Monday, April 2, 2012

Reading Response 1, Week 10

Response to Margaret Atwood's Happy Endings.

This is a fantastic piece. Atwood's approach to fiction qua metafiction (fiction about writing fiction) is very witty and instructive for writers of all ages and disciplines. I would even argue that it is instructive for the existentialist or psychoanalyst. The introduction of multiple plot lines (or trajectories of the story) helps illustrate her point that "the stretch in between" the beginning and end of a story is what is truly invigorating. This stretch is simultaneously elastic and always already open to alterity, simply waiting the endless insertions of "a what and a what and a what". This metacommentary on fiction by Atwood deliberately avoids the effacement of alterity in the plot lines provided, and instead reveals the infinitude of singularities that can be created even with a few characters and a short span of time.

Atwood's fiction qua metafiction rises (albeit subtly) to the level of the philosophical as she reveals that "John and Mary die. John and Mary die. John and Mary die." The inevitability and authenticity of this ending is inescapable for the character and writer, and paradigmatically the human. To put it more finely, Atwood gestures towards a metacommentary on human existence by revealing the obvious, yet disavowed, fact that we all die. This can be read as an encounter with the Real that gets disavowed through ego speech and the play of the Imaginary and Symbolic. Atwood's work throws the reader (and text) into relief, allowing for a temporary break from the Symbolic and descent (or ascent) into the Real. The pre-infantile knowledge of beginning and end as simultaneous banality rushes (breaks) in. Following Atwood's logic qua advice, what should be cherished is that "stretch in between", in other words, the quotidian or the everyday.


Classmate Response 2, Week 10


This revision of the earlier piece (that I commented on, I believe) is a great improvement. The provision of specific descriptors of the image of the mother figure is interesting. The allusion to the abject status of the mother with details such as "wrist chafe" and "chains of those before her" add a level of depth that should be explored further. For a future revision I would suggest that more descriptors be added. Finally, I would recommend drawing parallels between the image of the and the child, if that is where the thrust of the piece lies.

Classmate Response 1, Week 10

Response to Daniel's Junk.

This is really interesting fodder Daniel. I have been thinking lately about the odd nature of cars on the highways. Vehicles seem to exist as living organism speeding by, each with a unique of its own. This raised a few questions for me that may help you use this piece of junk. How can we think of the "truck" as an animal or creature? What part of the truck qua vehicle can we describe as the head? What constitutes the "body" of a vehicle?

Great post!

Calisthenics 1, Week 10

In class character development exercise

I think sometimes that you are the most dangerous person in Amerika, yes with a K. Your face still turns reddish pink when I say that. Your supermodel blond hair runs all the way down to your housewife-after-six-kids hips, shedding like our cats Megatron and Pumpkin who are attention-whores. I love you, yet I despise you, because the way to a man's heart is his belly, and my gut is filled with all your concoctions: Indian chicken curry, cornbread casserole, holiday cookies, and that damn cider. Oh! what a wretch I am! The scarf you knitted last December now hides the hickie on my neck. I wish you wouldn't be so rough. I wish I could run away like Pumpkin did last June. I would get much farther than Carrollton Square. I imagine simply sliding smoothly out the section of the door I cut for the kitties. But, I, we, are stuck here in this vertigo. I pull in a deep breath, with the paprika and nutmeg smacking my nostrils, and pull off the red and yellow scarf. This is like my Auschwitz, your Eternal Treblinka. Wow, I am Fred Hampton in his Chi-Town bed. Oh my god, I am in love with a white MILF again.




Free Entry 1, Week 10

Watuba, Mississippi

Daisy + I pull into Love's
gas station in Watuba, MS,
where 30 years ago
I would have been Emmitt Tilled
for even looking her - my black
2XL shirt protecting the stretchmarks
on her lovehandles - or throwing a smile her way.
She walks ahead into the cookie-cutter Subway,
where a hispanic boy is hiding + seeking his baby sis
under tables + chairs, while I smoke our last Malboro
and count cars fly by on I-95.

