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Maria Principessa: Un Sogno

Luca Raffa
January 28, 2025

I. In Campo, the ancient olive groves seemed to stumble up the mountains, as if they dreamt of touching the sky. Their canopies were thin. Their crooked trunks bent forward. Their thick, calloused feet sunk through the dirt. They sighed with the eastern breeze that carried whispers of the sea. A little girl wanted to disappear under these olive groves. While her brothers and sisters went to school to learn math, or grammar, or history, she learned how to sew. Her hands and disposition became rough. Life was not fair. II. Pepe Carino was a tall and handsome-looking man. His soul was big. His laugh was charming. His words were just. All of the ladies wanted him, but he only wanted her. He saw her one day in the piazza, knowing very well what to do. His cleverness brought her to him, and his passion kept her there. He cut her hair. They kissed once when he was sick. III. After boarding the ship which had waited for her at the port, after eleven days of floating in the ocean, after marveling at white flakes which danced in the winter sky, after getting married, after working in the factories, after buying a house, life became working in the basement on the sewing machine. It was cooking pasta for Joe when he called home from the barbershop. Plucking pears from her backyard in the summertime. Christmas and New Year’s celebrations. Family, food, sweets, cards, smoking, laughter. Taking care of her son Salvatore and her daughter Cora. Taking care of her grandchildren. Watching them grow. *** IV. In the mornings my grandmother wakes up from her dreams against the railing of her queen-sized bed, the other side empty, cold. She crawls, one foot forth, her cane like a scepter, regally guiding her to the bathroom. After showering, she wraps herself in warm clothes and an elegant scarf, spritzing herself with the fine floral scents of her perfume, combing her white hair softly. She peers outside: the sky is blue. She sits in her chair at the table, a cushion on her back. Her morning coffee is too bitter again, and so she sprinkles in spoonfuls of sugar, making a face of disgust when it is still not sweet enough. Someone might call if they remember her, but she cannot remember their name. Her name is Maria Principato, but her words do not flutter out like they used to, before.. Her lips stick together, sealed. Sitting down on her throne that faces the television, she spends hours in a spiral of thought. When she eats dinner, her chewing is loud, loathsome—it breaks the silence of ghosts that haunt her little bungalow. When the dark creeps in through the windows, she is ready for sleep. She puts on a white nightgown and crawls towards the edge of the bed. I can only imagine what this principessa may be dreaming.

The Wandering Albatross

Stella Kleinman
January 23, 2025

The strongest ocean current in the world is the Antarctic Circumpolar Current, coursing through the narrowest chokepoint around the White Continent. Average water flow is 4.77 billion cubic feet, over 600 times the volume of the Amazon River. With 40 foot waves and 50 mph winds, the Drake Passage from Argentina to Antarctica is a uniquely violent journey believed to have caused thousands of shipwrecks. I’m sitting by the window watching the world churn. The boat is pitching—skyrocketing up and plummeting down over wave after wave. If not for the gentle hum of the engine, I wouldn’t know we are moving forward. From the front observation deck, I can feel split seconds of weightlessness, where my throat becomes a vacuum and heart strands get caught between my teeth. Anyone with any sense is in their cabin, hiding from seasickness under ceilings, sheets, and eyelids. A smooth, dark silhouette fills the window, interrupting the vast expanse of otherwise empty sky. At first, I think it’s a spot in my vision– a hallucination from too many nights at sea. How could this stranger, this creature of solitude, find us here? Lifted by long, sleek wings, the massive bird glides across the air as if it’s a solid surface. With dark eyes narrowed ahead, it tilts back and forth on its axis to catch the harsh gusts. The sea falls to its knees at first brush with the bird’s wingtips, a kiss that stops at the lips, suspending itself in the air. Last night, Marten, an expedition leader and ornithologist, presented a PowerPoint about the wandering albatross. We sat on the floor like young children, watching him click through videos breaking down the bird’s flight patterns. The albatross flies in a unique style called dynamic soaring, which involves gracefully swooping through wave troughs on a cyclical path. Carving elegant lines through the sky, it can fly for a thousand miles without flapping its wings. Marten’s eyes glinted as he told us the birds spend the first five to six years of their lives without ever touching land. They can circumnavigate the globe in 46 days, sleeping with half their brain at a time. From behind the window, I watch the white-headed albatross swoop and fall and glide, tracing its flight path with my pointer finger. It is a being of wind and power, one of the elements rather than fauna. In one of my favorite poems, Samuel Coleridge’s lyrical ballad The Rime of the Ancient Mariner, a sailor shoots an innocent albatross for no apparent reason, cursing his voyage. The crew endures storms, spirits, and haunting mist as the dead bird hangs over the captain’s neck, a symbol of curse and punishment. The albatross’s mistreatment at human hands signifies the plight of the poet, violent acts against nature with catastrophic consequences, and individual sacrifice. Compulsory storytelling. The bird’s white head dips forward as it catches a gust and effortlessly outruns the ship along the air. My breath fogs up the window glass. Where are you going? Where have you been? What is it like to live surrounded by nothing but air and water, to fade into the horizon day after day? What do you miss? What can you call your own? The albatross answers with a glittering downward swoop. The first time I step on Antarctic land, I am so far away from home that my body is no longer my own. Blue ice crystals glow around my feet as far as I can see, hanging over themselves and creeping forward as time stands still. Every so often a chunk screeches and splashes into the churning ocean. Snowflakes bundle and roll, speckling the harsh slopes of jagged mountains. I picture a holy-handed giant taking a pocket knife to a block of obsidian, carving away sharp bits. Eating each slice of rock off the knife, one by one, then disappearing into the sky. I wade through water so clear and smooth I would try to mold it like clay if I didn’t know any better. I try to survey it all, but my gaze keeps snagging on rock piles and tumbling into snowbanks and slipping down the sides of icebergs into the silent ocean. I feel like I could melt into my feet, or catch a draft of wind and plummet upwards to the tips of the black mountains. I wonder if the sun still sets somewhere, if the streetlamps in my neighborhood still flicker, if the world is still spinning the same way, if I have ever been anywhere else, if I am still my mother’s daughter. If someone reached out and touched me right now, would their hand pass straight through me? I am stuck in time but nowhere in space, existing only elsewhere. I wonder if the wandering albatross leaves a piece of itself on every wind it catches, drawing lines around the globe. Ancient mythology refers to the albatross as the Prince of the Wave, a mystical spirit of lost sailors possessing healing powers and prophesizing divine fortune. By observing these birds, sailors adjusted their course to avoid harsh weather. To hurt an albatross, as demonstrated by Coleridge, was to unleash the wrath of the sea. When I was younger, I couldn’t fall asleep without first finding the North star out my window, or guessing where it was on cloudy nights. In a place where the sun does not set, what do you center your world around? What is it like to be as untethered and alone as the albatross, beak careening forward through empty space? On the seventh night, we leave the ship, hauling packs twice our size. Anthonie and Kai trek in heavy red coats, testing snow and whispering hastily in Dutch. Finally, they decide on a somewhat flat plot of snow as far as possible from seals and avalanche risks. They hand out shovels like goodie bags at a child’s birthday party, if candy and toys could protect from 20 mile per hour winds. Antarctic gusts are in the rare category of things you can only burrow under, never climb over or stand against. When it’s finally my turn with the shovel, I feel like I am digging my own grave. I lay down to mark the size hole I need, then hack into the snow. Fine powder scatters to the breeze every time the spade goes over my shoulder. I am cutting into the Earth’s southern crown, making room for myself in a place unlike anywhere I have ever been. Once I’ve dug a three-foot deep coffin, I gently arrange my two sleeping bags and tuck myself in facing the still-bright sky. Sharp gusts tumble over me, and I welcome the cool air as it buries itself in my lungs. As the temperature drops, snow crystals begin to freeze around me, molding an imprint of my body. In my mind, I am here to stay. I will crawl into this shoveled-out cove each night, watching the animals around me to know when it’s time to sleep. I will live off of mackerel icefish and Antarctic cod and melted snow. Each morning I will make it a little bit farther up the mountain and carve words into the rock, and then retreat. After a while, I will stop thinking about what I am writing. I could really do it. I lay on my back with my eyes open, breathing in the southern sky. A wispy cloud rolls down toward me, obscuring the mountaintop. Every so often, little gentoo penguins splash in and out of the water, always in groups—unlike the albatross, with its commanding wings and daunting spirit. For the first time since meeting it, I feel a dull ache for this mystical creature with no dwelling, this lonely flier. I pull my blankets tighter around me and sink into the earth’s embrace. I don’t know if I managed to sleep tonight, but I know I woke up. The crushing melody of Anthonie’s boots on the snow’s brittle surface invites me back to my mind. It’s four a.m., and we have a long passage to the next island. Once my eyes adjust to the light and I remember where and who I am, I grab a shovel from my neighbor and begin refilling my bedroom with snow. I pack it in and pat it gently, evening the surface so that there is no trace of my stay. I kneel silently atop my handiwork until my knees are soaked and it’s time to go. Back on the ship, I find my body in the same seat on the observation deck. The waves are gentler closer to the shore, and we are rolling side to side rather than pitching. I’m not sure how long I sit hugging my shins before I see it. Another albatross, beak open, dancing up and down along drafts. This time, I don’t question its solitary trajectory or spiritual meaning or how and why it can only chase or flee. I watch the polar breeze wrap itself around the bird’s wingtips and think about interlacing my fingers with my best friend. I watch the sea meet its feathered underbelly as it swoops downward and remember every time I fell asleep in the car as a child and my parents carried me to my bed, every leaf pile my brothers and I jumped into during the early Autumns of growing up, and every pendant a friend has fastened around my neck for me. I think of the way the spirit of the ocean protects the albatross, and let it glide out of my sight.

