Aug 012013
 

Laura K Warrell

Shopping while black — I had never heard the phrase before Laura Warrell mentioned it in a phone conversation and then went on to relate the anecdote that begins this essay. The Trayvon Martin shooting was in both our minds, in the foreground, not the background. I was astonished because I know Laura, who is a bright, intelligent, sophisticated, graceful human being, astonished that in a cosmopolitan city like Boston, the stigma of skin colour, the taint of slavery, could still attach to her. And I was thinking of words like profiling, stereotyping, paternalism, racism — words that describe the ongoing effort to single out, repress, infantilize and criminalize African-Americans. The Stand Your Ground laws and recent voter suppression laws coming on the heels of the Supreme Court decision against the Voting Rights Act are reminiscent of the vagrancy and contract laws the Southern states used to try to reconstitute slavery-in-all-but-name after the Civil War. You are guilty if you are black, and you should be afraid.

This is Laura K. Warrell’s third contribution to Numéro Cinq. She has an edgy, contemporary take on social issues from the ugly manipulation of race in Quentin Tarantino’s Django Unchained to the Boston Bomber.

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There’s been no mistake. After all, our department, as far as I know, and I only know the lowest level, doesn’t seek out guilt among the general population, but, as the Law states, is attracted by guilt and has to send us guards out. That’s the Law. What mistake could there be? – The Trial, Franz Kafka

It was half past three on a bone-crackling winter afternoon in Boston and I needed a watch. Standing between me and the nearest subway station home was a skywalk leading from a chichi shopping mall to a Lord & Taylor department store. Until then, the upscale chain had not been tops on my list of shopping destinations considering I had been scrounging around on a teacher’s salary for years. But I was freezing and loathe to spend another second outside. And who knew, maybe I would luck out and find a watch I could afford.

I should admit to feeling some apprehension before going into the store. As a black woman, I have suffered my adopted hometown’s notoriously prickly racial climate long enough to know there are some places my movements might be “observed” and deemed worthy of confrontation. Moreover, I have lived in the United States long enough to know that the minor stresses of retail shopping – crowded aisles, greedy customers, ill-mannered counter help – pale in comparison to the traumas black shoppers endure everyday, an experience often referred to as Shopping While Black.

Being followed while shopping has happened so much now I don’t even remember specifics anymore. Every time you turn around there’s the clerk pretending to be folding or rearranging things near you. Sometimes they ask if they can help you. Sometimes they don’t. It’s reached a point that whenever I go shopping I get tense about dealing with the clerks. – Duane, 37, sexual violence educator, email to the author July 24, 2013

Shortly after I entered the store and started poring over a display table of watches, a saleswoman came over and asked, “Can I help you?”

So jazzed was I to have found a watch I both liked and could afford that I hardly noticed my surroundings. But then I looked up and quickly registered two things: first, the clerk, a white woman in her early fifties, was ringing her hands and staring back at me with a panicked expression, and second, there were three other white women looking at the watches yet the clerk was only talking to me.

“No thanks,” I told her. “Just looking.”

Usually when shoppers say, “just looking,” salespeople go off to bother other customers or linger perkily in order to lend a hand. The Lord & Taylor clerk did neither. Instead, she folded her arms and kept an eye on me, hovering by a display case a few steps away from where I was shopping. The woman seemed nervous, afraid, even though I was doing nothing more than browsing the watches. Whenever I glanced up, she would flinch as if her spying had been discovered then feign interest in the items in the display case, shuffling the watches around the shelves and wiping at phantom lines of dust. For several minutes, I tried to ignore her but she kept standing there. She didn’t ask if I was looking for something special, didn’t compliment the watches I held against my wrist, neither smiled nor spoke. She just hovered and watched.

I had no intention of stealing. I do not steal. So, if I’m not a criminal and had no inclination whatsoever of committing a crime, it would seem scientifically impossible that my body language, facial expressions or any other type of behavior could have given off any signal that might suggest I was planning on taking something from the store. True, in my worn winter boots and knock-off designer coat I was clearly not a typical Lord & Taylor customer. But if memory serves, the powers-that-be in this country have yet to pass a bill forbidding shoppers from frequenting retailers whose price tags stretch beyond their salary range. Regardless, the clerk was drawn to me, a near middle-aged woman whose only criminal offense over a lifetime was a speeding ticket in high school.

I had arrived at the second stage of the Shopping While Black experience: responding. Should I confront the woman, speak to her manager or stomp out in a huff? Did I have the energy for a battle or would I let this one go?

Rather than decide, I stalled. I just couldn’t believe this was happening. Almost forty, I thought I had long surpassed the age when I could be seen as a threat. Besides, I was on staff at two universities, was completing work on a Master’s degree and had managed to build a decent life in one of the priciest and most elite cities in the country. Hadn’t I transcended this bullshit?

Just to be sure I wasn’t imagining things, I casually strolled over to a nearby display of sunglasses. Two aisles away, the clerk followed. I went to a case of necklaces. She wasn’t far behind.

Finally, I walked up to her. “You’re not watching me, are you?”

“No,” she answered like a question.

I waited, imagining this would be the moment for her to apologize for the confusion or express outrage for my having accused her of such an offense. But she didn’t say or do anything except glare anxiously at the watch in my hands.

“Good,” I said and went back to shopping. And, surprise, she went back to trailing me.

