a ring of burnt umber seared into the fab­ric over my tiny thigh.  

        The dif­fer­ence between the truth absolute and the truth of the mind is burned away, here, and per­haps is burned away always. There was no pan­ic about the burn­ing dress. That’s what I remem­ber. My moth­er says they didn’t know it was hap­pen­ing. I feel for my moth­er on the oth­er side of the divide: She did not intend to make me feel alone as I choked on the fumes of my lit­tle burn­ing dress. And yet alone I felt. My truth as good, as heavy as hers. As hot. 

        What chem­istry did I taste in that first fear? Alu­minum, zinc, a mil­lion mag­ne­sium stars I swal­lowed. Unsuit­able for birth­day cakes; do not con­sume the ash. Dear read­er, I con­sumed the ash. Con­sumed the smoke, the binder, the oxi­diz­er, the fuel, the wire, and my own hand hold­ing it. As the years go by I can’t see it as well but I can feel it: the back­yard hazy with cit­ronel­la, the boozed-up grand­par­ents who could not see me, the par­ents who still laugh about that day, the lawn, the evening sky, my sick lungs that would nev­er let me run until I ran.  

        I run now, am run­ning, towards a man who seems both new and famil­iar, who sends me pho­tographs of his nephew on his lap, pulling his face into a beau­ti­ful gri­mace before the fire­works explode. Some­times he looks like my father, the one who lit a cig­ar every Fourth to det­o­nate the horde, would run from its sput­ter­ing once he start­ed some­thing that he could not stop: fire, new love, a child’s heart. I won­der if the film will soon start over again from the begin­ning. Maybe this time it won’t end in flames. 

X 

        Pyrotech­nics are born to blow up, but sparklers are born to burn. It’s slow­er. It takes time. Like Nat­ur­al Amer­i­can Spir­its: my brand of choice through­out grad­u­ate school and right up until the bit­ter end. But before that first sparkler and before the Spir­its, it was Par­lia­ment Lights in my under­grad years at Michi­gan. When my moth­er found a pack of those in my purse back then, she scoffed, “that was your grandmother’s brand.” My friends and I used to make jokes about sniff­ing coke because of their recessed fil­ter. I had nev­er tried cocaine but still brought it up at par­ties to seem like I was in the know. I did not know any­thing, least of all how much con­sump­tion and addic­tion dic­tat­ed my young life.  

        When I start­ed smok­ing Spir­its, the hip­ster cig­a­rette of choice for all free-think­ing starv­ing artists in Den­ton, TX, it meant that I was away for longer, out­side, hud­dled in alley­ways, shroud­ed in furtive cor­ners for sev­en, eight, maybe even ten min­utes. Smok­ing ulti­mate­ly iso­lates you from oth­er peo­ple. If you squint your eyes hard enough, it might feel for a moment, or a year, or a life­time, like it’s keep­ing you safe.  

        But we humans have a fun­ny mech­a­nism built right in. The more we are alone, the more our brains push us toward oth­er peo­ple. In “Evo­lu­tion­ary Mech­a­nisms for Lone­li­ness,” soci­ol­o­gists Caciop­po, Caciop­po, & Booms­ma argue that “lone­li­ness may serve as a sig­nal to increase social con­nec­tion and thus increase chances of sur­vival.” As in, I went out­side to smoke so I could come back in to the warm glow of my friends at the bar. Can you fuck­ing believe that lone­li­ness exists to keep us alive?  

        If we hold that in our hands along with the sparkler, an unlit cig­a­rette, and the bald fact that smok­ing phys­i­cal­ly sep­a­rates us from oth­ers, we might be able to ask this ques­tion: Did I smoke to dri­ve myself to the edge? And more impor­tant­ly, did I go there just so I could learn how to come back? 

X 

        I was six the first time I touched a cig­a­rette. The details are veiled in a haze. We were parked in front of a McDonald’s on a fam­i­ly trip up north. My father had gone inside to use the restroom or order food. My moth­er, search­ing for some­thing in the car, had come across a pack of cig­a­rettes he had appar­ent­ly hid­den (though not very well). He had told her that he quit many times over. Could she already tell that he would hide oth­er things from her in the years to come? The bot­tle of pills I’d found in his suit coat pock­et, the false busi­ness trips… the oth­er woman?  

        That after­noon on the road, she didn’t explode. She smol­dered, a spark trav­el­ing down the wick of her anger. She pulled two cig­a­rettes from the pack and hand­ed me one. I didn’t under­stand. Just hold it, she kept say­ing. I vague­ly remem­ber her even try­ing to show me how to hold it, the verisimil­i­tude of an actu­al, adult, smok­ing hand. A deflat­ed peace sign. I obeyed. I did not know what I was doing or why, but I did it. 

        Mem­o­ry tells me that my moth­er rolled down her win­dow and went so far as to light hers, though she did not take a drag from it. And there we sat, one woman and one woman-in-train­ing, pre­tend­ing to smoke for a rea­son that, even now, three decades lat­er, smok­ing and quit­ting and smok­ing and quit­ting and smok­ing one last time after a set­back at work and then final­ly, bless­ed­ly, quit­ting again, I still scarce­ly under­stand.  

        What was she try­ing to prove? She want­ed my father to return to the car and see it. I sup­pose she want­ed to cause him alarm. But what was the mes­sage? What would the equiv­a­lent be if it were a gun she had found and not a pack of cigarettes—something that kills you quick­ly rather than over the years? Would she have point­ed it at my head? Asked me to hold it? Maybe she could have torn open some ketchup pack­ets, told me to close my eyes, daub­ing her paint­ing with alizarin crim­son, could have wrapped my limp fin­gers around the bar­rel.  

        Her anger stoked her cre­ativ­i­ty, like mine does now. She mor­phed from moth­er to mas­ter direc­tor, set­ting her stage just the way she want­ed. And the cen­ter­piece, the most crit­i­cal prop on the stage, was the cig­a­rette. Can you see it? If you squint your eyes, it doesn’t look like a con­dem­na­tion at all. It looks a bit like a mon­u­ment. 

        All these lit­tle parts, lit­tle sto­ries: the smoke I choked on as my dress burned, the smoke I gulped between sobs when things went wrong, the smoke I imag­ined curl­ing from the end of a prop cig­a­rette my moth­er once hand­ed me. The whole of it is so much greater than each hazy ten­dril, each pol­lut­ed breath. I have to look at it all, even when there’s so much smoke I can hard­ly see.  

X 

        Though all four of my par­ents’ par­ents, my mother’s broth­er, and my father all smoked at some point in their lives, cig­a­rettes were the high­est taboo in my house­hold. The sto­ry of sto­ries is that my mother’s par­ents quit after some 40 years. My grand­fa­ther quit cold turkey, but it was hard­er for my grand­moth­er. She had slip-ups, used nico­tine replace­ment, and gen­er­al­ly strug­gled to kick the habit. She reminds me of me, which made my mother’s con­dem­na­tion of her own mother’s sup­posed “weak­ness” dif­fi­cult. The fact that her father was able to quit eas­i­ly after four decades per­ma­nent­ly destroyed my mother’s abil­i­ty to think of cig­a­rette smok­ing as an addic­tion instead of as a moral fail­ing.  

        But in its own way, too, this deep­ened her anger toward him. If it’s so easy to quit, she won­dered, why didn’t he do it soon­er? Of course, she can nev­er under­stand what it’s real­ly like to quit smok­ing. She also couldn’t know his inter­nal strug­gles. She could not know the white-hot shame and anger that my father must have felt rip through him like an unfil­tered Lucky Strike when he saw our faux-smoky pageant in the McDonald’s park­ing lot. She could not under­stand how her vio­lent pro­hi­bi­tion of smok­ing made it sim­ple for me to take my habit under­ground, deep into my scorpion’s nest—solitude on soli­tude on soli­tude.  

        The smok­er per­pet­u­al­ly lives in a state of cog­ni­tive dis­so­nance. Smok­ing feels like com­pan­ion­ship but isn’t. The smok­er knows, with com­plete cer­tain­ty, that what she is doing will harm her, has the pow­er to kill her, even. But she also knows that she enjoys what she is doing. I think this is what Carr meant when he said that quit­ting smok­ing frees you from the “black thoughts” that plague smok­ers: I have to quit. I’m going to get lung can­cer. This is going to kill me. Maybe I’ll be ok if I quit this year. Next year. When I grad­u­ate. When I move. Next year. Next year. But Carr says less about the smoke-white thoughts: I’m enjoy­ing this. I am tru­ly alive because I know I am dying.  

X 

        I do not remem­ber how my father react­ed. This knowl­edge may come as a dis­ap­point­ment to you. Have I blocked it out? Has time mere­ly tak­en it from me as a small kind­ness? I do know that noth­ing momen­tous hap­pened. He came back, said some­thing to my moth­er. Some­one would have tak­en the cig­a­rette from me. And then we nev­er spoke of it again. So final was our denial of that bizarre tableau that my moth­er insists that it nev­er hap­pened, and if pressed she will only admit she “doesn’t remem­ber it that way.” Every time I’ve burned, she’s dis­ap­peared it with words, let­ting it all van­ish like one last drag. What’s a mem­o­ry worth if you’re the only one who has it? If you smoke a cig­a­rette all alone in a court­yard, who are you sep­a­rat­ing your­self from? 

        On Arrest­ed Devel­op­ment, hap­less patri­arch George Bluth was fond of teach­ing his chil­dren a les­son by scar­ing them near­ly to death. At the end of his tau­to­log­i­cal pranks, he or the one-armed col­league he often hired to ter­ri­fy young Michael, Lind­say, and Gob would intone, “and that’s why you always leave a note,” or “and that’s why you don’t yell.” Like any good writer, he pre­ferred show­ing to telling. On TV, I laugh at it; in life, there’s less humor.  

        Some­times I think my moth­er enrolled in the same school of thought when it came to her mar­riage. She want­ed to teach my father a les­son that day on our way up north: And that’s why you nev­er smoke a cig­a­rette. But I’m not sure how the math­e­mat­ics of her the­atrics add up, even to this day. Was she hop­ing to point out that smok­ing made my father a bad role mod­el? That his smok­ing would cause me to smoke? To this day, I’ve nev­er seen him smoke a cig­a­rette, and haven’t seen him at all since I was a young teenag­er. I smoked any­way, and with great rel­ish. 

        Instead, that weird after­noon in the park­ing lot became an echo, sound­ing its report through­out my life in var­i­ous ran­cid per­mu­ta­tions. My moth­er didn’t have an actor friend with one arm like George Bluth did. Instead, she had a daugh­ter with two arms and two hands with which to clutch tens of thou­sands of cig­a­rettes she would han­dle in her life. Lit­tle paper ghosts pass­ing through the for­est, ten pine trunks, my baby fin­gers. And that’s why you don’t look for the smoke. You look for the fire.  

X  

        We start to smoke because we don’t believe we’ll die. But of course, we will. We smoke because we don’t care if we die, or we want to pre­tend that this is true. We smoke because we believe in god. Because we don’t. Because you were raised as an athe­ist. Because when you asked your moth­er what hap­pens when we die, she said our bod­ies go into the ground and flow­ers grow out of us.  

        We smoke because we feel that we are spe­cial, that we can beat the odds, that we are the pro­tag­o­nists of our own lit­tle dra­mas. How bad could it real­ly be? We keep smok­ing because the smoke starts to feel like a shit­ty friend who, in spite of every­thing, always returns your calls. We smoke when it’s expen­sive, when it’s cheap, when we feel sick, when we feel young and healthy.  

        We keep smok­ing because the cig­a­rettes are organ­ic, the box is made of post-con­sumer mate­ri­als, and the com­pa­ny sends you lit­tle seed bombs to plant in your yard to show how friend­ly they are. You nev­er remem­ber to plant them, so nothing—not one sin­gle thing—ever grows.

From the writer

 

:: Account ::

Recent­ly I’ve focused on try­ing to tell sto­ries I’ve nev­er told. One such sto­ry relayed in this essay is a core child­hood mem­o­ry of mine that my moth­er insists is apoc­ryphal. As I bur­rowed into it,I real­ized that the core plot ele­ment of the story—the why—was not only slip­pery but also, sur­pris­ing­ly, less inter­est­ing than what the mem­o­ry has to say about shame, addic­tion, and lone­li­ness. Because cig­a­rette smok­ing, the larg­er sub­ject of the essay, is a cul­tur­al phe­nom­e­non, branch­ing out from this core expe­ri­ence also made me want to engage with the ques­tion of what the act of smok­ing means, if any­thing, in the larg­er sense. Here again, I found more ques­tions than answers, but in con­stel­lat­ing those ques­tions, I felt, ulti­mate­ly, like I could see a rec­og­niz­able fig­ure anyhow.

The work of psy­chol­o­gist Fritz Perls seed­ed this project in that respect: a jot­ted-down note in my jour­nal about Perls’ asser­tion that smok­ing is designed to sep­a­rate us from oth­ers had been trou­bling me for years, and it final­ly led me back here and to my child­hood, ado­les­cent, and adult­hood con­nec­tions to smok­ing. Author Allen Carr, whose audio­books about self-hyp­no­sis and smok­ing ces­sa­tion I lis­tened to, also haunts this piece. The cen­tral tenet of Carr’s The Easy Way to Stop Smok­ing was my first encounter with the idea smok­ing is actu­al­ly not enjoy­able at all. Carr died of lung can­cer in 2006, 23 years after smok­ing his last cigarette.

This essay is part of a man­u­script called Soli­tary, which is a hybrid CNF/poetry project that uses the struc­ture of a pop­u­lar pagan song to inter­ro­gate the ter­res­tri­al and spir­i­tu­al ori­gins of soli­tude and its rela­tion­ship to wom­an­hood, from soli­tary witch­craft to the pecu­liar weird­ness of only childhood.

Born and raised out­side Detroit, Caitlin Cow­an earned a Ph.D. in Eng­lish from the Uni­ver­si­ty of North Texas and an MFA in Cre­ative Writ­ing from the New School in New York City before return­ing to the Mid­west. Her debut full-length col­lec­tion of poet­ry is forth­com­ing from Cor­ner­stone Press (2024). Her poet­ry, fic­tion, and non­fic­tion have appeared in Best New Poets (2021), The Rum­pus, New Ohio Review, Mis­souri Review, Den­ver Quar­ter­ly, South­ern Human­i­ties Review, Smoke­Long Quar­ter­ly, the Rap­pa­han­nock Review, and in oth­er jour­nals and antholo­gies, includ­ing Erase the Patri­archy (Uni­ver­si­ty of Hell Press). Her work has received sup­port from the Ham­bidge Cen­ter for Cre­ative Arts, the Sewa­nee Writ­ers’ Con­fer­ence, Ver­mont Stu­dio Cen­ter, and else­where. She is a Poet­ry Edi­tor for Pleiades and serves as the Chair of Cre­ative Writ­ing at Blue Lake Fine Arts Camp. Caitlin writes reg­u­lar­ly about the inter­sec­tion of poet­ry and pop­u­lar cul­ture at Pop­Po­et­ry.

