Two Poems

Breakfast with My Spiritual Advisor at Sunny Side Café

His first job out of school was working

as a hospital chaplain at Mercy,

sat bedside with the dying

 

for a living, and he tells me what

it was like to wait for the joints

in their fingers to go loose like he

 

was letting the fish steal the hook to swim

back off into scripture with.

Out down the road

 

the early service releases and a ringing

tower sends off the congregation

with the old, irregular style bell

 

ringing that signifies to me an actual

human is somewhere down there tugging

one end of some rope that crashes

 

a lead tongue against the hollow insides

of cast iron. You hear that, I say,

pointing with a slice of bacon to the air,

 

and he says they’re an expression of joy

meant to help us forget our sadness

for a minute or so, and I say

 

it’s there though, pointing at my heart

with the bacon, the sadness, even

when we let ourselves forget it,

 

same as it’s always been,

the heartache and the thousand

natural shocks that flesh is heir to.

 

He says he prefers Blake

over Shakespeare any day of the week

when it comes to either sadness or joy,

 

To see a world in a grain of sand, he says

and a heaven in a wild flower.

When the ringing quits

 

I say I prefer Frank Stanford, which

is a damn lie, but I don’t tell him I actually

prefer my wife’s hair slinking down her back

 

though I do, or that I prefer sneaking out at night

for a cigar on the porch in early fall,

or that I’ll always prefer to bury the light

 

and put on the darkness like a pair of wool socks

with a hole in one of the big toes

over Milton or Jesus or Sappho.

 

There are houses so broken

they aren’t worth fixing, and sometimes

that’s exactly how I feel. Waterlog turned

 

to dryrot turned so useless you couldn’t

sink a nail. Sometimes my wife whispers

she loves me from the other room and all

 

I hear are bells. Other times, there’s only

a lonely wind passing through the storm door

whispering almost nothing at all.

 

Art Fair

I came to meander through open-air booths erected

in the name of self-taught metallurgical fiends

who curl lengths of iron into abstract lawn décor,

 

in the name of grade school art teachers

who scrawl feverish landscapes into the night,

in the name of potters who breathe and bellow fire

 

into backyard kilns, in the name of woodworkers

who turn burlwood into bowls for still-life prints.

I came here because there exist people with second lives

 

that last longer than the first, and because we all

eventually fall into the shapeless crowds who wander

these grassy lanes like ghosts who’ve fallen

 

into portraits tacked in museum galleries. If I fail

to bargain down a smear of moon oil on canvas, just watch

me move in on that bloodwood cutting board,

 

or that hand-twined chandelier, because there’s a price

in my head that’s incapable of change and all it takes

is a bit of small talk and to look someone in the eyes.

 

I once convinced a man at a roadside fireworks tent

to knock ten bucks off a 12-pack of Mississippi Gambler

mortar shells so I could paint the night with more color

 

than you can imagine, and he just sat back into his body

and his impossibly quiet lawn chair. Just sat back down

into a life defined by a carnival tent of powder and fuse.

 

Listen, I came here to feel a rougher art rush through

each one of my eye’s billion vessels, because color

and form, and because far from the Louvres

 

of the world artists still find ways to fashion

grief into the arcades of other people’s hearts.

Because somewhere near these tents meat smoke rises

 

from pork fat spit into embers, and because somewhere

there is a moveable stage upon which a bass player

slowly unlatches his case, and because soon enough

 

the lights of this art fair will begin to dim, and each

one of us will drift back to the silence of our homes

where we will each unearth from slumber the stud-finder

 

level, hammer and a single nail in order to hang

an image upon the dining room wall

where before there was nothing, until now.

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Logos

The beginning of Virginia happened . . . when? That moment is lost in time. Early on, she was at the edge of my consciousness but still a writer whom, even as an English major, I had never read. Woolf wasn’t on the syllabus in any of my classes—not required reading in those days just before there were courses in feminist literature. After my graduation, I read Woolf with a vengeance. I liked the experimental novels well enough—Jacob’s Room, To the Lighthouse, The Waves—but what intrigued me most was the gradual publication of her letters and diaries.

 

That wealth of material gave me a window on a life radically different from my own. For a period of years, I felt as if her friends were also my friends, and that the conversations she participated in were as important to me as they were for her. It was easy to achieve this intimacy. The diaries and letters are filled with minutiae, nuanced insights, deeply personal impressions, and remembered conversations. They offer more information than most people ever reveal about their lives. The details are so extensive. It would probably be possible to chronicle Woolf’s daily life for decades.

 

I learned about her sister, the painter Vanessa Bell, and about Virginia’s marriage to Leonard Woolf, a Jewish writer, editor, liberal politician, and the man with whom she founded the revolutionary Hogarth Press. I was fascinated as her relationship with Vita Sackville-West unfolded, a love affair between two married women, flirtatious and communicative—resulting in the high humor and euphoria of Woolf’s novel Orlando—only to find a quieter resolution as they drifted apart.

 

What attracted me to Woolf? My life was completely unlike hers. I was not born into the London literati. I had my origins in a small town in northern Wisconsin. I had no famous father and no brothers at Cambridge. We definitely did not spend idyllic summers in Cornwall in a large house on the English seacoast waited on by servants, walking the beach, and playing games of cricket in the garden. My family took car trips across the American West, slogging along the interstates to see our country, camping out to save money, and eating macaroni and cheese out of a box.

 

I came from people whom Woolf might have dismissed or even despised and ridiculed—from farmers, mill workers, and civil servants, from those who were uneducated, at least by Woolf’s criteria. My people did not read books as a means of understanding the self, defining feelings, or interpreting the world. They worked. They were mostly just trying to survive and get by. I came from them, and yet I still wanted to be like Woolf. I wanted to write. Virginia became, at least for a decade, my higher power.

 

 

It’s 2006. My friend Nancy and I are touring London. I am here partly in pursuit of my mentor—Virginia Woolf. At this point, I’ve read everything she’s written. I’ve waltzed through that embarrassment of riches—the printed pages she left behind—her novels, letters, diaries, essays, and articles. Now I’m walking the streets she walked.

 

It’s dusk when we board the London Eye for a bird’s-eye view of the city beginning to turn on its lights. In our glass car, we rise and fall while feasting on this unparalleled view of London. Although it undoubtedly looked different in her time, this is Woolf’s city—a place she inhabited in all ways. After the ride, we choose to dine at the café in the crypt below St. Martin’s in the Fields. I order mushroom stroganoff with delicate new potatoes and a fennel salad. Nancy has a dish with steamed broccoli, cauliflower, and Savoy cabbage. Our globed glasses of white wine fracture light into the vaulted space.

 

It’s wonderful, yes, and isn’t this a moment Woolf might have chosen to memorialize? It seems to me I should write about it. What are we saying to one another? What are my thoughts and impressions of this day? If I don’t get this down somehow, won’t it be lost forever? I wonder. Does that really matter? Isn’t it enough that Nancy and I are here sharing this moment?

 

Later, I lie awake with jet lag thinking about Woolf’s second novel, Jacob’s Room. After a galloping romp through a young man’s life at Cambridge, we learn that Jacob, the protagonist, has died as a soldier in World War I. The final scene of the novel has Jacob’s mother and one of his friends cleaning out his rooms. They find Jacob’s papers strewn across his desk as though he had left for a stroll in the park.

 

There’s a horror in this vision, a sense of futility and emptiness. A person—vital and rich with life—is suddenly gone. The novel poses the ultimate question. What is left of all that sensation, what remains of so much rich lived experience once the person has passed? It occurs to me that, in her novels, Woolf is almost always writing toward the same end game. Yes, this is happening—this vivid and incredibly complex life tapestry. Yet, it’s also disappearing. Suddenly, because of either time or death, a chunk of it is gone, lost forever.

 

Woolf’s most autobiographical novel, To the Lighthouse, chronicles a family’s summer in Cornwall. But those moments are also lost. When they return to the house on the shore years later, the whole emotional tenor and tempo of their lives has changed. The mother has died, leaving them to struggle. The long-awaited trip to the lighthouse takes on a completely different meaning than it did on a day in the distant past when it was impossible to go because of bad weather.

 

At the novel’s end, Lily Briscoe, a peripheral character, takes center stage. She is a spinster and a Sunday painter, a woman not taken seriously by the male-dominated art world. Yet, she perseveres. Lily is at work painting the Cornwall scene when the family returns. Finally, almost giving up in frustration, unable to express the whole as she sees it, Lily declares a truce. The painting must be finished. There’s nothing more to be done. “I have had my vision,” she announces. And this seems the best we can hope for—to have that vision and attempt to record something about it even as the moment is passing.

 

Woolf tries to preserve those moments that don’t last, the globes of being and experience that simply disappear. She seems to be saying it’s important to celebrate the freshness, newness, and immediacy that make the world overflow. But the other side of this promise is the tragedy of time passing, the heartbreak of death and loss. I can clearly see this is Woolf’s vision. But is it mine?

 

After my trip to London, sick of the insistent need to turn every experience into copy, I stopped writing for five or six years. I told myself it was enough to have my experiences without constantly formulating words to describe them. It was an immense relief.  My mind felt free. And yet, there must have been something of a warring voice within me because I saved my notes—notes about that day in the city and the meal I shared with Nancy. I must have believed that, one day, I would need or want them, and I did.  But when I finally began to write again, it was with a different attitude. I knew I could live without writing, even without Virginia.

 

 

The Buddhists say that, to become enlightened, you must actually kill the Buddha, meaning you must destroy your idols. This comes from an old Zen koan attributed to the Zen Master Linji, a Chinese Zen Buddhist monk who founded the Rinzai sect of Zen Buddhism and who died in 866.

 

The saying says: If you meet a Buddha, kill the Buddha.

 

I guess I did this to Woolf after my trip to London. Not that I actually killed Virginia, but I doubted her. I saw her as a person, brilliant but limited, part of her own time, her class, and her culture. Woolf gave me a window on her world but not a passage into it. She had been my teacher, but perhaps I had learned what I needed to learn from her. She taught me to pay attention, to notice details, to hear my environment, and to listen to my own thoughts.  At this realization, there was disappointment and a sense of loss. It felt a bit like losing an old friend either to death or indifference. It’s all well and good to have idols, but suddenly, I knew I would never be this person who spent three weeks touring Greece with the painter and art critic Roger Fry.

