Nothing Gold Can Stay

girlinwindow — By Gina Easley www.ginakelly.com

By Kim Kankiewicz

With the first lilting chords of the piano, we take the floor. The snare drum eases into a 6/8 shuffle. We melt into one another as the strings sigh the opening notes of the melody line. The horns respond with a glissando in the second verse, and we are afloat on liquid gold. We are bodies swaying in a collective embrace, in love with every-other-body in this place.

My dress is buttercup yellow, strapless with a sweetheart neckline. The chiffon skirt cascades over a crinoline of nylon netting. My hair is combed into a sleek bouffant, its curled-up ends grazing my bare shoulders. My dance partner wears a white sport coat and a crew cut. His face is indistinct, but no matter; he is not the point of this imagined memory.

The point is the convergence, the enfolding of each of us into all of us. The song, to which I have never really danced, is “Theme from A Summer Place.” In my reverie, we sway to the familiar instrumental recording, Percy Faith’s 1960 orchestral arrangement. But other artists—my favorite being The Lettermen in 1965—have recorded “Summer Place” with vocals. Listen and you will hear a song less about romance than about sanctuary:

There’s a summer place

Where it may rain or storm

Yet I’m safe and warm

For within that summer place

Your arms reach out to me

And my heart is free from all care…

•••

Since childhood, I have cast myself in fantasies with soundtracks from my parents’ youth. I was six years old in 1980, when my family moved to Nebraska and settled into the Craftsman house where my parents still live. The formal living room, unfurnished for nearly a year, was the theater where my brother and I performed “Rock Around the Clock,” “At the Hop,” and other teen anthems from the American Graffiti soundtrack.

In fifth grade, I pictured my sixth grade crush pining for me as I listened to Frankie Valli crooning “My Eyes Adored You.” Carried your books from school, playing make-believe you’re married to me. You were fifth grade, I was sixth, when we came to be. I knew no sixth grade boy would carry my school books—not least because I was the kind of kid who listened to the Four Seasons in 1985—but envisioning such a scenario made the unfamiliar territory of adolescence feel navigable. The same was true in the final months of my eighth grade year, when I sweet talked my dad into deejaying a sock hop at my middle school. With high school on the horizon, I imagined joining the letter jacket crowd, the clean-cut kids with social status. (That the sock hop itself was not imaginary is equal parts mortifying and miraculous.)

At no time were my retrospective daydreams more persistent than during my first year of college. Living in Kansas I was homesick, so homesick. Studying to the oldies and wearing vintage clothing bolstered my spirits, but the image that sustained me emerged from a trashcan in the bathroom of my residence hall. On my nineteenth birthday, I discovered a date stamp on the trashcan’s raised lid: October 10, 1967—the month and day of my birth and the year my mom entered college. Never mind that she had attended a different college; it seemed profoundly significant that this trashcan was installed when my mother was a freshman, seven years to the day before my birth.

The date stamp became my talisman. Glimpsing it as I left the shower each morning, I would borrow my mother’s courage for the day ahead. She too was homesick, so homesick, when she arrived on campus, but she came to regard her college years with fondness. In her footsteps, I would do the same. I was into The Ventures that fall, and as I ascended the stairs between my residence hall and the main campus, a mental guitar loop from their 1960 hit “Walk, Don’t Run” propelled my steps. In my sophomore year, my confidence as a returning student was affirmed when Pulp Fiction made Ventures-style surf rock popular again.

I more or less maintained that confidence through the transitions of marriage and motherhood, relocations to Colorado and Minnesota and corresponding career changes. I believed homesickness was for kids and for people who moved internationally or under duress. Even as a college student, homesickness seemed to place me in an immature minority. As an adult, I did not expect to come unmoored when my husband’s career took our family from Minnesota to the Pacific Northwest.

•••

Here is a partial catalog of things that have made me cry since we moved to a suburb of Seattle last year: a parking structure where all the spaces are compact, because I miss the ample welcome of a Midwestern parking lot; the opening page of a novel dedicated to “the great state of Minnesota”; an area car show, because it was to St. Paul’s annual vintage car show as “Rock Around the Clock” is to the entire American Graffiti soundtrack; a photo of John C. Reilly, because I once noticed that Minnesota’s eastern border looks like his face in profile.

I am ashamed of my emotions, ashamed that I am not content to live in a comfortable house in a safe neighborhood between the Puget Sound and the Cascades. Our new hometown has good schools, a downtown with an art gallery and a live theater, hiking and biking trails, a farmers market. Our new neighbors build community in many ways—educating and caring for children, volunteering at the food bank and soup kitchen, protecting natural resources, creating art—and they have welcomed our participation in these activities. We’re surrounded by beauty: trees, lakes, mountains, and a creek where the salmon run every fall. My husband says he is still astonished that we get to live here.

I know how he feels. When we moved to Minnesota, I was overwhelmed with gratitude. We arrived in autumn, my favorite season. I basked in the low-angled sunlight reflecting off St. Paul’s Como Lake, the red and gold leaves crunching beneath my feet as I circled the water. Our family picked apples at a local orchard, watched squirrels and birds at an urban nature center, and met other families at a park where my son learned to ride his bike. In winter, the season that defines Minnesota for people who have never been there, we discovered sledding hills and indoor playgrounds, and the tropical plant room at the free-admission conservatory, where anyone could find warmth and color on a bleak day. We found that we lived among neighbors who would clear our driveway with their snow blowers without being asked.

But I loved Minnesota before I experienced those things. I loved it before I lived there because my grandparents had called it home. I had spent Christmases and summer vacations with them, and with the aunts and uncles and cousins still living throughout the state. I knew something of Minnesota’s history and its coalescence with my family’s history, and so moving there felt like a homecoming. Moving away felt like an evacuation, like being emptied from a vessel made from parts of myself.

I assumed that these feelings would fade after a brief adjustment period. Months after moving, I wrote off my ongoing melancholy as stress or Vitamin D deficiency. When it occurred to me that I might be homesick, this self-diagnosis seemed so implausible that I Googled “adult homesickness” to verify its existence. My search turned up several recent articles on the subject, including an op-ed in The New York Times by a writer named Susan Matt. Based on a decade of research, Matt concluded that feelings of displacement and depression are common among adults who relocate. Yet we are reluctant to acknowledge “the substantial pain of leaving home” in an era that regards mobility as a virtue.

Matt’s byline referred me to her book, Homesickness: An American History, in which I read about homesick colonists and nineteenth-century immigrants. I learned that homesickness became taboo in the twentieth century, when embracing progress meant surrendering ties to the past. What most interested me was the connection between homesickness and nostalgia, which are literally synonymous. The word nostalgia was coined in the seventeenth century as a diagnostic term describing a painful longing for home. It combines the Greek words nostos (“return home”) and algia (“pain”) and remained in use as a medical term through the Civil War. It was only during the rapidly changing twentieth century that nostalgia gained distinction from homesickness—longing for a lost time as opposed to a lost place.

I recognize these desires as twins, but how do I understand twins born years apart? What does it mean that I am nostalgic for a time before my own birth? It’s notable that when I cry for Minnesota, I am moved by my sense of its shape, of a history that predates my life by decades. Like the homesick freshman I was, I am again sustained by popular music of the past. I recently bought a turntable and have acquired on vinyl the greatest hits of Bobby Vinton, Herb Alpert, The Brothers Four—artists who were on the charts the year my dad graduated from high school. My most common earworm, the song that both rouses and soothes my sentiments, is “Theme from A Summer Place.”

•••

In 1960, when Percy Faith recorded “Summer Place,” my grandparents owned a creamery in Fingal, North Dakota. My dad was fourteen years old. His parents had purchased the creamery when he was four and would operate it until 1968, when my dad was in college.

My grandfather was a butter man. He bought cream from farmers, pasteurized the cream in a heated vat, and churned it by the ton. By hand, he scooped butter from the churn into 64-pound boxes that were trucked to school cafeterias and military bases. He kept two boxes from each churning and parceled that butter into one-pound cartons sold locally. The town was proud of its butter, deeming it the best around. Fingal butter was served in restaurants and at the Woolworth counter in Valley City. Fingal natives who had moved to Fargo or Grand Forks filled shopping bags with Grandpa’s butter on return visits. At a reunion just months ago, a former classmate showed my dad a yellow carton with a Fingal Creamery label that she has saved for almost fifty years.

Butter unifies. It absorbs and concentrates flavor. It creates texture and emulsifies, blending ingredients that would not otherwise mix. A man who makes butter connects farmers with townspeople, towns with cities, schoolchildren with soldiers. The butter maker’s family is embraced. His wife is esteemed, his children golden boys and girls.

This is the refuge I seek in my father’s past. I want to know the butter maker. I want to break bread with the butter maker’s family. I want my children to walk to school with the butter maker’s children. I want to be the butter maker, and the butter, melting into the place where I belong.

•••

I have become a broken record. At some point the longing to be absorbed becomes self-absorption. I must reconcile my butter-gold narrative with reality. In 1960, Fingal was homogenous as milk. I imagine it was possible there to feel separate from the world, from the civil unrest churning the nation, from the state’s native population. Even so, I hear whispers of Fingal residents who did not find sanctuary in small-town North Dakota.

Nostalgia is too easy. It saddens me that the Fingal Creamery ceased operations in 1970, two years after my grandparents sold it and returned to Minnesota. But to romanticize an era when mom-and-pops outnumbered franchises is to overlook disenfranchisement. My own comfort and safety are not enough, after all. I am out of my element where I live now, like frozen butter unevenly spackled on toast, and maybe that is the point. Maybe I am here, in this place and time, to be uncomfortable in a culture consumed by comfort. Frozen butter will keep safe indefinitely, but safety is not its purpose. Butter is for flavor and texture, qualities that are lost after too long in the freezer.

In other words, it is time to expand my soundtrack. I’ll always have a soft spot for golden oldies. But there are living voices singing songs I want to hear, street musicians and symphony members I want to know. I want to feel the pulsing of every drum in the beating of my heart. If the asynchrony is jarring, I am ready to be shaken.

•••

This is KIM KANKIEWICZ’s second essay for Full Grown People. While writing it, she discovered that The Brothers Four are from Seattle and are still performing. She has tickets to attend a Brothers Four concert the next time her parents are in town and hopes to hear a live performance of her dad’s favorite road trip song, “Blue Water Line.”

The Accidental Immigrant

budapest stamp — By Laszlo Ilyes/ Flickr

By Zsofi McMullin

My twentieth high school reunion was held at a restaurant right across the street from my former school in Budapest. I wasn’t sure why I wanted to be there so badly. I didn’t love high school—who does?—but what’s worse is that I barely remember it. I have no memories of, well, of anything really from that time, except for one boy I had a huge crush on for four years.

But this story is not about that.

I was repeating the tale of what I’ve been up to for the past twenty years for about the fifth time that evening—this time to a former teacher—when he asked me, “So, did you just decide one day to move to America?” At first I wasn’t sure why the question shocked me. But then I realized that it was because it assumed that there was a decision involved, a moment in time when I said “no” to staying in Hungary and “yes” to becoming an American.

But really there wasn’t. My trip to America wasn’t driven by war or famine, by financial difficulties, or political unrest. I didn’t have to come to America. And I certainly didn’t have to stay.

I was eighteen when I came here and, looking back, it’s hard to imagine how I had the courage to do this. Actually, it’s hard to imagine how my mother had the courage to let me go. She worked at the American Embassy in Budapest and when the question of college came up in my junior year of high school her colleagues encouraged me to apply to American schools. I am sure my parents thought about and discussed the pros and cons of sending me off to another continent. I am sure. But I don’t remember my own thought process, my actual decision about going ahead with the plan. And even if there was a decision, I certainly never considered the possibility that it would have an impact on my life twenty years later. You just don’t think of that when you are eighteen.

Mountains of paperwork, a full scholarship, and a trans-Atlantic flight later, my mom and I were driving through the woods of Pennsylvania to the school where I would spend the next four years. We spent the night in my new dorm room drinking iced tea from the vending machine and arranging furniture. My mom left me there the next day and after she drove off, I went to the bookstore to buy thumbtacks for my new posters.

My one-year scholarship turned into four years. Graduation turned into a job. My job led me to my husband and marriage. Pennsylvania turned into Maine and Connecticut. Jobs, a child, friends, a life.

And now, twenty years later, in that half-lit restaurant in Budapest, I realized that I have become an immigrant. I don’t even like to call myself an immigrant. That word to me somehow means desperation, flight, the life of a fugitive. I became an immigrant just by living my life, doing whatever comes next.

•••

When we arrived in Budapest just a few days before the reunion, there was nobody there to greet us at the airport. My parents moved to the U.S. a few years ago, and so they weren’t there to pick us up or drive us around during our visit. With no close friends or relatives, we were left with a grumpy taxi driver who gave us curious glances hearing me speak Hungarian to my son and English to my husband. We were tourists.

If you didn’t know me, you would never guess that I am not an American. I don’t have an accent. I write and dream in English. The pull I feel to my homeland is invisible to everyone else. It’s a faint tugging feeling in my chest, something empty and burning. I go through life, day by day, even feel happy most of the time. It’s only when I am quiet that I get that uneasy vibe, that feeling that something is not quite right. Something is out of place.