Later, when I would tell people what happened, white friends and family would say what they often say after such events occur; “maybe you were imagining things, maybe the woman was only trying to help, maybe there was someone who looked like you who’d stolen something earlier in the day.” Black friends and family would only sigh wearily.

Being followed around in retail stores is a common occurrence. It happens so often I don’t often take note of it as much as I should nor am I as enraged as I should be. Not long ago, I was perusing the shoes and clothing at a store. While I shopped, one salesperson followed me to every section of the store. She would pretend to fix something, and when she finished, she would stand in the same section and watch me awkwardly. After about fifteen minutes of this, I left, leaving the dress and two pairs of shoes I wanted on a table in the middle of the store. The same thing happened another time and after following me, the clerk just looked at me and said, ‘the dresses in here are very expensive’ then paused like that would make me leave. – Leandra, 33, journalist, email to the author, July 23, 2013

Which raises the question: what was the Lord & Taylor clerk’s goal? To avoid a robbery she had no sensible reason to believe would occur? Or to just keep people like me out of her store? And by “people like me” I mean people who buy watches and clothes.

Unable to stand it any longer, I walked over and placed the watch on the counter in front of her. “I was going to buy this. But now I’m not going to.”

“Oh,” she said, with an infuriating mix of docility and snottiness.

“You shouldn’t follow people.”

“I know,” she whined like a child.

“I don’t know why you’re watching me but I can assume the reason,” my voice quaked. “And I want you to know it’s offensive…”

I went on with the kind of speech we curse ourselves for having come up with only after we’ve abandoned a situation, but I got lucky and thought of it on the spot. I told the woman how anyone has the right to shop wherever they want and how inexcusable it was for her make assumptions about people. The woman didn’t deny watching me or apologize for any misunderstanding but only kept insisting, “I’m the only one here,” although she clearly wasn’t. As if the defense was relevant anyway.

I left the store soaring with pride having stood up for myself. But it didn’t take long until I sank into a funk. The rest of my day and several days after were ruined, as if in an instant, everything I had ever accomplished had been reduced to nothing. I cringed thinking of the people who fit the “profile” even more than I do, especially young black men, and how taxing their daily lives must be if a fortysomething university instructor can’t even fly under some fool’s radar.

You know, when Trayvon Martin was first shot I said that this could have been my son. Another way of saying that is Trayvon Martin could have been me thirty-five years ago. And when you think about why, in the African-American community at least, there’s a lot of pain around what happened here, I think it’s important to recognize that the African-American community is looking at this issue through a set of experiences and a history that doesn’t go away. There are very few African-American men in this country who haven’t had the experience of being followed when they were shopping in a department store. That includes me. There are very few African-American men who haven’t had the experience of walking across the street and hearing the locks click on the doors of cars. That happens to me — at least before I was a senator. There are very few African Americans who haven’t had the experience of getting on an elevator and a woman clutching her purse nervously and holding her breath until she had a chance to get off. That happens often. – President Barack Obama, address to the nation, July 19, 2013

The list of reasons the Trayvon Martin case gives us to be horrified by modern American society is endless: the purpose of a Neighborhood Watch shifting from folks keeping an eye on things to arming themselves; an adult man deciding for no reason other than race that a seventeen-year-old boy is up to no good; the same adult man, or any human being, feeling surprise when the boy defends himself after being confronted (what else does a person walking alone at night do when a stranger in a goddamn van is following him for several blocks?) Then there’s the law that exists to protect the adult man and the apparent effectiveness of his defense, i.e., to portray the boy as a “thug,” the beloved term of narrow-minded people who seem to want to group all black, inner-city youth – whether or not they’ve ever gotten into any real trouble – into an easily discarded population of violent, parasitic monsters.

“That is exactly what George Zimmerman saw: a trope,” writes UC-Riverside English professor Vorris L. Nunley in the Los Angeles Review of Books. “Not Trayvon Martin. Not a person. Not an American or even a human being, just a Black trope – a disruptive figure occupying the anxiety-ridden terrain of his White imagination.”

While the nation prides itself, justifiably, for the phenomenal social strides that have been made, Trayvon Martin stands as a reminder that black citizens continue to suffer the lingering legacy of racism. Black bodies still signify guilt in the eyes of too many Americans: in department stores, on city streets, even in shared community spaces.

As soon as I got in the library the security guard decided I was the only one in the place that needed help. What was that the president was saying about every black man in America knowing what it feels like to be followed? BUT THIS IS A LIBRARY!!! [I guess] everyone knows black people don’t read. – Christopher, 42, poet/educator, Facebook status update, July 22, 2013

Shopping, driving and walking while black happens to young black people.

“My son and his friends were coming from work when they were accosted by the police. They were thrown on the ground, put in the cruiser and made to wait without really knowing what they were being stopped for. They discovered that the police thought they were a group of black males who robbed a store. When the officers realized they were wrong, they dismissed it by saying to my son and his friends, ‘we have the wrong f—g car.’ – Al, 63, teacher, Facebook status update, July 14, 2013

Shopping, driving and walking while black happens to older black people.

