My essay is a hybrid of memoir and research paper, entitled “This Is Your Brain on Books: Young-Adult Literature and Identity Formation.” It’s about 25 pages long with footnotes, so I uploaded it as a link rather than copy the text here.
Category: Projects (Page 1 of 5)
Introduction
My name is Richard Wark, and I am the Safety Coordinator, a guide, and one of the founding members of the Heroes on the Water North West Chapter. To fully understand this writing, there are a few things you should know.
Post-traumatic stress disorder (PTSD) is a mental health condition triggered by a terrifying event. The person suffering from PTSD may have been the victim of this event, or simply a witness. Although people have no doubt been suffering from this disorder since the beginning of time, it wasn’t until the American Psychiatric Association wrote the third edition Diagnostic and Statistical Manual of Mental Disorders in 1980 that PTSD was considered a sickness or disability.
Traumatic brain injury (TBI) is typically a physical injury caused by a sharp blow or jolt to the head, and are often related to PTSD due both to the terrifying event leading up to the injury, and because PTSD is often viewed as a physiological injury to the brain. Anyone may suffer from these disabilities, but they most often belong to the men and women of our armed forces, police officers, firefighters, and emergency medical technicians.
Last but not least, I am a disabled veteran who honorably separated from the Air Force after 13 years active duty service. I do not suffer from a TBI, nor PTSD, but hold a very special place in my heart for those that do.
It was June of 2000. I was a young 22 year old convalescing on my mother’s couch after an inguinal hernia repair. There had been a motorcycle accident a month prior leaving me with this nasty groin tear. The surgery was soon to be the least of my worries though. At 22, and not in college, I was no longer blanketed by my mother’s health insurance. To add insult to injury, my chosen profession at the time was to be a server and bartender. This was the most fun a young adult could have in the area while still earning a substantial amount of money. I lived on Florida’s Space Coast, so tourist and snowbirds were in no short supply. The problem here was the lack of benefits; namely medical at this moment. We all made enough money to carry our own plans, but that’s not nearly as much fun as spending in night clubs, trips, and hotel stays! This was soon to bite me in the ass, while at the same time carving a tremendous fjord trumped only by the Rongku Glacier of Mt Everest, too steep for escape.
I’d found the proverbial rock and hard place we’ve all been warned of. While my freshly repaired body weighted mom’s couch as if it could float away in my absence, the medical debt began to accumulate. It was small at first. Maybe $150 for the initial family practice consult. Then there was a referral to the general surgeon. After that the hundreds became thousands, became tens of thousands. Unfortunately there were no gratuitous customers visiting her small two bedroom apartment, which had become my prison. Even if there had been, the recovery instructions were to lift no more than a gallon of milk for a minimum of six weeks. What an impressive spectacle I must have been…
There were lots of friends who would break the monotony of pain killers and television with their visits. They would tell stories from their daily adventures, and I could vividly picture it since these were things we often did together. Although the company was always welcomed, I was slipping into a darker place each time they left to do any number of fun things, leaving me behind in the role of living room furniture. The majority of these friends earned their living in the hospitality industry hustle just like myself. We had all met in the restaurants and bars where we shared a common thirst for tips and good times. Except for one.
Ryan was in the Air Force, assigned to Patrick Air Force Base in the Security Forces Squadron. For those of you not versed in military-speak, he was an Air Force police officer. Ryan would frequently surf and fish within this circle of friends; he occasionally ventured into Orlando’s night life when his schedule would allow. It wasn’t that he was uptight, he just happened to be the only one with a “real job”.
This was the first time I had been removed from the hustle and flow of daily life. The steady combined flow of party friends, coupled with Ryan’s visits, really allowed me to look in from the outside. As much as I enjoyed the fast easy money associated with serving, there was something to be said for Ryan’s comparative way of living. I didn’t know what it was, but it looked right. He dressed nice, was in great physical shape, drove a late model sports car, and all of his sporting gear from fishing rods to surfboards were always a step above the rest. Maybe there was something to this Air Force thing after all.
For whatever reason, asking Ryan in depth about what he really did, or how he truly felt about being a Staff Sargent (E-5) in the Air Force didn’t feel right. This was incredibly silly in hindsight, because we were pretty good friends. At the time, though I just absorbed all the details to paint my own picture. Soon I could drive to the recruiter’s office on my own.
You will forever remember your recruiter if you went the distance. I’ve had people tell me they couldn’t recall certain details like the recruiter’s name, or rank. Maybe they were telling the truth, but I immediately wrote that off as a display of chauvinism. Too many people can recall minute details from “their” recruiting office to buy into the macho garbage of “I’m too cool to remember such things”. Mine was Senior Airman Josh Harbin. He was a tall quasi-chubby guy (chubby for the military anyhow) with dark red almost brown hair and blue eyes. His face was somewhat round with big puffy cheeks and smallish teeth. His appearance always reminded me of a 230lb four year old. He was a quirky guy, and his Air Force Specialty was Dental Hygienist. You don’t simply enlist as a recruiter. It’s a special duty assignment that must be applied for later in your career, and only occupied for a short tour. Other branches do things a bit different, but in the Air Force it takes an intelligent person with the right drive to fit the bill.
During our initial meeting, Josh was concerned by my hernia repair, the amount of time since taking the Armed Service Vocational Aptitude Battery (ASVAB) test, and what this medical debt might do to my credit if not reeled in. Once over the age of 21 he had to run a credit report on potential enlistees. Bad credit equals no Air Force career. Neither of us wanted me to accumulate any further medical debt, so he devised a plan to do this all on Uncle Sam’s dime. If he could get me into the Military Entrance Processing Station (MEPS), they would conduct a physical entrance exam. First thing’s first. The ASVAB.
Timing was critical. We couldn’t move too fast. Otherwise I’d blow the physical. However if things took too long my credit could be negatively effected. Josh might have looked like a big child, but he was smart and good at playing this game. Two weeks after our initial meeting, I was in a quiet testing room for the first time in over 4 years. Nothing about the ASVAB was overly difficult, but it still felt like a test. A month later the results were in. 96 out of a possible 99! I was in there like swimwear! Off to the first of several trips to MEPS. This was not the norm for most new recruits. Usually your first trip to MEPS is your only one. They move you through the process, and right out the door to Basic Training. Not me though… Not this time.
We were herded from station to station much like livestock at auction. They consisted of shot records, performing various physical activities depending on branch of service and section desired, medical physicals, and then to career advisors to help pick jobs. This was also the first time I interacted with my peers enlisting. Their stories of “why” were things like; fresh out of high school with no other ambitions, wanting to provide for a young family, needing escape from a troubled past. The number one reason was college for some it was a way to attend, and some others, to utilize programs to consume student loans. The least common, although it did come up was, for the military experience or heritage passed down through generations.
Surprisingly I made it through all the physical challenges! Even Josh’s plan for an Air Force doctor to clear my hernia repair was as simple as an awkwardly placed hand, turn of the head, and forced cough. It’s in to see the career advisor! I had aced the test, and all physical challenges, so I knew he would be generous with offers. I wasn’t expecting what came next though.
Four three ringed binders not less than five inches thick. These contained laminated sheets with job names, descriptions, and proper Air Force Specialty Codes. The career advisor and I thumbed through these books discussing jobs for a solid two hours. During our time, I compiled a short list of jobs as that peeked my interests. Just when he began to apply pressure for a final decision, I took my list and walked out. He was irate! “This isn’t how the process works!” I wasn’t about to jump both feet into a job strictly based on his advice and a basic description, but this was Josh’s grand plan all along.
A few weeks later and it was back to MEPS, but once again this wouldn’t be the big day. It was early November, and this time we stayed in a hotel overnight. The closest facility was in Jacksonville, FL about 3 hours north for me, and the hotel was one where all local recruiters sent their potential enlistees. We quickly found each other and banded together for games of football and ultimate Frisbee. My hernia had heeled nicely and I was working and playing again, so this physical activity was more than welcomed. While bonding with my newfound group of brothers, the typical conversations of “why” would arise, and the answers were all the same as before. Since I was the MEPS veteran they all wanted to pick my brain as well. The ones who knew they were shipping off the next month were excited and terrified all together. Not of going to war, but of the uncertainty the new change was sure to bring.
We were all shuttled in together bright and early the next morning and grouped with all the other new enlistees that didn’t stay with us the night before. Most began the long process of moving station to station, but I was finished with that business. I was just there to again strictly to meet with a career advisor. Only this time I would be selecting a new career as an Aircraft Electrical and Environmental Systems Apprentice!
The contract was signed, but there wouldn’t be an opening until July of the following year. Instead of being quickly hurried off to basic training, I was sworn into the Delayed Enlistment Program. This is almost like the military version of a promise ring. I signed a contract, and took an oath of sorts, but there was no penalty if it was broken on my behalf outside of I’d have to pick another job. It did somewhat land me right in Josh’s shirt pocket however. He would randomly contact me to errands with him, or tell the tale of MEPS to other potential enlistees at a monthly meeting he derived.
It was July 8th 2001 when I was dropped off at the recruiter’s office for the last time. The day had finally come. I was once again bound for Jacksonville and an overnight stay at the same hotel, but the MEPS processing was over. Instead I had a one way airline ticket to San Antonio, TX.
The flight felt unusually long. I can typically fall asleep around takeoff until the flight attendants wake me for landing, but the butterflies in my stomach wouldn’t allow it this time. No need to visit baggage claim after landing either. I was told to pack light, and Uncle Sam would supply me what mattered.
There was a long corridor with signs directing incoming Air Force Basic Trainee’s into a small holding area full of hard wooden benches reminiscent of vintage church pews. There was a Military Training Instructor (MTI) there to receive us and give further direction. Really it was just “SIT DOWN AND READ THE LITTLE BROWN BOOK!” MTI are what other branches refer to as Drill Sergeants, and the little brown book was the Air Force Instruction (AFI) about enlisted force structure. We all sat there looking through this 4 inch by 4 inch square book of maybe 60 pages, but I doubt many people actually read a word. Even if they did it’s doubtful they would understand it. I actually tried, but without a fluent understanding of the acronyms, or titles/ranks listed, it was much like transcribed baby gibberish. This was all short lived because the busses soon arrived and ferried us on to the only place we would know over the next 6 weeks.
It was all a blur from the time we stepped off the bus, until we were tucked into our bunks for the night. There was a lot of standing in line while MTIs would bark and yell directions that seemed to never be done correctly, or fast enough. We were all outside, and although the sun had set, there was enough artificial lighting to get a proper tan. We were all divided into our Training Flights, marched off to our dormitories, and ushered straight to bed. Shortly after the lights went out the sniffles came on. Out of the 60 people in my flight, at least 25 were crying themselves to sleep that night.
No sooner had the peace of darkness, and escape of sleep allowed me to relax, the bugle would belt out the sharp notes of Reveille and all the lights and yelling were quick to resume. This vicious cycle was stuck on infinite repeat for the next 6 weeks.
Time flew by, and the challenges were all overcome as they arose. Soon we would graduate. Practicing pass and review became a daily chore in preparation of our parade. The day was a grand one too. There was a fly over by a B-1 Lancer, and the stands were packed with proud loved ones cheering on their accomplished Airmen.
It’s 28 Aug 2001. 2 days away from my 24th birthday. Basic Training was now a thing of the past, and we had all moved on to Technical School. Mine was at Sheppard Air Force Base in Wichita Falls, TX. Basic Training taught us what we needed to know about the Air Force and military in general, but Tech School is where we would learn to do the jobs we signed up to do. Until assigned a class start date, we would be used as cheap labor as a “Details Crew”. This would normally go 2-6 weeks depending. My class date wasn’t until the first part of October, so I was on the later end of that number.
11 Sep 2001 started out like every day of the last 2 weeks. My 2 roommates and I would wake to our own alarm clocks, shower in our own room, eat breakfast in the cafeteria, and make our way to morning formation where roll would be taken. Life in Tech School was far more relaxed than Basic Training. We could even come and go from the base so long as we made curfew, and missed no appointments or class. Those of us over 21 were even allowed to drink again! After morning formation, our detail crew of about 20 people were asked to go move furniture in one of the school buildings that typically held the Finance and Telecommunications courses. Tech School was kind of foreign to us, because there were lots of active duty people around that were a part of “the real Air Force”, and those people were always chatting with us and keeping us abreast on current events. We didn’t have cable or internet in our dorms, plus we had been removed from civilization throughout Basic Training, so most of us were out of touch. Suddenly one of those “real Air Force” people came tearing into our room and told us to come watch what was happening on live TV. A plane had just crashed into the one of the World Trade Towers! As we’re watching in disbelief, another plane struck the second tower…
A chill suddenly came over me. Everyone in that rom knew this was no longer a coincidence. Moving furniture was suddenly less of a priority. The detail crew was already in motion to set up personnel checks at all entry points of our building. What came next shocked us all. Sirens began to ring out on base as if there were bombers enroute, and intercom voices directing people to take cover anywhere they could. The formations of students marching to and from class became frantic stampeding mobs. People were being injured as they fell and were trampled by the masses scurrying for cover. What was happening? None of us had signed up for this. We just wanted to pay for college, or provide health insurance for our families.
For the first time that any of the “real Air Force” people could remember, all facilities were under Threat Condition Delta. This is the most sever of the Threat Conditions, and required us to employ stringent security measures. No students were allowed off base. No military uniforms cold be worn off base by anyone. People would have to bring a change of clothes to and from work. All vehicles coming on base were searched. There was only one unlocked door to each building that was guarded 24 hours a day, and there were 100% military I.D. checks to get in. Talks immediately started about our training being accelerated, because war was ominously looming, but not yet declared, but this was still all a threat and speculation.
October was finally here, and I was no longer guarding empty stairwells for 10 hours a day just to make sure nobody was sneaking in the back doors to plant bombs in our student dorms. I was finally learning the job I enlisted to do. This was roughly 2 weeks after President Bush declared war on terror on Sep 20th. The rumors were still buzzing about how we might accelerate our education to put more bodies in the field in preparation for war. There was even a period of roughly 14 days where I had to attend class 12 hours a day with no days off. We were never told if this was to test the waters, or maybe the acceleration was implemented and then cancelled for reasons unknown to the masses. Either way, training remained a Mon-Fri 0700-1500 obligation for the remainder of our enrolment.
By early November the Threat Condition had deceased to Charlie. This was still quite sever, but we gained our off base freedoms once again, and were even allowed to fly home for a week at Christmas time. There were still 100% vehicle inspections, and I.D. checks to enter any building however.
It was February 2002 now. I was nearing my graduation day, and was given an assignment to Cannon Air Force Base near Clovis, NM. I had many mixed feelings over this. Cannon was an F-16 base which was exciting as hell to a young testosterone driven man. This was the equivalent of working on flying Indy Cars that also had big guns, bombs, and missiles! On the flip side, it was likely my fast track to the fight. And did I mention Clovis, NM. After living there for a year I began to refer to New Mexico as a third world state. I soon found it was almost better to be deployed.
My intuition was correct. I arrived at Cannon 25 Mar 2002. I was quickly given my Career Development Course, which is more or less a continuation of Technical School to be accomplished while conducting On the Job training. The average Airman graduates to the Journeyman skill level after 12 months of beginning their Career Development Course. I was there in 9. The 522 Fighter Squadron I was attached to was essentially the world’s emergency responders. Kind of like a DOD 911 call. They pushed me to finish ahead of schedule because we knew that call was coming. No more than a month after I advanced my skill level, and I would get my first taste of war.
