Search Results for: memory

The Top 5 Longreads of the Week

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This week, we’re sharing stories from Jill McCabe Johnson, Stacey Anderson, Megan Pillow, Barry Blanchard, and Elizabeth Rush.

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1. The Night Gary Drove Me Home

Jill McCabe Johnson | Slate | June 16, 2021 | 2,422 words

“It is not a normal thing to do—to acknowledge to yourself that you may have slept with a serial killer.”

2. Beijing Calling: Suspicion, Hope, and Resistance in the Chinese Rock Underground

Stacey Anderson | Rolling Stone | June 24, 2021 | 7,800

“China has produced some of the most vital indie rock on the planet. But can the scene survive gentrification, government crackdowns, and a hit TV show?”

3. Living Memory

Megan Pillow | Guernica Magazine | June 23, 2021 | 5,158 words

“Who, then, are the chroniclers of Black lives in the pandemic?”

4. And Then There Were Twelve

Barry Blanchard | Alpinist Magazine | December 19, 2020 | 4,600 words

“Climbing culture: we come to each other’s aid in times of need. Ethan and Lorne knew they had to stay and help. The four men hunkered down inside the schrund-cave. With each cup of tea they brewed, their spirits rose. They would make it through the night.”

5. First Passage

Elizabeth Rush | Orion Magazine | June 3, 2021 | 4,556 words

“A journey toward motherhood in the age of glacial loss.”

Road Grad

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Jill Talbot | Longreads | June 2021 | 9 minutes (2,508 words)

The showers had been steady for days. Even when the rain broke, the weather app on my phone showed another coming storm. At night, lightning scarred the sky, jagged answers to the crack of thunderous questions. A relentless deluge, like so much else last year.

***

In the spring of 2020, the bottom corner of TV screens broadcasting news channels recorded the rising numbers of deaths and cases, along with Dow numbers shifting, sometimes in seconds, from green to red.

During the spring break of my daughter Indie’s senior year, her school district announced they would close schools the week following the break, with plans to reopen on March 23. On March 19, the governor of Texas temporarily closed schools until April 3, then later extended the order to May 4, and on April 17, he closed all private and public schools for the remainder of the year, while initiating steps to re-open the state for business. Indie would finish her senior year in her bedroom. She would not step back through the front doors of her high school, and she would not place her hands in purple ink and press them to a wall or write her name and 2020 beneath her handprints. There would be no Bronco Walk, when seniors paraded the school halls behind the drum corps in their caps and gowns as teachers and students came out of classrooms to cheer, while parents lined the main lobby boasting signs of celebration and congratulations. I would have cried, I am sure, standing there, holding a sign for Indie.

During those first weeks at home, Indie told me more than once how she wished she had known that the last day she left school was the last time. She grew up with so many goodbyes, so she knows the importance of looking back in those moments before leaving.

Up until that week in March, as Indie left for school each morning, I’d stand beneath the canopy of an oak tree outside to watch her go. She’d always look back as she pulled away, and I’d blow kisses and wave my arms wildly. I mourned those mornings. They ended before I knew they were gone.

I raised Indie on my own.

After her father left, disappearing one July morning when she was 4 months old, I understood the most important thing I would do in my life was raise Indie. When she was 2, I promised myself not to date until she was grown. I worried about men coming and going through her life, but more importantly, I recognized my responsibility, and while I have a history of being irresponsible in my life, I wanted to get this one right. The promise kept.


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Through the years, I went to every parent-teacher conference alone. I taught Indie how to ride her bike. How to drive a car. How to dive into a pool. I watched her write her first word, apple. Heard her first word, juice. I decided punishments, and I chose rewards. For every birthday, I woke her by walking into her room with a lit candle in a pastry and singing, “Happy Birthday.” On the days when daycare was closed or I couldn’t afford it, I took her to my office or into my classrooms. I explained to every pediatrician and one ER doctor that no, I don’t know the father’s medical history. I shook hands with the boys who picked her up for dates, set her curfew at 11:30, the same one I had had in high school. Then that morning three years ago, when I had to tell her that her grandfather was suddenly gone, and two months later, when I waited for her to get home to say the words, “Gramma has cancer. Stage IV.” I taught my daughter how important it is to apologize, and I told her, “I’m sorry,” every time I made a mistake or yelled or we had to move, again, because for 11 years, the academic job market awarded me only visiting positions. The first time we moved, from Colorado to Utah, Indie was 16 months old, and by the time she entered eighth grade in Texas, we had lived in nine states.

And because of that, we are most who we are when we’re on the road.

As the weeks went by, I worked at our kitchen table teaching my creative writing workshops on my laptop, while Indie studied on her bed in her room. Around six each night, we’d meet on the couch to watch our shows and visit, often agreeing how lucky we were that we get along so well, that we enjoy each other’s company. Because that’s what we were for months, each other’s company.

And because of that, we are most who we are when we’re on the road.

We stayed up late, and we slept late. For the five years we’d lived in this apartment, I’d hear the wail of trains in the middle of the night, and in the mornings, the roar of planes in their descent to the DFW airport, 25 miles south. That spring, no train whistles called out in the night, and the morning skies were empty.

After a while I could sense a looming sadness and restlessness in both of us, so one night I asked Indie if she wanted to go the next day to see what the World’s Largest Casino looked like closed. Her face lit up. The next morning, we drove 45 miles north, crossed the Oklahoma border, and took Exit 1 to WinStar. We drove slowly around the sprawling property the size of a community college campus, if one were to have a three-tower hotel and 600,000 square feet of gaming centers. No cars or people in sight, except for a security guard patrolling on a bike. I rolled down my window and snapped a few photos of the desolation, an eerie site. On the way back, we saw an abandoned one-story motel and pulled over to wander among the empty, exposed rooms, the diamond-shaped windows, most of them broken. That out-and-back drive would turn out to be our first half-tank trip.

After that, every two weeks I’d pick a place for us to go, somewhere a half-tank of gas away. Far enough to get away, but close enough not to have to use a gas station restroom. Only after we were in the car would I tell Indie where we were heading — a hotel on a corner square where Frank Sinatra once stayed and Bonnie and Clyde had been spotted, a vacant Futuro house (orange, shaped like a spaceship), a drive-in theater, an empty hotel featured on Ghost Adventures, and once, an abandoned post office with a collapsing porch. Along the way, we’d reminisce about all the places we’d lived, as if touring unknown towns reminded us of all the towns we’d known. Or maybe it was facing the ending to the 18 years we shared, so we wanted to remember those places and houses and rooms, to honor them as we passed mile markers and took exits along with Fleetwood Mac’s Greatest Hits.

***

The forecast for that Friday read like all the other days before that week. Rain chances at 100% for 7:00 p.m., the hour of Indie’s graduation. Instead of the traditional ceremony inside the coliseum of the university where I teach, graduation would be held at the Texas Motor Speedway in Fort Worth, where parents and families would park on the infield to watch graduates cross the checkered finish line on a big screen. The world’s largest at 218 feet wide and 94.6 feet tall — 21 stories.

Indie wanted a white dress for graduation, and even though Texas reopened on May 1, I told her I preferred she order a few online. We’d return the ones she didn’t choose. I think I’ll always see it in my memory, the afternoon she stepped out of her room in a dress rehearsal. A sleeveless, above-the-knee dress, falling in folds between the panels of her purple gown. Cap on. And because the instructions for the ceremony advised against heels because of the long procession around the track, she decided on her white platform Vans.

Over the previous few months, Indie and her friends had had to accept everything that was gone — classes and crowded hallways, prom, playoffs, end-of-the-year concerts, award ceremonies and banquets, yearbook signings, the senior walk, the senior breakfast. The senior walk was the only one that didn’t hold any meaning for Indie, a day when DHS seniors put on their caps and gowns to walk the block to the elementary school to thank their first teachers. If Indie were to walk to the elementary schools she attended, she’d have to head north to Oklahoma, on to New York, and back south to Ray Elementary in Chicago. 3,412 miles. Miles she and I drove together over the years, one road after another.

While Indie got ready that Friday, I ironed her dress. I took my time, and every now and again secretly checked the rain chances on my phone. At 4:00, 80%. Students were to arrive at the Speedway by 5:30 to have their temperature checked, to answer questions, and to turn in their signed health waiver. If it rained, graduation would not be rescheduled. It would be canceled. I stood there ironing, wanting to ask, “What if it rains?,” but I held the question in my throat, knowing Indie already carried it and that she was pushing it to the far back of a drawer of the year’s losses.

The first school event of Indie’s I attended was when she was in first grade at Will Rogers Elementary. It was a morning assembly, each class from K-3rd performing. When I got out of my car and started walking to the school’s office to sign in, I remember whispering, “I’m coming, Indie. I’m here. I’m coming.” Inside, I joined other parents leaning against the walls of the gymnasium/auditorium. The students, cross-legged and squirming, sat in rows on the tile floor. When Indie got to her spot on the stage, her blonde hair a bob, wearing a sweet dress my mother had mailed, she began searching for me. I raised my right arm and held my hand as high as it would go. I stretched out my fingers and held them still. I thought my motionless hand might be easier to see among all the waving ones. “It was,” she told me when I picked her up from school that afternoon. I told her it was also a secret message — you are strong, you are steady, I am here.

Through the years, in the stands of volleyball and basketball games, the auditoriums of plays and choir concerts, the stadiums of band half-time shows and contests, I have sat alone and raised my hand high for Indie, still and steady, even when I knew she couldn’t see me because the auditorium lights had already lowered, or I was too far away in the stands.

A few days before graduation, Indie picked up her car passes in a drive-through procession at school, the same way she had returned her textbooks, picked up her yearbook, and turned in her drum major uniform. Each senior was given only two passes — a Student Pass and a Parent Pass. One car for each student, one car for each family.

By 6:00 that night, a reprieve. Blue sky. I got in the car I had been driving for 11 years, one my parents had given me. I headed toward I-35 West for the 20-mile drive, my Parent Pass on the passenger seat:

VILLAGE OF CHAMPIONS
at Texas Motor Speedway
Parent Pass
Class of 2020 Graduation Ceremony
Present this pass for entry into the infield of
TEXAS MOTOR SPEEDWAY

As I joined the line of cars into the Speedway’s massive parking lot, I whispered, “I’m coming, Indie. I’m here. I’m coming.” I know she can’t hear me when I do this, but it always feels like she does. I showed my pass to an attendant, drove through the south tunnel, and followed the directions from orange vests to turn into a gravel space between two pylons.

As the massive screen directed, I tuned my FM radio to 97.7. All around me, the families of 459 graduates. As we waited for the ceremony to begin, the screen featured the graduation photos and activities of each senior. Suddenly, there was Indie, her long blonde hair, her smile, and her accomplishments, including the name of the university in New York she had chosen. I clicked a photo with my phone.

The following Monday, NBC’s TODAY show would feature the Speedway graduation, showing a long line of seniors in purple DHS masks as “Pomp and Circumstance” played, the rows of white chairs on the track placed six feet apart, and a parking lot of vehicles on the infield facing the 22,000-square-foot screen, honking in celebration.

