When I finally made it to Marlboro Country, I knew it because I didn’t have to work anymore. Herds moved themselves and we all just sort of waited, looking intently into nothing, waiting for a sign.
Still, my clothes got dirty. The spurs we wore were just for show: our horses always saddled and ready to ride forever through the haze of the countryside.
My grandfather was nearby, down the gravel road in Winston Country. The horses were smaller down there. The people bought canned food and Budweiser. They all wanted to live in Marlboro Country.
Every day, the sun set over our statue of the Marlboro Man. In his mouth, we kept a cigarette burning, always. In case he ever showed up, we wanted him to know we were always thinking of him.
Solvents
for Vachel Lindsay
“They tried to get me; I got them first!”- The last words of Vachel Lindsay
in washing his windows, my brother Noah nearly killed himself south of Springfield mistaking Windex for Gatorade from a plastic cup on a kitchen counter he is replacing after 40 years of holding breakfast and ashtrays.
he remedied the toxin with some crackers and well water, then, in switching to Anheuser-Busch, he called the Poison Control Center before he called me.
BUT I FEEL FINE he said, and I asked if his insides held the television crows who never could tell what they had in just hanging from the power lines. He said WHAT?
He wants me to know that his neighbor to the south just went belly up. He called him at midnight to cry, saying that even if he sold everything, he would still be a half a million in the hole.
I thought of our neighbor Vachel Lindsay drinking Lysol just a few miles north, the taxmen circling his childhood home too, bankruptcy buried like turnips forever across the fields scaffolding Springfield.
Given the time, we all till until we reach the bottom, exposing black earth and eating of it deeply, nourished by its chemical bread and in knowing that we have done good, honest work.
Until reading Quan Barry’s latest novel, We Ride Upon Sticks, I had no idea the 1692 Salem witch trials hadn’t actually taken place in Salem, Massachusetts. The hysteria emerged in the nearby town of what was then called Salem Village, and is now called Danvers. “Honestly, of all places on earth, the Town of Danvers should have seen us coming,” Barry writes. In We Ride Upon Sticks, Barry—a Danvers native—places us in 1989 amongst a coven fueled by Pat Benatar, peroxide, and dark deeds scrawled in an Emilio Estevez notebook. Her witches? The 1989 Danvers High School Women’s Varsity Field Hockey team.
When the novel begins, the team has suffered a lot of losses. Suddenly, in the summer of 1989, they start winning. Their goalie has taken matters into her own hands by pledging herself to the powers of darkness in an Emilio Estevez notebook, and one by one, she convinces her teammates to join her. The girls’ actions get steadily darker as they chronicle their misdeeds in the notebook simply referred to as “Emilio,” who “would become a record of our offerings, a shadow book documenting our efforts on behalf of the dark.” They keep winning—and the girls start thinking collectively. But despite their shared thoughts, the girls occasionally remain capable of keeping secrets from one another.
The excess of the decade wafts over the story like hairspray (“Ave the ’80s! The only thing bigger than our hair was our outfits”), although Barry doesn’t neglect the ways in which things were worse for women, queer people, and people of color (“What did our mothers call it? Bad sex. What would our daughters call it? Rape”). The girls’ individual coming-of-age stories weave in and out of their collective identity, through field hockey and ritual and ’80s aesthetics, everything escalating as the team fights through the season.
Currently a professor at the University of Wisconsin-Madison, Quan Barry was herself a member of the 1989 Danvers Field Hockey Team. She is the author of the novel She Weeps Each Time You’re Born, as well as four poetry collections, most recently Loose Strife. Over the phone, we talked about DIY witchcraft, self-advocacy, collective power, and which ’80s heartthrobs are still crushing it (hint: it’s Keanu).
Deirdre Coyle: We Ride Upon Sticks is written in first-person plural, the field hockey team’s collective “we.” To me, this point of view seems daunting, but it felt very natural and appropriate in the story. How did you decide on this point of view?
Quan Barry: Obviously there are a few examples of “we” plural voices in literature, probably the most famous one being Jeffrey Eugenides’The Virgin Suicides. In that book, you get a group of boys who are watching this family of girls, and this group of boys tells the story.
I always knew that I wanted [We Ride Upon Sticks] to be a first-person plural voice, I just wasn’t sure whose voice it was going to be. When I first started writing it, I thought that maybe it was going to be the entire school watching this girls’ field hockey team, but that didn’t quite work. And then I thought that maybe it was gonna be the freshman team. Oftentimes with sports, you have a freshman team, a junior varsity team, and a varsity team. I remember being a freshman girl myself, and usually what happens is that the freshman girls are just, like, obsessed with the senior girls. They just seem so much older, like they’re adults, and they can drive. [The freshmen girls] sort of stalk them in various ways, and know all kinds of things about the senior girls. But when I tried doing that, it became very obvious very quickly that I couldn’t really explain why these freshman girls would have certain access to certain scenes or why they would know certain things. And then I realized, “Oh, it’s just the team itself. They’re the ones telling the story”—my joke being that there’s no “I” in “team.”
I also think that, finally, making it first-person plural adds a sort of witchy element to the book. Not only is it first-person plural, but there’s also some collective thinking that happens along the way, and first-person plural allowed me to have that sort of otherworldly element in the book as well.
DC: It’s very eerie in all the right moments. The girls write their pledges to “Darkness,” “Dearest Darkness,” rather than an explicit “devil” or other figure. What made you decide to keep this darkness broad and vague?
QB: I really see the witchcraft in the book as not a major element. In many ways, it’s more about the girls finding themselves, and their friendships, and discovering who they are. So I saw the witchcraft in general as being very DIY. They don’t have a particular program or way of going about it exactly; they’re discovering it as they go. So it made sense to me that it would be broader. Like I said, it’s just kind of a do-it-yourself thing. One of the things that I was really concerned with in the book is that even though they are dabbling in the darker arts, I wanted them to still be sympathetic. So even when they do create mayhem, you’re hopefully still rooting for them. Similarly, for me, keeping it broader allows the reader to maintain sympathy. I felt like if these girls actually were pledging themselves to a very specific, goat-headed devil, that it would be easy to lose sympathy with them. You could even make the argument that in the end, the darker power that they’re playing with is just the idea of the sun and the moon. The sun is sort of a bright object, and the moon is darker in certain ways. It’s a darkness that we all have, and which we do draw power from, you know? I was interested in exploring that side of things. Like okay, so, when you do look to your—I want to say to your “instincts,” even, as opposed to your “baser instincts”—but even just when you follow your gut, where will that take you? That’s one of the reasons why I decided not to have it be a more specific darkness.
DC: ’80s pop culture permeates the story, most notably in the Emilio Estevez notebook in which the girls sign their names and pledge themselves to “Darkness.” In an era with so many teen heartthrobs, how did you settle on Emilio to represent the Prince of Darkness?
QB: (Laughs)Well, a friend of mine who was on the field hockey team had two celebrity crushes back in the day that you would see in her locker every time she opened it. One of them was Emilio Estevez. The other one was a person whose name we didn’t know how to pronounce at the time, and that was “Keenu” Reeves, right? So, in thinking about quote-unquote “Keenu” Reeves—obviously, the guy is still crushing it, he’s still around career-wise, 35 years later—in some ways, it wouldn’t have made sense to have it be Keanu Reeves. But Emilio Estevez I feel like, in many ways, was emblematic of that time period. A lot of younger readers might not know who Judd Nelson is, for example, because he doesn’t have the same kind of presence? I think Emilio Estevez, because he comes from the Sheen-Estevez acting dynasty—even though he himself is not in the spotlight, obviously his father [Martin Sheen] is still known, his brother [Charlie Sheen] is still known—and I’ve always found something very innocuous, in the best way, about his look. I think he probably has played villains, maybe? But I couldn’t really name any. If you think about The Breakfast Club and the character he plays in it, which is this kind of good-hearted jock, it just seems like who he is, you know what I mean? There are a few other people who you could picture who maybe would have dark sides in them, and so, you know, making them the object of darkness might make sense. But with [Emilio Estevez], he just seems so cherubic that it’s kind of a disconnect. And from what I’ve heard, he’s a very, very, very nice guy. So there probably is a complete disconnect.
QB: He already has a little bit of that darkness, so.
DC: You were on the 1989 Danvers field hockey team, right?
QB: Yes.
DC: You mentioned in another interview that the only character explicitly based on someone from that time was your coach.
QB: You know, when I first started writing the book, I basically had a draft of it done, and then my editor told me that my field hockey coach had passed away. I told my editor her name, and she did some searching, and she’s like, “Oh, she passed away a few months ago,” when I was writing this novel. This is not creative non-fiction, you know, it’s fiction, and for legal reasons, you can’t have characters based on actual people. But after she had passed away, that freed me up to have a character based on her. So I went back in and tweaked her in such a way that it made it even more obvious that it is Barb, Barb Damon, as an homage to her. She passed away in 2019, I think she was 82 years old. But yes, she is the only character in the book based on [a real person].
DC: That sounds like a very fitting tribute; she’s such a great character. So there are a lot of really amazing descriptions of the girls discovering their power, whether they’re “frenzied maenads” running off the field, or druid queens with blue-painted faces. Did any of that residual power come from your experiences playing field hockey?
QB: I think yes. I had been interested for a very long time in the idea of groups of girls and what happens when you get them together. Because I think it’s different when you get a group of girls together than when you get a group of boys together, you know? There are obviously a lot of sports books, movies based on boys’ team sports, you know, football, basketball, Hoop Dreams, Friday Night Lights, that kind of thing. But when it comes to girls in sports, it’s usually things like ice skating or gymnastics. You don’t really see that many girls’ sports movies or books. I mean, there was Bend It Like Beckham some years ago, but that was about it. And because I grew up in the town of Danvers, which used to be Salem Village, where the first incidents happened that led to the Salem witch hysteria, or the Salem witch trials, I was always interested in how that ended up happening. And I think that there was something about the collective, you know? It built on itself. A few girls said these things, and then it began to snowball, and become bigger and bigger. I was interested in how that kind of thing happens.
When you put on a jersey, you take on an identity. Sometimes that’s for good, and sometimes that’s for bad, you know?