I was visiting Salem, Massachusetts with my two teenage daughters. We’d had a nice lunch and I was taking pictures of my girls as they toured an old cemetery. A police officer walked up and asked to see my ID. He said the police were looking for someone who was passing off counterfeit bills and the suspect fit my description. He asked to see my wallet and to look in my backpack. I said not before I know what all this is about. Meanwhile, a large crowd was gathering; to my surprise, many of them stepped up to challenge the officer, saying I was being harassed. My daughters were nervous. After radioing his sergeant, the office was told to take me around to the merchants who had been scammed and see if they could ID me. As my daughters were left to fend for themselves, I was put into a police car and driven to the local mall. Two shop owners claimed to recognize me as the thief. I was put back in the police car and the cop said, ‘For the record, I don’t think you fit the description but I have orders.’ Fortunately, the last shop owner said I wasn’t the guy and I was taken back to my girls. An elderly white couple had brought them ice cream and was keeping an eye on them. The cop dropped me off, apologized for the ‘inconvenience’ and went on his way. I remember thinking, ‘does this ever end? Does being black in America, no matter where you live, always make you a prime suspect to whatever has gone down somewhere? – Rick, 61, public relations professional, email to the author, July 24, 2013

Even leaving the country doesn’t make one immune.

[Since moving to Europe], I hadn’t been back to the States for two years. At U.S. customs, the guy asked if it was true I’d been out of the country for twenty-four consecutive months and I said yes. He asked where is my military I.D. I told him I wasn’t in the military. He then asked which teams I played for in Europe. I had a smirk on my face by this point and said I was too short to be playing basketball. He asked what it was I did in Europe and I told him I teach English. His answer was, ‘They don’t speak English in Europe.’ Then I was in an interview room. They wanted to know how I really made money in Europe and I had to explain in detail. The guy who interviewed me said it’s not often they get black guys who travel that long out of the States without being in the military. Even the ball players come back more than once every two years. He joked I needed to come back more often so as not to arouse suspicion ‘cause only hippie white boys traveled the world for years. Of course, every time I enter the U.S. now, I am stressed. – Carl, 37, English teacher, email to the author, July 24, 2013

That fateful winter day, the Lord & Taylor clerk most certainly was not looking for guilty shoppers in her store but instead was attracted like a magnet to what she identified as guilt: my brown skin. Her unapologetic attitude and apparent conviction that there was nothing wrong with what she was doing suggests that in her mind, she had made no mistake. If I hadn’t yet committed a crime, I imagine her thinking went, inevitably as a black woman I would. I was guilty before I even walked in the door.

After the incident, I contemplated what all this meant for my day-to-day life. Do I assume there are places in my community to which I don’t truly have access and stop going to them to avoid harassment? Or do I continue frequenting those establishments and risk fucking up my week?

Managing people’s fears and assumptions about my race has been a lifelong task; overcompensating in professional situations, being overly polite in social situations, grinning harmlessly to clerks when entering shops. By now, this oppressive style of self-defense is instinctive though I sometimes catch myself doing it and feel shame.

I mean, that is a crazy way to live. Seriously, imagine a life in which you think of other people’s safety and comfort first, before your own. You’re programmed and taught that from the gate. It’s like the opposite of entitlement…My friends know that I hate parking lots and elevators, not because they are places that danger could occur, but it’s a prime place in which someone of my physical size can be seen as a dangerous element. I wait and wait in cars until I feel it’s safe for me to make people feel safe. I know most of y’all are eye-rolling, but if you spent a good three months in these size fourteens, you’d understand why I take that position. – Questlove, 42, musician, writer, record producer, bandleader of The Roots and Late Night with Jimmy Fallon, in a New York Magazine essay entitled “Questlove: Trayvon Martin and I Ain’t Shit,” July 16, 2013

In truth, incidents like the one at Lord & Taylor are a rare occurrence in my world. But when something does happen – to me, to a friend, to someone somewhere in the country who looks like me, I’ll remember that I am on trial in perpetuity. American life can feel like a prolonged, Kafka-esque court appearance, as if I’m always being watched and judged, and at the drop of a hat may have to prove my innocence, my worthiness, my normalness. Every confrontation and insult feels like a hearing in which I’m forced to defend myself and then rebuild, to regain a sense of dignity and find comfort again in my own skin. I always recover but move on feeling a bit less trusting, more guarded and cynical.

The emotional aftermath of my confrontation with the Lord & Taylor clerk is negligible compared to the threats young black men in this country face on a daily, hourly, moment-to-moment basis. My now permanent anxiety when I pass the store pales in comparison to the harassment, the sitting in police cars, the prison sentences and murders too many young black men experience. Still, my own run-ins with self-appointed vigilantes and protectors of the common good are reminders that despite my own successes and the progress the country has made, I may always be considered a nuisance to some people. A threat. An eye sore.

How do we alter the nation’s consciousness so that black Americans don’t have to live with this permanent, unshakeable guilt for crimes they have never and will never commit? I wish I knew the answer. But one thing I know for certain is that we can no longer pretend it’s not necessary.

 —Laura K. Warrell

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Laura K. Warrell is a freelance writer living in Boston. She teaches writing at the University of Massachusetts Boston and Northeastern University and is a July, 2013, graduate of the MFA program at Vermont College. She has previously published both fiction and nonfiction in Numéro Cinq.

Jan 012013
 

  Me at the age 4, having just finished a violin lesson. Circa 1985.