Going to the Hospital

 Nonfiction / Brittany Ackerman

:: Going to the Hospital :: 

You are thir­ty-three and today you need help. You teach a class from your lit­tle desk at home, your remote set-up, and you hope the kids can’t tell that you’ve been up all night, beg­ging your hus­band to take you to the hos­pi­tal. He wrapped his body around yours and told you it would be okay, but you knew it wouldn’t. You told him you felt bad that he has to be mar­ried to you, that he isn’t with some­one who can live, laugh, love. Some­one who can enjoy life. 

In the morn­ing, you call your insur­ance com­pa­ny. You have been look­ing for a new ther­a­pist, some­one to talk to because you want to get better—you real­ly do—but you’ve also been hav­ing visions of stand­ing in your back­yard and let­ting the wind take you away. You pic­ture your body dis­in­te­grat­ing into par­ti­cles that dis­solve and pix­e­late and van­ish into thin air. 

Your insur­ance can’t find any open­ings, even for Tele-health. Noth­ing for this month or one after that. They send you a list of phone num­bers to try and you call the num­bers, one after anoth­er. Some places don’t take insur­ance, they aren’t sure why they’re on the list; or they’re too busy, not tak­ing any new clients, but they can put you on wait­list. You don’t know how long the wait­list is and you need help now. You’re not sure how many oth­er peo­ple are wait­ing on the list, but you assume it is a lot. All these places advise you to call your insur­ance, again. 

You sit in your car out­side your new home and refuse to come inside. You have packed a bag because you thought you might go to the gym, take a Pilates class and have a steam, clear your head, but real­is­ti­cal­ly you know that won’t work, that the whole class you’d be anx­ious the entire time while you wait for phone calls, for good news. 

Your hus­band comes out to the car and encour­ages you to come back in. You tell your hus­band you are going to the hos­pi­tal.  You close the door, start the car, and dri­ve. It is just after 11:30AM when you pull up to ER and roll down your win­dow. Here is where you start yelling, where you scream at every atten­dant, every passer­by, that you need help, that you are hav­ing a break­down, that you are not okay. This is the begin­ning of the yelling, of com­plete­ly los­ing your mind. The day seems stretched and mea­sured by fits like these. 

Your hus­band fol­lows you in his car and pulls up short­ly after. He han­dles your keys that you have thrown on the ground. Your ID.  Your wal­let. He han­dles every­thing.  The whole check-in process. You cry and yell and want to know if you can talk to a doc­tor soon. A woman comes up to you in the wait­ing room, she tells you what a great hos­pi­tal this is. A man in a flow­ered shirt and a cow­boy hat tells you you’re in the right place. He says he was once in your posi­tion, that we’ve all been here before. You are tak­en to triage. Your vitals are tak­en. The nurse asks how you are doing and you don’t answer.  When she asks again you say, Not good. 

You are admit­ted to the ER and giv­en a bed, num­ber 36, in an area where there are many patients in their own respec­tive beds. Some have their cur­tains closed, some rest out in the open. Your blood is drawn, your nose is swabbed, you pee in a cup and are sent back to your bed. No one knows how long it’ll be until a doc­tor can vis­it. You hear the woman to your right talk­ing about how much she loves oat­meal. The nurse asks for her favorite recipe. She’s too tired to give the whole thing, but she loves to add choco­late. You think of your mom who once told you that the mean­ing of life was good sex and choco­late. Your mom doesn’t know you are in the ER. Your mom is a sub­sti­tute teacher at a pri­vate school in Flori­da. Your mom calls your phone and you don’t answer. She writes, Not impor­tant, just dri­ving home, love you. 

The woman in the bed across from you has her cur­tain closed. She talks in whis­pers on her cell phone say­ing she will have the mon­ey, she promis­es. She is giv­en Ati­van and then a nurse asks if you would like some Ati­van, maybe a small dose just to take the edge off. You say no. You want to have a clear head when you talk to the doc­tor.   

The woman cat­ty-cor­ner has flu­id in her knee. A young man is wheeled past with a swollen tes­ti­cle. He has a copay of $100. You nev­er find out what hap­pens to his tes­ti­cle. 

Every­thing in the hos­pi­tal is blue: the cur­tains, the uni­forms for both nurs­es and doc­tors, the piece of rub­ber they use to tie your arm to find a vein to take your blood, the rail­ings on your cot, the plas­tic water bot­tles they give patients to drink, the chairs in the lob­by, the ceil­ings and the floor tiles, the fan­ny pack the social work­er wears.   

But the blan­kets are sea foam green, a col­or that reminds you of Flori­da. Sea shells and pas­tels.  Sandy beach­es and the waves spread­ing across the shore. You final­ly call your mom and she wish­es she could jump on the next flight to see you. Your dad tells you to get some rest, to relax. You can bare­ly breathe when you speak to them, these peo­ple who brought you into this world. You are wor­ried they are dis­ap­point­ed in you, but when they tell you they are root­ing for you it makes every­thing worse. You can’t explain that you feel like a fail­ure, that you are not sure you will ever be okay, if you will be able to bounce back. 

A nurse named Julie in the hos­pi­tal asks you what you do for work. You say you don’t want to talk about it.  Your hus­band spills the beans that you are a writer. Julie tells you that to write is a gift, that when you write a book, no one can take that away from you. It is your pow­er. You want to believe her. You want to believe that your work is impor­tant, that you can make sense of your life. You want to love your­self, but you don’t. She tells you to let your­self be who you’re meant to be. 

You won­der if it’s worth it to keep try­ing. It is hard to feel like what­ev­er you do is enough.  You write about your life, about what you know. You often tell your stu­dents noth­ing is more inter­est­ing than real life. In real life, you are sit­ting in a hos­pi­tal bed. You are tak­ing notes on your phone because you think this might make for a good essay. 

You think of your child­hood, the things that may have brought you to this present moment. It always felt like a par­ty you weren’t invit­ed to. Even though you were there, you were only ever watch­ing it hap­pen. You were nev­er a part of things, even though you had the same name as your friends, even though you went to the same school.   

You text your Rab­bi and he tells you that you are a child of God, that you have pow­er and mean­ing that can­not be tak­en away from you. It is inher­ent. It is immutable. He tells you that you are strong. 

You do not feel strong here. You feel sick, worth­less. You stand in the mid­dle of the lob­by with your hands on your face. You cry and scream and your hus­band takes you aside. “They will keep you here,” he says, afraid. And he’s not wrong. Your broth­er has been here before, has coached you on what not to say in the ER. He told you about how they strip you naked, how you can’t call any­one, how you are treat­ed like an ani­mal. You haven’t spo­ken to him yet, but you can feel him here in the hos­pi­tal with you.   

You go back to your bed and lie down. You cry into the green blan­ket. You drink apple juice out of a small alu­minum pouch.   

When the sun starts to set, you see a psy­chi­a­trist through video chat. He’s hav­ing tech­ni­cal dif­fi­cul­ties, so his screen remains black. He spends an hour with you. You can­not see him, but he can see you. In this way, he might as well be God. As you talk to the black screen, you feel okay for the first time all day. Some­one is final­ly watch­ing you, tak­ing care of you, despite the fact that you can­not see him. But in that hour, he diag­noses you with some­thing that makes sense. He says there is a way to live a nor­mal life. He com­pares what you expe­ri­ence to dri­ving a car, to the gas ped­al being stuck so that your mind is going, going all the time. He says you need some­thing in order for the ped­al to release. 

He sug­gests you might ben­e­fit from being put “on a hold” in the hos­pi­tal, from stay­ing put for a while and being mon­i­tored. But he gives you the option to leave, as you might start feel­ing bet­ter soon. 

And then the ER doc­tor clears you for release. Your vitals are tak­en again. You will not be held here. You walk toward the wait­ing room, toward the door, and then you are out­side. You feel some­thing like relief, the cold air on your face, the world com­ing back to you. Your car pulls up and you get in.   

You wait at home until your hus­band pulls up. You ask if you can go to Top­pers Piz­za. You haven’t eat­en all day and you are starv­ing. Top­pers is your favorite piz­za place in town, a local restau­rant where there’s a build-your-own sal­ad bar and teenagers bring your food to the table. You order a medi­um cheese piz­za and a Coke, a warm cook­ie with vanil­la ice cream for dessert. The first time you came to Top­pers was the day you moved to this new town. It had been over­whelm­ing, but you want­ed your new life here to work out. You want­ed to start over. Some­thing about Top­pers always brings you back to who you are. It’s stu­pid, you know, but you feel at peace here. You feel hope­ful.   

The next day you resume teach­ing, not men­tion­ing to your stu­dents what hap­pened the day before. You look for ther­a­pists and make more calls. While you are on your way to a yoga class, a sec­re­tary calls you back with the good news of an open­ing. You book the appoint­ment and keep dri­ving.   

Your mom texts you that the WiFi is out on her cam­pus, that her and the kids are play­ing cha­rades to pass the time. It’s the end of the school day on the oth­er side of the coun­try and you imag­ine your mom in her cardi­gan, the way she shuf­fles her sore feet in and out of her shoes at her desk. You won­der if the room is cold, what she had for lunch, what she’ll make for din­ner. You tell her that cha­rades sounds fun.   

She writes back: Got to go, it’s my turn.  

You will start writ­ing again soon. It’s just a mat­ter of time. 

From the writer

 

:: Account ::

Going to the Hos­pi­tal is a true sto­ry—my sto­ry. I start­ed writ­ing this piece the day it hap­pened in an attempt to doc­u­ment most accu­rate­ly the expe­ri­ence. Men­tal ill­ness per­me­ates my whole life, and most, if not all of my writ­ing embod­ies the inner strug­gles that peo­pleboth real and imag­inedface day to day. I think we often want to project a lin­ear ver­sion of heal­ing in sto­ries; a begin­ning, mid­dle, and end to the suf­fer­ing. But the truth is that pain is per­pet­u­al. This does­n’t mean its a hope­less pur­suit to get help, but that it will be a life­long ride of ups and downs, leaps and hur­dles, and thats okay. Post hos­pi­tal trip, I encoun­tered a lot of back­lash and ques­tion­ing about my men­tal health. I had friends dis­tance them­selves from me, not sure what to say, how to deal with me, how to be around me. I had peo­ple tell me that my life was so good from the out­side, there­fore how could I strug­gle so much? While I cant imag­ine com­bat­ing some­ones open­ness with skep­ti­cism, I do under­stand the way that soci­ety and media have flat­tened and fal­si­fied the expe­ri­ence of men­tal ill­ness. With the advent of the glit­tery meme came slo­gans of nor­mal­iz­ing and open­ing dia­logue about men­tal health. But can a tweet or a small carousel of words and images accu­rate­ly por­tray the com­plex, unique expe­ri­ence of what hap­pens in some­ones brain? The more posts I see, the worse I feel. I dont feel the glow of com­mu­ni­ty, but rather it feels like some­one else, some face­less account, is speak­ing for me. I write in order to share my account, which is just one sin­gle sto­ry. I dont pro­claim I am one for all. I only wish to be one voice that inspires oth­er voic­es to share.  

Brit­tany Ack­er­man is a writer from Riverdale, New York. She earned her BA in Eng­lish from Indi­ana Uni­ver­si­ty and an MFA in Cre­ative Writ­ing from Flori­da Atlantic Uni­ver­si­ty. She has led work­shops for UCLA’s Exten­sion pro­gram, Cat­a­pult, HerStry, Write or Die Tribe, The Porch, and forth­com­ing for Light­house Writ­ers. She cur­rent­ly teach­es writ­ing at Van­der­bilt Uni­ver­si­ty in the Eng­lish Depart­ment. She is a 2x Push­cart Prize Nom­i­nee and her work has been fea­tured in Elec­tric Lit­er­a­ture, Jew­ish Book Coun­cil, Lit Hub, The Los Ange­les Review, No Tokens, Hobart, and more. Her first col­lec­tion of essays enti­tled The Per­pet­u­al Motion Machine (Red Hen Press, 2018) , and her debut nov­el The Brit­tanys is out now with Vin­tage. She lives in Nashville, Ten­nessee. 

Since We Broke Up

Nonfiction / Cydney Mangubat

:: Since We Broke Up ::

1.

         When quar­an­tine began in March of 2020—when the pan­dem­ic was just start­ing to take apart the world we’ve come to know—my rela­tion­ship with my then part­ner of 4 years was simul­ta­ne­ous­ly on the brink of shat­ter­ing. And in 3 months we would end our rela­tion­ship. What unfold­ed in between remains fogged in my rec­ol­lec­tion, a road I can’t trick myself into tra­vers­ing. My mind instinc­tive­ly knows that this sto­ry doesn’t begin with the messi­ness of our rela­tion­ship, of what went wrong and why we end­ed up where we did. It begins after we broke up, when the cru­el­ty of the pan­dem­ic made itself known to us and took con­trol of our lives. 

          At first, news of the virus felt like a halt. I treat­ed it like a tem­po­rary inter­rup­tion to my usu­al course, a blip not wor­thy of wor­ry. Quar­an­tine was just a pre­cau­tion, it would end in a few months—I believed this. But when it didn’t, some of us (most of us) remained caught in that illu­sion of a momen­tary pause, con­sumed by the ache of a return to the ver­sions of our­selves we had left behind. Like a child in a tantrum, I was revert­ed to that state of rest­less­ness I felt help­less in, just wait­ing to be picked up, com­fort­ed, relieved of the weight of my long­ing. 

          I was clum­si­ly pro­cess­ing a breakup in the midst of nav­i­gat­ing a new real­i­ty. Those days, clo­sure was a lux­u­ry I only rarely tast­ed. Things, thoughts, often felt unfin­ished, aban­doned. Like a door left slight­ly open. Or an up strum on a gui­tar. Or a bot­tle cap angled the wrong way, it’s closed but not real­ly. As much as I want­ed to give myself the space to feel as freely as I could, to ride the unend­ing whirl of emo­tions that came with a breakup, it was almost impos­si­ble to let my mind wan­der when my body was stuck in quar­an­tine. I longed for the kind aura of a cof­fee shop, where a table for one was not mis­tak­en for lone­li­ness. Or a trip to the gro­cery, the qui­et thrill of going aisle to aisle search­ing for that one ingre­di­ent. Nev­er did I appre­ci­ate the com­fort of being around strangers until the virus deemed it unsafe. 

2.  

          In an email, a friend tells me about spend­ing two months in recu­per­a­tion. She’s been focus­ing on her­self, find­ing time to do things she’s been putting on hold, and griev­ing, in qui­et ways, for the per­son she used to be. Grief, I imag­ine, in its many cru­el forms, is some­thing that has tak­en a hold of every­one one way or anoth­er dur­ing this pan­dem­ic. To be pushed into the well of loss, free falling and brac­ing for an impact that will end the mis­ery. I, too, am in con­stant grief for the per­son I used to be. 