Junkyard Quote(s) 1-4, Week 10

"paper that fools the fools"
-Brittney's improv

"When I'm running on empty, I guess they'll leave me behind."
-Michael Kiwanuka, "They say I'm doing just fine"

"When I'm alone, they'll forget me/Won't be coming to find"
-Michael Kiwanuka, ibid

"No Educated person can afford to be ignorant of the Bible"
- President Teddy Roosevelt



Monday, March 19, 2012

Free Entry 2, Week 10

Tortured Virgin

I'm walking to the market in Bethlehem on the red clay paths where the
Nazarene mad man roams, where people dump their excreta.
My stomach hurts like Sheol, so I place use my right hand to hold it
from bottom, spreading my thighs and staggering like blind old Zechariah.
These clay back-roads save me from the jeers of the damned children
who poke my belly singing "Messiah Baby? Whore Mother!"


Saturday, March 17, 2012

Classmate Response 2, Week 9

Response to Drika's Free Entry.

Wonderful performance of the free-write exercise. It's amazing to see the variegated array of language that emerged from such a short time. What if this was a daily or weekly exercise?

"the thrill of breaking your first bone" - a really eerie phrase that can be culled for a lot of intellectual fodder

"a choking layer of pollen" - very visceral because the pollen becomes a living threat.

"a non-existent breeze" - breeze seems to already contain non-existence (in a phenomenological sense). Perhaps some dissonance would help, i.e. "stalker breeze" or "pervert breeze".

"X-Games BMX rider come to a very impressive wheelie halt as one of the thousand campus cats strutted into his path." - great language! (Personal non sequitur: I miss watching the X-Games. Are they still good?)

For a a future exercise you should completely embody the character, that is, take on her voice and perspective. For example, describe the cars the girl sees in her own words.

Keep it up Drika!

Classmate Response 1, Week 9


This revision is a great improvement!

The reduction of the abstract child thieves to a specific figure adds specificity, albeit the fact that the "volunteer teacher" character could be made more specific. The description of this character and his/her normalcy reveals the "quiet brutality" (the unseen, unnoticed, terror) of child abuse. The litany of roles gives also adds a wonderful richness to the piece. In addition, the "clay" analogy fits perfectly. Play-Doh could also serve the function, while providing language that is both architectural and eerily familiar.

"They are a master of hide and seek" seems awkward grammatically, and supports my argument for honing in on a paricular person qua thief. "He is a master of hide of seek" would be an example of such a revision.

"Halloween is every day" is visceral and captures, subtly, the subject.

For a future revision, I would suggest increasing the specificity some more, and developing dissonant phrases like "quiet brutality".

Good job Kelsey!

Friday, March 16, 2012

Junkyard Quote(s) 2-4, Week 9

"The whole white race is a monster who is always hungry and what he eats is land."
-Chiksika - a war chief of the Kispoko division of the Shawnee Nation

"In war, the kill some of us; we shall destroy all of them."
-Thomas Jefferson

"a tortured virgin, a pregnant woman"
-Saidiya Hartman

Wednesday, March 14, 2012

Junkyard Quote 1, Week 9

"haunted by figures of the unassirmlable, the exceptions to the democracy without exceptions" (Warren Montag - Bodies, Masses, Power, 86).

Monday, March 12, 2012

Reading Response 1, Week 8

After reading Ch.3 of Writing Poetry, I have started noticing the philosophical nature of Davidson and Fraser's approach to, analysis of, poetry. The introduction of concepts such as "self" and "other" are interesting because they emerge from the work of Hegelian metaphysics, and more strikingly post-modern and post-structuralist theory. The notion that the "poems reside in the space between what has come before and what has yet to appear" may seem intuitive to some, but that is only because post-structuralist/post-modern theory qua Foucaldian and post-Hegelian thought is so pervasive in the academe and contemporary "common-sense", to borrow Gramsci's term (Writing Poetry, 47). However, if the claim that language should be (is always already) blurred appears controversial, this is perhaps because this insight and approach to the poetic is just that.

The assumption that we should shy away from asserting meaning in reading and writing poetry reminds me of the work of Jeremy Fernando, a contemporary philosopher at the European Graduate School. Fernando's work on relationality and poetry is striking because it asserts that "any relationship must always already carry with it the unknown, and possibly always unknowable" (On Love and Poetry) In other words, when reading poetry (the other) we should shy from asserting meaning, because this will erase the enigma. It is an effacement of alterity. To put it more finely, since love is blind, to love the poem you must it with eyes close. When approaching the palimpsest of the poetic we should be blind "to not only the subject of the encounter—the self—but also of the very object of that encounter, the “you”—all that can be said is that there is an encounter" (On Love and Poetry). This applies to the writing and reading process. The figure of the blind Cupid should b always already be the figure of the writer and writer. The Davidsonian is always already the post-structuralist qua post-modern.

