The Lives I Know: A Conversation with Pat Spears

Hotel Impala
Pat Spears
Twisted Road Publications
$19.95 (392 pages)
Publication Date: September 16, 2024

 

David James Poissant: Hotel Impala is a novel that tackles, unflinchingly, questions of homelessness and substandard housing in America. By following six years in the lives of the members of an unhoused family, you ask certain questions of the reader. When readers close this book, what do you hope their takeaways will be?

 

Pat Spears: Those of us who live in cities, large and small, see people with no fixed residence every day. All too often, we look away, so that we can maintain a physical and emotional distance between ourselves and them. But I wonder how often we pause to consider who they are—what their lives are like, how they got where they are, how they live, what hopes they have for themselves. It’s a question I’ve been considering from time to time since I was in graduate school and saw a family with a small child on the street one cold February night. I remember that it was February because my birthday was approaching, and I was thinking about getting out of the cold and finishing off the food from the care package my mom had sent. As I was leaving the campus, I saw them—a man and woman, my age or slightly older, and a child, maybe three or four, huddled together beneath a streetlight. The boy sat slumped on what appeared to be a cardboard suitcase, and I imagined him tired, cold, and hungry. He leaned against the woman I took to be his mother, and I tried to imagine what she might have said to comfort him. The light changed, and I drove away. I felt I should have stopped, although I had no idea what I might have said or done. Until that moment, I had understood homelessness only as a construct. Now it was real.

 

The image of the boy and his family has stayed with me all these years since. I want to believe that a random encounter, decades earlier, had planted a story seed, an emotional memory that has remained. Perhaps it is true that our hearts hold memories, waiting for our conscious minds to catch up.

 

What I want Hotel Impala to do is to help close the emotional distance between “us” and “them”—the housed and the unhoused. I want readers to feel their humanity: the pain and fear of life on the streets, but also the yearning for something better. Yes, Grace and Zoey were, at times, cold, hungry, and afraid. They also loved and were loved. They were curious and inventive and loyal. And they each dreamed of some bright future.

 

David James Poissant: This is a novel that couldn’t be told from one point of view, and the book thrills by accommodating so many characters’ viewpoints. As a writer, how do you move from viewpoint to viewpoint so gracefully?

 

Pat Spears: The character Leah is clearly not well, but she is frequently in denial. The core of the story is the chaos created by her erratic behavior and insistence that she is fine and that everyone else must see her as she sees herself—“live inside Mom’s twisted reality,” as twelve-year-old Grace puts it. Each character is part of the same dynamic, but everyone experiences the conflict between their loyalty to Leah and their own yearnings differently.

 

To make the point of view shift work, I chose to follow the chaos, examine the character whose yearning was most impacted in each scene, and show their individual responses.

 

The Leah character is different from anything I’ve written before. Getting inside Leah’s head was both challenging and terrifying. And of course, it was the fact that she is such an unreliable narrator that made the multiple points of view necessary.

 

Grace was interesting because she was both truth-teller and advocate for Leah’s and Daniel’s lies. The thing that defines Grace is her yearning for a “normal” mom—or at least one with a noble illness, like cancer, so she won’t have to feel ashamed.

 

The yearning of Daniel’s character is more toward self-preservation than any other character except Zoey, who just wants what she wants. The thing that drives Daniel is the fact that his love for Leah and his desire to protect his children could be—and is—derailed by his desire simply to survive Leah’s rages.

 

Josey, Ellie, Jordan, and Moses are at some distance from the chaos but are nevertheless drawn into it. Josey reacts with concern and handwringing, Ellie and Jordan each with their own version of helpful action, and Moses becomes the ultimate truth teller.

 

David James Poissant: In spite of the horrors throughout this novel, or maybe because of them, there is also a thread of occasional humor. I’m thinking in particular of the tampon conversation during which Daniel feels as though he’s “swallowed an entire hippo in one gulp” while trying to parse the meaning of Grace calling him “basic.” What’s your method for juggling tone in a book of this size?

 

Pat Spears: Leah’s “flare-ups,” the cycles of her illness, create the rhythm of the story. That rhythm made changes in mood and tone largely intuitive. There are places, particularly after the darker scenes, where it felt like the story needed to take a deep breath.

 

Much of the humor was in service of the story, of course, but it was also for me. This was not an easy book to write. I write for emotional connection between the reader and the characters. When what I’ve written makes me laugh or cry, I trust the writing.

 

The humor just comes naturally to me, having come from a tradition of front porch storytellers. My dad could tell a joke at the most improbable, and sometimes inappropriate, times, because that’s what Southern storytellers do. Dorothy Allison said it best, in an interview she did a few years ago. She said of Southern writers: “We can make you laugh and cry at the same time, which is my favorite thing. I work hard to do a kind of seduction in which you read sections that are very funny and charming, and then, two paragraphs later, it ain’t charming. It ain’t funny. It’s horrible. And to have both of those things happen at the same time, that’s life” (Garden & Gun, Nov. 22, 2019).

 

One of my favorite scenes in Hotel Impala that demonstrates that kind of desperate humor is the one where Leah has lied to a judge to get a restraining order against Daniel, so that he can no longer attend Grace’s basketball games. Grace makes up an elaborate lie to explain his absence and ponders the irony of the fact that her mother’s behavior seems to require no explanation.

 

“When Grace grew so tired of her family’s lies, she fantasized about a moment when she would grab the mic and give her own introduction: Welcome your Tiger’s leading scorer: at 5’11”, playing center forward, our very own Grace Killian! Daughter of an accused wife-beater and a loony mother! Wild cheering would explode from the fans.”

 

David James Poissant: From one South-haunted writer to another, place seems important to you. Another novel of yours, It’s Not Like I Knew Her, set in Florida and Alabama, is setting-specific, historically, but I wonder if you see Hotel Impala working in the same way? Seems like there are any number of cities down on their luck that could provide a setting for this novel. Is that choice intentional? Do you see this novel as more universal than your others, or is universality even a helpful construct in fiction?

