Now, Papa. I think it’s time you smoked another one of your little sticks. And you, Mama, you just need to focus on your map and on your radio. Okay? Both of you just have to look at the bigger picture now.
QUESTIONS & ANSWERS
No one looks at the bigger map, historical and geographical, of a refugee population’s migration routes. Most people think of refugees and migrants as a foreign problem. Few conceive of migration simply as a national reality. Searching online about the children’s crisis, I find a New York Times article from a couple of years back, titled “Children at the Border.” It’s an article set up as a Q&A, except the author both asks the questions and replies to them, so perhaps it’s not quite a Q&A. To a question about where the children are from, the author answers that three-quarters of them are from “mostly poor and violent towns” in El Salvador, Guatemala, and Honduras. I think of the words “mostly poor and violent towns” and the possible implications of that schematic way of mapping the origins of children who migrate to the United States. These children are utterly foreign to us, they seem to imply. They come from a barbaric reality. These children are also, most probably, not white. Then, after posing the question of why the children are not deported immediately, the reader is told: “Under an anti-trafficking statute adopted with bipartisan support…minors from Central America cannot be deported immediately and must be given a court hearing before they are deported. A United States policy allows Mexican minors caught crossing the border to be sent back quickly.” That word “allows” in the final sentence. It’s as if, in answer to the question “Why are the children not deported immediately?” the author of the article tried to offer relief, saying something like, don’t worry, at least we’re not keeping the Mexican children, because luckily there’s a policy that “allows” us to send them back quickly. Like Manuela’s girls, who would have been deported immediately, except some officer had been kind enough to let them pass. But how many children are sent back without even being given a chance to voice their credible or incredible fears?
No one thinks of the children arriving here now as refugees of a hemispheric war that extends, at least, from these very mountains, down across the country into the southern US and northern Mexican deserts, sweeping across the Mexican sierras, forests, and southern rain forests into Guatemala, into El Salvador, and all the way to the Celaque Mountains in Honduras. No one thinks of those children as consequences of a historical war that goes back decades. Everyone keeps asking: Which war, where? Why are they here? Why did they come to the United States? What will we do with them? No one is asking: Why did they flee their homes?
NO U-TURN
Why can’t we just go back home? asks the boy.
He is fidgeting with his Polaroid in the backseat, learning how to handle it, reading the instructions, grunting.
There’s nothing to take pictures of anyway, he complains. Everything we pass is old and ugly and looks haunted.
Is that true? Is everything haunted? asks the girl.
No baby, I say, nothing is haunted.
Though perhaps, in a way, it is. The deeper we drive into this land, the more I feel like I’m looking at remains and ruins. As we pass an abandoned dairy farm, the boy says:
Imagine the first person who ever milked a cow. What a strange person.
Zoophilia, I think, but I don’t say it. I don’t know what my husband thinks, but he doesn’t say anything either. The girl suggests that maybe that first cow milker thought that if he pulled hard enough—down there—the bell around the cow’s neck would ding-dong.
Chime, the boy corrects her.
And then suddenly milk came out, she concludes, ignoring her brother.
Adjusting the mirror, I see her: an ample smile, at once serene and mischievous. A slightly more reasonable explanation comes to me:
Maybe it was a human mother who had no milk to give her baby, so she decided to take it from the cow.
But the children are not convinced:
A mother with no milk?
That’s crazy, Mama.
That’s preposterous, Ma, please.
PEAKS & POINTS
As a teenager, I had a friend who would always look for a high spot whenever she had to make a decision or understand a difficult problem. A rooftop, a bridge, a mountain if available, a bunk bed, any kind of height. Her theory was that it was impossible to make a good decision or come to any relevant conclusion if you weren’t experiencing the vertiginous clarity that heights impose on you. Perhaps.
As we climb the mountain roads of the Appalachians, I can think more clearly, for the first time, about what has been happening to us as a family—to us as a couple, really—over the last months. I suppose that, over time, my husband started feeling that all our obligations as a couple and as a family—rent, bills, medical insurance—had forced him to take a more conventional path, farther and farther away from the kind of work he wanted to devote his life to. And that, some years later, it finally became clear to him that the life we’d made together was at odds with what he wanted. For months, trying to understand what was happening to us, I felt angry, blamed him, thought he was acting on whimsy—for novelty, for change, for other women, for whatever. But now, traveling together, physically closer than ever before but far from the scaffolding that had sustained the daily work in progress of our familial world and distanced from the project that had once brought us together, I realize I had been accumulating similar feelings. I needed to admit my share: although I hadn’t lit the match that started this fire, for months I had been leaving a trail of dry debris that was now fueling it.
