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To Be Clean

Illustration by Xenia Latii

Natassja Schiel | Longreads | August 2018 | 24 minutes (6,673 words)

I closed the sheer maroon curtain of the private dance nook and needled my eight-inch stilettos through the G-string I’d kicked off minutes earlier to Prince’s “Darling Nikki.” On the single chair, where I usually hovered nude over men, I sat and counted the money I’d made. Only $9. It wasn’t a money-making night. I couldn’t stop thinking about what my younger sister, Melissa, had told me earlier. I was sad, and no one wants to give money to a sad stripper. Even if she fakes happiness, the customers seem able to sniff out insincerity, and it repels them. In six weeks, I’d be moving 3,000 miles away. From Portland to New York. How could I leave my sister behind? What about Melissa?

After wiggling back into my minidress, I stood, forced a smile, and strutted back into the club. I was there to make money, so I had to find a way to become genuinely cheerful. But my motivation deflated after only a few steps. I’ll just go to the bar — watch the girl on stage — and find my bearings. Nelly Furtado’s “Maneater” was playing, and only one girl danced to that song. Mya.

Mya swung upside down, topless, on the monkey bars that lined the top of the stage. Her breasts, not even A cups, were perfect. I admired her dark amber nipples as she swayed in the air. Her wavy black hair hung like a lion’s mane. Sparkling red lip gloss framed her smile. Every seat was filled and a few stragglers even stood off to the side, delighted by her.

Mya appeared carefree. I needed to be like that.

When I had been on stage, there were only two men. A few others had come up and given me pity tips.

“You want a drink?” a man with a deep voice asked me. The question jolted me out of my head. I looked at the speaker peripherally. He was in his early 30s, young — unlikely to spend real money. Occasionally younger men came into the clubs in Portland to hit on the strippers. As if the dancers were not trying to make a living, but trying to find someone to date.

We loathed these customers.

“Sure,” I said and smirked.

“Let’s do a shot. Do you like that whipped cream vodka stuff?”

I shrugged. I didn’t, but it was Mya’s favorite, and that alone made it appealing. The times Mya and I had taken shots, we’d leaned into one another, our cool skin touching. She always smelled like peaches and wore shimmering outfits with glittery jewelry. “Bling it and they will come” was her stripper motto. I’d had a crush on her for two years.

Many nights, while it was slow — common in 2010, deep into the recession — we’d sit together at the bar. We’d both loved dancing at first, and we were both ready to move on with no other job to move on to.

“If you could do anything,” I’d asked her, “what would you do?”

“I wanted to be a vet when I was growing up, but it feels so far out of my reach.” She looked down at the bar instead of at me.

“I bet you could start small. Maybe a vet’s assistant?”

She thought it over. “I know I would still need education of some kind. I feel like I’m too old for that now.”

I laughed. “You’re one year older than me, right? Twenty-six?”

She nodded.

“I’m taking community college classes — my sister, too,” I said. “You aren’t too old. I’ll help you. I’m good at this kind of thing.”

She grinned, the corners of her eyes crinkling. She grabbed my arm and leaned in to kiss my cheek, then pressed her face to mine, staying there for several seconds before moving away.

I learned we both had orange cats that had male names but were girls (hers: Bobby; mine: Raja). That she loved David Bowie and Prince. That like me, she was first-generation American. However, she was proud to be Mexican American. That was not like me — I rejected my Russian and German lineage. I adored Mya so much that despite how badly I needed money, I’d hoped for these nights, huddled up with her at the bar. My feelings for her intimidated me. And even though we’d sometimes make out after hours, I couldn’t bring myself to do more.  

The customer handed me my shot. “I’m Rob, by the way,” he said. This will do it, I thought, this will drown out my sister. We clinked glasses before downing the syrupy-sweet liquor in one swallow. My stomach warmed and I became light-headed. The rush of the first drink on an empty stomach. My shoulders relaxed. My chest loosened. Everything was going to be alright.

“You don’t seem like the other girls that work here. You’re better than this,” Rob said.

I rolled my eyes. “So many men say that, thinking they are being clever or complimentary, but I’m going to let you in on a secret.” I motioned for him to get closer, then whispered into his ear, “The girls I work with are my friends. We hate when customers say that kind of shit.”

“Yeah, but I mean — ”

I placed my pointer finger to his lips. “Shh,” I said.

Rob, like I thought, wasn’t interested in getting a private dance. Or spending money on anything other than drinks. There was no way to make money off him. I surveyed the room from my place at the bar on several occasions, considered introducing myself to someone else — tonight was uncommonly busy. But, I couldn’t bring myself to do it. I was too raw. Opening myself up for any form of rejection, even the faux rejection of the club, might break me.

That was most of dancing. Approaching man after man who delighted in saying no to women who would probably never even speak to them outside the club. Rob bought another round, and I eased into the fact that tonight was going to be another dud. At closing, I had little more than $100. In the beginning of my stripper career, almost four years earlier, a friend had told me: “As long as you make a bill.” Then and still, $100 a night didn’t seem like enough for this job. I’d wanted to make $500 that night, what I used to average. But I hadn’t even made $200 in months.

After the bouncer yelled for everyone to “get the fuck out,” the dancers shuffled into the dressing room. We kicked off our heels, standing flat-footed as we disrobed. Mya wasn’t even five feet tall and once we were both naked, she embraced me, our hot and sweaty bodies stuck together. I loved it — the feeling of being glued to her even for a moment. I breathed her in, peaches and tangy body odor.

“You’re so sexy,” she said and laughed.

Me? No, you are!” It was the first time all night I’d been happy.

She gave me a peck on the lips and then we dressed quickly in jeans and T-shirts.

Mya and I walked out to the parking lot with the bouncer at our side. October was usually wet and cold in the Northwest, but this year it was still dry and warm so it felt like a summer night. My attention was on Mya, so at first I didn’t notice that Rob was standing to our right, in an empty parking space. He tried to convince me to go with him right then “because we had a real connection.” The bouncer stepped between us and told Rob to go, but Rob persisted. I started crying. It was the third time in three consecutive shifts that a customer had waited outside for me.

I adored Mya so much that despite how badly I needed money, I’d hoped for these nights, huddled up with her at the bar. My feelings for her intimidated me.


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“Why does this keep happening?” I asked Mya. The other times I hadn’t cried. I’d made it clear they were crossing boundaries. This time, though, I felt helpless. As helpless as I’d felt earlier that day with my sister. I thought of all the men that had hurt me, and all the men that had hurt my sister. I wanted to take it all away from her, or at least I thought I did.

“It happens to all of us,” Mya said, shrugging. “But you’re too upset.” She took my hand and interlaced her fingers with mine. “You shouldn’t be alone.”

