Today, on one of those sunny perfect fall Colorado days with a cobalt blue sky, a light breeze, 70 degree temperatures, nothing to do but enjoy a good friend's company and my daughter's sweet conversation, I despaired that my muse, Vast Unhappiness, has deserted me. She used to be ever-present at my elbow, whispering darkness and loss into my thoughts until all I could weave with my words was grief. She dressed in black, hid her face, pressed on my chest with all her weight. Write, she said, and I did. I thought she could save me. She nearly did the opposite.
What can happiness do for a writer? When I wake in the morning and love my bright yellow sheets, the slant of light streaming in the window, the song of the Mountain Chickadees in the ash tree, what is there to write? I spring from bed and head to the kitchen to do my five minutes of yoga while the coffee brews. This isn't the life of an intriguing, deep-thinking writer. My daughter pads out into the kitchen and reaches her slender arms up to me. When I pick her up, I remember the baby the nannies handed me six years ago in Addis Ababa, the way she leaned her little head against my chest. She still does that now.
At night, after Mitike fell asleep, I used to open my laptop and make myself write 1500 words before I went to bed. My muse helped. All I felt for the world was flat, or heavy. Nothing mattered but the words I put on a page. Sometimes, I didn't know what I wrote. I typed, and watched the word-counter, and was not there.
Tonight, I sit for a long moment and love the sound of the crickets, the little lamp my sister gave me for warm light, this worn green chair that was my Gram's. When I consider what to write, because I know discipline will make me the writer I want to be, my thoughts drift to this perfect day: lunch in a Denver park with a good friend and Mitike; a walk in the tall grasses; an impromptu game of "500"; a trip to the Chihuly glass exhibit at the Denver Botanic Gardens, the glass other-worldly and lovely, rising between flowers and plants as if it grew; a rainstorm from which we sheltered in a magical green tunnel of bamboo; a double rainbow while thunder boomed to the north and we stood in sun; dinner at a tiny Ethiopian restaurant on Colfax. What else can I write tonight but happiness?
I could write and write about the way the sun filtered into that green tunnel of bamboo. A reminder: my muse is the world, and she is with me still.
Thought for the summer:
"I think you thought there was no such place for you, and perhaps there was none then, and perhaps there is none now; but we will have to make it, we who want an end to suffering, who want to change the laws of history, if we are not to give ourselves away."
-- Adrienne Rich
Monday, September 29, 2014
Monday, September 22, 2014
On archiving difference
![]() |
Image of Boulder in 1859, from the Boulder History Museum. |
In my day-job role as a middle school social studies teacher, I'm currently planning a week-long study of the Sand Creek Massacre (November 29, 1864), which will include visits to the Carnegie Archives, the Boulder History Museum, Bent's Old Fort National Historic Site and the Sand Creek Massacre Site way out in eastern Colorado. I've spent all night tonight searching the online archives Carnegie holds for Boulder County, deciding which documents and maps and photographs would best help my 7th and 8th graders understand the tensions between miners/settlers and the Cheyenne and Arapaho in this area.
When I emailed the librarian at Carnegie, she replied kindly that the archives don't hold many specific resources on Sand Creek, since the event happened far from Boulder County. I asked her for any newspapers, photographs, reports she could dig up for us from the years building up to the massacre. How could there be no records? Boulder became an incorporated town in 1859. According to an 1851 treaty with the U.S. government, the Cheyenne and Arapaho were entitled to a protected tract of land that included most of Colorado east of the Rockies, the southeastern corner of Wyoming, the southwestern corner of Nebraska, and the northwestern corner of Kansas. This included Boulder County. Where are the photographs, documents, artifacts that record the presence of those tribes, recognized by that 1851 treaty as the people who rightfully called this area home?
The answer is complicated, I think. Racist attitudes, differing goals for the keeping of those early records, the 1861 treaty that reduced the Cheyenne and Arapaho land to a small tract out in eastern Colorado, just north of the Arkansas River, by today's towns of Eads and Lamar. But the silence of the archives disturbs me. I find an 1820 account of a surveyor who was attacked by a band of Mohave. I find the original document of a court case the Arapaho and Cheyenne brought against the U.S. government in a Boulder court. Otherwise, the documentation is elsewhere -- in other museums, at the national historic sites, lost. That's what the librarian told me, anyway.
I've been thinking quite a bit about the silence of archives about certain populations -- and certain people. All summer, I read Lillian Faderman's books -- especially To Believe In Women: Lesbians Who Changed America and Surpassing the Love of Men: Romantic Friendship and Love Between Women from the Renaissance to the Present. All summer, I felt amazed that, at 37, I knew so little about the lesbian archives. That the archives are so hidden one has to wear the right glasses to see what's there. That Susan B. Anthony was a great suffragette and a renowned lesbian. That both pieces of information matter, but only the former has been well archived.
To even mention the lesbian archives alongside what happened to the Cheyenne and Arapaho in Boulder County seems wrong, and yet the realities and risks of erasure and silence are not so different. I keep thinking of what Adrienne Rich said, about how being lesbian puts us outside the norm -- into the different -- that it helps us see everything differently. That's what I can do as a teacher, then, since I have that altered vision. I can help my students see the gaps, the silences, the biases, the empty space where once there was something.
For what? A student asked me today, "Why look at these old treaties, when we can't even change what happened?" I didn't respond adequately because other students were trying to hand me permission slips, and one of them had started vacuuming, and two boys were arm wrestling in the back of the room. But I wish I had said: we have to be the ones who help the archives speak. We have to create space for the silences to become loud.
That's what I'm thinking about tonight.
Labels:
19th century,
Boulder,
history,
suffragette,
Susan B. Anthony
Saturday, September 13, 2014
Sarah at Boulder Pride Fest tomorrow!