New Year’s Day, the beginning of  Numéro Cinq‘s fourth year of publication — we have a lovely example of a set essay, a beautiful, poignant, shocking evocation of a Manhattan childhood from Tiara Winter-Schorr. NC publishes three set essays: Childhood, What It’s Like Living Here and My First Job. And by set essay, I mean an essay written to our guidelines, not exactly free form (though, of course, in the hands of a terrific writer the set essay always departs in imaginative ways from its guideline roots). We have had some wonderful results from this project. See the slider at the top of the page for more stellar examples of the Childhood series. And don’t forget that Melissa Fisher’s “My First Job” won the $1,000 3 Quark’s Daily Arts & Literature Prize in 2012. After you read Tiara’s latest contribution, take the time to browse the set essay archives and see what our contributors have accomplished.

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Prologue: Exile in the City

My story begins when my grandfather slaps my pregnant 19-year-old mother to the ground in the backyard of his house on Smith Street in Glens Falls, NY. She is carrying my brother and engaged to a black man she met at college. My grandfather is a decorated World War II soldier who weds himself to German pride and American patriotism. He knocks my mother back into the muddy spring earth when she reminds him that her own mother is Filipina and his marriage is interracial. My grandmother sits on a swing, silent but crying. The child doesn’t deserve to live, he says. Get out, he says.

Days later she is in New York City, noticing that the sky here is never a uniform shade of black but rather a deep red shot through by light from yellow street lamps. She moves through the whole city in a span of nearly 40 years. My brother and I are both born in different corners of the city, but he dies in Glens Falls near Smith Street, on his first visit home, the first time the family has tried to remember itself since his birth. Almost a decade has passed. A day comes during this reunion when he is biking down a dead-end street with our cousins and is killed by a man named Ralph Midgette who is drunk behind the wheel of his vehicle. My grandfather uses his army training to run a heart pump, trying to keep my brother alive. My brother dies three days later. At Ralph’s trial, my mother asks the court for leniency because his wife will be left alone to support five children. The court grants her request.

My mother returns to the city under a red night sky to begin another period of exile, one of grief and searching. Four years later, I am a clump of cells stuck to her insides and her search is ended. She waits for me and walks through Times Square on nights when I do not stop kicking. She teaches me the city streets by the rhythm of her muffled footsteps.

 

Love

I am born during an autumn storm, the kind that is composed of continuous rumbling thunder and spurts of lightening. My mother’s water breaks in bed and I am born in a flash, in less than an hour. I sleep in a bassinet next to her hospital bed instead of in the nursery down the hall with other babies. She lives only for her children but she is also an art teacher, a photographer, a runner, and a reluctant wife. My father is an art professor, a painter, a writer, and an asthmatic.

Love is always fresh between them, the kind of freshness that makes a tone of voice warm even in the coldest of times. Over the years, they pass me artifacts of their love: a gemstone belt buckle from my mother, a silver ring with the sign of Christ from my father, stacks of photographs that also seem to be memories.

My parents — Justin Schorr and Sharon Winter (holding me as a one-year-old) — 1982

Is he your real father?

People ask this rudely before I am old enough to understand. Yes, he is real from the time I am born, mopping his paint-splattered floor 17 times before my mother arrives home with me.  He puts his name on me and my birth certificate so he will never be reduced to a step-father.  At night he sings to me in a flat voice that is all gravel and we dance across the living room until I rub my eyes into his neck, fighting sleep. He has a sharp smell that hangs around him, a mix of turpentine for his work and peppermint candies for his indigestion.  His canvasses cover the white walls, mazes of color, gobs of paint like gems and smears of nameless shades.

My mother straps me to her chest and we move from the darkroom to the bedroom to the kitchen, where steam from the pots and pans make me sweat. I remember straining my neck to watch her hands develop film in one room or chop vegetables in another. Eventually, always listening, she turns me facing outward so I can watch. I am probably a year old by now. I become fascinated with watching by the time I am two. She gives me my first camera, a black plastic Olympus with a sliding lens door, when I am two and a half. I take pictures of her from the ground up, so she is enormous like a towering religious statue.

Home is 106 Morningside Drive, a building sitting at the top of a long hill which rises above Harlem. Apartment 83 is half art studio, half home. The hallway is an endless passage that leads into a jungle. The jungle is actually a double living room with an archway that is entirely obscured by plants. Six-foot trees lean into wandering Jews that snake down into the wide leaves of a dumbcane. Then there is a green creature with leaves like giant four-leaf clovers that can cover me entirely when I am two. A palm tree bends against the ceiling, entangled with a wall of green leaves and reaching plants. The wall of deep and light green leaves separate the double living room and takes a space large enough that I can disappear in the greenery.

I learn to run like my mother. I use her white cowboy boots and round sunglasses to do it. The boots are stiff, too stiff to let my knees bend but I run anyway and I keep running the passage until I fall. I do it again. The hallway is also lined with my father’s paintings, gargantuan squares of pastel color and splashes of white and black. They are secure, like him, stuck down solidly and easy to use as a way to steady myself during a burst of running. My mother stands at the end of the hall every day, ready to help me put the boots back on or carry me away after a bad fall.

I do not hear my parents argue until I am at least ten years old, but my father moves out when I am three and does not return home until he is nearing the end of his life.