Whatever. Move on.

There is a life to live, things to do. No time to wallow.

I assume all immigrants feel this no matter why they are away from home.

The cruel thing about all of this is that going “back home” does not make you feel better. Suddenly you are a stranger not in one place—your new, chosen land—but two places.

The first thing I did after booking our plane tickets to Budapest was to buy a map of the city. It’s stupid really, because I know—or used to know—the city and its streets by heart. As a teenager I went everywhere by myself—on trains and trolleys and buses.

But suddenly I felt unsure about whether I would find my way from the hotel to the metro station, to the store, to my old high school, to a friend’s house. It was all unfamiliar territory and, like a tourist, I stood on street corners with this little crumpled map in my hands, drawing lines with my fingers from street to street.

Of course, it all came back after a day or two but with a sense of strangeness at every corner: I tried to pay with a bill that’s been tucked in my wallet from our last trip, only to find out that it’s been out of circulation for over a year. Bus stops have moved. Shops closed. Neighborhoods fell and rose. Buildings crumbled. There were new parks and fountains, coffee shops, hip bars.

People have moved on. It was hard to find things to talk about with my former classmates and not just because so much time has passed. I couldn’t really imagine what their lives were like and I assume they felt the same. There were the inevitable questions about America: “So, does everyone really own a gun?” And there were the personal ones about how much money I make or what kind of car I drive—both very American pursuits to the outside world, I assume.

And despite all of that—the feeling of being a stranger in your homeland, the loss of friends—there is a comfort to being “at home.” Old reflexes return, memories surface, the empty, burning feeling of homesickness is suddenly gone when I am on the streets of Budapest. I have no reason to feel at home, yet I do. And more than just feel at home—it all feels right. Settled. Comfortable.

•••

My late grandmother’s apartment in Budapest had a long, narrow hallway leading from the front door to the living room. One the left side of the hallway was the kitchen, a wall with a mirror and coat hangers, and a smaller hallway leading to the bathroom. On the right side of the hallway were three floor-to-ceiling cabinets.

It was a tradition during my childhood that my parents and my grandma would harvest the fruit growing in the garden of our summer cabin, haul it in big wooden crates to our apartment in Budapest, and make jam. For a few days each summer, our small kitchen would smell of apricots or plums or peaches—whatever was in season. Jars boiled in huge pots on the stove, and the floor was sticky with the juice dripping from our fingers as we peeled, sliced, smushed.

Once sealed in jars, most of the jam would make its way to my grandma’s apartment and to her pantry cabinets for storage. She would bring a jar or two with her every week when she came to visit, or she’d use the jam for baking.

When she died last year, her cabinet was still full of jars—carefully labeled with a mysterious system of letters and numbers. For example “08P” might mean plum jam cooked in 2008. On some jars, the writing faded and only after carefully removing the tight lid would we be able to tell what the jar held—the color of its contents darker with age, but the scent of the fruit still potent and unmistakable. Ah, apricots! Is this cherries, maybe? Let’s taste it.

On a recent weekend we were sitting around the breakfast table with my parents, my brother, and my son. This particular breakfast table happened to be in Maine, a world and lifetime away from the summers of jarring jam in Budapest. But there they were: two jars of jam that my parents brought with them when they cleaned out my grandma’s apartment. One jar of apricot and a jar of cherry and sour cherry mixture.

My son preferred the sugary, sickeningly sweet grocery store jam. But the rest of us used long spoons to carefully spread grandma’s jam on buttered toast and savored every bite.

I couldn’t help but think back to the person I was at eighteen—to the people we all were twenty years ago. When my grandma tightened the lid on these particular jars just a few years ago, she already knew that her son and grandchildren would be eating it somewhere far away.

But I didn’t know how much it would taste like home.

•••

I think that when people say that America is a melting pot, they don’t actually mean it. It’s not a huge vat of gooeyness that’s all blended together, uniform, smooth. It’s more like a tossed salad—chunks and bits and pieces of this and that thrown in. It’s easy to fit in—it’s just as easy to stand out. I think that most of us immigrants alternate between those two options—embracing what makes us different, but just as happily disappearing into the crowd.

I have to admit that there is some comfort in the limbo I feel when I am trying to decide where I belong. I can be a bit exotic, a bit different, slightly off-kilter and blame it on my Hungarian-ness. I wonder if this is what I have become, if this is my “thing” now: being different, being from nowhere and everywhere, being two people in one body. Should I let it define me?

But maybe that is the lovely thing about America: no definitions needed. I can be defined by my memory of cobblestoned streets, jars of jam, first kisses along the banks of the Danube. I can also be defined by the life I built here out of nothing really, just the two suitcases I brought with me twenty years ago.

I had hoped that as the anniversary date of my arrival in the U.S. gets closer this summer I would feel more settled with my American-ness and less conflicted about the eighteen-year-old me making this huge decision without realizing what she was doing. But maybe it’s time to embrace all of it—the homesickness, the uncertainty, the double life.

Maybe it’s time to plant some trees and start making my own jam.

•••

ZSOFI MCMULLIN lives in Connecticut with her husband and son and blogs at http://zsofiwrites.com. She’s a regular contributor to Full Grown People.

Summer of the Senior Discount

violets — By Gina Easley www.ginakelly.com

By Patricia O’Connor

If you had known me as a kid, you would not have pegged me as a tree-hugging granola girl. Sure, my family loved nature, just not intimately. Friends’ families went camping (unsanitary) or canoeing (unstable) or skiing (expensive, probably deadly). My family went on road trips. We drove through or around Yellowstone, Estes, Grand Canyon, and Mesa Verde. My mother, a tuberculosis survivor who believed that if one couldn’t sit in the lap of luxury, a reasonable compromise is to just sit, and my father, a former farm boy who had spent too much of his youth shoveling the smellier elements of nature, preferred to view the great parks through a windshield. Any forays from the car were to the well-paved lookouts where Dad, in his Saturday Sansabelts, would snap photos of his doughy children leaning against the reinforced railing that safely separated us from the wild.

As an adult, I want to experience nature more naturally. I hike, snow shoe, ski, kayak, swim—albeit not very often or particularly well. Keep in mind that I got a late start.

I was just on the shady side of fifty when I returned to the cliff dwellings of Mesa Verde, this time with my husband Jeff and our teenaged daughter Kate, and I was looking forward to experiencing the park on foot. The first test of our bi-pedal fortitude was to stand in line for forty-five minutes to acquire our passes for ranger-guided tours of Balcony House and Cliff Palace, two of the most spectacular cliff dwellings in the park.

Eventually, we were greeted by a woman nearly my mother’s age perched behind a tall, wooden counter. Jeff initiated the conversation, but she trained her rheumy eyes on me.

“Did they tell you,” she asked me, “that The Balcony House hike is very strenuous with thirty-two feet of ladders, narrow tunnels and walk ways overlooking hundred-foot drops?”

They would have been her fellow ranger retirees, one of whom was a wiry gentleman wearing Tevas with socks who told us that if he had to choose only one site to visit, it would be Balcony House because it is so “arduous.”

“It is very challenging.” She raised her wiry eyebrows for emphasis. “You might want to just wait up top in the car.”

“Excuse me?”

I wondered what she could see through the thick, curved wall of the wooden counter—the bluish swell of veins along the insides of my calves, perhaps. Could she detect my fallen right arch propped up by orthotics, my weak ankle and attendant knee? Perhaps she could smell my pheromones and determined that I am postmenopausal and therefore at increased risk for osteoporosis and heart disease. I am again a bit doughy, as I was when I first visited the park as a child, but no more so than many other people in line, less so, in fact. I fucking do Zumba, lady.

“Just be careful,” she said, tapping the edge of counter closest to me as if she were patting my hand. Did she think that we were contemporaries? How could we be, I thought, observing the half dollar-sized purplish-black carcinomas peering through her thinning hair, the plume of white that sprouted like pampas grass from a mole on her neck, the slight palsy in the hand still reaching for my own?

“I’ll be just fine, thank you very much.”

“Me too,” said Jeff helpfully, and he steered me away before I could say anything more.

Our first stop was at the Spruce Tree Dwelling (where I did not wait in the car). We hiked down switchbacks to the circa 1190 structure where the Early Pueblo people once lived. My long-legged husband and daughter sprinted ahead. I marched steadily at my own, more comfortable pace. I am generally the carrier of the camera, not to mention the family backpack loaded with waters, sunscreen, and snacks. As family historian, I must allow time for photo ops. As a writer, I must allow time for rumination and observation, but as a fifty-something, perhaps I just need more time.

I pondered this along with the Counter Lady’s warnings as I made my descent. I noticed I was following a woman wearing three-inch wedged heels and carrying a designer purse tucked tidily under her armpit. I wondered if my Counter Lady had a cautionary conversation with her. What about the very white family from Holland who embarked on their hike without hats or sunglasses, or—judging by the pinking of their noses and ears—sunscreen? What about the myriad flatlanders attempting to hike in flip flops, the gay couple (one of whom sported ballet flats), the pair of Cheetos-fed adolescents in their XX Large, orange-dusted T-shirts drawn taught against their heaving chests—did any of these travelers receive the Counter Lady’s dire warning, or was it just me?

I was still fuming about this when we stopped for lunch at the cafeteria near the visitor’s center. Kate took off to peruse the gift shop, while Jeff and I lingered to finish off the brownie we shouldn’t have ordered.

“Is it my imagination, or was that lady singling me out with the warning thing?” I asked him.

“No. It was really obvious. She was talking to you.”

“She didn’t seem worried about you at all.” Sure, Jeff is better coordinated, faster, and stronger than I am, but I exercise more than he does. Beneath his bargain-box tee-shirt with the Mickey Mouse ears and the letters C-A-L-I-F-O-R-I-N-I-A laid out in a misspelled arch beats a heart that loathes gyms. And beneath his Cardinal’s baseball cap hides his balding pate. But that’s not what the Counter Lady saw. She saw only the fine fringe beneath the rim that is the same fawny brown it was when I met him thirty years ago.

“It’s my hair, isn’t it?” I asked, but I knew the answer. It’s my effing hair, my long, wavy, slightly sweaty, gray hair.

“Yeah, probably so.” It’s the answer he didn’t want to give. He spent a year convincing me that going gray wouldn’t be so bad. I had been chemically dependent on drug store dyes for more than twenty years. I dyed every month up to my fiftieth year, and I would have kept on dyeing had I not poisoned myself.

It happened one afternoon. I made the mistake of answering the phone shortly after applying my box color to my hair. The call was from an old friend whose wife had just left him. What was I supposed to do—tell him to hold his story so I could rinse the toxic sludge off my head? I either ignored the timer or didn’t set it. By the time I got off the phone, my entire head was sizzling. I ran to the shower, but it was too late. My scalp was raw, oozing clear pus from open wounds. For the next few days, I felt like I had the flu. My head ached both inside and out. Everything tasted faintly of chemicals. My doctor sent me for blood tests. My liver is fine, thank you, but that experience scared me straight. I haven’t cracked open a box of color since.

I spent the next eight months visiting the salon the way another addict might visit a methadone clinic. Bridgette, my therapist/stylist, mixed high- and low-lights (none of the above ever touched my scalp) to create a hazy blend of brown and gray. Eventually, highlights stopped offering contrast, lowlights wouldn’t take: I was gray.

Honestly, it was a relief not to play the dyeing game anymore. I was glad to be rid of the gloves, goo, and stench, not to mention the potentially toxic overexposure to trideceth-2, carboxamide mea, propylene glycol, hexylene glycol, and aluminum hydroxide.

As I progressed in my recovery, I developed a kind of radar for dye jobs. I saw them everywhere—the fresh and too vibrant brunettes or luminescent blondes, the barbeque reds. And the dimming shades, I saw them too—the tinny, brassy, dulling, sometimes frizzing tresses, the tell-tale skunk stripe at the scalp foreshadowing emergency trips to Walgreen’s or desperate phone calls to stylists: How soon can you get me in? I was free of that now.

I could see them easily, but I felt less seen. As my hair grew lighter, I noticed fewer people made eye contact with me in stores and restaurants. The barista at the coffee stand at the community college where I teach stopped asking me how my day was going. A new acquaintance asked how much older than Jeff I am. I’m just waiting for some freakin’ Boy Scout to offer to help me cross the street. Or maybe up to some cliff dwellings.

You might want to wait in the car.

“This is exactly what I wanted to avoid all those years by dyeing.”

“I know,” Jeff said, trying to soothe me.

“Women are treated differently when they go gray.”

“It isn’t right.”

I could tell that he couldn’t decide if he wanted to try to calm me down or run off to join Kate in the gift shop.

“This, this was blatant.”

“Yes.”

“And from a woman!” I roared as Kate walked up. She looked at her dad, then at me.

“What’s wrong?” she asked.

“Nothing. I’m just a grumpy old lady.”

“I could have told you that,” she said. I must have glared at her.

“Jeez. Take a joke, why don’t you?”