In thinking about playing field hockey myself, I could see how when you’re part of a team, in general—it’s not just about a field hockey team or anything—but when you put on a jersey, you take on an identity. And sometimes that’s for good, and sometimes that’s for bad, you know? So we see it with, for example, sports hooliganism, particularly in Europe. A lot of soccer fans put on jerseys and unfortunately do bad things, kind of in the names of their teams, right? There’s a kind of fanaticism that can come with sports. It’s also a sense of community, so there’s a plus side to it, and there’s also a dark side to it.
I remember being part of the team and there’s a way in which you feel positively connected to these people, and in certain ways it makes you feel braver. I’ve had the pleasure recently of going back to my hometown and giving a reading there, and a lot of my friends from the team came. There are literally some people who I have not seen since the day we graduated. But we talked about it, and we’re really excited about it—we have a little email chain going—hopefully this summer, depending on where the state of the world is, we’re hoping to get together and maybe actually hit some balls around. Like, it’d be fun, we should all get together, just mess around a bit. There’s something about it. I think we all just have really pleasant memories of playing together, being a team, and being friends. And you wouldn’t know we were all very different people, and we still are. We still have this common bond, even more than thirty years later.
DC: That’s so amazing, and very appropriate for the kind of story you’re telling in We Ride Upon Sticks. So the title of the book comes from the confession of Tituba, the first woman to be accused of witchcraft during the Salem trials. It’s so perfect for a story about a field hockey team.
QB: The original title of the book was actually “We ride upon sticks and are there presently.” That was her entire quote. She was maybe the third person to go before the trial.
DC: Oh, she wasn’t the first?
There was a lot of darkness happening in the ’80s. I wanted to show how things that were acceptable in the ’80s are no longer acceptable.
QB: Not the very first. And in thinking about it again, she was an enslaved woman. Even now, they’re not quite sure if she was—because there were Native American people who were enslaved—they weren’t sure if she was a Native American person who was enslaved, or if she was somebody who was originally of African origin. They’re not quite sure. But basically the thing I love about her, as the book discusses, is that she is the first person to confess to [witchcraft]. So she’s not the first person to go before a trial, but she’s the first person to actually confess. And in doing that, she kind of lays the blueprints for, “If you want to live, this is what you do: you confess, you make up a story, they’ll show mercy on you, and you won’t be killed,” basically. And so during her trial, as she’s confessing, they’re asking her for all these details. At one point, there’s an amazing question that they ask her. They’re like, “So how do you and the other witches, how do you guys travel to the coven that happens in Boston?” And she says, “We ride upon sticks and are there presently.” I have known that quote for a very long time, and I was hoping that the entire quote would be the title of the book, but it was not to be. (Laughs.)
DC: It’s great in both the short and long versions. There’s a line early in the book that felt relevant throughout the story: “When you don’t speak up, you get what you get.” It remains relevant as the characters decide what they want to talk about, and to whom, and as their inner voices enmesh into a collective voice. It’s also interesting in the context of the Salem witchcraft trials—when those women spoke and when they didn’t. You talk a lot about the differences, especially regarding gender and sexuality, between 1989 and 2019, when the frame story takes place. Were you thinking about how time has changed the ways in which people are more or less comfortable speaking up?
QB: I wasn’t necessarily thinking about it particularly through the lens of speaking up, but I was very much thinking about the ’80s and how now, we think, “Oh, the ’80s, they were a fun time; we like to dress up, and do our hair funny, and listen to the music.” But there was a lot of darkness happening in the ’80s as well, right? It was the time of the AIDS crisis, the Central Park Five. There was all kinds of stuff happening. I definitely wanted to show that aspect of it. Showing how time passes and how things that were acceptable in the ’80s are no longer acceptable, that’s definitely something that I was interested in thinking about.
There are scenes where [the girls are] talking about dating and consent, and how in 1989, what that looks like is obviously very different from what it looks like now. There are definitely moments in the book where people speak up about what they want, even as far as their sexuality is concerned—you know, Abby Putnam finally deciding that she’s had it with her on-again, off-again boyfriend, and wanted to advocate for herself, and what she does there. That kind of stuff. I was very much thinking about women and girls coming into power in various ways, and speaking their own truth.
I hadn’t particularly pulled out that line that you pulled out, but now that I think about it, I’m like, in many ways, yeah, it is kind of a mantra of the book: “When you don’t speak up, you get what you get.”In my life, I’m probably an over-communicator. Because I always feel like, if I told you what I needed, and then you couldn’t do that, then that’s on you. (Laughs.) I can’t expect people to be mind readers. That’s definitely something that I believe and that I try and live by. I can see that yes, in this book, these girls are very much learning to advocate for themselves and in doing so, then that puts it on the world. The world can’t meet their standards, right? Because they’ve said what they needed, and who they are.
I’ve always found writing difficult. Almost from the moment I learned to read, I knew that I wanted to be a writer, but I loved books so much that the idea of writing one felt fraught with danger and difficulty. The stakes, after all, were so high. I learned quickly of course that it was much more difficult to write a book than to read one. I was born worrying, my parents said, and once I discovered literature, I really had something to worry about.
Perhaps as a result, I’ve always found myself drawn to stories about artistic struggle, books in which the writer is failing to achieve what they believe to be their purpose in life. Call it arrested artistic development. My first novel, Early Work, was a parallel bildungsroman, a book about two writers moving together but in opposite directions, one towards the fulfillment of their goal, the other towards the hard realization that literary greatness probably isn’t right around the corner. My new book Cool for America is a series of linked stories about how people try to find their way past life’s impediments to realize some measure of contentment as artists and, occasionally, human beings. These are, for the most part, stories about the beginning and middle of this journey rather than its endpoint. After all, what life story ever gets more interesting after the subject achieves success? For the people I’m writing about, any kind of satisfaction is far from a foregone conclusion.
Below are some of my favorite works of literature about artists who are stymied in their attempts to fulfill their visions, both by the usual impediments—sloth, vanity, booze, love—and, sometimes, by the capricious workings of the outer world. Of course, the pleasing irony of all such books is that, no matter how long the odds may seem while one is reading them, they did all eventually get written. Otherwise there wouldn’t be a book at all.
Spiotta’s tricky, emotionally devastating novel is about a brother and sister duo fighting for artistic control over the narrative of their lives. The book’s central figure, Nik, is a musician who has established an elaborate private mythology for his work, which includes extensive writings, some in the voice of his sister, who, as his main audience, has often found herself in her brother’s shadow. The novel becomes, in her words, “the counter chronicles” to his version of the family story, a reclamation of her own life as a writer that requires her to push Nik’s vision of himself aside.
This short Austrian novel, published posthumously after the author’s archives were saved from being destroyed by the Nazis, is a jaundiced portrait of literary presumption. An aging civil servant named Saxberger’s early, obscurely published book of poems is suddenly taken up as an essential influence by a group of young writers, who hope to convey legitimacy upon themselves by raising the status of the older writer. When Saxberger is given the task of writing a new poem for the first time in decades for a literary reading, the results are… very disappointing. In the end, Schnitzler suggests, perhaps “no fame” would be preferable to late fame.
This is a scabrous, very funny piece of autofiction—somewhere between linked stories and a novel—about a young Black writer careening through bohemian New York in the early ’60s. (No, this is not the same Charles Wright who recently served as the poet laureate.) These are dispatches from a picaresque life of drugs and male hustlers, of late, hallucinatory nights and morning cigarettes. The narrator takes stock of himself in the mirror in a way that will be familiar to many an artist: “A fairly young man with a tired, boyish face, saddled with the knowledge of years and nothing gained, lacking a bird dog’s sense of direction most of the time, without point or goal.”
Chen’s elliptical novel is of the noble “failing to finish one’s dissertation tradition,” a situation I deeply relate to despite having never attempted to start a dissertation. A former competitive swimmer, the narrator is a sports historian fixated on stories of failure and disaster. She’s also trying to reckon with the suicide of her ex-boyfriend. Over the course of the book, the convergences between sports, life, and art become clearer and clearer. “If doing sport is to be ‘lost in focused intensity,’ as swimmer Pablo Morales said once,” she writes, “then watching sport is to be lost in the focused intensity of someone else’s focused intensity.” That sounds a lot like reading, too.
This is one of my favorite discoveries of the past few years. It tells the story of a ne’er-do-well alcoholic writer who gets a job as a tour guide at Pushkin Hills, an estate where the famous Russian writer once lived, now turned bleak tourist trap in the long middle age of the Soviet Union. He talks a lot about writing, and lampoons the efforts of his fellow guides (of course everyone who works there is a would-be writer), but between the drinking and trying to win back his ex-wife, he just can’t seem to find the time to put pen to paper. “You are not being published,” he says to himself. “But is that really what you dreamt of when you mumbled your first lines?” Well… yes.
A friend recently described this book as the best breakup novel ever written, and it might well be true. The narrator is fleeing from the aftermath—or is it merely the middle of the prolonged descent?—of a many-years’-long affair with a married man. She is a reporter, but she is having a great deal of trouble telling this story. “For a woman, it is always, don’t you see, Scheherazade,” she tells us cryptically. She finds compulsive narrative stride in the long episode set in Ireland, without a doubt the best rental car disaster sequence in American literature.
That Smellby Sonallah Ibrahim, translated from the Arabic by Robyn Creswell
This brief, searing Egyptian novel, originally published in 1966 and translated into stark English by Robyn Creswell in 2013, is narrated by a political prisoner recently released back to his home in Cairo, where he remains on house arrest. The narrator is a writer, but his experiences have shocked his nervous system such that it’s a struggle simply to get through the day, let alone convert what has happened to him into art. The recent New Directions edition of the book includes excerpts from notes Ibrahim secretly made while in prison, as strong a testament to his literary will as one can imagine.
Halfon’s book consists of three long intertwined stories, all dealing with the ways that the lives of those who have died can continue to haunt those who remain. Halfon is Guatemalan and Jewish, and his work is continually concerned with the aftermath of the Holocaust and with the genocide of indigenous people and other perceived political enemies of the government during Guatemala’s long civil war. The titular final piece in the book concerns the drowning death of the narrator’s uncle at age five in Lake Amititlán and its long aftermath. Halfon often writes about the difficulty of getting to the truth of the past, of being able to move forward without understanding what has come before. Ultimately, the artistic impediment that cannot be overcome is death.
