The Unbaked Pies

Illustration by Russ Ando

Illustration by Russ Ando

 

This essay first appeared in the 12/27/96 issue of East Bay Express.  Eighteen years later, on the 5th day of Christmas,  it feels as much a seasonal post as anything new I might write. 

 

 

A week before Thanksgiving, and I’m making a list. Canned pumpkin. Evaporated milk. Nutmeg, allspice, and – after double-checking the cupboard – cinnamon: spices I won’t use again until next year. I flip through The Joy of Cooking to a page stained with flour and butter, and after reviewing Basic Pie Crust, lift the sack of flour next to the Special K to feel if there’s enough in it. There is. I multiply all amounts by three, stick the list to the refrigerator, and decide to go to the store one day on my way home from work. I’ll make the crust dough on Tuesday night so it can chill, and do the baking on Wednesday. I’ll find a flat box to carry the pies to Redwood Center, a resident drug rehab program, on Thursday morning before going to my parents’ house for Thanksgiving. That’s the plan.

But the list stays on the refrigerator, where I forget it each morning as I leave for work and avoid it when I get home. Its six ingredients stare at me—“evap milk,” canned pump,” “Crisco,” and the three spices—familiar in my own handwriting but somehow foreign, too, as I feel increasingly uneasy about not following through on my own good intentions. And then, on Monday night, with only one shopping day left, I know why. The image rises in my mind: a group of men, standing in the sunshine on the front steps of Redwood Center, smoking and joshing nervously as they wait for visiting relatives. I see myself drive up, greet them, carry the pies indoors. I see myself leave, lifting my hand to signal good-bye, good luck, and pulling my car up the hill to head north toward the freeway, to drive away alone. My brother won’t be there to fidget, to hug me, to eat my pies. He’s the reason I’ve written down those ingredients and planned this baking session, and he’s the reason—I suddenly realize, as I pull the list from the magnet – that I can’t go through with it.

Four years ago, my brother was a resident at Redwood Center. He’d been in rehab before, but this was the first program he took seriously. I drove down to spend Thanksgiving Day with him, and we talked, for the first time in years, about our nervousness around each other, about our mutual hurt and love, about our childhoods. It was the first time we were able to connect in many years. He was sober, clean of alcohol and cocaine for two months that day, and his racing adrenaline, his nervous jumpiness, had slowed down. What he called his humor mask had slipped, and he was just himself—gentle and sweet and a pleasure to be around. We hiked behind the center and played badminton outside the main build. We sat on a picnic table and talked. We hugged, and cried, and we laughed and cried some more. Relief and joy coursed through me that day. I’ve always enjoyed Thanksgiving, but that year was the best ever, and it had nothing to do with turkey. That year I had my brother back.

My brother had been using drugs – every day, he told me – since he was fourteen. He was then 25. As we climbed the hill behind Redwood Center, ducking beneath low madrone branches and pushing past manzanita, he explained to me one of the lessons his recovery had taught him: that his maturity had been stunted at the age he started using. He was physically 25 and emotionally fourteen. That’s why, he told me, he was lashing out sometimes, impatient other times. “I’m still an adolescent,” he said, with a rueful but not sad smile. “I’m making up for lost time.” He explained how the security of Redwood Center had helped him in this, helped him to feel safe. “Out there,” he said – and we both knew he meant our family living room as well as the streets – “I don’t have that safety, I’d be too tempted to get high as a way of dealing.”

I thought of how a psychotherapist had once told me, “You can’t have a relationship with your brother because your brother is an addict, and an addict loves only thing: his drug.”   Her words had seemed so harsh when I first heard them, but now I recognized their truth. I thought of all my short-lived romantic relationships, my unstaunchable sadness and loneliness, and thought how I too had been held back for all those years by loving someone who couldn’t love me back.

My brother died three years ago next month. After Redwood Center, he relapsed onto the streets and into crime and crack, and then found another good program, a program that supported his struggle for sobriety for several months before he slipped again—over the holidays in 1993. His sobriety ended, again, but the connection we reforged that Thanksgiving Day at Redwood Center did not weaken: over long-distance collect phone calls from street corners and jails, over diner breakfasts and sushi dinners, we talked and shouted and swore and cried and laughed. Until the day he died, we were back in each other’s lives again.