The F-16s I maintained were specialized in destroying surface to air missile (SAM) sites to ensure safe air ways for bombers, helicopters, and other large slow cargo aircraft. This was done by flying across the desert under 500 feet of elevation and wait for the SAM sites to lock on to them. Then using electro countermeasure pods attached under the jet’s belly, it would scramble the SAM site radar while acquiring its exact location, and fire a missile into it.
We were needed in Ballad Air Base to secure safe passage for cargo. For other close ground support aircraft. What we learned about war in basic training was useless, but here I was in the real deal. Mortar, small arms, and rocket attacks seemed constant. After a few weeks I became complacent even staying in my bunk with body armor laid over my chest and head when attacks would happen during periods of rest instead of scrambling to the nearest bunker. Between launching jets loaded with missiles, then recovering them as they returned empty of their payload, I would assist in loading the dead and injured onto larger aircraft bound for Germany, then back to the United States. I did this knowing it’s what I had technically enlisted to do, but never thought would happen. I just wanted the stability of Ryan’s life style.
Fast forward several years, multiple deployments, and a two year stent in the Air Force Special Operations Command (AFSOC), and I was finally able to leave Cannon Air Force Base. It was now October 2008, and my new assignment was McChord Air Force Base near Lakewood, WA. My new weapons platform was the C-17 Globemaster. I welcomed the change as the fast pace of working on fighters, and carrying out Special Operations missions was taking its toll physically and mentally. I had only ever seen the C-17 as it ferried parts and people in and out of combat zones. Being on the other side would be a whole new chapter in my life.
By the middle of 2009 I had long earned the skill level of Craftsman, and was considered a technical expert in my line of work. Because of this, the short amount of time I had spent on this jet didn’t stop them from sending me back to war. Going with this jet was far easier, but gave me an appreciation for what goes on behind the immediate fight that had before gone unseen. Instead of sending machines of destruction to do their worst, I was sending supplies, food, and thousands upon thousands of troops. Most were Army Soldiers under the age of 25, and more than half had never been outside of the country before this. I knew the places they were going because I had been there before. I’d watched these young men go to battle whole and healthy, then come back beaten and tattered, if they came back at all. I always wondered if they really knew what they were up against, or if they took the stories of their mentors with a grain of salt as we young men often do with things? How many of these same Soldiers would come back on stretchers, or in boxes draped with the American Flag?
Again fast forward a couple years, and many more trips around the world for missions ranging from war in the Middle East, to humanitarian airlifts in various locations, to flying supplies in and out of Antarctica for the National Science Foundation. It’s now 2011, and my favorite pastime is kayak fishing with a very select group of friends. A few of us were either prior service, or currently serving on active duty. Two guys in particular, Dino Abulencia, and Roland Abiva were always looking for ways to give back to those who gave all in defense of their country, and they decided it was time to found our own chapter of Heroes on the Water (HOW).
Heroes on the Water is a national nonprofit organization founded in 2007 by Jim Dolan. HOW rehabilitates disabled veterans and public servants such as police officers, firemen, and paramedics through the therapy of kayak angling. Between the people in our group we had just about all the gear needed to get this chapter off the ground. Dino took the lead as our chapter director, Roland as our co-director, and the rest of us would assume key roles like mine as Safety Coordinator, and we would all guide. By late summer that year our North West Chapter was up and running.
This was an exciting prospect to me. Very few of the injured men and women I had been loading onto our jets all these years had signed up due to a proud military heritage. Most, like myself landed there after enlisting for their own selfish reasons. When I could, I would always talk with the injured about where they were from, and what landed them in the armed service. The answers I got were all the same as my fellow enlistee acquaintances back at MEPS. Only now it wasn’t over a game of football, or while being herded from station to station. Now it was in a medical holding tent, as I helped carry their litter into the back of an aircraft, or as I flew with them to their next stop. Many were missing limbs, or had broken bones. Some were superficially injured, but since they were no longer fit to fight until healed, they would escort the remains of other fallen Soldiers back to their home station. Needless to say, these conversations weren’t light and innocent like the ones carried on before.
On top of those with obvious physical injuries, there were countless thousands passing right under our nose who were suffering from a traumatic brain injury (TBI) or post-traumatic stress disorder that wouldn’t be discovered for weeks to years after being integrated back into society. These are the people who really benefit from our program. Initially our events were small with only a few participants, and there was little gear owned by the actual chapter.
We were essentially operating on our own dime as volunteers. Luckily, Dino and Roland owned 5-6 kayaks, I had 5, and the rest of the guys at least two. The real problem was having enough fishing poles, life jackets, paddles, and other gear of that nature. When the weather turned bad that fall, we all gathered at each other’s houses and discussed how we could make this thing bigger and better without bankrupting ourselves in the process. We began reaching out to various stores in the community with little to no support, so it was back to the drawing board. It was late November/early December by now, and a couple of our group inquired about the annual Sportsman’s Show in Puyallup. Dino contacted the agency responsible for contracting the booths, and we all dug into our pockets to chip in on the entry fee. We were in! Booth #165 in the Showplex building!
See, the way we conduct these events is: The How team arrives 1-2 hours prior to set up and prepare breakfast. As our participants begin to show, we feed them, and outfit them with immersion gear, life jackets, and fishing equipment. While socializing with them, we try to match the personality of our HOW guides to those of our participants so we can establish a good fit. Then a quick safety brief and off to fish. Around noon we bring them back in, feed them, and clean their catch. It’s entirely up to them if they’d like to go on the water again. Then at the end of the day, the HOW team breaks everything down, and take all our gear back to it’s storage locations only to spend another couple hours cleaning. It makes for a long day.
It’s now January of 2012, and the booth was a success! Dino and Roland are fabricating masters. They built an amazing set of stands from Bosch aluminum where we had kayaks on display all decked out with fishing gear, along with pictures taken during our prior events. People were signing up as participants and volunteers as fast as we could get pens in their hands. Both the cash gear donation bins were soon overflowing, and the word of the HOW Northwest Chapter was buzzing around like a live wire!
2012 was a good year for us. After our success at the show, we began to network with lots of business owners, and military facilities alike to set up “Awareness Booths” during busy days. We were also able to purchase 13 new kayaks complete with paddles, life jackets, and fishing gear for our ever expanding chapter. With our new found popularity and funds donated through our booths, we could expand the size of our events and provide far better shore meals for our participants. This was also the year Anthony Schuman came into our lives, during an event early that spring.
Anthony was our first and probably greatest success story, a good friend, and a true testament as to why we persevere to make a difference. He was deployed to Afghanistan where he was repeatedly engaged in combat operations. Upon returning home, he was diagnosed with vaso-depressor syndrome, and PTSD. He was medically discharged early in 2012, and moved back to his home of Olympia, WA. His road to recovery started off rocky, to say the least. He often struggled with overwhelming feelings of anxiety, frustration, and depression. He even had repeated thoughts of suicide. This process of adjustment would often put distance between him, his wife, and two children.
Luckily for all parties involved, Anthony reached out to HOW, and we were quick to respond to his needs. Anthony had never been a big fisherman before. In all reality, he had only fished twice in his life. Anthony has a quick mind, and knew things needed to change, so he was looking into fishing as a positive outlet for all his negative energy in hopes to heal his soul trough the tranquility and peace we often find in the outdoors. After he went fishing with HOW for the first time, he was absolutely hooked on the kayaking aspect combined with fishing. This was a crabbing event off Solo Point near Dupont, WA. Along with another dozen or so participants, dropped crab pots into roughly 100 feet of water, then turned to jigging flounder off the bottom while the pots soaked, hopefully filling with crab. The fishing wasn’t exactly red hot that day, but he did manage a nice greenling amongst a small stack of flounder. The pots were productive, and the results were a huge crab boil right there on the beach for all the participants and HOW staff alike. He was tutored and mentored while on the water by the HOW team, and Dino proved himself a valuable resource and friend.
It was the experience that HOW was able to provide him as a wounded warrior that ultimately changed him forever. HOW showed him a new space to be himself in the outdoors while learning a new skill he could use to manage his anxiety and depression. Knowing that it was only you powering this boat with the hard work of paddling and balance required by kayakers to reach your destination, and it was all the effort provided a bounty of crab and fish, just makes you feel good and forces those bad feelings and injuries off the boat to be left behind. Anthony remains uncertain where he would have ended up without HOW, but his experience was so therapeutic that he went on to purchase his own kayak and continue fishing by himself. He soon found his way back to HOW, but not as a participant. His skills had improved greatly, and he joined our team of volunteers as a guide, and to share his success story with those we aim to help. After graduating from The Evergreen State College in the fall of 2014, he was able to grow through these deep roots in the HOW community, and now has a paid regional director position with the program. To watch Anthony grow from a timid participant, through the ranks, and on to a HOW regional position shows me that we as a team are making a difference, that will continue for years to come!
Telling this story of Heroes on the Water, of how we came to be, is a bittersweet for me. I have a great passion for what we do thanks to the things I’ve seen and done over the last 13 years. Anthony’s story is a great one, really a home run for our chapter. The bitter part is I couldn’t bring you Dino’s story. As you’ve read, Dino is the heart of our chapter. I was going to interview Dino over a four day fishing trip on the Olympic Peninsula beginning 14 May 2015. The plan was that our HOW team would fish and play in the ocean all day, and I would sit at my computer transcribing these tales by night. Nobody could have predicted the tragic events that played out that morning.
You remember the name Roland Abiva? He was Dino’s cousin, and the co-founder/director of our North West Chapter. While paddling his kayak through the surf when we were initially launching that morning, Roland’s boat was capsized. He immediately stood up and began to retrieve his gear. This wasn’t a big deal, and was something he would have certainly been teased about over beers around the camp fire that night. Then another wave broke over Roland’s head. This too is commonplace for us when we fall out in the impact zone. It’s typically no big deal, and we wear dry suits to protect us against the hypothermic waters of the North Pacific, as well as a Personal Flotation Devices (PFDs), also known as life jackets, even though we are all strong swimmers. After the white wash cleared, Roland was nowhere to be found. Our team charged into the surf only to find him face down, kept afloat by his PFD. He was immediately rushed to shore where we were able to clear his lungs of water and began CPR until paramedics arrived. Unfortunately it was too late, and we lost a good friend, amazing man, and pillar of our community on the beach of Makah Bay that morning. May the seas be fair, and the wind always to your back, my friend. You’ll be sorely missed…
This is one of my favorite memories of Roland I’d like to share. We had many adventures together on the ocean, and in the sound alike. Many even involving large predatory fish, and multiple close encounters with whales. This story still remains closest to my heart though…
My youngest of 3 kids Kimbra is a fruit junkie like most 2 year olds are. For some reason she would never eat citrus though. Berries, melons, apples, and things were like candy to her at the time, but she’d turn her nose up to an orange. Roland adored children, and loved my little girl. Anytime we were together he would scoop her up and play with her for hours. This one day we were at Salt Water State Park conducting safety day training with our HOW team, and my whole family came out to join in. Typical fashion, Roland scooped up Kimbra and they disappeared to walk on the beach, and play like normal. After finishing one of my classes on hook removal, I went to check on her. What I found was a huge pile of orange peel, and Roland stuffing wedges in her face as fast as she could chew and swallow. This almost made me laugh to tears, because a Floridian, citrus is a staple in our family diet, but not a single person could convince that little girl they were edible. Except Roland who would spoil her to both their hearts content. She has now made a 180 degree turnaround, and we can hardly keep citrus of any flavor in the house because she eats it as fast as we can bring it home.
Introduction
The Chehalis River Valley connects a series of rural communities in southwestern Washington primarily located along the aforementioned waters. Adna in particular is a peculiar region within the greater faction in the sense that its positioning between the progressive urban centers of Portland and Seattle, it continues to remain sequestered along the coastal foothills west of development as it seems to always have been. Chehalis(Łəw̓ál̕məš), or otherwise known in the Tsamosan-Coast Salish language as shifting sands defines perfectly the experience residing along its banks. Like the constant flooding, meandering, destruction, and recreation of the land yearly, so too are the memories and histories of those who have settled here. This equilibrium is not a new phenomenon to the area but rather has been a process of accretion and reciprocity for generations. This ethnography however, moves upstream through the past and acts more like bioturbation than a linear passage. Moreover, what attempts to be accomplished are the transgressions on time and space this community has encountered and how the experiences and actions of individuals through traumatic or pivotal events on the landscape has reinforced that perception. This work of the historical and contemporary era can only be understood by dredging up the archaeological past and seeing it from the long view as a place of consistent potential and appropriation since time has permitted human usage of it since the last Vashon glacial maximum.
Archaeological and Historical Analysis
Adna’s story is not the beginning but serves more as a continuation of diffusion that has existed in the region for centuries. Prior to the era of contact and later the homestead act of 1862, the region served as a vital transportation hub for the indigenous communities throughout the northwest. Conveniently located through a relatively flat passageway to the south towards the Columbia connecting both land and waterway to the west, and safely through a series of trail systems through the Cascades controlled primarily by the Yakima peoples (through a balanced reciprocity system) linked together a crossroads of trade networks affixing the area with cultures’ commodities as far reaching as Mexico. Resources such as mineral deposits and manufactured organic material like waterproof baskets from the Columbia basin made its way across the mountain range. Obsidian shards native to the high plateaus of Oregon and Eastern Washington have been found throughout the Chehalis and Yakima territories, hundreds of miles from its source. Smoked and fresh salmon as well as precious Eulachon oils imported from Athapaskan, Upik, and Coast Salishans from Alaska and British Columbia became highly sought after, including with early Russian trappers. Pemmican, a smoked cake of Wapatau and bitter root pounded with dried berries and salmon became vital for winter consumption in between seasonal rounds – as did the oil for passing it. These footpaths connected tribes virtually across the west and beyond linking up in Idaho with the Nez Perce and Shoshone, and heading south to the Acorn processors of the California cultures and further Nahuatl and Uto-Aztecan territories. This system of economy lead to a highly stratified society with royalty and slave ranks based on merit, lineage, ancestral rights, and reciprocity through the giving of Chilkat cedar blankets, and other adornments. Although evidence for the actual foot trail is scarce, and due to the rising of sea levels over three hundred feet, evidence for early migration theory is also predominantly inaccessible. This expansive trail system was observed by outsiders and documented firstly by Russian, French, and Spanish fur trappers and tradesmen as early as the 18th century and later the encroaching pioneers and cattle drivers who used the very same networks. By the mid 19th century the establishment of Claquato (now abandoned) and others to the north such as Tumwater, Alki, etc established the foundations for the present industry and roadways such as highway 30, Interstate-5, and others. As Pacific Union brought track lines to communities along the Chehalis the demand for officializing towns with railway structures gave Adna its name inspired by Edna Browning, an important early figure in the Euro-American settler community.
Predominantly agriculturalists and timber specialists were attracted to the area’s natural abundance of prairie lands, wildlife, and old growth and remains to be the majority of occupations held throughout Lewis county today. People mentioned throughout the pages to follow continue this legacy and are vital to the function of this community’s prosperity. The significance of traditions practiced in Adna by people such as Tom Paulin; a retired Yugoslavian-descended lumberjack are becoming more idiosyncratic to Adna and other surrounding unincorporated communities as the encroachment of land management companies such as home development firms and major players like Weyerhauser along with rising real-estate and other advances of modernity continue to permeate the countryside, the collective nature of core-values is changing while simultaneously shrinking the isolation and pastimes of the region.