Maybe you’ve had enough of the fireworks. Maybe you were heavily influenced by the “worst places in New York” Twitter discourse. Maybe you’ve just spent four months contemplating how you spend half your income to live in a tiny dark room. Whatever it is, you’re now fantasizing about saying Goodbye to All That. We cannot responsibly encourage you to move around the country right now, but we can help you get started on the inevitable personal essay you’ll write when you do!
Just find the first letter of your name in column A, the second letter in column B, and so on, and plug them into the sentence we’ve provided. So for instance, if you’re Joan Didion, you’d look for J in column A, O in column B, A in column C, etc.—and then when you ran out of letters in “Joan” you’d start on your last name. The result: “New York taught me apathy and how to walk two miles in heels, but now that I have massive debt it’s time to move to Berlin and retire early.” Man…. <stares blankly out tiny sliver of window I pay mumble mumble dollars for>… sounds great.
I don’t remember the precise day I became trans. It wasn’t a great revelation, but a decision that took place over a series of months, and later years. It began in 2013, the year before TIME Magazine announced what it called the “trans tipping point,” the point at which trans presence in public discourse would become unignorable. My personal tipping point was less a point than a process, even a course of study. My gradual migration was aided by the genderqueer and nonbinary people whose blogs I followed. Reading their stories, I realized that I, too, could live a trans life, and I did not have to be a man in order to do so.
After four years closeted in a Catholic high school, I came out as trans the summer before my first year of college. Between my freshman and junior years, I got a formal diagnosis of “gender dysphoria,” began a low dose of testosterone, received a bilateral mastectomy, and later a hysterectomy. Today I am not “cured” of some sickness named dysphoria, but live with a happiness whose baseline is considerably higher than it used to be. After years of searching, my body is now not quite so formidable an enemy.
In the eyes of medicine, I only became legitimately trans at the moment of dysphoria diagnosis, after proving to doctors I was credibly disordered. Generations of personal and medical narratives have made this story of trans-as-sickness ubiquitous, even compulsory. The earliest of these narratives typically focus on trans women, whose renunciation of manhood and its privileges was pathologized alongside their gender-crossing. With the 1977 publication of Emergence: A Transsexual Autobiography, the first published memoir authored by a trans man, author Mario Martino joined this lineage, outlining the contours of respectable disorder for bodies like his. That is, bodies like ours.
In the eyes of medicine, I only became legitimately trans at the moment of dysphoria diagnosis, after proving to doctors I was credibly disordered.
When Martino sought gender-affirming medical intervention, at the time called “sex reassignment,” only a small number of medical professionals could help him. The few who did offer biomedical transition followed guidelines created by a doctor named Harry Benjamin, who––in Martino’s words––”gave respectability to the gender-disoriented.” Benjamin ranked trans patients (again, typically women) on a scale from “pseudo-transvestite” to “true-transsexual,” only the latter of whom qualified for biomedical interventions like hormone replacement therapy and surgery. To be a “true-transsexual,” one had to conform entirely to gendered roles of the place and era in which they lived: the trans women Benjamin worked with were feminine, heterosexual, docile, and sought husbands––they adhered to misogynistic expectations of what women were supposed to be. Martino supported the use of stereotypes as a barometer for true-transness, praising trans women who were meek and servile. Unsurprisingly, he saved the bulk of his paternalism and venom for the women he deemed too shrill.
Martino argued for his legitimacy as a man by way of his spirited, independent, “boyish” childhood, as well as the sense that “males are [his] brothers” rather than potential sexual partners. While I did not grow up a tomboy (nor did I identify outside girlhood before my adolescence), Martino was “born this way,” certain he was a boy from the time he could think it. While my lesbian and trans identities amplify and intertwine with one another, Martino was disgusted and horrified to be associated with lesbianism. He considered his pre-transition relationships with women to be heterosexual, yet disabled by “incorrect” anatomy. My own pursuit of a “gender dysphoria” diagnosis was resentful, and I was angry that I had to be marked “defective” in order to exercise bodily autonomy. Martino leaned into his diagnosis, relieved he was “a legitimate patient: not a homosexual, transvestite, schizoid, psychopath, or exhibitionist!” but a man trapped in the wrong body and in need of a medical diagnosis and eventual cure. His simple longing for a straight and narrow future, combined with a willingness to fully discard his wrong-body and past life to embody an ideal manhood, allowed him the vanishingly-rare opportunity for medical transition according to Benjamin’s guidelines.
Narrators like Martino reinforce the idea that to transition is to go from sick to recovered and from deviant to normal.
In line with Benjamin’s thinking, and with “transmedicalist” beliefs that linger today, Martino believed transness was a sickness only doctors could cure. His ultimate thesis was an argument for a true-self, visible and possible only through medical recognition. His autobiography—a file of evidence approved in its foreword by Dr. Benjamin—works to justify this truth, a documentation of his linear transition from diagnosis, to hormones and a year of required “role-play” as a man, to a mastectomy, hysterectomy, and finally a then-experimental phalloplasty. He both became and had always been a man, the embodiment of a central transmedical contradiction that applies to all forms of gendered existence. We must groom and fuck and purchase our ways entirely toward the “real wo/manhood” we have ostensibly been born into. In truth, there is no attaining these ideals, but the process of attempting them has produced a centuries-old story whose binary genders remain intact today. Emergence reinforces a hegemonic definition of what “trans” is, telling a story not of choice and experience but of diagnosis and doom. Narrators like Martino have helped to create the “born-in-the-wrong-body” myth, reinforcing the idea that to transition is to go from sick to recovered and from deviant to normal.
Medical diagnosis and familiar body-angst notwithstanding, my approach to transness was and is an atypical one, especially compared to Martino’s. As I moved away from womanhood, I chose butch lesbianism: framing my relationships to women and other non-men as unmistakably queer. At the same time, after I received hormones and surgery, my butchness grew effeminate rather than stereotypically masculine. Through it all, I have kept my given name, Sarah, and along with it I have kept alive the memory of the little girl I used to be. Surgeries behind me, I am now free to speak my true feelings on the (non-)nature of my identity: trans is a trail I have chosen to walk, one response of many to a set of feelings whose origins will never be fully known.
“Trans” is a dynamic term, changing in accordance with the experiences of those who claim it, including me. I refuse the circumstances of my birth and the opportunity for straight transition I have been offered. I have my testosterone and keep my birth name. My denial of cisness and of legal “opposite-gender” recognition lets me imagine a reckless space––a trans space––that I can share with like-minded others. While “transsexualism is not what [Martino] would have wished” for himself, he uses the limited material and ideological tools available to him to correct what he perceives as an illness. He even pens an autobiography he hopes will be taken as gospel when determining the veracity of other trans men’s claims. Martino would likely consider me a mere confused homosexual female, whose queer, lesbian, halfway body would disgust him. He slams the medical gates to trans identity closed behind him as he passes and pulls up the welcome-mat.
I do not belong in Martino’s trans. He, it appears, does not belong in mine, and his story reinforces ideals antithetical to my radical trans philosophy and politic. Still, our shared decision to take hormones and seek surgical interventions are irrevocably linked, forcing us into an uneasy kinship. I cannot avoid this truth any more than I can avoid the circumstances of my own girlhood, which at first seems to contradict my current relationship to gender: no matter what I do, the Sarah I am remains, and they or she remembers.
Reading my story through the lens of transness requires me to share in this often-contradictory constellation of narratives.
Reading my story through the lens of transness requires me to share in this often-contradictory constellation of narratives. In my own reading, I have had to confront stories that threaten my understanding of what “trans” is, stories that seem to undermine my own place in it. To take part in the trans story requires an acknowledgement of, even attention to, this lineage, which treats transness as property and dysphoria as capital. Martino’s story gained legitimacy specifically by rejecting my experience. He gained legitimacy by rejecting the existence of innumerable queer and gender non-conforming trans people, including Lou Sullivan, a gay trans man and activist whose requests for biomedical transition were refused repeatedly because he was gay. Sullivan’s ultimately-successful campaign to access hormones and surgery, and to allow other queer trans people to do the same, began contemporaneously with the release of Emergence. Both men were trans, or “transsexual” in the language of the era. Both are elements of the legacy I carry to this day. Yet, Martino’s trans terrorizes Sullivan’s and my own. Martino looms above me, threatening to demolish the life I have made for myself at the slightest misstep. History threatens to eat me alive.
No matter how ardently I refuse all association with Emergence, to do so is to reinforce binaries akin to those I reject. I would feel dishonest refusing any association with Martino, given that “trans” is, if nothing else, about the ability to hold contradictory truths at once. My initial urge to wholly disclaim transmedicalist narratives is counterproductive if I want to genuinely transform what “trans” can be. Our power, after all, lies in our ability to be many-at-once, to harness and transform language in ways previously unimagined.
I choose a nonbinary approach, and hold two contradictory truths at once.
Far from policing the gates of trans-storytelling, we have the ability to critically, honestly read unsavory parts of our history, while at the same time storming the gates of gender-legitimacy, ripping the doors to the house of trans off their hinges. This does not require an oversimplification of “trans,” a reduction of a complex array of lives and values, to a shared “not-cisness.” Instead, we can take this semantic connection to people like Martino, and use that connection to untell the stories that threaten to speak for us all and restrict our self-determination.
In my time researching his narrative and others, I have chosen neither to fully incorporate essentialists such as Martino into my vision, nor refuse association with the stories that, for better or worse, helped to form the “trans” we live today. Instead, I choose a nonbinary approach, and hold two contradictory truths at once. Martino’s story both is and is not trans: while it is located in the metanarrative of trans history, its conservatism precludes it from solidarity with the lives and communities we cultivate today. Perhaps Emergence was the most daring work he could have written at the time of its publication, the views it espouses have and continue to threaten trans peoples’ autonomy, including my own. Rather than living the life of trans misery Martino describes, I have come to understand trans is also a site of great joy. While I am heartbroken that we live in a world in which infants are marked by a litany of structural forces, self-determination compromised before they are capable of understanding it. The queer, trans communities I find myself part of, the play and experimentation I am able to do in direct defiance of cisheteronormativity: these are some of my life’s greatest pleasures.
