Who We Are, Where We Come From

*Photo by flickr/*
*Raveendra Jayashantha*

By Anjali Enjeti

When my father immigrated to the United States from India in 1971, many of his relatives followed in his diasporic footsteps. By 2006, the year his mother, my Avva, passed away, our only family members left on the subcontinent were his sister, his eldest brother, and their spouses. Today only a single aunt and uncle of mine remain. All of my first cousins immigrated to either Australia, Singapore, Europe, or the United States. Even though I have never lived in India myself, with each relative’s migration I felt more untethered to a country I had grown to love as much as my own.

When I learned the piece of furniture that once held Avva’s neatly folded saris was up for grabs, I leapt at the chance to bring it back to Georgia. It arrived several months later, after a harrowing and outrageously expensive journey, in a state of utter disrepair. Part of the base had broken off, so it stood at a slant like the Leaning Tower of Pisa, threatening to topple over at any moment.

After its restoration, I discovered something on its floor I hadn’t noticed before—a fading white six-pointed star. Simple, yet elegant. Perfectly centered. A square border surrounded it like a picture frame. It was a muggulu, a design Avva created out of flour.

She would never have called herself an artist, but Avva created this art in the mornings in the courtyard and in the pooja room at her home. I can still picture her squatting in her sari, a stream of powder flowing from between her index finger and thumb. She did this in long swift strokes like the conductor of an orchestra. Stars, swirls, dots, and flowers blanketed the ground.

After her death, the developers who purchased my grandparents’ house converted it to condominiums. The canvas for her artwork became the foundation for a newer, more modern Hyderabad known as the Silicon Valley of India. The sari chest is all that remains of my grandparents’ home, and my childhood memories of Avva’s artwork.

Over the years, I’ve contemplated how to preserve the muggulu best. Should an artist friend restore it with a fresh supply of rice flour? Should my daughter trace it with white acrylic paint for a more permanent solution? How do I recreate something vital to my heritage, to my identity, so that it will always stay with me?

•••

Who am I? I am a woman of color. I am brown. Mixed race. Indian, Austrian, Puerto Rican. I represent multiple souths—South Asia, southern India, and the Deep South in the United States. I am an immigrant’s daughter. Claiming each of these identities has shaped and refined my perspective of the world. It has helped me to find and immerse myself in a community that nurtures all of these parts of me. And the act of claiming my identity has empowered me to engage on a sociopolitical level, to grow my empathy, to reflect on the ways I fall short in the liberation of others. And to learn how to rectify this.

The claiming of identity and the evolution of a point of view sow the seeds for social change. For if we are lucky, if we follow the idea of the self far enough, it can end at a community that prioritizes compassion and justice in order to build a kinder, more equitable, more humane world.

In the summer of 2019, two friends and I decided we needed to work harder to keep members of the South Asian American community in Georgia more politically engaged year-round. The problem, as we saw it, was that our South Asian friends tended to come together for various Democratic campaigns, but as soon as the election passed, we lost touch, dispersed, and disengaged with politics until the next election season ramped up.

The three of us decided to start the Georgia chapter of They See Blue, an organization for South Asian Democrats.

Like any movement, ours began small. In August 2019, about a dozen people showed up to our first meeting at an Indian restaurant. Six months later we packed 150 people into a room for a 2020 Election Kickoff event featuring Georgia’s former House minority leader Stacey Abrams, three U.S. Senate candidates (Sarah Riggs Amico, Mayor Teresa Tomlinson, and Jon Ossoff), and state senator Sheikh Rahman.

Today we are over four hundred strong.

Our members have roots in several different countries, faiths, languages, and regions. We are immigrants and U.S.-born. We are learning how to be better allies and accomplices to other communities more marginalized than our own. We are interrogating our anti-Blackness. And we are mobilizing together to help flip Georgia blue.

Despite the risk posed by Covid-19, in the fall leading up to the 2020 presidential election, we worked ourselves to the bone for the Biden-Harris campaign and all down-ticket Democrats. We made thousands of calls, sent thousands of texts, and wrote 7,000 postcards on behalf of Democratic candidates. We hosted virtual forums with candidates. We educated South Asian voters about the voting process and trained to be poll workers and poll monitors. Our labor has paid off. Asian Americans and Pacific Islanders nearly doubled their voter turnout in Georgia from 2016. Approximately three-quarters of AAPI voters voted for Biden. Georgia’s sixteen electoral college votes will go to the Democratic presidential candidate for the first time since 1992.

What I am most proud of, though, are the South Asians in Georgia, many of whom had little to no experience with political activism until this election, who found a community in They See Blue Georgia and threw themselves into this work.

This, to me, is the heart of how identity shapes activism. It is the process of engaging people in our communities who have traditionally and intentionally been excluded from political discourse.

It is a movement about solidarity, camaraderie, coalition building, and lifting one another up. It’s about how our shared identity can propel us to become agents of social change, whether this takes the form of running for office, volunteering on a campaign, registering voters, or protesting.

It is who we are and where we come from.

•••

I consult a neighbor before I begin. “It will stay longer if you make the rice flour wet,” she says. “Turn it into liquid. Then you can paint with your finger.”

I watch a few YouTube videos to psyche myself up. I am no artist. I pour some rice flour into a bowl and add water, equal parts. With a fork, I swish the mixture, scraping it from the sides. Eventually it thins evenly. I attempt to paint a design on my countertop with my fingertip, as my neighbor suggested, but my finger makes for a clumsy brush. Instead I roll a sheet of paper into a funnel, pour the wet flour into it, and bend the tip to trap the mixture so it doesn’t escape before I’m ready. I practice again, this time forming half of a sloppy circle. Still, it’s progress.

I’m no match for my grandmother’s dexterous hand. Many years ago, she offered to teach me muggulu when I visited her home. I declined. What I produce now will not measure up. It will fail to honor her legacy. But this no longer matters. She would want me to try.

I sit cross-legged at the base of the sari chest, the door propped wide open, and take a deep breath. When I first unfold the tip of the funnel, the flour mixture rushes out too quickly. I wipe away the excess with a wet paper towel and begin again, squinting to locate my Avva’s neat outline. I position my hand over the design, and this time when the flour-ink flows, I’m ready. Curves and angles appear that I hadn’t noticed until I reunited them into one.

The image that emerges takes me by surprise. The faint pattern I had assumed these past nine years was a six-pointed star transforms into an eight-petalled jasmine flower, the same sweet-smelling blossoms my grandmother used to string into garlands at her home almost every morning. I would never have recognized her design for what it was if I hadn’t tried to restore it to its original state.

When I finish with the rice flour, I set aside the funnel and lean back to take it in. Some of the lines are shaky, too thick or too thin. Certainly, it is imperfect.

But in its very own way, it is beautiful.

•••

ANJALI ENJETI is a former attorney, journalist, teacher, and author based near Atlanta. Her books Southbound: Essays on Identity, Inheritance, and Social Change, and the novel, The Parted Earth were published earlier this year. Her other writing has appeared in the Oxford American, Harper’s Bazaar, USA Today, the Atlanta Journal-Constitution, Washington Post, and elsewhere. A former board member of the National Book Critics Circle, she has received awards from the South Asian Journalists Association and the American Society of Journalists and Authors. She teaches in the MFA program at Reinhardt University and lives with her family near Atlanta.

In the Language of My Former People

Photo by M.Peinado/Flickr

By Leah Elliott

One day, my mother’s name appears in my inbox. I open a message announcing that my parents have been called to be missionaries in the Philippines. I cringe, sigh, and think, I’m sorry, as I picture my parents—oh so pious and paternalistic—carrying out the Lord’s holy work of perpetuating colonialism in the Philippines.

I close my eyes. Truly, sincerely, I’m sorry.

•••

I was a Mormon, the earnest, orthodox, devout, faithful, believing kind.

