My First Time

in honor of International Women’s Day, March 8, 2020

 

The memory buzzes under
my skin like neon—in my young
twenties, before I understood
my daily risk of harassment
and humiliation, before I had
grievances, before I knew I was
entitled to grievances, I was
at the gynecologist, wrapped
in a johnny, lying down
on the examining table
for my first such exam,
knowing in the observing part
of my brain that a nurse
was supposed to be with me,
afraid of what the doctor
might find, and he entered
the room friendly, an older man,
asked me a few questions,
and then commanded, slide on
down here, Margot. I’m gonna
fill you full of cold steel.

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No Brakes

In the spring of 1982, at the end of my senior year in high school, I was admitted to a mental hospital in Hartford, Connecticut, named the Institute of Living and was institutionalized there for two years. The Institute was founded in 1823, the first private mental hospital in the country. It was named the Hartford Retreat for the Insane and sat on thirty-acres on a hilltop above the Connecticut River. The first medical director was a brilliant young doctor, recently graduated from Yale, named Eli Todd. Whereas before, the mentally ill had been viewed as possessed, had been shackled, warehoused, or worse, Todd had a revolutionary vision for the humane treatment of the mentally ill: what he termed “moral treatment.” In Todd’s view, the mentally ill were citizens deserving of care and treatment and, ultimately, capable of rehabilitation and recovery. The key tenets of his treatment were “pleasant and peaceful surroundings, healthy diet, kindness, an established regimen, activities and entertainment, and appropriate medical attention.” “The great design of moral management,” Dr. Todd once said, “is to bring those faculties which yet remain sound to bear upon those which are diseased.”

 

I grew up in Hartford, often passing the Institute on Retreat Avenue in our wood-paneled station wagon. Driving by its imposing six-foot-high brick walls, my mother would comment, “There’s the country club.” And looking at those walls that surrounded the entire campus on all sides, I could imagine that it was a sort of English Tudor, turreted type of place. “There’s the country club,” I would echo.

 

I had broken down at school after I received an offer of admission from Yale University, scratching the inside of my arms with a razor blade as tears bled down my cheeks. I didn’t deserve Yale, I thought. I could never make it there. In fact, I could never make it anywhere. I had been a student at a small boarding school for girls in northern Connecticut. I had friends there, and teachers who encouraged me in an environment that felt like love itself. My school home was the opposite of the home in which I had grown up, in which I was despised as a disgrace, a lumbering, teeming, obese, and greasy monstrosity, a source of shame and disgust  for my attractive parents. The love I had felt at school was all illusory, I realized that day in April, the thick envelope from Yale in my hands. I was not deserving of the kindness and care I had received during my years at the school. I could never make it at Yale. I could never make it anywhere. The fact that I had been admitted when my beautiful friends had not was an outrage, a cosmic wrong that could only be made right by taking a razor blade to my arm. When the cuts were discovered, the school psychiatrist recommended admission to the Institute. The recommendation came as a relief. A mental hospital would be a far more appropriate place for me, I secretly believed, than the hallowed halls of Yale.

 

And this mental hospital had a reputation that was equally hallowed, a cross between a country club and a vaguely dangerous sanitarium. I was taken on tour of the grounds a few days before my admission, the first time I had been inside the six-foot brick walls. It was a sunny, beautiful day in May and the campus was almost gleaming. The green sloping lawns, an aqua swimming pool (unused), and the largest flowering dogwood tree in Connecticut lent the impression of a hospital more spa-like than Bedlam.

 

I, of course, had read The Bell Jar, and I could easily imagine Sylvia Plath’s fashionable, intelligent and humane Dr. Nolan here, wearing “a white blouse and full skirt gathered at the waist with a wide leather belt, and stylish, crescent-shaped spectacles.” I had a brief consultation with a psychiatrist at the Institute’s Children’s Clinic. He wore a corduroy jacket with suede patches at the elbow. He puffed on his pipe as I sat in his cluttered office and tried to describe why I had cut my arm.

 

“I think it would be best for you to come to the Institute for the summer,” he told me, “so you can be all fixed up and strong for Yale in the fall.”

 

It seemed a reasonable, even hopeful plan. The prospect of Yale loomed like a leviathan in my mind; a place full of students as disciplined and serious as my father, frugal and ascetic and fiercely intelligent. I on the other hand was gluttonous and hedonistic, a disgrace—too loud, too voluptuous, too greedy, too fat, too emotional, too funny. I had thick eyebrows and fat lips and a tiny, ridiculous voice. I ate and ate and ate and ate. I would be much more appropriate in a place populated by the people of Robert Lowell’s poem about McLean Hospital, “Waking In the Blue.” I didn’t understand the poem then, not really, but it was so extraordinarily lush and generous and almost loving about all those Mayflower screwball patients like Bobby, “redolent and roly-poly as a sperm whale in his birthday suit.” I wanted (naively and stupidly) to be in Lowell’s place, where azure day broke, where I could feel safe, where that overwhelming pressure to hurt and punish myself could be lifted, maybe, just an inch, like in Plath’s The Bell Jar, and the fresh air could come rushing in.

 

What I didn’t know then was that the Institute, in its ambitious expansion, had become a far larger and more menacing institution, a hospital of last resort for patients who had failed or been expelled from other treatment facilities. It routinely performed a rudimentary form of electric shock therapy and bound patients in ice-cold sheets called wet packs for hours at a time when they acted up. There was an entire five-story “research” building constructed for the purpose of performing icepick lobotomies on patients from all over Connecticut, as such cruel and brutal operations were illegal in nearby Hartford Hospital. The advent, in the 1950s, of anti-psychotic drugs—like Thorazine—enabled the hospital to control unruly and disturbed patients with chemical restraint using doses of these powerful drugs that far exceeded the therapeutic range. Moreover, and most importantly, the insurance policies of the day, in the city known as the insurance capital of the world, often covered months and years of hospitalization, so an extended stay at the Institute was no longer the purview of the very wealthy.

 

By the early 1980s, when I was admitted, the hospital was taking full advantage of an adolescent population whose parents had good insurance. At the time I was admitted, the Institute had more than four hundred inpatients, nearly all of them hospitalized for long-term care (often called custodial institutionalization), and nearly always paid for by insurance policies. This was also the case with me. When I was admitted, I was covered under my father’s policy, which provided full coverage up to $1.5 million dollars—the equivalent of thirteen and a half years at the Institute. And I was stepping into an Institution whose financially savvy (or cynical) directors were more than ready to take advantage of an insurance policy that covered everything for a long-term stay and a family that wanted their troubled adolescent off their hands, and even out of their lives.

 

The Monday following my consultation, my parents and I drove through the black wrought iron gates for our admission appointment. An aide helped my father with my suitcase and then took it away. We sat across from each other on upholstered chairs in the mustard-colored lobby, my parents silent, holding hands. My mother was wearing a beige suit with gold buttons and sling-back spectator pumps. There was an air of excitement, almost giddiness about her, her hair glistening and her legs crossed prettily at the ankles. She had shopped carefully for her new outfit, spending Saturday at Lord & Taylor’s while my father and I watched old episodes of Hill Street Blues my mother had recorded on VHS tapes. My dad had been silent waiting for my mother to return, sitting next to me in front of the television, his pipe in his mouth, watching one tape episode until its end, and then replacing it with the next, in our old machine that ground and clicked.

 

My parents were instantly infatuated with my doctor, a tall, lovely Norwegian psychiatrist named Erna Mugnaini. She had blue eyes, wavy blond hair, and a daughter my age who was going to Smith. She spoke with a mesmerizing Nordic cadence that seemed intrinsically kind. My father dubbed her, “The Good Doctor.” She would speak to my parents first, she told us, while I got settled in the unit. Later that day she would come and talk to me.