Imagine the largest drive-in theater in the world — that’s what the Speedway became that Friday night, the temperature 90 degrees — a 1,500-acre facility, hundreds of trucks, SUVs, and cars lined up inside an oval track of 1.5 miles ending in a checkered finish line.

What a fitting end — to watch Indie cross a finish line on a road after all the roads we’ve known. Sitting in my car by myself, ever at the wheel, felt like an honor I had earned by raising her alone.

The students were allowed to remove their masks only as they crossed the checkered line where the superintendent, wearing a mask and gloves, shook their hands and gave them their diplomas. As each graduate crossed, some bowed, some gave a thumbs up, some did a funny dance. I wondered what Indie might do.

As the T names approached, I shifted in my seat, looking for blonde hair, a pink stole, a white dress, Vans. When I heard Indie’s name, the first time I had ever heard her full name announced in public, I pressed on my horn and held it, shouting, “Indie! Indie!” She accepted her diploma with a nod, then turned to the camera with a big smile and a wave. Full of joy.

If memory proves anything, it’s that we always miss something. Either we can’t call up a detail or someone tells us what we didn’t see. I suspect there are times when we take in the meaning of the moment more than the details of the moment itself.

Because later that night, when Indie rushed through the front door, still in her gown, she asked, “Did you see it?” She plopped down next to me on the couch, scrolling through her phone. “I figured out a few days ago what I wanted to do. Hold on, someone took a picture of me and got it.”

I stared at the photo of my daughter crossing the finish line, beaming, mid-stride.

“I couldn’t see you,” she explained, “but I knew you could see me.”

And then I saw it.

Her right hand held high.

Still and steady.

***

Jill Talbot is the author of The Way We Weren’t: A Memoir and Loaded: Women and Addiction, the co-editor of The Art of Friction: Where (Non)Fictions Come Together, and the editor of Metawritings: Toward a Theory of Nonfiction. Her writing has been named Notable in Best American Essays for the past four years in a row and has appeared in journals such as AGNI, Brevity, Colorado Review, DIAGRAM, Gulf Coast, Hotel Amerika, LitMag, The Normal School, The Paris Review Daily, and The Rumpus. She teaches in the creative writing program at University of North Texas.

 

***

Editor: Krista Stevens
Copy editor: Cheri Lucas Rowlands

The Top 5 Longreads of the Week

PARIS, FRANCE - NOVEMBER 06: Model Loulou Robert (L) and Roberto Eggs, President of Louis Vuitton North Europe, take part, along with Dumba (C), a female African elephant, in a ceremony to switch on and unveil the Christmas decorations by luxury brand Louis Vuitton for the Galeries Lafayette department store on November 6, 2012 in Paris, France. (Photo by Bertrand Rindoff Petroff/Getty Images)

This week, we’re sharing stories from Jesse Eisinger, Jeff Ernsthausen, and Paul Kiel, Arno Kopecky, Isaac Würmann, Vanessa Angélica Villarreal, and Laura Spinney.

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1. The Secret IRS Files: Trove of Never-Before-Seen Records Reveal How the Wealthiest Avoid Income Tax

Jesse Eisinger, Jeff Ernsthausen, Paul Kiel | ProPublica | June 8, 2021 | 5,717 words

“ProPublica has obtained a vast cache of IRS information showing how billionaires like Jeff Bezos, Elon Musk and Warren Buffett pay little in income tax compared to their massive wealth — sometimes, even nothing.”

2. Three Days in the Theater of Old-Growth Logging and Protest

Arno Kopecky | Hakai Magazine | June 1, 2021 | 6,100

“A drama 150 years in the making is playing out as logging companies and police clash with First Nations and protesters over one of British Columbia’s last remaining stands of unprotected old-growth forest.”

3. The Men in Apartment 4C

Isaac Würmann | Maisonneuve | May 11, 2021 | 5,738 words

“When Isaac Würmann’s relationship began to crumble, he started seeking out examples of queer love elsewhere. It turns out, he didn’t have to look far.”

4. La Cancion de la Nena

Vanessa Angélica Villarreal | Oxford American | June 1, 2021 | 6,937 words

“He sits on the edge of the bed to compose and work through songs, facing an amp, while I curl into his velvet-lined guitar case and listen…I have called up this memory so many times I feel the gauze of fiction starting to overlay its details. But it is a memory so dear, I reanimate it against the heaviness of the present—my father, full of promise and possibility, years before the shell he would become, now shut away in my childhood bedroom in the graying light of ever-closed blinds.”

5. The Elephant Vanishes: How a Circus Family Went on the Run

Laura Spinney | The Guardian | June 8, 2021 | 5,455 words

“Today, many circus elephants in Europe are reaching old age. Campaigners want them placed in specially built sanctuaries, where they can enjoy retirement with their own kind. But their owners insist that for the elephants, being separated from their human “families” would be traumatic.”

La Cancion de la Nena

Longreads Pick

“He sits on the edge of the bed to compose and work through songs, facing an amp, while I curl into his velvet-lined guitar case and listen…I have called up this memory so many times I feel the gauze of fiction starting to overlay its details. But it is a memory so dear, I reanimate it against the heaviness of the present—my father, full of promise and possibility, years before the shell he would become, now shut away in my childhood bedroom in the graying light of ever-closed blinds.”

Source: Oxford American
Published: Jun 1, 2021
Length: 27 minutes (6,937 words)

‘What’s the worst thing you’ve ever done?’

Illustration by Zoë van Dijk

This is an excerpt from The Atavist‘s issue no. 115, “The Snitch,” by Jordan Michael Smith.

Jordan Michael Smith | The Atavist | May 2021 | 5 minutes (1,356 words)

 

CHAPTER 1

Carle Schlaff wanted more out of his job. As an FBI agent, he’d spent more than ten years working low-level drug cases in the bureau’s Denver office. He eventually moved up to investigating organized crime—only to be transferred to the violent-crimes squad and made the liaison to a low-security prison called Englewood, in Littleton, Colorado. It was the sort of job that was good for a rookie, not a veteran. “I was kinda pissed,” Schlaff said.

The Atavist is Longreads‘ sister publication. For 10 years, it has been a digital pioneer in long-form narrative journalism, publishing one deeply reported, elegantly designed story each month. Support The Atavist by becoming a magazine member.

Schlaff was 42, with two kids, an easy smile, and an unpretentious manner. He was the type of FBI agent who read crime novels in his spare time. He’d grown up watching Hawaii Five-0. He wanted to take down mob bosses, catch serial killers, expose international drug cartels.

In August 2002, Schlaff’s luck changed: He learned that a prisoner at Englewood named Scott Kimball knew about a murder plot. Schlaff and a colleague met with Kimball in a small interview room at the prison. Kimball was 36 at the time, a weathered, stocky man who wore a goatee and had a long scar in the center of his forehead. He shared a cell with Steve Ennis, a young drug dealer. Kimball claimed that Ennis had talked about recruiting someone to kill witnesses preparing to testify against him.

“I would be willing to do some undercover work for you guys,” Kimball told Schlaff and his colleague.

If the offer seemed blunt, it was because Kimball already knew how the FBI operated. After being arrested for check fraud in Alaska in 2001, he told authorities that his cellmate, Arnold Wesley Flowers, planned to order the murders of a federal judge and a prosecutor, along with a witness in the case against him. (Flowers was facing fraud charges of his own, according to court records.) The FBI worked with Kimball and an undercover agent to record Flowers organizing the hits with help from his girlfriend. In March 2002, the couple were charged with murder for hire, witness tampering, and attempting to murder federal officials.

There was more: Kimball told the FBI that another Alaska prisoner, Jeremiah Jones, had bragged about murdering Tom Wales, a prominent assistant U.S. attorney shot to death through a window of his Seattle home in October 2001. While it investigated the matter, out of concern for his safety, the FBI transferred Kimball to his native Colorado in April 2002. Now, at Englewood, it seemed that Kimball had yet more valuable intelligence to offer.

Before Schlaff went chasing Kimball’s story, though, he wanted to know what type of person he was dealing with. He didn’t mind so much if someone had committed nonviolent crimes, but he didn’t want to work with an informant who could be easily discredited. “What’s the worst thing you’ve ever done?” Schlaff asked Kimball.

Kimball admitted that in addition to his crimes in Alaska, he’d committed fraud in Montana and served time there. He excelled at check forgery, Kimball said, but he wanted to go straight. It sounded plausible to Schlaff, who’d reviewed Kimball’s record—he didn’t have any convictions for violent crimes—and had checked for outstanding warrants.

Schlaff scribbled down on a notepad what Kimball told him. After leaving Englewood that day, he made contact with the Drug Enforcement Agency and the U.S. Attorney’s Office, which were both working the Ennis case. Kimball was soon reactivated as an informant, with Schlaff as his handler. Their goal was to foil the alleged murder plot, and charge Ennis for orchestrating it.

All the pieces were falling into place: This was exactly the kind of case Schlaff had been craving.

It takes a thief to catch a thief, as Schlaff likes to say—that’s the logic behind using jailhouse snitches. In the United States, the practice has a history as troubling as it is long. Incentivized by the promise of reduced sentences, better prison conditions, and financial compensation, criminal informants sometimes offer cops and prosecutors bad information, which can lead to wrongful convictions and other miscarriages of justice. And too often, authorities treat informants as if their lives matter less than the work of law enforcement.

In recent years, there have been efforts to reform the way authorities handle informants. But back when Kimball started working with the FBI, there was less communication among law enforcement agencies and relatively minimal scrutiny of an informant’s history. It was easy to miss the kind of facts from a person’s past that might have made authorities think twice before using them as an informant.

It takes a thief to catch a thief, as Schlaff likes to say—that’s the logic behind using jailhouse snitches. In the United States, the practice has a history as troubling as it is long

Born in Boulder in 1966, Kimball was ten when his parents divorced, after his mother came out as gay. Around that time, according to Kimball and his brother, a neighbor began molesting them. Kimball told me the abuse continued until he was in his teens. The neighbor was ultimately sentenced to seven years in prison for sexual abuse of a minor. According to people who knew him as a young man, Kimball seemed haunted by his past. He once tried to end his life but only managed to wound himself—the source of the scar on his forehead.

By early adulthood, Kimball had a long rap sheet. In 1988, he received his first felony conviction for passing bad checks. In another instance, he was charged with running an illegal outfitting business in Montana, helping out-of-staters hunt elk, bear, moose, and deer. Kimball continued to commit nonviolent offenses, the kind that Schlaff later saw on his criminal record. There were other allegations against Kimball, far more unsettling ones, but due to a series of decisions made by law enforcement, finding them would have required some digging.

In June 1993, Kimball married a woman named Larissa Mineer. They moved to Spokane, Washington, and had two sons. Though they divorced in 1997, they maintained a relationship until December 1999, when, Mineer alleged, Kimball raped her at gunpoint. Kimball claimed he hadn’t harmed or threatened Mineer—according to a police report, he said that his ex was trying to sway a custody dispute over their sons in her favor. After Mineer failed a polygraph, the police decided not to file charges. (Polygraphs have been deemed unreliable by the American Psychological Association and the National Academy of Sciences, but law enforcement still use them to quickly ascertain whether someone might be telling the truth.)