On my father’s side, my ancestors were some of the very first members of what would become the Church of Jesus Christ of Latter-day Saints. They were among those who knew Joseph Smith and those who walked across the plains with Brigham Young to settle Utah. My mother was a convert from Florida. In 1966, at the height of the Civil Rights and Women’s Rights movements, my mother’s big act of rebellion was to stand up to her pastor and defend her decision to leave the Southern Baptist Church to join the Mormon Church. In 1968, she gave up a scholarship at a state university and instead enrolled at Brigham Young University. By the time she was nineteen, she and my dad were married. My oldest sister was born before their first anniversary, and there would be no ebb to the procreating for the next twenty years.

Mormonism made up the fabric of my childhood. It saturated my days with its regimen of six a.m. daily family scripture study; morning and evening family prayer; blessings on meals; individual prayers; individual scripture study; a weekly three-hour church bloc; midweek church activities; monthly fasting and bearing of testimonies; obedience to the Word of Wisdom, meaning abstention from alcohol, cigarettes, and caffeine; observance of the Sabbath, in the form of refraining from activities deemed too raucous or worldly; General Conference, Stake Conference, ward conference, youth conference; temple preparation, missionary preparation, celestial-marriage-to-a-returned-missionary-for-time-and-all-eternity preparation; seminary; modesty in dress; Book-of-Mormon distance for dancing partners; avoiding even the appearance of evil; being in the world but not of the world; absolutely no sex ever, of any kind, not ever, not even with yourself, never, not ever until after you’re married, and then only with your opposite-sex spouse, and even then nothing too kinky .

Not one wisp of my life escaped Mormonism’s touch.

By the time I was twenty-five years old, my mounting disillusionment with Church culture and unsatisfactory answers to doctrinal and historical questions led me to leave the Church.

That year was the first time I tasted alcohol.

My experience of Mormonism was more harrowing than not, something I think of having survived and something I’ve spent most of my adult life trying to distance myself from.

Still, the tendrils of it follow me everywhere. It comes up frustratingly early with new acquaintances. When the answers to common getting-to-know-you questions are responses such as “I have ten siblings,” and “My parents live in Utah,” you can’t really plausibly deny ever having had anything to do with Mormonism.

I’m not especially proud of having been a Mormon. It was an unchosen identity, assigned to me at birth like gender, one that I earnestly tried to fill but ultimately found ill-fitting and had to drop. I get tired of being defined in terms of what I’ve chosen not to be, and my most painful life experiences aren’t really what I want to talk about with people I’ve just met. I’ve settled on a response for the inevitable, “Are you Mormon?” question: “I was raised that way, and my parents are, but I’m not anymore.” All of which is true, and none of which conveys any of the actual truth of the experience.

I usually ignore Facebook friend requests from people I don’t know, but if all my ex-Mormon friends show up as our friends in common, I accept the request. I know what it means to have been Mormon, and to go through the never-ending process of becoming not-Mormon. I know there’s a story of loss, grief, betrayal, disillusionment, and abuse. I know they’ve lost friends, and not uncommonly, have become estranged from at least some of their family. I know that, regardless of where they fall on the gender and sexuality spectrums, they’ve dealt with intense shame over their sexuality. I know they’ve had to learn how to reorient themselves to a world they were taught to remain aloof and unspotted from. Those within the Church regard you as fallen, deceived, succumbed to the influence of Satan, but life in The World is foreign.

Every former Mormon who sincerely believed the One True Church narrative, who had a testimony of the truthfulness of the Gospel, as they say, has come to a point of realization that this Thing that they have based every aspect of their lives on is not what they thought it was. The sheer terror of being thrust into freefall when your entire worldview collapses, the enormity of the gaping maw of the “So now what?” that you are left with, is impossible to explain to someone who has never been through it, and needs no explanation for someone who has.

•••

There are lots of names for people who leave the Church: ex-Mormon, Jack Mormon, former Mormon, recovering Mormon, anti-Mormon, or (my personal favorite) Mormon Alumni.

But still “Mormon,” all of them.

I had a Sunday School lesson when I was about four years old. It was an object lesson, a Mormon favorite. Our teacher gave us each a fresh sheet of clean, white paper and told us to crumple it up as small as we could. We were excited at being instructed to do something we’d normally be scolded for, and the room erupted with the noise of crackling paper. After a minute or so, our teacher reversed her instructions: Try to make the paper as it was before you crumpled it. Of course we couldn’t. And that was the point of the lesson, which was on consequences: Some things just can’t be undone.

I can be not-Mormon, but not never-has-been-Mormon.

In 2009, four years into my journey out of Mormonism, I arrived at a brief period of atheism and started a blog, which I titled “The Whore of All the Earth.” The Bible mentions the whore of Babylon, but “the whore of all the earth” is a phrase from the Book of Mormon, unique to Mormonism. I chose the title, in part, because I knew it would serve as a homing signal to other ex-Mormons. It was me trying to snap my fingers and catch their eye across a crowded room: “Yo! Yo! Over here! I’m one of you!”

And it worked. I blogged my way into an online community of others who had left the Church, people who got it in a way that never-were-Mormons can’t. But after a couple of years, I got burnt out on hearing “this was my awful experience of Mormonism” stories, weary of talking about Mormonism in general. There were reasons why I left, after all. So I withdrew from the ex-Mormon blogosphere.

•••

I constantly jot down random thoughts that go through my head. Sometimes these scribbles become the building blocks of poems. Sometimes lines of scripture come to my mind, and then I have to Google to see whether it’s from the Bible or from one of the books exclusive to the Mormon canon. In my upbringing, “scripture” was an umbrella category. There wasn’t much need to pay attention to whether a passage being quoted was from the Book of Mormon, the Doctrine and Covenants, the Pearl of Great Price, or the Bible, because all carried equal authoritative weight.

If a line I’ve jotted turns out to be from the Bible, I’ll go ahead and use it in a poem, but not if it’s from one of the Mormon scriptures. For one reason, relatively few people would recognize the allusion. For another, most of the time I wish I could just excise this past of mine.

One night, I was scribbling away, when this mash-up of the Mormon children’s song “I Am a Child of God” and the Velvet Underground’s “Jesus” started working its way through my head. I noticed how similar the melodic and formal structures are, and even some of the words, and the delicious chromaticism that happens if you start the chorus of “I am a Child of God,” then swap out the line “Help me find the way” with the melody and words of the line “Help me find my proper place” from “Jesus.”

Aw, man, this is genius! I thought. Who could I share this with who would possibly appreciate how genius this is? There are approximately nine million Mormons in North America, or about 1.5% of the total population. I don’t have statistics for the number of Velvet Underground fans in that same area, but let’s assume that they’re a similarly narrow segment of the population. We can deduce that there probably isn’t a lot of overlap between these two groups. I felt a wistful twitch at the corners of my mouth as I realized that I might be the only person who would appreciate how cool the mash-up was. For the first time, I wanted to use something from Mormonism to make art. The problem wasn’t needing to hide having been a Mormon; the problem was that no one would get it.

But then I thought of other writers who allude to a non-mainstream heritage. Joy Harjo, for example, has used the names of Native ceremonial dances in her poems. There’s a little asterisk and footnote for those unfamiliar, and it’s not an issue.

I had another thought I’d never had before: Maybe having been a Mormon could be a thing that made me unique in a positive way, instead of just making me a weirdo.

I was in high school the first time I realized, We’re one of those weird religions! It was 1996 and Mike Wallace interviewed Gordon B. Hinckley, who had recently become the president of the Church, for a segment of 60 Minutes. This was long before Mitt Romney and The Book of Mormon on Broadway. At that time, it was a Big Deal for Mormons to see anything about One of Us on “real” TV, and Very Big Deal for our prophet to be talking a real newsman. My whole family gathered around to watch it. What I remember most is the image displayed behind the talking head who introduced the segment: “MORMONS” in huge banner letters.

I didn’t have a name then for what I was seeing, but I recognized it: sensationalism. I witnessed myself being portrayed as Other.