In our series “Can Writing Be Taught?” we partner with Catapult to ask their course instructors all our burning questions about the process of teaching writing. This month we’re talking to Megan Giddings, author of Lakewood, who is teaching an upcoming six-week workshop on creating characters in fiction. We asked Giddings our standard ten questions, and she talked to us about learning from thorny problems, drinking seltzer as a treat, and figuring out how to write even when nobody’s paying attention.
What’s the best thing you’ve ever gotten out of a writing class or workshop as a student?
I learned that often when people keep talking about the same thing in a story and try to diagnose what’s wrong with it, that’s usually the most alive part. You might have to alter how it’s written, but it’s probably the thing the story needs to actually be worth reading.
What’s the worst thing you’ve ever gotten out of a writing class or workshop as a student?
I had an instructor tell me that she didn’t think “I had it” and I should think seriously about maybe switching from fiction to poetry. If I had been a younger writer, it probably would’ve killed my writing for a long time to have someone in authority say that to me.
What is the lesson or piece of writing advice you return to most as an instructor?
Learn to love specificity.
Does everyone “have a novel in them”?
Yes.
Would you ever encourage a student to give up writing? Under what circumstances?
There’s a big difference between writing because you love it and writing because you want money, attention, praise.
I wouldn’t ever encourage a student to give up writing, but I would point them toward learning how to write without getting attention. There’s a big difference between writing because you love it and the process and writing because you want money, attention, praise. The latter will only hurt you throughout your career. Writing and knowing it might just be for you and learning to be fine with that is important.
What’s more valuable in a workshop, praise or criticism?
Neither. A good question is the most valuable thing you can take from a workshop.
Should students write with publication in mind? Why or why not?
Students shouldn’t draft with publication in mind, but when they’re at a point where they’re making a serious revision, they should start thinking about readers. Drafting with publication in mind will often kill creativity.
In one or two sentences, what’s your opinion of these writing maxims?
Kill your darlings: It feels more like something that should be on a t-shirt than something that actually helps most writers.
Show don’t tell: Depends on the point of view you’re writing!
Write what you know: I think the better advice would be write what you emotionally know. In like 75% of circumstances, you can do research.
Character is plot: I’m not mad at it. I think complexity of self is the plot of an average day, so why be against it in fiction?
What’s the best hobby for writers?
Anything that makes you regularly fail and fail, so that the process of writing and revising and sending out doesn’t feel so frustrating.
What’s the best workshop snack?
As an instructor, I just drink seltzer water because I am old enough to sometimes think of things like that as a nice treat. But when I was a student, it would be a baked good someone else in the workshop made and plunked in the middle of the table.
There are few moments in our lives when we are truly nowhere. I had experienced this feeling only a couple of times: Once, on top of a mountain that I had scaled just after dawn. Again, at an indexing conference; the hotel I stayed at was filled with all shades of corporate people convening, and I spent what turned out to be a great night watching pay-per-view and ordering lasagna to my room. And now, as I drove through darkness on the interstate.
I messed with the dial until I got to public radio jazz, which, aside from my thoughts, was my only company. As I drove, I began to notice a sensation in my body that was unmistakably good, even euphoric. I was free. Behind me in the back seat were two empty car seats. No one was asking me for a snack, no one’s nose needed to be wiped, no one demanded the same song be played at top volume over and over. I turned my music up and drank some water. I never went anywhere without my water bottle, and there was always a full one in my car. I never got my hair cut either. The hairstylist always does shit you don’t ask for, and you leave looking like a senator’s wife. I do the two-hack snip after the shower, and I always look fine.
I put my water bottle down onto cough drop wrappers in the cup holder and saw a half-sucked one stuck to the console. Next to it was a crust of stale bread and some broken baby sunglasses, like bird skeletons. My engine light was on. What was I doing? This was too extreme. At the next exit, I told myself, I would turn back. I could get home while the kids were still asleep. Asa would be amazed I had gone as far as I did. Maybe that distance was enough. But the portion of interstate I was on had very few exits, and I was low on gas. I kept driving until I reached the next rest area and pulled in to fill up the tank. It was cold. Mine was the only car at the pumps. I went in to use the bathroom and met no one. By the time I got back into my car, I had made my decision.
How did I get here? Who registered my car? Who scrambled my eggs, took me to the dentist, made corn on the cob, refrigerated the butter? I dive into the pond but emerge the same person. I push around the shopping cart, and another woman’s hands grab the granola. I am Asa’s wife. I want to go to a party, he doesn’t. So I stay home. I want to go to a town meeting, he doesn’t; I go but then come up with an excuse to leave early and drive home fast on icy roads. He turns over in bed snoring the second the light goes out, I lie there staring at the dark air above my head. He went on a fishing trip with Phin and came back, was all over me, oh how he missed me. I wanted to stay up and watch Netflix and eat popcorn in bed. Maybe if I lived in Paris. Maybe if I were fifty-two, had a miniature poodle, were a famous painter with a yellow sports car and a rubber plant in a giant pot and a coffee table covered with elaborate silver teaware. Not in this life, Asa says. You married the wrong person. Oh, but what the fuck does he know, with his elbow patches? I can reupholster the couch, I can adopt a puppy, I can wear whatever I want, do whatever I want to do with whomever I want to do it with. Maybe if I wrote a successful novel, I would go to Paris to celebrate, dance on tables and smoke a pipe. Maybe if I hadn’t skipped history class in high school to smoke cigarettes in the alley, I would have a doctorate in international relations and would live in Paris for my job. Maybe if I had stuck with my singing in middle school, I’d be in a conservatory and would go to Paris each month to perform. I would stay in a rented flat, I would know the landlord. I would buy groceries and carry them in a woven bag.
I was stalked by an ex-boyfriend in college. He would show up at my window at four in the morning and throw pebbles, demanding that I see him. I told him calmly, and then more forcefully, to go away, and a week later a shoebox arrived on my front doorstep. Inside was a dead squirrel. This seemed like the last straw, like I would be the next to go. Wasn’t that the message he was trying to send? I took the shoebox to the college counselor to file a complaint, along with my best friend, who was also my housemate. The administration building was low, made of cement like a storage unit. The counselor asked me if perhaps this was his attempt at romance. Maybe it was misguided, she conceded, fine. She recalled her childhood in Kansas, where boys used to climb up a tree and knock on her bedroom window, where kids would beat each other with sticks on the playground and then go home for cookies and milk. I told her another story, about a time when the same guy came into my living room with a gun, pointing it at his head and then mine, alternating. (My friend shifted in her chair; the story wasn’t true.) The counselor paused, then, tucking a tissue she was holding into her shirtsleeve, told me they’d park a public safety vehicle outside my house for two days. In the meantime, I should think seriously about taking a leave of absence: go home as soon as possible, she said, pack my bags today, wait until the guy graduated, then come back and finish up my classes, take my finals, write my thesis. This was the plan she had for me, and she started closing her folder as if to say, “Time’s up.” I walked out of there and decided just to leave it all up to fate. Life went on as usual; the 4:00 a.m. visits subsided and he shacked up with a field hockey player. Latest news is he’s representing women in domestic abuse cases. I guess I got lucky. But the way she tucked that wet tissue into her sleeve really stuck with me. I kept wondering if it was just a thing people did, old people, to save paper. Or maybe she didn’t have pockets.
Oh, but what the fuck does he know, with his elbow patches?
A few years later I was living in Madrid, interning at a film company for the summer and renting a room in a colorfully painted apartment in Chueca with other foreigners. The landlord came up to talk once a week, shirtless, jiggling, and we’d share slices of the peaches I bought compulsively at the fruit stand downstairs. I slept in the pink room. It had a high ceiling. I could hear the discotecas bumping, but I went to bed early. That year was the hottest summer on record, and you could walk only on the shady side of the street. No one went outside from noon to two. I slept with the fan on high five inches from my face, and one morning I woke up and couldn’t move my neck. My employer recommended a massage parlor down the street from our office, and the next day, after doing a piss-poor job of translating the film company’s website copy, I went in for an appointment. The massage therapist was a man with long hair. There was Muzak and lavender. After the back massage I flipped over, and he ventured down to my groin. He inserted his fingers in me, pressed them against my pubic bone from inside, explained to me in broken English something about pressure points. He proceeded cautiously, waiting to see if I approved. I told him I was getting a migraine and went back to the office, where I said nothing. We had bocadillos for lunch, gazpacho. I spent the rest of the summer in solitude, walking instead of taking the metro because there had been a bombing. I sometimes visited the vintage store across the street from my apartment; the manager was fun-loving and we would laugh about bullshit. I read English gossip magazines. I was lonely. I didn’t want to get blown up, it was so hot, and I had the ache in my neck that wouldn’t go away. Why didn’t I tell anyone?Oh, please.
It wasn’t just the bombing. Ever since I was little, I’ve been terrified by the idea of untimely death. Having children only made it worse. Waves of fear will wash over me while I’m scrubbing the dishes or driving my children around for a nap, or when they have fevers and I’m next to them in bed with a cool cloth, counting their inhalations. I imagine my kids bent over, shoulders shaking while they weep, calling for their mother, “Mama,” and their father unable to find the right words to soothe them. I imagine them cold and alone in their beds, crying out in the night for me, and me not being able to wrap them in my arms, to tell them it will be okay, to comfort them. I will be dead. Forever. I have written “put together a will” on my to-do list every week, but I never actually do it. I worry that once I have my affairs in order, I will drop dead right then and there.
Ever since I was little, I’ve been terrified by the idea of untimely death. Having children only made it worse.
The thing that frightens me most, maybe, is the idea that Asa (or, if he dies first, my kids) won’t know what to do with my body. I imagine what they will say: “Bury her in the local cemetery, so we have somewhere to visit.” But then I think of the work involved: the beating back of the weeds with pesticides so the grass looks like a golf course; the interminable mowing; and then the space the dead take up when there are living people who need room for shelter; and the chemicals pumped into hollowed-out bodies that lie like mummies in tombs; the deterioration, slowly fleshing off to bone while the toxic death makeup leaches into the groundwater; and the skeletons that are there for all eternity, gaping, with their clothes still on, their braids still growing!
“Cremate her,” they might suggest, and that option is also no good—how would they know the ashes were mine? “Compost her,” Asa’s more radical peers could say. “Inoculate her with spores.” But wearing a mushroom suit in a hole in the ground? Perhaps I’m too vain.
