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Naked City

Illustration by Homestead Studio, based off Oksana Latysheva & Vivali / Getty

Leslie Kendall Dye | Longreads | December, 2019 | 16 minutes (4,411 words)

“No man is an island.”

John Donne

There is a theory that the mind is a collection of symbiotic identities, some conscious, some unconscious, that form an uneasy alliance for the sake of survival. Truthfully, that’s my theory, although I think I read something similar once. I am now working on a new theory, that New York City is similarly a collective, that what looks like a group of entirely separate individuals who happen to walk past one another all day long is actually one great organism.

I find this idea reassuring, because life here can make you feel not just unimpressive, not just peripheral, but entirely negligible. I have lived in New York for more than 22 years, which I am sorry to say is more than half my life. In that time, I have never stopped asking the question: Do I belong here? Am I woven into the tapestry, or am I a dangling thread? How does everyone seem to know one another, and where is everybody going? Why is the line at Sarabeth’s so long? Why are the libraries closed on Sundays? Was there a memo about wearing Hunter rain boots? Why are dogs not allowed in my building? Every day, I am confronted by mysteries. But if New York City is actually dependent on every last person within its boundaries, deriving not just energy but also narrative structure from all who move through it, then maybe I’m not negligible after all.

I have never stopped asking the question: Do I belong here? Am I woven into the tapestry, or am I a dangling thread?

I have tried to explain to others the feeling I get on a typical day in the city — that we are all characters in some sort of Yiddish short story, but it’s unclear who are the heroes and who are the villains, whether it is a comedy or a tragedy, who are the stars, and who are merely the background. You see and hear so many things in a day. So I’ll start from the beginning — the beginning of yesterday, that is, and go through one whole day, and hope that you’ll come along for the ride.

***

Yesterday began like many others. I was in the check-out line at Zabar’s, and I overheard an exchange that intrigued me. A middle-aged woman in nondescript, baggy clothes, her hair a combination of layered bohemian chic and I-don’t-care gray — a West Side classic — was talking to another woman, who was younger.

“We’ll go downtown to my place, we’ll have a cup of coffee, and we’ll talk. Later, I’ll put you in a cab. Sound good?”

I composed a silent plea. Take me too. I can’t think of any place I’d rather go than downtown to your place, for a cup of coffee. I felt strongly that this woman had curtains — big silk curtains — and her apartment had a sitting room and a poodle or two sprawled on the rug. Her place had a view of a public garden, and there was primrose in bloom, and maybe a fountain, and people smoking, and other people kissing, and a few in the midst of lovers’ spats, and rain kissed the earth, just there, in that garden. A cab! Is there anything to excite the imagination more than the hailing of a cab after someone unexpectedly asks you over for a cup of coffee? I wanted the younger woman’s problems, whatever had invited the older woman’s concern. The word “downtown” had become a cashmere shawl, one I wanted to be wrapped in immediately.


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The checker put my groceries in the bag. I trudged home, feeling blue. Once again — not at the center of it, not where the action was, the discourse, the problems, the connection. At home, I made myself some coffee, but there were no silk curtains, no poodles, no conspiring or commiseration.

***

A short time later, I traveled south to my dance studio, Steps, which sits in a hub of Upper West Side activity. You’ve got the Beacon Theatre just across Broadway, the Ansonia just south, and next door, Fairway Market, which is a holy pilgrimage in itself. I’ll say just this: Fairway has an entire room devoted to cheese. Also: things you didn’t know you wanted, because you didn’t know they existed. Artichoke paste. Lambrusco vinegar. Garam masala. Chocolate latte balls — $1.25 a bag.

On the elevator at Steps, I witnessed an altercation. A young, paunchy man wearing earphones got on before this other woman and almost held the door for her. I say almost because he held it for a second, then let it go too soon, before she was safely inside, so the door banged into her. She didn’t need a hospital or anything, but there was no question he was in error. The elevator takes approximately three hours to get from the lobby to the third floor — where the classes are — and back. Catching the elevator is therefore a big deal, as is holding the door for that one last person who is desperate not to wait three more hours for the next ride. The woman quietly harrumphed. Message received. Wild-eyed, the paunchy man said, “I HELD THE DOOR FOR YOU.” She did not accept the falsehood. “You did NOT hold the door for me,” she replied. “You let the door SLAM on me.” Enraged, he replied, “I am not talking to you.” “It sure sounds like you are!” she shot back, and he became so angry that I prayed the elevator was almost at the third floor. I didn’t fear for her safety, but maybe a little I did. When she walked off the elevator, he cursed her. I don’t mean he used foul language, I mean he cast a hex. Sarcastically. “Hope your tendus aren’t all sickled!” he said.

You don’t want to get caught sickling your tendus.

Performing arts shade! (A tendus becomes sickled when you point your foot in the wrong direction, which is a gross dance error, the equivalent of a social gaffe while interacting with, say, the queen of England. You don’t want to get caught sickling your tendus.) All at once, I felt kinship with both the aggressor and the victim in this elevator standoff. I don’t know exactly what defines New Yorkers, but it has something to do with our ability to keep the rhythm of these altercations without missing a beat, like children playing double Dutch.

***

In the sunshine of Studio II, a motley collection of dancers was warming up for the 10 a.m. ballet class. The teacher is tall and blond and haughty — so imperious her instruction borders on camp. She speaks with a British-implied accent and adorns her daily performance with an array of hairstyles and lipsticks. Her smile is lopsided and sudden, just enough to alert us that her condescension is mostly for show. She has a fabulous accompanist and sometimes there are 100 people taking class. It’s ballet with a cabaret atmosphere, and I suspect people love this teacher because she makes them feel like party guests. The spectrum of humanity attends. At the barre, one sees principal dancers from American Ballet Theatre and New York City Ballet, so immaculately sculpted and graceful that they strike one as circus performers or possibly even figments of the imagination. Also at the barre: an elderly woman in a wig who carries her ballet shoes in a plastic bag from the liquor store.

We are all freaks in this room — spiritual cousins of sorts, worshipping at the same church. Here we find rapport and community, gossip and disdain. The mighty sylphs chat with the old loons, and the rest of us try to figure out where on this spectrum we fall. Everyone here is drawn to ballet as a monk is drawn to prayer, and this commonality surpasses — if only in this hour and a half — our jagged differences in achievement.

Everyone here is drawn to ballet as a monk is drawn to prayer, and this commonality surpasses — if only in this hour and a half — our jagged differences in achievement.