So I knew that being Mormon had made me weird, but might I want to claim this heritage after all, perhaps the way secular Jews claim theirs? Or the way my queer friends now embrace and celebrate identities for which others once mocked and shamed them?

But this wasn’t like that. Although Mormons are a minority in most parts of the United States, and in broader American culture, where I grew up, in a region north of the Grand Canyon known as the Arizona Strip, we were the majority, and often we were real jerks about it. And I’m the one who finds this identity shameful, a thing to be hidden and denied.

Still, it’s been more than a decade since I left. Most of its sting and noxious fumes have dissipated for me. Mormonism has become a thing I can manipulate and examine with a degree of detachment that I didn’t have when I first left. Maybe that heritage could be a source and a perspective that informs my work instead of something I’m always trying to run from. Maybe I could begin to integrate it.

I mentally played the rest of “I Am a Child of God” in my head:

I am a child of God

And He has sent me here,

Has given me an earthly home

With parents kind and dear.

I noticed that that last line always plays in my head as, “With parents kine dandeer.”

Then I realized why this must be, and the hair on the back of my neck stood up, the way it would if you suddenly sensed that there was someone hiding in the closet behind you, watching you.

I knew this song before I even really knew language.

•••

During a solo road trip soon after, I was singing through hymns that I hadn’t sung in years, mining them for material, interesting ideas or turns of phrase. I sang the chorus of “Praise to the Man,” a hymn in honor of Mormonism’s founder, Joseph Smith:

Hail to the prophet,

Ascended to heaven!

Traitors and tyrants

now fight him in vain!

Mingling with Gods he can plan for his brethren!

Death cannot conquer the hero again!

I burst out laughing as I spotted the resemblance to the self-aggrandizement of a certain commander-in-chief. I texted the lines to one of my brothers, with the comment, “Joseph Smith started a religion, a fantastic religion, incredible, the best, tremendous, you’re gonna love it, believe me!”

Alluding to Smith’s clandestine marriages to dozens of women, some as young as fourteen, others already married to other men, my brother texted back: “When you’re a prophet, they let you do it.”

Joseph Smith was just a silly old megalomaniac conman. I had a living example of his type to compare him against now, and somehow that took most of the menace, and all of the validity, out of him and this whole enterprise that he’d started.

I wiped tears out of my eyes. Of course I’d known that it wasn’t my fault I was born into generations of Mormons, but that was when I knew, in the way that’s the real beginning of healing for a survivor of abuse: It wasn’t my fault.

The culpability for Mormonism’s ills fell from my shoulders. The weight of the need I constantly feel to say, “I’m sorry,” for having been a Mormon was gone. I need no longer bear the sins of my fathers.

•••

Just as Trump was taking office, I unexpectedly found myself adding Civics to my community college teaching course load. I’d never taught the topic, so I was doing a lot of reading every week to prepare for classes. The daily headlines seemed to me the natural result of the history I was reading: a country founded on corruption, oppression, racism, imperialism, and crony capitalism just as far back as the historical eye could see. And the parallels and connections between the corruption in Washington, D.C., and the corruption in Salt Lake City were about to start popping up all over my consciousness.

I read an article about a Mormon Maori man’s unsuccessful efforts to prevent the Church from demolishing a Church-owned school near Hamilton, New Zealand. The school had been an important center to the Mormon and non-Mormon community there, but it was near a Mormon temple, around which the Church was now undertaking an expensive real estate development. Like so many imperialists and capitalists before them, the Church dismissed the concerns of the local community to make way for its business venture and to increase the allure of its temple.

Speaking of its developments near its Philadelphia temple, the Church’s senior real estate manager claimed that “the church is sensitive to what can be developed next to its temple” and always wants to have something “very compatible to the sacred nature of it.” I wondered, was he perhaps conflating “sacred” and “lucrative”?

I thought of downtown Salt Lake City, which the Church has groomed to function as its Mormonland theme park. The Church controls the experience by means of varying subtlety, from signs discouraging giving to panhandlers, to paying the retail stores at the recently-built, upscale Church-owned City Creek Center to stay closed on Sundays. Temple Square and its accompanying visitors’ centers and museums are all free, but visitors spend money in Church-owned businesses downtown, and if they convert, they become tithe-payers.

When it was completed in 1972, the Church Office Building was the tallest building in downtown Salt Lake City, almost twice as tall as the adjacent temple in Temple Square. No nefarious outside entity or city ordinance created a building that dwarfs their temple; they chose that themselves. The building that they claim is their most sacred edifice is literally in the shadow of the building devoted to their administrative and financial affairs.

Among other rites, Mormon temples are where sealing ordinances take place; only in the temple can members receive the rites that guarantee that they’ll be with their families for eternity. Members must pay ten percent of their income to the Church for the privilege of being worthy to enter the temple to receive these rites. All of these funds go to Salt Lake City before being disbursed locally. In addition to tithing and other offerings collected from members, the Church has various for-profit business and real estate holdings, many of them near their temples.

The Church has not publicly disclosed its finances since 1959. I have two thoughts about this. First, I don’t trust anyone with a lot of money who isn’t willing to be transparent about where they get it. Second, what would I expect from a church founded by Donald Trump’s early nineteenth-century counterpart?

During the first few years after I left, I’d been able to see the Church as misguided but well-intentioned. I still thought this was true of most individual Mormons, but the Church as an institution was looking to me like just as corrupt a sham as ever there was and entrenched in the larger systems of corruption and oppression in the United States.

One Sunday morning, an article on the backstory of the publication of Silent Spring came up in my news feed. As I sipped my coffee, I read that Ezra Taft Benson, who simultaneously filled the roles of Latter-day Saint Apostle and U.S. Secretary of Agriculture under Eisenhower, and who would lead the Church as prophet, seer, and revelator from 1985-1994, had written that Rachel Carson was “probably a communist” because he couldn’t conceive of any other reason “why a spinster with no children was so worried about genetics.”

I went searching for more context and turned up some other facts. This man whom I had called “prophet” through the bulk of my childhood had authored a pamphlet titled “Civil Rights, Tool of Communist Deception.” Then during his tenure as Secretary of Agriculture, he had brought us industrial agriculture and factory farms with his insistence that farmers “get big, or get out,” and had attempted to silence the woman who sparked the environmental protection movement, on the grounds that she had a vagina whence no babies had come.

I was indignant. I took it personally, because between the two of them, where I saw myself was in Rachel Carson: a woman intellectual, a writer, a lover and defender of the natural world, and not a Mormon. I wanted to tell the dead man off on our behalf.

You went after Rachel Carson?! You fucking clown! Guess what? Rachel Carson was right. What the hell kind of prophet are you? You’re ridiculous! You’ve got no fucking clothes! Let me just blow away your remaining shreds of credibility there.

I went back to my coffee and Sunday reading.

I’m not afraid of you anymore, so just get out of my closet, and go on now.

•••

Can you ever really divorce the parts of yourself that you don’t want? Can you pick and choose what you’re made of?

I’ve got plains-crossing, polygamy-practicing ancestors. I was born under the covenant, one of eleven children to parents kine dandeer who met at the B-Y-motherfucking-U. Except for the part where I reject all their doctrine and terminate my membership, I’m as legit as it gets. If there’s a minority culture I could definitely claim I’m entitled to appropriate, it’s Mormonism. But did I want to?

I started compiling a list of uniquely Mormon phrases that I found aesthetically or conceptually interesting. I could almost feel my neurons firing with connections, ideas, possibilities of all the things I could craft out of these words. The title of a volume that Joy Harjo and Gloria Bird edited of writing by Native women came to my mind: Reinventing the Enemy’s Language. Yes. That’s what I would do. I would not claim Mormon as my identity, but I would take that crumpled paper for my art.

A stupor of thought,

a son of perdition,

the brother of Jared,

the City of Enoch,

a stripling warrior,

an eight-cow wife,

health in the navel,

marrow in the bones,

strength in the loins and in the sinews,

popcorn popping on the apricot tree,

and Saints and angels sing…

Take it! Take it all!

