In his 2010 TED talk, Photos That Changed the World, co-founder of Getty, Jonathan Klein, maintains that a picture can make the world a better place. With clear-eyed compassion, he proves his point, presenting a series of images many of us know well, images from which we can neither look away nor back.
In her book, The Rise, Sarah Lewis refers to this power, this “aesthetic force” as the thing that will force us into action, perhaps even to justice:
. . . it leaves us changed — stunned, dazzled, knocked out. It can quicken the pulse, make us gape, even gasp with astonishment. Its importance is its animating trait — not what it is, but what it does to those who behold it in all its forms. Its seeming lightness can make us forget that it has weight, force enough to bring about a self-correction, the acknowledgment of failure at the heart of justice — the moment when we reconcile our past with our intended future selves. Few experiences get us to this place more powerfully . . . than the emotive power of aesthetic force.
The images are iconic – Princess Diana holding a baby infected with HIV/AIDS; a little girl, naked and terrified, burned by Napalm in Vietnam; a young woman, arms outstretched and wailing over the body of a slain student at Kent State University. Faced with such pictures, what must we do? We cannot look away. We cannot retreat to the place we knew before seeing that image.
Klein also recognizes that there are images sometimes deemed too upsetting for us to see them, images from the front-line, from natural disasters; images that expose with harrowing candor, man’s inhumanity to man. The image on the front page of The Irish Examiner, The Independent and other newspapers in September 2015 was that of a tiny boy identified as three-year-old Aylan Kurdi. In his little red T-shirt and shorts, he lies face-down on the Mediterranean’s edge at a beach in Turkey. Drowned. Washed up with his mother and brother.
Like human litter.
Desperate to escape the war in their homeland, Syrian refugees fled by the tens of thousands. The little boy was one of 12 refugees who drowned in one of two boats bound for the Greek island of Kos, and one of 2,500 people, according to UNHR who died attempting to cross the Mediterranean Sea in 2015. Was that enough dead people to bring us to do the right and humane thing? Was the sight of a dead toddler on the beach enough?
No it was not. It was not enough.
Today, the image that is criss-crossing the globe is that of Óscar Alberto Martínez Ramírez and his 23 month old daughter, Valeria, their drowned bodies, washed up in a desperate embrace on the banks of the Rio Grande. Lying face down, the little girl’s body tucked inside her father’s shirt, her arm around his neck. And, less than a hundred miles away, four more bodies strewn on the along the Rio Grande – three little children and a young woman. The toll of migrant deaths has yet to be released for 2019, but last year, 283 migrant deaths were recorded.
What is the point of documenting the death toll if we do nothing about it?
Statistics are human beings with the tears wiped off,
~ Paul Brodeur
America and the dream of a better future had seemed within reach just hours before for Ramírez and his little family. They had planned to seek asylum from the dangers of El Salvador that forces so many migrants to flee their homes, to take a spectacular risk. Perhaps he just couldn’t wait one more moment, knowing that there were already a thousand names on the waiting list for an asylum interview at the U.S. Consulate. Perhaps it was because the perilous passage across the Rio Grande seemed safer than home. So he held his little girl close, inside his T-shirt, and entered the river, no match for the fast-moving current that would sweep them away.
From afar, we look at the pictures and read these unimaginable stories of entire families drowning in waters that once represented hope, in the Mediterranean Sea or the Rio Grande. We listen – or tune out – as those in power debate and discuss where people belong or if they belong anywhere. They are unrelenting, quibbling over definitions of words like ‘refugee’ or ‘migrant,’ or where to draw the line that somehow separates “genuine” from its opposite in matters of ‘asylum.’
Amid this noise, they might distance themselves, but will they look away, unchanged, from Julia Le Duc’s photograph of a little girl and her father, dead, face down in the reeds of the Rio Grande? This earth belonged to them as it belongs to us. It is the only home we will ever know, and its possibilities diminish when our hearts harden about our place in it, about the people with whom we share it, and about the mark we leave upon it. We know better, we know, as poet Damian Gorman says, “Life is not always possible where you start out . . . ” It is time to do better.
