[NEW NONFICTION] Crying and Paintings

BY ALICIA BYRNE KEANE

I.

I remember once going to an Edvard Munch exhibition and seeing an entire room filled with studies of the Weeping Woman. I don’t really know art things so the painting didn’t really seem all that remarkable to me compared to his weirder ones. It’s a nude, standing up in a bedroom, her head bowed. But the longer I looked at it the more I started finding it sinister. The way the same picture has been obsessively repeated. I started to notice how in certain versions the room is claustrophobically distorted to make it look as if her head is almost pushing against the ceiling like she’s standing up in a tent. How in some the palette is unpleasantly oversaturated, her cheeks too red, the shadows in the corners of the room too dark. Something invasive about the angle like the artist is sitting too close to the subject. I never found out the context of the painting, whether it was meant to seem that way. (Weird if not, and weird if so.) There’s something panic-inducing about it.

 

II.

Crying four years ago, surrounded by large abstract paintings. I’m in a top-floor office in a leafy suburb, the very kind of ornate redbrick neighborhood that causes people to employ the cliché leafy suburb, in the office of an academic I have just met. She conducts studies on things like hats in literature.

There is lots of art on the walls, floor to ceiling. It’s not very good art, but it’s large and copious. Particularly vivid, in this memory, is a view of the painting opposite me. It’s sort of pinky beige. It looks the way baby wipes look when I’ve used them to take off my makeup.

‘Beckett was a real guy,’ she is saying. ‘He had sex, he played tennis.’

He played sex, he had tennis.

I manage to say ‘I hate it here’, in a voice that sounds like it’s being squeezed out through a straw.

 

III.

I don’t know my housemates very well, but around the Repeal referendum, one of them bought a little framed painting that sits on our mantelpiece. I can’t see who the artist is because their signature is done down the bottom in pencil and I can’t read it hardly, but it looks like the first name is Anna or Ann. It is titled #togetherforyes and it shows a crowd of people from afar, stick figures with outstretched arms, holding different banners that all give the names of different collectives and organizations. It’s incredibly detailed when you look at it closely and reminds me almost of Quentin Blake drawings, it seems gentle. I need to ask them who made it.

I Google #togetherforyes painting, #togetherforyes ann painting.

Everyone’s away and the house has an uncanny quality. I have been cleaning for hours. It reminds me of grey Sunday dread when I was a kid.

I have put a chair out in our garden and I can see it from the window. The garden is a blaze of sun and if you saw just this scene in isolation you would think you were somewhere nice. I duck into the corner of the kitchen closest to the door, for some reason, because this feels like the least windowy area of the house, and somehow safer than anywhere else for displays of emotion. I don’t know who I think would be watching me. I begin to cry.

I am not sure why I am crying, here in the part of the kitchen that no one can see, where the dustpan and brush hang, trailing bits of grey fluff.

This time last year I walked to a part of the city I didn’t usually go to and read Astragal by Albertine Sarrazin and found the way she was in bed with a broken ankle for most of the story sadder maybe then I was meant to. It made the whole book seem transitory and unfinished like just a really odd part of someone’s life. I read it in a park during a drought, when most of Dublin looked grey and yellow.

ALICIA BYRNE KEANE is a Ph.D. student from Dublin, Ireland. She has a first class honors degree in English Literature and French from Trinity College Dublin and a MSt. in English Literature 1900-Present from Oxford University. She is currently working on an Irish Research Council-funded Ph.D. study of ‘vagueness’ and translation in the work of Samuel Beckett and Haruki Murakami. She has performed poetry at events such as Electric Picnic, Lingo Festival, and Body & Soul, and has assisted on the editing team for the New Welsh Review. She has more recently turned to writing prose pieces.

The Orange Sun Makes Us Stronger

BY JARED LEMUS

My children wake up to watch cartoons and I burn the newspaper. They can’t read yet, but I’m afraid some of the ink that says “shooting” “bombing” “racism” will leak into their cereal. I’ve called to cancel my newspaper subscription twice now, but it keeps coming. I’m not saying that we shouldn’t be informed, but I’m also trying to keep this from my children for as long as possible. As if postponing it will make it less harmful. I know it won’t.

“I want to watch monster trucks.” My three-year-old. Destruction has already made its way into his life without him knowing. He enjoys watching the trucks destroy smaller cars. He claps when one of them catches on fire and says, “Dad, look.” I tell him I know and avert my eyes. How can I explain that the rest of the world looks like that, too? How can I explain that people have made it okay to expect and accept violence? How to explain survival of the fittest without saying that it means adapting and that adapting means building bigger destructive machines? I still don’t know.

I picked him up from pre-school the other day and found him sitting at a table by himself. “Is he in trouble?” I asked the teacher. She told me he wasn’t sharing toys with the other children. Get more toys, I thought. But that night, I sat down and tried to tell him how important it is to share, how important it is to always get along with others. Since then, I have never found him sitting alone at that table again. How easy was it to instill that in my child? How easy is it for other parents to say, “Just take them,” or “Push them to get what you want”? This worries me.

Now he looks up from his cereal to ask, “Why do you put fire on that paper?” I tell him it’s easier to start the chimney with the kindling of words. Fire already exists on the page, and fire fuels fire. I tell him to grab his backpack and drive him to school.

“I shared just like you told me to,” he says, right before he gets out of the car.