•••

LEAH ELLIOTT is a writer, poet, teacher, and journeyer. She lives in North Carolina with her partner, children, and stepchildren. You can find poetry, social media links, and other good stuff at her website: www.leahielliott.com.

Adventures in Naming Myself

By Jia Ying Lim

The teacher cleared her throat, aligning her sharp pencil nib to our printed names on the class register. “Isabelle Lee Shi Qi … Daniel Teo … Lim Jia Ying…” As I raised my hand, she paused and lingered over my name. I bit my lip. Was I about to be singled out on the very first day of class?

She pursed her lips. “There’re two of you named Lim Jia Ying in this class. What are we going to do?”

Another person with the exact same first and last name? My name wasn’t exactly the Asian equivalent of John Smith, and last names were usually the differentiator. I glanced around until I caught the gaze of the person whose face was attached to the torso that was attached to the other raised hand. There was a pregnant glance of equal parts solidarity and wariness.

This situation would not do. How would teachers refer to us in these two years with us in the same classes, how would we write our names on our homework assignments and report cards and parental consent slips? The conclusion was this: because I was eleventh on the class registration list, I was now christened as “Jia Ying 11”. Because the other Lim Jia Ying was twelfth on the list, and life is unfair, she would simply be “Jia Ying”.

When I told my parents after returning home, they indignantly demanded to know why I couldn’t be the one just called “Jia Ying.” I shrugged.

I didn’t mind. I’m still using the same “limjiaying11” email username now. It’s true that when I see her posts on Facebook, I sometimes wonder if that could have been me doing and writing those things. As if her name meant we possessed a common essence, that we were interchangeable. I wish I could report that our identical names forged a unique bond that endured and transcended all our differences and soldered us together forever. But it was just another thing that happened in the year I first had my period, the year a boy first shakily confessed a crush on me, the year I met a true friend who’d remain so for the next fourteen years.

I hadn’t even been that shocked that the name “Jia Ying” was also claimed by another. Chinese names basically meld two distinct words with prosperous or auspicious meanings. Many of my female friends were named after beauty, feminine gentleness, happiness, floral motifs. The chosen pair of words anchor and harbor and shelter the buds of outsized hopes and dreams and over-expectation of new, eager parents.

Apparently my name was chosen from options conjured by a wizened old man with a sharp chin who looked at my birth date and various other vaguely random factors like the weather. (Such superstitions are normal among my mother’s five sisters, who spoke mainly Mandarin and prepared feasts of fresh food and folded paper objects to pray to their ancestors.) In Mandarin, “Jia” 佳 means good (or excellent, beautiful, fine). “Ying” 颖 means clever (or gifted, intelligent, smart).

No name better encapsulates the chronic fear of losing (kiasu, a commonly professed national virtue) and drive for attainment of the Singaporean. At least three of my Facebook friends are also called “Jia Ying”. I used to constantly discover new “Jia Ying”s during role call in Chinese class, sneaky Jia Yings that usually went by their Western names instead. My mother likes to recount the time she signed me up for art classes, and the receptionist informed her that there were already ten other students named “Jia Ying”.

Sure, I could never find my name on those personalized souvenirs at gift shops, though that never stopped me from trying. I will probably never experience the thrill and instant affinity of encountering a fictional character that shares my name (or maybe that’s because I do not read and probably cannot understand Chinese books). I spell out my name habitually when ordering lattes or making a reservation. But there were Jiaqi’s and Jiaxuan’s and Jiawen’s and Jiaqing’s and Jiawei’s, and there were Yingying’s and Shiying’s and Peiying’s and Cuiying’s and Liying’s. So my name was no anomaly.

•••

My name served as a pre-emptive hedge against the willful renouncement of my Chinese heritage. My parents had nothing but the deepest condescension for people who gave their children Western names, or as they called them, “Christian” names, especially as these names would come first before their last name and Chinese name. (Christianity was their synecdoche for the West, something I would also have to delicately navigate when I became a Christian: another story.)

When we were ten, appalled that my sister and I had named our dolls Elizabeth and Georgina and Louisa and other names lifted from the pages of Enid Blyton, my mother warned darkly, “Remember, you don’t want to become a ‘banana’ all right.”

My sister and I would roll our eyes with as much gusto as we could muster without injuring ourselves and mutter, “Yes, yes, we know. It’s just a game.”

(A banana may be pale white or snow white or stark white on the inside, but remains stubbornly, unchangeably, yellow on the outside.)

“Don’t be like X, who married an angmoh (Singaporean slang for red-haired man)! Don’t be like X who doesn’t even go to hawker centers anymore but only eats brunch. Don’t be like X who can’t even say hello to her grandparents because she simply forgot how to speak Chinese.” It seemed there were endlessly available examples of “bananas” to serve as cautionary warnings, as I refused to voluntarily speak Chinese and devoured unhealthy amounts of English books and movies and decided I wanted to study in America.

They warned ominously against my choosing a Western name for myself, as some of my friends had done. I once unwisely complained that my name was always forgotten. They were savage: “If you deserve to be remembered, you will be remembered.”

•••

But “Jia Ying” was abruptly unpronounceable once I stepped foot in college in New York. I watched as my name was promptly forgotten during those orientation icebreakers and self-introductions. Some people wouldn’t bother ever speaking to me again (or maybe that was for other reasons—who knows). Some people would try to call me or get my attention without revealing that they had forgotten my name, out of that habitual American politeness. The more earnest and well-meaning would frown, stumble over it, ask me to repeat it, try to repeat it but end up saying it the exact same way, ask if that were better, and I would nod encouragingly with a forced smile.

What was the point of a name like that?

First I collapsed it into Jiaying, so people wouldn’t call me Jia, thinking that “Ying” was my middle name.

I’m not sure why I thought that would make a difference.

Then I caved. “I’m Jiaying—but you can call me JY. Like, the initials JY.” I would smile, slightly ironically. “It’s easier that way.”

•••

Practically, renaming or naming yourself may be advantageous. We can legally change our first name, neglect or adopt a last name, or choose a new one altogether. Names are flimsy, insubstantial representations. The wrong name sabotages, closes doors, lowers pay, diminishes workplace opportunities. Professors cannot call on you if they do not remember your name. Networking contacts cannot provide a referral if they forget how to spell it, especially if a Henry or a Jack or a Jessica pop into mind as well. These are the more benign examples that exclude actual racism.

But why does it feel so disingenuous to choose a name for yourself? I considered choosing something other than “JY”, but balked.

A name is an identity that extends beyond temporary capitalist gain. It reveals, defines, categorizes. Just as we don’t choose our family, we usually don’t choose our first names. There’s a weight to the given name. Names don’t feel real until they are bestowed, whether by your parents or loved ones or through ceremonial rites of baptisms. Naming yourself is too radical and too literal an act of self-definition.

I suppose “JY” worked for a bit. The most common response was the approving observation that it sounds like a rapper’s name. I suppose it does. I just never quite evaluated the aesthetics of my name that earnestly: It was a utilitarian move, my way of secretly preserving my actual name (for those who knew what JY stood for) and truncating it to the point where it could fulfill the functions of a name: it could be pronounced, remembered, and used.

•••

I’ve considered other names, sometimes as an idle fantasy, sometimes as stimulating dinner conversation fodder. My only condition was that I wanted a name with two syllables, because my cardinal rule was that it sounds better when the first name is a different number of syllables from the last name (Lim). That seemed to leave many two or three or even four-syllabled names for the picking. But, turns out everyone has an opinion of what a Joy or Catherine or Ruth should look like. Also turns out that there are many people I do not want to share a name with.

During my brief summer stint at a business newspaper, I was Sofia. Or at least, I became Sofia for the sake of my email address, because there was a full-time hire with the exact same first and last name (again!). Being the lowly intern, I was naturally instructed to somehow obtain another name. In the five-minute conversation with human resources, I chose Sofia. I liked that Sophia meant wisdom in Greek. And I didn’t want it to be spelled like the “Sophia”s I knew. And I had recently read a few novels on Eastern Europe and had always wanted to visit Bulgaria after reading about it.