Spring time in Adna is full of energy as the break in the dreary, wet winters experienced dissipate into fresh wind. Riding in the back wagon of Tom Paulins 1940’s Red International tractor leftover from his father the air is crisp and full of budding smells of wild grass, conifer, and flowers which traverse through the tips of your senses and passes by with the diesel fuming out the pipe. Heading into the grassy alfalfa pasture the sun hits the wall of evergreens in front of us like diamonds as the the fresh beads of rainwater shimmer and dance among the needles. Four hundred yards out leans a barn next to the creek which overflows into a large pond after storms. Brown and grey from weathering, yearning for a purpose again.
“ My dad built this one right around ‘45 and was used for mostly grain storage in those days instead of all my nicknacks in here – watch yourself on the nails coming up”
says Tom as we step over some scrap wood beams entering the dusty, dank, structure looking for spare parts to reinforce our chicken coops after the last storm damaged the rigged together frames.
“see originally this whole field including where Mikes’ and my trees are now used to be open for Cattle grazing until about the ‘70s when we sold ‘em off but now I just keep my lumber scraps in here until this place tips over for good, but that’s okay, I always got the other one down back at the house.”
While continuing to determine which roofing tiles and spare beams would hold up the best I became intrigued with the scenery no longer in front of me and began to ponder about how the relationship with the land has changed throughout a lifetime, and how it has provided for the well being of the community.
“ Just about everyone in the area up to Galvin over there by Centralia opened up to Cattle back then but that all started to change with the protections of state forest lands so the incentives for timber rose up again and we all replanted, and that’s where I found my calling was working outside in the woods. I tell ya, I tried college for a little while, I was actually studying engineering but just one day hit a wall and couldn’t hack it so I dropped out and got work in a saw mill – and it paid pretty well too. It was tough work but by’golly I loved it. Even the winter jobs up in the Cascades where one time it snowed on us all night and by morning we were cuttin’ through logs with snow up to here (signalling with his hand to his chest) but that’s alright, it makes a good story anyways.”
Like many Pacific Northwest dwellers, the importance of trees and forests are personal and imperative to our understanding of the world, and most importantly the landscapes of our memories like Lou Paulin: Uncle to Tom and an original family settler to the property who also greets us back at the more structurally sound barn next to the road. Strung up with white lights inside and out, they connect with the apple tree out front. Painted with Cadillac Ranch along its side in Norwegian red. Sitting at the cinderblock fire pit next to the original once white-now cream colored 1920’s bungalow adjacent to the barn Lou waves seeing us cross out into the field which made him curious as to our adventure. Instantly after beginning to tell him about the transition to the lumber industry he chimes in;
“oh you bet, I remember when we planted this one right here (pointing to the windy, curving Gravenstein apple tree) along with all them trees out there (pointing out into the field of 70 year old douglas fir and hemlocks). Of course there was more of these apple trees here then, we had an orchard here when we first moved to this place before the depression, and that’s what really fed us and our neighbors, this here is the only one left, the flood took out the other two still standing and one fell over from rot – what was it, 3 years ago now? anywho, I miss those times. It was the best time to be alive. People shared and worked together to get things done, and you could trust ‘em too. We all knew each other. Not like it is today with how crazy everything is, I watch too much news ‘cause now I have nothing better to do and everywhere seems like they’ve lost their minds. You couldn’t pay me to go to Seattle now, you just couldn’t.”
After hearing what Lou told me it made all the more sense about his character as being my neighbor who looks out in the field of grass all day for no reason at all. His purpose became clear. He wasn’t seeing the land before my eyes, none of them were, but rather the ghosts of old workers, the faint sounds of field songs, and rumbling of old early century machinery.
Social Discontent and the Dawn of 20th century modernity
Lewis county at the turn of the century experienced a continually changing (and rising) demographic which lead to an influx in the importation of ideas, allegiances, and occupations. Ultimately these challenges gave way to a climax of indifference and violence not uncommon to the unheavenly pastimes undermined in the Northwest. As a transportation and industrial network hub for major urban centers, the communities such as Adna which surround Centralia began to depend on the exportation of precious materials (primarily timber and coal) to the growing metropolis centers and federal infrastructures such as the military and rail companies. For the last 5 decades up the 20th century over 400,000 migrants made their way westward, many of whose final destinations included southwest Washington. Of these migrants included a large number of both Union and ex-Confederate veterans, outlaws,miners, bandits, loggers, sailors,dubious business entrepreneurs, prospectors, and tradesmen of both newfound American descent, and old world immigrants congregated in communities together alongside the Chehalis River. By the time of the arrival of peak migration, or shortly thereafter the core-values of early Lewis County began to divide as federalism and national identity started to capitalize on the citizens as well as the land. The years before The Great War saw expeditious claims of land by major players such as Weyerhauser company, Milwaukee Land company, Schafer Brothers, Weyern Timber company, and the Bureau of Land Management for several hundred acre plots for in some cases cents on the acre with the intentions of logging and coal mining.
Consequently, what became clear relatively quickly were the dangers and risks involved with participating in not just industrial positions, but also occupations with patriotic connotations such as logging, mining, and agriculture. Ideas of Unionization, pacifism, and other inferred socialistic mentalities grew greatly in Lewis County during the direct years leading up to, and equally so after the end of the first world war. As discontent spread due to the unequal reciprocity experienced by the private land companies and the federal government towards its employers for the price of products extracted, the popularity of organizations such as the Industrial Workers of the World (IWW) expanded into heavy labor regions and ports along the entire west coast, including Centralia and its surrounding communities as one of the forefront headquarters. Actively during The Great War, including the two and a half years prior to U.S. intervention in Europe, an increasing American home defense appetite required the cooperation of private land firms to contract timber plots out for military production. Including specifically the preference of old growth Spruce to support the construction of aircraft which Adna at the turn of the century remained to have standing, some as old as Rome. By the time of war reaching to the United States the situation in western Lewis County between various factions of loyalists, socialists, pacifists, and unionists seemed to leave no room for bystanders and in 1918 a new landscape was created.
In response to foreign policy, and the direct involvement of harvesting local forests for not only combative purposes, but for aircraft – a new time shortening machine with the potential delivery of awe, or devastation, the IWW or “wobblies” set fire to hundreds of acres of old growth spruce forests, forever changing the appearance of the landscape. Retaliations followed soon after including the bombing of IWW headquarters in Centralia as well as the lynching, threatening, and severe beatings of multiple known wobblies given by freshly organized Loyal Legion of Loggers and Lumbermen (4L), a group predominantly made up of pro-war veterans and anti-unionist laborers. Furthermore, Adna had introduced itself for the first time publicly to the nation.
1919 was a year to be believed as the beginning of humankind’s entering of understanding that clearly became a harsh realization for communities with numbers of returning individuals from the frontlines importing with them their experiences from overseas. In celebration of the first armistice day, the conjoinment of Chehalis and Centralia to conduct a memorial parade established one of the most attended events in either cities history up to that point which required the last minute maneuvering of parade routes creating a chaotic, but festive scene down main street, Cherry Lane, and N. Tower avenue, where the IWW’s new headquarters were established. Due to fear of treason, the IWW fabricated as an fictional organization when leasing a new center and whether what happened next was planned before its new establishment or not, the unthinkable happened.
as the 4L parade line marched down N. Tower avenue, witnesses and victims recounted the recollection of a series of moments which are still debated among parties today. What is fact is the 4L parade line turned about-face towards the IWW. It is also clear that wobblies were positioned tactically and armed accordingly so among rooftops, various vantage points, as well as compounded within the building now owned by McMenamins’ Olympic Hotel and Bar. What is not fact is who fired on who first. In the end 5 lay dead,one socialist, three 4L members and one marshal shot by a .22 500 yards out, gunned down in the street by wobblies. A 6th socialist attempted to flee with a broken pistol as defense but was shortly captured by loyalists while wading the Chehalis river, and was hanged nearby on the river bridge now connecting Adna to Chehalis along Highway 6. It was clear that the realities of human nature, and of post-war environments would not be eradicated so easily. This was the environment people like Lou Paulin were born into and where his story begins.
Testimonials
Born just shortly after the Centralia Massacre in 1921 to Tom Paulin sr., an Austrian with Italian nationality and mothered to Matilda a former Yugoslavian , Lou was raised during his early childhood in a town called Mendota where these emotions were still contested.
“It was a real different mind set then, the IWW felt real upset about wages rights. It was like the Wild West back then, everyone packed a gun and tensions were real high – you couldn’t go around saying just anything, people had real troubles then.” said Lou quietly and reserved. The only native born Washingtonian, the family moved from Montana where the couple married and birthed his siblings Matilda jr. Frank, and Joe to Mendota for work in the Mendota Coal and Coke Company who erected a town for the migrating workers. The Lewis county census records of 1930 indicate his father at 54 was renting a home for $6 a month as a miner. With 39 total residents and only 9 working bodies, Mendota was a small community of swampers, riggermen, miners and engineers.
“I lived there until I was 10 or 11 (8 years of age at 1930 census) when papa bought this land here in ‘33.” Says lou to me in his wistful, yearning voice.
“We liked it up there but the coal mine went corrupt and so the town folded with it. It was so different then. Those hills behind you originally were old growth, mostly Douglas Fir but some Cedar and Spruce too.”
His long face matched his pensive voice. Wherever Lou seemed to look it was as if his mind was turning pages in a book which gave a constant reflective gaze of both disappointment and collectiveness.
“we logged ‘em all out there in 1929 and we bought the land mostly for pasture after that from the Milwaukee Land Company for five dollars an acre if you can believe it.”
according to a 1940 township map made by Portland civil engineers,square plot number 26 to be exact, 140 acres immediately next to Weyer timber co. Geo. Geiszler, and State F.B.
“ Big timber back in those days, that’s really something you don’t see anymore. The bark and wood of those old growth’s made such better materials. They lasted so much longer than the crap today, panels and shingles seemed to last a lifetime.”
“yep, yep, you betcha they did, I remember the red tannins from those old cedars used on the barn runnin’ off the panels onto the ground around it, coloring everything bright red, you don’t see that anymore, they don’t get old enough.” piped Tom sitting near Lou on the tailgate of his red Dodge pickup.
“Hell – you can’t even find Cedar anymore! what’re ya gonna do when you have to replace those shingles Tom?”
“I really don’t know, it’s so damn expensive now ‘cause not many people grow or cut it anymore ‘cause it takes too long for ‘em to grow. They’re protecting what’s left of the old ones now which is for the best but it really is a shame ‘cause you won’t ever see them again like that.”
Some universal agreement and tailing off words of agreement lead to silence for some time and Lou retreated back into his book of nostalgia. Fixing his eyes above us towards the top of the barn he gives a good affirmative look before lurking our attention to where he’s looking before adding: “yahp, I remember throwin’ hay up there with papa. You used to have to do all that by hand, bales didn’t exist back then. What you had t’do was take that pitchfork and stab at the pile a few times and shovel it up the ramp. A lot of time I’d be up top there moving it down – that loft is still up there too by the way.
This old barn has held up well, took some work doing but its held up well. I’m surprised papa built one so big honestly, he only had a few cows but – God there’s a lot of traffic on this road” Lou interrupted himself as a caravan of cars drives by on the curvy, uneven, pothole ridden road that divides the property in half extending into centralia and Grand Mound to the north.
“The other day I was set up on the porch and counted over a hundred cars in just an hour! Even five years ago it wasn’t like this.” Said Lou, and something like it every time thereafter a vehicle passed by. “This used to be only a small gravel road and we didn’t have any telephone lines yet either. ‘Course when it did come out here you couldn’t ever use it ‘cause so many people would be using it or listening in on ya.”
Tom suddenly became inspired again to include that where the property I rent across the road used to be a part of Milwaukee Land Companies railroad.
“Yep that’s right, part of your driveway is too Lou, and a bit of mine, it started out towards Pe El west of here and snaked down through Lincoln and Bunker creek and ended just down there where my grapes are over there.” He said pointing eastward.
“ you can’t see it much anymore ‘cause they rip ‘em up as soon as they’re done logging through here, plus its been flooded and tilled up so much since then but the end of the line and the loading house was just there.”
Lou suddenly had a re-emerging inspiration about our previous conversation prior to the interruption of modern machinery and continued:
“I remember the logs they used to pull outta here, many were over 8 feet wide when I first move here. The community was real different in those days, nowadays everyone is American and there’s no argument over it, but then it was a lot of Germans, Dutch, Norwegians” – “and all those Swiss too who lived near the coast too” added Tom.
“right, we had all kindsa cultures and different languages then, but we somehow all made it work together. We helped eachother out all the time, neighbors were real good then.” he stumbled over his words as he trailed off mid sentence and shook his head. “not like today, you can’t even get anyone – “ he shook his head again, and further added: “its a shame this country went and killed us all off in our prime. I’m always amazed as to how someone like Hitler could do all that to us. Just like they’re doing now over there on the other side of the world. It’s all repeating itself.”
No one said anything. An unspoken nerve visibly hit Tom before anyone could think of what to contribute and made it his excuse to continue his day. Lou followed and the evening closed a little too familiarly.
______________________________
The weather in late spring is a pleasant unpredictability of golden sunrays which at a moments notice can turn into an attack of the clouds. One peculiar condition about Adna added to the sounds of spring are the sounds of various rumbles from timber felling, the adjacent dynamite factory, and shotguns greeting birds on crops is still an array of noises yet to become background to me. Shortly after a few explosive feeling rumbles felt inside our cedar cabin home cut and built by Tom, followed by the affirmed rain shower, we see his chipping red Dodge with his four legged co-pilot collie dog Sophie over at the Cadillac Ranch barn. The air of rural adna is pleasant during the warmer months, especially after spring rain when the sprouting evergreens throw its sweet, almost fruity aroma that lingers on your throat.
“Hey there kids! How ya doin?” Tom waves and yells as we walk across the smoky still glistening road down the gravel path leading to the barn.
“Did you hear that thunder a little bit ago?” I and my girlfriend confirmed we did and spoke of our confusion as to whether it was the dynamite factory half a mile down the road.
“Oh nope, nope, they don’t usually do that over there anymore, its mostly storage, although sometimes loggers will use dynamite including around here but it’s getting rare.”
Tom Paulin is known as the social butterfly of Bunker Creek, and lives up to his reputation by knowing just about everyone in Adna, and also from his family’s music success, some major outlaw country stars such as Willie Nelson, who once played in the barn we now stood in and is also respected among his generation of locals. His alternative reputation is also the ‘MacGuyver’ of mechanics, being able to fix anything from instruments to machinery, which is where we caught him currently, welding an old wheel cog to something older than both of us combined.
As a true outfitter, and also several decades spent in the lumber industry his face and hands are are plump and rough, but his downhome friendliness would never believe you to think of him as intimidating.
“I’ve used it a little bit and the old timers sure used to a lot. When I was about your age we used to still have quite a bit of old growth still left in this area and even more rotten core stumps still left and we used to use rope dynamite to bring those down. We would wrap a ring around the trunk and then chain it up so when it blasted we would pull it down. You had to be careful though, I know a buddy on the other side of Adna who broke his back in two spots once doin’ that.” with almost no hesitation he continued
“But the only thing they really use it now today for is when you fell a tree we sometimes would bring in a person called a ‘powder monkey’ who would set a charge of powder underneath the log and set it off with a trigger so we could scoop underneath it. I remember this one time we were up in the Cascades doing a job and we had felled this one old growth about ten feet wide and had to send in a powder monkey so in the mean time while we waited we had ourselves a food break and as long as we stayed on the other side of the log we’d be safe so anyways this guy comes by after a little bit to lean in on a story a buddy of mine is tellin’ and we didn’t have enough time to tell him ‘move’ before that cap went off and boy – byegolly I tell ya that guy jumped right into my friends lunchbox.”