LET PEOPLE COME by Damian Gorman If life, decent life, is not possible where you are, you have the right to move anywhere where you might find it – anywhere in the world – including the house attached to my house, in my part of the world. And it’s not even a right. It’s in you, this particular urge. Like the stretch that’s inside bones; like the workings of the heart and lungs. And I know that life should be possible where you start out. Yes it should be, and that’s a big issue that we should speak, and do other things about. But life is not always possible where you start out. And, rather than welcome people fleeing from unbearable want, we erect walls and ask people to stand in the gated gaps of them to say – on our behalf – ‘You have no business here.’ And what is the result? The result is a dreadful soup of humanity in an abandoned truck on the Austro-Hungarian border; an awful stew which might contain 20 people or 50 people. But actually 71 people. The result is bodies littering the waters of the Mediterranean like the discarded wrappings of things. And still the walls go up. And still we employ people to say for us, ‘You have no business here, in this place, among us.’ Well my point – my only point – is this: that there is no clear-cut, no necessarily-big distance between saying to desperate people ‘You have no business here, among us’ and ‘You have no business here, in this world.’ LET PEOPLE COME. Agus ta failte romhaibh, And you are welcome.
It was leukemia that took Nora Ephron from us, a cancer she had kept private in a world that already knew many of the intimate details of her aging neck, her dry skin, the contents of her purse, her small breasts about which she wrote A Few Words, and her weapon of choice against not only the gray hair that grows back with a vengeance every four weeks, but the youth culture in general – hair color. With a quick and daring wit, she regaled us with stories of the indignities visited upon her as she grew older, but she did not tell us about the cancer. Cancer was not up for discussion. For Ephron, cancer was not copy, as her son explains in the HBO documentary about her life:
I think at the end of my mom’s life she believed that everything is not copy,” he says. “That the things you want to keep are not copy. That the people you love are not copy. That what is copy is the stuff you’ve lost, the stuff you’re willing to give away, the things that have been taken from you. She saw everything is copy as a means of controlling the story. Once she became ill, the means to control the story was to make it not exist.
In the middle of my life, it occurs to me that maybe I have always understood the need to control and contain. As much as I have revealed of myself in this virtual space, I know for sure what is not copy. For me, breast cancer was copy. It still is. Some of the business of widowhood is copy too. But I know what is not. I know what to keep and what to discard. I know how to control it and how to control myself – most of the time. I know how to be private. I know how to keep what is precious, private. I know how to – as Meryl Streep says of Ephron – ‘achieve a private act.‘ I also know how to avoid an ending, and I’m very good at the long game. I know what Nora Ephron’s son knows – that closure is over-rated. I can’t consider the concept without recalling the first time I realized how much it mattered to other people, following a school principal’s evaluation of a lesson I’d taught. In her report, she indicated, with some disappointment, that I had provided “no closure” for my students. I didn’t bother arguing with her, because I knew I would be back in my classroom the next day and the next to continue – not to close – with my students. It is the continuing that matters along with what I wore along the way.
Continuance – it has a nice ring to it.
Like each of the five women in Love, Loss, and What I Wore, Nora and Delia Ephron‘s stage-adaptation of Ilene Beckerman’s book by the same name, I can peer into my wardrobe and hang on the clothes and shoes and handbags and boots that bulge from it, some of the most important moments of my life. Especially the boots. For those dwelling in cooler climes, there is perhaps a 20-day window for honest boot-wearing in Phoenix, Arizona. Seriously. The sunshine is relentless, the heat is “dry,” and I can offer no justification for my growing collection of boots other than still wanting to be more like my idea of a young Carly Simon or Linda Ronstadt. My favorite brown leather boots have a beautiful patina, best worn with the attitude I squeezed into them the morning I was fired by a man who might possibly have been great were it not for the misogyny that diminshed him. While it was not the best way to start a day, but how it pleased me to turn on the heel of those well-worn boots and walk away from him. Forever.
Then there are the boots of patchwork leather my mother gave me; they make me feel like Carly Simon in anticipation of a date with Cat Stevens circa 1971. There are the inappropriate patent leather boots I wore the first time we took our daughter to see the snow, to fall with glee into the sparkling powder, creating her first snow-angel; there are six pairs of black boots that vary only in length even though someone, most likely me, pointed out that each is a distinct shade of black and – this is important – timeless. There are the classic Frye boots that I simply could not pass up because they were on sale and at a consignment store; and, the pointy-toed suede knee-high boots purchased from a UK catalog at full over-priced price. They have been reheeled and resoled twice, and they require additional assistance and effort to remove from my tired feet at the end of a long day. I haven’t worn them as much since Ken died, because I know when the time comes to remove them that I will remember exactly how he used to say, “Goddammit baby. Goddammit.” And then I will tell myself there must have been a mistake, that maybe my daughter’s daddy is not really dead.
The collection of coats defies explanation, several of them purchased in Ireland and carried back – in an extra suitcase – to the desert southwest where there is rarely the need for a sweater let alone a coat. I suppose coat-wearing allows me to make a statement about how Phoenix won’t stop me from being my own girl, complete with scarf, coat, and even a turtleneck underneath. I have other “signature” coats, one of which I will never wear in public unless Tom Petty were to return and ask me to be one of his Heartbreakers. It is more art than coat and belongs only on someone on stage in front of 50,000 fans holding up lighters.
