Rhiannon

by Kelsie Shaw

          She left me on a Tuesday, three years after we met, one year after I realized I loved her. We weren't together, though, not romantically anyway. Still, this felt like a breakup. I sat across from Rhiannon at a table at The Spot Cafe and stared at the small chai latte cooling in my hands while she told me she didn't want to talk to me anymore. I was too needy. I drained her. She needed space. I sobbed louder than I ever have in public, loud enough to catch glimpses of strangers peering at me from behind their laptop screens. She said we'd cross paths again someday, but I haven't seen her since.

          We were friends in high school; we tried to remain friends in college. When I think about Rhiannon, I have to remind myself that she was never my lover, that we were never anything beyond two young women who enjoyed each other's company. We were close, emotionally: We could talk about almost anything—my depression, her father's death, our mutual anxiety about our futures. But Rhiannon and I were never close physically, no matter how much I wished we were. Sex, love, and romance were the only topics we would never discuss: If she mentioned a boyfriend, an ex, or merely hinted at a sexual experience, my face would get hot; I'd squirm in my seat. I never found out if she identified as straight, or bi, or something else, not that I could answer that question for myself; I don't think I wanted to know. When she pointed out my awkwardness, I told her that my family never discussed intimacy (which was true), and that I just wasn't as comfortable with sexuality as she was. I could never admit that I wanted her to want those things with me.

          Sometimes, when I think back to the afternoon we met in September of 2011, I imagine falling in love at first sight: I tell myself that when I walked into my first day of German class, Rhiannon's voice or laugh or smile seized my attention and propelled me into a state of love-struck bliss. That would make a pretty story, but I know it's not true. I didn't think much of Rhiannon when I met her; although I thought she seemed likeable, friendly enough, she was just another acquaintance. In fact, I found her strange. She didn't talk the way other people I knew did: She thought before she spoke—you could see her looking inward and choosing her words—and everything she said verged on whimsical. Rhiannon could quote Winnie-the-Pooh in one sentence and Shakespeare in the next; she referenced The Sound of Music or The Wizard of Oz daily; she sang to herself, often her favorite "Que Sera Sera," never caring who heard. On the day we met, I was a new student at our tiny private high school, and the first thing Rhiannon asked me was to describe myself in three words. I don't think anyone had ever taken such an earnest and polite interest in me before, which was enough to make me think she was weird.

          I did notice immediately that we looked alike. Same wavy chestnut hair that frizzed in humidity, same slightly curvy build, same chocolate brown eyes, except hers were rimmed with rainbows when the sun hit them just right. But, unlike me, Rhiannon loved her body, and always seemed so comfortable in it; there was an effortless grace about her, from the way she flipped her hair over her shoulder to how she leaned back in a chair, that betrayed an innate strength of self and an awareness of that strength. It was this that first drew me to her: the sight of a girl who could pass as my sister inhabiting her body and her being in a way I had not yet figured out.

          I should not have been surprised that the first person I loved was a woman, but I was. I can't remember if there were any indications in my childhood that I wasn't exactly straight: I don't recall ever having a crush on a girl; I have always appeared traditionally feminine, if appearance indicates sexuality; I certainly never "experimented" with anyone, ever. But I do remember learning about sex, the straight kind, and thinking it a strange affair. When asked if I thought a guy was attractive, I'd shrug my shoulders or give a weak "yeah, sure." I know I was captivated by any same-sex relationship I found in literature or history. Most of all, I could never imagine being some man's wife.

          I wasn't aware of the word "queer" in its modern usage until my freshman year of college, around the time I was beginning to understand my feelings for Rhiannon. Not long before that, I discovered the Kinsey Scale; the thought that people did not come in only "straight" and "gay" varieties fascinated me. I spent many hours sliding myself up and down the scale, trying to figure out where to land—was I a three, capable of attraction to both men and women? Or was I just a one or a two, a mostly-straight girl with exceptions? I couldn't possibly be a six, could I? I never picked a number. Kinsey's spectrum was still too limiting. "Queer" seemed more spacious, more open to possibilities. But, being a word lover, "queer" to me meant strange, unsavory, downright peculiar. And although I was confused, and overwhelmed, and slightly scared of being a lesbian, I didn't think there was anything queer about love, in any form. So I couldn't be that, either.

          Did it really matter who I was attracted to, though, if I was too nervous to talk to anyone? I told myself it did not. What I remember most from my romantic development is that I tried hard not to have one. While other girls were identifying the classroom heartthrobs and, eventually, dating them, I was studying. I told myself I was above love: I was a thinker, a bright one, and caring about romance would only distract me from my studies, which I would not allow. I realize now that my strict adherence to intellectual life was a disguise that masked my true desire for a relationship. If I was honest with myself, I wanted to be loved more than I wanted to be brilliant, but I feared all non-familial love was off-limits to me, though I could not articulate why. I knew I couldn't talk to anyone without my throat tightening around my breaths and my heart racing as if for a trophy. Given my social awkwardness and anxiety, all romantic issues were incomprehensible: How do you even get into such a situation, first finding a potential partner, and then forming a relationship that would involve intimacy, emotional or physical? What are the steps involved, the rules to follow? I still cannot answer those questions. I was sure I was incapable of any kind of intimacy; I could not imagine anyone ever being attracted to anxious, emotional me. So I refused all labels, and love itself. It's easy to say you don't want what you think you can never have.

*

          Not long after we met, I discovered that Rhiannon played classical piano, like I did. Music became the glue that bound us: We played pieces for each other on our school's piano; we spent hours comparing Chopin to Tchaikovsky to Rachmaninoff; we made lists of the pieces we dreamed of playing, including duets to learn together.

          Rhiannon and I went to a concert once during senior year. It was my first classical concert, given by a pianist at our town's college. That night, I spent an hour getting ready, assembling an outfit of my favorite cream-colored lace dress, a black shawl, and the glossy black stilettos I wore on only the most special occasions. Completely overdressed, I told myself that classical performances were more formal than a typical concert, so I must prepare accordingly. But, in retrospect, I think I really wanted to look good for Rhiannon. I had started admiring her style—black and white dresses almost daily, matching cardigan tied up around her waist, signature red paisley scarf, curled hair pinned in faux victory rolls. I found myself looking at her a lot, quick glances here and there when her attention was elsewhere; I thought I just wanted to see how she looked that day, to see if she had deviated from her almost formulaic wardrobe, but there was a deeper motive that I couldn't name, or didn't want to. My heart pounded as my eyes traced her form, following her profile down to the slope of her shoulders and lingering on her strong but slender hands. I had never felt sexual attraction before; I didn’t have a clue how to recognize it. So I ignored these impulses, denied them outright. I told myself I was simply appreciating a beautiful person, as if Rhiannon was walking art, an ancient statue of Aphrodite sprung to life. I was comfortable with admitting that much.

