Ashley

Creative Non-Fiction | Issue 26: Shifting

I have to sit when I cook. I’m sitting now, against the kitchen wall on a red plastic stool, stirring my tomato sauce. The pasta bubbles calmly, and the kitchen window is foggy. I feel as if my legs have given up on me. My whole body has been giving up lately. It hurts when I’m standing. It hurts when I’m walking. It hurts in completely different places while I’m sitting here. Moving requires energy. As if what was supposed to bind my body together has become fragile and ready to give in at any moment.

I feel old. I feel like I’m performing my pain. I don’t want to turn my pain into a spectacle. But I’m tired of hiding it away.

I wish the pain would just exist. That it could be present without demanding anything of me. But as I sit here, I realize that I have to take it seriously. I must learn to listen to my pain. To understand what it has to say.

This is my effort to stop running away.

In 2015, a German doctor wrote the diagnosis of transsexuality (F64.0) into my medical record for the first time. I wanted hormones and my passport still showed an F. I felt lucky because I had escaped the waiting lists of Denmark, and was able to use my blue European health insurance card to talk to a physician who believed in bodily autonomy. The doctor asked me three short questions: How long had I been thinking about beginning hormones? Could I change my F to an M in Denmark? And could I continue my treatment in Denmark? I replied with half-truths.

Today F64.0 is still at the top of my general practitioner’s screen. We haven’t talked about it since the first time I was at their office, years after my first encounter with the diagnosis; long after I had decided I wouldn’t go back to Denmark to see if my lies could come true there as well. While the doctor records my long list of symptoms, I sneak a glance at the screen and see the F64.0 there—like a headline that affects every interpretation of my body. 

At each new doctor’s office, I am given a questionnaire. I know the routine by now. One night before yet another appointment, I ask my friends about their experiences. Between “Have you heard about any physical therapists who are not transphobic?” and “I’ve booked an appointment with a gynecologist who seems promising,” we agree that it’s all just guesswork, and that every visit is built on the hope of a better result than the last.

If your gender is not easily readable, you have to constantly tell others about your reality. If the pain in your hips overshadows every joy of a dinner party, you have to ask for the softest chair there is. If you don’t want to talk about it—because you’re constantly thinking about it—it’s hard to ask others for anything.

There are things you have to tell others about. I know. There are things you can keep to yourself. I’ve learned that. I spend my time balancing one and the other. I won’t tell anyone anything. But then I get angry and grumpy when no one takes my hurt into consideration.

I’ll tell you who I am, but then I feel naked.

I think of Emma, whose new partner reminded her to take a break alone in the dark, even though they were on a date.

I think of Mattilda Bernstein Sycamore lying exhausted in the grass: “Have you ever gone to a park with a group of friends, and then you’re so tired you lie in silence in the sun, trying to pass out until you gain enough energy to speak? I mean I’d always connected through speaking, but to connect through not-speaking, this felt like a different kind of camaraderie. I’d found a new group of friends who understood how to politicize queerness through disability. I mean it felt so soft. It felt so calm.”

I think of the look that people get in their eyes when you tell them everything hurts. When you tell them there’s nothing to be done about it. When you shrug your shoulders and say it’s okay. “It’s okay.” You say it to yourself too, hoping it will be true if others believe it for you.

As I write this, my shoulders and neck hurt. It moves into my jaw, which is tense, painful, and draws attention to itself. My elbows buzz. As I write this, I know I should take a break because my wrists are pinching. My little finger feels stiff. My upper arms feel like they’ve been hard at work already. My feet are cold, even though they’re on a heating pad.

When I say I can’t sit in front of a laptop for more than an hour or two a day without unbearable pain, everyone says I need to get myself a height-adjustable desk. As if that is the solution to my problems. As if the problem is that I’m not sitting ‘right’. As if the problem is my surroundings and not my body.

Too often, the problem is my surroundings and not my body.

In the morning, walking down the street, in a district I only visit to go to the doctor, I try to decide my answers to the inevitable medical questionnaire. How much do I need to reveal before the doctor sits across from me and I can read their reaction? 

When I arrive, I change my mind three times before writing “Testogel” in answer to the question “Do you regularly take medication? If so, which?”

For the most part though, I leave the section blank. I want to avoid trans-broken-arm syndrome: that everything I experience can be led back to this one thing.

I’m here for a new diagnosis. Preferably one that is easy to convey. Something that describes my problems, instead of “this one thing.” My pain, fatigue, headache, dizziness, exhaustion. All of that is still undiagnosed.

I know science is lagging. The research is minimal. The pharmaceutical industry is limiting and prejudiced. They don’t know what’s being affected by hormone therapy. We are not a lucrative group for medical companies. We do not have enough voters for politicians to truly care about us—besides those who hate us.

I ask myself: if things were different, would my ophthalmologist know how hormone therapy affects vision? Could I expect my orthopedist to know about the link between trans identity and knee pain?

There’s a little voice in my head—the one that still thinks honesty is the best strategy—that questions my restraint.

My friends confirm my reality when we check in about the week’s events. They tell me that my paranoia is justified. That the best I can hope for is that my gender doesn’t affect the possibility of my treatment. That I run the risk of my gender being all my doctor can see. My eyes turn into trans eyes—incomprehensible and distracting. My knees to trans knees—a scientific mystery. My hands to trans hands—who knows where the pain comes from!

I go to the eye doctor because I get dizzy spells and my head hurts. I remember to take off my light blue nail polish ahead of time and leave my hat at home even though it’s cold. These precautions make it likelier that they won’t look too puzzled when they call for “Herr Reimann” and I stand up.

I think the doctor is a man just because she has a name I can’t immediately place in a gender or language. I think it’s okay for me to gender her because she is gendering me.

When she comes out to get me, we briefly misunderstand each other. I look up, not sure if she just said my last name—her pronunciation is so different from mine. When I get up, deciding it was me she meant, she quickly tries to make her face void of her initial confusion. I think she’s not sure I fit into her idea of “Herr Reimann.” At least, that’s my current version of the story.