A tiny woman stood behind me at the barre. She smiled and said hello. She knew me from the playground I frequent with my child. How was life? How was school? What grade was my daughter in now? Good. OK. Second. Her girls were fine, she said, except for one thing. What was that? I asked. They were both enrolled at the School of American Ballet (S.A.B., as it’s known around here), and they weren’t happy. The School of American Ballet is a “feeder school” for New York City Ballet, which, for many people, is the pinnacle of the art, the highest goal, the shiniest of prestigious places. It’s also known for being a hotbed of sexism, not to mention a place keen on anorexia as a way of life. Still — New York City Ballet! My daughter takes class at another, saner place, but even at 7, she’s heard of S.A.B. It’s where the perfectly turned-out, smooth-bunned, pearl-earring-bedecked baby giraffes are going when they make a sharp turn and head into Lincoln Center. I researched when the annual audition day was — sometime in early spring. I don’t know what made me do it, except of course I do: At the center of New York City’s ineffable glory are cosmic sources of radiation — Times Square, the Chrysler Building, the grandiose arrangements of limelight hydrangeas in the main hall of the Metropolitan Museum of Art, the School of American Ballet.

“Maybe we should go, just to see what the school looks like, Mommy,” Lydia said. “But what if you get in?” I asked. “I won’t go,” she said. “But how could you say no to S.A.B?” I asked. Then we both laughed and immediately remembered that neither of us wanted her at S.A.B. Mostly we remembered that. The other part of us remembered the tiny angels in the second act of the New York City Ballet Balanchine Nutcracker. They hold candles and wear floor-skimming wire hoop skirts, and they shuffle so rapidly across the stage that they create the illusion of floating. Lydia and I were given tickets to the dress rehearsal last year, and at the time, Lydia leaned over the balcony and said, “I want to skim the floor in a hoopskirt.” But only kids who go to S.A.B. can be angels in the New York City Ballet Nutcracker.

Lydia’s own dance school is not far from Lincoln Center. One day I saw a dancer departing the school and rounding the corner. As she passed under the Leonard Bernstein Way street sign, I caught sight of her T-shirt, which read Sing out, Louise, and I promptly fell over and died. This is a line from the Broadway show Gypsy, which has lyrics by Stephen Sondheim, who for theater folk sits at the tippy top of Mount Olympus, with Rodgers and Hammerstein and Cole Porter flanking him. What was great about the shirt was the shorthand — if you love the shirt, you and the wearer can be best friends. You can hug on the spot without formal introduction. (An exception to the no-eye-contact rule generally in play on the NYC streets.) I decided to get one of the shirts for Lydia for Christmas. (Gypsy is about the mother of all stage mothers. Whenever Lydia thinks I am getting too involved in her life, she pointedly whispers, “Sing out, Louise.” I immediately clam up. Smart kid.)

Greta is the biggest personality of the dance moms at Lydia’s school. She is tall and skinny — a gazelle in human form. She is a dancer herself, and her daughter, who takes jazz at Lydia’s school, studies ballet at — wait for it — S.A.B. From Greta, we get all the dirt: who’s dating whom and who’s fighting whom and which former artistic directors are showing up just before curtain to torment the dancers backstage (Peter Martins). She tells us inside things. For example, New York City Ballet dancers aren’t allowed to wear their stage makeup outside the theater, they have to wash it off before they go home. The makeup is copyrighted or licensed or something. It’s in their contracts. Greta makes me feel both closer to and farther from the action. She gives me the same feeling that the weekly arrival of our New Yorker magazine gives me — knowledge without inclusion; glamour, but not mine. I sometimes think The New Yorker exists exclusively to evoke this feeling.

***

In the late afternoon, I had an unpleasant errand — my yearly mammogram. I was headed downtown on the Second Avenue bus, when suddenly, it was nearly black outside; raindrops scattered on the windows like bullets. An omen. Weill Cornell Imaging is in a dreary medical tower on York Avenue. This neighborhood depresses me. If the earth were flat, and you walked to the edge of it, you’d be on York Avenue. It is just so far from anything that feels life-affirming. New York City’s heartbeat can best be felt on the West Side, pulsing through an artery that runs south through Times Square and north past Carnegie Hall, all the way up to the Metropolitan Opera House at 65th. Meanwhile, York Avenue is as far east as you can get without falling into the East River; it’s like a freezing cold finger — no blood flow.

She gives me the same feeling that the weekly arrival of our New Yorker magazine gives me — knowledge without inclusion; glamour, but not mine.

For a mammogram, you go to the ninth floor. This is Breast Land, where every staff member has been schooled in keeping people calm. When you can, please sign here, and How are you doing today? and Would you care for a chocolate or a bottle of water? You stumble along, get your locker, wipe off your deodorant, put a pink robe on, and breathe deeply along the hallway to the next waiting room, where you sit with the other naked-but-for-their-pink-robe ladies and stare out the window at the 59th Street Bridge, which from this close-up looks like a metal brontosaurus. This is the same bridge that Woody Allen lifted to iconic grandeur in the movie Manhattan, but when you look at it from Weill Cornell, amid the steam rising from the manholes on York and the sparse sidewalks around it, it just looks like an angry brontosaurus. Then the breast people call your name and your heart beats faster. A technician in pink scrubs leads you into the next little room, the one with the machines, and asks how your day is going, and rubs you down with freezing gel for an ultrasound, or covers your nipples for a mammogram.

Remember how I said New York is best described as a Yiddish short story? (Are there short stories in Yiddish? I feel that my people tend to run long.) What happened next could really happen anywhere, but somehow, it managed to be nutty in a way I ascribe to this city. You need to know a detail about me first. Two years ago I had a rib removed. It was the third rib, it was under my left breast, and it grew this tumor called a hemangioma — the same as those little strawberries you see on some newborns’ heads. The only way to make it stop growing was to take it out.

“The tumor has fractured your rib,” the thoracic surgeon told me. He prodded me in the chest with his forefinger. “Doesn’t that hurt?” He prodded again. “That has to hurt.” I hadn’t noticed. I had a 4-year-old. I was tired. The jabs, however, got my attention. “Now it hurts,” I said, ever the people pleaser. “’Course it does,” replied the surgeon.

