Her (Formerly A Conversation With My Mother)

I want to write about your lies.

It’s dark. About nine o’clock in the evening and my phone is ringing again. It’s Mom.

“I’m here with your father…”she begins, her voice a unique mix of tired and chipper. “He’s a bit down; can you say some kind words to him?” He’s not listening to her again. His own selfish nature killing any kind and reassuring words as though they are trying to attack him.

“Hi, Dad. How are you?” He mumbles, not willing to give. “How was physical therapy?” When he answers, his voice is clear.

“Fine. It was good.” It wasn’t good. If he likes his physical therapist that means the person isn’t doing his/her job properly. They aren’t pushing him.

“What’d you do?” His answer of “not much” was confirmation enough. “If they won’t push you, dad, you need to push yourself.” He is silent. “Dad.”

“I heard you!” He raises his voice.

“Jae,” Mom is back. “He pushed my hand away so I think he’s done talking tonight.” She sighs. “Thank you. I’ll let you go now, so you can get back to doing whatever you were doing.”

“Okay. Do you need anything?” I want to help her. I need to help her. He doesn’t.

“No, no I’ll be okay. I’m going to leave here in a bit and head home.” Her days are full of him, pleasing him, doing for him. She goes to work and as she gets off, she turns to come to him. Always him. Everything for him.

“If you’re sure…” I hedge, my body shifting towards the phone. She does for him and forgets herself. He would never do the same. If she was sick, god forbid, he would make it about himself. He wouldn’t sit at her bedside for hours upon end. It would be a miracle if he came to see her at all.

“Yes, I’m sure. “ Her voice is heavy—full of the weight his sickness has placed upon her shoulders.

“Okay, then,” I pause “I guess I’ll talk to when you get home.”

“Yeah, okay. I should be out of here after this show goes off. If it’s too late, I’ll text you to let you know I’m home after I let the boys out.”

“Alright.” Silence. Neither one of us wants to stop our call as it brings the other comfort. We are a team, the two of us. We work together and pick each other up when he tears us apart.

“Talk to you in the morning, Jae.”

“No, I’ll talk to you later.” She always tries to do this—to keep me away from the effects of his illness.

“Okay, later then. Be good. I love you.”

“I love you too. Drive carefully.”

“I’ll try my best.”

“Bye, Moz.”

“Bye, Jae-Z.”

————————————————————————-

It is just after eleven o’clock. My phone rings.

“Hey, Moz.”

“Hey, Jae.” Her voice is lighter now, less dense. “The boys have been out. Wrink is insane.” Wrink is our seven-year-old bulldog, who believes himself to still be a puppy. “Bubs wasn’t much better. He kept growling at Wrink.” Bubs, whose name is actually Chubbles, is our ten-year-old blind Pekingese. He hates and loves Wrink with a passion that is bigger than himself.

“I’m not surprised. Those two have such a love/hate relationship.”

“Yeah.” It’s quiet. The conversation lulls and we breathe. In and out. Slow and steady. It continues like this for many minutes until…

“I don’t have anything. I just wanted to hear that you got home safe.” I speak. I break the silence and wish I hadn’t. But I know she is tired and needs all the rest that she can get.

“I’m safe. I’ll let you get to sleep, and I’ll talk to you in the morning.”

“Okay, yeah, I’ll talk to you in the morning, Mozzy.”

“Goodnight.”

“Night.” The call ends.

 

 

It is seven fifty in the morning. I am walking back from the dining hall when I dial the phone. It rings five times before she answers.

“Morning, Mom.”

“Good morning, Jae. What are you doing up this early?”

“I went and got breakfast from Hodson.” There is a pause before I continue. “Are you going in to work today?”

“I can’t. The physical therapist called. She’s coming some time between 9 and 11. The occupational therapist is supposed to be coming out here as well. She didn’t give a time.”

“Do these people understand that you have a job?” It angers me every time I hear about these nurses acting as though only their time is important, only they have jobs to do.

 

The room is dimly lit. It is passed nine o’clock on Friday a month before last call.

“Girls! You’re here!” Lying in his hospital bed is my father. His voice leads listeners to believe that he is happy to see us, but we know better. His anger will show soon enough.

My mother walks to his bedside. She leans down, giving him a hug. He has Vancomycin Resistant Enterococci (VRE), which is a skin infection that is resistant to antibiotics. It is transmitted through contact. She touches him anyway. She has no choice.

“I brought your favorite girl to see you.” She smiles and nods towards me.

“Hey, dad.” He reaches his hand out to me. He doesn’t care.

“Jae how was school this week?” I have no choice I take his hand. He squeezes and holds my hand, looking at his television.

“It was alright.” I say, pulling my hand back. Guilt begins to bite me the closer I get to the hand sanitizer pump on the wall, so I wait.

“Did you have physical therapy today?” She asks him, grabbing the stiff hard yellow chair to sit at his bedside. She reaches for his hand. I push for the hand sanitizer. He stares at the television, ignoring her. “Jim?”

“What.” He snaps, his eyes pull away from the screen to glare at his wife, my mother.

“I just asked if you had physical therapy today.” She is tired.

“Yes.” His answer is brief and he takes his eyes away from her, back to the screen.

“What did you do?”

“You’d know if you had been here.” He snaps at her. He knows how she feels when she has to work. He knows that she feels guilty for leaving him alone to deal with the medical teams. He knows that she is doing her best. He knows. He doesn’t care.