The speed limit on the roads across the Appalachians is 25 miles per hour, which irritates my husband but which I find ideal. Even at this speed, though, it took me a few hours to notice that the trees along the mountain path are covered in kudzu. We had passed acres of woodland blanketed in it on our way up toward this high valley, but only now do we see it clearly. My husband explains to the children that kudzu was brought over from Japan in the nineteenth century, and that farmers were paid by the hour to plant it on harvested soil, in order to control erosion. They went overboard, though, and eventually the kudzu spread across the fields, crept up the mountains, and climbed up all the trees. It blocks the sunlight and sucks out all the water from them. The trees have no defense mechanism. From the higher parts of the mountain road, the sight is terrifying: like cancerous marks, patches of yellowing treetops freckle the forests of Virginia.
All those trees will die, asphyxiated, sucked dry by this bloody rootless creeper, my husband tells us, slowing down as we hit a curve.
But so will you, Pa, and all of us, and everyone else, the boy says.
Well, yes, his father admits, and grins. But that’s not the point.
Instructively, the girl then informs us:
The point is, the point is, the point is always pointy.
VALLEYS
We wind up and down the narrow, sinuous road, across the Blue Ridge Mountains, and head west into a narrow valley cradled between two arms of the range, once more looking for a gas station. When we start to lose signal again, I turn off the radio, and the boy asks his father for stories, stories of the past in general. The girl interrupts now and then, asks him very concrete questions.
What about Apache girls? Did they exist?
What do you mean? he says.
You only talk about Apache men, and sometimes Apache boys, so were there any girls?
He thinks for a moment, and finally says:
Of course. There’s Lozen.
He tells her that Lozen was the best Apache girl, the bravest. Her name meant “dexterous horse thief.” She grew up during a tough time for the Apaches, after the Mexican government had placed a bounty on Apache scalps, and paid large sums for their long black hair. They never got Lozen’s, though; she was too quic
k and too smart.
Did she have long or short hair?
She wore her hair in two long braids. She was known to be a clairvoyant, who knew when danger was upon her people and always steered them out of trouble. She was also a warrior, and a healer. And when she got older, she became a midwife.
What’s a midwife? the girl asks.
Someone who delivers babies, says my husband.
Like the postwoman?
Yes, he says, like the postwoman.
FOOTPRINTS
In the first town we pass through, deep into Virginia, we see more churches than people, and more signs for places than places themselves. Everything looks like it’s been hollowed out and gutted from the inside out, and what remains are only the words: names of things pointing toward a vacuum. We’re driving through a country made up only of signs. One such sign announces a family-owned restaurant and promises hospitality; behind it, nothing but a dilapidated iron structure beams beautiful in the sunlight.
After miles of passing abandoned gas stations, bushes sprouting through every crack in the cement, we come to one that seems only partly abandoned. We park next to the single operational fuel dispenser and step out of the car to stretch our legs. The girl stays inside, seeing her chance to sit behind the wheel while my husband fills the tank. The boy and I fiddle with his new camera outside.
What am I supposed to do? he asks.
I tell him—trying to translate between a language I know well and a language I know little about—that he just needs to think of photographing as if he were recording the sound of an echo. But in truth, it’s difficult to draw parallels between sonography and photography. A camera can capture an entire portion of a landscape in a single impression; but a microphone, even a parabolic one, can sample only fragments and details.
What I mean, Ma, is what button do I press and when?
I show him the eyepiece, lens, focus, and shutter, and as he looks around the space through the eyepiece, I suggest:
Maybe you could take a picture of that tree growing out through the cement.
Why would I do that?
I don’t know why—just to document it, I guess.
That doesn’t even mean anything, Ma, document it.
He’s right. What does it mean to document something, an object, our lives, a story? I suppose that documenting things—through the lens of a camera, on paper, or with a sound recording device—is really only a way of contributing one more layer, something like soot, to all the things already sedimented in a collective understanding of the world. I suggest we take a picture of our car, just to try out the camera again and see why the pictures are coming out all hazy white. The boy holds the camera in his hands like a soccer ball about to be kicked by an amateur goalkeeper, peeks into the eyepiece, and shoots.
Did you focus?
I think so.
Was the image clear?
Kind of, yes.
It’s no use; the Polaroid comes out blue and then slowly turns creamy white. He claims the camera is broken, has a factory error, is probably just a toy camera, not a real camera. I assure him it’s not a toy, and suggest a theory:
Perhaps they’re coming out white not because the camera is broken or just a toy camera but because what you’re photographing is not actually there. If there’s no thing, there’s no echo that can bounce off it. Like ghosts, I tell him, who don’t appear in photos, or vampires, who don’t appear in mirrors, because they’re not actually there.
He’s not impressed, not amused, doesn’t find my echo-thing theory convincing, or even funny. He shoves the camera into my belly and jumps back into his seat.
Back in the car, the discussion about the problem with the pictures continues for a little longer, the boy insisting I’ve given him a broken camera, useless. The boy’s father tries to chime in, mediating. He tells the boy about Man Ray’s “rayographs,” and the strange method with which Ray composed them, without a camera, placing little objects like scissors, thumbtacks, screws, or compasses directly on top of photosensitive paper and then exposing them to light. He tells him how the images Ray created with this method were always like the ghostly traces of objects no longer there, like visual echoes, or like footprints left in the mud by someone who’d passed by long ago.