So he took the whole rib, and in order to make my breast sit up properly, he put in a fake rib. The fancy term is “chest wall repair,” but no one outside medicine has ever heard of the “chest wall” so I call it a “fake rib.” A few months after that, I had my first mammogram. If you have not experienced a mammogram, picture a knife spreading a pat of butter across a piece of toast. But really, really hard. Or, as the tech put it, “Your breast is round and the machine is flat.” Or, just imagine a pain so intense that you find yourself clutching the sides of a cold metal machine as tears roll down your cheeks and your soul hovers above your body and everyone prays for the end. After that, I went home. A day later, my fancy “chest wall repair” broke. My fake rib detached from its fake bone anchor and descended into the void of my chest, causing an alarming bubble of air to rise up through my breast like a balloon every time I inhaled. So I had to do the thoracic surgery again. The second time, the surgeon put in Gortex, which he said he hoped would be more durable. Hoped? Back to yesterday.

If you have not experienced a mammogram, picture a knife spreading a pat of butter across a piece of toast. But really, really hard.

I reminded the technician in pink scrubs that I didn’t want my left breast scanned, on account of how the last mammogram broke my fake rib. It had been discussed already, I told her. Pre-arranged, all in my file, I told her. I was just reminding her. She was silent. So I said, “We’ll skip the left, OK? We’ll just do the right.” I stopped talking then, because she was reading my file with concern.

“We can’t screen one breast on a two-breast prescription,” she said.

“Why not?” I asked. “The right breast is one of the two breasts, right?”

“Doctors don’t like it when we change their orders,” she said. “If you want to scan the one, you have to scan the other.”

“But it was pre-arranged,” I croaked.

“She sent a two-breast prescription.”

“She didn’t mean to,” I argued.

“She must have forgotten.”

I began to sweat and wheeze. (If you have never had a rib crushed by a mammogram, you’ll have to trust me, once is enough.) She went to get her supervisor. The supervisor came in to tell me that they could not screen one breast on a two-breast prescription. We were getting nowhere. But then she said that a crushed rib was better than missing a malignant cell and so both breasts had to be scanned anyway. This made sense, and I began to imagine a cycle in which every year I put in a new rib after crushing the last one in the mammogram machine. The room started to tilt as I pondered my choice. The supervisor then said they did not wish to traumatize me, they wished only to make sure I was healthy. I think by then they realized that “healthy” was not, at this particular moment, the right word for me. I was floundering, somewhere near total incapacitation. It was now 6:30 in the evening. The office had begun to clear out. I could hear people saying “good night” and closing desk drawers. I was all that stood between the supervisor and the end of her day. I was alone with her — her and the machine — at the edge of the world, a brontosaurus roaring just beyond the window, black rain engulfing the medical tower.

“I can’t do the left breast,” I muttered, mostly to the wall. I cried. Tears ran. I wheezed again, then hiccuped, then I laughed. I told them not to worry, it was just the pink scrubs, the pasties, the fake rib, the large dinosaur, the end of the world. It was too much, you know? They nodded. They knew.

“We won’t press hard,” the supervisor said. She kept up her patter as she smoothed my pasties and squeezed my breasts into the flattening device, as though coaxing me into a straitjacket. They scanned both breasts. After, they gave me a Hershey’s kiss and a bottle of water.

***

Gusts of wind swept me up First Avenue. I joined the wet commuters on line for the 67th Street crosstown. I was full mammogram chic by now: sweaty, smelly, hair stringy and askew, rivulets of mascara pooling in the tiny lines near my eyes. I felt about as far from the ineffable radiance of the city as possible. I took out my phone to text Courtney, the mother of a little girl in Lydia’s class. She was watching Lydia, and I wanted to tell her that I was on my way back to the West Side.

“How was it?” she asked. (Courtney has had mammograms.)

“A brontosaurus tried to kill me,” I replied.

“Meet us at Santa Fe,” she wrote. “71st and Columbus.”

“‘I’ll get you a margarita,” she added. (Santa Fe has the largest, iciest frozen margaritas in existence.)

Twenty minutes later, I stood around the corner from the restaurant, waiting for Courtney and the girls. A spotlight illuminated a white satin pantsuit hanging in the window of a Columbus Avenue boutique. It was a one-piece, long-sleeved with a plunging lapel. It looked like a Star Trek uniform, but one that you’d wear to the Grammys. I stared at it for a long time, even as the storm threatened to drown me. The hem of my ancient linen pants was torn; I’d long since chewed off my lipstick. Hunger tore at me. I felt faded and chalky, as if my human color had been washed off by the rain. I wondered who was going to buy that suit. Where would she wear it? Probably, she owned Hunter rain boots and had a poodle. Maybe a greyhound. Her building definitely allowed dogs — she would never have moved there otherwise.

Courtney and the girls arrived and we walked into Santa Fe. The host led us to a booth. The girls told me about feeding the turtles in Central Park. Then there was the eating of french fries, and telling the kids to speak more quietly, and restaurant crayons — four to a set, in a tiny cardboard box. Then the married couple at the next table interrupted our conversation.

“Sorry,” the wife said. We don’t mean to keep staring, but there is a dog right outside the restaurant staring in.”

Sure enough, there was — a puppy with big black eyes and a soaking coat. He was tied to a post outside, the very definition of forlorn.

“He belongs to that woman at the bar,” the wife continued. “Poor dog!”

Courtney, who is about seven feet tall with a waterfall of honey blonde hair and a model’s face to match, stood up abruptly, and with a sort of movie star whoosh, gathered her jacket and rushed outside, the girls on her heels. They clumped around the little waif, patting and stroking and soothing. A few minutes later they returned to the table, where I’d remained, transfixed.

“I think the dog’s owner has been adequately shamed now!” Courtney said, as the restaurant gaped at the ill-fated dog. Pregnant women can’t get seats on the bus, pedestrians will knock over a person on crutches, but New Yorkers draw the line at wet dogs peering into restaurants. Sure enough, the embarrassed owner stood up from her spot at the bar, paid the bill, and went out to tend to her shriveled canine, even as she rolled her eyes at the collective presumptuousness that had forced her hand. It was like when someone scurries up or down the subway stairs on the left-hand side. This, with good reason, is not allowed in New York City. One travels up or down on the right-hand side in order to avoid head-on collisions and bodily harm. If a person — often a tourist — wanders to the left, a large crowd will force him to the right in a collective act of censure. For the greater good, of course.

Pregnant women can’t get seats on the bus, pedestrians will knock over a person on crutches, but New Yorkers draw the line at wet dogs peering into restaurants.