 

I have the record Dr. Mugnaini wrote of her first meeting with my parents. It is telling that her first impression of me came from my parents, rather than from me or from any of my teachers. I had been in boarding school for four years and saw my parents only on breaks. I had not lived with my father, at all, for more than six years, not since I was twelve years old. She did not hear from any of my teachers, or my friends, or my house-parents, or any of the people I had been living with for the past four years. My parents, whom I seldom spoke to or saw, became instant authorities on my condition and adjunct therapists.

 

In the intake summary, Dr. Mugnaini writes: “Dolly’s emotional difficulties date back to childhood. According to both parents, she has always been a moody, demanding, oppositional and jealous child.” She describes my father: “Mr. Reynolds is an attractive, slim, healthy-looking man in his middle forties. He is friendly and polite but does not reveal many emotions and was rather factual in his account about the daughter.” About my mother, she writes, “Mrs. Reynolds is an attractive, slim, forty-year-old[note]Actually, on that day, she was forty-one. I don’t know whether this is a small typo by Dr. Mugnaini, or, more likely, a small vanity on the part of my mother.[/note] woman, looking younger than her age, well-dressed, pleasant and cooperative.” My younger sister, Kitty, was described by my parents as, “outgoing, friendly, easy to get along with, a bright girl but not particularly interested in schoolwork.” She goes on, “Kitty was born when Dolly was almost two years old. Mrs. Reynolds believes she ‘catered’ to Dolly to prevent her from feeling jealous, as both parents describe Dolly as moody and attention-seeking since early age.” Clearly there was only one problem in this family, soon to be behind locked doors.

 

Later, when my parents came to say goodbye to me on the unit, my mother told me excitedly that they had all come up with a name for all my problems: “no brakes.” I had never been able to stop myself; I had insatiable appetites for food and love and attention and jealousy and rage and despair and hopelessness. “No brakes,” they would repeat throughout my life, when they described the enormity of my appetites and emotions. But “no brakes” is what happened to the Institute, my doctors, and my parents as I rapidly descended into the world of an institutionalized patient and my father’s insurance company mailed the Institute reimbursement checks for my care, regularly, on the first of every month.

 

Dr. Mugnaini placed me on an intermediate unit, meaning the doors were locked but most patients were allowed on the hospital grounds in scheduled, supervised visits. The aide, Patty, who escorted me from the reception area, had a set of keys clanging from a chain she wore around her waist like a belt. Patty was tall and soft-spoken, knock-kneed in her white Levi corduroys, a kind and patient young woman who wore tinted glasses and treated us patients with compassion and gentleness. I could sense this on that first day, and I was not afraid, even as I saw that the entrance to my unit was a double door with a small pane of prison glass at eye level. Patty unlocked each door with a series of clicks, and then barked at Debby, a patient who was peering out as we were peering in. The name of my unit was “Todd,” for the great and humane Dr. Todd, the Institute’s founder.

 

The unit itself was quite dingy—walls covered with chipped mustard paint, mismatched, sagging couches, a brown carpet badly stained. It was hot and muggy, and all the windows were closed. In the center of the long hall was the nurses’ station, walled off from the patients by a double layer of thick Plexiglas, with a small opening at waist-level through which the staff passed medication at four scheduled intervals each day. Next to this Plexiglas window the cigarette lighter was mounted on the wall, a small burner with an on-button the patients could press and then light their cigarettes off the hot orange circle, a mental patient’s kiss. Patty, whom I would come to know over the next two years, was one of the most humane and accepting aides in the entire hospital. It was fitting I met her first, when I was still a person on the outside. Stepping through those Todd doors with her was like stepping slowly into the pool, step after step, as the freezing water moves up your body little by little, until you are submerged.

 

Nancy, another aide, showed me into my room across from the nurses’ station. Nancy was what I would have then called prissy, her hair permed into perfect waves around her face, her lips pursed in vague disapproval or disgust. She blinked constantly—a tic. She had me remove my clothes and stand naked while she emptied my suitcase and searched through every crevasse. She took my driver’s license and cash and returned my empty wallet. After snapping on two layers of latex gloves, she had me bend over so she could pry open the lips of my most private parts, to search inside.

 

After I had gotten dressed, she handed me a small plastic cup containing three pills, two small tablets and a bright red capsule. After I had swallowed the pills, she had me open my mouth again and probed my cheeks and under my tongue with a wooden tongue depressor. Satisfied, she left me alone.

 

I found out later that the three pills were: 1) an antidepressant called Asendin (an older tri/tetracyclic no longer prescribed. Also, what a name!), 2) a catastrophically potent anti-psychotic in the same class as Thorazine called Trilafon, and 3) a drug called Symmetrel which is now used to treat Parkinsonian movement disorders. It was prescribed at the Institute because the older anti-psychotics like Trilafon have a terrible side effect: dyskinesia, which causes uncontrollable muscle movements, twitches and rigidity.

 

Most of the patients at the Institute looked like they had Parkinson’s. Those terrible drugs—Thorazine, Stelazine, Mellaril, Navane, Haldol, and Trilafon—were liberally and universally prescribed, in very high doses, and not only to patients with schizophrenia, but also to nearly all adolescents in the locked units, especially if they were unruly or acting out, which was also fairly universal. The discovery of these drugs in 1950s is considered a revolution in psychiatric care, allowing schizophrenic and other psychotic patients the possibility of an actual life. The way those drugs were prescribed at the Institute had the exact opposite effect.

 

Of course, I didn’t know any of this when Nancy handed me that first cup of pills, offered on a tray so that our hands would not touch. I had never heard of any of these medications. I had no idea that depressed people would be treated with medication instead of what I had imagined: kindness, insight, rest, and poetry workshops led by Robert Lowell and Anne Sexton, as had happened McLean’s and the other asylums I had read about.

 

I also didn’t know what my own initial diagnosis was, and didn’t learn of it until years later, when I read Dr. Mugnaini’s intake summary and discovered the catastrophic sentence: atypical mixed personality disorder with borderline, narcissistic, and histrionic traits. This very rococo description was, I’m sure, a result of Dr. Mugnaini’s conversation and collaboration with my parents and meant there was little hope for me in the world. My prognosis: “very guarded.”

 

Over the course of the my first few days and weeks in Todd, the medications were increased incrementally. I was lining up at the nurses’ station to swallow pills four times a day, until I was taking the maximum dose of the anti-psychotic drug Trilafon. With each swallowed dose, I lost progressively more control over my consciousness and my body. It was so sedating at first that I began to count the minutes to the next time I could sleep. I would get into bed one second after swallowing my 9:00 p.m. meds and fall into a black hole until Nancy woke me the next morning, rapping loudly on the wall above my head with a flashlight, her clipboard in hand.

 

I got to know some of the other patients. They were all women, and young, from age fourteen to about thirty. They introduced themselves with their diagnosis, the self and its affliction inseparable. Many of these women suffered terribly. There was Brenda, a lovely dark-haired woman a few years older than me, with violent manic-depression, cycling disastrously from psychotic mania to catatonic depression.

 

“My doctor can’t regulate my meds,” Brenda said to me, her hands shaking, a light sheen of perspiration across her forehead. Her doctor was Mavis Donnelly, the scion of one of the Institute’s previous luminaries, John Donnelly, a chief psychiatrist with a building erected in his name during the expansion in the 1950s and 1960s. Dr. Mavis Donnelly was young herself, a few years older than her patients, brutal and profane. One terrible day Brenda was out of control, wild with mania, and the nurses called Dr. Donnelly to the unit. When the doctor arrived, striding in in her tall black boots and wrap-around skirt, Brenda was jumping on and off the side tables next to the sagging couches in the dayroom, flapping her trembling arms unevenly like mismatched wings and laughing hysterically. When she saw her doctor, she cried out, “Dr. Donnelly! Dr. Donnelly! I can fly! I am flying right now! Look at me! Look at me!”