During the Christmas holidays, I always wear the long red coat I bought at Marks and Spencers one year in Belfast. I love the lining that nobody can see – white with tiny red hearts. And I don’t care if it is 80 degrees outside; that coat is a stunner. Against the backdrop of a holiday tree made of a triangle of pots of jolly red poinsettias outside Saks Fifth Avenue at the Biltmore Fashion Park in Phoenix, it makes me feel a bit like Santa. Or Red Riding Hood.
Along with the boots, and the Bridge vintage leather Gladstone doctor’s bag – which I bought on Ebay and have not been able to open for several years because the brass clasp is broken – hiding in a corner of the closet, are burgundy leather penny loafers, with a penny in each. I haven’t worn them since 1989. I don’t remember why I bought them and don’t know why they are still in my house, but I think it might be because they are reminiscent of the brogues I once wore to school or the tap shoes I wore for Irish dancing. Or maybe I was influenced by the collegiate style of a fifth-grade American girl wearing khakis from the Gap, white socks, and her grandmother’s loafers.
Given where I am today, with nothing to wear to a thing I don’t want to go to later – having already flung on the bed seven summery skirts that are too snug at the waist because of a diet that has deteriorated in recent months (years) and an exercise regimen postponed (abandoned), I feel a bit like Meryl Streep‘s married character getting ready for a clandestine rendezvous in the city with de Niro’s character, also married (but to someone else) in a favorite movie of mine, Falling in Love. For me, in the end, something blue wins; it always does.Even Meryl settles on a blue print blouse. In my case, it will be the blue dress I am wearing in many of the profile pictures on my online spaces. If I run into any of my social media contacts today, they will think I have nothing else to wear. And, they will be right.
Resurrected in her son’s documentary, Ephron is among us once again. Vibrant, funny, and in control. I imagine her striding across a set not unlike The Strand bookstore in the East Village where all her books were almost sold out the morning after her death. In my mind, she is authoritative – and perhaps perceived as mean – as she provides direction to Tom Hanks and Meg Ryan, while searching for the glasses that are on top of her head. I prefer to think of her laughing with the darlings of Hollywood, surrounded by books, as in the old Jimmy Stewart movie The Shop Around the Corner, charmingly resurrected and rewritten by Ephron and her sister, as the romantic comedy, You’ve Got Mail starring, naturally, Meg Ryan and Tom Hanks. Although by many accounts, a cynic with a sharp tongue, I suspect Nora Ephron was a romantic at heart, so it would have been poetic had real life handed her the happy ending like those she crafted in those fail-proof feel-good “chick flicks.” The happy ending would not have been real, and my guess is that Nora Ephron liked to keep it real.
Her contribution to the movies is but a tiny part of her legacy as a writer, but those films are such a big part of the soundtrack to my American life as a woman who immigrated to this country around the time When Harry met Sallywas released. Granted, it is not the most memorable part of the movie, but there is one scene that always makes me laugh and snaps me back to the young woman I used to be, the one who shows up now and again to remind me just how little time there is to become who I am supposed to be. As I have learned, life happens in the twinkling of an eye, and it is for the living. I have learned that too.
In the scene, Meg Ryan’s Sally has just found out that her ex-boyfriend is getting married. In tears, she tells Harry that she is going to be left on the shelf, a spinster, all alone at forty. Mind you, she is barely thirty, with a very cute hair cut that, at the time, I was convinced would work with naturally curly hair like mine. It didn’t. In fact, I carried in my wallet, for several years – maybe a decade – a page from a magazine featuring the many cute haircuts of Meg Ryan. I really did. And, for countless hairdressers rendered clueless and incompetent by the state of my hair, I unfolded that page, as though it were the Shroud of Turin, to politely asked them to give me a Meg Ryan haircut. Not until I turned 50 and found Topher at the aptly named Altered Ego salon, did they ever get it quite right, but that is a story that has been told here before. Too many times, perhaps.
And I’m gonna be 40 . . . someday
Just yesterday I felt the same way. Forty was a lifetime away from eighteen, and by all accounts the deadline for “letting oneself go” and, I suppose, Eileen Fisher. Fifty was sensible and dowdy. Sixty heralded blue rinses for hair – not jeans. Seventy was out of the question, and definitely not a new fifty. Having passed the half-century mark, I’m wondering about what I’ve done and what’s next. With my thirties behind me, my forties too, I am accepting a couple of truths about myself. Some are minor – I do not have sensible hair, and I talk too much. Others are more painful. I should be kinder and more patient. Too, I should stay far away from insecure men in positions of power and recognize earlier those folks who are nice to me only because they need something from me. Like my hair, they perform poorly when the pressure rises.