In the restaurant, surrounded by dog lovers and people-shamers and candlelight, the stars moved suddenly into position. Swaddled by the rhythms of an untameable city and its undomesticated regulars, the patrons of Santa Fe seemed a Hirschfeld tableau come to life. I was — for a flicker of a second — inside the city’s ineffable glow. I absorbed the warmth totally, like a cat stretching in a pool of sunlight. It was not just the food for a hungry stomach, it was not just the soundtrack of voices mixing with the flickering candlelight, it was not just the hasty alliance of animal lovers doling out opprobrium, nor the pleasurable flush of communal agreement spiked with the recognition of our tyranny and hubris. It was all of those things, yes, but it was also something more, something capturable only by some vestigial sensory organ as yet undiscovered by anatomists. Around me, the city’s plot lines merged into one great circular lane, and inside me, the five senses (and the vestigial organ) arranged themselves in symbiotic formation to produce one thing: joy. I felt mysteriously part of the city’s narrative in some way I hadn’t been a moment before. It was perfect. Then I blinked, and it was gone.

I read once that there is something called “archaic understanding” — something that children have more of than adults. We lose it gradually, but it returns in streaks of primitive insight. An understanding of things in their deepest, mythic sense. Intuition — as brief and bright as a flash of lightning.

We walked home under lamplight glowing in the mist. Some piano music tinkled out of an apartment on 71st. Perhaps it was a party somewhere nearby. The streetlights mixed with the rain like watercolors, and we pushed on, blood cells pulsing through the mighty organism. The sound of the piano retreated — into some corner, behind a curtain, up the stairs in an alley one street over.

There is a line in Peter Pan about Mrs. Darling, and it goes like this: “Her romantic mind was like the tiny boxes, one within the other, that come from the puzzling East, however many you discover, there is always one more; and her sweet, mocking mouth had one kiss on it that Wendy could never get, though there it was, perfectly conspicuous in the right hand corner.”

Like Mrs. Darling, this city is defined by something it will not relinquish. This something seems to be in plain sight just often enough to keep us charged in its pursuit. We race along the city’s streets, we chat and disperse and we hurry on again. Sometimes we stall in the midst of an eddy, looking up, just to spot it — the city’s kiss. Then it is time to retreat, to go home and heat the pan for dinner, linger over drinks, wonder what comes next — all the while secure in the knowledge that tomorrow, we’ll make another play for it — that one lovely kiss that shapes our days — because it will never be ours.

* * *

Leslie Kendall Dye is a writer and actress in New York City. Her work has appeared at The New York Times, The Washington Post, Salon, Vela, Electric Literature, SELF, The LA Review of Books, and others. She is at work on a memoir about mothers, daughters, drugs, and show business.

* * *

Editor: Krista Stevens
Copy editor: Jacob Gross

The Traffic Jam on Mount Everest that Cost 11 Lives

Indian Everest climber Ameesha Chauhan speaks during an interview with AFP at a hospital in Kathmandu on May 27, 2019. - Ameesha Chauhan, a survivor of the Everest "traffic jam" who is in hospital recovering from frostbite, said climbers without basic skills should be barred to prevent a recurrence of this year's deadly season on the world's highest peak. (Photo by Gopen RAI / AFP) (Photo credit should read GOPEN RAI/AFP via Getty Images)

Despite bitterly cold and harsh conditions, the prestige associated with summiting the tallest mountain in the world continues to make Mount Everest a dangerous lure for many, regardless of their climbing skill and experience. As Joshua Hammer reports at GQ, Nepal and China handed out nearly 500 pricey climbing permits during the 2019 season. Partly due to a massive logjam of over 100 summit hopefuls crowding the ascent during a rare break in the weather on May 22nd and 23rd, over 11 people died on the mountain.

Grubhofer looked down toward Nepal and could see gray clouds sweeping across the southern face of the mountain. There was something else down there too: a line of a hundred or so climbers in brightly colored suits snaking up the side of the mountain. The crowd seemed incredible—like a bag of Skittles had been scattered down the slope. On the north side, Grubhofer knew, more climbers were tracing his trail up the mountain from Tibet too.

And then there are the growing crowds. For this year’s climbing season, Nepal handed out 381 permits to scale Everest, the most ever. The Chinese government distributed more than 100 permits for the northern side. According to the Himalayan Database, the number of people summiting Everest has just about doubled in the past decade. And in that time the mountain has become accessible even to relative novices, thanks to a proliferation of cut-rate agencies that require little proof of technical skill, experience, or physical fitness. “Some of these companies don’t ask any questions,” says Rolfe Oostra, an Australian mountaineer and a founder of France-based 360 Expeditions, which sent four clients to the summit this year. “They are willing to take anybody on, and that compounds the problems for everyone.”

In Katmandu in August, long after the last mountaineers had returned home, I found the local climbing community consumed by a debate about what had gone wrong. At least four climbers died in the 24 hours that followed Grubhofer’s moment at the top—casualties of interminable lines and tragic miscalculations, victims of one of the deadliest seasons the mountain has ever seen. In all, 11 would die on Everest in May. By the time I visited, the Nepalese government had proposed a new set of rules requiring, among other things, that prospective climbers provide proof of high-altitude experience. But skeptics doubted that the government would seriously enforce such reforms and risk reducing its millions of dollars in permit-generated revenues. “At the end of the day, the changes that Nepal talks about never happen,” Rolfe Oostra tells me. “At the end of the day, money talks.”

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Why I Wanted To Finish My Father’s Life’s Work

Illustration by Homestead Studio, inspired by photo supplied by the author

Karen Brown | Longreads | December 2019 | 9 minutes (2,139 words)

“Do you think you’ll pursue more significant work one day?”

That’s the kind of casual barb my father would deliver over breakfast on my visits home after I was well into my career as a radio journalist.

That may seem unsupportive, which was not typical. He was the emotional rock in my life for 50 years. He chaperoned my elementary school dances, read every article I wrote for the high school newspaper, and later, sent around news of my journalism awards to his friends and colleagues. Every year, he wrote me a birthday card extolling all the ways he admired me.

And yet. He had this dream for my career, that I would become a nationally prominent journalist who might one day topple a presidency and change the world. Instead I became a regionally-respected public radio reporter who mostly does health-related features.

He made those comments about his tempered expectations to let me know he could be both loving and honest. But to me, they felt annoying and unfair. In the end, we’d reach a mutual understanding that no one gets to do exactly what they dream of.

I’ve been thinking a lot about those conversations as I put my own writing projects on the back burner to try to finish my father’s final book.
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Checking in on the Masculinity Crisis

Richard T Nowitz / Getty

Kelli María Korducki | Longreads | December 2019 | 14 minutes (3,786 words)

 

Not long ago, I noticed a woman reading Jordan Peterson’s 12 Rules for Life at my Manhattan yoga studio as we both waited for our Ashtanga class to begin. The sight took me aback. Despite the 2018 book’s many weeks as a nonfiction bestseller, I’d somehow never considered that the scope of Peterson’s audience might extend beyond sulky white men who like to outsource their thinking. That it might include women with the disposable income and leisure time to spend their Saturday afternoons doing sun salutations, whose lives probably look a lot like mine.