She guided me to her beat-up black Honda Accord. It wasn’t the first time Mya had tried to get me to go home with her. Many times, she’d purred into my ear, “Please come to my place.” And each time I had wanted to, but fear took over. What did it mean that I wanted it? I suspected I was bisexual, but had been told repeatedly that bisexuality wasn’t real. Well-meaning friends and less well-meaning customers told me I was simply bi-curious. I’d heard this so often that I was confused. Was what I felt for Mya only curiosity? It seemed like more. And that scared me. So I’d refuse. And she’d say, “I don’t understand. Don’t you want to be with me?”

I really do, I’d think, but shake my head and leave.

Now, Mya opened her passenger-side door and shut me inside as Rob yelled over the bouncer’s shoulder, “I wasn’t trying to make you upset. I just like you for real.”

I cried harder. The idea that he thought he liked the real me was too much to bear. He didn’t know the real me. No one there did.

“Ignore him,” Mya said as we sped off in her car.

At her place, Mya guided me to her bathroom. She kneeled down, turned on the bathtub faucet, and let the stream of water run over her fingers. “I’m going to give you a bath,” she said. “It’ll make you feel better.”

She stood up and ran her fingertips along the side of my face, then tugged at my clothes, removing each item slowly, and told me to get in. As I settled into the warm water, she poured rose bath gel onto a loofah and massaged it until it was foamy.

“I get the feeling that wasn’t really about the customer. What’s going on?” she asked as she rubbed the loofah over my back in soft, circular motions.

I took a steamy floral breath. I wanted to lie. It seemed like too much to tell Mya the truth, but the truth was too close to the surface.

“Eight years ago, two of my sister’s friends went missing,” I said. This was something I never intended to tell her, or anyone that didn’t already know.

I pretended it hadn’t happened. I pretended it hadn’t had any effect on me. I needed to be the stronger, older sister because so many people — including our mother — made the disappearance of the girls about themselves. Melissa needed me to let her have space to grieve without another person co-opting it. But what happened had also been so painful for me that I couldn’t face it.

“I can’t even imagine,” Mya said, shaking her head. She dropped the loofah, then cupped water into her hands, releasing it over my shoulders. The water cascaded down my back.

“Right after the second girl went missing, my sister—” I stopped, unsure if I should go on.  

Mya looked into my eyes. “You can tell me.”

“Why are you being so nice to me?” I asked, perplexed. It seemed like I might infect her with my pain. I never wanted anyone to see me like this. The suffering was off-limits and only allowed in private.

“Oh, Natassja,” she said, as if that was enough of an explanation. She touched my face and pulled me in for a kiss. “Let’s go to bed and cuddle. I won’t try anything, I promise.”

She took my hand, and I stood. Opening a towel, she patted me dry. She rubbed thick shea butter that smelled like peaches all over my body. The cream warmed quickly, melting as she applied it to my bare skin.

“Do you feel better?” she asked.

I nodded, though it wasn’t quite true. But I wasn’t crying — and that was close enough.

She led me to her bed and untangled my hair with a brush, one of my favorite sensations. It was one of the only tender things my mother had done for me as a child. I begged her to brush my hair until I was a teenager. Mya had no idea, but she was soothing me exactly in the way I needed.

***

“I started making amends,” my sister had said earlier that day as I pulled out of the Portland Community College campus parking lot where we were both taking classes. “And I need to tell you something.” Melissa took a deep and loud breath. I glanced in her direction, the crook in her nose visible from the many times she’d broken it when we were growing up, and then I looked back to the road.

My sister was 21, four years younger than me, and a year and a half clean. Snippets from the first time she received a jail sentence flashed before me. The court officer hauling her away. That I’d tried to tell her that I love her, but a different officer blocked me. She’s my sister, I’d said dumbly, pushing forward against him. I could feel the stiff bullet proof vest under his uniform. He grabbed my upper arm and threatened to arrest me, too. I went limp, and he dragged me to the exit of the courtroom, then flung me out into the hall. Stunned, I rubbed my arm. Red fingerprints would change to a ringed bruise that I continued to rub until it disappeared. It took two years: my sister in and out of jail. But once faced with time in prison, she finally stayed clean.

“Go for it.” I smiled.

I thought my sister might apologize for the time she stole my last $20. I’d called my mother that day and told her what Melissa had done. My mother didn’t believe me. It’s all the money I had in the world, I said, then sat in my car and wept. It was during one of several failed attempts to stop stripping.

Or I thought Melissa might apologize for one of the many times she’d accused me of being her reason for relapsing. In response I’d yelled, my voice strained, cracking: I’m the only person that’s ever truly loved you. Then calmly told her she could no longer be in my life as she sobbed. Later, I clasped my hands on my neck. I wanted to feel all the discomfort of my sore throat; the self-imposed punishment of my cruelty. The awareness that I was trying to guilt her into sobriety came over me, but we still didn’t speak for months. And the truth was that I did worry it was my fault. If it was my fault, it also meant I could control her — her addiction — but that I was failing. I owed her an apology, too.

‘Eight years ago, two of my sister’s friends went missing,’ I said. This was something I never intended to tell her, or anyone that didn’t already know.

“OK, this is it,” my sister said. “I was thirteen the first time I shot up heroin.” She stared ahead. I was confused. This wasn’t an amends. It seemed more like a confession. Prior to this, she’d insisted that she never shot anything into her veins. I hadn’t believed her, but I never suspected she might have been only thirteen.

“What do you mean? How?”

“It was right after Jessica went missing,” she said evenly, “when everyone realized that Allie hadn’t just run away.” I looked at her and she was looking at me. Her grey eyes stared straight into mine. She pursed her lips, and only moments later, unable to hold my gaze, she looked out the passenger-side window.

The mystery surrounding the disappearance of her friends, and how she suffered as a result, was her reasoning: the catalyst for her use of heroin. Except it wasn’t really. In that moment, I thought maybe if that hadn’t happened, she would’ve tried heroin later, at a more appropriate age. When she was 18, or 21. It was illogical. Is there an appropriate age to shoot up heroin?

I knew she’d tried meth by accident — it had been laced in some weed she’d smoked, when she was 11. She started smoking cigarettes and pot at 10. She’d been drunk at a Girl Scout meeting when she was 9. She posted pictures of herself high on Ecstasy on Myspace when she was 15. Her eyes glazed, dime-size pupils almost swallowing her irises, her jaw clenched. A purple pacifier hung around her neck. I don’t know when she started snorting cocaine, I just know it was her “favorite.” The drug she used compulsively, that she could never turn away. When exactly does an addiction start?

“But who gave it to you?” I asked. My chest burned and became itchy as hives blossomed there. I looked straight ahead so she couldn’t see the pain I knew would be obvious in my eyes. In the last year and a half, she’d transformed. The longer she stayed clean, the softer her face. The more she smiled. She rediscovered that she was nurturing, often playing with our younger cousins: rolling around in the grass, chasing and tickling them. She laughed. Thinking back to the little girl she was, the one that got so lost, was unbearable.