As I drove, I imagined the scene of my memorial, and what began as terror morphed into a state of enjoyment and relaxation, so that I began tapping my hands on the steering wheel to the future rhythm of beating drums and kids playing tambourines. My shoulders dropped a little. I let myself release into it. I turned up the music, letting it swell along with my reverie as I drove.
Here’s how it will go: Asa will invite my community to a weekend camping trip in the mountains. Everyone will drive there, having time to think in the car, passing small towns and meadows full of wildflowers, listening to songs from the past on the radio. They will arrive at a suitable site, near a stream, and set up camp, and they will bring me over to the creek and wash my body with cold water. They will try not to slip, but they’ll inevitably get wet. Then they’ll dab my skin with rosewater and organic oils and place a bundle of lavender in my hands, tied with simple twine. They will wrap me, naked, in a white linen sheet, and carry me back to the campsite on a cliff with a view of mountains. There will be a pile of wood prepared for a bonfire. They will place me on top of the pile—I guess using a ladder—and the music will begin. Everyone who wants to will play an instrument, in a circle surrounding me, and there will be singing. My friends are talented; this will be a memorable display of their artistry. There will be maracas, shakers, fiddles, whatever they feel like playing. There will be children dancing. Maybe my children, maybe my grandchildren. There will be songs I loved, old folk songs, old blues songs. The fire will be lit. Asa—or, if he’s dead, too, whoever is in charge—will make sure it burns bright, even if it means adding some sort of gas. (Me being partially burned is not an option.) And then, as the flames rage, the music will die down, and there will be a picnic where people can share memories or stories as they please. There will be good wine and beer, a potluck. Someone will remember to bring the chips and that store-bought onion dip I always hovered around apologetically at children’s birthday parties. People will have the option of weeping into their salad, but grief won’t be a requirement. The idea is, celebrate. Then, after I’m all up in smoke, the campers will pack their things and leave me there, hovering like a low cloud cover, as they depart to a bed-and-breakfast or a distant campsite with clean air. If the memorial starts in the morning, I want them gone by dusk. No sleeping out there in the dark. I’ll be dead, but they’ll be alive.
I found myself looking forward to this moment, some small part of me, even though I fear death utterly. Just knowing I can control it, through planning the details, calms me. I want my kids, for years to come, to remember the celebration, the burning, the feast, the music, the washing of my body in the cold water. I want them to be able to go back to the site year after year if they feel like it, to collide with nature, not a fixed and frigid tombstone, and to come to terms with the fact that I am dead, that they will lose others, that they, too, will die and so will their kids. If their response is to resent me, then so be it. But eventually, they’ll thank me.
If the day of my death is soon, there is a letter that I want someone—maybe Asa—to give to my kids. I have left this in a file marked “Important,” and it goes like this:
You two,
I’m writing you this letter in the event of my untimely death. I want you, when faced with sorrow and the inevitable yearning to hear my voice, to be able to read my words, meant for you and only you. Can you remember my voice? I want you to know how hard it was, to leave this world, to know—whether on a conscious level or not—that I would never get to hold you again, smell your breath, cut your eggs up, pour you milky tea, caress your softness.
My great fear, which has kept me up nights for years, is that you will have to live without a mother when you need one the most. And now, perhaps, that fear has been realized. But your lives have to go on. There are still peanut butter sandwiches to eat, even if I’m not making them; they’re just sandwiches. You can still feed the crusts to the dog. Someone will fill your water bottles, brush your teeth with you. There will be someone to make sure you are taken care of. But what will you do when the grief becomes impossible to bear?
I worked hard to love you, to make you feel loved, to have the world love you. I became old instantly.
Your father: he knew me best. He took the broom and dustpan to my corners. Just ask him—anything—about me. He’ll tell you the story of the day we spent at North Beach, shrieking in the water, chasing your kickboards, eating twist soft serve at a picnic table, watching the bodies of Canadian tourists. He’ll tell you he couldn’t even look at them, how no one could compare; he’ll give a grandfatherly wink. He’ll tell you how we biked as the mountains cut out of the water, how Phin went five miles without stopping at age four, no training wheels. Or he’ll tell you about the drive to the birthing center, me on hands and knees in the back of the Subaru with one seat folded down and rain falling in sheets as he drove seventy-five miles an hour on winding country lanes, how the pimply nighttime guard at the emergency room entrance couldn’t find the right key, how I held my legs together until he did, how we somehow made it around the corner to the hospital bed. He’ll tell you how we ordered breakfast sandwiches and seltzer from the birthing center café and watched professional soccer on the world’s smallest television, while I waddled to and from the bathroom peeing blood, calling for more ice diapers. Cuddling Eden in my arms like a seal pup.
I worked hard to love you, to make you feel loved, to have the world love you. I became old instantly. I became imprisoned by love, by impatience, by impetuousness. It wasn’t easy; I hope you will find the shadows comforting, in the end. I wish I could be there to defend myself.
Love, Your mother
I change it about once a week.
Just over a year ago Asa was offered tenure, and there was a dinner in his honor. The president of the college and his wife had reserved the entirety of a restaurant twenty minutes from our house, run by a couple who had recently moved to Vermont from Boston and had teamed up with a renowned chef. The chairs of other departments were invited, as well as some deans and upper administrative staff. At the time I peppered my husband with questions: Who were their wives, what did they do, how many children did they have, did they send their kids to private school, had he seen the women before, were they intelligent?
I hadn’t worked, officially, since the summer before Phin was born. About two years before that, I had written a short novel about an eccentric French stepmother, but it never found a publisher. My mother had always wanted me to be a successful writer, as she herself wanted to be, and I tried to publish it, I think, as an obligatory gesture to her memory, or at least I told this to myself. But no one liked it, and no one offered me a deal, and so I shifted my focus to getting pregnant, having babies, and performing relatively insignificant and infrequent freelance indexing jobs (which I wasn’t that good at, truth be told), a useful skill left over from my college days when I badly needed cash. These indexes, mostly for medical textbooks, offered no creative satisfaction; I didn’t even really like seeing words pile up, or their corresponding numbers. (I hated doing my taxes.) I would get lost in thought and have to redo my work often. But the indexes brought in a modicum of money, and that was enough. On the door to my studio was a bumper sticker that read: “If you don’t talk to your kids about indexing, who will?”
I began painting on the side, something I had watched my father doing while I was growing up, and I used it as a meditation since I never really had much time to make sincere work with all the other chores required on a homestead. I did a series of my grandmother’s teacups that I hung on a wall of the kitchen, and a portrait of the painter Vanessa Bell lying faceup in water, which I hung in the mudroom. They were a little bit Bloomsbury Group, a little bit paint-by-number. I was okay with that. It was affirming to have created something material I could walk by and actually look at or take down, dust off, hold in my hands.
When I was on deadline, I worked while the kids were at school; otherwise, I cleaned the house, even though it was never clean enough. On the weekends I took both kids for walks in the double stroller up the steep dirt road, turning around at the top and bracing backward, my weight the only thing keeping them from barreling down the road or off into a drainage ditch. The money I made on the rare index didn’t add much to our family’s bottom line, but it allowed me to feel that I was contributing in the most minor sense. The household items I purchased online, for example, felt paid for by the sweat of my brow, and somehow this made my increasingly conventional marriage feel more balanced.
Although I tidied, our home was always messy, but as a whole it retained an energy that was aesthetically intoxicating. Besides cleaning, cooking, rearranging the art and furniture, and doing the laundry, I trolled eBay on our spotty wireless for bargains to make everything beautiful. Vintage velvet pillowcases for the couch, a universal slipcover for a shabby antique wingback chair we had inherited from a neighbor (which took me nearly half a day to find online and probably wasn’t worth it, in the end, as it was too loose in places and impossible to iron), discounted duvet covers for our bed, and a yellow spatula that could actually reach around the blade at the bottom of the blender. We were also lucky enough to be the recipients of quality hand-me-downs, and the objects around me comforted me; they had a legacy. I considered myself frugal for researching pre-owned items carefully and finding the cheapest deal for the best quality, though ideologically all the online purchasing made me wonder if I was a chief contributor to the over-consumptive economy we had traveled so far to escape in the first place. But, as rural people living on the edges of a Vermont village that didn’t even have a gas station, would we do better to get in the car and drive forty-five minutes to a drugstore chain only to risk not finding the thing we were looking for? Sure, there was a local feedstore for things like chicken grain and what we called “government cheese,” a thirteen-dollar shrink-wrapped hunk of sharp cheddar, but that was about it. Asa and I accepted the paradoxes of small-town life in the modern world while still considering ourselves renegades and anti-capitalist at the core.
Asa and I accepted the paradoxes of small-town life in the modern world while still considering ourselves renegades and anti-capitalist at the core.
My attempts at frugality didn’t prevent the occasional argument with Asa, who, despite his salary as a college professor (not that big, considering), wore old socks and T-shirts he would discover after digging through duffel bags in the attic, handed down to him nearly a decade earlier by his older brother. I braced myself for his commentary on purchases he deemed superfluous or, worse, frivolous: blueberries in winter, almond instead of peanut butter, a bigger terra-cotta pot for the aloe plant. Fine, I had a bit of a fetish for brightly colored water bottles, kids’ Tupperware, and handwoven African baskets, but otherwise I was pretty conservative with my spending. I knew I should resist the impulse to buy these excessive containers destined to take up valuable space in our lives, but it still got old, always having to explain the receipt, item by item, after returning home from the grocery store.
This is what really bothered me, when I was honest with myself—I was a failure in the world of art. I was afraid I had become the very thing I feared: my mother, who had struggled to make it as a writer and ultimately didn’t, and who died imagining two little men were always following her, living under her eaves, stealing things from her, leaving the seat up, hiding cheese rinds under the daybed, making creases in the sheets, and hoarding newspapers. She tried her whole life, hired a nanny to raise me, even got a few minor book deals, but in the end still had nothing in her bank account except the dwindling reserves of investments she had made from selling my father’s paintings after he died.