But everyone who mattered, like my mentor and my fellow interns that I shared lazy afternoons and countless waffles and ice creams with, still called me Jia Ying. I would always take a few seconds to realize that the person calling the name Sofia was actually referring to me, Sofia!

But I became friends with a fellow freshman named Sofia (did I become good friends with her partially because we shared the same name? I will never know.) We met up regularly, lived together for a semester, laughed and cried through breakups and academic failures. It would be too weird to be a second Sofia. So now, I’m still just JY.

•••

I doubt the rapper name JY is the best partner to plunge into the working world with. It seems unbefitting an actual adult, which I was pretending to be.

But what will I use on my Facebook account, if old college friends try to locate me or newfound ones try to add me? What will I use when I write? What will I get baptized with? What will I use at my wedding? I want continuity and I want pronounceable-ness and I want functionality and I want something that I like.

Now I’m flirting with simply “Jia.” It should function well for these few years of living and working away from Asia, away from home. It should be easy to remember. (Or easier. I’m not over-optimistic here). It’s the name my emails are already addressed to, since most companies assume “Ying” as my middle name. It’s one half of the nickname my boyfriend calls me. It’s minimalist and pretty slick and if people cannot pronounce that single word then they will just have to deal with it on their own.

“Jia” is a compromise. It’s my name, spliced brutally into half. It’s part of me. It’s not something entirely new and foreign: how could I possibly name this foreign, ill-defined, mysterious, and incomprehensible being?

But it’s also a whole new identity to be “Jia” instead of “Jia Ying,” as I begin working and living and eating and breathing in America, after the reassuring structures of college as “JY,” sans family and old familiar friends as “Jia Ying” or even “limjiaying11,” a twenty-hour flight and twelve-hour time difference away from home. I preserve a fraction of myself, I relinquish a modicum, and I gain something else in exchange.

•••

JIA YING LIM is a writer based in Philadelphia. Her work has previously appeared at Quarterly Literary Review of Singapore, the leading literary journal.

Peach Courage

masked woman — By Gina Easley www.GinaEasley.com

By Jennifer Richardson

Earlier this year when I was trying to work up the courage to quit my job, I went to see the performance artist and musician Peaches at one of those “in conversation” events at a Berlin art gallery. I had moved to Berlin with my husband in 2015 for my job, with the mutual understanding that we would only stay for a year. That deadline was looming, and I had cold feet.

The setting and inspiration for the talk was an exhibition of sixty-five photographs by Cindy Sherman, an artist who’s been tackling the concept of identity in her work since she first started taking her portraits of herself in the 1970s. Sherman usually works alone in her studio and the resulting pictures often portray social and cultural stereotypes, from starlets and pinups to, more recently, aging society ladies and fashionistas. I first came across Sherman through her so-called History Portraits. I was taking an early Italian renaissance art history class at college, and the counterpoint of Sherman’s Madonnas—often equipped with obviously prosthetic, exposed breasts—made me laugh. Sherman doesn’t title any of her works, but they’re often referred to by the numbers curators use in exhibition catalogs and, as in the case of the History Portraits, thematic groupings. In other words, Sherman declines to identify any of her pictures about identity.

I nabbed a seat for the discussion in the second row with a perfect view until, minutes before the program was set to start, a middle-aged woman doused in perfume and wearing a matching white fur jacket and hat sat down in front of me. It quickly became clear she had no intention of removing the hat—which was the primary offender in blocking my view—and when she turned around, I thought I may have figured out why. She had black hair, the texture of which looked like a wig, with spare tendrils of odd lengths spilling onto her shoulders. The hat seemed to be holding the whole arrangement in place. Her coral-red lipstick was smeared and she wore black eyeliner and a blank stare as if the point of her eyes was to absorb the snatched glances of those of us around her. A closer inspection revealed she was wearing rather fabulous high-altitude platform shoes, the heel of which was scalloped in gold metal. When the second man approached to kiss her hand, I was sufficiently intimidated to lose my nerve over asking her to remove the hat. She looked like a Berlin version of one of Sherman’s Hollywood/Hampton Ladies, a series of photographs displayed on the wall at the back of the room, and it only occurred to me the next day that she could have been Sherman donning a disguise to attend a talk about herself. This would certainly explain the hand kissing.

If it was Sherman, she wouldn’t have been the only one in the room fiddling with her identity. I was there straight from work and dressed in my version of a businesswoman costume—Isaac Mizrahi for Target blazer, Banana Republic dress, Wolford black tights and LK Bennett boots—feigning to be a fan of Peaches when, in fact, I had just read an article about her in a magazine a month or so earlier. I was a legitimate fan of Sherman’s, but on some level I was attracted to the event by its association with the radical art of Peaches. Simply by attending, I was asserting my identity outside the narrow confines of a normie, trying on the idea of what it might be like to be the kind of person who’s a fan of Peaches. I was too timid to go to a club to see her, but here in a gallery at the gentle hour of seven-thirty p.m., Peaches was accessible to me.

•••

In addition to being an artist and musician, Peaches—who was born Merill Beth Nisker—is a forty-nine-year-old Canadian super-fan of Sherman. Like Sherman, Peaches’s work explores identity. While we think of Madonna and Lady Gaga as our culture’s pre-eminent pop-star chameleon queens, Peaches’s subversive take on identity, particularly when it comes to traditional gender norms, exposes their work as merely conventional. The video for Peaches’s recent single, Rub, was banned from YouTube, perhaps for being “a lesbian desert sex scene, but without the male gaze,”—which is how one of the video’s co-directors, artist Lex Vaughn, explained it to The Daily Dot. During the course of the conversation at the gallery, Peaches screened this banned video along with the one for Dick in the Air, in which she and comedian Margaret Cho don fuzzy onesies complete with built-in, penis-like appendages that they proceed to, you guessed it, wave in the air.

In person, Peaches is nothing like you might expect from her videos. She wore a baggy brown dress that hung in swags around her like something from a Greek statue, Dr. Martens boots, a couple of hair extensions, and no makeup. As she remarked to the interviewer when asked about her penchant for elaborate stage clothes, sometimes dressing down is its own version of a costume. Her manner was down-to-earth and engaging while displaying a self-assured intellect. When the interviewer occasionally veered into presumptive lines of questioning, Peaches managed to disarm him with the politest of is-that-sos?

Commentators on Sherman’s work sometimes characterize it as an assertion of identity as a performance. When asked her views on identity, Peaches answered that it’s something we’re constantly creating through trial and error, starting with the identity-less child who learns by mimicking her parents: the child sees her parents holding a phone and holds a spoon up to her ear. I like this concept of trial and error better than performance; it asserts an earnestness where performance asserts artifice. The two can, of course, co-exist.

At one point the conversation turned to Sherman’s series of the Hollywood/Hampton Ladies. What’s easy to read in these portraits is satire of the desperation of middle-aged women, both their makeup and their facial expressions trying too hard. But Peaches pointed out that Sherman is also showing us their vulnerability inherent in this set of headshots designed to garner interest for their third act in life. Where I previously was simply in-on-the-joke of these portraits, I could now intimately—and uncomfortably—relate. The Hampton/Hollywood Ladies had something to offer me, a willingness to try and to make myself vulnerable in the process I was going through in defining my own next act.

At the end of the evening Peaches stood in front of the room and performed an unexpected costume change, using the draped dress as a beach towel changing device. Now donning a blush-colored sequined shorts romper, she belted out an excruciatingly raw rendition of Private Dancer. It was earnest and imperfect, an ending dedicated to the concept of quite literally exposing oneself. People whooped and applauded, smart enough to know they had seen something special.