“Jim, honey, you know I had to go in. I’ve been off with you this whole week. I can’t keep doing that or they will fire me.” Her days are full of him, whether she is here with him or at work. She thinks of him, always. He spends his days in a hospital bed, thinking only of himself.

“Whatever, Alexa.” He dismisses her so easily. His eyes back on the television screen.

For many minutes, it is quite until one of the nurses comes in. Casey? Danielle? Jen? I don’t remember. They have all run together now.

“Oh, Mrs. Jensen! I didn’t know you were here!” She sets up to start my father’s feeding tube for the night. “I know you weren’t here earlier.” She looks at my mother as though she committed a crime.

“No, I had to go into work today. I took the rest of the week off to be here but I had to go in today.”

“Ahuh, right, well, since you weren’t here today…”

 

When the nurse came in, my father let go of my mother’s hand.

 

It is five o’clock two weeks before the last scene. The sun shines through the patterned window of 11 West Zayed room 16. I am sitting on a cream colored couch that folds into a bed; she is sitting on the hard yellow chair again.

“Jim,” she is sitting as close as she can get to him, knees pressing against the railing of his bed. We have been hear since nine this morning, having only stepped out when my father needed to be cleaned by his tech. We took that time to rush down to the food court though we have not had the chance to eat yet.

“Jim, honey.” She checks him, testing to see if his shuteyes are truly that of a sleeping man. One of his tactics he uses when he is trying to lull us into a false sense of security, when he is tired of us, or wants to catch us eating. Eating. We haven’t been able to eat like normal human beings in so long that it seems almost foreign to think that people sit down and enjoy meals. We do not have that luxury.

My father has not been able to ingest food in months now. On January 4th, he went in for a surgery that was supposed to remove the cancer in his esophagus, detach and move his stomach to meet what was left, and that was supposed to be that. However, it didn’t work quite the way we’d been led to believe that it would. As it turns out my father’s particular surgery is well known in the medical field for failing. Apparently for every doctor that preforms his type of surgery, 1 in 10 will fail. My father is happened to be that one.

“Jae, I think he’s asleep.” She carefully slides her chair backwards. As she goes to get up, his eyes slide open.

“Alexa? Where are you going?” His voice isn’t groggy in the slightest. He looks at her accusingly before shifting his gaze to the television—sports.

“Nowhere, Jim.” She sits back down, her shoulders dropping. My mother moves her chair back and reaches for his hand.

We don’t get to eat until nine. We don’t leave until eleven. He enjoys his sports.

 

It is four weeks before the last scene. We are in Doctor’s Community Hospital, the same hospital he walked into three weeks earlier. Visiting hours began at eleven, though we snuck in at nine.

“Please, be careful.” Her voice is full of worry and desperation. My father is being moved from MICU up to the third floor. The women transporting my father are entirely too short to do their job. The drainage box connected to his chest tube has dropped to the floor for the fourth time. “Please, please, the box is connected to a tube inside of him! Please.” I place a hand on her should as we watch wide eyed as these transport techs mishandle my father.

“Ma’am, we know what we’re doing. We know he has a chest tube.” This comes from the older woman with bloodshot eyes, Tammy. She looks drunk as she hides behind the head of the elevated bed.

“You obviously don’t know—”

“Mom, no.” I turn to her. “We can’t.” They have him in their hands and anything we say could affect the outcome of this transport.

“I don’t think y’all are going to be able to fit in here with us, so…” Tammy trails off, her red eyes peering over her glasses from beside the bed. She waves her hand as the doors to the elevator close.

“We’ll take another elevator. See you upstairs, Jim.” We call for another elevator and somehow manage to arrive before ‘The Tammy Express’.

As the doors to their elevator opens chaos begins. The sitter who traveled with my father and Tammy begins to guide the bed out of the elevator. “Wait, wait! Hold up, girl, the brakes still on!” Tammy’s calls out. The sitter steps back, tapping the brakes on each wheel on her end of the bed.

My mother leans into me with her forehead placed on my shoulder. “I can’t watch this.” She brings her head up anyway and watches. Tammy guides the bed into the elevator door, wall, back into the door before finally getting the bed out of the elevator.

It takes more hands than enough to get my father into the new room and onto his new bed. Each time they move him, my mother flinches and reaches out. She wants to protect him from the pain that they are putting him through. Thankfully, his chest tube stays intact.

“Any y’all going back down? I’m off so I was heading out.” Tammy’s voice ends the severity of the moment like a clown stepping into a prayer service. “None of you feel like dropping this bed back down there, huh? Alright, well, I’ll do it.” She did not wait for a response as she grabs the elevated bed. “Okay, Mr. Jensen. I’ll see you!” She calls as she swerves out of the room, hitting almost everything in her path. “Bye, y’all.”

My mother and I look at one another laughing harder than we have in three weeks.

 

It is January 4th. It is eight in the morning. My father and mother are walking together into the waiting area for Pre-OP. My father’s brother, Steven, waits for us inside.

“Jim, how are you feeling?” Uncle Steven puts down his newspaper and gives my father a hug.

“I’m ready to get this over with, Steve.”

“Yeah, you’ve had a long road.” My father and his brother sit beside one another with my mother grasping my father’s hand. I sit next to her. We sit in silence with nerves running circles around us.

“Jensen?” A woman in Pre-OP blue scrubs calls a half hour after our arrival.