I was also worried about being left. I imagined the day would finally arrive when Asa would sit me down to explain why he had fallen out of love with me, and how he was moving into a yurt with his new (younger) girlfriend and would take the kids to live with them, and she would wear see-through nightgowns all the time, and it wasn’t my fault, but blah blah blah. I woke up in night sweats each time I had this dream, in different variations, over and over again: him leaving me, my devastation, raging, then breaking down. Sometimes in the dreams I would receive emails from people telling me that my marriage was a waste. I would shake Asa awake, asking him to promise never to cheat, begging him to admit he was. He would roll over and tell me to stop wasting my energy on obsessive fantasy. But I needed his affirmation. Without it, I was sure I would disappear. Yes, I felt invisible. I didn’t have anything to show for myself except my kids, and the older they got, the more themselves they became, while I grew more and more servile, adhering always to their changing needs. As a result, I was anxious about the dinner with the president of the college. I was worried I’d have nothing to say.
For three weeks before the dinner, I did my best to bring my intellect back to life and furiously researched the news from the last several months. If I didn’t have something personal to discuss over dinner—for who would want to hear about all the things I really did; a good Yankee didn’t divulge such private and insignificant matters—I would be able to discuss current events if it killed me trying. I imagined revealing my daily rituals; I imagined all the other wives raising their eyebrows and asking why I didn’t just get a babysitter. What was I going to say, that I was totally attached to my children, and didn’t trust anyone to care for them better than I could, perhaps pathologically so? That I didn’t want to become my mother, who claimed to have breastfed me but ultimately did little else to contribute to my rearing? That I wasn’t even in touch with my nanny, who actually raised me, while someone else raised her daughter, though surely her comforting voice would have gotten me through a time or two? That I wanted my children to have a mother who was at least there, making snacks, carting them to the science museum and the pizza place, who had chosen them over her own ego, her own ambition? Who rubbed their backs when they asked instead of forcing them to put themselves to bed? That cleaning my own house was a question of honor, and also of occupying an otherwise idle mind? No, better to be able to talk about the wider world to show that I could cook, clean, care for my children, support my husband’s career, and contribute to the intellectualizing he was being celebrated for. I would look good doing it too.
I thought about this last part a great deal. In those weeks leading up to the dinner, I lay awake each night next to my kids as they fell asleep and went over my outfit in my mind, perfecting it: brown velvet slim-leg pants, a handwoven linen shirt, earrings that were rose petals cast in silver, and gray socks under ankle boots. I finished reading the novel that had been gathering dust on my bedside table. I scrolled through magazine back issues that had been piling up on the shelf in the bathroom. I listened carefully to public radio while driving to and from the co-op so as not to miss the news. It surprised me that I got any joy from what felt like studying for my college finals, especially since I was still trying to please the same type of higher-ups. But I liked the preparation. It felt purposeful. I pushed myself.
Hopefully Asa hadn’t mentioned my secret and shameful artistic aspirations to his colleagues; I was grateful he was a man of few words when it came to the personal, although in arguments that was the first thing I raged about. If anyone brought it up, I would deny that I had ever been a writer—and, anyway, I was sure that I had never really been one to begin with. Instead I would say, impressively, “I’ve taken up painting.”
I would say, impressively, “I’ve taken up painting.”
The night arrived. We showered. We dressed. I fastened my earrings, applied some tinted lip balm, took a last look in the mirror, and kissed the kids goodbye. They were already in their pajamas and climbing all over the babysitter, the daughter of a neighbor, whom I didn’t trust. This was the first time in over a year that Asa and I had been out together, and I hoped it would be worth it. We sat in silence to begin with, and it occurred to me that he was nervous too. At a certain point I had Asa quiz me on the names of his colleagues as we drove on dirt roads through the hills.
There were name tags at the table. I was seated directly to the right of the president of the college. Now I knew I had been rehearsing for a real reason, likely cosmic. And thanks to my research, I could impress. I could use what I had learned. I could even flirt a little, as I had noticed the president was quite attractive, despite his age. I knew that if I bungled this, Asa would look like a man who had married beneath him, and even though it wouldn’t affect his tenure, it would absolutely cement in the president’s mind an opinion of me for the rest of Asa’s career at the college, which—we hoped—was for a long time if not forever. Ivy League wasn’t easy to find in the backwoods; once you got it, you made sure to keep it.
The other wives were put together in just the right way, and in particular the wife of the dean of English. She was tan from a recent trip to some island she and her husband visited every winter, which sounded like a heaven I could never hope to see (five-star hotel, lunch delivered poolside), and had impeccable taste in clothing (loose, relaxed, chic, black). Thankfully, after a glass of wine, I relaxed enough to release her hold on me, to let my childish insecurities fade into the background and allow my adult self to predominate. I was smart, damn it. I was sexy!
Partway through the dinner, right after the fried oyster mushrooms and ramp aioli and just before the salad, I looked around the table to find that many eyes were on me, as I held the room with my opinions about the war on drugs, gun control, and the recent death of a musician I had revered since I was little, who challenged gender norms and changed the course of music forever. Asa looked happy. He was smiling and seemed at ease. He fit right in with the deans but was perhaps more professorial, more rumpled. We were the bohemians amid the preppies. We didn’t use the dryer; maybe that was it. Whatever it was, I was hitting all the high notes and barely even trying. I had an internal script prepared I hadn’t even touched on yet. My husband squeezed my thigh under the table, and I could see from the corner of my eye how proud he was of me, how well the night was going, how beautiful I looked. He was lucky to be able to be both a present father while also propelling himself in his career, to have his work in academia buttressed by his life close to the land and for the establishment to recognize that. He was surrounded by smart, talented, powerful thinkers and yet could disappear daily into his hand-built farmhouse to make homemade soup on the Bauhaus-inspired two-burner stove, tend the garden, build a stone wall, design and construct a movable outdoor pizza oven, putter in the woodshop, cross-country ski out the doorstep into the woods, and forage for wild edibles. He had it all. And a captivating wife! What a team we were.
Yes, I was winning them all over. Our discussion was the perfect combination of agreeability and combativeness. The salad came and went. I challenged conservative assertions in just the right tone and could see I made some of the wives stop and think, when discussing the merits of public versus private education. What was a better choice, “blessing” the under-resourced public school with your presence and thinking that was enough to address the problems of segregation, or creating a radical, inexpensive, nondogmatic private school to show the public sector their model wasn’t working and give them an example of one that might? We spoke of hunting and the politics of ecological agriculture, and I went on for some time about nutrient density and the difference between merely “organic” food and that which is deeply nourishing on a micronutrient level. There is a big difference; a carrot is not just a carrot. At my suggestion we even played the “Which dessert are you?” personality game, my favorite—a gamble, to be sure, but it went over really well. Everyone was so relaxed; I was a breath of fresh air to them, you could tell.
Everyone was so relaxed; I was a breath of fresh air to them, you could tell.
I wasn’t faking this, mind you. Yes, I’d had to read some back issues, but they had always been around. I was the one who had subscribed to them in the first place. A lot of this was, in fact, my area of interest. And while I might not have had success in the world of the written word, I wasn’t a pudding (though in the dessert game, of course, I was). This was an important exercise for me, knowing that I still had a brain; I still had something to give. I began to feel as if I, too, had been offered the promotion. Asa’s boss, the president (chocolate person; very picky!), laughed with me about something, elbowing me in the arm as if we had known each other since the good old days, and the wife of the chair of the medieval studies department invited me to a private meditation group at her guesthouse on Sunday mornings. She was a classic pie person, and we found out all about her top-secret recipe for the flakiest crust (something pie people always do, try to convert you). I had another glass of wine. The conversation kept flowing. I could have stayed all night. Everyone was focused on me, amazed at how much I knew, considering I wasn’t a “professional” woman, how I was the only stay-at-home mom at the table who didn’t hire someone to clean her house, who gardened, who raised sheep, who dabbled in freelance work, who was an artist, who knew that painting is not just drawing with paint but the placement of color next to color, who had time to read long-form journalism while taking care of two kids and making dinner every night, sewing patches on pants instead of buying new pairs. I could see a glimmer of envy in the other wives’ faces when I discussed the projects and nature hikes I organized for my kids, the forts we’d built, that they used real knives to cut real vegetables. Yes, eyes were on me. And my audience was speechless, it seemed, as I digressed and divulged exactly how to make sauerkraut; it’s all about process, but it’s actually quite simple!
After a while I discovered that, yes, while all eyes were on me, the interest and admiration in the other wives’ eyes didn’t seem right, exactly. Could it be that it was closer to horror? What had I said, oh shit, had I said something wrong, had I joked about homeschoolers in a pejorative way, not knowing that someone’s cousins were unschooling their kids on a nearby farm? I hadn’t brought up vaccinations or astrology, oh god, had I? And then the head of admissions, who was sitting directly across from me, stifled a laugh, and as he covered his mouth, his wife (cake person, sugar fiend) slapped him on the shoulder. I took a breath and reached for my water glass to buy some time, to slow down and regroup. But my hands, I found, were occupied. Distracted by my own pontificating, I had been—for who knows how long, but clearly long enough—cutting the president’s filet mignon, and when I looked down at his plate, I could see that I had done a very good job indeed; the pieces were spaced evenly apart and in neatly arranged cubes, just large enough to spear with a fork, but not too big to choke on.
As the Harlem Renaissance skipped to a run, the South Georgian characters of Jean Toomer’s Cane demonstrated what present day Black Americans know all too well: to survive the collisions of racial trauma or violence, one has to switch identities. Constantly.
Published in 1923, Toomer’s unusual take on the South raised eyebrows for its surreal modernism, painting its syrupy souls in genre-bending vignettes rather than traditional plots. And, much like Toomer himself—a mixed-race man who passed for white—Cane demonstrates the complicated identity crises of those who reside in the dominant society yet hide their true selves.
What Is Code-Switching?
Code-switching is when an individual shifts from one language or dialect to another, often subconsciously, when communicating in social situations with ethnic groups. It’s a linguistic phenomenon—often subtle, usually defensive—that four in ten Black and Hispanic Americans use to blend in amongst others or to maintain safety, according to Pew Research.
There’s a nonverbal component to code-switching as well, like that shown in the research of University of Maryland sociology professor Rashawn Ray, who has studied how Black males shift their body language as a defense tactic to appear less threatening in public. I’ve done this: For years I’ve always kept an ID on me during runs in my neighborhoods, wore alumni T-shirts to demonstrate some form of academic community, never shown my anger on professional jobs to avoid “angry Black man” stereotypes, and introduced myself to police or security to avoid racial harassment.
