Breadcrumb #550

EILEEN RAMOS

When you hold someone’s hand...

How do you know when to let go?

And is it okay to open your eyes once you kiss, or do we have to close them like on TV?

Intimacy is a foreign concept to me. I never allowed myself to get close out of fear it’ll hurt somehow. Not physically, but emotionally:

What if when they caress my face, I feel nothing at all?

A tender gesture that can’t move me. I’d be as rock still as my stoic mother. She never cuddled or even sing Happy Birthday to me. A firm handshake and a $20 dollar bill is all I’d receive. 

Not even a greeting card.

But she raised and guided me in her own way. I can’t fault her for trying her best. Still, I guess it marked me somehow because I have no idea what love looks like. Outside of a full fridge, airport pickups, and nightly rosary prayers for our family’s well-being. 

Still, I guess it marked me somehow because I have no idea what love looks like.

What does love look like when physical touch is involved? How will I know if I’m doing it correctly? If they moan, that’s a good thing, right?

I never kissed anyone before and I’m already in my 20s. 

Am I such an ugly girl?

Sometimes I wish I had the bravery to just order a female escort. She’d be taller than me, gentle, and have a sweet smile. We wouldn’t have sex, no, I’d be too scared to try that. 

But we’d go on dates, like walks in Central Park or browsing a used bookstore. She’d read me Rumi’s love poetry and we’ll see if I blush from her delivery. We’d spoon feed each other our favorite little custards and pastries. Ube cake from me and tiramisu from her. We’d gradually work on hugging, holding hands, and consoling backs. It’ll be a safe way to try out intimacy, To finally experience proximity. 

Close enough to inhale her strawberry breath. To observe the freckles that dance across the bridge of her nose and her cheeks. To see the true tinted color of her eyes and my own reflection in her pupils. 

I get a little anxious thinking about it. 

But maybe that’s me growing. Maybe I should ring up the escort service today and set up an appointment. I’ve even browsed through different sites to figure out what kind of woman I’d choose. Someone who doesn’t even remotely look like my mother. 

I just want to say that I tried. I don’t want my deathbed regret decades or months from now to be how I never caressed another’s hand. I may not feel a spark with her, the escort, but I’ve already given up on finding a deep connection with another.

But who knows? Maybe I give up too easily. Anyone could be waiting for me on the other side of the door, just hoping I’d try for them.

...Now I’m even more nervous.

• • •

Breadcrumb #549

MELANIE KACHADOORIAN

An episode of King of the Hill flashes before me—the one where LuAnne gets Hank a “swim with the dolphins pass” as a gift and while he swims with them, one of them mistakes his smell for another dolphin. He gets pinned against the side of the tank as the dolphin tries to mate with him. I hadn’t thought about that show until the trainers tell us that dolphins don’t like sunscreen, so we aren’t to wear any. I had rubbed sunscreen on before we arrived at Vallarta Adventures. Suddenly, my feelings of excitement turn into fear. I have no fear that the dolphins will want to make sweet bottle-nose love to me, but I do worry that maybe they won’t like me in general. What if I inadvertently do something to piss off one of them? What if, even without sunscreen, it doesn’t like my smell and attacks me? What if I get the dolphin that suddenly realizes it hates humans, and takes its years’ worth of pent-up hostility out on me? I do not tell Bryan I’m thinking any of this. I’m the one who said no matter what else happened on our honeymoon, we were swimming with dolphins. 

***

I never wanted to get married. I never minded spending copious amounts of time by myself and never felt like my self-worth was dependent upon a man loving me. But, mostly, commitment scared me. My father left us, the first time I said “I love you” to a man and meant it, he cheated on me, and my ex-brother-in-law abused and cheated on my sister. If man told me loved me, then I was done. I almost never said it back. Most of the time, I could see it coming, so I would get up and go to the bathroom, or my allergies would flair up and a coughing fit would ensue. If I couldn’t dodge it, then I usually stammered and said, “That’s so nice. Thank you.” But, then I was done. No matter how hard I tried to tell myself that I still wanted that relationship, I felt bored, or irritated, or both. The longest I ever lasted in a relationship after having heard “I love you” was one miserable month.

And, then I met Bryan. 

