It was the last summer of innocence or maybe of discovery, though life was already shifting beneath us. M and I were 19 years old, best friends in the intense way of late adolescence before adulthood shatters things apart. We lived together in a two-bedroom apartment on Queen Street, spent our evenings after work cooking and drinking, sometimes wandering the brick sidewalks of our small college town, sipping gin and tonics disguised in huge plastic cups. Time stretched out before us and we filled it with anger and alcohol, provided shaky support for one another.

The kitchen on Queen Street was out of proportion, with a large linoleumed space that could hold a table for six but contained only an old refrigerator and a telephone jack. The stove, sink, cabinets and counter space were jammed into an adjacent galley. Everything we owned -- pots, pans, dishes, and silverware -- was a parental hand-me-down. In the mornings we would linger over percolated coffee diluted to a muddy brown with half and half, the perfect solution to a mild hangover. Some days I would come home for lunch to make BLTs on poppy seed buns, the bacon still hot from the pan, tomato juice and mayonnaise dripping down my fingers.

This was the place where we learned to cook, tried recipes from Gourmet Magazine and the Silver Palate Good Times Cookbook. In our year there, we made pizzas from scratch, cleaned and fried squid, and grilled chicken marinated with olive oil, lemon juice, and rosemary. Peter showed us how to make pesto and a cook at the Ironstone brought us a bushel of crawfish that we steamed in a cauldron of boiling water.

I have a file of recipes from that period, most of them copied by hand from D's mother's cookbooks, some of which I still make, like Lebanese Cucumber Soup, and Rice with Garlic and Walnuts. I even have the pizza recipes from Gourmet, which seemed so exotic at the time (Sun-Dried Tomato Pizza with Peppers, Onion, and Garlic Confit, Broccoli and Ricotta Pizza). Going through them reminds me that I never clip recipes anymore, just search around on the internet or Epicurious to see what looks good. Recipes on paper are another thing I miss from the pre-internet days, another reason to toss our modem out the window. I want a paper trail blotched with oil and tomato sauce. I want tangible memories. I want to have my mind and time returned to me (brief interruption while I look at Facebook: see what I mean?).

Still, the memories remain. When my family returned from vacation last Friday, there was a half batch of gazpacho, vinegary and bright, waiting for us, courtesy of our housesitter. Gazpacho was one of D’s favorite foods and I thought of that long-ago summer, which was also the first time M and I made the soup. The recipe called for peeled, deseeded tomatoes and we were mystified. How did one peel tomatoes? Like, with a vegetable peeler? Or by hand somehow? And, umm, the seeds? What was the problem with seeds? Finally, M called her mother. She gave us instructions: put a big pot of water on to boil, remove the tomato stems and cut Xs in the blossom ends before immersing them in the boiling water for under a minute. Then remove the tomatoes with a strainer and plunge them into an ice bath.The peels would slip off in our hands.

Gazpacho recipe, copied in the summer of 1988.

It worked. M and I pureed the still-seedy tomatoes with bread crumbs, garlic, vinegar, olive oil and tomato juice, adding onion and cucumber at the end. The soup chilled while we chopped the garnishes. It was late July on the Eastern Shore. The air was resistant, fluid, like water. Heat flattened the landscape, made the houses across the shimmering street one-dimensional. While I poured the soup, M filled two cups with ice and gin and topped them with tonic and thin wedges of lime. We sat in the living room with our drinks, the bowls of gazpacho balanced on our laps. The soup was bracing, the acidity of the tomato and vinegar complemented by the bite of onion and coolness of cucumber.

Sometimes all that remains is sense memory -- the taste, the scent, the aching loss, the joy of conquest -- or a suspicion that something else must have happened. So maybe M and I went our for a walk that night after the sun went down, barefoot on sidewalks that radiated a memory of sun. Or maybe we refilled our cups again and again and cried about our crazy mothers, our absent fathers. Or we danced to Prince or sung along to Paradise by the Dashboard Light. D may have spent the night, the two of us still and quiet on checkerboard sheets, feeling the pull of the window fan in my attic bedroom, while downstairs M let the smoke from her cigarette drift out of an open window.