          I don't remember what Rhiannon wore the night of the concert, though I probably noticed then. All I do remember is that I could have stayed there in the shadowed seat of that concert hall for eternity, basking in the thought that next to me was someone who wanted me with her.

          I first heard the Fleetwood Mac song "Rhiannon" when I was three or four, on one of the afternoons when my mother, a long-time Stevie Nicks fan, would slide one of her CDs into our stereo and dance with me around our small, wood-paneled living room. Some days we would twirl in circles to "Bella Donna," and others we would jump around to "Edge of Seventeen;” on particularly special days we would sing "Leather and Lace" with me on Stevie's part, Mom on Don Henley's. Though I don't remember hearing "Rhiannon" specifically, I am sure my mother played it; the music didn't matter to me nearly as much as the fun I had dancing with her.

          When I started going to school, I forgot those afternoons in the living room. I didn't think about Stevie Nicks or Fleetwood Mac or "Rhiannon" again until my first semester of college. Driving home one evening in December and listening to the local oldies station, I heard the opening sixteenth-note guitar riff of "Edge of Seventeen" and was suddenly back in my old living room, bouncing around with my once thirty-five-year-old mother. I went straight to my computer the moment I got home, opened up YouTube, and listened to every Stevie Nicks or Fleetwood Mac song I could find.

          And then I found "Rhiannon." I must have listened to it ten times in a row. Stevie's lyrics, crooned over a simple a-minor chord progression, mesmerized me. The song tells of Rhiannon, the Welsh goddess of horses, birds, and the moon; flocks of birds follow her and chirp tunes that ease pain. With a name meaning either "Great Queen" or "White Witch," she appears in the first and third volumes of The Mabinogion, a Medieval collection of Welsh stories. According to legend, Rhiannon leaves her spiritual world when she falls in love with a human, but runs away from him when he attempts to return her affections—she'll lose her powers if she marries a mortal. In the end, the two do marry, but Stevie only wrote about the enchanting yet elusive goddess. I didn't know that story until after many months of listening to the song, not that it mattered. To me, "Rhiannon" was, and is, about a woman terrified of getting hurt, of people she loves leaving her. Maybe it's happened before; she wonders what she has to do to make them stay—must she promise them heaven? So she flies away "like a fine skylark," never stopping anywhere, letting herself be "taken by the sky." What she doesn't realize is that someone would "love to love her," if only she let herself get close.

          Somehow, I never thought about my own Rhiannon when I listened to the song—I thought only of myself. This song was mine.

          The summer after graduation brought on one of my more troubling depressive episodes. I've never handled changes or transitions gracefully. At least Rhiannon and I would be staying in the same town, and that knowledge was enough to keep me from a total breakdown—I had someone to see, someone to talk to. I called her a few times that summer, just to hear her voice. I don't remember what we talked about, if we talked about anything; sometimes I just cried, and she listened. I didn't mind though—even the sound of her breathing told me I wasn't alone.

          Many of those phone calls ended with us meeting at a coffee shop or her apartment, on the days my depression was dim enough to accept her invitation. We didn't do much beyond chatting about the music we were learning and the books we were reading—our relationship was comprised largely of conversations, with the occasional concert thrown in. Still, this was more than I'd ever had. I remember trying, subtly, to make everything we did together last longer: suggest another place to go; start a new conversation; ask her anything I could think of. Every minute with Rhiannon was a minute I was not alone. I think she caught on to my minor manipulations eventually.I wonder, now, how much they pushed her away.

          Although I cannot pinpoint a moment when I realized my love for Rhiannon was more than friendly, I know this summer was when things changed—on my end, anyway. Every time we met, I tried to ignore how her eyes brightened when she talked about something she loved, or how pretty she looked no matter what she wore or what she was doing. I began to think everything she said was perfect: Her references to old films I once found odd were now adorable; her singing under her breath became more beautiful than a Liszt melody. You could say I was infatuated, but I didn't think so then. I thought this was the simplest and most honest love there was, a love that was felt and given but did not demand anything in return. I struggle, now, to think it was anything else.

          You would have thought she died by how I reacted to Rhiannon's departure. I couldn't eat, couldn't sleep; I went to class but couldn't focus. I still managed to get As, if only because studying gave me something else to think about. Otherwise, it was always Rhiannon. When I wasn't in class, I either slept or banged out Chopin nocturnes, the tears in my eyes blending the black and white keyboard into a column of gray.

          Rhiannon's ghost followed me wherever I went. Everything reminded me of her: the cafes where we once sat; Rachmaninoff and Ravel; the hand-knit blanket she gave me; my own reflection. I avoided any place we had gone together; I drove miles out of my way so I wouldn't pass by her neighborhood. Even in sleep, I saw her: Nightly I dreamt I was searching for her through tangled woods or congested city streets, and I would come so close, within inches, only for her image to disappear. I'd wake up breathless and weeping, unable to fall back asleep.

          I started listening to "Rhiannon" almost daily; I memorized all the lyrics to every version, and they flew around my mind constantly, chirping like the birds that follow the mythical goddess. If I was alone at home, I would don my most Stevie-esque black embroidered shawl, turn up my laptop's volume, and twirl around in circles to the music.

          It didn't hurt to hear her name repeated over and over, although I am still not sure why. Maybe it was because I was not aware of the song for the first two years of knowing my Rhiannon, and when I did hear it, we were still friends—the title was just a coincidence. But really, I think I identified with the mythical, musical version of Rhiannon too strongly to think of anyone but myself. Wasn't I as elusive and mysterious as the goddess, a fellow "cat in the dark"? I've flown away from everyone I've ever cared about like a "bird in flight," except for my own Rhiannon. So who would be my lover? Not her, I knew. But someone would "love to love" me, right? Would I ever win?

          "Did something happen between you and Rhiannon? You don't talk about her anymore."

          I don't remember what spurred my mother's question. We were eating lunch silently across from each other at our kitchen table, both typing on our laptops. I had never noticed that I talked about Rhiannon, apparently enough for my mother to notice that I stopped. She was right though—I didn't talk about her anymore. "There isn't anything to say." Although we both knew there was more to say, a lot more, the conversation ended there.

           A few weeks later, my psychologist asked a similar question: "What exactly went on between you two?" Dr. Sullivan was, at this point, the only person who knew Rhiannon and I were no longer friends, and the only one who'd seen me cry over my loss. But her question was different than my mother's: She wasn't asking me if the friendship ended, but if the friendship was strictly—platonically—a friendship. An inexplicable increase in the tension between us signaled her next question. "Kelsie, this might sound weird, and please correct me if I'm wrong, but ... did you maybe love her ... as more than a friend?"