In 2000, Kimball landed in prison in Montana, convicted of violating probation, which he’d been serving for a fraud offense. After a year in lockup, Kimball was transferred to a halfway house, but a month later he went on the lam. Mineer alleged that he came back to Washington, broke into her home, and then kidnapped and raped her. This time the Spokane police issued a warrant for his arrest. But when Kimball was picked up for fraud in Alaska in 2001, and then became an FBI informant, the kidnapping and assault charges went away. (The FBI said it did not request that local law enforcement drop the charges.)

As a result, when Schlaff looked up Kimball’s record, none of Mineer’s accusations were on it. The escape from the halfway house was there, but Schlaff wasn’t too worried about that—Kimball had been near the end of his sentence when he’d slipped away. Schlaff spoke to Colton Seale, an FBI special agent in Alaska, who said that Kimball had been helpful in the case against Flowers and his girlfriend. Seale, who is now retired from the FBI, told me that he has no memory of whether he knew about Kimball’s kidnapping and assault charges at the time.

At worst, Schlaff thought, he was working with a petty con artist. “He was a typical wise guy,” Schlaff told me. “He had an answer for everything.” But Kimball wasn’t a child molester or a murderer. He seemed like the type of informant who might be good before a jury.

The truth was something else entirely.

 

Read the full story at The Atavist

Even the Steam Had a Shadow

Natasha Pulley | The Kingdoms | May 2021 | 1516 words (6 minutes)

***

1
Londres, 1898 (ninety-three years after Trafalgar)

Most people have trouble recalling their first memory, because they have to stretch for it, like trying to touch their toes; but Joe didn’t. This was because it was a memory formed a week after his forty-third birthday.

He stepped down off the train. That was it, the very first thing he remembered, but the second was something less straightforward. It was the slow, eerie feeling that everything was doing just what it should be, minding its own business, but that at the same time, it was all wrong.

It was early in the morning, and cursedly cold. Vapour hissed on the black engine right above him. Because the platform was only a couple of inches above the tracks, the double pistons of the wheels were level with his waist. He was so close he could hear the water boiling above the furnace. He stepped well away, feeling tight with the certainty it was about to lurch forward.

The train had just come in. The platform was full of people looking slow and stiff from the journey, all moving towards the concourse. The sweet carbon smell of coal smoke was everywhere. Because it was only just light outside, the round lamps of the station gave everything a pale glow, and cast long, hazy shadows; even the steam had a shadow, a shy devil trying to decide whether to be solid or not.

Joe had no idea what he was doing there.

He waited, because railway stations were internationally the same and they were a logical place to get confused, if there was ever a logical place. But nothing came. He couldn’t remember coming here, or going anywhere. He looked down at himself. With a writhe of horror, he found he couldn’t even remember getting dressed. His clothes were unfamiliar. A heavy coat lined with tartan. A plain waistcoat with interesting buttons, stamped with laurel patterns.

Most people have trouble recalling their first memory, because they have to stretch for it, like trying to touch their toes; but Joe didn’t. This was because it was a memory formed a week after his forty-third birthday.

A sign on the wall said that this was platform three. Behind him on the train, a conductor was going along the carriages, saying the same thing again and again, quiet and respectful, because he was having to wake people up in first class.

‘Londres Gare du Roi, all change please, Londres Gare du Roi …’

Joe wondered why the hell the train company was giving London station names in French, and then wondered helplessly why he’d wondered. All the London station names were French. Everyone knew that.

Someone touched his arm and asked in English if he was all right. It made him jump so badly that he twanged the nerve in the back of his skull. White pain shot down his neck.

‘Sorry – could you tell me where we are?’ he asked, and heard how ridiculous it sounded.

The man didn’t seem to think it was extraordinary to find an amnesiac at a railway station. ‘London,’ he said. ‘The Gare du Roi.’

Joe wasn’t sure why he’d been hoping for something other than what he’d heard the conductor say. He swallowed and looked away. The steam was clearing. There were signs everywhere; for the Colonial Library, the Musée Britannique, the Métro. There was a board not far away that said the Desmoulins line was closed because of the drilling below, and beyond that, elaborate iron gates that led out into the fog.

‘Definitely …

London in England?’ he asked eventually.

‘It is,’ the man said.

‘Oh,’ said Joe.

The train breathed steam again and made the man into a ghost. Through all the bubbling panic, Joe thought he must have been a doctor, because he still didn’t seem surprised. ‘What’s your name?’ the man asked. Either he had a young voice, or he looked older than he was.

‘Joe.’ He had to reach for it, but he did know; that was a thump of a relief. ‘Tournier.’

‘Do you know where you live?’

‘No,’ he said, feeling like he might collapse.

‘Let’s get you to a hospital then,’ the man said.

So the man paid for a cab. Joe expected him to leave it at that, but he came too and said there was no reason why not, since he wasn’t busy. A thousand times in the following months, Joe tried to remember what the man had looked like. He couldn’t, even though he spent the whole cab ride opposite him; all he remembered later was that the man had sat without leaning back, and that something about him seemed foreign, even though he spoke English in the hard straight way that old people did, the belligerent ones who’d always refused to learn French and scowled at you if you tried to call them monsieur.

It was maddening, that little but total failure of observation, because he took in everything else perfectly. The cab was a new one, all fresh leather and smelling of polish that was still waxy to touch. Later, he could even remember how steam had risen from the backs of the horses, and the creak of the wheel springs when they moved from the cobbles outside the station to the smoother-paved way down Rue Euston.

But not the man. It was as though the forgetfulness wasn’t so much an absence of memory, but a shroud that clung to him.

It was as though the forgetfulness wasn’t so much an absence of memory, but a shroud that clung to him.

The road looked familiar and not. Whenever they came to a corner Joe thought he knew, there was a different shop there to the one he’d expected, or no building at all. Other cabs clopped past. Brown fog pawed at the shop windows. The sky was grey. In the background, he wondered if the man wasn’t being kind at all but taking advantage of things somehow, but he couldn’t think what for.

Not far away, monster towers pumped fumes into that gun-metal sky. They were spidered about with gantries and chutes, and in the flues, tiny flames burned. On the side of an enormous silo, he could just make out BLAST FURNACE 5 stamped in white letters in French. Joe swallowed. He knew exactly what they were – steelworks – but at the same time, they filled him with the dream-sense of wrongness that the Métro signs at the station had done. He shut his eyes and tried to chase down what he knew. Steelworks; yes, London was famous for that, that was what London was for. Seven blast furnaces up around Farringdon and Clerkenwell, hauling steel out to the whole Republic. If you bought a postcard of London, it always looked amazing, because of that towering tangle of pipework and coal chutes and chimneys in the middle of it. It was a square mile that had turned everything black with soot: the ruin of St Paul’s, the leaning old buildings round Chancery Lane, everything. That was why London was the Black City.

But all that might as well have come from an encyclopaedia. He didn’t know how he knew it. He didn’t remember walking in those black streets or around the steelworks, or any of it.

‘Did you get off the same train as me?’ he asked the man, hoping that if he focused on one particular thing, he might feel less sick.

‘Yes. It came from Glasgow. We were in the same carriage.’

The man had a clipped way of talking, but his whole body was full of compassion. He looked like he was stopping himself leaning forward and taking Joe’s hands. Joe was glad about that. He would have burst into tears.

He couldn’t remember being on the train. The man tried to tell him things that had been memorable, like the funny snootiness of the conductor and the way the fold-down beds tried to eat you if you didn’t push them down properly, but none of it was there. He confirmed that Joe hadn’t fallen or bumped anything, just started to look disorientated early this morning. It was nine o’clock now.

Joe had to let his head bow. He’d never been scared like it. He opened the window, just to inhale properly. Everything smelled of soot. That was familiar, at least. On the pavements, droves of men in black coats and black hats poured from the iron gates of the Métro stations. They all looked the same. The cab stopped for a minute or so, waiting at a railway crossing. The train was a coal cargo, chuntering towards the steelworks. The whistle howled as the driver tried to scare off some kids on the line; there were ten or twelve, foraging for the bits of coal that fell off the carriages.

‘You’ll be all right,’ the man said quietly. It was the last thing he said; while Joe was seeing the doctor, he vanished. None of the nurses had seen him go, or seen him at all, and Joe started to think he had got himself to the hospital alone, and that the man had been a benign hallucination.

***

Excerpted from Natasha Pulley’s novel The Kingdoms, published by Bloomsbury.

The State of Waiting

Photos and artwork throughout courtesy of Wafa Almaktari. Background image of Sana'a by Santiago Urquijo/Getty Images. Illustration by Cheri Lucas Rowlands.

Caitlin Dwyer| Longreads | May 2021 | 22 minutes (6,168 words)

 

This story includes audio interludes. Listen to Wafa talk about her life, her relationship, and Yemeni culture through cherished objects.

Read an interview with Caitlin about her reporting and writing process for this story.

She is in a Toyota RAV4, somewhere in the mountains of south-central Yemen. It is hot, desert hot, and the AC doesn’t work. There is no road. The driver maneuvers the car through dry riverbeds, which show the cracks of prior floods. 

In the back seat, Wafa Almaktari tries not to throw up. She tries not to think about the men with guns who will stop them, demand money, and search their baggage over 50 times in the next 16 hours. If they don’t like her, or she cannot pay, she may disappear in these hills. She tries not to think about the fact that the driver, hired privately for $300, does not have a map.

How the hell does he know where he is, in the middle of the mountains? she wonders. But the alternative — a bus that blunders at even slower speeds, and attracts even more attention at armed checkpoints — was unthinkable. She has to get through the mountains as quickly as possible, because Moutaz is waiting for her.

It is June 2019. Moutaz Al-Qershi, her fiancé, lives in the northern Yemeni capital city of Sana’a. He was going to meet her when she landed in the port city of Aden. But she knows she can’t trust herself not to fling her arms around him and kiss him. In the U.S., where Wafa has lived for the last four years, public affection is normal for young couples, but in Yemen, unmarried couples can’t publicly embrace. She told him to wait at her family’s home.

Not that Wafa cares about what other people think. She’s waited too long. She has a lady in Sana’a baking her wedding cake (she found her on Facebook). There is a butter shortage, but she’s got connections. She’s even got a female DJ lined up.

“If Moutaz was not in Yemen, I would not go. I would not even visit,” she says. But he is here, and so she has returned — enduring the heat, the nausea, the armed checkpoints —  to a country in the midst of violent civil war. She does not know if she will be allowed to return to the U.S. after her wedding.

“Home is where Moutaz is,” she reminds herself. She twists the ring on her finger. She hopes — no, she knows — coming back was the right choice.

* * *

In 2021, the small Middle Eastern nation of Yemen ranks as the world’s largest humanitarian disaster. Civil strife has mired the country in famine, cholera outbreaks, and violence. Since 2015, a complex set of combatants has battled for control: armed rebels in the north, known as the Houthis, who rule the capital; Saudi Arabian forces, who are determined to stop the Houthis; Al-Qaeda in the Arabic Peninsula, who rose up briefly to fill a power vacuum; and southern separatists in the port city of Aden.