 

I was scared; scared for Brenda, scared she would hurt herself, scared for how wild her mind had become. I looked to Dr. Donnelly to help, but what she did instead was point her finger angrily at Brenda and scold her as loudly as she could. “Get down!” she yelled, her voice a guttural growl. “Get down RIGHT NOW!” I saw her snap her fingers at the nurses, and suddenly the aides were pushing us all into our rooms.

 

“What’s happening?” I asked my roommate.

 

“Brenda’s getting Gooned,” she answered.

 

And then I heard it, the thunder. When the staff hit the “Goon” alarm, five or six burly male aides came charging onto the unit and tackled the unruly (or offensive to staff) patient onto the ground. My roommate cracked open our door, and I watched as the Goon squad held a screaming Brenda face down on the unit’s filthy carpet and bound her wrists and ankles with leather straps. One of the Goons knelt with his fat knee in the small of Brenda’s back while she pleaded, “Please sir, please sir,” trying to catch her breath. Another Goon lay down a long black canvas bag with handle-straps next to her body. He pulled open a zipper that ran the entire length of the bag.

 

“What’s that?” I whispered.

 

“Body bag,” my roommate answered. “Like, for dead people. They’re taking her to Thompson.”

 

Thompson, the lowest of all the units, actually underground, in the basement, next to the steam room. Thompson contained the seclusion and restraint rooms, each bare except for a vinyl bed, like an exam table, in the center of the room, cemented to the floor. There were straps at each of the four corners, where patients were tied into “two-point” (wrists only) or “four-point” (wrists and ankles) restraints. The seclusion rooms were also where hysterical patients were “wet-packed,” a brutal and archaic form of “hydrotherapy,” abolished in nearly all modern hospitals[note]None of the psychiatrists I have seen in California, over more than twenty years, has ever even heard of wet packs, and had no idea that such practices were ever used on mental patients.[/note] but still raging away at the Institute. In wet packs, patients were bound, naked, between freezing sheets that had been soaked in ice water. The patients were left between these icy sheets and tied down for hours or even days. These descriptions now sound so baroque, unbelievable, even laughable, like some dark dungeon feature of a Gothic novel. But this barbarism was very much real and alive in Todd with a terrifyingly ill young woman and her angry doctor who could not tolerate seeming not in control of her patient. I watched as the Goons zipped a bound Brenda into the bag, lifted the bag with its handles, and carried it through the unit’s double doors, single file, like pallbearers. I also saw that Dr. Donnelly had been watching it all, her face frozen, impassive, her arms crossed tightly across her chest. It seemed incredible that ten minutes ago I had been happy to see her on the unit, thinking that she had come to help.

 

Where were the brakes then?

 

Brenda did not come back that night. I didn’t see her for another month, until I had been moved to Thompson myself. Brenda lay face down on her cot, immovable, nearly catatonic, as menstrual blood ran down her naked legs and soaked the sheet she was lying on. The Thompson aides screamed at her to stand up and clean herself up. Brenda was gone, unresponsive, unmoving, almost unconscious but still alive, her private blood sticky and red, a rebuke for all the world to see. But I was still in Todd when the Goons packed Brenda into the body bag. It was still early days for me at the Institute. I didn’t know any of what was yet to come as the unit doors in Todd slammed shut and the Goons disappeared. Dr. Donnelly walked into the Nurses station to write her report. That night I swallowed my meds and let the blackness fall.

 

 

The incident with Brenda had left me badly shaken, and there were other things that scared me as well. I asked Dr. Mugnaini about the side effects of my medication. My vision had become so blurry that I couldn’t seem to read. It felt like my eyeballs were quivering back and forth in their sockets. I had been a voracious reader, but now that I had lost the capacity to see the words I had lost a part of the world that had defined me. My teachers at boarding school had given me books to read outside of class, Chekhov and Ann Beattie and Toni Morrison and Eugene O’Neill, and then had talked to me about what I read as they drove me back to the dorm on a Saturday night after I had babysat for their children. My English teacher would even ask me what I was reading and what I would recommend. My father, when he came to visit me at the Institute on Sundays, would bring the Sunday New York Times for me to read, the Book Review thoughtfully pulled out and placed on top. It is hard to think of this now, my sense of my father and his gift of a life of the mind. I didn’t tell him I couldn’t read; I was ashamed. I carried the paper around the unit on Sunday nights, opening the pages and folding them back, holding them in front of my face and refolding them from time to time, a mechanical image of the person I had been just a few weeks before.

 

There were other things happening to me in what felt like from the inside out. My muscles felt rigid, my fingers splayed out and my hands held out in front of my waist, like a Tyrannosaurus rex. I shuffled and sweated and felt anxious all the time, like the area inside my body wall was quivering, being tickled unbearably by some internal torturer. These feelings were probably a result of my anxiety, Dr. Mugnaini told me, pen in hand, bending her blonde head to write the orders increasing my meds.

 

“You can have an extra Trilafon as a PRN,” she told me.

 

“A PRN?” I asked.

 

“A little extra medication you can take to help you when you feel upset,” she answered. I was already on 40 milligrams of Trilafon a day, but I had the capacity to take 8 additional milligrams, which would bring me to 48 milligrams, near the daily maximum and a very, very high dose of powerful elephantine drug. The Trilafon had knocked my brain with the force of a two-by-four. I did not have thoughts anymore, not in the way I had at school, and the thoughts I did have seemed to take forever to cross from one side of my brain to the other. It was becoming harder and harder to speak, both the act of moving my increasingly slack lips and the mental capacity to find something to say.

 

“You are quite ill,” Dr. Mugnaini told me. “You will need the support of the hospital for quite some time.”

 

And there were also other, more intimate shames that I was also keeping from Dr. Mugnaini. When I stood under the warm water in the shower at night, something was coming out of my breasts: a thick, milky yellowish fluid I thought was pus. It seeped and even squirted from my nipples, staining my towel, my nightgown and my bra with this unspeakable fluid.[note]Later I would find out that this was a bizarre side effect of the Trilafon called “galactorrhea.”[/note] And even worse, it was becoming harder and harder for me to urinate. It seemed to take longer and longer for my bladder to unclench. It was like I no longer knew how to send the signal for the muscle to relax. I had always, always been ashamed of my too chubby body, from the time I was in kindergarten and was not allowed to wear pants because people would see how fat my legs were. I had large breasts and thick lips and fat fingers; I believed that everything about me was grotesque and the filth on the inside of me was now seeping out as well. What kind of animal doesn’t know how to urinate? I was too ashamed to tell anyone what was happening.

 

By this point I was barely speaking at all. I had lost the capacity to read, I could barely think, I drooled when I opened my mouth, and unspeakable things were happening to my body from the inside out. I was eating almost nothing. It was the end of the world. I asked Dr. Mugnaini repeatedly if this could be from the medication. She looked at me thoughtfully and shook her head.

 

All brakes were gone.

 

 

All these years later, all these miles away, I think about what had happened to me as an eighteen-year-old, how I became an institutionalized, backward patient, sitting on the filthy floor of the basement unit Thompson, shaking and drooling and praying to God for each moment to pass, for two endless years, until the insurance company cancelled my policy and I was released, blinking, into the sun. I think about how the good Dr. Mugnaini kept increasing my Trilafon as I increasingly devolved, mistaking the side effects of the medication as symptoms of my ever-worsening pathology. I think about how this was all allowed to happen in an institution founded on the most humane and revolutionary treatment of the mentally ill, and how this institution lost the brakes on its greed, happily depositing the reimbursement checks from my father’s insurance policy as my life seeped slowly away. But most of all, I worry that I have lost the brakes on my own memories, that I can slip from being a mother and writer three thousand miles and three decades away from this experience, right back to the drooling and tortured mental patient I had become, and, in my most secret places, am still. And what I cannot seem to fight is the sense that my slim and attractive parents, mother in her spectator pumps, my father with a legal pad on his lap, the good doctor listening attentively, had been right all along. There are no brakes for that.

