Before my eyes open, I begin my day by searching for my phone. My hand runs over the covers, under the pillow, along the stack of books on my bedside table. More often than not, I find it and am plunged into the rush of notifications, which I absorb with one eye closed, because of my astigmatism. But some mornings my phone has fallen between the bed and the wall. The first time this happened I tried to carry on with my morning, feed the cats, pee, but a feeling kept sounding the alarm that I had forgotten something. I paced the apartment, into the kitchen, back into the bedroom, the bathroom. My husband was sleeping and to retrieve my phone from between the bed and the wall would be to wake him, which is precisely what I found myself doing. And before the sun was up we were moving the mattress, so I could snatch that which brings me, joy.

Last night I found Garden State streaming on HBO GO. Without weighing my decision, I pressed play. And as Sam and Andrew met and carried on with the dialogue of their un-woke romance, the soundtrack washed over me. I was on the precipice of my college experience that summer, flitting around with boys I didn’t plan on seeing past August, just shy enough in age to look up to the characters as harbingers of my own twenties. I saw the film in theaters three times, fourteen years ago. Nathan Rabine had not yet written the article that catapulted the trope of the Manic Pixie Dream Girl into existence, my grandmother was still alive, Bush was president, and I had been accepted to my dream art school, which I would be attending in fall.

The soundtrack to Garden State is my first studio. Organizing the paints. Being alone for hours in my room with a quill and ink and a pad of paper the size of an infant bed. Falling in love with Sonny and then with Jake. Recovering from the Halloween party of a school filled with kids like me.

Most of the time I am aware of my brand of intelligence. Not enough to be an academic, but enough to know that I will likely never write the next great American novel or amount to much at all.

When I think of all the freshmen college students ready to have their first holidays away from home with friends they have only known for a few months my throat gets tight. Because what time in my life will ever be as important and rich and poised with moment, than the times that have already passed? Parenthood, I suppose is the one coin I have left to collect before I can truly say or feel that my “poised with moment” moments have come to pass. But there is still so much figuring out I have to do before I can be a mother. So many things to write. Books to read. Art to make. Money to be earned. So why do I squander away my time, so many days on my phone, immersed in the scrolling and clicking and taking naps next to a bedside table with a stack of partially read books?

Most of the time I am aware of my brand of intelligence. Not enough to be an academic, but enough to know that I will likely never write the next great American novel or amount to much at all. When does a person amount to something? How does one know when they have amounted? Perhaps we never know and that’s the sort of thing that can only be accounted for posthumously.

Maybe I am lazy with my aspirations because I don’t want for much. Somedays, laying in a sunbeam on my bed, soft music coming from somewhere in the house, my two hilarious, precious, unusual cats curled up on me, Fig on my right shoulder, Budderlamb on my chest, I watch them pull whiffs of our neighborhood with their intricate noses and think, How can I ever want anything more? My husband and I have hung chandelier crystals in our bedroom window. So every fall and winter, when the sun moves lower in the sky, rainbows dance across our walls all day. It’s no wonder I don’t get much done. I am keenly aware that these are The Good Days.

So why, when I watch Garden State, or Good Will Hunting, or read Sylvia Plath or books about the activists in Taiji, Japan, protesting the slaughter of dolphins, do I wish I was smarter? Contributing more to the world? Working harder? There must be something in those things that resonates with me. Is it more than the desire for prestige? More than the validation of a title? Of bragging rights? I don’t really know. I do know that sometimes when I see images and posts of my friends’ successes, I am filled with such a combination of envy and self-loathing that I scroll past, or don’t finish reading about the publication, grant or fellowship that they are over the moon to share. Sometimes I see the post. Let it settle somewhere inside me before liking or commenting on it. And after I am fortified with breakfast, or a shower, or some small victory of my own, will I revisit, explode into an an emojistorm of congratulations. Because I do mean it. I mean it, and everyone is watching.

I crave aloneness. Aloneness from my phone— which I have every opportunity to fling into oncoming traffic or the fountain at Echo Park Lake. I crave aloneness from the news, which is a swipe to the right and new every time.

I have been asked what it means to be an artist in 2018. I hardly know. For me, it is to fear that every word or image is a window into public, political and social tumult. It means you have to be more vulnerable than you or anyone in times previous has ever been. Everything tells us it’s a society poised on the brink of collapse and chaos, more segregated in our righteousness than we have ever been. It is the loneliest time to have a heart with the desire to share anything at all. Social capital is the currency, and if you have none you are poor. Of course, it is a time of great revelations. Of the ground being cracked apart to be re-laid. It’s a jackhammer and a whirlpool and a plague. Relentless in the sludge of information that pours through our screens by the hour. Where are we headed from here? Where can we possibly go?

I crave Inverness. Dancing Coyote Beach and the fireplace in the cottages there. And the nap I took, lulled into a thick sleep by the lapping of Tomales Bay. I crave aloneness. Aloneness from my phone—which I have every opportunity to fling into oncoming traffic or the fountain at Echo Park Lake. I crave aloneness from the news, which is a swipe to the right and new every time. I crave aloneness from the dishes and the plans. And the piles of paper in my studio. The boxes of “art” that have not sold but might. I crave oblivion to offset the aloneness and aloneness from the desire for oblivion, and yet, this is the most alone I may have ever felt.

In college of at the start of my junior year, I didn’t yet have an apartment and the calendar had snuck up on me suddenly. I found myself entirely unprepared for school, in the thick of class sign ups and foundation courses with nowhere to live and a trash bag of cocktail dresses in the trunk of my windowless ‘93 Camry, that I had intended to sell but instead became my temporary wardrobe. I moved into my studio on campus which was a drywall space with an open ceiling in a block of several other similar units. For the first two months of that year, I slept on a futon there, where the overhead lights were on all the time; it often reeked of cigarettes and weed, and you could hear all hours gossip from the other students who didn’t suspect you were silently existing nearby. I showered early in the morning, in the security office and kept a large bowl nearby which I peed into, when the bathrooms were too many flights of stairs to get to in time. On my desk with the art supplies were two boxes of cereal which I couldn’t keep safe from the rats whose chewing kept me awake at night. I painted and sculpted in there, destroying the cocktail dresses from having future homes. And when I felt lonely I would go to the library to see people studying, peruse the books, and to check my Myspace in the computer lab.

That’s what it was to be an artist in 2006.

Now, it feels entirely devoid of that romance. Now, my art is better. I know technical shortcuts and where to buy the materials I need at the best prices. I have evolved immeasurably in my approach and my craft. I have slowed down and quickened my pace. I have a true home. The home of an adult married lady with a closet of clothes and cats and cereal that does not get chewed on by rats.

But I am more scared now than I ever was of making and sharing art. The size of the world seems to have grown with my access to the information in my pocket. And in that, my sense of uniqueness, of necessariness, of relevance has diminished, which before the age of the smartphone, played a subterranean, but crucial role in my creative machine.

In 2012, I was in the worst part of what would be a four-year existential crisis. I didn’t know why humans were here on earth or what the point of it all was. And one afternoon at Bed Bath N’ Beyond sent me spiraling out of control—the isles of Yankee candles and plug in wall fresheners seemed to me, everything that was wrong with the world (in particular a heavy blue Yankee candle with a tiny sailboat on the front called Life’s A Breeze). When I rounded the bend on my crisis I had settled with a personal knowledge that some things were just too big for us to know, and that my particular life was not designed to answer the big questions. I was not meant to see the man behind the curtain or get friendly with the abyss. For it did, as Nietzsche forewarned, begin to gaze back into me. Maybe too, is this VIP pass we’ve created to everything, that we take with us everywhere, too big for my spirit to hold. But how to move forward? Tossing my phone into the LA river and moving deep into the woods of the San Geronimo valley seems as counterproductive as spending four hours of my day engaged with my phone. In the end, they both leave me isolated. At least one of these options gives me the illusion of camaraderie, community. Alone, but in company.