 

Pat Spears: Yes, place has always been a critically important part of my writing—almost another character. When I started writing Hotel Impala, I struggled with place. I had set early versions of the novel in several different, specific places. But I gradually realized that my struggle with place was because I was not approaching it correctly.

 

In the beginning of the novel, Leah and her family appear to others to be somewhat settled, but that is an illusion. Through most of the story, they are transient. The decision to have them occupying an unspecified city was not so much to suggest that the story could have happened anywhere, although I think that is also true, but to suggest their being untethered—that they have no place.

 

I also wanted to suggest that Leah’s yearning did not involve a “place” in a real sense, a spot on the map, if you will. She’s following her yearning to be healed by the magical power of the whooping crane. Interestingly, Leah’s search for the whooping crane leads her back to my home, to the place I’ve always written into my stories, and connects her to an individual who has been in that place for generations. And a one-hundred-year-old alligator, also a native to that place. Then, while writing, the Moses character arrived unexpectedly and fully formed, and I knew him immediately at an emotional level.

 

I’m not sure what that means, but that’s where the story pulled me. Maybe it means that, in order to write that final scene, I needed grounding in something familiar.

 

David James Poissant: Ranking books is a risky business, but Dorothy Allison’s Bastard Out of Carolina is definitely on my list of the ten most important American novels of the last fifty years. Hotel Impala opens with an epigraph from Allison’s novel, and your story “Pink Moon” appears in an anthology introduced by Allison. Can you speak to the influence that Allison has had on your work, over the years, or your ideas of what the novel form, at its best, can do?

 

Pat Spears: When I need more truth in my stories, I turn to Dorothy Allison. I have always loved it when she talks about the risk you take when you willingly make readers uncomfortable. Her novels, which in my view represent the very best of the novel form, pull readers in and hold them there. She leaves no space for the reader to get comfortable enough to wander off into their own fantasies, thereby becoming the storytellers themselves.

 

That’s the part of Allison’s work that I’ve tried to emulate: to create a narrative that draws the reader in and compels them to stay. One in which they see and hear and feel what my characters are seeing and hearing and feeling to the exclusion of everything else. Because that’s what novels have always done for me. They have allowed me to walk alongside someone I had never before imagined, much less known, and know them.

 

David James Poissant: Beyond Allison, which writers do you admire most, and what are your favorite novels or stories? Which books, if any, do you return to again and again?

 

Pat Spears: When I first began writing fiction, I wrote short stories. It was a decade or more before I even contemplated writing a novel. One of the best short stories I’ve ever read was “A Small Good Thing” by Raymond Carver. I’ve read it again and again, along with every other story he’s written. Carver was, of course, the grand master of the minimalist style and has had a significant influence on my own writing style.

 

As I began considering writing a novel, Annie Proulx became a favorite, with her mastery of both short stories and novels. In her novel Postcard, there are scenes that are as chilling and as brilliantly written as anything I’ve ever read.

 

As a writer, when I am struggling with dialogue, I turn to Cormac McCarthy. McCarthy allows one to appreciate the importance of what is not said as opposed to what is said. He was marvelous at infusing dialogue with subtext.

 

Rick Bragg is one of those writers for whom place is essential, and my favorite of his books, Ava’s Man, is probably the best example. As you read it, which I have done several times, it becomes clear that the story could not have happened anywhere else. Ron Rash’s stories have a similar connection to place.

 

Other favorites include Colson Whitehead and Louise Erdrich. Colson Whitehead’s The Nickel Boys is set in a location that was practically in my backyard as I was growing up, and I know the setting and some of the history upon which it was based.

 

Finally, there were two books I referred to over and over as I prepared to write Hotel Impala: Madness by Marya Hornbacher and The Invisible Child by Andrea Elliott.

 

David James Poissant: Finally, if you could offer one craft tip or nugget of wisdom to the aspiring novelist, what would you say? What do you wish you’d learned earlier as a beginning writer?

 

Pat Spears: This is a difficult question to answer. Developing as a writer is, by its nature, an extremely personal process.

 

I will say that I wish I had been braver. I wish I had made the decision to walk away from my work and try my hand at writing much earlier.

 

The other thing I will say is how important it is for writers to find their own voice and to write their own truth. Reading other writers whom you admire, and with whom you connect, can help, but only as long as you use them as guides and don’t try to imitate them.

 

When someone asks me to elaborate on my propensity for writing deeply flawed characters, the question is often delivered with a certain hesitancy while the speaker searches for a kind way of asking why I choose fictional losers over rousing heroes. While I find no fault with straightforward heroes, I hold tight to my passion for writing characters that readers may resist but are nevertheless drawn to—not losers but characters and stories that reveal the astonishing lives of those teetering on the edge of human disaster and social acceptability.

 

I know these characters and their stories because they are my kin—with all their hard-earned wisdom, social warts, and sometimes-devastating consequences driven by ignorant pride. These are the lives I know to write.

 


Pat Spears is the author of three novels and numerous short stories. Her second novel, It’s Not Like I Knew Her, won the bronze medal for Foreword Review’s Book of the Year in LGBTQ Fiction. Her short stories have appeared in numerous journals, including North American Review, Sinister Wisdom, Appalachian Heritage, Common Lives, Lesbian Lives, and Seven Hills Review, and anthologies including Law and Disorder (Main Street Rag), Bridges and Borders (Jane’s Stories Press), Saints and Sinners: New Fiction from the Festival 2012, and Walking the Edge: A Southern Gothic Anthology (Twisted Road Publications). She is a sixth generation Floridian and lives in Tallahassee, Florida with her partner, two dogs, and one rabbit.

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Instar

Anton DiSclafani 

 

In early August, my husband finds a Luna moth with an injured wing while walking our dogs. The wing is luminescent and green, torn nearly in half. We put the moth, which will never fly again, into a netted terrarium, a former home for caterpillars that arrived in pupae form. Our children—two boys, six and three—had ignored the caterpillars. I didn’t blame them. The whole experience felt perfunctory, riskless. Go to insect.com and order caterpillars that are almost butterflies, caterpillars surely raised in some sort of caterpillar factory, ready to enter the next stage of life as soon as they are unpackaged. 