The Boulder Pride Fest is tomorrow! I'll be in the Literary Tent in Central Park (look for us near Arapahoe and 13th Street) from 11-6 tomorrow -- and I'm reading for five minutes sometime between 3-3:30 pm (probably from my in-progress novel, which is a modernization of Twelfth Night). I'll be right next to my Naropa MFA classmate and author of the upcoming amazing novel Fig, Sarah Elizabeth Schantz. Other than promoting my little novella, The Beginning of Us, I plan to make gifts of re-purposed pages of Harlequin romance novels. Come say hello, get a re-purposed romance page, and support Pride!
On another note, the Lesbian HERstory Group met again last Sunday, this time to read and discuss the ideas and words of Audre Lorde. Our discussion made me think about power -- where our power as women and as lesbians comes from and can come from. I've been thinking lately that maybe I diminish my own power when I fail to take care of myself or to honor my own work. And I've been thinking that the mere existence of this Lesbian HERstory group in Boulder -- and the slowly increasing number of people who read this blog -- have made me feel more powerful, more connected, more capable of becoming what I'm supposed to become.
I think that's what Pride Fest is all about, too. I'm so honored to be a part of it tomorrow.
Labels:
Boulder,
lesbian,
literature,
Sarah Brooks,
The Beginning of Us
Wednesday, September 3, 2014
An interview with Fringe Fest playwright/rapper/actress Erika Kate MacDonald!
Boulder's always interesting, always surprising Fringe Festival begins on Thursday, September 18, and runs through September 28. I'm honored to interview playwright and actress Erika Kate MacDonald, creator of "Tap Me on the Shoulder," which she'll perform at the Dairy Center for the Arts on various dates (see below). "Tap Me on the Shoulder," a one-woman show, is the autobiographical story of how Erika Kate started rapping unexpectedly as an adult. Set in a tiny Brooklyn living room, Erika Kate uses original raps to tell stories that range from Indonesian dance class to rural New Hampshire to Minneapolis bike punks to the Indigo Girls.
Here, Erika Kate shares her thoughts on queering rap, on the freedom of fringe festivals, and on fluid identity worth celebrating. Love what she has to say here? Attend a performance of her show! Ticket information below:
Tickets: $12/$10 Students and Seniors
Show dates and times (60 minutes):
Thu. 9/18 – 4:00pm (2-for-1 discount!)
Fri. 9/19 – 8:00pm
Sun. 9/21 – 4:30pm
Mon. 9/22 – 8:00pm (Erika Kate's birthday! Buy 4, get 1 free!)
Tue. 9/23 – 9:30pm
Plus one more show:
Fri. 9/26 – 4:30pm
Venue:
Dairy East Theater
in the Dairy Center for the Arts
2590 Walnut Street, Boulder, CO
***
***
BOULDER LESBIAN: How did you come up with the idea for this one-woman show? I love the variety of topics – sexuality, Indonesia, rap, race. Why this story?
ERIKA KATE: Because this is my story.
OK, OK, the answer is not quite that simple of course. This is an autobiographical piece, and so these themes are present in this story because they have all been important in my own life. (Indonesia, for instance, makes an appearance in some way in nearly all of my work, because the time that I spent there was formative in many good and some very challenging ways.) The seed of this story is rap. But the first question I ran into hard when I sat down to write about my journey into rapping was: ‘How does anyone do anything for the first time?’ That’s what really set me off and running.
BL: Why do you feel Tap Me on the Shoulder is a story worth telling?
EK: I want to take this moment to talk about the Fringe and why it is such an amazing phenomenon. So many stories that are absolutely worth telling, but which may not have a Hollywood or Broadway sheen on them, can and do get told at the Fringe. The Fringe is a 100% non-juried festival, artists are chosen at random via a lottery, and each artist receives 100% of the price of the ticket you buy to see their show. Tap Me on the Shoulder is not a knee-slapping comedy or a shiny musical, it is a carefully-crafted and nuanced story about a queer white lady who grew up in rural New Hampshire and then, through a series of events, in her late 20s somehow finds herself deeply compelled by rap and the act of rapping. I don’t know if a producer who was only interested in profit would consider that a story ‘worth telling,’ but at the Fringe we don’t have to care about that hypothetical producer. We can tell the stories that we feel need to be told.
BL: How do you think rap relates to or interacts with issues of sexuality and race?
EK: If we’re talking about Rap with a capital ‘R’ this question is so multifaceted that I think I will not try to dig into it right here. What I will say here is that my approach to rapping is very much my own and that is an important part of this story for me. There is definitely a way in which what I am doing is ‘queering rap.’ I’m not Nicki Minaj, and my raps don’t sound like hers. In order to do something you don’t need to accept every part of what everyone else has done with that thing. Which I think is part of being queer.
BL: What do you want your audience to experience during the show? What do you want them to walk away thinking or feeling?
EK: At one point in the show, I take a little break from my story to dissect (high-school-English-style) one verse from a famous 1994 rap song (come to the show if you want to find out which one). Tap Me on the Shoulder is definitely about listening, about how challenging it can feel to really listen to someone else’s way of expressing themself, and also how essential it is that each of us is heard in our self-expression. When I started writing raps I surprised myself as much if not more than I surprised anyone else. This was not the way I had been taught to speak or write or sing. It was an alternative form for me. This show is meant to help people seek and find alternative ways to express themselves. And one way to do that is to remove some of the fear we have around listening to things that are unfamiliar.
BL: When you understood that my blog was lesbian-focused, you “warned” me that you are bi. How do you interact with lesbian-only spaces? How did you respond to the Curve magazine award, which listed your play as one of the “Top 10 Hottest Lesbian Plays”?
EK: I love words. I love all the ways that language responds to and creates and interacts with our attempts to find each other. And for that reason I try to be simultaneously as precise and as flexible as I can possibly be with language, particularly when it comes to talking and writing about sexuality and queerness. I was so honored that my last play, FLUID (which I performed at the Boulder Fringe in 2007, as a matter of fact), received that recognition from Curve, and was included alongside such a lovely roster of talented queer artists. And I am delighted to be featured on this blog as well, ‘lesbian-focused’ or otherwise.