“It was Samantha’s stepdad. Remember her? I practically lived over there at one point.”

I remembered. Neither Melissa nor I knew our respective fathers. She latched onto men as result, but I tried to stay away from them. I learned early the damage men can do — at the hands of a family member — and it was something I wanted to inoculate my sister from. But, though the same man didn’t hurt her, I’d been powerless to stop others. Samantha’s stepdad had been one of the men I believed might hurt my sister. But there were many. There was the friend’s father that took Melissa on camping trips — only Melissa, no one else. Another friend’s stepdad that gave Melissa beer and requested back rubs from her. The paramedic who bought Melissa stuffed animals.

I’d begged my mother to stop letting my sister hang out with grown men. “Don’t be ridiculous,” she’d say. “She just wants a father and these men are willing to be something like that for her.”

She’s in danger, I’d plead.

“What do you mean it was Samantha’s stepdad?” I asked, not sure I wanted the answer.

“He was the one that laced the weed that one time. He said heroin would take my pain away and asked me if I wanted to try it.” She sighed.

I nodded, continuing to look ahead at the road, fuming, but trying not to appear rattled. I was afraid she’d stop entrusting me with this information if I reacted too strongly.

“So he found a vein and did it for me.”

“Did it help?” I asked.

Her growth seemed to have been stunted at the age of 10, and I’d been worried about her lack of development. My mind went back to her skinny arms and legs. She’d weighed less than 60 pounds. I’d been relieved when finally, at the age of 17, she grew and gained weight. She was now 5’7”, three inches taller than me, and a normal weight.

“I mean, the pain went away, but I started vomiting. It was awful.”

“Why’d you do it again if you hated it?”

“Because I’m a drug addict,” she said.

I was living in my first apartment by then. Melissa had been navigating the world without me. It stung — the idea that I had left her right when she needed me.

“It was my choice.” Her dark brown ponytail bobbed as she turned her head away from me before going on. “I have to take responsibility for it.”

In her addiction, she never stuck with anything. But now, she showed up each morning for classes at the community college. She maintained employment. She had become responsible, and yet, it seemed like she’d taken this ethos too far.

“But you were a kid.”

“Still, no one forced me. And it’s OK. I’m OK now.”

My knuckles whitened as I gripped the steering wheel, trying to focus on the bridge we were about to cross. We drove past Lucky Devil Lounge to the right, the club I’d be working at later that night. Melissa didn’t know I was stripping again. Months earlier, I’d quit and sworn I was done for good. She wasn’t the only one who lied.

I’d started stripping for the same reason I was doing it again: I needed money. But I’d long ago recognized the high I got while dancing. Nothing else made me feel the way dancing did. No substance could compare to the rush of getting naked for men — men who couldn’t touch me. Men who paid me to tease them, but couldn’t gain anything real from me. I could be as sexual as I wanted and no one could have me. That made me feel like the most powerful woman in the world. And that was the hardest part of quitting. I didn’t want to let it go. Even though, as time went on, the highs came less often. The façade that I had all the power had started to crumble. But, I longed for it anyway.

Was her addiction that much different?

Neither one of us spoke again for the rest of the 30-minute drive to the halfway house where she was living. In six weeks, I’d be moving to New York to study creative writing at the New School. I’d felt OK about moving because Melissa was clean, in school, doing well. Suddenly, I was unsure. How could I leave her? How could I have ever left her? It was irrational and I knew it, but I wanted to reach back into the past and change everything.

***

Two weeks after I graduated from high school, around midnight in the dining room of the duplex where my mother, sister, and I lived, I was hand-sewing a dress for a porcelain doll that would become Melissa’s birthday present when she turned 14. After finding the doll at a craft store for $3, I decided to make my sister something she’d always wanted. I designed my own pattern, using an old newspaper to trace it before cutting it into pieces. I based it on a Victorian ball gown and used shiny, satin fabrics in Melissa’s favorite color: purple, in several shades. And also designed a hat, purse, and parasol to match.

While Melissa was staying at a friend’s house, I was silently, carefully working on the dress when my mother started screaming from the top of the steps.

“You’re being too loud!”

Her sudden yelling startled me. I pulled the stitch I was working on too tight.

My mother stomped down to the dining room. She wore a baby-blue terry cloth robe, and her hair was a frizzy, wild auburn mess.

“You’re being too loud,” she yelled again, pointing at me. In a movie, it would’ve seemed exaggerated and funny. I held the needle strung with lavender thread perfectly still, as if moving would ruin the entire gown. As if I’d move and provoke more rage from my mother.

“I’m so sick of your shit,” she continued.

“I’m just sewing,” I said meekly, as if it weren’t obvious. “I haven’t been making any noise.”

I knew I was making a mistake. If she believed I was making noise, it was fact. She’d done things like this throughout my childhood. She’d burst into my room in the middle of the night, screaming into the darkness at me to “shut up.” I’d wake, confused. This was embarrassing when I had friends over. They’d whisper after my mother went back to bed, “Why’d she do that?” I’d smile weakly, unsure of what to tell them.

“Get the fuck out of my house,” she shouted.

The required reaction to these outbursts was simple: say I was sorry; say I’d be quiet.

I set the dress down while slyly examining the stitch I’d pulled too tight — I hadn’t ripped the delicate fabric. I looked over to her, but I didn’t say what I knew she wanted to hear.

“OK. I’ll go.”

The next day I found my first apartment. It was behind the mall where I worked, and the complex itself was rumored to be the most crime-addled place in the Portland metropolitan area: mostly drug deals, but also an occasional murder or rape. I didn’t care. Or more accurately: I couldn’t afford to care. I shared a one-bedroom with a friend. Rent was $450 a month; $225 each.

I thought about taking Melissa with me. Our mother wouldn’t object. On random slips of paper, I calculated my budget over and over, trying to figure out if there was a way I could afford to take care of both of us. It was 2002, and the minimum wage in Oregon was $6.50. Even if I managed to get 40 hours between my two part-time jobs, it wouldn’t be enough to adequately support myself, let alone another person. Melissa couldn’t come.

She’d weighed less than 60 pounds. I’d been relieved when finally, at the age of 17, she grew and gained weight. She was now 5’7”, three inches taller than me, and a normal weight.

As I grappled over what to do, I asked my closest friends, “What about Melissa?” They told me that I shouldn’t feel guilty; my sister wasn’t my responsibility.

Soon after I moved out, our mother refused to buy my sister school clothes or supplies, something she’d done several times to me. Extended family members or other adults in my life always picked up the tab, and I was both grateful and humiliated. These same adults called me when they found out I’d moved out. They all asked: What about Melissa? How can you leave her alone with your mother? They externalized my internal dialogue, and it deepened my guilt.

So, I did the one thing I could: I picked up the tab for my sister — I took her school shopping.

“Can I move in with you?” Melissa asked while we wandered through Target.

