It must have something to do with the moments on the stairs or in the closet or under the bed, among dusty things we said we had put away, or on the safer side of a slammed door. Little me, hidden and silent (I could always hold in fear), accessing what I was told was none of my business but that I felt deeply was in every way my business. Even then, a seasoned girl of five, morality was vague. It was not that I failed to grasp why Lying is Wrong, but that I disagreed – at times and according to my discretion—that Lying is Wrong.
For instance, my older sister is having a break down during the early trials and errors of anti-anxiety medication. This particular one proves catastrophic. There I am crouching in another room while she shatters the house with her banshee screams and threatens to slice off an ample portion of her hair, that is, the remaining hair that her defiant little fingers have not already plucked.
My mother, unable to calm her, loses situation control. Her sighs say, “I’m impotent.”
Mother unsure, I sure, of my place of my goal, now unsure, now unsafe, sister’s guns point anywhere.
As I said, I could bottle fear, to a point, which once reached imposed on my young mind, much like my childish mastery of urination, an urgent need to release that, if ignored, could be quite damaging. Infections, bad dreams, spillage.
Something ticks, is detonated. She cuts impressively close to the root, revealing a sunless bald spot on the side of her head. No styling will remedy this, but later we tell her it isn’t that bad. (She, on the other hand, believes firmly that Lying is Wrong, and somehow to this day takes for granted that when she says, “You’re not lying are you?” and I say, “no,” that in fact I may be lying.)
Her crying is interfering with her breathing, those sharp gasps, and she is frustrated with having to pause the episode and take a breath in order to continue.
My channel for expressing terror must have been mal-wired. For before I thought “funny” and before I could refrain, I roared, laughter cancelling the sloppy entrails of that serotonin tantrum. Of course she misinterpreted, shouted at and banished me. Get away, I hate you.
I did not believe that she hated me, but that's beside the point. It was clear then that my voice exposed me, obstructed me. And because I so fetishized other people’s secrets, the performances they put on while alone, their inner itches that they feared expelled them but that I knew wedded us in some disturbed union, a fundamental humiliation, because of this I shut up and was henceforth a quiet kid.
You write in a steady pace and constantly produce compelling imagery, which is wonderful. I like the idea you are working with that writing is spawned from disagreeing with "lying is wrong", but you should develop it more because I'm left wanting a better understanding of your mind.
ReplyDeleteI agree with Remi Wolf on wanting to know more about the writing, but as it stands, the piece is beautiful. I don't know if it's just me wanting to simply indulge more in the story.
ReplyDeleteWhat I most like about this piece is that, as you said in class, it's narrative. Meaning that it arrives at a certain "thesis" without ever explicitly pronouncing it. The scenes are vivid and I knew what writing meant for you, I understood it on a deeper level. Or something.
ReplyDeleteGood God, Emma, what is "henceforth" doing there?
ReplyDeleteHaving said that, I'm very smitten with this voice you've got. It's unique and surprises me often, which is a great feeling to induce.
I'm jealous of your control on its structure. "Lying is Wrong" becomes a refrain by the conclusion, and when you approach the idea of a mutinous voice that stabs us-- the 'mask we can't take off' adage-- the emotion and tension you cultivated throughout the hard plot makes what feels like a generous insight on your part. And again, I appreciate being surprised.*
*Or are you lying?
You should write more about the disturbed union and its reluctance to be aware of itself. I'm not asking.
I love how strong your voice is and how smooth your transitions are. But I feel a sense that I want to know more, like you didn't say everything you wanted to say. But otherwise, good job.
ReplyDeleteThough I like the list of domestic settings as possibilities having to do with the subject (writing), this first paragraph seems preliminary. You might begin with the moment of the shift to present tense, the specific moment of "My sister is having a breakdown..." Be careful of mixing metaphors (bottling fear, toilet training, and a ticking bomb), and strive for clarity and conciseness: "I shut up and was henceforth a quiet kid" is much more effective than "laughter cancelling the sloppy entrails of that seratonin tantrum." This is a good start, and seems to be the beginning of a meditation on the relationship between your sister and your writing.
ReplyDeleteGreat post. You have no trouble with writing elegant prose. I love the "bottling fear/childish mastery of urination" paragraph. Very original. I think you also excel at utilizing fictional elements to tell your story. The message hear is strong. The wise man says the least, but how much does he write?
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