001. Burning Ants

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I went to work and a guy I wait on said he was leaving. He said everyone he knew was pulling out.

“Canada is just not far enough. Mostly Mexico. A bunch to Thailand. Some to Bali.”

He always orders a Tofu Scramble and makes me write a fucking essay to the cook. No soy sauce in the oil mix, no garlic, extra tomato, no green pepper. Add feta. Potatoes crispy and when are we going to get spelt. He holds me personally responsible for his continued patronage. I hope he dies. I’d like to read about it.

My brother Credence says people who leave are deluding themselves about what’s out there. I just think they’re cowards. Mr. Tofu Scramble says I should go anyway, that it’s too late. I want to but I can’t. Maybe when the bombs stop, or at least let up. Nobody thinks it’ll stay like this. I call it a war but Credence says it isn’t one. Not yet. I say they just haven’t picked a day to market it. Soft opens being all the rage. My last few weeks down at grad school it was so bad I thought everything was going to shake itself apart. I tried to focus on my dissertation, follow the diaspora of clamshells but every night it got worse. It’s not any better here—here, there, now, tomorrow, next Wednesday—geologically speaking it’s all the same millisecond. The gentle rustle of armies crawling the planet like ants. Anybody with any sense knows what’s coming.

I was in yoga yesterday and this girl started crying. Raina, who teaches on Mondays, went over, put her hands on the girl like a faith healer, her fingers barely grazing her shoulders. She closed her eyes and let the girl cry while she breathed. Everyone was watching like they were going to see sparks or something. I was anyway. I would have liked that. The girl calmed down. Her breath was hard and her eyes swollen. Raina talked about being okay with how you find yourself on the mat and I thought there’s no one here who’s okay with that. If you took the roof off we would all look like little gray worms, like someone lifted the rock; too close, hot, bent and wet. Well, maybe not hot because of the mud but that’s still what I thought when the girl was crying. I was glad it wasn’t me.

Credence says if half the privileged white marketing reps in my yoga class voted for something other than reductions in their property tax, something might actually happen. I’d like to see something happen. Something big that wasn’t scary, just beautiful. Some kind of wonderful surprise. Like how fireworks used to feel. Now I’m no better than a dog.

Still, there’s something true in that yoga manifestation thing because I feel different when I believe different things. Only I don’t know how to go back to feeling how I did because I can’t re-believe. When the first box-mall-church went up in the blackberry field I wanted some kind of rampant mass stigmata with blackberry juice for blood. It didn’t happen. It’s not going to. They win; they just roll, pave and drive over everything that’s beautiful: babies, love and small birds. On summer nights with the windows open I hear joints cracking like crickets.

I wake up sometimes and feel the nearness of something but then it’s gone and I’ve started to wonder if it was ever there. Lately, I’ve become afraid that the feeling I used to feel, like something good was waiting, is what people mean when they say “young” and that it is nothing more than a chemical associated with a metabolic process and not anything real at all.

I waited on Mr. Tofu Scramble. He had a date at lunch and they both ordered blackberry smoothies. Vegan. I thought about slipping his date a note telling her that he was a big old cheese eater when she wasn’t around. But who am I to stand in the way of love?

I went into the kitchen and pulled a five-gallon bucket out of the fridge. They stack the tofu in soft blocks at the bottom of a bucket of water. With dirty hands I scooped out the tofu and threw a handful into the blender, little white clay hearts. Then I filled it to the brim with blackberries. I pressed the “chop” on the blender because it’s louder and takes longer and in a second the blackberries stained those little white hearts and turned them dark as a bruise. I left the blender on. It took over the restaurant. Everyone tried harder and harder to ignore the noise but the more they did, the longer I let it run. There should be some price to pay for all of this ugliness, especially the pretty kind; especially the kind you don’t always see.

Mr. Tofu Scramble looked around and I thought, yeah, that’s right, it’s you, you Big Old Cheese Eater When She’s Not Around. His cheeks reddened and his jaw shifted side to side. He started to look so much like a little kid staring down at dirty candy that I turned the blender off. It’s not all his fault. It’s not his fault he’s in love and wants quiet blackberries. It’s just not his fault.

Even Credence fell in love and got married although I think he secretly wants a medal for falling in love with a black woman. Our parents were so proud. Now, if I could only abandon my heterosexual tendencies as uninvestigated cultural preconditioning and move in with some sweet college-educated lipstick-dyke bike mechanic, they could all finally die happy.

I’ve lived with Credence and Annette for almost three months now. At first I thought that because Annette was black I wasn’t ever supposed to get mad at her. It was like living with an exchange student who spoke English really well.