I’m gonna be 60 someday (in four years) and it is a bit like being in IKEA, one of my least favorite places on the planet. A planet itself, IKEA is too big, with all its “rooms” requiring instructions and assembly and Scandinavian words I find just as intimidating had they fallen from the lips of an errant Viking. At 56, I’m worried that I might run out of time to do the things I need to do, not necessarily the kinds of things that might turn up on a “bucket list” but definitely those that will bring me closer to those I love the most. These days, Iknowwho loves me and who loves me not.
Still, none of this self-awareness in any way diminishes how much I resent the aging process in general and the way it just sneaks up on me at the most inopportune times. One minute, I am reading the small print on the back of a shampoo bottle, the next I’m desperately seeking one of the pairs of cheap reading glasses I bought at the carwash or found on a desk, forgotten by some other woman in the same predicament. My hearing isn’t what it used to be either, which I would rather blame on my attendance at very loud concerts over the past forty years than on something as wholly graceless as aging.
About six months before he died, my husband and I went to see Fleetwood Mac in Phoenix. Other than the fact that it was the last concert he saw on this earth and the last time he and I would stay for an encore, I hold on to the moment I caught a white-haired Mick Fleetwood bow out and off stage in his bright red hat, pointed red shoes, and the dangling wooden balls, and Stevie Nicks still spinning in black. Mesmerizing. Just like the white winged dove sings a song. Stevie, at almost seventy. Rock on gold dust woman.
So many beginnings and endings, with more to go . . .
Since Sophie was little, I have saved every drawing, handprint, book report, birthday card, report card, certificate, and, apparently, every receipt from Target. Not in one place, of course. Stuffed in vases and between the pages of books are random letters from the tooth fairy, Santa Claus, the Easter Bunny, and her grandparents. There are even pieces of notebook paper that bear only her name in the top right corner. In the spirit of those ever-so-organized professional organizers on documentaries on The Learning Channel, the folks who would direct me to place everything I own on the front yard before organizing it into piles of things that should be stored, displayed, or dumped, I have realized that it is time – theoretically – to tame the paper tiger.
Full of good intentions one day – and for about an hour – I began “organizing.” I made a few folders for my daughter’s school work and special photographs, I threw away those greeting cards that were made not by her but some stranger at Hallmark, I filled a box with books to donate to the local bookstore. While flipping through the pages of a school composition book, I came upon something she had written when she was in elementary school:
I don’t know what or who inspired it. I love the leggy and winking 29 year old, hand on her hip, but I am almost afraid to ask what happened to her. I wonder what Nora Ephron would think of my little girl’s “mountain of life.” I can almost see a wry smile creep across her face as she tells that 50 year old to straighten up for Act Two, to cause some trouble, just as she urged a bunch of Wellesley graduates in her 1996 Commencement Speech – to continue.
No closure.
Whatever you choose, however many roads you travel, I hope that you choose not to be a lady. I hope you will find some way to break the rules and make a little trouble out there. I also hope that you will choose to make some of that trouble on behalf of women. Thank you. Good luck. The first act of your life is over. Welcome to the best years of your life . . .
It was leukemia that took Nora Ephron from us, a cancer she had kept private in a world that already knew many of the intimate details of her aging neck, her dry skin, the contents of her purse, her small breasts about which she wrote A Few Words, and her weapon of choice against not only the gray hair that grows back with a vengeance every four weeks, but the youth culture in general – hair color. With a quick and daring wit, she regaled us with stories of the indignities visited upon her as she grew older, but she did not tell us about the cancer. Cancer was not up for discussion. For Ephron, cancer was not copy, as her son explains in the HBO documentary about her life:
I think at the end of my mom’s life she believed that everything is not copy,” he says. “That the things you want to keep are not copy. That the people you love are not copy. That what is copy is the stuff you’ve lost, the stuff you’re willing to give away, the things that have been taken from you. She saw everything is copy as a means of controlling the story. Once she became ill, the means to control the story was to make it not exist.