 

Wonderland

My mother and I walk relentlessly because we both have jumpy, energetic legs accustomed to sprinting. We start at Mondel’s Chocolates. The darkness under the awning is always deceptive, a bit scary but also enticing because of the window overstuffed with all three kinds of chocolates, the milky kind that slides easily to the back of my throat, the dark kind that puckers my mouth as if it is lemon, and the silky white kind that is too sweet and smells like vanilla. Rows of these multi-colored candies rise above my head so far that I can tilt my head back until I am dizzy and still see more rows of raspberry-drizzled chocolates and truffles decorated with tiny red flowers made of sugar frosting. To one side are the stacks of chocolate and to my other side is a tower of stuffed animals like jungle animals tied to a skyscraper. Gorillas at the top and tigers at the bottom are large enough to almost frighten me, but the smell of melting dark chocolate that hangs persistently is a constant reminder that this place traffics in magic and wonder. Kaleidoscopes hang at different angles from the ceiling, the paper kind that shoots simple patterns of color toward your eye and the glass kind with crystal that spins out the most intricate patterns your childish eye can detect. The world fragments into a million pieces and comes together again in shifting sequences of light and color. Look into a kaleidoscope and you are down the rabbit hole, the smell of liquid chocolate in your nose and the constantly shifting patterns of light and dark, candies and tigers and odd flashes of colored glass that tumble toward your eye like gemstones.

"Wonderland"                  Mondel's Homemade Chocolates, NYC 1985Mondel’s Homemade Chocolates, NYC 1985

Kevin is a homeless man who haunts the streets between Morningside Drive and the lower sections of Broadway around Columbia University. He sings. I am holding my mother’s hand, leaving Mondel’s, and I hear a deep sound like I only hear on the rare occasions we go to church. He is a tiny man in dark clothes that are torn in different places. I remember his shoulder being exposed to the cold sunlight. My mother drops my hand to search her pockets for money as he keeps singing. The tone is as soothing as the lingering smell of melted chocolate. I see Kevin again on these walks and eventually in front of the building where I live. One year, my mother brings him upstairs to give him a piece of my birthday cake and he sings again, this time happy birthday. Days before, he intervenes between her and a potential rapist as she arrives home late from work. I know unspoken rules are broken when she brings this man into our building but I am proud and his voice takes me back to Mondel’s that cold day and the warmth of my mother’s hands.

Sometimes we stop for wings and fries at The West End Gate, an expansive dive bar where William S. Burroughs and Allen Ginsberg notoriously performed on a regularly drunken basis. The tables are etched by knife carvings that have dates I cannot fathom, like 1968 and 1977. I remember tracing my finger into the carvings and listening to stories of poets who used to spit lines of lyrical obscenity on a small raised platform in the back of the dive. It is a place of old poems and mysterious men and loaded nachos. It is a continuous fall down the rabbit hole and into wonderland. The world opens into a kaleidoscope of shadows, colors, banquets of candies, and long concrete streets dotted with homeless singers and lost poets.

 

Borderland

My father teaches art and architecture at Columbia University, a sprawling red-brick and white limestone array of structures. My mother earns her doctorate here so the campus is a constant in my life, coloring more memories than I can count. The lawns and open plaza with two overwhelming fountains that spout water straight into the air and back into a surrounding pool are two places on campus that substitute for a backyard. All the faculty children play here, running the noisy and shaky ramp meant for wheelchairs and pulling brightly colored flowers from the manicured grounds. I find my place at the edge of the fountains because here ladybugs collect and frequently drown. I remember bursts of red flowers, so distant from my perch on the fountain’s edge. The red shells of the ladybugs are more compelling and my favorite pastime becomes rescuing the water-logged and semi-conscious creatures from the fountain.

 "Borderland" Columbia University, circa 1987Columbia University, circa 1987

One autumn I bring home a rescued ladybug even though my father tells me it is dead. I keep its tiny body in a box my mother gives me. The box has a tan seashell as a top, and it is lined with mirrors on the inside and mother-of-pearl on the outside. The motionless ladybug lay there on the windowsill through a blizzard and then a thaw. When the air is warm enough, I open the box. I blink, and the ladybug vanishes. Maybe it blew out the window, my father says. Ladybugs hibernate, says my mother. She has flown away with the spring air.

Columbia sits at the border of Harlem and also slightly above it, perched at a higher elevation. This means that Harlem is first a picture out of my living room window. The late 1980s in Harlem means rows and rows of burn-out buildings. Police sirens and the Mr. Softee ice cream truck jingle are sounds from below that slip in through open windows. The windowsill is a place to sit because at night there are fires burning in the park that separates our small area from Harlem. During the day, you can see into the park and it looks like a vast and desolate wilderness. In fact, in the 1980s, it is a kind of no-man’s land reserved for junkies and homeless people. Not many people cross this border but one day I am sitting on the windowsill and three shots ring out. Suddenly my mother is there and I am carried away. Later, I hear my mother and my father talk about the black Exeter student from Harlem who was killed by a police officer for no clear reason other than the fact that he had crossed the park and started walking up toward the university. The rationale behind his killing remains controversial, a symbol of the clash between an ivory tower and the forgotten ghetto beneath it.

"Borderland" View of Harlem in 1985, from the living room window of apt 83.View of Harlem in 1985, from the living room window of apt 83

Harlem is not just a place of fiery nights and distant gunshots. Harlem is also the manic bustle of 125th street, where motorized cars hang from toy store ceilings. My mother buys me one with whitewall tires, 1920s style. The smell of African incense and the roasting meat from street vendors is not the smell of melting chocolate like at Mondel’s. This is the smell of the street, food and religion and grease all rising from the pavement. There are men like Kevin who live in the street but none of them sing when we pass by.

