Yesterday when I started drafting this blog post, I ended up spending two hours writing about the December 11th killing of Barnard Freshman Tess Majors in Morningside Park and the subsequent NYPD Security Theater outside my kitchen window. I realized there was nothing edifying, informative, or helpful in what I had written, although it was cathartic for me, and so I put it in the failed drafts folder.
We made it through a turbulent 2019,
and we’re now into a new year that started with an illegal and provocative
assassination of an Iranian General and, if anxiety and incertitude are a
measure of length, this very long year will continue with the longest Presidential
election cycle in human history. So herewith is my “listicle” of ways to
maintain sanity and equilibrium in 2020, which was composed in part in the
middle of the night as I turned in my bed like a rotisserie chicken.
1. ORGANIZE: Housing is a Human Right
Read about #Moms4Housing
in Oakland, and how community organizing turned a violent eviction into a
big win. This is an inspiring story, and something to build upon.
2. ORGANIZE AGAIN: Why We Need A Green New Deal
Listen to The Dig Podcast Episode “Planet
to Win,” a detailed and hopeful discussion about how the Green New Deal
might change America for the better.
3. WATCH A GOOD FILM
Go see Kitty Green’s The
Assistant, a brilliant and dark film about one day in the life of the
junior assistant of an abusive boss. It’s not just about predation—it’s also
gimlet-eyed view on capitalist exploitation of young people. The film is poised
to become part of a
movement to change the culture of Hollywood. Watch the trailer here. Opening in NYC and
LA on January 31, theaters and show times may be found here.
4. MAKE COMFORT FOOD
Order a copy of Lavash: The Bread
That Launched 1,000 Meals, Plus Salads, Stews, and Other Recipes From Armenia,
and cook an Armenian meal for your loved ones. You can read more about the book
and try sample recipes here
Last week I went to the Whitney Museum to see Making Knowing: Craft in Art, 1950-2019. There were a lot of great pieces in the show, but I was absolutely bowled over by Liza Lou’s KITCHEN, a life-sized beaded room filled with furniture, appliances, pots, pans, cereal boxes, and more that took the artist five years to produce. The show is up through January 2021, and a new show of Mexican muralists will be opening at the Whitney in February so you could take in both.
11. GO FOR A WALK IN THE WOODS
I’ve been reading out-of-print books by naturalist and writer Alan Devoe, who lived down the road from our house in the country from the 1930’s to the mid-50’s. In the middle of World War II, which was a time of destruction, violence, and despair on a global scale, Devoe wrote, “It is good, for instance, just to shut off the radio for a while, throw away the newspaper, and go out into the warm darkness of a country night and listen to the frogs.” He also recommended listening to the wrens singing, and said, “They are singing directly into our aboriginal ears, an information that all the pessimists and pedants are mistaken, and the life adventure is a greater and gladder thing than mere learnedness might ever surmise.”
When I was in college, I studied for one semester with a poet who dispensed counsel the way my grandmother handed out hard candies. This poet told me that if my boyfriend didn’t make me feel like I was the most beautiful woman in the world, he wasn’t doing his job and I should fire him. Another memorable bit of advice was about writing, and left her lisping voice echoing in my head with this mantra, “Respect your process.”
During my student days, I was
prolific. I wrote a poem a day in long hand on narrow ruled yellow notepads,
and often they sprang fully formed from my head like Athena. I rarely revised, and
often didn’t even type them. I would bring them to my professor on the yellow
notepads, he would make a few comments, and say, “Just keep writing.” And so I
wrote and wrote and wrote. In graduate school I learned about revision, and
often took a poem through ten or more drafts before I was satisfied with it and
moved on to the next one. This was in the old days when it was possible to keep
track of drafts because I typed each one on a sheet of paper using an IBM
By the time I started working on my
first novel, Zabelle,
I was writing on a computer. Gone were the yellow lined note pads for the first
draft, and gone also was the stuttering and humming electric typewriter. The
only way I could think of attempting something so long and unwieldy as a novel
was by breaking the task into story chapters. I had the stamina to write one
ten-page chapter, and after that was done, I started the next. Once I had a
stack of these chapters, I figured out how they fit together and then rewrote
them so they made a coherent, if episodic, narrative. Revising a text that was
two hundred and seventy pages long was a much more daunting prospect than
rewriting a one- or two-page poem. By the time I got through the last chapter, I
went back to the beginning and noticed more things that needed fixing, and went
over the whole thing once again. Working on a computer, there was a lot of
continuous fiddling with bits here and there, so it was harder to keep track of
how many drafts I did, but it was probably upwards of three before I even sent it
to my agent. With her suggestions, I did another draft before she showed it to
the editor. There was another pass with the editor’s notes before the
production process started. The copy editor did a thorough once over, and then
it was done. This was pretty much how it went with my two subsequent novels, Dreams
of Bread and Fire and All
the Light There Was.