Tom is a person who loves to tell stories of all types, and gets distracted often by the doings of others which almost always leads to a telling. His conversations meander like the lower Chehalis river from one spot to the next and always does so excitingly.
“ When logs were still big enough around here they were too heavy to be lifted even with our cranes that held up to ten thousand pounds, what I would do is take my 2 foot saw and lay into the trunk a few slits all along down it and then call for an engineer to plug em with a slow burning powder and a fuse running out each one and boy I kid you not it would make such a clean split you couldn’t ask for any nicer.”
“Its also hard to get now too and you have to go all the way into thurston county to lock it up each night so its not really worth the paperwork anymore.”
A casual breath and a wetting of the lips and back to it:
“ Real different times back then, it sure has changed a lot how everything is done now in such a little amount of time. It was hard work but I loved it” he said with a grin.
“ I could go on forever and bore your ears off with all that stuff but it was really great to be a part of that movement. It is really sad though that not much of the old growth is left around ‘cause its gone forever and the land really can’t support it again.”
As we weave in and out of storytelling and chatter, the clean ground brings out in the distance a pack of Roosevelt Elk up on the rocky, bare hillside grazing on the open range of foliage sprawling from treeline to treeline.
“Oh great the Elk are back! I haven’t seen ‘em in a while, they sometimes will come through here but not so much lately with that sickness they get going around.”
For the last decade or so hoof rot has become a virtual plague for many parts of western Washington to several contributing factors not well documented. Something I’m familiar with from working with Sheep, Horses, and Cattle, once the bacteria infects the ground, it seems to stay and as a result has spread to wildlife such as Deer and Elk.
Favorable conditions for promotion of the disease fits the common temperate climate of this region of 45-55 degrees.
I ask out of instant curiosity if the weather has changed at all within the last decade and immediately he responds: “Yeah you know it has a bit actually, the ground definitely is getting warmer than it was when I was kid. The old timers all had skates. We’d get snow and ice here regularly and bitter cold too, the Chehalis would freeze completely over now and again, maybe 5 or 6 times. We used to use horseback in those days, up until the 60s and 70s actually with skis attached to em and that’s how we’d pull logs down river during winter regularly. I haven’t seen it get like that in just about forty years though. The bees have gone away a lot too, they used to make the sweetest honey – Lou will tell ya that too, all of em would pollinate on the fireweed that used to grow here but doesn’t anymore. Maybe it does have something to do with the weather, but it has been warmer lately. The flooding is getting worse.”
Conclusion
Adna and the surrounding areas have no square inch left of untouched land. I can’t help but think within the last 10,000 plus years of known habitation along this river system every blade of grass has been trampled, and every forest visited. Although various cultures who have occupied this territory throughout time have utilized its resources for opposite objectives and functions, the purpose of settling here along with the wildlife is for the reasons; the illusion of safety. The Stories shared with me from multiple lenses are becoming a place-myth as modernity creeps like ivy further into its interior, making common pioneers like the Paulin family a growing minority. The importation of values has redefined new boundaries for the community blocking off the rural sides with affiliation to downtown residents as the influx of demographic has brought with it careers geared away from the land, viewing it as a form juxtaposed to a function. These changing shifts are divided as much as they were a century ago and the alienation of its local stories has left some with opinion of going against its own self interests. Down the road is a preserved cemetery apart of the old ghost town Claquato which contains some of the tallest trees left in western Lewis county, one of which a several century old cedar tree which Tom told me has his grandmother buried underneath it. This resting place seems a symbolic finishing point as the legacies of old lie peacefully underneath the roots of what made it all possible.
Tara LaChance
June 1, 2015
Memory Essay final draft
My father’s parents both died before I was born. My grandfather shot himself when my dad was 11 and my grandmother died of a stroke when my dad was 26. My mother’s parents didn’t have much interest in spending time with or developing a relationship with their grandchildren. They died a few years apart when I was in my 20’s. They said they had raised their children and were done. I have always had a very intense longing to have grandparents who would tell me stories about where they came from and my heritage, to take me places and spend time with me like I saw so many of my friends’ grandparents doing with them. For this reason, I decided that I would seek out a person who I could ask the questions that I would have asked my own grandparents. I really wanted to find someone who emigrated from Italy, since that was where my father’s grandmother came from, and I feel more connected to that side of my family (even though I never met them) than to my mother’s side. But, as fate would have it, I came across a woman who emigrated from Germany, which, by coincidence, is where my mother’s grandmother came from. This is her story.
I didn’t seek her out. Instead, she just happened to be sitting at the front desk of a recreation center for senior citizens that a friend took me to one day. I went in with the intention of just asking if they had anyone there who had emigrated from Europe and would be willing to speak to me about it. As I was asking the receptionist at the front desk if she knew anyone who may fit these criteria, there was a woman sitting with her back to me, maybe a foot away and had been talking to the receptionist when I walked in. The receptionist said, “Well, she is from Germany and has a lot of great stories” and pointed to the woman sitting in front of me. The woman slowly turned around and I said, “Great! Would you be willing to speak to me?”. “You’ve come right at lunch time”, she answered, “but I can talk to you for a few minutes. Let’s go in the back room where it’s quiet.” We walked down a short hallway, in to a room that has five round dining tables with four plastic and metal chairs around each table and sat down near a window.
I introduced myself and she did the same. Her name is Hermine, and she was born in Berchthegargen, Germany in 1929. She is about 5’2” with a round figure and an accent but very adept at the English language. She has short, white hair that comes above her shoulders with loose, sporadic curls, pinned up on both sides with gold barrettes. She wears a gold necklace with a cross, gold hoop earrings and small, frameless glasses, (also with gold accents), and a gold eyeglass chain attached to each side and falling around the back of her neck. Her eyes are blue. You can tell that, in her youth, she was a beautiful woman.
She comes to this center every Monday, Wednesday and Friday, early in the morning and sets up the exercise room for the group exercise that she participates in. She likes for things to be clean and for everything to be in its right place, she tells me. “I am very particular about things,” she says. We already had something in common, it seems.
Her parents were Austrian, she makes sure to tell me, but she was raised in Germany. She is kind and open, willing to tell me whatever I want to know. It seems as though she is happy that I am interested in hearing about her life. Although her demeanor is not overly friendly I still feel an instant connection with her. Maybe partly because the great-grandmother on my father’s side that I mentioned I had wanted to interview…her name was Erminia. What a great coincidence! (I don’t believe in coincidences)
Her mother died when she was 10 years old of ovarian cancer, and Hermine was put in to a foster home. Her two brothers and one sister were put in foster homes a well. She goes on to explain that her father died a couple of years later but she is unsure of how. In the middle of this, she interjects, “And then the war happened.” “Do you remember much about the war?” I ask her. “I remember everything” she replies. “Would you mind telling me about it?”
She begins right away “We of course had the bombings. I slept in my clothes for three years straight because you never knew when the bombs would start and you would have to go to the bomb shelters. We had the black-out windows, all the windows blacked out. And then it got to the point where we got bombed every hour, on the hour, at the end of the war, you know. Sometimes we run for the bunker and if it was too late and they closed the bunkers up, then here we are out and the bombs are coming down. Then we hit the ground and as soon as we got, we made a circle and we dashed to the next building which was a school house, down in the basement there during the bombing. Bombing was hell.” Her eyes become red and well up with tears, but she doesn’t allow them to flow out.
She lived in Munich, on the opposite side of the mountain where Adolf Hitler lived, she tells me matter-of-factly. “Were you afraid of Hitler?” I asked and very quickly she says no. In the same breath she goes on to say, “You have to belong to his party or you didn’t have a job. People wanted to work. My father and mother, they had four kids, they needed work you know. But uh, I don’t know of anyone that got by not belonging to his group. He held a Christmas party for all of the families with four or more children every year and we all sat at long tables and we each got a gift.” She looked forward to attending that every year, being young and not knowing any better, she explained.
She saw Hitler in person once as he went through the town in a parade. “We were all on rations, and the rations were very small.” She doesn’t show any emotional effect when I ask about Hitler, which I find interesting. Also during my questions about Hitler she told me that her blood brothers, who were also sent to foster families when her mother died, both had to go in to the German army during the war. I asked if they were forced to go in and her response was, “Well, they were 16 and no parents, what are they gonna do? You join the army.” She continues by saying, “One joined the SS because it paid more but not the kind of SS that was in a concentration camp he was in with a fighting troop. He lost a lot out of his back and he lost a leg. The other brother joined in the fighting because that’s all he wanted to do.” I asked if she ever spoke to her brothers about their experiences in the war, but she ignored the question and moved on to talk about her brothers and their families, so I left it alone. She is the only one left out of her family now.
Outside of Munich was a concentration camp, she tells me, called Dachau. “Did you know what was happening to people there?” I asked her. “No, no, no, we didn’t know what happened inside of that until after the war. What the Americans said. But uh, I was supposed to have had an uncle in there but I never did find out who he was or what his name was, I never saw him after the war, so evidently he was one of them that…” She stopped there, right in the middle of that thought. After the war, she goes on to tell me, they went in and saw the “burners” inside of the Dachau where they burned the people. Also a tree that supposedly was used to hang 800 people a day. She says that she saw it and it just “didn’t make sense” to her because there was not a scratch on that tree. I had never heard of this camp so I Googled it when I returned home that day and found this information[i] “Dachau Concentration Camp was the first of its kind opened in Germany by the Nazi government in 1933, and it served as a model for later concentration camps. Designed to hold Jews, political prisoners, and other ‘undesirables,’ the camp is now a memorial to the more than 40,000 people who died and over 200,000 who were imprisoned here during the Nazi regime. The memorial was established in 1965, 20 years after Dachau was liberated by American forces.”
She recalls how the school children in her town were given the rations to deliver to families in the area every week. They gave them the addresses and a package of what went to each family. She spoke about how sugar was “almost impossible” during those times. She wanted to bake a cake, so she saved up the sugar rations for three months in order to have enough. While she was waiting for the cake to bake, bombs were falling, everything was rattling, but she wanted that cake so badly, she just stood at the oven and waited for it. Her foster parents owned a restaurant so she said that she didn’t feel hungry during the war. They had access to a garden and they were also able to go to other towns to get meat from butchers. Her foster mother was very strict she and the three other children had to sit down right away when coming home from school to do their homework before they could play or do anything else. She describes her foster father as “really a nice guy.” She gets the first smile on her face so far and remembers, “We used to get into trouble together.” She describes her childhood as “beautiful”.
One time a plane was shot down in Munich where Hermine lived she was only maybe 11 years old. She and several other children wanted to “see what he looked like”. She thought that the pilot was an American. They began to run towards the plane and they began getting bombed. One of the other kids, a boy, yelled at her to run for her life, in a zig-zag pattern. She didn’t end up seeing the pilot’s face but when I asked if the plane was, in fact, American, she told me it was actually British.
Hermine recalls one time that she saw a dead body in the street. She was about 13 years old and was on her way to the train to go to the next town to get lamb for her foster parents’ restaurant. There was a woman lying dead in the street. She walked right past her, stopping briefly and looking down at her. “But what could I do? I was just a kid.” She had to keep walking and continue on with what she was doing. “Some nights up to 400 people died in Munich from the bombs,” she says plainly. I can’t help but think that this must have affected her on a deep level, but she is very even in her emotions while telling me her stories, almost unfeeling sometimes.
I enjoyed getting the opportunity to meet with Hermine and her openness to speak so candidly with me. After all, I was a complete stranger to her and here she was sharing her life story with me. So didn’t hesitate to tell me very intimate details about her life. There were times when I actually felt uncomfortable with the details but she didn’t seem to mind. Maybe that kind of willingness to share her story comes from the fact that she had a lot of struggle in her youth and she learned to just be open and free with her life. Or possibly it comes from the fact that she grew up really without a tight family unit and like me, she longed to have someone who cared enough to ask. Whatever the reason, I am glad that she is willing to share and I looked forward to our next meeting.
During our second interview together, Hermine carries a women’s magazine in her hand on our way back to the empty lunch room that me meet in. I don’t think anything of it until we sit down and she opens it up saying, “I have these papers to show you. I had to hide them in this magazine because the people around here are nosey.” She grins at me like a young girl with a secret. This is the first time that I have seen this side of her. She pulls out several old documents among them are her temporary travel document in lieu of passport form German nationals, a magazine from the Alexander M. Patch ship that she came from Germany to the US on, and her citizenship paper. “I am surprised I still have all of this stuff,” she says to me. My eyes light up and I grab the stack with excitement and begin to inspect each one. “Wow, you were really pretty”, I say to her as she smiles and goes on with another story about the war.
“When I was 15, we were in town in a big group and two German officers just came up to me, one on each side, and told me to come with them,” she explains. “They took me to a nearby building to a second floor apartment and set me on the bed. I didn’t know if they were planning on raping me, or killing me, or both. But what could I do? There was one on each side of me, holding my arm. I looked around the room and thought about jumping out of the window as an escape when another officer came in with an interpreter. He wanted to cut a piece of my hair. He said it reminded him of his wife. Of course I agreed. After he cut a lock of my hair, he gave me a 5 pound bag of sugar and some money and told me to go home. I still don’t understand what that was all about but I was happy to not have been harmed.” I sit across from her, riveted by the story that I was sure would have a very bad ending, but thankful that it didn’t. She goes on, “My foster mother told me that I was seen being taken by two officers and asked me if I had been raped. No, I said, he just wanted a piece of my hair. My mother was so angry. She said that she was going to take me to the doctor and have me examined. I told her to go ahead, because I was still a virgin.” She chuckles, “She was so angry.” Her 86 year old hands, wrinkled and thin, are fiddling with the magazine that she brought in, smoothing down the middle of the open pages, making a nice crease, throughout her story. Has all this questioning touched a nerve? She seems nervous for a few moments, but continues on anyway.
I ask about her first husband, an American GI that she met in Germany. They dated for two years before they got married, when she was 20. She recalls the day that they went to the courthouse. She clearly recalls, “They weren’t going to let us get married, because I was 20, not 21, and they needed permission from a parent for that. I had a guardian assigned to me, which I didn’t even know about, who was ill and living in another town about 100 miles away so he couldn’t come and sign papers to allow me to marry. I was so frustrated and angry, sitting there waiting to get permission to marry this man that I was crazy in love with. I’m not sure why, but they finally decided that since I was only 6 months away from being 21, they would let me choose on my own. They asked me if I wanted to denounce my German citizenship or keep in once I was married to the American. I didn’t think that I would ever get divorced, and figured that I would have my US citizenship in two years anyway, so I said that I would give up my citizenship. I left shortly after that to come to America. We took the ship called the Alexander M. Patch, and landed in New York. From the moment I got there, I felt like I had been here all my life. I had never felt out of place, any place that I lived here in America.”