She wasn’t privy to my obsessing about taking her with me; the many pieces of paper that I’d calculated my budget on — then recalculated and recalculated and recalculated. I thought she was just smoking cigarettes and weed, drinking alcohol. I’d been concerned about those things, but she’d already tried heroin and I’d had no idea. Her request sucked the air out of the store. We stood in the fluorescent-lit aisle of office supplies. I focused on a package of gel pens and shook my head. She never brought it up again.

***

“People kept asking me, what about Melissa?” I said to Mya, her arms wrapped around me, her legs tangled in mine. It was a week after she’d bathed me. After that night, I went home with her every time we worked together. “And they were right. How could I have left her? How can I leave her again?” I stroked Mya’s hair.

“It makes perfect sense why you’d feel that way, but it’s misplaced. You realize that, right?” She traced the side of my body with the back of her hand.

“I thought that was true for so long. Now I’m questioning everything I’ve ever done. I feel like I failed her,” I said. I pushed Mya’s hair behind her ear.

“It wasn’t your job to protect her. It was your mother’s,” Mya said.

“I feel like I should take her with me when I move to New York.”

“You can’t fix what already happened. You know that, right?”

I didn’t know that. I believed, inexplicably, that I could still correct the wrongs of the past. But I didn’t say this. I shrugged, then tilted my face up and Mya kissed me deeply. We pawed at each other. Her skin was warm putty in my hands. I bit her neck lightly, then stopped.

“Oh my gosh. I completely forgot to ask,” I said. “Did you register for classes?” The last time I’d been over, we researched what it would take for Mya to become a vet assistant. Only an associate’s degree. We’d both done a happy dance in her living room that night.

Mya smirked. “I did,” she said. “I start in January.”

“You’re starting veterinary school right when I’ll be starting classes in New York. New beginnings for us both.”

“We should celebrate that,” she said, grinning. She climbed on top of me, and for a while I forgot about everything but her.

When she fell asleep, I listened to the even, slow pattern of her breath. I never wanted this to end, but the fact that it had to almost made it easier to just let myself feel. To be in the moment. To not worry about what could go wrong. Four more weeks and I’d be living in New York. Four more weeks to spend entwined with Mya. I opened my eyes. Orange light shone through her curtains. It was already past dawn.

Mya shifted in her sleep, reached out, pulled me in. And even though she was smaller than me, she made herself the big spoon.

***

I’d been living in New York for a year and a half, studying creative writing, when Melissa moved to live with me. By then she was three years clean. After I’d learned about the extent of my sister’s drug use, I hadn’t let go of the idea that she needed to be close to me.

Her first week in the city, we were walking down 2nd Avenue in the East Village when she remarked, “It’s a junkie’s paradise here.”

I froze. I’d worked at a sports bar on 2nd Ave. for most of the time I’d lived in New York. I scanned our surroundings. Everything familiar was still there: the pharmacy, the coffee shop, the bodega on the corner, the bars that lined the street, the indie movie theater, the Eye and Ear Infirmary, bags of trash. Those were the things I’d always noticed. Yet it was like Melissa did a magic trick.

Suddenly, instantaneously, I saw the block the way she did.

A girl in clean, ripped clothing nodded off on the corner: a street kid. She leaned against a building, then slid down to the ground, as if in slow motion. Slumped over, she stayed there — her head hanging, eyes closed, jaw slack. I spotted at least three other street kids nodding off, dotted along the sidewalk, just like she was. My skin prickled with the realization that I’d brought my sister into this world.

Six months later, Melissa and I stood in the bathroom of our apartment. “I need to tell you something,” she said, while pulling her right eye taut and then drawing black liner across her lid. She was getting ready for work. I’d been waiting for this conversation.

“So, I relapsed,” she said, then started lining her other eye.

“I know,” I said. A mix of rage and sadness filled me. Though she’d been able to maintain employment, paid rent on time — was acting as a responsible adult in these ways — her behavior had become more and more erratic. As were her moods. She stopped smiling. She didn’t laugh. Her face hardened. She stayed out many nights. Sometimes it was clear she was hungover, her eyes rimmed red, her face slightly swollen. And she’d lost at least 20 pounds.

“I knew you did. That’s the only reason I’m telling you. But don’t freak out. I have it under control. There is such thing as moderation. And you know that I never even got to drink legally, right?” She looked at me expectantly.

After I’d learned about the extent of my sister’s drug use, I hadn’t let go of the idea that she needed to be close to me.

“I need to think,” I said, then shut myself inside my bedroom. I did not have faith that she could keep it “under control” long-term. Our agreement had been that we would live together as long as she was sober. I’d considered this a formality. Of course she’d be sober. And we’d have a dry home. This changed nothing for me. I didn’t often drink, and never at home.

My hard-drug experimentation was also over. It had been brief, and my primary motivation had been to understand my sister. The one time I tried cocaine ended in uncontrollable sobbing. The one time I smoked heroin resulted in dizziness and nausea. In both cases, all I wanted was for the intoxication to end. And, afterward, a deep sadness settled over me that lasted for days. The only drug I tried and liked was MDMA. It made me feel like I could love, and more importantly, trust freely. I’d had a similar sensation with Mya, except no drugs were necessary. I didn’t feel compelled to actively seek MDMA out again. After experimenting, I felt no closer to understanding my sister or her addiction. My relationship with stripping was still the closest, but stripping was no longer appealing.

When I’d moved to New York I didn’t want to risk not finding steady work, so I’d started dancing at what was considered one of the most upscale clubs (and the first strip club to be traded on the stock market): Rick’s Cabaret. But, of the nine strip clubs I’d worked, this one was the seediest. The first time a customer grabbed my ass, I asked a bouncer for help. He said, “You’re a stripper.”

In New York, touching was against the law, but no one heeded this. I started slapping customers regularly. I’d never experienced anything like it. Even when I’d worked at a club that allowed touching, the girls decided who touched them and how.

One night at Rick’s, a customer whipped his limp dick out in a private room. When I told him to put it back, he asked, “What am I paying for then? Can’t you at least give me a hand job?” He, like the majority of the predominately white and rich clientele, felt entitled to extras. I left the VIP and refused to return until a bouncer helped. A manager eventually lied to the customer, telling him there were cameras in the rooms so that he’d cooperate. This customer claimed he was a famous music producer. The next day I verified this using Google.

Even on nights that I left with $2,000, the high I used to feel was missing. So much about stripping I had loved, but once it was done fulfilling my needs, it had been easy to stop. After six weeks, I quit.

Melissa’s plight wasn’t as simple. She’d experienced so much so young — I never blamed her for wanting to ease her sorrow.

After Melissa admitted she relapsed, I sat on my bed, hands shaking. I needed to tell her to move out. How was I going to do this? We avoided each other for a few days. Then I mustered the courage to approach her. She lounged on our red couch, playing Candy Crush.

I stood, lingering over her awkwardly and said, “If you aren’t clean.” I took a breath. “Then you need to move out.”