 

Chelsea Bayouth is a writer and Emmy Award Winning visual artist from Los Angeles, California. Her poetry and short stories have been published or are forthcoming in BOAAT, Roanoke Review, Borderlands, Harpoon Review, The Rattling Wall/PEN Center USA, Heavy Feather Review, Stirring Lit, and many others. More of her work can be found on her website www.chelseabayouth.com.

Girl’s Dresser is not my first attempt at using watercolor, though it’s among the earliest ones on my long journey to becoming an artist.

This piece was created in 1991 after I had turned sixteen. The start of the year was one of my most dramatic teenage years. Second only to the year I became pregnant in my sophomore year of college at the age of nineteen. I was head over heels in love with a beautiful man who was seven years older than me and I was tortured by my parents’ attempt to keep us apart. The strain of it all proved to be more than my fifteen-year-old self could handle and before I turned sixteen, I had ended it, to his (and my) amazement. Essentially, Girl’s Dresser was created shortly after the breakup of my first boyfriend.

I drew inspiration from my own clutter. One night, I made a little space and teetered on my dresser to take it all in. The visual of my own dresser top overwhelmed me and I realized then that I’d have to simplify my vision in order to get it down on paper. As I sketched out my edited and imagined version, periodically I’d again teeter on top of the dresser to keep the core of my vision in my head.

There was no book present, but I wanted to incorporate one in the piece because I had always been an avid reader, though in 1991 I was no longer a reader of the genre of literature the novel I created visually implies. The novel in Girls Dresser titled Tiny suggests some sort of young adult horror literature. It’s more of a reflection of what I had been reading from fifth to seventh grade rather than the literature I devoured at sixteen.

I define clutter as an abundance of things that are unorganized and I place them into two sub categories: (a) things that have sentimental value and (b) things that have a perceived outward world application value.

By 1991, I was reading works like, The Bluest Eye by Toni Morrison and literature about slavery. I knew at the time that the novel I had invented in the painting came across as silly, but I placed no harsh judgment on it and allowed myself to explore the misty paths my imagination took me. The work was not created to be seen but to be adventurous. It was my version of still life, but for my eyes only—and maybe a couple of friends.

When Girl’s Dresser was complete, I tucked it away behind a collection of unhung posters behind my bedroom door. Girl’s Dresser, though always in my heart, never hung on a wall or door. It could almost be seen as a capsule of time that reflected the thoughts and behavior of my much younger self. I was a girl trudging towards womanhood, trying to be pretty, trying to be smart, exploring curiosities and defying her parents—I got into trouble on more than one occasion for keeping my dresser such a mess. I shrugged it off. It was my mess.

My current style and themes veer away from my interests as a teenage girl in wide degrees. For example, in a series of work titled, “Kobiphysics,” all of my paintings touch on the contributions of ancient and modern physicists. In a series titled, “STATIC!” the work addresses police brutality and the abuse of authority. Observation from these few examples illustrates that my more current somber and cerebral topics are galaxies away from the pink swirling whimsy of the study of a girl’s dresser.

Examining my entire body of work (my writing included) up to the present, one of the common threads that weave my first works to my current ones, is a thread I refer to as “clutter.” To be clear, I’m not inclined to categorize clutter as the half hazard placement of things that haven’t made it into the trash from procrastination or laziness. I define clutter as an abundance of things that are unorganized and I place them into two sub categories: (a) things that have sentimental value and (b) things that have a perceived outward world application value. In my writing, you can see it in random lists I create (I’ve always been a list maker). In my art, you can identify it in a collection of abstract images. An example is seen in my latest series, where I create assemblages of random things I own: pearls, painted bottle caps, crocheted t-shirts, Mardi Gras beads… in order to re-envision the idea of traditional talismans. My favorite is titled, “To Ward Off Sneaky-Snake Women Who Try to Kiss Your Man on the Mouth.”

I suspect the influence, the gravitation to the visual aesthetics of the abundance of things, stems from my grandmother, Ernestine Ruthie Mary Anderson Banks, who, in hindsight, I recognize as a hoarder. She was what a psychologist would classify as an “organized hoarder.” Her cups not only lined the inside of the cabinets, but were also nailed to the outside of the cabinets. Grandma had more jewelry nailed to her walls than in jewelry boxes. I’ve spent hours of my life reflecting on the multitudes of perfume bottles (full and empty) that occupied her entire dresser top—lined like soldiers under a cover of dust.

Clutter is to my work as decay is to the work of Salvador Dali; as crowns are to the work of Jean Michel Basquiat; as shame is to the work of Fyodor Dostoevsky.

My grandmother, Ernestine, passed away when I was twenty-four, but it wasn’t until a few years ago that I began looking at her and her collections with new eyes. I’ve reflected on the way she spoke with relish of her collections; the shelves of ashtrays; the wall to wall beverage bottles, the cast iron skillets that hung from beams, the deer antlers on the back wall of the den, the floor to ceiling walls of books… and how she displayed them—like a series of museum installations. I began to look at her, over time, as an artist. The quiltist. The candelist. The pillowist. The found-object installation artist. Now that I think about it, she was also a curator, because everything she displayed was chosen as though diamonds and displayed with parallel mindfulness. As kids, we, her grandchildren, didn’t look at it like that at all. Everyone had grandparents who lived like this. Right?

My clutter was never as artful and Grandma’s. As I grew up and became a mother, I had less of my own clutter and a whole lot more of my daughter’s. Still, subconsciously, the clutter, the disorganized collection of various things, has been the backdrop to my various explorations of themes, concepts and media. A quiet stowaway that I’ve paid little attention to, until my body of work silently expanded. Clutter is to my work as decay is to the work of Salvador Dali; as crowns are to the work of Jean Michel Basquiat; as shame is to the work of Fyodor Dostoevsky.

Though I am now open to sharing my work publicly, I consider each to be an experiment as I’m constantly working on both skill and mental evolution as a human being. My great challenge is to create like I did when I was sixteen. An exploration of and for the self. I’ve been striving lately, to be honest with myself. To stand up on my dresser top and look down at my life, to see it for what it is. To share what I want and keep the rest to myself. To recognize the mess. My mess.

 

 

Kobina Wright is a second-generation California native with a degree in communications from California State University, Fullerton. Wright is an artist, writer, entrepreneur, and a board member of The G.R.E.E.N. Foundation, an organization that helps to service the community through health education and navigation to support individuals and families to access quality health care.

1996

El edificio más alto en el mundo.

In a primary school in the city of Guadalajara, Mexico, an eight-year-old child stares at a picture in a textbook. Their third-grade geography class is studying a big city in the United States called Chicago. They have skyscrapers there. The biggest is the Sears Tower, which, the book tells the class, is el edificio más alto en el mundo. The tallest building in the world.

The child runs their small fingertips over the page. What they see thrills them, fascinates them. The tower is 108 stories tall. The child can’t quite comprehend this. How do you build something so big?

The child thinks about their family’s house. Their father did his best to build a home with what materials he could afford. The father, a bricklayer by trade, goes back and forth across the American border many times each year, looking for work that will allow him to save some money to bring home. The “house” is one room, about fifteen by fifteen feet, with two beds on a dirt floor and no roof. The walls are cinderblock, and over them the father laid laminas, a cheap plastic material that is supposed to keep water out. It does not. The bed that the child and their sister share gets wet when it rains.

The child does not hate this home. It has its own kind of beauty. There is ample space to play outside, and there are always extended family members around to dote on the children. But the child has, with age, become burdened with the knowledge that not everyone lives in houses like this.