We dated for six months before he told me he loved me at my twenty-fifth birthday party. I didn’t see it coming. He wrote it in my card. I read it, looked up and mouthed, “I love you, too.” He smiled. I got diarrhea. 

    He asked me to marry him one year later. 

***

I wipe my skin red making sure that the sunscreen is off, and look around to see if anyone else appears nervous. No one does. For good measure, I take off my visor and my sunglasses and put them in a locker. When Bryan asks why I did that, I tell him it’s because I don’t want to miss anything and really want to see the dolphins. 

“No it’s not,” he says. “I saw the look on your face when they said the thing about sunscreen.” He reaches into the locker and pulls out my sunglasses. 

“What if they forgot to tell us the dolphins don’t like this stuff either?”

“The trainers are wearing sunglasses. It’s okay.”

The tank isn’t really a tank, but a pen within the harbor. There are six people to a trainer (meaning six people to a dolphin also), and there are 5 groups of us. Each group will be in the pen at the same time, so ultimately I have five dolphins that could decide to swim over and kill me at any moment. As we sit in our groups on the wooden deck, our trainers explain the rules: no splashing the top of the water with our hands, and no swimming away from the wall unless it’s your turn. 

Each group will be in the pen at the same time, so ultimately I have five dolphins that could decide to swim over and kill me at any moment.

I like rules. Rules are a contract between ruler and rulee: If you don’t splash the top of the water, then we’ll let you swim with dolphins. If you do splash the water, then you have to get out. Rules mean that someone, besides me, has realized that something bad could happen, and is trying to prevent it. 

***

Registering for wedding gifts was not as fun as I had hoped it would be. We walked out of the store twice without scanning anything because the pressure paralyzed me. Sales people followed us around telling us what we had to have: dish towels, a new microwave, a toaster, pots, pans, pillows, crystal, china. China.

There are hundreds, if not thousands, of china patterns. Our bridal consultant forced china on us: “Make sure you pick a pattern that you will love forever. You’ll use it for all the holidays. Here, let’s set it up on a table so you can see how it will look with the crystal you picked.” I couldn’t. Every time I thought I liked one, I changed my mind the second Bryan said he liked it too. I thought I wanted a traditional pattern with blue painted fruit baskets around the edges of the plates, like my grandmother’s. Then, I wanted a contemporary pattern with platinum swirls on the edges. I searched online for patterns not in the store. I went back and forth for weeks. I asked my mom what china should be. There had to be a china rule. She said it was up to me, but I didn’t know, and the idea that I had to know I would love it forever was too much to bear. 

    People constantly asked how I knew Bryan was the one. How did I know? How could I? I didn’t know how to be wife. Regardless, the invitations had been sent, deposits put down for the church, reception hall, flowers, photographer. People started sending gifts. My aunt sent money with a card that said she had wanted to buy us a place setting of china, but didn’t see it on the registry. How could I get married if I couldn’t even pick a forever china pattern?

    It was in the midst of my weeks-long panic attack that the pastor at our church emailed me the script of our vows, and told me that we could change them however we wanted. I read them. Vows. Rules. I printed them. I took them into the kitchen and read them to Bryan. 

“Sounds good to me,” he said.

“Really? You want me to obey you?” I asked.

“Right, like that would ever happen,” he said rolling his eyes. 

I stared at him and pictured Patrick Bergin’s character in Sleeping with the Enemy right before he back-hands Julia Robert’s character for not organizing their kitchen pantry the way he wants. Until they get married, he is funny, understanding, handsome, perfect. But, then he beats her into submission. I didn’t think Bryan would ever beat me, but I did think that he might change. What if he expected me to obey him?  

“Uh-uh, look at you,” he said. “Don’t get stuck on that one word. We can change it, right? So take that word out if you want.” 

He handed me a pencil, I crossed out the words “and obey,” and then we tweaked the rest: We would be not man and wife, but husband and wife. Neither of us knew for sure how we wanted those labels to define us, so we agreed to help each other figure it out over time. We realized that the traditional vows were too vague, naïve and some of them outdated. They had the right idea, but they were too romanticized. It seemed irresponsible to enter into the commitment of marriage without having further discussions about phrases like “forsaking all others.” Both of us agreed that cheating would not be tolerated, but we also recognized the need to be realistic: If cheating did occur then we promised to be honest with one another about it and to, at least, respect the non-cheating spouse enough to use protection because, as Bryan said, “nobody wants herpes.” We didn’t know that we would love one another forever. We couldn’t. All we could know was what we knew at that moment. 