“Good. That’s how humans should be,” I say. “Caring, compassionate, loving.”

“Other kids don’t share,” he says.

“I know,” I say. “Set an example.”

I watch his backpack bounce up and down as he runs into school: a building almost as dangerous as high security prisons. Only three years old, and I’m already worried about middle school, high school. Soon, I’ll be dropping him off with a bulletproof vest and instructions on what to do in case of a school shooting, a bomb threat, a racist comment.

Step one: do not engage.

Step two: hope for the best.

My wife hates reading me type this, but I ask, “Am I wrong?” Her silence and tears tell me that I’m not, but they also tell me that she’s almost regretful for having brought such beautiful children into this world. Our one-year-old on her hip looks at me wondering why my eyes look the way his do when he trips and hurts himself, and I tell him, “All humans look like this when they’re in pain.”

In the afternoon, I pick up our son from pre-school and he asks, “Dad, what’s a snowflake?”

“It’s what falls from the sky when it’s cold,” I say. “It’s millions of snowflakes that allow us to make snowballs,” I say.

“They’re white?” he asks.

“Yeah, why?”

“Zack called me a snowflake today,” he says. “But we’re not white, right?”

“No,” I say, “we’re Hispanic.”

“Then how am I a snowflake?”

“You’re one of these many snowflakes,” I say. “They’re all different, but if they come together, they can cause an avalanche.” My son. Only three and he’s already dealing with people labeling him. Because he’s sharing? Because he’s being kind? Because he says, “I think hurting people is bad”? “I’m one of those snowflakes, too,” I say. He smiles. Content to know that he’s not alone.

“And Mom?”

“Yes, and we’ll always stick together.” It’s hard to explain what a label is. How can I say, “We melt, we evaporate, but we make it back to the ocean and come back again”? How to explain that global warming is being perpetuated by The Orange Sun in the White House? That it’s destroying icecaps and glaciers, but that snowflakes become water, and that when they’re all melted away, they will drown the White House in waves taller than the Empire State Building? The thought of this being a possibility brings me momentary happiness.

“How was school?” my wife asks, when we walk through the door.

“Good,” he says, and throws his backpack on the couch as he runs to his room for his dinosaur collection.

I kiss my wife, and my one-year-old’s face wants to know, “What’s up with this whole no-one-picking-me-up thing?” I scoop him up and point at items on the kitchen counter: zucchini, squash, peppers. “Knife,” I say, “chop-chop.” And imitate my wife chopping an onion. It’s funny how many ingredients it takes to make this quiche, how many different herbs and spices go into one thing to make it work. What would this quiche be if we left out the eggs? The olive oil? The cheese?

The garbage disposal startles the child in my arms, and I tell him it’s okay, not to worry. “Daddy’s got you,” I say. He calms and stares at the place from where the noise is coming. “There’s nothing to be afraid of,” I lie. “Nothing’s going to hurt you,” I lie harder, and he believes me. At least for now.

Over dinner, my wife and I talk about our day. She tells me how difficult it is to balance housework, watching a one-year-old, and working on an MBA online. She tells me about some financial thing I don’t understand. “QuickBooks,” she says, “ugh, it’s the worst.”

“The worst,” our three-year-old says.

We laugh, remembering why we’re working so hard: we want our kids to have the best life possible. Sometimes we pull all-nighters, we apply for new credit cards, we take out loans. But sometimes we drink a glass of wine and watch TV while the kids sleep. We hold each other on the couch and I read her poetry from famous writers. She jokes asking if I want her to read me some of her statistical data analysis. On some nights, nights like the one I know we’ll have tonight, regardless of what we’re doing, I’ll compare her skin color against mine. I’ll wonder if she made the right choice. I’ll think about how our children have my complexion and not hers. I’ll wonder how much longer The Orange Sun will cast a shadow that makes it difficult to see anyone that isn’t holding a torch.

I feel my wife’s hand on mine and realize I’ve been zoned out. I see her hand juxtaposed against mine and smile. I know we can make it in this world. I know there are many others like her who want to make a difference. I know that every time she heads out the door with a poster in her hand, she’s trying to bring about change. I’ll worry all day, all night, and when she gets home, I’ll ask her not to go back again. But she won’t stop. “Not until I know the kids won’t have to be doing this instead of me.”

“Are you okay?” she asks.

“We will be,” I say.

After we bathe the kids, brush their teeth, and put them to sleep, we hover over them. We watch their chests rise and fall. “I wonder what they’re dreaming of,” my wife whispers. It’s a rhetorical question, but I don’t know the answer. Does our three-year-old dream of the bedtime story we told him that night? Does our one-year-old dream about us? And how much longer until they start dreaming of war and famine? Of poverty and political divides? Our three-year-old is already getting bullied even if he doesn’t know it. The words spoken to him by children are just regurgitations of what their parents have said. They don’t understand. The children don’t understand what it means, and the parents don’t understand the effect of their words on developing minds or how it will affect the future.

We go to bed tonight and I’ll dream. I don’t know about what. Maybe small nothings or short-story plots or bill due-dates. Or maybe I’ll dream of the day I’ll wake up and won’t have to set the newspaper on fire.

Jared Lemus is the Associate Editor of the Jabberwock Review and was previously the Managing Editor of the Equinox. His work is forthcoming in the Kenyon Review, and his work has appeared in the Mochilla Review, The Crambo, and elsewhere. He thanks his wife and children for this publication.