 

Woolf’s festival of words took me somewhere. She got me to London and enriched my time there. But in the end, I returned home, leaving England for my own geographical and personal world. My physical and spiritual home for most of my life has been the northern boreal forest of North America. It’s a place where I walk on footpaths between towering trees, a place where I count my breaths while listening for the air rush of bird wings. This is where I belong.

 

This winter has been a hard one. Nearby, just off the footpath, several crows feed on the remains of unidentifiable dead animal. Busily tearing toward the center of the carcass for red meat, the two companionable black birds ignore this approaching human. Likewise, a soaring red-tailed hawk offers me no greeting as it flies overhead and beyond my field of vision. As I tread my forest path, I experience the spaciousness that exists outside and beyond words.

 

Don’t get me wrong. I love words for their capacity to partially tame the world’s wildness. I adore them as they lean into metaphor and traverse distances. But I see their limitations. Words are temporary containment fields. I believe that, although words were her medium, Woolf understood this. She was always writing into the void, always using language to push toward the no-word zone. In novels that exist on the margins of human experience—Jacob’s Room, To the Lighthouse, The Waves—Virginia has taken me to regions where there is simply nothing more to say.

 

What can we know of poor Jacob after he has passed? Lives and loves succumb to time. Individuals exist for a while and then they are gone. The waves roll toward the shore, relentlessly washing away all footsteps on the beach. Eventually, through her suicide, Woolf crossed the ultimate barrier. No one could follow her into that beyond. Still, during her lifetime, Virginia returned to the place of making again and again. She tried to hold her ground even as that ground was slipping out from underneath her. She had a faith I sometimes lose. When I tire of carefully wrought language, I leave my writing desk and head into the woods seeking the place of no-words.

 

Entering this wordless zone is another way of killing the Buddha. But I know he isn’t really dead. I’ll be back at my computer soon enough. Tall pine trees creak in the wind. It seems that, though it is incomprehensible to me, they speak in a language all their own. And suddenly I get it. Virginia is the hawk flying away from me. She was here but she’s moved beyond my field of vision. I can’t say where she is now or what she is like. I’m not even sure what I am like, but I am resolved. I turn back on the path that will take me home. My house isn’t far away, really no distance at all.

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Her Affective Labor

Dear Z: The Zygote Epistles by Diane Raptosh

Etruscan Press, 2020

Paperback, 116 pp., $17.00

 

Cover of Dear Z: The Zygote Epistles by Diane Raptosh.

 

Diane Raptosh is the poet of the unlikely.

 

Of course, any creative act in itself is rather unlikely, whether it is the cosmic creation ex nihilo in which the universe is manifested out of an accident of strong and weak forces converging and dissipating, leaving some errant subatomic particles behind to crash together for the big bang, or the simple clapping of hands, a rhythm, a disruption, a repetition. A creative act is the convergence of everything, an impossibility, which only has to happen once, and there it is: the dreamy reverb by David Roback, the breath between H. D.’s lines, the abdominal contraction before Bill T. Jones’s turns.

 

Over her thirty-year career, Raptosh has produced wicked, loopy, political, surrealistic, and unforgettable poetry: experimental and wild, a free-roaming poet of the Idaho sagelands. Her work leaps madly into the mud-pools of language with a child’s abandon, but with an intelligence that is hard, uncompromising, and disturbing in its own playfulness.

 

Dear Z: The Zygote Epistles completes Raptosh’s verse trilogy, a project nobly supported by Etruscan Press. The first in the series is American Amnesiac (2013), a book-length, ghazal-sequenced monologue spoken by a former Goldman Sachs exec, who seeks to recover his identity, to reconstitute himself as an improbable and decent citizen. In the second book, Human Directional (2016), Raptosh leaves the individual to explore the collective and atomized human consciousness via a slapdash of prose poems, exploded catalogues, and single-line jokes. In her trilogy, we are stuck in the hell-scape of an American post-capitalistic society: racist, punitive, commodified, cruel, and degrading. Yet, multi-vocal and therefore hopeful, precisely because of the fissures and fractures that occur amid all the digital noise.

 

With Dear Z, Raptosh brilliantly answers this world with a set of letters addressed to our pre-embryotic, single-cell existence: a single fertilized ovum, a “love speck,” which drifts down the fallopian tubes. Perhaps finding purchase on the uterine wall and becoming, and perhaps just being flushed out of the system entirely and not becoming. We will find that in Raptosh’s poems this difference matters perhaps less than we’d think.

 

The voice is materternal, not that of the mother but of the aunt: intimate, loving, world-weary, and transgressive. It is a voice that is fully queered and unmoored, wholly original:

 

Dear Zero,

 

Most humans evolved only once—in what’s likely

East Africa, 200,000 years ago. So don’t freak

 

when I shout out We share the same mama:

Mitochondrial Eve. Unlike the one in the Garden

 

of Eden, mtEve was not the sole woman on Earth,

but the one who made her descent into everyone.

 

So pray tell, teeny homunculus, as the line

from “Time of the Season” by the Zombies,

 

that British Invasion band, goes: Who’s your daddy?

 

Please know that should you come be, Big Data

will quickly conceive you as processing stream,

 

a more or less numeral entity—lacking internal lyric:

that giddiest hymnal. That solemn bee. The think feeling

 

fist that is inwit. Queerest iota, does this kind of talk

smack of hokum-humanist seething on my part?

 

Our shared mother mtEve was mostly a kink of statistics,

a ringing quark of a person: a true lovely, who probably

 

knew to venerate horses.

 

Here is a whirlwind of what Raptosh does so singularly well: the careening slant rhymes and punning, the clack of assonant syllables against sharp end consonants, and the driving free associations that make perfect sense. But amid all this dazzle, Raptosh is in impressive control of her material.

 

In this passage, she isolates “inwit,” a word she introduces in Human Directional, and a word she parses out in her essay, “Poetry is Where the Action Is”:

 

. . . inwit suggests the inner senses and interior sensibility: that collection of inner faculties the poet sets store by. Inwit is, by my reckoning, the very womb in which the poet thrives.

 

It seems to me that the entirety of Dear Z is an exceptionally crafted articulation and enactment of inwit. Indeed, one suspects it is a quality deep in our mitochondrial DNA, somewhere in our circuitry, we just know we must somehow “venerate horses.” Our capacity to engage in affective labor—to love, to imagine, to be awed, to empathize, to connect—surely comes from that first “mama” that Raptosh names.

 

Throughout these letters to the zygote, the speaker faithfully accepts the binary of becoming and not becoming, and she celebrates this suspended (and free-falling) state. After all, even the zygote that does “not become” has “been,” a sack of genetic coding as ancient as the first evolution.

 

Dear Z,

 

in the presence

of your latency—

 

that vacant shoe,

those shades

 

of facelessness—

let’s say

 

I think I feel

the sound of dots moving.

 

Our ancestral connections, both to the past and future generations, are but Morse code taps on our own genetic coding. We have the same mother running through us, the sound of dots moving. An un-extraordinary miracle-mirror. A tapping. Let.us.be.k.i.n.d.

 

Diane Raptosh gives us a speaker who possesses that womb-wisdom, who is generous and critical in her advice, especially when the news is harrowing. We have a great poet among us with commitment and daring and craft, who teases us and indulges us with her unconditioned and unconditional wisdom.

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Santa Maria Novella

Florence, Italy

 

Outside the Santa Maria Novella basilica, I draw belief

in God for hours on a bench and local and foreign

visitors watch me watching faith. We all stare down

 

the church. Revisit and retrace an object

as if it can save the millennium, as if it can save me.

I am drawing to you, Love, in straight black lines

 

as a spectator’s wrinkles deepen. Who is on the watch

for angels and Satan as millennials take self-portraits

filtered to Beautiful for hours in front of the church?

 

As if to follow as if to Like as if to Share as if to Friend

as if to Capture as if to Block as if to Leak. Is this social

media faith’s purgatory? Please believe in my selves.

 

Inside my real body, frescoes. Frescoes and sketches of

now dead little i’s and little u’s then purportedly loving.

Love™ – a façade as flat as the green and white lines

 

mapping the face of the Santa Maria Novella.

All one hundred people in this square freeze

to view order for seconds and minutes and hours

 

and the lovers kiss and hold it as if Love’s relics

as I wonder who will be discarded upon homecoming as

if trash blown up dew-slicked streets of East Walnut Hills.

 

u and i kissed and held it for years

in America to peel off the monochromatic

color scheme on Satan’s dividing palette yet

 

my image you displayed for no one. Unaffirmed,

unshared, you ghosted me. Our love—my grave.

 

Behind the basilica, the sinking sun births shadow-

twins, keeps loneliness company. Couples go silently

away. Nights, I pretend to be Loved™—paint God.

 

Where the tour

 

Where the auction

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Like Fireworks, Far Off

As if chrysanthemum fireworks flaring

gold, blue, red—brief, phosphorescent

amoebas throb, pulse. Next, a galaxy

of green stars spins out of existence.

Then, a flurry of supernovas

 

flare and fade. After, a comet-like

streaking ends in a white flash. All the while,

a far off chorus of oohs and ahs

mingles with some last applause.

Then, for a moment, it seems like dawn.

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’50s Movie Stars and Hong Kong Metro Stations

Attack of the Fifty-Foot Centerfold by Dorothy Chan

Spork Press, 2018

Paperback, 103 pages, $18

 

Cover of Attack of the Fifty-Foot Centerfold by Dorothy Chan

 

Everyone deals with their own sense of identity. We’ve all experienced our own unique moments, and presenting these moments in a way that conveys the inherent emotions that lie therein can be a personal, soul-bearing thing. In Attack of the Fifty-Foot Centerfold, Dorothy Chan’s poetic protagonist talks about her life in snippets. Through tales of men the speaker has dated and meals she’s cooked with her family, we see how a Chinese-American identity was shaped, and how that affects the speaker’s everyday life in blunt, humorous poems that involve ’50s movie stars and Hong Kong metro stations.

