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.

Acts of Faith

by Antonia Malchik

St. Petersburg, which my relatives still sometimes call Leningrad, is a city of water—canals, islands, the massive Neva River. Neva, sweeping to the Gulf of Finland, is an illusory barrier, giving the impression that the city is water-locked. In reality, the metro clicks out easily to a network of islands that comprise the rushing circulatory system of a huge city. These islands are hardly remote, but just far enough by metro that most tourists pass them over.

A few years ago, during a two-week trip attending a writing seminar and visiting my relatives, I took the metro out of St. Petersburg’s tourist-choked center to one of the islands. I was looking for a church. Any church, as long as tour groups hadn’t discovered it, and its Orthodox services fed the sense of mystery that an atheist like me requires from religion.

I can’t always explain this need. A fascination with faith doesn’t seem to mark most other atheists I know. And the older I get, the more grounded I feel in the lack of it. Yet something still draws me—a yearning that is both wordless and slightly annoying, probably as old as human consciousness. I don’t know whether I want to simply comprehend faith or, a more daunting thought, to find it. A place of safety, to shed my burdens.

Russia is my lodestar in this search, the country of my father and his honest, humanist parents, who had themselves chosen atheism over their severe ultra-religious existences in Orthodox Jewish villages. They left the ghettoes for Leningrad to build the new communist dream, where all that mattered were your hands and your brain. As they faced repeated defeats in their attempts to qualify as engineers—thrown back for their Jewish blood or bourgeois history rather than lack of skill—they realized Lenin’s dream was another illusion. By the time they’d survived Stalin’s purges, their noble-hearted humanism was all that was left for them.

Those grandparents would be both amused by and sympathetic to my attraction to the haughty self-righteousness of the Russian Orthodox Church. But the streets of the city they made home seemed to have given them a self-assurance I lack, and it is there, in the adopted home of my atheist grandparents, that I seek a religious conversion.

•••

During the midsummer White Nights celebrations, when the midnight sun left a rosy light on the streets, I walked through the islands seeking a native’s church, where babushkas spent afternoons murmuring to their saints and inappropriately dressed tourists were scowled at.

On the island of Vasilievsky, I found one. A courtyard with battered grass hid an old Byzantine church from the noisy main thoroughfare.

My aching feet and struggling lungs drove me from the hot, humid street and polluted air through an entrance in the stone fencing. Prepared for Orthodox churches (and those barb-tongued babushkas), I was wearing a long skirt and had a scarf tucked into my purse. Before touching the entrance steps, I tied the scarf over my hair and assembled an expression of humility and languid determination—the Russian expression.

Inside, scaffolding for restoration work covered half of the dome over the comparatively small main floor of the nave. The public part of a Russian cathedral, no matter how decorated, always feels like a waiting room. There are no pews. Even the most gnarled grandmother must greet her God standing. Icons of saints hover about the room on stands or the walls, waiting for their tribute of thin prayer candles. The real work of the church goes on constantly, unseen behind elaborately constructed doors, surrounded with icons of Jesus and Mary and all the saints—the iconostasis. Together, the sanctuary and the icons maintain the mystery of the divine.

It is the nature of Russian Orthodox churches to be unwelcoming. The practice is founded on a sacred belief in its own superiority. The country club of religions. Its very stony-faced exclusivity is what draws me to Russian Orthodoxy. Wildly private, I always found the Presbyterian churches of my upbringing intrusive. I shrank from talking about God or Jesus, or about being saved. The Orthodox Church is its opposite, intensely private itself. Nobody here cares about my personal salvation. In this church, I must find my own way. Russians already believe themselves to be, after the Jews, the second of God’s chosen people. They don’t need my faith.

•••

Chanting hummed behind the doors in the sanctuary. Hidden behind the iconostasis, unaccompanied by piano or organ, the choir’s reverberations hit my shoes through the stone floor in waves. I had forgotten, until this moment, that Russian churches never have any other music than this lyrical, unseen choir. The incomprehensible Old Church Slavonic—to my ears, Slavonic’s only similarity to Russian is its musical quality—orchestrates the priests’ black-swathed activities throughout the day as if helping them weave spells. Which, in a sense, they are.

The spells always work on me. There is something about an Orthodox service that creeps into the locked, lonely places of my heart, the ones that cry for understanding, for protection and salvation—or maybe for enlightenment and guidance. The service is so impersonal it seems to promise answers that other religions struggle with on a too-human level. Its remoteness breeds awe, even in an unbeliever.

Far from St. Petersburg’s tourist routes, this cathedral was nearly empty. Four middle-aged men and one old woman stood scattered around the room, as if their prayers would fill an abundance of personal space. As I adjusted myself against the back wall, barely out of the entryway, a young man in jeans hurried from the entrance straight to one of the icons in the center of the room. He bowed, kissed it, crossed himself. And stood. And waited.