She rolled her eyes. “Like I said, it’s under control.”

“I don’t care. That’s the deal.”

It worried me to kick her out, but if I let her stay I’d be enabling her, which was the only thing that would be worse. I gave her 30 days to find another place.

“You’re being dumb,” she said.

I started shaking again. “You have to leave,” I repeated, before going back into my bedroom and burying my face into a pillow so she couldn’t hear me cry.

She must’ve known I was upset, but I tried to hide it from her. I stopped eating because nausea settled in, becoming my new norm. My skin turned sallow and splintered capillaries dotted the puffy skin under my eyes like bright red freckles. I cried often, but never in front of my sister. I thought I was done worrying that she might die or go to prison because of her addiction. Three years, I believed, was enough to know that it was over. Now I understood that “one day at a time” really meant one. day. at. a. time.

***

I fell asleep soon after realizing it was past dawn, entangled with Mya. What could’ve only been hours later, we both rose. We went to brunch. We ate off each other’s plates. Sometimes we got manicures. It was like having a best friend that I also had sex with. This, I realized, was what I had always wanted. I opened up to her in ways that I never had to a man. And in this I felt comforted. I was falling in love, but unlike with a man, I didn’t try to stop it. I let it be. Even with the knowledge the end was sure, it didn’t scare me. I felt like I could love her, but I wasn’t worried about what it meant. I assumed we’d stay friends. I assumed that what was between us would forever be sacred, no matter what else happened. To be with her felt safe. And in a way that I’d never experienced before.

My attachment to my sister wasn’t healthy, I suddenly knew.

And so, after my sister confessed she’d relapsed, absorbed in grief, I’d lie in bed and remember my time with Mya — how she’d soothed me when I’d needed it most. She’d bathe me, and I’d take steamy, floral breaths. She’d nuzzle up to me and I’d feel her warm minty breath on my neck. I’d stroke her hair, tuck it behind her ear. We’d gaze into each others eyes, and neither one of us looked away.

“She’s not your daughter,” she’d said. “And at this point, she’s grown. You need to let go.”

I didn’t listen to her at the time, but I knew that Mya had been right. And that two years after she’d said those words, I needed to listen. I needed to love my sister in a different way. To believe that things could be OK if I wasn’t trying to control where she lived, or what she did. Though our intimacy was so much different, I needed to take the lessons I learned about loving Mya and apply them to loving my sister.

Melissa agreed to move out instead of getting clean, and I tried to accept her choice. I meditated on let go.

Slowly, the color returned to my face; I realized I was starving and shoveled food into my mouth. The responsibility I’d been harboring for my sister started to fade. I stopped asking, What about Melissa? I began to understand that I could love my sister, but not take responsibility for her.

Three weeks after my sister told me she’d relapsed, she told me she was clean.

“And I’m committed to staying that way,” she said while shuffling her feet and wringing her hands. “Can I please keep living here with you?” She picked at the lavender nail polish on her thumb, then raised her head and looked at me.

It seemed like I couldn’t rightfully kick her out if she was sober, but I had no way of knowing if she was telling the truth. As much as I tried to let go of the responsibility I’d felt for her, it wasn’t as simple when she was standing before me. My head started to ache. I rubbed my temples.

“Natassja,” she said. “I swear.”

I clenched my jaw, looked up at the ceiling, and sighed.

“Please give me another chance.” She picked at the last bit of nail polish on her thumb. Sunlight illuminated the fleck of lavender as it floated to the hardwood floor, and I watched it as it fell.

* * *

Natassja Schiel is writing a memoir about her time working as an exotic dancer on the island of Guam titled Tumon Strip. Her work has most recently appeared at The Millions, the Los Angeles Review of Books, and Opossum Literary Magazine.

Editor: Danielle A. Jackson

I Would Never Say That, But the Character, He Said It: An Interview with Catherine Lacey

McKeown / Stringer for the Hulton Archive, Getty

Tobias Carroll | Longreads | August 2018 | 16 minutes (4,305 words)

Since the 2014 release of her debut novel Nobody Is Ever Missing, Catherine Lacey has established herself as one of the finest chroniclers of alienation working in fiction today. Her follow-up, The Answers, took as its subject a young woman who is hired to be part of an experimental program to give a famed screen actor a kind of compound girlfriend. Both novels grapple with questions of restlessness and malaise, and turn familiar fictional ground — an American abroad in the former, a larger-than-life celebrity in the latter — into something strange and mysterious.

Lacey is also an acute observer of larger literary and cultural traditions: last year, in collaboration with artist Forsyth Harmon, she released The Art of the Affair: An Illustrated History of Love, Sex, and Artistic Influence. In it, she chronicles the dizzying web of connections between artists of many disciplines over the course of decades — and in doing so unravels the mystique of the solitary genius.

Lacey’s latest book is her first collection of short stories. Certain American States demonstrates another aspect of her literary abilities. The stories found in here cover a wide stylistic range, from the surreal travelogue of “The Grand Claremont Hotel” to the meditation on loss and possessions found in “Please Take.” That stylistic range allows Lacey a way to explore her preferred themes of alienation and interconnectedness in a myriad of ways — making for an unpredictable set of narratives throughout the book. Read more…

Semi-Fluid States: The Rigid Line of Straightness

Illustration by Janna Morton

Minda Honey| Longreads | August 2018 | 11 minutes (2750 words)

 

My friend and I sit on the patio of a tapas restaurant in suburbia with a view of the parking lot, SUVs lined up baking in the summer sun. We sip sangria. We eat off tiny plates. We feel bougie. She tells me about her dating turmoil. She’s not sure where she stands with a man she isn’t sure she should be with. “And,” she says, “the other person he’s sleeping with is a trans woman. I’m trying to be OK with that.”

“I’ve slept with a trans woman,” I say before pushing more shrimp, shiny with olive oil and studded with minced garlic, into my mouth. An SUV pulls out of a parking spot, another SUV pulls in. I can see my friend thinking, the muscles in her lips flexing and relaxing, questions forming and crumbling, but never leaving her mouth.

I wonder if it’s her understanding of me or of herself that is changing. I do not tell her about the graduate-level writing course I took as an undergrad, or about the other undergrad in the class whose writing I loved, and who offered me words of encouragement. I don’t tell her about the night that writer walked me to my car after a reading, or about how the only thing that stopped a kiss was the thought of the boyfriend waiting for me at home. Or the years that passed, the writer resurfacing on Facebook, the Messenger chats about my move back home and about writing and work leading to chats about her being a trans woman, about the excitement of trading T-shirts and jeans for dresses and makeup. Or about our paths crossing at a house party, the hand-holding by the fire, the annoyance at drunk interlopers trying to crash our conversation, the said and unsaid, the invite back to my place, the movie unwatched, the open window in the rain, how consent culture showed us the way: “Is this OK? Do you like this? What do you want?” Yes. Yes. You.