That night is lost. But I remember the heavy air and the smell of gin, our kitchen counter splattered with tomato juice, the closeness of friendship at a time when the world was new.



Images:

Top: Me, a blurry goofball in the yard on Queen Street.
Middle: The original gazpacho recipe.
Bottom: The checkerboard sheets, the I Love You This Much statue, the orange crate. The artfully-placed bottle of Corona.

Tags: gazpacho, cooking, recipes, summer cooking, summer memories, boyfriends, friendship, memoir, Eastern Shore, Paradise by the Dashboard Light

When you go to the ballet, sitting up in those nosebleed seats, don’t look up at the ceiling. You might find yourself dizzy with the height, lightheaded on the knowledge of the distance between you and the stage. The ballerinas are fleshy blurs, their tortured feet rustle and tap, sounding the effort of weightlessness. The chandelier, heavy with crystal and planetary glass, is so close you can practically touch it. Your bones flutter with the thought.

Your mother has put you between him and her, and you are wearing a floor-length skirt, a little quilted number that befits the time. 1973. His fingers are thick. You remember the marks they made when you were bad or weren’t, red welts across your bottom, three broken circles around your skinny arm. When you are three years old, it doesn’t matter who makes the rules or what it means to break them. To be a three-year-old girl is to be too much of everything: lower lip pout and high screech, pounding footsteps interspersed with tiptoes. You are flesh-and-blood will.

His hand kneads the bulb of the lacquered armrest. As he reaches across your back to touch your mother, the scent of underarm sweat, whiskey and Vitalis floats into the air. Below, the dancers’ feet hover above the wooden planks of the stage, hard legs defined under delicate pink.

His smell envelops the three of you.

From a prompt that morphed into a longer piece. The longer piece currently lies dormant on my computer, waiting for me to be ready again.

Image from DanceHelp.Com.

Tags: John the Murderer, memoir

The house teeters above you in a nimbus of red light. A pillar of cracked, uneven steps capped by burning jack-o-lanterns ends at the front door, where cackles and howls animate the night air. “A real witch lives there,” the boy next to you says as he tentatively places a cardboard hoof on the bottom step. You hold your mother’s hand a little tighter and keep walking. Down the street, a sickly-looking woman with a black pointy cap perches by a cauldron. She waves her gnarled hand, pours a ladle of steam into a styrofoam cup. You start to run, but your mother catches you by the collar

She and Paul shepherd you into a blank-faced building with a mirrored lobby. There is a gorilla in the elevator. He stands upright and powerful with black fur that tufts over his arms and legs. You dig into your mother’s thigh with angel nails. “It’s all right. It’s just a costume,” she says and the gorilla, with some difficulty, removes his head to reveal another one underneath. “See?” he says. “Just a costume.” Your heart flip-flops. The gorilla struggles to replace his head and turns toward you, ape face askew and fixed in a lipless grin. He attempts to give the thumbs-up sign with a rubbery hand. “Shit. How am I supposed to hold a drink with this,” he says, tugging awkwardly at his digits. More people collect in the elevator: a flapper, a man in a Nixon mask, a woman mimicking the hangdog face and lanky body of Cher. Paul, making a joke, has dressed in prison stripes, while your mother has Cleopatra-flat hair and a beige tunic with gold accents.

You flow out with the crowd toward a door in the hallway. It swings open and Catwoman steps out, revealing a room cloudy with smoke and conversation muffled by faux fur and latex. She reaches out with heavily lacquered nails and rakes the hair under your halo. People are always touching your hair, cooing over your thick blonde ringlets as though you were a doll.

The gorilla closes the door.

This is an excerpt of a work in progress. The entire piece isn't written in second person, just those bits of dredged-up memory. For another Halloween story, read The orangutan did it.

Image: Man in gorilla costume from Compassionate Spirit.

Tags: Halloween, costumes, John the Murderer, memoir, man in a gorilla costume, Halloween 1972

You think you know me.