          Shit, she knows. Somehow, I did not expect a psychologist with decades of experience to figure that out. I never answered Dr. Sullivan's question—my immediate bawling was enough to confirm her suspicions.

          "Are you ashamed of that, that you loved a woman?"

          I gasped for air, but hardly found any. "No." And it was true, I wasn't ashamed that I loved a woman. But I was ashamed of loving that woman, whom I knew wasn't interested in me in the same way, whose actual friendship I did value more than the imagined future I wished for. I was ashamed of not knowing better.

          What followed my appointment was the most intense panic attack I've ever suffered; it felt how I imagine suffocating feels, except the heart pounding and breathlessness lasted for hours instead of minutes. Although I really wasn't ashamed of my now-confirmed Sapphic tendencies, I told myself the day I knew I loved Rhiannon that I would go to my grave with that knowledge. But now the secret was out, spoken, known by someone other than myself. My body didn't know how to handle that stress. I almost drove myself to the emergency room, but I feared crashing my car on the way, and if I did get there, I sure didn't want to explain the problem.

          I pretended to be asleep on the couch when my mother came home from work that night. After she retreated to her and my father's bedroom to watch TV, I padded down the hall, crawled into her bed, and curled up under the covers. The television clicked off when I started crying.

          "Kels, what's wrong?"

          I turned my face away from her, choosing instead to examine the folds in her taupe linen sheets. "There's something I should probably tell you. I don't really want to, but Dr. Sullivan brought it up in our session today and now I can't stop thinking about it."

          A pause. "It's about Rhiannon, isn't it?"

          "Yeah." I don't remember what I said next. I must have sputtered out something about how I loved Rhiannon as more than a friend, and that's why I'd been so sad lately, because the loss of her was more painful than it should have been. I know I wrapped my arms around my knees and sobbed; my fingertips tingled, the cells there searching for oxygen.

          "I'm sorry, Kels. I'm sorry you hurt so much. I wish I could make you feel better." She patted my arm, stroked my hair. She was crying too.

          "I know, Mom. Thanks." I fell asleep right there, my face wet and eyes swollen, next to my mother in her bed. This became a habit for months, lying with my mother on nights when I was too sad to be alone. We hardly ever spoke; I'd cry, and she'd hug me. Never have I felt more like a child.

          I have been told many times, mostly by my family, that I would not know how to love someone. Rather, I would not know how to distinguish love from loneliness—I would love anyone who gave me any attention. Although she did comfort me on the night I told her about Rhiannon, my mother also said I was just "confused." I was "wrong about that." What I really loved, according to her, was having a companion, and not the companion herself. I couldn't help but wonder if she would have said the same thing if I was confessing my love for a man, but it didn't matter in the moment. I was afraid my mother was right, though I didn't want to believe her. I was lonely, I did long for someone to spend time with and talk to. Did that mean any affection I would ever have for someone would actually be a fear of loneliness, manifesting as love? Or are longing and loneliness two separate but easily conflated things?

          Just as I have to remind myself that Rhiannon and I were never in a romantic relationship, I have to remind myself that I did love her. I know I did. I felt most like myself when I was around her; I felt I could be myself around her, not only because she was someone like me, but because she liked me. Although I am sure our similarities were what drew me to Rhiannon, I truly loved her for her. I loved her for the ways she was like me, and I loved her for the ways she wasn't. Of course I loved having a companion, but I loved having her as my companion; I wouldn't have felt the same way about anyone else.

          I was not confused, as my mother believed and still believes. But, she was not entirely wrong: My longing for closeness did propel me toward Rhiannon. But isn't such a longing the basis of all friendships and partnerships and marriages? What are relationships, of any kind, if not remedies for loneliness?

          About four months after Rhiannon ended our friendship, I read Cheryl Strayed's "The Love of My Life." Just what I need, I thought, looking at the title, another love story. But the essay is not a love story, not in the cheesy "rom-com" way I was expecting. Instead, Strayed attempts to cope with her mother's death through bouts of sexual promiscuity and heroin addiction. Meanwhile, an older and more healed Strayed intersperses her memories with critiques of modern attitudes toward grieving—she argues that grief doesn't progress in clearly-defined stages, and that all losses are not equal. But what struck me about the essay, what made me burst into tears the first time I read it, were the repeated lines, "I want my mother. My mother is dead," and "I cannot continue to live." I thought the pain of Strayed's loss resonated with my own; had I written this essay two years ago, I would have written, "I want my friend. My friend left me. How can I continue to live?"

          But I hadn't lost anyone, not really. No one died. I could still call Rhiannon's number and expect an answer; I could punch her name into Facebook's search bar and find out what she was doing and where she lived. I would have been one of the people who tells Strayed about their minor losses that they equate with death. Did that mean I had no right to grieve?

          I don't think so. But I am aware that there was no narrative for my grief, not when the intensity of grief I felt is reserved for the deaths of family members and real romantic partners. There is no Hallmark card that says, "I'm sorry for the loss of your best friend with whom you were in love even if nothing romantic ever happened between you." No one sent me flowers.

*

          I'm afraid I've written myself as a cold-hearted woman's innocent victim, but Rhiannon did not leave me without cause. I was not just a sometimes sad but otherwise loveable friend, as I often thought of myself. I could be clingy, and desperately so. I know I was, as she told me, needy. If she did not return my text messages within a few hours, I'd text again. I'd panic if she was late to meet me somewhere (resulting in more sent messages). I told her, on at least a few occasions, "I don't know what I'd do without you." That's a lot of pressure to put on one person. I'd need space too.

          I was worse after she left, though. I'd call her, and hit voicemail; I'd text to no reply. Eventually, I decided to write her a letter, partly because Dr. Sullivan suggested it, but mostly because I could not imagine anyone rejecting a beautifully-crafted letter of apology, written in my neatest cursive on my best stationary. I don't remember what I wrote, except that I was sorry, and that anxiety made connection hard for me, but depression made loss worse, and that I was a little bit crazy, but I'd be whatever friend she wanted me to be if she’d just come back. I would not admit it, but I believed—I wanted so badly to believe—that if I put the perfect words in the perfect order, in the perfect tone, at the perfect time, she would forgive me, and we could continue on as friends, laughing about the mistake we almost made. I sent out the letter. Nothing.