Peterson, a once-unassuming psychology professor at my Canadian alma mater (I’d never heard of him during the years we were both there), has emerged in the last few years as a puzzling figurehead among men’s rights aficionados and self-help enthusiasts alike. Wielding a trademark pastiche of literary references and cherry-picked sociological data points, his writing and, to a greater extent, public lectures broadcast via YouTube deliver what is, for many in this age of ‘toxic masculinity’ and #MeToo, a reassuring story: that men are natural rulers, white privilege is a farce, and if millennial men would just make their beds and assume their kingdoms, we’d all be better off.

Peterson speaks to a constellation of loosely connected concerns that have, in the last several years, dominated popular discourse on where boys and men fit into a society in which gender norms play less and less of a role in determining how people fit together. Conversations about rape culture and damaging gender constructs take place alongside global reports of female students outperforming their male classmates. We hear of a workforce that, at least in theory, rewards the “soft skills” women are purportedly socialized to possess. Meanwhile names like “Dylann Roof” and “Elliot Rodger” have become shorthand for an epidemic of male isolation and rage. A New York Times story that followed shortly after the deadly February 2018 mass shooting at a high school in Parkland, Florida, included the observation that “about the only thing” nearly all U.S. mass shooters have in common “is that they are men.” Read more…

A Beautiful, Rugged Place: Erosion of the Body

Photo by Jerry Zhang, Book Cover from Sarah Crichton Books

Terry Tempest Williams | Erosion | Farrar, Straus and Giroux | October 2019 | 39 minutes (7,820 words)

 

“We are only lightly covered with buttoned cloth; and beneath these pavements are shells, bones and silence.” —Virginia Woolf, The Waves

 

We had just celebrated my father’s eighty-fifth birthday. Louis Gakumba and I were driving back up to Jackson Hole. My husband Brooke texted me, “I love you. Pull over to the side of the road. Call me.” I knew it was Dan. I had been thinking of him as I was mesmerized by the immense cumulus clouds building in the west.

“Is Dan dead?”

“Yes.”

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The Adaptation of Language Evolution

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Your speech, or thine speech as Shakespeare would have said, has evolved with each generation that preceded you. The bubbling melting pot of language absorbs new influences with alacrity. Every time we repeatedly interact with people, we have the chance to develop a shared vocabulary. In The Walrus Gretchen McCulloch explores whether the language mix is changing faster as a result of technology. People interacting on social media often end up using similar phrases, yet we tend to follow others with the same interests, with words jumping around between demographically similar cities, regardless of geography. It’s not a surprise, therefore, that Twitter, where you’re encouraged to follow people you don’t already know, has given rise to the most linguistic innovation. And other factors, such as community and gender, are still playing a part.

Young women are also consistently on the bleeding edge of those linguistic changes that periodically sweep through media trend sections, from uptalk (the distinctive rising intonation at the end of sentences?) to the use of “like” to introduce a quotation (“And then I was like, ‘Innovation’”). The role that young women play as language disruptors is so clearly established at this point that it’s practically boring to linguists who study this topic: well-known sociolinguist William Labov estimated that women lead 90 percent of linguistic change in a paper he wrote in 1990. (I’ve attended more than a few talks at sociolinguistics conferences about a particular change in vowels or vocabulary, and it barely gets even a full sentence of explanation: “And here, as expected, we can see that the women are more advanced on this change than the men. Next slide.”) Men tend to follow a generation later: in other words, women tend to learn language from their peers; men learn it from their mothers.

McCulloch also delves into some innovative ways past linguists have studied language.

The fieldworker he selected was a grocer named Edmond Edmont, who reportedly had a particularly astute ear (it’s not clear whether this referred to the acuity of his hearing or his attention to phonetic detail, but either way, it got him the job). Gilliéron trained Edmont in phonetic notation and sent him off on a bicycle with a list of 1,500 questions, such as, “What do you call a cup?” and “How do you say the number fifty?” Over the next four years, Edmont cycled to 639 French villages, sending results back to Gilliéron periodically. In each village, he interviewed an older person who had lived in the region for their entire life, counting them as representative of the history of the area.

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Borrowed Babies

Archival photographs courtesy of the New York State College of Home Economics records, #23-2-749. Division of Rare and Manuscript Collections, Cornell University Library, Ithaca, NY.

Jill Christman | Iron Horse Literary Review | Spring 2013 | 41 minutes (8,219 words)

 

Cooking, the science of foods, budget-making, house beautifying, dressmaking and a knowledge of textiles, all of these subjects have been considered essential to the teaching of home economics but the art of babies has until this late date been left to theory, and Providence. Now, however, schools of home economics are adding a new branch of study to their curriculum—practical mothercraft. —“Apprenticing for Motherhood,” Today’s Housewife (July 1924)

 

Just weeks after the level-two ultrasound, almost five months pregnant, I booked a ticket to Syracuse, New York, where I was to pick up a rental at the airport and drive up to Ithaca. I had a grant to do research in the human ecology archives of the Cornell library, and I was scheduled to be there for three weeks. Alone. Ithaca is lovely in the summer, I told myself, and archives are like treasure hunts for nerdy people.

I should have been giddy with anticipation, but I was not. I was miserable and terrified and lonely. I didn’t want to go. Now, I recognize this as one of the most unstable times of my life, hormonally speaking, and with all of the chemical changes happening inside my body, I couldn’t cope with change on the outside. I wanted to hunker down. I wanted a box of Wheat Thins, some lemonade with fizzy water, my couch, my dogs, my husband Mark, and another episode of The Baby Story. 

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Don’t Blame the Internet for New Slang

Longreads Pick
Source: The Walrus
Published: Sep 10, 2019
Length: 16 minutes (4,039 words)

Under the Influence: Watch(wo)men

Jacques Benazra

Soraya Roberts | Longreads | October 2019 |  7 minutes (1,716 words)

Part three in a three-part series on the influencer economy. Read part one, “White Lies,” and part two, “Deeper than Beauty.”