Rant complete. Catharsis achieved.

Calisthenics 1, Week 9

I am here practicing the 'call and response' in Ch. 3. I tried to synthesize various journal entries in the hopes that comical juxtapositions would arise.

She has long droopy breasts, not perky
like a teen girl in a porno lick,
but not flabby granny-breasts - deflated balloons,
nipples still succulent, with a wide dark-brown areola, perfect radii.
Why so serious Dick? Does female sexuality scare you?

Toss them overboard, for the fish in the bowl.
Insurance money, check. Food in the bowl.
6lb carne de puerco salada burrito.

Everyone dead, throats crushed, water-gnash-larynx,
no more laughter, drifting away, too long.
I got the Bible and the Gun. One of these is gon’ work!

Calisthenics 2, Week 8

Revision of a Calisthenic from earlier this week based on Damiyr's comments.

When I keep up with the Kardashians, I usually place my notebook on my lap, one hand on the rubber of the inkjet, and the other in the crevice between the DVR remote's pause and play buttons. Kim has taught a great deal since she authored her magnum opus with that Brandy's little brother who sings R&B. She took a risk, like my creative writing teacher always says, and de-familiarized the female body. She must have practiced a lot for those scenes, and spent time researching for the script. My face always turns reddish pink when I watch the final scene, my lips arching up and dimples sinking in. Last week my husband walked into living room when I was watching it, and asked me, with his cement-face, why I watched this every Thursday. I turned around, stared in his eyes, and asked him "why so serious Billy? Does female sexuality scare you?"

When I was seven or eight my mom used to drag me to her AA meetings on Thursdays. Afterwards we would go to her friend Stacy's house, and I'd watch two re-runs of Will and Grace while they went to talk in the bedroom. Sometimes I'd pick a book from the shelf by the TV. I preferred the bell hooks and Audre Lorde books because they had nice covers and talked about women and freedom. When mom and Stacy were done talking they would always laugh at what I was reading. They didn't think I understood the big words like feminism or gender or transgression. But, I did.

Classmate Response 2, Week 8

Response to Daniel's junk.

This is a great piece of junk because it is so uncanny, visceral and candid. I riffed on this image and came up with something interesting.

"Revealing the unflattering gut of the average salvadorian woman"


I made a single vertical cut from the eve's apple
to just beneath the belly button,
and used my trusty saw-tooth clamp to hold
her tummy open, her flabby lovehandles drooping
onto the brutally silent table.
I scooped, weighed, then tested, her food
and scribbled "6lb carne de puerco salada burrito
- few hours - no foul play"
in my journal.

“Improv”-ing/imitation 1, Week 8

This is an impov/riff based on Katie Chaple's "Returning Madame Bovary"

"After all, isn't that what we all want:
to be pursed with single-minded urgency?
to have customers, lovers, readers
who are like the man who's been sitting in prison
for ten years with only his mother and blonde cousin for visitors?
To have him reach through the bars
to what's past them-
the female prison guard who lingers,
studies her nails, counts floor tiles,
like she's waiting for something
more than the end of the shift?"

The end of the world - what he wants
or what wants him - till the 5pm bee buzz
blare bursting baby bubbles.
As she escorts him to his suite, with his leg bracelets
clanking, he wonders: is this just a fling - will we last?

Sunday, March 11, 2012

Classmate Response 1, Week 8

Response Damiyr's Calisthenic.

This is an interesting approach to modularity. I am happy that you employed this technique after the class discussion. The words reach out the screen creating a visceral reaction that "prick[s]" and alerts me. In a way each word and syllable alerts its predecessor and successor, igniting the entire piece like magnolias in spring. I would recommend trying to stay away from words like murder, because they are already visceral. Doing this will force you to create the modular intensity yourself.