The journey on the ship took them 7 days from Germany to New York. She doesn’t have much to say about it but she does offer me a copy of the ships newspaper that she has kept all of these years. The paper is several pages, stapled together, in good shape for being from December of 1949. With only some numbers, presumably written by Hermine, in pencil at the bottom. The newspaper is called The Newspatch, (Souvenir Edition) with a rough drawing of a globe with a dotted line from the vicinity of Germany to New York, a drawing of Santa Claus and a ship on the front. It gives information such as the date that they left Bremerhaven and arrived in New York, what was happening on the ship and a log book of the journey which gives the days of travel, how many miles traveled per day, the weather and the position report, to name a few things. It looks like it was typed with a typewriter and has spelling and other errors throughout. The illustrations look like that were done by hand with a pen. Such a great piece of physical history that she has. She allowed me to make copies at the front desk of all of her documents which I greatly appreciated.
Her first marriage only lasted less than 3 years. She became pregnant only one time, when she was 23 and that only lasted three months. She went in to the doctor and they told her that the fetus was growing in her fallopian tube and could kill her if they didn’t do emergency surgery that day. She doesn’t seem upset by the fact that she was never a mother, she doesn’t dwell on that subject for more than a few seconds, so we move on.
When Hermine and her new husband arrived in America, things changed and he became “a drunk” and she couldn’t deal with that. Along with her husband’s behavior, they had been sending money back to the states to be put in an account for when they arrived. She remembers asking her new mother-in-law about going to the bank to get some money out and her response was that “there was no money”. They had spent the money on home repairs before they arrived. Hermine went from being madly in love and a citizen of Germany to the young wife of a GI in America with no family.
When she left him, she was faced with the grim reality that she had renounced her German citizenship, and had not applied for her American citizenship and was, therefore, a citizen of no country. I asked her how she was treated by American’s when she got here due to the relationship with Germany and the war. She said she was called a Nazi only once but she didn’t have any problems really. According to her, “I was an attractive young girl. No one really bothered me.”
Hermine had spent her childhood in her foster parents restaurant, so when she needed to go to work here in the states, she naturally went and became a waitress. Her husband wasn’t pulling his weight financially when they were married, so she took it upon herself to get a job and she left him. After her divorce, until 1957, Hermine lived in fear of not belonging to any country and what that might mean for her if anything ever happened.
I left the second interview slightly amazed at how much I have in common with this 86 year old woman. She had two marriages, and two divorces, the same as me. She is very particular and anal retentive, like me. She is a strong independent woman and a hard worker, like me. I kept finding myself saying, “That’s how I am too.” Have I just met the grandmother I have always longed for? Did I fill in any gap in her life as well? I hope so. This meeting has really been a true testament that age really doesn’t matter. That you can be kindred spirits with someone no matter their age, gender or nationality.
She called me and asked me to come visit her at her house, just days after our second meeting, saying that she wants to tell me the story about why it took her so long to get her citizenship. Of course, I went over as soon as I could. I arrived at the trailer park where she lives, not sure of what kind of conditions it would be in. She was standing on her small front porch when I arrived, leaning on the railing and looking over at a nearby tree. She invited me in and as I stepped through the door I saw a bright, open floor plan, and a spotlessly clean home with photos of family on the wall, nice furniture, bright with sunlight. She took me on a short tour of the trailer which was spacious and open, unlike any of the few dark and cramped trailers I had seen in my life until then. Everything had a place, and there was nothing extraneous lying around. I notice a Seattle Seahawks poster on the wall just as she says, “I like to watch football.” Then I walk over to a photo collage of a young, handsome guy. I ask her who he was, “Oh, that’s my great-nephew in Germany. He won the gold medal for Germany for the luge during the last Olympics. I wasn’t sure who to root for, the US or Germany, but I was happy for him when he won.”
She takes a seat in her single chair and I sat on the modern, firm, heather grey couch and she begins to tell me the reason why it took her so long to get her citizenship. After her divorce, she didn’t have the money that she would have needed to do all of the things that were required of her to apply. She also told me a story about when she went on a weekend trip with one of the other waitresses from her restaurant, her boyfriend and his brother. The brother was playing pinball, which she said she had never played in her life. He won two games in a row, winning $40 each time. Something wasn’t right. It looked as if he was holding something in his hand on the table while he played, so noticed. The owner came out and wanted to watch. The brother said to Hermine, “Here, you play” she played and won! Beginner’s luck she speculated. The owner shrugged and muttered something under his breath and then walked off. “I must have had an angel watching out for me that day. I was so afraid of getting arrested because I saw that he must have been cheating. So, I ran out and walked for a long time, until finally I came to a truck stop. I sat and had a cup of coffee and was crying. They knew I wasn’t a citizen, I was so upset that they put me in danger like that. A truck driver came up to me and asked me why I was crying so I told him my story and that I needed to get back to Philadelphia. He said he was going that way and would take me.” That situation made her feel an urgency to become a citizen.
After that incident she began dating a millionaire. He was a nice guy that she met at her job. After dating him for a while, he gave her the money that she needed to travel to the town she needed to go to take her classes, stay there for 10 days and travel back. It was thanks to him that she became a US citizen on June 20, 1957. She recalls studying the amendments on the way to take the oral exam and again says, “I must have had an angel watching out for me or something because they asked me about the amendment I had just studied.”
Hermine told me that she was married a second time, again for only a years, but she did not give any more information about that marriage. She simply said, “I am a very organized person, I like things to be my way. I guess I am just not easy to live with. Maybe I am too fussy. I figured that if I was going to be with someone who didn’t pull their weight, I may as well be on my own.” She laughed and that was it for that subject. Another thing she and I have in common.
Over the years she was not only a waitress but she was also a hostess in a nightclub and lived in many different states, such as New York, South Carolina and spent 27 years in Oakland, California. When she turned 50 she got a job at a printing company, engraving stationary, where she worked until she was 65. They didn’t offer retirement at that job and only gave three days of sick leave per year. But she remembers that time fondly, working for her friends and enjoying what she did.
She moved up to Washington to be close to her only family here in the states, her niece and her two kids. Although when she speaks about them, so seems disgusted. Telling me that they really only come around to see her when they need money. “My niece drives past my house every single day to go to work, but she never stops to see me. Even when I ask for her help, she usually says she is too busy. And those kids of hers, they are spoiled and ungrateful.” I feel empathy for her. She is such a sweet lady and has so many great stories to tell. “It’s interesting,” I tell her, “some people have grandparents and family right here for them to be able to spend time with and they don’t take advantage of that. And then people like me would do anything to have that and I don’t.” There is an ease between us while we sit their together and talk openly about her past, her small family now and mine. I feel as though we may be able to fill a void for each other somehow. I make sure to tell her, “If you ever need anything, please just call me,” maybe too many times during our three meetings, but it’s what I feel like saying to her.
I ask how she likes living where she is now. She says it’s fine and then tells me, “About a year ago, I was sleeping on my couch, here in the living room. About 4 in the morning, a huge bang wakes me up and there is a man standing in my living room. He had kicked my door in and had the molding in his hand with nails sticking out. I just laid there, still. He came over to me and put his face about 3 inches away from my face, put his finger up to his mouth and said, “Shhh.” I thought, oh God, he is going to hit me with those nails. But he just walked back in to my bedroom. I got up, grabbed my phone and went outside and called 911. I said, there is a man in my house, send the police. They got my address and said, the police are already there. No, I said, I am standing outside and they are not here. Yes, she said again, they are already there. No! The police are not here, send someone now!” I guess the police actually were about five trailers down from me, she said. The man had robbed them and ran and they called the police. The police were out looking for him. “Just then, my neighbor yelled at me and said, ‘he’s on your roof!’” Did they catch him, I ask, rubbing my hands together out of the anxiety that I had hearing her story. “They found him later, he was on drugs I guess,” she said, rolling her eyes. “It has been a year of going to court and dealing with this and it cost me $600 to get my door fixed and he never had to pay a penny. He doesn’t work, he lives off of the state, and they haven’t made him pay me back. They should make him do community service to earn the money, or go to jail, until he pays for the damage.” I can see that she is angry. Understandably so.
“Aren’t you afraid of that happening again? Do you feel safe here?” I asked, very concerned. She shrugs, “I learned from my childhood not to be afraid of everything. You don’t know what’s in other people’s minds. Why worry about it?” I guess after all of the things that she has seen and been through over the past 86 years, she has become desensitized to things like the threat of violence or death. Over the course of three interviews with her, she says several times, “You know, I’ve had good times and bad times. Whatever is gonna happen, is gonna happen.” Great, yet simple wisdom from a fascinating, lovely lady.
I find it so interesting that she was a part of that time in our history and I wonder how it must feel to be able to look back and say that you lived through all of those things that so many people want to know about now. I also wonder how she feels being from Germany and being associated with Hitler and the atrocities of the Holocaust. I wonder a lot of things still and I hope that over time and the development of a relationship with her, I will be able to ask her more of the questions that I didn’t feel were appropriate so early on. I also hope that this will be a relationship that goes beyond just a few interviews.
I only spent a few hours with her and was gifted with so much rich history, I can only imagine what else I will learn in the span of several more hours, days, weeks, months and years. How many hidden memories will come up through the act of telling me her stories? How many things will come up for her that she may have blocked or pushed out of her consciousness in order to protect her heart? Once the memory has been aroused, what will it offer to the owner of them? And what will that offer to the person on the receiving end of the sharing? I find that I am left with more questions than answers at this point. But without questions there would be no conversation in the first place.
Tara laChance
June 7, 2015
Memory essay add-ons
(Insert page 8, 2nd paragraph)
Hermine offered almost no details regarding her American GI husband other than that she was madly in love with him. In the article, The Sexual Behavior of American GIs during the Early Years of the Occupation of Germany by John Willoughby, the author paints a not-so-pretty picture about the behavior of the American soldiers towards the Germany women. He speaks of the policies of the Army at that time, quoting, “The policy is just to give the brass the first crack at all the good looking women.” The first crack? That doesn’t sound very respectful to me. I wonder how the meeting between Hermine and her husband came about and if her age and naiveté factored in to her eventual marriage. Fraternization was frowned upon, according to the article, yet many American men came home with German wives. How did that occur? More questions…
(Insert page 1, after “This is her story.”)
From the article, ‘You’d stand in line to buy potato peelings’: German women’s memories of World War II, by Gail Hickey. “More than six decades after the end of World War II, the dead cannot tell their stories; many remaining survivors are in ill health or are too traumatized to recount their war memories.” I hope that my curiosity about Hermine’s past gives her a form of healing. She doesn’t let on that she was traumatized by the events of her childhood during the war but I can’t imagine how she could not be. She spoke about the fact that she worked in her foster-parents’ restaurant and it sounded almost like her saving grace because she didn’t have to experience hunger like other people of that time period. But, like Hickey mentions, “The government counted on women ‘to make up deficiencies in diet, clothing and comfort brought about by war’.” Hermine was a young girl, and those are big responsibilities for a young girl. This is yet another thing she and I have in common. My mother left my father when I was only 12 and I was left to be his counselor, companion and to grow up way too soon. These roles are not meant to be taken on by young girls. These are for grown women who have had the opportunity to grow up in due time.
(Insert page 6, after the second paragraph)
In the book, Behind the Lines, by Margaret Higonnet, she recalls a woman’s memory of the bombings, which she describes as having “a dreamlike quality”. These defense mechanisms that are brain uses to create memories that are bearable for us to recollect. It creates a sense of uncertainty in me, about the few childhood memories that I possess. Are they valid, accurate? Does it matter? Our mind attempts to protect us in order to keep us alive. If changing traumatic memories into dreamlike recollections is what needs to happen for us to be able to function in our daily lives, then so be it. Whatever it takes. Higonnet says, “Memories are constantly being recreated; there is no ‘original’ and therefore accurate memory.” (pg. 288) In my opinion, whatever comes up, and however it chooses to be expressed, is exactly the right thing in that moment.
I don’t remember how old I was, maybe I was eleven. Maybe older, but I was young. I was walking home from middle school and it was spring time, the walk home wasn’t that far but I hadn’t eaten all day and I needed something to drink. There was a fast food restaurant that everyone thought had shut down but just had bad business right at the bottom of the hill I lived on. I knew it wouldn’t be a good idea to walk up a three block hill so dehydrated and walked into the restaurant. I’m sure I got food, I was a growing girl, and I sat down to think about whatever boy problems I was having at that age without the interruption of my everyday life. There wasn’t anyone in the restaurant and the woman who took my order sat down a few seats away from me and stared as I meekly ate my fries under the pressure of her gaze. She was an old woman, dark hair, skin hanging off of her face and the restaurant’s uniform made the color look surreal in juxtaposition to the royal blue visor on her head. I tried to eat quickly and avoid eye contact but eventually I gave up on eating and got up to throw away what I would to have liked to eat but she stopped me before I could pass her table. “What are you?” She asked with no hesitation. My first instinct then is what my first instinct is now which is to ask, “Why the fuck is that any of your business?” But I opened my mouth and let out a defeated sigh, “Well, I don’t know, my mom is White and my dad is Black.” She nodded and said, “Okay,” as if I needed her approval to be breathing and I left slightly stunned by the experience. As soon as I got home I went upstairs to my dad’s office and relayed the story with added emphasis on how perturbed I was that someone would feel comfortable asking me that. My dad loves talking to me about being Black, it’s one of his very favorite subjects. There’s a pride there when his eyes gleam and he talks about the tone of his skin; he sees being Black as a blessing. I’ve always been confused about my body, my skin color changes every time I go out into the sun. My skin color to me matches the shade of a new tree planted in a crowded city. But I do remember him looking me in my eyes, I remember that my eyes matched his and a sense of familiarity warmed me. He said, “If anyone asks what you are, you tell them that you’re Black.”
Being Black to me is more than my skin color, I know that I’m light skinned (I’ve been “jokingly” called high yellow all of my life), and maybe judging solely off of that I would be “passing” but I have those features. The controversial ones, the type of body that everyone on the TV was taking diet pills to avoid, the lips that I would see on a someone doing Blackface. I had the features my barbies were always missing, there’s an aisle in every store with products that promise they can fix my hair and I can say I’ve invested in almost every one. They’re all the same – my body is undeniably Black and because it is Black it is political.
That’s never been a secret in my life. I don’t remember the first time my mom or dad sat me down and said, “Now, Gabriella, you’re Black and here’s what that means,” it was more like an ongoing discourse between my family members. I do, however, remember the first time it became real to me. I was probably six or seven years old and my family was living in White Center, a suburb a few miles away from Seattle. My brother had a best friend who lived across the street from my Grandma’s house, I’m not sure what his name was, probably something like Aaron. CJ (my brother), and Aaron really hit it off, I mean the kid was over at our house all of the time playing video games. They would walk to and from school together and I remember thinking he was so much softer than the rest of my brother’s rowdy friends. My mother, however, would speak in hushed tones about how his mother was racist, about how CJ could never go to Aaron’s house. Then one day CJ came home upset which wasn’t unusual, but then he told us what happened. CJ was walking home from school and he passed the Aaron’s house. His mom was in the driveway and he told my mother that she just started driving at him. Fortunately he ran out of the way in time and wasn’t harmed but it was the first time I had heard of someone hurting someone just because they looked like my brother and me. I couldn’t believe that that had happened to someone I loved, I didn’t want to believe it, I thought it was mistake. But Frantz Fanon captured my sentiments exactly, “I was not mistaken. It was hatred; I was hated, detested, and despised, not by my next-door neighbor or a close cousin, but by an entire race. I was up against something irrational (p. 97).