I Miss the West

Mason Scurry
December 1, 2024

I woke up this morning yearning for wide, windswept roads, red rock, and mountain views through hot windowpane. Instead, I woke up in Providence, Rhode Island, missing a hometown 2,000 miles away. I miss the West. I miss my home. I miss the natural playground I grew up in, I miss falling in love on rockslides and meeting up with friends at trailheads and roadside diners and family-owned small-town breakfast places. I miss rippling fields of Indian Paintbrush, snowmelt waterfalls striking my scalp, burnt orange sunsets through smoky skies. When I was a kid, I hated Montana. Newcomers would come and gawk at the expansive mountain views, swoon over the shops in downtown Bozeman, and complain about growing up elsewhere. I never understood their obsessions. I’d been gazing at those mountains and shops since before my eyes were fully developed, I was touching pine trees and collecting bits of moss before I could walk, and starting ski lessons just after. Montana was all I knew. The mountain ranges marked not just the edge of the horizon, but the edge of my world. I never got the experience of seeing those mountains for the first time. For me, it was a mundane, everyday backdrop, meaningless gray, blues and greens. My parents were different. Neither one had been ‘out west’ until college. My dad applied to a job in Yellowstone impulsively and moved with 2 weeks' notice. My mom took a summer job here and never left. But I loathed Montana—my prison, a barren hellscape, devoid of people and just about everything else. Western cowboy-bolo culture always felt foreign. I craved marble fountains, whooping sirens bouncing off cement, pigeons. I craved crowds and buildings I had to crane my neck to see the top of, brownstones and urban gardens. I told my Mom once, in Chicago, “Nothing happens at home. Everything happens here.” But for some reason, this morning, I miss Montana. I miss the rest of the West, too. I miss Utah’s otherworldly cliff faces and sandy bellows, I miss Idaho’s pine forests, Oregon’s waterfalls pouring from mossy, black rock, California’s wide, wet tree trunks in inconceivable proportion, Nevada’s dried sagebrush leading nowhere, Wyoming’s two-laned highways and weathered church steeples. For two years, I tried hard to avoid going home for the summer. It felt like a regression. It didn’t feel right to go to college, to live alone and fiercely on the East Coast, to galavant around Boston with my newfound friends, and get drunk at bars with my fake ID. My attempts to secure a job were unsuccessful though, and the summer of my freshman year I stayed home. I traveled often, but when I was home, I stayed busy to keep my mind quiet and started a blissfully all-consuming business. Truly, that was the summer of escape. Escape from the backyard I grew up in because I was too old and it’s too well explored. Escape from thousands of trails I used to use for wildflower and mushroom hunting. Escape from a place that formed me, my body, soul, heart, and mind, a place I had no idea how to love. My second college summer, I went home again. Mania has a way of disrupting a person’s life. I completed two classes that semester, one book, and zero internship applications. In the mental hospital, I ‘knew’ I’d spend the summer road tripping with my ‘soulmate,’ showing the world what true love was. We’d soar above the Grand Canyon. When you’re manic anything is possible. As my delusions faded and I returned to my safer (though less interesting) existence in the real world, I told my nurses I’d spend the summer road tripping, writing, and selling copies of my published book to small-town bookstores. But the plan never came to fruition, so once again, I was stuck in Montana, the place I had just managed to escape from. But everything changed when I stumbled into love last summer. He loves Montana. He’ll be there for the rest of his life, ranching, moving water, birthing cattle. The edge of his world is the edge of his horizon, and the yearn to leave will never be strong enough. That gave our love an expiration date, because my home is not Paradise Valley, it is not Sheep Mountain, it is not Ennis or Bozeman or Yellowstone or the Gallatin or the seas of wildflowers. But somehow, this morning, I miss the West. I miss how I’d clamber onto the back of his four-wheeler and we’d roar upward toward a breathtaking view of the sunset. It splattered reds and oranges on the backsides of rocky peaks like a blind painter. I miss him in the driver's seat, searching dirt roads and creek beds for solace. I miss those afternoons and evenings because though I didn’t notice then, I wasn’t just falling in love with him. I was falling in love with Montana, reworking my relationship with the place. Don’t get me wrong. This is not some ultimate declaration of love to my hometown. This essay is not a shot in the dark, it’s not some pronouncement that I’ll be spending the rest of my life in a white two-story farmhouse with a porch swing and an aversion to urbanization. But it is to say that I miss the West, despite everything. He transformed my resentment into gratitude, untanlged my mind, and did some much-needed untangling. I left him, he left me, and then we left each other, and now I’m left nostalgic. I spend a good amount of time, now, in the warm embrace of nostalgia. That’s always been true, but never in my life has it been directed so westward. I’ve been remembering a road trip with two friends, a northbound drive up the coast of Oregon. On the left side of the Subaru Outback was the ocean, its sky-blue surface pierced by rock spires, irritating the water, turning it white and frothy. To the right were tree trunks drowning in thick, soft moss, stretching upward through a bed of dead stuffs rotting from the moisture in the air. The views were panoramic. Pristine beaches, oceans, and forests burdened with life as far as the eye can see. I’ve been remembering a hole my sister and I dug in our backyard. May brought snowmelt and our first ‘digging days’ of the season. We dragged shovels, a pick ax, gardening tools, rakes, and mallets from the shed to the backyard. The hole was sheltered between two huge pine trees and a medium-sized cottonwood. We kept a wooden stool back there too, so one of us could sit while the other hacked. The ground was always dry and unforgiving, though. Years of toiling amounted to a hole that was just a foot deep and two feet wide. I’ve been remembering time in the woods and on the edges of cliffs in the heart of the wilderness. I’ve been remembering spontaneous camping trips, screaming my heart out across mountain lakes, caves I discovered, piles of pinecones, and bike rides along rivers. I’ve been remembering all of this and more, because now that I’ve truly escaped my home, now that I have an apartment on the East Coast and no plans to cross over to the other side of the Mississippi any time soon, now that I’m living this life, I’m realizing I’m living the dream of the trapped, timid, resentful boy I used to be. And whatever I do, wherever I end up, whoever I become, and whichever path I choose, I’ll need wide open spaces, night skies overburdened with stars, and campsites miles away from any sign of life. I guess it’s just who I am.