 

The three sections in this book are divided by subject matter. Though everything connects because it all relates back to the narrator’s persona, the sections are split between overarching themes of family, culture, and experiences with dating and men in general. The reader is walked through these sections with a tone that feels half-sarcastic until it doesn’t. We get long lines, pop culture references in tow, that give the reader a chance to understand the speaker on a personal level. For example, when talking about attractive men, Chan writes, “… O, I don’t get wet for / the Hot Dads of US Weekly or the dad / bods of Star, but give me Frank Sinatra’s / voice crooning in a Hong Kong cab.”

 

The poems switch between multiple poetic forms that lean to  the side of the traditional, including odes and sonnets, and yet use blunt language and modern-day references, producing a delightful whiplash in the reader. The easy way in which these verses connect with a contemporary reader makes this book a pleasure, and the book holds a similar range emotionally as well. Despite the fun nature of a lot of these poems, Chan doesn’t shy away from presenting the reader with poignant moments, such as one in which the narrator notes, “my mom tells me spirits never leave / their homes, and that we believe our loved ones / visit us in dreams about a week after they pass away, to say I love you.” Chan simultaneously opens up to the reader without presenting her cultural identity as something grim, sorrowful, or alien.

 

This is Chan’s second book. Her first, Chinatown Sonnets, also tackles some of the same overarching themes. What comes through most is the consideration of belonging as a concept. Chan’s narrator speaks to her parents in a mix of Cantonese and English, both languages belonging to vastly different countries and cultures. The speaker eats traditional Chinese meals with her father, but is attracted to bleached-blonde, lithe, toned surfer boys. There is a feeling of belonging to each place, but that is juxtaposed with a feeling of otherness. What exactly dictates the need to belong—or do you ever really need to belong? Chan tackles these questions by presenting her unyielding and unapologetic opinion on the subject, while also showing a complex identity can be exactly what makes a person belong. Her speaker is a loving daughter. She feels a certain sense of kinship with movie stars and musicians of the ’50s and ’60s. She still misses her childhood dog. All of these things make her unique, and she is confident in that—she belongs within herself. This exploration of the concept speaks of a time when she was not confident in this. We can all fall short—we can all question our place in society, at home and among friends. She has ruminated on this topic, and presented in a style that makes this book not only a beautiful read, but an enlightening one.

 

Chan accomplishes the feat of speaking about identity and belonging, and how they relate to the place one feels like they’re from—and she more than succeeded. This quick read is a gorgeous display of experimentation with poetic form and voice. The message it sends—though the words are personal to Chinese-American life—leaves the reader feeling just a little more confident about themselves, justified in the individuality and peculiarity of their own experiences, too.

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Overhang

I slipped and nearly twisted my ankle getting out of bed and trying to look out the window—as if it made a difference what the weather was. The day would be wasted at work, where I would mostly sit on the edge of the toilet, zooming in to towns in Greenland and Mozambique and the Russian Far East on my phone. My boss sat in a glass-enclosed office and scrolled Reddit all day, and it was clear from the way he talked to me that he didn’t know my name. I had lost my job as a sommelier and ended up here. I used to joke that I would rather be a day laborer than one of the petty tyrants I had spent my life tiptoeing around; that way, at least, I could keep to myself. Now my wish was granted.

 

I didn’t really know what my job duties were, although I was able to intuit that breaking down tomato boxes, wrapping them with twine, and setting them in the lot behind the building for pickup fell to me. Around six everyone left for the day, and I would work alone in the big empty facility until my shift ended at ten. The vaulted ceilings and troweled floor magnified every tap of my feet like snare hits. I dithered, playing on my phone; now and then I broke down a box and leaned it against the wall with the others, finishing by evening’s end however many were going to get done in my dithering style. The boss probably assumed I was sweeping and mopping. What did I care?—they paid me hardly enough to live.

 

Improved weather lured me outside—I spent the last couple of hours of my shifts in the lot behind the facility. I dragged out however many boxes I might realistically take care of. One night I flipped one on its back and tore off its flaps. With a razor blade I’d found on a windowsill, I cut two windows and a door in the front. My shadow reached into the bath of kudzu behind the barbed-wire fence.

 

I tore apart several more boxes and taped them together into some sort of hut, big enough for, say, a few cats to lounge around in.

 

Over time, I built the structures more and more elaborately, adding lookouts and flourishes, always thinking of symmetry. I cut out crenellations. I drew out entrance halls. I realized I needed this, enjoyed this little something. One night I made what you might call a castle, with four lookouts and a full-on gatehouse. I assembled a drawbridge that didn’t quite work, and then it was already five past ten. I would have to start the whole thing over the next day. I didn’t know where the boxes actually disappeared to—some kind of processing facility, I assumed.

 

On Memorial Day I was one of two employees scheduled. A professional cleaning crew was brought in. Nobody told me how I should interact, so I avoided them. I hauled every box I could find outside and built a room big enough for two people to have coffee in. I brought in two folding chairs and sat and put my feet up. I wrote “Hotel Pomodoro” over the entrance with a Sharpie. I liked to think I was daring them, whoever they were, to take it away. The next day my little cafe was gone, the asphalt clean.

 

I was supposed to have begun getting ready for work by now. The day was bright—I stood on my balcony and came alive in the sun. I was taking the day off: I wasn’t going to show up.

 

 

I walked to the corner store for cigarettes. An orange tabby sat at attention beside the door, pretending not to see me. “What is this, Buckingham Palace?” I said, never having felt more unselfconscious about dishing out tepid one-liners.

 

I bought my pack, saluted the cashier, stripped off the plastic, and strolled out into the sunshine. The skyline soared in the foreground; it looked as if the buildings were receiving medals, the tallest in the middle taking gold. They seemed to smile at me. The possibilities of today were almost overwhelming. I could walk all the way downtown. Maybe take in a movie. Or I could buy a novel and gobble up the whole thing in the park.

 

I decided I would take myself out for lunch downtown at the famous place I knew only by sight where the ramen was of the highest caliber.

 

I had no desire to call in and invent some excuse—I didn’t owe them a thing.

 

Was I quitting? Was that what I was doing?

 

At the bus stop a man I’d never seen before was dancing joyfully, barefoot, hair swinging. He leaned out from under the overhang and held out cupped hands, still bouncing. I handed him a dollar, we dapped, and the shop cat skittered out from behind the bench and scampered up the street as if our knuckles touching had launched him.

 

The cat stopped at the next corner and glanced back, waiting for me.

 

We let a car pass and crossed the street together. I started running to see if he would follow along. He did. We jogged past the shady schoolyard; a group of kindergarteners heaved a red ball toward the heavens and squealed.

 

The next intersection marked with an X the “downtown” of the neighborhood, a cluster of markets and restaurants with funny names: Victory Cigarettes, Zen Tool & Hardware, and, of course, Mr. and Mrs. Fruit.

 

Maybe I would buy myself something nice. Once a week I almost spent my entire savings on a giant television. If I were going to die on my feet, I might as well enjoy myself.

 

It was just now one o’clock, my in-time. If I snuck into the facility at two, when management had their daily meeting, maybe no one would see me come in late, and I could keep my paycheck after all.

 

The cat, who had gone ahead while I stopped to think, looked back at me expectantly. I caught up with him.

 

We reached the local ramen shop, the last shop on the last strip of this section of town. I had never eaten here. I assumed it was inferior to the fancy place, which I couldn’t imagine improving upon.

 

I looked at the menu, even though I knew it wouldn’t do. I wanted the real deal; I wanted something to look forward to.

 

The cat’s eyes blazed: he was fixated on something ahead, his heart thumping through his fur. He was staring into what I called the Zone, the fenced-off moonscape of wild grass and rubble between the inferior ramen shop and actual downtown. The road we stood on bisected the rocky terrain, rising up slightly before us and vanishing down. I knew it eventually led to the overpass I considered to be the border with actual downtown, only two blocks from the ramen mecca.

 

At the precipice of the Zone, the wind picked up. The cat paused, his body scrunched, the formerly linear stripes down his back now scrambled. He squinted nervously. I bent down to pet him goodbye and he shied away. I tried again, and he ran and hid behind a car.

 

The brightness of the chalky mass and the openness of the sky were paralyzing. I forged into the headwind, shifting my gaze to the sidewalk. The glaringly white concrete stung my eyes: there was nowhere to look.

 

I couldn’t walk straight; I slipped off the curb and veered into the road.

 

I was going to get hit by a car.

 

I stumbled back, blindly found the fence, grabbed on. I covered my face with my other arm, slid to the ground, and curled myself into a ball.

 

My eyes stayed shut for some time. I watched brain TV, avoiding myself. Maybe a few minutes passed, and I then heard the gentle crunch of slowing tires, and then an engine fan. I peeked through my knees—a taxi had stopped across the street. The window, opaque with reflective glare, came down, gradually revealing a woman’s impassive face, squinting at me.

 

In the car I asked if she could take me to the ramen place I’d just passed, the less exciting place. Taking the bus home from downtown didn’t sound pleasant, nor did I want to shell out for cab fare from there, which would approach the cost of lunch.

 

She asked if I meant the restaurant fifty feet behind us; I nodded. She searched my face.

 

 

The door chimed as it shut behind me. Someone—a waiter—emerged from a secret door in the wall and through the opening revealed the kitchen: immense steel cauldrons of bubbling broth, white-coated cooks. A woman stood at a steel table and portioned dry noodles into plastic bags, twisted them closed, and set them aside, staring vacantly ahead. The door closed and the scene ended.

 

I asked the waiter if I could sit at the bar. He led me through drawn curtains to an empty room—where was the bar? He set a menu on a table in the far corner, near the kitchen.

 

Although I already knew what I wanted, I picked up the menu and pretended to read him my order, envisioning the creamy, six-minute egg, the concentrated, nourishing broth, and the heap of soft yellow noodles from the other, better restaurant.

 

He nodded and took the menu. I waited.

 

Finally he came through the curtain holding my bowl, set it down, and left without saying anything. The ramen swayed—pork belly, seaweed, pickled mushrooms. This was not what I’d ordered.

 

The waiter burst through the curtains holding a jar of candies. I lifted my chin and writhed to get his attention.

 

He stomped his foot, acknowledging the mistake, set the candies on the table next to mine, and carried my bowl away.