I think about the men in Redwood Center this year, catching up with their demons, and would like to feed them something homemade, a sweet tasty pie baked in a crust rolled out by hand. I don’t like backing down on my good intentions. But as I stand in the kitchen holding my crumpled shopping list, I remember those years of silence and anger and confusion and desperation. His, OK—but mine too. I remember watching my brother across a holiday dinner table to see if he would meet my eyes, and I know I’m angry again. Angry at him for dying, for not staying clean, for leaving me. I’m tired of being the good girl, of doing the right thing, of putting out effort for someone who isn’t even alive anymore. There’s a whole piece of loving an addict, a chunk of anger and resentment that buildings from watching the one you love slowly kill himself. This piece doesn’t negate or deny the love, but sits right next to it – a hard, black nugget. It’s rough-edged and painful and not pretty, but claiming that nugget has something to do with being able to move on, a move I have dreaded since that day I first knew I’d have to do it.

There are thousands of addicts in the Bay Area this holiday season, and there are the people who love them. For alcoholic reciting the Serenity Prayer at a crowded AA meeting, there is a mother who is trying to keep the turkey from drying out, worrying that there will not be enough under the tree and that her daughter will show up high to Christmas dinner or husband sneak a drink at the neighborhood open house. For every junkie skulking in a doorway, there is a son who sits quietly through the family meal, stomach in a knot, because he wants to throw a plate against the wall and yell at the sister who is using, the mother who pretends everything is fine. Our pain is quieter than the destructiveness and rage of the addicts and alcoholics we love, and it shapes us into who we are. We don’t crash cars or break into liquor stores or hide cocaine in the underwear drawer. We maintain. We are used to maintaining.

And maybe, just maybe, that maintaining can move into forgiveness. Once again this year, my parents and I sit together and remember the son and brother who made us laugh, whose eyes sparkled with humor and kindness, who woke me every Christmas morning of our childhood so neither of us would be first at the tree, who smiled at me over the passed Brussels sprouts. Once again I look at the picture taken at Redwood Center four years ago, of my brother and me standing next to the madrone and manzanita, and I remember the words with which we found our way back to each other. And, throughout the holidays, I think of how many of us there are, working hard as we trim the tree and light the candles, as we close our eyes and whisper our prayers and wishes, as we roll out pie crust and open greeting cards, as we stand together in our invisible circle of silent, resilient love.IMG_0867

 

 

 

 

 

 

 

 

 

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Why Manzanita?

I just spent four days in silence.  Every year, I load up the car with warm comfy clothing, good walking shoes that can get wet, ample reading material, knitting, my rosary beads (the Anglican rosary, which I’ve been carrying around for almost twenty years) and prayer book, and drive up to Healdsburg.  To, specifically, the Bishop’s Ranch on the west side of Healdsburg, in the Russian River valley.  This year, it poured rain pretty much nonstop, a welcome saturation in these years of drought, for those above flood level at least.  I arrived at the Ranch around four o’clock on Sunday, and feasted my eyes on the green and my ears on the quiet.

Look at all that GREEN!

Look at all that GREEN!

It’s an odd thing, to choose to spend time this way.  Intentional silence is so utterly alien to most of our lives, even for those of us who—alone in the house or car— often choose quiet.  I turn on music or the radio occasionally and check my email at red lights just like the rest of you.  And it’s not as if silence is purely silent, anyway, right?  Silence is full of sound, depth and texture.  Often, that sound is the chatter in my own mind– talking, ruminating, cross-examining, pondering.  And during times of despair, worry, and anxiety, that chatter can be so much more painful when surrounded by quiet.  Without distraction, the fretting mind goes into overdrive.  Nothing peaceful in that.

Silence doesn’t necessarily bring bliss—or perfection or even spiritual elevation.  I thought uncharitable thoughts about my fellow retreatants, just little nitpicky things that, in the full light of silence, came to stark relief against my knowing (and wanting) better.  Silence isn’t always full of love.  But it does burn away a certain level of dross in our lives, a kind of refining fire.  I also sat with people I see only during this week each year, and yet I feel closer to them than to many people I talk to regularly all year long.  Silence in community breeds a deep intimacy, a sweet sweet fellowship.  Why are we so afraid of it?  I know I am, rushing to fill any gap in conversation, especially when I’m with someone I don’t know very well, and yet I soak this experience up the way a blotting paper absorbs ink.

Each morning, I walked the trails on the ranch.  Rain, mud, grazing cattle, rushing creeks.  As I neared the top of one of the hills, I spotted a manzanita tree and smiled in recognition.  Here, too, was a companion from years past, a companion in silence.  I went over to touch its smooth, wet bark, to see the new glossy reddish-brown layer being revealed under the scab of last year’s bumpy black bark.  It felt like wood, yes–like a banister or a walking stick–but almost imperceptibly I could feel the life inside it.  I felt a little silly, and a bit like some caricature of a woman on spiritual retreat, palming the bark of trees, and yet it felt like the only thing I wanted to do that moment.