          There is a line by Helen Mac­don­ald in H is for Hawk that has stuck with me since I first read it ear­ly in the pan­dem­ic: “We car­ry the lives we’ve imag­ined as we car­ry the lives we have, and some­times a reck­on­ing comes of all of the lives we have lost.” I have since rec­og­nized that I am fur­ther in grief for the per­son I could’ve been, the expe­ri­ences I could’ve had, robbed even of a prop­er post-breakup expe­ri­ence. 

          If the pan­dem­ic didn’t hap­pen, I would’ve gone through the breakup around the com­fort and sup­port of friends who would take me out to drink, do any­thing to dis­tract me. Or who would sit beside me as I stayed in the cycle of sad­ness and regret. Friends who would empathize with me because they had the chance to know my part­ner, to wit­ness who I was around her. See, as painful and exhaust­ing as it was to lose a part­ner I loved, what even­tu­al­ly scarred me was not the rela­tion­ship end­ing, but the lone­ly and help­less expe­ri­ence of being a clos­et­ed adult going through a breakup around fam­i­ly who nev­er even knew the rela­tion­ship exist­ed. Four years, and I was nev­er able to intro­duce her as my part­ner. I was griev­ing not in qui­et ways, but in pur­pose­ly hid­den spaces—away from the com­fort and sta­bil­i­ty of a safe space. In locked com­fort rooms, where bare­ness rere­ferred more to the strip­ping of a façade than being undressed. On a bed fac­ing a wall that mocked me like a mir­ror, fur­ther com­press­ing an already tight space. I could not risk being seen in tears, being asked why. I feared telling the truth on impulse or vul­ner­a­bil­i­ty, a des­per­ate attempt to get it over with. As much as I want­ed to turn to my fam­i­ly for sup­port, as much as I craved the relief of their pres­ence, of their voic­es assur­ing me with words I need­ed to hear, I couldn’t. Not with­out caus­ing myself the even heav­ier, more ago­niz­ing uncer­tain­ty of what may come after mouthing the words I dat­ed a girl. To run to my fam­i­ly at that time meant com­ing out to them. 

          Many times, I’ve inval­i­dat­ed the urgency and mean­ing of nar­rat­ing this in the midst of a pan­dem­ic. There are sto­ries more impor­tant than mine. Quar­an­tine, I’ve learned, has forced me into a rou­tine of self-nega­tion. I have deemed it self­ish to be faced by my desires and not look away. When peo­ple are sick and dying, am I allowed to strug­gle and be bur­dened by some­thing so per­son­al? To fear rejec­tion more than the virus. 

3.

          Nev­er have I felt a stronger urge to come out, spend­ing every day close to my par­ents, sit­ting beside them, spend­ing each meal togeth­er, want­i­ng to just tap them on the shoul­der and tell them. The back and forth of step­ping over fear and being swal­lowed by it. Like play­ing with a light switch, the bright­ness of courage flick­er­ing in front of me on and off, but nev­er left long enough for me to be embraced by it. 

          In the film Hap­pi­est Sea­son, Dan Levy cap­tured the expe­ri­ence of com­ing out best when his char­ac­ter says:

My dad kicked me out of the house and didn’t talk to me for 13 years after I told him. Everybody’s sto­ry is dif­fer­ent. There’s your ver­sion, and my ver­sion, and every­thing in between. But the one thing that all of those sto­ries have in com­mon is that moment, right before you say those words. When your heart is rac­ing, and you don’t know what’s com­ing next. That moment’s real­ly ter­ri­fy­ing. And once you say those words, you can’t unsay them. A chap­ter has end­ed and a new one’s begun. And you have to be ready for that. 

          The moment right before com­ing out that Levy described—when you can feel your bound­ing pulse con­trol your whole body—is a feel­ing I’ve long been famil­iar with. There are many instances when I’ve felt close to com­ing out, to my mom the most. When we’re watch­ing a film with a gay char­ac­ter and she tells me after that she enjoyed the sto­ry. When we’re in the car, and the small­ness of the space and blur­ring of the out­side invites vul­ner­a­bil­i­ty. When I was rushed to the hos­pi­tal at 3am and she spent the entire night beside me. When she came to my room two weeks after the breakup to give me cof­fee because she felt that some­thing was wrong. Among every­one in my fam­i­ly, I longed for her pres­ence the most. For her short reas­sur­ing replies telling me kaya mo ‘yan ikaw pa. Or the tran­quil­i­ty of a moment when I opened up to her, how the silence would remind me that she was real­ly lis­ten­ing. Or her embrace. I longed for the ten­der­ness of a mother’s embrace dur­ing the nights I spent cry­ing over my part­ner, how the idea of it still embod­ies the still­ing encounter of see­ing a mom calm a cry­ing baby to sleep. 

  1.  

          “I want him to see that I’m smil­ing this big for the first time in my life. I’m feel­ing like I tru­ly am myself, but there is just one thing miss­ing. I just want my dad back, like I just want my dad back. He has­n’t been here.” These are words from Angel Flo­res, a 22-year-old transwoman ath­lete and coach intro­duced in one of the episodes of the makeover real­i­ty show Queer Eye. Her father was an influ­en­tial fig­ure in her life who inspired her towards ath­let­ics, but whom she has lost con­tact with since telling him of her choice to tran­si­tion. Any­one who has seen the episode will attest to the light Angel car­ries. It is impos­si­ble not to be empow­ered by her, to smile and laugh when she does, to be over­whelmed with joy in wit­ness­ing her fall in love with who she sees in the mir­ror. But there is a void inside of her, any­one will feel it too. She wants her dad back, I hear myself plead­ing in return. 

          Towards the end of the episode, Angel and her dad do reunite. As soon as he walked in the room, they both got lost in tears and fell into each other’s arms. The same void, it turns out, found itself in her father’s life and their long­ing for each other’s pres­ence grew more pow­er­ful than their dif­fer­ences. 

          But what has stuck with me since is this: right before Angel’s dad entered the room, Karamo Brown, the show’s cul­ture expert, sat with Angel and said, “I don’t sub­scribe to the word ‘com­ing out’ because the act is actu­al­ly let­ting peo­ple in. And when you say com­ing out, you’re actu­al­ly giv­ing the oth­er per­son the pow­er to reject or deny you. And for me, it’s like, ‘you don’t have that pow­er.’” 

          While I car­ry the same outlook—as I have most of my high school and col­lege days—I can’t bring myself to hold that con­vic­tion at home. I have had peo­ple come into my life who have reject­ed me upon hear­ing how I iden­ti­fy, and with­out hes­i­ta­tion I have nev­er, not even once, giv­en them that pow­er over me. I don’t seek their approval and can walk away liv­ing my truth with­out any loss. I am, as Karamo puts it, invit­ing them in and not wait­ing for them to open the door so I can safe­ly come out. But with my par­ents and my sis­ters, it is not about pow­er. It is about fam­i­ly. I have since under­stood that my need­ing to come out to them is a mat­ter of long­ing, of want­i­ng their assur­ance that I will be loved regard­less, of fill­ing a void in me that already exists even before I’ve told my truth. I need them. I will be plead­ing to have them back if I lose them. 

          Read­er, there is noth­ing more ter­ri­fy­ing to me than the thought of los­ing my par­ents. How does one even pre­pare for the pos­si­bil­i­ty of it? How do you con­vince your­self that it is worth tak­ing that risk for the sake of who you are? I want the ver­sion of the sto­ry where I don’t have to weigh those options. 

5.

          I briefly dat­ed some­one else a year into the pan­dem­ic, a guy whom I had been friends with for a while. It was dif­fer­ent, the world is kinder to these kinds of rela­tion­ships. There was no risk involved or fear of being found out. I would be lying if I said that it didn’t give me moments of peace, unbur­dened by the con­se­quences of being queer. I got to talk to my sis­ters about him. Over din­ner, I told my par­ents where he was from, how kind he was. For a while, I was cer­tain that the hurt I car­ried with me as a result of my hid­ing was dim­ming itself, and that the urgency I felt to come out dur­ing the pan­dem­ic had passed. But how­ev­er free­ing it was, it didn’t come with­out resent­ment, anger towards a real­i­ty that dat­ing a man was safer, a life that was more bear­able com­pared to the oth­er. With my pre­vi­ous part­ner, I had to whis­per on the phone with her when­ev­er I was home. I set­tled on rou­tines out of para­noia, phone always locked, any trace of our rela­tion­ship to be kept in my dorm or a shoe­box under the bed I was cer­tain no one will find. She once sent me flow­ers and a pho­to of us in a frame I could nev­er take home and put up. At din­ner, my par­ents would ask after my sister’s boyfriend, his work, fam­i­ly, when he’d vis­it. I want­ed them to ask me too. I want­ed, more than any­thing dur­ing our rela­tion­ship, to be able to tell my par­ents about her. All this I still car­ried through­out my new rela­tion­ship. There is now a deep hurt in me caused by 4 years in hid­ing that I’m afraid will only find heal­ing in my family’s accep­tance of me.  

6.

          When we were young, my sis­ters and I ran­dom­ly found a board game in a box of toys. It was a sim­ple ‘dice and move’ game across a num­bered board; the goal was to get from start to fin­ish first. But the board had its own tricks, every square housed a com­mand: “take 4 steps back,” “7 steps back.” You’d be five steps away from win­ning and you’d end on a tile with “go back to start.” We laughed at each other’s mis­for­tune, always going back. But it stopped being fun when none of us could reach the end and we had to stop play­ing. Each square was col­ored in annoy­ing red, almost mock­ing you: you’ll nev­er get there. This is what the pan­dem­ic is like. Just when you think you’re close to the end—restrictions eas­ing up, chil­dren get­ting vac­ci­nat­ed, schools slow­ly shift­ing onsite—you get pulled right back, find­ing your­self stuck again and again at the begin­ning. When the Jan­u­ary 2022 surge came, almost every­one I checked up on was either sick or had some­one in their fam­i­ly in iso­la­tion. I had to take a breath for each how are you sent, always antic­i­pat­ing bad news. It was only a mat­ter of time, I thought, until it reached our home. 

          My old­er sis­ter was the first to get sick. It didn’t mat­ter how long we pre­pared in antic­i­pa­tion; the thought of the virus invad­ing your home is dis­qui­et­ing. My younger sis­ter and I expe­ri­enced symp­toms two weeks lat­er. 

          I remem­ber I was 7 when my fam­i­ly vis­it­ed a muse­um once where a house of mir­rors was in exhib­it. As any child would, I ran in excite­ment; the video by the entrance made it look invit­ing. But I would lat­er dis­cov­er that there was noth­ing more suf­fo­cat­ing to me than being end­less­ly sur­round­ed by my own image, hav­ing no place to look away to. Find­ing the one way out was impos­si­ble; my moth­er had to guide me out. Being in iso­la­tion, phys­i­cal­ly away from my fam­i­ly, was being back in that maze every day but no longer need­ing the mir­rors. My room had nev­er felt small­er. Every way I looked I was remind­ed that I could not walk out. Not from my room, not from my hid­ing, not from myself. Noth­ing has embod­ied the months of suf­fo­ca­tion of being clos­et­ed in a pan­dem­ic than being in iso­la­tion in your own home, hav­ing my fam­i­ly just out­side my door but nev­er being able to come out. 

7.

          I once saw a video online of a girl com­ing out to her par­ents with a cake that said “sur­prise I’m bi.” As I watched those moments right before she walked up to them, I could tell that she was trem­bling inside from the oth­er side of the screen. Her face was red, she had been cry­ing even before she put the cake down, her voice edged with fear. It took her par­ents a while to catch up, but they did even­tu­al­ly. They hugged her, assured her it was good news, remind­ed her they love her no mat­ter what. I remem­ber this video each time I go out to din­ner with my par­ents. On those nights I always con­sid­er telling them, until fear seals up my throat, per­haps the same fear that pulsed through the girl in the video right before she came out. 

          I’ve since learned that there is a name for this fear: it’s called antic­i­pa­to­ry anx­i­ety. It describes fear or wor­ry for events or sce­nar­ios that haven’t hap­pened yet. This includes spend­ing a lot of time antic­i­pat­ing worst-case sce­nar­ios, which can then lead to frus­tra­tion and hope­less­ness. I read in an arti­cle by the non-prof­it orga­ni­za­tion Anx­i­ety Cana­da that this antic­i­pa­tion to pro­tect one­self is a sys­tem that is “crit­i­cal to our sur­vival when there is actu­al threat or danger, ​​it’s a big prob­lem when there isn’t.” 

          This is the part where I turn away and hide (it took me a month before return­ing to this sec­tion again). Read­ing up on antic­i­pa­to­ry anx­i­ety is like answer­ing a cross­word puz­zle and then real­iz­ing that per­haps I’ve been using the wrong let­ters the entire time. I hes­i­tate to spell this out, but I am begin­ning to con­sid­er that what if all this—me fear­ing los­ing my par­ents, not being able to come out, fail­ing to intro­duce my pre­vi­ous partner—are all just sto­ries I tell myself, a way of pro­tect­ing myself from com­ing out. What if I con­vince myself I can’t come out, because I’m not ready to con­front the hard­er-to-admit real­iza­tion that my par­ents accept­ing me is prob­a­bly not as dis­tant and impos­si­ble a real­i­ty as I have believed it to be. How ter­ri­fy­ing a prospect it is for me to even con­sid­er that I cling to a tra­di­tion­al view of my fam­i­ly as a defense mech­a­nism. What if, what I am most ter­ri­fied of is this: that they’ll accept me when I final­ly tell them, tell me they love me no mat­ter what, and I’ll real­ize that all this time I was the only one hold­ing myself back. I’ve since real­ized that it is for this rea­son that I long even more for the pan­dem­ic to end—so I can stay in the clos­et, escape con­fronting these haunt­ing pos­si­bil­i­ties, and return to the ver­sion of my sto­ry I’ve come to know. 

From the writer

 

:: Account ::

Writ­ing to me is often a way of under­stand­ing things, of find­ing mean­ing in sto­ries, expe­ri­ences, rela­tion­ships. I reck­on that few peo­ple write with the cer­tain­ty of know­ing exact­ly what will be writ­ten down. When I write, I’m forced to under­stand as I write, to find struc­ture to events, con­nect them, reflect. Going through that process is what I have feared most since I start­ed writ­ing my essay “Since We Broke Up.” I have been afraid to con­front the parts of my iden­ti­ty I have left sus­pend­ed along­side the pan­dem­ic. There are works that require greater and longer reflec­tion before it can ever be writ­ten. This essay was a work I ini­tial­ly start­ed writ­ing in my sopho­more year but was nev­er able to com­plete until my senior year of col­lege because there were still aspects of my iden­ti­ty in rela­tion to my sex­u­al­i­ty that I had yet to under­stand myself. It was­n’t the right time for me to write about it then. I need­ed the months spent writ­ing and rewrit­ing down reflec­tions, get­ting things wrong before I could even­tu­al­ly get them right. 

Cyd­ney Man­gu­bat lives in the Philip­pines. She is a BFA Cre­ative Writ­ing grad­u­ate from Ate­neo de Mani­la Uni­ver­si­ty and a recip­i­ent of the Loy­ola Schools Awards for the Arts for Non­fic­tion, as well as the Mul­ry Award for Lit­er­ary Excel­lence. Most days, she craves pael­la or but­tered chick­en. 