A Love Letter on Losing Yourself

Mason Scurry
December 1, 2024

Your birthday passed a couple of weeks ago. I noticed. I did think about you. I didn’t text (but I debated) mostly because you hadn’t texted me for mine (two weeks before). I sent you a note. Did you get it? If not, it said I unblocked you. It’s hard to believe you happened, that we happened. We happened over a year ago. That summer, our time together, feels too big to fit into the bounds of a start and end date. But we did have a clear start date—a golden waterfall shrouded in fog, a kiss you started, a lit billboard on the side of the highway. We also had a clear end date—a night at one of our old places (this time there was snow on the ground), hours of tears because Ii was too late, calcified love, distance. You feel so far away now. I understand the connection between space and time, but not the distinction. I suppose that’s the point. Sometimes I wonder if we ever happened at all. More often, I wonder if we ever ceased to happen. I’ve been dreaming since our goodbye, I’ve been half-conscious, stone-faced and sharp-edged. The essence of me is still with the essence of you, still in Montana in your bed without a top sheet, still tangled on the couch and kissing your forehead, still holding the bouquet of wildflowers you collected, still walking hand in hand through my neighborhood at dusk. This year, my summer felt quick and small. Linear. Simple. Our summer was lumbering, gentle and limitless. I remember it all—a second date sitting on a stump by the old Story Mill when we were still new to each other, the tunnel under the interstate when I learned what it meant to be yours, 22 beaded bracelets (I still have them), chapters of handwritten love stories (I’m scared to search for them), how it felt to have my hands on the back of your neck. Part of me is there. It’s yours. It spans space and time, it defies all known laws of physics and biology and humanity, and it’s there. Still loving you. Still needing you. Still merged with you. Maybe this is how love, the worthwhile kind, works. When you fall in love you are briefly, gorgeously complete, when you fall in love you crack some and flow into another soul to become something you were not before. When that love is lost, that merged and mixed and altogether beautiful part of you snaps off and spirals away. It leaves a void, black and furious, one we smother in vodka shots and toxic self-affirmations and false denial, one we fill with bodies and shame and guilt. It ruins our lives for a while until we learn to adjust. Then, the void starts to shrink. We grow back into it. It heals over, we relearn how to exist, we think of ourselves in new, healthier ways, and eventually, we’re a ‘new person’ bursting with ‘self-love’ and emotional byproducts and the love that was once our entire world becomes insignificant. We marvel at how much has changed and how far we’ve come. We gawk at who we fell in love with. We look forward, and dream of someone better. And it stays that way for a while. Then, something starts to glitter through the fog of our carefully constructed explanations. We’re reminded of that first kiss. We realize we’ve kept some trinkets and letters we probably shouldn’t have anymore. We start sensing that somewhere, sometime, that same love we’d cast aside still exists in a very tangible way, and we are still engaged in it, affected by it, in a blurry sort of way. We know this because we can feel its presence. Its soft pull. We’re aware that part of us is missing and always will be. We’re left with a nostalgic peace, a gentle appreciation, sweet memories, and keepsakes. That is what’s left over, whether we’d like it or not. Part of us is permanently missing, because we once belonged to another person. Once, we opened our rib cages and let our hearts run free. Once, we had the courage to give it all up and throw it all in. Once, we fell in love, and that’s not something you can take back. And that’s the consequence of a life well-loved, that’s the consequence of a love well-lived, that’s the paradox of loving—when you give yourself to someone, you don’t quite ever get it all back.