•••

My appalling lack of humor about ageism is nothing new. I remember as a toddler, my parents would trot me out at dinner and cocktail parties to spell C-A-M-E-R-A or S-O-M-B-R-E-R-O. Guests sloshing high balls and Manhattans would ooh and aah for my parents. But they talked to me in that high-pitched voice adults reserve for infants and Chihuahuas.

As an older teen, I would balk when my mother, who ran the sales department of the family want-ad business, insisted on taking me along on sales calls. My jobs were to drive the car and fill out the paperwork. I was her “shill,” she joked, but I didn’t think it was funny when a lecherous client would offer me Cokes from the mini-fridge and invite me to sit a little closer.

I rankled as a young adult on my first writing job at a city lifestyle magazine when the then editor called me “honey” and assigned me the crappy fashion and shopping guide stories. To be fair, I was young and untested as a writer, and if I were the editor, I might have given me fluff stories to start, but I wanted to be taken seriously, even as a toddler, a teen, and young adult. Too often I felt dismissed as a kid or girl.

Eventually, I outgrew all these awkward and easily-labeled phases of life and hit the sweet spot, chronologically speaking – sometime around thirty through early forties. This is the age of relative respect in a woman’s life. You still have your looks, but you look like you might have some experience. By this age, you probably have launched a career, maybe had a child, have done, or at least begun, some important life work.

But, I was a late bloomer. The looks started to go before the career was launched, before my baby was a toddler, before I was ready. I kept dyeing not because I wanted to be a Barbie or a bombshell. I just wanted to linger in that sweet spot a little longer, before I felt discounted again.

My mother, who is a very young eighty-nine-year-old, still lives alone, drives, plays the piano and keeps up with the news. Sometimes when I take her shopping she insists that we bring her “Cripple Card” so that we can park in handicapped spots. She says she wants to spare me the long walks, and she takes my hand. She likes it when we shop together, but she is annoyed when I try to do too much for her. She is perfectly capable of carrying her own bags, of retrieving her own mail from the box. “I’m not as old as you think,” she says. She speaks slowly so I can understand: “I’m not in-valid. You are dis-abling me.”

•••

We arrived a few minutes early for the Balcony House tour and parked in the lot overlooking the first descent before the arduous, strenuous, death-defying climb. Jeff and Kate suggested I might want to wait in the car. “We’ll crack a window,” Jeff offered. I offered my middle finger in return.

My anxiety, which had not been great, diminished considerably when we joined our fellow adventurers at the shaded and paved waiting area. Among them was a long-limbed woman from London who appeared to be at least six months pregnant, the increasingly pink-nosed family from Holland, and the gay couple, one half of whom had exchanged his ballet slippers for flip flops. In fact, flip-flops outnumbered Keens, Tevas, and athletic shoes. There were sunglasses and hats, but only on the smallest of children, one of whom was a three- or four-year-old boy with round, red, tear-stained cheeks who was in need of a nap.

The ranger introduced herself as Nancy. She looked to be near my own age with a thick, wavy (dyed) auburn hair and a matter-of-fact attitude. She asked us to introduce ourselves and to say where we were from. “Let’s find out who has traveled the farthest.”

The English lady and the Dutch family were in the lead until we met Yaya and Jack, a couple who had flown in from Qatar that morning to visit their daughter and her family living in Colorado on a work visa. Judging from their attire—casual business slacks and basic brown lace ups for Jack, a floral short-sleeved blouse and black walking shorts for Yaya—the couple had no idea what they had agreed to do on their first afternoon in the States. Jack and Yaya’s daughter and son-in-law, each with a child on hip or in hand, seemed well acclimated to high altitude and thin air of the Rocky Mountain desert. Jack looked pale and clammy. Yaya looked terrified, particularly when she looked at Jack.

Privately, I wondered if they had come all this way to break the news in person: Jack has congestive heart failure, or Jack has leukemia, or Jack has any number of ailments that make taking him on this arduous, strenuous, death-defying climb a bad idea. But there couldn’t have been time for such a conversation so early in their trip. The young couple with their very young kids seemed unconcerned by their father’s waxy complexion. But Yaya and me, we were worried.

How is it that I got the Counter Lady’s warning and these people did not?

I was wrong. Everyone got the warning, just no one took it seriously. Ranger Nancy recited the same narrative, even added details that the Counter Lady omitted: “If you are acrophobic, claustrophobic, suffer from shortness of breath or poor balance, this may not be the hike for you.” In addition, she said, you must be able to climb under your own power and use both hands on the ladders, so “children must be able to climb unassisted.”

The ranger looked at the family from Qatar. I looked at the red-cheeked preschooler. Yaya looked at Jack. Jack looked into the middle distance. No one spoke. And so we were off.

Ranger Nancy stopped us from time to time to tell us about the dwellings. Balcony House wasn’t the largest of the cliff dwellings, but it may have been one of the best protected. Tucked into the rock wall like a multi-roomed pearl in an oversized oyster, the dwelling would have been virtually invisible from above. Invaders from below would have had to climb hand-over-hand up sheer rock to reach the hidey-hole homes, which is to say their hands would be otherwise occupied and unable to wield their weapons, making them easy pickings for the cliff dwellers above. Further, invaders were usually flatlanders, unused to the ups and downs of cliff life. Of course, the cliff-dwelling people were expert climbers, often hoisting baskets of food or water along with themselves up the rock wall, nothing more than their fingernails with which to secure their purchase. Even the children skittered up and down the rock like spiders. I wonder if Ranger Nancy enjoyed telling us this bit so that we modern-day climbers might feel a little like sissies relying on the sturdy, double-sided ladders secured to the rock by bolts and cables. As an added protection, our thirty-two-foot ascent wasn’t continuous, as the Counter Lady would have led me to believe. Instead, we climbed two discrete ladders, separated from each other by a bit of paved trail and a short set of concrete steps—with railings. Easy peas. Even the preschoolers skittered.

The second ladder delivered us to the dwellings themselves. Our party spread along the narrow walk ways that circled sunken kivas and edged the rock walls of the remaining apartment-style sleeping quarters. We paused not only to observe the ceilings stained black with thousand-year-old smoke, the symbols etched into the stone indicating wind, water, or the cycle of life, the worn footprints in the stone floor, but also to catch our breath and enjoy the cool shade provided by the stone alcove. Everyone was quiet, even the children.

Ranger Nancy used this time to tell us a bit about the Ancestral Puebloans. It is politically incorrect, she informed us, to call the original dwellers Anasazi. The old Navajo word does not just mean “Ancient ones,” as we were taught as kids. It literally means “ancestors of our enemies.” The new terminology is more accurate. The natives of the Four Corners area didn’t die out but moved on to become the Pueblo Indians of Northern New Mexico and Southern Colorado.

The Ancestral Puebloans took up residence 1,400 years ago and made a good long run of it—seven hundred years—here in the rocks. Their lives were difficult, not only in terms of acrobatics and tribal warfare, but they were at the mercy of the weather. The average life expectancy of an Ancestral Puebloan was thirty-five years, said Ranger Nancy. Jack and I would have been anomalies.

Jack was still standing, if winded, during this high-altitude lecture. Yaya leaned heavily against a rock. But eventually, the lecture ended, and it was time to move on. The next hurdle was to climb up a large boulder-sized ridge to reach a narrow crawl space. We would be aided, Ranger Nancy said, by hand and foot holds left for us by the Ancients. For most, the hand and foot holds were unnecessary. The flip floppers all but flew up the rock. But Jack struggled. He slid. Yaya tried to grab his arm but missed. His son-in-law caught him and helped pull him up to a flat spot where he could get down on his hands and knees in order to crawl through the narrow tunnel. Jack and his family disappeared into the dark crevice before we even entered it. Kate moved gracefully ahead of me, and I followed, less gracefully, behind.

Finally, we reached the last set of ladders that would return us to the top, but the flow of traffic stopped. Jack was stuck, seemingly unable to move up or down the ladder. Yaya was ahead of him, cajoling him to move forward. The son-in-law positioned himself beneath Jack, prepared to give him another boost.

Jack’s arms and legs shook. He stared vacantly, away from the stone wall before him, ignoring the worried voices, the overly helpful hands. When he was ready, he climbed. When he needed to, he rested. Eventually, he made it to the top. We were too far behind to see Jack crest that final rung. I didn’t get to see him hurried off to the car or the rest area where he could throw back some baby aspirin or nitroglycerine or whatever he needed. But I’m sad I didn’t get to see his face. I would like to think he wore an expression that said to Yaya, his daughter and son-in-law, the preschoolers and the other adventurers, I made it, suckers, and you didn’t think I could!

I had underestimated Jack. I had underestimated the flip floppers, the preschoolers, the pregnant and the pink—just as the Counter Lady had underestimated me.

•••

Later that summer, I took Kate and friends to the public pool. The teenaged girl working the sales desk pulled herself away from a giggly conversation with off-duty life guards. “Do you consider yourself a senior?” she asked, not quite looking at me.

“No, I do not,” I snapped. I consider you impertinent, I thought but did not say. I paid the $1.50 extra for my admission—a small price for dignity.

The question came up again and again that summer—at the theater, museum, car wash, amusement park. One woman just gave me the senior coffee (smaller and cheaper) at McDonald’s without even asking.

I went back to my color therapist Bridgette. She walked around me. “The silver is pretty but not on you. Your face is too young.”

I love Bridgette.

Bridgette suggested trying a demi: “A temporary color. It will blend with the gray, and it won’t hurt your scalp.”

And suddenly, I was brunette.

It was like celebrating eighteen months of sobriety with a beer.

Jeff was startled. Kate rolled her eyes. But both said they liked it, kind of. Shortly after the start of the fall semester, a male colleague at the community college stopped me in the copy room: “You look so much better.” I posted my picture on Facebook expecting to receive what-did-you-do-that-for comments. Instead, I received “likes.” People in grocery stores and theater lobbies started talking to me again. And no one asked me if I consider myself a senior.

I’m back, baby!

I am embarrassed to admit it, but I fell all too easily back into the dye. I look at my face once again framed in brown and I see hints of possibility, glimmers that the Counter Lady clearly did not see when she looked at my hoary hair first and at me second. And, to be fair, I looked right back at her as if through her tuft of cotton candy white. Like sisters raised in a culture that treats aging like a disease, we saw in each other what we are expected to see: one compromised, diminished, or, as my mother would say, in-valid.

Kate, my now sixteen-year-old daughter with the long golden brown hair, is far wiser than I. She eschews make up, hair doo-dads, curling irons. She prefers sweat pants to skinny jeans, and she is beautiful. She tells me what she learned in her history class about how cultures who revere their elders tend to be more peaceful. If you want a warrior society, separate the aged from the young.

She tells me this during our trip to the grocery store to pick up a few items for my mother. It’s a Wednesday. Senior discount Wednesday.

The cashier, a man near my own age, looks at me with pleading eyes. He wants forgiveness. “I don’t know how to ask this,” he begins. The young woman bagging the groceries seems annoyed. “He’s trying to ask you if you qualify for the senior discount.”

“I’m fifty-three,” I say.

“Well.” The man seems relieved. “You don’t. It’s so hard to ask. You know, people are so sensitive. I mean a lot of women. They get angry. I don’t mean you. You seem nice.”

He could have meant me, but I smile benevolently and shake my hazy-brown head. “Some people.”

•••

PATRICIA O’CONNOR is a demi-dyed mother, writer, and teacher of English composition living in Albuquerque, New Mexico, with her semi-athletic husband and altogether graceful teenaged daughter. Her creative non-fiction work has appeared in Brain, Child and Vela magazines.

My Second Puberty

hair twirl — By Gina Easley www.ginakelly.com

By Eileen Bordy

I worry about how my feet look to the young Thai woman giving me a pedicure. I don’t have any bunions, but my nails have this whitish tinge that I’m ashamed of. The woman sands my weathered heels with a porous, pistachio-colored block.

Across the room, I can see Jennifer Lopez’s face glowing on the cover of InStyle magazine. Her skin is golden and shiny like a flan. I Google her on my phone. She is eight years younger than I am. I take comfort in the fact that, even eight years ago, I never looked that good. I pick up the People magazine on the chair next to me but recognize none of the starlets in the pages. The one actress I do know—Melanie Griffith—I barely recognize. She is no shiny dessert. Something has gone wrong on her face. Her lips are bulbous, cheeks lumpy, eyes startled and buggy. She is building a wall of fillers and neurotoxins to hold back the tide of aging and it isn’t working. I Google her on my phone. She is eight years older than me. I am exactly between Jennifer and Melanie. I wonder if eight more years will do to me what they’ve done to Melanie. I realize that her extensive plastic surgery and too much time in the Hollywood sun may have aged her prematurely, but I also have first-hand experience of how the aging curve isn’t so much a slope, but a cliff. Three years ago I had perfect eyesight, and now I can’t read a book, let alone an aspirin bottle, without my glasses.

My body is beginning to soften and wear out. The skin on my neck is what I heard a woman describe as withering. It’s beginning to look like my mother’s neck, a fine, wrinkly mesh of powder-soft skin. When I see it up close in my magnifying mirror, it startles me. I think there is a stranger in the bathroom. Melanie must know the feeling. My knees hurt after I run, and I understand why Anne Lamott calls her thighs her “aunties.” When I look at mine they seem like relatives. They are dimpled and jiggle when I pat them, like my cat’s belly.

