The walk to the outhouse was some thirty yards—across the bare back yard, past a fishpond filled in with sand after a turkey had drowned there, and through a gate at the garden fence—to a little unpainted hut behind two salt cedar trees. It was quiet inside, the murk tempered by sun slanting in between weathered boards. The hush was lovely—breezes outside cocooning the silence inside. When I was seven years old, I discovered solitude there. And the pleasure of staring. At men. In lieu of toilet paper, our outhouse was stocked with last year’s mail order catalogs, with pages of men’s underwear for me to hover over. I was several years shy of learning about sex—from a Roman Catholic booklet so primly informative that I pictured two fully clothed adults just returned from Sunday Mass, facing each other in straight-backed dining chairs and holding hands while some kind of mystical transference occurred between their covered laps. Though I had been to confession, I hadn’t yet discovered that my body could be an instrument of sin, of shame. Somehow, I had absorbed the need for privacy, for keeping the secret of my mail order fascination.
All posts tagged: Essay
Nothing More Human
By SURAJ ALVA
You are in a chamber, waiting for the bailiff.
When he comes in, you wish you had been killed. Not your brother.
The rusted scent of the metal chair you’re on reminds you of the smell of his blood on your hands, chest, and hair: sweetly pungent with a strong hint of iron.
You start hearing his choked gurgles, see the blood spouting from his mouth. Smelling again the gunpowder-laced air between your body and his. The gurgling stops, his eyes close, and alarm strikes your throat numb, temporarily freezing your screams. His body begins to tremble, violently.
Brother Love
By TANYA COKE
I.
Scrawny was my first thought. I’d babysat enough by then to place his age at just shy of a year. As my father handed him to me, the baby arched his back in protest, his chicken butt threatening to escape his diaper completely. I could tell that a man had fastened it, because the tape on the sides was all askew.
“Come, say hello to your brother,” Daddy said, smiling.
Ode to the Floor
My boy is on the floor again. I’ve just told him he has to get in the shower, before dinner, after homework, after only five minutes of TV.
“What?” he protested in a drawn-out whine that contorted his face into a buskin tragedy mask before collapsing onto the floor. His body, prone and straight, swivels from side to side. He pulls his knees into his chest. Now he thrusts his feet down, then back, and almost behind him, as if doing a hamstring stretch. However he moves, thrashing, flailing, it is not vertical. To move up or around or about—even if stomping, even if screaming, even while crying out—would convey a sense of acceptance. “I don’t want to do what you ask, but I’m willing!” such a movement would say.
Intimations and Mercy, a Letter from the Bronx
“Nuns fret not at their convent’s narrow room,” I intoned solemnly when things were normal back in the BC days (Before COVID). “In truth the prison, unto which we doom/Ourselves; no prison is.” I winked at my “Forms in Poetry” class to let them know I felt their pain. It turned out to be our last face-to-face meeting for the semester. We were studying the sonnet and I’ve always used William Wordsworth’s love poem to strict forms as a pep talk for beginning prosodists. “And hence for me,/In sundry moods, ‘twas pastime to be bound/Within the Sonnet’s scanty plot of ground.”
Easy for you to say, I tell my three-weeks-ago self. I had no idea what was about to hit us. I’ll bet my shrinking TIAA stash that you didn’t either.
Ticks in the Hedgerows
Last May, having exhausted all possible local options, my husband and I got into our car and drove one hundred miles west. We left home early that morning in search of two specific things: better medical care and a definitive diagnosis.
During that first drive into Manhattan, we held hands. Almost ten years into our marriage, it’s something we rarely do anymore — and certainly not for prolonged periods of time. Looking back now, I was holding on for dear life.
What Matters Most
More than anything, I want to shrink down into the dirt like a tiny brown beetle. I cling to the Woolworth’s bag containing things I cannot bear to leave behind. Pushing through row after row of wavering wheat, I imagine sinking into the edge of the field where the sky swallows the sun at night. Trying to push from my mind the trail of bent wheat that betrays me, I trudge toward the line that divides gold from blue.
The House on Altamount Road
By DIANE MEHTA
Rain pelted down onto Altamount Road below, the delicate en pointe technique of a thousand ballerinas rumbling across a stage. Earlier, the sun had exploded into full bloom for an hour, after which rain clouds shuffled in again. I was resting on a single bed as mid-afternoon light filtered through the darkening clouds and cast the sky in an impressionistic purple-gray hue. In this unfamiliar guest room with its pomegranate-velvet Victorian sofa, I listened to the soft violence of the monsoon shower through the flung-open windows. The same sound had been a steady backbeat to my childhood years in Bombay. Then, just as quickly as the rain shower had come, it disappeared.
New Eras
By ASHA THANKI
In the early 1990s, as fighter jets flew over burning oil fields in Kuwait, the star wars of the Cold War relegated to recent memory, astronomers questioned the apparent emptiness of the outer solar system. There had been a long-standing presumption that the outer reaches were entirely devoid of the matter—the planets, the asteroids, the moons—that existed in abundance closer to the sun. What if, instead, out in that deep and dark expanse, items existed but only fleetingly? What if the gravitational pull of larger planets cut the lives of smaller objects short? Was it possible that there were more beautiful things to explore? But without the technology or means to prove it, the presumed void remained just that—a void.
All I Have is What I Have Given Away
“No one has mastery before he is at the end of his art and his life.”
—Michelangelo
On that bright morning in November—the first day I saw her—Anna Lea Lelli wore the outfit that distinguished her on the streets of Rome: a long cape and beret. The beret emphasized her craggy jaw and prominent Roman nose. Under her Scottish wool cape, Lea wore a gray suit in gabardine and a cream-colored silk blouse with French cuffs and pearl cufflinks. Just the right amount of cuff showed under the suit, no doubt perfectly tailored to her years ago. At her neck was a silk scarf, on her hand a carnelian ring carved with the face of Mars. She held a cane with the silver head of a horse, the patina worn from the warmth and pressure of her hand.