Manzanita along Turtle Creek

I also worked on jigsaw puzzles and splashed in puddles, the way I had as a child, walking home from school on rainy days.  With the luxury of dry socks and shoes in my room, and hot water in the shower, I let my feet get deliciously wet.  I made craftsy projects–gifts, bookmarks, note cards, stars to hang from fish wire in the chapel.  I got smears from pastels and glue sticks on my fingers, glitter in my hair and the fabric of my pants.  Hours slipped by.

So back to the question.  Why manzanita?  It’s the tree pictured as the background to this website, and I chose it with a kind of inevitability.  I don’t recall when I learned to distinguish a manzanita from, say, a bay or an oak or a madrone.  Growing up, I knew them all by sight but I rarely cared about the names, relying on plants more for what they could be used for–sour grass for sucking the stems, miner’s lettuce for chewing the leaves, ice plant bunches for tossing in hopscotch (much better than rocks because ice plant stays where it lands).  It’s the name, too, the musicality of the word, and that gorgeous reddish brown color.  It speaks of California to me, to the hillsides where you round a bench or reach a summit and there, a familiar friend, it is.

What about you?  What tree or plant feels special to you?  And what have you learned from silence?

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Welcome Back

The holiday cookies are baked and the wreath’s hanging on the door.

Sort of.

I’ve baked holiday cookies once, maybe twice in my life. It’s not that I don’t like holiday cookies. I love holiday cookies—at least most of them. Gingerbread men are cute, with icing outlining their chubby little feet and hands, even if you crack your teeth on those little silver balls. I adore butter cookies, especially shaped into wreaths. Even typing the words “Pecan Sandies” makes me drool. But if you stop by our house this month, you’re not likely to be offered a plate of home-baked treats. As much as I’d like to have a stash on hand, I don’t. And due in part to our lack of visitors—who “drops in on” friends anymore, especially in the city?—and in larger part to my lack of willpower in the combined presence of flour, butter, and sugar, I’d be all too likely to devour every last crumb myself.

So what can I offer you, my visitor, as a bit of reprieve from however many shopping days remain, from the noise and bustle, from the onslaught of distractions and duties, past-times and pleasures?

While I may not see you at my literal front door, I’m happy to welcome you here to a newly redesigned site. I’ve done some housekeeping this year, both on the site and off-line, with the help of wonderful website designer Ilsa Brink. I’m happy about – energized by – these changes and eager to share them with readers. Let’s start with the brick-and-mortar, the tactile, the four walls.

IMG_0835 Is that a gorgeous color or what? Actually, the paint name is … Drop Dead Gorgeous, from Benjamin Moore. (Product placement folks, hello?) But here’s the trick: I mixed it with another, pinker color called Vibrant Blush, in a decidedly un-cookie-baking way. That is, I didn’t measure. I poured some Drop Dead Gorgeous into the paint pan, and then some Vibrant Blush, stirred them together with a balsa chopstick from a kitchen drawer, and rolled it on. When I ran out, I poured in more or less the same proportions as before.

Writers' group at Stinson Beach, October 2014

Writers’ group at Stinson Beach, October 2014

(Brief aside here to address any concerns from my writers’ group: Yes, I cleaned the walls and dusted along the molding and vacuumed with the extension hose where my duster couldn’t reach. I taped the edges and laid down drop cloths and wore my painting pants and a ratty old shirt and clipped my hair out of my face. I wore disposable gloves and kept a rag nearby. I unscrewed the outlet plates and placed the screws into a Ziplok bag so I could find them again. I did not smear wet paint on my naked body, any part of it.

Why such a disclaimer? In late October, my writers’ group met to discuss a draft of my novel, recently completed. In it, a character gets weird around paint. Sloppy. Careless. Inappropriate. Readers were concerned—about the mess, about her sanity. Didn’t she tape? Clean up after herself? Nope.  She didn’t.

But I did. And once the paint had dried, I waited another day and removed the blue tape, folded up the drop cloths, left the empty cans out on the deck to dry out. I touched up. I screwed in the outlet plates back in place, moved back the chairs and desk and table, and reordered the stacks of papers, of copies of Poets & Writers and Writer’s Chronicle (a terrific piece by my friend and writers’ groupie Audrey Ferber in the latest issue of the latter, btw), of story drafts. I threw out pages. I filed others—not in another stack but in a proper file folder, in a drawer.  It felt good.  I’d been wanting to do this for years, but one thing or another always got in the way.