I finish chewing, and instead of telling my friend these things I say, “It’s not a big deal,” and take a drink of my sangria. But I haven’t always been so unprejudiced.

In the parking lot, another SUV pulls out, another SUV pulls in.

Read more…

Why Do Men Fight?: An Interview with Thomas Page McBee

Corbett Sullivan Wrestling, January 1, 1892 / Associated Press

Cooper Lee Bombardier | Longreads | August 2018 | 15 minutes (4,084 words)

In his new book Amateur: A True Story About What Makes a Man, journalist and memoirist Thomas Page McBee trains for a charity fight. The book interweaves his immersion in the world of boxing — McBee became the first transgender man to box at Madison Square Garden — with research, interviews and stories that explore how we’ve arrived at a moment of collective reckoning with the toxic masculinity in American culture.

Amateur is an ambitious project, questioning not only what it means to be a man in our current culture, but what it means to be a trans man, interrogating the opportunities and privileges arrived at through a shift in socialization and lived awareness. The change in how others treat him as a man — at times better and worse in equally disturbing measure — as well as reports of masculinity’s demise, like the 2010 Atlantic cover story “The End of Men” which declared America to be in the throes of a “masculinity crisis,” spur McBee to search for a healthier idea of what it means to be a man. Read more…

5 Questions for Kristi Coulter About Writing, Humor, and Getting Sober

Photo by: Moritz Vennemann/picture-alliance/dpa/AP Images

In the opening piece of her new memoir-in-essays Nothing Good Can Come from This, Kristi Coulter meanders through a Whole Foods stocked with displays of rosé and reckons with the demands of her new sobriety. The scene embodies the difficult journey she’s started. Alcohol is everywhere; on billboards, on ice cream, on coworkers’ desks, Worse yet, work meetings frequently involve drinks. Coulter finds ways to not only quit drinking, but to survive as a woman in a misogynistic culture soaked with booze, a culture where, as she describes it, “There’s no easy way to be a woman, because, as you may have noticed, there’s no acceptable way to be a woman. And if there’s no acceptable way to be the thing you are, then maybe some women drink a little. Or a lot.”

An erudite, reflective writer with a winning sense of humor, Coulter’s explorations move beyond drinking to examine feminism, sexism, privilege, happiness, and work. Many readers will see themselves in her, and the book will let those who have never had a substance abuse problem come to better understand friends and family who do—and maybe see the levity in the darker side of life.

When did you start writing about your life and recovery? And how was your experience of that initial process?

I started writing about my life and my recovery via a blog, Off-Dry, that I created in 2013 when I was about 60 days sober. At the time, my impulse wasn’t about writing so much as it was about being part of a community. There’s a vibrant sober blogosphere, and in those early days, I spent at least an hour a night reading posts from people who were far enough along in their sobriety to serve as a lantern for me. I wanted to start recording my own experience, both to process it and to help the newly sober. When I started the blog, I hadn’t written for the sake of writing (much less for art’s sake) in well over a decade. I’d gotten my MFA at 24, and when I had failed to magically become world-famous by 30, I sulkily turned my attention to other forms of achievement. It didn’t take long before I found myself using the blog not just as a way to test out my voice as a sober person, but to shape and experiment with my writing voice, too. I started writing fiction again at about six months sober, and once I’d come out publicly as sober on my second anniversary, I began writing the personal essays that ultimately led to Nothing Good Can Come From This.

What was it that moved you to switch from writing fiction to personal essays? Did coming out publically help you locate both your voice and material?

I think coming out publicly did help me to realize I’d stumbled onto some pretty rich material, yes. As I started to experiment with writing about sobriety — and the topics that float around it, like feminism and pleasure and willingness to live in permanent ambiguity — I found a voice emerging that was more direct and acerbic and edgy than either my fictional voice or my real-life one. Exercising that blunt voice worked for the topic — a lot of recovery writing is pretty earnest — and I wanted room to be funny and irreverent. It also somehow made me a happier, bolder person. Fiction writing is still important to me, but for now, I’m very glad my essay voice and I found each other.

What other essayists have influenced you?

So many! I read Nancy Mairs’s Plaintext in college and was taken by how matter-of-factly she wrote about her body and mental illness and sex. I was nowhere near ready to broach those kinds of subjects myself, but the permission I took from reading her stayed with me. I read David Sedaris for his mastery of tone, particularly the way he can have you giggling out loud and then just stick a knife in you. I read Claire Dederer’s Love and Trouble, which is a memoir but also a collection of essays, and it directly influenced how I approached topics of marriage and sex. Also, I don’t know if they are essayists per se, but I’m intensely interested in the work of writers like Sarah Manguso and Maggie Nelson, who write short, densely packed, aphoristic pieces that live somewhere between essay, prose poem, and memoir.

Between Roxane Gay, Megan Stielstra, Scaachi Koul, Angela Morales, Michelle Orange, Martha Grover, Alice Bolin and Meaghan O’Connell, we live in a golden age of female essayists. Many more commercial presses are publishing women’s essays, but book publishing is still a tough business. What was your experience like getting this book published in today’s market?

My publishing experience was pretty oddball. I had won a few prizes and published some short stories in literary quarterlies in the late 1990s, but my trail stopped there, e.g. I was basically a complete unknown as of 2016. What happened is that I self-published a version of “Girl Skulks Into a Room,” one of the essays in the book, on Medium, and it went very mildly viral. Daphne Durham, a former co-worker who had since become a literary agent, texted me even before she’d read the whole thing: “There’s a book in this.” I thought the notion of me writing a whole book about anything was wildly optimistic, but over a few coffee dates Daphne helped me to see what she saw, and we started working together on a book proposal. Daphne was an absolutely fantastic editor for my work, and in the process of editing me, she realized how much she enjoyed editing. So as we were getting close to having something ready to shop, she accepted an Executive Editor role at MCD/FSG, and after some time she and Sean McDonald spent working through their vision for the imprint, she ended up acquiring my book.

In the interim, another essay I self-published on Medium, “Enjoli,” went hugely viral, and that brought a lot of agent and editor attention my way. It was a life-changing experience. But when it came to finding a home for the book, I didn’t feel a need to play a bunch of angles to maximize that one moment. I knew I wanted to be with an influential but smaller house like FSG, where a debut author wouldn’t get lost in the shuffle, and where they would have an eye on my long-term potential. And I already knew I loved working with Daphne. So it was pretty much a no-brainer to go with FSG. The day I got the offer, I pulled a bunch of FSG books off my shelves — Joan Didion, Frederick Seidel, Ben Lerner, Laura van den Berg ─ and stacked them on my coffee table and just stared at them going “Holy fuck.” And two years later I’m still largely in that “holy fuck” place. So my experience was a bit of a fairy tale. I know how hard it is for even very good work to get recognized in this business, and that it’s on me to take a fairy-tale start and turn it into a sustainable career.