A Shooting Star Some Decembers Ago

Mizuki Kai
November 21, 2024

1:00 The first shooting star I ever saw was in a Japanese forest. It made a scratch in the sky like a hand of a clock that goes tick, tick, tick. It pierced my past, my present, and my future; my skin, my eyes, and my being. My neck craned then, and now. I feel the sensation graze my scalp and crunch beneath my soles, and it is alive in transience and eternal in memory. It’s gone and will never be again, but there’s a comfort I take in its mercurial permanence. Because when I look up at the tips of the trees in Vermont, I see you at the very top, where the sky meets the cedar’s crown. It’s the same sky that held the first shooting star I saw. But there are many years and timezones and kilometers and miles that stand in between, and your entire presence fits in that window of time and space, and I cannot find it anywhere but in a part of me that I cannot prove exists. But isn’t it great? Because I don’t know where you are now, if you are alive, if you breathe, eat, read, love, do math, sing that one song, swim, or run laps around your house. But I know that you are here, in my existence, and I hear you laughing: and that is enough of you that I needed, then, now, and in the future. 2:00 She likes to tell me that my whole being used to fit within her palms. Those same palms can now fit the five fingers of my right hand but not much more. I’m holding that hand, pulling her behind me in the Gothic Quarter of Barcelona. I’m pulling her drunken hand through the Shibuya Scramble of Tokyo and her steady one through the Marshalls aisles in West Houston. The same hand she once stuck out at me and told me to slap because “she was a bad mama.” The same one that lifted me in the air in that video I digitized from 2003. The hand that I held at Lake Hope in Colorado at the end of our unexpectedly-tough hike. The same hand that once flipped through the 1998 yearbook pages that I’m flipping through now, on the second floor of her parents’ house in Japan, where everything but time exists. 3:00 There’s a car driving through the forest right now. Maybe it's the same forest where I saw my first shooting star, or maybe it’s the one that my uncle drove six years ago from Oita to Kumamoto. It’s probably the Nissan driving through a rainy Vermont. Soon, the Nissan will stop, the driver will sigh of relief, and he’ll tell me that we’re here. And I’ll grab the leftover McDonald’s and run to the backdoor through the wet grass, and I’ll feel the safest I’ve ever been in this bedroom that I’ve never been before. And he and I will discuss the significance of the joke at the beginning of the movie, and Sean McGuire will tell Will Hunting that we get to choose who we let into our weird little worlds. And even though my world has only existed here tonight, I’m glad that he’s next to me to catch my tears. 4:00 The only record of change in my mama’s childhood home has been carved into its inhabitants. His skin droops lower than it did the last summer that I shook his hand goodbye, and hers are chiseled with new sun spots. Here, dawn is quiet, and dusk is sacred. There are diaries in the language I no longer live my life in, nursery records of a past I can’t touch, stained photographs, expired stamps, Shinto altars, and morning-glories. The grandfather clock in the living room swings, ticking through our stay. With every year, its hands fall behind, but the path that the pendulum carves is the only straight line I’ve ever followed. 5:00 Do you remember me? I hope you do. I hope you remember my name. 6:00 Few things haunt me: the frog I accidentally stepped on when I was four, memories of yelling at my parents, when that girl pulled her eyes at me in the cafeteria, mistakes I can’t undo, the future, and death. The future haunts me before it’s here because I’m afraid my children will lose the only words my parents find freedom in, and death because it is the only thing that bends time. When my grandpa dies, so too will my ties to Japan. I see death in the orange and red leaves of Vermont autumn, in the freebie calendars my great-aunt hangs, and in the pictures of my ancestors above the altar in the formal room of my grandparents’ house. Fifteen years ago, I lay awake in this room on a futon next to my grandma. She asked me why I was crying, and I told her it was because I was scared to die someday. Because in that room, time feels so finite it suffocates you; it feels so solid that if I reached for it, I would feel it woven into the tatami. 7:00 He and I go to the Providence Place Cinema to watch Ghibli’s Spirited Away because he showed me Good Will Hunting, so I want to show him this. In the film, Chihiro wanders into the spirit realm where an evil witch takes her name away. She is now Sen, the witch’s worker whose mission is to save herself and her friend, Haku, by escaping this world. At the end, Haku reminds Chihiro of her real name, and Chihiro, of his. I cry because I resonate with Sen; I miss my life as Chihiro. I cry because even he doesn’t know me whole. I cry because I exist strictly in two identities, and never in both realms. 8:00 I have a habit of talking to myself in English when I need to drown unpleasant thoughts, but my mama once told me that I sleep-talk exclusively in Japanese. I sometimes hear my own voice, crying about a dream in a hazy consciousness, oscillating between reverie and reality. Yet, when I awaken I remember only fragments like a ghost of a light long extinguished, twinkling in a part of me that keeps time differently. As morning comes in Texas, the sun sets on Mount Aso. And just as dawn and dusk can exist in parallel, I’ve learned that I, too, can exist in twilight. 8:00 How many people have touched my hand? How many rivers has it reached for? How many pages has it flipped? My hand holds proof of change. The one that once grasped my mama’s pinky has since held much more in its palms. 9:00 During a video call over Thanksgiving break, my grandma asked me to create a family tree for my grandpa because he’s started to forget things: his breakfast this morning, our conversation last week, and the names and faces of his grandchildren. I choose from the years-old photos I have of my uncles and cousins and the most recent photos of my parents and brother to construct a concise web of our bloodline. My grandma’s pleased with the finished product. She tells me that she’ll print it out for my grandpa to study. 10:00 When I’m awake, I speak to myself not to create thought but to suffocate it. Asleep, I find clever ways of escape: I fly; I become invisible; I hold my breath; I forget. In my dreams, I am both diaphanous and free. 11:00 When I see stars, I get excited because it reminds me of how little I am, and how a rock or a glacier or an elephant could just crush my bones, and I will decompose and become nothing again except a littlest scratch in the sky, but hopefully, when that happens, someone will be craning their neck, too.