          About six months after sending that letter, I texted Rhiannon in a final effort to win her back. Actually, I don't think I wanted to "win her back" so much as I just wanted to see her, to know how she was doing, to remember she was real. I said I was feeling better, a lot better (an exaggeration). I asked if she wanted to get coffee sometime and catch up. Short and casual— how could she refuse? But she did refuse, and, apparently, had moved away. All I remember of her message is the last line: "Kelsie, you have an incredible future ahead of you." Somehow, reading that was worse than hearing her say goodbye, because I knew she was right. I did have an incredible future ahead of me, maybe even a future with someone who loved me back, but the thought that I would have to live that future without her tore me in two. Could I really be happy in this future? Could I possibly move on? What hurt was that the answer to both of those questions was "yes."

          I want to say that I accept Rhiannon's choice; I want to accept that she lives her own life, and is smart enough to know what she doesn't want in it, even if I am one of those things. But I'm not sure I can. Although I forgive her for the pain she caused me—and I do forgive her, I forgave her the moment she walked away from me—I wish she knew that I was not myself when I was depressed. I clung to her with all my might because I believed I would die if I lost her—the melancholic mind requires something to live for, and often grabs hold of the nearest person. I wouldn't do that now. Maybe it doesn't matter.

          I like to think, if I ever saw Rhiannon again, she would greet me as if it was only yesterday that we went to a concert together or talked about books over coffee. I like to think I would curse her out and saunter off, hips swaying, tables turned. But I know better. I know I would be happy to see her, overjoyed even. I don't think I would fall in love with her again, but I would want her friendship just as much as I did three years ago. Perhaps it is best, then, that we don't meet. I can't watch her leave again.

          When my mother would tell me on the nights I wandered into her room that "time heals all wounds," I would scoff at the clichéd truism and ask her when time started practicing medicine. I was positive that some wounds were irreparable, and that this was one of them. Though I still believe that you never fully heal from grief, I admit that thinking of Rhiannon is easier now, almost three years later, than it has ever been. Most of the time, I can recall the joy she brought me without feeling the stab of loss in my heart; I can imagine her out in the world, wherever she is, without yearning for her to return. I can write this essay.

          Despite experiencing what was obviously a "queer" attraction, I am still as ambivalent about sexuality, and my sexuality, as I was when I was younger. I don't identify as anything, not straight, gay, bi, or queer. I can understand the comfort such labels bring so many people, that feeling of "yes, this is me," but every identity sounds like a song I don't know the words to, or a piece I'm playing in the wrong key—there's no harmony. And yet, I find something attractive in defying definition. I guess I'm like the goddess Rhiannon in this respect too—I won't be pinned down.

          I still listen to "Rhiannon" frequently, sometimes dancing along, though I don't search for the same cathartic comfort in the lyrics like I used to. I hear hope instead. Maybe she is lonely, this Rhiannon, maybe she does fly away from love to protect herself from loss. But she's strong, too. She can survive on her own. Maybe someday, she'll find someone worth staying for. And someone who'd stay for her.

Kelsie Shaw is a writer from Saratoga Springs, New York. She holds a B.A. in English from Skidmore College, and is currently pursuing an M.A. in English at the University at Albany, SUNY. When not writing or studying, Kelsie teaches classical piano lessons.

Alabama for Beginners

by Jean Ryan

Receptionists, store clerks, civil servants—many people here call me Miss Jean. Surnames are largely ignored, as if they are only a nuisance, something that gets in the way. They also use “Ma’am” and “Sir” for punctuation, a habit I’ve already picked up, courtesy being contagious.

The women, old and young, employ all sorts of endearments: Hon, Baby, Sugar, Darlin. The first time I ordered a sandwich at the local Subway, the girl behind the counter buckled my knees with kindness. The fact that she was brutally overweight and not blessed with movie star beauty made her benevolence all the more touching. Courtesy seems reflexive here, a trait bequeathed at birth.

Four months ago, my wife and I moved from Napa Valley to coastal Alabama (we are originally from states in the east and traveled west for more breathing room). Many of our friends worried about how we would fare in a red state, particularly as a couple. I was apprehensive too, having lived forty years in the San Francisco bay area, haven to the LGBT community and epicenter of progressive politics. Hurricanes, humidity—these we knew we could weather. But censure, malice? How could we defend against being unwelcome?

Well, it appears that a pair of gray-haired lesbians is not sufficient cause for alarm, at least not in this neighborhood, a new development poised between rural and suburban. Folks greet us as we greet them, with smiles and handshakes. There could of course be more to it. Maybe my wife has gained standing by way of her new John Deere mower, the Ford Ranger she drives, or the shop she is having built. Maybe they like my plantings, the shutters we put up, the well we had dug. Our neighbors seem to respect these things, practicality being the benchmark of worth in the deep South.

You don’t see many Jaguars or BMWs here. You see a lot of trucks, tractors and ATVs. The men driving these vehicles know how to fix them; they know how to fix and build all sorts of things. This is such a DIY kind of place that it can be difficult to locate a handyman for hire (forget about Yelp or Angie’s List—folks here express themselves in person).

If you do find someone to hire, understand that the job might take a while. Workers move with deliberation, keeping pace with the temperature, lounging cross-legged through the frequent squalls. When weather is not a factor, scheduling often is, the union of subcontractors, equipment and supplies hinging on equal parts planning and luck. Being okay with delays, with weather, with whatever does or doesn’t occur, is a southern artform. Urgency can get no purchase in this soggy, sultry expanse.  

This easy-going approach is also evidenced in Alabama’s municipal buildings, where matters are considered on a case by case basis, and homeowners are not harassed by punitive deadbolt rubrics. Clerks are merciful and will often bend the rules to accommodate citizens in a bind. If you’re a California transplant, and especially one who owned a small business, this clemency when you first encounter it, will undo you.

Bending rules, looking the other way—these tactics are not always useful, particularly in relation to larger issues. Habituated to a part of the country where eco-concerns dominate the culture, I am stunned by the shrugging disregard encountered here: the mindless distribution of plastic bags, the absence of curbside recycling, the store shelves bulging with herbicides and pesticides. Construction sites are littered with cigarette butts, beverage bottles and fast food cartons that blow far and wide in the wind. This trash accumulates as the building progresses and not until the sod is about to be installed is the property cleared, typically by a single laborer with a tractor. I think of the casual defilement, the builders dropping rubbish as if it is their right, and dismay engulfs me.

Reconciling the south’s contradictions—lassitude on the one side, benevolence on the other—is a pointless pursuit and I am learning to dwell on the advantages instead. Most everything, for instance, is cheaper in Alabama—utilities, products, services. Gas is at least a dollar a gallon less than what I’m used to paying and homes prices, compared to Napa, are ridiculously low. I don’t know if this is because sellers don’t realize they can charge more or if they actually care more about people than profits. There is an expectation of fair dealing in the south, a collective innocence that keeps surprising me.