Wafa and Moutaz met before the war. Although a poor country, Yemen had been a democratic one. During the Arab Spring, protesters had demanded reforms, leading to a transitional government. In 2014, the transitional president was struggling to stabilize the country. Soon, international embassies would begin to close, and the militant group Ansar Allah, often referred to as the Houthis, would take the capital. Saudi Arabia would step in to oppose the Houthis, whom they saw as Iranian proxies. By 2015, ports would be blockaded, airports closed, and cities bombed.

But politics mattered very little to two young people who, despite societal restrictions and the potential scandal, were falling in love. 

Wafa and Moutaz exemplify the long-haul love story of many immigrants, whose children, parents, and spouses remain on the other side of geopolitical barriers.

At the time, she was in high school and he studied electrical engineering at Sana’a University. Wafa had a huge, trusting smile, expressive eyes, and a laugh that rose up out of her chest. Moutaz was a serious, slender introvert, prone to long conversations on mathematical concepts. He was detail-oriented; she was all big ideas. She recalls how taken aback he was during their first interaction: “All the ideas that I tell him, and my hijab is not very on point. … I don’t have makeup on my face. So he’s like, you’re not normal.”

Despite the differences in their education, Moutaz didn’t intimidate her.

“It was this very weird chemistry that was between us,” she says.

They kept their relationship secret. Young Yemenis couldn’t date without being engaged or married, but the two of them did “all the crazy things in a very conservative society,” Wafa says. On one of their dates, Moutaz thought it would be romantic to ride Arabian stallions. The huge horses terrified Wafa. They were out in a sunlit field, beyond the city limits, far from prying eyes. She remembers watching him feed the animals, showing gentle care. “Although I was scared, around him I was very safe,” she recalls.

At the time, she had been suffering from tonsillitis and had been told not to eat any ice cream to avoid a possible surgery. On the way home, Moutaz stopped for a treat.

“I was like, oh, this is love. You’re giving me ice cream that I’m not supposed to eat, so I know you love me,” Wafa recalls with a smile.

That subtle spirit of rebellion would permeate their relationship for the next seven years. Soon what divided them would not be family objections, but the policies and decisions of world nations: who allied with whom in the war, who offered visas for Yemeni citizens, who blocked the airports. Surrounded by immigration restrictions and bound by national policies they cannot control, Wafa and Moutaz have refused to give up on each other. For them, love has become a kind of defiance of boundaries, borders, and rules. Separated for years, they search for ways back to each other.

* * *

In the movies, love resolves itself quickly: Two chemicals combine, and either reject each other or dissolve into a single solution. It’s more difficult to convey the reality on screen. Love hits, and we wait, watching the colors creep up the pH strip, waiting for the hiss of reaction. Sometimes we know what the result will be, but still must wait for proof.

Most people wouldn’t watch a film of all those empty hours. We like the catharsis, the moment of triumph, the release of tension: a climactic kiss in the rain. But for many people whose loved ones live across borders, separated by visas, wars, or financial circumstances, there is no such easy resolution. Patience becomes the story.

Sometimes — as in Wafa’s case — waiting feels unendurable, and migrants buck against the helpless hours, months, and years. They might act to gain a sense of advocacy or autonomy, but rarely do the massive national circumstances that surround their situation shift.

Wafa and Moutaz exemplify the long-haul love story of many immigrants, whose children, parents, and spouses remain on the other side of geopolitical barriers. They want to be together. They long for the normalcy of family dinners, daily commutes, and coffee dates. And so they wait.


 

* * *

Wafa arrived in the U.S. in 2015, joining her mother, Susan Kassim, and leaving her secret boyfriend behind. The two had been separated for a year, first by visa processing and then by war.

Kassim hoped her spirited, outgoing daughter would acclimate well. Three weeks after arriving in Oregon, Wafa started college, taking ESOL and math classes at community college. She then transferred to Portland State University to study business. 

But Kassim soon noticed that Wafa locked herself in her room for hours a day, talking on the phone to a “friend” back in Yemen. Like many moms of teens, she became suspicious. It wasn’t that a romantic connection back home was bad; in fact, if the phone kept Wafa from staying out late and going on unsupervised dates, Kassim was all for it. But she didn’t want secrets. 

So she watched. She saw that Wafa didn’t clean her room or make her face up for video dates. She noticed that they laughed a lot. She liked that Moutaz had a calming influence. Afraid he would get frustrated with Wafa’s sass, Kassim urged her to be more demure.

Wafa didn’t agree: “This is me. If I change then I’m not going to be me. It’s like fooling somebody.”

Satisfied, Kassim gave her blessing — but required that Wafa finish college before any marriage could take place.

So they waited. Donald Trump became president. Anti-immigrant rhetoric in the U.S.  rose. And in January 2017, Trump signed Executive Order 13769, which banned U.S. entry for several Muslim-majority countries, including Yemen. Before the ban, the wait time for a family visa to the U.S. could range from months to several years — and Moutaz hadn’t even proposed yet. After the ban, they were faced with an indefinite wait.

Wafa knew she had only one choice: “I’m going to fight.”

Trump’s travel ban worked the way it was intended; it forced immigrants to choose between their families and their visas. It deterred. It broke hearts, if not spirits.

Her defiance shifted to her new country, which seemed to be rejecting her love and her future. She became more outspoken about immigrant rights. At her job, she began questioning a manager about microaggressions. She joined her school’s Muslim Student Association and developed her campus activism, starting her own student coalition in 2017.

A few years before, Saudi Arabia had begun an aerial bombing campaign called Operation Decisive Storm. Originally planned to last only a few weeks and drive the Houthis from the Yemeni capital, it instead became a prolonged aerial bombardment of the city. Sections of old Sana’a, built before the 11th century, were destroyed. Thousands of civilians died in those and subsequent airstrikes. The Houthis remained in control of the city.

Moutaz was working on an MBA when Operation Decisive Storm began. Bombs fell while he commuted to and from classes.

“At first it was intimidating and scary, but with time I got used to it so quick because the airstrikes would last for long hours and would occur daily,” he wrote in a WhatsApp message. “It took me two weeks to get used to the fear, the loud bombing, and accept the reality that I was living in.”

He adopted an attitude many Yemenis would come to embrace: If he was going to die from a bomb, so be it. If it wasn’t a bomb, it would be something else. Life had to go on.

“Although it was hard to be lonely during that time, when Wafaa left the country I felt much better. I worry about her more than myself,” he wrote.

They spoke every day on WhatsApp, sometimes trying seven or eight times before they could get a connection. When she heard about a new bombing, she would often call, panicked, to make sure he was all right. Video dates helped Moutaz get through the stress of school, separation, and airstrikes.

While Wafa grew more outspoken, Moutaz developed a stoic endurance. “I never saw our separation as a goodbye; rather I saw it as ‘see you soon in better circumstances,’” he explained.

In late 2017, Moutaz sent her a ring — ostensibly to ward off interested men from whom Wafa got a lot of attention. But along with the ring came 365 handwritten reasons why he loved her. A proposal came the following year.

“Hell yes, I want to marry you,” Wafa recalls thinking. They both knew what that meant: He was banned from coming to the U.S., so she would go to him, perhaps putting her green card in jeopardy. On the day that she submitted her last final exam to graduate, against the best advice of nearly everyone, she flew back to Yemen.


 

* * *

Americans often think of immigration policy as a grand national project. Politicians wax hopeful or fearmonger, drawing broad statements about the way we view ourselves as a nation, or the way we think of the Other. Such thematic strokes capture the immensity of the issue, but they fail in the details. 

Details like these: One day, Wafa walked into a grocery store in Beaverton, Oregon. There were tulips in pots, cheap sweatpants on racks, and sale bins of candy. Behind the standard smells of rotisserie chicken and plastic was another scent: Moutaz’s cologne. Someone in the store was wearing it. The smell overwhelmed her, and she collapsed on the floor in grief.

Starting in 2017, Donald Trump’s immigration policies explicitly used family separation as a means to discourage migration to the United States. This was a new twist: not just to separate families currently in violation of immigration law, but to use separation as a deterrent against future migration. 

Soon what divided them would not be family objections, but the policies and decisions of world nations: who allied with whom in the war, who offered visas for Yemeni citizens, who blocked the airports.

But for many years prior to Trump’s administration, U.S. immigration policies had been de facto separation policies. Undocumented parents could be deported, while their U.S.-born kids remained in the country. The parents often had little legal recourse. Long processing times, high fees, and complicated paperwork have meant that husbands and wives, mothers and daughters, kids and parents, are often separated for months or years while they wait. In Moutaz’s case, and the case of thousands of other applicants sidelined by the travel ban, the separation became indefinite.

“I talk to a lot of people every day [about] how hard it is,” Wafa says. “It’s just emotionally draining. It is expensive, it is risky.” 

Wafa has filed an I-130, Petition for Alien Relative, for Moutaz. It costs over $500. Add an international flight: When his case finally comes up for processing, he will need to fly to Malaysia, Algeria, or another transit country; the U.S. embassy in Yemen has been closed since 2015. Add $300 to hire a private driver for the 16-hour trip through mountains to Aden, which has the country’s only functioning airport.

“The Yemenis who have fled the country are very often from the middle and wealthy classes. For the most vulnerable, there are very few opportunities to leave the country,” write Solenn Al Majali via email. Based in Jordan, Al Majali studies Yemeni emigration at Aix-Marseille University and the French Institute of the Near East, and is a non-resident fellow at the Sana’a Center for Strategic Studies.

Wafa knows she is lucky. Her dad studied abroad in the 1980s, and her eldest brother was born in the U.S. He was able to sponsor some of his family members and help them escape the worst of the war. As a U.S. permanent resident, she has some leverage.

“If I didn’t have the resources or the money, I would not be able to apply for him. If he didn’t know how to speak English, he’s not going to come. If they see him at the embassy and he is not dressed well or he doesn’t speak well or he doesn’t have a career, you know, anything, they can just reject it,” Wafa says.

Since 1965, the U.S. has been relatively open to family immigration, mostly as a result of the Immigration and Naturalization Act. That legislation got rid of quota systems based on current U.S. census data. It opened the country up to immigrant families from more diverse countries. Thought about generously, the 1965 act was “driven by recognizing that family units are critically important for happiness, well-being, economic prosperity,” says Duncan Lawrence, the executive director of the Immigration Policy Lab at Stanford University. (Full disclosure: Lawrence is a friend of mine.)

Support for families — from permission to find work to early access to ESOL programs — are the backbone of healthy immigration policy, according to Lawrence. But there’s one overwhelming factor in the health and well-being of families: keeping them together.

“If you had this magic wand of tools that you could use to positively impact families, I think that is probably one of the most powerful things you could do,” Lawrence says. Kids are especially vulnerable to separation from their parents, but all families suffer from the threat and reality of being apart.

No matter where we live, we take refuge in those we love.

There is a kind of helplessness to this process that overwhelms Wafa. Despite her defiance of the travel ban, which was lifted by President Biden in January 2021, she remains at the mercy of international law. She cannot speed Moutaz’s visa interview or guarantee that he will not be rejected. Will U.S. Customs and Immigration Services see their relationship as one of convenience? How does she prove that she truly loves this man who she has seen only twice in five years?