Notes From a Korean Girl Who Can’t Look in the Mirror for Too Long

Sia Han
November 18, 2024

i. I was a pretty child. The type of pretty that ensured that for every street of Seoul my mom would push me down in a stroller, there’d be a passerby who’d look over and begin to coo. “너무 예쁘다!” // “She’s so pretty!” “인형처럼 생겼어요!” // “She looks like a doll!” “남편이 외국사람이에요?” // “Is your husband a foreigner,” they’d ask my mom, excitement visible in their eyes. They were sure, after seeing my pale skin, light brown hair, and big, round eyes, that I was not fully Korean. Something different. Something exotic. Soon enough, my mom was offered a child modeling gig which she immediately declined. Her mother-in-law, though, quickly decided I was destined for greatness. Her plan for me was: Gain moderate success as a child model Go on to become Miss Korea Become a news anchor (as do most Miss Koreas because to be a female news anchor in Korea, you must foremost be pretty) Marry either a billionaire or actor Have 3 equally good-looking (grand)children I no longer live in Korea, speak Korean well, nor do I meet the height requirement to even enter Miss Korea. My hair and skin have darkened, my chin has jutted down and outwards, and my eyes have thinned like someone grabbed them by their edges and pulled. I like to think it’s my body trying to make up for lost time; That after years apart from my motherland, spent resenting my features and yearning for the cascading blond hair and blue eyes I saw on TV, it decided to take matters into its own hands. Nobody in America asks me if I’m a foreigner—they know. When I was younger, I used to have a nightmare. A nightmare that upon reuniting with her in Korea, my grandmother would hold me by the shoulders, look me up and down, and grimace. She’d shake her head, unable to mask the disappointment and pity in her eyes, and wonder where the future pageant queen she’d once held in her arms went. Now, I have a different nightmare. In it, I walk up to her in a busy airport and tap her on the shoulder. She turns around and smiles, it doesn’t reach her eyes. She opens her mouth. “아, 죄송한데 제가 아는 분인가요?” // “Sorry, do I know you?” ------------------------------------------------------------- ii. When I was 13, after carefully examining my face, my dad lovingly rubbed my shoulder and said he would pay for any plastic surgery I wanted after high school.z It’s a common tradition in Korea for parents to give their children cosmetic surgery upon graduation. To grant their child the gift of beauty and thus hope for a better job, marriage, kids, and life. At 14, my biggest wish in life was for the snipping tool from Microsoft to exist in real life. Within the comforts of my room, I’d trace my finger around the innards of my face and imagine the excess skin and bones outside the small, delicate outline I’d drawn, completely melting off. I’d bring both index fingers up to my face and starting from right below my ears, drag them downwards till they met at a perfectly pointed V. Instead, I simply settled on waiting for my 18th birthday. I spent hours standing in the mirror—poking, prodding, and pulling back skin, trying to envision what my new face would look like. I had a checklist of all the operations I was planning on undergoing. Ones that would rid me of my giant forehead, monolids, slightly crooked nose, and sticky-outy ears (which earned me the affectionate accolade of “Dumbo” from my parents). But the one I anticipated the most was the one that would fix my long and “manly” chin. It was the one my dad anticipated the most, too. We were lying next to each other when I turned to him to ask what we’d eat for dinner, and he lightly caressed my jaw. With a sad smile reserved for funerals of distant relatives or whenever I cried, he looked at me and wistfully said, “You’d be perfect if it weren’t for that chin.” When I brought it up to my mom a few days later, she told me it was because he felt bad. That he felt guilty for passing on his chin to me. “The surgery, it’s- it’s his way of apologizing. Of making amends.” My dad was also a pretty child. Pale, round-eyed, and rosy-cheeked, he had been adored by everyone around him. By the time he’d entered high school, his hair and skin had darkened, his chin jutted down and outwards, and pimples littered his face (I often poked my fingers inside the small, lasting dents they’d left on his cheeks). His face had morphed into one unrecognizable from his past but eerily similar to mine. With my head in her lap, I pushed down a bubbling wave of guilt in my stomach and looked up at her. “What if I turn out like… him?” I felt her fingers scour my scalp, looking for new gray hairs to pull out. “You won’t. Everyone is ugly in middle school. They’re ugly as teens and become pretty in college.” “You don’t know that!” “I do. And it’s different for girls anyways.” “But what if it doesn’t get better? What if I’m…” I swallowed down a wave of horrible discomfort and near nausea. “Then you learn how to do makeup. You learn how to style your hair.” “But I don't want to do that. I want to naturally, like really be—” “Then get surgery.” I fell silent at the agitation in her voice. I yelped as she pulled out another hair. She sighed. “Why do you have so many? It’s because you’re stressed. Don’t stress about this. You’ll be pretty in college, that’s what happens to girls. Remember, beauty is pain.” ------------------------------------------------------------- iii. I always imagined that once I turned 18, something big would happen. The kind of movie makeover metamorphosis that nerdy girls in chick flicks from the early 2000s always underwent was the stuff of dreams. The idea that I had had some special, transformative beauty inside me all along, waiting to be unlocked and revealed to the world, had been what had kept me going all those years. I’ve grown a little taller and no longer look (as much) like a child trying to wear an adult’s skin, but to be honest, I don’t think much has changed. One of my better life realizations is that trends are Cyclical Complete bullshit. As of late, complaints about my giant forehead have been met with a stream of scandalized Korean. “What? You know how many people would kill to have a forehead like yours?” “Yea! People pay thousands of dollars for a forehead like that and you got it for free! You have no idea how lucky you are.” I wish I had something to say back to them. I wish the idea of having something “people would kill” for, didn’t make me feel giddy. I wish that a good or bad hair day wasn’t enough to make or break my whole week. Last night, my mom apologized. She said it was her and my dad’s fault for obsessing so much over my appearance when I was young. She compared me to a war general, yearning for the glory-filled days of his past and struggling to accept the invisibility of mundane life. “You wouldn’t care this much if you'd just been ugly.” I insisted that she was wrong, that my lifelong fear of becoming the reverse ugly duckling would’ve been there anyways, was always there. She shook her head and brushed strands of hair out of my face. “Someone who’s never had it, won’t care. But with you, it’s like… it’s like you fell in. You fell in and you’ve been trapped ever since.” If there’s one thing those chick flicks got right, it’s that insecurity never really goes away. Except now, instead of a constant, merciless barrage of waves, it’s ripples in a pond. They’re easier to ignore but they linger. All it takes is one small rock, a bad selfie or a glance in the mirror that lasts a little too long, to set the whole pond in motion. I had a dream, a new one this time. I stand in a white room brimming with emptiness. A man who radiates the feeling of being the only person in the room in on a joke stands behind me. He casts no reflection in the mirror. He hands me a scalpel and nudges me forward. As I step closer, I think to myself that I have no idea what I actually look like. My left eye is lower than my right. This is my face. My hairline is shaped like the East Coast. This is the face I was born with. My chin is too long. This is the face I will die with. I close my eyes and tenderly clutch the scalpel’s handle with both hands. I press the flat side of its blade against my cheek. It’s warm.