There are plenty of businesses I drive right past, things that don’t pertain to me, like churches, gun stores, pawn shops. There is no shortage of enterprise and no shame if these ventures fail. People just toss the dice again and hope for a win; maybe a roller- skating rink next time, a snow cone shop. You see a lot of emergency clinics (all the DIYers?) and commodious hospitals, but I have yet to spot a plastic surgery center—I guess the demand is low. Perhaps people are easier on each other here; or maybe beauty, having little use, doesn’t have much currency.

Coming from a state where properties crowd each other, where the landscape is chronically imperiled by drought and fire, I am grateful for the abundance of coastal Alabama: the spacious yards, the endless lawns, the tangled woods, the unabating flow of creeks and bayous. Land and water for miles and miles, all you could ever want. Animals too. Creatures nearly mythic in my Vermont memories are popping up everywhere now: cardinals, blue butterflies, yellow-bellied turtles, tree frogs—fireflies! Those floating beacons of my youth. All is not lost, they assure me, each time I see them blinking in the woods.

While this area’s human population appears at ease, the flora and fauna are never at rest. Have you ever tried pulling a young saw palmetto out of a lawn? Don’t bother. All you can do is snip the savage thing at ground level and acknowledge its imminent return. It has no choice. All it knows is life. Greenbrier is another opportunist in the lawn. While this plant can be yanked out more readily than palmetto, doing so is like playing whack-a-mole. In the time it takes you to prize the long white root from your turf, another upstart appears. I still have a red scar on my ankle from an attack by one of these thorny vines, before I understood that in order to survive in this jungle, one must move slowly and focus on the ground.

Reaching for the hose faucet a few weeks ago, I glimpsed a flash of movement not two feet from me. I gaped, amazed to see a snake so close, and not an innocent garden variety, but something coiled and menacing. I could tell from the triangular head that it was venomous, but not until my spouse came out with the trusty Audubon guide did I learn that it was a young cottonmouth whose bite causes intense pain, bleeding, swelling, nausea and potential amputation.

Yesterday a katydid landed on my back door. I peered through the glass at the leggy green bug, gradually becoming aware that it was missing the lower portion of its body; then I noticed it was also missing one of its hind legs. I don’t imagine a katydid can live for long without these vital parts, and I realized the injuries were fresh, that somewhere in my big green yard there was a frog or toad or snake with half a meal in its mouth.

I am adjusting, wising up to the environment, making room for new hobbies and habits. Bringing my cans and bottles to a recycling center instead of the front curb is not that onerous, and the humidity is manageable now that I’ve squared off with it. Finding fresh lettuce is a challenge, but the veggie beds we’re building should solve that problem. My sister and brother-in-law are close by, which was a big factor in our decision to move here, and their company is a long-awaited comfort. I would of course like to unearth the gay community—there must be one, some brave little enclave waiting for reinforcements. On deeper reflection, maybe there is no enclave here, no separate community at all. Maybe these pockets are going the way of gay bars, no longer needed in this age of sexual fluidity, borders and labels all slipping away—now there’s a happy thought.

Which reminds me of a funny story. The day after we moved in, one of our neighbors came over with a welcoming smile and a basket of local jams. We exchanged pleasantries and then she asked if we had found our people. Wow, I thought, admiring her frankness; had we misjudged this place? “The Lillian fellowship is right down the road,” she continued, “but Mike and I go to the Presbyterian on 98.”

What I like most about the south is the simple, durable goodwill. I can feel it changing me, softening me. Each morning my wife and I have coffee on the back patio and watch the sun come up through the pines. As we often come out before dawn, I sweep a flashlight beam across the cement, making sure we don’t step on something that, like us, is not looking for any trouble, just a place to call home. The other day I saw a black wasp fly out of a small hole in the frame of my deck chair, reminding me of the swallows next door that made a nest in the open sewer pipe of the home under construction. You can find at least three wide-eyed frogs perched inside my hose reel box any time you lift the lid. Not for a minute does even the smallest crevice go to waste. There is panic in the air, the hum of a million creatures trying to stay alive.

I am just one of them, hoping my modest savings will last longer in Alabama than in California and that my new home will survive the storms I know are out there.

Jean Ryan, a native Vermonter, lives in Lillian, Alabama. Her stories and essays have appeared in a variety of journals and anthologies. Nominated several times for a Pushcart Prize, she has also published a novel, Lost Sister. Her debut collection of short stories, Survival Skills, was published by Ashland Creek Press and short-listed for a Lambda Literary Award. Lovers and Loners, her second story collection, was published in 2017. Her collection of nature essays, Strange Company, is available in digital form, paperback and audio.

Other People's Music

by Cynthia Aarons

To the backdrop of Regan’s echoing words Mr. Gorbachev, tear down this wall—I took piano lessons. When no one was looking, my favorite thing to play instead of practicing was Animal from Sesame Street (if he played piano) and Don Music, the frustrated composer. I dramatized Don Music’s cries when he couldn’t remember the next note and the screeches of elation when he played like a concert pianist. Or I played “Thunderstorm,” every novice’s best number. I started with a gentle rain tickling the upper register of the highest octaves, then as “Animal,” cascading down into a violent, formidable nightmare of the booming keys, a roar that would be the perfect soundtrack to any mansion murder. It was in these moments that I was a messenger of a distant music that I alone was privileged to hear and transmit. Eighty-eight keys produce a million variations of seven notes. I could feel the power of the keys stretched out before me, realizing that any melody could be played by any ambidextrous child. The piano teaches children that anything in the world is possible. 

Miss V was my piano teacher. She was also the vocal music director of three different grade schools and one junior high. Miss V had no eyebrows. She drew them on with an oily brown make-up pencil, the thick kind that leaves a permanent clown upside down smile over each eye. Her olive tanned forehead was always smeared in a glossy sheen. Her big glasses, the plastic kind the 80s were known for, a direct revolt against the librarian half-glasses of the 1950s and 60s, magnified her eyes and reflected her face in the Coke bottle corners. Miss V had a block tummy, like a book hidden under her shirt, that fell over the waistline with an even roll all the way around. It looked like the door to a dumbwaiter that if open would reveal afternoon treats: Battenberg cakes and cucumber sandwiches with the crusts cut off and a pot of steaming tea, the tall slender silver kind, spouting upward with the elegance of a giraffe’s head. It was not a good look. I noted her odd shape at seven am every other day of the week as I arrived for choir practice. I sat sleepily in the front row of the sopranos, my stomach full of scrambled eggs and toast, and I silently noted, without fully acknowledging the significance to myself, all the beauty atrocities I would never commit as an adult. I would never become her.

