“Excellent For The Times”

Radcliffe College Alumnae Questionnaire; filled out by my grandmother on November 9, 1939

Yesterday, spurred on my my oldest daughter’s curiosity about my beloved “Grandma,” I spent a couple of hours in the Schlesinger Library perusing Florence Moulton Mirick Wild’s alum folder. (Some people go to spas for self-care; I go to the Schlesinger!) A “Special Student” at Radcliffe College from 1897 until 1899, Florence never graduated but, apparently, felt warmly enough about her college experience to at least continue filling out alumnae forms.

[Before taking a brief look at two ah-hahs from yesterday, a warm, hearty Shout-Out to the Schlesinger! Thank you, insightful and wealthy people, for realizing that the lives of women are important. And that women’s letters and ephemera and papers et al. should be preserved. Yes.]

Number of servants.” Not sure what surprised me more; that Radcliffe College wanted to know—or that my grandmother reported in 1931, at a time of great financial struggle for millions of people, that the Wild family employed one servant. I am guessing that servant was female, young, Irish, “right off the boat,” as her son, my father, would say. And I wonder: where is this nameless “One”‘s story preserved? (Sadly, I think I know the answer.)

Excellent for the times“: In my grandmother’s breezy response to a question about how much she earned as “Supervisor for Public School Music” (for the Webster and then the Worcester, MA school systems, 1907 -1912) I detect both her WASPy squeamishness to talk about money and her justifiable pride. How horrified my grandmother would be that in 2018—her first grandchild now a Grandma, too—when it comes to women’s incomes, there still is no parity.

(What would Grandma make of today’s #MeToo movement?)

 

 

It Just Wells Up, Right?

Pre-Dawn Snow Sorm; Nashville International Airport, January, 2018

Sometimes it just hits me: my easeful life is made possible by the labor of thousands, millions of men and women working under conditions I cannot even imagine. Sometimes it just hits me: life is grotesquely unfair. (Yet I will almost always win.) And for hours, days, maybe even as long as a week, that piercing realization informs everything I experience.

But over time, this in-my-bones realization of the enormous disparity between my blessed and privileged life and those “less fortunate” —such a cold and lofty and dishonest phrase! — well, it fades. Lessens. Deadens.

How do I order my life so that this once-piercing realization informs everything I do? A citizen of a deeply connected/ interconnected Beloved Community, how am I to be truly mindful of all its residents?

I wonder.

“I’m Sorry”

 

My first day at my new, Lynchburg, Virginia high school, a classmate confronted me: “You’re a Yankee, aren’t you?”

In a baby-blue shirtwaist, a white cardigan with pearl buttons draped across my shoulders, fourteen-year-old me nodded.

“I hate Yankees,” she snarled—and recited horrific facts and figures regarding Sherman’s march to the sea.

“But I wasn’t even alive, then,” I sputtered indignantly. “That was the Civil War!”

Civil?” she pounced. “There was nothing civil about it!”

Nearly sixty years later, what might I now say to that woman?

“I’m sorry, ” I’d begin, Ta-Nehisi Coates’ new book underpinning my careful words. “What Sherman did was unspeakable—well, no, that’s the wrong word. Because you and I, we need to talk about that bloody, horrible war. You and I need to talk about how that war was about maintaining a “peculiar institution.” Let’s talk about slavery, you and I. And I need to talk about the unspeakable injustice my Pilgrim ancestors did to the people whose land they stole. We both need to acknowledge our shared history of oppression. We need to own that our forefathers were the oppressors! So, to begin, Carole Fielder*, let me say this: I am truly sorry for what Sherman did.”

And I would mean every word.

*Voted Most Likely to Succeed by the Class of 1962

 

 

 

Me 2 (Duh)

While seated in a waiting area at LAX Monday morning, two women of a certain age and class and race arrived at Gate 23. Loudly.  Grandly. As if making an entrance at a cocktail party. As if they were the only people traveling to Boston that morning. As if Alice Harvey characters in a New Yorker cartoon. As if the waiting area were their own, personal space. Operating on that assumption, one of them, the redhead, threw her jacket over a waiting area chair—connected, of course, to another, back-to-back chair—so that her insouciantly-thrown jacket obstructed the empty chair on the other side vacated by my husband. (Who sat on it when he returned.)

There was something so egregiously la-di-da about that redhead and her blonde BFF! So infuriating. So annoying that the middle-aged man whose family, I am guessing, originated from the Indian subcontinent, seated at the end of the row, caught my eye and raised his eyebrows. So I got up and whispered to him, “I hate white people!”

Oh, my, Reader, how he laughed! “You know,” he told me. “I will remember this for weeks and will still laugh!”

But here’s the thing, Dear Reader. When it was time to board I realized that I, too, had insouciantly thrown my jacket on the chair beside my husband, thereby forcing people to sit somewhere else.

So, yeah: Me, too.

Uncontainable

 

Naked Peach. September, 2017

Every morning I begin my day with a cup of coffee, my glasses, my journal, and a pen. Whenever possible, I sit on my deck— even when, as it has been this past week, so cold I need to bundle up under a quilt. (I’ll come inside when the temperature gets below 50 degrees.) Every morning, in the peace of my tiny backyard, accompanied by birdsong and tag-playing squirrels, I make meaning of the day before.

I italicize make meaning to give those words the power they deserve because, yes, over the years, through this daily practice of reflection and prayer I have often found my way. (Or, at least, shined a flashlight in the direction of where I am being asked to go.) But what I am moved to write about this morning is this: given the unfathomable breadth of disaster and pain and horror of this past week, perhaps I should have written “make meaning.” Because how the hell do you “make meaning” of multiple, never-like-this-in-our-lifetime hurricanes and multiple, wide-spreading wildfires and millions of people displaced from their homes, both here and throughout the world, and the obscene cruelty of DACA being repealed and. . .

You don’t. We don’t. I don’t. This is what has come to me. (That realization feels like grace.) It is hubris to expect any human being to take in all of it. We were not made to hold all of it. We can’t. It’s uncontainable.

I surrender to the Uncontainable. Which doesn’t mean, I quickly add, to accept or to dismiss or to minimize or to deny—or to cease asking “What am I asked to do in this broken world?” It merely means I cease believing I can make meaning of today’s headlines. It means I bow my head. it means I recognize that I when I recall Brother West’s “I don’t know what will happen but I do know that If this is The End we will go down swinging,” (something like that)  I silently add together. 

 

 

Who’s Looking?

[Speed Art Museum, Louisville, Kentucky, June, 2017]

Easily overwhelmed, I’ve learned the best way for me to experience an art exhibit is to slowly and reverently—yet randomly—stroll through a gallery and let everything on display silently surround my senses until That One Work hits me between the eyes. And on Sunday, at the Speed Art Museum’s “Southern Accent: Seeking the American South in Contemporary Art,” that’s exactly what happened. When I saw this one. This Carrie Mae Weems photograph that so slyly references Wyeth’s “Christina’s World.” And yet, oh dear lord, declares so much more!

For here, literally in black and white, is witness! Showing up. Using one’s body to powerfully speak Truth. Here is a woman of color owning everything in that photograph. Everything. Those plantation columns; how those overhanging trees frame her body, every blade of grass, the soft, hot breeze, the curve made by her antebellum dress, how her hair is dressed, what aperture to use, the light; The Light. Hers. Carrie Mae Weems. All of it. Hers.

Yes.