While my physical shell becomes more foreign, there are other changes going on that are all too familiar. I’m increasingly anxious, emotional, and squirrelly, and this woman is no stranger. It’s me at fourteen. Now fifty-one, I’m embarking on my second great hormonal shift. My body is betraying me at the most inopportune times—meetings and crowded trains—but instead of bleeding, I sweat. Hot flashes are disruptive and a total bitch and I have sworn off turtlenecks, wool, and pullover sweaters. Luckily, the hot flashes strike only five to eight times a day—whereas the mood swings go 24/7. I have no control over my emotions.

They are mercury—fluid and slippery—vacillating between anger, worry, and indecision. Like the teenager I was thirty-five years ago, I’ve lost my confidence and not just about my looks. I used to feel strongly about things—the color of a wall, the wording of a headline—and now I second-guess everything. I’ve started buying the same food at the grocery store every week. I thought confidence was supposed to increase with age and experience, but mine seems to be dwindling away along with my muscle tone and eyebrows.

It’s too soon for me to be able to label my fifth decade, but if the first year is going to set any precedent, this decade seems as if it’s going to be one of change. I hate change. My friend calls this transition the second “tweener” stage.

•••

For most of my life, I had a clear purpose. In my twenties, I was focused on my career, dating potential mate material, and drinking as fast as I could. In my thirties, I had two children; that was enough. In my forties, I was busy raising those kids, getting sober, getting divorced, and trying to jumpstart my dead career.

What does a woman do in her fifties? I’m too young for retirement. I’m too tired to harbor exhausting illusions of setting the literary world on fire. I’m no longer eye candy for letches at the gym. I’m done procreating and almost done parenting; my children need my financial, and occasional, moral support, but I could disappear for a few days and they wouldn’t notice. (Really. Last Sunday I returned home from a well-planned girlfriend’s weekend. When I popped my head into my son’s room to say hello, he pulled off his headphones and asked where I’d been.)

When I was younger—like forty-two—I imagined that in my fifties I’d be coming into some Gloria Steinem–style glory, my feet solidly planted, full of knowledge about myself, and secure in my place in the world. I did not expect to feel like a shivery sixteen-year-old girl with wrinkles. Before my divorce, this was going to be a time of my life when I enjoyed a lot of butter, not when I still worried about what I looked like naked.

It’s not that I wasn’t prepared for any of this—people age and get divorced, children grow up—but it still surprised me. Even though the path I’m on is worn from the footsteps of generations of women who have gone before me, I feel lost.

I thought I was a hip mom, the kind who stayed abreast of fashion, trends, and technology. I may not know who Leighton Meester is, but I listen to The Shins. And yet, there are things about my kids I don’t understand. I wouldn’t call it a generation gap, maybe a generation crack. The day I turned sixteen, I ran out and got my driver’s license. It was a rite of passage for me. But my children, now sixteen and eighteen, have no interest in driving. When I prodded, my oldest said, “Why would I want to contribute to the demise of the Earth, which you’ve already destroyed?”

This same son has a friend who is a girl. The first time I walked into his room and found the two of them passed out—one sprawled horizontally on the bed, the other vertically, a “T” for teenagers—I gasped and backed out of the room quietly. Although I had purchased a large tin of condoms for my son—hip mom!—I was shocked. A part of me felt that this was wrong. Should I worry about the young girl’s honor? I definitely felt I should notify her mother and did. She knew. She reassured me that our children were just friends. “All the kids have co-ed sleepovers now. It’s great,” she said, clearly the hippest mom of all.

When I ask my boys how to take video with my iPhone or what SnapChat is and why Facebook would pay millions for it, they give me the look I gave my father when I found out he didn’t know how to use an ATM—that he was a cantankerous footnote in the path of progress. This was not going to be me, and yet this is me.

•••

My anxiety has always been kept in the wings by the grace of youth, knowing there was time to fix things. I miss that grace. People I know and love (some of them my contemporaries) are dying, and I forgot to save for retirement and college and my days are long with work and commute and gym and cooking and cleaning and weed pulling and worry. Now that I’m awash in hormones, my anxiety is center stage, delivering a soliloquy. It’s titled, “You don’t know what you’re doing and your life is almost over.”

I’m standing at my kitchen sink, fanning myself, when outside my window I see my neighbor, Leta, in her yard. She’s two months from turning 102, yet still drives her brown Chevrolet sedan to the market and plays bridge several times a week. Leta’s struggling with an umbrella the wind has blown over. I run over to help. We both decide the umbrella is done for and I close it up and set it on her patio. We sit around her table and she tells me who she’s lost since the last time we spoke: her brother; her friend, Claire; her friend, Nita. She is grateful that she feels good and doesn’t have to rely on a live-in caregiver who might steal from her like Nita’s did, cleaning out her jewelry box and driving off in Nita’s car.

Leta is twice my age. She has been through the tweener and second tweener stages. And yet, she doesn’t really have any wisdom for me. “Life just is,” she says. “You make the best of it.”

•••

A friend invited me to house sit for a week in Mendocino, and my older son said he wanted to go with me. I told him that I’d be reading and writing and walking a lot, that I wasn’t planning on doing a lot of talking. He said that suited him just fine. He was leaving for college in the fall. This would be our last “normal” summer.

At dinner our first night, I expected to sit in silence, but he asked questions: how was my book going, what was my friend’s book about, what did I like to read? He told me he liked abstraction. He liked the fried calamari that he recently had in Berkeley. He liked the book he was reading, The Woman in the Dunes. He was on the other side of his first tweener stage and enjoying his new confidence. All these opinions! “This is who I am,” he was telling me. For now, it is who he is. And this is who I am: a moist, sweaty woman in the middle of a change. It will be okay.

•••

EILEEN BORDY lives and writes in Northern California. She’s almost down to one kid, but she’s up to three cats. She has her fingers, toes, and everything else crossed that her first novel will be published soon.

Strawberries in the Driveway

By Ellen Blum Barish

Titan. Teacher. Talker.

Tender. Thoughtful. Truthful.

Tenor. Tea drinker. Tolkien-lover.

Tyrannous. Troubled. Trying.

Preparing for Douglas’s memorial, I was still so numb from the news of his suicide that I could only grasp one word at a time, as if I were recovering from a blow to the head. Memorials are one of those few gatherings in which being a writer can actually be useful, and so not being able to string words together into sentences was only adding to my heartbreak. In the days before the service, as I was struggling to write something thoughtful or healing, words beginning with the letter t came to me. The first, titan, because of his genius and then, teacher, because he was professorial in all ways. The rest came swiftly, even if verbs and articles didn’t.

My list of t words was a weary attempt at honoring someone I’ve known and loved for more than thirty years, but I didn’t have any practice eulogizing a dear friend who died from a bullet that he sent through his head.

But offer it I did, to our gathering of six, all friends from college who had long histories with Douglas, who listened quietly as I recited my stupid t words on the campus where we all met in the late 1970s.

On the year he took his life, it had been close to four years since I had spoken with him. He’d been pulling away. On his fiftieth birthday, I sent him a coffee table book of Grateful Dead concert photography, but I never heard back, which irked me more than made me worry. On his fifty-first, I emailed him, but he didn’t reply. In previous years, when there was a chance for us to get together in Chicago, he’d grab a flight or jump into his beige Honda from his Lawrence, Kansas, home and, voila, reunion. His recent non-response was deafening; his absence creeping into every gathering, turning talk to the question of why he was shutting us out of his life. During that year, all six of us had all reached out to him in various ways, leaving emails, voice messages, acknowledging his birthday, the new year. I had gone as far as anonymously calling the university where he taught to ask the department secretary to confirm that he was still teaching there, which he was.

On his fifty-second, I sent another email.

I wrote, “Hoping this finds you well and that this day brings you joy and peace. Know that you are in our hearts.”

Later that day, he wrote back, simply, “Thank you.”

That birthday prompted a series of conversations between the six of us about what was going on with him.

We had several theories.

There was the bat mitzvah overload theory. Between us, all of us Jewish, there were six children celebrating bat or bar mitzvahs over a half dozen years. Douglas, who didn’t identify with any religion, made the trip up for two or three but then just stopped. A single, agnostic guy with no kids. We couldn’t blame him.

There was the theory that professional disappointments were at the root of his pulling away. The strain of grants not earned, articles not published; that job in D.C. that he really wanted but didn’t get.

Most of us shared the theory that he had gone off his antidepressants and stopped going to therapy. He’d been depressed for most of his teaching life, but it seemed to us that when he was seeing his therapist and taking his medication, he had been doing well. But somewhere around his fiftieth birthday, he had confessed to Steve, with whom he was the closest, that he simply didn’t want to talk or take medicine anymore.

There was a short-lived suspicion that he might be gay and not out. I didn’t subscribe to this theory, because during my first two years of college, he and I dated. In his heyday— our heyday—he looked like red haired, freckled Christian Bale. Imagine Christian, with a tinge of Howdy Doody. I’ll never forget him in his puffy blue parka and plaid, woolen bucket hat. He was, without a doubt, a self-professed computer geek with a Middle-earthy charm, drinking tea and calling friends “M’lady” and “M’lord.” He was insistent on being the teacher, in being right, and eventually I wanted to be more like a colleague so I moved on. In later years, the Christian Bale–Howdy Doodiness faded and he became a ringer for Mario Batali, bald head and ponytail included.

It took some time for us to meet back in the middle for what would become decades of friendship that would also, weirdly and wonderfully, include a close camaraderie with my husband. They shared a passion for disc golf, cycle-commuting, home-brewed beer, science fiction, Chicago Blues, and the Dead.

Douglas did date women but since becoming a tenured professor of computer science, he had been decidedly single, living in a ranch house with two black retrievers and an expansive video, television, and audio library.

He and Steve had exchanged email in recent years, but Douglas had even been avoiding Steve’s calls. Steve talked about flying down for an intervention, but before he did, he called Douglas, first unlisting his cell number. And Douglas picked up. Caught. Douglas confirmed that he was dodging us. He told Steve it was “the least bad alternative to avoid dumping gloom, doom, pessimism, and angst on top of your existence.”

In an email he later sent to Steve, he wrote, “I told Ellen some of this, and she was kind enough to say that my argument was logical, cogent, and reasonable, and what I said might well be true, but couldn’t I enjoy myself anyway? A reasonable question, and if I were sufficiently Zen, maybe I could do it, but the practical answer is no.”

He went on to tell the story about the Zen Monk who, while walking through the forest, hears a lion running after him. He outruns him, but, in doing so falls over a cliff, grabbing a bush on the way down, which stops him. Looking up, he sees the lion. Looking down, he sees a tiger. Both are hungry and anticipating lunch. But the bush is slowly ripping out of the hillside and he will soon fall down to the tiger. It’s then that he notices a big, beautiful strawberry on the bush. He picks the berry, takes a bite and smiling, says, “Delicious!”

“So,” wrote Douglas, “while I aspire to the monk’s moment-by-moment existence, in this case, I have been unable to reach that level of enjoying the moment while still seeing the lion and the tiger because you guys would want to help with the cause of my problems but cannot, or want me to cheer up, and I am simply not cheerful in the face of these lions and tigers. The only strawberries have been the books, videos, and students wanting to learn a few things I know how to teach.”

He then he added, “Sorry for the worry.”

It was a poetic description of depression. I learned later that the strawberry plant has actually been used to treat depression. None of us could disagree with his facts. That was the thing about Douglas—he bated and urged argument on, like sport. I saw it as a sign of his passion, the place he was most passionate—an argument with someone else in which he felt strongly. Why argue if you don’t care? That he stayed away from us, and the arguments, struck me as a frightening sign of his loss of interest in life.

But I kept thinking that as long as he showed up to class and had students who needed him, he was stable, even if we weren’t in his life. At the university, he worked on Linux systems, the free, open-source program designed for simultaneous multi-uses which dovetailed perfectly with his often-voiced philosophy that information should be freely dispersed to everyone, that the pursuit of knowledge is good for its own sake, and that people should live harmoniously with others.

And, there were Susan and John, two former computer science professor colleagues from Kansas about whom we’d all heard a lot. They currently lived and taught in Arkansas with Douglas and spent many holidays with him, even in those depressed years.

Other than teaching students and periodic visits with Susan and John, he was a loner. An only child, his father left when he was eighteen months old. He hadn’t spoken to his mother in twenty years. And his college buddies, the ones he was pushing away for reasons we will never fully know, were two, three and four states away.

Yet signs that he was losing his patience were becoming evident. There was that letter he wrote to Bill O’Reilly in 2005:

Mr. O’Reilly:

I have heard you are publishing an enemy’s list. I can think of nothing I would like better, at this moment, than to be included on the list of enemies of such a self-important, self-serving, egotistical, amoral, and slime-covered opportunist as you so obviously are.

Most sincerely,

Douglas Niehaus

Susan’s husband John saw Douglas ten days before his death.

“He seemed happier than usual,” Susan told me in a recent conversation, “not as abrasive as he could usually get.” Later, the gun receipt date confirmed that by that time, he had made his plans.