 

My husband jokes that the Luna moth is in hospice care. Otherwise, of course, it would be cruel to keep. Its delicate legs cling to the netting, hour after hour. I wonder what the moth makes of the chaotic sounds that surround it, the little boys who peer into its face. If it hears, or sees. 

 

My older son speaks to it, seems unfazed when it doesn’t respond to his voice. This boy is most at home in the natural world. My husband says he was born into the wrong family. I have never camped. My husband used to, when he was young, but it has been years. Luna moths, we learn, do not eat or drink in their short time—a week, ten days—on earth. They exist only to reproduce.  

 

It becomes a she one morning when we wake to dozens of nearly microscopic eggs, scattered thickly upon the netted walls of her final home. I’ve never seen her move, but she must have moved, injured though she is, in the night. I am glad for her, that she served her purpose, that she will not die in vain, though I know that to feel anything on behalf of a moth is ridiculous.  

 

Like the caterpillars, our Luna moth offers a guarantee: she will die, and we will watch her do it. 

 

 

When the moth enters our house, my older son is about to begin kindergarten for the second time. It is common in our football-obsessed town to redshirt your children, especially boys, so that they are bigger for sports, but that is not why we do it. We do it because he is struggling to read. Whether or not this is because he wasn’t explicitly taught at his free-range Montessori school, or because he is dyslexic, remains to be seen.  

 

When the moth enters our house, I am happy. We’ve entered a contented phase. It took me a long time to feel like myself after our younger son was born, three years ago.  

 

But now I do.  

 

 

 

The moth lives alongside her eggs for a few days, then she begins to die. When I think of moths, I imagine the small brown kind that eat holes in sweaters and flock to light. But this moth is beautiful, lovelier than any butterfly I’ve ever seen. She is as large as my hand, iridescent green with yellow spots that resemble eyes, to fool predators. She disintegrates, bit by bit. I find a piece of her wing at the green bottom of her cage; by the next morning, she lies crumpled, surrounded by the rocks and assorted talismans my older son installed there. He loves objects: marbles and coins and bits of things he finds in the world. He comes home with rocks and moss and desiccated insects. I throw away his treasures in secret, when he is sleeping or at school. He doesn’t miss them unless I am careless and he sees something he once loved at the top of our trash. 

 

A friend is over when my son sees the dead moth at the bottom of its terrarium, and at first, he is stricken, but he catches himself, acts as if it’s no big deal. Because he has a friend over. The bravado of a watched boy. 

 

The eggs hatch in stages. There are dozens of tiny caterpillars, and some of them make their way through the netting and disappear. My son and I look up their food sources, find a sweet gum tree and cut a branch.  

 

Almost all of the first wave of caterpillars die, because I didn’t think to change the branch and they cannot survive without fresh food. I consider taking the cage outside, unzipping it, letting the caterpillars into the world, where they will almost certainly die.  

 

I decide to try one more time.  

 

 

My younger son starts preschool at the same Montessori program my older son just left. Ships, passing in the night, we joke. He leaves his home daycare, run by an Iranian-American woman I have come to love. I joke that she saved my sanity, but it is not really a joke. My husband and I traded off childcare for the first two years of his life, but I was more tethered to the baby, especially early on, when he nursed.  

 

This woman loves my child. And I love her, because she loves my child, part of a trend I’ve noticed: I love the people who care for my children. And when we have to leave them, as we always do, children flying through one stage after another, I am unbearably sad.  

 

For a year, she greeted me at the door in the morning, asked me about my son’s night, his morning. I will never stand in her foyer again.  

 

I text her on my younger son’s final day and tell her I can’t do pick up, or I will cry.  

 

 

 

I keep the second wave of caterpillars alive. The first time I count there are twenty. They are so tiny it is difficult to think of something to compare them to—the white part of my fingernail. Twenty eyelashes, bundled together. My friend directs the Museum of Natural History in our town, and I text her questions. She tells me Luna moths are her favorite Saturniid, and I feel a strange sort of pride, as if I have anything to do with it.  

 

My favorite parts of my days are when I am alone, when my children are gone, and when my children come home and I play with them. Cook for them, bathe them, change their clothes, wipe their bottoms. The list is endless; sometimes I feel more servant than parent. There’s not a lot of difference, my husband says.

 

I worry over the caterpillars. Every night I remove the branches to which they cling, and I count them. We sit at our kitchen table, which is the kitchen table from my childhood home. The table is old, pine, and my mother took better care of it than I do—she rubbed oil into its surface when it was dry, swept the crumbs from it every night with a damp sponge. I never complete the former chore, only sometimes the latter.  

 

My sons like when the caterpillars crawl on their arms. I like this, too, because it delights my children. I worry that the caterpillars will not know there is a new, fresh branch, so I take a needle and gently separate them from the old leaf, transport them to the new.  

 

My friend the scientist tells me I might rip their insides out this way, and I am horrified that my carefulness was so wrong. I take the small scissors I used to trim my children’s fingernails when they were babies and cut around the tiny, neon green caterpillars and transfer bits of caterpillar-occupied leaf to the new leaves. It is time-consuming but satisfying, a task that is finite and clear, unlike writing.  

 

You will do anything to make your life complicated, a different friend says. He is a man. I can’t imagine a woman saying this. All the women I know complicate their lives like I do. With children and pets and gardens. 

 

Things to care for.  

 

 

My husband asks how my babies are. But I don’t feel maternal toward the caterpillars. I feel enchanted by them. Something otherworldly is unfolding, so close to me. When one caterpillar touches another, the touched caterpillar rears up and swings its body around, aggressively, and though I assume this is nothing more than instinct, I can’t tell what purpose it serves. To scare? To try to identify the touch as friend or foe? Perhaps it is simply a reflex, meaningless without context. 