The child learns that Chicago is famous for its architecture. They learn that architecture is what you call designing buildings, and the designers are called architects. This new fact opens something inside of them, like the bright-purple petals of the ipomoeas that bloom in Central Mexico, stretching out to receive the cool rains that come in May. Suddenly, a dream unfurls: someday, they will be an architect. They will build something as big as the Sears Tower.

Three years later, the child’s mother will tell the children that their father found good work in the United States, and they are all going to live with him there. She will explain to them that things will be different in America. There will be more money. The child and their sister will have more opportunities. The water will not get inside when it rains. When their mother tells them what city they are going to, the child will be so excited they could scream. Now, they will be able to see it, actually see it. The tallest building in the world.

*     *     *

2012

For most of us, the career dreams that we harbor before all of our adult teeth come in eventually get tossed into the same psychic rubbish pile as our fear of the dark and our attachment to a particular stuffed animal. Most kids who dreamed of becoming an astronaut never orbit the Earth. Most who wrote an elementary school essay about why they want to be a veterinarian never get around to saving all of those horses’ lives. But in 2012, Antonio squirms their way out of a crowded train car, weaves through the kinetic bustle of the Chicago Loop’s morning sidewalks, and takes an elevator up to the offices of the “Park and Associates” architecture firm. [1] They are twenty-three years old, recently graduated from college, and enjoying the dewdrop-speckled dawn of a bright career. They are on their way to becoming an architect.

They learn that architecture is what you call designing buildings, and the designers are called architects. This new fact opens something inside of them, like the bright-purple petals of the ipomoeas that bloom in Central Mexico, stretching out to receive the cool rains that come in May.

The five-year architecture program at the Illinois Institute of Technology had been grueling. Antonio came to IIT with only a hazy notion of the day-to-day work of an architect. Many of the other students in the program had already done architectural drafting. Antonio started from square one. To add even more pressure, Antonio’s full-ride scholarship required that they not dip below a 3.5 GPA, an especially tall order when all of your coursework is in your second language.

Antonio never lost sight of their dream: to one day build skyscrapers. They took every studio design course available that might help them gain the skills to do that. In those courses, they caught the appraising eye of Professor “Caroline Park,” a rising star in the Chicago architecture scene who’d recently made a splash with her bold design of a downtown hotel. Park invited Antonio to intern with her firm over the summer. Antonio felt particularly lucky to snag this gig. Not only did Antonio like Caroline, but she designed high-rises. Suddenly, they were one step closer to their goal.

Architecture is like a decathlon: you have to be good at many different things. Technical specifications require advanced math and science skills, while reigning in a client’s big ideas requires a warm human touch. You have to speak many different languages, breaking down complex instructions to a construction crew in the morning and then deciphering intricate budget spreadsheets in the afternoon. Finally, architecture is an art: it requires a gift for vision, an innate spark of genius that most aren’t born with. That range of very different skills rarely present themselves bundled together in one person. But Park recognized this elusive combination when she saw it. After the internship, she offered Antonio a part-time job during their last year in school. After they graduated, she offered them a full-time job.

On a blustery December morning six months into their job at Park and Associates, Antonio takes off their coat and sits down at their desk in the workspace they share with a handful of architects. They look the part of the modern cosmopolitan design professional, with their stylish brown glasses and a sharp jacket from Topman. Antonio is settling in to the job and loving it. At a small firm like Park, they get better assignments with more design freedom than they would have at a larger firm. Caroline often gives Antonio interior design work, which lets their creative spirit soar. At the same time, they are also relishing the other freedoms of early adulthood: their salary allowed them to move into their own apartment for the first time in their life, a cozy place in Lakeview. Piece by piece, Antonio’s American dream clicks into place.

“Antonio, can we talk in my office for a second?” Park asks, swinging by Antonio’s work station. They follow her down the hall to her office, walking past design boards that Antonio created for various building interiors, which now hang on the office walls. As they take a seat in Park’s office, Antonio is unconcerned. It’s common enough for Caroline to pull them aside to check in with them about projects.

Park is a great boss. She goes out of her way to mentor Antonio, taking them along to client meetings and construction sites just to give them the experience. Their relationship is friendly. They’ve been out for drinks a couple of times. Antonio deeply admires Park, a woman of color thriving in an industry that has long been a white male’s field.

“Quick thing—we switched payroll companies,” she says, bringing up a window on her computer. “And apparently there was an issue when they were rolling the info over. They said your Social Security number didn’t match your name, I guess?”

Antonio breathes slow, steady. They concentrate on keeping their face natural. Pursed lips. A head cocked slightly in confusion. They try to conceal all signs of the panic that wipes their mind clean of coherent thought in one hot flash. “Oh? That’s strange,” they say.

“Here, can you take a look?” She pivots her screen toward them.

Antonio’s heart hammers. They squint their eyes and study the screen. They pretend to carefully go over the digits. Nine digits that Antonio conjured at random, as one might choose lottery numbers.

Park and Antonio’s co-workers know them as an ebullient extrovert with a bright staccato laugh and as a sharp-eyed designer. They don’t know that Antonio is an undocumented immigrant. It is a secret they keep even outside of work, even among good friends. Antonio was taught not to talk about immigration status the way other children are taught not to talk to strangers. From the day their mother brought them to this country, she warned them to never discuss how they got to America, not with anyone. If someone asks, say that you’re a citizen. If someone accuses you of not having papers, deny it.

They squint their eyes and study the screen. They pretend to carefully go over the digits. Nine digits that Antonio conjured at random, as one might choose lottery numbers.

“Yes, I’m pretty sure that’s the right number,” Antonio says in Park’s office. “And they said it didn’t match?” Their puzzled tone says this incident is unexpected and perhaps a little annoying, but ultimately not of any real concern to me, because I am confident this minor mix-up will be sorted out.

“Yeah, that’s what they said.” Her attitude is casual. If Park has begun to suspect that Antonio does not have a valid Social Security number, she isn’t showing it.

“Well, you know, it’s maybe possible I misremembered. Let me check with my Mom. She has my original Social card, back at the house.” Their only thought now is of buying time. Time to breathe, time to think. If they can just get out of this tight, hot room, maybe they can come up with a plan.

As Antonio walks back to their desk, the liquid terror in their head begins to cool into solid, nameable fears. The anxiety comes in layers.

At the molten core of their anxiety sits the same ultimate fear that first comes to any undocumented person’s mind when a situation brings their immigration status to light. Antonio runs through the standard survival questions. How well do I know this person? Would they turn me in? They try to remind themselves that Caroline is a kind person, and she cares about them. But the images bubble up anyway. Images of Park on the phone in her office right now, making a call. Images of officials stepping off the elevator in Kevlar vests with “ICE” stitched across the front. Of handcuffs, white vans, detention cells.

The second layer of anxiety is made of dollars and cents. Antonio knows that they are about to lose the only steady paycheck they’ve ever had. How much longer can they keep paying rent on their apartment? Can they break the lease? How much longer can they keep buying food?

The final layer of anxiety is more existential, a toxic atmosphere that makes it painful to breathe. It is the anxiety of realizing that perhaps nothing Antonio has done in their life matters. Salutatorian of their high school class. Graduating college with honors. Nailing every assignment Caroline has given them. Because Antonio can’t give the company a valid Social Security number, none of that matters at all.

For the next two weeks, Antonio goes to work each morning as if everything is normal. But they carry fear inside them every moment, like a parasite burrowed in their gut. When Antonio doesn’t follow up with Park like they promised, she sheepishly approaches them again. This time, Antonio tries a desperate gambit:

“Do you want me to talk to the payroll company directly?”

Antonio calls them up and attempts to bluff their way out of the mess. But it becomes clear that the payroll company is using “E-Verify,” a name known and feared by many undocumented immigrants in the workforce. The E-verify program is run by the Department of Homeland Security, and once its database flags a mismatch, there is no way to wriggle off the hook.