Into my fifth decade, it occurs to me that maybe I have always understood the need to control and contain. As much as I have revealed of myself in this virtual space, I know for sure what is not copy. For me, breast cancer was copy. It still is. But I know what is not. I know what to keep and what to discard. I know how to control it and how to control myself – most of the time. I know how to be private. I know how to keep what is precious, private. I know how to – as Meryl Streep says of Ephron – ‘achieve a private act.’ I know how to avoid an ending, and I’m very good at the long game. I give enough rope – too much if I’m honest. I think it’s because I know what Nora Ephron’s son knows – that closure is over-rated. I can’t even consider the concept without recalling the first time I realized how much it mattered to other people, following a principal’s evaluation of a lesson I’d taught. In her report, she indicated, with some disappointment, that I had provided “no closure” for my students. I didn’t bother arguing with her, because I knew what she had forgotten, that I would be back in my classroom the next day and the next – to continue – not to close – with my students. It is the continuing that matters – along with what I wore along the way.
Continuance – it has a nice ring to it.
Like each of the five women in Love, Loss, and What I Wore, Nora and Delia Ephron‘s stage-adaptation of Ilene Beckerman’s book by the same name, I can peer into my wardrobe and hang on the clothes and shoes and handbags and boots that bulge from it, some of the most important moments of my life. Especially the boots. For those dwelling in cooler climes, there is perhaps a 20-day window for honest boot-wearing in Phoenix, Arizona. Seriously. The sunshine is relentless, the heat is “dry,” and I can offer no justification for my growing collection of boots other than still wanting to be more like my idea of a young Carly Simon or Linda Ronstadt. My favorite brown leather boots have a beautiful patina, best worn with the attitude I squeezed into them the morning I was fired by a man who might possibly have been great were it not for the misogyny that diminished him. Admittedly, it was not the best way to start a day, but how it pleased me to turn on the heel of those well-worn boots and walk away from him.Forever. And wherever he is, I hope he can hear someone tell him #TimesUp
Then there are the boots of patchwork leather that my mother gave me; they make me feel like Carly Simon in anticipation of a date with Cat Stevens circa 1971. There are the inappropriate patent leather boots I wore the first time we took our daughter to see the snow, where she fall with glee into its sparkling powder, creating her first snow-angel; there are six pairs of black boots that vary only in length even though someone, most likely me, pointed out that each is a distinct shade of black and – this is important – timeless. Too, there are the classic Frye boots that I simply could not pass up because they were, well, classic and on sale and at a consignment store; and, the pointy-toed suede knee-high boots purchased from a UK catalog at full over-priced price. They have been reheeled and resoled twice, and they require additional assistance and effort to remove from my tired feet at the end of a long day. I haven’t worn them as much since Ken died, because I know when the time comes to remove them that I will remember exactly how he used to say, “Goddammit baby. Goddammit.” And even though I have fallen in love again with a man who loves me, I still tell myself there must have been a mistake, that maybe Sophie’s daddy is not really dead.
The collection of coats defies explanation, several of them purchased back home in Northern Ireland and carried back – in an extra suitcase – to the desert southwest where there is rarely the need for a sweater let alone a coat. I suppose coat-wearing allows me to make a statement about how Phoenix won’t stop me from being my own girl, complete with scarf, coat, and even a turtleneck underneath. I have other “signature” coats, one of which I have worn in public only once as an homage to Tom Petty. He would have rocked that coat. It is more art than coat and belongs only on someone on stage in front of 50,000 fans holding up lighters.
During the Christmas holidays, I always wear the long red coat I bought at Marks and Spencers one year in Belfast. I love the lining that nobody but me can see – white with tiny red hearts. And I don’t care if it is 80 degrees outside; that coat is a stunner. Against the backdrop of a holiday tree made of a triangle of pots of jolly red poinsettias outside Saks Fifth Avenue at the Biltmore Fashion Park in Phoenix, it makes me feel a bit like Santa. Or Red Riding Hood.
Along with the boots, and the Bridge vintage leather Gladstone doctor’s bag – which I bought on Ebay and have not been able to open for several years because the brass clasp is broken – hiding in a corner of the closet, are burgundy leather penny loafers, with a penny in each. I haven’t worn them since 1989. I don’t remember why I bought them and don’t know why they are still in my house, but I think it might be because they are reminiscent of the brogues I once wore to school or the tap shoes I wore for Irish dancing. Or maybe I was influenced by the collegiate style of a fifth-grade American girl wearing khakis from the Gap, white socks, and her grandmother’s loafers.
On those days when I have nothing to wear to a place I don’t want to go, it’s only a matter of minutes before the bed is hidden beneath a pile of dresses that are too snug due to a diet that has deteriorated (disappeared) in recent months (years) and an exercise regimen postponed (abandoned), I feel a bit like Meryl Streep‘s married character getting ready for a clandestine rendezvous in Brooklyn with de Niro’s character, also married (but to someone else) in a favorite movie of mine, Falling in Love.