Below is my riff off your modulart.

murmurmurmur
inbetweenteensheat
proudBLACKteensproud
prickwhiteroticurlgirlfast
murmurmurmur
breakoutfastfastbreakout
quartertwomidnightdaybreakfast
rumurumurumr

Calisthenics 1, Week 8

In Class Exercise: Reversal

I'm keeping up with the Kardashians with my notebook on my lap, one hand on the rubber of the inkjet, and the other in the crevice between the DVR remote's pause and play buttons. Lesson Number One: How to achieve success and happiness. Kim has taught a great deal since she authored her magnum opus with that Brandy's little brother who sings R&B. She took a risk, like my creative writing teacher always says, and de-familiarized the female body. I read somewhere that she drew upon the work of Judith Butler before writing the script. That made me smile.

When I was seven or eight my mom used to drag me to her AA meetings. Afterwards we would go to her friend Stacy's house, and I'd watch two re-runs of Will and Grace while they went to talk in the bedroom. Sometimes I'd pick a book from the shelf by the TV. I preferred the bell hooks and Audre Lorde books because they had nice covers and talked about women and freedom. When mom and Stacy were done talking they would always laugh at what I was reading. They didn't think I understood the big words like feminism or gender or transgression. But, I did.

Junkyard Quote(s) 1-4, Week 8

"T-Bag is going to see his Mama!"

Dr. Lloyd Lowery, Breakout Kings

Some machines are just broken. You're a broken machine

Dr. Lloyd Lowery, Breakout Kings

"The tradition of all dead generations weighs like a nightmare on the brains of the living. "

Karl Marx

"Every morning when I awake I ask myself whether I should write or blow up a dam. I tell myself I should keep writing, though I'm not sure that's right"

Derrick Jensen

Free Entry 1, Week 8

T-Bag Goes to See His Mama

He staggered past the attendance desk,
120 yards away from Mrs. Bagwell's room,
with the wound above his right ribcage
leaking out the upper lobe and happily collapsing his lung.
It is a quiet testimony to Theodore's physical fitness
that he was able to make it 104 more yards,
ahead of the donuts-smuggling rental cop,
before dropping on to his belly -
arms outstretched, fingers reaching for her - Michelangelo-style.

Sunday, March 4, 2012

Classmate Response 2, Week 7

Response to Guillem's Calisthenic.

This piece is interesting because you have abstracted away from the original details and created a scene that is mysterious yet comprehensible. "Between a ghost town and a village" is great phrasing because it stretches to encompass several meanings, both the literal (geographical) and metaphorical. The lines "their home not jet black space / but the flesh of a child" is captivating because it flirts well with the macabre.

For a future draft, I would recommend increasing the level of specificity and elaborating the specific scene. Who is this character Augusta, and this cat? How can we de-familiarize the cat, and create new fodder for the ghost town?

Calisthenics 2, Week 7

The beginning of the contraction process using some language from a free-write session. Below are lines reworked into another free-write with a working title.

"See-through boys playing cement hockey without stopping to let cars by."

Wazoo is where I grew up, after we left
slimy tangerine E-Town,
We lived just past the Shymalan retirement homes,
five miles behind Ariel, the stocky five-year old with Nike-black hair,
who would hide and seek with me in the ice cream aisle,
while I avoided slinkies.
My sister Caitlin and I brought our hamsters,
Chocolate, Cocoa, and Milk
back to life dancing on
bright pogo sticks.
After five months or so,
I spent most of my time in dad's faded blue Navy cot,
straining to peer past my Styrofoam sky,
thinking about our cat that tried to kill me when I was ten.

Calisthenics 1, Week 7

This is my freewrite from the in-class Q & A session.

My family moved from slimy tangerine E-Town to St. Charles, with its Shymalan retirement homes, where I baby-sat Ariel, the stocky five-year old with Nike-black hair. Every afternoon we would walk to Wazoo, where there was only a store and a street, and hide and seek in the ice cream aisle, why ile I avoided the slinkies. Every night in St. Charles, I stare up at my glow in the dark stars thinking about the times Caitlin brought our hamsters back to life, and wondering what we're all trying to figure out. Where does it all lead? Is there a ghost town past the sky like Wazoo where kids with wings play tag football without stopping to let cars through? Are Chocolate, Cocoa, and Milk giddy on bright pogo sticks somewhere past the patterns on my Styrofoam sky? What about that cat that tried to kill me when I was ten?

Wednesday, February 29, 2012

Classmate Response 1, Week 7

Response to David's Junk.

I was struck by the language in your post. I think tornadoes tap dancing is a great reflection of their speed and whimsicality, their disregard for humanity. I tried using that language a little below.