August 19

Douglas sent Susan and John a touchy-feely email thanking them for their friendship that struck them as uncharacteristic.

August 20

He didn’t show up for the first day of class. A department member phoned Susan. Susan and John called the police who said they might be able to find him via cell signal, which heightened their worry.

August 21

Susan and John left for work and, when the housekeeper later arrived, she found a box in the driveway. It was Douglas’s electronic library containing over a thousand hours of content. His worldy goods, dropped off, in a drive-by.

August 22

Douglas’ car was found by the landowners of a farm on an Arkansas highway, dead from a gun shot to his head.

Twelve days after he died, we gathered on campus to say goodbye; we left red carnations at locations where each of us had shared something with him to acknowledge our coming of age there. We began at the dorms where we all met and ended at the lake, where everyone managed to speak in full sentences, except me.

Some months later, Susan and John organized an academic fund at the university. A perfect legacy honoring the teacher, the titan. But what about the man?

This year, on his birthday I felt, as I did every year, the urge to reach out again. Even though, in the latter part of his life, he didn’t reach back. But maybe in death. Recently, Susan told me that her husband was in the airport and saw a tee-shirt printed with words that we all swear could have been a direct quote from Douglas himself. A suggestion of his presence, still floating in the world; a possible response to our questions.

It said, “I can explain it to you, but I can’t understand it for you.”

•••

ELLEN BLUM BARISH is a Chicago-based writer whose essays have appeared in Literary Mama, Tablet, and The Chicago Tribune and have aired on Chicago Public Radio. She is author of Views from the Home Office Window, a collection of essays from her syndicated newspaper column on motherhood. She has taught writing at Northwestern University, StoryStudio Chicago, and several other Chicago-area universities and adult education venues. Ellen also is a private writing coach, specializing in personal essay and memoir. Learn more at www.ellenblumbarish.com. This is her first piece for Full Grown People.

Reclaimed Ambition

By Antonia Malchik

You’d think, given Russia’s tumultuous history, the country would have a more dramatic landscape than the one it inherited. Its revolutions and massacres cry out for powerful mountains, like the Rockies that defined my childhood. Instead, its few sprawling cities trickle out into miles of taiga—boreal forests, the first obvious shift being groves of aspen trees quivering in that silvery way they have, flashing light from leaves in high summer. Watercolor paintings with a ubiquitous gray-pink winter sky and lone Russian Orthodox Church domes seem incomplete without the aspens. They are rooted in the allure of the country and its history, a culture in which poetry is pre-eminent and the past wrought hard with stoic endurance.

Aspens are communal. A grove of aspens is actually one organism, connected via an underground root system that sprouts from an individual seedling. These underground systems withstand the most devastating forest fires and regenerate with young seedlings—all genetic clones—that can grow up to three feet a year. While each tree itself might only live for a few decades, the entire root system can survive hundreds or even thousands of years—stands have been found in the American West that are tens of thousands of years old.

The analogy to Russia is hard to miss if you know something of the country’s history. Russian communities had traditionally worked as a collective, or mir, bound by a concept translated as “joint responsibility.” A community as a whole, not individuals or families, was responsible for things like tax payments and military conscription. Land was redistributed every now and then as families grew and shrank. The system had been in place for hundreds of years, long before America was formed, and functioned right up until it ran into the Bolshevik revolution. Mir wasn’t an idea formed by utopia-seeking philosophers; Russia’s “geographical vulnerability and agricultural marginality,” as one historian puts it, made joint responsibility a requirement for survival.

Like the mir, aspen trees thrive by virtue of their collective strength and resources.

•••

My Russian-born father told me (incorrectly, it turns out) that aspen wood was useless. He was visiting a few months after I had taken my first woodworking class, and I’d been getting a little obsessive about wood. More often found mixing bread dough in the kitchen or with head bent over a notebook, pen in hand, I’d recently begun using a drill and a sander and filling the back of my station wagon with abandoned stumps and branches dragged out of the woods. I’d been making three-legged tables and driftwood chairs, the sound of the orbital sander whining in my unprotected ears. I’d abandoned my usual flowing skirts in favor of jeans and tried applying a screeching, vibrating axle grinder to the innards of a cedar knot. (I had no idea making a rustic wooden bowl would be so violent.) I spent months making a table out of a solid block of maple, even now marveling at the beauty that emerged from the deep scars left by an indifferent sawmill, how its ripples and honey colors make me feel alive.

I’d lost myself sometime in the previous year. I’d grown numb, then tired, then depressed. My children’s demands crashed onto my head, crushing me into exhaustion as if I’d been sandbagged, and daily I stared out the windows, contemplating what their future would be in the face of climate change and epidemics of antibiotic-resistant superbugs and planetary chaos, wondering what the point was of trying to teach them to read, or forcing them to always say “please,” or denying them as much chocolate as they wanted.

I knew these thoughts weren’t healthy, much less helpful. I needed a distraction that would take me out of the house and require me to do something besides think too much. My head had taken over my life. Every day was split among my job as a freelance copy editor, the thousand fractured moments that came with caring for small children, and writing. Even my leisure time was taken up with books. Mothers like me often say that they’re drowning, but I wasn’t drowning; I was turning into some gaseous substance that moved through the ether, that existed but couldn’t feel. So I signed up for a rustic woodworking class hosted by the local nature museum at random because it sounded more enticing than lectures on birds. In that first class, I spent a day learning to make a chair using driftwood branches and a drill, and I got hooked. Over the next few months, woodworking started to drag me back down to the ground I’d always loved.

•••

My father and I had just dropped my son off at a part-time kindergarten surrounded by birch and aspen trees, and we were taking my daughter, Alex—or she was taking us—for a walk around the property before getting back in the car.

“It’s horrible now, looking at all this wood,” I told him. “I can’t just appreciate it anymore. I want to take it all home and make things with it.”

“Not with aspen.” He picked up one of the hundreds of limbs lying around and showed me: where it had broken off the tree, the branch’s guts were exposed. They looked like bundled fiber optic cable or a bag of spaghetti, except thicker. If you tried to cut it, it would crumble to pieces. Bound together, several branches would barely be strong enough to hold something up.

“It’s no good,” my father said. We walked up and down the driveway of the school’s property, Alex stopping to poke decaying leaves and swing her dinosaur umbrella around, narrating every step we took because she never, ever stopped talking.

“I wish we could do this more often,” I said. My father knew that I had never been a lonely sort of person. But I did get lonely for this: his company, walks and conversations, my family, my home, mountains and trees that nurtured and spoke to me and people who understood me, who laughed at my stupid, snarky jokes. He lived in Russia, back in his homeland, and I in New York, and we saw each other once a year at best, often only once every two years.

“You need more help,” he said, returning to our earlier conversation. I’d told him about feeling overwhelmed. I hadn’t mentioned that I was feeling numb and depressed and non-existent.

I’d told my older sister, though. She lived off in California with her three kids. My family was so widely scattered that it wasn’t even deserving of the word. My younger sister lived in Oregon, my mother in Montana, my in-laws in England, and, of course, my father in Russia. I had a few friends where we lived, but not a single one that I could call on for regular help in any but the most dire of emergencies.

“I know. What can I do, though?” We’d talked about my husband and me moving back to Montana. I didn’t know how much help it would give me in the mothering, the living, the feeling of non-existence, but I craved my home like drink, like the coldest, purest spring water that runs off the peaks no tourists ever venture to. I wanted to be there, closer—if not to every single family member then at least to the place we were mutually attached to.

•••

Aspen, I found out later, is actually widely used for random things you never think about—wooden matches and shredded paper packing material, for example, because it doesn’t burn as easily as other wood. It can be used in furniture but is hard to work because it’s soft and tends to shred or “fuzz” (to use a fancy woodworking term), can gum up equipment, and often refuses to take a finish or stain, although its softness makes it easy to shape. While it’s still used in areas of Russia for roofs, the wood has to be absolutely sound or it ends up rotting quickly.

The wood that my father and I picked up had been lying on the wet ground for a long time. It was decaying; we could pull it apart with our fingers. But its community would continue to thrive. Even when aspen trees are cut down, the root system keeps going, sending up multiple clones for every felled tree. Killing the roots requires girdling, a process of carving out a band of the bark, cambium, and phloem in a circle around the trunk. Girdling prevents nutrients from reaching the root system, which will eventually die.

I didn’t tell my father everything: that it wasn’t just parenthood and the lack of help. That my unmooring had a lot to do with how my writing ambitions had shipwrecked a couple of times, leaving me despairing for several months; how I then let the kids’ learning and nurturing slide into too much television and a reliance on packets of organic hot dogs. How useless I felt as a human being. I couldn’t tell him these things. Not when his parents had survived Stalin’s purges, when his father had made his way out of the Siege of Leningrad in the middle of the starvation winter, stumbling in the last stages of dysentery, when his mother had worked night shifts as a metallurgical engineer up in the Ural Mountains and then gone home to hoe potatoes and hunt for mushrooms and chop wood to keep her children alive. They’ve left so much to live up to.

I didn’t tell him how I’d started shying away from a particular shelf in our bookcases, where The Artist’s Way is kept, among other creativity/inspiration volumes of its kind. Memories of all those morning pages—three free-association pages handwritten immediately on waking, as sternly instructed in The Artist Way’s introduction—the weekly artist dates required, supposedly, to nurture my inner artist self, the facing of fears and claiming of goals, of throwing the doors of the inner self wide open to serendipity—they form a tender spot, a sore point, a wound.

My writing ambitions weren’t a secret from my father. I was one of those children who would write short story collections, in crayon on yellow legal pads, and bind them together with yarn and cardboard. In my twenties, I went off to an MFA program after two unproductive years as a journalist. And I worked really, really hard because hard work is the thing I’m best at. The harder I worked, the higher my ambitions became. I formed big dreams. Huge dreams. Dreams of many published books and attendance at notable conferences and magazine editors tapping out emails to me.

Dreams all out of proportion with what I wanted the rhythm of my life to feel like. The continued refusal of those dreams to come true infected my parenting, my friendships; they sucked the life out of all the little things I used to take pleasure in: cooking, making jam, weeding the herb garden, watching the heron fish at the pond next door, teaching my son math. I let those dreams define who I was, forgot what it meant to be a complete human being.

When I started woodworking, I hoped to find myself in the wood, or at least find a sense of groundedness in the physical labor. I started volunteering at a local hardwoods sawmill and became ravenous for information: why elm is so hard to mill and work (it twists and warps and its grain runs every which way), what black locust is used for (anything from artsy coasters to decking because it’s as hard as cement), what created that thin, black lacing—like a spare Picasso pencil drawing—in the sliced trunk of maple lying around (spalting, caused by fungus, which makes for beautiful furniture or bowls if caught early and dried thoroughly but makes the wood too weak to use if left to spread). I wanted to learn how to work with different woods, but I also wanted a metaphor for who I was. Secretly, I hankered to relate to maple, like the table I made after the scars were sanded down and the exposed beauty glossed with beeswax and almond oil.

Instead, the more I saw of the whole, beautiful hardwoods laid out under my sander or sliced open in eight-foot lengths on a Wood-Mizer mill, the more I felt crumbly inside, full of barely connected shreds. Like aspen. Prone to rot.

•••

“Leap, and the net will appear,” claims one of the paragraphs in The Artist’s Way, which has been a kind of writer’s bible for almost three decades now. “Pray to catch the bus, then run as fast as you can,” which I realize now simply translates to “Work really hard and hope for some luck.” Because the bus driver might be a jerk and refuse to stop, or you might trip and fall on the sidewalk, or someone will suddenly block your way.

Where is the space between acceptance and giving up? Between loving who you are and turning your back on hope?

Walking with my dad, I pondered these questions but didn’t speak them aloud. I loathed my own first-world myopia because I was in fact wallowing in the pain of unattained ambition, not fleeing chlorine gas attacks in Syria, or throwing myself around my child’s body while American drones dropped bombs over my Pakistani village. I had never even suffered the self-dissolving pain of miscarriage or infertility, as many of my friends had.

I should be grateful for what I have, do something actually useful with my life, like my father’s parents had managed to do even when faced with hardships that I can barely imagine.

I want to be better, I wished I could tell him. To be less ambitious, less desirous of recognition. To know throughout myself, not just intellectually, that the potentials I once dreamed of and haven’t reached do not mean I’ve failed. I have done many hard things in my life, but this feels like the hardest: To accept that my existence might never be like a shining block of silver maple carved into a work of art, or an oak tree that will last untold generations.

Separated from my family, from the very few friends I have and treasure, from the mountains and pine forests that formed me, my art, my creativity, feels all-consuming, the one thing that defines my structure and growth. Working with wood helped bring me back to earth. I felt made of flesh again, rather than of the ether. But the depression only started to lift when I redefined my ideas of success in terms of fulfillment because when I looked back over the previous few years, the memories that brought me pleasure had nothing to do with writing accomplishments. The memories that glowed for me were nearly all related to my family, to time spent with my far-flung community, and to hiking and walking, relating in earth-bound ways to the Earth I love so deeply: walking the high cliffs plunging into the ocean on Scotland’s Isle of Islay with my husband and in-laws, taking ten days off to help my overworked younger sister with her new baby, meals and conversations lasting well past midnight with my Russian relatives, trekking through the islands of St. Petersburg with my uncle, picking Montana huckleberries with my husband, laughing for hours in our giddy way with my sisters. My daughter retrieving her rain boots and umbrella and telling me firmly that she’s going out to “play with the rain.” My son reading a Little Bear story, stumbling but persistent, to his grandparents over Skype. My mother playing the guitar and singing one of her folk songs to my kids after we spent the night at her husband’s backcountry cabin, where the sheer weight of the unfiltered Milky Way made me realize how long I’ve lived under light pollution. That I’d forgotten how arresting the unshrouded night sky is.