The doctor is a short woman with gray streaks in her black hair, and she has a golden butterfly buckle under her ponytail. She is wearing two FFP2 masks on top of each other. I don’t quite understand her accent, because my German is already tense when it comes to medical explanations. I tell her my symptoms and she says, “You may have migraines, so you should go to the neurologist.” Then she says, “It’s mostly women who have migraines.” It takes me a stretched out second before I get her meaning. I don’t know what to say, so I reply, “Okay.”

This isn’t the first time I’ve been told that my symptoms and my gender don’t match. It’s as if my sick body is rebelling against the binary gender system. It refuses to fit in. Sometimes it feels as if my body is betraying me—refusing to cooperate with me to get through these doctor’s visits without causing gender confusion. While the doctor’s comment genders me correctly, it makes me feel misplaced. Outed. False. Wrong. Divorced from my body, my gender, and a cohesive identity.

During the examination, she calls me a child. It’s well-intentioned, but would be a strange thing to say for someone who speaks German as a first language. My own German is also filled with strange twists and turns. When explaining next steps, she doesn’t say “Herr Reimann,” as I am used to hearing, instead she uses my whole name. 

On the way home in an overcrowded bus, questions flicker through my head, making me forget what the doctor had said about further examinations: Why did she use my full name? Was it a coincidence because she’s uncomfortable with the German language, or was it an attempt to avoid gendered terms? Was it to give me space, or an effort to not do anything wrong? Although I liked the way she was so different from most German doctors, who are often far too formal and without many words, I feel unsure about her.

I keep coming back to this scene in my bathtub. Maybe it’s because I’m naked. There’s something honest about that. Or maybe there’s something pretentious about it. I can’t really decide. In the film Nånting Måste gå Sönder, the main character is also in a bathtub. I don’t remember why. Perhaps by seeing her naked body, we are supposed to understand her vulnerability. As if we can only understand the reality of a trans body if it is visible to us. At the Berlin Porn Film Festival, I saw a short film in which a person in a bathtub was smearing donuts all over their body. I don’t know why either. For me, it was tragic, but funny. For others, it was porn.

I usually use the bathtub to feel my body. When the water is a little too hot, I can’t think of anything else. I know my feet are a part of me when they ache with heat.

The first time I got a hot bath ready for myself after I started transitioning, I was afraid I couldn’t deal with it. I knew of others who have a hard time being naked. I quickly learned that I’d rather float in hot water than avoid nudity.

Today, I lie in my bathtub to make my tension headache go away.

The first time I meet with a pain specialist, he tells me that pain can make one feel thin-skinned. He hasn’t looked me in the eye since I walked through the door. He sits behind a sheet of plexiglass, looking back and forth between two screens. When he asks if I feel thin-skinned, I answer “no.” That’s not how I feel. He asks if I have ever been in therapy. “Of course,” I reply. “I used to be depressed and anxious, but it’s not really something I struggle with anymore.” I don’t feel thin-skinned. I feel strong and resilient. It’s true, and I’m proud of it. It’s true, as long as I take care of myself. It’s true, with qualification. But that’s not why it bothers me when he says it.

Thin-skinned is something that is so often said about us. That we can’t take a joke. That we are hypersensitive. That we want others to have unreasonable amounts of consideration for our feelings. 

I feel allergic to that description. My skin tingles when the pain doctor says it. He means it as an opportunity for me to open up, to tell him what bothers me, but I feel it as an accusation.

I want credit for all the work I’ve done to avoid going through the world feeling like my skin is too thin to protect me, like a porous shell that lets in too many injuries. I want credit for being misgendered, stared at, questioned, and still surviving my everyday life. Still shopping for groceries, going to work, having meaningful relationships, providing care, and making happy. I’m not thin-skinned. I’ve learned to let in what’s important and taught my body to exclude everything that harms me. It’s been hard work. It is hard work and I want credit for it. I don’t want to see myself as a warrior or a martyr, but I want credit for getting up every day and feeling that life is mostly good, even when it hurts.

The next day, I feel thin-skinned anyway. As if a gust of wind could cause my body to collapse. As if my coffee cup weighs a little too much and my spine can’t hold me up. As if something inside me is ready to break out. Something that feels like grief and pain, something big and fluid that makes my stomach feel like a storm. I feel thin-skinned, not only because the outside can burst me open, but also because my skin is not enough to keep everything that is vulnerable on the inside. My skin is like a water balloon stretched so thin that its bright color softens. What is inside me shows through all the cracks between my interior and the world from which it must be protected. My eyes. My mouth. My fingers and toes.

It is a constant irony that trying to take care of myself, to get diagnoses, and to find new options for treatment must always be linked to more pain, more points where the skin can burst; which  enhances this feeling that it is only my thin skin joining my arms to my shoulders; and not my tendons, muscles, and cartilage. My skin makes my shins work together with my knees. It is the reason I have ten fingers and ten toes. I thank my skin for what it does by making myself a meal full of nourishment. An attempt to bribe the body to do what it is supposed to do. What I think it should do.

Later, my skin has regenerated itself in most places. But it feels less elastic. As if too much pulling in one direction would split it like an old plastic sleeve—one that’s no longer pliable, but instead breaks when you try to retrieve the paper that you had hoped it could keep safe. Plastic which has let the emollients seep into what it was supposed to protect. The boundary between inside and outside, the membrane and its contents, has become fluid—and the plastic is stuck to the paper.

The metaphor has run away from me. I no longer know what part of me is protective membrane and what part is my content. Will I have to give up on the separation?

I’m pain. I’m canceled appointments. I’m teeth-clenching-attempts to keep my head clear and the conversation open. I’m sensible shoes. I’m open-and-close-my-pants because my stomach hurts, stops hurting, hurts again. I’m exhausted from having to move a bit all the time, so now I lie completely still for hours and accept that it hurts. I’m the relief at getting a specialist appointment I’ve been waiting eight months for. I’m my mother’s hope that my transition can alleviate my back pain.

I’m the continuation of everything my younger self could imagine. I’m the hope that all this will be easier for others, and I’m the grief that it has to be so complicated for me. I’m the fear that my passive body is allowing the world to collapse around me. I’m the frustration at being told that bathtubs are a waste of water.