Right in front of me there was a contract. 

Two months later, I stood in the dressing room of the church, waiting with my bridesmaids to walk down the aisle. The church coordinator came in and told the girls to line up. They walked out single file, each one hugging me as she passed. I turned and looked at myself alone in the full-length mirror. Was I ready? I looked down at my “something old” – my grandmother’s wedding ring that I wore on my right hand. I walked out of the dressing room and waited for sanctuary’s double doors to open.

***

Bryan grabs my hand and gives it a gentle “it’s okay” squeeze. I give him a weak smile. The trainers tell us to jump in with our legs straight and arms crossed over our chests, like divers. They demonstrate.  I looked over to see how far away the ladder is that the trainers use to climb back out of the pen. Our group is the closest group to it. I’m not sure how I feel about the trainers not staying in the water with us. Bryan lets go of my hand and takes a step toward the edge of the dock. He turns around and says, “If you get nervous, just get out. It’s not like you’re gonna be stuck in here.” 

I’m not worried that I’ll never be able to get out. Even if a dolphin, or God forbid, dolphins maul me, I feel certain that at some point I’ll be dragged out. But until then, it would hurt in ways I can and cannot imagine. And, there is no telling how long it would take to recover from something like that. Watching starts to look much more appealing than doing, but then my mother’s voice comes to me. My whole life she’s tried to get me out of my own head—to not allow opportunities to pass me by because of my anxiety. Whenever I’m afraid to do anything she says, “The time is going to go by whether you do this or you don’t. You can either have done something by the end of that time, or you can have not.” 

Bryan crosses his arms over his chest and disappears off the dock into the water, with the dolphins. I step forward and look down. These ninety minutes will go by whether or not I do this. And I jump.

• • •. • • •

Breadcrumb #548

NATE WAGGONER

Death Valley exists because of a cycle created by low depths and high mountain walls that bake the place like a furnace or an oven. The heat just keeps coming, keeps cycling around. Dante’s View. Hell’s Gate. Devil’s Golf Course. The mood of the place does not invite subtlety. Dante’s View is of the depths of the place, of rivers that seem to sparkle and shine, but which do so because they are so full of salt. The salt keeps going down, down, and covering everything, too. Sometimes at night the ground will freeze. The water will start to break up and rocks will appear to move on their own. Despite these surreal qualities, there are people who have chosen to live here for generations. It’s only gotten more inhospitable over time. 10,000 years ago there was life, deer, water, different tribes. Now only the salt rules. It makes the water undrinkable, but the water does shelter certain snails. There is nothing you can’t get used to with enough time. The salt, like the heat, is part of a cycle that only makes it build up. If you’re here, you’re being cooked alive. Sensitive crystals. See the pupfish floundering in its salty home. One of the highest mutation rates. An entity like this must be joking.

• • •

Breadcrumb #547

MANDY-SUZANNE WONG

Cornelia paints bugs. Dave sounds out their memories, nightmares, premonitions. 

They aren’t just any bugs. These are bugs born broken. 

In 2016 in Switzerland, Dave Phillips and Cornelia Hesse-Honneger collaborated on a bizarre hybrid artwork. Half painting, half screaming. Half nightmare, all reality. 

Mutations starts with a scream, something like a power drill, whimper of a small thing, a thing mewling in terror, and then bang! This is “Mutations 1.” Long exhale from great jaws stretched apart to breaking point, stumbling and fluttering, and then a piercing siren puts me in mind of a torture chamber. And Dave wouldn’t mind my saying so. 

He made Mutations’ audio, he said, by “layering, condensing, stretching, distorting” his recordings of wild insects. Some of them, especially in “Mutations 2,” sound to me like groaning lions, captive cows clamoring and clanging, or like cruel machines. Like death. The sounds of agony and death. Maybe it’s just me. Or an evocation of ecosystemic dependencies. “Entomologists give humans, after the hypothetical extinction of the invertebrates (of which insects form the majority), another ten years,” Dave wrote. 