The last time I remember seeing Kevin I am coming down a winding staircase of a building that belongs to Columbia. My mother is with me and when he sees her, he tell us both that the university guards arrested him for using the bathroom to pee and this is why he has been gone so long. I am ashamed when he says this even though my mother calls them pigs for taking him away. I am ashamed of the dangerous park and the clean white buildings and the guards in their blue suits that call me honey when I pass by to go to my father’s office.

The borderland that is Morningside Heights is a collision of poor and privileged during the mid to late 1980s, but apartment 83 with its jungle of plants and windows onto other worlds is still a place of quiet love.

 

Gems and Bones

The first time I see a six-foot amethyst geode I am standing in a darkened room surrounded by towering gems that have been carved out in the center like narrow caves. These gems are housed by The Museum of Natural History, a place my father brings me regularly so we can stare up at the gigantic stones. Above us in a room as bright as the gem room is dark, a skeleton of a Tyrannosaurus Rex is encircled by a metal gate as if he might escape. I am four years old and easily able to imagine a time when monsters roamed the earth but the bones are bleached white and held together by shiny chrome screws, like the skeleton hanging in my mother’s darkroom. My father and I ride the escalator between the gems and the bones, going back and forth to examine each. The dark purple hues of the amethyst and the striped green malachite are like his paintings, except the colors to do not crash and collide like they do on canvas.

 "Gems and Bones" My mother's darkroom, 1984My mother’s darkroom, 1984

My father’s smell of turpentine and oil paint comes from his hours locked away in a painting studio at the university. I visit him there a few times, shocked and delighted by the way he splashes paint at the canvas and by the way his balding head and calloused hands are spattered with color specks when he is done. There are rows and rows of wooden easels, some cracked and repaired and others freshly varnished. This is his factory, a place where his smell becomes the smell of art and safety, where canvasses appear and are hung like smashed geodes mounted on the walls.

My mother’s darkroom doesn’t scare me, even though the light is pure red most the time and the skeleton hangs in the corner against a black velvet background. The jaw is loose so she lifts me up and I snap it open and closed, as if bones can come alive and speak. I name him “skellie” and soon my mother is teaching me to develop film, shaking canisters and watching images appear like magic as the chemicals seep into the paper. The darkroom makes me dream of gypsies because of tarot cards pinned to the walls and the clutter of religious items. Pictures of my late uncle and late brother are scattered about and here in the darkroom is where I begin to learn about my brother’s death. The red light colors everything. My mother’s hair looks almost black. Family stories sound like magic tales about long-lost people. She plays Stevie Wonder songs as we work, and when we leave the darkroom, the plain white light of the living room is like wandering out of Wonderland and into reality.

 

Violin

My grandmother goes by “nannie,” the name French children use for their grandmothers. She doesn’t want to be called grandma. The French excuse comes up when I am fifteen and I am bold enough to ask why I cannot call her grandma. I want something irrevocable, some variant of grandmother. It is late in her life and we have fallen in love over mixed drinks and shopping trips and manicures during her rebellious months-long trips to visit me and my mother. She tells me lifetimes of stories, the life she lived as a wife and the life as a violinist denied to her.

"Violin".      My grandmother, Virginia de Borse, circa 1921My grandmother, Virginia de Borse, circa 1921

The first time I try to learn to play the violin I am four and unhappy. I sit for a photo after the first lesson, scowling and frustrated by sore fingers. The teacher has forceful hands that pushed my fingers to reach the notes. That year my grandmother sends a miniature stuffed terrier with a note attached to his neck: “He is afraid of thunderstorms. He is lonely.” By this time my grandmother and I have met several times, but I never remember her afterwards. I remember the house on Smith Street. The attic. A violin she has refused to play since my uncle’s suicide and stories of lost chances to go study in New York City when she was young. The terrier sits near my violin at the top of my closet until the night of a storm that brightens the sky above Harlem with thick bolts of lightening like streaks of daylight breaking through. I watch from the living room window and then take the terrier out of the closet. I wonder if he is really lonely. You were born in a thunderstorm, my mother reminds me.

  Me at the age 4, having just finished a violin lesson. Circa 1985.Me at the age 4, having just finished a violin lesson. Circa 1985

The house on Smith Street smells like Avon products from my grandmother’s cache of beauty products and vanilla tobacco from my grandfather’s pipe. I am about four the first time we meet. He lifts me on to his lap while I struggle to tie my shoe, frightened that he is even bigger than my own father. He tells dirty jokes and tells me stories from the Old Testament. The details of the jokes are gone but the story of Jacob’s struggle to reconcile with God in place of his own brother is with me. My grandmother is a woman who sits behind a wall of silence, even when she giggles or rises to vacuum.

I find the attic hidden behind a door with a short flight of steps that are too steep for me. The attic is a place of living ghosts. The beams of the ceiling are exposed and cobwebbed but the lighting is bright and the stacks of clutter seem to have their own logic. I look down from the beams and see a wooden bench. He sits on it, a white plaster shell of a former person. His face is unpainted and expressionless, a face made of places where bones might protrude. Night in Glens Falls is blacker than the city and the window behind him throws my reflection back at me with his and we are doubled and I am scared. But not scared enough to run and I watch him in his hunched-over position. This is the closest I have come to a likeness of my Uncle David other than in photographs, which usually show a dark-skinned man cooking or wrapped around congo drums. I have seen plaster casts before in my parents’ art studio but nothing like this, nothing that captures the hollowness of a man whose death was ruled a suicide.