•••

My takeaway from my evening with Sherman and Peaches wasn’t inspiration to embrace an identity radically different from my own. I am early middle-aged and inexorably shaped by the values and mores of life so far, and I didn’t leave the show ready to dye my hair pink and join the circus. They are the artists and it’s their job to operate at the radical edges of identity to show the rest of us what’s possible, giving us room to maneuver in the space in between. But I did take the experience as a reminder that my relative financial security was a ticket to engage in some trial and error about what I would do next, to emulate the toddler that Peaches had described.

She also seemed to be telling the room to be brave. Watching her perform considerable feats of derring-do like changing her clothes in front of a room full of people before belting out a vocally challenging song—and then, crucially, seeing that nothing bad happened—was a life affirming thing. To put it coarsely, I took her performance as a sort of creative invective to grow a pair. So much of my resistance to change—specifically leaving my job—was fear-based: that I would never find a job that paid this well again or that I would never find any job again. The inquiry pretty much stopped there, failing to go to the next step and ask “and then what?”

It reminded me of one of my favorite regular features in a Sunday newspaper magazine, an interview that always asks the subject “What would you do if you lost everything and had to start again?” Invariably the answer inspires less dread than one would imagine. Often it evokes the opposite in the interviewee—a sense of liberation, an opportunity to get back to what he or she loves. In other words, the answer to the question “what’s the worst that could happen?” usually isn’t that bad. Even if Peaches had bombed in her performance and everyone had booed, well, so what?

Years ago I was receiving instruction in sitting meditation from a zen Buddhist priest. Whenever I tried to sit cross-legged, one of my legs would invariably fall asleep. Alarmed, I called out to the teacher that my legs were falling asleep. “Is that so,” he responded, more statement than question. Without having to spell it out, the teacher had made his point: what’s the worst that could happen if my legs fell asleep? Not much as it turns out. If it got really bad I could always uncross my legs, an option that, remarkably given it was always wholly in my control, I seemed to have ruled out because I thought it would mean I was doing meditation wrong.

This is another abiding fear of mine in life: that I am doing it wrong.

And this, perhaps, is the siren call of artists like Peaches and Sherman. They are decidedly, unabashedly doing it wrong. Sherman’s Madonna is squirting milk from her plastic boob and Peaches is waving her penis in the air, both of which make it just a little bit easier for me to remember that quitting my job wasn’t really living life on the fringe. What could possibly go wrong?

•••

JENNIFER RICHARDSON is the author of a memoir, Americashire: A Field Guide to a Marriage. Her writing has recently appeared in the anthology, A Cup of Culture and a Pinch of Crisis, as well as Fiction Advocate, ExBerliner, and Remedy Quarterly. You can find her online at http://jenniferrichardson.net/ and on Twitter @baronessbarren.

Her

By Jiadai Lin

I never knew my grandmother well but I was told growing up that I had her yan sher, which literally means “eye expression” in Mandarin. I understood it more colloquially as referring to Grandma’s spirit, her aura. My father said this as a compliment. My mother, not so much.

The woman I call Grandma—my paternal grandmother—grew up in the pre–Cultural Revolution Chinese countryside just north of Beijing. She had a clumsy instinct for things like judgment and war and enemy lines. She played with the Japanese kids in the yard who nobody was supposed to play with. She unraveled the bandages wound tightly around her feet and learned to read. She became a wife before she was twenty, and a mother soon after. She birthed seven children from her tiny frame and lost two.

Of course, she wasn’t all good and mighty. Grandma’s fingers were just as clumsy as her instinct to judge, so she could never properly sift the rice hulls from their grains in the fall. The rice patties her kids brought to school for lunch weren’t white and pure as they were supposed to be but speckled with brown. This was considered an embarrassment, but Grandma didn’t lose any sleep over it.

When I was young, I sensed that Grandma wasn’t exactly the model of a woman that I should want to embody. Enemy-befriending, bandage-unraveling, wooden-fingered Grandma wasn’t supposed to be my ideal of feminine perfection. She was wrinkled and weathered by the time she was thirty, and she didn’t know how to smile properly for a picture. Her fingers, unnaturally thick for such a small lady, were dusted charcoal gray no matter which picture I looked at.

And I looked at many. From halfway across the world, from a second-floor apartment in Milwaukee, Wisconsin, I flipped through the thin stack of Kodak photos that sometimes came in the mail. The images I remember were all set in winter. Grandma and cousins posed wearing puffy neon jackets in their front yard. The ground wasn’t grass or the concrete sidewalks of Milwaukee, but a worn, packed dirt. Grandma sat on a wooden chair, cousins stood in a row, and the family dog, Little Black, lounged at their feet. Their expressions seemed never whole—never just a smile or a frown—but instead halfway through a sentence or question, as if they weren’t sure when exactly the camera would go off.

These pictures were mostly the same but I studied each one as if it were a unique blueprint for my own identity. Of all the cousins on my family tree, I was the only one to live in America. I was special in that way, but I was also alone.

“You’re like your grandma,” my father would say.

“How?” I’d ask.

“You have that same sarcastic look in your eye. Yan sher.”

“What do you mean?”

He never replied directly. The answer came at me slowly, through stories and pictures gathered over years.

•••

Just before I turned two, my parents brought me to visit my father’s family. After the stay, I observed that Grandma didn’t pay much attention to me.

“She’s not an affectionate woman,” my father said.

“That’s right—she’s not!” my mother said.

I don’t remember this early impression of Grandma and clearly, it didn’t do anything to diminish her in my eyes. Maybe Grandma was busy playing poker with the village ladies or preparing dinner with the aunts or walking Little Black instead of cuddling me.

My family moved to America shortly after that visit, and I only saw Grandma a few more times in her life. The last was the August before my senior year of college. On this trip, I noticed that my cousin Hailian had bought gifts for the family—bottles of perfume, silk neck ties, a watch for my father, a jar of L’Oreal face cream for my mother. The girl had manners, my mother noted, and I decided that I should learn a thing or two from Hailian.

During afternoon nap on a particularly hot day, I snuck out to the village convenience shop with my little brother. When we walked in, a bell on the door jingled and a sleepy shopkeeper emerged from behind a shredded plastic curtain. We apologized for waking him and asked in our best Mandarin for a nice woman’s shirt.

“For your grandma?” he guessed right away.

“Yes.”

My brother and I examined the one option shown to us, a button-down shirt made from a flowered pattern. It would do.

Grandma had an afternoon routine. She spent hours hanging out with other neighborhood women on the stone ledges that lined the narrow village streets. I had often seen them perched in the shade waving their bamboo fans and swatting at mosquitos that buzzed by their legs. These women greeted everyone by name—kids returning home from school, men in suits riding bikes to and from work in the next town over, the fat lady with the toothy smile who herded her goats down the village’s most central streets every afternoon.

On this particularly hot afternoon, my brother and I found Grandma on the stone ledges and presented her flowered shirt. Almost immediately, the neighborhood ladies clapped their hands in laughter. Look at those American kids! What funnies! They called us not by our names, but as our father’s children.

Grandma laughed too, then started unbuttoning the shirt she was wearing. Soon she was topless and slipping her arms into the flowered shirt we had bought. I stood there with my eleven-year-old brother, unable to turn away. Grandma was skinny and tan, her breasts small and wilted, gently falling over her ribcage. Her skin was withered as if a layer tissue paper had been glued onto her actual skin beneath. I had noticed that Chinese women, who often showered communally, were generally more comfortable with nudity than American women. But an eighty-something-year-old woman changing out on the street with a group of ladies cheering her on? This was not normal. Afterwards, Grandma sat there on the ledge sporting her new shirt with a beaming smile on her face. This was her way of saying thank you for the gift.

When I recounted this story to my mother, she looked disturbed. I got the message. What Grandma did was not ladylike. It wasn’t something I should emulate. But over the years, I always remembered this story and felt a kinship with Grandma. Maybe she wasn’t refined and full of grace, but she was bold. She was a hoot. She didn’t care what others thought about her. She did what she wanted to do, in that nonchalant way that always had my mother shaking her head.