 

———————————

 

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The Voices That Listen Behind Closed Doors

Up in the Main House & Other Stories by Nadeem Zaman

Unnamed Press, 2019

Paperback, 176 pages, $17

 

Cover of Up in the Main House by Nadeem Zaman.

 

In many books that follow the struggles of the servant / lower class, the characters are so defined by their relations to those above them that their existences seem dependent upon and subservient to their masters and mistresses. Nadeem Zaman, however, circumvents this in his new and riveting short-story collection, Up in the Main House. By moving the master / upper class to the periphery, Zaman zooms in on the lives and humanity of those often oppressed in his birthplace of Dhaka, Bangladesh.

 

The result is a collection of seven connected stories in which the protagonists contend with personal conflicts amidst social, religious, and political disparity and distress. In the titular story, Kabir must decide whether to stop his wife—Anwara—from playing mistress while the home’s owners are away, yield to her newfound power, or join her. Meanwhile, “The Caretaker’s Dilemma” explores Abdul Hamid’s struggle to negotiate a suitable marriage for his daughter before he dies while negotiating manipulative dowry shenanigans. In contrast, “The Happy Widow” follows Rosie Moyeen, a woman blamed for her husband’s death, as she tries to reconcile memories of her marriage with her bitter neighbor’s stories of ex-husbands.

 

Kabir’s description of his mistress as a “high-strung hag” at the beginning of his story starts the collection with one of the many unapologetic voices that populate it. When his wife puts on such a persona, the class-based conflicts of identity and power siege Kabir in more intimate ways than any master or mistress could. Ramzan—the old nightguard that winks with “both eyes”—advises Kabir to join his wife but also threatens a failed thief with death and imprisonment. The resulting dynamic is simultaneously hilarious and unsettling. Zaman entertains readers while keeping them constantly aware of the characters’ potential fates. The deft handling of character, voice, and tone are a joy to read.

 

While “The Caretaker’s Dilemma” possesses the same elements of craft as “Up in the Main House,” it employs them to subtler effect while weaving in interiority, dagger-like dialogue, and social masks. Hamid is repulsed by his friend Sobhan’s greed but still agrees to negotiate a dowry since he desires to protect his daughter from the “shame” that is “always the burden of the girl’s side.” Zaman simultaneously humanizes Dhaka’s upper class and increases the story’s sense of dread when Harun Qureshi, Hamid’s master, tells him that he will pay for the dowry and warns him: “Whatever your friend asks you for, don’t say no.” Sobhan, on the other hand, reveals his true nature when he says, “In money matters even family comes second.” His smiles, underhanded insults, speeches about “honest … men,” and objectification of people make him a character the reader loves to hate. Even his servants are tainted, as can be seen in how they “help with the luggage” the first time Hamid arrives but are unwilling to do so when they think the deal is done. In all of this, Zaman shows that none are free of this society’s expectations—and consequences when they are not met.

 

“The Happy Widow” synthesizes parts of the other stories’ styles. Mrs. Zaheer, Rosie’s neighbor, possesses a blunt voice. She describes her ex-husbands as “a bastard of the highest order” and “a gambling, philandering louse,” respectively. In contrast, Rosie exhibits a complex interiority like Hamid’s. The story examines a female perspective not often addressed. Rosie admits that “the way [Mr. Moyeen] loved her scared her,” and the story explores her reconciling with what she did and thought about doing to test whether he was human, fallible. Because of her thoughts and actions, it is easy to dismiss Rosie as a near-sociopathic woman if one forgets the cultural grounding established in “The Caretaker’s Dilemma” and at the beginning of Rosie’s own tale. However, “The Happy Widow” is an amazingly subtle and complex tale about a woman coming to terms with her story in a culture that says she has none. Through small, precisely crafted actions—such as worrying if she had washed the dishes wrong and, in an act of rebellion, “[leaving a picture] slightly out of place”—Zaman allows Rosie and his readers to acknowledge and break away from enforced stories.

 

Though links to the Qureshi family are what primarily connect the stories, they are also united by how the protagonists’ actions are motivated by pride. In a moment of clarity, Kabir realizes,

His damn foolish pride; that had done it. Just like it had done it countless times over the years, … doing no more in the end than undoing his grit to push it away, leaving him as he was now, too far gone to turn back, give in.

The collection begs the reader to consider if the preservation of pride always leads to self-destruction and when pride is worth the damage it can cause.

 

Amidst this conflict and complexity, Zaman weaves fresh, compelling, figurative language. Songs are as “out of joint” as their singers. “Laughter rattle[s]” around and within characters “like marbles in a tin can.” Stories are repeated like the songs in a “precious record collection.” Life is askew in slight, beautifully unsettling ways.

 

The collection is not perfect: long stretches of dialogue dilute intense moments and pull the reader out of the stories’ world at times. Nor is it for everyone. The stories often do not end cleanly as many Western stories do and, therefore, ask the reader to imagine the future fallout or triumph. While I find Zaman’s choice to end his stories on moments of change wise, other readers might feel cheated of a final scene. As a whole, though, the book is an engaging collection of stories that entertain and discomfort as great stories do. When I finished, I found that I—not the characters—was the one with my ear against a closed door, hoping to hear another word.

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I Loved the Dog So Much

I loved the dog so much. So, I decided that I needed to have it surgically implanted into my body. And I called the surgeon.

 

He was a short and astute doctor with a deep, trustworthy voice.

 

“You have too many internal organs,” he told me. “We’ll have to remove some in order to fit the dog in. No way the dog’ll fit otherwise.”

 

We agreed to remove all the unnecessary organs first. “You have two kidneys, two lungs, so one of each can go. I can remove one of your eyes just so you feel like you’re all in.”

 

I said take it all. The dog wasn’t too big anyhow. I imagined it would fit in my rib cage with a little room left for it to waggle its tail. “Make sure you leave room for it to waggle its tail,” I told the surgeon.

 

The surgeon did not share my optimism. “We’ll need to run valves through your abdomen for oxygen and sewage. The more I think about it, this is sort of like when they sent that dog to outer space,” he told me. “Except in this situation the dog will most definitely die instants after the surgery is complete.”

 

I asked him if he thought I should get the local university involved. At the time I thought this would be the kind of thing that would attract a young academic. Perhaps I was putting too much faith in the surgeon. The surgeon slept at my house that night. He said we would start in the morning.

 

He woke me up that night with a new plan. “We’ve been thinking about this all wrong,” he told me. “We have to remove all the organs, put the dog in and then figure out how to put the organs in, one by one like a puzzle. At that point we could even begin connecting the dog to your body so it could breathe with your lung and use your bladder.”

 

I thought about it for a moment in bed. “I worry we might suffocate the poor thing in the process of doing this. Plus, I believe you’re implying that through this surgery I might be able to hear the dog’s thoughts which was never my intention.”

 

“That’s impossible,” said the surgeon. “I’m only trying to fulfill your vision within the limits of my understanding of human anatomy.” The project was clearly wearing on him, though he seemed to be more saddened than upset. In the darkness he looked like a pale, bitter shadow.

 

“I’ll go get the dog,” I said. “The dog is the whole reason we’re doing this. Let me just put on my slippers.”

 

The surgeon sat on my bed. Thoughts flew through him the way that I’ve always imagined a computer thinking. A ticker tape of ideas fell from his mouth. “We could remove all your intestines except what’s absolutely essential. We could halve the size of your stomach, bladder, lung, and cut out all but a thumbnail-sized section of your liver. I’ve heard of people living with less. Imagine being able to live on an organ no bigger than the hard nail on your thumb,” said the surgeon.