After that, Antonio is out of moves. They go back to Park’s office, sit down, and do one of the hardest things they have ever done in their life: they tell their boss they are undocumented.

Along with the deep fear of disclosing their status, there is something else in that office with Antonio, something even heavier and more paralyzing: shame. They are ashamed that they lied to Caroline for this long.

Park, for her part, is characteristically nice about it all. She empathizes. She, too, is the daughter of immigrants. But she doesn’t seem to fully understand. She says that once Antonio figures out the situation, the office will get them right back to work. She seems to be under the impression that it will be easy to get immigration status.

Antonio tries. They pay a hefty fee to consult with a lawyer about their eligibility for DACA. Obama’s Deferred Action for Childhood Arrivals program, announced earlier that year, was designed for people like Antonio. It came out of a failed attempt to pass the DREAM Act through Congress, legislation which would have granted status to young people who were brought to this country by their parents when they were young and who received their education in the US. This generation of kids in legal limbo were dubbed the “Dreamers.”

But for Antonio, the dream had been punctured one night the year before. After work, they’d gone out for drinks in Chicago’s Boystown neighborhood with friends from the firm. On the way home, Antonio was stopped by the police and failed a field sobriety test. In Illinois, a first-time offense for driving under the influence is typically a misdemeanor, but the charge is aggravated to a felony if the driver doesn’t have a valid license. Antonio couldn’t get a driver’s license—at the time, Illinois residents needed a Social Security number for that, too.

In court on the felony charge, Antonio presented a letter that begged the judge to consider Antonio’s hard work and bright future when imposing a sentence. The letter was written by Caroline Park. Antonio received community service and probation, which they completed successfully, but immigration authorities still consider the incident a conviction, and it prevents Antonio from ever receiving DACA.

Antonio and their lawyer also discuss the possibility of Park and Associates sponsoring them for a business visa. But Antonio would be barred from receiving such a visa because they entered the country illegally—it does not matter that they were brought over at age eleven by their mother. Even if Antonio was eligible for such a visa, Park and Associates would have to pay more in fees and attorney costs than the small firm could possibly afford.

In late December, Antonio leaves the office for the holiday break along with all the other employees at Park. After New Year’s Day, everyone returns. Antonio doesn’t.

*     *     *

2013

As a new year dawns, Antonio scrambles to sublease their place, since the landlord wouldn’t let them break the lease. They move back in with their parents, hauling in boxes they triumphantly carried out less than a year before. Antonio’s parents had left the bedroom exactly the same, though it would now contain things Antonio has brought back from their time in the professional class: a wardrobe of the latest fall fashions, a blue leather briefcase from Zara. Souvenirs from a life put on hold.

Antonio’s parents had left the bedroom exactly the same, though it would now contain things Antonio has brought back from their time in the professional class: a wardrobe of the latest fall fashions, a blue leather briefcase from Zara. Souvenirs from a life put on hold.

Dark winter days stretch out before Antonio with nothing to fill them. Sometimes, they find themselves going downtown for no reason. Sometimes, they hang around the IIT architecture lab, updating their portfolio. They plot ways to get back into the industry. Maybe they could do freelance design work. Maybe they could start their own company. But down every alley Antonio pursues, they find the brick wall of the United States immigration system blocking their path. They drink a lot. They are quickly sliding into a depressive muck they know they might never escape.

In college, Antonio learned from an at-the-time boyfriend about a group of young, undocumented organizers called the Immigrant Youth Justice League. Antonio attended one of the group’s events, but didn’t disclose their status to anyone there and didn’t follow up with the group afterward. Antonio had been too frightened and ashamed to talk about their status with anyone, even others in the same situation. Instead, they kept their focus on school. After graduation, they were focused on their job. They didn’t think much about IYJL again, too busy cashing in on that promised better life that brought their family here. Between work and jogging and going out with friends and all of the other things young professionals do, Antonio didn’t have time for politics.

Now, they have nothing but time. They need something to do with all of that time. And something to do with the pain.

A couple of months after leaving Park, Antonio emails one of the IYJL organizers and asks how they can get involved. As it turns out, IYJL has an event coming up. It’s called “Coming Out of the Shadows.” There, Antonio meets a lot of other undocumented young people. Listening to their stories, Antonio is swept up in the uncanny excitement that comes with discovering that your isolated experience is widely shared. Here are others facing the same struggles. Others dealt the same raw deal. And these young people aren’t wallowing. They are fighting back. Antonio can feel rage and humiliation change shape and become something else that jolts their tired heart awake. They feel empowered.

Suddenly, Antonio has a mission. They attend the weekly IYJL meetings, where the group plans their next moves. IYJL is currently planning a campaign against one of their member’s deportations. They need someone to design the flyer.

“Does anyone have any graphic design experience?”

“Yes,” Antonio says. “I do.”

Antonio quickly becomes a member of the team and is thrown a wide variety of tasks, from social media management to liaising with the press. Being an organizer, as it turns out, is like a decathlon: you have to be good at many different things.

At the press conference IYJL holds to protest the young man’s deportation, they ask Antonio to speak. Antonio likes public speaking, and they’re good at it. But speaking to a throng of strangers and TV cameras about rights for undocumented immigrants? It’s a lot to ask of someone who, just a few months ago, was too frightened and ashamed of their status to voice it to a close mentor. Antonio has to decide if they are ready to face that fear—a decision that will alter the course of their life.

*     *     *

2017

In Chicago’s City Hall, outside the Mayor’s office, a mural depicts the city’s skyline in bright, pastel tones. In the painting, one building soars so high that the top spire is just out of the frame. The building used to be called the Sears Tower, but it’s not anymore. It used to be the tallest building in the world, but it’s not anymore.

The building used to be called the Sears Tower, but it’s not anymore. It used to be the tallest building in the world, but it’s not anymore.

Today, people swarm the area in front of this mural. They are organizers, activists, and protesters. They are black, Latinx, white, Arab, and Asian. They gather in a loosely-organized clump behind a podium while TV crews set up cameras and lights aimed at the press conference that is about to begin.

Antonio works the crowd. They seem to know everyone. They hug one of their comrades from Organized Communities Against Deportation, the group that the Immigrant Youth Justice League has since morphed into. They give a big wave to their friends in the Autonomous Tenants Union, a housing justice group Antonio co-founded and co-leads. Then they glide further into the crowd to catch up with co-workers from their day job, where they are a program administrator at an activist legal group. When another organizer takes the mic to call for attention, Antonio settles into a spot behind the podium.

They quietly review their notes as the first speaker addresses the media. At today’s event, groups from across the city and across racial lines will signal their resistance to President Trump’s attacks on sanctuary cities and demand that Chicago maintain—in fact, increase—its protections for undocumented immigrants. Antonio is speaking on behalf of OCAD, as they often do. They adjust the neckline of the smart blue sweater they wear over a collared shirt. They give their well-coiffed hair a final pat.

The speaker calls Antonio to the podium, to the cheers of the crowd. They stride forward with purpose. They grip the edge of the metal lectern and sweep steady eyes over the press and spectators. The click-click of cameras can be heard as white flash reflects off their glasses. When Antonio speaks, they let some of the anger and resolve and power that rattle inside of them show as a slight quiver in their voice.

“My name is Antonio Gutierrez. I am undocumented, and I am unafraid.”

 

[1] The name of the firm and its principal architect have been changed.

 

Chad Baker is a legal aid attorney in Chicago, IL. He has provided free legal services to low-income communities in the areas of immigration, housing, family, and healthcare law. He graduated Harvard Law School in 2015, where he served as executive director of the Harvard Legal Aid Bureau. He is the author of several plays that have been performed at many theatre festivals around the country. He is currently a student in the master’s writing and publishing program at DePaul University.