BL: Is there anything else you want to tell my readers?
EK: Yes! The Fringe is ten days long, stretching from Thursday, 9/18, all the way to the end of the following weekend, on Sunday, 9/28. But nearly all of the performances of Tap Me on the Shoulder have been scheduled for the first weekend. So, if you are interested in attending, and I hope you are, I’d suggest you buy your tickets now and plan to come to one of the first two shows. Friday, 9/19 at 8:00pm is at a great time and should be a very fun show, or, if you have a more flexible or non-traditional schedule, come Thursday, 9/18 and tickets are 2-for-1.
Erika Kate’s website:
Wednesday, August 27, 2014
The tools I could give my child. . .
Exactly six years ago, on August 22, 2008, I arrived in Addis Ababa, Ethiopia, set my duffle bag on a bed and then waited for the moment the shuttle bus would arrive to take us to the Care Center. My daughter Mitike was there. My daughter. The seven other families in the guest house, all white, milled restlessly around the courtyard, the living room with its black leather couches. Our children were waiting for us. We'd received the emails, filed the proper paperwork, paid the required legal fees, allowed social workers to interview us and inspect our homes, and we'd waited and waited and waited. Now, we'd arrived. Ready.
I've written much elsewhere (see the blog I kept in those first few years) about what it was like to bring Mitike home and to learn to be a mama. I've also written about skin color and being a white mother raising a little girl with different hair and a different awareness than I might ever understand.
But now that I have a seven-year-old -- a wise seven-year-old who asks poignant questions and notices everything -- the world is getting more complicated. Mama, why was a teenage boy shot in Ferguson? Mama, why did Dr. King have to tell people it was wrong to segregate everything? Wasn't it obvious? Mommy, why did the American doctor get medicine for ebola but they're not giving it to all the Africans?
I could turn off NPR while we're cooking dinner together. But we have these important conversations over our soup or our hamburgers. We talk about the world, and I say I'm not always sure why it is the way it is, but I know people can make it better. I say this even when I'm not sure. Even when I'm planning a social studies lesson on the decimation of the Native Americans in the 1800s and thinking about race riots in current-day Missouri.
What do I tell a seven-year-old? My white privilege makes me blind sometimes. I feel guilty when I think, thank goodness, she's a girl. Gender connects us, I say, and we're so similar (we are). But I forget to celebrate her difference. I forget she needs that, because I don't always see it.
Two weeks ago, I sat on a couch in a beauty salon on East Colfax in Denver while a Nigerian woman braided Mitike's hair into tiny rows. Mitike sat on a high black swivel chair beside a woman getting her twisties taken out and a woman getting extensions put in. The other two hair stylists were from Mali, and they were all switching between English, French, and something else while they worked, commenting on a dramatic Nigerian soap opera on the TV screen beside my couch. Mitike sat in the swivel chair for four whole hours, and the women doted on her, bringing her into a world I could only peer into. They mostly ignored me and my New Yorker on the couch, and I was uncomfortable. Except for the pain of tight braids, Mitike was completely at ease.
Six years. I've been a single mother for half that time. Next year, the majority of Mitike's life, she will have had a single lesbian mother, a family of only two. It's time for me to start pushing us both out into the world a bit more. It's time to make myself more uncomfortable more often. More trips to Aurora and the Ethiopian community there, commitment to a heritage camp this summer, maybe a trip to D.C. I know: I could relax into her regular little girl concerns: who her friends are, what she'll wear tomorrow, what she can put into her lunch now that she's making it herself. I think she'd let me. But the news on the radio each day challenges us both to do more. We are not the same, she and I. In a world still spewing judgment on skin color, my job as a mother is to help her find pride in all that she is.
I've been thinking about how Adrienne Rich said in "Compulsory Heterosexuality" that lesbians, because they live outside of the expected social structure of heterosexual marriage, begin to gain a new perspective on other aspects of life, too. I do not know how it feels to be the only person of color in my neighborhood and my school every single day. I do know how it feels to be different, to feel different. I know I need to find my history. I know to question those who judge me. I know to share my pride in who I am with those around me. These are gifts I can give my child in this seventh year of getting to be her mama. Maybe, to allude to Audre Lorde, these could become tools she could use to dismantle the master's house. . .
I've written much elsewhere (see the blog I kept in those first few years) about what it was like to bring Mitike home and to learn to be a mama. I've also written about skin color and being a white mother raising a little girl with different hair and a different awareness than I might ever understand.
But now that I have a seven-year-old -- a wise seven-year-old who asks poignant questions and notices everything -- the world is getting more complicated. Mama, why was a teenage boy shot in Ferguson? Mama, why did Dr. King have to tell people it was wrong to segregate everything? Wasn't it obvious? Mommy, why did the American doctor get medicine for ebola but they're not giving it to all the Africans?
I could turn off NPR while we're cooking dinner together. But we have these important conversations over our soup or our hamburgers. We talk about the world, and I say I'm not always sure why it is the way it is, but I know people can make it better. I say this even when I'm not sure. Even when I'm planning a social studies lesson on the decimation of the Native Americans in the 1800s and thinking about race riots in current-day Missouri.
What do I tell a seven-year-old? My white privilege makes me blind sometimes. I feel guilty when I think, thank goodness, she's a girl. Gender connects us, I say, and we're so similar (we are). But I forget to celebrate her difference. I forget she needs that, because I don't always see it.