I’m the compassion of my friends when I cancel again. I’m the pain of having hurt others when I myself was hurt. I’m the comment that I don’t take responsibility for the community. I’m a grateful text message. I’m a regular appointment on FaceTime. I’m the friend who pays for my train ticket because she has a real job and mine is seasonal.

I’m an alarm on my phone reminding me to stretch. I’m an attempt to stop drinking coffee. I’m the resistance to stopping-to-drink-coffee because my life is already full of things I do to “get better.” I’m the acceptance of not getting better. I’m the doctors who say I just need more exercise. I’m the doctors who say I’m not sick the way I think I am, because  I am capable of so much exercise. I’m the exhaustion of trying things out, restricting myself, stopping things, contemplating my actions. I’m the fear that there might be a simple solution to my pain if someone else had just kept track of my symptoms.

I’m the idea of a long walk in the rain and the stress under my skin when I know it’s going to be summer again. I’m the joy of talking to a friend who comes by spontaneously and the longing to be alone again.

I’m a “fine,” when people ask me how things are going. I’m the conflict between wanting to tell everything and never wanting to talk about anything again.

 

Luka Kofoed Reimann is a writer, scholar, and editor who lives in Berlin. His writing is often concerned with questions of identity and belonging and explores his experiences of transition and chronic pain in particular. He is a passionate reader of all kinds of trans* literature and continually hopes to empower others to tell their stories. In 2022, his text “Undiagnosed” was selected as one of the runners-up for the Berlin Writing Prize. Lately, his work has appeared in Danish in Trappe Tusind and English in Overcom Magazine.

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I

It’s possible to lose an island.

Peacock Island went missing

for a century that often goes missing:

 

the seventeenth. I too have that power—

I disappear by letting the gaze

of a man skitter past me

 

as I focus entirely on myself.

In a bar. On the Bahn. In the breast

it’s arousal’s nemesis.

 

When you remember an island

it comes back as blank slate. Boom:

A mistress. A circus. A fancy

 

garden. I’m no fancy garden,

but when I remember my fleshy flesh

and someone’s gaze confirms it Boom

 

in the blood—a squelch of interruption.

Anger-cousin. The clock. The boobs.

I’ve been to Breast Island, Blood

 

Island, Blah Island, and I’ve slurped my anger

on each: I must have one body while islands

have so many. Forget this body,

 

I say stepping onto the boat that cuts

the river. But ten seconds later

I dock on Peacock Island still skin

 

swathed, still missing myself as a century

of abandoned land until the peacocks

lurch from me in fear. Boom: They should.

 

 II

An island is a dark glass.

An island is a dark glass.

 

A title is circle.

A peacock bisects it.

 

A peacock is a man.

An island becomes him.

 

A language is weather.

A language is weather.

 

A river is history.

A bomb sinks into it.

Jennifer Kronovet is the author of two books of poetry, most recently The Wug Test (Ecco, 2016). She is also the co-translator of
two books, including Empty Chairs (Graywolf Press, 2015), the selected poems of Chinese artist Liu Xia. She edits Circumference Books,
a new press for poetry in translation.

PEACOCK ISLAND by Jennifer Kronovet Read More »

The first time he touched me, I thought it was an accident. I was on the L, on my way to a final session of clown school, sitting on one of the few single seats near the back of the car. The train was crowded, the mid-August air stagnant and heady, the view of the city so familiar I didn’t see it anymore. In my bag was my clown gear: two red noses, grease paint, a curly rainbow wig, a pair of size 16 wingtips, gloves and a horn. That morning, my daughter had convinced me to squeeze into her lucky red jumpsuit. Clown school had been her idea. I’d been forcing myself to attend for eight long, humiliating weeks. Rooftops whirred past, and I had to go to the bathroom and worried about wriggling out of the jumpsuit in the tiny restroom at school. It was tight around my middle after too much eating to quiet the ache of my recent divorce. When the hand reached into the gap between my seat and the wall, I inched away, thinking the person behind me had stretched and inadvertently grazed me.

But it must have been the red that lured him like a flame. When he reached a second time, his hand slithering along my hip and under my ass, I jolted and turned. In the seat behind me, a man cradled his backpack in his lap. He wore sunglasses, had to be at least a decade younger, and otherwise unremarkable in his blue button-down. He was so expressionless, I turned back around, the blood rushing to my face so that even the tips of my ears burned. I considered moving to another part of the train, but was immobilized. A few minutes later, his long bony hand reappeared. This time I shot up and whipped around as the train lurched to a stop. The man glanced up and then away as if I were one of those unstable passengers it was best to ignore. Around us, others looked up too and then away.

It had been years since I’d been harassed, let alone groped, but memories of all the times I’d been accosted flashed before me. The first when I was eight and walking home from the park at dusk. A teenager pushed me onto a lawn. “You know what I want,” he growled, the crickets chirping, the lit houses impermeable. “I’ll scream bloody murder,” I said, and he said, “Go right ahead. No one will hear.” When I did, my shriek was so ear-piercing, the boy took off.

But on the train that evening, as I said, it had been a long time since anything like that had happened. In that moment I lost the invisibility older women warned me about, and with that loss came a fracturing, an interruption in the force field, a splintering of time. The man hadn’t hurt me, merely copped a feel as we used to say, but my daughter would have shouted if it had happened to her. She would have alerted the conductor or incited the other passengers to throw him off the train. She would have been incredulous if I told her I had done nothing at all.

The car was less crowded now. I stood in the aisle, holding onto the edge of my seat as a smirk rose to the man’s lips. At Armitage, he pushed past me to get off the train. I blamed my ex-husband for what I did next. When we divorced, he confessed he’d been wanting to leave for years, that a future with me felt like oncoming death. The only person who had touched me that year was my doctor, who had found a lump in my right breast. I followed the man as he hurried down the stairs and through the turnstile. Under the tracks and down the sidewalk, past shops and into a neighborhood of tightly spaced two- and three-flats, I clipped after him, and he picked up his pace. How casual he tried to appear, his backpack slung over one shoulder. He glanced back once, quickly, and clutched his keys in a lowered hand—a trick I knew well. I could sense him checking peripherally for others who might come to his aid. He was frightened. Of me.