After learning the smells and finding the attic, I remember leaving Smith Street for the first time. I am afraid of my grandmother. We are eating dinner and the crack of her palm against my cousin’s cheek is like the gunshots I hear back in the city, but this is closer and this is my cousin who can punch numbers into the phone pad and make it ring back like magic. I remember the sound and feeling sick in my stomach. My mother’s voice was louder than the slap and angrier. I don’t remember when we left, only standing in the street facing my godmother while my mother and grandfather talked on the porch. My grandmother and cousin did not come out of the house. The day was cold, the kind of barren cold that sets in after Christmas when nearly every day is the sky is grey or white. My grandmother goes silent, along with my grandfather, for four years.

When I meet my grandmother again I am ten years old and I think of this attic in a home where she raised seven children and gave her hands over from music to ushering her children and grandchildren in and out of life. I am 15 before she ever mentions death to me and then it is only to say, “I live with it every day.” My grandfather is at her side when she says it and he nods but neither look at me.

By the time I am ten, my grandmother is living in central Florida, a lush overgrown place where alligators wander onto highways and lizards dart across sun-scorched grass. I visit with my mother twice, once taking a road trip down the east coast on our way. The sun toasts my skin two shades of darker each time I am there. My grandmother is quiet in Florida, nearly silent, just as she had been in Glens Falls. My grandfather still tells Old Testament stories, although now his mornings begin with whiskey. The house is sprawling and modular this time instead of brick. The southern sun pushes through every curtain until even shadows disappear. My grandmother wears black boots, pointy and shiny like a witch. She stares at them so much in her silences that I start to stare with her. She stares at them especially when my grandfather speaks. Gook, he says to her, and she never talks back. He says it one day when we are sealed indoors, hiding from 103 degrees of spring heat. I am hot and angry about this place where people use racial slurs and the heat does not relent for even a day. Where’d you learn to hate? I ask my grandfather. Why am I even in your house, old man? I think to myself. He waits for my mother to chastise me but she doesn’t. When he answers, he does not tell me why he hates:

At the height of my military career, I am an intelligence officer over a battalion of men. I make decisions in a split fraction of a second because men’s lives depend on me. One day I am guarding my camp and an Asian woman is pushing her baby carriage, back and forth, back and forth, over a bridge. As she passes, explosions begin that carry through the camp. I wait long enough to lose at least one man. When she is within sight, I stand up and shoot her in the head at long-range. I make sure the baby dies with her. I had to do it.

Days later, a storm takes Florida that is mythic in its darkness and battering rain. Tiny frogs stick to the windows with suction cup feet. I am afraid to go outside. I sit on my grandmother’s bed with her, her white German Shepherd, and my mother. I listen to her tell my mother that the war still lives in my grandfather so vividly that he has slept every night with a gun under his pillow since he came home in the 1940s. The gun points toward her head and does every night, she says, but she is also pulling out her violin as she talks. The antique violin, casketed in a peeling case she has kept since tenth grade, is made of wood so old that I count the tiny cracks along the edges when she opens the case. The story of being forbidden to attend Juilliard by her mother stays with me. She would not be a mother or a wife if she had been allowed to pursue music, she says. She promises to give me the violin then, and silently I pledge to learn to play.

The second time I try to play the violin I am using my grandmother’s instrument and she is flying between New York City and Florida with uncharacteristic bursts of independence. I am 15 and for a moment her silences are punctuated by the roar of engine jets and the squeaking of  her violin bow in my hands.  My grandfather makes one trip with her and lays a shotgun across my mother’s kitchen table. I wander in and out to get a snack before I realize what he is saying. No one will break my family up or take my wife, he is saying to my mother. The violin is yours, she is saying to me as she packs.

I never learn to play my grandmother’s violin. But it stays with me, always with me, shrouded in its case from 1935,  like a living memory. I am still exiled in New York City but also rooted here now, in this city where my grandmother was forbidden to go and where my mother was left to wander alone. When my grandmother leaves, passing her violin to me, I know I will never see her again.  And here, in accepting what is given to me, my childhood draws to a close.

—Tiara Winter-Schorr

Tiara Winter-Schorr

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Tiara Winter-Schorr decided to become a writer 12 years ago in one of Douglas Glover’s classes at the University at Albany-SUNY. She received a BA in Creative Writing from Columbia University and is beginning an MFA in Fiction at Vermont College of Fine Arts in the summer of 2013. She lives in Manhattan with her mother. See also her earlier essay “What It’s Like Living Here.”

Jan 112012
 

Denise Evans Durkin writes poems that glow with a gentle melancholy (all memory is tinged with melancholy) unexpectedly laced with joy and wonder. They are wonderful to read, not just for their warm humanity, but for their loving attention to detail, details that seem to accrete spirit and luminescence as the poems develop. She was raised in Brooklyn and lives in Putnam County, New York, with her husband. She wishes me to note that the poem “Letter to My Sister from Bellevue’s Prison Ward” includes a line from Gil Scott Heron’s “Dirty Low-Down.”  These are her first published poems.

dg

.
Impedance
………(circa 1979)

The girl downstairs waits mostly. Sitting on her luggage
by the cattails, side of the road. Embroidered each star
on the velvet pillow of sky — they glitter
through the pin-pricks.

She waits, lonesome as the notions in her felted sewing box —
mismatched buttons, thimbles and threads in bright
remembered colors — bobbins and hat pins —
good things going away.