 

I noticed my shoulders weren’t relaxed and dropped them. It’s only food.

 

A few minutes later an old man wearing chef’s whites limped into the room, holding a platter heaped with scallions and bean sprouts, clearly meant for a large party that was not there. He looked lost. Sweat streamed down his face.

 

The confusion on his face intensified when he saw me, as if he were just now realizing the restaurant was open.

 

He remained in his frightened stance, knees bent, five feet away, clutching the plate, staring past me. He seemed to be looking at my ear lobe. Then he glanced back toward the kitchen, maybe for guidance. I felt the urge to say something to him—I opened my mouth—and then the curtains flew back and the server rushed in, wove around the man as if he were a tree, and set before me something resembling what I’d ordered.

 

The broth was lukewarm and under-seasoned. The bewildered cook now held the heap of garnishes close to his knees, his arms tiring. He watched me eat.

 

He shuffled over and set it next to the candies on the table beside mine and returned to the kitchen.

 

 

The mizzling rain would have been refreshing on a certain kind of day. Not that it bothered me—it simply coated me, like a plant. My stomach growled; I had eaten three bites of ramen.

 

I walked in the general direction of home. Maybe it wasn’t too late to call in. Although now I would have to explain why I hadn’t contacted them earlier, in addition to lying about my absence. Lies on lies. I burst out laughing, which almost developed into weeping. I slowed to a halt, and stood, just stood there, water droplets quivering on my chin before leaping off like skydivers. At least that was how I imagined they appeared. A black SUV whooshed by, looking important.

 

On the bench at the bus stop sat the man to whom I had given a dollar, and sitting to his right was the cat, in loaf-of-bread position. A matching loaf—it was even the same color—of sandwich bread rested on the man’s lap. To his left were open jars of peanut butter and jelly.

 

He set one piece atop the loaf of bread, which he used as a table. Then he dunked his finger in the peanut butter and smeared it on the slice, and with deft, certain strokes he did the same with the jelly. He popped out another slice, slapped it on top of the filling, handed his creation to me without looking up, and went on producing sandwiches, piling them up between his legs. Now and then he glanced up at me. Maybe he was waiting for me to start eating. The window of time in which I could have plausibly said I was saving it—saving it for the first trash can once I was out of view—had passed.

 

I sat beside the cat. He didn’t acknowledge me. He knew I was there and accepted my presence, squinting and smiling, the way cats do. He was completely dry and smelled like fabric softener.

 

“Found him in a cardboard box,” the man said. “Taking a nap.”

 

“What did the box look like?” I said.

 

“What did it look like?” he said.

 

“Yeah.”

 

“It looked like a box.”

 

He stood, lifted the pile of sandwiches, opened a polyester knapsack, placed them inside, cinched the drawstring, set the bag of sandwiches on the concrete, sat back down, wiped his hands on his pants, and looked off into the distance.

 

“Anything unusual about the box?”

 

He looked over at me, and then at my sandwich, as if he hadn’t heard, or maybe he had and didn’t intend to respond.

 

I took a small bite. No granules, no razor blades. I nodded with approval, arching my eyebrows to make sure he got the message. He snorted and shook his head wildly, as if I had insulted his family and thrown the sandwich into the street.

 

“Crazy over there,” he said, motioning with his head toward the Zone. “Stadium is going to change everything. If they ever build it. Gonna wipe everything out. Gonna wipe out the whole neighborhood.”

 

Another SUV cruised by, looking official, its black-mirror windows reflecting the three of us like mangled dough.

 

“There’s gonna be a casino, too,” he said. “A goddamn casino. Can you believe they approved it?”

 

I had no idea what he was talking about. I caught myself starting to speak, emitting a truncated, guttural sound. “Ahp.”

 

He assessed me, first my sneakers, then my legs and shorts, working his way up to my face.

 

I had another bite of the sandwich. It was delicious. The jelly was exploding with strawberry sweetness. I tilted my head back and nestled it in the bend of the Plexiglas overhang. Hundreds of beads of water constellated above me, jiggling on their own, as if they were alive; every so often one broke away, streaked down the plastic, and disappeared. I got to thinking about the last restaurant I would ever work in; in the summer we served watermelon granita in crystal glasses, which either I or a runner would pass from a silver tray to guests waiting for tables. I was the sommelier.

 

And then I wasn’t.

 

“That’s why we like you—you stick up for yourself,” the manager, Jamie, had told me as I sat down to sign my termination notice.

 

At the time, I didn’t think it was the end of my career. The strange thing about being blackballed is nobody tells you—you gradually figure it out on your own, to the extent you can affirm it. Nothing was stopping me from trying to break back in, technically.

 

I remember standing in the parlor in the early evening before the rush, empty tray under my arm as I looked through floor-to-ceiling windows onto the sidewalk, watching the uneven stream of bodies, some hurrying by, some stalling; and then a woman stopped to let her dog pee on some impatiens fenced around a tree.

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The Doctor Looks at My Blood Work

Says: There are blacksmiths in your eyes.

Maybe this explains the forging.

The way I flatten heat. Bang

earth against answer until

I call it knife. Nodding to bellows

in their muddy howls. Told them

chemistry separates from slag.

I speak in gardens. Interrogate

the estrogen and her rising weeds.

From space this earth is more red

than any astronaut will speak.

In the dirt, the iron begs to be born.

I kneel before anvil and pray.

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Acknowledgment

You divorce. You remarry.

 

You are already a father; your new wife is already a mother. She has a blooming daughter that you come to love, a daughter to whom, in time, you begin to say I love you. A daughter who later begins to occasionally reply, with no discernible pattern: Love you, too.

 

You write a book for people just her age—that age we think of as between. A publisher buys the book, makes plans to release it, and over the course of many disorienting months these plans unfold as promised. Along the way, you encounter the moment when you must determine how to dedicate the book, when you will choose how to acknowledge the people you will elect to thank. The task is self-indulgently benevolent. You dedicate the book to your wife, first and last. You acknowledge your parents, your teachers, your friends, the people to whom you entrusted the book long before anyone wanted to pay you for it.

 

You acknowledge your son, of course, who is easily named. But when you try to acknowledge your wife’s daughter, who by now has been a part of your life for years, you hesitate. She is your child. Also she is not your child. The sentiment comes easy, but what to call her does not. You contemplate at length how you will identify her role in your life, the way you will declare—in print—what you are to each other. Eventually you end up with these words:

 

To my daughter, for being such an excellent human being to share the world with, and for teaching me so much about being a dad.

 

You send these words to your editor.

 

The day comes when the publisher of your book prints advance copies. These copies are not final; they are still full of mistakes. You show the book to your wife’s daughter, and she thumbs swiftly through it toward the end. While you watch, she slows and reads the acknowledgments page. She sees the way you have phrased your gratitude, sees the title you have bestowed her. She says nothing. She is thirteen. You do not, at first, know what to think of her silence.

 

But weeks pass, the book due to be finalized any day, and you don’t forget what she didn’t say. You remember your words: my daughter, for teaching me so much about being a dad. You begin to suspect that she has said nothing not because she is thirteen, but because she is thirteen and already has a dad. Her dad is not you. And finally one night when you are already feeling melancholy, you hover at the entrance of her room before bedtime and tell her you have a question. A personal question that might feel awkward. She says, dubiously, Okay.

 

You ask her about the acknowledgment, if she remembers what it says. She does. You ask her if she would feel better if instead of daughter, you wrote step-daughter, because that’s what she is. You ask her if, instead of dad, you should write step-dad, because that’s what you are. She says, slowly—Maybe?—and in the weight of that word you feel a sick and swollen tide of regret: at having asked the question, at having phrased your gratitude the way you did in the first place, at taking space in this doorway at all. She tells you, because she is an excellent human being to share the world with, that what you said was sweet. But she also describes, because she is an excellent human being to share the world with, how there are competing piles of guilt whose weights she has to measure, whose burdens she must compare. If you do not make the change, she explains, there is this pile of guilt. If you do make the change, there is this other pile.

 

You understand her.

 

You understand her, and you think in that moment that maybe you will never again be asked to undertake anything so parental as this, to gift her this retraction, to express the truth not the way you want to, not the way you feel it, but rather the way she needs you to. And what she needs is to be called step-daughter.

 

She compromises with you, suggesting that you could at least still say Thank you for teaching me so much about being a dad. You don’t realize until later that she is doing that right now. Teaching you right this second.

 

Because right now she argues how important it is for people to hear the true story. They need to have things explained. They don’t like things to be unclear, and you have been unclear. Worse, you have been untruthful. You have used the word daughter.

 

You agree to change the word. She thanks you. And then she tells you—she is so young, she is trying so hard—that at least you will have this copy of the book, this version that still says daughter, this advance that is full of mistakes. At least you’ll have that. You agree with her, even though you have no true idea what she hopes to mean, offering you this consolation. You ache with the possibilities. You thank her for her honesty. You say I love you. She says love you too. You will say goodnight now. You will leave her to her thoughtful room. You will go and you will nurse the strange dear knife in your belly, and you will send an email to your editor with the necessary correction, and for a while you’ll be lost, already fumbling to imagine some story whose words you would never take back.

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The Haunting of Memory and History

Hard Damage by Aria Aber

University of Nebraska Press, 2019

Paperback, 126 pp., $17.95

 

Cover of Hard Damage by Aria Aber.

 

The collage of memories that make up Aria Aber’s Hard Damage, the 2019 Prairie Schooner Book Prize Winner, offers an opportunity to reckon with the undeniable fact that poetry offers a home for the past and an understanding of our relationship to history. Memory is integral to why poetry must exist. American poet Ira Sadoff tells us that “memory is required for poetry,” and what Aber does is showcase this truth along with the complexity of memory, while questioning whether “memory is a privilege.

 

Hard Damage chronicles Aber’s understanding of the trauma ingrained within her familial lineage stemming from violence and suffering the family experienced in Afghanistan, as she grapples with the wounds inflicted by the political and personal remnants of history. In the poem “Family Portrait,” we get a glimpse of the microcosm of the family and how the uncovering of memory is ingrained within the familial unit. Aber writes:

 

Family, to me,

Is only the sweat of female secrecy

 

This discussion of family provides more nuance as we learn about the speaker’s mother’s political imprisonment in poems such as “Asylum” and “Can You Describe Your Years in Prison?” The aperture widens as the poems convey the inescapable reality of just how much the political is immersed in the personal or the generational:

 

. . . How much

of my yearly tax is spent to bomb

the dirt that birthed me?. . .