You would think that the fourth time
I approached this kind of project, I’d march ahead with assurance. But no, when
I started writing my latest novel, I felt as though I were at the bottom of an
enormous mountain peering up at a peak that was enshrouded in clouds. How would
I ever manage to get to the top? I’m a slow writer—in part because I do a
massive amount of research before I start writing, and because other aspects of
my life (my family’s needs and challenges, my geriatric dogs, my work as an
organizer, as well as the distractions of our calamitous political moment)
often crowd out my writing. I can’t write for more than two hours a day. I used
to be able to produce two pages in two hours, but now I eke out one page a day.
At one point over a year ago, I said
to my spouse in despair, “How am I ever going to get this thing done?” He
answered, “If you write one page a day, you’ll eventually finish it.” In other
words, “Respect your process.” And much to my surprise, at the end of October I
printed out a completed rough draft of this novel about an Armenian family in
Beirut during the Lebanese Civil War. It opens with this same family in New
York on 9/11, and ends with a folk tale about a girl who talks with birds. It’s
rough, and it needs a lot of work. But it’s done, and my first and most trusted
reader, the aforementioned spouse, confirmed that the structure is sound—this
was my biggest worry.
I took a hiatus from the novel so that I could come back to it with fresh eyes. While on this break, I wrote a talk that I delivered on a panel at Columbia on November 20, which was published last week by the Armenian Weekly. Also in November, Egg & Spoon Theatre Collective staged an off-off-Broadway adaptation of Zabelle. My novel All the Light There Was recently appeared in Turkish translation from Aras in Istanbul, which had previously published Dreams of Bread and Fire. And three weeks ago I saw the cover of the Arabic translation of Zabelle, which will be published in February 2020 by Fawasel Books in Syria.
Each morning at El Chaparral Plaza in Tijuana, some men set up a small red pop-up canopy tent, and other members of the Central American Exodus and other asylum seekers gather around. There is a table, a megaphone, and a battered notebook that contains numbers associated with the names of people who are on a list of those waiting for a chance to present themselves at the U.S. border to request asylum. Each number represents ten people. By law—both U.S. and international—people should be able to go to any port of entry to request asylum, but the current administration has enacted a “metering” systemwhere only a specified number of people is allowed to cross each port on any given day. Since there is a huge backlog of people waiting—at this point the wait can be up to two months—the asylum seekers have self-organized, and a family or a group of men who have been on the list for a while take charge of the notebook. In addition to calling out two batches of names—one in the early morning and one an hour or so later—they give out new numbers every day until noon. When it is their turn to cross, they pass the notebook along to people who are lower down on the list.
Each morning a member of Grupos Beta, a service of the Mexican National Institute of Migration, relays from U.S. Customs and Border Patrol (CBP) to the notebook keepers the total number of asylum seekers who will be allowed to cross that day. The total might be 80, or it might be none. It is important to understand that this entire system is illegal, and has arisen out of desperation. A member of the notebook team will use a megaphone to read out the names of people whose numbers have come up. People must keep track of their numbers and when they are likely to be called. Many of them are living in shelters and encampments far from Chaparral, and have to get themselves to the plaza or risk losing their chance to cross. There is an informal grace period of two days, so if your number is called and you miss it, if you can get there within two days, you might still go across. The mornings that I was at Chaparral I saw lots of young mothers with small kids, toddlers, and even infants. In addition to members of the Central American Exodus, many of them from Honduras, there were single men from Haiti and West Africa.
