Marie Howe, from “Memorial”, What the Living Do
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Marie Howe, from “Memorial”, What the Living Do
i’m in trenches you’ve never heard of
Adrift Mark Nepo
i. recently i have been thinking too much about who gets to decide what constitutes "violence". as a term, it seems innately self-describing. almost like a natural fear, violence feels like the shiver of a rattlesnake: we would know violence, surely, if it was shown to us. and if there is violence, there would be someone committing that violence.
ii. my body is the present-tense subject of past-tense violence. it can be odd to sit in a class and be discussed as a statistic, a number rather than a participant. why is it that the discourse around assault always feels so academic? removed from the experience and safely clinical, the topic seems almost erudite, hypothetical. in this way, i almost feel separated from the actual memory: on the page, the word assault is too clean for what actually happened to me. the censorship on social media agrees with me: we can't even language what's happening, it would be too affronting for advertising.
iii. the ruling class determines how violence is assessed and how it is narrated. this is obvious and also too-incredible to summarize: capitalism is at the heart of so much passive violence. burning a warehouse is called "violent" by the ruling class, but poverty wages are not violent. protesting ice is "violent", but the actual actions taken by the federal government (and by police forces) are never violent, they are "necessary". getting an abortion is "violent", but extremely high maternal mortality rates is not violent, even though some estimates say that 80% of those deaths were entirely preventable. we are all at the mercy of capitalism, which is not violent. our anger about this is violent.
iv. my friend gently asks me: "do you want to talk about the website?" but i don't want to talk about the website. i look up and out the window. i am neither surprised nor shocked by it. i feel an uncharacteristic numbness. it is simply too large for me to grasp at this time, a pain that feels communal and also individual, an impenetrable and unpronounceable scream. i still struggle to write it, even now. those four letters are so large to me, and rupture inside of my spine. like ants.
v. i have found, in my life, that it is determined not violent if the victim is in a feminine body. it is not violent if the victim wasn't perfect. if the victim wasn't white, or able-bodied, or neurotypical, or straight, or cis. in general, "sex crime" - rape - just isn't seen as a "real" crime. it isn't violent like how murder is violent. we watch fully grown adults on tv equivocate about how it would be violent if we were under ten, but that 15 isn't really that young. if we weren't a virgin, or if we dressed wrong, or had a drink, or said the wrong thing, or existed: it isn't violent. so the violence is flexible. so some of the fault can be shared back into our flesh, as if the original rending wasn't a deep enough cut.
vi. to survive in this world, one is taught to accept a certain level of violence as rote; as acceptable. one can watch the birds for the cultural impact it represents, although certainly what happened to tippi hedren was violent. this pattern will extend perfectly, forever. we can shop at target if we just feel guilty about breaking the boycott, that isn't violent. there is no ethical consumption under capitalism. and sometimes this teaches a detachment, a casual acceptance that some people are just going to be used as parts of the machine, which is not violent. if a person dies due to an insurance coverage denial - that is not violence. that's just a tragedy.
vii. these tragedies are everywhere, it seems. it is probably true that someone in your classroom has been a victim of sexual assault, isn't it? we rarely consider how often we've met a perpetrator of these events. instead, the survivors seem to spawn in, our mouths bleeding, shaking. we are just a tragedy of the system, a null data point. every person that we stand next to is similarly eradicated from their own experience: it is a tragedy that you couldn't afford life-saving surgery. it is a tragedy that police gunned down another person. it is a tragedy that ice took your neighbor. it is all just an unpreventable, inconceivable tragedy.
viii. talking about it makes my skin crawl, but i think it is probably true that many men just never saw women as human people. i think it's probably true that capitalism and conservativism encouraged this dehumanization. of course it's intersectional; that the more removed from power your identity may be - the less they are encouraged to see you as a person. because if you are dehumanized, violence does not count against you. (i don't know why i'm telling you this. you knew, didn't you? we all knew).
ix. i am in therapy due to my previous partner's domestic violence. recently, when trying to word how that violence has changed me: i find myself speechless. i keep saying: "but what does that word even, like, mean?"