 

I watch them eat around the edges of leaves. They are active unless they are molting, in which case they look like they are praying, their front legs lifted from the leaf, clasped together. They stay like this for a few days, then they shed their skin, which we find later, dotting leaves like mummies. 

 

One time we see a caterpillar in the process of tugging its new body from its old. I’ve never seen anything like it. I tell my son it is rare to witness such a thing. A creature in its most vulnerable state, its skin soft and new. Untouched. 

 

None of them have individual personalities. Maybe I would ascribe traits to them if I spent more time with them, but I doubt it. They are too tiny, too driven by the most basic of needs: Food. They move slowly. They never seem afraid, or even aware of my presence.  

 

My older son and I see one poop, the flaps on its rear unfolding with elegant simplicity. My son is delighted, almost hysterical. His humor veers toward the scatological. My husband tears the tiniest piece of toilet paper for the caterpillar, and my son roars with laughter.  

 

Every night my husband goes to our sweetgum tree and cuts a branch. With my phone’s flashlight we check it for the parasites I have read could kill them. After a while he has to use a ladder, because we have stripped the tree of its lower branches.  

 

 

After spending a summer learning the basics of phonics with a tutor, then a month of kindergarten for the second time, my son reads a word. Haltingly, slowly, he reads. I yell in excitement, startling him. But he is happy. To have pleased me.  

 

When my younger son was six months old, I fed him scrambled eggs, and his face turned bright red. He was diagnosed first with an egg allergy, then with a peanut and almond allergy. I learned everything I could about oral immunotherapy, the process by which the allergic is fed increasing doses of their allergen. I found it on the Internet. No doctor ever mentioned it to me. OIT makes perfect sense: You teach the body to tolerate the poison.  

 

Nobody near us performs OIT on children as young as my son, even though the research is astoundingly clear: The younger the child, the more flexible the immune system. The younger the child, the better OIT works.  

 

I considered taking my baby, seven months old at that point, to Houston once every other week for treatment, which would have required an hour and a half drive to the airport, then a flight, then an overnight stay. Then I found an allergist in Birmingham, two hours away, and my husband and I, with the flexible schedules of academics, took him every Monday.  

 

His allergy disappeared before he had all of his teeth.  

 

My older son goes to a tutor every week, but I decide this is not enough. I’ve read articles and studies about the dyslexic brain that suggest that the dyslexia is a chicken and egg problem. Since the dyslexic child does not enjoy reading, he does not read, never changing the neural pathways of his brain that would make reading easy.  

 

I lean hard on a study that scanned the brains of young children before and after intensive phonics tutoring. There was almost no difference between the post-tutored brains and the brains of children who were not dyslexic.  

 

We hired another tutor to come to our house on the weekends. We read book after book after book.  

 

It is the only way I know how to approach a problem. To, as I explain to my mother, nip it in the bud. The allergies, the dyslexia. I am well aware there are situations that I will not be able to nip in the bud, that we have been lucky, so far. My older son might struggle in school. At first, this idea undoes me. Then I adjust. I think of the people I know who don’t read as much as I do. My sister’s wife, who is one of my favorite people in the world, has never read my books. It is a family joke.  

 

I want my son not to be unhappy. But that is impossible. I want to choose his unhappinesses. I don’t know what I would choose, if given the choice.  

 

 

 

My children like letting the lime green caterpillars crawl on their arms. But the caterpillars grow quickly, and their bigness alarms them. My younger son cries one evening, at dusk, the time of day we usually tend to them. After dinner and baths, before stories and bedtime.  

 

Off, he says. I want it off. 

 

I understand. Their heads have turned large and brown, their legs more articulated. I don’t feel the same affection for them, and I wonder if this is what having teenagers is like. 

 

Each new version of the caterpillar displaces the older ones. I marvel at how tiny they were when I look at pictures on my phone. It is the same way with my children. Watching videos of them from six months ago, a year—it is like watching strangers whom I love.  

 

I feel no tenderness toward the caterpillars, but I do want them to survive. It pleases me, to watch them grow. To see them eat.  

 

If I listen closely, I can hear them chewing.  

 

 

My older son has some of the warning signs for dyslexia, which is not a learning disability but a learning difference. He was a late talker. He confuses his bs and ds, but most children his age do. The biggest warning sign is that he is having trouble learning to read. I learn that the brains of children undergo a transformation when they learn to read; dyslexic brains do not undergo the same transformation. I learn that there are different kinds of dyslexia, that as many as twenty-percent of the population is at least somewhat dyslexic. I learn that dyslexics tend to have great spatial abilities, that they are, for example, good at Minecraft. I learn so many interesting things about dyslexia, about the brain, about reading and language. I hope none of it applies to my son.  

 

My older son is sensitive. Often he cannot tell us why he is upset, but as he’s grown older my husband and I have started to understand him better: He is most disturbed when a plan of his does not go as he thought it would. He thought he was going to come home and eat popcorn while watching cartoons, and we tell him he is in fact going to soccer practice, and he disintegrates.  

 

The problem is that often we don’t know what his plans are until they’re disrupted.  

 

 

The twenty caterpillars survive for a few weeks. Then they start to die. For no apparent reason. One by one. I find them at the bottom of the terrarium. I scour the Internet and read that disease and fungus are common among caterpillars, can kill off dozens in one fell swoop.  

 

I have no way of knowing what kills them, but I know what doesn’t kill them: A living predator. A bird, a human.  

 

I hate to see them dead, and in this one area of my life, I am uniquely powerless. Before the illogic of the idea reveals itself, I consider taking them to the vet.  

 

I hide the dead caterpillars before my children can see them. My older son becomes suspicious. Weren’t there more? he asks.  

 

No, I tell him. I don’t think so. If I admitted there were, I would have to admit I’d disposed of them in secret. That I have, from a certain perspective, lied.  

 

I think nothing of lying to him. It occurs to me that I should. 