Two weeks ago, I sat on a couch in a beauty salon on East Colfax in Denver while a Nigerian woman braided Mitike's hair into tiny rows. Mitike sat on a high black swivel chair beside a woman getting her twisties taken out and a woman getting extensions put in. The other two hair stylists were from Mali, and they were all switching between English, French, and something else while they worked, commenting on a dramatic Nigerian soap opera on the TV screen beside my couch. Mitike sat in the swivel chair for four whole hours, and the women doted on her, bringing her into a world I could only peer into. They mostly ignored me and my New Yorker on the couch, and I was uncomfortable. Except for the pain of tight braids, Mitike was completely at ease.
Six years. I've been a single mother for half that time. Next year, the majority of Mitike's life, she will have had a single lesbian mother, a family of only two. It's time for me to start pushing us both out into the world a bit more. It's time to make myself more uncomfortable more often. More trips to Aurora and the Ethiopian community there, commitment to a heritage camp this summer, maybe a trip to D.C. I know: I could relax into her regular little girl concerns: who her friends are, what she'll wear tomorrow, what she can put into her lunch now that she's making it herself. I think she'd let me. But the news on the radio each day challenges us both to do more. We are not the same, she and I. In a world still spewing judgment on skin color, my job as a mother is to help her find pride in all that she is.
I've been thinking about how Adrienne Rich said in "Compulsory Heterosexuality" that lesbians, because they live outside of the expected social structure of heterosexual marriage, begin to gain a new perspective on other aspects of life, too. I do not know how it feels to be the only person of color in my neighborhood and my school every single day. I do know how it feels to be different, to feel different. I know I need to find my history. I know to question those who judge me. I know to share my pride in who I am with those around me. These are gifts I can give my child in this seventh year of getting to be her mama. Maybe, to allude to Audre Lorde, these could become tools she could use to dismantle the master's house. . .
Friday, August 15, 2014
Longs Peak essay in the Flatirons Literary Review
The Flatirons Literary Review published my Longs Peak essay (and my dad's beautiful photo of Longs from Chasm Lake) today. Here's a link. Feel free to leave a comment on the site -- they're eager to gain readers!
Labels:
19th century,
Boulder,
hiking,
lesbian
Saturday, August 9, 2014
From "A Woman on Longs Peak"
An excerpt from a much longer essay I submitted to the Flatirons Literary Review today. I'll post a link to the whole essay if they publish it.
. . .The sky begins to lighten for an hour before we see the
sun. Now I can see the path
switch-backing up through the tundra, the hump of Storm Peak to the right, the
craggy triangle of Mount Lady Washington to the left. Behind us, layers of purple peaks give way to
the endless plains, a hazy horizon and clouds just beginning to pink. The trail rises past the tranquil Peacock
Pool and then: Longs Peak. I’ve been worrying about whether or not to
write the name with its apostrophe, but now I see the mountain and know names
matter not at all. This mountain -- the
cut granite of the diamond face, the rock formation we call the Beaver, the
deceptively tranquil snowfield we call the Dove – has been uplifted, eroded,
scoured by wind and weather for millions of years. Any name a human gives it is a passing
whisper. I stand still in the trail and
gaze up at the mountain. Words are dust
here.
The sun rises. At
this elevation, it is a sudden event, the world progressively lighter until
There! the sun appears fuscia between two eastern peaks, and then rises with
surprising speed, turning golden, warming the world. Normally, I’d watch, but I only have eyes for
Longs Peak. The diamond face catches
fire, turns golden. Hardy columbine and
yellow arnica nod in the wind, and wisps of gilded cloud move across the
rounded top of the peak. We hike onward,
our eyes on the great rounded summit. It
is not holy, because holy is what people make things. It just is,
and we are here, and I am grateful.
Grateful even though I cannot feel my fingers in my thick gloves, even
though my four layers of fleece and my windbreaker do not keep out the chill
wind, even though we have hiked only half of our journey to the summit.
*
Many sources, including the popular book Longs Peak:
a Rocky Mountain Chronicle, by Stephen Trimble, claim that a woman
named Anna Dickinson was the first to summit Longs when she stepped onto the
summit in mid-September of 1873. However,
although Dickinson was only the third woman to successfully climb the peak (the
Boulder County News reported a Miss
Bartlett summited a few weeks after Addie Alexander), she was the most
famous. In 1873, the 31-year-old
Dickinson was a well-known orator who had been an instrumental abolitionist and
now was actively involved in the women’s movement. She was also what we would call today a
lesbian. Through her study of their
correspondence, historian Lillian Faderman documents Dickinson’s close,
intimate relationship with Susan B. Anthony, as well as with other women. This isn’t relevant to Dickinson’s ascent up
Longs except that it is nearly always omitted from biographical accounts of her. One thinks about many things in the long
ascent of Longs. It’s possible Dickinson
was thinking about Anthony’s latest letter, her expressed wish to “snuggle. .
.closer than ever,” her cheeky assertion that her bed was “big enough and good
enough to take” Anna in (Faderman 26).
Dickinson had already summited Pikes Peak, Mount Lincoln, Grays
Peak, and Mount Elbert. She’d ridden up
these other 14ers on horseback or burro, and she’d rolled boulders from the top
of Elbert just to delight in watching them fall. She was a passionate mountain climber who had
climbed New Hampshire’s Mount Washington over twenty-eight times. Longs Peak would be another peak to add to
her list, and, since she was with the famous Hayden survey party, she hoped the
climb would help her career, which was floundering.
In The Magnificent
Mountain Women: Adventures in the Colorado Rockies, Janet Robertson
describes the morning of Dickinson’s ascent:
the party had a large breakfast at 4 a.m. on September 13 at their
campsite in what is now known as Jim’s Grove, then rode up toward the Boulderfield. To cries of scandal later when it was
reported in the Boulder County News,
Dickinson wore trousers. Even more
scandalous, she split the trousers on her descent.
*
I’ve climbed this mountain before. When I was 14, my dad took me to the summit
on a cloudless July day. I remember my
lungs ached, and that I didn’t want him to know I was tired. I wore cut-off jean shorts, a red cotton
sweatshirt, pink and turquoise hiking boots.