The priests finally came out of their divine seclusion. Wrapped completely in floor-length black, with long beards, they walked in a group of three—one leading, the other two assisting—to swing a long, egg-shaped incense burner at each of the several icons propped on stands around the room. I’d seen churches in this country where the very murals on the walls were covered in icons from floor to domed ceiling.

The priests’ robes brushed the floor in time with their resonant singing. Realizing they were approaching the icon to my left, I back-stepped into the entryway, fearful of being found out even as a tourist, if not as a nonbeliever.

As the chanted service rang through the nave, the five worshippers crossed themselves continuously; they knelt to touch their foreheads to the floor. The old woman, her knees swollen under a plain dress and thick tights, made the “little reverence,” as it’s translated from Church Slavonic, dipping from the waist. It’s a pattern I couldn’t comprehend and couldn’t possibly imitate. So I bowed my head reverently.

In Western Christian churches, the visitor hides herself in the pews—a welcome trespasser who can usually follow the pray-stand-sit routine. But she is also prey to the curious and the missionary, a guest who has to make conversation after the service. Here, I was in an open space, with no hard bench to guard me, but also no inquisitiveness to guard myself from.

My ignorance was obvious: I didn’t belong here, but I bent my neck in solidarity and hoped that, for once, the service would lift me away from myself, as promised. I worked at it, remembering the words of one Anthony, Bishop of Smolensk: “Stand in church silently, peacefully, quietly, as for example, the candles lit by you stand before the icons … So should you also stand, striving with hearts aflame with love and prayer toward God.” My flame flickered as I shifted my feet and tried not to be seen. The music coming from behind the iconostasis plucked at locks in my soul, swelled a lonely “why?” (or maybe it’s a “please” or a “help”) that I am always aware of but rarely acknowledge.

•••

Sometimes I tell myself this is simply the human condition; this “why” or “please” or “help” is examining nothing more than the meaning of life. Other times I think I’m fudging, that what I really want is comfort, for some acknowledgement that the invisible wounds of my childhood and the pains of the world have some meaning. But defining my yearning for faith is like trying to bottle the sense of the unanswerable that makes faith so effective for millions. What is this thing I’m looking for? The lonely places of my heart are a mystery to me; they engender too many questions. I give them these church services in hopes that answers will unfold.

This time, I didn’t have a chance. Just as my eyes began to prick with tears, a priest hurried up to me, speaking so rapidly that my mediocre Russian failed to comprehend. He waved a hand around the entryway, and I realized that it, too, was covered in icons and needed to be blessed with incense. My unorthodox person was not welcome during the sacred ceremony. I opened my eyes wide, face red and apologetic from embarrassment. Wait! I wanted to tell him. I was just about to feel something!

But he hustled me to the dusty gift shop behind the entrance, where I could stare at religious books and icon reproductions for sale until those of faith were safe from my presence. Under a wash of shame, the groping for belief slipped away. When the service ended, my heavy feet turned to the hot streets.

•••

From childhood on, I have always been told that atheism is a willful choice to reject God—a choice to say there is no god, no deity—and agnosticism is simply the empiricist’s way of saying that there could be a god but we don’t know one way or the other. I never questioned the assertion that atheism was an act of will rather than a type of faith in its own right. But I could accept neither atheism nor faith without analysis of my motives. I dug around in feelings, memories, and reactions and found … nothing. Except myself. It surprised me.

It never occurred to me to choose not to believe. Who would choose such a thing? Only the most self-confident and satisfied person would choose to live like this—knowing that every decision and action, every mistake, is on your own shoulders only. It is a crushing responsibility: I walk bent under the weight of my own life, the weight of my choices, but worse, the weight of my accountability to humankind. If I want to change the world, the smallness and impotence I feel is terrifying next to those who believe God, or a god, is on their side.

Atheism was never a choice for me. It is knowledge. I know not that there is no God—my training in mathematics assures me that you cannot prove a negative—but that I assuredly do not believe in a god. This is a different kind of knowledge. I know I love the wilderness. I know I do not like eggplant. I know I do not believe in God. I cannot be agnostic, hedging my bets.

In seeking to discover why I have no faith, I found it was just as inexplicable as its opposite. I have no faith because it is not there.

•••

There is an incident I’ve never spoken of to anyone: the time when atheism scurried away, and I thought faith in something had finally come to bring relief, to lift that weight off my shoulders.

When my son was born, he was very weak. Taken out seven weeks early because I had come down with a rare, nearly fatal pregnancy-related condition, he was breathing through lungs as underdeveloped and fragile as soap bubbles. Over a two-week period, the doctors had to insert tubes into his tiny, scrawny chest to drain pockets of air that threatened the viability of those delicate lungs.

The day they called my husband and me at home to tell us that John needed a second air tube, and that he was ill enough they might need to move him to a tertiary care center, my reality ground itself into little pieces. I could do nothing for an hour but huddle on the floor and sob as I hadn’t done since I was a small child. I was so scared.