 

 

My older son begins to read in earnest. Simple words—consonant vowel consonant—but still he is reading. I feel both a profound relief and a sense of dread: That we have solved this problem, that there will surely be another problem in his childhood that I cannot solve. It’s not a question of if, but when. Because he is a person. Because a life without problems is impossible.  

 

 

 

Look, I say to my husband, to my children—look. The caterpillars have gone from microscopic to the size of my pinkie finger in a month, and now they are preparing to enter pupae form. There are six of them left. When I finally tell my son that some of the caterpillars have died, he is unbothered. The remaining six find the dead leaves at the bottom of the terrarium, leaves I have left there for precisely this purpose, and begin to wrap themselves inside them. It is an ingenious disguise, if you don’t account for lawnmowers: A bird sees a dead leaf, not a meal.  

 

Look, I say, to my husband and children. Look. We all look. We are all amazed. None of us has seen anything like it, up close.  

 

I am so proud that I saved them.  

 

 

 

On Easter morning, half a year later, we are in the garage, putting on shoes in preparation for meeting meet my parents for brunch. I have forgotten about the pupae, who sit in their terrarium in our garage, still clothed in leaves. I assume they have all died, but I don’t have the heart to throw them away, and I know from my friend that there is a small chance they have overwintered, remained in pupae form until the spring.  

 

But my older son has not forgotten. He checks the moths every day.  

 

Look, he says. At first I think he is pointing to an old can of paint. But no, it’s a Luna moth that has emerged during the night.  

 

My life will change in unimaginable ways over the next year. Illness, birth—I am pregnant with my third child. The normal vagaries of time that bring pleasure and pain.  

 

Too on the nose, my husband says, referencing the moth’s surfacing on a day celebrating resurrection, a joke our children are years away from comprehending. But there is awe in his voice.  

 

We let our older son unzip the terrarium, watch in our driveway as the moth flies away. It grows smaller and smaller, a glimmer in the bright sky.  

 

A flash of green, a spark of something from another world. 

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Review: Pretty: A Memoir by KB Brookins

Review of Pretty: A Memoir, by KB Brookins; Knopf; $28.00; 240 pages; May 28, 2024

Review by Dani Sarta

 

KB Brookins’s third published book and first memoir, Pretty, is an artfully queer ode to growing up in a society that doesn’t “get” you and to the ongoing journey of crafting your own space amid recent, globally traumatic years. By way of Black cultural references, queer theory and literature, and a homegrown love of the Texan South, Brookins leads readers through their life growing up as a masculine Black girl learning to show the world who they really are.

 

Composed of essays and poems, and divided into four sections, this memoir begins with Brookins’s early days. After laying the foundation of their birth and adoption at two years old, they offer a brief disclaimer, reminding the reader that “the mind has a way of shielding the body from what it can’t contain… so know that this story isn’t the full one… but is composed of the moments too interestingly gendered to pass up.” The moments they choose to share are incredibly raw and relatable to anyone who grew up under similar constraints of gender, sexuality, and/or religion. From being told at five years of age to “close [their] legs” because of the men around them to starting the deconstruction of their relationship with Christianity at twelve, Brookins recounts hallmark memories shared by many queer people, as well as most girls raised in “the church.” Still, each experience is seasoned by the Texan conservatism they suffered, as well as their family’s deep connection to the Christian church, making these experiences uniquely their own.

 

 Later, the memoir focuses on Brookins’s struggles with sexuality as a teenager in a budding Internet space. They explore websites like MySpace and engage in relationships beyond what they are told is “normal.” And in the third section, Brookins turns the mirror to the darker, painful parts of self-exploration; frustration expressed in unhealthy ways; the concept of toxic masculinity in Black, queer spaces; and a misunderstanding of Black “man/boyhood” due to being socialized as a Black woman/girl.

 

This section begins with a poem titled “Toxic Masculinity,” which discusses the cycle of abuse, generational trauma, and racism against Black men, and how all of these pains manifest in other areas of Black men’s lives. The poem is followed by the titular essay in which Brookins admits to embracing toxic masculinity while in a queer relationship, feeling compelled to fall back on the examples of masculinity they knew when faced with a situation that forced them to see their gender in an unexpected way. The last two essays of this section, “I Get Least of You” and “23andMe,” address Brookins’s relationship with their adoptive father and his relationship to masculinity. Brookins also details their brief but unsuccessful dive into 23andMe to find their biological father.

 

In Brookins’s letter to their adoptive father, they write, “What does it mean to parent yourself in a world that sees you as a man while you are a boy? What does it mean to be told that you’re a boy—like I was told that I was a girl—and have Blackness cloak that boy in some predetermined fate? I was never a Black boy, but now I’m expected to be a Black man. I’d love to get the MO on all I missed from boyhood with you and dad #2.” Having no experience being raised as a Black boy, Brookins struggles to embody the image of a Black man. By the end of the section, Brookins has not been able to connect with their biological father, but there is a beautiful moment of reconnection with their adoptive father after Brookins begins social and medical transition. The two share “a conversation that wasn’t possible when [they] came out in high school” with “more understanding, more patience, less grief and loss in the air.”

 

A majority of the essays, like “23andMe,” conclude with a few paragraphs or pages of hope for the future. Some readers may find this tedious or unjustly optimistic, but such moments are best read as acts of resistance or self-love (which is resistance in its own right), in which Brookins reaffirms their author’s note. This is a memoir they wish had existed when they were transitioning, the memoir they needed as a teenager, as a child, and even now. To further this resistance, halfway through the memoir, Brookins writes, “We must believe people when they tell us who they are. We must create a culture where people’s reality always overpowers other people’s bigotry.” This centers the memoir around the act of forming an ideal reality, regardless of others’ discomfort.