Seek and Hide

Nonfiction / Laura Valeri

:: Seek and Hide ::

Sleep paral­y­sis. Recur­ring night­mares. I’m three. I dream of a play­ground behind the school in  Milan where I live. I am in the sand­box, mak­ing sand cas­tles, the only child still at school after hours. A woman crouch­es next to me, inter­est­ed in my moats, my half-formed mounds. The cher­ry-red of my scoop stands out in the col­or­less dream. Smil­ing, the woman asks why I’m alone. Where are the oth­er chil­dren? Where is my moth­er? She can find her for me. What is my name? My cross­wired brain con­fus­es dream­self with body­self and dous­es both in nar­cot­ic paral­y­sis. I try to speak but can­not reach my voice. Soon, more women come. They cir­cle me. They think I’m shy, non fare la tim­i­da, bam­bi­na, then grad­u­al­ly become impa­tient, dic­ci come ti chi­a­mi. I’m immured in gran­ite sleep, my chest a tomb­stone. I try but my voice is sieved through the slow flow of my breath, and I bare­ly man­age a hiss. The women cross their arms, call me bad man­nered. They’ll tell my moth­er that I’m dis­re­spect­ful. Who am I?  They want my name, my name, my name. I will it to come. I pull my breath through my numb chest, until my name explodes into a shout that jolts me awake and echoes into the emp­ty bedroom.

My father’s exec­u­tive job moves us to Paris. I am four. The apart­ment is maze-like and unfa­mil­iar, dark, tiny rooms, a long nar­row hall­way with sharp angles. I sit alone in the guest room. The tele­vi­sion plays a car­toon in a lan­guage I don’t yet know to call French. It bores me. I hear a casu­al “Where is Lau­ra?” from the kitchen, and I think, come and find me. At first, it’s only my moth­er, her vow­els stretch­ing sing-song through the hall­way, then my grand­moth­er joins her, a choir. My name in their voic­es cross­es the hall­way, from bed­room to liv­ing room, then back to the kitchen. Here, I think, but don’t speak. How can they pos­si­bly miss this room? When my father calls my name, his voice deep and seri­ous, I know. What start­ed as a game will earn me a spank­ing. When the door han­dle jig­gles, I prop my head on the table and close my eyes, slow­ing my breath, let­ting my mouth slacken.

The sto­ry is shared often with rel­a­tives at hol­i­day din­ners: “Once, in Paris, we found her asleep before the tv, with her head on a glass cof­fee table. Can you believe it? This girl can sleep anywhere.”

Hid­ing is a game, a trick to see how long it will take them to notice that I am not around. It’s about my hid­ing place, if it’s clever enough — if I’m clever enough. But the voic­es always grow urgent too sud­den­ly. I only know I’ve gone too far when it’s already too late.

I’m five. Back home in Milan. The large armoire stores my mother’s fresh­ly pressed linens — embroi­dered table cloths in the bot­tom draw­ers; top shelves for col­or coor­di­nat­ed bed sheets, ivory white, pas­tel pink and cerulean blue. Under each set, a soap bar, a cou­ple of moth­balls. I climb in, and find that I fit on the bot­tom shelf over the draw­ers, below the first shelf. I pull the doors closed and hold my breath, wait­ing for my moth­er to real­ize that I am not in the room any­more. The snug­ness. The warmth of the new­ly pressed sheets. The sliv­er of sun that slips through the crack between the doors. I hear my mother’s foot­steps, my name called mind­less­ly, once — then, already, I’m in trouble.

At sev­en, I am small enough to fit between the cur­tain and the glass slid­ing doors that give out to the liv­ing room bal­cony. I sit qui­et­ly with my knees tucked to my chest, my chin on my knees, my fore­head pressed against the cold glass. I wait to be missed. My eyes roam the view out­side, the sun­ny after­noon after school, the pris­tine walls of the build­ing across, iden­ti­cal to ours inside the gat­ed con­do com­plex. A half block away, just over the brick wall perime­ter and the gat­ed garage ramp, there’s an aban­doned ware­house and a sooty low-rise ten­e­ment where I am warned nev­er to go play. On a third-floor bal­cony, girls prac­tice dance steps to the record­ed music of a vari­ety show. They take turns speak­ing into a mop han­dle, pre­tend-inter­view­ing one anoth­er. Across the block, a world away, they spot me. They speak to one anoth­er in agi­tat­ed whis­pers but when they turn to me, their voic­es are clear, their words unmistakable.

Tu, stron­za! Cago­na. Put­tana.” They say I’m spy­ing. They want me to go away.

They can use words I’m not allowed to think. They shout for min­utes at a time across the miles and worlds that sep­a­rate us, and no moth­er yanks those bal­cony doors open to slap their mouths for embar­rass­ing a “good fam­i­ly” before the whole neigh­bor­hood. I pre­tend not to hear or see them. I’m so far away. How could they be talk­ing to me?

Stron­za! Fai fin­ta? Ti vedi­amo benis­si­mo, sai?

I’m a fly trapped behind glass. They are free, foul-mouthed anger in the sun. I am a princess in braces and ortho­pe­dic shoes. They are strik­ing, union­ized Cin­derel­las club­bing the rich step­sis­ter with cusses.

I’ll cut your face, bitch. Sneaky, sneaky snake. We said, go away. Go away. Go away.

Inside the apart­ment, the melo­di­ous chant of my name in my mother’s throat turns trag­ic against the rhythm of the girls’ mount­ing threats.

Then final­ly: “There you are. Nap­ping? There? I was look­ing for you, call­ing you, didn’t you hear me?” She doesn’t seem to hear the ruckus out­side, the two girls, or the ten­e­ment woman one floor below who yells at them, want­i­ng to know what it’s all about.

This need and tal­ent to dis­ap­pear, to be unde­tect­ed, turns into some­thing else over the years, a curse, a virus resis­tant to the space-time con­tin­u­um that embeds itself in my DNA.

I’m twen­ty in Madrid. The boys, unin­vit­ed, sit them­selves at our table. They say “You girls” to describe how intrigued they are by the Ital­ian accent behind my Eng­lish, but they look only at busty, red-head­ed Dina, my Amer­i­can room­mate. My jokes, when acknowl­edged, pro­voke chuck­les they direct only at her.

New York. Twen­ty-three. I demon­strate how to back­door into the DOS pro­gram­ming lan­guage to the new hire, an Ivy League blond my boss tor­ments with pre­dictable jokes. I answer her ques­tions, guide her steps, repeat the same sim­ple anal­o­gy to explain the process. “Wait, wait,” she turns to a col­league who just stepped into our work space. “You know what this is like?”  My anal­o­gy in the new girl’s mouth becomes her orig­i­nal insight.

On a month­ly catch-up phone call with my sis­ter in Rome, I hear repeat­ed to me the same details of the bul­ly­ing episode from my child­hood I shared with her a month ago. My sis­ter recasts her­self as the vic­tim, denies it when I offer evi­dence that it couldn’t be her — yes, we both had short hair, but I had the braces, the ortho­pe­dic shoes. I was mas­chio con la gonna, boy in a skirt.

In a lengthy email exchange, I offer teach­ing advice to a for­mer stu­dent. It appears weeks lat­er on her social media post. “I can’t remem­ber when I start­ed think­ing like this,” her post con­cludes. “It must have been a nat­ur­al shift in per­cep­tion that occurred organ­i­cal­ly, with experience.”

Maybe it’s a self-ful­fill­ing prophe­cy. It’s that sub­ver­sive desire entwined with my father’s deep voice that threat­ens a spank­ing; it’s the ten­e­ment girls call­ing me out.

I stum­ble on a respect­ed author’s edi­to­r­i­al about their deci­sion to leave acad­e­mia. Bit­ter, dis­il­lu­sioned, the author rants against stu­dents — lazy, unpre­pared, enti­tled. I think of the say­ing, those who can’t, teach, and reverse it, those who teach, can. How con­ve­nient to expect only tal­ent­ed, ded­i­cat­ed stu­dents, I write on my blog. Teach­ing is dif­fi­cult because every chal­lenge and every stu­dent deserves a teacher equipped to help. For the first time, thou­sands of hits. The spike in my blog’s ana­lyt­ics chart reminds me of a lie in a polygraph.

There I am, the child at the cen­ter of a cir­cle of clam­or­ing adults.

I read a mes­sage from a sub­scriber. “Go to the author’s web­site. There’s a response. Have you read it? Are you going to reply?”

The jolt of sur­prise, the embar­rass­ing shout in the emp­ty room.

No. I said my piece, already.” 

I shut down my blog. Not like this, I tell myself. 

I don’t actu­al­ly remem­ber how many hits I got and when I shut down the blog. I remem­ber that it was a lot of hits com­ing in thick­ly and I got scared and I shut the blog down. 

I’m asleep when some­one calls my name, a voice almost famil­iar, urgent in the way of a school­teacher call­ing me out for get­ting dis­tract­ed. The voice star­tles me out of the dream, free­ing me from the con­jured realm of the sleep­ing mind. I open my eyes to silence. I tune my ears to an emp­ty darkness.

From the writer

 

:: Account ::

When I first start­ed writ­ing “Seek and Hide,” I was think­ing about fam­i­ly mythos. It’s curi­ous how the lore of who you are accord­ing to the sto­ries told about you by fam­i­ly mem­bers starts to take over what­ev­er oth­er expla­na­tion you may have about a par­tic­u­lar episode or event. It was just a start­ing point for the explo­ration of cer­tain con­tra­dic­to­ry impuls­es that end up in tox­ic self-sab­o­tage, and of the sto­ries we tell to our­selves and oth­ers about who we are. I turn to cre­ative writ­ing when I sense con­nec­tions that are not entire­ly log­i­cal or trans­par­ent, using nar­ra­tive struc­tures that resem­ble more close­ly the way our sub­con­scious process­es orga­nize and asso­ciate memories. 

Many women, espe­cial­ly after they reach a cer­tain age, are “invis­i­ble” in soci­ety. Like many women, I’ve had my share of instances where I felt like a ghost, speak­ing up at meet­ings with­out being acknowl­edged, for instance, only to have a male col­league repeat what I said and receive praise for it. But in the writ­ing process I made the delib­er­ate choice to esca­late to moments of invis­i­bil­i­ty in my life that are not nec­es­sar­i­ly attrib­ut­able to the uncon­scious bias­es women nor­mal­ly expe­ri­ence. My sis­ter recast­ing her­self as the vic­tim in the bul­ly­ing episode from my child­hood, for instance, was very dis­turb­ing to me. I felt as though even the ugly parts of my life were for sale on a mar­ket stand to be auc­tioned at a good price. I asked myself just how much of our inte­ri­or life, our mem­o­ries, our imag­i­na­tion, and every­thing we think defines us is tru­ly our own. 

I sensed a con­nec­tion, albeit not an obvi­ous one, between the iso­la­tion, invis­i­bil­i­ty, and incon­se­quen­tial­i­ty that I’ve often felt in my adult life with my inex­plic­a­ble impulse to hide, to not be seen, and to put up bar­ri­ers that would pre­vent oth­ers from under­stand­ing my thought-process­es when I was a child. 

The recur­ring dream in the first image of the piece is actu­al­ly one of my ear­li­est mem­o­ries. I read a lot about cog­ni­tive sci­ence. The human brain is a sto­ry-telling machine. The mem­o­ries that we choose to res­cue out of the bil­lions of events, dreams, con­ver­sa­tions, and oth­er bits of impres­sions in our lives that we will oth­er­wise nev­er rec­ol­lect con­nects to the sto­ry that the brain wants to tell about who we are, so I pay atten­tion. Though I did not con­scious­ly set out to have the sleep-paral­y­sis become the con­trol­ling metaphor for the piece, it was inevitable that it would cir­cle back at the end, uncon­scious as that process was. 

The first time that some­thing I wrote went viral, I froze, even if it was only a blog post. I’m a writer. Writ­ers write to be read, but I can­not enu­mer­ate how many times I’ve sab­o­taged my own best efforts. I can­not explain that fear in log­i­cal terms. I can only illus­trate it by jux­ta­pos­ing oth­er expe­ri­ences that, though dis­sim­i­lar, nonethe­less share deep sub­con­scious con­nec­tions. Thus, the oner­ous effort of try­ing to speak my name, and the fad­ing echo in the emp­ty room. 

Lau­ra Valeri was born in Piom­bi­no, Italy and moved to the Unit­ed States at age twelve. She is the author of two short sto­ry col­lec­tions and a sto­ry cycle, and most recent­ly, a book of linked essays titled After Life as a Human (Rain Chain Press, 2020) a Geor­gia Author of the Year nom­i­na­tion in mem­oir. Lau­ra Valeri’s fic­tion, essays, and trans­la­tions appear most recent­ly in Grif­fel, (mac)ro(mic), Hunger Moun­tain, Litro, and oth­ers. Lau­ra Valeri is the man­ag­ing edi­tor of Wrap­around South, a jour­nal of South­ern lit­er­a­ture. She teach­es cre­ative writ­ing in the under­grad­u­ate pro­gram at Geor­gia South­ern Uni­ver­si­ty. 

Twenty-Five Years of Marriage 

Nonfiction / Heather Bartos

:: Twenty-Five Years of Marriage ::

We first saw the movie “Two for the Road” when we were engaged. Audrey Hep­burn and Albert Finney show the twists and turns of twelve years of marriage.

They were begin­ners, but we didn’t know that then.

Our mar­riage begins on a sev­en­ty-degree Sat­ur­day under a Cal­i­for­nia sycamore at high noon. Your uncle is five min­utes late and miss­es it. The cake comes from Safe­way. We dri­ve off with a set of hand­cuffs dan­gling from the rearview mir­ror. Strangers in Las Vegas see the “Just Mar­ried” sign and scream, “Losers!” We watch bad pub­lic access TV after a freak snow­storm buries the first floor of our motel in Flagstaff, Ari­zona. I hold my ring up to the light, watch it wink and sparkle, an inside joke, a pub­lic promise, the hope of a sol­id-gold guarantee.

Our first apart­ment, one-bed­room, mys­te­ri­ous stains on the car­pet. The hide-a-bed couch aban­doned by pre­vi­ous ten­ants and too heavy to move. Par­ti­cle board book­shelves hold nov­els like the ones I dream of writ­ing some­day. The kitchen win­dow where I can watch anoth­er woman wash­ing dish­es each night as I wash ours. The white Toy­ota with the fried alter­na­tor, where we can’t turn it off at the gro­cery store since it may not re-start. Two and a half years of cook­ies for the kids down the way, mag­no­lias bloom­ing by the mail­box. The black and white cat catch­es a rat right in front of the dump­ster and you shout, “Just like Nation­al Geographic!”

Blink and you’ll miss it.