•••

My mother was a different kind of woman. She wore billowing dresses and strappy sandals and tortoise-shelled sunglasses with lenses the color of tea eggs. She knew how to stand for a picture, arm-in-arm with my father in front of Tiananmen Square the year before I was conceived, a silver flowered clip locked into her wavy hair. After we moved to America, she bought do-it-at-home hair perm kits that came in purple and silver boxes with a blonde lady on the front.

I can still see my mother standing over the sink in our tiny bathroom in Milwaukee, her hair dripping of something that looked like milk and smelling of chemicals. I’d watch her from the bed where we all slept—my mother, father, and me. Every night, my mother would come to this bed and put Lubriderm lotion on her hands, her fingers smooth and long like a ballerina’s legs. And then she would take mine and do the same for me, paying special attention to the dry cuticles that I had a bad habit of chewing off.

•••

For a long time, whenever my mother tried to teach me about being a woman, I felt like she was pulling me away from myself. More times than I can count, my mother would come up behind me, rest her hands on my shoulders and press her thumbs into my spine. “Straighten up,” she’d say.

I’d arch my back to an extreme. “Like this?”

She’d shake her head. “You know what I mean.”

Did I? I don’t remember. What I remember is feeling defiant. Proud of the fact that I didn’t naturally stand up tall or want to sit nicely at holiday parties with the women who gossiped until midnight spooning dessert from the table. I wanted to be the one rolling in the dirt, the one with the scraped knees hanging from the top branch of a tree, the one riding her blue Huffy down the street that ran the length of our apartment complex. Through grade school, I insisted on wearing tee-shirts and cargo pants, the kind that could be unzipped at the knees and transformed into baggy shorts for the summer. In high school, I wore my hair in a messy bun that I had to keep re-doing throughout the day to keep tousled because my thick hair always fell straight.

My mother thought of names for me. Things like kuang tou (basket-head) and bu-nan-bu-nu (not-boy-not-girl, or, as I guessed, tomboy) that she muttered when she saw my getups. I knew these names were not endearing. They were meant to stir me to change. I did change, but in the opposite direction. I messed up my hair even more and slouched defiantly. I wanted to show my mother that this was who I was.

I felt less that I was caught between two cultures and more that I was caught between two women. Except I wasn’t really caught. I knew who I wanted to be, but I was too young to be her yet. I felt a maddening ache to get out of the house and out of our town. Once I grew up, once I moved away, once I had my own place, my own money, my own life, I could be whatever kind of woman I wanted to be.

•••

A month before I started college, my parents and I attended a dinner reception for incoming freshman and their families. We drove into New York City in our green Dodge Caravan and circled the blocks around school several times before finding a parking spot. My mother wore an olive and bronze–colored silk dress with a sash at the waist. She had brought this dress with her from China and kept it in her closet, taking care to replace the moth balls every winter. I don’t remember what I wore, but I know that it had not occurred to me that I was supposed to look nice for this event. I probably wore my uniform at the time: jeans and a tank top, flip flops, and a choker necklace made of plastic sea shells.

There was a woman at the reception who seemed important. I don’t remember what color her hair was or what she wore, but I was alert to her presence. While the families sat at round tables, this woman paced around. She shook hands and made friendly conversation to which families laughed and nodded as if on cue. As this woman circled closer my table, I noticed the muscles in my mother’s neck clench. Her hair was twisted into a bun with a flashy jewel barrette that she saved for special occasions. By the time the woman got to the table next to ours, my heart was pounding hard in my chest. I was suddenly embarrassed at how out of place my family looked. I watched as the woman told her joke, smiled, and then moved straight to the table on our other side.

I ate a piece of my bread and tried to look unfazed. But I was confused. Did the important woman skip us by accident? Would she come back around? I was glad that I was spared an awkward encounter with this woman, but why didn’t she speak to us?

My mother and I never talked about this incident. It occurs to me now that maybe it doesn’t stand out in her memory as an exception to her everyday life. When I was growing up, my mother always reminded me that it wasn’t easy to be an immigrant. “You have to be better to get the same result,” she would say. A better student, a better woman, a better friend.

I’d usually laughed it off. “I don’t feel that way,” I’d respond, “You’re being paranoid.”

But being at that reception, as I sat proud and excited and anxious at the prospect of being alone in the world for the first time, I experienced something that never left me. Only years later did I understand that what I had experienced was how it felt to be an immigrant’s child. That lucky first generation. And all the pride and burden and vengeance that came with it.

•••

I graduated from college and then law school. I got a job at a firm in New York and rented an apartment on the Upper West Side. I worked long hours and indulged in fancy cocktails to justify those long hours. One Monday night in late September, I had come home and had just stripped off my corporate outfit when my mother called me. This was normal, so I took the call and steeped a peppermint tea. Then I put my mother on speakerphone on the kitchen counter and got ready to scrub at the dirty dishes in my sink.

“You should sit down,” my mother said.

I did.

“Your grandmother…” my mother started.

I immediately had a bad feeling in my stomach. My mother never said much about Grandma. Something big or bad had to have happened.

Grandma had died sometime through the night. The night in China that was the day I had just lived. I tried to remember something, anything, that had happened during the day that felt tragic or poignant. A moment I could identify in hindsight as a sign that I knew viscerally my grandmother was gone. I must have felt something. Grandma and I were connected by blood, and something even stronger. We shared yan sher. That had to count for something. But I had nothing. I had been sitting at my computer for most of the day, chatting occasionally with coworkers but mostly working on assignments that barely varied from one day to the next.

After I hung up the phone with my mother, I went to the bathroom. I stood in front of the mirror above my sink, next to my blue shower curtain. The pattern on my shower curtain was a map of the United States, and I thought about how my grandmother would never step foot on American soil.

Grandma wasn’t sick. She had been weak through the previous winter but rejected my uncle’s invitation to stay with his family. She liked where she was. She was walking to the market every morning for breakfast buns and soy milk and playing chess on the stone ledges with the ladies in the afternoon. It had been a good summer. She was getting stronger. Of course she would die someday, but I wasn’t prepared for her to die today.

I sat on the bathroom floor against the cold bathtub and cried. I had never lost anybody close to me before, and I hadn’t expected the tears to come so diligently, before I could even fully process my sadness. I was puzzled by my tears because along with vague sadness, I felt something light. I felt the peace of a life ended without great injustice. Grandma had lived long. She had died in her sleep, as she always claimed was the best way to go. Her death had not been big or bad.

That night, I lay in bed staring up at the wooden beams across my ceiling. I thought of my grandmother, who had gone to bed not long ago. Now her small body was cold and empty of life, her brain without consciousness. It was impossible to understand how a person could just be gone like that. And not just any person, but Grandma. The lady with the sarcastic look in her eye. Now there was only one of us in the world.

•••

A few nights later, I left my Midtown office building and walked up Sixth Avenue. I strolled along the southern edge of Central Park, past the row of carriage horses resting in the shade. It was a quiet night, the air cold but comfortable. I settled on the stone fountains facing Columbus Circle and spoke to my father, who had gone home to China.

In my grandmother’s village, funerals were celebratory events. My father described how the whole village had come out. There was a live band and two teenage go-go dancers. At funerals, it was tradition for family members to dedicate songs to the deceased.

“Your uncle selected two songs for you and your brother because you guys couldn’t be there,” my father said, “It was really a nice celebration. Everyone said that your grandmother was a really kind lady.”

I watched as two men in front of me played with neon rockets that could be wound up and shot up into the sky. At the top of their trajectories, the rockets flashed with bright lights, lingered for a moment, and then fell back down. I kept my eye on them. Up and down, over and over again. Something about the simplicity and sureness of their paths was calming.

All this reminded me of Grandma. As long as her life had been, it was never meant to be much more than what she was born into. She would get married and have kids. She would live in the same house through most of this and die there too. Then I thought about own my life. I was born in a hospital in Beijing, to a country-boy scientist father and a Manchurian mother with a graceful edge. Maybe I was not meant to travel far in my life either. But I had. What were the chances that somebody like me would be here sitting in Columbus Circle on this very night?