The thrill of a magazine’s “yes” for an essay or an agent’s interest in one of my books burns out quickly and leaves no glow like these memories do. Only the act of writing itself comes close, reflects that slow crunch of my hiking boots over dry pine needles fallen on the mountains that are part of me.

In the same way I can work with wood slowly and honor its inner structure, I want to take my writing and transmute both the excitement inherent in success and the sting that comes with every failure. I want the whole process to take a more human scale, to become as creativity should be—not majestic or overwhelming or stunning, but nurturing to everything and everyone that surrounds it, part of the earthbound root system that keeps us alive.

Relating myself and my writing to aspen’s weakness and lack of inner beauty is not accepting a lower state of being. It’s part of a whole. And, when I am gone, my existence can still be worthy as shredded pulp to shelter my community or a matchstick to light a stranger’s way.

Like the members of a mir, like aspen groves, I need community. We all do, just as we need clean water and air, as we need to work and to laugh. To feel that we belong and that we have something worthwhile to contribute is necessary to human survival, a fact I had to lose myself to figure out.

•••

ANTONIA MALCHIK lives in upstate New York, where she sometimes blogs about wood and writing and parenting and philosophy on Pooplosophy. She is a regular contributor to Full Grown People and can be reached through her website antoniamalchik.com.

Face Value

papers — By Gina Easley www.ginakelly.com

By Randy Osborne

“I don’t expect you to remember me,” she says. The Atlanta bar is loud around us. She’s maybe late thirties, with dark hair and eyes, apple cheeks, a certain kind of defiance about the lips. She tells me her name. “We were pen pals almost twenty years ago,” Jessica says.

I stare hard at her and ransack the mental files. Nothing. Later I will learn that Jessica heard my name from what turned out to be a mutual friend, who knew I’d be in the bar on this night for a special event. It’s over and the crowd is shuffling out.

Jessica goes on, apparently untroubled by my blank stare. “You worked at Creative Loafing.” Dimly I recall that job at the weekly alternative newspaper, but Jessica not at all. “I was a college student at Oglethorpe. I read one of your columns—something about family, I think—and sent you my poems. You wrote back.”

She lowers her eyes. “I still have those letters. I just wanted you to know how much they meant to me.” She was ready to quit writing in those days and I encouraged her, she says.

“Do you want to see them?”

•••

In the past couple of years, I’ve started collecting old handwritten diaries and letters. The hobby arose as if out of nowhere, intense and mysterious. When asked to explain it, I tell people about my father.

Tom prowled yard sales for antiques he could mark up and resell. At his bank-teller job, he sorted bags of coins, plucking the rare finds and replacing them with his own pocket change, worth only face value. One of the first to own a metal detector in the 1960s, he haunted public parks on weekends, waving his wand like a dowsing rod. He unearthed tiny balls of tinfoil and flip-tops from soda cans, an occasional brooch pin or bauble.

One day, as a toddler, I stood at his side when he dumped onto the table his latest pile of flea-market junk. A hardcover book fell to the floor. When I opened it, the spine crackled. Spidery script in ancient ink lined the crumbly yellow pages. Wedged between them was a lock of hair, snipped and preserved more than a century before. I exhaled and the filaments trembled as if alive.

My spare bedroom is piled with crates full of folders and padded envelopes, the scribbled records of the pasts of strangers. Not that I plan to profit by passing them on. These I am keeping.

•••

The scans arrive by email from Jessica. My letters, dated between June and November 1996, are not handwritten as I hoped but generated by an old-style dot-matrix printer, probably in Creative Loafing’s office. Most striking about them is how little my “correspondent” voice has changed, given all that history. Brisk, jaunty, self-deprecating. Is there an essential me? An immutable set of qualities that add up to an entity, myself, never to be mistaken for another?

As part of my day job—I’m a biotechnology journalist, handling the daily news of DNA and disease—I was assigned a few months ago to write about a saliva-based genetic test that purports to find predisposition to disease. I spat in the test tube.

“You have really good genes,” the consultant tells me after checking the results. Except for one hitch: one copy of the APOE3 gene, which confers an average risk for Alzheimer’s disease, and one copy of the APOE4 gene, which means high risk. About 22 percent of the population bears this genotype, and it doubles my odds of Alzheimer’s.

When I am held down screaming in some filthy public hospital (so I envision it) as the nurse finds a vein, what of that essential me will exist?

In one of the letters to Jessica, I mentioned that although she has referred to prose as a blind corridor, she did not go so far as to call it a brick wall. “Even those who pretend we know what we’re doing are really groping along,” I wrote to her. I described my father’s recent accident, which rendered him a paraplegic, and my fumbling attempts to handle his affairs.

Maybe this is what prompted Jessica to send me an essay next. “I like the way you folded into the second version of the truck-stop story how your father is aging,” went my reply. At the end, I wrote, “Maybe I will get to meet you someday! That would be good. I have things to ask you about fiction vs. non-fiction, and the difficulties of each.” How non-fiction can become fiction so easily, as recollections fail.

November 1996. In another year, the newspaper job would end. In two years, my wife would leave me a letter—also dot-matrix, in a business-sized envelope—on the pillow of the guest room where I had been sleeping for a while. And then I was divorced.

•••

They tow my car from the parking deck of our apartment complex. Having misplaced the title to the decrepit Subaru, I avoided the hassle of getting new tags after I moved here from California. The truth is, I pretty much neglected the car altogether. Probably because of the flat tire, someone reported it as abandoned. I don’t bother visiting the impound garage to harangue some bored clerk in his cage. What’s a car anyway but the means of transport? Like the body hauls the soul around, until the soul alone is transported … somewhere. No doubt the Subaru will be auctioned or flattened for scrap, so I let my driver’s license expire, too. My watch quits working and I throw it away. All of this I recognize as the wordless language of relinquishment.

I’ve waited a long time to get old. After high school, I knew that I needed more life in order to have anything worth saying to a blank page. I wanted to claw the calendar pages off in bunches and accumulate a past. I wanted to let time etch lines in my face and scorch my soul. It happened, but I don’t know much more today than before, though I feel friendlier with the questions, more patient. Less patient, too, almost violently so, as the death clock ticks on. I’m pushing sixty. It’s not pushing back.

Still left to quit is my job. I phone a financial advisor to ask about retirement prospects. He wants a list of assets and I almost laugh. As he will, when he gets the “list.” It’s on the night after this conversation when shy Jessica sidles up to remind me about the letters.

“You did a good thing,” she says.

I guess Jessica’s age is about the same as mine when our letter exchange began. Such women look away from me in the street, sick of goons inspecting them. Then, too, it’s instinct, simple biology, and nothing personal. Their DNA makes them not return my gaze for the same reason my DNA makes me hope (absurdly, because what’s next?) they will. Our respective strands of chromosomes, our stranded chromosomes, want only to replicate with the optimal candidate. For mine, they are it. For theirs, I am not.

Yet another, larger part of me feels a wash of relief at not caring. The soul separates from the body, hardly a big deal. Can it be starting already? What’s astounding, so lucky, is that they came together in the first place, for however “long” or “short” a time.

“A few years ago, I ended a relationship that was murdering the joy out of me,” Jessica writes in a follow-up email to the letter scans. Quickly she apologizes for the “melodrama.” She’s “re-entering the world” and trying poetry again, she says. I tell her I’m glad. Her father has just turned eighty-three, she adds. “My parents had kids late, which makes them the age of my friends’ grandparents, which gives me an odd perspective sometimes.” She mentions his “creeping Alzheimer’s. At least he’s still around, which I know isn’t ever guaranteed, and everybody expected him to be gone by now.”

•••

One of my letters to Jessica closed with, “I want to help and am running out of time.” Another scrap of unintended melodrama, true in one way during the moment of composition—I was headed out the door, late for a flight—and more broadly true in another way now.

If I see her again, I’ll tell her, since it’s possible she will understand, about my stockpile of handwritten letters and diaries. About the form of treasure that they make up for me in the language of those who’ve relinquished everything, happily or not. About how the once-blank pages are filled with insistent claims, clamoring to be heard, silently bursting with what we’re expected to remember.

•••

RANDY OSBORNE writes in Atlanta, where he teaches fiction and creative nonfiction at Emory University. Represented by the Brandt & Hochman Agency in New York, he is finishing a collection of personal essays.

How You Like Them Apples?

apple girl — By Gina Easley www.ginakelly.com

By Miller Murray Susen

It’s the Morning Hustle. Five things are happening at once. The microwave beeps with the oatmeal. Lily reminds me she needs a note to go home with a friend after school. Max yodels a nonsense song and knocks over his milk with his elbow. The bus will be out front in ten minutes. In the midst of it all, I’m packing the kids’ lunches. Not for the first time, I wonder why I never do it the night before. Or make them do it themselves, for heaven’s sake. I plunk two oatmeals on the table, toss Max a dish towel, and go back to frantically sectioning apples. Lily pauses at my elbow.

“Be sure to get all the core out.”

“Yes, yes.”

“You never get it all out. It’s so gross. The texture.”

“Gotcha, now sit down and eat.”

I secure the apple slice between forefinger and thumb and dig with the blade of the paring knife, trying for that perfect angle where the core will pop out in an intact semicircle, leaving only smooth flesh behind. I’m rushing, though, and instead I hack the section in half. I chop out the middle, do the same to the other sections, and quickly pile the bits into a container and cram it into her lunch bag. Well, they are core-less.

“Eat up! Let’s go! Five minutes until the bus!”

•••

My dad doesn’t like to cook. This does not prevent him from turning out stacks of tender buttermilk pancakes, hearty dishes of spaghetti bolognese, gooey grilled cheese sandwiches with a buttery, crisp exterior that shatters delightfully when you take a bite. He feeds me and the kids lunch about once a week, and as I linger over my chicken salad sandwich, made with sweet pickles and celery the way I like it, he effortlessly cores apple slices for us. He uses the battered pocket knife he carries in a leather case on his belt, his rough, square fingers strong and sure. Pop! goes the core, and he slides a few slices my way along the table.

“Thanks for lunch, Dad.”

“It was my pleasure.”

His eyes glint warmly at me from his weathered, smiling face.

“Now take those kids home. I need a nap.”

•••

Lily’s fourth grade teacher is trying to bring a little hands-on fun to the last quarter of the year, a respite from the rampant standardized testing and flurry of final projects. She asks the parents to come in and help kids learn about fractions in the real world via making (and consuming) an apple pie. Which is how I find myself seated at the center of a group of four nine-year-old girls, passing out vegetable peelers and Granny Smith apples.

“Y’all get started with these, and I’ll use this sharp knife to peel some, too.”

“Mrs. Susen, this is hard. I can’t get mine to go.”

“It is kind of hard with a peeler. You just have to press down with authority. Like this.”

I demonstrate to get the peel started, then hand the apple back so the girl can continue to slowly scrape off tiny, unsatisfying flaps of skin. I hope no one peels a forefinger.

“Why can’t I use the knife like you do?”

“I don’t think your teacher would like that.”

“How’d you learn to peel so good?”

“Oh, I’m actually only okay at peeling apples. See? I’m getting a lot of the flesh. But you know what made me want to learn?”

The girls stop their inefficient scraping to listen, glad for an excuse to take a break.

“There’s this movie called Sleepless in Seattle. Have any of you seen it?” They shake their heads. “Well, it’s a little old for you guys. Anyway, in the movie, the main characters are a boy about your age and his dad. And they’re living on their own because the mother died.”

Lily’s eyes widen. “She died? How?”

I smile reassuringly, a little sorry I started on this topic. “She had cancer, I think? I don’t remember. Anyway, there’s a scene where the boy is having trouble remembering things about his mom. He doesn’t want to forget her, so he says to the dad, ‘Tell me about Mom.’ And the dad starts off, ‘Your mom could peel an apple in one long, curly strip.’ And ever since that movie, I’ve been practicing my apple peeling so I could learn to peel an apple in one long, curly strip.”

Lily says with rising pitch, “So that we’ll say that about you after you die, Mom?”

“Uh, well, just because I thought it sounded cool. Anyway! Who wants to unroll the pie crust?”

•••

Every Wednesday I make lunch for my ninety-three-year-old grandfather. He’s rattling around on his own now in the house that he and my grandmother designed, built, and lived in together before her death a few years ago. At first he was looking after himself pretty well, but the dementia he was already exhibiting at the time of her final illness has accelerated since she died. It’s seemed to me that his life without her is so diminished that he’s choosing to let go and drift, to slip away into memories. My uncles hired a live-in caretaker, but our in-town family still takes turns to provide him with some lunches and dinners each week. It gives the helper a break, and him a little company.