Two years of grad­u­ate school. Con­fronting the land­lord with the fact that it is ille­gal to rent a place with­out a source of heat. No bath­room sink, show­er leak­ing into the yard. A blue Toy­ota with a trans­mis­sion leak. Wal-Mart, beer, piz­za and maple scones. The six‑a.m. phone call that my father has died, and the week­end spent pack­ing his life into milk crates. Small town base­ball, stu­dent dis­counts, escap­ing 110-degree heat watch­ing bad action movies.

Our first apart­ment in Ore­gon, two whole bed­rooms. At night racoons swim and frol­ic in the pool. Sat­ur­day lunch at the farmer’s mar­ket, sausage and sauer­kraut. The August night that the Toy­ota died at a rest area off High­way 5. Start­ing our first real jobs with two-hour bus com­mutes, right after 9–11. Dis­cov­er­ing that some­one had bro­ken into the car and left behind string cheese wrap­pers and a screw­driv­er. Buy­ing a TV, buy­ing a couch, then buy­ing a two-bed­room ranch house with some­one else’s odds and ends stashed in the crawl space. That red Mer­cury Topaz that drops its muf­fler right in front of the house. Anoth­er trip to the used car place.

Blink and you’ll miss it.

Friends have babies.

We don’t.

We still don’t.

The July after­noon when we get the call that our baby girl is com­ing home. The mad scram­ble for a stroller, for a dress­er, for a stuffed kan­ga­roo with a lit­tle kan­ga­roo nes­tled in its pouch.

She slept through the first night.

And none of the ones after that.

Lit­tle out­fits, twen­ty-four months, 2T, 4T, 6T, size 6X. Up and down, back and forth. Alpha­bet by eigh­teen months, read­ing before age three, blurred flash in motion. Our pink-despis­ing, nin­ja-wor­ship­ping, Imag­ine Drag­ons-lov­ing lit­tle light­ning bolt.

Blink and you’ll miss her.

Age nine at Legoland, eat­ing ice cream for break­fast and find­ing trea­sures hid­den in the hotel room.

Age eleven, upside down in the front seat of the car, pro­cess­ing the facts of life, shout­ing, “Mom! Does this mean my kinder­garten teacher has had sex?”

Blink and you’ll miss her.

Domes­tic wear and tear, moun­tains of dish­es and laun­dry, tired, naps dur­ing foot­ball on TV.

For the parents.

Nev­er for the child.

Dec­o­rat­ing for Hal­loween in August, trips to the beach, fish tacos, salt on our lips and sand in our shoes. Seals catch­ing fish in their paws. Shells at our ears, lis­ten­ing for the pulse and roar of the sea. Christ­mas lights and brown­ies on your birth­day, store-bought cake on hers, straw­ber­ries and whipped cream on mine, with the April twi­light lin­ger­ing like a beloved guest.

Blink and you’ll miss it.

 The neigh­bors’ chil­dren grow tall and stur­dy like sun­flow­ers. I over pay them for babysit­ting and mow­ing the lawn because we can. Putting down roots, becom­ing gnarled like the oaks and wil­low we plant­ed. I look at our neigh­bors in their eight­ies, and I see the future. The veins on my hands stand out, recall­ing they belong to the earth.

The after­noon when some­one has bro­ken into your car, stolen from your stash of coupons. You con­tin­ue to leave the door unlocked since they must need them more than we do.

Two funer­als. And then silence.

Blink­ing back tears.

Three surg­eries. Three recov­er­ies, com­plete with Vicodin and vanil­la ice cream.

The approach of age, read­ing glass­es, heel lifts, vit­a­mins and lit­tle bot­tles of bit­ter pills. Things that ache because we did stu­pid things when we were younger. Things that ache because we do stu­pid things now.

A pan­dem­ic that forces us inside and apart, that smoth­ers our smiles, con­straints and con­stricts and con­fines. It won’t wave the white flag. It won’t surrender.

First we con­tort, then we explore what we con­tain. We dig in and grow things. I teach on Zoom. The kids show me their pets, their Lego cre­ations, their lives.

 We won’t wave the white flag or sur­ren­der either. Life is dif­fer­ent now. Life ought to know bet­ter by now. We give, but we don’t give in. Deep­er instead of wider, less of but not less than.

Just like the TV show “Sur­vivor.” We will out­last, out­wit, out­play you. We were build­ing immu­ni­ty before you were born or thought of. Catch us if you can.

We watch March Mad­ness and eat grilled chick­en sand­wich­es and Jo Jos from Big’s Chick­en, drench them in Yukon Gold Sauce, home-baked, mayo-sat­u­rat­ed sat­is­fac­tion, defi­ant in our joy.

Hap­py anniver­sary. Again.

Blink and you’ll miss it all.

From the writer

 

:: Account ::

This short essay was inspired by the 1966 movie “Two for The Road,” with Albert Finney and Audrey Hep­burn. The movie fol­lows a young cou­ple through their ini­tial meet­ing, as new­ly­weds, as new par­ents, and final­ly as embit­tered mid­dle-aged adults try­ing to remem­ber what they saw in each oth­er. The film­mak­ing is inge­nious in the sense that mem­o­ries over­lap and at times, the char­ac­ters pass their younger selves on the screen. My essay starts on the day of the wed­ding and moves for­ward through time. Mar­riages, or any long-term part­ner­ships, go through phas­es relat­ed to the stages of life the indi­vid­ual part­ners are expe­ri­enc­ing. This essay shows the ephemer­al, quick­sil­ver nature of the pas­sage of time, as well as how moments, both mun­dane and extra­or­di­nary, come togeth­er to form some­thing larg­er that their indi­vid­ual fragments.

Heather Bar­tos writes both fic­tion and non­fic­tion. Her essays have appeared in Fatal Flaw, Stoneboat Lit­er­ary Jour­nal, HerStry, and else­where. Her flash fic­tion has appeared in The Dil­ly­doun Review, The Closed Eye Open, Tan­gled Locks Jour­nal, and in oth­er pub­li­ca­tions, and also won first place in the Bal­ti­more Review 2022 Micro Lit Con­test. Her short sto­ries have appeared in Pon­der Review, Bridge Eight, and elsewhere.

Before & After

Nonfiction / Brianna Pike

:: Before & After ::

Before & After PDF

 

 

 

 

From the writer

:: Account ::

Up until two years ago, I was writ­ing pri­mar­i­ly poet­ry as it’s been my genre of choice since I fin­ished my MFA in 2009. How­ev­er, in the fall of 2018 I wrote a lyric essay about the birth of my son and my strug­gle as a new moth­er, and I dis­cov­ered this form opened me up to a whole new way of writ­ing. I am very inter­est­ed in the idea of grief, and much of my writ­ing, poet­ry and non­fic­tion, exam­ines grief in all its dif­fer­ent forms. Grief was the dri­ving force behind this essay and has been the focus of sev­er­al oth­er lyric essays I’ve writ­ten in the past year. The form of the essay comes from show­ing the con­trast between the “before” and “after” of grief and how it trans­forms spaces that one used to love and find com­fort in places that are, some­times, unrec­og­niz­able. I also see it as a kind of tour for the audi­ence through a place that was so impor­tant to me and to show how grief per­me­ates so many dif­fer­ent facets of our lives. The two columns also call back to stan­zas and allow a blend, struc­tural­ly, between poet­ry and cre­ative nonfiction. 

 

Bri­an­na Pike is a pro­fes­sor of Eng­lish at Ivy Tech Com­mu­ni­ty Col­lege. Her poems and essays have appeared in Paren­the­ses, Fish Bar­rel Review, Writer’s Resist Jux­taprose, Thim­ble, & After Hap­py Hour Review. She cur­rent­ly serves as an edi­to­r­i­al assis­tant for the Indi­anapo­lis Review​ and lives in Indy with her hus­band & son. She blogs at https://briannajaepike.wordpress.com/. Find her on Insta­gram @Bri33081.

Traveling the Red Road: The Life of a Menstruant

Nonfiction / Rachel Neve-Midbar

 

:: Traveling the Red Road: The Life of a Menstruant ::

I am bleed­ing the day he disappears. 

A wave of cramps hits me, mak­ing me nau­seous. This body, my body—my body that bleeds—how has it led me to this con­strict­ed place?  

~Ψ~

Thy soule foule beast is like a men­stru­al cloath,
Pol­lut­ed with unpar­don­able sinners.” 

—Barn­abe Barnes, The Devil’s Charter

~Ψ

Blood is mag­ic
Blood is holy
And whol­ly riv­et­ing of our attention.” 

—Judy Grahn, “All Blood is Men­stru­al Blood” 

~Ψ

All the kids on Brook­side Cir­cle play togeth­er. I am per­haps four years old. A. and I are kneel­ing at the edge of the road, draw­ing with chalk on the con­crete. A. tells me her moth­er pees blood. “No,” I tell her, “Mom­mies don’t pee blood.” She offers to show me and takes me into her house at the end of the block. We remove our shoes in the front hall and walk up the stairs. A. enters her mother’s bath­room first and then motions me to join her. We look togeth­er into the bowl of a beige toi­let where a bit of paper stained with the small­est whiff of blood floats in the water. “Will she die?” I ask. 

~Ψ

the flow­ers,” “the cours­es,” “the terms,” “the mis­ery,” “month­ly dis­ease,” “the time of her wont­ed grief,” “excre­ment,” “those evac­u­a­tions of the weak­er sex,” “the moon,” “weep­ing womb,” “pack­age of trou­bles,” “jam & bread,” “on the rag,” “too wet to plow,” “a snatch box dec­o­rat­ed with red ros­es,” “can’t go swim­ming,” “tide’s in,” “tide’s out,” “fly­ing bak­er” (a Navy sig­nal mean­ing “keep off”), “rid­ing the red tide,” “the red flag is up” 

—Houp­pert, The Curse 

~Ψ

When my sis­ter gets her first peri­od, she is per­fec­tion, light. In the guest bath­room: right across from the TV-room where my moth­er is always splayed in her orange easy chair. Just the right age for a good girl: thir­teen and a half. “Mom­my, Mom­my,” she calls, “I got my peri­od.” How my moth­er touch­es her, “Hon­ey I’m so proud,” smiles, takes her into her room to get belt and pad. Our father is equal­ly proud as he has her dress in Dan­skin, put up her hair. He then spends hours pho­tograph­ing her, over and over: pro­file, chin up, chin down. “Now take down your hair.”   

~Ψ

The word ‘taboo’ itself even comes from a Poly­ne­sian word that both means ‘sacred’ and ‘men­stru­a­tion’”  

Why Are Peri­ods Still a Taboo in 2018? 

~Ψ

I know it’s the time for bad girls when mine comes just two months lat­er. Only twelve, the age for sluts, for trash, for oth­er dirty things. In the upstairs kid’s bath­room.    

Maybe I wasn’t born for joy because just before I dis­cov­er the red stain I am joy­ful at a sixth-grade square dance. Do-si-do. Just once allow­ing myself to fly around the gym not wor­ry­ing how I look. And then this. “Don’t for­get,” my body whis­pers, “don’t for­get what you are.” 

So, I tell no one, stuff my under­wear full of toi­let paper, go on as usu­al, a secret between my legs. 

~Ψ

The duplic­i­ty of blood as both the source of life and the cause of cor­rup­tion was con­cen­trat­ed most in medieval and ear­ly mod­ern per­cep­tions of men­stru­al blood. Despite the men­stru­at­ing body’s func­tion as an exem­plary mod­el for nature’s expul­sive and self-reg­u­lat­ing pow­er, men­stru­al blood itself car­ried the period’s anx­i­eties about woman’s moral duplic­i­ty and bio­log­i­cal weak­ness. Men­stru­al blood and men­stru­at­ing woman were thought to be cor­rupt­ing: they could bring mad­ness, dis­ease, and death to those who touched or looked upon them….”

—John­son, Decamp, Blood Mat­ters 

~Ψ

I’m not real­ly sure what hap­pens to you if you swim while men­stru­at­ing. Prob­a­bly it’s lethal if my mother’s reac­tion is any indi­ca­tion. So, because of a swim invi­ta­tion, I final­ly tell my secret. 

I arrange myself in the guest bath­room, call, “Mom­my, Mom­my.” She does ask me what the bloody wad of school paper tow­el is in the toi­let. “Noth­ing,” I mum­ble and push the flush­er. Then, yes, the belt. Yes, men­stru­al pad that cov­ers me from naval to back­bone: though those don’t last too long. It’s 1975. Tam­pons will be pos­si­ble. Swim­ming too. Even­tu­al­ly even for my mother. 

But, no. No Dan­skin. No Leica lens. Now in the moments my father gets close enough to me he lifts my arm and yanks on the new hairs grow­ing there. And laughs. If I fight him off, he takes a pinch of new­ly bud­ded breast. And laughs harder. 

~Ψ

I have peri­ods now, like nor­mal girls; I too am among the know­ing, I too can sit out vol­ley­ball games and go to the nurse’s for aspirin and wad­dle along the halls with a pad like a flat­tened rab­bit tail wadded between my legs, sop­ping with liv­er-col­ored blood.” 

—Mar­garet Atwood, Cat’s Eye 

 ~Ψ

The sum­mer after my sec­ond year at Sarah Lawrence I meet D. and start to keep kosher and Shab­bat. The paper­work is com­plete for my junior year abroad, and some­time that sum­mer I will leave for Israel. I tell myself I am look­ing for free­dom inside a sys­tem of law, but real­ly I am look­ing to run as fast as I can into some oth­er life.   

I fol­low D.’s fam­i­ly to a cot­tage on a lake in Penn­syl­va­nia. My oth­er­ness is always on dis­play. They don’t like the way I pro­nounce “Torah.” They don’t like my bare feet, and when I walk around the house in socks they say I dress like a mourn­er. His lit­tle sis­ter asks if I am a shik­sa.   

When I men­stru­ate I take a tam­pon from the box hid­den in my clos­et. I care­ful­ly wrap what is used in toi­let paper, set it in the bas­ket. One morn­ing his moth­er takes me by the arm and pulls me into the bath­room. She shows me a pile of old news­pa­per inside the bath­room cab­i­net. She is 5’10,” Euro­pean; upright and prop­er, her gir­dle always in place, even under her bathing suit. In her accent­ed Eng­lish she tells me I must wrap my used tam­pons in news­pa­per. No one can know. “No one needs to see that.” She is almost spitting. 

~Ψ

OED. taboo | tabu, adj. and n. 
Ety­mol­o­gy: < Ton­gan ˈtabu  
     The putting of a per­son or thing under pro­hi­bi­tion or interdict. 

~Ψ

Women’s reg­u­lar bleed­ing engen­ders phantoms.” 

—Paracel­sus 

~Ψ~

D. lat­er fol­lows me to Israel, asks me to mar­ry him. I want to say, “Wait.” I want to say, “I don’t know who I am.” But I see how much he needs me. 

I am 21 years old.  

~Ψ~ 

Leviti­cus 15:19 states: “A woman who has a flow of blood in her body shall be a ‘nid­dah’ for sev­en days, and all who touch her shall be rit­u­al­ly impure until sun­down.”  

