And still we keep on creating, though myself not as much I would like of late. Lacking friends with benefits, I turned earlier this summer to friends with books out.
Marcia Trahan’s memoir Mercy: A Memoir of Medical Trauma and True Crime Obsession explores her own medical ordeals, her obsession with true crime on television, women’s bodies as commodities in society, and her own identity. Sue William Silverman’s How to Survive Death and Other Inconveniences, a memoir in essays, explores assault and addiction, and masterfully illustrates how trauma can stalk a person’s life, sometimes in brief shadow, sometimes in full-blown flashback.
I like to call Lee Martin’s recent fiction “Southern Illinois Noir,” although whether he likes me to call it that is not something I have asked. In his recent novels and story collections, momentarily untethered people make rash decisions that lead to outsized consequences; sometimes, as in his recent Yours, Jean, based on a true crime, an entire town acts as both chorus and cast.
There has been little progress on my own work, except for publicity for and correction of the proof of Censorettes. While I have little to complain about (I know; I am lucky!), how rarely that stops me. I am able to work from home, and I am putting in more hours than ever, including Sunday afternoon, which at least provided peaceful, uninterrupted time. I am attending a virtual writing conference next week, and need to get my day job ducks in a row.
Once I was done, a walk to the park was in order. My new favorite place is Chateau Le Woof, because I love the ingenuity the owners had of turning a former industrial parking garage into a dog-friendly cafe, open to the street, across from the park. On the way there, I met a woman and her dog. The owner and I nodded, but the dog did a full-fledged double take and pulled her back to where I was sitting. “YOU AGAIN!” he would have cried, had we both been human, and cast in a romantic comedy where in an earlier scene I would have stolen his parking spot, or spoiled some meticulously prepared model just before the big presentation. He gazed at me with ardent brown eyes through dirty white fur.
“Hi,” I said to the dog, as his owner tried to break his stare and pull him along, chuckling apologies to me. I said to the dog, “Hot out, right?” and then, as a man walked by, “Okay, I’m really not that interesting. Try that guy.”
Because of allergies, I’m not a petter of strange dogs, particularly ones who regard me like an antic Cary Grant regarding the leopard, if not Katherine Hepburn, in Bringing Up Baby.
Then, I said to the dog, “Alright,” and got up to walk with them to the park.
“You a Vermonter?” asked the woman.
Strange question, I thought, until I looked down and realized I was wearing a Vermont t-shirt. I still think it is a strange question. People don’t necessarily wear t-shirts advertising their home, so they can be returned if life becomes wayward. People visit places and buy t-shirts to show they were there; there is even a cliché about it. But I once wore a t-shirt I bought in Canada on a Brooklyn riverside bike tour, and people kept asking me what province I was from, or telling me how much they liked Quebec.
The woman was herself from Burlington. I told her, then, about Vermont, how I attend the Vermont College of Fine Arts Postgraduate Conference in Montpelier, Vermont every summer (where I met the above authors, Lee, Marcia and Sue), how this year it is virtual, which means I am not at my picnic table on the town green at the top of the hill, or hanging out in the Cafe Anna with my friends, but in my apartment, in my same crippling home desk chair, a captive of Zoom, with pandemic hair and bad lighting (I know; I am lucky!)
Maybe I am a Vermonter.
We turned the corner on Vernon Boulevard, where some string players were entertaining an insufficiently socially distanced group and their dogs.
My canine love interest took off across the park, a sculpture park, which is currently home to this monolith.
The music of the strings lured me out of the park and I stood among my insufficiently socially distanced neighbors, enriched that day by so much heat and creativity. We are isolated; still, we create. We are ordered to keep a distance; still, we connect. We experience ordeals and suffer from bad decisions; still, we write books (albeit ones with blood-splattered covers).
The string players launched into I Can’t Help Falling in Love with You, alternating the melody line, first the pizzicato, then the legato. We all grew very still and drank it in. We knew we were lucky.
Screen to screen to screen has been my life this past month — my work laptop, augmented by my personal laptop, and then my desktop, when the workday is through, followed by some viewing on my laptop again. I am privileged to be able to work from home and to live in a co-op building which is well-maintained. But as I have revealed, I have taken to gazing out my window.
Now straight ahead, dead straight, to the left of the streetlight and to the right of the bright window in the building across the street, you can see a bit of colored glass. There. You see it? Had I an actual camera (instead of a phone) or were I a better photographer, I could capture that image — the streetlight, the stained glass of the Ukrainian church beyond.