I never spent time with Popi on my own before my grandmother died. They had eight sons together, and I’m one of twenty-three grandchildren, so I didn’t spend much individual time with either of them, actually. Occasionally, though, in her later years, when she tired more easily and was home more often, I would run by to help my grandmother with a project, and she’d make lunch for the three of us. Her meals were ladylike and quaint, and delicious. First she’d offer a pitted avocado half with a pool of vinaigrette in the middle, to scoop up together with a silver spoon. Next a dainty glass sandwich plate cupping a cream cheese and chopped black olive sandwich on whole wheat with the crusts cut off. Finally she’d rummage around for a bag of Pepperidge Farm Milanos and offer two on a china dish along with a cup of weak coffee thinned with skim milk.

When I started bringing Popi lunch, I felt weirdly self-conscious. I didn’t know if he’d like my cooking or my idea of a tasty sandwich. So I’d punt and pick up sandwiches, cookies, and bags of potato chips from the bakery. Popi was the original smug health-food fanatic, culturing yogurt and spreading mashed yeast on toast back in the fifties. But since his dementia has taken hold I’ve noticed that he loves junk food. He’d eat every crumb of the bag of chips, and sometimes eat his cookie before he finished his sandwich. Max scolded him for it when I brought him along to lunch. But then Popi’s edema got worse, and the word went out from my uncle that we should all cut back on offering him salty snacks. One week my ungrateful children had picked listlessly at a nice pot of French lentil soup I made for dinner, so I decided to take the leftovers out to Popi to see if they’d suit. His eyes lit up when I offered the hot bowl of soup, along with a buttered roll and a peeled clementine, and he thanked me extra warmly for the “lovely, lovely lunch.” Since then that’s my lunch formula: soup, buttered bread, fruit, and sometimes a little sweet.

Initially during our lunches Popi would reminisce in vivid detail about his childhood in New York City and Long Island or about his time serving in the Air Force during World War II, but in recent months he gets caught in conversational eddies, pausing a moment before circling through a familiar exchange again from the beginning.

I carefully core and thinly slice apples as we cycle through one of his most frequent conversational gambits.

“It’s a very still day.”

“Yes, the weather’s been nice lately.”

“I had a friend who was very well traveled. He used to say that here in Central Virginia we have ‘the finest climate in the world, outside of the Austrian Tyrol.’”

“So, Popi, what’s the weather like in the Austrian Tyrol?”

“Couldn’t say, I’ve never been.”

We both chuckle, like it’s the first time and not the fiftieth, then pause as I deliver the apples and a shortbread cookie.

“Well, doesn’t this look nice? Thank you.”

“You’re welcome.”

A moment as we both take a bite of apple.

“It’s a very still day.”

•••

Morning Hustle. Max’s milk is in a pool on the floor, again. Lily has soccer after school, and I remind her to pack up her shin-guards and a water bottle.

“What’s the sandwich today, Mom?”

“You know I don’t like to talk about lunch. You only complain about what I’m packing. Go brush your teeth.”

“Fine, but I was wondering, can you just put a whole apple in my lunch bag?”

Max perks up. “Yeah! I want one, too!”

“A whole apple? Will you guys eat the whole thing? I don’t want to waste these apples, they’re organic and expensive.”

“Yes, I will!”

“I will, too. Everyone else just brings a whole apple. Apple slices are for little kids.”

“Well. Okay, then.”

I drop two apples into the lunch bags. Easy enough.

“Guys, go get your shoes on. You’re going to miss the bus.”

•••

I always thought one day I’d feel like I’d really come into my own. I’d feel a sense of mastery, of justified confidence, as I strode through my life. I wouldn’t just look like a grown-up on the outside; I’d feel the way that I assumed grown-ups felt on the inside. My father, in his calm competence, personified the adult I expected to become. But he still seems like a grown-up relative to me, even though I now signify adulthood to my own children. And caring for my grandfather, as his edges soften and calm competence fades, just messes with my head. How can it be that I’ve grown powerful in relation to this proud patriarch? That I am woman enough to cut his food into bite-sized bits? Middle age. I’m in the middle of the process of discovery. Won’t I always be here? Even when I grow old, if I should be so lucky, I’ll still be in the middle of understanding who I am.

•••

MILLER MURRAY SUSEN is the most extroverted introvert you know. She acts and tells stories, then holes up at home and sweats about having done those things. She writes essays and plays, then gets bored in a quiet room by herself. She adores her husband and two children but wishes they wouldn’t insist on talking to her so much. This fall, she’s going to try directing her own adaptation of Little Women, plus take on a part time job as Associate Director of Education at Live Arts. She is super thrilled and super stressed!

When I Was Madonna

By Sara Bir

Come on, girls. (I know you know this.) Do you believe in love? (I know you do.) I have something to say about it. (Of course).

It goes like…this.

The video for “Express Yourself” came out when I was in eighth grade. I watched it a million times, splayed out in the recliner with a Diet Coke in one hand and a remote glued to the other. Madonna was on a video gold streak with her “Like a Prayer” album. I watched, captive to MTV, as she pranced in front of burning crosses, frolicked on the beach with mermen, and sat atop a high-rise art deco building, her cropped blonde hair stirring in the breeze.

I didn’t buy her albums or read glossy magazines to follow her antics. There was no need. To a young person then, the Madonna juggernaut mingled with the particulate matter in the air we all breathed.

So it was unremarkable when I, at fifteen, channeled Madonna just by sitting on a stoop on a gray January afternoon during crew practice. Being on the crew team was the one thing that got me off the recliner and away from the TV. At school I half-assed it; there was no half-assing in crew. Ponch, our coach, made sure of that.

Our team had its winter conditioning at a dilapidated former Catholic school. The room that housed our medieval weight machines had a pressed tin ceiling, and when we did bench presses, I’d stare up at random patterns that water stains had made on the peeling white paint. Ponch—who did, in fact, have a paunch—had instructed the girls in my boat to run sprints up the fiercely pitched sidewalk outside while he oversaw the varsity girls’ weight training.

We all felt sluggish that day. After a few halfhearted sprints, I flopped across one of the large stone posts flanking the school’s entrance. And then the Spirit of Madonna entered me, as abrupt and ecstatic as the fiery tip of a spear. Unlike St. Teresa, I did not swoon. I rallied. “Come on girls!” Pause. “Do you believe in love?”

My teammates laughed. I kept going with a catlike crawl on the sidewalk, mimicking what Madonna does later in the “Express Yourself” video. The video has a plot, I think: Madonna, a pampered concubine sequestered in a factory, liberates herself by seducing a strapping, cosmetically dirt-smudged factory worker/male model.

Energized with my impromptu performance, we all attacked our sprinting with newfound vigor. When Ponch sent us out to do sprints again the following day, I sensed my teammates looking at me expectantly. That’s how the Madonna act became a regular feature of crew practice.

At our public high school in rural Southeast Ohio, crew was a sport not for preppies, but for savvy misfits. All of the athletic hippies and punkers and unclassifiables—my tribe!—rowed. Crew girls trained hard and goofed off harder. Practice was one of the few places where I could be myself, and apparently this meant imitating Madonna daily. Once spring came and we took our shells on the water, I modified the act for the narrow confines of our eight-woman shell and did Madonna bits when Ponch’s launch was well downriver. A shell sits only inches above the water, and its slenderness limited dance possibilities, so I’d mainly flail my arms and caress my sports bra before grabbing my crotch as a grand finale. “He’s coming!” our coxswain, Cecelia, would warn me. “Three, put your shirt back on!”

I rowed in the women’s varsity lightweight eight. We were ferociously devoted to each other in the sweet but maddeningly intense way of teenage girls. We spent hours together every week, training our bodies and minds to meld into a collective organism. In the confines of our rickety wooden shell, emotions ran high, and we bonded as snow or sun pummeled us, and we channeled our rampaging energy to tear our boat through the polluted froth of the Ohio River. Often delirious with hunger from the starvation jags we went on in order to get our weights under the dreadful 120-pound limit to compete in the Lightweight division, we elevated incidental bits of nothing—the plastic head of a bunny figurine, the yellow shorts our bow’s crush always wore, most of the words that came from Ponch’s mouth—into elaborate inside jokes. Blisters mottled our palms; black smears of slide grease stained our claves and the backs of our cutoff sweatpants. We practiced six days a week. The only single place I spent more time than the boat was in bed, sleeping.

Madonna quickly joined our complex network of good luck charms, superstitions, and pre-race rituals: the wearing of lucky underwear, the application of temporary tattoos, the stringing of matching beaded necklaces. It worked; we won, and won. Being Madonna was my duty to my team.

“You rowed good today, girls,” Ponch, sporting smudged aviator sunglasses and ever-present black stubble, would tell our boat as we came into the dock after a race with a triumphant outcome. He didn’t dole out compliments often, but we loved it when he did, bad grammar and all.

•••

Secretly, I cooked up a Madonna performance for the hotel where we’d stay during Midwest Championships. The genesis was a very elaborate black lace bra I’d recently persuaded my mom to buy me at Victoria’s Secret—my first actual article of sexy lingerie, something I’d never have considered pre-Madonna. “Justify My Love” had recently come out. The video took place in a hotel. It was too perfect.

The week before, I’d rehearsed in my bedroom instead of studying, because a successful debut of my Madonna routine was undoubtedly top priority. For the costume, I wore the Victoria’s Secret bra and a flowing black silk chador my dad had brought back from his deployment in the United Arab Emirates. My awareness of world affairs was such that I did not recognize the absurdity of adapting Islamic dress for a Madonna impersonation.

I quietly spread word to my boat to come to room 112 after our charter buses brought us back from dinner at the mall. Jittery with nerves, I couldn’t eat a bite, though that was probably in my favor, as I was always tipping the scales at weigh-ins. My boatmates all heaped on the hotel room’s beds as I readied myself in the bathroom. Then I signaled Cecelia to cue “Justify My Love” on the boom box. That tense, confessional beat came on—a countdown—and the stupidity of the situation that I’d constructed hit me. But my boat was out there on the other side of the flimsy bathroom door, waiting. This was my duty to them.

I opened the door, terrified, and it happened again, just like it did in front of the Catholic school: the fiery point of the spear, a force outside of me triggering the intense urges inside of me. Worlds away, the Material Girl herself looked down upon me and smiled. I gyrated. My boat howled.

But my moment was cut short. After the first third of “Justify My Love,” several guys from the men’s junior varsity eight and then a grumbling chaperone crashed the party; panicking, I bolted to the closet, and the crowd scattered. The whole thing lasted all of a few minutes, but writhing in front of the crew team in my new black bra, I had found my bliss. (Where were your coaches? you ask. Where was Ponch? Why, in the hotel courtyard, doubtlessly wearing his threadbare “U.S. BEER TEAM” t-shirt, with a lawn chair and a cooler full of Miller Lite, gladly oblivious to our shrieking shenanigans.) As Sara Bir, I was brash and awkward and clumsy. Boys fled from me; I wallowed in angst and longing. But as Madonna, I was brash and desirable and powerful. It took a long time to fall asleep that night.

Madonna only grew in scope. My audience was receptive, and god knows I was willing. I straddled the sawhorses we rested out shells on; I strutted on ramp pretending to grind my oar; I vogued in the boat as the seven other girls leaned into their oars to keep it set.

For our hotel stay at Nationals the following season, I came up with something more polished and provocative, showcasing a black mini-dress with a built-in stretch satin corset I found at a trashy fashion outlet. I made breast cones out of foil-covered birthday hats and attached rhinestone-crusted spheres to dangle from the tips. It was a bondage-meets-glam masterpiece.

And that second year, when boys turned up our room along with the girls, I didn’t mind. If it took dressing like a sci-fi hooker for them to pay attention to me, fine. They were there, on my terms, and for the ten minutes that followed, I owned that hormone-packed hotel room. With the lights dimmed, I slinked out of the bathroom to a few lines of “Justify My Love” before throwing off the chador to reveal the corset. Cecelia flipped the light switch on, cued up “Like a Virgin,” and everyone sang along as I busted out my amateur choreography. My best friend videotaped the whole thing. It was a hit.

Afterwards, I was all riled up, and so a few of my boatmates and I slipped out to walk around the hotel grounds and see what happened when Madonna mingled with the public. What happened was a fleeting, micro-Mardi Gras. Two boys from another team had their pictures taken with me as they grasped my cone-breasts. It was the first time boys touched me there, and I was thrilled, even if they were groping hollow cardboard and not my actual body.

Tall, slouchy and slight, I didn’t resemble Madonna at all. Fortunately, her attributes were so iconic that it took only a pronounced dot of eyebrow pencil above the lip and a brassy attitude to evoke her. The breast cones didn’t hurt, either. I was a drag queen trapped in the body of a teenage girl. In my mind, I wasn’t imitating her. She and I acted in tandem; we were peers, fellow entertainers. Even back then, in my self-absorbed fog, I was onto her ruse: using this persona is cathartic, a tool.