That same morning, I had woken up suddenly, just after seven, certain I’d heard John’s voice calling to me. Crying for me. I felt that he was in pain and needed me. It was only later I found out that I’d heard him, a forty-five-minute drive away, at the same minute they’d cut his chest and inserted the tube. I knew because, of course, they wrote down the times of all procedures, and I had checked the clock when I’d woken up (to see if it was time to drag out the breast pump), two hours before they called us at home. That is the part I’ve never told anyone, except my husband, who forgot it in the days that followed.

A friend asked me, about three months later, if John being so ill had given me some faith in God. She’s a religious person. She can’t imagine living without God, or, especially, without prayer. I told her the truth: I’d looked for faith during that time, and afterwards, and still found nothing. I think I searched deeply. I tried. But the experience didn’t send me away with faith; it sent me away with doubt. There are things in this world that I could not explain.

Was it a religious experience? A spiritual one? A trick of the imagination? A tidbit of Jung’s collective unconscious willing hope into my dreams? An aspect of physics and quantum particles we have yet to discover? I have no idea. All I could tell myself, and my friend, is that I still didn’t believe in God. Maybe atheism has become my own personal god, because it returned, after fear and glowing, new-motherhood happiness had faded, and life shifted back to its normal rhythms. When I fidgeted impatiently while attending church for a friend’s baptism, I knew my chance for faith was lost.

•••

The philosopher Bertrand Russell postulated that belief in God echoed Christians’ desire for safety, “a sort of feeling that there is a big brother who will look after you.” Ever since I became a mother, I have wondered if it’s more like a desire to get back to the mythical safety of our mothers’ arms, where we believed the world was a good place, and it loved us.

C.S. Lewis is said to have been a famous atheist, always engaged in debates about faith with devout Christian J.R.R. Tolkien. Then one day he went for a walk to the zoo. “When I left,” he said, “I did not believe that Christ was the Son of God. And when I got back, I did.” So simple. Maybe faith has a eureka moment like the greatest discoveries of science and mathematics. I do not believe. If one day faith should come to me, then I would believe.

I don’t find atheism fun. It’s a pest. It daily reminds me that I am alone in this yawning universe. Scrabbling for answers in the rich incense and enveloping music of Russian Orthodox churches gives hope that someday I can attain the eureka moment. Until then, I ride the coattails of others’ convictions, hitch my prayers onto those of people who believe they work.

•••

The next day I left Vasilievsky Island and returned to the center of St. Petersburg. I walked to the Kazan Cathedral. Closed for decades during Soviet times, Kazan now sweeps its arms around Nevsky Prospect and attracts thousands of tourists. The crowds move you up the main steps, past youths swilling liter-bottles of cheap Baikal beer as you keep a tight hand on your purse.

I crept from the entrance to a blackened wall. Close up, the wall was revealed as the icon of the Holy Spirit, so faded that the only intimation of its subject was a man’s faint outline, arm outreached, and a glimmer, above, of a white dove. The dove presumably represented the Spirit entering the soul of the sinner. A candelabra in front of the icon held the skinny, toothbrush-length candles sold in Orthodox churches all over Russia. One was burnt out. I lifted it, appropriating the prayer of another, and touched its tip to a neighboring flame. Like feeling for a tooth that wasn’t there, I probed my thoughts for pricks of hope and faith. Why couldn’t they enter my own heart as simply as the icon brought light to the aching sinner?

Today, in my morning hurry, I had forgotten to bring a headscarf and was not wearing a skirt. The oversight denied me even the simplest form of acceptance. It set me in a blank world with the other tourists, ignored and despised by the faithful, the Russian women with their covered hair, humming their love for and obedience to God.

The Kazan Cathedral was built, I am told, to house the icon of Mary, Mother of God, which was set above a raised floor to the right of the nave. She represented mercy and the preservation and unity of Russia. Hard silver encased her face, and she looked down upon the line of repentants who waited for a chance to pour out their prayers, kiss her frame, and come away renewed, hopeful, humble.

Watching them, I wished I had the courage to approach, to ask for faith. I played with the idea that I had simply walked away from God for a while, that maybe He—She, it—would welcome me back to safety if I only proclaimed my desire. I hovered near Mary’s line of the devout, wondering. Here, I told myself, is my central problem. The courage to ask for faith requires an act of faith in itself.

A man stepped forward to the silver clad Mary, crossed himself, kissed her frame, and touched his forehead to her, shivering in his reverence. How I envied him.

•••

ANTONIA MALCHIK’s work has been published in The Boston Globe, Brain, Child, The Walrus, Creative Nonfiction, many other newspapers and journals, and been twice nominated for a Pushcart Prize. She is currently working on Elements, a memoir about motherhood, striving for the lost competence of her pioneer ancestors, and questioning the true meaning of sustainability. Her essay “Competence Lost,” forthcoming in February from The Jabberwock Review, addresses these themes. She can be reached through her website, antoniamalchik.com.