Michael Cunningham, on Annie Proulx's “Brokeback Mountain”, The New Yorker, 24 February 2025
Your wife changes her hair color every season and her personality adjusts slightly. You’re secretly only in love with Autumn wife. She just came home sporting her Winter color.
it’s my fault. it’s just that when we met it was autumn; her red-orange hair and crackling laughter. there’s a little spooky in her, a lot of play. and what a better time for falling?
i didn’t realize it for the first few years - something shifting, something so subtle. the winter makes us all cold, the summer makes us all a little out of our minds. i just loved her, because she was incredible, and i was the luckiest person alive.
it’s just that i realized that spring came with sudden bursts of cold. it’s just that summer frequently raged in with fire sprouting from her lips. it’s just that winter was the worst of all, her eyes dead. it’s just that autumn loves me different; throws herself into it without the clingy sweat of summer. i used to love that summer girl, you know? i loved how wild she was, the way in summer she took every risk she could. but i carried her home drunk one too many times, cleaned up one too many of the messes she made for no reason than to enjoy the sensation of burning. and winter was worse; the shutdown, the isolation. how she became distant, a blizzard, caught up in her own head, unable to tell me what was wrong and unable to think i actually wanted to listen.
she comes home, her hair bleached white. a dark smile on her lips. the shadowy parts of her are back. they loom like icicles overhead. she kisses me with her body held at a distance, a peck on my cheek that feels like an iceberg. she makes polite conversation and we go to bed early, our bodies untouching.
it is a lonely season, i think on the ninth day of this. winter is cold. winter is known for the death of things. when i look at her, i see the girl i fell for, inhabited by an alien. she was the first women i loved so much i felt it would kill me. i can’t leave. when i wake her up with my crying, she tells me to shush and go back to sleep. she’s different like this, quiet, doesn’t eat.
three days later i stare at myself in the mirror. i wonder if it’s me. if the fat on my body or something in my face or the wrinkles and she doesn’t love me. i try prettier lingerie, lean cuisine, i try different hair, more makeup, try harder. it doesn’t work. she looks at me the same; that empty gaze that neither loves nor condemns my actions.
somewhere in februrary i lose it. we’re fighting again, from car to restaurant to car to home again. we fight about stupid things, small things; i tell her i feel she doesn’t love me, she says i’m not listening. the circle goes around and around, old pain peeling back, new pain unhealing. i sleep on the couch.
i wake up when i hear her crying, white hair around her all messed up. the kind of sobbing that only comes at two in the morning, heavy and thick and hurting. my winter girl. my heart is breaking. she looks up at me like i’m her anchor. “i’m sorry i’m like this,” she says. and i start saying, it’s okay i’m here we’re married, but she just shakes her head and says, “I know this isn’t the real me.”
i hold her cold hand. she stares at the blankets. “i am different in winter,” she whispers, “i know i am and i’m sorry.” she looks at me. “why do you think i dye my hair? cut it off? get rid of the old me?”
i tell her it’s okay. we’re together and it’s okay, and then she whispers, “i’m sorry you married four of me.”
we lay there like that, her head on my chest. she falls asleep. i stare at the ceiling, thinking of the way she sounded when she was crying. how i helped put her in that pain. how i promised in sickness and in health and everything in between.
the next day i spend at the library. there aren’t enough books on how to love someone with seasonal affective disorder so i make my own, notes and pages and little ideas on post-its. and i take a deep breath and make myself a promise.
she comes home to her favorite dinner and we kiss and she’s uneasy but that’s okay. the next day i bring home flowers and the next day she finds little love notes in her pockets. i love her quiet, the way winter demands, understand her sex drive is faltering; spend more time just cuddling. we drink wine and we kiss and some part of her starts relaxing.
the truth is there is no loving someone out of their mental illness. the truth is that you can love someone in despite of it; love them loud enough to give them an excuse to believe they can make their way out of it.