These are all signaling processes and active code-switching. And it took me more than 30 years of life to realize that I’d constructed this behavior unconsciously, like Toomer’s characters. Reading Cane helped me to see that a pillar of my Black identity is rooted in surviving America through verbal and non-verbal exchanges.
A Metaphor of Black American Disillusionment
Cane is not exactly a novel, but a hodgepodge of short prose and poetry. The book is divided into several parts: two set in the South, and a lone Northern portion. There’s a drawing preceding each section, one fourth of a circle; these connectable but unconnected quarters signify incompletion.
Reading Cane helped me to see that a pillar of my Black identity is rooted in surviving America.
What ties the overall book together are its weary, broken, and emotional reticent characters: all longing for the past while facing an uncertain future, with violence never far away.
This notion and the book’s prevailing theme of navigating American chaos reflects the complicated narrative of Black Americans who, like Toomer’s characters, exist in a racial paradox—a vacuum of agency—that often reshapes or redefines the Black experience for the white gaze.
Case in point: For every “Black Lives Matter” there is an “All Lives Matter” or “Blue Lives Matter”; for every complaint of racial inequality, there’s a “bootstraps” lecture; and whenever meaningful discussions of race happen, there is the risk that white fragility will prevent true engagement.
The form of Cane conveys the disconnection that Black Americans have with the dominant society, and the longing for completion.
Cane’s Code-Switchers Navigate Two Worlds
Like Toomer, Black Americans are expert code-switchers in that we inhabit two worlds: the public, around whites and non-Blacks, and the private, among loved ones, friends, and our community.
Each world has its own code of conduct: In white spaces, you keep a low profile. Communication is straightforward, pleasant, frank. The goal is not just to fit in, but to survive.
In white spaces, the goal is not just to fit in, but to survive.
In Black spaces, accents, colloquialisms and slang proliferate as well as oral histories—from tall tales to “the dozens”—all bowtied by an irreverent respect for faith, alongside a longing for lost African traditions.
These racial expressions are akin to performance art, but Black folks in white spaces often must stay “on code” to prevent danger and to avoid confusion.
Racial Performance and the Limits of Personal Agency
Cane captures race as performance and the importance of code-switching rules in “Blood Burning Moon,” where Old David Georgia tells rumored tales of a relationship between Louisa, a Black woman, and Bob Stone, a white man, to a circle of friends. In this circle, there is community—safety, even. But the story serves to underline the idea that this safety is conditional, existing only because the circle is closed to outsiders.
In the story, Tom Burwell, a Black field hand and suitor to Louisa, doesn’t like that Bob, by social standards, is considered superior to him, so he leaves the safety of his community to claim Louisa as his own. Likewise, Bob struggles to think of Louisa as his equal even though he’s infatuated with her; his white pride and heritage is immensely important to his identity, and he’s angry that his family has lost power in this modern age; he longs for the “good old days” when he could approach Louisa “as a master should” and take her sexually.
Louisa is keenly aware of the limits of her agency in the Jim Crow south as a Black woman. She works for Bob’s family and navigates her relationship with Bob with great measure. Yet she acknowledges, “By the way the world reckons things, he had won her.” White men like Bob in that time often got what they wanted.
The story serves to underline the idea that this safety is conditional, existing only because the circle is closed to outsiders.
Understanding these social rules, Louisa tries to warn Tom that he shouldn’t act out in violence against Bob. That he shouldn’t behave like the white males expected him too. Likewise, Bob is propelled by an aura of white privilege that blinds him of all consequences to his actions, and he is, as we later see in the story, supported by white mob rule to keep the status quo.
And the risks are different for everyone: Bob stands to lose very little in pursuing Louisa, while Tom or Louisa could possibly lose their livelihood or worse for behaving in any way that threatens whites.
Conformity and Compliance Is Demanded
Code-switching often flies under the radar, which is of course the point. But as videos of white violence and attempted violence proliferate online, we increasingly see the risk of not switching into a “non-threatening” vernacular for the benefit of whites. The rationale for code-switching is evident in incidents where white pedestrians call the police on minorities simply to remove their presence. This behavior communicates: My privilege, needs, and desires are more important than you, and I can employ force against you if I see fit.
It’s why code-switching often happens: to minimize conflict to self and to navigate hostile spaces.
A prominent portion of Jean Toomer’s work in Cane focuses on the collisions of race in society and the performances that result from those meetings. The idea of race as performance was a theme that Toomer saturated into his work mainly because, as a high-society, mixed-race man, he’d freely moved between racial and socioeconomic groups his entire life.
Code-switching often happens to minimize conflict to self and to navigate hostile spaces.
In contrast, Black Americans who cannot freely move between those worlds with such ease may be criticized for leaving the confines of the racial behaviors considered native to their position in society. Those who do venture out—whether in dating interracially, having alternative tastes, or expressing differing political opinions—may be perceived as opting out of the safety of Black culture in favor of white culture—“acting white,” so to speak, or forgetting where you came from and instead pursuing the intrinsic rewards of whiteness.
The racial performance of those within “the code” must be consistent, even among one’s own group, otherwise you risk being ostracized.
Our society and its preference for whiteness as the ultimate goal is manifested in how we view beauty standards, professional representation, what is taught in American schools, and even which literature is considered “classic.”
This white-dominated reality impacted Toomer as well, who saw racial pride as something Black Americans had to quell in order to fit in with the dominant society. Louisa embodies this ideal by trying to keep her two worlds separate, not wanting to create friction with Bob or his family, yet also caring for Tom’s well-being by warning him of the dangers of going against a systemic force in a jealous, unfocused rage. Unlike Tom, who takes performing race to the extreme, Louisa is neutral-minded and wants to survive in a hostile environment.
Additionally, because Bob struggles with not wanting to perform his whiteness enough, he feels inadequate in his identity and longs for a time where he, as a white man, had more superiority. His actions to take Louisa over Tom are then guided by damaged pride; Bob is competing with his ideal self for lost valor. In our modern day, the Amy Coopers or “Karens” of the world resort to these same tactics when they feel their whiteness isn’t appreciated, or respected enough.
From a code-switching perspective, both of these men are cautionary tales of life in America where conformity is demanded, especially at the request of privileged whites, and defying those requests could lead to the loss of agency, as it does for Louisa, or in the case of Tom, put your very life at risk. Toomer’s depiction of privileged white men like Bob communicates that these individuals also exist under the same restrictions of white supremacy on self-expression; they are expected to play their own roles in the subversion of others and are systemically supported in those actions, as we see in the references of Bob’s family influence and the white mob avenging Bob at the end of the story.
Say It Loud: I’m Black and I’m… Proud?
In Cane, many characters struggle with understanding their racial identity. The weight of slavery and its effect still weigh heavy, and life as second-class citizens in the Jim Crow South has shaped their view of reality. For those who do not acknowledge their blackness, even when the greater society does, code-switching offers no respite; it’s useless or lost in translation.
This is seen in “Kabnis” where the titular character—a dignified, Northern Black teacher visiting Georgia—struggles to connect with the culture and community of his Southern brethren.
After a near brush with racial violence in town, Kabnis meets Lewis, a confident man strong in his personal identity and connection to the South. Lewis and Kabnis briefly bond, but there’s an unconscious distance between them, a “savage, cynical twist-about” revulsion, in which Kabnis laughs Lewis off, rejecting his help.
Kabnis wants to belong, but he’s disconnected: from his culture, his Blackness, and “home,” as Toomer deems the South. Kabnis is frustrated by the code of his peers. And in a place of community, he longs for the cold, alien familiarity of Northern cities. His desire to enter the dominant society has cost him his identity.
Toomer’s cautionary tale posits that assimilation in American society is possible, but you must surrender your Blackness at the door.
Toomer’s cautionary tale posits that assimilation in American society is possible, but you must surrender your Blackness at the door. This conformity also means that your issues become less important and, if you complain, the dominant society will deny your grievance to maintain the status quo. Examples of this exist in the defense of the Confederate flag, the “All Lives Matter” argument, or the inevitable character assassinations of police brutality victims—all pushbacks against Black pain.
Or, as a character explains to Kabnis: “N****r’s a n****r down this way, Professor. And only two dividends: good and bad. An’ even they ain’t permanent categories. They sometimes mixes um up when it comes to lynchin’.”
Cane is an exploratory work that questions the concept of race, while its characters—like their Black American descendants—regularly switch modes of communication to detail their pain, joy, and pursuit of identity to avoid judgment or danger. Therefore, code-switching is an unconscious response to a society that has historically suppressed Black bodies and voices; a rebellious double-entendre of life, like slave spirituals with hidden meanings. And yet, there is a frustrating necessity to regain one’s agency, even if for a brief respite.
But as discussions of racial equality and systemic racism reach critical mass in the United States, many of those private conversations are now out in the open. In a rare moment, the majority is listening.
With this week’s announcement on student visas, ICE implemented new restrictions on international student visas in the U.S. Students who are taking online-only classes must transfer to a class that’s offering in-person instruction, at a risk to their personal health, or face deportation. This announcement only serves to heighten the series of restrictive immigration policies that the Trump administration has been implementing throughout the pandemic.
So what does this mean? In some of these cases, students will be forced to leave the country. In other cases, it may result in unsafe, premature university openings that could cause a spike in coronavirus cases. This isn’t just bad news for the students themselves. The American Council on Education issued a statement on the recent ICE decision, pointing out that international students “yield an estimated economic impact of $41 billion and support more than 450,000 U.S. jobs.” Apart from boosting economic growth and facilitating better global relations, international scholars—professors, researchers, and students alike—help foster cultural and intellectual diversity in the U.S. Furthermore, cross-continental intellectual exchange is by no means new news—it has been a cornerstone of shaping our current-day, globalized society.
A better understanding of the international student experience won’t automatically make people value us—but perhaps it’s a start.
As for the many international students and scholars, we are faced with a difficult decision. I am one of those international students, one of over one million. Not all students have the resources to continue their research from their home country. Not all students have the option to return. In the midst of a global pandemic, we remain stranded without even a legislative safety net. As an international Ph.D. student noted on Twitter: “the message is clear: our lives are cheap, our work unvalued.”