When I hear another
tornado tap dancing our way,
I wonder whether I should write
or blow up a levee.
I convinced myself of the former,
so when she came
she took the dam thing away.

Free Entry 1, Week 7

"They Walk..."

Out the front doors of the raddison
On prueview haggardly
past the cookie cutter coffee spot
She ahead
He staring
at her spine
Quickly behind him
all around
They cross the street
Heads down
Fake frowns shirts
rumpled
Choices made
Beds remade
Staying ten feet apart
Into the first and third yellow
cab

Junkyard Quote(s) 1-4, Week 7

The Sage is occupied with the unspoken
and acts without effort.

Teaching without verbosity,
producing without possessing,
creating without regard to result,
claiming nothing,
the Sage has nothing to lose.

-Tao Tê Ching

A fully achieved person is like a spirit! The great marshes could be set on fire, but she wouldn't feel hot. The rivers in China could all freeze over, but she wouldn't feel cold. Thunder could suddenly echo through the mountains, wind could cause a tsunami in the ocean, but she wouldn't be startled. A person like that could ride through the sky on the floating clouds, straddle the sun and moon, and travel beyond the four seas. Neither death nor life can cause changes within her, and there's little reason for her to even consider benefit or harm.

-Zhuangzi

Great knowledge concentrates on what's close and vivid.
Small knowledge concentrates on what's far away and obscure.

-Zhuangzi

It's possible to have personal beliefs, but not to allow them take an actual form - to have feelings about things but not to create dogma around them.

-Zhuangzi

Monday, February 20, 2012

"It is surprising that he managed to get 130 yards with all the injuries he had, but also the fact that the deep penetrating wound of the right side caused the upper lobe to partially collapse his lung. It is therefore a testimony to Stephen's physical fitness that he was able to run the distance he did before collapsing."
—Richard Shepherd (pathologist) on the murder of Stephen Lawrence

Friday, February 17, 2012

Junkyard Quote(s) 5, Week 5

"My ex used to like floppy bacon, probably why I never respected him. Can't respect a man that likes his bacon floppy."

-Calisthenics exercise by Kay Lowery

Free Entry 1, Week 5

A revision of an earlier piece, with a new title.

When Father Fling

Ijaw fathers fling their babies
into the Ibadan River,
tubes in their navels,

faces cement-cold.
The ones that swim swim.
Mothers cheer
as their little Phelpses go.
Darwin's underwater show

Takes to the sky.
Yoruba fathers hurl their sons,
after puberty,
across the Atlantic, on
seven-hundred and forty seven fowls.
Everyone cheers,
no one weeps.

Wednesday, February 15, 2012

Classmate Response 2, Week 5

This is a response to Kay's Free Entry.

Hey Kay.

This text is captivating because the introduction is uncanny. The detailed description is a great example of micro-specificity - taking an object and describing it in great detail. This is a technique I want to employ. How does one apply micro-specificity to a person's face? Secondarily, the narrator's ruminations about her boyfriend's gaming is clearly shown, without devolving to simple explanation. The text allows me to fill in the details about the tensions in the room.

For a next draft, I would suggest that the game being played be described in more detail (as April has noted above). I also suggest that other scenes be created to display the narrator's OCD quirks, and relation to her boyfriend or other individuals. What are more details like the "dried blood color" around the room?

Keep it up.

Classmate Response 1, Week 5

This is a response to Taylor Junkyard post.

Hey Taylor. The last line of your entry is great fodder for thought. "All I'm worth on Valentine's Day is the 75 cent chocolate from a vending machine." This line would sound great in a piece. Try writing around, about, this line. Below is my preliminary rumination. Great entry!

Seventy five,
maybe 50,
no - 0.25,
rusty pesos,
are what Jesus
slips into the dingy box
on the corner of Medina Mora,
to get the red pack of Pikotas,
his Abuela's favorite,
though her ten remaining teeth
are like orange peels.

Reading Response 1, Week 5

This is a response to Rosemary Moore's short play, "Pain of Pink Evenings".

This piece is appealing to me because it employs specificity to counterbalance and accentuate the complexity of the narrative. The play is narrated by Tracy, a single mother who has lost her husband. The details the text provides paints a vivid description that throws me quickly into the world of characters and experience affect. I will be adapting the descriptive approach here in my own work.