It was 1991. We tried again four
years later, when I was 18, but sleet that coated the rocks in the Boulderfield
with ice turned us back. Today, I’m
thirty-seven, hiking the mountain with two of my cousins, both of whom first
summited as teenagers, too. It was the required
rite of passage in our family.
Just below the Keyhole, the eponymous gap in the rock ridge
at the top of the Boulderfield, the wind increases, the temperature drops. Ominous grey clouds speed through the Keyhole
and swirl across the Diamond face, then obscure it, then obscure
everything. My fingers ache because I’ve
ripped open a package of hand-warmers and inserted them into my gloves, and my
face is numb. My cousin Anthony is
wearing shorts, and my cousin Johanna has wrapped herself in all the clothes
she’s brought. The three of us look at
each other. We’ve all summited before,
but we’ve also all turned back before.
This mountain creates its own weather, and it’s serious. Dangerous.
When Anthony, who is 6’5”, climbs to the Keyhole to peer over the other
side, the wind unbalances him.
We huddle in the stone hut just below the Keyhole. The hut is a memorial to the climber Agnes
Vaille, who died after a successful winter ascent of the East Face went awry in
January 1925. Ten hikers are already
crammed into the tiny hut. One of them
is a shivering little boy of nine. I
close my eyes and think of the black and white photo I’ve seen of Agnes
Vaille. She wears a long, dark, loose
dress, and she’s tied up her hair. She’s
leaning back with one hand on a boulder, the other on her lap. She wears wire spectacles, but she looks
young, and her neck is slender and lovely.
I love the way she looks not at the camera but into the distance, a
half-smile on her lips. She was in the
Red Cross in France in WWI.
When the rescue party found Vaille after her climbing
partner, Walter Kiener, stumbled down the mountain for help, the extreme
conditions – temperatures they recorded at 50 degrees below zero, 100
mile-per-hour winds – she had already died of fatigue and hypothermia. One of the rescue party members also
died. Kiener lost fingers and toes to
frostbite.
Today, it is August 6.
The temperature outside is probably forty degrees, but inside the hut,
we are all waiting for the mountain, knowing enough to respect its
warnings. It could clear, a man in
bright orange yells from his perch at the Keyhole. He waves a cellphone. I got a signal for a moment, and the radar
showed the front is moving through! But
cloud has obscured the Boulderfield below us, and we’re cold. The nine-year-old’s teeth are
chattering. With every gust of wind, the
windows in the tiny hut built for Agnes Vaille rattle.
*
Janet Robertson writes of Anna Dickinson in her later
life: “Although she had many suitors,
she spurned them all and chose to remain single.” Lillian Faderman documents the kind of single
life Dickinson lived, in letters like this one she wrote to Susan B.
Anthony: “[I long] to hold your hand in
mine, to hear your voice, in a word, I want you
– I can’t have you? Well, I will at
least put down a little fragment of my foolish self and send it to look up at
you” (26).
Whether her successful ascent of Longs on September 13,
1873, mattered to Dickinson is difficult to know. In the autobiography she wrote several years
later, she barely mentioned the ascent, since she had more to say about the
part she’d played in American politics and in the social movements of her
time. Longs Peak was one more mountain
she had climbed. Her companions on Longs
probably named Mount Lady Washington in her honor, giving her that nickname
because of her love for the New Hampshire peak, but it’s difficult to discern
whether Longs meant something special to Dickinson in the way it did to others.
Nine years later, in 1882, Dickinson performed as Hamlet on
Broadway. This is unrelated to her
ascent of Longs Peak, except for the courage it took to do both. And except that she was ridiculed for wearing
trousers in both. In 1891, her sister
Susan had her incarcerated at the Danville State Hospital for the Insane. Some sources say she was paranoid, some say
she was alcoholic, some say she was wrongly accused. When she emerged, she sued for her reputation
and won, but then lived the last forty years of her life in quiet obscurity,
unknown.
*
I re-name the triangular Mt. Lady Washington Anna Peak. In the Agnes Vaille Hut, Johanna shivers and
says we need to make a decision, now. Up
or down. I run up to the Keyhole edge
and find clearing clouds. The wind has
lessened. I suggest we go on, and so we
do.
The route from the Keyhole to the summit of Longs is marked
by bright yellow painted circles enclosed with red, the bullseyes hikers call
the Fried Egg Trail. It’s more perilous
than I remember from twenty-three years ago, but the wind has calmed to a
breeze and the sun emerges sometimes from the clouds to warm us. The steep, slick granite western side of the
great mountain drops 2,000 feet to turquoise alpine lakes. On the other side of the deep canyon, jagged
peaks snag the clouds as far west as I can see.
Two years ago, I hiked to the top of the gentle green Mount Audubon,
just across the canyon, and I shuddered to see the vertiginous sides of Longs
Peak. I swore I never needed to climb it
again, but here I am.
The fried eggs lead us along narrow ledges. If we slipped, we’d die. In June this summer, a Fort Collins man fell
to his death from the Trough. Last
August, a Missouri man died falling from the Narrows. The risk is real. The climbers with their
ropes and helmets might be safer. . .
Labels:
Boulder,
hiking,
history,
lesbian,
suffragette,
Susan B. Anthony
Monday, August 4, 2014
The question of woman (and lesbian).
I want to keep the discussion we ten lesbians held this afternoon at Boulder's new Lesbian HERstory C.R. group private, so I'll just share this general observation: a lesbian-only space contains a different energy, its own power, its own cocoon of safety. Except for Indigo Girls concerts and bars like Seattle's Wild Rose, I've never actually been in a lesbian-only space until today, and I still feel emotional about the experience. In the past three years, I've been lonely so much of the time, and today I felt entirely connected. Heard. Understood.