I would miss my performance, a final exam that, if passed, led to the next course in the program, Embracing Your Inner Loser, and maybe that was the reason I was following this man, to give myself an out. I thought clown school would be easy because we wouldn’t have to speak, but it was terrifying, the instructor encouraging one moment, mimicking and provoking the next. We were to let our bodies communicate our most authentic, vulnerable selves, whatever that meant. At the end of the second class, the teacher had leaned into my belly and shouted, “Hey, Nice Lady. Get the hell out of town!” And in every class thereafter, he zeroed in on me, jeering, barking, making me do bizarre movements that filled with me with dread.

The groper rushed toward a two-flat behind a wrought-iron fence decked out with pink balloons. He fumbled with his keys, trying to unlock the gate.

“What do you want?” he said as I approached. “Get away from me.”

“You grabbed me,” I said, and my voice shook.

“You’re crazy.” He tried another key, and the lock finally released. “See ya,” he said as he slipped inside.

Then two little girls in party dresses and a boy in a Spiderman costume came running through the gangway, shouting, “Daddy! Daddy!”

I pushed through the gate before he could relock it.

“Nice to see you again,” he said to me in an exaggerated, cheerful way as he blocked my path. “You need anything else, you let me know.”

“Is she coming to my party?” the older girl said.

“Are you inviting me?” I asked.

She nodded. “Everybody can come.”

“Well, thank you,” I said. “I’d love to meet your mother.”

Mom!” she shouted.

“Go. Now,” the man said under his breath. How anxious he looked as I followed his kids around the side of the building into a back yard, its fence strung with streamers and more balloons, a unicorn pinata hanging from a tree.

His wife emanated friendliness as she approached from the deck. She wore a bright sundress, her dark hair in a messy bun on top of her head. “Well, hello,” she said, extending her hand. “I’m Stephanie, Kevin’s wife.”

I hesitated too long, and the man I now knew as Kevin said, “She’s still a little shook up. Some asshole grabbed her on the train. I told her to walk out with me.”

I blinked, stunned, but also a little impressed.

“Oh, you poor dear,” his wife said, putting her hand on my shoulder. “I’m so glad Kevin was there for you. Do you need a drink? I’ve got wine, margaritas. I make a mean virgin too.”

“She has to get back,” Kevin said too quickly. I could see he wanted to yank me out of the yard and through the gate.

“Actually, I’d love a margarita,” I said, regaining my composure. “It was really awful. The man must do it all the time. Probably low self-esteem and tiny…” Their youngest daughter clung to her mother’s leg, listening. “…doo-dad syndrome.

Stephanie’s horsey laughter made me almost regret coming. She had no idea who her husband was. Why ruin her happiness, even if it was false? Wouldn’t I have given anything in that moment to return to the ignorance of my former life?

“What did the man do?” the little girl asked.

“Go play,” Kevin said. He opened his backpack and handed Stephanie some napkins and plastic cups.

“Did you remember the ice cream?” she asked.

“I knew I forgot something,” he said.

“I wrote it all down for you,” she said with a flicker of annoyance.

He glanced at me, then said, “I’m not going back.”

“Just run up to the corner store. Get a couple pints of vanilla.”

He didn’t want to leave me alone with her. “We’ve got cake,” he said. “The kids are going to be up all night as it is.”

“It’s just not a birthday without cake and ice cream, is it?” I said to Stephanie.

“Exactly. Thank you,” she said. “Kevin, please.”

“Why don’t you go?” he said, and she stared at him until he said, “OK. OK.”

To me, he said, “Come on. I’ll walk you out.”

I still had to go to the bathroom, but first I needed to tell Stephanie about Kevin. Like a three-year-old, I squeezed my legs together and held my ground.

“Kevin. No, I’m getting her a drink.” Stephanie patted my arm. “Stay, please. We’ve got plenty of food. And you’ll love the neighbors.”

Kevin and I watched her walk back to the deck where several other adults sat around a long umbrella table. “They’ll never believe you,” Kevin said. “You better be gone by the time I get back.” 

I watched him cut through the gangway and hurry to the store. Just an average, regular guy. When had it started, the grabbing and groping? Or was I the first? Stephanie crossed the yard, armed with two drinks. She handed me a margarita, saying, “I’m so sorry about what happened to you. Some old guy has been exposing himself to girls in the neighborhood all summer. They finally caught him, but he’s probably out already.”

“Probably,” I said. “So how did you two meet?”

“Kevin and me?” She was distracted by the children at the back of the yard slapping the pinata back and forth.

“Leave it alone!” she said. “Stop touching it. I told you, after the cake.”

More guests had arrived. Several young women circled together laughing, trading stories. My stomach swelled against the tight fabric of my jumpsuit. Any minute, Kevin would return with the ice cream. I needed to tell Stephanie now, but my bladder was ready to burst.

“Would you mind if I used your bathroom?” I asked.

“Of course not. There’s one down the hall from the kitchen as you go inside.”

I hurried up the porch and through the sliding glass doors into the kitchen, where an older woman busied herself putting food onto trays. She looked a little like Stephanie. She smiled at me, one harmless middle-aged mother to another, and I made my way past her to the bathroom, where I double-checked the lock and fought to wrestle myself from my romper. My right arm was now pinned to my side as I squirmed and yanked, and finally ripped free. How pathetic I felt, sitting naked on the toilet, in the bathroom of the man who had just groped me, my clothes around my ankles. I stood and pulled up the jumpsuit, sucked in my gut and tried to zip it closed, but the zipper had ripped, so I would have to keep my arm pinned to my side to hide the exposed skin. Before the sink, I washed my hands. I took a sip of the margarita. It was perfect and tart, and flecked with lime zest. I opened my bag and put on some lipstick. What was I doing here? I’d never go out and tell Stephanie and all those people. Kevin was probably right, they’d never believe me. For all I knew he was already back. I had the lipstick in my hand. I could write it on the mirror and then leave through the front of the house, leave my message to fate. Then I had a better idea.