Antonio Gutierrez is a queer Latinx immigrant from Guadalajara, Mexico. Antonio has lived in Chicago for seventeen years after immigrating to the United States to reunite with family members. Antonio is a graduate from the Illinois Institute of Technology with a bachelor of architecture (B.Arch.). After graduation in 2012, Antonio joined the immigrant rights movement as an organizer with the Immigrant Youth Justice League (IYJL), an undocumented-led organization formed in 2009. Since 2012, Antonio has collectively organized rallies such as the national coming out of the shadows rally, fundraising events, mass marches, national retreats, and civil disobediences. Antonio is the director of operations for the Community Activism Law Alliance in Chicago. Antonio currently volunteers as a tenant organizer with the Autonomous Tenants Union (ATU) and as a member of the steering committee of Organized Communities Against Deportation (OCAD).

I am at my classroom door. I reach for my key, unlock the door, prop it open, and turn the key again. Open, but locked. I stand at my door, look up inside the frame, and pause, for the most important step.

I reach for the anti-latch device and flip it sideways. It keeps the door slightly ajar when closed, so neither my students nor I get locked out during the day. If a threat is identified, I can quickly flip the bar without stepping into the hall, close my pre-locked door, and go into emergency mode.

Done. We are safe. Ready for another day.

This morning, we will review French verb conjugations.

It is 7:45 on a Wednesday morning.

When did securing my high school classroom against a gun-wielding intruder become daily routine? Did we begin building our layers of defense after the fifth school shooting? After Columbine? Or Pilchuck High, seventeen miles east of us? I no longer remember. According to the superintendent of Public Instruction’s Weapons in Schools Report during the 2015-16 school year in Washington state, there were ninety-two reported incidents involving guns or firearms on school premises, transportation systems, or school facilities.

I can remember a time when I would not have given a thought to a student I didn’t know walking up the hall in a bulky coat. Now when I see a boy in a trench coat striding toward my room, I watch, suddenly alert, make a split-second assessment of intent, and even when assured of the child’s harmless cloak of machismo, I sometimes close my door.

When I spot a backpack abandoned in the hall on a Friday after school, I look around. I hesitate, wagering the probability of ill-intent, before I pick it up and deliver it to Lost and Found. (The US military calls this the OODA loop: observe, orient, decide, act.) The human mind is adept at forming new neural pathways for survival. We quickly forget the way things used to be.

*     *     *

A dirt trail used to meander through the woods near my house, crossing a stand of seventy-year-old Douglas fir. When the trail was widened to accommodate bikes, the firs were cut to the roots and graveled over. I tried to save them. After the trail crew tied pink plastic ribbons around the trunks, tagging them for demolition, I pulled the markers off, hoping to spare a few. But it was beyond my control. Few remember the trees that once stood—the former peace of the place.

*     *     *

There is profit to be made—in guns, in violence, and in fear. No grenades dropping on our schools, workplaces, and churches, but news releases of shootings and lists of casualties that hit like bombshells. The US guns and ammunition industry generated an estimated revenue of sixteen billion dollars in 2015 alone. The NRA and affiliated organizations’ 2016 revenue was $433.9 million.

Now when I see a boy in a trench coat striding toward my room, I watch, suddenly alert, make a split-second assessment of intent, and even when assured of the child’s harmless cloak of machismo, I sometimes close my door.

My grandfather, who grew up hunting in the arctic region of Tanana, Alaska, in the early decades of the twentieth century, had been a proud member of the NRA. In the 1970s, he realized that the organization no longer existed to promote hunter safety, but had embraced a larger agenda to protect rights for handgun and automatic weapon ownership. “Those guns are only used to hunt people,” Grampa told me, while pulling his camouflage-brown throw over his lap. That year, he dropped his membership.

When once I cried for innocent children gunned down, after Sandy Hook, I sank into a well of despair, numb with battle fatigue.

Our superintendent assured the community that the district would be taking steps to provide up-to-date active-shooter training for the staff, and install more security devices. State legislators are advocating for arming teachers.

There is profit to be made in making us feel safe—alert systems, surveillance cameras, alarms, remote locks, window shields, bulletproof backpacks, fingerprint recognition systems. Product reviews. Security firms. Consultants. Safe at school. School safe.

IHS Technology, a research company, estimated that security measures spent by schools and universities might rise to $907 million in 2016. These are considered necessary expenditures by often cash-strapped school systems, for which they must divert money from other educational needs.

*     *     *

The middle school was built over a wetland of sedge, slender rush, reed, ninebark, and Nootka rose. The area was surveyed and cordoned off, and then drained, bulldozed, leveled, and covered with concrete. They named the school for the dislocated birds. Twenty years later, children pass through the doors of a school built before they were born. They cannot imagine morning mist over the bulrush, the smell of wild rose in May, or the slow flap of herons that nested there. They shout, skip, and file in, ignorant of the way things used to be.

*     *     *

Over twenty years of teaching, I have stretched to keep up with change, hop-scotching from blackboard to whiteboard, from overhead to PowerPoint to Chrome collaboration. I have learned to recognize the syntax switch of a Wikipedia copy/paste, to spot camouflaged earbuds in long hair and hoodies, intercept test question texts, and have grown accustomed to background checks, bag searches, and police cars on campus. I have been trained to administer EpiPens, report suspicion of child abuse, refer for drug intervention, and assess for concussions. Change is to be expected. The future, faced head-on. Freedom, revered. The Second Amendment, sacred. Capitalism, rewarded. School security, a priority. I falter, unbalanced, no longer sure of the direction of the path we are on.

*     *     *

The American Academy of Pediatrics has defined gun violence as a public health epidemic. Firearm-related deaths are one of the top three causes of death of American youth. According to its 2017 website, for children five to fourteen years of age, firearm suicide rates were eight times higher, and death rates from unintentional firearm injuries were ten times higher in the United States than in other high-income countries. The AAP concludes, “The absence of guns from children’s homes and communities is the most reliable and effective measure to prevent firearm-injuries in children and adolescents.” In my rural county, more than thirty percent of families have guns in or around the home.

Twenty years later, children pass through the doors of a school built before they were born. They cannot imagine morning mist over the bulrush, the smell of wild rose in May, or the slow flap of herons that nested there.

The only thing to do with my despair is to act. I support organizations working for common-sense gun ownership: regulated licensing for transfer and sale, universal background checks and waiting periods, mental health restrictions, concealed-carry laws, Gun-Free Zones, assault weapons bans, gun safety education, and trainings regarding storage and locks. I mutter the nouns patience, persistence, and hope, like a mantra.

*     *     *

Fire drills, earthquake drills, and now lockdown drills. I know that statistically, we are safer at school than on a city street. I tell that to my students, but they read the news. Every year more than 3,600 kids die from gun violence in the United States. I don’t think they believe me.

On the December morning that we have our lockdown drill, I review the protocol with my students. We talk about closing doors, windows, and blinds, and finding a safe place in a room. Which wall would provide the best protection? Where could they sit unseen from someone outside, or in the hall? I try not to cause undue distress. I don’t want to frighten them. It is, after all, a drill.

But the teens do not smile. They crouch, hugging the farthest wall, one curled into a ball. You can talk softly, I assure them, while we wait for the “all clear” sign. You can read a book or do homework. But they remain grim. Anxiety clings to them, like winter frost.

The signal sounds and we move back to our seats. I walk to the door to perform my routine: open it, check the lock, and flip the anti-latch device. I stifle my rage and carry on. Fingers crossed, I push fears away and concentrate on the lesson for the day.

“Today we will review the verb esperer. To wait and to hope.”

 

Teresa H. Janssen is a public school educator who writes about travel and migration, teaching, and the power of place. She has an MA in linguistics from the University of Washington. Her nonfiction has received the Norman Mailer/NCTE Award, the Pacific Northwest Writers 2017 essay prize, and was a finalist for the 2017 Annie Dillard Award. Her writing has appeared or is pending in Anchor Magazine, Zyzzyva, Obra/Artifact, Gold Man Review, Dos Gatos Press, Tide Pools, Wanderlust, and Snapdragon. She is at work on a memoir-in-essays about a year in Ecuador. She can be found online at teresahjanssen.com.