Race is something I’ve always been conscious of but I had to ignore it for a while. Growing up Black and having primarily White friends really did something sick to my psyche because I started to see other Black people as beautiful but me as flawed. I saw the beauty in my family members but I was lighter than them but then there was everyone else, skinny, White, short, nothing like me. No one pointed out that I was Black to me, race wasn’t a topic of conversation amongst my friends (who were primarily White “skater boys” who, when race was brought up called me a “mutt” and told me to stop talking); I couldn’t find any reflection of myself, not in the books I read or shows I watched, there was nothing of myself. I was experiencing dysphoria but not consciously, I didn’t know where the roots of the resentment I was feeling where and no one really helped me with that. I had my father of course, to tell me stories of growing up in Louisiana in the 50’s when the land was so flat he thought he could see the curve of the earth and he couldn’t’ve drank out of the same water fountain as my mother but that all felt so removed from where I was standing. I couldn’t believe that being Black in America could be psychologically damaging, that it was something that persisted and wore down your morale with age.
But then I got older and the things my father had always told me about being Black were suddenly coming into play in my own life. Like being watched when I walked around the store with my cousin, or being stopped by police officers just for them to ask what I was doing walking down the street. Men started to tell me, again, that I “wasn’t like other Black girls” and that they liked me for that. They compared me to my people and told me I was an outsider still and expected me to take it as a compliment. Then there were the men who treated me like they treated other Black women, backing me into corners and telling me they’re going to fuck me, following me off of the bus and talking about my body as I walked away. Those men treated me like an object whereas the former type of man treated me like an animal – I learned to see the difference. To add to the mess were the White women – friends, friends of friends, strangers off of the street, just White Women – approaching me and touching my hair without permission because they’ve always wanted to know what “my kind of hair” feels like. Their obsession with Blackness mixed with the fact that they would evade the subject of Blackness all together was almost as sickening as their anecdotes about being seven and wishing they had an afro. But then their mother told them that they were beautiful the way they were. And they had a whole society to back them up on that.
The resentment grew and grew until I stopped going to school and stopped leaving the house. I still wasn’t sure what the cause of my complete disinterest in society was about, it was hindering me but I felt like I was grasping at straws when trying to figure out why. I knew that what I was experiencing with people – the comments on my body, on my identity – all of the words said to me were a part of my life that wouldn’t go away. Racism was never presented to be as solvable, but simply a fundamental part of Western society which has caused it to thrive. But it didn’t feel real. I wasn’t an “Other” in Tacoma; light skin Black girls weren’t an oddity, White people were. The idea of “The Rich Man” was more exotic than my hair.
One day I got bored and applied to Evergreen, I got in, and then moved to Olympia. My brother went to Evergreen and he tried to warn me in so many words but I didn’t really get it. He told me by my Junior year I would be ready to leave and never come back. I made friends easily enough however by week three of my first quarter I was crying on the phone to my cousin explaining that I needed to leave Olympia immediately. See, being Black in Olympia feels a lot like telling a joke that no one understands; there’s a strong sense of “Why did I just do that?” mixed with, “Why don’t these people get it?” Evergreen is considered liberal because of the fact that they’ll allot a $5000 a quarter budget to the Shellfish Club not because of their diversity. I’m pretty sure that I know the majority of the Black people on campus and we wave and smile at each other like we’re beacons of hope. It doesn’t matter whether it’s intentional or not I’m almost always the token Black friend simply because there are so few of us. Every time I walk onto campus I know I’m going to be witness to something upsetting, someone is going to say something to me that offends me, and that I’m going to want to go home as soon as I can. It seems pessimistic but I can safely say that it’s true. It’s hard to continue going to school when you know most encounters you have will be psychologically damaging.
Then I went to Europe.
Now, while I was there my head was occupied dealing with the fact that I had to speak another language and that I was far away from home and I didn’t fully recognize the way I was being treated and why. There were a couple incidents where shopkeepers wouldn’t look at me or speak to me, a French drug dealer referring to Black people solely as “niggers”, and all of the street harassment was jarring but I thought it wasn’t out of the norm for me. When I got back from France I read a book, Black Skin, White Masks, by Frantz Fanon which completely changed my perception of what I experienced not just in France, but back at home.
In chapter five, The Lived Experience of the Black Man Fanon begins recounting the remarks he’d received simply walking through the streets of Paris and how raw they made him feel. When a young child with their Mother cried, “Look, Maman, look, a negro!” and the mother responded with, “Ssh! You’ll make him angry. Don’t pay attention to him, monsieur, he doesn’t realize you’re just as civilized as we are,” Fanon was at a loss. He wrote:
My body was returned to me spread-eagled, disjointed, redone, draped in mourning on this White winter’s day. The Negro is an animal, the Negro is bad, the Negro is wicked, the Negro is ugly; look, a Negro; the Negro is trembling, the Negro is trembling because he’s cold, the small boy is trembling because he’s afraid of the Negro, the Negro is trembling with cold, the cold that chills the bones, the lovely little boy is trembling because he thinks the Negro is trembling with rage, the little White boy runs to his mother’s arms: “Maman, the Negro’s going to eat me.”
The White man is all around me; up above the sky is tearing at its navel; the earth crunches under my feet and sings White, White. All this Whiteness burns me to a cinder. (p. 93)
That sensation of being gawked at, of having your body discussed and ridiculed by strangers, even children was something I had experienced over and over. When I was in Galway at a coffee shop, a child hid behind her father and began crying and when he asked why she pointed at me. She was confused and her father was embarrassed but I just wanted coffee. Even with all of my knowledge of the politics of being Black I still don’t expect my body to be verbally mangled when I’m simply trying to be. All I wanted was coffee. Fanon writes a lot about wishing to simply be able to exist without the ignorance of others constantly bombarding him and my wishes for myself aren’t far off.
So, how do I feel about being myself? About being Black? I see myself in Spirits Swirl by Levoy Exil in 1991. He’s an artist from Haiti who used abstraction to capture dysphoria.
In the center is a Black girl, in a circle that resembles the sun, but with eyes. Around her women surround her, twisting around each other with their languid, brightly colored bodies. The girl in the center is visually overwhelmed by the activity outside of her bubble. All of the eyes in the painting are staring at the viewer, there’s a flatness to their faces and bodies and yet one feels as if they could plunge into the scene if one looks too closely. It’s ghostly and mystical but not in a horror film way; the figures around her are spirituality and ancestry floating around this Black woman constantly. Her ancestors call to her, and even though she appears intimidated, there’s also a sense of openness and possession as the spirits reach for her.
That’s the best way I can describe what it feels like to be me. My history doesn’t just follow me around the store, I carry my Blackness in my heart every day. I make sure not to forget my history, to stand up for the people who died in the process of making it so I could attend schools and apply eyeliner in the same bathroom as my White friends. Despite the process of demonization we’ve experienced, despite slavery and other forms of systematic racism that hinder my daily life, I’m still inclined to agree with my father. Being Black has given me a valuable perspective on the world and features I have grown to admire in myself. And I’m proud of that. If anyone asks me what I am, I tell them I’m Black.
Throughout my short lifetime as a Black woman I’ve encountered a variety of different definitions of what it means to be that. I’ve been told that I’m a Black girl because I don’t put up with bullshit (especially from White men), I’ve been told that it’s because I’m stubborn, because I clap my hands when I’m trying to make a point, or because I know every word to “Burn” by Usher. I possess all of those qualities, sure, but whether or not they define my Blackness is up for debate. There’s this perception of Black people as angry and hard that I’ve encountered my entire life, and through my discussions with other Black people, specifically my family, I’ve found that said perception has been incorporated in mainstream thought as a process of creating the popular culture in opposition to our anger.
Within the Black community is a tenderness and softness which is completely ignored by mainstream culture. Our identity, which is one of support and love, has been portrayed as a culture of desolation, trouble, and danger. In an essay called, Cultural Identity and Diaspora, Stuart Hall writes, “What recent theories of enunciation suggest is that, though we speak, so to say ‘in our own name’, of ourselves and from our own experience, nevertheless who speaks, and the subject who is spoken of, are never identical, never exactly in the same place. Identity is not as transparent or unproblematic as we think.” (p. 21) So, our perceptions of ourselves as Black people is going to differ by default from what an outsider would interpret our society as being. That fact mixed with the institutionalized racism prevailing in Western society creates a schism which supports an “Us vs. Them” ideology which is so deeply engrained in mainstream thought it can be summarized by, “You’re not like other Black people.”
Stuart makes the point that Western society has attempted to push their definition of the Black identity into Mainstream thought as well as into the Black community. Mainstream society is built in direct opposition to Black culture and dismisses the Black identity, yet with examples such as my third grade teacher telling me that we live in America where racism ended with the Civil Rights movement, it’s obvious that there’s an agenda (intentional or unintentional) that projects oppressive images of our Blackness onto us. On the subject of cultural manipulation Hall writes, “They [Europeans] had the power to make us see and experience ourselves as ‘Other.’ Every regime of representation is a regime of power formed, as Foucault reminds us, by the fatal couplet ‘power/knowledge.’ But this kind of knowledge is internal, not external. It is one thing to position a subject or set of peoples as the Other of a dominant discourse. It is quite another thing to subject them to that ‘knowledge,’ not only as a matter of imposed will and domination, by the power of inner compulsion and subjective conformation to the norm.” (p.23) When I think back on all of the Black people I’ve met who hate their Blackness, who invest in skin bleach and tell me my hair needs “work” because it’s natural, it all comes down to their subscription to the knowledge being imposed upon us by White people in our lives and in the media, and the incorporation of White supremacist ideals into our consciousness.
I recently went to see Cornel West speak, I’ve always been a fan of his rhetoric. What captured me the most about his speech was his definition of Blackness as soulfulness. Our music touches the heart just like our food – we are a community of emotion.
That idea was something I had been struggling to convey for a long time. My idea of Black Culture is going over to my Grandmother’s house with the whole family there, my uncles talking over one another at deafening tones; Blackness is loud, joyous and spiritual. My idea of Blackness is sitting on the floor between the thighs of someone pulling my hair with a comb, me crying because I’m tender-headed, and being soothed by the smell of coconut oil and the cold of the air hitting the scalp between my braids. It’s going out tanning and having no discussions about tanning lotion, it’s smiling at every Black person I see on the way to wherever I’m going because we have an assumed shared experience.
For the most part we know we are not in the mess of Western expansion alone – we have each other. We are hard on one another, constantly striving for the best for our loved ones and ourselves to prove to everyone else what we are capable of. It’s my understanding from my experience and the experiences of other Black people I know that we do not have a culture of individualism. When one of our own dies by the gun of a cop under suspicious circumstances we don’t write it off as another tragedy. We grieve. We aren’t mourning because it could have been any one of us, not because so many of the Black people who were being murdered were under 25, but because it’s a limb being severed off of our collective body. Except the limb is being chopped off every eight hours. Living in a society where the rate of Black people being killed is nearly, (if not completely) genocidal has a tendency to push the oppressed together.
Dr. West also pointed out the way our ancestors reacted to their oppressors. When my ancestors were taken from their country and sold into slavery they did not revolt and kill their masters, not many slaves did. They sang and they asked God to come down and tremble the water for them. They asked for movement, and they kept hope alive instead of succumbing to the terrible conditions they were living in. I tell my friends that the difference between White Christianity and Black Christianity is that Black people love talking about Jesus, but White people love talking about Satan. The Devil is always around the corner to White Christians, always lurking in the shadows that are dark like Black skin. They talk about “Evil” as if they’ve never dabbled in the subject, their histories are clear of any wrongdoings because they colonized the world under a “God appointed Queen.” Black people, on the other hand, have seen evil. Black people have seen what it can do. Evil take us from our home into a foreign land under a whip, evil has displaced us, hosed us down in the streets. Evil shoots at us for buying skittles and then becomes a millionaire and nationally recognized “celebrity.”
An important part of Black culture is art (painting, drawing, music, dance, all of it.) Our art is something which conveys our struggles as well as our livelihood. Black people aren’t typically associated with the artistic trends we’ve created (ie. rock and roll, rap, jazz, blues, gospel, just to name a few music genres,) and we are very rarely seen as artists. Throughout my education, the Black artist has been presented to me as a rarity. As if it wasn’t expected of us, as if the aspects of our culture like dancing and graffiti aren’t relevant or sophisticated enough to fit into the mold of what the Western mentality deems beautiful. Our creativity and how it’s expressed strikes the outsider as fruitless because our experience and where our inspiration comes from differs greatly. As Frantz Fanon wrote in Black Skin, White Masks, “I am Black; I am in total fusion with the world, in sympathetic affinity with the earth, losing my id in the heart of the cosmos— and the White man, however intelligent he may be, is incapable of understanding Louis Armstrong or songs from the Congo. I am Black, not because of a curse, but because my skin has been able to capture all the cosmic effluvia. I am truly a drop of sun under the earth. Fanon, Frantz (2008-09-10). Black Skin, White Masks (pp. 27-28). Grove/Atlantic, Inc.. Kindle Edition. “ He’s communicating the oneness with the soul involved in being Black in juxtaposition with “White culture”/Western thought. Being a “drop of sun under the earth” summons a different kind of art than being of European descent.
Henry Ossawa Tanner was born in Philadelphia in 1859. Being of mixed race he was accepted into the art scene in Paris where he spent most of his life. His work was fairly successful amongst the French elite who have a long history of Orientalism and fetishization of “Other” cultures. Boime writes, “The White attitude constituted in large part both a dilemma and advantage for Tanner, whose intellectual achievements and even physical appearance so closely approximated the ‘norm’ of the dominant elite.” (416) Although he was accepted into the art community Tanner wasn’t quiet about his experiences as a Black American and his role in the art world. He was quoted as saying, “I believe it, the Negro blood counts and counts to my advantage – though it has caused me at times a life of great humiliation and sorrow – unlimited ‘kick’ and ‘cuffs’ – but that is the source of all my talents (if I have any) I do not believe, any more than I believe it all comes from my English ancestry.” 417 Boime goes on to write, “Tanner undertook his series of genre pictures so late in the century in an effort to counter the negative stereotype of the Black and to revive genre painting by seeking to transform its original origin.” (417)His mission was to showcase the beauty he saw in his own people as accurately as possible. Tanner was attempting to capture memory-like scenes of childhood that the viewer could relate with by representing the warmness of nostalgia with Black people. That theme is apparent in paintings such as, “The Banjo Lesson.” In This portrait of rural life a boy is on the knee of who we can assume to be his father or a father figure. The little boy is almost the same size as the banjo. He’s small but trying and the father is keeping a watchful eye over the boy’s movements. Tanner’s brush strokes are reminiscent of those in Impressionist paintings – their shortness causes the painting to look blurry and in motion. The painting has the quality of something one remembers – the shadows and the art fading into the wall make the viewer look at the human interaction as opposed to the entirety of the painting.
Henry Ossawa Tanner wasn’t the only Black artist to depict Black people in a thought provoking way. Jean Michel Basquiat used his graffiti style to create a counter narrative in juxtaposition with the rest of the art made during the 20th century. Know for his colorful and unconventional paintings, Black people and our history were often subjects of his pieces.