Joan Didion famously said, “Writers are always selling somebody out.” How have loved ones reacted to your book so far?

An advantage of having “Enjoli” go viral is that there are now strangers on literally every continent who have now read or heard me talk about drinking and sobriety. That’s fantastic desensitization therapy. I feel as matter-of-fact about that part of my life now as I do about having brown hair or growing up in Florida. And I’ve also heard countless addiction stories from other people in the last few years, so addiction feels very normal to me now, probably more standard than it actually is. I could hang out and chat about addiction with friends, family, or Dick Cheney (why did he come to mind? I don’t know) all day.

It’s the Other Stuff — about sex, adultery, being kind of a selfish jackass sometimes — that gives me palpitations. My husband, the only person whose permission I sought to tell some of these stories, is fully on board. He’s so on board that he has threatened to have the book cover airbrushed onto the side of his surf van, and to wear a t-shirt with “John” (in quotes) on it to events just so he gets full credit. Friends have also responded with astonishing enthusiasm and acceptance, even nonchalance. I’m only slightly disturbed that people don’t seem to find any of the revelations very surprising. My parents have yet to read the book, and I’ve actually requested they not, because I just don’t think anyone needs to know some of this stuff about their kid. (I was inspired to make that request by hearing Roxane Gay say she’d asked her parents not to read Hunger. “I didn’t know I could DO that!” I thought.) They might still choose to read it, but I’ve let them know I’m not available to process it with them from a content perspective. I’m not going to use the book as a vehicle to relitigate past history. (Same goes for ex-boyfriends, in case any are reading this!) The book is a memoir, yes, but both memoirs and their narrators are constructs. What readers are getting is one truthful view into my life, not a diary.

Your book is deeply reflective and probing, but it’s also hilarious. I laughed countless times, frequently in public. Can you talk about your ideas about the role of humor in personal nonfiction or literature in general?

I’m glad you found it funny! I’m fortunate to have a temperament that can find humor in nearly anything. When I first seriously contemplated getting sober, I had the misconception that it would require a depth of earnestness on my part that would crowd out humor, and that was not an appealing prospect. When I finally got unhappy enough to make the leap anyway, I quickly realized that getting and staying sober demanded seriousness of purpose, which is not the same thing as earnestness or reverence. In fact, I learned that if I couldn’t find humor in sobriety, I probably wouldn’t make it, because I’d be covering up my authentic self, not revealing it. So in writing this book I liked the idea of showing others that you can be dead serious about remaking your life without falling into groupthink or a cult of positivity. (Though I’ll add that, as Leslie Jamison discusses in The Recovering, groupthink can be very useful in its way, especially early on when it’s dawning on you that literally millions of people have been in your shoes and have things to teach you about finding new, better shoes.)

In terms of humor, in personal nonfiction or literature in general, there’s nothing more exhilarating than realizing an author finds the same weird things funny that you do. It’s a tiny but deep bonding moment, like when I meet someone who agrees with me that celery tastes like metal crossed with evil. But that humor has to be organic. I don’t use humor in my writing because I think it should be funny; I use humor because it’s one of my natural ways of coping with my own core desperation and terror and whatnot, so that comes through in my voice. Forced humor, which I can fall into as much as any writer, is just painful. I also think it’s important, at least in books, to be funny in a way that will age well. It’s one thing to make super timely, Shrek-type jokes about pop culture in a blog post or other ephemeral form, but a whole book full of one-liners about, like, This Is Us, or Scott Pruitt’s Ritz-Carlton hand lotion? That makes me feel tired now, and in five years it won’t even sound like English.

The Last of the Live Reviewers: An Interview with Nate Chinen

Fabrice Coffrini / Keystone / AP, Pantheon Books

Matthew Kassel | Longreads | August 2018 | 14 minutes (3,488 words)

Jazz has changed a lot over the past 100 years or so of its existence, but it has never been as stylistically varied — or more packed with practitioners — as it is at the present moment. That’s a good thing for listeners, who now have many points of entry if they are new to the music and don’t necessarily want to start with a record that was cut 50 years ago. Mary Halvorson’s slashing guitar, for example, may appeal to more punk-minded listeners. The pianist Robert Glasper’s Dilla-esque grooves are a good gateway for hip-hop fans. And the tenor saxophonist Kamasi Washington’s sweeping, spiritual-minded albums are a potential attraction for jam band aficionados. There’s a lot going on.

And yet, at the same time, there are probably fewer people writing about modern developments in jazz than ever. While niche magazines like JazzTimes and DownBeat are still going strong, there is scant jazz coverage in mainstream music publications (which tend to treat jazz like a novelty item), and the New York Times no longer runs weekly live jazz reviews (a recent development). Nate Chinen was, in fact, the last person to review jazz shows on a regular basis there, a position he left in 2017 after a dozen years contributing to the paper. He is now the director of editorial content at WBGO, the Newark public radio station.

In his new book, Playing Changes: Jazz for the New Century, Chinen draws on his experiences as a former newspaper critic, attempting to make sense of what’s been going on in jazz over the past few decades. It isn’t an easy task, and he does a good job collating a whole lot of material, pulling on interesting threads and adding context for readers who may not be all that familiar with the reasons why Wynton Marsalis wasand still is, to an extent — a polarizing figure. Mostly, Chinen approaches jazz on its own terms. He describes what the music sounds like now and conveys to readers where modern jazz artists are coming from. In doing so he’s created a book that is truly of its time. Read more…

Ancestor Work In Street Basketball

Tim Mossholder / Unsplash, Columbia University Press

Onaje X. O. Woodbine | Excerpt adapted from Black Gods of the Asphalt: Religion, Hip-Hop, and Street Basketball | Columbia University Press | August 2018 | 25 minutes (6,825 words)

The spirit of the dead must live its life one more time in an accelerated fashion before departing to the realm of the ancestors. . . . It is believed that doing what was once done frees the living from the dead and vice versa.

— Malidoma Patrice Some, Ritual

I had just attended the 2013 Community Awareness Tournament in Roxbury. It was dark. I walked aimlessly along St. Mary’s Street near Boston University. Painful images of the young boys and men of Roxbury flooded my head. That afternoon Russell had asked me to read Marvin’s “Let It Be Magic” poem at halftime to the crowd. I couldn’t do it. Grief racked my body. I left the game. Tears rolled down my eyes as the full impact of the interviews and stories of Boston’s black young men hit me. This wasn’t a few suffering individuals — it was a collective injury. Take Marlon, whom I mention in the introduction. He was a long and skinny six-foot-two-inch player from Roxbury, versatile as a Swiss army knife. He shot threes from deep, made defenders fall with his hesitation dribble, and dunked on players off of one leg. A rhythmic beat reverberated through his head and the sound would grip his body during games:

It seemed like I always had a song going in my head, but I never knew what the song was. That’s just how my game was. It felt like I was dancing on the court. It’s not trying to show off, it’s just how my mind was going and obviously achieved. My mind had a song and I’m bumping to it in my head so now on the court it got me — I’m about to go dunk on somebody or I’m about to go shoot somebody’s lights out. I’m about to cross somebody. It was funny, it’s like I don’t know how many dudes that I made fall just from a simple move. Not even a crossover. A quick step and like “see you later.” Go down, roll it, dunk it.