She’s there in the spaces where the dime store and
the pay phones used to be. The cart that sold ice-cream and
hot waffles. Relics.

Seeping cold. Click, drag, stop — over
imperfect stones. Her gradual world — ohms build
between receiver and vintage turntable on the dresser
in the bedroom she has not visited in thirty years.
Glass & leaves falling. Dust falling down in the hush —

.

Letter to My Sister from Bellevue’s Prison Ward

Traveling up from blue-black dreaming
those first pin-pricks of pale blue light give such sudden joy.

Once at a farm I saw eggs that color blue; the class learned
about farms, about far-off things and places where people
know their food, know their land and don’t live like we do.

Do you remember when we used to sing it?
Said I wonder, wonder, wonder, wonder who put those ideas in your head?
You closed your eyes when you sang back up; we got it right.

Mornings are my best time — even the doctors agree — when I wake
full of hope, and my hope is the color of morning, and my eyes

the color of the sea and I know all that the seas know.

A thrum of bees where my heart should be when my eyes flutter
open mother your face dissolving in the water swirling in the silver bowl —

were you here in your white nurses’ shoes? I thought I saw you
in your white dress adjusting the tubes that feed me, that dispense
the medicines, checking my bandages, and my restraints I thought
I felt all the little red lights on the living machines
silver mechanical fireflies that blink and glow redder
through the gauze of my forgetting pieces of what I thought was
my life and I can no longer remember how I got here —
I watch your white shoes walk away squeaking on the tiled floor.

Don’t think I don’t know nothing but the sea stays around
long enough to get old — and all I do in here is imagine
this gossamer daylight everyday — all just going by —

.

Come September

This morning the darkness is thicker — like spider’s webs
spun especially for the heavy snow they know is coming.
Crickets sing in the perpetual twilight of the field beyond my patio —
my small wilderness — where even now leaves are falling.
The vine wound up around that oak; some of its leaves
are already red. This is how I measure time: by leaves
changing color, by feeling the dew clinging to grass,
to wildflowers, waiting for the late summer sun.

The day you left draws nearer now.
Noted on my calendar, of course, but I don’t need reminders.
This is how you return to me: in the small twigs I pick up
for kindling, in the rain battering my old house,
beating the glass skylight, letting me know everything
is the way it’s supposed to be. I walk my solitude
past the fading clapboard and the weeds, deer at dusk
and whitecaps on the lake. These are what you left me.

.

Fall Notebook: Prayer & Dream

Inside a deep longing I dream alone by the sea.
Wooden table laid ready with black beans, rice and cornbread.
I imagine an indigo sky and wild horses.

Here I dream closer to the weather, to the light, to any decision.
Angel, how long is this bridge?

Over my heart on a lanyard of silver stars, my tiny imagined locket
opens into a mansion where my necessary delights reside.
These rooms full of one wish: for the sisters who
look in on me when darkness falls, who brush sweet almond oil
into my skin, my hair. Lord, my needs are small.

Mother returns in firelight, starshine, moonlight — her fingers
touching the top of my head, reminder that everything is what it is.

Deep cobalt sky and then the moon laying on its cold blessing —

.

Soothsayer
………spoken by my mother

Rootworker they call them in the Carolinas where I was married far from Georgia
where I was born and raised — farther still from these misty Coney Island streets
strewn with blown paper, dirt and sand.

Across the street from the Mount Zion Baptist Church where I sing in the choir,
collect tithing baskets and light white votives at sunset, my sisters wait at the bus stop —

old women with knitting in their straw totes, they nod without looking for me —
like they know I’m in here —

and they do. They know rootworkers are never welcome in this church or any other —
unnecessary anyway with the devil in the first pew every Sunday loudly singing
hymns he knows much better than my choir ladies in their cloches tipped down
on one side threaded with beads like bits of sea glass keeping close together
moving in tune as they file down into the pews, careful
not to touch him whom they have always known.

Lord, I am your child, walking and talking right, gone to the river and
baptized into the ease of your arms, my heavenly home.

Choir leader of my church under this indigo sky —
vesper-quiet in here with this cross and these candles
constant flame of love in my heart —

ruler of this elemental kitchen magic
my sisters call me Soothsayer
and I know what I know.

—Denise Evans Durkin

.
.

Jan 052012
 

EDITOR’S NOTE: Utne Reader, The Best of the Alternative Press, reprinted Sion Dayson’s excellent essay “Life Lessons in Père Lachaise Cemetery” in its July/August, 2012, issue. This is terrific recognition for Sion’s work and for the magazine. Congratulations all around. Raise a glass of Talisker, everyone.

See all of Sion’s work on NC here.

dg

 

Life Lessons in Père Lachaise

By Sion Dayson

 
Stunned to stillness
by beauty
we remember who we
are and why we are here…

In the immense
darkness
everything spins with
joy.

 —From “Winter Solstice” by Rebecca Parker

For the past three and a half years, I’ve lived a ten-minute walk from Père Lachaise, the famed Parisian cemetery that’s home to many historic luminaries – everyone from Abelard to Chopin, Edith Piaf to Marcel Proust.

In recent weeks, talk has centered on writer Oscar Wilde; his tomb now stands encircled by thick glass, a barrier aimed to protect the stone from endless admirers’ kisses. (Of course people have already started leaving their lipstick prints on the Plexiglas instead).

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