 

This resistance comes into full view in the final section of the memoir. As Brookins writes, “Each adverse experience and day of literary discourse on Twitter should be radicalizing us to create a new literary America…Writing is an extension of living, so we have to study and practice love in the same ways that we study and practice craft.” Throughout this section, Brookins criticizes the ways that liberalism and “diversity” within companies and institutions (especially the publishing industry) often suffer from a normalized, hyper-white focus, and how, despite Brookins’s complex and layered background, they are often forced into the box of the “token” Black person in a room. They show from their experiences that very rarely does an organization that prides itself on its diversity or “wokeness” understand the nuance of multiple identities, such as those that Brookins encompasses. Such institutions, Brookins argues, generally alienate those they claim to care about.

 

Still, the memoir celebrates intersectional identities and Brookins’s journey to identify as a member of multiple communities, emphasizing the importance of existing for yourself while doing the systemic work to help others exist alongside you. As Brookins writes in the title essay, “We can shed ourselves, be limitless, and embody everything pretty. I am mine, you are yours, this world is ours, everyone’s, to be safe in.” While this call to action arrives long before the memoir’s end, the call is clear: live a life of love and care, and insist that the world change for the better.

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Review: My Infinity by Didi Jackson

The Frenzy to Live: A Review of My Infinity, by Didi Jackson; Red Hen Press; $16.95; 96 pages; September 3, 2024
Review by Emily Rose Miller

 

Didi Jackson’s second collection of poems, My Infinity, is a quiet, pensive reckoning with life and death by a speaker uniquely suited to discuss such enigmatic subjects. My Infinity follows the speaker of Jackson’s first collection, MOON JAR (Red Hen Press, 2020). Readers of MOON JAR will recognize that the poems in My Infinity continue to grapple with the aftermath of the poet-speaker’s late husband’s suicide. While these books complement and expand one another in delightful ways, My Infinity can be read as a stand-alone collection.

 

The book presents poignant, direct moments that meditate on the speaker’s grief, moments as in the poem “AFTER MY HUSBAND’S SUICIDE I VISITED A PSYCHIC IN CASSADAGA, FLORIDA,” which reads, “and I hoped for a way / into the dark // an escape hatch from this world / toward his spirit.” Likewise, in the poem “VIGIL,” Jackson writes, “I’ve learned how to keep / ashes in the firebox that heap / as high as decades. / They remind me of / his ashes, the ones / I keep on my nightstand.” Such lines owe their power to their gut-wrenching specificity. In their specificity, the words become universal, speaking to the grief, the loss, and perhaps most importantly, the living we all experience the world over.

 

My Infinity is broken into five sections. The second section consists entirely of poems about and from the point of view of Hilma af Klint, a Swedish artist who lived from 1862 to 1944 and is considered to have made some of the first abstract art in the Western world. Af Klint was heavily involved in spiritualism, namely Theosophy, which informed her art, writing, and life. Jackson’s portrayal of af Klint is a fascinating addition to the collection and begs the obvious question: Why?

 

It is clear that af Klint’s work fascinates the poet-speaker, and that af Klint’s feelings of grief and inquisitiveness echo the speaker’s own. But the biggest moment of connection arrives with the poem “THE TREE OF KNOWLEDGE,” which ends: “Like Hilma, I want to decode it all, / but I’ll never know why / I was left a widow. / Only that the two swallows are me, / dividing into two selves, my desire reawakening, / my sorrow forever rooted.” We see, too, elements in which the speaker finds uncanny connections between af Klint’s life and work and her own, as again in “THE TREE OF KNOWLEDGE,” when Jackson notes, “[my husband] was only 44. The same age as Hilma / as she started the paintings of the temple.” Jackson’s poems surrounding af Klint underscore grief’s universality, as if to say: this may not be a unique struggle, which I take comfort in, but it is as uniquely mine as yours is yours.

 

For all the ruminations on grief in this collection, there is also joy, persistent and worth clinging to. In “THE LEISURE OF SNOW,” for example, we join the speaker on a quiet day as she witnesses “the leisure of the snow / falling like a Rothko // over the morning.” Almost prayerfully, the speaker allows the reader to sit with her in this moment of reprieve from the harshness of the world, saying, “I prefer to beat // the dawn; but this I shouldn’t have to explain: / for the morning is naked and beautiful // and yawns many times before turning / on the light. I am there // to see.” Yet, even here is the hint of hurt with the enjambment of “I prefer to beat.” Such subtle pain is masterfully rendered here and in the rest of the collection. Witnessing the soft beauty of the natural world is enough for the speaker on this morning. In the midst of life, so often filled with loss and turmoil, the quietness of this moment must be enough.

 

Still, the speaker finds joy even in pain. On multiple occasions, the speaker tells us that she suffers from migraines, especially after the exertion of sex. In “‘WHAT YOU SEE IS WHAT YOU SEE,’” she says, “Frank Stella would be proud of my migraines / especially those that come after sex— // exquisite pleasure, then blindness” … “Under this geometric spell // and pills like wasps beneath my tongue, / I am the closest to my true self, // and I secretly love my agony.” Such lines remind us that life is an amalgamation of every emotion and experience, some good, some bad; without one, we could not experience the other. For the speaker, her “exquisite pleasure” and her “agony” are forever intertwined, a fact she not only seems comfortable with but embraces. And this is the driving truth of My Infinity: “so much of living is about death,” yet “[we] too catch the frenzy to live.”

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Review: Small Rain by Garth Greenwell

Review of Small Rain, by Garth Greenwell, Farrar, Strauss, and Giroux; $28; 320 pages; September 3, 2024

Review by Brian Alessandro

Despite the limitless expanse of the mind, the body is a woefully constrained vessel. In Garth Greenwell’s new novel, Small Rain, a mysterious illness seizes, reduces, and ultimately enlightens a poet. While the medical dilemma of the protagonist is harrowing, his rich, compassionate interiority provides succor. “I became a thing without words in those hours, a creature evacuated of soul.”

 

The poet in Small Rain is an avatar for Greenwell who suffered an aneurysm a few years back and was left with a temporary inability to read anything save for the poems of George Oppen, whose work provides the protagonist of the novel solace. Analyzing one of Oppen’s poems, “And All Her Silken Flanks with Garlands Drest,” the narrator speculates: “It’s a whole theory of civilization, that image, the flowers and the slaughter, the flowers covering the slaughter. And all her silken flanks with garlands drest.”