On Pnin, Isaiah Berlin, and Alexander Gerasimchuk

Alexander Gerasimchuk
November 13, 2024

On the pages of witty Nabokov the following unfolds: Professor Timofey Pavlich Pnin goes about the delightful task of Pninizing his new quarters (the tenth in ten Falls). He stacks the collected works of Lermontov on the rickety bookshelf in the corner, places down the ancestrally held heavy gold lamp with green shade, which every Russian must possess, and ceremoniously installs on the bedside table, as a kind of guardian of his sleep, his copy of Anna Karenina holding much Pninian wisdom in his hieroglyphic annotations. Less than six months after this “house heating” effort he is asked to leave by his landlords for their daughter returned home and demands her room back. This is the story of the Russian émigré, and it yet persists. We live in an age of liberal democracy, of the United Nations, and yet, the stateless Russian emigre, disenfranchised and oppressed on the intellectual plane more than on the physical continues to roam the West. In my own boarding school room, the green lampshade; Pnin on my bedside table, and a friend reciting Brodsky in the original carry the spirit of the emigre into our modern community and, painfully, into my heart. What does it mean to be in exile? Physically, it means to be unwillfully removed from one’s country and unable to return. Bolshevik troops marched all over Isaiah Berlin’s1 ancestral home; war and radicalism prevent me from visiting my childhood dacha. But to be an émigré is more. It is to encapsulate one’s culture in one’s being. In the case of Pnin it is to do disctictly Russian things which have become Pnininisms: to read Lermontov, to use the, outdated, patrimonial as a means of address (of course dorogoy Timofey Pavlich; pogalysta podayte mne eto Alekasdr Mechalich), to sit underneath the green lampshade and drink chai. To be an émigré is a long Slavic tradition: Isaiah Berlin fled in an orange crate; Alexandre Kojeve, the Hegelian Scholar, although born in Ryazan, lived in Paris all his life; and Vladimir Nabokov, who taught at Cornell not his native Moscow, wrote Pnin about himself; Alexander Gerasimchuk. These people were eternally stateless without the protection of a commonwealth. They always faced and continue to face prejudice, xenophobia, and exclusion. Not fully Russian—for they, through opting in or being co-opted, became members of their adoptive societies—but not seen as fellow citizens of those either. Nabokov did not achieve tenure; Berlin (while working for the Foreign Office) was accused of being a spy. Eternally stateless, they form an intellectual state of their own. How does this state-building exercise manifest? Milan Kundera’s Ignorance explores the construction of the city on a hill which occurs in an émigré’s mind. If my country has moved so far away from my own principles that I scarcely recognise it, if it implemented systems of political and economic organisation that do not recognize me as an individual, I can no longer be a part of the country on an intellectual level. My thinking has been deterritorialized and made stateless. I must therefore build my own country on the plains of my imagination. This country often amplifies the things that I, as the émigré, consider important and which I no longer have. The concept of a dacha, a rickety wooden summer home perpetually occupied by one’s grandma, is one such thing. From Pnin to me,dacha activities remain unchanged: a ‘summer shower’( a vat of cold water left in the sun) after swimming in sea; drinking strong black chai and playing durak on a summer evening; listening to stories of neighbourliness and good-natured simple mindedness of the soviet union in the stories of my grandparents and movies like Brilliantovaya Ruka. I have never experienced the soviet lightness of being they talk about; or Pnin’s summer evenings in Tsarist Russia, yet these moments make me feel with a memory as though I have . Kundera aptly makes it clear that while I convince myself in my state of emigration, that the empirical experience of the home country is indeed what it was and what it could be, it is simply not the case. When Irena returns, she finds Prague to be dreary, the women to be fat. She finds Slivovitz to burn the throat. The state of emigration is a state of fiction. It is also a dual state of absurdism and the attached melancholy that goes with it. There is a shadow behind the heart ( title for a bad novel?) in the shape of Odessa, and it shall forever be there. Whenever the civilised world feels unwelcoming and unwelcomed, I recollect an imaginary experience of some dignified elder Odessans sitting around a table, telling each other anecdotes, and speaking in a rather charming slang—which includes words of rather unknown provenance such as friar (not a religious official but a person who shows off) and tudoy (both a geographical and a moral direction)—and a visceral melancholy of loss, also both geographical and moral, descends upon me. A realisation that one is alone in space, culture, and time, however, is also quintessentially absurdist. Each émigré creates an ontologically different culture, for they evoke and construe different parts of their memory to create a unique city on a hill. The beacon of that city then drives them in their new life as a member of their adoptive society but not of its world; a memory of their old life but not how it looks like now were they to stay. To be an émigré is to rebel against circumstances which prescribe loss and poverty; it is to mobilize space rather than be neutralized by it. Is an absurdist attitude to being an émigré (which smacks of optimism) justified? Pnin gets driven out from his department and gets hit by a bus. Russian literature in exile has the trope of death, defeat, and humour; Pninism and Pninian English are absurd to the American reader and Pnin “a pathetic savant.” as per Mrs. Clements (wife of American academia incarnate), and that is Nabakov’s point. Yes, this man is charming and he is defeated—be sad about it or don’t be but that is what it is. But it mustn’t be. Pnin is unique in his mannerisms and episteme that he occupies. Pnin/ Nabakov or indeed Berlin or even myself must be seen not as victims of circumstance but as rebels against cultural narrow mindedness. As I walk down College Hill, the city on the Hill of my Odessan past; Grecian upbringing and British education behind me blend with the present context of the new world; excitement; opportunity. This brief moment of confluence between the heavy past and the heavy future, paradoxically,produces an Empowering Lightness of Being. This moment is what I strive for.

On Friendship and Forgetting

Elsa Eastwood
November 9, 2024

She was the best friend of my dreams. The guaranteed birthday party invite, the future bridesmaid and godparent to imaginary children. We wore unicorn shirts on every Twin Day. We played a duet at every piano recital and ran barefoot between our neighboring houses every summer, whispering about the boys in our class that we loved and intended to marry. I never doubted that it was forever. Our magnetic friendship necklaces deemed that inevitable. She transferred to the girls' school far away; I went to public school. A uniform replaced her Justice leggings, and she didn’t want to be silly anymore. We still saw each other, but stories grew littered with irrelevant names, and the minimal overlap between our interests and circles made it hard to keep things the way I wanted them to be. Her talk of parties and mine of marching band competitions drew only blank stares between us. By the end of high school, we could not have been more different—a fact that made the over-brunch realization that we had committed to the same college even more shocking. We visited for a weekend together. We met for a few meals and introduced our reluctant roommates. Yet somehow, courseloads and travel and changing seasons accompanied the further fading of our friendship, and in a world of 3,000 people, I still ask myself how we became strangers, how a longstanding bond could be reduced to a smile in passing. I think the true tragedy lies in how our evolved relationship blinds us from what it once was. My lens is perpetually clouded. I look for clues in recital footage and our covers of early 2000s pop songs, wondering whether relics of the past can reveal what I seem to have missed, whether we reconstruct the memories of friendships once they’re lost. I try to recognize us in old photos, histories preserved on glossy paper. Had the loose thread been there all along, hiding behind these small faces? Can retrospection ever help explain a dissolution? Perhaps she holds the answer I’m looking for. The mysterious moment in which we lost all ability to relate, a sentence or a sense of self that escapes my recollection. Perhaps her memory is the other half-heart necklace whose absence renders my phrase incomplete. Her boyfriend walks by me now. I don’t know what she sees in him.