“Jean-Pierre, what do they call baseball in France?”

“Annette, do you like macaroni and cheese?”

“Daisuke, how is the rebuilding going?”

 

Credence has a missionary belief in community organizing. He says, “grassroots” like Bible thumpers say Jesus.

Hallelujah.

Credence and I stopped a Wal-Mart from opening once. It was earlier in the year and it lasted about a minute. Four months of door-to-door organizing, leafleting, town meetings, petitions, land-use hearings, senators, phone calls, cold, free doughnuts and sermons to the choir in the rain with balloons whipping around our faces in the wind while we chant and people drive by in heated sedans and look confused. Take pictures and send it out to everyone who couldn’t come to the rally. And it worked. For about a minute. It’s hard to do the same thing twice. It’s hard to feel the same way you did, especially when you really want to. We just set them back a couple of months on their timetable. Chipped teeth, flags, crosses and white sugar.

I moved in with Credence and Annette the week of Wal-Mart’s Grand Opening. That was back in May when we found out Annette was pregnant. They said I could stay until the twins are born. They gave me the attic. It has dormer windows and a leaky skylight. When I go to sleep I stare up through the glass and pretend that none of us are here.

Out of a desire to understand, I began collecting maps and putting them on the walls. Gift shop maps with sea monsters on them and beveled, unfamiliar coastlines, cold war maps with the Soviet Menace spreading like leprosy. Pink East Germany. Red China. Maps of Pangaea and Gondwanaland from back before the seams pulled apart when we were still all one big continent—Deep Time, where countries turn to silt, silt turns to stone and we can now tell time by comparing the rates of nations collapsing—Biostratigraphy? Patriastratigraphy? Following the law of superposition, one thing always follows another: map of the Trail of Tears, bike map, subway map, and one I drew when I was twelve and wrote “Della’s world” in scented marker at the top. Historical, geological, topographical, ideological and imaginary. Sitting in Credence’s attic I tried to figure out if culture was just geology. Maybe Rwanda was caused by mountain building. And the Russo-Japanese War by glacial till. Maybe you need pirated rivers in the headlands before you can have a Paris Commune.

I found a picture online of a man setting himself on fire. It didn’t say where he was or what he was protesting. Next to his leg was a gas can. He must have just dropped the match because I could still see his clothes. His arms were raised and flailing. I thought of Buddhists who can sit, quiet as wellwater, and burn like candles, like in that famous photo where the Zen monk is sitting cross-legged on fire in the middle of an intersection while cars drive past and people watch. Everything near him is blurry, the cars, the people, because they’re moving. But he’s not. He is absolutely sharp because he is absolutely still. Every detail of his robe, his eyelids and the oil from the smoke is absolutely clear. I first saw that picture in high school. I remember telling Credence about it.

“On fire?”

“On fire.” I said.

“You’d have to move.”

“They don’t move.”

“Della,”—like I was doing it on purpose—“Della, their bodies would make them move. They’d have to.”

His voice thinned and climbed.

“It’s biological,” he squealed. “They wouldn’t have any control over it.”

In 1969 in Prague it took Jan Palach three days to die because he wasn’t trained to just sit there. It was more like what Credence said. He had to move. It was biological.

 

After I found the photo of the blazing man with the flailing arms, I began to look for eyewitness accounts of people setting themselves on fire. Hell, I figured, if you can’t trust some hand me down, unverifiable, anonymous hearsay, what can you trust? There were more of them than I thought. There was one yesterday. He set himself on fire to protest a recommendation from a sub-committee to legislate a three percent quota in alternate grain production.

There were Americans, dancing around like sparklers on the fourth of July. There were Basque nationalists, German priests and Taiwanese publishers. One entry in Wikipedia said, “Kathy Change self-immolated to protest ‘the present government and economic system and the cynicism and passivity of the people.’” And underneath, the afterthought, “MIT student Elizabeth Shin may have committed suicide in this manner.”

One self-immolator was described as disgruntled. Following other names were comments like “supposedly for the same reason.”

I started putting them up on the walls too. I bought a bag of fortune cookies and raided the fortunes. On the back of each I wrote, underneath their lucky numbers in red, the name of the burned.

Jan Palach Your warmth encourages honesty at home: 718253741.10Thich Quang Duc Magic will be created when an unconventional friend comes to visit: 816223141.24Elizabeth Shin Your future is as boundless as the lofty heaven: 811283645.15Norman Morrison You will be reunited with old friends: 615213840.12Kathy Change Your nature is intense, magnetic and passionate: 712293644.27Alice Hertz Truth is a torch that gleams through the fog without dispelling it: 511243642.24.