My brother-in-law, who, other than my former husband, is the kindest man I know, asked me a couple of weeks ago why I wanted to organize a lesbian-only event. I stuttered through an inadequate answer. Tonight, I can explain clearly: because even in a world that increases its acceptance of lesbians every day, we need space to be with just each other. We breathe differently there.
Insisting on lesbian-only or women-only space hasn't always been a popular approach, as I've just read in Michelle Goldberg's essay "What is a Woman?" in this week's New Yorker (August 4, 2014). Goldberg's summary and analysis of the battle that has raged since the 1970s between radical feminists and transgendered male-to-female people includes decades of challenge to women-only space. Goldberg focuses on the Michigan Womyn's Fest, which has been severely criticized by the transgendered community because it admits only "womyn-born womyn". Musical groups like the Indigo Girls have announced boycotts of the event until it becomes trans-inclusive. Women (womyn) on the other side of the debate have argued they simply need a women-only space for awhile, to feel safe and unencumbered by societal oppression. The trans community has reacted with anger to that, saying it implies trans male-to-female people are unsafe. Consider, too: in the summer of 2010, some of the people at the protest camp Camp Trans committed acts of vandalism that included the spray-painting of a six-foot penis and the words "Real Women Have Dicks" on the side of a kitchen tent (Goldberg 28). That kind of violence is of a specific kind, and it is counter to what the majority of male-to-female people argue they want: inclusion into the safety of women-only places.
In the weeks before today's C.R. group (and before I read Goldberg's article), two trans male-to-female people emailed me to ask if they could sign up for the lesbian HERstory group. My answer: yes! If they identity as lesbians, they're welcome in the group. To say otherwise -- to say, as some radical feminists do (Goldberg mentions Sheila Jeffrey), that a person who is biologically male still benefits from our society's male privilege and so cannot participate in meaningful feminist dialogue -- is to imitate what has so often been done to us as lesbians. I think trans people in lesbian spaces deepen the kinds of conversation we can have. Return to what Monique Wittig said in the early 1980s: "I am not a woman, I am a lesbian." If someone genuinely identifies as lesbian, we must open our arms and pull them in. If we do not, we'll repeat the 1950s rejection of the butch lesbian, the 1960s separation from working women and women of color.
But what if a man emailed me to ask if he could join our lesbian-only group? Our space today would have felt entirely different. We wouldn't have talked the way we did. In an era in which we are encouraged to include everyone so we offend no one, we lesbians still desperately need spaces where we can just be with other lesbians -- not with the bar scene pressure to date, but with a C.R. group ability to comfort, inspire and empower.
In "21 Love Poems," Adrienne Rich wrote, "No one has imagined us." No one, that is, but each other. I can think of no better reason to gather, just for awhile, in the same room with each other.
Sunday, August 3, 2014
Writers every lesbian should read (a list).
I don't know why I've listed lesbian movies on this blog and not lesbian poetry, lesbian essays, lesbian novels. I'll remedy that here with a list. . . please comment to add the ones I've forgotten!
Writers every lesbian should read (an incomplete list):
HERstory
Lillian Faderman (especially Surpassing the Love of Men, To Believe in Women, and Odd Girls and Twilight Lovers)
The journal Sinister Wisdom (every lesbian should subscribe!)
Rebecca Brown (especially Gifts of the Body and American Romances)
Audre Lorde (especially The Uses of the Erotic)
Adrienne Rich (especially On Lies, Secrets and Silence)
Minnie Bruce Pratt (Rebellion: Essays 1980-1991)
Mab Segrest (My Mama's Dead Squirrel: Lesbian Essays on Southern Culture)
Barrie Jean Borich (My Lesbian Husband: Essays)
Dorothy Allison (Skin: Talking about Sex, Class and Literature)
Joan Nestle (A Restricted Country)
Sarah Schulman (My American History: Lesbian and Gay Life During the Reagan/Bush Years)
Novelists
Jeanette Winterson (especially Written on the Body, The Passion, The Powerbook, Stone Gods, Gut Symmetries)
Aimee and Jaguar, by Erica Fisher
Sarah Waters (especially Tipping the Velvet and Fingersmith)
Virginia Woolf (especially Orlando)
Shamim Sarif (especially The World Unseen and all the movies she makes)
Rebecca Brown (especially Terrible Girls and Annie Oakley's Girl)
Classics you should probably read
Patience and Sarah, by Isabel Miller
The Price of Salt, by Patricia Highsmith
The Well of Loneliness, by Radclyffe Hall (had to list it)
Rubyfruit Jungle, by Rita Mae Brown
Annie on my Mind, by Nancy Garden
lesbian pulp fiction of the 1950s (it's so entertaining)
correspondence between lesbians from history
YA books
If You Could Be Mine, by Sara Farizan
Tea, by Stacey D'Erasmo
Kissing Kate, by Lauren Myracle
The Beginning of Us, by Sarah Brooks
Memoirs
Why Be Happy When You Can't Be Normal? by Jeanette Winterson
Bastard out of Carolina by Dorothy Allison
Zami, by Audre Lorde
Stone Butch Blues, by Leslie Feinberg
Poets
Adrienne Rich
Audre Lorde
Mary Oliver
Eileen Myles
June Jordan
Margaret Randall
Marilyn Hacker
Akeilah Oliver
Robin Becker
Olga Broumas
Judy Grahn
Emily Dickinson (?)
Labels:
essays,
HERstory,
lesbian,
literature,
Mary Oliver,
poet,
Sarah Brooks
Thursday, July 31, 2014
Starting a HERstory CR group in Boulder. . .