There have been times when she felt like giving up and going back to Yemen. At least they could be together. In that sense, Trump’s travel ban worked the way it was intended; it forced immigrants to choose between their families and their visas. It deterred. It broke hearts, if not spirits.

That kind of heartbreak leads a young woman to collapse in a grocery store. It sends her, desperate, back to a war zone.


 

* * *

Wafa arrived at her family home in Sana’a at night, after a harrowing 16-hour drive through the mountains. She still had the taste of vomit in her mouth. The smell of sweat clung to her. She dropped her bags off inside, briefly greeting her father before running out the back door.

Moutaz was waiting. Completely forgetting where she was, she burst out into the street and hugged and kissed him, not caring they were in public.

“I kept telling him, ‘This is a dream. This is not real,’” she says. “I think that night was the best night of my life.”

Planning a wedding in a war zone posed challenges. In 2019, four years of fighting had cost many Yemenis their businesses. Moutaz told Wafa that Houthis demanded a cut of private sales; the extortion, combined with the high price of goods, forced many people to move their businesses online. A 2015 Saudi-led blockade of the port of Hodeidah, where most Yemeni food had been imported, created massive shortages. Women especially had become Facebook entrepreneurs, making sweets and doing makeup from home. 

If he was going to die from a bomb, so be it. If it wasn’t a bomb, it would be something else. Life had to go on.

Wafa recalls the mixed emotions of that moment: “You feel guilty because you’re celebrating and you’re doing all these plans, and people are dying. People are dying out of hunger. People are dying in the airstrikes. Even the availability of things like who’s going to do the wedding cake. … I was telling him, should we downsize it? And he was like, ‘I loved you for five years. I’m not going to downsize my wedding and the celebration of love that we have.’”

Wafa also struggled to adjust to her Yemeni relatives. Her naturally ebullient personality, combined with years of living in American society, made her relatively intolerant of strict traditions. She invited Moutaz to tea at their family home, only to have her father kick him out. When an aunt complained that Wafa shouldn’t see her fiancé before the wedding, Wafa bristled: “I don’t really care what you think.”

Despite the tensions, a week later an imam proclaimed them married.

After the religious ceremony, she hugged Moutaz freely in front of others for the first time. It no longer felt wrong. “It just felt like, here we are. We worked hard. We waited. It was beautiful. And then we just danced the night out.”

More celebrations followed: a spa day for the women, donations of food to the poor. Wafa and Moutaz were still required to keep their distance from each other, a tradition they mostly ignored. They weren’t trying to anger their relatives; this formal celebration period just felt like another barrier to being together.

Finally, they had a party with hundreds of guests. Wafa wore a white, sparkling off-shoulder dress with a sheer cape. Moutaz wore a black tuxedo, his beard shaved close, and a dapper chain clipped to the vest. Their initials hung on the wall in huge gold letters, the W and M intertwined. They went back to a hotel afterward, without secrecy or shame.

They had agreed to write their own vows, but to read them privately. In the hotel, Moutaz pulled out a sheet of paper. To her horror, Wafa realized she had forgotten to write hers.

“He was like, ‘babe, you crossed the ocean for me,’” she recalls, smiling. “‘That’s your vow.”’


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* * *

As Solenn Al Majali points out, Wafa and those like her, whose families have emigrated to escape violence, make up a small and privileged minority of Yemeni citizens. Most remain stuck in Yemen. 

Bordered by only two countries, neither of which is accepting refugees, Yemen remains geographically isolated. Saudi Arabia, Yemen’s neighbor, has been a main player in the conflict. The United States and other Western countries have supplied Saudi Arabia with weapons, tactical assistance, and training. The bombs that fall on Yemen are American-made. In turn, Iran has given some tactical and financial support to the Houthi rebels.

For those who remain, safety has shattered. The United Nations has found that all parties in Yemen share responsibility for war crimes, including “arbitrary deprivation of life, enforced disappearances, arbitrary detention, gender-based violence, including sexual violence, torture,” and more. Children are greatly at risk for death in airstrikes, but also from common childhood diseases and hunger, for which there is limited medical assistance. Saudi and United Arab Emirates blockades of the ports where Yemenis import food have created famine conditions. According to UN Secretary-General António Guterres, “More than 16 million people are expected to go hungry [in 2021]. Nearly 50,000 Yemenis are already starving to death in famine-like conditions.”

Back in Yemen, she faced physical risks unimaginable in Oregon — but she also had a sense of worth and belonging. She wondered if the two of them could make a life in Sana’a. Could survive, with just each other.

Before leaving office, the Trump administration designated the Houthis as terrorists, making international aid delivery trickier. While the Biden administration has reversed this decision and pledged to end support for the conflict, it remains to be seen how much they can disentangle themselves from Saudi allies.

For many Yemenis, the conflict no longer seems to have a foreseeable end. The civil society they knew is gone. There is only endurance and the slender hope of escape. For Moutaz, that hope is Wafa: “She always find[s] a way out,” he told me.


 

* * *

In the past, Yemen had coffee shops where people could gather and chat. There were seaside towns with beaches along the Indian Ocean. Men chewed qat at house parties, sharing the news. Ancient rammed-earth buildings were beautifully inlaid; brick minarets and winding stone streets were part of a long, proud history of Arab culture, from the Queen of Sheba to rare Islamic manuscripts.

“I keep that beautiful image for my country inside me,” Susan Kassim says.

When she flew back for her daughter’s wedding, the first time she’d been home in five years, her beloved Yemen had been transformed by war. The seaside towns where she had vacationed were destroyed. Community institutions struggled to operate. Buildings had been destroyed in aerial bombing campaigns, leaving swaths of ancient cities in ruins. The highway between Sana’a and Aden, formerly a brisk six-hour drive, was blockaded, forcing her to endure the same harrowing mountain journey her daughter had taken. More than anything, the guns scared her. Armed men patrolled the streets and stopped cars. There was no government, only martial law.

“But people there, they accept the reality. They are not afraid,” says Kassim. Her local relatives teased her that living in the U.S. had made her soft. “And I say no, it’s normal to be afraid. This is horrible.”

To her newlywed daughter and son-in-law, however, the summer of 2019 was bliss. They seemed so elated, Susan asked if they had been taking drugs.

“I’m like, ‘everything is perfect,’” Wafa says. Airstrikes hit a building nearby, and the couple slept through it. 

Being together had made them immune to fear — or perhaps it was a deliberate blindness. If they paid attention to the reality of their situation, they could see the precarity of it all. Wafa only had six months of travel allowance before she had to go back to the U.S. Despite court battles, Trump’s travel ban still stood in modified form, and visa processing for Yemeni citizens had ground to a near-halt.

For many Yemenis, the conflict no longer seems to have a foreseeable end. The civil society they knew is gone. There is only endurance and the slender hope of escape.

Ten days after the wedding, Moutaz got called back to work. Every six months to a year, he was given a new project-based contract by an NGO. He traveled outside the city to small villages, interviewed tribal communities about their needs, and attempted to provide infrastructure: bathrooms, running water, menstruation products, housing. The work fulfilled him, but it was dangerous. Soldiers often stopped his car, demanding to see travel authorization and receive bribes. He would make a few phone calls, and he could keep driving. But Wafa worried about a time when his answers didn’t satisfy them, when his bribe was insufficient, when he didn’t come home.

“It’s living without a government. It’s crazy I would say, because nobody is held accountable at all,” she says.

Moutaz didn’t have much choice. Humanitarian work, paid for by foreign NGOs, was basically the only viable income in Yemen in 2019. Government officials were paid sporadically; teachers had worked for years without pay; private businesses had suffered from ongoing power outages, infrastructure damage, and a shrinking economy.

He knew the risks. This is war, he figured; to survive, Yemenis have to support each other. Against those who threatened his safety, he bowed his head, then persisted. Mostly, he refused to be afraid — a form of defiance that Wafa tried to imitate, especially when her mother begged her to return to Oregon.

“It broke my heart to leave her in that situation that I saw with my own eyes,” says Kassim. Other than official wedding events, Kassim had refused to go out of the house for most of her visit, refused to acknowledge the changed city. She flew home, hopeful that she would reunite with Wafa at the end of the allotted six months.

Wafa wasn’t sure. She felt like she was living in an alternate reality: “We don’t have gas. So what? We walk. We don’t have electricity, so what? We have candles.” 

As the day of her U.S. flight approached, Moutaz refused to say whether he thought she should go. He wanted the decision to be hers. Once, when she woke in the middle of the night, he was sitting up in bed, tearing up. He would miss her, he said, but he felt relief knowing she would be somewhere safe. “So I’ll just trust you,” he told her.

She considered staying. Like so many emigrants, her heart was torn between her old home and her future in the U.S. In the end, she left Moutaz and was allowed back into the United States.

* * *

Love can blind us to reality, binding us only to our beloved — a person, a nation, a memory. We might refuse to see danger, or turn away from transformation, because to acknowledge the horrors of the world would be to betray a beloved relationship. We want to ignore everything except that sweetness.

No matter where we live, we take refuge in those we love. They shelter us, protect us, comfort us. When those people live far away, the best we can do is pretend. We wrap their late-night texts and dropped phone calls around us like a blanket, and rapt in a combination of memory and expectation, we close our eyes.

But love can also clarify. For many families separated by national borders, there are hopes of happy endings, but no illusions. Brokenheartedness can become a kind of resting state, which isn’t to say it hurts less — simply that it becomes a kind of ever-present harm. And as anyone who has ever hurt before knows, pain wakes us up. It focuses us, fixes us to the present moment. For some, the pain becomes a kind of a beloved, a stand-in for the real thing. For others, like Wafa, it becomes an itch you can’t stop scratching.

* * *

Wafa struggled to readjust to the U.S. A six-month newlywed, she felt more like a widow. Reckless, angry, she started graduate school and also a full-time job. She was trying, she thinks, to numb herself with endless work.

It wasn’t just missing Moutaz. Going home also meant resuming a role as an immigrant, rather than a citizen. It meant accepting a status shift that she hadn’t realized she resented so much.

“Back in my country, I live in a villa. I have a driver. I have people that do shit for me. Yet when we move here, people don’t know that. We start from zero,” she says. “It hurts … I’m this established person back home, yet here I’m irrelevant.”

That pain had started early. During her own emigration process in 2015, she had flown to Algeria for an interview at the U.S. Embassy. As the passengers disembarked, an officer in the airport asked who was a Yemeni citizen. Without further questions, he told them to get back on the plane and fly home.

“Just having the idea that an officer has the power to kind of humiliate me, target me, and say, ‘just go back to your country,’ I can’t go through that again,” she says. “If I ever have a child, I never want them to get the feeling that [they] are nothing.” 

Wafa wanted to give Moutaz the safety and freedom of the United States, but she increasingly wondered if the process was worth it. Back in Yemen, she faced physical risks unimaginable in Oregon — but she also had a sense of worth and belonging. She wondered if the two of them could make a life in Sana’a. Could survive, with just each other.