I taped the fortunes to pins like flags and stuck them in the maps. Each city that inspires immolation gets a tiny white flag to flutter. Tiny little surrender. Tiny little surrenders. Supposedly, the heart of the Vietnamese monk from ’63 never burned but shriveled to a tiny liver. It is held hostage (kept safe as a national treasure) by the Reserve Bank of Vietnam. Tiny liver hearts. I pinned them to the walls. Katydids flutter all around.

Credence came in one day, looked at the wall and suggested I sign up for yoga classes. He offered to pay. I knew that Credence offering to pay for yoga classes was a sign of the box-mall apocalypse. Hey everyone, how about some yoga classes for Della and blackberry smoothies all around. Today, I’m feeling it. I’m feeling the Rapture! Credence waves magnanimously. A seal breaks and fire pours out.

Credence agreed it might be good for me to work in a more positive environment. I don’t know why he thinks watching Wal-Mart crush impoverished communities isn’t a positive experience. Listening to the snap of infrastructure? Cheering when something essential resists failure more slowly—strain…strain…(screaming fans)…strain…SNAP! The architecture of a new revolution now a palace of Popsicle sticks blasted to matted straw, each stick a darling to its mother who can now buy a full set of patio furniture for less than the cost of a box of tampons.

Once I burned an ant with a magnifying glass. It moved when it caught fire because it wasn’t trained to sit there. The straw it crawled on, its very own Popsicle stick palace blackened and burned. You have to sit there or it doesn’t count. But it moved. That’s how I knew it was alive; that’s how I knew what I did was wrong. Little ant? Little ant? And me crying all night long with ash on my hands. Popsicle sticks. Matted straw. Grassroots. Hallelujah.