For me, in the end, something blue wins; it always does.Even Meryl settles on a blue print blouse. In my case, it was often the blue dress I am wearing in many of the profile pictures on my online spaces. I finally donated it to Goodwill, having encountered too many of my social media contacts in real life, who probably think I have nothing else to wear. And, they are right. Right?
Resurrected in her son’s documentary, Ephron is among us once again. Vibrant, funny, and in control. I imagine her striding across a set not unlike The Strand bookstore in the East Village where all her books were almost sold out the morning after her death. In my mind, she is authoritative – and perhaps perceived as mean – as she provides direction to Tom Hanks and Meg Ryan, while searching for the glasses that are on top of her head. I prefer to think of her laughing with the darlings of Hollywood, surrounded by books, as in the old Jimmy Stewart movie The Shop Around the Corner, which she and her sister charmingly revived in the romantic comedy, You’ve Got Mail starring, naturally, Meg Ryan and Tom Hanks. Although by many accounts, a cynic with a sharp tongue, I suspect Nora Ephron was a romantic at heart, so it would have been poetic had real life handed her the happy ending like those she crafted in those fail-proof feel-good “chick flicks.” The happy ending would not have been real, and my guess is that Nora Ephron liked to keep it real.
Her contribution to the movies is but a tiny part of her legacy as a writer, but those films are such a big part of the soundtrack to my American life as a woman who immigrated to this country around the time When Harry met Sallywas released. Granted, it is not the most memorable part of the movie, but there is one scene that always makes me laugh and snaps me back to the young woman I used to be, the one who shows up now and again to remind me just how little time there is to become who I am supposed to be. As I have learned, life happens in the twinkling of an eye, and it is for the living. I have learned that too.
In the scene, Meg Ryan’s Sally has just found out that her ex-boyfriend is getting married. In tears, she tells Harry that she is going to be left on the shelf, a spinster, all alone at forty. Mind you, she is barely thirty, with a very cute hair cut that, at the time, I was convinced would work with naturally curly hair like mine. It didn’t. In fact, I carried in my wallet, for several years – maybe a decade – a page from a magazine featuring the many cute haircuts of Meg Ryan. I really did. And, for countless hairdressers rendered clueless and incompetent by the state of my hair, I unfolded that page, as though it were the Shroud of Turin, to politely asked them to give me a Meg Ryan haircut. Not until I turned 50 and found Topher at the aptly named Altered Ego salon, did they ever get it quite right, but that is a story that has been told here before. Too many times, perhaps.
And I’m gonna be 40 . . . someday
Just yesterday I felt the same way. Forty was a lifetime away from eighteen, and by all accounts the deadline for “letting oneself go” and, I suppose, Eileen Fisher. Fifty was sensible and dowdy. Sixty heralded blue rinses for hair – not jeans. Seventy was out of the question, and definitely not a new fifty. Having passed the half-century mark, I’m wondering about what I’ve done and what’s next. With my thirties behind me, my forties too, I am accepting a couple of truths about myself. Some are minor – I do not have sensible hair, and I talk too much. Others are more painful. I should be kinder and more patient. Too, I should stay far away from insecure men in positions of power and recognize earlier those folks who are nice to me only because they need something from me. Like my hair, they perform poorly when the pressure rises.
Being in my fifth decade is a bit like being in IKEA, one of my least favorite places on the planet. A planet itself, IKEA is just too big, with all its “rooms” requiring instructions and assembly and Scandinavian words I find just as intimidating had they fallen from the lips of an errant Viking. I’m worried that I might run out of time to do the things I need to do, not necessarily the kinds of things that might turn up on a “bucket list” but definitely those that will bring me closer to those I love the most. These days, Iknowwho loves me and who loves me not.
Still, none of this self-awareness in any way diminishes how much I resent the aging process in general and the way it just sneaks up on me at the most inopportune times. One minute, I am reading the small print on the back of a shampoo bottle, the next I’m desperately seeking one of the pairs of cheap reading glasses I bought at the carwash or found on a desk, forgotten by some other woman in the same predicament. My hearing isn’t what it used to be either, which I would rather blame on my attendance at very loud concerts over the past forty years than on something as wholly graceless as aging.
About six months before he died, my husband and I went to see Fleetwood Mac in Phoenix. Other than the fact that it was the last concert he saw on this earth and the last time he and I would stay for an encore, I hold on to the moment I caught a white-haired Mick Fleetwood bow out and off stage in his bright red hat, pointed red shoes, and the dangling wooden balls, and Stevie Nicks still spinning in black. Mesmerizing. Just like the white winged dove sings a song. Stevie, at seventy. Rock on gold dust woman.