I grabbed my drink and my bag, and I slipped through the living room and up the stairs, looking for Kevin and Stephanie’s bedroom. On the hallway walls were family pictures, and in every one Kevin wore the same slicked-on grin. Stenciled above the photos was the phrase, The Best Part of Memories Is Making Them.

Their room was at the end of the hall, and when I opened the door a sour scent hit my nose and took me back to the early parenting days of my own marriage when the bedroom was the most neglected room in the house. They had his and hers dressers, one long one with a large mirror, another taller one off to the side, both covered with toiletries. A TV hung above an exercise bike draped with laundry. On the floor were balled up socks, and I imagined Kevin a year from now, watching TV in bed alone, his wife with someone new. I set my drink down on the long dresser next to their framed wedding picture and pulled my lipstick from my bag. I was going to write “Your Husband is the Groper” on the mirror, but when I leaned in I glimpsed my mother’s weary face transposed over mine, and I could hear her saying, Leave it be. What’s the point?

And then I saw Kevin in the doorway, his mouth agape, his lips twisted with what? Disgust? Astonishment? Shame? He didn’t speak, and it hit me why he had groped me that evening, not once, but three times. He hadn’t chosen me. I was just there, I was just sitting in the right seat. In the mirror my father’s face wavered too, and I remembered him goosing my mother as she bent over to wring out the mop, as she carried a basket of laundry up the stairs. “Gary!” she’d say. “You stop that.” How we chuckled, my siblings and I, how we pinched and goosed each other too. And there was joy in the act, pleasure in the chase. And I remembered that boy again, the one who held me down near the park until I screamed. I understood then why we children reveled in the high-pitched screech—practice for the future leches we would meet.

Maybe it was only later on the train back home that I wondered how many times my mother had been clutched or chased or hounded in her life, but something shook loose in me. I leaned into the mirror with my lipstick and rimmed my lips into a lurid red frown. I dumped out my clown gear and powdered my face white, made my eyebrows thick and black. I attached my plastic nose and my rainbow wig.

Through all of this, Kevin did not speak or move, not even as I sat on their marital bed and put on my gargantuan shoes, the toes stuffed with newspaper. He was lost, floating, a balloon hovering over his life. We had that much in common.

Then Stephanie appeared, her face registering shock and then confusion. “She’s a clown? Why is she in our bedroom?”

Kevin stammered as I stood like a penguin. I reached for my white gloves and slid them on, a reverse strip-tease. I hung my horn around my neck and handed my backup nose to Kevin. “Put it on,” I said.

Though stupefied, he obeyed.

“Oh god,” Stephanie said. “I can’t wait to see this. I’m going down to light the cake.”

She rushed away and I picked up one foot and then the next and Kevin turned and fled down the stairs.

My shoes thumped as I descended after him into the living room, through the kitchen and the patio doors. Outside the guests stopped talking. The children stopped whacking the piñata at the back of the yard. Kevin backed to the edge of the deck in his bulbous red nose.

“Look,” a mother said to the toddler on her lap. “It’s a clown. Two clowns.”

Kevin laughed uncomfortably and reached to pull off his nose.

I shook my head and wagged a gloved finger. No, no, no.

He let the nose snap back and winced, and the guests howled.

What was happening in Kevin, I cannot say, but I was not me, or I was more me than I had ever been before or since. My feet were heavy on the deck as I thumped forward. The breeze entered my torn zipper as I clapped my hands together, as I cocked a hip and batted my eyes.

A child started to cry.

I was hideous, I was beautiful. I inched toward Kevin, and Kevin reached toward his wife, who protected the cake and pushed him away. He stumbled and fell off the deck backwards, righting himself, stumbling again as if choreographed.

Into the yard I vaulted after him. I goosed him and honked my horn as he ran. We are ordinary, Kevin, I telegraphed as I zigzagged, waddled and chased. We will die, I transmitted. Kevin lifted his arms to leap over the unlit fire pit, and I flapped my arms in response and sailed over it too. We were running for our lives, my groper and me. All around us people laughed and shouted. Round and round we went in that fenced yard, the unicorn swinging from the tree, the birthday girl watching with her fist stuffed in her mouth, my horn honking, honking.

Rachel Swearingen is the author of “How to Walk on Water and Other Stories”. Her stories, essays, and interviews have appeared in Electric LiteratureThe Missouri Review, Kenyon Review, Off Assignment, Agni, American Short Fiction & elsewhere. Her writing has won the New American Fiction Prize, the Missouri Review Editors’ Prize, a Rona Jaffe Foundation Writers’ Award, & the Mississippi Review Prize. She lives in Chicago.

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Clown School by Rachel Swearingen Read More »

Baba emptied the fishing net out onto the catamaran the same day he woke up from a yearlong slumber. That morning, his eyes burst open and he wheezed awake. We cheered, and when Baba asked where Ma was, it went quiet, but we told him. She was gone, she didn’t make it out alive.

The fish plopped out onto the wooden deck, flat at our feet like lead-filled stones. None of them wriggled like they used to. We’d been looking for healthy fish for all of that year, and it was always like this. We thought that since Baba was a real fisherman, he’d have the magic touch to catch real fish, edible ones that would flop around in glee.

He took a knife out, the serrated one with sharp teeth that fit like a short sword through his belt, and sliced a fish open. It bled a black tar, a slick oil that ran over his hands and dripped onto the wooden floor before he tossed the fish back into the water. He tried again, but they all gushed that black hopelessness we had felt for so long. So he did what you’d think a man like him would do. He had us throw all the fish back into the water and asked us what we’d been eating if the fish were always like this. We told him we still had pickled fish, and that lasts forever, and that we also had a couple spoons of ghee along with some raw ginger every day. Raw ginger? Baba said. That doesn’t sound too good, sounds like it would burn.

Baba pulled the catamaran back towards the shore and we all heaved it onto the docks. He scratched at his beard. We hadn’t cut it while he slept because we worried that if we did, it might hurt him in some way and he’d never wake up. I need to shave this off, he laughed.