Let’s look at the facts as revealed here: I’m a stay-at-home mom with a preschool-aged son. A former librarian, I went to culinary school and from there decided to be a writer. My family is relatively new to Northern California, having moved from the East Coast almost two years ago. I’ve told you my name. Given my birthday (oh, those worries about aging, forcing me to seek comfort on the web).

And if you’ve been here for a while, you know about the defining story of my life, the lifeless premature baby I gave birth to at home when I was sixteen.

But what do you really know?

Jennifer recovering from a late night, 1988? Or another photo to continue the ruse?

How would you feel if I was actually a 25-year-old male advertising copywriter from Peoria? What if I really lived in Buffalo, NY? Or if I was pushing 70, mother to a multitude of now middle aged children, grandmother to teenagers, a Brit using the blog to flesh out a character? This "Jennifer" person you think you've been reading could be someone I’ve been keeping in my back pocket for years. writing to survive might be some kind of grand fictional experiment, an attempt to create a flesh and bones person out of ethereal imagination.

And my stories? What if these were figments, scraps from my mind, absolute fiction masquerading as angst-ridden past? It could be that you've been reading full-blown literary lies à la Margaret B. Jones, the wannabe memoirist who made up a gangland childhood. Turns out my parents have been married for forever, I waited until marriage (or at least love) to have sex, and I’ve never touched a drop of alcohol. Oh, and that isn’t my son, he’s a nephew (never mind that I have no nephew).

Would you feel betrayed?

Don't worry. I don’t have it in me to lie like that, though you'll mainly have to take my word for it and trust your gut. There were times in high school and college when I was a serial liar, self-serving and hidden. My mother believed the stories about my solo nights, even when my boyfriend's car was parked right outside the Little House ("Oh, the car? Dirk leaves it there when he goes to the Cassady's. Sometimes he's had too much to drink, so he stays at their place for the night." "That's exactly what I thought, Jenna.") Later, I hid my unfaithfulness from my college boyfriends, created a protective distance by pursuing empty hopes with relative strangers.

Living a life of lies is a dirty business. I was becoming unrecognizable, murky, untrustworthy, a bad friend. So I stopped lying and regained a hold on fidelity. And while those old kinds of lies are no longer tempting, I still struggle with my tendency to exaggerate minor facts or to deny my feelings. Attempting to be good is a life-long process.

There is a difference between making things up to avoid punishment and creating stories to entertain. Stories aren't lies (and sometimes the lies we tell in our life stories aren't fibs either). If the blog tale is well-told, the characters believable, the created world tangible, so real you can taste it, does it matter if it actually happened? How would you know if it did?

We’re taking it all on faith in this blogging world, want to believe that everyone is who they present themselves to be. For the most part, I think people are genuine. Yes, we have plenty of time to shape our online selves, but we’re generally real. Still …

There must be bloggers, perhaps ones you read every day, who have created fiction under the guise of truth. Their blogs are ostensibly about their day to day existence, may even include some pieces of fiction or poetry or personal essay, but some of the facts have been turned inside out.

Maybe the writer doesn’t want to be identified, or is playing, having fun being someone else. The character that demanded life is finally born in a blog, fully realized, solid, interactive (the fresh-eyed college graduate moving back to her hometown; the landlocked fly fisherman reminiscing about his days of streams and trout; the tech-savvy doting grandma with an herbal tea obsession, a minor character in a SAHM's life). Or they add a totally fictional detail, erase a husband, gain a Weimaraner, make a virtual move from Asheville to Albany.

And what of it? Readers are entertained, the writer has an enthusiastic, satisfied audience. These are tenuous connections we have, the lengths of spider's silk stretching across the ether from blogger to blogger. Many of us have never even spoken. In these circumstances, does the truth matter?

I'm still trying to figure that one out.

Tags: blogging, truth, lies, fiction, faction, facts, fictional characters, trust, memoir, openness, storytelling

Sometimes, even when I’m telling the truth, I lie. The little details – the television show blaring from my grandfather’s headphones, the color of the walls, the phrase my stepmother used on the phone? Mostly made up. I create these details out of the residue of experience, out of an impression left by the unfolding of events. Without them the story is flat, expressionless. Boring.