 

Small Rain is as distressing as it is consoling. Greenwell’s stream of consciousness brings us close to the machinations of emergency room procedure, terror, and uncertainty. “Everyone had been so relentlessly heterosexual.” He unflinchingly illustrates the inherent humiliation of physical examination, the demoralization of pain (“It had become engrossing, the pain, it had become a kind of environment, a medium of existence”), and all our misgivings with the American medical establishment. Trauma attends the triage experience and the mysterious illness that plagues the protagonist until a dreaded diagnosis is ultimately disclosed: an infrarenal aortic dissection.

 

“There was something terrible about watching the people around me, terrible and irresistible, I wanted to see into their lives, but had no right to,” the poet admits. “Most of the people in the waiting room were like windows left dark, blank or withdrawn, scrolling on their phones or staring into space.”

 

Upon diagnosis, a fleet of doctors and nurses treat the poet like a medical anomaly. The micro emphasis on the protocol of hospital personnel and their intensive care procedures fosters an experiential nightmare. Timing is no friend either, as the poet’s catastrophic biological incident unfolds during the early days of the Covid-19 pandemic, and the risk of infection heightens the already nerve-shredding scenario.

 

Also buzzing in the background, finding its way into the poet’s contemplations, are the national demonstrations against police brutality in the wake of the Breonna Taylor and George Floyd murders. The poet is a highly conscionable empath, but Greenwell avoids tropes of virtue signaling. His poet is a complex human who is duly outraged by cruelty, injustice, and indifference; however, it is the juxtaposition of police brutality with the politicization of the coronavirus, mask mandates, and vaccinations that deeply troubles the poet: “Twitter was full of everyone calling everyone a fascist, so that the word meant nothing—which was the real danger, I thought, words meant nothing, the way any word could be made to mean nothing; it was a way of erasing reality, or of placing reality beyond our grasp, real facts, real values, it was a tyranny of meaninglessness.”

 

Small Rain is reminiscent of Margaret Edson’s Pulitzer Prize-winning play Wit: a person of the mind is diminished and imprisoned by a dire medical condition, forced to confront memories and ideologies and shortcomings and desires and mortality. Here, the poet reflects on his life, including the fond introduction to his lover, moments from childhood (“childhood is not health…there is no bigger lie in literature”), exchanges with his mother, and growing up in an abusive household. There is a sense of Joan Didion’s The Year of Magical Thinking and Susan Sontag’s Illness as Metaphor in terms of disease and the literary mind. The cerebral, lyrical thoughts find art, history, and philosophy to help comprehend the dehumanizing dilemma and find meaning in the suffering. “Why do we love what we love, why does so much fail to move us, why does so much pass by us unloved.”  

 

Sometimes that literary mind—impractical and useless when met with a clinical crisis, despite its salvation of the soul—crashes against the cold, necessary logic of medicine and technology: “My ignorance was an indictment of something, me, my education, the public schools where I was raised, that I could be so helpless when it came to anything useful, that the only technologies I knew anything about were antiquated, unnecessary technologies: iambic pentameter, functional harmony, the ablative absolute. They were the embellishments of life, accoutrements of civilization, never the necessary core—though they were necessary to me.”

 

The poet, like Greenwell, possesses a generous mind, and his musing turns also to his husband, a renowned Spanish poet (“It was the least dramatic, the least anxious beginning to any relationship I had ever had: no anguished uncertainty, no sleepless nights, just a new fact in the world”); their house in Iowa, which is an old money pit in perpetual disrepair; his long-term teaching assignment in Romania; and his time in graduate school earning his MFA in poetry. The constant assault and failure and expenses incurred on his old house feels Job-like, and he finds metaphors to his health, as well as to birds and to poetry. He also considers the sad, beautiful demise of the oak trees on his property: “It was beautiful how they died, in the wild, in the forests; as they rotted and the wood softened, more animals took shelter in them, even after they fell, they served a purpose, enriching the soil, they had long lives and long deaths.”

 

Greenwell originally studied music in his youth, then poetry, and there is a musicality in his prose as a result. “I was the opposite of philosophical, a miniscule crouching thing, a bit of matter terribly afraid, utterly insignificant, the entire world.”  Small Rain is written with warmth, sensitivity, and great accessibility, but never with even a hint of treacle. Instead, the novel leaves us with a desire to embrace life’s clichés: live fully, passionately, openly, and hold to the people and things that enhance you, not the least of which is art itself. “Poetry,” the poet tells us, “is the accoutrement of the self.”

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The Puzzle Committee

R.M. Fradkin

 

We, the members of The Puzzle Committee, are here to help. You will stay until you complete the puzzle. No one will be allowed to leave until we have successfully completed the puzzle.

 

Snack breaks are allowed, within reason. If we suspect you are taking snack breaks to avoid working on the puzzle, your snack privileges will be revoked. Ditto for using the bathroom.

 

If you’re not sure whether two pieces fit together, we, The Committee, will decide. You say these are a perfect fit, and yet they wiggle. We know a fit when we see it, like pornography. See, these present not a shadow of a doubt. Nothing can come between these two.

That is why sometimes it is necessary to visit The Committee.

 

If you haven’t yet completed the border, might we recommend that as a good place to start? It’s always useful to circumscribe endless possibilities with an impenetrable border. Sorting out the edge pieces also gives extraordinary satisfaction. Filling in the border will take longer, of course, but we must not deny ourselves that sweet feeling of accomplishment.

 

At this point, there are several courses of action we could recommend. We might pursue an image/color scheme, in which the pieces are sorted and assembled based on their relative hues and whatever hints of object can be capitalized on. On the other hand, we might pursue a solely shape-based scheme in which the pieces are sorted like so:

 

The four-hole is a seeking, yearning piece, often frightening because of the gaping depth of his need.

One-knobs are aware they have but one thing to give, but they give it well.