When we got home we told him the birds and dogs and cows that we were taking care of were all dead. Baba wasn’t mad. He justsaid that they were there to help us grow, but we had grown up a lot faster on our own since the apocalypse anyways. He pointed at the pickled fish on his banana-leaf plate, and we smiled when he ate it and gave us a thumbs up.

Once he finished eating, we stood around the empty fishing net and thought about what we were going to do when the pickled fish ran out. Baba asked if we’d had any ideas while he was sleeping for a year. We all glanced at each other, eyes full of worry.

What about the fish eggs, I asked, and everyone’s heads swung to me.

We already talked about that, one of my brothers said, and we don’t know how to hatch them.

Baba said, Maybe we don’t need to know how to hatch them, just give them the space to figure out how to hatch on their own.

So we went back into the water and threw the net out again. And again, the fish fell like rocks onto the catamaran deck, and Babasaid, Let’s open them all up and take their eggs. The eggs were tiny orange spheres, like little oranges packed with sunlight. We collected as many as we could and filled up jars and jars of eggs and took all of them home.

To be honest, I thought we were going to eat them, and when I almost threw a jar down my throat, Baba said stop. Fish spend their entire lives in water, he said. They live in a medium that we’ll never know. But we can learn from them.

He collected all the jars into his arms and waddled over to the well. He put the jars in the bucket, lowered them into the water and brought the empty jars back up.

You don’t need to be in the same medium your whole life, he said.

And so we repeated this every day – collecting fish, slicing them open, taking their eggs, bringing them back home, sending them down into the well.

It was sunny the morning I woke up to cheers. When I ran outside, I saw Baba wrestling with an armful of fish as we all gathered around him. In the well, there were hundreds more of them splashing like the monsoon’s children, sunlight glinting off their reddish-pink scales.

Vikram Ramakrishnan is a Tamil-American writer who was born in Bangalore, India and grew up in Albuquerque, New Mexico. He is a graduate of the University of Pennsylva- nia, where he studied physics, mathematics, and computer science. His writing has appeared or is forthcoming in Newfound, Atlas and Alice, and AE: The Canadian Science Fiction Review. He lives in New York City.

Read more pieces from SAND 21.

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Eggs by Vikram Ramakrishnan Read More »

translated from the Slovenian by Brian Henry

Stories that have a first scene, a second
scene, a first border, a second border, surrender like
a lump of meat. The brain slips and smacks its lips.
Radical light is always muscular,
it eliminates situations where you can look back.
And from its head leaps another material,
untouchable thoughts. And the swift chamois that
crouches mid-leap, ledges that
consume consciousness and stay
far behind, restraining their scent and
terror—musk. Is the chamois gone, where’s
the chamois? He stood a meter, like a notion
of whiteness. Don’t search here because
I’ve spoken. There’s consistently nothing here.

Štorije, ki imajo prvi teren, drugi
teren, prvi rob, drugi rob, se vdajo kot
kepa mesa. Možgani drsijo in mlaskajo.
Radikalna svetloba je vedno mišičasta,
eliminira stanja, kjer se lahko ozreš.
In z njene glave skoči drug material,
nedotakljiv misli. In urni gamsi, ki v
skoku pokleknejo, police, ki so
konzumna raba zavesti in ostanejo
daleč zadaj, zavrejo njihov vonj in
teror—mošt. A ni več gamsa, kje je
gams? Vstal je kot meter, kot pojem
beline. Ne iščite tu, ker sem
izrekel. Tu dosledno ničesar ni.

Brian Henry is the author of eleven books of poetry, most recently “Permanent State”, and the new prose book “Things Are Completely Simple: Poetry and Translation”. He has translated Tomaž Šalamun’s “Woods and Chalices”, Aleš Debeljak’s “Smugglers”, and five books by Aleš Šteger. His work has received numerous honors, including two NEA fellowships, the Alice Fay di Castagnola Award, a Howard Foundation fellowship, a Slovenian Academy of Arts and Sciences grant, and the Best Translated Book Award.

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Sonnet of Motion by Tomaž Šalamun Read More »

Our town is considered a gem in a region with not much else to recommend it. Built in the days when people still knew where things began and ended, it occupies a neat square. Beyond the eastern edge is an empty field. That is where, to honor our town’s hundredth anniversary, the council built The Town: a life-sized model of our town, exact down to the smallest detail.

The construction took all spring. All the materials were brought in from the outside. So were the workers. We saw their RVs and trailers parked behind the half-constructed town. We saw the smoke of their barbecues. The crew must have brought their food with them, because they came into town only once, to Mrs. Peralta’s store, to buy batteries. They did not speak or understand our language, and told us what they wanted by pointing. When we asked them questions they smiled and shook their heads.

House by house, The Town rose up. Along the eastern edge of our town is the chapel, the school, and the water tank. In a mirror image, on the western edge of The Town, they built The Chapel, The School, and The Water Tank. On the main street of our town is a hotel, a bakery, and Mrs. Peralta’s store. On the Main Street of The Town, they built The Hotel, The Bakery, and a replica of Mrs. Peralta’s store. When The Town was finished, the workers built a tall white picket fence around it, so it could be locked up. Then they got into their trailers and RVs and disappeared.

Few people lined up outside the fence on The Town’s opening day. Mostly we stayed home. We did not think much of the monument, and we were angry that the work had gone to foreigners. But on the second day, there was a long line outside the fence. Those who had gone on the first day had told their friends and family all about The Town, and now everyone wanted to see it. In our excitement, we trampled the lilies in front of Mrs. Peralta’s Store and tracked mud up the white steps of The Chapel. So great was the damage that on the third day, the council closed The Town for repairs.

When The Town was reopened days later, the council was sure there would be less interest. Instead, the crowd of the second day had told their friends and family, and so many of us lined up outside the gate that the council had to declare a regional holiday.

After this, The Town was closed once again for repairs. Again The Chapel’s steps were whitewashed, again Mrs. Peralta’s lilies were planted, this time by a local crew.

Now the council called a meeting. They were pleased, of course, that The Town was so popular. But this interest seemed disproportionate, perhaps even of concern.