I've started a MeetUp.com group: "Lesbian HERstory C.R. Group". We meet in Boulder at the Meadows Branch Library on Sunday, August 3, for the first time. Thirty lesbians have joined the MeetUp and fifteen have RSVPed for the August 3 meeting. What are we planning to do? In the 1960s and 70s, women held "consciousness-raising" groups, or "CR" groups, in which they gathered in a circle to discuss various issues in a safe space and to build community together. I've only recently learned about CR groups from the most recent issue of Sinister Wisdom. In the 1970s, I was a zygote and then I was a baby. However, the more I've researched and read, the more I've realized that lesbians (and possibly all women) need to revive the CR group model. We talk about GLBT marriage and Pride parades, but we don't hold consistent space for ourselves to discuss other topics, like our history (or our "HERstory"), our relationships, our art, our identity and power as lesbians. Thus, my MeetUp group.
I'm nervous. I'm a little surprised that fifteen lesbians have signed up for the group, and I'm excited. In my imagination, we create a group that meets monthly and that becomes a source of power for each other and for other lesbians. I think it's possible. To begin, I plan to talk about Adrienne Rich and to read "Song" and "Diving into the Wreck". Then we'll talk. What can happen in a circle of women who meet to share stories and investigate what history has erased or forgotten? Maybe quite a bit. . .
Song
by Adrienne Rich
You're wondering if I'm lonely:
OK then, yes, I'm lonely
as a plane rides lonely and level
on its radio beam, aiming
across the Rockies
for the blue-strung aisles
of an airfield on the ocean.
You want to ask, am I lonely?
Well, of course, lonely
as a woman driving across country
day after day, leaving behind
mile after mile
little towns she might have stopped
and lived and died in, lonely
If I'm lonely
it must be the loneliness
of waking first, of breathing
dawn's first cold breath on the city
of being the one awake
in a house wrapped in sleep
If I'm lonely
it's with the rowboat ice-fast on the shore
in the last red light of the year
that knows what it is, that knows it's neither
ice nor mud nor winter light
but wood, with a gift for burning
I'm nervous. I'm a little surprised that fifteen lesbians have signed up for the group, and I'm excited. In my imagination, we create a group that meets monthly and that becomes a source of power for each other and for other lesbians. I think it's possible. To begin, I plan to talk about Adrienne Rich and to read "Song" and "Diving into the Wreck". Then we'll talk. What can happen in a circle of women who meet to share stories and investigate what history has erased or forgotten? Maybe quite a bit. . .
Song
by Adrienne Rich
You're wondering if I'm lonely:
OK then, yes, I'm lonely
as a plane rides lonely and level
on its radio beam, aiming
across the Rockies
for the blue-strung aisles
of an airfield on the ocean.
You want to ask, am I lonely?
Well, of course, lonely
as a woman driving across country
day after day, leaving behind
mile after mile
little towns she might have stopped
and lived and died in, lonely
If I'm lonely
it must be the loneliness
of waking first, of breathing
dawn's first cold breath on the city
of being the one awake
in a house wrapped in sleep
If I'm lonely
it's with the rowboat ice-fast on the shore
in the last red light of the year
that knows what it is, that knows it's neither
ice nor mud nor winter light
but wood, with a gift for burning
Tuesday, July 22, 2014
Reaching for the Moon
One Art
The art of losing isn’t hard to master;
so many things seem filled with the intent
to be lost that their loss is no disaster.
Lose something every day. Accept the fluster
of lost door keys, the hour badly spent.
The art of losing isn’t hard to master.
Then practice losing farther, losing faster:
places, and names, and where it was you meant
to travel. None of these will bring disaster.
I lost my mother’s watch. And look! my last, or
next-to-last, of three loved houses went.
The art of losing isn’t hard to master.
I lost two cities, lovely ones. And, vaster,
some realms I owned, two rivers, a continent.
I miss them, but it wasn’t a disaster.
—Even losing you (the joking voice, a gesture
I love) I shan’t have lied. It’s evident
the art of losing’s not too hard to master
though it may look like (Write it!) like disaster.
Elizabeth Bishop, “One Art” from The Complete Poems 1926-1979. Copyright © 1979, 1983 by Alice Helen Methfessel. Reprinted with the permission of Farrar, Straus & Giroux, LLC.
Source: The Complete Poems 1926-1979 (Farrar, Straus and Giroux, 1983)
Source: The Complete Poems 1926-1979 (Farrar, Straus and Giroux, 1983)
Labels:
1950s,
history,
lesbian,
lesbian films,
lesbian marriage,
poet
Friday, July 18, 2014
Lesbian HERstories
This summer, I've gotten interested in lesbian history. More than that: I've gotten interested in how much I haven't been told, in how so much of the "official" history has erased or edited out lesbian lives. In Naropa's Allen Ginsberg Library, I found Joan Nestle's book, A Restricted Country, which is part memoir of becoming and being a lesbian in the 1940s and on, part fiction about lesbian lives, and part essay. In one of Nestle's essays, I discovered she was instrumental in opening the Lesbian HERstory Archives in Brooklyn. What? There's a Lesbian HERstory Archives?
I kept reading. On the same shelf with Nestle's book, I found Lillian Faderman's Surpassing the Love of Men: Romantic Friendship and Love Between Women from the Renaissance to the Present. This history tome examines primary source documents like diaries and letters to demonstrate that women have desired and achieved relationships with other women for centuries. In the chapters about the American suffragette movement, I realized how much had been left out of my education. Susan B. Anthony, Elizabeth Blackwell, Carrie Catt, Jane Addams -- their correspondence and others' confirm committed relationships between these powerful women and other women. For many of these women, these partnerships lasted for decades, into their old age.
Currently, I'm reading Faderman's To Believe in Women: What Lesbians Have Done for America. In well-researched chapters, the historian seeks to demonstrate the ways in which lesbian life -- and the freedom from what Adrienne Rich called "compulsory heterosexuality" -- empowered women in various eras to work toward social change. Women in the late 19th century even lived openly in their relationships with other women (not termed "lesbian" yet, but more often "romantic friendship" or "Boston marriage"). It wasn't until psychoanalysis and the cultural phenomenon of the "feminine mystique" gripped America in the 1940s and 50s that lesbianism became labeled as "sexual inversion". Our foremothers simply knew their love for other women as a different way to be in the world -- for many of them, it was a way that comforted and supported them as they pursued difficult social reform and otherwise lonely lives.