Simulacrum

Anna Zulueta
November 4, 2024

The year is 1925. The war is over. The depression is yet to come. Cauliflower and broccoli are aboard a ship to America, like two hopeful lovers. My grandma is nine years old with golden hair. She’s living in Wisconsin with Uncle Doc, Auntie Dee, Aunt Patty, Oma Olga, and Opa Raymond. My father’s family is in the Philippines, where the country is still under American rule. In Wisconsin, it is important to have bread and butter at every meal. Homemade, of course. It is dairy country, and my grandpa wakes up at 5 a.m. to milk the cows before he goes to school. My grandma lives in town, so this is not one of her chores. In the Philippines, it is important to have rice at every meal. My dad is the youngest of eight, and has to eat quickly, or else there will be no rice left for him. Heart disease runs on both sides of my family: my Opa passed from leukemia when I was a baby, and there is diabetes and high blood pressure on my dad’s side. Enter: cauliflower. Cauliflower is lower in carbohydrates than rice, and, critically, it can be sliced into small cubes to resemble the staple. It’s also pretty bland and absorbs flavor well, just like white rice. This method of preparing cauliflower is called “ricing,” and the dish itself is “riced cauliflower.” Because it looks and, to some extent, tastes like rice. I think my mom was the first to find it, in the frozen vegetable section of the grocery store nestled next to the broccoli (looks like they stayed together after all these years). Five minutes in the microwave, and out comes a low-calorie, low-carb rice substitute. This is what I would eat growing up, and now when I go home: not rice from a pot-bellied rice cooker, but riced cauliflower. Actual rice is reserved for special occasions: holidays, restaurants, particularly strong cravings. For when my dad makes vegetable pancit and chicken adobo. For birthdays, and maybe Easter or Christmas. I was talking about this with a good friend of mine, who, like me, is Asian and white. She asked me, “Why not eat brown rice?” I was stumped at first, because we did eat brown rice sometimes, just not as often as riced cauliflower. And I think the answer is the calorie count: brown rice may be higher in fiber, but cauliflower is lower in calories. And then there is the quality of simulacrum. Simulacrum: to be the same but not the same. And that is where riced cauliflower’s strength turns into its weakness. It is not rice, it only looks that way. I, of course, do not have the advantage of cauliflower: I do not look Asian. Neither do I look particularly German. I did not inherit my grandmother’s blonde hair and sky-blue eyes. This is something that my sister, who is adopted, and I have in common: neither of us looks like our parents. So I’ve searched over the years, starting in my own body, looking for something to tell me who I am. It’s the same search that drives people to take genealogy tests, and those companies know it—they lean into the rhetoric to suck people in. Those percentages won’t tell you who you are, I think. But still I examine my hands. See those wrinkles? I get them from my mom’s side. Look at the width of my fingers. They’re narrow like my dad’s. My hair is something of a conundrum: for years I thought I got my waves from my dad’s side. Its color is like that of my skin—somewhere between my parents’. But the waves, where are they from? My dad, whose hair is straight and black, claimed that he had wavy hair as a child. But visiting my Tita Aida, my dad’s oldest sister, a few summers ago proved otherwise: rare baby pictures show him with straight hair. My mom usually straightens her strawberry blonde hair, but one day after she let it air dry, I realized that her wave pattern is the same as mine. I’ve become more at peace with it over the years. But there are still things that nag me: When the first question people ask me after I tell them I’m Filipino is whether I’ve been to the Philippines. When their next question is whether I speak Tagalog (like this is the only language in the Philippines). Or when their reaction is “Well, you don’t look Filipino.” This last comment usually comes from other, older Filipinos, followed by an explanation from me of my German heritage, followed by a slightly colorist remark from them complimenting my complexion. Feeling like a simulacrum is part of what it’s like being in a diaspora and part of what it’s like being multiracial. Whether you claim multiple heritages or live in a culture that’s different from your family’s, you have to navigate multiple cultural contexts. You might feel like an impostor, like you’re not enough, or not authentic. Simulacrum. Is it a coincidence that the friend I mentioned earlier, who is white and Japanese American, was the only one who didn’t bat an eyelash when I mentioned riced cauliflower? That when I told her about this essay in her apartment kitchen, she just said, “Oh yeah, I eat that, too”? Perhaps it is just that: coincidence. She did, after all, have a rice cooker chugging merrily away on the countertop. 🍚 Simulacrum: to be the same but not the same. To want to be the same? To be forced to be the same? Simulacrum carries notes of assimilation, too obvious not to mention. The classic lunchbox example: immigrant children begging their parents not to make “ethnic” lunches because they are “too smelly.” Because it will make them stand out. Because America can accept your money but not your identity. During the days of FDR, accessing social welfare programs required one to be American, that is to say, to show that they have mastered white American culture. Societal messages exhorted Asian Americans to join the melting pot by erasing their heritage. Throw in your sisig, your balut, your Bratwurst, and out comes the perfect American chicken noodle soup. Affirmative action programs opened public schools to minorities, where students were taught to be American in a certain way, a white way. And not just any white, but a specific American white: in those days after the World Wars, my mother’s family started hiding their German language for fear of being taken as the enemy. This is one type of assimilation. Yet just forty years later, Reagan tax cuts discouraged this melting pot kind of assimilation: the state wouldn’t care for you anyway, so no need to perform. People kept their culture now because they could. The distinction between assimilation under Roosevelt and Reagan is not my idea; I came across it when I was reading Anna Tsing’s book The Mushroom at the End of the World, which describes the journey of the matsutake mushroom, from forest to plate. Tsing shows how coercive assimilation (FDR) and neoliberal multiculturalism (Reagan) shape the Asian American experience, explaining the difference in culture between Japanese American Nisei and Southeast Asian American mushroom pickers. The Nisei belonged to the older generation of FDR assimilation, and their lifestyle was similar to what Tsing herself grew up with: striving towards the “model minority” myth. The Mien mushroom camps, however, were full of more recent immigrants and reminded Tsing of China and Borneo rather than Asian America—the food and languages recreated home rather than recreating a “poster” America. Seeing Tsing’s explanation of something I had long wondered about—how the Asian American experience is different for different generations—helped me understand some phenomena in my own life. For example, why so many of my Chinese American friends went to Chinese school, and why there was a Japanese school that used my high school over the weekends. But it didn’t quite explain why there was no Filipino school. That has another history: American colonization. America doesn’t like to admit that it is an empire. Not only is it on stolen lands, but it also has overseas imperial holdings. While the Philippines received its independence in 1946, Guam and Puerto Rico, the other islands the U.S. took after the Spanish-American War, remain territories today. In the 1940s, when my mother’s family was hiding their German under FDR, my father’s family was learning English under American rule. This, too, affects my cultural upbringing. In today’s world, I feel that there is pressure to show your heritage, prove your membership. Let me see you eat rice. I am not entirely sure where this comes from. Many places, I suspect, but likely the racial reckoning of the last few years plays a key role. Is this something people are using to avoid facing their guilt? Some flavor of “If I am a minority, I cannot be racist.” Then there is moral policing of another kind: If you assimilated, you are bad, you gave in to your oppressors. Other voices say: Don’t you know that was how we had to survive? Or: Don’t you know that was my choice? Why do only some people have the luxury of choosing when they make their personal political? Let it be known: these barely scratch the surface of assimilation stories. 🍚 I eat more rice now than I ever have before. I still don’t eat a lot, just more than I have in the past. In part, this is because it is easy for me to acquire East and South Asian food through Brown’s meal plan. In part, this is because my partner is Chinese. If we continue building our lives together, I suppose rice will take on new meaning through our cultural fusion. I spent the summer of 2022 traveling around the U.S. visiting family. After losing my Oma and great aunt the previous fall, I realized how important family was and how you never know how long you have with someone. Concurrently, I realized how little I was connected to my Filipino side compared to my German side. While I don’t blame my parents, these facts were results of how they chose to engage with their families, heritages, and their children. Parenting is hard. Part of growing up is realizing how you are different from your parents. And also how you are similar. During my first semester at Brown, I felt like I was floating, untethered. A first-year college student away from home with no living grandparents, my feet barely scraping the ground. It’s a hard feeling to describe, but it was as if everyone had been airlifted from their previous life and dropped onto Brown’s campus, like the rest of the world didn’t exist. As the semesters went on, I started to feel my new life becoming more integrated with my past. College is a crucible of identity formation, and just because many people go through it doesn’t mean it isn’t hard. Simulacrum: to be the same but not the same. Isn’t this just how life works? As each moment passes, you are the same but not the same. You are a tiny bit older. You are a tiny bit changed. We are all ships of Theseus, sailing the seas of our lives. We can’t eat the same cauliflower twice. Maybe, then, we are all simulacra.