Instead of reopening The Town, the council members went in one evening by themselves and locked the gate behind them. They walked The Streets and inspected The Houses, trying to determine why we loved it all so much. Just as they’d hoped, The Town was an exact replica of our town. The workers’ attention to detail was astonishing. The Library was exactly the right shade of green. The Chapel’s roof was tiled with the same curved red tiles as the chapel in our town. The wrought iron lampposts on Main Street were identical to those that lined the main street in our town. They even glowed the same pale yellow-white.

The council immediately saw the problem. The Town was charming. It was beautiful. And it was even more charming and beautiful than our town itself.

But how was this possible? the council members wondered. The Town was, after all, a mere replica. As a test, the council members stood in the middle of The Town, on Main Street, in front of Mrs. Peralta’s Store, with their backs to our town. The Town’s houses and shops, lit gently from within, were so lovely that the council members were moved to tears. And it was very easy to feel the old town—that is, the real town—ceasing to exist.

The council members walked out the gate and crossed the narrow strip of grass between the two towns. They stood in the same spot, in front of Mrs. Peralta’s store, the real one this time, and looked at our town.

Unanimously, the council members agreed: The Town was dangerous and must be locked up until further notice.

The next day at dawn, every single one of us had lined up outside the white picket fence, waiting to go into The Town. A policeman was sent to break the news to us: The Town would be closed indefinitely. He fastened a heavy padlock on the gate.

We complained and shouted. We threatened and cried. We had been dreaming all night of The Town. Of walking down its unruined lanes and peering into its clean windows. We had longed for daybreak, just to be able to see a quilt thrown over a rocking chair in the living room of the House that corresponded to our house in The Town, a candelabra shining on a table. The polished wood of its front room, gleaming between neat curtains.

Finally, a small group of us left the gate and returned with axes and saws. We cut a wide breach in the gate. We flowed gratefully in.

In The Town, the breeze blew in complex eddies. The lawns under the spreading boughs of cherry and willow trees were richly dappled with moving shadows. The grass smiled like an old friend who, though long abandoned, at the moment of our return opens their arms to embrace us, without a trace of bitterness.

Hardly an hour had passed before we began to plan amongst ourselves. We must move into The Town at once, we said. We could not bear the thought of sleeping one more night in our ugly beds.

Then someone spoke. We never found out who. This person pointed out the trampled lilies, the muddy steps. They said what we had all been fearing.

In response, a woman suggested a maintenance tax. We murmured with dislike. A man said we could take turns caring for The Town, ensuring it would stay in the beautiful condition that the foreign workers had left it. It might take painstaking work, but weren’t we willing?

“Even so,” said the first person.
At the bottom of our hearts, we knew they were right.

The way forward was now very clear. Anguished, we turned our backs on the dappled shadows and the smiling grass, and walked back through the gate. A group of volunteers, the strongest-willed among us, boarded up the breach in the fence.

The next morning, a spiral of barbed wire was affixed to the top of the picket fence, and two policemen were dispatched to patrol the perimeter. The council had passed an ordinance: Anyone who attempted to enter The Town would be shot on sight.

It was difficult to ignore The Town at first. Its warm lamps seemed to beckon to us from the other side of the picket-and-barbed-wire fence. Then, one summer night, a few teenagers tossed bricks through the leaded windows of The Library. This was denounced officially as vandalism, but the council did not investigate the case too thoroughly. Secretly, we were all relieved.

Then autumn came. The trees of The Town shed their leaves, which piled up and rotted, becoming a haven for raccoons and possums. In winter, snow covered The Town. It buckled the streets and ate the paint from the houses, leaving the sidings drab and scarred.

One night the following spring, someone decided to save on dumping fees and got rid of an old mattress by throwing it over the fence. The rest of us soon followed suit with our junk. Although the council claimed that patrols had been increased, the police never seemed to catch anyone. Standing in the beds of our trucks as we threw our garbage over, we could see enormous rats crawling under discarded sofas and into broken washing machines.

By the time summer arrived again, hardly any of us thought about The Town. It was just a place where we could get rid of things we no longer wanted. Nobody was tempted to go there anymore, not even the teenagers, because of the rats, and the police patrols were called off.

Our town is still considered a gem in a region without much else to recommend it. Travelers on their way through stop to eat lunch at Mrs. Peralta’s store and admire the red-roofed chapel and sage-green library. The guidebooks say our town has preserved an old-fashioned charm that so many other towns in our nation have lost.

But, inevitably, before they leave, the travelers notice the picket fence. It hardly stands out, blackened from years of rain and soot. But still they insist on going there and peering through the gaps. The overgrown lawns are mounded with trash, the handsome wooden porches collapsing from damp. The Chapel’s roof tiles are cracked and thick with sludge. They come back and ask—what is that place? And we, being upstanding folk with nothing to hide, tell them the story.

Lauren Schenkman’s journalism, fiction, and translations have been published by The New York Times Magazine, Atlas Obscura, Tin House, TED Ideas, Granta, The Hudson Review, Writer’s Digest, Electric Literature, decomp, the University of Melbourne Press, and The Kenyon Review, among other places.

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The Town: Monument by Lauren Schenkman Read More »

APRÈS-SOLEIL I

Down at the mantı place,
near the beach, two gold
rimmed plates of garlic
yoğurt marbled with
tomato olive oil, red
pepper flakes, and dried
mint hiding a constellation
of hot dough, are set on
the blue, plaid tablecloth
that almost matches your
shirt, as chrysanthemums
reach out of the stained
glass vase at the centre
to cover half of your face.

APRÈS-SOLEIL II

Bikini briefs hanging from the bathtub faucet like some tired fruit dripping nectar.

Gamze S. Saymaz is a Berlin-based poet and video artist originally from Istanbul. She was awarded a BA in psychology and in English literature from Yeditepe Universitesi. She is now pursuing an MA at Freie Universitat Berlin with a focus on film. Her work has been published in Bosphorus Review of Books, FU Review, and Tint Journal. Her shorts have been shown at Studio H, Komsu Kafe Collective, KargART, and most recently online in collaboration with the performance art platform Body in Perform. Gamze is currently an editor for FU Review Berlin, makes personal documentaries on vulnerability, and watches horror movies. Read more poetry in SAND 25.