and i learn. i remember the rebirth of spring, when she starts thawing. we kiss and have picnics in pretty dresses. i remember her joy at little birds and her rain dancing. i fall in love with the flowers in her cheeks and the little bursts of cleaning. i fall in love with summer’s slow walks and milkshakes and shouting to music playing too loud on the speakers. i fall in love with her dancing, with the sunfire energy. and when winter comes; i am ready. i remember that snow used to look pretty. i fall in love with the hearth of her, with the holiday, with the slow smile that spreads across her face so shyly. i fall in love with how she looks in boots and mittens and every day i find another reason to love her the way she deserves - they way i always should have.
she comes home with her white hair and dark smile and a package in her hands. i ask to see what it is and that small shy grin comes creeping out. it’s a sunlamp packed in with medication. she looks at me with those wide eyes and that beautiful winter blush. “i’m trying to get better,” she whispers, “i promise.”
recovery doesn’t look immediate. sometimes it isn’t neat. i can’t say we never fight or that we’re suddenly complete. but each day, that tiny girl’s strength gives me another reason. i love her. i love her while she tames the roller coaster of spring; i love her for reigning in the summer storms; i love her for taking her winter and trying to be warm. it is hard, because everything worth it is hard. she spreads out her autumn leaves; mixes the best parts of her into everything. learns to take winter’s silence for a moment before yelling in summer. learns to take autumn’s spice and give it to spring. we are both learning.
one day she comes home and her hair is different, but it’s a style i don’t know. i kiss it and tell her that she’s beautiful and the inside of me swells like a flood. i’m so glad that she’s mine. every part of her. the whole. i am the luckiest person on earth. and i always have been. but she’s hugging me and saying, “thank you for helping me,” and i can’t explain why i’m crying.
this is what love is; not always an emotion but rather your actions. the choices we make when we realize our lives would be empty if the other was absent. this is what love is: letting them grow, helping them find their way in out of the cold. this is what love is: sometimes it takes work to see how the thing you planted together actually grows.
this is what love looks like in an autumn girl: it is winter and she glows.
I’m actually sobbing jesus christ
my beautiful baby who i'm naming untitled document
i can't seem to find my baby
Kim Hyesoon, tr. by Don Mee Choi, from Autobiography of Death; “Commute Day One”
Ways in which I am a horrible person, with examples
I. It is the summer of pot smoke and porch days and I am staring at my toothpaste-splattered reflection in the bathroom mirror: heavy 1PM eyes, shitty skin, lazy ring of hickeys just above my collarbone. Through the wall, I listen to my housemate run a poem with my name now crammed between every syllable. My hair is still tangled from someone else's fingers. I feel exactly as disgusting as the tiles sticking to my feet, the mold colony overhead, the "WANTED" poster left by the last tenants: a pen-and-ink centipede with a speech bubble containing my new favorite word: "I'M DISGUSTING. IF YOU SEE ME, PLEASE KILL ME."
II. I've closed my eyes so the boy in my bed can't see how dry they are. The room is dark, except for the light sneaking in where wall meets ceiling. This place is more half-assed diorama than apartment and I have the emotional capacity of clay. I have decided that pretending to cry might make me seem less heartless. I am hoping that with a magic combination of words he will simply vanish from my bed, my apartment, the past two months of my life, that I will wake up with clean sheets and a clear conscience instead of this feeling bubbling through my throat that is not sadness - or guilt, really, but a sense that everything wrong in the world is all my fault.
A poem by Cassandra de Alba.
Split
// Abraham Jansenss, L'Inconstance
closes my eyes and tries really hard to develop a "humiliating job interview" sexual fetish so my life becomes easier
Ottessa Moshfegh, What Forms of Art, Activism, and Literature Can Speak Authentically Today?
endearments in letters to véra (pt.1)
to me the thing about deification is that something fundamental is lost in the process
people can’t be immortal. so in order to be immortal you can’t be a person anymore. you have to be distilled. stripped of everything. till you come out the other side as an abstract concept.
characters who refuse to heal. characters who change but only for the worse. characters who are trapped by their grief and rage. characters who unravel throughout the narrative. i am putting them in my pocket for later