The People wanted a reality television star to be their leader and we have to take responsibility for creating that.

It was 2003 when the first season of The Bachelor aired. Girls were on their hind legs like animals begging to be picked for a rose. Jerry-Springer-type talk shows began their de-evolution into hysterical chanting and violence. We’d already lived through the start of reporters and news stations discarding sacred words like report and news in favor of irresponsible mandates like speculate and entertain. Thirteen years ago, our modern day version of throwing Christians to the lions for entertainment was in an unfortunate full swing. I remember watching that first episode of The Bachelor, the new advent of this “reality” television. The farther along the show progressed, the tighter I curled up. I pressed myself into the farthest corner of my couch watching, through my fingers, in horror. My soul was already reacting my body because of what I was witnessing. I felt physically sickened by it and I never watched another reality TV show again… almost. Never one minute of Trump’s,  but I’d peek in on others from time to time; the advent of DVRs made it easier to fast forward through the painfully scripted and edited-within-an-inch-of- its-life “unscripted” chaos.

No one can ever tell any woman, minority, LGBTQ, transgender, Muslim, African-American, American Indian, Asian, Middle Eastern, any and all ethnicities other than white, that we are paranoid ever again, because this shit is real.

For almost thirty years we’ve been watching people act inhumanly towards each other in the name of ratings and money, and calling it entertainment. Not only is it the norm: entire generations know nothing else. The nation has become negligently desensitized to what it means to be a respectful, thoughtful human to another human because that’s not good TV. The medium is so powerful, it created a caricature of a person so strong that he could not be stopped. The Democratic and Republican parties TOGETHER were not strong enough to stop what reality television and the media had created: Donald Trump. He is the worst of humanity and he uncovered the millions of people in our country who respond to that. We have made him a drug, and people are ravenous for it. We, the watchers, have to take responsibility for that. We are complicit.

I’ve had this terrible feeling for months and months that we are at an actual crossroads of humanity. That we are experiencing something like 1930s Germany, to which people look back and say, The signs were so clear. Why didn’t they stop him? He was just one man. Well, everything is extremely clear. There has been nothing covert about this man’s message. Whether he meant it all, whether he means to follow through, Trump has shined the biggest black light on our beloved country. Apparently, people have been lying in wait for this particular trumpet call. And, boy, did they instantaneously respond.

No one can ever tell any woman, minority, LGBTQ, transgender, Muslim, African-American, American Indian, Asian, Middle Eastern, any and all ethnicities other than white, that we are paranoid . . . ever . . . again, because this shit is real. It is deeper and darker real than even any of us could have imagined. Even in our beautiful bubbles of Manhattan and Los Angeles blood has already been spilled.  It is not hyperbole to be afraid because it’s already begun. If we let it continue, families will be ripped apart. People will be deported. Separated. Segregated. Rights will be stripped. January 20, 2017 could set our clocks back decades and be marked as one of the darkest days in American history.

This has been exhausting to the core. To be so bewildered by humanity, so gob-smacked by people we love, whom we thought we knew, whom we thought loved and respected us and our rights and our freedoms. Millions of little civil wars have already begun, brother against brother, the stepping away from, the distancing of.  As artists we have an abundance of empathy, which is usually a great thing, but in these days it can feel like quicksand trying to course its way through our veins. We are weighed down by our disbelief, and shattered at witnessing some crazed game of telephone where the truth, crystal clear, is spoken, and as it passes, even just to the very next person, it is somehow transformed and ignored.

The most hopeful thought that moves me forward is that they can want to make a group of people register with the government because of their race or religion, they can want to take away our rights, but because it is today and not 1930s Germany, there will never come a day where this can be allowed to happen again. There is no way we would let it. Artists have always been part of the resistance, and here we are, so that there will never come a day when….

Artists and storytellers, with the mandate of talking about what our job is now, I put forth that our job now, as always, is to do magic. We create tangible worlds out of thin air. A thought has its lucky genesis in one of our gorgeous heads and we create people and their worlds where nothing existed before. We start to care for them, and hand the baton to an audience who begins to care for them, too. The world watches and laughs and cries and gasps and cares. We have our  shared experience, and that, my loves, is Magic. There is so much value in not only shining a light on the darkest parts of humanity, but also in making humanity giggle its ass off. Make music and art. Write stories and poems. Make documentaries and films and plays and television shows… scripted. As the music swells, so will our hearts.  As voices rise, so will our spirits. As collaboration strengthens, so will community.

I vow here, today, to do everything in my power, including stand in front of the harm with arms linked, to bear witness, in the name of what is right and good and decent, to support our nation, so that our creative community can shine our collective light to heal the pains and awaken the slumbering so they can see clearly: he is like me is like she is like we.

Deidra Edwards is an LA-based actor, director, writer, and collaborator to writers. Her work has appeared in television, on film, and in theatres around the country. She directs with her mentor Jeff Perry, Co-Founder of the Steppenwolf Theatre Company, in theatres such as The Alliance and The Guthrie.  She’s spoken out on LGBT Issues with her videos on YouTube under the title Enough Already. “Witness 2016” can be viewed here. Deidra is honored to be a contributor to Lunch Ticket.

 

I sip on my coffee and scan over emails: doesn’t apply, not me, junk, I have a meeting with the Colonel today. The Marines’ voices bounce off the walls with excitement as they chug Rip-It energy drinks, the unofficial sponsor of war. When I ask where they get neverending cases of the eight-ounce cans of carbonated super caffeine, the answer is always the same: one of the Marines snaps to attention and announces, “We know people who know people who kill people, Ma’am.” That Marine remains at attention until I lose my bearing, which doesn’t take long, and everyone erupts into laughter. This is how every day starts with the exception of Sunday. Sunday morning, I wake up before dawn and head out for a long run on the lesser-traveled dirt roads that wrap around the perimeter of base. The Marines have the option of going to church or sleeping in, but the workday doesn’t start until noon.

I hit reply to an email from a friend back home and write, “Good morning, things are exactly the same as they were yesterday and the same as they will be tomorrow.” As I hit send, I hear the thick metal door of our warehouse-turned-office creak open, as whoever opens it fails to realize how heavy the door actually is; this is my first clue that it’s not one of the warehouse Marines coming in to grab a Rip-It before carrying out the plan of the day. I slide my chair to the side to stay out of view from the visitor.

Our office is a small warehouse made of cement blocks and filled with dust-covered desks and beat-up office chairs. Along the back wall, next to the fridge full of Rip-Its and bottled water, is a rifle rack where the Marines place their M16 rifles while they work. When they leave for chow, go to the headquarters building, or pick up supplies from the depot, they wrap the various styles of tactical slings they have acquired around their bodies and carry their weapon at their side.

I was warned to be careful. This is the battle I face in war—someone or someones in the unit hiding behind computer screens waiting for me to incriminate myself online.

At some point in the war, a unit that inhabited the space built half-walls out of plywood, making a break room next to the rifle rack. In the small, cluttered space there is a dirty sofa that nobody uses because a poof of dirt explodes when you sit on it; crates of ground coffee; rusty wall lockers filled with boxes of Girl Scout Cookies, candy, paperback romance novels, other random items that strangers have sent in care packages throughout the years of war (including the occasional pink nail polish that Sergeant Browning picks out to secretly paint her toenails); and boxes of letters from school children, women looking for dramatic love stories, and parents remembering the children they have lost. In front of the break room is another segregated area where I share an office with Staff Sergeant Sharpe, my sister-in-arms. The plywood walls were not intended for privacy, nor was the window cut out in front of my desk that allows the Marines to roll their chairs over and pass documents back and forth instead of walking twenty steps to get my signature. In the front of the warehouse are desks lined up where the five supply admin Marines work. Due to the closeness both here and in the barracks (which are also converted warehouses), everyone knows everything about everyone. I can’t even hide it when I get a Dear Jane letter from my boyfriend during the second month of the deployment—some of the Marines offer their own letters for comparison and condolences. We are more than family because we can’t afford to tease and bicker; at war you have to love and support those to the left and right of you, because at any given time they could be the one to save your life, and during the daily grind they are the ones who save your sanity.