The introduction of a sub-text, narrated by Tracy, about her father is very appealing. In fact, this sub-text allows me to grasp the emotional state of Tracy, what she holds dear, and the profundity of loss, after burying both her father and husband.

If this text was to be revised, I would suggest that the relationship between young Tracy (in relation to her father) be developed further. This can serve as a counterpoint to Tracy's relationship with her husband, revealing how she deals with loss and male relationships.

This was a great, short, read.

Junkyard Quote(s) 3-4, Week 5

"pink turquoise veins"
-Rosemary Moore, "Pain of Pink Evenings"

"We can't all be heroes because somebody has to sit on the curb and clap as they go by."
- Will Rogers

Junkyard Quote(s) 1-2, Week 5

"Not that fire is ever friendly."
-Dr. Brommage

"What's the difference between porn and rape?"
"Penetration."
-Classroom discussion

Wednesday, February 8, 2012

Reading Response 1, Week 4

This a response to David Madden's reading.

David Madden’s reading (a more appropriate term here is performance or rendition) is fascinating for several reasons, however here I will focus on his application of drama technique. Madden uses various drama techniques such as vocal manipulation, inflection, timed pause, and posture changes. This should not be surprising since Madden spent a year at Yale Drama School studying under John Gassner. This is perhaps where he learnt to warm up his voice before performing. I like to believe that the latter is why he spent the 30 minutes before his presentation in engaged conversation.

To begin with, Madden employs vocal and sound manipulation. He chiefly augments his vocal delivery by lowering and raising his voice at particular points, like when Carol or another character says something important. However, Madden reveals that it’s not just about inflection. When reading I have to manipulate my voice by slurring some words, speaking rapidly, and changing my cadence. A notable example is his enactment of Glenda’s abduction in rapid pace, producing chills, captivating the audience with a cinematic delivery. In addition, Madden achieves sound manipulation by stepping towards and away from the microphone. This is a technique almost exclusive to drama and musical performance.

Furthermore, Madden creates several voices for different characters, a dramatic technique most prevalent in modern cartoon acting. This process involves shifting the pitch and tone of his voice, and, more importantly, inserting subtle accent differentiations. The subtle nature of these voice changes allows the rendition to move along smoothly without jarring the audience (too much). The voice for F is coarse and pseudo-Southern (by which I mean “uneducated-sounding”), whereas the voice for Melissa is a soft timid tone pitched higher than, yet maintaining a similarity to, Carol’s. Most intriguing is the voice of the narrator. It is subtle, unnoticeable as an interlocutor, and close to Madden’s natural voice.

I have previously learnt many of these techniques from watching drama, delivering public speeches and singing, but I’ve never considered applying them when reading poetry or creative writing. Thanks to Creative Writing Dept. for bringing Madden to read.

Junkyard Quote(s) 1-6, Week 4

"You have to trust your audience, and respect them."
-David Madden

"Go to the art."
-David Madden

"A ship blows up, something definitely went wrong!"
-Dr. Thomas Brommage

“I went into the church, partly because I had been driven there all my life … there was no place for me to go ... But, I was so afraid of everything else that, in a way, I ended up with a devil I knew.”

– James Baldwin on the church and his time as a preacher from age 14 to 17

“I got the Bible and the Gun. One of these is gon’ work”

– Preacher, in "Blues For Mister Charlie" by James Baldwin


"You know who you look like? Antwoine Fisher!"

-conversation with a friend

Monday, February 6, 2012

Calisthenics 1, Week 4

Dr. Davidson urged us to write about an embarrassing moment with a parent. I followed that prompt, and came up with what might be my piece for workshop.

"Meeting Mom"

Dad told me she would arrive today. She is my mother. That’s what he said. Why is she not like the other mother? Why have I never seen my mommy till now? Why did she leave me?

Dad is smiling, fixing, cleaning, like a butler eagerly awaiting his master. He always talks about them - the others, my siblings, and his older children. Unlike him, I don’t pace back and forth. I hide behind the old red couch in the left corner of the living room, staring at the TV. I crawl into the space between the back of the chair and the window in with my knees pressing into my chest, and my hands tucked underneath my thighs.

Hunched over, in the crevice, I pray: “Father God, please forgive me for being afraid to meet my mother, I mean, my mommy.”