Basquiat’s painting All Color Cast (Part III) exemplifies the evaluation of Black history by the artist. On a mustard yellow background a crudely drawn Black man bears his teeth. His chest is labeled “Chest” while his hand is labeled “Paw” – this is Basquiat’s humorous but honest way of acknowledging the dehumanization of Black people. On the right of the male figure is “China” above “Haiti” with arrows drawing a path between them. Above the man is written, “Home: Two Visitors: One” which could be an allusion to the Haitian Revolution seeing as on the left in small letters connected by an arrow to “Jersey Joe Walcott 2004” is, “Toussaint L’Overture,” the man who, like Joe Walcott, became famous for fighting. Toussaint L’Overture, however, fought during the Haitian Revolution and became governor of Haiti.
Basquiat is presenting Black history (or fragments of it,) in a way which accurately depicts the complexity of our collective past. There are so many layers to this painting, so many things that are written are connected to each other in ways the viewer wouldn’t have thought; one gets the sense that though this painting is chaotic, not a single thing is out of place or accidental.
When you see a Black person, what do you see? If I asked you to picture a Black person in your head, which features would you accentuate to let yourself know that you’ve imagined an accurate representation? Have you ever stopped to think about why it is that you’ve developed whatever associations are coming to mind now? Have you considered the external influences on your perception of people?
I can’t tell you where it all began; there’s always been a prejudice against darker people throughout history. I’ve never been in a World History class where the instructor says, “Now, such and such year is when the prejudice against dark skinned people was conceived by this dude”. That’s not really how it works. Throughout my studies it seems like shadeism of some sort has been incorporated in cultures all over the world, but I’m not here to make an argument for universal biases being a natural tendency because I’m almost positive I don’t believe in that being inherent. What I can do, however, is look at the way the image of us has transformed over time creating a depiction of us in the mainstream media that doesn’t even begin to capture the brilliance I see.
I never really had to think about these things when I lived in Tacoma. I went to a school where it was rare for there to be more than three White people in the school. Whiteness was reserved to the highly resented staff, the only White authority figures respected by the students were the ones who proved their ability to speak our language and break up a fight. It’d been like that in elementary and middle school, too, so it’s safe to say moving to Olympia, Washington was a culture shock. I went from a classroom setting where we learned about code switching and talks about how I won’t be received well by professionals because of my skin color to a place where I could go hours and hours without seeing someone who even vaguely resembled me.
The first group project of my Evergreen career was a presentation on a cult in ancient Rome. I was in the basement of the library in a study room with two people who were nice enough; I don’t remember how we got on the subject of racism but as I would learn it would be a topic that got brought up frequently in my presence, because of my presence. The man sitting across from me fidgeted with his baseball cap and casually told me that I’d never experienced racism because I wasn’t from the south. See, he was from the South and that fact apparently made him an expert on the subject of terrible biases. He said that I was lighter than his Black friends back home who have experienced “real” racism and I couldn’t possibly understand what it was like to truly be Black. He then began talking about my features and asked if my hair melted when I straightened it. I told him that I didn’t understand what he was asking. He said, “When I see my friend’s girlfriend straighten her hair it melts. Your type of hair melts when you use a flat iron, I’ve seen it.” It did not matter how much I objected to this idea of our hair being this magical, exotic substance growing out of our heads that melts when it gets too hot, he dismissed my narrative in favor of his distorted White supremacist ideals. I can’t count how many times strangers have walked up to me and began petting my hair because they had an idea that my body was open game. It became immediately apparent after my first few weeks in Olympia that the concept of Black people’s bodies being objects was deeply ingrained in the mainstream psyche, revealing itself in various ways.
What happened? I can’t believe that we’ve always been seen only as objects in the eyes of White people. There’s proof, look at Peter Paul Rubens one of the greatest Renaissance painters. The Four Rivers created in 1616 depicts the God’s of the world’s greatest rivers: Nile, Tigris, Ganges, and Euphrates. Surrounding them are cherubs wrestling with alligators effortlessly while a tiger hisses at divinity toying with nature. Each River God is paired with nymphes who act as feminine power for the river’s flow.
In the center of a painting is a Black woman as a Nymph accompanying Nile, there’s no distortion of her features – she is just as beautiful and alluring as the rest of the Nymphs. She’s the only person engaged with the audience, looking us directly in the eye as if she were inviting us into the painting, to submerge ourselves in the depth of the dark blue tones. While they didn’t make Nile Black (even though he was the one God typically represented as a Black man [p. 348 Black People in European Art]) the association with the people living on the land that the Nile river flows through is represented with the Nymph. She is not an accessory in this painting. She serves a role on conveying a theme and works together with the other deities depicted to do that effectively. She was not portrayed as a caricature of her Blackness; she had a central role that involved her personhood and heritage as opposed to reducing her role to her race.
There are countless depictions of Black people within Renaissance art, and while it might be due to the realism of the era, I could not find any racist or tragically distorted representations of Black people in Europe during the 1600’s, which is coincidental since the first colony came to Virginia in the beginning of that century. Depictions of Black people transformed from the beginning of the century to the end.
The French Encounter with Africans by William Cohen documents misconceptions and prejudices created and perpetuated by Europeans. Cohen writes, “In Europe the color Black denoted evil and depravity and, in an age that believed in symbols, some meaning was attached to the fact that some humans were Black.” (p. 13) What did this meaning consist of? The theories as to why Blackness existed varied from one xenophobic perspective to another. Everything from Black people being descendents of Cain (our skin was turned Black by God to show our affiliation with Satan), to the idea that Africans were born White but turned Black by the sun, dirt, or paint. (pg. 13) The Europeans had negative associations with Blackness from their first encounters. Cohen notes that, “Frenchmen saw the Blackness of Africans as symbolic of some inner depravity, since they thought the color aesthetically unappealing. They followed a tradition rooted in the classical doctrine of physiognomos, which held that what was not beautiful was somehow depraved.” (p.14) In short, because the French and other Europeans went to Africa and were confronted with the antithesis of their societal standards they began to look for “Rational” reasons as to why Blackness existed. The conclusions they came to were that Europeans were blatantly superior simply because they didn’t understand the differences they had with Africans and could not accept them as equals because of their polarity.
Behind the Eurocentric Veils by Clinton M. Jean is titled effectively; this 100 page book covers a span of history from the slavery era to the Vietnam war to evaluate the systematic racism perpetuated by Europeans and how it affects the identity of minorities, specifically Black people. He argues that because Reason is the new God in the Western world, this powerful ideal has othered Second and Third world countries which are seen as primitive and painted in a negative light for the European public. He uses specific examples of important philosophers and sociologists to emphasize the fact that oppression is an inherent part of their ideological structures. One person Jean believes is integral in the process of White supremacist motives being incorporated into modern thought is Hegel. Jean wrote, “Hegel himself described the aboriginal Americans as vanishing at the mere breath of European presence. His stripes on African culture were even harsher: cannibals, traffickers in the sales of their children, primitives (heathens, too) needing the civilized schooling of Western slavery.” (p. 15) The European attempt to understand African culture was a massive failure. Mainstream thought drastically transformed along with the rise of colonies. I suppose it’s easier to support terrible things when there’s widespread propaganda telling the gun-toting majority that the people suffering are less human than they are, especially when the rhetoric is supported by popular philosophers. It’s probably easier not to think about why you have what you have when someone bled for it. And with popular philosophers supporting and creating a rhetoric of White superiority.
Paintings like Her Mistress’s Clothes by an anonymous artist in 1815 effectively boil down the apparent agenda of White supremacy. In this painting is a woman standing in front of the mirror with a menacing hand clutching the face of her Black servant. The Black woman is wearing an ill fitting necklace with flowers, her White dress is pearly compared to her skin. Her face is flattened and compressed, her hair is done in the same style as her Mistress – a cheap, thinning version at least. The comparison one’s mind makes when looking at this painting is jarring; the emanating quality of the White woman’s skin dominates the photograph. The woman is holding her servant’s head in place in front of what I can assume is a mirror. It’s a dialogue – she’s telling her servant to look at herself while she’s submerged in the Western in that moment. She’s telling her that in order to be beautiful her servant must look and dress like her, something truly unattainable.
The message of White superiority is blatant. The body of a Black woman has been controversial since the conception of this country and has been distorted and skewed under the White male gaze. Our bodies are not seen as beautiful or valuable, but rather as an instrument for pleasure. Our bodies are not seen as strong regardless of the fact that the prosperous life White Americans revel in would not be possible without our sweat and our blood. Here you see the Black woman’s body displayed by a White woman as flawed, only acceptable because of her temporary subscription to Western dress.
Another point of tension between Africans and Europeans were their drastic differences religious practice. In The French Encounter with Africans, Cohen explains, “The Africans’ animism piqued Europeans’ interest, as perhaps their most prominent feature next to coloring.” (p. 15) Missionaries attempted to transform Africans into Christian but weren’t met with great success. The association with Africans and Blackness to hedonism were deepened using Biblical morality. Cohen writes, “… After 1700 Africans were depicted as responsible for their lack of Christianity, a conclusion due, it was said, to their moral failings and to their bestiality.” (p. 17) The African failure to complacently conform to European Christian morals made them sinners.
While the demonization of Black people and Black culture insisted, the fetishization of non-Western culture grew and flourished. The relics which were once used as evidence against African humanity are now being sold in Sotheby’s catalogues for hundreds of thousands of euros. Europeans can appreciate what Black people create (for example: our art, our music, the United States of America,) however when it comes to us as people there are moralistic differences which have greatly hindered unity.
Cette tête commémorative royale, Edo, Royaume de Bénin is item 109 in Sotheby’s Art Africain et Océan which is a catalogue of two patron’s personal collections. They describe the statue, “Cette tête représente un oba, indentifié par la couronne royale, le bandeau frontal et le très haut collier à 28 rangs composé de perles de corail. Chaque côte de la téte est orné d’un motif en forme d’ailette, au born ajouré. Le visage présente des traits naturalistes travaillés aves une très grande finesse, les sourcils signifiés par des hachures réguliéres, de trés fines cercles gravés sous les yeux dont ils suivant la ligne courbe, le front orné du motif classique de triple scarifications.” (p. 26) But what they’re failing to mention when regaling all of the ways which art historians deduce the meaning of these ancient pieces of art is how these pieces of art were procured. What they’re failing to mention is that the selling of sacred art of another culture, specifically Black culture, that has been demonized and degraded they are further perpetuating the idea that our culture is valueless. These pieces of art were not made necessarily for Western consumption and yet Europeans insist on placing value on our art as opposed to our livelihood. This phenomenon in and of itself is evocative of the dehumanization of Black people and how only valued for our usefulness.
The representation of Black people in Western art and in the media has rarely shown our true colors. There is no exploration of our depth, only our fetishized backgrounds and the disfiguring of our identities. However, while the Western world has created this depiction of us which is simply offensive and wrong, it’s caused Black people to create a counter narrative. Now, this narrative may be ignored by Western media, but it’s still alive. We are actively trying to reshape our image and prove that we are more than slaves in their mistress’s clothes.
Jeremy Hacker
Desire and Impressionism
In this essay I will be looking at desire through the lens of impressionism, a style of art popular in France during the late 19th century. In my analysis, I will be examining Lacanian psychoanalysis and aesthetic theory. In trying to better understand desire, I’ll be studying the social context of France during impressionism’s reign, formally critiquing impressionist paintings, and retroactively tying Lacan’s analyses of desire to these critiques and history.
Based off of Freud’s Id, Ego, and Super-Ego, Lacan lays out his take on the psych as the Imaginary, Symbolic, and Real. The Imaginary is best thought of as image-based, Symbolic as language, and the Real is the ground upon which they both merge to form. (1) In 1965, Lacan introduced the concept ‘objet petit a’ during a psychoanalytical seminar/conference. Lacan stresses that the ‘a’ is to remain ‘small a’ so that it is clearly separated from the big ‘Other’. There’s also a pun in pronouncing ‘objet petite tas’ (a little pile of shit), which is referring to another psychoanalytical discussion, much the same as Duchamp’s L.H.O.O.Q. (she has a hot ass). It’s important to note that Lacan uses art as a way to discuss the bridging of these realms-the Symbolic, Imaginary, and Real, and that he was an avid art collector and theorist. To Lacan, “the world we see in art is the world of our desire.” (2) This separation from the big ‘Other’ is one the main keys to why desire is impossible to completely attain, and why art perpetually transforming and being constructed.
Slavoj Zizek is contemporary philosopher who studies Lacan as a way to discuss popular art and culture. “The fundamental point of psychoanalysis is that desire is not something given in advance, but something that has to be constructed… through fantasy we learn how to desire” (3) What I infer from Zizek’s claim is that there is no a priori desire, and that desire is a construct of the mind. Some consequences of this is that you have to create objects and scenarios in order to have desire appear, and that desire is susceptible to social factors such as advertising, religion, politics, and propaganda. It’s common in the psychoanalytical field to discuss desire as something which stems from infancy. As an infant without speech, your desires are met through an ‘Other’, who sees and recognizes you, which allows you to formulate a concept of the self. This fulfilled desire and recognition becomes the basis from which Lacan’s ‘objet petit a’ derives. As we age we can never attain this completely fulfilled desire, thus we create fantasies in an attempt to come close to it. We can also slowly start to see how art comes into play as a construct of fantasy which addresses such unattainable desire. Art becomes a way to project an ‘Other’ in order to see the self, since the self can only be acknowledge through a recognition from another being.
If you create a fantasy, and all you have to piece it together are conservative ideals, then it would not be unusual for your fantasy to be constructed from any other set of ideology. For instance, if you’ve spent your whole life as a practicing Catholic, and you’re an artist, you’ll most likely produce works of art which depict your relationship with Catholicism. Of course there are exceptions, but it would be unusual to see an atheistic image from a Catholic’s hand. Another consequence of this claim, is that since desire is not given, and is not existent without fantasy, it must be continually constructed, and so we see that desire becomes a circular sensation, and that when we come close to fulfilling it perfectly, we become anxious at the thought of losing that drive. Desire, then, is a void-a nothing into which we put our constructed fantasy into.
Lacan claims that “desire cannot really have any object at all, if desire is to remain what it is: the pure negativity of a subject who desires himself in his objects, and who can do so only by perpetually negating himself in them, by negating them as what he is not- a ‘given object’, a thing ‘in-itself’.” (4) The subject and desire thus are separating by an unbridgeable gap between an object. What does the pure negativity, i.e., negation mean, however? Jean Piaget, a developmental psychologist claims that negation is “when an individual realizes that a procedure or process can be reversed, they are said to have realized the concept of negation.” (5) Another Freudian definition of negation is “the paradoxical mechanism which produces the opposite meaning of the enunciated proposition.” (6), which basically means a denial. Lacan’s first half of his definition of desire then starts with a pure negation-a subject who realizes desire of himself in an object, and this is only possible in a perpetual, cyclical process, unperturbed. The subject negates what he’s not, an object, and a thing in-itself-a philosophical term I’m vaguely familiar with, but seems to represent the separation of noumenal (independent of the mind) and phenomenal objects in space (matter). We can infer that the noumenal world is Lacan’s ‘Real’.