* * *

“I haven’t believed the purity of my own intentions ever since I became my own salesperson.” Imagine PewDiePie — the Swedish influencer who at one point was the most-subscribed user on YouTube for literally just playing video games while spewing alt-right fodder, the guy name-checked by a mass shooter yet little scrutinized by anyone, let alone himself — saying that. “I saw the gap widening between the story we told and the situation on the ground.” Imagine Logan Paul , another YouTuber whose popularity is barely examined perhaps because his Jackass-lite routine suggests there is nothing to him beyond the denigration of all living things from rats to suicide victims, saying that. Those quotes, both published in The Cut, come from women, both of them influencers: the first is Tavi Gevinson, whose success as the founder of the teen magazine Rookie has been parlayed into an acting career fueled by Instagram; the second is Caroline Calloway’s ghostwriter Natalie Beach, who exposed her employer as a largely empty vessel filled by Beach’s own talents. Theirs came in a long line of critiques recently piled onto the influencing industry (and those within it), critiques that seemed to be overwhelmingly delivered by women like Gevinson, like Beach, even like me.

I notice male influencers interrogating video games, superhero movies … even women. What I don’t notice is male influencers interrogating this interrogation. But is it really only women who are contemplating this industry and their roles within it? Who are capable of thinking a little, instead of constantly doing? According to Crystal Abidin, who has been studying influencers for more than a decade, the lack of clarity starts at the source, with the word itself. “I think the politics of naming and self-branding contributes to the perception that there are more women scholars or more women influencers looking at these things,” says the author of Internet Celebrity (2018), “when I don’t actually feel that this is the case.” The case is what it always has been: We watch women as they watch themselves, a Matryoshka doll of reflection and self-reflection, and we watch men as they watch themselves, with little more than a passing glance.

* * *

On its face, influencing is visibly feminine, which tracks if you think about what an influencer actually does. “You are basically in the business of persuading people to like you,” says Abidin. While women may not be considered authorities on much, they are certainly expected to have a handle on likability. Some women in the influencing industry even feel they have an advantage over men, since the job lends itself particularly well to the emotional-labor savvy. That the most successful influencers tend to project the most empathy explains in part why queer male influencers do so well in the lifestyle niche (one of the industry’s most lucrative) — their emotional acuity tends to exceed that of many straight men, who have never been forced into introspection by oppression.  

But being introspective can also be a liability — it’s harder to function online when you’re reflecting on how every decision might impact you. At the BBC, #vanlife-r Brianna Madia presented the calculus this way: “How vulnerable can you be? What piece of information can I expose about myself? How wide can I rip my chest open for all of these people?” Any potential balance is something of a myth since the “authenticity bind,” identified by media and communication professor Jefferson Pooley in an essay in the 2010 book Blowing up the Brand, ensures that female influencers lose out either way: They are shameless if they share and a sham if they don’t. Gevinson’s essay described internalizing just this dilemma, dividing her life into “the part of myself that had learned to register experience as only fully realized once primed for public consumption, but that was monitored by the other part of myself, the part that knew the actual sharing of these specific moments would appear inauthentic.”

Women subject themselves online to a sort of identity fracturing on two levels, internal and external. Not only do they actively present themselves through a medium designed for the male gaze, but we actively receive and process them from this same vantage point, one that views them fundamentally as sex objects. Female influencers are siphoned into more visual platforms (Instagram, Facebook) where they deal in subjects requiring more visual expertise (beauty, fashion), while the text-based spaces (Reddit, Digg) that emphasize more expansive subject matter (politics, tech) are more hospitable to men. Ultimately, authenticity is not the only bind women find themselves in — they are also primarily valued as a gender by the qualities we devalue as a society. They are pressured not to perform “real work,” but instead to do emotional labor, to be more personal and intimate. It’s virtually the only arena in which they can succeed, for which they are simultaneously undervalued and overvalued. 

Even women’s content is secondary to their physical appearance, however, since this all falls under the male gaze, remember, and the male gaze objectifies first. “Your body is your calling card” is how Abidin explains it. Regardless of your skills, if you gain weight, like queer beauty influencer Mina Gerges did, you lose value. If you are expected to be single and you are suddenly coupled, once again, your value drops. The constant scrutiny of women’s personal lives impels them to do the same, deconstructing themselves in a way they might not were they left to simply live without constantly being dissected. But any woman in a world that surveils women is familiar with this everyday tyranny, so it follows that female academics would recognize it. As women experiencing the same repression offline, they gravitate toward studying it in a way that men, who are free of this quotidian analysis and self-analysis, don’t. “There’s a lived experience there,” explains Abidin. “We are trained to specifically look out for these things.”

Men are trained not to look at anything but the work, whether it’s offline or online. “There’s this tremendous culture of toxicity around being vulnerable,” says Gerges, “and around sharing real things and talking about our emotions and about talking about our struggles.” The same way female academics may have more of a personal interest in fashion and beauty, male scholars are likely inclined toward male-coded subjects like gaming and tech. Regardless of the actual gender breakdown in these two arenas, women are perpetually believed to be a subculture within them the way men are believed to be in lifestyle, despite the number of male makeup artists and stylists who dominate the sphere. So while it’s been reported that women make up 75 percent of the influencing industry, Abidin is skeptical: “We have to consider the politics of vocabulary.” Since the standard beauty influencer is female, both because beauty is associated with women and influencing is too, any males within this sector are identified by their gender. Gamers, however, shed the influencing moniker entirely and are popularly referred to as e-sports players or online streamers — no gender marker required, because the standard is male — while scholars (as well as the industry) classify them as content creators in the online creative industry rather than influencers in the influencing industry. “They’re conceptually a bit more distinct for academics who are giant nerds,” quips Abidin, “but in essence you are looking at the same thing.”

Despite the increasing number of women leaders in the influencing industry, particularly in Asia, men overwhelmingly hold the highest paid positions on the business side of things — they run media conglomerates, platforms, and even agencies scouting for talent. “So much of the money, so much of the power is still traditionally modeled after the tech industry,” says Abidin. “It’s men-heavy. You still get the same old boys clubs, you get the same gated networks.” These men make as many if not more decisions about what you see on their platforms as the women making the content, which is to say they are shaping the conversations around influencers, they’re just doing it a lot less visibly. The real question is whether they are at least hazarding some answers to the concerns — from pay gaps to opportunity hierarchies around race and gender — that appear to be predominantly surfaced by women. Abidin thinks they’re aware of the quest for equality, but if it affects their bottom line, in an industry that is particularly transient, they are less likely to react. From her work on the ground, Abidin senses that the women in charge “are the ones pushing for the change,” because they see their treatment in influencing as a symptom of their treatment in workplaces as a whole. Perhaps predictably, in Abidin’s experience, environments where there is more gender equity offline — Nordic countries, for instance — see men on the business side more open to reflecting this balance online.