“Here.” My mother stands as my father is still grasping her hand tightly. They walk together towards the nurse.

“Oh, you can come back to see him in about an hour.” My mother’s face drops, as does my father’s. This cancer has brought the pair closer to the point that, at times, they have trouble functioning without the other.

“O-Okay.” My mother pauses, looking at my father. “Jim, are you going to be okay?” He relies on her more than he’d like to admit. She goes with him to all of his appointments and takes notes. She even goes with him to chemo and radiation. Before all of this, she had leave to take off when she was sick or needed to rest. She doesn’t take off for herself now, only him.

“Yeah, Alexa. I’ll see you in an hour, right?” She nods, squeezes his hand, and lets go.

“I love you.” He does not respond as he follows the nurse into Pre-Op

—————————

It has been an hour and thirty minutes. They finally allow us back to see him in Pre-OP. His surgery is set to start in an hour at eleven.

“Jim,” as she steps into the room, my mother’s body relaxes. She goes to him, kissing him, and grasping his hand.

“Hey, Jim. What’d they do to you back here?” My father and his brother chat as my mother and I stand, watching my father. Doctors come in and out. Before we know it we are being told that it is time.

“Jim, honey, you need to be strong. We need you to fight.” My mother cracks as she looks into my father’s eyes. She tries not to show him her fear but she doesn’t succeed.

“I will, Alexa. I’ll see you all soon.” He makes a joke about some show he wants to watch and I smile.

As he is wheeled away, my mother and I grasp hands as we begin to pray.

————————

At two, Dr. Khan comes out to tell us that his part of the surgery went well. He was in to oversee the tumor extraction and the freeing of my father’s stomach. They had to remove his gallbladder as well.

He said to expect Dr. Ahmad to come out in four hours. We continue to wait.

————————–

At six, there are only four only people besides our group in the waiting area. The board that is supposed to update still says OP. My mother picks up the red phone that calls into Post-OP.

“This is Mrs. Jensen. I’m calling about my husband…” she trails off, listening to the voice on the other end. “He’s still in? Okay, okay.” She puts down the phone and we continue to wait.

——————————

By seven, we are the only ones in the darkened waiting area. My mother has called into Post OP three times. There is no news.

She watches the clock and the board equally. Her eyes bat back and forth. She looks to the phone and any noise makes her jump, hoping to see Dr. Ahmad’s face.

—————————————-

At seven thirty, she calls again. They have news. Dr. Ahmad is coming to speak with us.

——————————————————–

At eight o’clock, the doors to Post OP swing out and around the corner comes my father’s favorite doctor. His face is dark and somber. My mother lets out a whimper.

“Doctor, what do you have to say to me?” She is grasping her chest. She looks as though she has aged twenty years in these long hours.

“Well, he’s okay. He is going to recovery soon.” My mother sags back into her chair, still grasping her chest.

“Oh, oh God. I thought—” she stops, shaking her head before smiling. “Thank you.”

“We had clear margins. He did well throughout the surgery. We did have to give him some blood. However, we did find something on his lungs.” My mother stops breathing as though her lungs have given up at the thought. “There is crystallization on his lungs. It is hard as rock. I tried to freeze it off to get a sample to run to the lab. I did end up getting a sample but we won’t know what it is for a few days.” Dr. Ahmad’s raspy voice gives us news that none of us want to hear, least of all my mother. As he talks, her body seems to deflate.

“What do you think it is?” She asks, wanting and not wanting to know the answer.

“I’m not sure but it could be…” He tells us what he thinks and I pray that he is wrong. A few days from this moment, we learn that my father is a lucky man and it is not more cancer.

———————-

It is nine o’clock. We still have not been called back to see him. The board still says OP. My mother calls.

“This is Mrs. Jensen again. We are still out here. No, Dr. Ahmad has come to see us.” She pauses, holding the phone closer to her ear. “Thank you.”

“The woman on the phone said that he was just wheeled in and she will come out to get us soon.” She sits down again, hands clasped.

Minutes later, the Post-OP doors open and a woman in Post-OP dark blue scrubs comes striding out.

“Mrs. Jensen? I’ll take you back but only one other person can come see him. You can’t stay for long.” My mother jumps up and I turn to my uncle.

“You can go.”

“I-I shouldn’t. I think I’m getting si—“

“Go, take a mask then.” I urge my uncle speaking over him. My father would want to see him. My uncle lives in Connecticut and doesn’t come down enough.

He goes with my mother and I wait alone. Soon enough, the pair come back.

“Jae, would you like to go?”

“Yes.” I walk passed my mother and head for the doors.

“Jae, wait!” I continue before turning around, cocking my head. “I just want to warn you that his eyes are open.” I nod and turn back, heading to see him. “Jae! You know what I’ll just come with you!”

All alone in Post-OP, laying on a bed with his eyes staring mindlessly at the ceiling is my father. I stop at the end of the bed. My mother reaches for his hand, holding the one that is not punctured by an IV.

“Jim, honey, Jae and I are here.” She speaks to him and his heartbeat quickens. “You did it, honey. You made it through.” She releases a shaky breath and continues to speak. He needs her and she needs him.

“Ladies, you have to go.” We are ushered out.

As my mother and I walk back to the waiting room to see my uncle off, we look at one another and know that this is only the beginning. But we didn’t know how long this would take.

 


I want to write about your lies.