So, ‘objet petit a’ is a separation of the self as a maneuver to deal with the unattainable fulfilment from the ‘Other’ as we age. The object of desire is “unknowable, unreal, denatured, sexually neuter … a non-object, a negated object.” (7) We can see that this definition fits into the notion of noumena and that it is not linked to sexuality, as one would initially suspect. In order for desire to give itself an object, it must be organized into imaginary fantasy scenarios. Lacan then deduces that the question of desire’s object is the same as the question of the manifestation of desire’s subject. The latter’s question arises from asking if it is the other self who must first manifest desire to the self, so that the self can manifest desire into the object it is not. This is a question on the possibility of a reversal of the scenario in which desire is created. The answer which Lacan gives is the ‘signifier’, which is put in place for the “presence of the absence of the subject.” (8), and brings us into the Symbolic. The signifier turns out to be the phallus, which is not an organic phallus, but a gender neutral simulacrum. Lacan’s theory on ‘objet petit a’ starts from childhood, in which the demand for the breast ends in a call for a signifier where the subject can now identify themselves as a being. This leads into an examination of Freud’s Oedipus complex, and where symbolic castration comes into play-a falling out of the symbolic order as a consequence from the father figure. Now we see how the gender neutral phallus is chosen as a signifier- it fills the void that is left from this castration. Zizek simplifies this definition with: “The object a is ‘objectively’ nothing, though, viewed from a certain perspective, it assumes the shape of ‘something’. (9)
Now that we have one definition of desire-a self-constructed fantasy which attempts to reconcile the self’s unattainable fulfillment of desire from the ‘Other’-how can we use that to analyze impressionism? Since the ‘Other’ can never fully satiate us, and we ask of art to try to do this, we can analyze any movement of art throughout history to understand desire and what affects it. First, I’ll provide some context of the social environment in France in the late 19th century, particularly its attitudes toward the public image, art, and censorship.
In the years of 1853-1870, Baron Haussmann, hired by Napoleon III, was charged with renovating the city of Paris, “he [Haussmann] had the unhealthy slums and narrow streets of mediaeval Paris razed to the ground, and opened up huge avenues and boulevards.” (10) Haussmann was dismissed by Napoleon in 1870 due to opposing views that they were spending too much money on the renovation, but with the loss of the Franco-Prussian war and the rise of the Third Republic, the project still continued until the early 1920’s. This project led to a rise in wealthy bourgeoisie patrons living in a new, geometrically pleasing Paris, where common workers had previously lived. The mixture of workers and the bourgeoisie, all while France was enduring political turmoil due to its recent defeat in the Franco-Prussian war, created new social situations, political ideas, and stances. This new setting also provided key ideas and themes for impressionists to explore. In this time of uncertainty and blossoming new ideas, traditional and conventional art entered the political sphere and became questioned, “Issues important to a democratic state … were debated and haltingly put into practice in the early Third Republic.” (11)
One of the democratic ideas now being taken seriously, with regards to art, became freedom of the press. Questions about the methods of censorship and those in power to censor, particularly issues around the nude figure, had arisen. The line of acceptability when displaying the nude figure almost exclusively relied on its academicism and how close it adhered to traditional standards. We can see such ideas through this quote, “but if models or académies, were successfully transformed into art, into the ideal, one might anticipate that reproductions of the finished works of art, paintings, or sculptures of the nude would be less problematic for the general public.” (12), in which the painting and model aren’t seen vulgar since they’ve been elevated to the status of ‘art’, rather than pornography. Naturally, with the rise of the Third Republic and the practicing of these democratic ideas, those in power to decide art’s acceptance to the public began to come under scrutiny from the more liberal patrons. The major figures muscling regulations on the nude are art institutions such as the Beaux-arts, print entrepreneurs, government policies, and the Moral Order, a regime of government that ended in 1877 whose Catholic conservatism exposed the tension between supporters of the monarchy and those of the republic. (13) Even after the Moral Order was disbanded, conservative figures still remained present in the government and courts. These groups’ attention focused primarily on the image, rather than text, so much so that “Images posed enough of a danger to merit fast and efficient repression.” (14) This leads us to question how much sway political forces and censorship has over desire. If we recall Lacan’s quote from earlier that he saw in the world of art a world of desire, then having certain art censored is having desire censored. The desire being censored is of course desire which opposes the censurer’s moral and ideological tenants, and shows a fear in having it affect others in the same manner, supposing they hold the same foundations of character. Thus we have a starting point for established notions of the ‘ideal’ desire in art and how art has the ability to induce desire.
In the 19th century, two of the major art movements before impressionism were romanticism and realism. Venus, the Roman goddess of love, sex, beauty, and fertility, was a common figure in these art movements, representing the ideal of desire-an embodiment of feminine beauty, in which she was commonly portrayed as a realistic, near photographic image of perfection. Common critique of these art movements was how well you could paint idealized figures, portraying Venus’ mythos as metaphors through romantic or realistic imagery. The established idealized notions of desire had to be agreed upon, not universally, in order for the movement to flourish, and these notions continually come under scrutiny, since desire is never actualizing and art never complete the self’s drive. Before I examine censorship of the nude and the challenging of these traditional ideas (Venus as my encompassing symbol), I’m going to analyze a popular piece of art which crystallizes realism and romanticism.
The Birth of Venus, by William Adolphe Bouguereau, made in 1879, is an oil on canvas painting, 300 x 218 cm, and hangs in the Musée d’Orsay, Paris. The depiction of Venus in the center of the canvas is the main focus point, as the attention of all the other figures, cherubs, naked nymphs, and centaurs blowing conches, fix their gaze upon her. There are not many visible brushstrokes, making the whole painting appear near photorealistic. Venus, fixed directly in the middle, shines brighter than the rest of the figures with her pale skin, giving her an extra aura of allure as the eye focuses on this more illuminated center. There are no imperfections to the tone of her body, no blemishes, and aside from some shadows accentuating the curves of her body, her skin is flawless. Venus is holding her hands up to her hair, bending her neck and body in a suggestive, sexual pose which submits to the academic norms of idealized truth and beauty. Her hair flows long down her back, and is tangerine-red with curls at the end. The women and cherubs all share the same pasty white skin tone, while the centaurs are slightly tan. The ocean Venus is standing upon, on top of a pearly white shell, is a mixture of teal and blue, while the sky behind her presents the only signs of brushstrokes, a muddle of grey, blue and white. There is a dark, shadowed figure in the sky taking the form of the cloud in the back left of the painting, suggesting a creator or godlike figure. It is clear when examining this painting that it’s aimed at the viewer’s potential desire through the fantasy of a portrayed idealized beauty. To me, nothing in this painting suggests modernity, but is rather awash with classical style. The mythological setting, sensual, unblemished Venus, and hyper realistic, romantic atmosphere in this painting are clearly an academic success, and this painting was awarded the Grand Prix de Rome.
What we’ve seen from censorship is that the nude figure was subjected to specific criteria, and any nude image which strayed from adhering to this checklist was seen by some as “corrupting young minds and stimulating lust.” (15) The Birth of Venus can be viewed as a good example of the dominant academic and legal standards of what an acceptable portrayal of desire through aesthetics should be. This leads us into discussion about the Beaux-Arts system and its role governing the art world. “The École was governed by the Académie des Beaux-Arts, itself governed by the Institut de France. The professors at the École were chosen from among the members of the Academie, and the same body also dominated the jury which awarded prizes at the annual Salon, or state-sponsored exhibition.” (16) One can imagine from this structure how hard it would be to enter your paintings into the Salon if they deviated from traditional standards. Bouguereau himself resigned from being one of two presidents of a Salon painting jury in 1879. The frustrations and continual denial of works of art that didn’t meet these academic requirements led to the formation of the Salon des Refusés in 1860, who were granted a seal of approval by Napoleon III in 1863, a move to gain political backing on his part, and which allowed a giant leap away from tradition standards as they no longer had to appeal to the jury’s judgment. (17) Years after this Salon, the Salon des Indépendants was formed in 1884, which was an “attack on the bourgeois mentality of the Salon jury.” (18) This signal shifts how desire was examined through aesthetics, particularly with the way in which the nude is portrayed in these new salons, and a longing to move past tradition.
One major issue that comes from the nude figure, clashing with conservative ideas and traditionalism is prostitution. The painting Rolla, made by Henri Gervex in 1878, had to be defended in court, in which he claimed the painting suggests a moral lesson on the consequences of prostitution. Pointing out symbolic items such as a top hat in the painting, with its connection to bourgeoisie society, a claim was made that Rolla abandoned his privileged place in society in order to engage in a promiscuous, negative affair with a prostitute. The censorship of this painting from the Salon only further strengthens the argument of the ideals imposed on art, and how any deviation from that ideal notion had to have just cause and sometimes be defended in court. The court room used any and every iconic symbol of prostitution in order to show this painting as slanderous, completely missing the point of the painting-to show prostitution in a modern, contemporary light.
When displaying the nude through aesthetics in the public realm, it generally had to be an idealized form, with academic and aesthetic traditions explicitly tied to its viewing. This aesthetic is primarily directed toward male heterosexual viewing, and is being challenged by Salons who are tired of staunch, conservative juries. There are rising feminist voices, by both males and females, who then agitate those who held these standards of public viewing, both in the judicial and aesthetic realms. With the fall of the Moral Order, and the rise of these independent salons, boundaries were being pushed like never before, and the human figure, particularly the feminine figure, became a major aesthetic focal point.
The first painting is by Edgar Degas, entitled Woman Combing Her Hair, and was made in 1888-90 by using multiple pastels on cardboard. This painting is currently being displayed at the Metropolitan Museum of Art in New York. It is 24 x 18 inches and shows a naked women sitting on the ground, facing away from the viewer, combing her hair. Her legs are crossed and her head is bowed as the comb scrapes upward from her neckline. Not much is discernible in the room, aside from a couch and the she’s sitting on. The brush strokes throughout the painting are clearly visible, and it even seems as if Degas used a comb on some sections. The woman’s hair is red, which resembles most of the Venus paintings I’ve seen, but her skin tone is what immediately strikes me as different. In some parts of her skin there are smudges of green, which are subtle and don’t make her look sickly. The blending of these green accents with tan and brown, create flesh that appears more vivid and warm than the bright, pasty tones in The Birth of Venus. As this woman combs her hair, we suddenly feel as if we’re a voyeur, peeking in on what is probably a routine, daily ritual. This can be seen as a contestation, or simple contrast to the sensual, inviting Venus of tradition, whose role seems to invoke desire in the viewer. There is no show here, it’s but a moment in time which plays with light and color. Are we meant to see this as a statement against voyeurism, or is Degas simply giving us a natural apartment scene? Either way, it seems that there’s an attempt at avoiding desire here, so what is left is a personal introspection and response, rather than being handed desire bottled up. The easiest way to get the full effect of what Degas has done in Woman Combing Her Hair, is to place the image side by side with The Birth of Venus, and immediately the mythology grandiose painting seems a dramatic fiction compared to a banal scene. The normalcy of Degas’ scene brings into question, and I’m sure was postulated by critics, that if anything could be painted, then anything could be great art, which in turn means nothing becomes special. I think this thread of thinking spirals into a lot of modern art themes, and could be placed as a question in examining desire. If any scene could represent desire, then it’s dependent and reactive on the viewer’s response in a public or private space. The response and critique of art, with desire as a lens, thus reveals our personal feelings and judgments, which is analogous to something like a Rorschach ink blot test. With this in mind, we could say part of desire stems from political and religious stances, and yet personal desire still seems trickier as public proclamations could be contrary to one’s true feelings. At what extreme does the public sphere influence personal desire? A close answer to that question, I suspect, is that it’s more than we’d like to believe. In thinking about Lacanian desire, I suspect Degas wants us to examine our personal notions of desire, rather than adhere to the ‘ideal’ desire.
The next impressionist painting I’m going to examine is The Floor Planers, by Gustave Caillebotte, an oil on canvas painting which is 102 x 146 cm. It is currently being shown in the Musée d’Orsay, Paris. What is immediately transparent is the perspective in which the viewer is given by Caillebotte. It is as if we’re standing on the floor, soon to be in the way of the workers. There are no dramatic colors and tones, it is all neutral brown and black, with a window showing pale daylight in the background. There are two men following the parallel, vertical lines of the painting, scraping the floor, while a third breaks horizontally on the left edge of the canvas. As they work, you can’t help feel the rhythm of their work, their muscles exerting as they scrap the floor, not wishing to present a dramatic scene, but rather finish their work. There is a wine bottle on the side suggesting a gift from the viewer as something to take a break over. The curled shavings where these men have gone over previously present a chaos among the rigid parallel lines, and entice your hand to run through them. When compared to more traditional motifs of men in paintings, it’s clear Caillebotte is uninterested in dramatizing these men-he has avoided giving these men particular, unique faces, and dramatic poses. Much like Woman Combing Her Hair, we are in an apartment, The Floor Planers maybe more bourgeois than the former, and peeping in on a casual event which exposes skin. These men are not fully nude, but with their discernible faces, their bodies and form become what we examine most. As one critic put it, in bewilderment over the lack of romanticism compared with traditional male figures, “By all means, gentlemen, paint nudes if nudes are what you’re after. […] But make your nudes beautiful, or don’t do it at all.” (19) I can’t help but feel Caillebotte would have laughed at this critic, because he is clearly not interested in the ‘ideal’ beauty, and these men are desirable in their own right, and directed toward a viewer the critic is selfishly ignoring.
Through fantasy we learn to desire and there is no set object that is the ultimate, perfect object of desire that can fulfill our lack. It’s through aesthetics that the image allows fantasy to be played out, and in the construction of desire, we attempt to fill the lack that the object can provide. The aesthetic object then must allow for a fantasy to fulfill the lacks which are present, thus catering to that lack. If the self has a desire met, it is negated into something new, in which the new desire must seek a new object to fill it. This then could be an explanation as to why conservative traditions came to be challenged in impressionism, since the desires and ideals formulated by some, are non-existent in others. Rolla’s painter, Gervex, was taken to court because it depicted prostitution, and had to be defended on moral grounds, thus showing a fear that desire would be invoked in the viewer, a desire unacceptable by the government who was directing the public’s eye. The term ‘beauty is in the eye of the beholder’ becomes apt here, for when one sees Rolla as a moral dilemma, its creator sees it as social commentary. The Birth of Venus, Woman Combing Her Hair, and The Floor Planers are all dependent on the viewer’s personal fantasies, in social context, to create meaning, and thus become subject to others’ mercy, because when social standards are deviated from, a conflict arises in which each perspective must reconcile with other perspectives. The question then lies on how strong personal desire is to withstand heavy mediation from the public sphere, since desire stems from a lack, and in being provided a possible filler, the temptation becomes palpable. To me, this seems the driving force behind advertisement: show what you don’t have, to create a lack in the subject, who then desires to obtain the unattainable sensation that the object can provide.
Thinking about Degas’ and Caillebotte’s painting with Lacan’s definition of desire in mind, I can’t help but think of them in relation to modern art and Bouguereau’s, The Birth of Venus. If these impressionist paintings show worlds of desire, it’s clear that an introspective examination of the self’s voyeurism is at the forefront, whereas Bouguereau’s painting is trying to provide us with an ‘ideal’ desire. Of course these are my subjective interpretations, but at the heart of art lies an ability to invoke sensations and ideas that can be shared through ‘objects’. When thinking about modern art, what comes to my mind are installations, readymades, shock art, and blank canvases-a vast difference from the nude, although we haven’t abandoned the nude completely. I suspect this is due to our transforming focus of desire through time, and that the artist, never fully satiated, continues to question and push conventions in seeking new realms. Another aspect of the shifting styles of art revolve around political and social contexts. So, what would it mean to make art without desire? I can’t find a satisfactory answer, and it feels that you either address desire, or attempt to make it, both of which are attempts for the artist to gain acknowledgement through a recognition.
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