My piano lessons took place at Miss V’s house, a 70s yellow brick ranch with a picture window looking out on a yard that didn’t get enough sun. The too soft ground seemed always to be covered by wet leaves and hollowed out branches from the one tree in the center of her yard. It, along with the other trees in the neighborhood, created a tunnel over the shady one-lane street. Her tree had a tire swing tied to its sturdiest branch, something I never understood because she had no children.  Every time I walked up the path to her front door I wondered about it—an unspoken question in the back of my mind—did the former owners put it there, or did she? And who was it for? Did Miss V look at it from her picture window and dream of children who might one day play on it? Did the neighbors’ children use it? Nieces and nephews? Or did it twist in the gentle wind every summer, unoccupied by children or laughter, still full of autumn leaves and April rainwater?

In the summer, Miss V kept the front door open with the screen door closed to let in the cool breezes that the shady trees of her neighborhood created. In the Midwest, the humidity could be eighty percent or higher, which meant 85 felt like 105, and none of us had air conditioning. So the only things that made getting through the summer bearable were screen doors and screen windows at opposite ends of the house that created a cross breeze along with Oster fans—rotating models angled to blow on your face, and large square ones that sat inside windows to suck out the hot air. As I walked up Miss V’s path, feeling sweat underneath my clothes and the oppressive heat on my neck, I encountered the most wonderful thing in the world: piano music coming through an open window. At first, I couldn’t tell if it was Joe or Miss V. Joe was two years older (and my neighbor) and a lot better at the piano than I was (his Catholic parents made him practice). But soon I could tell the difference. Miss V was extraordinary—the technical precision was unparalleled. Her man-like, calloused fingers, one or more usually wrapped in a Band-aid from playing so much, and her square powerful hands hit every note without a mistake, ever.  

Over time, I heard something else during my weekly visits that I couldn’t explain at first. By the next summer, I walked up to her screen door with a new sense of dread, a gnawing, tugging pain in my stomach, and each step closer to her was an involuntary act that I recognized as self-sabotage. Although Miss V’s playing was technically accurate, including the crescendos and sudden shifts to piano legato—there was absolutely no feeling in her playing. I can’t call it music now. Even at that age, my pre-pubescent, still innocent, naive wondering self knew that Miss V’s playing was cold, devoid of emotion and color. I vowed never to let my music become like hers. I vowed I would never become like her.

As a family friend, Miss V shared personal information with my mother. I remember the day my mother got off the phone with someone talking about Miss V and “her condition.” She hung up the receiver attached to the wall next to the kitchen door, its curly cord that could uncurl and stretch through the dining room to the entrance of the living room or all the way to the stove if necessary, recoiling against the wall as she returned the handset to its home. With a cluck in her throat—the one that meant, “Isn’t it a shame?”—Mom said she hoped Miss V would recuperate soon, and she declared she would make a casserole for Miss V.  

The casserole: an invention that probably originated in the 1930s but really gained traction in the 1980s: egg noodles from a plastic bag, a glob of Cream of Chicken soup, a glob of Cream of Celery soup, a quarter of a bell pepper, a small onion, and bam you have a meal that can feed 500 people. 

Etiquette in small Midwestern towns was rigidly and happily adhered to. Death? A casserole. Bridal shower? A casserole. Baby shower? Potluck? Any party, including major holidays? Casserole! You switched it up with a different canned meat or something festive on top like dried onion rings. You just had to label your pan with a piece of masking tape and a permanent marker. Except for Vera K’s casseroles and my mom’s, which actually tasted good, the rule for the casserole beneficiary was to store the casseroles in a deep freeze, the one in the cellar shaped like a coffin, packed with ice cream, deer meat, and twenty-five cent plastic Corelle containers of frozen corn waiting for a tornado to take off the roof. After a polite month, the beneficiary was allowed to thaw a casserole, feed it to the dog (or put it on the burn pile for the neighborhood strays), and give back the pan. If you gave back the pan too soon, everyone would know what you did. If you waited longer than six months, it meant you stole their pan. Either way, you would no longer receive casseroles, which you might appreciate but only at the cost of not being liked, which in a small town could be unrecoverable. These and other rules I learned as a child without anyone explaining them to me. I learned that the gift of a casserole accompanied the most serious events of life, especially those we did not talk about in detail in the Midwest, if at all.

Mom seemed particularly troubled as she stood next to the phone. Because Miss V was my piano teacher, I pressed my mother that day, but she wouldn’t tell me, a child, what was wrong. I worried Miss V had cancer. I worried someone I knew would die. My mother assured me she wouldn’t die, but it was clear the condition was as big as death, perhaps bigger, and I was not allowed to go to the hospital. Days later, I pressed my mother again. In a moment of weakness my mother revealed that Miss V had a “female condition.” Amazingly, the tone of voice let me know she was referring to the part of the body that we truly never, ever talked about, something not even vaguely alluded to on TV except in tampon commercials. Many years later, I brought it up again. Mom shared that Miss V had had a hysterectomy, and visiting her at the hospital on the day of the “casserole phone call” was an ex-boyfriend, a well-respected music director from the next town who had jilted Miss V at the altar years before! 

This was high drama indeed. And it was death. A death to possibilities, to something I could not put into words until now because it was so horrible and frightening to say out loud. Some people didn’t get to have children. Or partners. Or happiness. My mother let me know without saying anything that this was one of the worst things that could happen to a woman. And I took Miss V’s hysterectomy to be a stain connected to her singleness, to her not being chosen. It seemed to explain her music, too, the dead, rigid, robotic approach to the keys. Again, I decided I would never become like her.

During piano lessons and choir practice, even though I didn’t know exactly what was wrong, I looked for signs of Miss V’s “change.” But I couldn’t see anything wrong with her. She was always upbeat and projected her voice as though performing a solo in Carnegie Hall. Her energy frightened me. She seemed to lunge into life a bit too enthusiastically, a bit too hyper. I took piano lessons from her for three years. But when I was eleven, she told me I had to trim my fingernails. I wanted to have sexy fingernails, as sexy as an eleven-year-old can have. I knew feminine nails were long and had learned from a teen magazine how to push back the cuticles with a stick and apply a base coat, two color coats, and the final clear coat without getting polish outside the nail. But Miss V said my nails were too long and were “impairing” my ability to play properly. She and I fought over how I held my hands over the keys, and she wanted me to study the 3 B’s (Bach, Beethoven, and Brahms). At a younger age I loved the Classics, but in my pre-teen years, I wanted to play Billy Joel. I wanted to jump on the keyboard and then onto the couch singing, This is My Life! (Go ahead with your own life—leave me alone!)