Fact is fiction, fiction is fact. They intermesh. One informs the other until the words themselves become the truth of the writer’s experience, more real than reality.

When I started my stillbirth story, I was hemmed in by fact. I’d show it to my mother and she would offer corrections to misplaced fictions, give me her version of events. Some facts are important. It is not acceptable to totally make things up, to frame the innocent, or create character flaws or strengths where none exist. I wanted to be fair to my parents, which is a strange impulse when documenting an unfair situation, but why give fuel to the threatened?
 
Then I read poet and essayist Mark Doty’s piece on memoir, in which he describes his sister’s wedding dress. It was practical, a two-piece beige suit with matching pillbox hat. Did she choose beige as a rebellious stand against traditional white? Was the choice a result of parental pressure, the (barely) pregnant bride denied? Was it a beige suit after all? Why is his 45-year-old vision of the dress so strong? Memory is elusive, impressionistic, sometimes dead wrong. Facts are slippery. Doty questions whether these facts always matter in the telling of one's life story. Aren’t the impressions real in their own sense, the memoir a murky middle ground, a product of the "juncture of memory and imagination"? In the end, imagination wins out.

Or it does most of the time. When I found out that my mother's Aunt Ruth had a spinal condition and couldn't wear high heels − one of her legs was shorter than the other − I had to rewrite a scene (since totally excised) from the Florence Crittenton Home portion of my stillbirth story. The sound of her heels clicking against the linoleum floor, keeping time with my infant mother's screams was almost irresistible to me, a summing up of institutional efficiency and a baby's wordless pain. But I had to change it, especially once I discovered that my mother was a generally silent baby, calm, and apparently tearless. The soundtrack of nothing, no tears, no outward display of emotion, the image of Aunt Ruth limping as she exited the building with my stony-faced mother, was much more compelling than a newborn wailing against metronomic heel taps. Here was an infant who was already accustomed to being ignored, a child who grew up under a heavy coat of suppressed and private pain. This presentation of the silent child − from my mother's memory of stories her adoptive mother told her − deepened my understanding, explained the emotion underlying her explosive temper, the avoidance adapted early in life. Though, of course, this is all my interpretation informed by imagination and experience.
 
I’ve started to let go of the hard truth. I can’t recreate the world of my childhood, but can remember the feel of it. Does it matter if the house was truly cavernous, whether the bathroom had mint-green tile, whether it was Johnny Walker Red or tequila? It does not, but the story doesn’t develop without description, without a sense of the reality of place and time. Many facts don’t change, of course, and those facts are the bones of our life stories, fleshed out with language, given new life with words.

The events I write about here (outside of my fictional pieces, and even then the lines are blurred) happened. When I can't remember something, I take my impression and create a reasonable facsimile of reality.

And that’s the truth, Ruth.

***For thought-provoking writing on writing and a great Julian Barnes quote on creating fact out of fiction, please check out this post from Scottish writer Jim Murdoch's fine blog, The Truth About Lies.***

Tags: fiction, memoir, writing, Mark Doty, truth, reality, lies, facts, imagination

I should be sleeping, but I just finished Jeannette Wall's memoir, The Glass Castle and my brain is buzzing. She lays the story of her crazy upbringing out so cleanly, without judgment.

After reading some interviews, it appears as if she truly has no prejudice, despite suffering from neglect at the hands of very mixed-up parents.

I don't think I'll ever be at the place of complete acceptance, a place where I am ok with some of my past, since I feel a little warped by it, but I'm also not a published author. Forgiveness I can see. Acceptance, well, I've already have accepted some things -- without my unique mother I wouldn't be who I am, Kevin gets some credit there, too, and my dad contributed some fine DNA -- but I didn't need to be left to bleed, either. That's where forgiveness fits in. At some point.

So -- more memoirs to read, more research to be done. And I'll keep on working on my story, but out of sight. I don't think it's helping me to put it out here and, to be honest, it makes me anxious about the whole thing. Kind of like serving a partially cooked dinner to a room full of guests (you imaginary ones count, too). It's just not ready yet.

But I'll leave the vestiges up.

Off to bed.

Tags: memoir