 

Aber challenges us to investigate a painful and violent history that begets a continued destructive present, and how these events shape the wounds that are passed down again and again through the generations. Hard Damage asks, with urgency, how living through—and with— trauma, violence, and war engages our understanding of the self, lineage, and survival. How does one live with the enveloping experience of violence? How does one access ancestral history and language? How can all of this be reclaimed?

 

By starting her collecting within the realm of the personal, Aber prepares us to journey into a series of enveloping worlds or sections of poetry interrogating the questions of access, history, language, and reclamation. Each world presents not only the opportunity to grapple with language but also to grapple with the reality of war. In the series of poems starting with “Rilke and I,” each poem elevates the conventions of the prose poem to discuss how we remember what has happened to us. Aber writes:

 

My mother let me happen to her. She let prison happen to her, simply because she believed in Women’s Rights and Afghanistan as a sovereign state. She went to prison with her little sister, and she emerged. She was, I can say now, a political prisoner. She let it happen to her; then she decided to leave her family behind, move on for love, for family, for me …

 

Within the poetic experience, the speaker is working to reconcile intergenerational trauma and the reality of being born after the original trauma occurred. How are we meant to grasp these memories? How do we accept that we are removed from specific traumas as individuals but are very much intertwined with the remnants of our family’s pain? Each of the worlds explored in Hard Damage offers a different understanding of the haunting nature of memory, of political violence, and the attempt to move forward. Aber’s chronicles of the historic realities of her mother’s political imprisonment, coupled with her awareness of her own privilege, creates a tapestry of the different ways that memories are consume us.

 

Aber’s voice is entirely her own within this collection, and yet it’s made possible by her intentions of honoring the resilience and death of her ancestors. Not only is Hard Damage a conversation with history, but it also presents a rich voice conversing with various aspects of history. From speaking to the German poet Rilke, using the etymology of German, English, and Arabic words and those of the speaker’s own family, Aber’s collection explores what we are left with when investigating the roots of our world today.

 

The profound attention Aber pays on the line-level to the crafting of her poems presents many opportunities to engage in the depth of moments recalled by the speaker and the intensity these moments have for the personal and the collective. In “Nostos,” the speaker notes:

 

In English the body is both dead

And alive, but I know the blight of grief

Has a heart and thus will love, and learn, and thusly

Learn to hate—

 

Ira Sadoff, in “Poetic Memory, Poetic Design,” does not simply claim that memory is needed for poetry. He asserts that “syntactical memories, gathering the emotional weight of the poem as it accrues line to line,” is needed for poetic expression. Alberto Ríos tells us that “lines are what distinguish poetry from all other art forms, and therefore they intrinsically mean something. They help us to see what makes a poem a poem.” Aber not only expresses a deep sense of care and attention on the line level but also a commitment in keeping the integrity of what a line must do in a poem.

 

On the line level, the poems in Hard Damage break and disrupt our own understanding In the poem, “At the Hospital, My Language,” for instance, Aber writes:

 

cousin with no empathy. But family

is family; the awkward shell

I harbor, crack—avian eyelids,

hospital, yolk—

 

These lines are not only enjambed, but media caesura allows for a break and redefinition of the language before them. Because of Aber’s syntactical construction, our understanding of family is reconstructed. It takes on multiple meanings. In Aber’s crafting of the line, she evokes multiple interpretations and provides a deepening of our understanding of the line itself and the poem as a whole. These moments of intentional meaning on the line level contribute to what I find most compelling about Aber’s collection. Hard Damage works to bridge the micro space of the line to the macro understanding of what makes poetry so altering to the reader. It is in the singular moments of surprise, redefinition, and nuance created within the line that lead us to unearth meaning.

 

This unearthing reveals the personal and political history that sits at the crux of the collection. Aber’s yearning to show the intricacies of the Afghanistan–US relationship, the Afghanistan–German relationship, and her own understanding of the traumas these political relationships have caused creates a collection intense in its ability to interrogate the political structures, while providing a deep sense of what it feels for a person to grieve the aftermath of violence, war, and imprisonment.

 

It is nearly impossible to not feel the haunting density of the memories Aber explores as we immerse ourselves further into the collection. The poems ask us to be consumed by the intricate experiences of the speaker, while also carrying the responsibility and gravity of the reality Aber exposes. An entire history cannot possibly be conveyed in a mere hundred pages, yet what Aber recounts is done with striking clarity and an acute awareness of the privilege writers have to tell a story. She says:

 

It is a terrible time

To be alive.

 

I say this with the privilege

Of being alive

 

We are born in the midst of past and ongoing violence. What does that mean as we reconcile our identities with the trauma rooted in our ancestry? What does it mean to be generations removed, and yet still contending with the inherited trauma of our ancestors? This collection reminds us of that undertaking. It urges us to wonder, reflect, and determine how to deal with the damage.

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Three Months Without Razor

or the scratch

calling from behind

without kiss of water to skin

without the graze of a finger

or palm to cradle a smile

but love—at times—

like winter

ends abruptly

and with a blade

the pores shocked

and opening

their wide mouths

once again—

without arrest—

dancing with the sun

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Earth’s Weight

He knows we uproot burdock

and hack down the musky trees of heaven.

He knows we kill mosquitoes,

but spare the killer spiders. He knows

how cats and opossums look

when they get run over: slick loops

of veined intestines, bulged eyes

and choked-out tongues. He knows

the living die, but do not want to die:

worm tugged thin from dirt to bird;

hooked fish muscling for the water;

scared pig scuffing against the ramp.

He knows we humans die, and kill

our own. He knows what soldiers are,

what warplanes do. He is four

and he also knows numbers:

a hundred and twenty-five pounds,

his mother. Sixty minutes, one long hour.

Three million people, the city of Chicago.

He’s four, and lately wants to know wars:

“Tell me a war, Daddy.” I name one,

and he wants the number of people killed.

The Civil War: six hundred thousand.

“Is that more than a thousand?

Can you count that many? Tell me

another war.” And another. He pays

attention. Vietnam: more than two million.

World War Two: at least forty million.

“That’s a lot, isn’t it?” Later he’ll ask, “Why?”

and we’ll talk about money, land, hate,

and following orders, but right now

all he wants is the name of a war

and the numbers of the killed—numbers

so vast you couldn’t count them

in a single lifetime, like the number

to tally earth’s weight—a number he loves

to tell and tell: six point six sextillion tons.

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birth of venus

Sandro Botticelli's Birth of Venus, c. 1485.
The Birth of Venus, Sandro Botticelli, c. 1485. The Uffizi, Florence, Italy.

 

tidal women splay tempera  

the conch pigmented against turquoise waters 

her body sea-bound in paint and bone  

she wears herself in brush strokes 

 

zephyr and aura blow embryonic seawater from her shoulders 

spring’s hora rushes to mantle her newborn curves  

renaissanced she crashes borders architected  

as venetian lips she cannot speak through 

 

her body imaginative

almost cadaverous

 

she speaks around 

she gazes as she is gazed upon 

her nakedness to nudity 

 now pornographic 

 now classical 

her body tidal 

 

father her your words 

your chipped teeth 

your plaster-rotted frescoes 

in your marbled mausoleums 

she speaks you back  

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Cartilage

One night, when I was in grade school, my parents hosted a party. Other families came, co-workers. There were drinks. A man in a yellow tie had a margarita and then another and another. He said his ex-wife was a tramp. He stumbled as he passed from the living room into the den, where we kids were playing, entered the room looking unsure of why he walked into it.

 

“A bitch,” he said. “Total bitch.”

 

That night, I swore to my mom I’d never drink. She laughed, asked me why. I said I hated that man, that there was no need to drink, that I was happy without it. I was seven or maybe eight. She said I’d understand when I was older. I lay in bed, unable to sleep, knowing I’d prove my mom wrong.

 

The first time I got drunk was at Vlad’s, the summer after my freshman year of high school. We bought a handle of vodka so cheap, we thought, that the homeless man we’d given a twenty to buy it had given us seventeen dollars change. We passed the bottle with a shot glass and a chaser of store-brand cola. Around my fourth shot, everything started spinning. It felt good, wholesome, the ritual. Later, trying to sleep on Vlad’s floor, head resting on my bunched-up hoodie, I thought about what I swore to my mom, her laughter, and I felt an unmooring. Who knew what I’d believe in ten years? Twenty? Who would I be?

 

I was friends with Vlad because he and I rode the city bus together after school. By that point, my mom and dad had divorced, and on days at my dad’s house I’d ride one bus out from the suburbs into the core of downtown Seattle, where I’d walk up Stewart to wait by a garbage can on the backside of the convention center for the number 18, which then took me to school, just a stone’s throw from my mom’s. Vlad and I took advantage of our afternoons downtown, hitting the market for donuts or piroshkies or hum bao, drinking dollar tallboys of Arizona Iced Tea from minimarts where homeless people moved around in parallel to our thin reality, buying hot dogs or imitation crab sold on Styrofoam trays wrapped in cellophane.

 

Vlad had a knack for finding free food. At GameWorks we strolled the arcade, swiping a chicken leg off an abandoned plate, a slice of pizza at the bar. In the shampoo-scented hallways of downtown hotels, we found room service carts with scraps of porterhouse and baked potato, or the browned edges of a salmon frittata, the last bits of flesh out of the carcass of a Dungeness crab. We’d walk to the ballpark and talk down a scalper, or head up to the Starbucks on the forty-fourth floor of the Columbia Center to take in the view. Eventually, we’d split. I’d catch the 511 out way north, the ride quiet, still with the sodden air of evening commuters.

 

Vlad dropped out before the end of the school year. It made me wish I could drive. I’d sit alone in the back of the number 18, my biology textbook open on my lap, my gaze elsewhere, following the sequence of teriyaki joints and coffee shops, rain puddling at the curb.