I'm 37, and I'm learning nearly all of this lesbian HERstory for the first time. When I came out in 2005, I searched wildly for stories similar to mine. I found whispers in Emily Dickinson's letters to her sister-in-law, in Eleanor Roosevelt's correspondence with Lorena Hicks, in the relationship between Annie Liebowitz and Susan Sontag. I found books like Living Two Lives: Married to a Man but in Love with a Woman. I wish I'd found Faderman's books. Nestle's book would have frightened me -- I wasn't ready to hear about the difficulties yet, the legal battles, the discrimination. But I desperately needed to know that I was not the only woman in the world who had fallen in love with another woman.
Once, when I was in 7th grade, my social studies teacher put us in small groups and asked us to write, design and perform a skit that would make one of the 19th century reform movements come alive. My small group -- all girls -- chose the suffragette movement. One girl was Carrie Nation (the hatchet-wielding temperance fighter), one girl was Sojourner Truth, and I was Susan B. Anthony.
No encyclopedia entry I read to prepare for the skit told me Susan B. was a lesbian. But she was.
Was Alice Paul, the suffragette who helped push through the 19th Amendment, a lesbian, too? The film Iron-Jawed Angels, which I love, seems to seek to deny any rumor that Paul had lesbian relationships, giving Hillary Swank fantasies about a certain young man. Does it matter whether Alice Paul was a lesbian, or does it only matter what she did for women? Film-maker Paul Barnes defended his omission of Susan B. Anthony's lesbian relationships in his film "Not for Ourselves Alone" by explaining, "we did not have the time to explore this part of her life."
But I know this: we do ourselves and our children and their children no favors if we cover truth, mask truth, twist truth. How do we dig deeply enough? How do we ask the right questions? More and more, I understand that my sole job as a middle school social studies teacher is to push my students to uncover what has not been told, what is missing.
As a lesbian, my job may be to be a carrier of the lesbian HERstory torch, to keep unearthing stories, to tell and tell their names so that no one forgets.
We must make the time to keep learning -- and telling -- these stories.
I kept reading. On the same shelf with Nestle's book, I found Lillian Faderman's Surpassing the Love of Men: Romantic Friendship and Love Between Women from the Renaissance to the Present. This history tome examines primary source documents like diaries and letters to demonstrate that women have desired and achieved relationships with other women for centuries. In the chapters about the American suffragette movement, I realized how much had been left out of my education. Susan B. Anthony, Elizabeth Blackwell, Carrie Catt, Jane Addams -- their correspondence and others' confirm committed relationships between these powerful women and other women. For many of these women, these partnerships lasted for decades, into their old age.
Currently, I'm reading Faderman's To Believe in Women: What Lesbians Have Done for America. In well-researched chapters, the historian seeks to demonstrate the ways in which lesbian life -- and the freedom from what Adrienne Rich called "compulsory heterosexuality" -- empowered women in various eras to work toward social change. Women in the late 19th century even lived openly in their relationships with other women (not termed "lesbian" yet, but more often "romantic friendship" or "Boston marriage"). It wasn't until psychoanalysis and the cultural phenomenon of the "feminine mystique" gripped America in the 1940s and 50s that lesbianism became labeled as "sexual inversion". Our foremothers simply knew their love for other women as a different way to be in the world -- for many of them, it was a way that comforted and supported them as they pursued difficult social reform and otherwise lonely lives.
I'm 37, and I'm learning nearly all of this lesbian HERstory for the first time. When I came out in 2005, I searched wildly for stories similar to mine. I found whispers in Emily Dickinson's letters to her sister-in-law, in Eleanor Roosevelt's correspondence with Lorena Hicks, in the relationship between Annie Liebowitz and Susan Sontag. I found books like Living Two Lives: Married to a Man but in Love with a Woman. I wish I'd found Faderman's books. Nestle's book would have frightened me -- I wasn't ready to hear about the difficulties yet, the legal battles, the discrimination. But I desperately needed to know that I was not the only woman in the world who had fallen in love with another woman.
Once, when I was in 7th grade, my social studies teacher put us in small groups and asked us to write, design and perform a skit that would make one of the 19th century reform movements come alive. My small group -- all girls -- chose the suffragette movement. One girl was Carrie Nation (the hatchet-wielding temperance fighter), one girl was Sojourner Truth, and I was Susan B. Anthony.
No encyclopedia entry I read to prepare for the skit told me Susan B. was a lesbian. But she was.
Was Alice Paul, the suffragette who helped push through the 19th Amendment, a lesbian, too? The film Iron-Jawed Angels, which I love, seems to seek to deny any rumor that Paul had lesbian relationships, giving Hillary Swank fantasies about a certain young man. Does it matter whether Alice Paul was a lesbian, or does it only matter what she did for women? Film-maker Paul Barnes defended his omission of Susan B. Anthony's lesbian relationships in his film "Not for Ourselves Alone" by explaining, "we did not have the time to explore this part of her life."
But I know this: we do ourselves and our children and their children no favors if we cover truth, mask truth, twist truth. How do we dig deeply enough? How do we ask the right questions? More and more, I understand that my sole job as a middle school social studies teacher is to push my students to uncover what has not been told, what is missing.
As a lesbian, my job may be to be a carrier of the lesbian HERstory torch, to keep unearthing stories, to tell and tell their names so that no one forgets.
We must make the time to keep learning -- and telling -- these stories.
Labels:
1950s,
19th century,
HERstory,
history,
lesbian,
lesbian films,
suffragette,
Susan B. Anthony
Subscribe to:
Posts (Atom)