 

I looked at my own finger. “The human body is a marvelous invention,” I told him.

 

The doctor came back to his senses after a glass of water. He played with the dog a while. “This is really a great dog,” he told me.

 

I said it was the whole reason for the project. I told him I was putting my body on the line.

 

The next morning, he cut me open in my living room. This is the only part I was unconscious for, so I only know what he told me.

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Ghosts-Turned-Blue

Molly’s friend Ronaldo orders a second old fashioned, and she has to tamp down the voice in her head that itches to inform him (to lecture, she corrects herself) of what the ethanol (rotted plant waste is the phrase she really wants to use) is doing to his brain. Sobriety has turned her into her mother-in-law, Didi, who flinches every time Molly inadvertently uses “god” as an interjection. Didi assumes that the “god” of Molly’s interjections is Didi’s God, that by saying, “God, I’m exhausted,” Molly is likening Didi’s God to a “wow” or a “whoa” or a “yikes.” This perceived degradation offends Didi, yes, but the flinch is also Didi suppressing the urge to warn Molly that she’s booking herself a ticket on a high-speed train to hell. Molly has long found religious people intriguing in this respect—how earnestly they believe that they’re more enlightened than you and how this conviction convinces them it is their responsibility to instruct you on how to live. It’s infuriating behavior for sure, but she empathizes with their plight. To believe so certainly that the mother of your grandchildren is going to hell if she doesn’t change her ways, that’s a tough predicament.

 

Alcohol is now for Molly like God is for Didi, in the sense that Molly has spent so much time reading and thinking and talking about alcohol these past few weeks that she believes she knows it far better than Ronaldo and all these other restaurant patrons drinking their fancy cocktails and their blood-hued wine. Because Ronaldo is her good friend and she loves him, she feels an urge to warn him (to proselytize, Molly corrects).

 

It’s like one of those cartoons where the two characters are stranded on a lifeboat, starving, and one looks at his best friend, the chicken, and sees not his fluffy, feathery body but a golden-brown roast, his legs plump drumsticks. Super-imposed on Ronaldo’s warm brown eyes, Molly sees a cirrhotic liver, barnacled instead of smooth. Then that image disappears like a slide she’s clicked, replaced with—Oh god: not some crappy, too-sweet old fashioned, but Molly’s own former go-to drink: Maker’s Mark, with one cube of ice slowly melting. The trick was to pace herself, so she could finish the drink just as the ice finally dissolved. That was the perfect last sip, the signal that she could order another.

 

Molly shakes her head to dislodge the Maker’s, and Ronaldo’s face returns to normal, except he’s giving her a quizzical look. And Molly has to resist (the endless resistance! She understands why people use the expression “white-knuckling”; dinner at a restaurant is like gripping the side of a bouncy river raft) the urge to say, What the hell, dude? Why are you ordering a second cocktail in front of your good friend who has yet to make it past the one-month mark? Is that not a sign in and of itself of a drinking problem, of being in the thrall of alcohol, that you would make such a weak, selfish, and inconsiderate error in judgement? Does not such behavior warrant a lecture on ethanol and cirrhotic livers, since clearly Ronaldo needs saving from himself?

 

Then again, did she not tell him barely forty minutes ago that he shouldn’t censor his desire to drink? Did she not say confidently, “I’ve got this!”

 

These questions rattle in Molly’s head like cubes of ice in a glass.

 

As though he can read her mind, Ronaldo says, “You said you don’t even miss alcohol.” The look in his eyes makes Molly think of how she feels playing arcade games—braced the entire time for her avatar’s impending pixel-dismantling death.

 

He says, “Fuck, Molly.” He sticks up his hand to flag down their waitress.

 

The waitress quickly appears, and Ronaldo tries to cancel the drink, but Molly says, “No, don’t cancel it. He wants the drink.”

 

The waitress has a head of silvery white hair that is almost violet. Rather than make her look old or worn, her hair makes her vibrant and hip. She eyes Molly’s pink prickly-pear lemonade, and Molly suspects that the woman has read this situation clearly. This embarrasses her. Alcohol is such a pervasive and deeply ingrained part of the culture that giving it up is akin to giving up gas-guzzling transportation. Forgoing it makes her seem snooty and judgmental. Her abstaining inconveniences people. Molly’s friend Una commutes by bicycle only, which means no plans that include Una on the guest list can venture outside an approximately six-mile radius. And now Ronaldo feels like he can’t have a second drink.

 

Ronaldo says, “Please cancel it. Thank you.”

 

Molly says nothing, but she is already considering what she will write about this experience tonight in her online community of other people giving up alcohol without AA. The problem with AA, the group ethos goes, is that it is all about willpower, and so all about fighting your cravings. Instead Molly is learning to deconstruct her cravings so that eventually they aren’t cravings anymore. Supposedly this makes not drinking about gain rather than about loss. Supposedly it will make her more present and more joyful.

 

But here she is sitting across the table from her longtime friend, yet she’s thinking about the conversation she will later have about him with other people, strangers she doesn’t know anything about other than that they too have quit drinking. Well, that, and that they share her resistance to AA: a resistance which is not merely about AA glamorizing alcohol (as a permanent “craving” that needs to be resisted “one day at a time”), but also about its emphasis on submitting to a higher power. Molly isn’t “present,” she’s far away, imagining herself back in her bedroom, a space that’s felt cavernous ever since Connor moved out last year, and now, without her nightly, companionable Maker’s Mark, that much emptier.

 

Clearly Connor is not going to come to his senses, recognize how hard Molly is trying, how much she deserves to get him back. “Good for you,” he’d said when she told him she’d quit drinking. It was hard to explain what was so chilly, so measured about the phrase. On paper, it sounded supportive. But Connor’s delivery turned it into something else. It was that subtle way Connor emphasized “you.” He communicated that Molly’s quitting drinking was something that now benefitted her alone.

 

What do cravings become once they are no longer cravings? Molly has never posed the question to her group. She thinks of arcade games again. They were Connor’s thing. She’d always kind of hated them—even Pac-Man, her game of choice—because they made her so damn tense. Curious how those blocky ghosts’ pursuit of the little yellow corn kernel of a figure her hand was controlling could raise her heart rate so much. But she had always chosen to play rather than sit on the red sofa and wait for Connor to be done. She had chosen to play despite how much the experience frazzled her. Because there were brief moments of pleasure in playing Pac-Man, such as when she managed to maneuver her Pac-Man toward a piece of fruit, or better yet, toward a ghost-turned-blue. Then her Pac-Man could destroy the thing that had been taunting him, but only temporarily, until the ghosts resumed their normal coloring and consequently their normally lethal nature. Is that what a craving became when it was no longer a craving? A ghost-turned-blue that could turn on her at any moment? Because as much as she wanted to, she could not believe cravings could remain always and forever ghosts-turned-blue.

 

Or maybe the problem is she’s using the wrong metaphor? Maybe cravings dissolve into nothingness, like when Pac-Man dies three times and no jiggling of the joystick or the coin slot will bring him back to life unless you put in another quarter?

 

The problem is she can always get her hands on another quarter. So how do you make the cravings stop for good? You take a baseball bat to the machine and, after that, every other Pac-Man machine in existence?

 

And can the same alchemy be applied to Connor? Can she take a baseball bat to the memory of him? Make her longing for Connor disappear? Molly imagines asking this to a bunch of strangers who will reassure her (grandmotherly Pat134 and sarcastic but steadfast trickynick): You’ve got this, girl.

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Daphne Kalotay on Female Friendships in Literature and Life

Cover of Calamity and Other Stories by Daphne Kalotay.     Cover of Russian Winter by Daphne Kalotay.

 

Cover of Sight Reading by Daphne Kalotay.     Cover of Blue Hours by Daphne Kalotay.