 

* * *

She had four brand-new iPhones in her bag, including two for the man with the ghost ticket. She dialed him when she landed in Cairo, but he didn’t respond. Airport security took her passport, and she had no ticket forward. 

It was July 2020. COVID-19 had transformed the world, including immigration routes. Countries tightened their borders, citing health and safety concerns. One of two routes to Yemen, through Amman, Jordan, closed down. Traveling through Egypt remained the only way back.

Wafa had a ticket to Cairo, and no farther. And now she was stuck in the Cairo airport with no passport.

After eight months of separation, she was trying to get back to Moutaz. She had quit graduate school, thrown herself into work at a bank, and saved her money. She applied for U.S. citizenship. Trump was still president, the travel ban was still in place, COVID had changed the rules, but she had to see her husband again.

If you could die from an airstrike, there was no time for distress about a virus. It raged, invisible, behind the more immediate dangers of war.

Following a nebulous web of diasporic Yemeni connections, she contacted a man named Khalid in Egypt. He strung her along for a week, promising a ticket in exchange for large amounts of money. Reckless and desperate, she agreed: “This is my last paycheck. I’ll just spend it all and go to zero balance.” She sent him $750 to buy her a Cairo-Aden ticket.

The limited flights from Cairo to Aden were coveted by Yemeni migrants living in Egypt. Over 500,000 Yemenis live in Egypt, according to the Yemeni Embassy in Cairo, more than a 700% increase from before the war. They often come to Egypt or Jordan on two-month visas for medical necessity and remain, applying for refugee status. Many see Egypt as a temporary refuge. They are often stranded in legal limbo, hoping for resettlement, but not recognized as refugees by the United Nations for geopolitical reasons, says Solenn Al Majali. As such, they have little access to resources like jobs, schools, or humanitarian assistance.

Wafa’s class and nationality privilege did not endear her to those she contacted: “I am a lady living in the U.S. trying to go to Yemen, when they [Yemeni refugees] are freaked out.” The people she spoke with had more pressing issues than leisure travel. They were worried about paying rent, buying food, and finding employment. Wafa understood their bitterness.

A few days later, Khalid created a ghost ticket: It looked like a real flight but did not guarantee her a seat on the plane. She would have to trust that someone would cancel so she could fly standby. In exchange for the ghost ticket, he asked her to bring two iPhones to his relatives in Sana’a.

If her first time going back to Yemen had been inadvisable, this time was worse. COVID-19 had killed several members of Wafa’s Yemeni family, including three relatives in a month. People had worn masks for perhaps the first month of the pandemic; after that, a mindset of numbness took over. If you could die from an airstrike, there was no time for distress about a virus. It raged, invisible, behind the more immediate dangers of war.

Wafa flew to Cairo in July, having spent the last of her money, clutching the ghost ticket like a talisman. After a few terrifying hours, airport security returned her passport, and Khalid texted her a link — for a real ticket to Aden.

* * *

Wafa had been in Sana’a for four months when it came time for Mawlid, the birthday of the Prophet. A traditional Islamic holiday, the 2020 Mawlid celebrations took a different turn. The city was bright with lights (Where did this money come from? Wafa wondered). The Houthis paraded tanks through the streets, and soldiers stood on every corner.

“I felt like they came out of a grave. They had guns and they had paint of green all over them,” she says. The soldiers frightened Wafa; to her, it wasn’t a celebration, but a show of military force. She was beginning to see how deeply the war had infiltrated everyday Yemeni life. Last summer’s newlywed blinders were finally off.

Airstrikes hit a building nearby, and the couple slept through it.

There were other signs of change, too. In 2019, Moutaz and Wafa had gone out to coffee shops and enjoyed their favorite snacks in the markets. Now, even married women and men could not associate on the street. Nonprofit work had become more difficult, as the Houthis refused NGO authorizations; Moutaz found himself unemployed for long periods. Due to a Saudi embargo, there was no fuel except at exorbitant black market rates, so they couldn’t drive anywhere. They stayed in their apartment and watched TV.

After the wedding, they had considered staying together in Yemen. A year later, that life seemed impossible. Wafa told Moutaz, “I can’t have a family here where education is corrupted. They teach kids what they want them to know, and it’s all about sacrifice, sacrificing themselves, and it’s just toxic. People don’t have dreams.”

Moutaz knew his wife would not survive long in Yemen. She had always been too big, too bold, too unwilling to follow the rules. Even if she ducked political trouble, her spirit would wither from the restrictions on daily life. He saw it happening already, in the shrinking of their ambitions: Find food. Find a good movie to watch, and an internet connection to watch it.

She told him, “I wanted to go into politics. I wanted to go into law school. I had dreams. But I don’t have dreams here because there’s not even space for dreams.”

* * *

As of winter 2021, Wafa is back in Oregon. Rain falls softly and constantly on the pavement outside. Home is no longer where Moutaz is, as she once thought. Home is the state of waiting, of not acting on her worst impulses to scream in frustration and cause a huge fuss and fly back to him.

The easy route would be to give up on the U.S. Move to Egypt together, or Jordan. Make a new life. The harder, lengthier, more painful route is continued separation. Despite her desire to be with Moutaz, she has chosen not to give up, because his future is more important than her own immediate happiness.

“I want him to have an opportunity to get out and see the world, or just have the power to choose,” she says. 

She wants to give one thing to him and their future children: a U.S. passport. She never wants them to be humiliated, or trapped, or in danger because of their papers. She wants to give them the space to dream.

For them, love has become a kind of defiance of boundaries, borders, and rules. Separated for years, they search for ways back to each other.

He, too, wants more. He doesn’t want to apply every three months for a new NGO job and then face another bout of unemployment. He doesn’t want to take another application test on his Excel skills, or endure invasive background checks, or bribe armed militants on his way to get villagers clean water. He wants to work in engineering, but more importantly, he wants to be his own boss, set his own hours, have power over his future. He wants to see Wafa smile.

“Your smile is the best thing [to] happen in the universe,” he wrote her in a message. 

Does love always resolve? Perhaps a cross-border relationship is less about cathartic reunion than the slow, patient intention to help someone else find joy. Like Wafa, Moutaz says migration is about the fight for his partner’s dreams. National policies may require a shift in how we imagine our futures, but they cannot negate the audacity of wanting a loved one to be safe and happy.

Perhaps love means deferment. Or the refusal to defer. Or the unshakable belief that someday, you’ll walk together to get coffee, as if it were the simplest thing in the world.

* * *

Caitlin Dwyer is a writer from Oregon. Her writing has appeared in Longreads, Narratively, Creative Nonfiction, The Los Angeles Review of Books, The Rumpus, Quartz, and Oregon Humanities, among others. She holds an MA in journalism from the University of Hong Kong and an MFA from the Rainier Writing Workshop. She also hosts the podcast Many Roads to Here and teaches at Portland Community College.

Editor: Cheri Lucas Rowlands
Fact-checker: Nora Belblidia

Happy is a Relative State

Images courtesy of West Virginia University Press and the author

Renée K. Nicholson | Fierce and Delicate: Essays on Dance and Illness | May 2021
1,977 words (7 minutes)

***

Imagine, once you had performed splits in midair. Now, sitting in a doctor’s office chair, you’re shown an X-ray that confirms you no longer have any cartilage in your right knee. For years, you’ve hobbled around with the aid of a cane, but now even that’s not an option. You have two choices. You either have a total knee replacement or you figure out how to get around with a walker or wheelchair.

You are thirty-six years old.

One of the few times I’ve cried in public was that day in my rheumatologist’s office. I guess it wasn’t so public, but it wasn’t alone. I hate that I broke down like that, but finally I couldn’t keep my composure. My rheumatologist is a kind man, with a no-nonsense way about talking about RA. The choices were limited, and I had to accept that. I already had, of course. By this time, putting weight on my leg was more pain than I could hide, and relying on a cane was not enough. I could barely walk, but I did, perhaps by sheer willpower, to get from one place to another.

Instead of telling me not to cry, my rheumatologist let the sobs flow, until there was a break, and then he brought me into his business office and called the orthopedic surgeon he thought was the best in town. He took such a personal interest in making sure I was going to do this thing I didn’t want to do. I think he knew I’d already decided to have the knee replacement surgery, but both my rheumatologist and the orthopedist gave me the option of calling back with a decision. I slept on it, but I didn’t toss or turn a bit. I knew I had to get the surgery, so first thing in the morning, I called and asked for the next available appointment. Once I made the decision, I was determined to get it done as soon as possible. No waiting around or mulling it over. Once again, I moved on quickly.

Though I was able to get in for surgery within a couple of weeks, I still needed a way to get around in the meantime, and so I found myself in a medical supply store, shopping for a walker. I wanted something basic, because I was hoping that I wouldn’t need it all that much—just pre- and post-op. Strangely, this view betrayed optimism I hadn’t dared to feel in a long time.

There were two elderly ladies in the store with me. Onechecked out a high-end walker with wheels and hand brakes like a bike. The salesperson had tried talking me into a similar model, but I wanted the cheaper one, without wheels, without bells and whistles. Basic worked for me. It seemed weird to think of walkers as having bells and whistles, but they do. The other elderly lady in the store bought a walker organizer—a fabric caddy with various pockets—that fits over the bar across the front of the walker so you can keep things like keys and cell phones handy. The lady suggested I also get a walker organizer. She showed me the fancy ones made of zebra-, cheetah-, and leopard-print fabrics.

I decided right there I would just use a backpack or my pockets. It was too much for me to consider a cheetah-print walker organizer. It certainly didn’t seem fashion forward, and I’d only just accepted the need for the walker. I was not
ready to give in to accessorizing, making the apparatus into a statement, not even when the salesperson asked if I might also like the see the giraffe print.

Before my surgery, my mother came to stay with me to help with the day-to-day stuff around my house. She cooked, cleaned, and drove me to appointments. My father also came for regular visits, both to be with my mom, who he missed at home, and me, as I prepared for surgery. During one of these visits, Dad went to see the orthopedist with me. He always carried a small notebook and a maroon Montblanc pen, and he took notes on what I needed to do and what I could expect, all of the details that only partially sunk in as I sat in the white examination room trying to be brave, or at least to not look nervous. When my father asked the doctor what I would not ask—what were the chances of success?—the orthopedist told
him he would do his best, but certain things were for God to decide. He did say he thought I would be free of pain, but there had been a lot of damage. He explained that many patients could do much more after surgery than before, and in spite of all the hope that had quietly slipped away over the years, I felt like maybe things would get better. Maybe I had to feel this way so that I didn’t feel like a thirty-six year-old getting a surgery usually meant for a senior citizen. And so I could believe it was, in fact, the best choice.

Imagine, once you had performed splits in midair. Now, sitting in a doctor’s office chair, you’re shown an X-ray that confirms you no longer have any cartilage in your right knee.

At this point, perhaps you’re thinking, yes, the happy ending is coming. This might make you sigh with relief, or become disenchanted with the story, feeling the happy ending wasn’t earned. There’s some judgment at the prospect of happiness, just as this entire story opens me up for scrutiny. Even though the surgery would help with the pain I had in my right knee, even though it partially restored what had been destroyed, it did not, of course, cure my RA. I never thought it would, and you shouldn’t think that either. I still have swelling, fatigue, fever, aches, joint damage. I can also get around in a fairly normal way now.