•••

Perhaps because she feared my Madonna habit was compromising my academic well-being, Mom eventually hid the costume from me. I easily found it crammed in the back of her dresser, upgraded the cones with red velvet, and wore it to school on Rock-n-Roll Day for Spirit Week. I donned the costume at the crew team camping trip, then my freshman college dorm, and then at the run-down lodge in Colorado where I cleaned rooms one dreary summer. (My mother, whose position had softened a bit, kindly sent it at my request).

In my twenties, I kept the costume, which became my backup for Halloween parties, but it elicited disappointingly mild responses, even from the man who is now my husband. Maybe I wasn’t feeling it anymore. Maybe I needed my boat, the best audience ever. So I kept it in my closet, where once a guy who was over for our first date caught a glimmer of cone and corset in the corner of his eye. He got the impression I was into scenes I was not into; it was also our last date.

The Madonna costume itself held up impressively after many moves from apartments and rental houses. The cones would get smooshed a little each time, but with a little cajoling, they’d pop right back into their pointy glory with a resilience worthy of Madge herself. More amazingly, I could still fit into the thing, even after having a kid. But its potency had faded somehow; I had no inclination to wear it. Even for kicks or kinks. In a fit of closet-crap purging, I took it to the Goodwill last year for some lucky vixen wannabe to snatch up. I assumed it couldn’t serve me any longer.

•••

My husband and I have been married for almost ten years. Theoretically, that means I have access to unlimited sex. It means I could make out with the same person every single night. How incredible those prospects would have been to me at sixteen! And how incredible the prospect of making out seems to me now, or to anyone who’s been married for longer than three seconds. Who the hell has time for frivolities like that?

Now I get it. I need that Madonna costume because I have invoices to send, recipes to revise, emails to cull through. There’s a ring of crud around the toilet bowl, a car tire with a slow leak, and a menacing, colorful heap of mismatched little girl socks. There’s a credit card balance that makes mismatched little girl socks positively alluring by comparison. Sometimes I wake up and put together stylish outfits with giant baubles of jewelry and pearly lipstick shades, and it helps, but I consider those piles of neglected tasks and I might as well be shuffling around in fraying pajama bottoms. The prettied-up version of me is still me.

Even Madonna has her own Madonna version of these problems. Even Madonna needs a Madonna costume! Because Madonna Time is not what you do for other people, even if you are dancing right in front of them. It’s not about a spouse or partner, or even your boat. Madonna Time is for you. I want my Madonna Time back. There are no toilet bowl rings in Madonna Time. There are no tire leaks or accounting departments who “never received that invoice.” In Madonna Time, things happen because you make them happen. You are sexy. You are powerful. You have a physical need to be outrageous in public, and you have no issue with that whatsoever.

After I did my youthful Madonna routines, friends would tell me how brave I was. “I could never do that!” they’d confess. But I could never not do that. I grew up and found out that, as adults, our most daring performances are not about what we reveal, but what we successfully cover up.

My best friend still has that videotaped hotel room performance squirreled away somewhere, and thank god I know she’s trustworthy enough not to post it on You Tube, or I’d see a loudmouth teenager with bad makeup and a beaky nose wriggling around half-naked in a desperate plea for attention from her peers. And I’d be massively embarrassed, and also a little proud, because when I was insecure and vulnerable, I was not repressed. I was irrepressible.

They sell birthday hats at the dollar store. I probably have some red velvet fabric somewhere, some tacky glue. Maybe I should ask my best friend to send me that videocassette. It’s time to feel shiny and new again. It can’t be that hard to find a black corset.

•••

SARA BIR, a writer and chef, lives in southeast Ohio. You can read more of her writing at www.sausagetarian.com. She is a regular contributor to Full Grown People.

Year of the Body

nude — “In the Flesh,” courtesy the artist Amy O. Woodbury. amyowoodbury.com

By Susannah Quern Pratt

She’s not thin, but she is not really Reubenesque either. Curvy—a nice hourglass in the lower half, nothing to brag about on top. Perhaps an exaggerated version of my own physique. She stands at an inviting angle, lingering unassumingly in front of a blue-green background. Her naked body outlined in a bright red line, her bare skin a light yellow. She is not an exhibitionist in our midst, but a companion.

I cannot help but look at her. I drink her in. And yet she is unknowable. Her face is hidden from view. She offers only her body. The peaceful, smooth, flowing, sanguine lines of her body. It is the body whole. The body beautiful. The body at peace.

•••

In 2009 the doctors found a large tumor in my husband’s brain. It’s not a benign tumor; it’s not a malignant tumor. They don’t really say such things to patients in so many words anymore. Which I appreciated. They assign numbers and suggest that those numbers have meanings that may, or may not, correlate to your ultimate life expectancy. Grade 2 this, Possible Grade 3 that…it’s all very coded, but it allows room for hope and healing, if you read the numbers in the right way.

The tumor made itself known though a violent thing called a grand mal seizure. Again, my medical terminology is outdated here—I think they are called by another name now, but there is something vast and ominous about the old French qualifier that I really love…grand mal. Big wrong.

This grand mal signaled the start of the John’s body odyssey—followed by six weeks of radiation and six months of chemotherapy. The entire process was a breaking down of the body—sidelining it while the proton beams and chemicals waged war against the offending tumor. John, the beams, and the chemicals did well; they emerged as victor and, for the time being, have vanquished that which would have taken him down.

Now, three years later, he is trying to rebuild in the body what was there before—musculature, stamina, health. He monitors his calves, searching for the return of the bulk and definition that he is accustomed to. He watches his hair—one of the first things to return—to check how the resettlement process is going. His body is a big country and lots of patience is required during this period of reconstruction.

While the battle was being waged inside John, my own body revolted. And while I didn’t end up in the hospital, I did make the rounds of an embarrassing number of doctors: gynecologists, gastroenterologists, cardiologists. At the end of many tests and well meaning tips from doctors who could find nothing seriously wrong with me, I surrendered to the notion that I simply had to acknowledge the weight of the whole experience. Those in the know, and by this I mean yogis, had predicted this state of affairs. Friends versed in yogic breathing and the importance of stretching watched my hunched shoulders ascend toward my ears. They noticed my arms constantly crossed, my neck tight and stiff. My chest concave and brow furrowed despite the presence of easy laughter and carpe diem resolve. My body was at odds with my spirit and overall orientation. In the head, I was all healing, all the time. In the body, I was slowly crumbling.

This feeling, the body at odds with the spirit or the self, was new to me, and in fact may be the best way that I know of to describe what was heretofore the abstract notion of aging. In this year of the body, my husband’s and mine were not the only ones to show a chink in the armor. Friends developed thyroid disorders, fistulas, glaucoma, breast cancer, and herniated discs. It’s a list that I mistakenly thought I would be making in retirement, but I am talking about those of us hanging out just on either side of forty. No one tells you this. In the age of extended life expectancy, of Botox and aging baby boomers, no one tells you that after a mere forty years, the body will make some of its wear and tear known. No one tells you that living with a chronic condition could mean forty more years of living with a pain or limitation. And no one could ever prepare you for the fact that chronic takes on a relative appeal when compared to the alternative of terminal.

And each of these maladies is discordant with the way my friends and I perceive our lives. In our minds, we are all just getting started. We have small children and newly refinished kitchens. We’re forming opinions about local elementary schools and starting college savings plans. Life looks long from where we sit.

•••

The nude came to us by way of a clandestine meeting between the artist and my husband in the preschool parking lot. We first spotted her in a dark restaurant over a good bottle of wine with friends. John and I sat facing her all night, and as we were getting up after dinner, I told him that I loved the painting. Somewhat surprisingly (there’s no accounting for artistic taste), he completely agreed. There is a simple symmetry to her that is appealing, a certain openness. She’s easy to be with.

After tracking down the artist’s name from the restaurant owner, John had to sneak around to secure the painting without my knowledge. This included a hand-off from the female artist while I was away at work, a meeting that turned the heads of more than a few curious preschool moms but resulted in complete surprise for me. I opened the brown paper wrapping and beheld the painting with great joy—a feeling of reunion.

Finding the right spot for her took some time. She is nude, after all. We flirted with a spot for her in the dining room, considered having her welcome people to the kitchen. For several weeks she ended up propped against our bedroom wall, and I got used to having her there with us. Ultimately she ended up on the bedroom wall outside my closet door, a situation that forces me daily to reckon my own form with hers. So far this has not resulted in despair, but rather further affection.

•••

I have been fortunate in my life never to have been in an extended argument with my body. In college, when girls were alternatively eating whole wheat bagels with mustard (no fat!) and then vomiting to shed excess weight, I happily ballooned up the proverbial fifteen pounds. After college, lacking access to free beer, the fifteen pounds just sort of fell away, and so did an extra five that had been with me since high school. Each of my three pregnancies have been kind—far more miraculous than torturous. And again my normal shape has more or less returned, slightly saggier but basically the same.

Given our long history of peaceful, reliable coexistence, this most recent series of tumors and chest pain and cancers shook up my world order. People speak about disease or illness as being “betrayed by their bodies” but that seems too melodramatic to me, and somewhat inaccurate. It’s not that our bodies have become foreign in their failings, leaving us to question whether we ever really knew them to begin with. Rather, they seem to simply be signaling that things cannot continue as they have. In this way, our bodies are more like unwelcome harbingers of what is to come.

And perhaps this was the biggest question for me arising from The Year of the Body: Is the body the victim or the aggressor? Are these cancers and tumors of us, or alien attackers to be fought off with force? In some cases—like John’s—the tiny clustering of aggressive cells seemed other, like it had no place in him. And yet in other similar cases it’s the body itself that seems to be the enemy. Like the bodies of friends testing positive for the BRCA genes, the genetic predictor of an almost certain eventual occurrence of breast cancer. The women I know who have heard this unwelcome news from their doctors have immediately flown the white flag of surrender and made their way to the nearest surgeon for radical mastectomies and hysterectomies. The tumors don’t yet exist, but their bodies are fundamentally coded for disease. In this case, the preventative mutilations feel strangely appropriate. Like the body is being punished. Pruned back so it might continue to thrive.

•••

Since the painting hangs in an area highly trafficked by our three boys, my husband is waiting for the day when our oldest son, now eight, is first embarrassed by it—and then fascinated by the fully exposed female body. I think this day may be a long way off. Three little boys still come in to talk to me while I am showering, my own body in full view behind a glass shower door, asking what time their grandma is coming over or whether they can watch another show before homework. If they have questions about things corporeal, they are asked in a matter of fact tone. No stammering awkwardness, just straight up curiosity. “Mom, do you pee out of your butt?”

For years I have appreciated that the boys are still in a stage of body innocence—willingly changing out of their wet swimsuits and into dry clothes right in front of any neighbors or friends hanging out in our backyard. They have no shame about their bodies, no desire to judge shapes or figures different than theirs.

But what I have just described is the kind of innocence that is freedom from body image. Lately what I have been appreciating is their freedom from body dependence. Their bodies run, perform, produce on command, without thought or concern. They slam into each other on the bed during marathon wrestling matches without fear of broken bones or other injury. Having pizza for three consecutive meals doesn’t phase them because they have not yet begun to do the exhausting math that haunts the rest of us—the work of eliminating partially hydrogenated oils, or adding Vitamin D and antioxidants to concoct an elixir that will take off a pound or two here or add a year or two there. John and I have given up meat in the wake of his illness; they continue to relish bacon with their breakfasts. They sleep when they are tired, and they sleep deeply and soundly in direct correlation to the amount of activity in a given afternoon. I love watching them sleep—three little bodies at rest—deep breaths, slow shifts, quiet sighs.

•••

A few months ago, John was riding his bike to work for the first time since the end of chemo. He came down dressed in his gear—Lycra bike shorts and shirt, helmet in hand. Calves once again respectable. It is a full ten-mile ride along the lakefront and into some intense city traffic before he arrives at his office. My former strategy for dealing with any anxiety this might cause was to pretty much ignore what he was doing until I got a text signaling his safe arrival.

I am newly cautious, however. “Are you going to ride all the way in?” I asked. That was his plan—just to ride in. He was going to leave his bike at the office and take the train home. This sounded reasonable enough to me so I turned a deaf ear to the whispery voices saying things like “seizure” and “exhaustion.” He departed, a triumphant blur speeding out of the driveway, serenaded by the cheers of three little boys thrilled to see their father in the saddle again.

Later that day, I got a phone call. He was going to ride home. That would bring today’s total to twenty miles, I reminded him. I carried a load of laundry upstairs to our bedroom and began to fold. A chore that, especially in times of stress, feels like a piece of stage business to me. I folded and called out answers to the boys’ questions about dinner. But the whole scene was suspended and surreal; my mind was on a parallel track, watching John navigate the myriad bikers, dog-walkers, and cabs in his path. I was following his body, rooting for it, praying for it. His body that I adore. His body that I fear.

Warm laundry in hand, I looked over at the nude, and in that moment it became clear to me what I like about the painting—what pulls my eyes to it again and again. There, on the canvas, is successful surrender to the body, unabashed adoration of its beautiful, fallible imperfection. No face, no separate self—rather, a reconciling. In the painting, the body is all, and the body is enough.

•••

SUSANNAH QUERN PRATT lives with her healthy husband and three growing boys in Evanston, Illinois.