 

When Toni Morrison won the Nobel Prize in literature, Maya Angelou threw her a party. Eudora Welty tried to teach her friend and mentor, Katherine Anne Porter, how to drive. George Eliot and Harriet Beecher Stowe; Jane Austen and Anne Sharp… Probably I shouldn’t be so surprised that these female friendships are not as well known or well documented as those of literary men. As Margaret Atwood writes in her foreword to A Secret Sisterhood, “In accounts of the lives of male writers, peer-to-peer friendships, not unmixed with rivalry, often loom large—Byron and Shelley, Charles Dickens and Wilkie Collins, Hemingway and Fitzgerald. But female literary friendships have been overlooked.” So, when I read Daphne Kalotay’s Blue Hours, which tells the story of a close relationship between two women, I felt compelled to ask her if she’d be willing to talk to me, not just about her book and writing life, but about female friendship.

 

In addition to being a talented writer, Daphne is one of my oldest and closest friends. We’ve known each other since we were nine years old, when the neighbor whose yard stood between hers and mine in suburban New Jersey cut back his hedges so that we could commute back and forth without getting scratched. We walked home from grade school together and, when we were older, sometimes walked aimlessly, flipping a coin to determine which way we’d turn. In high school, Daphne and I split the cost of a The International Directory of Little Magazines and Small Presses, and I distinctly remember hearing back from one of the journals that I should not send my handwritten drafts.

 

Since then, Daphne has published four books:

  • Calamity and Other Stories,which was short listed for the 2005 Story Prize;
  • Russian Winter,which won the 2011 Writers’ League of Texas Fiction Prize and has been published in over twenty foreign editions;
  • Sight Reading, winner of the 2014 New England Society Book Award and a Boston Globe bestseller;
  • and Blue Hours, out in the summer of 2019 from Triquarterly.

She’s received fellowships from the Christopher Isherwood Foundation, the Bogliasco Foundation, MacDowell, and Yaddo. After graduating from Vassar College, Daphne attended Boston University’s Creative Writing Program, and then went on to complete a PhD in Modern & Contemporary Literature, also at Boston University. Her doctoral dissertation was on the works of Mavis Gallant (and her interviews with Mavis Gallant can be read in The Paris Review‘s Writers-At-Work series.) She is currently teaching at Princeton University’s Program in Creative Writing.

 

Kirsten Menger-Anderson for TFR:

Do you remember any of the notes you got back from those early high school submissions? Did you get any encouraging ones? Did you publish anything back then?

 

Daphne Kalotay:

I remember thinking that I had to grow up to be a writer. In fact, I have a distinct memory of telling a wonderful babysitter of mine, when I was quite young, that I wanted to write a book about the street another friend of mine lived on, about all the adventures of the kids who lived on that street. And the babysitter asked why I wasn’t writing the book now, and I said I had to grow up, and she told me not to wait—but I was very suspicious of that; I knew I had a lot to learn. I recall that around the time you and I bought The International Directory of Little Magazines and Small Presses, a poem of mine won some New Jersey student contest and was published in some sort of broadsheet. But I wasn’t even in the highest level English class, if I’m remembering correctly. And yet I have a memory of somehow being allowed to join your English class, which was a grade ahead of mine, on a class trip. I think this shows the teachers were trying to help me!

 

Menger-Anderson for TFR:

I love that Mim, the protagonist of Blue Hours, is an author and that I can read about her first submission, too: her decision to submit to Harper’s, where she knows no one, instead of The Atlantic, where she’d interned: “Perhaps it was fear of being rejected by my former colleagues. But there was something else, too. I wanted objective, completely impartial, affirmation of my brilliance. I am not ashamed to admit this.” I loved this line. Many of the details you capture—from the party where everyone is an aspiring writer, to Mim’s hesitation to identify herself as a writer, to how it felt to check the mailbox for the submission response—the thrill of a personal note, the dread of a form—really resonate.

 

Reflecting on her early success, Mim notes, “I hadn’t yet found my voice; I simply wrote down those other voices that would not let me sleep.” It’s interesting to hear Mim reflect on her own early work, and I was hoping you could talk a little about your own work and voice over time.

 

What was your first publication? And do you feel like your early work reflects your voice now?

 

Kalotay:

Interestingly, my first publication wasn’t my own voice; it was translations of three poems by the Hungarian poet Attila József, published in the Partisan Review. This makes sense to me, that this would be my first work good enough to be seen in print. My first original work was published very soon after that, a story called “Alabaster Doesn’t Count” that came out in a broadsheet called Bellowing Ark. These little magazines are so important, precisely because they are so often the ones that give us these first chances, our first publications. They’re that first pat on the back that says, You’re a writer!

 

Menger-Anderson for TFR:

Like Mim, who continues to write and publish, you are, decades after our high school submissions, a successful writer. Is it what you imagined when we were kids?

 

Kalotay:

You know, I’m not sure I even had a vision of what a “successful writer” looked like or what that life would be, just that I wanted to write something people would want to read. The funny part is that I remember as a kid often playing at being a teacher, and teaching creative writing is also how I make my living, so that part of the vision definitely came true.

 

Menger-Anderson for TFR:

Blue Hours is your fourth book. Do you feel like you’re now an expert when it comes to bringing a story into the world, or is each book/release different? Can you talk a bit about what you love about the process and what is difficult? And how friends can help?

 

Kalotay:

I don’t feel at all like an expert when it comes to launching a book. In fact, I think I’m pretty bad at it. I’m not on Twitter or Instagram, and I’m reluctant to send out email announcements; the other day I signed up for MailChimp simply because I can’t figure out a simple way to use Gmail to send out announcements, and I just felt like I was spamming everyone–but then I got all these wonderful messages back saying, “Thank you for sending me this announcement!” That’s the part I love about launching a book: hearing back from people I haven’t seen in years, seeing old friends at readings, meeting readers who come to have their books signed and tell me what my books have meant to them.

 

What’s hard is all the external business I have to keep up on that has nothing to do with creativity and takes up so much time and emotional energy: remembering to list my events on Facebook and anywhere else that might be relevant; fulfilling any press requests or opportunities the publicist secures; making sure my website is up to date and fixing it when I realize I have wrong event info—stuff like that. I imagine there are people who are good at it and enjoy it, but I find it alienates me from myself. As for how friends can help, just by showing up to my events, my friends have been so supportive. And friends like you have gone even further, by doing exactly what you’re doing here: coming up with a collaborative way to create something fun together.

 

Menger-Anderson for TFR:

One of the things I love about Blue Hours are the letters, a record of one friend thinking of another, as well as a record of sadness, as the letters were not sent, at least not until much later. In one, Kyra writes:

Sorry my letters always sound kind of down. I should write you on good days too. I see amazing things, Mim. Incredible people. Incredible beauty. But I guess I mostly write when I’m feeling blue.

 

When I was fifteen and doing a student exchange that was not working out, I wrote what must have been a miserable aerogram to you, and you wrote back immediately with a note that read, “it sounds like you need chocolate,” and included a box. Years have passed and I still think about that kindness, and that correspondence is a really beautiful part of friendship, even when it’s blue.

 

How did you decide to use letters in Blue Hours? Was it clear from the start that these should be part of the text? And that the receipt would be delayed? Or did you come to these decisions later?

 

Kalotay:

I remember letters from you in college, too. In fact, as I write this, it occurs to me that I must have been thinking of “Kirsten” when I came up with the name “Kyra”!

 

Regarding the letters in the book, yes, I knew they would be important and that their receipt would be delayed, but I struggled to figure out how to deliver them to the reader. Part of the problem was that I was using the letters as a way of avoiding going to Afghanistan. In the original draft, Part 2 was, instead, all of Kyra’s letters, in chronological order. I wrote them all out, year after year, from every country she had lived in. And then two things happened. One friend who read the book said it was too much to have all the letters in a row like that, and another friend said I had to have Mim go to Afghanistan. So, I did a year of research and wrote the Afghanistan section and interspersed the letters throughout the book—but then realized people were not reading them all, and that there were some letters I really needed people to pay attention to. In the end I just kept the parts of letters that I wanted to make absolutely sure no one missed.