The double-knob is the most perplexing, as he comes in the standard, opposite-wing variety, as well as the unbalanced varietal, which often tilts into irresponsibility.

Finally, we come to the triple and quadruple-knobs, the scarcest of our breeds:

These exotic birds know their worth and give themselves to the other pieces but rarely.

 

We could also pursue a hybrid image-based and shape-based scheme, but we might get mired in the quandary of whether to put a piece with his knobbed companions, or whether he should go with his color-mates—the mossy greens, for example, or the leafy ones.

 

To use the box or not to use the box. That question has absorbed us and inspired much debate in our ranks over the years. As The Committee itself has not come to a final decision on this matter, you may use the box for now, if you wish. However, you will have to endure the knowledge of having used the box and the resulting diminished sense of purpose for the rest of your life.

 

We notice some of you hover around the snack table longer than is absolutely necessary to procure provisions. We remind you of the potential consequences of these actions.

 

Although it may seem that we, The Puzzle Committee, have all the time in the world, in fact, we do not. Outside wait families, couples, organizations, hospital wards, and bands of friends who have come to us to help them make their puzzles whole. While perfection is our ultimate goal, perfection completed with a sense of urgency is preferable.

 

We, The Committee, are no strangers to unraveling. We lost some of our number in the acrimonious Boxers vs. Not-Boxers Schism of ’99, although we spend our waking hours and our not-inconsiderable mental powers fighting for cohesion. That is why no one can rest until every piece is together. That is why no one can leave.

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A MOMENT OF TENDERNESS

Vincent Antonio Rendoni

 

I witnessed something beautiful, friends

One day,

on my father’s monthly visit
to give his father
some money

Abuelo,

who kicked him out at sixteen
who didn’t believe in touch or mercy

caught his son limping

& put away the contempt fathers have for sons
& suspended the law of machismo reached for the rusted Texaco box
with the antiseptic, tweezers & gauze
slapped his knee
& called to his son’s feet,
& began working his way
through the skin & blood
of a used car salesman’s ingrown toenail

& never thought, not even once

as he cut through the keratin
cleaning & washing the lowest part
of working folk
that this is something
a man has to think about.

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Boundary Waters

Donald Platt

 

Accessible primarily by canoe, the Boundary Waters Canoe Area Wilderness, in northeast Minnesota . . . extends 150 miles along the U.S.-Canada border, covering approximately 1,098,000 acres . . .
— Explore Minnesota

 

I want to go

to the Boundary Waters, canoe its one thousand lakes,

hundreds of miles

 

of rivers. So many places I’ve never been. I’d like to see sunset

reflected in Tuscarora

Lake, when it’s so still you cannot tell the difference

 

between sky on fire

and water on fire. Rosanne and I could paddle together

in our red canoe

 

to the very middle of the lake. Her hair would outshine sunset.

One loon would call

to another loon with its otherworldly wail from across

 

wide water.

That’s all I want to hear. But Rosanne, who has been to the Boundary

Waters and back,

 

tells me gently, firmly, matter-of-factly—in the voice

I love more

than any other woman’s voice—that no, I will never go as far

 

as Tuscarora

Lake. My body with its nerve pain, unable to walk anymore

without its rollator,

 

would not be able to do even one long portage.

She’s right, of course.

And even if I were to canoe that cold, aquifer-fed water

 

so clear I can see

twenty feet down to the rocky bottom, always another

waterway is waiting.

 

Night calls me with its unanswerable cry. Death’s loon

cries out

to me to come, come. Canoe to him alone across

 

dark, starlit water

where the moon now rises. Keep him company upon those other

boundaryless waters.

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Weight of Water

Allison Field Bell

 

Yesterday at the kitchen sink, my lover told me again
how I can’t do it right—load the dishwasher, wash the cast iron.
No soap, no scrubbing. My hands submerged in water, scalding.

 

Today, I’d rather be a fish. Scales, gills, unblinking eyes. Curl
around the toxic tentacles of that blooming mass: the anemone.
Brilliant orange and white stripes against the rainbow of reef.

 

None of that anxiety that dwells in the stomach, hollows it out, drops
it to the knees. The way my lover yelled when I panicked—
shook and shimmied. Too much, too much.

 

Too much pressure from the weight of water above,
but not feeling the ear-popping ascent from the depths of
the sandy floor. Water crushing bones. A whole sea of it to live in.

 

I’d like to be a shark. A predator. Free in my own kingdom.
Beast so ancient, so full of its own history, so full of its
own instinct. So full. So unlike the way I am. Sitting on the edge

 

of the bed now, my lover beyond a slammed door. I wonder
what it is to escape something. Where it is I could go. Beyond
the twist of whitewater, the shallow sand shelf to the deep

 

underbelly of sea, cold dark infinite. Bliss, all that water, swimming.

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MISSING THE FARM

Travis Mossotti

 

Here’s the orchard someone else will tend to.
And the crawl space beneath the porch
of the house where someone else’s barn cat
will slumber through the summer nights
dreaming of long-tailed mice in the high grass.
Over that field, the light dips and refracts
through the broken glass of the muck pond
where a catfish will take someone else’s bait
and hook—that it might meet the refined
heat of a skillet. The ghosts of a thousand
head of cattle walk through the woods at night
in someone else’s dream while the windows,
cracked slightly, let a mild breeze pass
through the empty rooms like an appraiser.
There is no death that cannot be undone
by simply turning the compost with a pitchfork
or by scattering scratch in the dirt for chickens
who sing each time they lay, but every repair
is only a gesture against the torment of slow
winds and steady rain and heavy sun. It will be
someone else who grows too old to climb
the ladder into the barn’s cool loft or the flight
of stairs that lead to and from their own bed.
It will be their hand weighing the mortgage.
It will be their face forgetting its smile. Listen,
if the well pump kicks to life at dawn, it will be
someone else drawing a bath for the last time—
joints relaxing as their form submerges, body
recovering and failing in the same held breath.

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