I know exactly how far I have to lean to the left to stay out of sight of visitors. My introverted self needs the extra ten seconds to gain awareness of the situation before confronting whoever is on the other side of the wall. As I lean, I overhear the conversation.

“Good morning, sergeant, can I help you?” Lance Corporal (LCpl) Curlee announces with pride. LCpl Curlee is barely nineteen, just over five feet tall and might weigh 100 pounds soaking wet with a bag of pennies in each cargo pocket. She’s one of the most motivated Marines in the shop. When she checked into the unit with LCpl Shivers a month before, they were told, “Pack your bags you’re going to Iraq.” Neither complained; both eagerly prepared for six to thirteen months in a combat zone. I hear her voice over the sergeant she’s addressing. “I don’t know, sergeant, let me see if she’s available.” The office gets quiet as everyone wants to know what business the unexpected visitor has with “The Ma’am.”

“Ma’am, there are three Army sergeants here to see you,” LCpl Curlee says.

“What on earth do three Army sergeants want?” I ask rhetorically.

“I don’t know ma’am, they said something about a blog,” LCpl Curlee says with her normal tone of enthusiasm.

My heart drops as my stomach twists into a tight yoga knot that I can never get the rest of my body to mimic. A week ago, during an unexpected invite to the base coffee shop, I was warned to be careful. Specifically, I was told, “Lieutenant Prifogle, people are reading your blog and I don’t mean for entertainment.” This is the battle I face in war—someone or someones in the unit hiding behind computer screens waiting for me to incriminate myself online. I registered my blog with the all the right authorities, sat through a brief with the public affairs office about what I can and can’t post due to operations security (OpSec). I have been so terrified of posting something that could violate OpSec and cost troops their lives that all I’ve written about is the weather and my daily runs that range from three to fifteen miles. I draw in a deep breath and stand tall.

Nobody wants to hear about the blasé days, they want to hear about triumphs and war stories that change the course of history.

If I’m going to be arrested by PMO in front of my Marines, I will do it with dignity. After all, the sergeants are just the messengers, not the accusers.

I turn the corner of the wall that separates my semi-private office to the open space and am surprised to see three young sergeants eagerly waiting like they are about to meet Megan Fox.

“Can I help you?” I ask confused.

“Ma’am, we just wanted to meet you in person. We’ve been following your blog the past few months and we just really enjoyed it. We’re on our way home and asked all around base to find your office.” The leader of the pack, a male sergeant, smiles and talks rapidly. I look behind at the two other soldiers—one is a female. I shake all their hands, still confused.

“Well, thank you for reading, I’m not really sure why you find it so interesting,” I say. “I’m just a sup-o stuck here on Al-Asad running myself into the ground.”

“Ma’am,” the young woman jumps in from behind the other two, “when you’re out here, nobody back home knows what to say or how to relate. It just feels like I’m not alone when I read your posts.”

I thank them for stopping by and wish them well on their journey home. I think about the young woman’s words. My emails and phone calls are sparse and the details I provide about life out here even more sparse. How can someone back home relate? The never-ending work day, the hurry up and waits, the eagerness to get in the fight, the never discussed fear of death. Nobody wants to hear about the blasé days, they want to hear about triumphs and war stories that change the course of history.

When I return home, I don’t fit into the keyhole that opens the door to my old life. My friends, the restaurants and bars I used to frequent, even the beautiful beaches of San Diego, all seem pointless after living in a war zone. I kept a blog to fulfill Antioch’s field study requirement for its MFA program. The assignment was to keep a blog while deployed, so after I unpack my bags and storage container, I file the paperwork to complete the project and stop blogging. I take the next semester off and stop writing altogether.

Eventually, I finish all the requirements to earn an MFA, but I never go back to writing with the enthusiasm I had before. Even now, as I write this, I struggle to put the words on the page. The various traumas of four years on active duty brings a monsoon of memories that flood my body with hormones of fear, then rage, then finally a sadness that no amount of prescription drugs or alcohol can combat.

After graduating from Antioch, I submitted to literary agents my final manuscript, a memoir that covers my experiences in the military. Some asked for samples, others didn’t—all said it wasn’t marketable, even though it was a remarkable story and excellent writing. I cried, I screamed, I destroyed my computer in a fit of rage, and then I tried to stop writing forever.

Six years after graduating, I share a few of my essays with my fiancé who is also a combat veteran. He says nothing at first, but asks to read them again, and again, and one more time without saying a word. Finally, he looks at me and says, “This isn’t about you. You realize that right? You have to publish this, but not for you.”

I stuff a piece of sushi in my mouth to inhibit my ability to say anything.

“You have to share this for the vets who are out there alone, scared, tired, depressed. You have to share this so they know they aren’t alone, that they aren’t the only ones who feel this way. You have to show them that they can overcome it.”

“But,” I try to interject with my mouth still full of rice and seaweed.

“God gave you this gift, you don’t have a choice, you have to finish and publish your story.”

To date, my story goes untold, as do the stories of countless other veterans struggling to make sense of what they experienced.

I think about the sergeants who came to my office and the many soldiers and marines after them who stopped by to shake my hand and thank me for keeping my blog because it made them feel less alone. I think about how I’ve felt since I stopped writing—like there’s a fog that constantly surrounds me; some days it’s light and misty, almost refreshing, but other days it’s so thick that I can’t find my way out of bed.

Periodically, I get an email or phone call from a fellow veteran chronicling his/her struggles in a journal that he/she wants me to read. They want to know if they can be writer.

“You are writing,” I tell them, “so you are a writer.” I instruct them not to focus on publishing, but focus on the act of writing. I tell them that they can publish it after their wounds are healed. I leave these conversations feeling like a hypocrite because most days I am still afraid of putting words on paper. I hit send or hang up the phone and glance at the manuscript sitting on my desk. I think about what my loving fiancé told me, “God gave you this gift.” I sift through the rejection letters, all saying the same thing—war stories just aren’t marketable.

To date, my story goes untold, as do the stories of countless other veterans struggling to make sense of what they experienced. Stories that could connect us; stories that could alleviate the fear, isolation, depression, and anxiety of joining the old world after a deployment; stories that could save one of the twenty-two veterans every day who just can’t take another day in this new world they are expected to navigate through alone.*

These stories aren’t told because, according to agents and publishers, readers don’t have any interest in war stories that don’t fit the mold of a young boy going off to war, triumphantly leading troops into battle, and coming back a man. We all know intuitively that this archetype isn’t real, but a true war story told well breaks our heart, makes us uncomfortable, forces us to look at heroes in a new light—they are just ordinary people who went down a relentless and unforgiving path in life for the greater good.

So, this is my call to arms to civilians: Go out and purchase the literary magazines and books that don’t sell as well but tell a true narrative of what hell-on-earth looks like. I suggest Incoming: Veteran Writers on Coming Home, but there are plenty of others to explore. Let these stories disturb you, wake you up covered in sweat from the nightmares, make you weep in public for unimaginable losses, and laugh out loud as we retell stories of chugging gallons of milk to see who pukes first. Let it surprise you as you discover you have more in common with the experience of war than you could ever imagine, because war is a part of the human experience. Only then will you know what that sentimental meme you posted on Facebook about supporting the troops really means. Only then will you change the market and help new voices of the war narrative be told.