True Blue

Riley Stevenson
October 28, 2024

I am so in love. I thought it loudly, letting the words play through my fingers as they danced in the icy wind streaming through my window, numbing my hands, chilling my teeth, cooling my body until I felt immersed, like in cold water, sinking deeper into this feeling, these words, this moment. Friday evening, 8:30pm, I-95 heading South just to turn North again. Driving for the exact length of “Not Strong Enough” before hitting an exit and turning around. After talking about the state of the world, head in hands on Brown Street, parked car, lights not yet clicked off, sitting in the afterglow of ice cream and a long drive, considering the balance of things, shaking our heads, letting it lie in that easy silence we’ve cultivated in the last year and a half. And it feels good to be known so well. “We’re like siblings now… like I love you guys but I’m also like grrrrr,” E said from the backseat while I licked ice cream off the back of my hand, A DJ-ing next to me. I think of this line often when I’m with them, how good and raw it feels to have two people who know me better than maybe anyone ever. I remember turning to them at the concert a few months ago, always anticipating the next line, turning with emphasis, “Now, now, this one, it’s us!!!” and grabbing their shoulders, swaying on the concrete steps, avoiding the cold, sticky metal bench beneath us. Always too soon, always trying to force the point, to make sure everyone knows that the metaphor is there and that what we have is special. I can never just let it hang in the warm silence, the post-ice cream car ride, the way I know what they’re thinking before they even say anything. I always have to force it anyway. I can't hide from you like I hide from myself. I think I love boygenius so much because they’re singing about friendship. Who else does that these days? They’re singing about love, too, in a way that's gut-punching and heart-wrenching, but they’re also singing about what it means to be known so well, to be driving so fast you think you might explode in a hurricane of love and wind and desert air. On one of our drives, we recently considered the authenticity of boygenius, how real they really are or if it’s just an act, given that their brand is their friendship, their unabashed authenticity and love and gratitude for one another. When we saw them live, the eve of Julien’s birthday, they ended the show by smashing cake into each other’s faces, flinging it on the audience. Covering us all in the sticky sweet frosting of their platonic love. Not letting us leave the stadium without the knowledge that everything we see is real. And telling us that it’s easy, see? Opening up the soft, warm parts of yourself to another person or two. It just takes a little trust. A little willingness to be your unabashed self, to fuck around and find out. You can do it, too. Do you hear it? Do you feel it? I like to think that boygenius is just like me and my friends, but much better at writing it down. Their songs feel like the creations of late-night musings, the same kind of conversations we're having about love and lust, belonging, fear, abandonment. The same things we muse about on dorm room floors and fire escapes, in parked cars and over late-night drunken grilled cheeses. Even when singing about their individual selves, about failed romance and mistakes, boygenius has the unmistakable tenor of kinship, of the type of tight-knit female friendship every young woman aspires to have. Their music video for “Not Strong Enough,” a montage of a perfect-seeming day interspersed with goofy faces, heel-clicking, weird zooming, and enough personality to keep fans from afar satiated, feels real. It doesn’t feel like an act, because it’s not. I remember who I am when I'm with you. I’ve never thought about being in love with my friends, in an utterly non-romantic but nearly-codependent way. I want to take back the idea that we can only love one person at a time and in such a specific way. I love my friends, and I love to tell them that, always have, but this feels different. When I look back at this time in my life, I believe it will be marked by how infatuated, how adoring I feel about the two people I spend the most time with. It feels like being in love, that tickle in your throat, that pounding in your chest, the passion, the fierceness. It feels like loving the jagged edges, loving completely, without expectation or aspiration. I used to fear the idea that you only get to fall in love so many times, what it means to have one partner to love forever. I didn’t know about this kind of love, I didn’t know I had enough to share outside a clenched fist. It feels like that stereotypical old-person kind of love—the next day, after the car ride, E said, “It feels like we’re old and married.” It feels like knowing someone so well you know what will happen next, and also know that it doesn’t matter what does. It feels like loving without fear of being ostracized or being in the wrong. It feels like knowing how to say I’m sorry. How to say I know. How to say I don’t know. How to say I love you. Maybe it just feels like growing up. Who won the fight? I don't know / We're not keeping score. Often we say I love you through music. Through the hollering into the cold night on the highway, screaming our biggest fears as we pass beneath billboards and street lights. I tell my parents I’m glad to have my car at school because I can go home, but really it’s for nights like this. We love boygenius the most, the three of us taking on their personalities as an electrifying Halloween costume. Our friendship was born into a “$20” landscape, and those chords never fail to kick us all into glorious cavorting. boygenius makes music for driving fast in unfamiliar places. When I can’t fathom doing a minute more of schoolwork, this is what we do–drop everything to get in the car and drive to the beach, skinny dip in the chilled Rhode Island water, the words to the songs we love the most and drive fast fast fast on the highway. I find myself daydreaming about taking off, heading west, until we hit those wide open roads Phoebe and Lucy and Julien promise us, the high canyon walls holding us close, like an orange-hued pinky promise. Most of all, I fear when these moments end. I fear returning to campus. Parking the car. Taking a hot shower to melt off the salt and sweat and erase the chill that’s starting to steep. I fear moving out of my last dorm room, our first and last shared apartment, when we all head off to our own stages, a constellation across this country or maybe hemisphere. What about the beach? The car? What about the music? What about this love? Maybe we’ll skip the exit to our old street and go home. Or maybe this is the moment, singular and alive, breathing in us long after we leave. Hold onto it, but don’t force it. Your love is tough / Your love is tried and true blue.

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