* * *

“Amid all the self-worth-measuring that has made up my experience of the internet,” wrote Gevinson, “I believe there was also self-actualizing, and that there still can be.” This self-actualization has been the arena of the women who are exposing the sexism and racism inherent in the influencing industry, increasing its transparency and uncovering the need for parity at the top. Women of color seem to be particularly enlightened, with Valerie Eguavoen launching the Instagram page You Belong Now to promote overlooked influencers, and Shannae Ingleton-Smith and Tania Cascilla founding Facebook group The Glow Up to support black influencers.  This seems to have had a sort of trickle-up effect in which women in charge have realized that the inequities faced by these influencers are just another example of discriminatory labor practices. Outside of that, female academics are parsing the effects of this dynamic on the industry. “I think the beautiful thing is that a lot of women have pushed against that unrealistic standard that has been sold to women for so long,” says Gerges. “Unfortunately for men, there’s still so much shame about talking about these things.” But the same way female influencers have established agency within the industry — for instance, making a living wage while rearing kids — similarly non-stereotypical male influencers like Gerges are introducing an alternative. Perhaps he too will inspire those within and around the industry to do better. He is an influencer after all.

* * *

Soraya Roberts is a culture columnist at Longreads.

Tar Bubbles

Melissa Matthewson | Longreads | November 2019 | 9 minutes (2,451 words)

 Writing the Mother Wound, a series co-published with Writing our Lives and Longreads, examines the complexities of mother love. 

* * *

I used to play with tar bubbles on the pavement in the Missouri suburbs when I was just 5 while my mother watched, or didn’t, from our two-story home. I spent a wealth of time alone as I recall. I don’t know if that is a good or bad thing, except that now, as an adult, I love to be solitary in abundance — walking through tall reeds on a lake shore and reading the sky for colors of rose and peach at the edge of night, crouching on one knee, measuring the pronounced shifts of the purpling dark, or surveying the birdhouses for bluebirds, perhaps a few feathers as testimony. In memory, as a child, my mother couldn’t be bothered with me, and so the hours turned. My mother must have thought, Give her a soda and the Beach Boys, her dolls, the second-story window, tar bubbles, she’ll be okay. Now, my daughter asks me when I depart for work or play, “Why do you always leave?” My mother never went away, but she was always absent. 

I was consumed with the bubbles — my favorite thing was to pop them, one by one, just off the sidewalk. There were differences between the beads of tar. Some were more satisfying to burst than others: those that had sufficient air rose firm unlike the already diminished bubbles that had no depth. The heat gave rise to the tar and on the hottest days, the tar bubbles multiplied to my thrill and captivation. Imagine the precision in directing fingers toward the condition of collapse. Such particular attendance to one thing. I’d lay there for hours hoping to find the one that would make me feel less deflated. Less alone. I think I might have gleaned a film of toxic glue in the creases of my skin, but you can’t have back those hours as a child when all that circled in your imagination were the stories of princesses perhaps and orphans and seahorses and Persephone and the quiet boredom of popping, over and over until the afternoon went.  

 It’s quite technical the variety of cracks that break on pavement, and necessary then to fill them with tar, at least it was in 1980: fatigue cracking, reflection cracking, edge cracking too. These terms have definitions, but I’d like to name my own — what is a crack but a split between two things, a fracture, a rupture? Gaps as in the seed head, the space between kernels, the pores of grain and chink of light underneath the doorframe, the interlude of two bodies making love, the burrows in dirt where vermin go, in a field mowed for a path, the separation of wake and dream, the break of keys on a piano. We always want to fill the cracks, seal them with something, anything, to perhaps ease the discomfort and the realization that we are always alone. Maybe to hide the loss that ascends from melody or sad stories. There’s always something that wants to grow in the gaps left behind. A filler: conversation, a weed, music. A way to save ourselves perhaps, but what if we left the gaps open, ajar? What would happen then? 

What is a crack but a split between two things, a fracture, a rupture?

Our Missouri home had Midwestern appeal, the American Dream, on the edge of a wood that to me, at the time, was enormous and churned forth with witches and ugly things, but also beautiful with ochre hickory and ground litter I liked to crunch over with my boots. I liked our deck, with the barbecue and hamburgers and the orioles with a patois of chatter. The long avenue of our staircase ascended to my bedroom where I hid in imagination and play, or where I’d sit at the top of the landing and listen to the adults in the kitchen laughing, whispering, smoking, maybe dancing. We sold the house after a few years — my father wanted the West where he had been born and grown into a man, so that home with its slanted roof and tar bubbles is now nothing but a distance. A longing.  

* * *

I have a daughter of my own, Ava, 8, who is delightfully imaginative and kind, and we spend time together often, so she asks me what happens after you die. Ava, for bird. For life. In Persian, Ava means voice, sound. As sky, heaven, opening. “Do you dream,” she wonders. “I think you return to the earth,” I reply. “Like what? Like a tree? I want to be a tree that doesn’t get cut down,” she answers, not waiting for me to respond. Later, we sit at a pond waiting for her brother and she takes a stick to a dead fish, bloated from the top of the head to neck (say, if a fish had a neck), overwhelmed with water. “Strange,” I say. “I’ve never seen that.” Blue dashers skitter across the pond, dizzying asymmetry and I can’t keep up. It’s hot here. She becomes frightened soon when the fish splashes and jumps suddenly in the pond as she pierces it — and in this unexpected action, she deteriorates, becomes all raw. I’m alone with her, and the breeze is so sudden and lovely on the hot afternoon, that I shush her. “Ava, the wind. Feel it.” Why should she cry — it’s just a fish, but she goes on. “I don’t want nightmares,” she says, and I become galled by her whimpers. I do not soothe her.  


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There are other such times that my daughter enchants me (or impels me into tangents) with her wisdom, and I pay attention, cultivate an awareness and try my damnedest to listen and at least share in her spellbound fascination with the universe. I try hard not to be my own mother (not to be bothered, but oh, how I do it, and oh, how I hate myself for it). My daughter tells me she wants to live in Alaska during the summer. She was born on a night of heavy rain and loves storms and cold and bitter wind, watching out the window as the deluge saturates our farm, the world, covers all the oaks and orchard grass. She says to no one in particular, but maybe me, “The rain shines like diamonds.” 

She spends hours on the sidewalk one afternoon spreading petals from the cherry tree, making up titles for her installation: The Path That Never Ends, but Fades, or A Heart Exploding. When we live together in our small living room set up against the mountain, she listens to the stories on the radio and I ask her questions, but she’s distracted and not attending to me. She says, “I get lost in my land of over and over again.” 