Leviti­cus 18:19 states: “A woman in the rit­u­al­ly impure state of nid­dah, you shall not approach for sex­u­al relations.” 

The first verse refers to the laws of rit­u­al impu­ri­ty (tumah v’taharah), most of which are no longer applic­a­ble today. 

The sec­ond verse, how­ev­er, appears in the list of the most severe­ly for­bid­den sex­u­al rela­tion­ships, such as adul­tery and incest, which remain ful­ly rel­e­vant to this day. 

A woman ceas­es to be niddah—and returns to a state of rit­u­al puri­ty (taharah)—by con­firm­ing that bleed­ing has ceased (hef­sek taharah), count­ing sev­en blood-free days (shiv­ah neki’im), and immers­ing in a prop­er mikveh.” 

The Nid­dah Status

~Ψ~

C. is my kallah teacher. She has a face creased to smile and she smiles a lot. She is also a very strin­gent woman, care­ful in her prac­tice, and she pass­es that care­ful­ness on to me. In the weeks lead­ing up to my wed­ding I vis­it her twice a week. She teach­es me how to keep the laws of fam­i­ly puri­ty: how to under­stand the work­ings of my body, to come close to my rhythms and join togeth­er with them, to watch for stains, to exam­ine, to check, to pre­pare and final­ly, to immerse my body deep in liv­ing water and return each time to myself. 

~Ψ

The night before my wed­ding, I walk to the mikveh with my moth­er and C. I take my time prepar­ing. I have nev­er before giv­en myself this permission—this con­cen­tra­tion. What can I tell you about this care­ful­ness, atten­tion to myself with no one to wit­ness, no one to watch, no one to ridicule? No one look­ing to see how deep and long I bow dur­ing shmona-esrei, no one to taste a good meal I’ve pre­pared so I can see the plea­sure in their eyes. Here in the mikveh bath­room there is only me. Does God care if I comb my eye­brows? I have no idea. I only know that in the warm liv­ing water His hands reach around me, cra­dle me as I loosen my fin­gers and half open my eyes so the water can touch every part of me at once. I bow my head, fold my hands across my breasts, “Blessed are you, God. Blessed.” 

~Ψ

My moth­er asks me after if I feel dif­fer­ent. “Yes,” I answer and she looks sur­prised. We don’t say any­thing else.  

~Ψ

The next morn­ing I rise ear­ly. I go to the apart­ment in Jerusalem that D. and I have rent­ed to make up our bed. I am fast­ing and it is sum­mer, so I take a taxi to the Kotel where I pray for hap­pi­ness, for peace. Yes, per­haps that would be enough. 

It would be enough to hang some dress­es in a clos­et. To open that clos­et in the morn­ing and choose what to wear. Final­ly to just be home. 

After a long Viduy at the Kotel, I make my way west and south to the Bay­it Veg­an neigh­bor­hood, to the Holy­land Hotel. There I will stand under the chup­pah.   

~Ψ

The Halakha details strict rules gov­ern­ing every aspect of the dai­ly lives of Jews, includ­ing the sex­u­al lives of mar­ried cou­ples. Jew­ish law express­ly for­bids any phys­i­cal con­tact between spous­es dur­ing the days of men­stru­a­tion and for a week there­after. Accord­ing to stip­u­lat­ed rit­u­al, an Ortho­dox Jew­ish wife is respon­si­ble for ensur­ing that she is no longer exhibit­ing vagi­nal bleed­ing by swab­bing her­self care­ful­ly with a linen cloth for each of the sev­en days fol­low­ing the overt ces­sa­tion of the men­stru­al flow. The sev­en clean days after men­stru­a­tion cul­mi­nate with the wife’s oblig­a­tion to immerse that night in the Mik­vah, the rit­u­al bath. It is only at the end of the Nid­dah inter­val, after the rit­u­al bath, that spous­es are per­mit­ted to phys­i­cal­ly touch one anoth­er. This ‘‘two weeks on/two weeks off’’ pat­tern of con­tact char­ac­ter­izes mar­i­tal life until menopause, with two notable time frame excep­tions: preg­nan­cy and nurs­ing (until post­par­tum men­stru­a­tion resumes), when unin­ter­rupt­ed con­tact is per­mit­ted. These ‘Laws of Fam­i­ly Puri­ty’ rep­re­sent an inte­gral aspect of iden­ti­ty as an Ortho­dox Jew.” 

—Guter­man, Archives of Sex­u­al Behav­ior  

~Ψ

The first mikveh night about a month after we are mar­ried, I come home to find fresh sheets on the bed, a spaghet­ti meal, a beau­ti­ful note of love and hope for our future fam­i­ly. D. is wear­ing my short, black-silk kimono. It makes his green-gray eyes shine. Wow, I think as I fall into his arms, I could get used to this mar­riage thing.   

That is the first and last time. I nev­er see this ver­sion of him again. 

~Ψ

I remem­ber the still­ness, the still­ness of thun­der left behind, the still­ness of knees held tight togeth­er, breath exhaled once, twice. 

Over time, each sec­ond, sweat on my palms. Bro­ken records stored in a clos­et, their shards gleam in the dark­ness, each groove a year of life. Moments on the floor, sur­round­ed by books writ­ten in a lan­guage no one even reads anymore. 

Don’t move or you’ll upset some­thing. Wait. Don’t speak. Some­one might think well of you. Hold your breath and time will stop, a sun held between my two palms, no big­ger than the space between my fin­gers.   

There is always that still­ness. Qui­et quakes in my chest, drips down my back. A chair flies across the room, hits me right on the tem­ple. For some rea­son I live. Make-up cov­ers the bruise, cov­ers every­thing. He hands me a glass of some­thing dark to drink. It changes from pur­ple to black, a sun drop­ping to the bot­tom of an ocean. 

Was it me who pushed back the entire wall of my house to become the doll inside?  

~Ψ

From the diary of Jane Sharp in 1671:  

some­times flow too soon, some­times too late, they are too many or too few, or are quite stopt that they flow not at all. Some­times they fall by drops, and again some­times they over­flow; some­times they cause pain, some­times they are void­ed not by the womb but some oth­er way; some­times strange things are sent forth by the womb.” 

—Sara Read, Men­stru­a­tion and the Female Body in Ear­ly Mod­ern Eng­land 

~Ψ

Twice I have hem­or­rhaged, left bath­rooms look­ing like mur­der scenes.   

~Ψ

I will tell you about the sec­ond time first. It’s the eas­i­er sto­ry. It’s an after birth sto­ry, from the time right after my youngest son was born. My hor­mones mis-cal­i­brat­ing, my uterus six weeks after the C‑section, just start­ing to return to itself, sud­den­ly fill­ing with blood bal­loons like a wash­ing machine gyrat­ing too much soap. 

In my paper gown in the exam­i­na­tion room the Dr. tells me to take off my under­wear, sit on the chair that becomes a bed with stir­rups. How can I undress when I am gush­ing blood like a faucet? When I glance down, he says with so much kind­ness, “Don’t wor­ry. I have seen everything.” 

Lat­er when I walk into the oper­at­ing room for the D&C, the Dr. is wait­ing for me, capped and gowned all in white, his hands clasped in front of him­self, sway­ing slight­ly as if in prayer, he looks like a groom, com­plete­ly kit­tled, wait­ing for me under the chup­pah. What would my life be like if I had mar­ried instead this kind man?  

~Ψ

 

“we need a god who bleeds now 
a god whose wounds are not 
some small male vengeance”

—Ntoza­ke Shange, “We Need a God who Bleeds Now” 

~Ψ

red light,” “red let­ter day,” “my red­head­ed friend,” “cher­ry in the sher­ry,” “the red king,” “trav­el­ing the red road,” “the red sea’s out,” “the reds are in,” “bloody mary,” “the chick is a com­mu­nist,” “white cylin­der week,” “moth­er nature’s gift,” “it’s rain­ing down south,”  

—Houp­pert, The Curse

~Ψ

The first time I hem­or­rhage I am in my mother-in-law’s house. I am ten weeks preg­nant. My arms are already full with a two year old and a ten month old. I car­ry them up and down the steep stairs to the attic where we sleep. Some­thing hurts. I am exhaust­ed. I can’t do any­thing but sit all day, let­ting the girls play at my feet. Some­thing is wrong. Some­thing is wrong with this preg­nan­cy. A pull. It hurts. 

Final­ly it tears. Some­thing tears inside my abdomen. The pain is excru­ci­at­ing. I set the girls down, run to the bath­room. There is blood every­where. I clean up as best I can and go down­stairs to tell my moth­er-in-law that I think I am hav­ing a miscarriage. 

She looks at her watch, tells me we can’t go to the hos­pi­tal for a few more hours, until her hus­band comes home to watch my twelve-year-old sis­ter-in-law. I feed my girls din­ner, get them tucked in. 

On the dri­ve into Man­hat­tan sev­er­al hours lat­er she tells me “it’s all for the best.” But I know she is wrong. I am twen­ty-four years old, moth­er of two, and her son blames me for every bad thing that hap­pens to us. Every­thing. Both big and small: when he los­es his driver’s license from too many tick­ets. When he fights with some­one in shul. From our mon­ey prob­lems to his own desire for oth­er women, every­thing is my fault.  I can’t imag­ine what he will do to me if I lose this pregnancy. 

~Ψ

taboo: adj. (syn.) ille­gal, restrict­ed, unmen­tion­able, unacceptable 

~Ψ

The baby isn’t dead, though I won’t find this out until the next day. At NYU Med­ical, the bed they give me is bro­ken, the floor is cov­ered with blood. Not mine. I am no longer bleed­ing.   

The Dr. who exam­ines me tells me my cervix is still closed. Mat­ter-of-fact­ly she explains this means: 1. that the fetus was already expelled and my cervix then closed right back up after her like a slammed door. Or 2. that I have yet to expel the lit­tle life and that she will find her way out in the next few days. Or 3. that I am still preg­nant. “So why all the blood then?” I ask. She shrugs.  

No blood test, no ultra­sound, I ride back to Queens, absent­ly lis­ten­ing to my moth­er-in-law talk about the man in the bed next to mine who had slashed his foot on a can top when he stepped on his kitchen garbage. For­ev­er after, as long as I will know her, she will very care­ful­ly insert the top back into the emp­ty can before throw­ing it away. She will tell any­one who is will­ing to lis­ten that you can’t be too care­ful with the torn top of a can. 

The next day I drink a half a gal­lon of water and trav­el alone back into Man­hat­tan for an ultra­sound to see my daugh­ter. No, she is not lying qui­et­ly inside me. She is not suck­ing her lit­tle thumb. On the screen my daugh­ter is upright and break-danc­ing just above a pla­cen­tal tear. 

~Ψ

Many medieval Jew­ish mys­tics saw men­stru­a­tion dif­fer­ent­ly. Accord­ing to a sec­tion of the Zohar, the most pop­u­lar work of medieval Kab­bal­ah, the menstruant’s title of nid­dah tells us that ‘God flees from her.’ God aban­dons men­stru­ants because God can­not suf­fer impu­ri­ty. The nid­dah repels the forces of the holy, and her spir­i­tu­al vac­u­um is imme­di­ate­ly filled by the forces of evil and impurity.” 

Zohar, 3:226a (RM

~Ψ

There is always some­thing we woman can’t do, some­where we can’t go, some­thing we can’t touch because we men­stru­ate. We are not allowed to touch the Torah, even when it’s “dressed,” mean­ing there is a bound­ary between the holy vel­lum and our taint­ed fin­gers. We can­not dance with the holy scroll on the hol­i­day of Sim­chat Torah, even if we have gone to the mikveh and are as rit­u­al­ly clean as our hus­bands. Why? Because then “peo­ple will see” who is in nid­dah among the women and who is not and that is “immod­est.”   

My hus­band loves the idea of my immod­esty and when­ev­er he wants to ridicule me and set me in my place he brings it up. My immod­est dress, my immod­est speech, my immod­est behav­ior. When I wear san­dals that “show my toes” or a dress in a shade of red, when I stick my tongue out at him in the street, when I use the word “putz” at a fam­i­ly party—any of these and many more are rea­sons to pun­ish me. 

He trav­els often, leav­ing us alone for weeks at a time. He nev­er needs to be home for any rea­son because I am always there.  My men­stru­a­tion gives my hus­band com­plete con­trol over me, it ren­ders me weak, dirty, dif­fer­ent. This is the tool of his pow­er.   

~Ψ

And when I am “immod­est”? Yes, there are pun­ish­ments. Some­times it is the set of his jaw, a cold stare. Some­times it is a chilly silence that can last for days or weeks. It might be the hav­dalah wine thrown in my face in front of the chil­dren when I sing too loud­ly or my cred­it cards cut to pieces if I buy some­thing with­out per­mis­sion. Or it might be a back­hand to the face or being thrown to the base­ment floor, his hands around my neck if I smile too warm­ly with the dish­wash­er repairman. 

~Ψ

How often does he show me his back on mikveh nights? After all the effort of bathing and the dress­ing, the undress­ing, the dunk­ing, the dress­ing once again only to find him already asleep, turned away from me. 

~Ψ~

“Come you spirits  
That tend on mortal thoughts, unsex me here, 
And fill me from crown to the toe, top-full 
Of direst cruelty. Make thick my blood, 
Stop up th’access and passage to remorse, 
That no compunctious visitings of nature 
Shake my fell purpose, not keep peace between 
Th’effect and it. Come to my woman’s breasts, 
And take my milk for gall, you murdering ministers” 

—Shake­speare, Mac­beth, (1.5.41–49)

~Ψ

Con­tact with [men­stru­al blood] turns new wine sour, crops touched by it become bar­ren, grafts die, seed in gar­dens are dried up, the fruit of trees fall off, the edge of steel and the gleam of ivory are dulled, hives of bees die, even bronze and iron are at once seized by rust, and a hor­ri­ble smell fills the air; to taste it dri­ves dogs mad and infects their bites with an incur­able poi­son.”  

—Pliny the Elder, Nat­ur­al His­to­ry: A Selec­tion 

~Ψ

I just want him to stop being so angry. I pray for this every week when I light my Shab­bat can­dles and again when I burn a small piece of chal­lah dough. In the mikveh I dunk sev­en times instead of the reg­u­lar three and pray final­ly, final­ly, for peace. 

~Ψ

And then comes the day he dis­ap­pears. He does call—once. I ask him where he is, but he won’t tell me. Instead he tele­phones our daugh­ters, tells them he is in Hawaii.  

Usu­al­ly he tele­phones con­stant­ly, but he doesn’t call again. I wait. Every day. I am ice inside, walk­ing ice as I pack the kids’ lunch­es, as I fold laun­dry, as I take care of the com­pa­ny bank­ing, watch the trad­ing accounts. I know he can’t be alone; he always needs some­one to talk to. 

But he doesn’t call. Not Tues­day, not Thurs­day. Not before Shab­bat to wish his chil­dren a good week.  

My clean days come and I don’t check; my mikveh night arrives and I don’t go. When he final­ly comes home I am still in nid­dah. I tell him this when he reach­es his arm out to bring me close and says, “Babe, come to bed.” 