 

Menger-Anderson for TFR:

I was really struck by the friendship between Kyra and Mim, and how often they viewed each other with admiration and love. “I thought maybe this was what it was like to have a sister, to be that close,” Mim reflects at one point. Or at another (and another of my favorite passages), Mim thinks about the first time she met Kyra:

Now it strikes me that I must have sensed this even in my very first glimpse of her, on the train: the no-nonsense part of her, the flat gaze. I think that frankness was what I picked up on—was perhaps the very source of her familiarity, the reason I thought I knew her. Really what I was recognizing was, I suspect, myself. That is, the possibility, in another person, of being fully, truly seen.

 

I love how the relationship is not plagued with competition, which often factors into the way female friendships are characterized. Were there any particularly challenging parts to developing their friendship? Or, alternatively, parts that came easily?

 

Kalotay:

What characterizes my best friendships is precisely that last line: being seen fully, in all of one’s aspects, and being loved for and despite them, in one’s totality. In developing their friendship, I knew my characters would connect as artists passionate about their art. What came easily, too, were the class differences and how that would complicate things. What was difficult was the mystery around Kyra, who is so elusive, hiding so much of what roils deep inside her. There’s so much we don’t know about her until much later in Part 2.

 

Menger-Anderson for TFR:

We often talk about writing in our emails. You’ve also read and responded to pretty much all of my work at some point or another. You once wrote me “I really want you to be true to your vision of the book,” and I know that when you give feedback, you are trying to help me realize whatever it is that led me to take on the project to begin with. In Blue Hours, Mim tells Kyra she finished her short story, and we see the theme of friendship and critique in the novel as well:

Her face lit up. “That’s fantastic!” Then almost shyly, “Do you need a reader for it?”

 

It hadn’t occurred to me to show it to anyone. “I already sent it out.” My heart sank at my folly.

 

Kyra seemed to notice. “Well, if you ever need another set of eyes…” I had never seen her look bashful before. “I mean, I’d love to read your work.”

 

A bit later in the conversation, Mim adds:

“You’re always working together with other dancers, so you’re used to sharing work in progress. Writers work alone. It can be scary to show your writing to someone else.”

 

Can you talk a little about friendship and critique? I don’t think the two have to go hand-in-hand, but when they do, how does that benefit (or, alternatively, complicate) the experience?

 

Kalotay:

I’m so lucky in that I have friends I share my work with, whom I trust implicitly and without whom I truly could not complete my projects. For me, the friendship part is important because it means we know each other’s personalities that much better and can be that much more honest, with that much more nuance. It doesn’t make it any easier. I still have to brace myself for feedback. I have a friend who cries when her work is critiqued—but part of the reason she can cry is because she is one of my closest friends and knows she can express her fatigue and frustration when a draft still isn’t finished.

 

Menger-Anderson for TFR:

I don’t want to reveal too much about the novel’s plot, but at one point, when Mim is in Afghanistan, she is led to the women’s tent, while her male companions are taken to tea with the village elders. The things Mim learns and experiences at that time are different from her companions. Throughout history women have been excluded from power, their experiences, and their bonds with each other—despite being equally vivid and powerful—often diminished. Even Mim’s friend (and Kyra’s ex-husband), Roy, dismisses Mim’s romantic relationship with Kyra as a “phase,” for example. I was wondering if you had thoughts about female friendships in this larger context—either in the novel or in life.

 

Kalotay:

It’s especially interesting to me how easily dismissed female friendship is when really our relationships are often the sustaining forces in our lives. More than one friend has confessed to me that it’s her relationships with her women friends, not her husband, that she most “needs.” And when I tell women readers I’ve written about two women friends, I immediately see eyes light up and am told “I want to read that!” The first publisher who saw this book sent back notes for suggested changes—and one of the main suggestions was that Kyra and Mim not be friends but sisters, and that instead of a lesbian love affair I have a heterosexual one. You can see the bias there, this implicit assumption that strong bonds between women are somehow less novel-worthy than those between a man and a woman (unless those women are siblings). Probably if I’d made those changes I could have sold the book a lot more quickly!

 

Menger-Anderson for TFR:

And finally, can you talk about the role of female friendships in your own life?

 

Kalotay:

Particularly because I’m single and unmarried—meaning that I don’t have the support of a partner in my day-to-day living—and partly because I have a very tenuous existence as a writer who tries to eke out a living as a professor of creative writing—my friendships are one of the only reliable positive constants in my life. They are the nourishing force that keeps me going, remind me that I’m loved and that my love is received back. Many times in just the past year, I’ve been reminded that my core group of women friends are there for me even when I might not realize it.

 

Please also see Daphne Kalotay’s story “Relativity” in 41.2 (Fall 2017) of The Florida Review.

 

Kirsten Menger-Anderson and Daphne Kalotay, in grade school, feeding ducks.
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On Hearing of Yellowstone’s Latest Swarm of Earthquakes

Part of me has always wanted

the world to shake every morning,

just so I felt alive. Only minor tremors,

of course, nothing elaborate. A fallen

fence maybe, or a few globs of fruit

dropping in the field. That way I’d know

daylight again. I could feel it. I could

draw the blinds and run my hands along

a cracked window pane—that slice of life

that makes across the glass a flowing river.

Outside, the parking lot could fold a little,

ripple like a cornfield in Kansas. One streetlight,

every morning, could crash into the street,

that’s all. And listen, don’t get me wrong.

I don’t want pain or loss or the crumbling of

city hall. I only want a modest nudge to say

hello. I want to know the world is here,

and so am I. Yes, so am I.

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The Thing That Has Caged Them

Bloomland, by John Englehardt

Dzanc Books, 2019

Hardcover, 192 pages, $26.95

 

Cover of Bloomland by John Engliehardt.

 

Considering that we’re bombarded daily with footage from ground zero of one act of mass violence after another, I ask, “Do we need a novel about it?” After finishing the last page of John Englehardt’s stark, yet heartbreakingly human novel, Bloomland, the answer is a confident, “Yes, we do.” Because this novel isn’t about a mass shooting itself, which only takes about half a page. It’s about the closeness of circumstances a person has with a killer, the choices we make that define our behaviors, and the lives we come into contact with and ricochet away from.

 

Bloomland, which won the 2018 Dzanc Prize for Fiction, follows three characters: Rose, a young woman, a survivor of a natural disaster that killed her brother and who decides to attend college; Eddie, a professor at the same college Rose attends, married to a woman who’s more chaotic and alive than he is; and Eli, a young man in trouble, navigating the wrong choices of his life with a sense of malice and dourness. Each chapter covers a different moment in these characters’ trajectory toward tragedy, where they find themselves during the shooting, and what happens in its aftermath.

 

Bloomland is narrated in a perfectly executed second-person present until twenty pages in when the line, “I still think about you two every time one of my students gets engaged,” appears. We discover later that this first-person narrator is someone named Steven, who crafts a narrative style that shifts and skews details of events according to the identity of each of the three characters. This speculation of narrative is in the very DNA of a second-person narrator narrating for others. We accept that there’s no way for a person to know the lives and minds of others. Steven is not a character, though the three characters interact with him at varying points—Eddie more than others. We know he’s either a professor or therapist at the college, but other than that, he is simply our narrator.

 

This second/first-person bifurcation of truth vs. narrative reality mimics the unknown narratives presented by the media to us during the aftermath of a tragic event—like the narrator, who is not purely omniscient and therefore provides us with details that, in the end, might not be real at all. This isn’t frustrating in any way. In fact, it’s very, very smart. Bloomland is a third-person, omniscient-style novel told in the second person from a first-person narrator, Steven.