 

My senior year, I saw Vlad in the parking lot at Leilani Lanes. I heard he’d been stealing cars. I’d tried to avoid him, but he caught up to me, put his hand on my shoulder. He asked if I wanted to buy some greeting cards and produced from under his jacket a small binder of samples. He told me I could make a good buck in the greeting-card game and invited me over to see how it was done.

 

His house, his parents’ house, smelled like chicken and mildew. None of his family was home but his friend was there, a guy with a gentle, fragile smile that made me anxious. He was seated in the parlor, where they’d spread a table with patterned cardstock, scissors, bottles of glue. Vlad asked if I was hungry and retrieved a roast chicken from the fridge, submerged in its own congealed juice. We ate it cold, with our hands, our fingers glistening.

 

We smoked a joint in the woods. His friend talked about how it easy it was to crib a Toyota. I got the sense he was trying to impress me. Vlad asked if I wanted to steal a car with them.

 

“Nah,” I said, and wondered why I hadn’t just said no.

 

We wandered the neighborhood in the wash of streetlight, going nowhere in particular. I kept smelling my hand, thinking about if my mom would smell the weed.

 

When I’d come home the morning after getting drunk for the first time, I’d been worried she would smell alcohol on my breath. I could feel booze in my mouth and lungs, in my pores, in my sweat. I stood in the entryway telling her we mostly played Xbox.

 

“Are you okay?” she said. I felt like I’d been emptied out and then filled with vapor. But from her tone and expression I knew that she knew what I’d done and also that she didn’t mind. It was like I’d crashed through some invisible barrier from one reality into another more like hers. She had known my whole life this feeling that felt so new, this hollowness and also the night’s strange spinning joy.

 

My hand didn’t smell like weed, but it did smell like chicken cartilage. Those days I thought a lot about the smell of food because I was working part-time washing dishes at a burger joint. I was terrible at it. Each day I’d come home soaked, my shirt thick with grease, ketchup, tartar.

 

“You going to college?” Vlad asked.

 

“Yeah.”

 

“Where?” his friend said.

 

“California,” I said. “Got a scholarship.”

 

Vlad said, “What are you gonna study?”

 

I’d been telling people business with a minor in art history but that was a lie. My mom had a fantasy of my future where I ran a restaurant and painted on the side, but all I knew was the certainty of a looming void stretching out before me. I still felt like a child, no direction, no idea what was next. And here was Vlad. Whatever next was, he was already living it.

 

We turned a corner and another, began to run out of small talk. I didn’t know it would be the last time I saw Vlad, but I didn’t not know it either. There was a damp gust, and I zipped my baggy raincoat shut. It was cold but not too cold, wet but not really raining.

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Starlight

I bring the watered-down wine to my mother’s lips

hold the plastic cup at an angle, tilt the straw.

Pleasures remain, and we practice them.

The body in water.

The anticipation of spring.

Hummingbirds.

 

Above the deck, a string of lights levitates

below the sunshade like a globed consciousness

working only in the night.

Below the deck—small animals,

bundles of rustling nerves.

How many worlds?

 

How many dimensions hiding

in our perceived walls? In the dark of summer

we watch insects give themselves to fire

and we take in my father’s stories with more wine,

more water. When it is time, we will rise together

on the homemade lift into the living

 

room. We will wheel down the hall and

my brother will cradle the arc of my mother

in his arms and lay her to sleep in bed.

This is the geometry of dying—

and our grief is a closed circle

concentric in its company but radiating

 

like the fire does, and the glass festoons do,

and as all light will, arriving

from anywhere and touching anything.

O, the starlight—

when moved by a turbulent atmosphere—

how it spreads.

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Poems of Cruelty and Compassion

Poem with Too Much Rope in It                     

After the opening of The National Memorial for Peace and Justice

 

I’m thinking of humans who cut the testicles off other humans, who string up

their fellow humans and laugh. Of people who set other people alight for the crime of

uppity, for the crime of gay, for the crime of, I refuse. I’m worrying about

my fellow humans, who can hang a pregnant woman upside down, disembowel her,

leave the fetus dangling—

 

I’m thinking of the many loving humans I know. Sheltering humans. I’m worrying

about how many people after the war still thought Hitler’s big mistake was

not killing all the Jews. Wondering, too, about those who hid entire families in

a few small rooms, risking the murder of their own. How do we reconcile this—

the fervidly brave, the fervidly cruel. Happy informers. The disbelieving informed. Them

and Us. Who did this to you? I want to ask victim and perpetrator—

 

I want it to be someone’s fault: twisted leaders, bad parents, beatings.

Or maybe it’s a Darwinian experiment. Something coiled in our genes. Here are

the conditions: let’s see who lives, let’s see who fouls their soul. Either way,

I walk down the street with affable people who would do these things—dangle

suffocating humans from branches, drag them behind jouncing pickup trucks and laugh,

roast alive the very humans who maybe—in another life—they dearly love.

Is there a life in which I’m laughing along with them?

 

Knees

Tomorrow, my father gets his foot

cut off—too much pain for too long—

time for another divorce.

 

For years, he declared

he was too old for this.

Maybe he was too young.

 

What a shiver—sickness,

wheelchairs, walkers,

canes. There’s been talk

 

of complications,

of a cut above the knee—

like the hem on a sexy skirt.

 

But he will insist, he says,

on below the knee. March—

a bit of snow clings

 

to the ground, but in his garden

he’s planted spinach already.

By my front steps this morning,

 

the hyacinths just beginning

to bulge out of the ground

remind me of knees—

 

how green and incipient

we can always be.

Below the knee—

 

all the things

he has done,

has not done,

 

could do,

can still do,

on his knees.

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3am

Sleepless, I walk A1A, right down the middle, feeling the road warm under my bare feet. Street reflectors glow orange, like little matches that light the way. Waves crash, and a distant car echoes this way or a frog chimes, soft reminder I’m not alone. Sometimes I walk until the sun touches the horizon, and blue jays warm the air with lust. At home, he sleeps on his right, arms and legs curled around a pillow. Yesterday, he teased: How does it feel to want? Sometimes the moon is a gold thumbprint in the indigo above a dark ocean. Sometimes nothing more than a slice through sky. Sometimes stolen, gone with clouds thick as dreams.

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Two Poems

Lowboy

My mother called

the antique mahogany dresser

that held her daughters’ underwear

in the hallway that ran

from her room to ours

 

a lowboy. On top of him,

she set an antique clock

that chimed every hour,

counting our lives for us.

 

At noon, I drank

in twelve bells, counting

ten on my fingers

and tapping my heart twice

with my pointer finger.

I was a child in love

 

with ritual but

I never questioned

my mother’s—to house

her three daughters’

multi-colored snake pit

of lace and satin and cotton

in the same wooden box,

 

stored where other mothers

treasured silver knives,

miniature spoons, and linen

they knew how to fold

into birds that posed on bone

china plates as men took

their seats at fancy tables.

 

Ours was a blurry childhood.

Our mother did not believe

in separating the strands of anything—

she threw every kind of utensil

into one empty, unlined

 

kitchen drawer. Her necklaces

struggled in a level of tangle

she’d never live to undo. We got lost

in the spice cabinet, could never

find the flavors we craved most

and our water would boil over, stain

the black sheen of the stovetop

 

as our books leaned against each other

in a confusion of genre. Surely

our illustrated Cinderella yearned to pry open

the pages of my mother’s art books

where women spread their legs, refused

 

to don lingerie. My mother hurled

her apprentices’ unmentionables

into a place that reeked of a forest

before it’s been selected and sliced

by the town’s strongest men.

 

We idolized her, but questioned

what life was like at other houses

where dinner parties twinkled

as we watched them, barefoot

from the street with our hair matted

into braids from the previous week.

 

The plates and saucers soared

to each guest like clockwork

as they gripped their forks,

licked their lips and leaned back.

 

Perhaps every woman in our house

was jealous of each white,

monogrammed linen cloth,

how it rested gently

in the warm lap of a man,

how it got to be lifted

by experienced hands

toward his hungry mouth.

 

I Told My Mother I Was Attending Church with Anthony Steele

It never occurred to me that anyone would know me like I know myself.

 

The first time a boy put his tongue between my thighs

was on a wooden picnic table. It was Sunday. Broad daylight. I was

 

splinterless on his father’s boat as that boy named after metal,

named after taking without someone’s knowledge,

 

ferried me gorgeously out to an unnamed island he knew would be deserted.

I plunged the steel anchor into the crest of the shore and our bodies broke

 

away from the boat, leaping into the dunes where we lapped salt water

off each other until we were dry again. We hid behind palm fronds like

 

the ones laid before Jesus as he rode to his crucifixion. It was exhilarating

to be laid gently on a wooden altar. I turned my head and studied

 

a circle of gray stones where ash danced, flitted away from where

a fire once roared. Sizzled. I wanted to burn, so I covered my eyes

 

with my hands to shield the light. I don’t remember either of us praying.

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Elegy for My Father

 

Photo of man from Gideon Thomas Laney Collection, Western Carolina University.

 

When he died last month at 91, my dad left boxes and boxes of black-and-white, sepia, and tinted photographs, along with a mahogany crucifix on which the Virgin Mary is suspended. Black hair, probably a horse’s, flows from the Virgin’s scalp and skirts her narrow waist; she has two tiny discs of grey-veined mica for eyes; and her feet are malformed, curving outward like jester shoes. I’d never seen this figurine in my life. I found it in Dad’s pocket a few hours after he died. The oddest thing, however, is that—whether it’s a fault of the woodworker, an act of vandalism, or a consequence of one of my father’s devious moods—the Virgin’s right breast is missing. The left side has an oval hump; but the right side is flat, smooth, and palely smudged as though rubbed vigorously with sandpaper. Along the back of the cross is carved: “To Amelia, from Dad.”

 

We shared many irreverent jokes; neither of us were orthodox Christians. But this figurine, I admit, makes me uneasy. Why is her breast sanded down? Can a single object inflect the narrative of an entire life?

 

Dad loved dolls, that I knew. He was the only man I’d ever met who kept an extensive collection of them—enough to fill an entire closet. As a child, I could never step foot in that uncanny sanctuary (or, to my mind, mausoleum) without chastisement; although at times, when he was out photographing the mountain landscapes and mountain people—the thing he loved to do above all others—I’d sneak in and caress their porcelain faces, turn their eyeballs to the left or right, or, when I was especially lonely, embrace them carefully without altering their positions.