Lat­er that day he reveals that he wasn’t in Hawaii alone, that he is in love with some­one else, has been for the past eigh­teen months. It turns out she is the con­sul­tant he hired to help us locate gold mine deals in Neva­da. It turns out there are no deals in Neva­da. It turns out I have been pay­ing $5,000 a month, about $40,000 total of com­pa­ny mon­ey, to his mis­tress, and that it was me who put through and signed the wire trans­fer orders. 

I ask him to leave. 

~Ψ

we need a god who bleeds 
spreads her lunar vul­va & show­ers us in shades of scar­let 
thick & warm like the breath of her” 

—Ntoza­ke Shange, “We Need a God Who Bleeds Now” 

~Ψ

In the dream we are as we are now, aged, lay­ered, yet our pas­sion grows as it always did, our appetite for each oth­er in my cries that still echo thir­ty years lat­er down from the long cor­ri­dor of a col­lege dorm, our desire takes root, intact and as you reach your hand between the part­ed branch­es of my legs there flows a Nia­gara of blood—the blood that so repelled you shoots forth, an artery opened, pushed out of me with each heart­beat, a riv­er that moves the water-wheel that cir­cles between the secrets of life and death, and remains in that pun­gent place between, that place I am in now where my breasts hang, two tears upon my chest and my face is an aban­doned land. 

~Ψ

I am men­stru­at­ing the day we go to the Rab­bin­ut for the ghett. And I am acute­ly aware of it as the three rab­bis have me stand side­ways in front of their dais and hold my hands up to receive the fold­ed vel­lum doc­u­ment. “High­er,” they say, “high­er.” I stretch my hands over my head. I can feel their eyes mov­ing up and down my body.   

~Ψ

OED: taˈ­booness  n. the state or con­di­tion of being taboo. 

1974   Ver­ba­tim I. i. 4/1   The tabooness of fuck

~Ψ

Then come the years alone. My men­stru­a­tion starts to change, my peri­ods get­ting longer, stronger, last­ing for weeks with days when I can’t leave the house because I need to change my pad/tampon com­bo every hour.   

~Ψ

The moon ris­es full, over­whelm­ing the dark sky and all of us on the deck of this boat in Yafo port tonight. We are all women, pray­ing and med­i­tat­ing togeth­er. M., sit­ting next to me, tells me her sto­ry: how she left her par­ents’ reli­gious home for col­lege and nev­er went back. How after grad­u­a­tion she got a job on the sea and, for the next twen­ty years moved from job to job, from port to port, from ocean to ocean. “I have nev­er slept with a man who wouldn’t go down on me when I had my peri­od,” she tells me.

Incred­u­lous, I ask, “Not one?” 

~Ψ

My girls are get­ting old­er. They are young women. They reject the pill; spend long weeks hik­ing in the desert, work­ing on kib­butz, trav­el­ing the world with back­packs. They ask me to order them men­stru­al cups from Ama­zon. Small rub­ber bowls to be insert­ed inside: health­i­er and bet­ter for the envi­ron­ment. They tell me their blood will be used to water some organ­ic gar­den. I won­der, can they taste them­selves in each toma­to bite? 

~Ψ

I buy a pair of hik­ing boots, look at myself in the mir­ror. There are no lines on my face. 

~Ψ

I google “Tel Aviv clubs for the old­er set”; I google “Best online dat­ing sites in Israel.” A cat­a­logue of faces. What many of these guys are into, I learn, is mutu­al mas­tur­ba­tion via Skype. So many of them are wear­ing base­ball caps and shades—incognito and hold­ing their com­put­ers.   

One guy keeps nudg­ing me to meet in per­son. His face stands out, sculpt­ed and strong. F. writes in Eng­lish, already a relief. 

I haven’t dat­ed any­one except my hus­band since I was nine­teen. I slip into a filmy red blouse, spread Jo Mal­one Lime Blos­som along my neck and wrists and head to Tel Aviv. 

~Ψ

I have no idea where I am—a dark room, a night­light switch­ing from red to blue to the back­beat of what sounds like old dis­co. He touch­es me, kiss­es me, undress­es me. His arms are long, reach around me. The sand­pa­per of his hands moves over every part of my body. My eyes adjust and I see him, long lines of satin skin, taut and strong. And his cock. Thick, so heavy it doesn’t stand away from his body, beau­ti­ful­ly pro­por­tioned. He is talk­ing to me. Whis­per­ing that he doesn’t do well with con­doms, that he will lose his erec­tion. I am on my back on his bed; he is stand­ing over me. I think, “I want this.” I want this more than I have want­ed any­thing in my life. Acronyms like STDs and AIDS flit through my mind. Six chil­dren, all mine. Tomor­row. I will deal with the con­se­quences tomor­row. Tonight I just want the gift on this bare cock in me. “Yes,” I say, and as he slips inside, a fore­arm under each of my knees, he car­ries me through a door and into the life of my own desire. 

~Ψ

It’s like this every time we see each oth­er. Elec­tric. No con­ver­sa­tion, very lit­tle sleep. I would hap­pi­ly see F. every night, but he tells me he “has church.” Mon­day night church, Thurs­day night church. Lots of church. Really? 

We aver­age twice a week and I become a stretched cord of desire. I walk around the house wait­ing for him to call and when he does, I fly to the car, speed all the way to his lips, his hands, his penis. That beau­ti­ful cock that soon becomes a divin­ing rod to my uncer­tain men­stru­a­tion. Our sex calls my body to bleed. More time apart. But not like D. Not Ortho­dox apart. No, F. will still get his: in my hands, my mouth, against my ass. 

~Ψ

I fell off the roof,” “I’ve got my flow­ers,” “I’ve got my friend,” “I’ve got the grannies,” “lady in the red dress,” “Grandma’s here,” “Aunt Rosa is com­ing from Amer­i­ca,” My red­head­ed Aunt from Red Bank.” 

—Houp­pert, The Curse 

~Ψ

Final­ly the day comes when he calls and, as I get ready for a show­er, I see a small stain of blood in my panties. And I’m done. Done. It is, after all, the small­est stain and what is this? It’s not some God thing. No, it’s a most human thing. My thing. My body. And I am done with let­ting it stop me.   

I tell him nothing—shower and dri­ve to Tel Aviv. We are togeth­er for hours in his pitch-dark room, fall asleep in each other’s arms. The next morn­ing I leave very ear­ly to get home to my children. 

~Ψ

For the next five weeks I don’t hear from F. He doesn’t call and when I tele­phone him the phone rings and rings. When he final­ly invites me to Tel Aviv it’s to show me the stained sheets. Sheets he nev­er threw away, that have sat all this time in the cor­ner of his room. He holds up the cloth and informs me he wants no part of my “bad-lady juju.” 

~Ψ

Ntoza­ke Shange, we need a “God who bleeds.” Is she here? 

~Ψ

This is my blood. 

A lit­tle his­to­ry of the rules, of those who have them and of those who make them. 

The men­stru­al rev­o­lu­tion, in any case, is in progress. And it will prob­a­bly be the first in the world to be both bloody and peaceful.” 

—Élise Thiebaut, “The Men­stru­al Revolution” 

~Ψ

“The name—of it—is ‘Autumn’— 
The hue—of it—is Blood— 
An Artery—upon the Hill— 
A Vein—along the Road— 
 
Great Globules—in the Alleys— 
And Oh, the Shower of Stain— 
When Winds—upset the Basin— 
And spill the Scarlet Rain— 
 
It sprinkles Bonnets—far below— 
It gathers ruddy Pools— 
Then—eddies like a Rose—away— 
Upon Vermilion Wheels—” 

—Emi­ly Dick­in­son (J 656)

~Ψ

At last a man steps out of the cat­a­logue of faces, a man who sees me, who lets me know that I am seen. This is plea­sure of a whole new kind, a deep plea­sure. I am hand­ed drinks before I know I am thirsty. Noth­ing I do or say ever upsets him.   

He touch­es me, mas­sages me, loves me—everywhere: between my toes, the base of my hair­line, the place at where my back meets my but­tocks, which he calls “nabakoo.” It might mean “dim­ple” or “space”; he nev­er says. He does tell me, his voice thick with pas­sion, that noth­ing is more beau­ti­ful. He sees me beau­ti­ful and this makes me beau­ti­ful. His hands are huge, but they nev­er touch me with any­thing but gen­tle­ness. And they nev­er stop touch­ing me. In the street, in shops, every­where. And, wher­ev­er we go, peo­ple stop to look at our grey-haired hap­pi­ness.   

~Ψ

Two weeks after we start dat­ing, I am accept­ed as a PhD can­di­date at a uni­ver­si­ty in Cal­i­for­nia and from that time our rela­tion­ship forms itself around the knowl­edge that I am leav­ing. Four days before I am due to fly, my suit­cas­es most­ly packed, I begin to stain. I ask him if he has made love to a woman who is bleed­ing? He tells me he has not. Then he kneels in front of me, takes my hands in his. His face car­ries years, years of trav­el, of hard­ship, of life, but his eyes hold mine. “We are one body,” he says. “When you bleed, I am also bleed­ing.”  

He makes love to me then, holds noth­ing back, touch­es me every­where. If his penis is cov­ered with blood after, he doesn’t bur­den me with it, just steps away to wash and comes back to bed where he wraps his arms around me, braids his legs with mine into twist­ed roots.   

~Ψ

“thirty-eight years and you 
never arrived 
splendid in your red dress 
without trouble for me” 

—Lucille Clifton, “to my last peri­od”  

~Ψ

Our bod­ies shape-shift and writhe” 

—Darcey Steinke, Flash Count Diary

~Ψ

Noth­ing can pre­pare you for this.” 

—Mary Reu­fle, “Pause” 

~Ψ

I am new­ly arrived in L.A. for grad­u­ate school, stay­ing in a North Hol­ly­wood McMan­sion with friends, when the bleed­ing becomes full. The bed in the gue­stroom is mas­sive­ly pil­lowed, the sheets pris­tine. Luck­i­ly I brought a tow­el from home to tuck under me at night. Despite this, I still wake in the murky light before dawn, a fresh gush slip­ping from me. 

In the bath­room I reach down to remove my tam­pon and look at the full pad attached to my under­wear, the streaks of brown and pur­ple and maroon there, run a fin­ger over this sun­set of col­or. Some­times, when it was espe­cial­ly bad with D., I would lock myself in the bath­room, sit on the toi­let and lay my head down on my knees. The smell of me in those moments, the scent of how life and death could coin­cide inside me would bring me com­fort. Now, see­ing a streak of blood caught on my thumb, I touch it to my tongue before wip­ing it away, taste the salt and rust of me.   

Forty-three years of month­ly peri­ods. At fifty-five I am fac­ing the change. The first signs of per­i­menopause have start­ed to creep in, the heat and fog­gy brain, the exhaus­tion. But haven’t I always been chang­ing? Or has my month­ly flow kept me in rhythm, pro­vid­ed a back-beat to my life? And in this next iter­a­tion, who will this new woman, this new being be? Will I know her, rec­og­nize her bet­ter than I saw myself at 21? Or accept her as I nev­er did that girl of 12, a girl who iden­ti­fied inside a dime sized, rusty stain the rep­re­sen­ta­tion of every mis­un­der­stand­ing, every mis­take, every embar­rass­ment of her young life? And the biggest ques­tion: will I ever find it in me to for­give her? 

~Ψ

 

 

 

 

From the writer

:: Account ::

My jour­ney into this piece began in the first semes­ter of my PhD at the Uni­ver­si­ty of South­ern Cal­i­for­nia. I took a class in Shake­speare where­in we ana­lyzed each play via one word from the text. In addi­tion, we each need­ed to choose one word for our own semes­ter research. In an irrev­er­ent moment, on the day we need­ed to announce our per­son­al words, I chose the word “men­stru­a­tion,” not com­pre­hend­ing in that moment that I was com­plete­ly chang­ing the direc­tion of my research and my life. It didn’t take long to real­ize that I had inad­ver­tent­ly put my fin­ger on the very pulse of the most ancient and per­va­sive way a patri­ar­chal soci­ety has abused women. My answer could only be to tell my own sto­ry not only as an Ortho­dox Jew­ish wife but as a woman in mod­ern soci­ety. How do we undo misog­y­ny? We learned from #MeToo to share our sto­ries and find pow­er in solidarity. 

 

Rachel Neve-Mid­bar’s col­lec­tion Salaam of Birds won the 2018 Patri­cia Bib­by First Book Award and was pub­lished by Tebot Bach in Jan­u­ary 2020. She is also the author of the chap­book What the Light Reveals (Tebot Bach, 2014), win­ner of The Clock­work Prize. Rachel’s work has appeared in Black­bird, Prairie Schooner, Grist, and The Geor­gia Review as well as oth­er pub­li­ca­tions and antholo­gies. Her awards include the Crab Orchard Review Richard Peter­son Prize, the Pas­sen­ger Poet­ry Prize, and nom­i­na­tions for The Push­cart Prize. Rachel is cur­rent­ly edit­ing the AuntFlo2020 Project, an anthol­o­gy of writ­ing about men­stru­a­tion, and she is cur­rent­ly a PhD can­di­date at the Uni­ver­si­ty of South­ern Cal­i­for­nia. More at rachelnevemidbar.com

Here’s Your Terrifying Cat

Nonfiction / Brenden Layte

:: Here’s Your Terrifying Cat ::

I’m sit­ting in a rent­ed car in a park­ing lot, and I’m con­vinced that my cat is dying. I breathe and try to talk myself down and think I remem­ber there being a word like hypochon­dri­ac but for some­one wor­ried about some­thing oth­er than them­selves. If I take my phone out to look it up, I’ll end up search­ing his symp­toms for ten min­utes and for­get what I took it out for, so I don’t. Maybe the word I’m look­ing for is just anx­i­ety.  

An abridged list of my recent inter­net search­es: cat fast breath­ing, cat heavy breath­ing, cat heavy and fast breath­ing, cat pant­i­ng, cat pant­i­ng for no rea­son, cat pant­i­ng no exer­cise, cat flared nos­trils, cat pant­i­ng and cough­ing, cat not able to jump, cat heavy fast breath­ing and pant­i­ng, cat sleep­ing in dif­fer­ent places, cat trou­ble get­ting up, cat smells dif­fer­ent.  

Maybe it’s not a case of me hav­ing what­ev­er the word I’m try­ing to remem­ber is, or the fact that he is sick, but the real­i­ty that he’s not the ani­mal he was a year, or even a few months ago, and had been in one way or anoth­er for nine years before that. And between his age and how sick­ness has a way of aging us even more, there’s a real­iza­tion that he might nev­er be the ani­mal he was again. I reach over to his car­ri­er on the pas­sen­ger seat and awk­ward­ly angle my hand through a hole to touch him. He licks my fin­gers until my hand begins to hurt from the carrier’s plas­tic and I pull it away.  