Every time you open your mouth and tell her she needs to do more.

I want to make you hurt.

Every time you talk about her to my father and say that he has no one.

I want to show you the pain that she feels.

Every time you pressure her to act in the way that you wish she would.

I want you to listen to the stories she has to tell.

Every time you act like you like her, just to patronize her.

I want to show you the strong woman that she was before this.

Every time you pull your hand away from hers.

I want to yell at you to stop.

Every time you listen to those nurses and yell at the woman who loves you.

I want to shake you and scream louder.

Every time you lay around instead of doing your physical therapy.

Every time you made it harder for her.

I want to remind you who picks you up every time you fall.

I want to remind you, nurse, that you know nothing at all.

I want to remind you, father, that you would be dead if she didn’t love you with everything that she has.

I want to remind you, Moz, that you are strong and I love you more.

Final Proposal

For the final project, I plan to write about my experience the past few months in juggling school and home life. Now, on the surface this seems like a relatively easy task but the truth of the matter is that it isn’t.

Last year right before the start of the school year, my father was diagnosed with cancer of the esophagus. He had many rounds of chemo and radiation that ended right before Thanksgiving when he was hopitizalized due to an infection. Even with all of radiation and chemotherapy, his doctors made it clear that he would need surgery to remove the tumor that was almost completely blocking his esophagus. His surgery was originally set for December 14. Then rescheduled for January 4th. That’s when this crazy life that I am living took hold. Over the last five months my father has been hospitalized because his first surgery was unsuccessful.

In this piece, I won’t be focusing on my father as much. Of course, he is the biggest piece of this crazy train but instead I will be focusing on my mother and the conversation that I have with her whilst all of this was going on. I want to shed light of the spouses that stand by and receive no recognition for all that they do. I also plan to showcase how hindsight really isn’t 20/20. To this day, I’m not sure how we have come to where we are now. I am hoping to answer my own questions about that with this work.

This was an idea that has been surfacing since the beginning of this whole ordeal. In this class, however, I would say that I plan to give enough but not everything away in the way of Frederick Douglass. He gave insight into his life but did not tell his audience about everything in his life or how he escaped. I will do something similar to that. Besides Douglass, I will be modeling Abani. My words will be true but powerful and artistic to an extent.

The keywords that I will be utilizing are counterargument, repetition, immersion, and perhaps some nonlinear narrative. Counterargument will come in with placing the focus on my mother instead of my father, though this comes about because of his sickness. I plan to argue that the spouse is the one that is more affected. Repetition is seen in each section of the piece as it starts the same. Immersion is what should happen to the reader if I am able to pull this off. As well, for nonlinear narrative this is counted as I start in the present and go to the past.

At the moment, I don’t know what I would do research on in regards to this concept. As for a sample paragraph, see below:

I want to write about your lies.

It’s dark. About nine o’clock in the evening and my phone is ringing again. It’s Mom.

“I’m here with your father…”she begins, her voice a unique mix of tired and chipper. “He’s a bit down; can you say some kind words to him?” He’s not listening to her again. His own selfish nature killing any kind and reassuring words as though they are trying to attack him.

“Hi, Dad. How are you?” He mumbles, not willing to give. “How was physical therapy?” When he answers, his voice is clear.

“Fine. It was good.” It wasn’t good. If he likes his physical therapist that meant the person isn’t doing his/her job properly. They aren’t pushing him.

“What’d you do?” His answer of “not much” was confirmation enough. “If they won’t push you, dad, you need to push yourself.” He was silent. “Dad.”

“I heard you!” He raises his voice.

“Jae,” Mom is back. “He pushed my hand away so I think he’s done talking tonight.” She sighs. “Thank you. I’ll let you go now, so you can get back to doing whatever you were doing.”

“Okay. Do you need anything?” I want to help her. I need to help her. He doesn’t.

“No, no I’ll be okay. I’m going to leave here in a bit and head home.” Her days are full of him, pleasing him, doing for him. She goes to work and as she gets off, she turns to come to him. Always him. Everything for him.

What I have right now is all of phone conversations with my mother. I’m not quite sure if that will continue or if this will expand to something more than it is right now. Will it stay as only phone conversations? That could be interesting. Or should I let the reader know more? I’m not completely sure. Does the reader need more information?

The Reading of Chris Abani

I’m not quite sure what I had hoped to find or hear when I went to see Chris Abani some weeks ago.

Hearing authors read their work is one thing, hearing authors read from others is another. I was surprised when he began to introduce the pieces that he was planning to read. Before that day, I don’t believe that I have heard a published author read the work of another. In many ways, I found it startling.

I enjoy the readings here when I have the time to attend one as I find them to be eye opening and informative about the writer’s style and thought process. Of course my favorite part is hearing the writer’s voice—that alone makes sitting in those hard rickety chairs worth it. It is always so interesting to hear how the author interprets his/her own writing. Some authors have give nothing away as they read, leaving their voice monotone. Others seem to give parts of their soul as each word leaves their lips. Chris Abani was somewhere in between.

As he read, his voice gave each piece life that could have only been assumed before. He told his story as only an author could tell it with the passion and restraint of someone who has lived or seen enough to know that which he speaks. His presence was different when he was talking to the audience than when he was reading each piece. That truly is a beautiful thing to witness. It is a part of the craft–to be able to give the listeners the reprieve from the heavy emotions of a good reading. He seemed to throw himself into every piece as he shared the stories and troubles of each speaker. In my eyes and to my ears, no two pieces sounded the same.