Marlon, however, was almost raped by his abusive stepfather in a pissy Boston housing project building as a child. Fortunately, he fought him off, dressed his little sister, and hustled down several miles of snow-filled sidewalks to his grandmother’s apartment. His biological father was in prison and his mother was a drug addict, like so many parents of other ballplayers that I interviewed. “I’d run into somebody that was always like, ‘Your mom just copped [bought] some morphine,’ ” explained Marlon. “I tell them, don’t sell nothing to my mom. I’ll kill you. That’s what I tell a person. It’s like, ‘little n***er get the fuck out of here. You ain’t got no gun.’ ‘Oh, I don’t. Okay, be right back.’ [I’d] walk right into the projects. Saw one of the older dudes that know my mother and know my father like, ‘yo’ such and such this and such and such is my mom’s.’ ‘Here take that . . .’ ” and the older gangster would hand him a gun.

Read more…

This Is Why We Can’t Have Nice Things

The seashore is covered by green algae in Shandong province, China. Researchers have attributed the phenomenon in part to climate change. (Imaginechina via AP Images)

The Nathaniel Rich New York Times Magazine story on climate change research and policy — and how close we came to actually doing something in the 1980s to try and mitigate the looming disaster — clocks in at 30,000 words. All 30,000 of them are worth reading, although at the end of the day, the denouement requires just over 100.

The meeting began in the morning and continued into the night, much longer than expected; most of the delegates had come to the conference ready to sign the Dutch proposal. Each time the doors opened and a minister headed to the bathroom at the other end of the hall, the activists leapt up, asking for an update. The ministers maintained a studied silence, but as the negotiations went past midnight, their aggravation was recorded in their stricken faces and opened collars.

“What’s happening?” Becker shouted, for the hundredth time, as the Swedish minister surfaced.

“Your government,” the minister said, “is fucking this thing up!”

The decade-long lead in to the final fuckup is equal parts fascinating and infuriating, and makes the ongoing “debate” about whether climate change is really happening all the more ludicrous.

Read the story

At Home on Carmine Street

Tongdang5 / Getty

Abigail Rasminsky | Longreads | August 2018| 14 minutes (3,400 words)

 

When the two stragglers let the door clatter shut behind them, I turn the lights in the restaurant’s dining room all the way up and zip over to the stereo. For the past few months, we’ve been blasting the Talking Heads’ “Once in a Lifetime” while closing. We all sing You may ask yourself, my God, what have I done? while manning brooms and mops and rags, none of us aware that we are singing of our own lives. At the chorus, we give in, drop what we’re doing and dance: Letting the days go by, let the water hold me down…

I stack the chairs and tables as I’ve been taught, sweep crusts of bread and remnants of lettuce off the tiled floor, grab the register drawer with the remaining cash — 200, 300 bucks tops, since I’ve been emptying it steadily all night — while, behind the counter, Emily cleans the cappuccino machine and stashes the whipped cream, milk, and pie in the fridge. Tom drags the mop over the floor I just swept, the bucket for dunking sitting at the lip of the kitchen.

During the day, the place is bustling with people — upstairs, downstairs, out front, gates open all summer long. But now it’s 12 a.m. at The Grey Dog on Carmine Street in the West Village, and everyone else has gone home.

I leave Emily and Tom singing in the dining room, and carry the money from the register, platter-like in one hand, through the swinging doors of the upstairs kitchen, down the narrow, slippery staircase, past the dishwashing station and the baker’s area, where the croissants and scones are warmed at 5:30 a.m., past the catering department, where two Irishmen make platters of Caesar salad and triangular-cut sandwiches all morning to the sounds of NY1, and get to the restaurant’s windowless, corner office. I unhook the mass of keys from the loop of my jeans and let myself in. Sammy, the resident cat, slips past my ankles. The office reeks of cigarettes and pot.

Up on the desk, I count the cash, separating crisp bills from soft ones, count it again, and add it to the change drawer under the desk, which is always stacked with rows of 1s, 5s, 10s, 20s, and a couple of 50s — $1,000 or $2,000 total. Much of that night’s profits — but not all — have already been rolled up, wrapped in elastic bands, and dropped into a heavy metal drop box in the corner of the room.

When I’m done, I switch off the lights and lock the door behind me, making sure that Sammy is inside. If I forget — as I have before — the cat wandering the restaurant will set off the alarm at 3 a.m. and my boss will get a call from the police: There’s been a break-in.

Just as I turn around to walk through the unlit basement and bound back up the stairs, I see Emily in the semi-darkness. There is a gun by her right ear, its barrel pointing at me. Her body is bigger than usual these days — she’s 27 and six months pregnant with her second child, a mistake courtesy of a quick fuck in the restaurant’s downstairs bathroom with one of the cooks. They broke the sink off the wall, and now here she is, shuffling along the slick floor, belly first, with a man at her back, pushing her slowly into me, toward the office door at my back. I can barely see his face; it is nuzzled behind Emily’s hair and concealed by the panic on her own face.

Emily and I stand frozen in the underground quiet, looking at each other.

Then it hits me: The door.

I didn’t lock the front door.

Emily whispers, “Open the office.”
Read more…

Michelle Tea and the Betrayal of Queer Memoir

Feminist Press

Alana Mohamed | Longreads | August 2018 | 12 minutes (3,094 words)

Michelle Tea has made a career of memoir, and in doing so she has chronicled a generation of queer and punk subcultures. Growing up a lonely and shy teenager, for me Tea’s autobiographical novel Valencia represented freedom. She wrote about sex and friends and death in a way that made me feel alive, kind of like the way watching Party Monster makes some want to do a face full of cocaine. I wanted to be her, or the women she portrayed, who were all so brash and powerful and sexy. With her latest release, Against Memoir: Complaints, Confessions & Criticisms, Tea continues to write explosively about her life. But she’s also slowed down and become reflective — while still delightfully contradictory — dissecting the history of the ruptures within the communities which she has documented so well.

Recently, I’ve gotten in the habit of saying people have been “so generous” when sharing their stories. Post-#MeToo, radical disclosure has become typical, if not necessary, to speak frankly about sexual boundaries and trauma. “Thank you for being so generous with your story,” I say to the woman who just described her first fisting experience to contextualize her rape. It feels right, like it acknowledges the spiritually taxing effort that goes into disclosure when someone offers a highly personal narrative. But who talks about their first fisting for the good of the general public? Often, they’re talking about it because no one else will, and someone needs to. It’s not so much a matter of generosity as one of necessity. Read more…