 

The novel is about transformation. More specifically: reinvention. Events reinvent people and places. A location becomes a specific place after an act of mass violence, forever stained by the Event. Rose, scarred by the natural disaster that destroyed her life, seeks reinvention by shedding her small-town life and joining the anonymous comforts of college and sorority life. She gives herself the name “Rose”—though we never know her birth name because it isn’t something Steven knows. Later in the novel, Rose begins to assist a woman who photographs infant deaths. The pairing of these individual tragedies with the mass violence and natural disaster works perfectly. Each feels completely senseless and leads the survivors to wonder: Why?

 

Good books feel both foreign and familiar. Bloomland feels like a familiar conversation between people you’ve never met but instantly recognize. Englehardt’s work is so intuitive, so wise, that I nodded at lines, such as, “If you punish someone for feeling caged in, you can only expect them to view you as the thing that has caged them,” and “You’re like someone in debt who starts buying lottery tickets instead of declaring bankruptcy.” The novel isn’t consumed by the oncoming violence. It’s concerned with life, how we all move around each other. Englehardt treats the ways in which we hurt or help each other with authenticity. The good and the bad both feel natural.

 

Eli, the shooter in the novel, is not sympathetic, nor is he demonized. There are no excuses. The reason behind Eli’s act points to choice. Englehardt steps away from the idea of creating a victim out of the victimizer and instead presents an active agency. A crucial moment supporting this comes while Eli works on a farm cutting the beaks off baby chickens. He works with the farmer, doing the exact same job, and yet Eli sees the work as beneath him. But the farmer isn’t like that. The farmer doesn’t see it as anything other than work. It’s an active choice for Eli to see the things happening to him as, “Ohh, the world is against me.” He’s active in his negative view.

 

Later, the narrator tells us Eli thinks “that there is some preordained, fixed destiny [he is] fulfilling, when in reality it has just been retold to [him] so many times that there seems to be no original model after which you are patterned.” What has been retold is the idea that society makes the monster, which is what people like Eli believe. The truth is that Eli reinvents himself by choosing to view the world as “against him,” by choosing to turn to dealing drugs and harassing young women, by choosing to believe in Heisenberg’s theory that reality doesn’t exist unless it’s observed—which places those who exist in reality at the whim of their creator. He chooses if they live or die. With this, Englehardt points at those who look at small moments, or hard moments, and consider that we are alone in it, that we are the butt of some ethereal joke, and that all of society is against us and our only way to take revenge is to lash out with violence or aggression.

 

In the aftermath of Eli lashing out through an act of mass violence, Englehardt explores questions around the death penalty. Is it about justice? Where is the justice in the death of a perpetrator? For Englehardt’s characters, it’s a matter of closure: will his institutionalized death bring closure to their lives, to the deaths, to the Event? Englehardt navigates these questions in a way that has no finite answer—just like these moments have no logical finality. Each is an open wound that heals but always leaves a scar.

 

The best closing lines ease you out of a world, tell you that the characters will continue but you cannot join them. The end of Bloomland puts a period on our participation in the lives of these three characters. We see their progress toward personal resolution through healing wounds and personal growth. This is often what makes finishing a good book so difficult—we don’t want to leave. This novel is hard to leave, hard to not discuss after one finishes reading it. It’s important and should be required reading. But with Bloomland, the closing line leaves that world open by pointing out that in the aftermath of these tragedies, we don’t “examine its decay” but instead “focus on […] the sound.” It tells us that we are always going to live in the gloom of Bloomland, that this is how our world works—which is what makes it so terrifying and heartbreaking.

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Bite Me

 I’m reading a non-fiction piece by a cable TV tech

who says she told a customer that she needs

 to get into the basement to run a line, and the customer

says, “You can’t go in the basement—it’s a mess,”

 and the cable TV tech says, “Look, I’ve seen it all,

so unless you’ve got a kid in a cage down there,

 nothing will bother me,” and the customer pauses

for a beat and says, “Not a kid.” Just then

 the phone rings, and it’s a friend who tells me

 

 he’s thinking about taking up fox hunting

but hesitates when I ask him if there are foxes

 where he lives. I tell him to go ahead, though:

this way, he’ll have all the fun of fox hunting

 and none of the barbarism, presuming some other

prey appears, of course, like geese or skateboarders.

 Or your own thoughts: isn’t being startled

by some idea or feeling that you never knew

 you had in the first place just the best? Think how

 

 smart you feel when you’re crossing the street

or walking through the woods and suddenly you see

 how the coadjutant power of an atom is determined

by the number of hydrogen atoms that it combines with

 or what Kant meant by the categorical imperative

or why your mom stayed with your dad even after

 he kept getting arrested, especially that one time.

“To live is so startling, it leaves but little room

 for other occupations,” says Emily Dickinson,

 

 and surely that’s how people felt at Elvis’s first

stage show, because here was a kid who wasn’t

 playing country, said producer Sam Phillips,

and he wasn’t playing rhythm ‘n’ blues, and he

 looked “a little greasy,” and the venue was “just

a joint,” and the audience was a bunch of

 hard-drinking folks who weren’t about to settle for

a tepid performance, but they didn’t have to,

 because their reaction, said Phillips, was “just

 

 incredible.” I’m so happy that those people

had that experience. It must have been

 the best surprise. I think probably the worst

surprise is to have a heart attack during a game

 of charades, because either people will think

you’re mimicking someone having a heart attack

 or else you’re doing an absolutely terrible job

of acting out the scenario you’re supposed to be

 acting out, such as transcribing a Beethoven

 

 sonata but in a different key from the original

or knitting a muffler to give your granny for

 Christmas or Hanukkah, if she’s Jewish.

This one woman said her biggest surprise

 was when she woke up after an unsuccessful

suicide attempt: she’d checked into a motel,

 put a plastic sheet on the bed, lain down,

and swallowed what she thought would be

 an overdose of pills only to be found by

 

 the housekeeper the next morning and wake up

a few days later in a psychiatric ward. “I was

 very upset I had failed,” she said. Not me,

I say. Kill yourself and you miss out on

 the eight million little surprises that happen

every day, such as the time last week when a tiny

 slip of a student came to my office to drop off

some work, and we chatted for a minute,

 and it turns out she’s a German major,

 

 and when I say why German, she says, “I want

to be a butcher, and the best butchery schools

 are in Germany.” Take that, you village explainers

who say that humanities degrees are worthless!

 Lucky student. She’ll be in Germany for a year,

and after that, who knows where? Anthony

 Bourdain says, “Travel changes you. As you

move through this life and this world, you change

 things slightly, you leave marks behind,

 

 however small. And in return, life and travel

leave marks on you.” Bourdain is also the guy

 who said, “Your body is not a temple, it’s an

amusement park. Enjoy the ride.” Someone

 who always enjoys the ride is Percy, the neighbor’s

cat, who comes over every day to bite me.

 There I am, having coffee on the deck

and reading the newspapers, and Percy settles

 down between my feet and looks at them as

 

 though he’s studying the menu board at

a McFriendly’s and trying to decide whether

 he wants the Chocolate Chili Cheese Dog

or the Big Bubba Bacon Bomb. When my friend

 who wants to take up foxhunting gets off

the phone, I start reading again, which is when

 I learn that the cable TV tech goes down into

the customer’s basement and finds, not a kid

 in a cage, but a man, and actually a happy man

 

 at that, if “happy” is the word you’d use to

describe someone who is paying the householder

 to lock him up and starve him and beat him

regularly or whatever it is that a sex worker

 does to someone who takes delight in

a leisure-time activity that wouldn’t exactly

 make my heart leap up with joy, but then

there you have it. Oh, go ahead and bite me,

 Percy. You’ll only surprise me if you don’t.

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