From his reading I took away the beauty that comes from pain in writing. As sad and heart wrenching as it is, the most beautiful pieces of writing as those that cause the most pain in reality. Chris Abani confirmed that for me. Each piece that he read was shrouded in pain and as odd as it might sound, I loved that.

In my writing, I use pain and suffering to further the meaning of the story. I take it and share the pain of the speaker in order to give the listener a glimpse into someone else’s suffering. Emotions are the strongest devices an author has in his/her arsenal and Abani used them well in both his writing and his reading.

Remembrance as Audio

So…if I’m honest I wasn’t expecting to play around with audio but since I talk so much about how I always enjoy readings I decided to give one of my own to you. The audio clip that I turned it is my reading of my own poem called Remembrance. I have not yet had the opportunity to read it aloud to an audience yet but thought I would try my hand either way.

I have always enjoyed reading my work and sharing it with an audience. In 4th grade, we had a poetry contest between the three classrooms in which we had to memorize any poem from this book of poems. Once we had the poem memorized, we had to stand in front of our class and act out/read the poem then the class voted who won that round and from there that person would go on to the final round against the other winners in the other classrooms. When that was over the finalists had to act out their poems in our auditorium for parents and a lower grade of students. Long story, less long I ended up winning the whole thing. Out of 90-something 4th graders, I won. Needless to say I was thrilled and thus began my love of reading to an audience.

In previous blog posts, I have expressed my love for reading aloud as enriching the experience of the reader, however, I also believe that it enriches the author’s experience of his/her own work. As an author, I find that knowing that I may read my work aloud at some point helps me to direct the tone of the piece. All of my works have a very clear and  decisive tone that  is meant to guide the reader in my absence. In this project, I tried to showcase that tone as the focal point of my reading. I believe that tone is essential when reading as well as writing.

It took a good few runs to get the right clip but I am really happy with how it came out. In the beginning I was going to have music playing in the background the whole time but as I was recording this clip the music ended after I introduced the poem though I kept reading to see if I liked the sound anyway. I loved it even more. Having the music in the background caused my voice to have to fight for dominance from the music no matter the volume. It took away from the poem as well.

Overall, I found the use of audio helpful in allowing me to share my work in a way that I haven’t tried previously. In many ways, I would say that it would compare to reading my work aloud to an audience–without an audience. I chose to use audio rather than video because Remembrance is far too personal to find something that would properly fit it in video form. Video helps to draw the reader in and keep them entertained. I believe that I can do that without image and thus thought that was the best route for me to take. Audio allows for the distance that a listener might need if they become overwhelmed or engulfed in a topic whilst video does not. Audio allows for an escape whilst video does not. By choosing audio, I was trying to give the listeners an escape though the speaker has none.

Multimedia Essays

As much as I love writing as a process; I love reading aloud to an audience even more. Sharing your words and thoughts and feelings with a group of people is a beautiful and freeing thing, especially if those people understand your process.

In this way, I thoroughly enjoyed the poetic, lyrical videos created by Claudia Rankine. I have talked to her in person during a small group discussion, so I have heard her voice as she talks about her writing. She, like anyone else, expresses emotion in her everyday words but as she reads emotion drains from her voice. She becomes monotone and stoic with a rhythm and depth that speaks to the soul of the listener.

Her writing does that as well but with writing, the reader can stop. The reader controls the rhythm even in writing that seems to have a set rhythm. The reader controls more than the writer does once the writer gives his/her audience the piece. For me, in order to truly tell your story in the way that you want it to be told, you need to give to be the one to share–to read it.

It is so beautiful, so powerful to listen to the author read their work as they intended for the reader to hear it. I know, personally, I love reading my own writing. It allows me to have more control even once the story has been told. I can give the listener more emotion when the emotion is needed and I can pull away as the character or persona pulls away. Authors can give more than I believe hearing the author read would take away.

For the most part, hearing the author read their piece can (even if done badly) only give you as the reader more perspective on the author’s mindset as they were writing. As hearing the author allows the reader to focus on meaning and mindset instead of words on a page. It gives the reader a chance to take a step away and listen rather than read, and I find that I can take away more from a reading done by the author rather than a reader.

Of course, I will agree that some people write better than they read. Those authors could ruin a piece for a potential reader by opening their mouths and giving a reading that doesn’t connect. In that case, the reader must take into consideration that the author sees their piece in that way. It might goes against or not even touch what the reader originally took away from the writing but that is how the author sees his/her piece.

I don’t believe that the written essay will ever die, at least not completely. This new multimedia essay will open doors for others who wouldn’t enter into essays if they were strictly written. Video essays might be a little more prevalent in schools as an option rather than the written essay, but I don’t believe they will be the only form offered.

Unreliable Narrator and Exposition

“I said I left home early. But my idea of early might have been as late as nine in the morning. I’d switched night and day—that was one of the things the doctor harped on.

I said I was in his office before eight, but I seem to have been wrong about that, too.

I’ll compromise by saying that I left home at eight and spent an hour traveling to a nine o’clock appointment. Twenty minutes later is nine-twenty.” (71)

 

Girl, Interrupted as a whole is quite an interesting book. The mind that the reader is placed in is crass and forceful. That is why I find the quote above to be the summary to the book as a whole.