My grandmother could never have dreamed of this life for me, but she did live to see a glimpse of it. A few months before she died, Grandma found my lawyer profile online. She didn’t mention this until she overheard my uncle talking about my website profile in the other room. “I saw it,” Grandma said.

A clunky old computer had sat idly in the corner of Grandma’s room for months, maybe years. Nobody guessed that she knew how to use it. But there it was, in her browser history. My name, my picture, my degrees.

This last story makes me smile because this was Grandma’s way. Understated but crafty, insulated but modern, modest but full of pride.

•••

I see now that while Grandma could never have dreamed of this life for me, my mother did. And even more, she demanded it of me.

Over the years, I realized that the main difference between my mother and grandmother is how each woman handled judgment. Grandma was fearless. This was the essence of her aura. She was not ashamed. She did not care that her children brought to school rice patties that were not perfectly white. She didn’t often ask, am I good enough? She just was what she was.

But my mother, she never stopped asking that question. My mother didn’t believe in accepting what you were born into. She believed in being better. She believed in learning to sit up straight and breaking bad habits. She believed in going to the salon for a perm, and when she found herself in a new country with little money, she believed in doing it herself. She believed in upkeep. And most of all, perhaps, my mother believed in her kids. While I begrudged my mother’s attempts to mold me when I was growing up, I see now that her intentions were pure. She pushed me because she believed in me.

It is a humbling thing to look back on your younger self and see somebody who cared so much about how you would turn out today. The lesson, I think, is in the effort and intentions. Perhaps the time I spent as a girl searching for the good and bad and admirable allowed me to face the judgments I had of myself. Perhaps being exposed to the wildly different personas of my mother and grandmother instilled at a most basic level the idea that there was no one way a woman could or should be.

I never did find a model of feminine perfection that both satisfied my mother and sat comfortably with me. I was a college grad who sometimes dreamed of being a farmer, a corporate lawyer who changed immediately into sweatpants at home, a tomboy who learned to walk in heels. And while I was becoming these things, I forgot to think about how much I wanted to be like Grandma. I forgot to think about how much I wanted to show my mother exactly who I was. I forgot to try so hard. Without detaching from either woman, I detached myself from the idea of being confined to their qualities. In growing up I became my own woman, and I am still becoming her.

•••

JIADAI LIN lives in Las Cruces, New Mexico, where she is working on a novel based on her former life as a lawyer in Manhattan. She can be found on Twitter here: @jiadailin

The Sexy Problem

By Sarah Werthan Buttenwieser

New to Zumba, I love the chance to channel the jump-around-like-crazy energy of my late twenties again—here at fifty. It’s some of the most fun I’ve had with exercise in a very long time. Unlike the pleasingly prescriptive yoga, which makes me feel serene and strong and slightly, hopefully elastic, Zumba is freeing. I jump on my two left feet. I sweat. I even unleash a few long-dormant “woot”s during class.

I’d never imagined the Y to be a sexy place. Others bring the sexy in; I certainly do not. I pretty much jump up and down when hips are supposed to unleash juicy moves I can’t imagine I’ll ever make—or have ever made, for that matter. I am far more at home with that crazy aerobics class energy of my late twenties (late ’80s and early ’90s) than anything so bootylicious. I’ve made it this far as a rounded (physically and metaphorically), strong, terribly self-critical woman.

Other people follow directions better. The class ranges from teen (almost always the good-girl daughters accompanying their cheery moms to class) to white haired ladies, with a few men, gay and straight, sprinkled in. Attire runs the gamut from Ts and shorts, to workout gear, to one woman’s “uniform” of a sundress and bare feet. Like my town, the Y—and the Zumba class—runs casual. At the same time, the most canned of the Zumba songs not only instruct participants to “move your body,” but to “shake your body,” and to feel and inevitably be—or at least channel—S-E-X-Y. The choreography orchestrates hips to shake and gyrate and suggest … things I’m not about to do during or right after class in the non-privacy of my very own kid- and teenager-filled home.

While I don’t want to make those signature moves, I don’t mind them. I’m especially tickled when the twentysomething instructors lead the class—and unleash their playfulness in shiny workout costumes with glitter on their faces. One spacey man half-points and gestures and magically enlists each participant to stand in as leader, like a Zumba whisperer.

In fact, the only time the make-it-sexy aspect of Zumba makes me terribly uncomfortable is when the class is taught by the middle-aged white ladies a.k.a. my peers (neighbors, fellow moms). Yesterday, for example, the teacher wore her carefully blown-out, long hair down. She wore makeup. She wore an ’80s-style cut-up T accompanied by black bike shorts and black Zumba shoes. I wore a skort and tank. Skorts are fun and flippy but decidedly not sexy. During class, I expended my energies in nearly equal parts between exercising and perseverating over the notion that to try to dance sexy at the Y in midlife could be fun, appropriate—not weird, not desperate.

I reminded myself how much I hate the judgy part of me. This woman’s wardrobe, hairstyle, or sexiness is neither my call nor my problem: my discomfort with her is all about me. And my unease isn’t new. Nor is it entirely about age. My peers’ aggressive delivery of sexiness has always made me squeamish. That’s because I’ve never been at ease with any sexy edges in myself. I grew up heavy enough to feel self-conscious, and regardless of pounds on or off, my self-consciousness has never fallen away. I wouldn’t have worn glitter—not in my twenties, not ever. I barely attempted makeup before I had kids. But I’ve never been prim, either: my cardigans aren’t buttoned up to the top and my skirts aren’t necessarily below the knee. Even before the mom-style overtook me, I liked cute clothing that aimed for cute, sweet, innocent sexy—and never a step further. My vanity has always had very strict bounds. I’ve never worn long hair down to an aerobics class. Practicality always won—with flat shoes over heels, clothes that never bind, and silver hair.

When I’m in Zumba class, I feel pretty … fit. After all, I can push myself to jump around for pretty much the entire hour even if I will not shake my booty, merely “jump and bounce.” Here at fifty, a healthy and fit self is my aim—in public. I want to feel pretty. I like to feel capable, or at least strong enough. I want to keep going.

I only want to let sexy out when and where I’m comfortable doing so. That’s in bed with my husband. We’ve got teenagers, teenage sons. Sexy has no other berth here. With teenagers around, my self-image is all about chill, or at least cool enough, slightly batty, and available to help if you need me.

But I’d like to experience the middle-aged ladies’ bids for sexy just as I do the twentysomethings’ bids—as theirs. I’d like to believe that my limitations in class—more jumping and less shaking—could feel as if they aren’t signs of a cop-out. I don’t know that any part of me wants to cultivate my inner-sexy, but I’d like to strut my stuff, on my own terms. If I felt as if I exuded strength and competence and had utter certainty of my beauty… I don’t feel that way, though. The problem with my ideal terms is that they involve a self-confidence that I do not have.

Despite the fact that I don’t possess that self-confidence—and by now, I imagine I might not ever find it—I don’t entirely feel that way. I’m too hard a worker to ever give up entirely. And I do long to experience that exuberant inner-something—if not sexy, then something close. So, as I obsessed about the teacher’s sexy aspirations, I asked myself whether I think that you must check your adult sex-having, sex-seeking, sex-loving self at some imaginary gate when you have children. I don’t. I asked myself whether I believe that you have to give up upon channeling a certain kind of sexy vibe when you reach a certain age. I might, I realized, even though maybe I haven’t even begun to try. I’m not at all sure what sexy looks like at forty-five or fifty-five or sixty-five. I don’t know how it translates in this world that equates youth with beauty and sex appeal and power. I wasn’t even thinking I’d contemplate these issues all that much—and certainly not during exercise class at my local Y. But here I am, wondering whether I will surprise myself one of these days—and shake that body.

•••

SARAH WERTHAN BUTTENWIESER is a writer living in Northampton, Massachusetts, with her husband and four children. Her work has appeared recently in the New York Times, Salon, and Brain, Child. Follow her on Twitter @standshadows.