* * *

When I’m away on one of my trips, the trips Ava complains about, the trips I tell her are important to me, something she’ll understand as she grows older (though, will she resent me for my absence? Even as she stretches her heart thrum through the phone on evenings when I call and we talk and she recites spells and rhymes she’s composed about words and the lines of their path), I watch two girls play by a fountain. 

I try hard not to be my own mother (not to be bothered, but oh, how I do it, and oh, how I hate myself for it).

They are without their mother, or father, or any guardian at all, which is unique and interesting, and they are eating cherries, discussing Montreal and underwear and miniature figurines. The precocious girl explains divorce to her friend in the unicorn helmet, “They are together, but not anymore. It’s like they had me and then —” she breaks and it makes me think of the way we talk to one another in threaded spontaneous associations and how one person will occupy the space more than another, and how we feel inadequate in our own selves because of this. The sky widens into purple as I observe the girls (they could tell I was snooping, but I pretended to look at my book every now and again) and I wonder how a small child understands separation. She is smart, this girl, already beautiful, with dark skin and big eyes, facial gestures that will change every man, every woman’s notion of attraction. Here now at this fountain, can she ever know the other girl in a way that isn’t contrived somehow? How can she reach across the grass and meet her friend? The sky becomes a strange color then, of shadows and gray, and I wonder how to escape the divide between us? Not so these little girls. They seem close enough tonight. As I watch the girls take off across the grass toward home, cherry juice on their lips and cheeks and hands, the fireflies arrive, popping incandescent in the night air. 

I think, I’m everything to my little daughter. The day before I leave for another trip, she follows me around the entire stretch of day and asks that we play her favorite game, the one where she lays on top of me in the side yard on my reclining chair and we listen to the sounds and count all the things we hear. We do this for several minutes until she speaks up and tells me what she has gathered: a scrub jay rustling above in the plum tree, the wind like a tender breath, a car racing by, the boys talking down in the field where they pick greens for salad. “What do I hear?” she wonders. I say, “The same.” Later, she asks that I take her for a walk to the mailboxes and talk, not about anything she says. Just talk. She clutches my hand and tells me about Paris and asks me, “What do you love?” I tell her, “This. I love this.” Upon return, she constructs fairy houses in the garden I tend out front with the sage and rudbeckia, oregano, bee balm and lavender. Little ladders and barns and Playmobil figures. I liken the fairly dwellings to the tar bubbles. I think it is the same attention for those gaps of time when time is everything and nothing at all. I leave them where they are when I sprinkle the garden with water and watch, as over time, they fall apart and she builds new ones. I don’t think my mother was everything to me. It was a consistent wandering away from home that I recall: into the woods, up the drive to the scary homes big with ghosts, places of mystery and riddle, through the Greenbriar to Bethie’s house. Away. Even now, a range I don’t want to cross. 

It’s then I have a terrible dream that wakes me at 3 a.m. I’m at a gathering in a barn loft with lengths of wood as the floor with spaces in between, many large openings revealing the floor beneath. The barn roof slants sharply to the ground. I’m drinking wine and my children are with me, playing, though I don’t seem to have any concern for their safety as they leap around the barn, peeking through the slats into the interstices and cracks. There are women at the party, dressed in elegant garments, but they are unaware of me as they speak to one another. I say, “I’m here, What now?” As I turn my back on the children, the night collapsing into indefinite contours, and raise my glass to the air, there ruptures a shriek, a few I think, eclipsing the tenor of celebration. I turn to see a child, I don’t know who, reach forward to grab my daughter as she slips and falls to the ground and is gone. 

It isn’t long after the dream that Ava discovers I’ll die and there is nothing to stop the tears. She’s young — this will all change — so I hold her, say, “We all die, but not too soon. Not too soon.” We continue to collect our time together in the expression of this new awareness — she sings to me lullabies, tells me stories, and dresses me up in tutus and glittery vests. I go with her when she asks, and if there were tar bubbles on the gravel road, I’d pop them with her. I let the things I don’t know about her stay fastened inside her until she will let me into her secrets, if ever a chance for this. 

On a warm day, I sit with her at the table out back and watch the new season come in like a deep breath: the grass laid out upon the earth, the geese streaming across the sky, the blue heron erupting from the pastures. We lay out a picnic in the yard with a quilt patched in pumpkins and goldenrod and sip lemonade together. I tell her of a time I took her shoes with me on a trip, by coincidence, a pair of pink Mary Janes. I found them stuffed into the pocket of my tote bag, having somehow missed them through packing, airport security. They were small. Shoes for a 3-year-old. I remember I was leaving for two weeks and when I arrived at my destination, I put them on the shelf near my books in my temporary home and consulted them every day as a reminder of who she was and who I was, should that ever disappear. While studying the shoes, I remembered a distant morning when I had come upon a cattle drive in the early reaches of winter near the township of Wisdom, Montana. Men on cow ponies drove the herd over the two-lane road covered in Angus muscle and sweat, the cattle’s highway to winter range and fresh grass, the sounds of thuds and hooves on pavement, the low moos of livestock and an occasional “Haw! Haw!” from the lead. A woman followed behind them all and with her, a bundled baby on the saddle, a pink face poised against the 30-degree wind. Tough and weathered, the woman and baby drew close, calm behind the herd, like a dream. I wanted to ride with them toward the Anaconda-Pintlers across the great plains of Montana and never look back. With them, I wanted to rinse my hands in the Big Hole River and kick my boots against the chutes and fences of the grazing pasture. I wanted to hold onto them forever, reins and sweat and grit and all. I wanted to preserve their fortitude, their fragility. I wanted to preserve their extinction.

I turn to Ava where we mingle in the grass and tell her all this and see the gaps in her teeth as she smiles, like open invitations, and think, maybe there’s something here that tells of our future circumstance, a distance we can’t know until tomorrow.  

* * *

Also in the Writing the Mother Wound Series:

‘A World Where Mothers are Seen’: Series Introduction by Vanessa Mártir
I Had To Leave My Mother So I Could Survive, by Elisabet Velasquez
Frenzied Woman, by Cinelle Barnes

* * *

Melissa Matthewson’s essays have appeared in Guernica, DIAGRAM, American Literary Review, Mid-American Review, Bellingham Review, River Teeth, and The Rumpus among other publications. Her first book of nonfiction, Tracing the Desire Line, is out now from Split Lip Press. She teaches at Southern Oregon University.

Editor: Danielle A. Jackson

Editor: Jacob Z. Gross