 

This quote shows how unstable the speaker is as a narrator. She can’t remember something that (in this book) happened to her not to long ago. She can’t focus for far too long on any thing that is said to her and is easily distracted, especially when she talks to her friends.

We are being told a story through the eyes of an unreliable narrator, who has her own agenda to telling the story—trying to convince you that she shouldn’t have been placed in a mental hospital. She tells the reader what she wants them to know and nothing more, at least that is how I read the book.

Reading the book the way that I did, I believe that she needed to be in McClean at the time that she went. As she is writing it—years later—the author seems to share the pieces of the story that she wants her readers to have, most likely the part of the story that she wants to remember the way that she writes them.

Can we rely on the exposition that she uses? I think so. As odd as that might sound, this author is giving information that she wants the reader to have–no one made her. She uses some pieces that aren’t from her but from other’s assessments of her and definitions from the field that diagnoses her. We have to believe those. As I was reading this, I didn’t see this as a work of nonfiction as much as a work of creative (very creative) nonfiction. Biographies and autobiographies are tedious in craft. We are meant (readers) to take them as truth but are they always? Sometimes, but we forget.

The author uses exposition to show and give the reader information that she wants them to have in order to piece together the story as a whole. She gives parts of herself but not anymore than she wants the reader to have.

Frederick Douglass and Page 38

Warning: I am using quite a large quote so I’ll be splitting it into parts to discuss it fully. The following quote is on page 38 of Narrative of the Life of Frederick Douglass, an American Slave. 

“From this time I was most narrowly watched. If I was in a separate room any considerable length of time, I was sure to be suspected of having a book, and was at once called to give an account of myself. All this, however, was too late. The first step had been taken. Mistress, in teaching me the alphabet, had given me the inch, and no precaution could prevent me from taking the ell.”

In another one of my classes, I am reading Uncle Tom’s Cabin which relates to this quite a lot. In that book, slavery is portrayed similar to Frederick Douglass’ account. Of course, that book is fiction and this is nonfiction but I would like to draw parallels even still. 

Uncle Tom is Frederick Douglass’ equivalent in Uncle Tom’s Cabin. He sees awful things (death of those he loves–Eva) and experiences separation from his family as Douglass does. But even though both of these men experience tragic events they rise above it all and try to be the best version of themselves that they can be. Douglass–especially in this quote–uses those who wish to oppress him and gains a tool that helps him in the long run. As he says, being able to have the alphabet gave him “the inch” that he needed to propel himself into a better day. 

By being able to read, Douglass had some sense of control over his life and that is unheard of in slavery. Yes, he still answered to his Mistress, but he didn’t have to rely on her to read to him. If he was able to get his hands on a book, then he could read it to himself rather than stare at the page. Reading, as we know it, allows the reader to get away from his/her own situation for a moment and escape into another world. That is power.

        “The plan which I adopted, and the one by which I was most successful, was that of making friends of all the little white boys whom I met in the street. As many of these as I could, I converted into teachers. With their kindly aid, obtained at different times and in different places, I finally succeeded in learning to read. When I was sent of errands, I always took my book with me, and by going one part of my errand quickly, I found time to get a lesson before my return. I used also to carry bread with me, enough of which was always in the house, and to which I was always welcome; for I was much better off in this regard than many of the poor white children in our neighborhood. This bread I used to bestow upon the hungry little urchins, who, in return, would give me that more valuable bread of knowledge. I am strongly tempted to give the names of two or three of those little boys, as a testimonial of the gratitude and affection I bear them; but prudence forbids;–not that it would injure me, but it might embarrass them; for it is almost an unpardonable offence to teach slaves to read in this Christian country.” (Douglass, 38)

Much like Eva and Tom, Douglass makes friends with young white children. Of course, the motives are different but Eva tries to help Tom as these boys help Douglass. It is in stark contrast to a majority of the white adults, who treat the slaves as less than human. He has love for these children even knowing that as they grow, their acceptance of him will fall away. He barters bread for knowledge.

Yet Douglass knows that his gratitude and acknowledgement of those who helped him would not be welcome. He learns from these children but he knows the boundaries and he is careful throughout the narrative not to cross them. He gets close but he always backs off in the end. 

In this passage the end of the closing sentence shows the irony that is the life of a slave: “for it is almost an unpardonable offense to teach slaves to read in this Christian country.” Slaves rely on their masters for everything and thus are left in the dark about much of their own lives. That in and of itself is ironic. Could you imagine not knowing what the next day would hold because you can’t lead your own life? 

Irony lives in this essay because slavery embodies it. The push and pull of the masters daily leaves the slaves in a vulnerable position. The slaves soft place to fall is the hard bed of their master because (for the most part) they know what to expect. Everyday is a struggle and a triumph if at the end of that day, they have not been sold to another. That is the life of a slave. Douglass’ project is slavery is demeaning and hard to live in, but don’t let it define the life of every slave.

A Brief Essay In Which I Try To Find My Project

Sometimes when I drive home on the weekends I feel like I’m on a mission to save the world. Every Friday I rush from the classroom to my dorm and then out to my car hoping to be on the road before 3:00. It is the highlight of my week. That probably sounds funny, since I’m a nineteen-year-old college sophomore who should love being on campus and spending my weekends partying until the break of dawn. Instead every weekend I go home and spend time with my parents–just the three of us–in whatever hospital room my father happens to be in at the time.