NOISE
In the late hour, we reach a village perched high in the Appalachians. We decide to stop. The children have started to behave like nasty medieval monks in the car—playing disquieting verbal games in the backseat, games that involve burying each other alive, killing cats, burning towns. Listening to them makes me think that the theory of reincarnation is accurate: the boy must have hunted witches in Salem in the 1600s; the girl must have been a fascist soldier in Mussolini’s Italy. History is playing out in them, repeating itself in microscales.
Outside the only grocery store in the village, a sign announces: Cottage Rentals. Ask Inside. We rent a cottage, small but comfortable, removed from the main road. That night, in bed, the boy has an anxiety attack. He doesn’t call it that, but he says he can’t breathe properly, says his eyes won’t stay shut, says he can’t think in a straight line. He calls me to his side:
Do you really think that some things aren’t there? he asks. That we see them but they’re not actually there?
What do you mean?
You said so earlier.
What did I say?
You said what if I see you and this room and everything else but nothing is really here, so it can’t make echoes, so it can’t be photographed.
I was only joking, love.
Okay.
Go to sleep, all right?
Okay.
Later that night, I stand in front of the open trunk of our car with a flashlight, just staring, trying to pick a box to open—a box in which I will find a book to also open and read. I need to think about my sound project, and reading others’ words, inhabiting their minds for a while, has always been an entry point to my own thoughts. But where to start? Standing in front of the seven bankers boxes, I wonder what any other mind might do with that same collection of bits and scraps, now temporarily archived in a given order inside those boxes. How many possible combinations of all those documents were there? And what completely different stories would be told by their varying permutations, shufflings, and reorderings?
In my husband’s Box II, under some notebooks, there’s a book titled The Soundscape, by R. Murray Schafer. I remember reading it many years ago and understanding only a meager portion of it but understanding at least that it was a titanic effort, possibly in vain, to organize the surplus of sound that human presence in the world had created. By separating and cataloging sounds, Schafer was trying to get rid of noise. Now I flip through the pages—full of difficult graphs, symbolic notations of different types of sounds, and a vast inventory that catalogs the sounds of what Schafer referred to as the World Soundscape Project. The inventory ranges from “Sounds of Water” and “Sounds of Seasons,” to “Sounds of the Body” and “Domestic Sounds,” to “Internal Combustion Engines,” “Instruments of War and Destruction,” and “Sounds of Time.” Under each of these categories, there is a list of particulars. For example, under “Sounds of the Body” there is: heartbeat, breathing, footsteps, hands (clapping, scratching, etc.), eating, drinking, evacuating, lovemaking, nervous system, dream sounds. At the very end of the inventory is the category “Sound Indicators of Future Occurrences.” But, of course, there are no particulars listed under it.
I put the book back in its box and open Box I, digging around inside it carefully. I take out a brown notebook, on the first page of which my husband has written “On Collecting.” I jump to a random page and read a note: “Collecting is a form of fruitful procrastination, of inactivity pregnant with possibility.” A few lines down there’s a quote copied from a book by Marina Tsvetaeva: “
Genius: the highest degree of being mentally pulled to pieces, and the highest of being—collected.” The book, Art in the Light of Conscience, belongs to me, and that sentence was probably something I once underlined. Seeing it there, in his notebook, feels like a mental petty theft, like he’s snatched an inner experience of mine and made it his own. But I’m somehow proud of being looted. Finally, from the box, though it’s unlikely that it’ll help me think about my sound project or about soundscaping in general, I take Susan Sontag’s Reborn: Journals & Notebooks, 1947–1963.
CONSCIOUSNESS & ELECTRICITY
I stay up on the porch outside the cottage, reading Sontag’s journals. My arms and legs, a feast for the mosquitoes. Above my head, beetles smack their stubborn exoskeletons against the single lightbulb; white moths spiral up around its halo, then plummet down. A small spider spins a trap in the intersection of a beam and a column. And in the distance, a redeeming constellation of fireflies—intermittent—landscapes the dark immensity beyond the rectangle of the porch.
I don’t keep a journal. My journals are the things I underline in books. I would never lend a book to anyone after having read it. I underline too much, sometimes entire pages, sometimes with double underline. My husband and I once read this copy of Sontag’s journals together. We had just met. Both of us underlined entire passages of it, enthusiastically, almost feverishly. We read out loud, taking turns, opening the pages as if consulting an oracle, legs naked and intertwined on a twin bed. I suppose that words, timely and arranged in the right order, produce an afterglow. When you read words like that in a book, beautiful words, a powerful but fleeting emotion ensues. And you also know that soon, it’ll all be gone: the concept you just grasped and the emotion it produced. Then comes a need to possess that strange, ephemeral afterglow, and to hold on to that emotion. So you reread, underline, and perhaps even memorize and transcribe the words somewhere—in a notebook, on a napkin, on your hand. In our copy of Sontag’s journals, underlined once, twice, sometimes boxed-in and marked at the margins:
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