Last night, I attempted it. The bars of the fire escape were too intrusive and the zoom on the cell phone camera wasn’t sufficient, so I climbed out on the fire escape and did my best.
This yellow-robed Ukrainian saint has been gazing into my living quarters for the past 20 years, but I only thought to think of it now. Of course, I was aware that there was a Ukrainian Orthodox Church a block away — I have photographed their fete on Ukrainian heritage day. Beribboned children in native costume dance all afternoon in reluctant troupes. Ornately braided girls and grim embarrassed boys prance and clap on a wooden platform in front of the church, to the blaring of recorded accordion and clarinet music. A street block is roped off from traffic to allow for tables selling embroidered goods and meat-stuffed pastries, and chairs for the parents of those mortified, loyal prepubescents.
These wares, these performances, are not meant for the likes of me. I don’t know the difference between Greek Orthodox and Ukrainian Orthodox but I know neither proselytizes. Far from it. It is from the Greeks that we get the word “xenophobia,” from the Greek xenos meaning “foreigner” or “stranger.” Also, “barbarian,” which originally meant “a person who does not speak Greek.” (Non-Greek sounded to Greeks like someone saying “bar bar bar.”)
After twenty years in Astoria, I was not keen to insert myself where I was not welcome.
It took a pandemic to make me realize that the church I look out on every day was not merely a church, but a religious residence. The low tan building I look out on (and appreciate, since it affords me sunlight when a commercial building would not) is not just extra church space, but a dormitory for the order.
How’s your world, everyone?
Here is a photo of mine, when I look out on it.
I am two blocks from a branch of Mount Sinai Hospital, as my friends and social media friends know. A branch where they have erected emergency COVID testing tents. In three minutes from the time I am writing the words “in three minutes,” the applause will start, the applause for the health care workers at the shift change. It seems to grow in duration and in volume every day.
I begin each day by opening the window and turning on the classical music station. I was fortunate in that my remote control broke one week into this isolation, so I no longer have the option to channel surf or listen to live press conferences.
There it is, the applause. Banging of pots and pans, honking of horns.
It should lift up my spirits, but instead it burrows deep into my sinews, like a fishhook, not a knife. This is a trauma not easily extracted. This is an anger not easily assuaged.
When I was on an “Unworkshop” retreat at the Highlights Foundation last fall, I met a woman named Heather Dean Brewer. The Highlights Foundation retreats take place in Pennsylvania on a rural property outside Honesdale, Pennsylvania. Because I admittedly live in an NYC bubble, Honesdale was the first town where I saw an un-ironic “Make America Great Again” sign posted in the window of a small-town business.
Heather was at Highlights for a workshop.(By way of explanation, Highlights offers a vigorous catalogue of workshops for children and young adult authors and illustrators, but also offers space and meals for any writer who might need time and space.) I was there for time and space. Heather was there for a workshop. She is the author of this happy little book which I bought for my sister’s birthday. (Spoiler!)
Heather was sweet enough to send me a bottle of wine from distant Michigan.
My cultural references these days are Jimmy Stewart in Rear Window, staring out the window and speculating on the neighbors. And Katherine Anne Porter’s Pale Horse, Pale Rider, a short novel about the 1918 pandemic which has been written about by wiser heads than mine, for example, here. I cannot look at it now, not with the sirens screaming in the background, but nor can I forget the story’s final line: “Now there would be time for everything.”
A month ago, my biggest concern was that the 92nd St. Y would cancel the appearance of Dame Hilary Mantel, who was to discuss the third book in her Cromwell trilogy, The Mirror and the Light. I had been looking forward to her talk for months; bonus points for it occurring on my birthday. But of course, it was cancelled. Instead, I ordered the book from The Astoria Bookshop, my local indie, on the last day it was operating live. It is still operating virtually, if you would like to support it.
I am having a hard time concentrating on The Mirror and the Light. I loved the first two volumes. I am pretty well versed in the Tudors. But despite the fact that the circumstances are dire, and that we know how this will end (it’s the world of Henry VIII, after all), I have trouble following along and perhaps need a lighter book.
But one line did resonate. Among so much speculation about succession to the throne, one character observes that it is treasonous even to wonder about the future. “We are trapped,” she sighs, “in the hours we occupy.”