So many beginnings and endings, with more to go . . .
Since Sophie was little, I have saved every drawing, handprint, book report, birthday card, report card, certificate, and, apparently, every receipt from Target. Not in one place, of course. Stuffed in vases and between the pages of books are random letters from the tooth fairy, Santa Claus, the Easter Bunny, and her grandparents. There are even pieces of notebook paper that bear only her name in the top right corner. In the spirit of those ever-so-organized professional organizers on documentaries on The Learning Channel, the folks who would direct me to place everything I own on the front yard before organizing it into piles of things that should be stored, displayed, or dumped, I have realized that it is time – theoretically – to tame the paper tiger.
Full of good intentions one day – and for about an hour – I began “organizing.” I made a few folders for my daughter’s school work and special photographs, I threw away those greeting cards that were made not by her but some stranger at Hallmark, I filled a box with books to donate to the local bookstore. While flipping through the pages of a school composition book, I came upon something she had written when she was in elementary school:
I don’t know what or who inspired it. I love the leggy and winking 29 year old, hand on her hip, but I am almost afraid to ask what happened to her. I wonder what Nora Ephron would think of my little girl’s “mountain of life.” I can almost see a wry smile creep across her face as she tells that 50 year old to straighten up for Act Two, to cause some trouble, just as she urged a bunch of Wellesley graduates in her 1996 Commencement Speech – to continue.
No closure.
Whatever you choose, however many roads you travel, I hope that you choose not to be a lady. I hope you will find some way to break the rules and make a little trouble out there. I also hope that you will choose to make some of that trouble on behalf of women. Thank you. Good luck. The first act of your life is over. Welcome to the best years of your life . . .
My breast cancer is not just about me as I discovered when my then fourteen year old daughter decided to break her silence about it. In her own way, on her Facebook wall, and on World Cancer Day 2012.
Thus, on this day designated for speaking up and out, focusing on how everyone – as a collective or individually – can do their part to reduce this global burden of cancer – I share with you her words and mine from February 4, 2012 . . .
I didn’t know about a World Cancer Day. Until today, I’d known only about Breast Cancer Awareness October when the world turns pink for an entire month, so when I detected the lump on my breast on October 30, I should have been grateful for having made it until the end of the pinkest month, blithely unaware that cancer had come calling. Since then, I have encountered more metaphors of war in breast cancer’s literature than I ever found in my collection of Wilfred Owen’s poetry, and I am uncomfortable. Within the context of breast cancer, I show up – albeit reluctantly – for every appointment, procedure, and surgery. As a cancer patient, I am doing what is expected. I am being treated. At best, I am obedient. Not battling. Not a warrior in pink.
I cannot say the same for my darling girl. Just a heart-beat ago, she was so tiny, asleep and swaddled, snug in the space between the crook of her daddy’s arm and the tips of his fingers. Safe and secure.
Then, too soon, fourteen and tall, impersonating “strong and stoic,” leaning on her beloved dad and he on her as they wait for surgeons bearing good tidings. Neither feels safe nor secure. Squaring up with a false bravado, she confronts the wild fear that her mother might die yet balks at the notion of wearing the “kid with the sick mom” mantel. She does not want her teachers to know about it in case they might feel sorry for her and give her a good grade out of sympathy. Mostly, she doesn’t want her friends to feel awkward around her, to tiptoe as if on egg-shells, afraid to say “cancer.” A quick study, she has grown keenly aware of the pink stuff of breast cancer, confounded by “I love boobie bracelets” casually wrapped around teenage wrists when her instinct is to defend me because I was unable, technically, to “keep a breast.“
Remember fourteen? A time for rebellion, for rolling your eyes at your mother’s taste in clothes or music because she was your mother for God’s sakeand therefore “so embarrassing.” Fourteen was for pushing boundaries and buttons and for experimenting with make-up and myriad ways to style your hair or sign your name -with hearts instead of dots above “i’s”.
For my girl, this rite of passage is forever marred by her mother’s breast cancer diagnosis, before which she didn’t have to feel as guilty about perfectly acceptable and anticipated acts of rebellion. It is unforgivably unfair. But that’s the nature of breast cancer, isn’t it? Unfair. Lest I forget how it has interrupted her life, I am considering today the first time my daughter spoke of the cancer that entered our home like a thief in the night.
I didn’t know – and I’m sure I still don’t – the extent to which my cancer has shaken my beautiful daughter, stirred a fear that others dear to her may be at risk. So when I read the note she posted on her Facebook page on February 4, 2012, World Cancer Day, I realized she needed to tell – to share with anyone who would listen, in one fell swoop, that cancer had come calling and that her mom was sick, to tell them that being aware means you have to actually do something.