Happy is a relative state.

The night after my surgery I got very little sleep because I had intense pain. The night nurse had already threatened to catheterize me if I didn’t urinate, and so I willed myself to pee, only to be left atop a full bedpan. So things didn’t start off great that evening, and once the meds wore off, I felt like my thigh muscle was being slowly shredded with a cheese grater. My dad stood vigil by my bedside, getting only sporadic sleep in an easy chair. Luckily, I didn’t have to share a room with another patient. My father tried desperately to get the nurse to give me something for the pain, and perhaps she did, but I honestly can’t remember. I remember him holding my hand so maybe I wouldn’t feel so alone, and I remember squeezing because it hurt that bad.

Dancers build muscle memory from the day-in, day-out study of technique. Over the years, my thigh muscle had learned a new muscle memory, trying to pull my kneecap
up from my deteriorating joint. My orthopedic surgeon told me that even under full anesthesia my thigh muscle would not relax at first—the only time he’d ever seen this. The muscle still tried to manipulate the kneecap to avoid painful grinding in the joint. The body’s ability to adapt to protect itself is quite remarkable in this way. Though my orthopedist finally did get it to relax, my muscles retained a dancer’s memory. What could have been a minor curiosity signified to me a small connection to my former self.

After the first night, things did get better, but it was slow going. My leg was strapped into a machine that helped stimulate the new joint by continually keeping it in motion, as if pedaling or walking. I could lie down as this happened or sit propped on pillows, and many times I’d get calls from friends, which were welcome distractions, as the machine churned my leg. I learned exercises I would have to perform daily and made arrangements for physical therapy. When I was released from the hospital, I was given strong pain pills, but within a few days, I stopped taking them because I wasn’t hurting so much, not compared to how much I’d hurt before the surgery, and I worried about becoming dependent on them. Pain, by then, was one thing I knew how to contend with.

Pain, by then, was one thing I knew how to contend with.

In the weeks immediately following my surgery, I still needed the walker. My wound needed to heal, and I had to learn to walk again. I’d limped for so long, accommodating a joint that continued to fall apart, that my legs literally needed retraining on how to correctly put one foot in front of the other.

Dance had taught me how to train. So even though it took three physical therapists and some unconventional approaches, like a Pilates reformer and manipulation of the joint under anesthesia by my orthopedic surgeon, I finally made progress. First, though, a remarkable thing happened. As the wound from the surgery healed, I stopped hurting for the first time in what felt like forever. I felt nothing, and it was bliss. My father said he watched my facial features loosen and soften, too. He said I looked younger because I no longer carried the pain on my face. I didn’t know it was so evident. Perhaps I’d never hidden my anguish at all, that it was there, on display, the whole time.

I’ve never regained full mobility with my prosthetic knee, but I’m able to do things now I thought I might never do again. Take the good with bad, the saying goes, or is it the other way around? The ending isn’t simply happy or sad. It isn’t really an ending.

This past June I had the opportunity to renew my handicap placard for my car. But as the date for this renewal came and slipped by, I’ve yet to have my doctor sign the papers I’d need to file at the DMV. I can walk from any space in the lot to where I need to go. I can walk without the aid of a cane. I can walk at a normal pace and move with relative ease.

Once a week I slip the needle of a prefilled syringe into the fleshier parts of me, dispensing medicinal liquid that helps to balance my whacked-out immune system. During the week, I spend several hours in a studio, in the presence of dancers as their teacher. Twice a day, anti-inflammatories. All this give and take, but I’ve found an uneasy peace. I’ve given you a version of my story, the best I have to give. I crafted it with words I chose and plucked so carefully, shaped through revision. I’ve given you this tale and you will decide what to make of it, what to make of me. I have no control over that. You may judge or feel or discount. Perhaps a concoction of all three. I accept that, once written, my story is no longer wholly mine. Still, I give it to you.

Today I am sick, and tomorrow I will be sick, as I will be every day until I die. I may not like it, but that’s how it is. The rest of my life will always be entwined with rheumatoid arthritis. But it’s my choice to also be something more, to not feel sick, to still find those shadows of a dancer, which is to say tiny flecks of magic, within me. Like anyone who is hopelessly in love, I will always be the keeper of a flame.

***

Excerpted from Renée K. Nicholson’s Fierce and Delicate: Essays on Dance and Illness, published by West Virginia University Press.

Deconstructing Disney: Queer Coding and Masculinity in Pocahontas

Illustration by Carolyn Wells

Jeanna Kadlec| Longreads | April 2021 | 2,936 words (11 minutes)

Disney often codes their villains as queer: This is widely known and accepted. First noticed by scholars during the Disney Renaissance of the late ‘80s through the ‘90s, critical observations about characters like Scar (The Lion King) have since disseminated into pithy, viral tweets and TikToks. A quick Google search of “gay Disney villains” will turn up dozens of articles, all repeating the same litany of facts: That The Little Mermaid’s Ursula is based on the iconic drag queen Divine, that Hollywood often uses British accents and effeminate mannerisms in men like Robin Hood’s King John to signal moral decrepitude.

But those are observations without analysis, which is to say: pointing out the obvious without asking why or how. The subtext of these clickbait articles and listicles is often: Disney codes villains as queer because Disney thinks being gay is bad. Which is one way to read it.

However, simply saying “Disney is bigoted” has never sat entirely well with me for one reason: In spite of what the Supreme Court of the United States may rule, Disney is not a person. Disney is a corporation that wields the power of a nation-state, and, consequently, has one central obsession — the preservation and expansion of that power, a theme that is prevalent and evident in every story they allow their employees and contractors to tell. 

If queerness is consistently coded a certain way, it has something to do with how Disney wants power to function — who can wield it, and how. 

***

Millennials are the generation whose childhoods were shaped by the stories of the Disney Renaissance, a period generally considered to have begun with 1989’s The Little Mermaid and concluded with 1999’s Tarzan. It includes favorites like Aladdin, Beauty and the Beast, and Mulan — which, incidentally, are at the heart of the corporation’s “live-action” remake strategy, intended to further monetize a now-grown generation’s nostalgia for the stories that formed us, stories we can share with our own children (or group texts). 

The Disney Renaissance was birthed after a decade of HIV/AIDS ravaging queer communities; its height marked by political milestones such as President Clinton’s signing of the Defense of Marriage Act (1996) and the institution of “Don’t Ask, Don’t Tell” for LGBTQ+ members of the military. Divergent, non-normative sexuality was purportedly a threat to society, and Disney, ever the quiet institutional soldier, answered by providing a veritable stable of queer-coded villains who were ill-suited to lead or assume power. 

Indeed, there were so many queer-coded villains in this period that it’s hard to remember them all — let alone the different lessons they taught us. To wit, you probably remember Scar, Jafar, and Ursula, but you have probably forgotten Governor Ratcliffe from 1995’s Pocahontas: the fashion-conscious, social-climbing, crown-appointed governor in charge of the colonizing “mission” to the “New World.”

Pocahontas has one of the top-five highest-grossing Disney soundtracks of all time, but that’s generally where any lingering nostalgia dies. To say that the film itself is problematic is an understatement. While the screenshot of Chief Powhatan, Pocahontas’ father, saying “these white men are dangerous” has found a rich afterlife on social media, the film’s historical inaccuracy and deliberate whitewashing of colonization and its aftermath have cycled it out of many a millennial’s “comfort film” rotation, something that has generally gone unaddressed by the corporation. (The fact that Mel Gibson voiced John Smith hasn’t helped, either.) 

Pocahontas may seem like a strange vehicle for discussing queer villainy. But that’s the thing: Disney gets inventive when they need to circumvent white people’s historical responsibility for genocidal atrocities, and what better way to do that than to displace the heart of the film’s conflict onto contemporary cultural anxiety: queerness and its incumbent specter, masculinity. 

Divergent, non-normative sexuality was purportedly a threat to society, and Disney, ever the quiet institutional soldier, answered by providing a veritable stable of queer-coded villains who were ill-suited to lead or assume power.

Disney’s attitudes toward colonization and queer coding are, it turns out, inextricably linked. By using a queer-coded villain, the corporation entirely elides white responsibility in retelling a historical tragedy, letting the cowboy-type colonizers off the hook for any wrongdoing and, instead, reframing them as the heroes of the story. In Pocahontas, Disney pulls off the magic trick of telling a story about colonization and genocide where the only thing that’s actually punished is the “wrong” kind of masculinity. 

***

Governor Ratcliffe is not set up as the villain because he is a colonizer, or even because he is in charge of the mission to invade the Powhatan nation — or, as Disney has framed it, dig for gold. To criticize him for these positions would implicate and damage the purported “heroism” of every other white character on screen. 

Something else, then, must indicate his villainy, and Ratcliffe violates Disney’s favorite American norms — individualism, hard work, modesty — immediately. He wears bows in his hair and a literal feather in his cap. His twinky manservant, Wiggins, helps dress him, and is even in charge of bathing his dog … and let’s take a moment to discuss the dog. Unless fighting, Ratcliffe is rarely seen not carrying his white pug, Percy, who is always adorned in a collar that is fancier than anything the crew are wearing. Disney villains’ animal familiars tell us something about their personality, and Percy’s taste for luxury speaks volumes about Ratcliffe’s lifestyle. 

Ratcliffe prefers to delegate rather than do physical labor himself, a standard managerial practice, but not something heroes do. He belittles his workers when things don’t go well, seeing his crew as a means to an end and insulting them as “witless peasants” behind closed doors.

The narrative works to align the audience’s viewpoint with that of the other colonizers: in the words of one of the laborers, “Look at us! No gold, no food, while Ratcliffe sits in his tent all day, happy as a clam.” The audience is clearly meant to sympathize with the worker instead of Ratcliffe, the villainous manager, even if that worker is also occupying stolen land and explicitly fantasizing about killing Indigenous people. (What “audience,” exactly, is this for? You already know the answer.) 


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However, it isn’t just that Ratcliffe is a bullying, well-dressed boss in an environment where no one is impressed by designer wares. He’s deeply insecure and concerned about what other people think, as opposed to the naturally popular, carefree everyman that is the Captain of the ship (and Pocahontas’ eventual love interest) John Smith. In fact, we learn that this mission is something of a last-ditch effort to salvage Ratcliffe’s reputation with the king. For him, success means falling in line, trying to do right by the crown, to reap the reward. When he says “it’s not that I’m bitter,” we understand that he is, in fact, deeply bitter.

Ratcliffe’s real fantasy is power — bringing his enemies at court to heel, being so celebrated that “My dear friend King Jimmy will probably build me a shrine” — precisely because he feels so ironically powerless.

This is not the kind of chaotic, burn-it-all-down villain who has been canonized by drag shows. 

***

A casual Google search reveals that Ratcliffe does not even show up on most “Gay Disney Villain” lists. Something about him elides memory and decisive categorization as other, encouraging a certain slippage. 