Miss V had dreams of making me her protégé. She wanted to “expand my repertoire” and increase “my range.” When I learned of her plan to live vicariously through my life as a professional pianist, or at least as a fourth place winner at State recitals, I panicked. And for one of the few times in my life, I stood up for myself. I told my mother I was quitting piano. I stopped pretending to practice and really started to sound horrible. Miss V and I both knew it was a sham. My mother told me, You will regret this for the rest of your life. She urged me to think it over for a couple of months. But after a while she let me quit. I quit the choir also to avoid eye contact, to avoid the fact that Miss V embarrassed me and frightened me, and to avoid admitting to myself that I missed the piano.

I could not take piano lessons from a different teacher because in a small-town Miss V would find out. It would be an insult I would never commit. So I practiced on my own and even improved quite a lot in the next years, but without technical guidance, I peaked early and stayed there. I secretly longed for music. I would play Eric Satie and Debussy with passion, as long as no one else was in the house. I could be the faint heart of someone who had loved and lost or the fiery self-made woman who led a Bohemian life that caused men to fall at her feet. I mourned over Apartheid, humanitarian crises in Somalia, and homelessness. I played with a deep conviction that I could be anything, do anything, and that I could save the world.

Now I have lived in San Francisco for more than ten years. Passionate types are a dime a dozen here, and some actually save the world. I never went to South Africa to end Apartheid, didn’t stick with the homeless ministry I joined when I first moved, and now work two jobs, nearly to my own death, and I am, just like Miss V, single and childless. I am probably five years older than Miss V was when she had her hysterectomy, but unlike Miss V, I never had a man value me enough—if even in a moment of reckless abandon—to offer to meet me at the altar. I’ve contemplated adopting through Foster Care and becoming a single parent, but I have come to accept that at least for now I cannot do it alone, not financially, not logistically, not emotionally.  

The world I inherited from Women’s Liberation (though I am thankful for it overall) and Steve Jobs is one in which I have more education than my parents and older siblings, with fewer job opportunities—yet, I’m supposed to be successful in a profession and have kids (through IVF) and postpone marriage indefinitely if not forever because if necessary I can do it alone. We’re supposed to work all the time wherever we are with all our documents in a cloud, readable on a tablet as thin as a fifty-cent piece … on a date, in transit, even at the top of small mountains looking out at the vast world below … the Me Generation turned iPhone turned a thousand points of light all converging in my kitchen from all my devices, the lines between work and the personal erased as quickly as a Venmo Smartphone kiss.

When I go home, an empty hallway table greets me where plants once sat until they wilted in shadows, leaving a blank gray wall. I binge watch Netflix and eat slices of cheese pizza for dinner. Is there someone out there with the same ache I have watching the entire oeuvre of Friends? Are there others reaching out to the rest of our X generation/Ancient-Millennials, especially those still single, unwilling to use online dating because it’s too much like ordering toilet paper on Amazon? Perhaps Netflix will connect us, given that it knows more about our daily lives than eharmony ever could—the unvarnished, raw pain of loneliness recorded on our Watch List cue, the muted shades of TV light dancing on our faces as it changes from scene to scene to blackout.

And what about the dream of saving the world? As a community college instructor, I honestly don’t think anything could shock me—I’ve taught a Lost Boy who witnessed his father being macheted while his village burned down, a twenty-year old mother I took to a women’s shelter, a boy whose stomach was eviscerated by an IED in Iraq, a woman who witnessed her uncle executed in the street during the Cultural Revolution, a woman who escaped her violent husband by jumping off the ledge of a building, and countless students with precarious financial and immigration statuses. 

I taught all of them how to use a comma, and I tried to give them hope. But I have not corrected the wrongs done to them and cannot undo the trajectory of trauma and misfortune. In the endless cycle of trying to make enough money to pay the always increasing rent in San Francisco, meet the needs of overcrowded classrooms, and complete ridiculous amounts of committee work, I can’t fit saving the world into my Google calendar.

Is there a man out there who is tired of this treadmill, too, whose B12 shots are no longer working?—Stop the Madness! Is he unavailable because he is living in a biodome saving icebergs in Antarctica or trekking solo on foot in Nepal, knowing that I am so special he will have to look in the most remote place on earth? Or is all the evidence pointing to the end of a fantasy that kept me alive through the darkest times? Or perhaps the darkest times are yet to come. What is the next delusional hope to pull me through?

In reality, I never could have been a concert pianist. My hands are too small. I can barely reach an octave, and so a lot of the more complex works are just physically too hard. And frankly, I never wanted to be the kind of person who plays other people’s music. But my mother’s voice is right there, You will regret this for the rest of your life. She was right. My heart cries out every day for music. For the past two years, I haven’t been able to listen to music of any kind because the melodies make my cold life seem so pathetic in comparison. Today I can listen to the radio occasionally, but I find myself listening to the news and traffic reports more and more often.

Now I see Miss V’s empty swing. I can see her at the window, and I feel sure a woman who devoted her life to bringing music to children probably wanted some of her own. Yes, I’m certain she imagined her own children playing on the swing and a husband to watch through the window with her. I’m sure she felt trapped in our little community—where would she have possibly met eligible men there at her age? (I can’t even find one suitable man in this great world-famous city of romance!) 

I see myself walking up the path, the inevitable steps to my own tragedy, as she played inside her front living room, pounding the notes, getting them right, doing them justice, that cold, lifeless shell. And now, I finally understand her.

Cynthia Aarons is the author of fiction, poetry, and memoir. She teaches composition and creative writing and has led support groups utilizing memoir writing and art therapy. She is the author of a mystery novel and a collection of personal essays. 

Turkey on the Strip

by Susan Eve Haar

There are many appeals to Las Vegas aside from my brother—my youngest, at a California college, will not come east; we all have a taste for sleaze; a few of us like to gamble; and we have a super discount suite in the best new hotel in town, courtesy of my kids’ pal Dan, a dropout from the Cornell School of Hotel Management. The suite is a triumph, glittery and luxurious, and the price is certainly right.

Everything is spanking new. The side-tables are classics designed by Eames. They look like giant chess pieces, flat-topped pawns or de-crenellated castles. The muted greens of rug and fabric suggest an oasis suspended over the strip that unspools outside the gigantic living room window. There’s a bar lined with modern Danish glassware and sparkling light fixtures, suspended circles hung with cut-crystal balls that refract and reflect the light. Bits of rainbow ready for the Cinderella’s ball. I desire them. I feel the itch to pilfer. I stand on a chair and reach up, de-looping one of the crystal drops that cluster on the fixture, attached only by a delicate wire. It’s easy, really. Like so many illicit acts, I slide right into it. Holding the crystal in my palm, I feel the weight of it. I admire its many facets and its secretive translucence that pretends to show all but refracts into abstraction. Listen, it is a beautiful object. I hop down and carry it into the next room to show my kids, who are lolling on majestic beds.