Earlier this week, my mother calculated that dad has spent the majority of the last six months in hospital. This isn’t the first time my father has been hospitalized for months at a time but this is the scariest.

When I was ten, mom came home to find him unconscious on the ground in a bedroom. That time a bleed vessel in his nose burst and he was put into a medically induced coma for  awhile. His room in that hospital is a favorite of mine. But he didn’t stay there for long because they gave him too much of whatever medicine they used to put him in a coma and that hospital couldn’t wake him up.

So off we went to Baltimore. He was in the ICU at Maryland for at least a month. Wires, drains, compression stockings, and blood bags all crowded into this small dark room. Beep. Beep. Beep. The only happy constant noise in that room and on that ward.

We waited for him to wake up, coming everyday hoping for a new result. Nothing changed. Doctors called. We cried. They lost hope. Beep. Beep. Beep. Kept going. The only sign of life, we’d seen from him in a month or so. And then one day, we went to see him after my Christmas concert. I was telling him all about it and just like in some hallmark movie when I called out, “Daddy!” His eyes fluttered open and he found me.

The room was filled with people and his eyes quickly shut again. But for everyday after that he grew stronger, stumping all of his doctors. Those doctors who believed that he was gone; that he was a dead man with a beating heart.

And now, almost ten years later he is in the hospital again. Two different hospitals in the last two months of hospitalization. Two surgeries in the same place. Hopefully two different outcomes.

This hospital is known for its ability to help and sure patients. It is number one in the country in so many fields but one, really. The bedside manner. They poke and prod and do as they please because the person is a body not a being. The patient is no longer human but just a specimen.

I am looking into life as a mission. Every weekend as I travel home to cheer my parents and help out my mother, I have a mission to accomplish that isn’t always clear. My project is always spinning and working, but for now I’m trying to figure out life and the hospital. If this makes little sense, it is because I am working as I write. My mind is jumping as Dillard’s seems to in some of her essays.

I say all of this to show that whilst Annie Dillard is interested in all aspects of nature and how it relates to religion. She uses her experiences to showcase her feelings and challenge what she believes needs to be challenged. Her use of her own experiences helps to push her argument and further it.

On Why Originality and the Essay are Still Friends

Jamison Jensen
February 24, 2017
Introduction to Nonfiction
On Why Originality and the Essay are Still Friends
Abstract: Some have made the claim that originality is long gone and the essay is becoming more redundant by the minute. In a world where most essays written are done so in school and for other forms of academia, I can see how that would be said. However, essays don’t need to revolve around structure as we are taught in school nor do we have to use quotations as information to back up our argument. The essay should be in the author’s style and not confined to the structure that is the generic five-paragraph essay. In this essay I will further explain my views on originality, quoting, and the essay as well as give the reader a glimpse into the freedom that is writing in one’s own style.

 

 