Like an extra ear or seventh leg, Mutations’ audio grew out of Cornelia’s watercolor paintings of morphologically disturbed bugs. 

Like death. The sounds of agony and death.

Housefly with legs growing out of its head. 

Little green bug with six legs and six feet. 

Yellow bug born with a hole in its left eye, and why? Because their parents, grandparents, or great-grandparents were born where the folks next door had a thing for nuclear power. 

Over the years, Cornelia has visited about thirty nuclear disaster sites, atomic testing sites, working plutonium factories, and operational nuclear power plants in Europe, the UK, and the US. Chernobyl. La Hague. Sellafield. Gundremmingen. The “National Security” desert once called the Nevada Test Site, renamed “N2S2” to incorporate a cutesy Star Wars reference. She’s studied 16,500 individuals and painted about three hundred. She agonizes for months over every portrait. She sees each of her subjects as “an important person,” she says. 

Scorpionfly born with a crimped stomach near Leibstadt power plant.

In recognition of her efforts and the insects’ martyrdoms, governments and scientific institutions ridicule Cornelia and do their utmost to suppress her research. They want a prettier truth. For the fact is Cornelia’s insects come from working nuclear facilities, not just defunct or damaged ones. 

Larva born with broken wing. 

Firebug’s left wing half the size of its right wing. 

Flies with malformed glands, congenital blindness. 

Dreaming through the voices of healthy bugs, Dave sounds out the reality of irradiated ones. I strain to hear a healthy bug in his sonic hallucinations. I strain to listen past the sounds’ tortured deformities, hoping with all my might to hear someone like the crickets who sing outside at night. I hear a pretty chord at the start of “Mutations 3,” but no sooner do I hear it than it’s as if impaled by a giant drill, and anyway a chord isn’t a bug. This chord is the voice of a bug bleeding out into the nightmare voice of some machine whose insatiable hunger breeds lifelong torment in generation upon generation. 

Healthy-bug-voice twisted into growl-of-colossal-turbine.

The sound of human ravenousness oozing into nonhuman voices, rending them from within. 

Screams of “contiguous bodies…as they turn into messages that foretell of a prescient world where everything suddenly matters.”

Even if it was just Chernobyl. Or Hiroshima. Or Fukushima. How long will that error take to fade out of the bodies who suffer it? Even if it’s only one of our minutes, surely a nuclear blast feels like epochs to the flightless fly condemned at birth by a tattered too-small wing to die slowly of starvation. 

The poet Lital Khaikin called Mutations “an archive of anatomic duration…that traces the dispersal of a disaster — ... [t]his blurring of matter, the falling out of bodies.”

• • •

Breadcrumb #546

ALEXANDRA WATSON

She sees herself first. Ripples frame her face, like someone skipped a stone––but who? 
A skipping rock, thrown from nowhere. From a deepdown spring, objects pop up from the future: a polaroid, a shrine to Isis. She’s looking for what to pray to. 

Before humans, gods had no word for love. Aphrodite hadn’t wept. Venus was a vixen bathed in poppies. We gave you life, they said. We gave you fruiting trees. Wind, and day, and roots. What more is it you want? Someone combing her hair. Scratching her scalp. 

A face on which to squander her eye’s geometry. All you do is want, want, want. You want another you, You’ll have to make it. They were busy with volcanoes; they liked to watch the world erupt. To invent a love, she thought, you need material: first, water. 

She gathers her reflection in a bowl. Then, mineral: bouquets of daffodils she layers. The pressure makes carbon, chlorine, cobalt, copper, zinc. Bacteria and fungi are recruited. She digs for calcium all day. No one said how much trouble bones were. Sprinkles nickel for kicks.

Chromium, a bonus. She splints a pinky, twirls - this centrifugal production, a life-sized shape, the clarity of stars. Now, how melanin? How eyelash? How fingernail? Why not seed, why not wisp of dandelion? Even plants have cuticle, veins impregnated with wax.

You need a bit of miracle to make a love from scratch. 
She returns to the water, recruits night sky, scoops platinum to stitch her statue’s follicles. 
And warmth. She holds her creation, waits to see its face.

• • •