“Look,” I say, holding it out for inspection. It is intrinsically beautiful in its solitary state, smooth and rounded, and they admire it, passing it between them. I wonder aloud if it would be possible to pluck just one from every fixture in the suite and make a chandelier for our new house. My sons are delighted.

I try to limit the number of criminal acts I enact before my children. And really, with the exception of the one or two enacted with a vengeful mind, I believe I had God on my side in the commission of each and every one. Perhaps this is not altogether accurate, but it is the story I tell myself, and here is the story I will tell you:

It was a Thursday afternoon in early autumn and branches started crashing outside. There was a crane operator, swinging loads of drywall into the adjacent building, lopping off tree branches. The trees that hung like naiads over Charles Street, that we treasured—our green neighbors. Calls to the company number on the side of the crane reached a machine, as did a call to NYU construction (the crane was working on their job). I even ran to the precinct two blocks away to ask for help. All to no avail and, desperate, I turned to self-help.

My throwing arm is lacking, so I enlisted my agile boys, five and seven. They stood at the top of our stoop, pumped with delight, and pitched old tomatoes and fruit at the windshield of the crane. A soft pear spattered on the windshield, juice dripping down, and they whooped and hooted victory. I was standing at the top of my stoop. The driver was sitting in the cab of the crane; I could see him pretty clearly. We’d already had some pretty harsh words, my manner eroded by his complete disinterest in the damage he was doing. Now he looked interested. A half-rotten banana hit the windshield. He put the crane in park. I kind of thought I had the measure of the guy, an angry man with a big machine. Yet I have to say I was surprised when he opened the door of the crane, hopped down, and started walking fast toward our house.

“Go!” I pushed the boys behind me. They streaked upstairs, yelling, “World war three!” as the driver charged toward me. I stood my ground, albeit briefly.

“You’re trespassing,” I shouted. And as he paused, weighing his options, I slammed the door shut.

There have been other incidents, I won’t deny it. One doesn’t want to model behavior that is too compliant with society’s requirements. It behooves you to leave a little dirt in the vegetables so your kids develop immunities. But this is not the time for a confession of my crimes; it is only to say that my children have borne witness to my bad acts—indeed, they have even been my accomplices.

Now they are twenty and twenty-two. My younger son stands on the bed; stretching up on toes, he balances and deftly removes a crystal from the light fixture. He sits down on the bed cross-legged, weighing it in his hand, absorbed. I know how good it feels, dense and glittering as a promise.

But is it right to really take it? All right, steal it. Them. By now there are three of them glittering quietly. There is, we reflect, the possibility that the hotel expects to replace them; it’s just built into the room price. There might be a vault clogged with crystals waiting their turn to hang in splendor. We consider the possibility that the suite was designed with the expectation of heavy drinking and orgies, so some damage is to be expected. We sit together and ponder. What would Aquinas say? But, in the end, it looks a lot like thieving, and with regret we pull over chairs and hang them back. I do know the difference between right and wrong sometimes, though it is obscured by experience. And there is something about Las Vegas that invites the illegal. And it’s not just the hookers who solicit both my sons, though one of them looks like he’s barely out of high school.

          Criminality must run in the family, I reflect later. Or at least a deep conviction that the rules don’t apply. We are in my brother’s club having Thanksgiving dinner. He lives in a gated community in Henderson. They take their security and their landscaping seriously. And there is a clubhouse, more for convenience than conviviality. Membership is obligatory, as is a monthly minimum charged. So, begrudgingly, my brother eats there. In fact, he reports to us he has recently escaped the children’s section, to which he was relegated after putting a plastic worm into a salad and then pointing it out to the horrified server. 

Today they have given us a large, round table. Around us the room is thronged with families of some stripe or another. The ladies have all had their hair colored, blown out, and shellacked with hairspray; the men wear blue blazers with gold buttons. We are all on seconds. My brother’s shaggy toupee is a little askew; it looks like a convivial, napping animal. My cousin has slowed down a little, but he’s talking to my older son about puts and calls or some such. He is a money guy, a millionaire and a miser. Two adolescent girls, leggy and sweet-faced, scoot around our table on the way to the buffet. They are wearing skirts so short you fear for them when they bend over, heaping sweet potatoes onto their plates. The view is one of the other glories of Thanksgiving, I suppose, along with roast beef dripping with blood and fat, trays of iced shrimp and oysters, and the inevitable turkey.

“Shrimp!” my brother declares. They are definitely the most expensive of the foods offered on a per-ounce basis, and that is a calculation he has done.

“You guys are wimps,” he suggests to my boys; they have faltered after second servings. He’s already on his feet, empty plate in hand. He hands it to a passing server and heads for the buffet unhindered. He’s a big guy, my brother; bulky, not fat. Thick. He kind of lumbers but that’s more an attitude than a physical necessity. I sit and ruminate, watching my kids joking, and contemplate another run at the salad. Maybe a few more hearts of palm. My brother returns, the new plate piled with oysters and shrimp.

“Do you like oysters?” I ask, surprised.

“Not particularly. Did you bring plastic bags?”

“No.”

“Could have fit a lot.” He gestures at the purse slung over my chair.

“What d’you do with them? Feed them to the cats?”

“Eat them eventually.”

“I can take cookies,” I counter. “I can wrap them in napkins.” And then I get a sudden memory of my mother slipping dinner rolls into her purse wrapped in a cloth napkin. Now that was theft. No one ever ate them that I remember, but they were always there, just in case.

What is it to steal, what is it to earn? Have we earned, in any way, the bounty that we possess in this moment of our fleeting lives? Of my fleeting life, this momentary bounty. This is how the meal began:

Jed, my youngest, took his brother’s hand and my brother’s hand—I could see his hesitation, but he let Jed take his paw in his smaller hand. And then he said, “Let’s all say what we are thankful for.” It’s his tradition, not mine, but I wait my turn, listening. There is such a truthfulness and sweetness to what they say, these children of mine. I listen and then I say it—well, most of it, what I am grateful for: my children, my freedom, my health, and great good luck. My brother listens; he doesn’t speak but he holds Jed’s hand and mine. It’s then I realize that I am not a thief after all. I may feel unworthy or undeserving, but there is no way to steal the happiness I feel. It is simply a gift.

Susan Eve Haar is a lawyer and playwright living in New York City. A member of The Actor’s Studio, Ensemble Studio Theater and H.B. Playwright’s Unit, she explores, among other topics, the intersection of our neural and lived experience. Her work has been produced at a variety of venues including Primary Stages, The Women’s Project, 13th Street Rep, HERE, Chester Theater, Manhattan Rep and The Looking Glass Theater and published by Broadway Publishing and Smith and Krauss.