He isn’t as easy to pin down as the Queer Villains of Excess: the Scars and Ursulas who you can spot by their muchness, their refusal to conform to rigid social structures, their wild desire to usurp the throne. Excess is the singular quality that usually drives queer-coded villains to crave power at all costs, their appetites monstrous and unnatural. 

Ironically, even the most chaotic queer-coded villains are rarely bent on creating their own power structures — they only ever desire the kingdom and, seemingly, the lives of their straight-coded, heroic counterparts. Jafar wants to be sultan, but has no conception of what to do with that power once obtained, to the point he cannot strategize enough to realize that the genie is beholden to others. Scar believes himself to be the rightful ruler of the Pride Lands, only to drive the kingdom into a barren wasteland: The queer failure of reproduction, on which society so purportedly rests, made manifest. “Fuck the social order and the child in whose name we’re collectively terrorized,” queer theorist Lee Edelman writes in No Future — the anthem of Disney villains everywhere. 

Disney gets inventive when they need to circumvent white people’s historical responsibility for genocidal atrocities, and what better way to do that than to displace the heart of the film’s conflict onto contemporary cultural anxiety: queerness and its incumbent specter, masculinity.

The opposite of excess is moderation, and restraining oneself to fit into the boxes society has prescribed — well, this is assimilation. 

Assimilation is when a group of people assumes the values, behaviors, and beliefs of another group — when something core and essential to one’s culture and sense of self and identity is lost in the interest of resembling the social majority. In the U.S., this has had many iterations around the suppression of non-English languages, the forced Christianization of Indigenous peoples, and more. For the LGBTQ+ community, it looks like our communities having been largely underground until the last 50 or so years, because social legibility meant imprisonment, exile, or death 

In many ways, for many people, various forms of assimilation are pure survival in a white, heteronormative, and otherwise profoundly difficult world. But assimilation used against one’s own community, assimilation used to turn the target off your own back and toward communities with less cultural power than yours, becomes an alliance with the oppressor. 

Ratcliffe is a queer-coded villain whose trademark is assimilation, not excess. This is why he slips and slides through millennial memory — hard to remember, hard to pin down. He isn’t an outsider, an icon to queer children everywhere, an individualist who has chosen himself at all costs, someone who we grew up both terrified of and wanting to become. No. He is trying desperately to fit in, to use the white supremacist system to his own benefit. But working for the system always comes with a price. 

***

There is a queer anxiety to Ratcliffe, because he knows his attempts to fit in are pretense. This is, as he says himself, “my last chance for glory.” Does he exile himself from the crew of colonizers because he thinks he’s better than them, or because he thinks they’ll see through him? Or both? Captain John Smith can have a beer with the guys. Ratcliffe, not so much.

Holding the title of “governor” in a servile bureaucracy doesn’t guarantee respect. Rugged masculinity and physicality — the kind Smith has — does. On a certain level, Ratcliffe both understands and resents this: “The men like Smith, don’t they?” he asks his manservant Wiggins. Even their voices tell the story: Ratcliffe is the villainous bureaucrat, complete with an English accent. Smith is the heroic adventurer — with Mel Gibson’s American accent intact and unfettered. 

John Smith has swagger — and a reputation that precedes him. “You can’t fight Indians without John Smith!” one of the colonizers declares in his introductory scene, as Smith literally rides a cannon onto the ship. Depicted as a natural leader, he’s respected by his men for his physical prowess and bravery that borders on stupidity. Smith has a martyr-like willingness to put himself in harm’s way for his men that, while not explicitly labeled as Christian, is certainly coded as such. “You’d do the same for me,” Smith says jokingly to his companions, after leaping into the ocean during a storm to save a man who fell overboard. He is, in essence, exactly the kind of leading man that Mel Gibson, the actor who voices him, spent a career playing — the mythic American cowboy and ideal leading man of Hollywood cinema. (Complete with the domestic abuse and antisemitism bona fides.) 

Queer-coded Ratcliffe is trying to earn a place in the system by being its most traditional guardian, but he also represents a kind of masculinity that has long since gone indoors to the Royal Court, concerned with accumulation through relationship and intellect. Americans recognize this as the masculinity of the educated, high-born (or aspirational) cultural aesthete, anxieties about which would soon manifest in the late ‘90s and early ‘00s under the term “metrosexual.” John Smith, conversely, represents the rugged, individualist masculinity that defines itself not by social status but by a cowboy mentality, by connection with God, family, and the land.  

In many ways, Pocahontas is structured like a Western, and John Smith may as well be John Wayne. John Smith saves the man who fell overboard; Ratcliffe is the government lackey in a suit who hunkers down in his cabin and only emerges once the danger has passed, clutching his pug while his manservant shields him with an umbrella. Government intervention is often a primary conflict in Westerns, resented by white colonizers played by actors like Wayne, who have gone west and figured out a way to live (with varying levels of hostility to the local Indigenous community) outside of federal oversight. The men in suits have effeminate mannerisms, a lot of education, and virtually no physical strength (coded as natural, God-given virility), with very little idea on how to practically connect to the world around them. Set aside for a moment the well-documented historical phenomenon of white, Black, and Latino gay cowboys throughout the 19th and 20th centuries, and apply the genre of American Westerns and their ideology of masculinity, expansion, and, consequently, who gets to have what in Pocahontas

What do the colonizers want, respectively, in Pocahontas? (Obvious question, but stay with me.) In Ratcliffe’s villain anthem, “Mine, Mine, Mine” — which is, and I cannot stress this enough, a duet with John Smith — Ratcliffe is singing about the gold allowing him to accumulate wealth and reputation and status, delegating the digging to the crew. Smith is the one actually singing about the land while climbing trees and waterfalls, activities which seem unnecessarily strenuous. But don’t they want the same thing: to take whatever land they land on in the interest of colonial expansion? Haven’t Smith and Ratcliffe already been shown to be very much on the same page about the murder and displacement of Indigenous peoples? But Disney’s edit would have you think otherwise. 

John Smith has swagger — and a reputation that precedes him. “You can’t fight Indians without John Smith!” one of the colonizers declares in his introductory scene, as Smith literally rides a cannon onto the ship.

Beneath the surface, anxieties about all-too-contemporary masculinity and what constitutes manhood are relocated to the center of the driving conflict of Pocahontas — one that allows a corporation to elide reckoning with the violent historical subject matter of the actual plot. 

And therein is the issue: Ratcliffe becomes the villain because Smith, his fellow colonizer, cannot be. 

***

In the end, Ratcliffe’s men turn on him. At first glance, it might seem like they are doing so out of sympathy for Pocahontas and her people, as Ratcliffe had been trying to assassinate her father, Chief Powhatan. But this is not it — the other white men don’t try to stop him when he first aims his gun, not until he accidentally shoots John Smith, who is shown taking a bullet for the chief (which is, please note, a fictional event that did not happen). 

“You shot him!” one accuses. “Smith was right all along!” another cries hypocritically, as all of them had been worked up in a racist war song (“Savages”), fantasizing about genocide only the night before. The white colonizers mutiny in favor of the preferred masculine archetype: The Cowboy. Ratcliffe is tied up, gagged, and set to be tried upon return to England. 

It is deeply satisfying to see the avowedly racist Ratcliffe in chains. But is the colonizing and racist rhetoric what he’s being punished for? No. The other colonizers are still walking free, many of them staying behind to continue to build up their Jamestown settlement. 

Colonizing isn’t worthy of punishment in this film, nor is racism, otherwise every white character — John Smith included — would be in chains. The reality is that Ratcliffe is punished for failing to assimilate within the crew successfully, for not embodying the right kind of masculinity, for not reading the room, and attacking the much-respected cowboy-esque leader who the men ultimately mutiny for. This is his crime: not trying to assassinate Chief Powhatan, but wounding one of his own. Meanwhile, Thomas, a colonizer who explicitly murders an Indigenous warrior, Kocoum, is given … a redemption arc, complete with Pocahontas’ forgiveness. 

How tenuous the conditions of acceptance for white gays doing the bidding of white supremacy. 

***

Ratcliffe is, simply put, a Corporate Gay, a Log Cabin Republican, a Cyrus Bean, the Disney equivalent of (allegedly) that one senator from South Carolina. Ratcliffe has bought into the idea that serving the system will benefit him, and that if only he does its bidding, things will ultimately work out. But queerness renders you automatically suspect within any system of power, even white supremacy. What Ratcliffe, and other white gays like him, fail to realize is that assimilation is not acceptance; it is merely borrowed time. 

There is a savvy to the Queer Villains of Excess like Scar and Ursula, who understand that there is no utility in trying to fit in, who know that there is no box possibly small enough to cram your queer ass into. But, truth be told, even these villains have boundaries they won’t cross, only ever wanting to kill the king and usurp his throne — but never outright abolish abusive systems of power. 

There is no queer revolution amongst Disney villains, see. There is no abolition, no truly radical liberation within the fairy tales that ultimately serve to codify what “happily ever after” means, and for who. In Disney, queerness is only ever an imitation of the hetero original, never a full expression of itself. Gay villains are depicted as the dog who caught the car: Once they get it, what do they even do?

* * *

Jeanna Kadlec is a culture writer living in NYC. Her writing has appeared in ELLE, O the Oprah Magazine, LitHub, NYLON, Allure, and more.

Editor: Carolyn Wells

No Escape from Online Memories

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In the film Eternal Sunshine of the Spotless Mind, a couple uses a medical procedure to erase each other from their memories after the relationship ends. It was a simpler time — that wouldn’t work now. Memories of relationships (and all life events), don’t just exist in our heads anymore, they are online, and online memories are very tricky to destroy

Social media memory prompts popping up over the past year have been challenging for everyone — photos showing our former, blissfully unaware selves, hugging family, having dinner with friends, going to a concert — constant reminders that thanks to the pandemic, we are now sitting at home in our pajamas binge-watching Netflix. But what if social media thinks even bigger life events are still happening? In 2019 Lauren Goode called off her wedding. The internet didn’t get the memo. In this fascinating article for Wired Goode explores what it means to be stalked by “a digital ghost, that is still getting married.”

Even if I could permanently delete my WeddingWire account, I had already shared uncountable bits of data with marketers during the time I used the website. “It’s one thing to say ‘I want to buy shoes’ and then have that ad follow you across the internet,” says Jeremy Tillman. “But there are specific life events that are these exclamation points for marketers. Like, I’m going to get married! Or, I’m going to have a kid! And the more valuable that data is, the more intrusive it seems.”

Tillman is the president of Ghostery, which offers an open source browser extension that shows you how many trackers are receiving data from the websites you visit—a mere glimpse at the network of data brokers that are creating shadow profiles of you. While I was on the phone with Tillman, I punched WeddingWire.com into a Chrome browser, navigated to a page for a wedding DJ, then clicked on the Ghostery extension. At least 16 trackers were identified—including Google Ads, DoubleClick, and Facebook Custom Audience. I had browsed web pages like this dozens of times in 2019. And then, suddenly, I had stopped.

“In your case, you have the life cycle of somebody that you’re not, following you throughout the web and beyond,” Tillman says. “It’s like a ghost life cycle that you never had the chance to live out.”

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