And then I got back in touch Ilsa about refreshing my, uh, online presence. The site I’d commissioned for the 2007 publication of my memoir, The Water Will Hold You, had begun to feel dated. The family photos there made me cringe, as though I’d pimped family heirlooms. Yes, I’d chosen and placed them, but what seemed a sweet way to bring in the reader now felt icky.

When, in 2011, I began posting to the WordPress blog to which many of you subscribe (thank you!), I found it easier to add pages about teaching and  publishing news there rather than to the original site, which felt felt dustier than ever—and perhaps that’s the real reason behind my queasiness at seeing online my mother’s smile, my brother’s grin. I hadn’t just put up family photos; I’d left them there, as carelessly as if they’d gathered dust and began curling at the corners. I wanted them back in the leather-bound album, back in their frames, back where they belonged on my bedroom shelf.  And I wanted one site—not two—that I could update and change without having to call up the coders.

So here it is. Come in, poke around, explore. Let me know what you think. And while we’re at it, with thanks to my cousin Mary, help yourselfIMG_0858:

 

 

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Crossing the Bridge

Bridge-crossing is a metaphor, of course, and a clichéd one at that.  It’s also an action grounded in regular habit for anyone who lives near water:  to get to work, to school, to home, we cross a bridge.

Growing up, I crossed one bridge most often:  a world-famous landmark, its International Orange towers looming on movie posters, picture-book covers, and tourist postcards.  As a girl, I knew it as the slightly eerie, almost ghostly passage home from my grandfather’s house.  Miles of highway, city boulevard, and then, the fog-swirling bridge itself, huge lights casting the air outside the back window into something out of Oz—except we’d call it Topaz City, not Emerald, because of the amber lights.  I’d watch the fog rush around our car, I’d marvel at the movable yellow reflectors between lanes.  They reminded me of the pegs from my Battleship game.

Later, when I learned to drive, I followed my mother’s lead in choosing the “fast lane”—the farthest left—of whatever direction I was traveling.  Because the bridge has no permanent divider between southbound and northbound traffic—only those yellow pegs, moved to accommodate changes in traffic flow for the morning and evening commutes—this lane unnerves drivers.  In some ways, though, it’s the safest, because the proximity of cars traveling straight at you keeps you alert—and away from the gawkers who hug the sides, snapping their photos.

While I’ve bicycled across the bridge—a far windier and louder experience than I’d imagined—I’ve never walked it.  I’ve been telling myself for years that I needed to walk it, that I couldn’t write a certain scene in my novel until I had done so.  I’ve been avoiding this scene—maybe because I don’t particularly want to walk the bridge.  Or maybe because when I write it I’ll be done, the rest of the novel mere dénouement.  The scene is one of pitched conflict, and conflict makes me anxious.  But fiction depends on conflict, so here we go.

Other reasons exist for my hesitation, reasons having to do with my brother, dead now for 20 years (no, he didn’t jump off the bridge); with family lore I’m sick and tired of (while he didn’t jump off it, he did climb the north tower, a feat my mother announced to anyone given the slightest opportunity); with my parsing out of where my character Chris ends and I begin.  (Chris has his own issues with the bridge.)

Last week, though, I started writing the scene.  I’d been stuck, really stuck.  Reviewing notes, making lists, going around in tight little circles.  I’d started referring to my novel as the hairball.  How could I know not the right ending?  How could I, after all these years, not know the answers to every question about my characters, my plot?  Josh, a writer I work with at the Grotto, suggested that I give myself a break.  Not from working on the novel, but from beating myself up.  Have a little fun, he suggested.

Fun?  Usually this kind of advice makes me tense, like when the dentist tells me to relax.  But Josh said it so kindly, and with such compassion and intelligence in his eyes, that I found myself listening and taking his advice.  I wrote a few new scenes, not thinking about where they’d fall in the narrative arc, not thinking about their cause or effect, just writing them.  I had fun.  I learned some things.

In this way, I snuck up on the bridge scene. I started writing it, even though I hadn’t yet walked across it.  (And still haven’t.) I used my imagination.  I thought about those yellow Battleship pegs—turns out they collapse under the weight of a car, if you happen to drive into one.  I thought about the fog swirling in the amber lights, the way the tall towers disappear overhead, how all that can appear as magic or mystery or danger (or all three) to a child passing below. I thought about the noise and wind and cold, and the surprising incline from either end toward the middle.

I got across.

There’s more to do, in terms of research and detail.  But I’m grateful I wrote a scene before going out there myself, grateful I let myself—thank you, Josh—rely on the fragments I already had, long before I ever thought of this novel.  I knew more than I thought I did, which reassures me.