On Why Originality and the Essay are Still Friends
No two essays are alike. Even if a teacher requires his/her class to use the same passages or book to back up or begin an argument; the essays are still going to be different. The idea that originality is dead and the essay is redundant—to me—is absolutely untrue. The likelihood that someone will make their point in the same way that I will make mine is slim to none. I agree that there are many ways two essays written on the same topic can be similar but not the same. There are a multitude of ways to make one argument stand out from another.
For instance, quotations and structure are two good ways of standing out from the rest. Good strong quotations provide the reader with a counterargument or ground for your own argument. Quoting is—in many instances—imperative for a good essay. If the author is trying to prove a point or convince his/her readers to agree, the author needs something to back it up. (Of course the reader doesn’t have to agree with everything that the writer argues but in order to have a strong argument quotations are needed.) That is normally where quoting another’s work comes in, but Reality Hunger by David Shields seems to take that idea and turn it on its head. In the back of the book he says:
“This book contains hundreds of quotations that go unacknowledged in the body of the text. I’m trying to regain a freedom that writers from Montaigne to Burroughs took for granted and that we have lost. Your uncertainty about whose words you’ve just read is not a bug but a feature.”
How are we to believe him now if all of what we have read is not his? That was the first question that came into mind as I read this. Now, I understand that quoting is not absolutely essential when it comes to writing a good essay (although it depends on the topic/content/expectations of the essay), but for him to say that he is trying to “regain a freedom” that was lost is odd to me. Writing is—and of itself—a freeing process. In some ways an author’s freedom must be within the limit and/or guidelines set but that doesn’t make it any less freeing. That is where the importance of the writer’s voice and style become imperative to an essay.
Originality in topic isn’t always easy but as long as the writer is using his/her own voice to express the argument, the essay will remain original. I know that voice is important when writing an essay. In the past, I have written many personal essays that required my voice as writer to be front and center. When writing a personal essay readers expect the author to acknowledge themselves in the essay (i.e. “I”, “me”) that isn’t expected in the academic essay. In fact, over the years we have been told in school not to use personal pronouns, and instead act as though the writing wrote itself. I had teacher who told us that we didn’t need to mention ourselves in our essays because “I” was implied in everything that was said. But that’s why I believe it is important for the writer to really express themselves in their writing. Every writer has a voice and a style that is unlike any other’s that is not something that can be implied or should be hidden. That is where the originality in the essay lies. It lives within the author and thrives because the author acknowledges their own voice rather than shutting it down, expecting the unclaimed words to do all of the work in the piece. By using my voice in my writing, I am claiming the words that I write and acknowledging that my voice is important to how these words are perceived.
Structure is another way to show the writer’s style and voice in an essay, and gives the writer freedom to break away from the rest. In school when we first learn about the essay, structure is pounded into our heads over and over again. But now, we that know what the structure is we are allowed to break and bend the rules. You might have noticed in this essay that I have decided to give the authors’ credit in my own way rather than worry with proper MLA citation. I find citations to be hard to remember especially when I am writing papers in two different fields with two different types of citations. I believe that citation is important because as I’ve said in this essay: every author has their own voice and I will not take their words without giving credit when it is due.
How Shields thinks that by taking others’ works and not giving credit when credit is due is somehow “freedom”—that completely confuses me. I don’t see it as taking a stand or ‘regaining’ anything because I don’t believe that “freedom” he talks about was ever lost. As I say all of this, I have to come back to what Shields has done with his book. He has every right to feel the way that he does but I can’t agree. Writing is a personal experience–no matter the topic. That freedom that comes with it never dies unless the writer falls into the trap of writing what is expected rather than what is in his/her mind.
It is true to say that a lot has been said but that doesn’t necessarily mean that everything has been said in the way that you might say it. Originality is tough in a world where so many people are able to express their own viewpoints and opinions but that doesn’t make it impossible. There is always room to rephrase or paraphrase. Also, taking what Emerson says in “Self-Reliance,”
“Yet he dismisses without notice his thought, because it is his. In every work of genius we recognize our own rejected thoughts: they come back to us with a certain alienated majesty. Great works of art have no more affecting lesson for us than this. They teach us to abide by our spontaneous impression with good-humored inflexibility then most when the whole cry of voices is on the other side. Else, to-morrow a stranger will say with masterly good sense precisely what we have thought and felt all the time, and we shall be forced to take with shame our own opinion from another.”
He is urging his readers to write what is urgent in them and not allow what others have said to cloud what they want to say. He believes that it is important to say what you want to say in your own words rather than allowing someone else to say them for you. It seems that in today’s society, we allow others to speak for us rather than doing our own critical thinking. We agree rather than disagree for the fear of being told that we are wrong. In this Emerson is encouraging his reader to not feel as though everything that can be said has been said. He wants the reader to explore their own mind, to give more and have a conversation with what they are reading rather than agreeing and going on to other things.
Emerson challenges his reader to engage with the work rather than allowing the work to say it all. In saying all of this, I must acknowledge that some of you reading the essay will not agree with what I have said on the topic of originality and the essay. I understand that those of you that disagree may believe that originality is not the same as it once was when..let’s say Emerson or Montaigne were writing. I can go along with that. I will even agree (on a much smaller scale) with Shields who says that a “freedom” has been lost. Yes, in some ways we have lost a certain freedom that comes with being the first people to really taken on a topic or the first to start a conversation with their writing. The “freedom” that I believe he references is the freedom to write without having to reference someone else because you both had the same idea but they said first. I understand that originality is not what it was but that doesn’t mean that it doesn’t exist. Original work is different than it was because we have more people to use as counterarguments. In truth, it is harder to write an original statement or essay but, for me, the key to originality lies in the author’s writing style. How is “freedom” lost if I embrace my voice as my freedom rather than topic?

 

“I pledge my word of honor that I have abided by the Washington College Honor Code while completing this assignment.”

 

Works Cited

Emerson, Ralph Waldo. “”Self-Reliance”.” Wreading Parlor. Sean Meehan, 30 Jan. 2016. Web. 7 Feb. 2017.
Shields, David. Reality Hunger: A Manifesto. New-York: Vintage, 2011. Print

Writing is More

Quoting is, in many instances, imperative for a good essay. If the author is trying to prove a point or convince his/her readers to agree, the author needs something to back it up. That is normally where quoting another’s work comes in, but Reality Hunger by David Shields seems to take that idea and turn it on its head. In the back of the book he says:

“This book contains hundreds of quotations that go unacknowledged in the body of the text. I’m trying to regain a freedom that writers from Montaigne to Burroughs took for granted and that we have lost. Your uncertainty about whose words you’ve just read is not a bug but a feature.”

How are we to believe him now if all of what we have read is not his? That was the first question that came into mind as I read this. Now, I understand that quoting is not absolutely essential when it comes to writing a good essay (although it depends on the topic/content/expectations of the essay), but for him to say that he is trying to “regain a freedom” that was lost is odd to me. Writing is and of itself is a freeing process. In some ways an author’s freedom must be within the limit and/or guidelines set but that doesn’t make it any less freeing.

How Shields thinks that by taking others’ works–and not giving credit when credit is due–is somehow freedom; I’m not sure where he’s coming from with that. I don’t see it as taking a stand or ‘regaining’ anything because I don’t believe that “freedom” he talks about was ever lost.

Writing is more than just a response to another’s argument, more than a creative piece that serves to entertain; writing is a conversation that is always on going, and in that way writing will always be freeing. Sometimes, we might have to use a quote to express our ideas and to allow us to expand upon that author’s idea. Other times the essay will be from our personal experiences to convey to the reader what it is we need them to know. But in all of this, writing is our own. We, as writers, have to take the reins and find what style embodies our writing.

As I say all of this, I have to come back to what Shields has done with his book. He has every right to feel the way that he does but I can’t agree. Writing is a personal experience–no matter the topic. That freedom that comes with it never dies unless the writer falls into the trap of writing what is expected rather than what is in his/her mind.