She is the only warrior here.
She’s my hero.
Here’s her note:
In honor of World Cancer Day and my mom, I’m telling the truth …
Each and every one of you reading this note, know this: you are important to me. And I don’t ever want to lose you. Please be aware. Do not think that just because you’re you, breast cancer won’t harm you. Infect you. Frighten your whole family. Breast cancer doesn’t discriminate. You can’t escape from it. And my mom, my dad, and I had to face up to that harsh reality. On November 11th of 2011, my mother was diagnosed with Stage 2 breast cancer. She told me everything her doctor had told her. About how she had three tumors, and how they had been probably hiding there for five to seven years. Three tumors. Three of them, just sitting in there for all that time, never to be found by her mammograms because they were hidden so well in her tissue. Fortunately, two of the three were benign, meaning they would not hurt her. They were not cancerous. However, one of them was a cancer. Malignant. My mother’s right breast had a cancerous tumor. But my mom had cancer. My mom had cancer. Mymomhadcancer. I didn’t hear much more of what she said. After she said “tumor” and that only “two out of three” were benign, it was hard to hear anything else. All I could say was, “But you’re going to be okay…. right?” I asked that question maybe four times in a row. I remember later on she and my dad told me about the next doctor’s appointment, during which she would find out which surgery was best for her. A lumpectomy or a mastectomy. It sounded like she was hoping for a lumpectomy, which would only remove the tumor. It sounded simpler, but it also meant radiation. Radiation is nasty. A mastectomy means removal of a whole breast. Soon I found out my mom’s treatment required a mastectomy. I would be out of school for a week.
That week, I stayed with my mom’s best friend, Amanda. Amanda is like our own family; she has known me ever since I was little. I stayed at her house once before, when my dad had major heart surgery. Now again, I stayed with her while my mom was going through surgery. Seven and a half hours. An entire school day of waiting. Then my dad – who waited the whole seven and a half hours in the hospital – called to tell me the news.My mom was okay. The surgeons were very happy with the results of not only the removal of the tumor, but the reconstruction of her entire breast.
I remember seeing her in the ICU, when she woke up from the surgery. Her skin was so white, as pale as Boo Radley‘s. Her normally inky blue eyes now reminded me of a colorless sky. I cried at the sight of her. She looked like my mom, only dead. She had been given lots of morphine and so much other medicine, so she was way beyond groggy. Out of it. And then she was able to smile. She squeezed my hand, and she asked me what day it was . . . four times. Thursday, Thursday, Thursday, Thursday. I cried. My dad cried. He wiped his eyes on his shirt. We just stood there crying, rejoicing that my mom was going to be alright.
After removing her original breast and the cancer, her surgeons used skin and tissue and fat from her abdomen and molded it into the shape of a new breast. It was amazing! Today, her reconstructed breast looks almost identical to the other one. Made from her own skin, it looks fine. Just a bit bruised. But those bruises will fade, and this cancer will become just a bad memory. Unfortunately, we still have some healing to do. There’s a large scar across her abdomen, and it hurts her to stand up straight. If she lifts her right arm too high, it hurts. Then there are the tubes and the three surgical drains. Attached to my mom were three long tubes which then attached to what looked like little plastic grenades. Every day, I’d help drain the bloody fluid from them and record how much on a chart. Two have been removed, now there’s only one drain left, attached to a tube from a hole under her right arm. And then there’s always the fear that the cancer may return. Yes, her cancer was removed, but maybe there was some that the doctors couldn’t find and it could scare us again. It could invade my mother’s body once more. It could invade anybody. Which is why I’m begging: get yourself checked out. Find out your breast density. Do self-exams. Please. And it’s not just women. Men can get it too. SO if you’re a guy and you’re wondering why I tagged you in this, there’s your reason.So please. My mom discovered her cancer before it had spread into her lymph nodes. She got lucky, because she found the lump by accident and because her doctor made her get an ultrasound. She learned just in time that her negative mammograms had missed the cancer.
Many women, just like my mom, never even check their own breasts, even though they have been told over and over. It is so important to know what our breasts normally feel like, so we can notice when they change. So please take the steps to know your breasts, to know your body!
There are the inappropriate patent leather boots I wore the first time we took our daughter
am today, with nothing to wear to a thing I don’t want to go to later – having already flung on the bed seven summery skirts that are too snug at the waist because of a diet that has deteriorated in recent months (years) and an exercise regimen postponed (abandoned), I feel a bit like 