Now if I could just remember it, next time I get caught in the hairball.

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Story of an Ending*

Halfway through the year, a visitor appeared to a teenaged girl.  This was no ordinary visitor. The visitor greeted the girl, who was perplexed, even troubled, by the greeting.  Why had this extraordinary visitor come?  Don’t be afraid, the visitor told her, and then went on to say that the girl had found favor with God and would conceive and bear a son.  The visitor told her the son’s name and predicted greatness for him—a throne, even.  This troubled the girl even further.  She’d never slept with a man, as she pointed out to the visitor—how could she conceive? And, what about that man she was pledged to be married to—well, what would he think when she conceived by another?  The visitor explained the details—up to a point.  All things are possible with God.  And then an amazing thing happened, perhaps the most amazing thing in the whole amazing story.  The girl said Okay. She accepted the news.  And then the visitor left.

Yesterday morning, I heard this story read aloud for probably close to the fiftieth time, in different words from those above.  Certain phrases struck me, as they always do:  Do not be afraid. She wondered what kind of greeting this might be.  Overpowered by the Most High.  And, yesterday, as though hearing it for the first time, Then the angel departed.

The gospels are full of stories, and these twelve verses tell just one.  If we strip the narrative of its implications for a moment and think of it just as a story, not as part of that story, we notice a few things.  I’m not talking here about what happens next in chapter 1, important as that might be—Mary’s visit to Elizabeth, say, or Mary’s song of praise, or the naming of John, or Zechariah’s getting his speech back—just about these twelve verses between Mary and the angel, rendered over the centuries as poetry and art and gorgeous Byzantine icons.  Just those twelve verses, just the visit.

There’s tension—conflict, even, and crisis and resolution.  We have characters—two whom we see directly, Mary and Gabriel, the girl and the angel, and five others who are named, Elizabeth and Joseph and David and God and Jesus.  In this way, Mary’s personal drama fits into a wider context of family and tribe and people and history and creation.  Regardless of what you believe or don’t believe, those are the narrative facts.

What struck me yesterday, listening to Luke 1:26-38, was just this:  the narrative.  I guess because I’ve been struggling with narrative of my own.  For that reason, I think, I was stunned by those four words that close this particular episode.  Then the angel departed.  So simple, and so powerful.  In a way, ambiguous.  The angel left, after depositing this bombshell on the girl.  He’s explained it to her, he’s reassured her, he’s told her not to fear and that she’s found favor and that her baby will achieve great things—never mind for a moment that he hasn’t predicted the pain and sorrow—but still.  Having been a young teenaged girl myself—and most scholars agree that Mary would have been about fourteen—I think she must have felt a bit, well, dazed.  She’s said Yes to God, in an enormous act of faith and humility—a Yes that will resonate down through the millennia, a Yes of acceptance of what will come.  And at the same time, she must feel utterly overwhelmed and terrified and maybe even a little giddy.  To be told such news!  No wonder she runs off to visit Elizabeth, her relative.  Who wouldn’t want to share this news?—but not with anyone.  Elizabeth knows about amazing news, having conceived in a surprising way herself.  Elizabeth, this unwed pregnant teen can trust.  But I’m getting ahead of myself again.

Then the angel departed.  We could read it a number of ways: he’s done his job, time to go; she’s on her own now.  And just where does Gabriel go when he departs, and how? Through the door, behind the drapes in one of those Dutch master annunciations, into thin air?   Fra Angelico’s fresco in San Marco in Florence, Italy, shows Mary in a colonnaded shelter, with what looks like a tiny jail cell behind her, Gabriel approaching as if from across the lawn scattered with millefleurs.  The two mimic each other’s posture, arms crossed in front, shoulders slumped forward, knees bent under folds of blue (Mary) and pink (Gabriel), as they bow to one another, an acanthus-capitaled column between them.  Girl and angel occupy two separate spaces, architecture and geometry delineating what my friend Eva Bovenzi calls the meeting of matter and spirit. (Eva’s Messenger series was influenced, in part, by this fresco).  How would a girl respond to such a visit?  How would anyone?  With grief, relief, a little of both?  Wait, don’t go!  I have a few more questions.

In that way, the four words take us back, to the almost-ending.  Be it unto me, according to your word.  Ah, there’s what we need.  There’s Mary’s change—clearly shown, as any teacher of narrative craft would advise, in this case in dialogue.  Mary’s acceptance makes the power of Then the angel departed so resonant.  It doesn’t explain any further, or try to.  Or need to.  Still, it creates wonder—and isn’t that what all good endings should do?

*with apologies to Julian Barnes, and thanks to Callie Feyen

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