I fid­get in my seat, try­ing to com­fort both myself and the scared ani­mal next to me, and I think maybe I should just try to find that word to dis­tract myself, but then my phone vibrates and it’s a num­ber I don’t know, which I know means it’s the vet. I answer and they’re ready to see him. I get out and go around the car to open the door and grab the pet car­ri­er, then wait awk­ward­ly by the door before putting him down on a gur­ney when it rolls out­side. The car­ri­er was cov­ered in cau­tion tape the last time I left this ani­mal hos­pi­tal with him four years ago. 

I apol­o­gize to the vet tech in advance for the chaos they’re going to deal with when they open the car­ri­er, then walk back to the car and start rolling a cig­a­rette. I won­der how far away I’m sup­posed to go from the entrance to smoke here. Next to the car, I’m about 15 feet from the tents they’ve put out for peo­ple to sit under because there’s a pan­dem­ic and we can’t wait inside. That doesn’t seem far enough. I know there are rules at human hos­pi­tals, and I try to remem­ber what they are.  

I start walk­ing and end up at the far end of the park­ing lot hud­dled on a small tri­an­gle of lawn, smil­ing at the few peo­ple who pass by to use the near­by dog park. Their glances linger and I feel a tinge of embar­rass­ment and the urge to tell them that I smoke like five cig­a­rettes a month and only when I’m real­ly anx­ious and it’s bet­ter than the alter­na­tives. Instead, I look toward the build­ing and think that my being out here instead of inside with the cat is not going to go well for them. Depend­ing on how long things take, it’s prob­a­bly not going to be great for me either. 

The Hal­loween week­end before the pan­dem­ic, my friend leaned toward me at a bar, telling me about the time she was called into an exam room for a real pain in the ass of a cat at the ani­mal hos­pi­tal she used to work at. Since it was Hal­loween week­end, a band duti­ful­ly wore skele­ton cos­tumes and played a Mis­fits cov­er behind her. My friend said that when she entered the exam room, she saw a gray and white cat half-cov­ered by a pile of tow­els in the mid­dle of the floor hiss­ing and attack­ing any­one that came close. It wasn’t just show­ing the fear­ful defense pos­ture that all ani­mals have when they’re scared, but was ini­ti­at­ing attacks with the pri­mal anger that crea­tures save for those they’re sure mean to destroy them. The kind of anger that says, “I’ll destroy you first.” The vet techs already in the room were hid­ing or pressed into cor­ners. At one point, she said, one of them screamed, “He’s already been tranq’ed three times!” In the com­mo­tion, she didn’t rec­og­nize him as a cat she’d met many times before. She told me that my cat calmed down after the fourth shot. 

When my cat does tricks and gets pieces of food as a reward, he picks each up with his paw and brings it up to his face and some­times he drops it. If cats could be exas­per­at­ed, I’d swear he is in those moments, but instead of tak­ing the short cut and just reach­ing his mouth down, he grabs the food with his paw and brings it up to his mouth again. My cat responds to come, sit, high five, lay down, and roll-over, all of which are about what you’d think except roll-over, which has the embell­ish­ment of a protest meow about halfway through. And final­ly, there’s jump, which involves him jump­ing through a hoop made from card­board and duct tape and meow­ing at the peak of the jump, this time with more pride than protes­ta­tion. It’s a good thing to show peo­ple to prove that he’s actu­al­ly good when they were just attacked and maybe have blood on their legs because we were out­side and they came in with­out me to use the bathroom. 

When I’m get­ting the cat to do tricks, he often decides that he’s had enough and just stops in the mid­dle of roll-over and lays on his back, tail wag­ging side-to-side like one of those art deco nov­el­ty cat clocks. It’s not that he lays in a stu­pid posi­tion, or at least it’s not just that. It’s that he looks to me and seems to be try­ing to find a com­pro­mise, meow­ing up impa­tient­ly while he’s halfway through this thing that has become part of his social con­tract. Wait­ing for me to tell him that it’s okay to be tired or just not feel like it any­more and stop.  

Some­times I joke, or some­body else jokes, about how dam­aged my cat would be if he were a human and then I feel awful because most of the peo­ple I care about are dam­aged and it’s actu­al­ly not that fun­ny of a thing to joke about. My cat’s name is Pablo. He’s named after the poet and also a pen­guin from a car­toon I’ve nev­er seen that a per­son I don’t talk to any­more watched. I did have a friend who had a ger­bil named after the drug king­pin if that’s what you were think­ing, though. I don’t talk to him any­more either. 

Because of the attack­ing peo­ple and the four tran­quil­iz­ers need­ed the last time he was at the ani­mal hos­pi­tal, it took hours for them to get a diag­no­sis and tell me that Pablo had a uri­nary obstruc­tion and need­ed to be catheter­ized for a few days. It took less time than that for them to learn that his cage had to be cov­ered with a blan­ket at all times because oth­er­wise he would slam him­self into the sides of it and try to fight his way through the met­al to get to any­one that walked by.   

When he got home a few days lat­er, the usu­al­ly vocal cat had laryn­gi­tis from hiss­ing and growl­ing and doing the cat ver­sion of mani­a­cal­ly scream­ing the entire time he was in the hos­pi­tal. His mouth still con­stant­ly opened, but noth­ing came out. He stub­born­ly kept doing it, either try­ing to will noise from his bat­tered throat, or maybe he knew that I knew what the noise would have sound­ed like if it were there, and he was fine with let­ting me fill in the silence.  

Pablo was adopt­ed and brought back a cou­ple times before I end­ed up with him and when I tell peo­ple this, they nod know­ing­ly before real­iz­ing what they’re doing and being polite and stop­ping. When I first saw him, he was just under a year old and play­ing with anoth­er kit­ten through a glass win­dow at the shel­ter. The game was him run­ning around the lit­tle room he was in, bound­ing through a cat tree, and stop­ping hard at the glass and then the kit­ten, no more than a cou­ple months old, would stum­ble and wave his paws in the air and then Pablo would rub the glass and start anoth­er lap. When they stopped and Pablo laid in the lit­tle bed they had in his room, I asked the woman work­ing at the shel­ter to see him. She opened the door and I reached in and our first phys­i­cal con­tact was him grab­bing my hand with a paw, bring­ing it to his face, lick­ing it, and start­ing to purr. It wasn’t until after this that I saw his paper­work and found out he liked to hide around cor­ners and pounce at peo­ple, and some­times got real­ly upset for no good rea­son, and also that he real­ly didn’t like guests. By the time I found all that out, it didn’t mat­ter. He was com­ing home with me. 

Maybe it’s because of how he is, at least to peo­ple he doesn’t know, but maybe not being good enough for peo­ple who are sup­posed to love you and take care of you can make crea­tures a lit­tle dif­fi­cult and prone to emo­tion­al out­bursts. Peo­ple don’t believe me when I tell them that Pablo often waits for me at the bot­tom of the stairs to my door when I go out and if I’m gone too long, he cries until my down­stairs neigh­bor sticks his fin­gers under the door to com­fort him and give him food. When I get home, he climbs me and des­per­ate­ly rubs his face into me, some­times until he drools, and meows until I cra­dle him so that he can lick me until he gets over­whelmed and cud­dles into my arms to doze off, limp oth­er than the vibra­tions of his purring. Some­times peo­ple don’t get the whole sto­ry because they don’t know how we act when we feel safe. 

Before he got sick, while we were trapped inside for the pan­dem­ic, I’d real­ly got­ten to know Pablo’s dai­ly rhythms and needs in a dif­fer­ent way than I had before. I knew what would keep his com­plaints under con­trol before they even came. What each lit­tle noise meant: a sur­prised, soft trill; a two-part meow that falls in the mid­dle before com­ing back up and fill­ing the room; a purr that seems to push the lim­its of the hap­pi­ness a crea­ture can expe­ri­ence. I was famil­iar with them before, but I began to antic­i­pate his needs and have some­thing resem­bling two-way com­mu­ni­ca­tion. I learned what each tail swish and head tilt meant, what sleep­ing spots were for short- and long-term stays, what toys he liked at what time of day. With this, he began to stay clos­er for longer peri­ods of time. The love and affec­tion from him used to be aggres­sive, but often brief. Now, he sought pets and begged to be picked up. Now he came close and cud­dled up more often, even going so far as to begin meow­ing at a cer­tain pil­low every night so that I’d lay it next to me for him to sleep on, his paws draped over my arm. At ease; con­tent even. 

I’m not in the park­ing lot much longer after the cig­a­rette before I get a call and find out that they can’t real­ly exam­ine Pablo because he’s attack­ing every­one, and I have to come back next week and give him some stuff before­hand that will sup­pos­ed­ly relax him. The good news is that there were no obvi­ous heart mur­murs through the mul­ti­ple tow­els they were hold­ing him down with. I guess no obvi­ous heart mur­murs is bet­ter than obvi­ous even through tow­els heart murmurs. 

Anoth­er week of Pablo’s chest heav­ing, and his body curled up next to the sooth­ing cool­ness of the toi­let or the sink. He has trou­ble mov­ing or get­ting up. When he tries to, his front paws strain to get enough of his body up to com­mit to the act. And when he tries to play or exert him­self, his eyes widen before long and he freezes and lays down right where he is, even if it’s not a spot he likes. He used to jump on top of the refrig­er­a­tor from the floor, now he needs a chair just to occa­sion­al­ly vis­it me on the counter where I work. When he tries to get into the bath­room sink, a favorite sleep­ing spot that he’s climbed into a thou­sand times, he comes up short and has to pull him­self up, or he comes up real­ly short, slides down the cab­i­net, and just lies where he falls. He sleeps all day, his only move­ment the rest­less­ness of try­ing to find comfort. 

 

After a week, I get up at 6:00 a.m. and give Pablo his sec­ond dose of the med­i­cine that the vet gave me that will sup­pos­ed­ly make him eas­i­er to deal with, and he does seem more docile than usu­al. I think about how easy it is for me to give the med­i­cine to him, and then think about how I can clip all of his toe­nails in a minute or two with him purring the entire time, hap­py for the close­ness and atten­tion. Most peo­ple that know him wouldn’t believe these things, but to me they’re just who he is. 

I walk to get the Zip­car I rent­ed; it’s ear­ly July and it’s the ear­li­est I’ve been out­side since the win­ter. We’ve been in a months-long series of heat waves, swel­ter­ing air crash­ing over and engulf­ing every­thing and then giv­ing us just a day or two to wring every­thing out before crash­ing down again. This morn­ing is cool. I dri­ve back home and pick Pablo up and drop him off to wait for news all day. 

I half­heart­ed­ly try to work when I get home. The lack of his pres­ence makes the apart­ment seem like a dif­fer­ent place. Final­ly, the vet calls. Pablo has asth­ma and seri­ous hyper­thy­roidism. It only took three tran­quil­iz­ers to exam­ine him this time. 

I’m back in the park­ing lot, wait­ing to pick Pablo up and wrestling with the pros and cons of treat­ment options. It sounds like he should be okay for a while but might slow down per­ma­nent­ly. Despite this, I can’t shake the thoughts about his death. They’ve been there a lot late­ly, not just these last two vis­its, but for months now. Part of me thinks it’s because death is such a nat­ur­al thing to fix­ate on right now, but it’s more than that. I had cats as a child, but their deaths nev­er occurred to me as a pos­si­bil­i­ty until they actu­al­ly hap­pened and the mourn­ing set in. When a creature’s well­be­ing is in your hands, it’s dif­fer­ent. There’s a sense of dread when some­thing goes wrong. A sense that when things change, it’s always for the worse and that it’s your fault and in the best-case sce­nario, you have to learn to care in a dif­fer­ent way, and in the worst, you might not have any­thing to care about anymore. 

But then I remem­ber how Pablo still jumped up on the counter to sleep next to me while I worked from home, even when he was sick. One day he was right up against me, upside down with a paw over his snor­ing face, con­tent until I made the wrong move and he nipped me and then vault­ed over a chair to the floor and dart­ed out of the room. And how one day he strung togeth­er a series of this noise he makes that I’d nev­er heard before I heard him make it—a meow that he holds as it gets high­er in pitch, then dives back into his throat and right back up again—and it sound­ed like he was hap­pi­ly ser­e­nad­ing me as I got home. Or that he some­how man­aged to rip off a huge piece of a spi­der plant that’s five feet off the ground when he could bare­ly move ear­li­er that day.   

I also think about the fact that although I’ve been treat­ed as ten­der­ly as he treats me by so few, ani­mal or human, I also know that he’d be damned if he’d let any­one or any­thing else do any­thing that made him uncom­fort­able for even a sec­ond with­out reper­cus­sions. One time my friend was too drunk to go home, and I woke up to him being attacked and yelling, “I am a per­son, you are a cat,” over and over again and either Pablo wasn’t into dis­cussing meta­physics at 6 a.m. or he’d had enough of the strange per­son on his couch and sim­ply didn’t care and wasn’t going to let a per­ceived pow­er imbal­ance stop him from fight­ing. And I start think­ing that atti­tude prob­a­bly applies even if the fight is between his will and his body. 

Maybe this will be what kills him even­tu­al­ly, and maybe his age is final­ly catch­ing up to him and it’s not pos­si­ble to run so hard or so with­out fear for­ev­er. And maybe that’s okay. Maybe hav­ing a favorite pil­low to set­tle into next to some­one you love instead of run­ning around all night is okay. Maybe slow­ing down a lit­tle is some­thing we earn, not some­thing we lose.  

It’s this that I’m think­ing as the vet tech approach­es me, hands me Pablo’s case, and says, “Here’s your ter­ri­fy­ing cat.” 

 

 

From the writer

:: Account ::

The first notes that would become this piece were writ­ten dur­ing what we now know were still the ear­ly months of the COVID pan­dem­ic. Watch­ing the unimag­in­able suf­fer­ing of so many, it felt strange to be wor­ry­ing so much about the health of an ani­mal that, part­ly through the nature of pets and part­ly through his par­tic­u­lar atti­tude toward most humans, only real­ly mat­tered to me. At least in any kind of seri­ous way. The idea that my remain­ing time with him could be lim­it­ed, or even end­ing soon, real­ly shook me. I’ve always had pets and loved a few of them a great deal, but Pablo is the first one I’ve been mature enough to love in a way that isn’t self­ish. I care about him not as a play­thing or a dis­trac­tion, but as a crea­ture wor­thy of a cer­tain lev­el of dig­ni­ty, and there was a feel­ing of help­less­ness in not being able to pro­vide that while he was sick. The core of this sto­ry is just that—what it’s like to watch some­thing you care about grow old, but I also want­ed part of the piece to be about the ways that I’d also changed since I’d adopt­ed him, and how steady and com­fort­ing of a pres­ence he has been over those years. 

 

Bren­den Layte is an edi­tor of edu­ca­tion­al mate­ri­als, a lin­guist, and a writer. His work has pre­vi­ous­ly appeared in places like Entropy, Ellip­sis Zine, and Pit­head Chapel. He lives in Jamaica Plain, Mass­a­chu­setts, with his girl­friend, some gold­fish, and Pablo, the ter­ri­fy­ing cat at the cen­ter of this piece.