Annotations and comments

Highlight text
Wonderful line! Great opening three paras.
I agree; you've got me hooked with the first 300 words. I especially love her naughty thoughts about hoping Mr. Tofu Scramble dies. I've worked in food service, I can relate.
according to Oprah, a super food
Great line. Perfect distance for this enmity.
Absolutely lovely! 'Soft opens' against bomb imagery...
The way the scope of this image is so vast and tiny at the same time works brilliantly for its impact but it's the 'gentle rustle' that makes it; an image of quiet and careful invasion. This line is still ringing with me. I wish I'd written it :-)
Keep coming back to these words, I love the imagery of the class waiting for a miracle.
lovely sentence wonderful metaphor.. the rock the roof nice
This is a wonderful sentiment to give us a very real and identifiable sense of the world that we're inhabiting with the characters. Not to mention, it's just a great image as well.
Oh, love this.
My first thought here was marijuana cigarette, like on an inhale (which is wonderful), but then I thought how one's knees can crack. I'm not sure it matters, as it's all so lovely, but I'd be inclined to know which you're referring to here.
I love this.
I love this too. Characters who think naughty thoughts but never act on them appeal to me....
Again really neat sentence here.. I love "soft blocks"
I'd hyphenate this "tag". Makes it easier to read and since it's a name, I think it would be grammatically correct to use hyphens.
I have to say that my back straightened a bit when I read this. I am happy that you liked keeping it in because white people do think it is off limits to discuss their real feelings about race. But I have to admit, it did put me off of the narrator. It added to her negativity in general and a sense of judgmentalism and no self-examination. Though the piece is beautiful in pieces, the narrator isn't. But maybe that was what you were trying to achieve. You see, when you have suffered as much as we have, more pain is not needed or wanted. It could have been put another less brutal way. But that is just my opinion which probably counts for nought.
Lucien, I appreciate your comments and am sorry you feel this way. My intention throughout the book is to satirize and criticize a way of thinking among white liberals about race, which often goes unchallenged. It was not, and is never, to add more brutality to the world. The commentary about race and Della's experience with it has an arc. That's why it says " At first I thought because Annette was black I was never supposed to get mad at her." And It is because such lines of thought are uncomfortable that I thought them worthy of investigation. I agree that there is too much pain in this world. I think the novel and Della herself are full of such sentiments and in total agreement with you.
I love this sentence!
I like the parts about self-immolation. I've always found it very unsettling (in a way that it is good to become unsettled). Especially the Vietnam example. That image is burned in my mind.
fuckin' brilliant transition here. At first I was taken aback with the 1913 bit and I was afraid it was going to turn into a historical novel but I love this.. americans turned sparklers!
Melissa, For some reason I couldn't get this reply to append to the right remark. I want to address the question of race. The exoticism of blackness, the comparisons between foreign exchange students, etc. is intentional. It is a thread which runs throughout the book and is meant to shed light on a form of racism that underlies much of our world...AND Della's discomfort/awareness of and with that. It was hard as a writer to let it it the page because of fears that people would think I was being racist and that my intentions in displaying such uncomfortable habits of mind and elitism would be misinterpreted. The poet Crystal Williams and I spoke of this recently. She had been lamenting that white people don;t talk about race enough in their fiction or poetry. Race is an issue we all contend with because it is embedded in our culture. I felt it had a place in the narrative and I'm glad I left it there. It is my hope that as you read on (if you do) you will see that strand develop into its own awkward moment. And thank you for such attentive comments!
"It was hard as a writer to let it it the page because of fears that people would think I was being racist." That is, as you probably know, exactly why so many writers steer away from racism, as relevant a social issue as it is. It doesn't help that too many readers don't know how to dissociate narrator from author, or that a story does not always have (or need to have) a message/moral; Swift found this out when the descriptive satire in "A Modest Proposal" was continually mistaken for prescriptive insanity. I think you neatly sidestep these concerns here not only because your narrator has a convincingly sociopathic disconnection from the world - which you do a very good job of establishing early on, by the way - but also because race and ethnicity aren't the story's focus: they're merely one thread mixed in with threads of sexuality, family relations, community involvement, careers, survival, individual expression, etc. The problem is that, as Melissa points out, the mere existence of "that strand" is enough to jar someone out of the narrative and into metatextual analysis. So even though you're taking great care to not let what is a very powerful and emotional issue formally dominate the work, it still kind of is, and to an extent that might be unavoidable.
Good thoughts on the subject. I like the paragraph; it makes the character more complex and I don't think causing discomfort is exactly a bad thing.
Interesting... I see. Yeah I already get the unreliable narrator bit. And it is an important part of our character's lives and minds not to ignore. I think that enough is shown in the previous sentence. About how she was wondering if she could be angry at this sister-in-law and suggesting whether or not she now needed to be a lesbian to show her brother up with her parents. That tells a lot right there. I think the foreign exchange thing might take it a bit too far. But I don't know. I mean I like when characters have duality. I'm really glad this was brought up though I was reading it and being jolted and wondering why everyone else was ignoring this bit. Because you see Della is very likable. Her neuroticism and self doubts.... and then she has this flaw and it is very subtle and coy... like racism is. I know that none of this has to do with craft and it can be annoying to talk about fiction in a non-fiction way. I also think that this is a discussion very WORTH having. Thanks.
oops I posted this super long dealio here I will send as a message instead... oops.
An awesome way to end this chapter...definitely gave me chills. Especially the way it reverberates through the earlier parts of the chapter.
this is wonderful
The phrase "pulling out" at the end of the first sentence made me think "hell yeah"--- lots of potential energy. It went kinetic and sent me burning through this chapter. Looking forward to more.
Love it so far! One thought: Should there be a comma after "says" here? Shouldn't it read, "He says 'grassroots' like Bible ..."?
Can't explain why but I really like this part
This is the part I was talking about (I think I had the highlighting turned off)
Last line-- excellent.
I have to admit as a black woman I have a little bit of a problem with this. I think it breaks up the fictional dream for me and puts me on a soapbox somewhere and doesn't serve your story well. The story is just as good without the comparison between a black person and a foreign exchange student and it would offend far fewer people. But perhaps I'm not your intended audience. P.S. If you disagree you're more than welcome to get mad at me.
Lovely, work, Vanessa. It reminds me of something attributed to Aimee Bender: "When you write outside of realism, plot becomes the internal life of the character." You're writing from within realism here, but I don't feel like a plot construct is necessary because we're so close to the internal life of the narrator. The voice is so strong and the narrator so compelling I don't have to worry about where we're going. We're there. On to Chapter 2! Art
Vanessa, I'm so glad I came back to finish this chapter the same day, and will read on. The under-the-surface bubbling of Della gives strength and a sense of momentum to the trajectory through this backstory and range of topics, which at first seem unrelated. It's not that I'm especially into ants (see highlight) but the way it comes back to that was satisfying and strengthened that sense of purpose. I'm not sure yet how much I should trust Della as a narrator but I'm keen to keep reading to see.
This gave me chills...the 'wow' kind...well, the whole story is giving me the wow's. Love it.
So dark and powerful, tragically beautiful.