After the names are called—and they often have to call two hundred names to assemble a desired 20 people—people line up along one side of the plaza to wait for the shuttle vans driven by Grupos Beta. The vans take people to the other San Ysidro checkpoint where they cross the border to face the bureaucratic nightmare created by the CPB—detention in the Ice Box, separation of fathers from their wives and children, the “credible fear interview,” and so on. The San Diego detention facilities are over capacity, and before we arrived people were being released from detention in the middle of the night, just dropped off at a bus stationor in a public park. The San Diego Rapid Response Network organized shuttle buses to drive around after midnight looking for people who had been dumped, and taking them to shelters. Because of bad publicity, this practice of “dumping” has apparently been suspended.
The Sanctuary Caravan has two programs running concurrently. One is the Pro Se Clinic where volunteers fill out intake forms with people who are scheduled to cross the border and help them prep for their credible fear interviews, which is the first step in the asylum process. The Pro Se Clinic’s borrowed storefront has turned into a de facto community center where families hang out and volunteers play with the kids while their parents are interviewed. Volunteers also go to the El Barretal refugee camp, twenty minutes out of Tijuana, to let people know about available services and to do intake.
The Accompaniment Program in Tijuana is in some ways more extensive than its counterpart in New York City. In addition to waiting with friends at Chaparral until they board the Grupos Beta shuttles, Sanctuary Caravan also keeps track of friends’ numbers, and has a van that picks people up from El Barretal each morning to take them to the plaza where the names are called.
Because Djuna, Hannah, and I don’t speak Spanish, we had a hard time in the beginning figuring out how to plug into the work that was going on. We were cursing ourselves for having chosen French as our second language. Our first afternoon I was called to the clinic to translate for some Haitians, but when I got there it turned out they were Creole speakers and my French was still useless.
Djuna and Hannah ended up working with the World Central Kitchen, an organization of chefs addressing hunger and poverty, where they didn’t need Spanish to scrub pots and chop vegetables. I joined them a couple of afternoons and was wildly impressed by the work that was going on. In Tijuana, the World Central Kitchen prepares and delivers three thousand meals a day—feeding 1,500 people at lunch and dinner. The food is fresh, inventive, and made with love. One evening Djuna and Hannah went to deliver dinner to El Barretal, where they saw a thousand people living in tents. Hannah said, “They get meals, UNICEF is there, and Doctors Without Borders, but it’s still no way to live.” If it rains, they get wet. If it’s cold, they are cold. Djuna reported that women and children are fed first, and that everyone pitches in to help out with serving the meals.
Meanwhile, back at the volunteer hub, I was assigned to work as a “Story Steward,” which was a data entry and clerical gig supporting the Pro Se Clinic. One afternoon I spent a few hours prepping a large stack of intake files with all the needed forms and materials.
On Sunday afternoon, we went to Faro Playas de Tijuana, a beachfront recreation area, for a religious service that usually occurs on both sides of the hideous and immoralborder wall, which traverses the land, travels down across the sand, and continues into the ocean. Only the gulls could move freely from one side to the other. Of late, because of ‘security concerns,’ CBP has closed access to the International Friendship Parkthat connects both sides of the border and has created a no-go zone on the U.S. side of the fence, so the service occurred only on the Mexican side that day. Through the steel slats, razor wire, and cyclone fencing on the U.S. side, we saw at a distance CBP agents blocking access to the border, and beyond them we made out some of our Sanctuary Caravan colleagues, including NSC Executive Director Ravi Ragbir, who was visiting from NYC. On the Mexican side, there were cafes, restaurants and benches. Couples strolled, families picnicked, and children played in the surf under the shadow of the wall.
When we landed in New York City, Djuna and I discussed how it would take a while for us to process all that we had seen and experienced. We had been moved by the dignity and perseverance of the members of the Exodus. We had admired the dedication, humor, and intelligence of the Sanctuary Caravan’s volunteer coordinators. We had been disgusted by the violence, both physical and bureaucratic, of our government’s policies and agents.
Two days after we got back from the border, I picked up my work here in New York with NSC, and found out that my local Congressman, who had requested deferred action of removal for my Albanian friends (basically asking that they not be deported), had heard back from U.S. Customs and Immigration Services (USCIS). The request was denied, and USCIS told the parents that they have thirty-three days to leave the country that they have called home for fourteen years. Brooklyn is the only home their three young daughters, two of them U.S. citizens and one with DACA, have known. I sat in a cafe with my Albanian friend and the Congressman’s caseworker as we fought back tears and plotted our next moves. The struggle continues.