She is a wicked woman! Absolutely dreadful, worse than the characters from the late night movies, the ones after the NTA news, that daddy never lets me watch. She killed many people in a short two hours. All I could think was: “I hope she dies.” A slow death, not like in Tom and Jerry, but a real, prolonged death. I wish she could go to that hell place Pastor Monday and my Bible school teacher warn us about. I hate her even though daddy says I should love everyone like Jesus. How can I love her when she has ruined so many lives? I no be Jesus oh!

The only images I have of my mom are from a movie she never auditioned for, and doesn’t get royalty checks for. The woman I do know, my mother’s surrogate, is also referred to as Mama IK, because her first son was named IK, like my dad’s oldest son with my mom. So I filled the empty space in my skull, the one where other kids put happy memories of mommy, with the images of the fictional Mama IK, a witch.

Thoughts raced through my mind, quicker than Okada bikes on New Benin’s dirt road, with no traffic lights to stop them. I cradled myself there, in the makeshift womb behind the couch.

She walked in with two small figures huddled behind her, almost as scared I was for this awkward family reunion.

“Where is my baby?” she asked, glancing at my father with mistrust, or fear.

“He’s over there hiding” he said, pointing over to the shabby red couch, with mistrust and pity, for me, in his tone and pupils.

“Is he scared of me?”

“Yes, but what do you expect after more than six years?”

She, we, could hear the condescending indict in his voice. I thought she would snap back; maybe reach out and rip out his tongue like Mama IK did on television.

“Why is he afraid of me?” she asked looking at my dad, not expecting sympathy from him. “Didn’t you tell him who I am?”

“Yes, Iyen, I did! But, he thinks you are crazy lady from the movies. Ugh… what’s her name? Mama IK.”

“Osayame,” my dad called out, “come here. Your mommy is here with your brother and sister, Osas and IK. Remember them? Come on, don’t be shy.” His suggestion that I not “be shy” did nothing to stop the lining from peeling in my tummy, and the big drumbeats in my noggin that needed Panadol. Bur, he knew that. Why do old people say things they know are useless? Do they hope that this time will God will perform a miracle, maybe crack open another can of Red Sea? Maybe if they hold their arms akimbo a little longer. They think God is testing them like he did job.

Saying “brother and sister” was unnecessary, because I already knew them. Ikpomnwosa was the boy clinging to his, my, mother’s dress. He is my older brother, five years my senior. I could tell that he was much more attractive than me. His head was square-shaped, not like my oblong bean, but refined like daddy’s. His complexion was light, like mother’s. Definitely not fair, like Tani, but lighter than mine. And of course, he was taller. Staring at him made the drum beat in my medulla slow down a tad. Peering at his face reminded me that IK in the movies was not the same one here, and that his mother was not a witch come to hurt me and daddy.

As I dropped my gaze from my brother my eyes moved to the girl still bunched at mother’s left side. While turning my neck, I caught a glance of my mother’s calves, built like that of an athlete from those Roman sculptures. She wore leather shoes with silver buckles, like the black pair I wear to school.

The girl, Osarumwense, or Ethel, as she would later have me call her, clung, tighter than her brother, to the blue skirt suit dress mother wore. She was older than me by two or three years. She looked like my father, or mother, it was hard to tell since they are still standing by the front door with the broken light bulb.

Nevertheless, I knew she was beautiful, and that I loved her. Her skin was similar to my own; dark ivory, not charcoal, but a tone that reflected the light perfectly, and clung to each ray. Her hair was braided with pigtails at the end, and pink hair clips on each tail. She wore a white dress with blue and red flowers, or dots, painted on in no particular order – none that I could see, even though I’m good at puzzle games.

After surveying the children, I finally got the courage to rise from my hiding spot, leave the womb, and look at my mommy. I could see now why they clung to her.

She was well built, not one of those skinny types. She wasn’t very tall, but had a sturdy dignified posture. Her dress suit clung to her hips. It was must have been made for her, or altered by a tailor friend. Her face looked like mine, not happy, but not sad, just focused. She was focused on me.

Her eyes dug into my skin, checking every detail, like I always do when I get a toy back from my cousins. When I looked at her (not in the eyes, because daddy and granny say that’s disrespectful) I didn’t know if I loved her like I loved the girl, but I knew I didn’t hate her like Mama IK.