 

Dolls in a yard, Western Carolina University. 

 There were big dolls and little dolls; conventional ones and quirky ones. I remember waiting for him in his Model T as early as nine years old while he hunted for dolls in drug stores and dusty furniture shops that made my allergies act up. The last doll he bought was in an antique store in Brevard, North Carolina; it was gigantic, dark-haired, with arms as pale and thick as split oak slats (I don’t know why this doll, in particular, finally satisfied his collector’s heart and completed his coven). He photographed them all, but of this Virgin Mary there are no extant photographs.

 

Dad was what you might call a shutterbug. He conceived of life as an album of images. His memories, for the most part, were tied to particular photographs he’d taken at one time or another. He entered Kodak contests and lost them. He wrote Kodak often complaining about their overrepresentation of northern urban photographers and the relative neglect of southern rural ones in contests; he wrote them about their new products; he wrote them about copyright law. I remember falling asleep to the ring-clack and furious metallic swings and snaps of the typewriter.

 

In the 1920s and ’30s, during the decline of tenant farming and in the heyday of folk photography, each town or hamlet in rural America had its resident photographer (Dad was born in 1889 and I in 1909). Men and women from Hemlock Cove, Olto, Judaculla, and Gallow Hollow frequented Dad’s studio and the Attic Window darkroom. They’d come with baskets of huckleberries, lovely foot-high April morels, and birch sap candy especially for me. They had names like Mossie Reynard, Earl Palmer, Gideon Laney, Imogene Bascom, Reinfried Romanes, and Max Straub. Like my dad, none of them made a splash in the photography world. At best they placed a few pictures in the Atlanta Journal or Audubon magazine. But Dad never kept friends long. He’d get into some bitter dispute with them about aesthetics or the superiority of a particular strain of vegetable. He had so many of these short-lived artist friends who shared and exchanged photographs with him that it’s impossible for me to know which of the tens of thousands of photographs he left behind are in fact his. The overwhelming majority are, certainly, but the outliers I can’t identify. My eye isn’t sharp enough and perhaps his style wasn’t distinct enough.

 

Throughout our lives, Dad and I would venture to the obscurest regions of our property, which was five square miles of oak, creek, and granite dome. He called our home in the cove Amelia’s World, because I spent all my time there gardening, walking, and writing while he was off taking pictures. We’d search for lonely abandoned chimneys from the nineteenth century—the relics of the crude cabins of Cherokee and frontiersmen, which often tilted dramatically on uneven ground. These one can find all over western North Carolina, hidden in rhododendron coves: creek rocks rising twelve feet high layered with clay chinking and reinforced with rope, hair, and hog’s blood; the splintered horizontal slats made of poplar. Over time, bees bored into the chinking’s hard pottery. Sometimes we’d light a fire in one of these crumbling hearths and smoke would pour out of the holes.

 

 

Dad’s death was a painful one. It feels almost irreverent to speak of it. The few distant cousins who visited struggled to keep their hands from their faces. He had bulging sores resembling purple tomatoes, some split open and oozing as if struck by the blight. His body was like a neglected garden at the onset of winter. I dabbed his sores with a cold cloth day and night during the final struggles. His last wish was for me to cover him with his dolls. His face glowed as he tossed and turned, coughing, spitting up fluid and blood; it jutted out from the top of the porcelain and cotton bodies so that it seemed he wore a grand, puffy Elizabethan dress with ivory lacework.

 

Dad had many sayings: “the best and worst things in life are errors of the stars”; “we’re just searching for a lucid interval”; “our knowledge is a journey from ruin to ruin.” These cryptic maxims I’ve found myself pondering in the days since his death. Over time, we came to share a similar philosophy. We believed travel outside Appalachia, for instance, would not edify the mind. Close observation of oneself and one’s immediate surroundings is the key to parting the curtains of mystery, however briefly; sense impressions decay into a precarious reality and the laws of nature can change at any moment. But we never held our breath awaiting those changes.

 

Some of his quirks I picked up. We both preferred corncob pipes with bowls cured with apple butter; it made the brightleaf tobacco from our garden taste sweeter and heavier than molasses (I’m smoking an old corncob right now at my writing desk; my hand shakes more than in the past and I pull the smoke with less vigor, but I experience the same relish as in my early adulthood). Neither Dad nor I owned a mirror. On the rare occasions we looked at our reflections, we did so in the convexities of tablespoons, and only then out of a sense of curiosity, never vanity or self-critique. We should move through life, Dad said, like a living soul in love that knows it’s loved in return, that doesn’t desire more or less as it stands on the bridge between self and other. That was his roundabout way of saying that we should accept our insignificant selves as they are.

 

I remember the winter it snowed and never let up, the flakes hissing and shifting on the branches, rocks, and roofs. In a fit of rage one day, due to some accident in the darkroom that ruined a batch of prints, Dad threw his ice-crusted walking stick against the wall—and it’s still stuck there. Somehow the tip wedged perfectly between two boards. We thought it quaint to leave it. In later years the walking stick reminded us of that long brutal winter and cut us with nostalgia, remembering the faerie cabins we built with pebbles and bark; the chunks of granite we heated in the stove and used to warm our feet; the icy shock of creek water in our throats; the night we glimpsed a freak offshoot of the northern lights weaving blue and violet nets around the moon; our midnight feasts on crystallized honey; and reading the Gospel of Thomas aloud until we drifted to sleep.

 

Winter in Appalachia, Virginia Tech University Libraries.

 

Living with Dad was not always easy. Rarely did we get on each other’s nerves, but there were times, especially towards the end, when he’d come in needy and sulking, desiring compliments. For sixty-plus years we’d discussed the people and places he photographed and the prints he left lying about the kitchen counter or that he had genuine questions about, which my untrained eye could help him clarify. When his body and spirit began to fray, however, he started leaving

photographs in places I’d find when I was alone: on my writing desk, bedspread, and rocking chair; in my tackle box, where I kept my rocks; and in my jewelry box, where I kept some beloved, much-read letters from an old flame. In the garden I once found a Polaroid caught in corn silk. It was a portrait of a woman I’d never met. She had sensuous lips that turned down at the ends and a bold beautiful forehead. Her eyes were closed; a horny crust, some kind of skin condition, populated her eyelids. The next day Dad asked me about it. Was it good or bad? Should he submit it to a magazine?

 

The first few times he did this I told him how moving the photographs were. I patted him on the back and flicked him affectionately on his balding pate. But as time passed, it angered me that he wanted me constantly to be his praiser and applauder, his confidant in art’s triumphs, failures, and transgressions. I wanted nothing more than the communion of easy laughter and the intimacy of long silence. That was how it had always been. It hurt to alter my attitude toward him, to play a role other than daughter. In the final two years his liberal spiritual convictions began to wear thin, and I suspected he was becoming secretly zealous in a manner he was embarrassed to admit to me, given our long history of unorthodoxy and light heresies. He’d hide himself away in his workshop reading a copy of the New Testament that he’d picked up at the Baptist church down the road. Once, when he lost his pipe, and we couldn’t find it anywhere in the cabin, I heard him mutter: “My God, why hast thou forsaken me?” I laughed. I thought it was a joke, but his expression was solemn. In spite of these things—which I’ve hesitated to commit to paper—he was my only friend and would’ve carried the cross or burned for me. An elegy, unlike a eulogy, should be honest in its longing for souls no longer in reach and should not shirk the hard truths of a complex life.

 

On the end table, there’s a browning, half-eaten peach with Dad’s bite mark still intact. I can’t throw it away. I think of how often he fretted, especially after he turned eighty, that all the peach trees in North Carolina were dying. He carefully documented their mutilations after the April freeze. He didn’t go exploring the mountains and rivers as far as Asheville anymore, but stayed near Amelia’s World, beekeeping, making muscadine wine, and worrying over our failing orchard. He often related dreams of worms, molds, and hard white blights like baby teeth infesting the fruit.

 

 

Effects of freeze on plant, West Virginia Tech University.

 

For some reason I can’t help but connect the missing flesh from this half-eaten peach—where Dad’s long, rabbit-like teeth scored as deep as the stone—with the Virgin Mary’s missing breast; and I can’t help but connect her missing breast to my motherless life. Of all people to have no photographs of, I have none of Mother (never “Mom”). Dad took hundreds of the goat man who visited the byways of Appalachia once a year in his junk-filled wagon pulled by goats; he has thousands—literally thousands—of pictures of purple martins feeding their young from perches in hollowed-out gourds hanging from poles. None, however, of Mother. Dad only started documenting the still, silent world after her death; in his photographs, the mysteries of loss were lulled into chemical innocence.

 

 

Mother passed away a few weeks after childbirth when I was two years old (my brother was stillborn). I was too small to remember her. Like clockwork, once a month (during the entire seventy-one years I lived with Dad, up until those final weeks), I’d walk into the house to find him drinking sassafras tea in the kitchen and crying, almost silently, his shoulders heaving. Few things made me so uncomfortable. It transformed me into his parent. I’d always pretend I didn’t see and pass quickly through the room. He never detained me but once. On that particular evening he spoke about Mother, how she had been feverish before she died. She didn’t rave exactly; she was lucid, just bathed in sweat and bright-eyed. She related certain visions: Christ in the desert, hovering, suspended in the air by magnets; a fiery cross erupting on the forehead of a goat; breaking a rock and seeing the face of Jesus inside it. The last vision she related, however, was more intimate.

 

She told of a day in Oberwolfach in southern Germany, the evening before she and Dad started their long journey to America. They’d decided not to go walking in the windy autumn hills above the village. She couldn’t remember why they’d stayed indoors; maybe they needed more time to pack. But in her vision they had, indeed, gone walking in the hills that day; they’d held hands; they’d kissed each other’s imperfections; they’d talked about what North Carolina might be like as they made for a gap in the trees, where the sun flooded the dim evergreen forest like a bomb’s light. 

 Landscape with storm, Western Carolina University Library.

