I stare at the corpse in the mirror. How desperately the dry, clay-colored skin clings to its skull. Rubbery. How narrow its tired eyes are, weighed down by the dark satchels hanging from them. How many broken vessels I could count beneath its sullen cheeks. A nebula of spider veins. A paint-splattered canvas. Children do not want to see this.
I am the owner of this dead reflection.
One time Lee actually screamed on an airplane. It had been one of those horrible situations with a seemingly endless delay on the runway and he had fallen asleep before the plane took off. He awoke to the unsettling bumps and skips of the plane lifting off in bad weather, shaking and dipping erratically. It had not been a conscious decision, the scream. He simply woke and screamed simultaneously, all at once, before he even knew what he was doing. He was 32 at the time. He had a middle seat. To his left on the aisle was an old lady who smiled sadly at him. Next to him on the window seat was his girlfriend of the past two years, Katherine. Continue reading
Review by E. Kirshe
“A writer’s life and work are not a gift to mankind; they are a necessity,” writes Toni Morrison in the prologue of her latest book, The Source of Self-Regard. This collection of work, spanning four decades, goes on to show just how necessary Morrison is to our literary canon and how illuminating to our society.
At 88 years old Morrison has a rich life’s worth of insightful nuance, analysis, and empathy to offer on topics that range from feminism, colonialism, money, human rights, and immigration, to meditations on culture and art. Though a lot of ground is covered (and how could it not be? Morrison has been a literary beast since the 70s) this collection of previously published essays is cohesive in that it’s hers. It is divided into three parts: the first begins with a prayer for the dead of 9/11; the second with a meditation on Martin Luther King Jr.; and the last with a beautiful and personal eulogy for James Baldwin.
Considering the sheer volume of work here it is impossible to cover the whole without writing a novel-length review. I will say that some of the work here really stood out to me often because no matter when a piece is from, Morrison’s work is unquestionably relatable to our present. This is large because she observes and perfectly captures society- she has the ability to cut right to the heart of a matter. Morrison refers to how the media operated during the OJ trial as an “age of spectacle,” taking down their penchant for turning what should be straight news into entertainment, and we know those patterns haven’t changed at all in today’s media landscape.
Not only do many of Morrison’s pieces ring out truth in much the same way it’s obvious that they do because she’s doing her job as a writer. Every piece answers what the role of what the artist in society should be because she uses her work to analyze, critique, and offer answers for our world- “constructing meaning in the face of chaos,” as she writes in Peril.
Reading this collection is to spend time in the mind of someone brilliant. As Morrison said in her eulogy for Baldwin “You gave us ourselves to think about, to cherish.” After reading through everything Morrison has to offer in The Source of Self-Regard you’ll be reminded that she may as well have been talking about herself.
The Source of Self-Regard is now available from Knopf.
It’s 2018 and we’re garbage people now, management tells us at the morning meeting. “Not garbage men,” Larry stresses. He strokes his Pomeranian, which is wriggling in his arms. “Garbage people.”
I look from Duke on my left to John on my right, then raise my hand. “But we are garbage men,” I say.
“Shut up, Mick,” Larry snaps. The dog yaps. “You are a person, and what you think doesn’t matter.”
Divorce is final and clean on paper. But when there are kids involved, no judge in the world has the power to sever the bonds between two people who have entwined DNA walking around as a constant reminder that, despite the formality of the notarized seal on the decree, they will never really be divorced from each other
“Blended” is the fictitious term we use to describe families created out of the ragged stump of divorce.
When you make a cake, you “blend” the ingredients. It’s such a gentle process that you can do it easily with the rounded edges of a wooden spoon. Methodical, harmonious, smooth strokes of the spoon combine the disparate elements into a tranquil, pliable batter. Continue reading
Photo Credit: Brian Michael Barbeito
Charles couldn’t believe he had slept through dinner again; he was going to have to beg Phil or one of the Korean kids for ramen, and why should they give him anything? If the ladder had been in its hiding spot under the patio of the on-campus daycare, he could have gotten onto the roof of the gym and across it to the admin building to see if he could find anything to eat in the small kitchen there, but without the ladder he couldn’t get onto the roof, unless he had Andrew to boost him up. Andrew must have moved it while Charles was suspended, or else it got confiscated. That’s okay, they’d fished it out of a dumpster anyway; they found good stuff in the dumpster by the maintenance building all the time, but he sure wasn’t going to find dinner there. Continue reading
There’s not much in the hot desert that stretches from California into Arizona, save giant tumbleweeds, strangely anthropomorphic cacti with upstretched arms for branches, and a long, long highway that is interstate 10, replete with mirages and, every so often, a blip in the road for gas stations. The last time I traveled down that highway the temperature was topping out at 121 degrees. It was July, but this was hot even for July. We– my husband, children, and nephew—had just crossed the border into Arizona, on our way to Sedona for the annual family vacation, when I saw a remarkable road sign. I shouted out: “Did you see that? The sign for Sore Finger Road?”
No one else in the car had seen it. They didn’t believe me. Instead, they all laughed, and my husband looked over at me and said something about my vivid imagination and projecting and excess energy, because I couldn’t drive.
He was right, because on a road trip, I share the driving. I’m a good driver, and I like to be in control. Hurtling down a highway at 80 miles per hour is much more appealing if I am the one doing the hurtling. This time, though, I was confined to the passenger seat for eight hours with a bank of pillows to prop up my heavily bandaged left hand because, you see, I had one very, very sore finger.