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APRÈS-SOLEIL by Gamze S. Saymaz Read More »

Esther Heller’s creative nonfiction piece “Points of Memory” threads together the available pieces of Esther’s mother’s life as a radical act of preservation and resistance to racism. Overlapping images of personal artifacts and news reports combine with poetry and prose “to vocalise a memory to understanding.” An excerpt of the piece’s beginning is included below. Read the full piece in SAND 25

 

My mother always knew that it was important to tell her story through writing, note-taking, doodles, oral stories. As a Kenyan woman living in Germany, she knew that she could not rely on history to plot her story for her without erasing all the points of history that she had touched. Most of the things that I know about my mother were told to me by other people.

Image of overlapping texts, which read as follows: "...Rememory as in recollecting and remembering as in reassembling the members of the body, the family, the population of the past...the stress of remembering, its inevitability, the changes for liberation that...lie within the process..."

My mother…a nurse, a Black woman working at the flea market, hair braider, postal worker, cook, dancer, party planner, an aspiring painter, a singer at weddings… 

Malaika
Nakupenda Malaika
Malaika
Nakupenda Malaika

When my mother was twelve years old she was adopted by a vacationing German couple—who saw her working as a hair braider on the beach.

She loved to dance and would often go out on her own. One of her friends, whom I call Uncle, told me once while we were dancing at a family gathering that my Mama could not be taken out of her element when she was dancing. Everyone in the club knew that. Those who did not would try to approach her, but the DJ would shake his head and say, Hey man you have no chance, she dances on her own.

She always made time to jot down notes, to document moments of her Black life. It was an act of self-preservation, a way for her to tell her story, and to pass it on to her children and others. Many of our Polaroids have notes scribbled on them, like one picture of my younger brother sitting beside a radio that reads My Son loves that Radio.

Image of a handwritten caption under a Polaroid photo reading "My Son loves that radio."

Her desire to document her life and our lives was important then as it is important now [she had to, she knew ] 
There is no data [she had to, she knew ] 
Katharina Oguntoye, May Ayim, Raja Lubinetzki, and others told their stories through poetry, art, traced history [they had to, they knew ]   

Continue reading the full piece in SAND 25.

Esther Heller (they/she) is a Kenyan-German poet, writer, and experimental filmmaker. They are a Barbican Young Poet 18/19, Obsidian Foundation fellow, and Ledbury Critic. She co-hosts a monthly radio show called Poetic Healing with Zen & Kondo on THF Radio Berlin and is currently doing an MFA in Poetry at Cornell University. 

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Points of Memory by Esther Heller Read More »

Roya Zendebudie’s hybrid, experimental flash fiction piece “Eye, آی” incorporates multiple languages and genres in its exploration of communication, meaning, and experience. An excerpt of the story’s beginning is included below. Read the full piece in SAND 25

 

Look at
the word  چشم  how
it resembles the eye
how it curves and tears, then slides
down, dead

Hold it in your hand, the word, and what it is, turn it around, چشم.

It’s not a word but the performance of a word, of what it wants to be but fails, a failure so intense it bursts the word wide open: the curve, barely begun, erupts and melts into points—light points, rain drops: three up, three down. It slides, it falls. It’s the vision of an eye, raw, open, slashed. Flooded into, rained on. Tromped and thrashed.

It’s dead, which almost means it’s alive.

Mein Gott, ich habe kein Dach über mir, und es regnet mir in die Augen.

Eye, I, Eye, I.

چشم holds two meanings in persian, eye and yes, I will obey.

The latter, unlike the english eye, is not an I but a negation of an I, an erasure of self for the sake of the other. The sound of eye for persian speakers is an interjection, used reflexively when the speaker is hurt; it’s a vocalized pain.

Aye, Aye, Captain.

Continue reading the full story in SAND 25.

Footnotes:

  • آی is pronounced the same as eye or aye.
  • چشم is pronounced chashm or ČAŠM.
  • German text quoted from Rainer Maria Rilke’s Die Aufzeichnungen des Malte Laurids Brigge. Translation: “My God, I have no roof over me, and it is raining in my eyes.”

Roya Zendebudie is an MA student of English Studies: Literature, Language, Culture at Freie Universität Berlin. Her previous work has been published in Tint Journal. 

Eye, آی by Roya Zendebudie Read More »

For my sake, Maami lowers her voice
to the ears of a singular absence.
The air reverberates with prophecy
burdening the year with our leaving.

I watch the silver bird lift off
in the turbulence of her eye lids
as her hands splay in the air
reaching for the fleshed word.

II

Prophecy:      You will be asked, where you are from.
                        The question presumes not here.

                        You will be asked to return.
                        The question presumes you have not been tainted by arrival.

III

Like a child, the land takes what it is given.
Anthems and allegiances have blood in common.
Is it honour to deny what your country has done?
To look away from the blood boarders?

I am told my country’s name and I dream
of empires seeking to conquer the horizon.
By morning, the soldiers are dead from marching.
The scorching silence breaking

to fieldflies sipping their milkskins.

Have you seen what beauty can do?
How honey glows to the fly like a hundred molten suns—the light of everything unlike death?
How a garden feeds on the rot of secrets—of bodies razed to limbs?

IV

I make a country of my mother’s dyed wrappers
And like you, I am a citizen of invention.

On my muscled heirloom
Home ties its taste to leavings.

And when a stutter wars through our words
Home is razed beyond a syllable. Limping.

Pursue tying to cling tying to displace
to exile to hard to evict.

At your borders, you offer benevolence for absolution
asking if I have been here before

and I take my smoked passport from you, smiling
the here written in ash rising in welcome.

Ọbáfẹ́mi Thanni is a poet whose works of poetry and fiction have received Pushcart Prize nominations. He spends his time between the cities of Ibadan and Lucille, making attempts at beauty. Read more poetry in SAND 24.

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Greener Dispensations by Ọbáfémi Thanni Read More »