A better understanding of the international student experience won’t automatically make people value our work or our physical well-being—but perhaps it’s a start. (You can also sign petitions, call on your higher-ed institutions to protect their students, and spread awareness of the issues.) Here are 8 books that discuss the experiences and contributions of international scholars within the U.S. higher education system. Some are acute explorations of what it means to be ostracized in society, regardless of qualifications; others are a satirical look at academia, humorously pointing out the ways in which class, nationality, and language converge; still others are a thoroughly researched, academic investigation of international students’ circumstances.
On Beauty deals with not one, but two visiting international scholars (and their respective families). Howard Belsey is a white English scholar of art history; his Black wife, Kiki, and their children relocate with him to the U.S. for his job. Meanwhile, Howard’s nemesis, Monty Kipps, is a controversial Trinidadian scholar who is against affirmative action. Hilariously, they both end up moving to a small suburban university town in Massachusetts. Imbued with Smith’s bitingly satirical wit, the novel tackles both political correctness and neighborly drama, as well as the intersections of nationalities, race, and class in an American liberal arts college.
Set in a small Southern college in the 1950s, Choi’s debut novel tells the story of a relationship between a young, war-scarred Korean student and a Southern heiress. Chang, or “Chuck” as an American soldier re-names him, comes to Sewanee on a scholarship. Haunted by memories of the Korean War, he doesn’t speak of his past—until he meets Katherine, who is also struggling with her past. The Foreign Student explores post-war trauma and interracial relationships, showing how one can find deep connections in unexpected places.
Forty Rooms centers on the concept that a woman will inhabit 40 rooms from birth to death; moving from room to room, the novel tells the life story of a Russian woman. The book starts in a small apartment bathroom in Moscow, then tracks how the narrator moves to attend college in the U.S., harboring dreams of becoming a poet. Grushnin imbues her narrative with rich literary references and hints of the supernatural, while also keeping the story grounded in everyday details. Forty Rooms is a story about immigration, education, and assimilation; simultaneously, it’s a meditation on what it means to be a woman, and the ambiguous consequences of dreaming big.
Yes: you’ve probably already heard of it. You’ve most likely read it. It’s worth re-reading! Americanah centers on Ifemelu, a strong-willed Nigerian woman who comes to the U.S. for college. Ifemelu grows up in Lagos, along with her high school sweetheart, Obinze; however, as Nigeria’s political landscape changes, Ifemelu is sent away to the U.S. for higher education, while Obinze winds up in London as an illegal migrant worker. Adichie’s acclaimed 2013 novelstill feels hyper-relevant today, with its nuanced, intersectional analysis of race, immigration, and identity.
I couldn’t pick between these two novels, both of which depict life as an international student in U.S. universities. So, both! In The Namesake, Lahiri tracks a multi-generational epic from Calcutta to New England. Lahiri is acute in her depictions of what it means to be “othered” in American suburbia, and the balancing act between family tradition and cultural assimilation. In The Lowland, two brothers’ lives veer apart when one remains in India, working with revolutionary movements, and the other wins a scholarship to study science in Rhode Island. This family saga explores sacrifice, love, and the consequences of the brothers’ respective decisions.
Although U.S. immigration policies have been directly linked to racism and inhumane discrimination—from the Chinese Exclusion Act of 1882 to current-day detention camps for Latinx migrant children—they also affect groups that have traditionally been in power, like straight, white, European men. Nabokov’s protagonist in Pnin is one such example, as a Russian émigré professor at an U.S. university. However, Professor Pnin is far from being a model scholar; he can’t seem to keep track of his papers (or train schedules, let alone academic conspiracy theories), struggles with delivering lectures in English, and writes tirelessly to his ex-wife. Written with Nabokov’s trademark humor, Pnin satirizes bumbling professors, the author’s own Russian accent, and the glamorization of America.
This academic book may not be the most exciting narrative, but it is definitely comprehensive. If you’re curious in learning more about national investments in global education, economic consequences of a more mobile labor market, and policymaking surrounding international students—this is the book for you. Bhandari and Blumenthal analyze global student mobility patterns, in order to point out existing trends and predict what they entail for our future.
It’s been said many times already that the coronavirus pandemic has laid bare the dramatic economic inequality in New York City—which of course ties into deeper systemic issues around race. But to pretend those inequalities haven’t been obvious before this time—to pretend they haven’t always been part of the city’s history—is a serious fiction. I grew up as the daughter of a building superintendent on the Upper West Side. In a single morning my father might be asked to prevent a homeless man from stealing the newspapers out of the lobby to re-sell on the street, to manage a group of contractors who were re-tiling someone’s bathroom, and to massage the haunches of the cat in the penthouse while the tenants were away at their summer house. In the course of a very short time period and in a very small space, all sorts of examples of vast inequalities occurred in the building where we lived.
In my novel, The Party Upstairs, I wanted to draw on the setting of a single building on the Upper West Side to explore some of the complicated power dynamics that emerged between residents there. Throughout the course of a day, a building super and his daughter try to navigate between different socioeconomic worlds they must inhabit and perform in. They have to reckon with their own past mistakes, with their wildest hopes, and with the facades they must keep up in day-to-day life in order to survive in the city.
In writing the novel, I was drawn to other books that approached socioeconomic inequality in the city in a way that neither fetishized the wealthy nor seemed to exploit the suffering caused by poverty. I wanted to tackle my characters’ anger at the city’s inequality while also recognizing the many moments of joy and connection the city brings too. The following books helped me think with more nuance about some of these concerns.
A Lucky Man contains nine stories, set mostly in Brooklyn and the Bronx, all of whichdo a brilliant job of creating narrative tensions around the interlinks between race, class, and masculinity. The story “I Happy Am” is an especially strong example of this: It centers around a group of boys from the Bronx who are driven out to the suburbs, expecting to spend the day at some rich white people home and to swim in their pool. The story twists and turns in a way that beautifully reveals how a kind of performance of gratitude so often plays into power relationships between white people and people of color, and between the wealthy and the working class. At the same time, moments of unexpected tenderness also occur in this story and throughout A Lucky Man, making these stories deeply human even as they tease apart the systems that try to dehumanize many of Brinkley’s characters.
Baldwin’s first novel opens in Harlem on John Grimes’ 14th birthday. But Baldwin moves around in time and space, exploring the lives of several characters in the rural South before they move to New York City. Many of the book’s characters held onto hope that living in an urban center in the North would feel different but as the novel shows, police violence, racism, economic injustice, and segregation persists in the city, too. Baldwin shows this sharply when his characters’ look at cultural institutions such as the Museum of Natural History and the Met. One of the most moving moments occurs when John takes a long walk and winds up at the 42nd Street New York Public Library: “But he had never gone in because the building was so big that it must be full of corridors and marble steps, in the maze of which he would be lost and never find the book he wanted,” Baldwin writes. “And then everyone, all the white people inside, would know that he was not used to great buildings, or to many books, and they would look at him with pity.” John Grimes’ resistance to looks of pity help lead to an unflinching look at the city itself throughout this novel.
In The Friend, a writer in New York inherits a Great Dane from her recently deceased friend and fellow writer. The novel grapples with sitting with grief, but there’s also a real sense of financial strain and risk: In order to keep her rent-controlled apartment in a building that doesn’t allow for pets, the narrator must hope that nobody reports the dog to her landlord. “It’s not like you’ll be put out on the street overnight,” a friend assures her. The super warns the narrator about the threat of eviction, which the narrator understands: It’s his job on the line as well. Nunez’s book demonstrates the way that housing instability in the city and the weight of class don’t need to take center stage in a narrative to make their presence felt on a character in the midst of great loss.
Jimenez’s stories, both joyful and rageful, all take place on Staten Island and are populated with smart people with terrible bosses, including angry adjuncts, underpaid office workers, photographers at the DMV, teachers, and grant-writers at nonprofits. There’s a keen awareness of the city and specifically Staten Island’s socioeconomic and racial tensions in this collection, and the way those tensions manifest even in people who would eagerly deny contributing to those tensions in any way (in “The Grant Writer’s Tale,” all the narrator’s office mates are white and have “expressed polite concern in the past about police brutality;” Jimenez’s use of “polite” is quietly damning and devastating). Jimenez tackles inequality and political upheaval while holding onto a sense of humor and humanity—a sense that animates her book’s narrators so that their voices seem to launch off the page.
The Privileges centers around “a charmed couple,” Cynthia and Adam. They start off in New York City as kind of rich and then—thanks to Adam’s insider trading scheme—get a whole lot richer, complete with penthouse overlooking the Museum of Natural History’s planetarium. But the two are so coolly observed, their life seems not glamorized so much as unnerving. As a reader, I was halfway waiting for the family to get punished by society in some way, to receive their comeuppance, but this kind of authorial move would, weirdly, feel cheap and dishonest, and Dee, in avoiding it, winds up saying something far more interesting about how class operates in America. The Privileges doesn’t feel like a voyeuristic look into the one-percent so much as a portrait that, in denying a too-perfect narrative justice, reflects the city’s own socioeconomic asymmetries.
Grace Paley’s New York is one where resiliency in the city is most tied not to affluence but to a lively curiosity: “All that is really necessary for survival of the fittest, it seems,” observes a Paley narrator, “is an interest in life, good, bad, or peculiar.” Inequalities in the political and urban landscape of Paley’s characters are not treated as mere background but as a key component of their reality. Her characters—single mothers, shouting children, activists, grocers, writers, social workers—speak out in voices that feel somehow both undeniably New York and undeniably Paley-ish.
The essays in Approaching Eye Level are attune to class, power, and city life in all sorts of ways, but the collection’s opening piece, “On the Street: Nobody Watches, Everyone Performs” is itself a virtuosic performance—a close examination of walks in the city, the strangeness and the thrill of them. “The streets attest to the power of narrative drive: its infinite capacity for adaptation in the most inhospitable times,” Gornick writes. There are devastating inequalities to see in the city streets but there’s also a kind of storytelling power in the many ways people survive. “Nothing heals me of a sore and angry heart like a walk through the very city I often feel denying me,” Gornick continues. “To see in the street the fifty different ways people struggle to remain human until the very last minute—the variety and inventiveness of the survival technique—is to feel the pressure relieved, the overflow draining off. I join the anxiety. I share the condition. I feel in my nerve endings the common refusal to go under.”
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