And this is my call to arms to veterans: Create art no matter what the market looks like or who tells you that you can’t. Write books, plays, songs, poems; draw, paint, make murals through your city. Do it because God gave you a gift, do it for your own peace of mind, do it to give a voice to those who haven’t found theirs yet. Most importantly, do it to connect to a stranger who is lost and needs to know they aren’t alone.

Together we can do more than raise awareness of those twenty-two veterans who commit suicide every day. Together we can reframe the war narrative and change the way the world sees veterans. We are called heroes and put on the highest pedestal, but we’re more like glass figurines of our former selves sitting in a curio cabinet. Together, we can make the shelf stable, together we can protect those who protected us.

 

*Editor’s note: This statistic—that twenty-two American veterans commit suicide every day (or one every sixty-five minutes)—comes from a 2013 report from the Department of Veteran Affairs. More recent sources, such as the Washington Post, have attempted to put the figure in context, saying that it may overestimate service-related suicides among aging veterans; at the same time, it does not include a 2014 update from the VA , which indicates a spike among the youngest (aged 18 to 24) veterans who take their own lives.

Lisbeth Prifogle is an officer in the United States Marine Corps. Her work was featured in Incoming: Veteran Writers on Coming Home, Poem Memoir Story – Volume 11, The Splinter Generation, and Citron Review. She also received an honorable mention in Best American Essays 2012. Lisbeth holds an MFA from Antioch University Los Angeles and is currently working on a travel memoir about a two-month, solo trek through Peru immediately following a deployment to Iraq. She lives in domestic bliss with her fiancé and family in Southeast Louisiana.

 

A few days after our last issue’s publication, in South Carolina, a gunman entered a 199-year-old church during a prayer service. This specific place of worship had held a prominent role in social activism from the slave era to the Civil Rights Movement to the Black Lives Matter movement. The white gunman, in what is now known as the Charleston church massacre, confessed that he attacked the black congregation during a prayer service and killed nine people in the hopes of igniting a race war.

A few weeks later, an officer in Prairie View, Texas pulled a woman over for a routine traffic violation. In viral footage from the officer’s dashcam and a video recorded by a bystander, the male officer, reported to be Hispanic, harasses the black female driver, Sandra Bland, a civil rights activist, forcefully pulls her from the car, threatens her with a Taser, and arrests her. Three days later, Bland was discovered dead in her jail cell. As of this writing, the investigation is ongoing.

This summer, as protests waved across the nation in response to these and other manifestations of culturally-ingrained biases—police brutality, racial injustice, economic inequality—another story about equality also dominated the news. In its landmark decision on the Obergefell v. Hodges case, the U.S. Supreme Court reaffirmed the Constitution’s guarantee of equal protection under the law and expanded the scope of human rights in this country. Justice Anthony Kennedy wrote, “The right to marry is a fundamental right inherent in the liberty of the person, and under the Due Process and Equal Protection Clauses of the Fourteenth Amendment couples of the same sex may not be deprived of that right and that liberty.” The marriage equality victory didn’t end the struggle for equal treatment and protection for non-heterosexual and non-binary-gendered people, but the ruled marked a significant cultural shift.

Like Antioch, our university-affiliate, Lunch Ticket is committed to dismantling ethnic biases, heterosexism, sexism, classism, ageism, ableism, discrimination based on religious, cultural and political affiliations, and other forms of oppression. As our staff engaged with the summer’s equality struggles, sorrows and triumphs, our submission windows opened, and our editorial teams began reviewing work for this, our Winter/Spring 2016 issue. Our own diversity underscored the powerful outcomes of respecting and reflecting a wide spectrum of values and voices. We were unified in our celebration of marriage equality, in our disdain of racial inequities, and our outrage at the senseless loss of lives. All the while, we have wondered how, as a literary and art journal, Lunch Ticket can make a meaningful difference in the cultural conversation.

In this state, I reached out to LeVan Hawkins to write the featured essay for our Winter/Spring 2016 issue. Individual narratives drive the broader cultural narrative, and as a journal, Lunch Ticket strives to publish work that has been and continues to be underrepresented in the literary ecosystem. LeVan’s talents as a poet, performer, and essayist, are rooted in his fierce commitment to honesty and insights. He is someone who I knew would draw upon his experiences as a black, gay man to illuminate universal truths of great import to all communities. We spoke for a long time about life as a writer, and about the intersections between the personal and political, and when I mentioned the featured essay, he knew exactly what he wanted to write about. However, before our conversation ended, he said, “You know, I wish people would stop reaching out to me to write essays about being black and gay.”

I understood what he meant. For a moment, I wanted to backpedal, to invite him to write about anything of his choosing. But we both knew that I had called because I wanted him to write about exactly that. We need writers willing to share their personal stories about moving through a world that is often oblivious to its own biases and stereotypes. We need writers who are willing to write about the intersection of their personal lives amid the socio-political climate. Their willingness to share their experiences can change the world for someone who identifies with those experiences, yet never sees them reflected on the page. So, too, they can change the world for all of us, by shining a light on experiences that, while new or uncomfortable to some, need to be known by all. And we need publishing platforms: newspapers, film and television outlets, online media, and literary and art journals that are passionate about publishing our collective and individual realities.

At Lunch Ticket, we believe in excellent craft, moving stories, intriguing art, and social activism. Reading and publishing is both a reflective and radical act. It is both local and global and it is unacceptable to strive for anything less than the removal of the prefix “under” from underrepresented. We must shift the meaning of marginalized away from any particular group of people, reserving it for that space where editors and others write notes. When we read works that illuminate the emotional connection between the familiar and the unfamiliar, we gain insight, empathy, and compassion toward others in our global community. This is our mission at Lunch Ticket: to be an amplifier for stories that move beyond historic conventions and traditional constraints into a truer reflection of our diverse, culturally rich, and complex world.

In this Winter/Spring 2016 issue, we feature 65 new pieces, from original material to translated works, across fiction, creative nonfiction, poetry, author interviews and essays. Several pieces touch on grief and longing, as in Sara Walters’s “Where the River Ends,” a story in verse about a teenager grappling with love and loss, and in Dana Mele’s “Bats in the Attic,” about miscarriage. Many of our authors, poets, and translators take us on cultural journeys—to China, Vietnam, Israel, Argentina, Turkey, Japan, Ecuador, and more. Others share narratives that capture the complex multicultural U.S. quilt, as in Talar Malakian’s piece “Want Cokes?” about Armenian- and Mexican-Americans, Sabrina Fedel’s “Honor’s Justice” about an Iraqi-American family as their daughter assimilates, and Yoshie Sakai’s video installation, “‘Koko’s Love’: A Soap Opera Tale of One Family” about Japanese-American stereotypes. In their photography collections, Candace Jahn and Brooke Johnson tackle gender stereotypes, and in Robert Robinson’s “Boiler Rat,” he offers an insider view of the working conditions in an Iowa industrial power plant. These are powerful, moving works of art and literature, ones that we believe should be out in the world and read.

Of the whole collection, however, Carmella Guiol’s flash CNF “Lifted” perhaps best sums up what Lunch Ticket is about. In this piece, strangers standing on line at a grocery store connect over an unexpected moment of beauty. Music sparks the shoppers to connect with each other in just a glance across imagined and real differences. Throughout this issue of Lunch Ticket, I hope that you find meaningful engagement with narratives that resonate both familiarly and with strange newness. And, writers among you, whatever your journey through the infinite and constantly evolving combinations of identity, cultural or otherwise, I hope you’ll choose to share your unique voices and perspectives. After all, readers turn to story not only to discover other worlds, but to retrieve something that will be of use to them back in their own.

 

Take good care,

Arielle Silver
Editor-in-Chief