 

Dad, you were good to me. You were strong and gentle and careful as a mother. I’m a seventy-one-year-old woman now. When I smile the hundreds of wrinkles on my face hurt like paper cuts. It’s a testament to you that I have no fear of the darkness or the light. As I rotate this effigy of the Virgin Mary back and forth under candlelight, I want to glean more details, to see its mica eyes flash at me. I know that this object is some kind of provocation from you; a sign that I should rethink my life, my past and future, even at this late stage. It makes me wonder what other secrets you kept from me in that red-lit darkroom and in that closet of dolls, which did not replace me, exactly, but acted as a surrogate for something I can’t understand. What perversions, mean hates, and desires so naive and saccharine as to be almost scandalous did you hide from me? And where shall I go now? What shall I do? If I crack open the Virgin’s wooden skull, will there be a ball of mica inside it, a mineral brain not so different from my own? Will a thought rise from it like smoke?

 

The sky is the dark orange of persimmon beer as I finish this elegy. Orion, the hunter constellation, sparkles along the trees but Sirius has yet to appear above the hill. Perhaps I have twenty more years left, and I’ll die at 91, just like you. But with this inexplicable figurine in my hand, what tables shall I turn to honor, spite, or abandon you? Is the Virgin a key to open the kingdom within?

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Jam Session in Poems

Cross Country, by Jeff Newberry and Justin Evans

WordTech Editions, 2019

Paperback, 110  pages, $19

 

Cover of Jeff Newberry and Justin Evans' Cross Country.

 

In Cross Country, a collaborative book of epistolary poems published by WordTech Editions (2019), Jeff Newberry and Justin Evans pay homage to poet Richard Hugo. Hugo’s 31 Letters and 13 Dreams (1977) popularizes an epistolary tradition that originates in Ancient Rome and finds acclaim with Horace and Ovid. Hugo’s poems often address other poets such as Charles Simic, William Matthews, Denise Levertov, and William Stafford. Readers become voyeurs, dropped into intimate conversations between some of the most prominent poets of the twentieth century.

 

Hugo’s poems are often imagistic reports of a place, as he writes in “Letter to Wagoner from Port Townsend”: “Dear Dave: Rain five days and I love it.” These epistles transcend the reportage of place idiosyncrasies to reveal Hugo’s vulnerabilities and anxieties—both about himself as well as the world around him. In “Letter to Bell from Missoula,” Hugo writes: “Months since I left broke down and sobbing / in the parking lot, grateful for the depth / of your understanding […].”  It is this balance of the specific details of a place with the personal thoughts of a brilliant writer and flawed human that has been so appealing to Hugo’s readers over many years.

 

In Hugo’s letter poems, we are only privy to one side of the conversation, however. We do not know how the addressees respond to Hugo—or if they respond at all. Hugo’s epistolary poems are decidedly one-sided; Newberry’s and Evans’ Cross Country, however, is a mutual conversation where both poets relay their deepest fears, desires, and hopes—to each other and to their lucky readers.

 

Evans sets the stage for Cross Country in one of the earliest poems in the book, “Letter to Newberry about Past Memories of Colorado”: “Dear Jeff: I think we’re all looking / for something, looking to run / to or from something.” Indeed, Cross Country feels like a search for a meaningful spiritual faith, for familial acceptance, and for a way to exist in a contemporary world that often seems mired in violence, sadness, and a persistent irrationality. This is a book that emerges from a contemporary scene that includes the mass shootings in Sandy Hook and Orlando and the 2016 presidential election, but it is also a book that asks looming personal and philosophical questions about love and loss, a book where we “want to see the mystery unfold, / complex as it might be” (Evans).

 

Evans and Newberry allow readers to see them at their most vulnerable—particularly when they broach the topics of their children, as well as of their own fathers. In a particularly tender sequence entitled “Letter to Evans: Like Waves Breaking,” Newberry describes his fears about his young daughter’s spina bifida, and ends the poem by writing: “I take each breath with her, willing my lungs / do the work for her. She sleeps and I sleep.” Newberry’s helplessness is profound, but it is in moments such as this one where a subsequent poem from Evans acknowledges Newberry’s anxiety and empathizes with him: “As a father myself, I / understand what you are saying, though / I cannot know the specifics of your fears” (Evans). The dialogue that Evans and Newberry create in Cross Country is deeply moving precisely because in it they engage fully in the difficulties of each other’s lives and offer each other comfort and solace.

 

If literature’s job is to teach us what it means to be human and how to empathize with one another, then Cross Country delivers those lessons in honest and accessible poems. Evans’ and Newberry’s narratives weave in and out of each other organically. It seems as though we are present at a blues jam session where the musicians have known each other for so long that they finish each other’s riffs. In fact, in the penultimate poem of the book, Newberry writes, “Justin, when you unseal this poem, remember / that it is made of voice the way that music is made / from the guitar player’s deft fingers.” The music in Cross Country will break your heart. Just like the greatest songs, though, these poems also sound the bells of hope and grit because, as Evans reminds us, “We must each / set the bar each morning as we greet the new day, / as each new day is certain to find us, willing or not.”

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The Beheaded (or, A Sward for the Disembodied)

The French aristocrats persist in their delusions of grandeur, confirming they learned nothing from their cart rides to the guillotine. They revel in their precise necklines and pooh-pooh without decorum those like the Inca with ragged tears from a puma’s claw and the turbaned apostate with saw marks from a scimitar not properly sharpened. Some even grunt or humph on occasion as though still in touch with their upper-class gastronomic disorders. A few of the other heads may suffer now and then from phantom torso, but clearly these aristocrats are putting on airs of self-importance.

 

Roundabout a gross in all, these heads loiter in the grass like a gaggle of free-range bowling balls. The only criterion for membership is the complete separation of one’s neck from the body, intentional or no. The uneven ground ranges off in all directions into an unfathomable dark they have not the capacity to plumb. The grass itself is downy and kempt, not unpleasant to reside in, provided one is not vulnerable to oral, nasal, optical or aural intrusion. New arrivals drop from the murky haze that serves as sky and plop into available space. Thankfully, there is no pool-balling, but the way one lands is generally one’s position for the tenure of this after-existence. Thus, the fenstermaker, struck off during a freak installation accident, lies idly on his cheek, free to engage in idle conversation, while Nazi doctor Horst Fischer, facedown, can do little but mumble (to the relief of his adjacents). Rosalind Thorpe, the Co-Ed Butcher’s fifth victim, landed similarly but was industrious enough to tongue her way onto her ear. She beams with accomplishment when she hears the Nazi’s muttering, until memories of that which initiated her into this place sets her eyes quaking like jelly globs.

 

But before an arrival can have available space, a cranium needs to pop out of existence. They do so like bubbles, leaving behind neither trace nor debris. Neither arrivals nor departures go by any discernible logic. Jayne Mansfield arrived well after David Pearl, a seemingly beneficial swap at first, but her lack of bosom made Jayne quite the bore. She subsequently popped to make way for a Saudi extremist spouting pro-democratic slogans. Yet the ancient samurai remains, as well as the aforementioned Inca, who flares his septal bamboo when anyone makes eye contact for too long.

 

Their arrangement also seems indiscriminate. The aristocrats, for example, have but one trio in proximity, while the others reside singly among those they scoff. A cotton slave done in by overenthusiastic lynching glares at the aforementioned Herr Doktor. John the Baptist lies face-to-face with a Viking, the samurai alongside a poor kid who got truncated by the world’s tallest waterslide. Yet Medusa, her petrification skills as limp as her serpent tresses, is seemingly attended to by Henry VIII’s executed wives. The Greek is the only one who balances on the base of her neck, which in truth is the most level of them all, having been excised by deific steel, so she stands (metaphorically speaking) as though surveying the landscape, Anne B. and Catherine H. oriented well enough to watch over that which extends beyond their lady’s periphery. Some figure her snakes might not have been deceased when she first arrived and delivered her to her present position, but no one predates her arrival, so all hypotheses are the result of pure speculation.

 

The afterlife of decapitated heads is full of debate and skepticism. Belief is the number-one topic of conversation. What have they left but to question their surroundings?:

 

Who established this place? Does the choice of verb ‘establish’ load the question unfairly towards a God-based conclusion? The ordering of arrivals and departures, not following temporal logic, suggests some kind of selection is at play, but is that selection natural or super-thereof? Why doesn’t the grass grow, and why doesn’t it dry out since there’s never been a hint of rain or cloud ever from the caliginous expanse overhead? Could this place be the dream-invention of a single brain in the midst of its ninety seconds between separation and finality? Answers aren’t easy, even for those determined in their beliefs, pro- or anti-theist. If this were paradise, why subsist as heads alone? If punishment, what kind of Dantean contrapasso is at play? Discussions are curt and thankfully absent of palaver, for the wind of the bodiless is limited to their open-ended fragments of esophagus. Thus, they speak only in quick bursts, no more than two syllables at a time. A not atypical exchange:

 

“God.”

 

“Sure?”

 

“No doubt.”

 

“How?”

 

“Just look.”

 

The only exercise the beheaded are capable of anymore is to vacillate between despair and relief—relief that their existences didn’t just cut to black, despair that their continuation still contains no definite answers, their brains still boggled at the nature of things.

 

Though their distribution will vary according to the whimsy of arrivals and departures, overall they remain a hodgepodge of creeds and philosophies, from the standard repertoire to paganism to Wotan to rigid irreverence. The Viking considers a hall of heads the height of honor, while John the Baptist cries, “Repent! Repent!” Even John’s adherents, however, consider him unremittingly goody-goody.

 

A philosopher caught up in the Khmer Rouge revolution wonders if their situation is case and point of brains in a Cartesian vat, though even that conclusion necessitates further speculation on the placement of the evil daemon (or genius, depending on your translation). Joseph Haydn insists this existence a gift to promote the ultimate life of the mind, though he is considered something of an infidel, his decapitation done postmortem for phrenological purposes. The aristocrats spit and curse the name of Robespierre, but in their own way, being short of saliva and limited of wind. They wish him in their midst, for justice’s sake.

 

In the pale haze of sky, an unphased moon glows with persistence, making these crania shine like irradiated shrapnel in their lawn, or deep-sea pufferfish, aglow and uffing their jaws for life-giving water. Medusa and the former Mrs. Henry VIIIs look on without comment.

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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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