IN THE DREAM HOUSE - Serpent's Tail

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IN TH E D R E AM HOUSE cAR M E N MAR IA MAcHAD O In the Dream House.indd 3 15/10/2019 16:43 First published in Great Britain in 2020 by Serpent’s Tail an imprint of Profile Books Ltd 29 Cloth Fair London eC1A 7jq First published in the United States of America in 2019 by Graywolf Press Copyright © Carmen Maria Machado, 2019 Some of the material in this book was previously published in Catapult, Los Angeles Review of Books and Medium. Excerpt from The New Sappho by Jim Powell. Copyright © 2007 by Jim Powell. Reproduced with permission of Oxford University Press through PLSclear. ‘Ghost House’ reprinted from For Your Own Good by Leah Horlick (Caitlin Press, 2015). Used by permission. Lines from ‘Labrador’ by Aimee Mann © 2012 Aimee Mann (ASCAP). Used by permission. All rights reserved. Lines from ‘Voices Carry’ by Aimee Mann, Michael Hausman, Joe Pesce and Robert Holmes © 1985 ’Til Tunes Associates (ASCAP). Used by permission. All rights reserved. CHOOSE YOUR OWN ADVENTURE® is a trademark of Chooseco LLC and is registered in the United States and may be registered in jurisdictions internationally. Used here with permission. All rights reserved. This publication is made possible, in part, by the voters of Minnesota through a Minnesota State Arts Board Operating Support grant, thanks to a legislative appropriation from the arts and cultural heritage fund. Significant support has also been provided by the McKnight Foundation, the Lannan Foundation, the Amazon Literary Partnership and other generous contributions from foundations, corporations, and individuals. To these organizations and individuals we offer our heartfelt thanks. The events described in this book represent the recollections of the author as she experienced them. Dialogue is not intended to represent a word-for-word transcription, but it accurately reflects the author’s memory and fairly reconstructs the meaning and substance of what was said. 1 3 5 7 9 10 8 6 4 2 Typeset in Tramuntana Text by MacGuru Ltd Printed and bound in Great Britain by Clays Ltd, Elcograf S.p.A. The moral right of the author has been asserted. All rights reserved. Without limiting the rights under copyright reserved above, no part of this publication may be reproduced, stored or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise), without the prior written permission of both the copyright owner and the publisher of this book. A CIP catalogue record for this book is available from the British Library. ISBN 978 1 78816 224 1 eISBN 978 1 78283 536 3 In the Dream House.indd 4 15/10/2019 16:43 If you need this book, it is for you In the Dream House.indd 5 15/10/2019 16:43 You pile up associations the way you pile up bricks. Memory itself is a form of architecture. — Louise Bourgeois In the Dream House.indd 7 15/10/2019 16:43 If you are silent about your pain, they’ll kill you and say you enjoyed it. — Zora Neale Hurston In the Dream House.indd 9 15/10/2019 16:43 Your mind indeed is tired. Your mind so tired that it can no longer work at all. You do not think. You dream. Dream all day long. Dream everything. Dream maliciously and incessantly. Don’t you know that by now? — Patrick Hamilton, Angel Street In the Dream House.indd 11 15/10/2019 16:43 I N TH E D R E AM HOUSE In the Dream House.indd 13 15/10/2019 16:43 1 Dream House as Overture I never read prologues. I find them tedious. If what the author has to say is so important, why relegate it to the paratext? What are they trying to hide? In the Dream House.indd 1 15/10/2019 16:43 2 Dream House as Prologue In her essay “Venus in Two Acts,” on the dearth of contempor- aneous African accounts of slavery, Saidiya Hartman talks about the “violence of the archive.” This concept— also called “archi- val silence”— illustrates a difficult truth: sometimes stories are destroyed, and sometimes they are never uttered in the first place; either way something very large is irrevocably missing from our collective histories. The word archive, Jacques Derrida tells us, comes from the ancient Greek ἀρχεῖον: arkheion, “the house of the ruler.” When I first learned about this etymology, I was taken with the use of house (a lover of haunted house stories, I’m a sucker for architec- ture meta phors), but it is the power, the authority, that is the most telling element. What is placed in or left out of the archive is a political act, dictated by the archivist and the political context in which she lives. This is true whether it’s a parent deciding what’s worth recording of a child’s early life or— like Europe and its Stolp- ersteine, its “stumbling blocks”— a continent publicly reckoning with its past. Here is where Sebastian took his first fat- footed baby steps; here is the house where Judith was living when we took her to her death. Sometimes the proof is never committed to the archive— it is not considered important enough to record, or if it is, not impor- tant enough to preserve. Sometimes there is a deliberate act of In the Dream House.indd 2 15/10/2019 16:43 3 destruction: consider the more explicit letters between Eleanor Roosevelt and Lorena Hickok, burned by Hickok for their lack of discretion. Almost certainly erotic and gay as hell, especially con- sidering what wasn’t burned. (“I’m getting so hungry to see you.”)1 The late queer theorist José Esteban Muñoz pointed out that “queerness has an especially vexed relationship to evidence. . . . When the historian of queer experience attempts to document a queer past, there is often a gatekeeper, representing a straight present.” What gets left behind? Gaps where people never see themselves or find information about themselves. Holes that make it impossible to give oneself a context. Crevices people fall into. Impenetrable silence. The complete archive is mythological, possible only in theory; somewhere in Jorge Luis Borges’s Total Library, perhaps, buried under the detailed history of the future and his dreams and half dreams at dawn on August 14, 1934. But we can try. “How does one tell impossible stories?” Hartman asks, and she suggests many avenues: “advancing a series of speculative arguments,” “exploit- ing the capacities of the subjunctive (a grammatical mood that expresses doubts, wishes, and possibilities),” writing history “with and against the archive,” “imagining what cannot be verified.” The abused woman has certainly been around as long as human beings have been capable of psychological manipulation and inter- personal violence, but as a generally understood concept it—and she—did not exist until about fifty years ago. The conversation about domestic abuse within queer communities is even newer, and even more shadowed. As we consider the forms intimate vio- lence takes today, each new concept— the male victim, the female perpetrator, queer abusers, and the queer abused— reveals itself as another ghost that has always been here, haunting the ruler’s house. Modern academics, writers, and thinkers have new tools to delve back into the archives in the same way that historians and scholars have made their understanding of contemporary queer sexuality reverberate through the past. Consider: What is the topography of these holes? Where do the lacunae live? How do we move toward wholeness? How do we do right by the wronged people of the past 1 Eleanor Roosevelt to Lorena Hickock, November 17, 1933. In the Dream House.indd 3 15/10/2019 16:43 4 without physical evidence of their suffering? How do we direct our record keeping toward justice? The memoir is, at its core, an act of resurrection. Memoirists re- create the past, reconstruct dialogue. They summon meaning from events that have long been dormant. They braid the clays of memory and essay and fact and perception together, smash them into a ball, roll them flat. They manipulate time; resuscitate the dead. They put themselves, and others, into necessary context. I enter into the archive that domestic abuse between partners who share a gender identity is both possible and not uncommon, and that it can look something like this. I speak into the silence. I toss the stone of my story into a vast crevice; measure the empti- ness by its small sound. In the Dream House.indd 4 15/10/2019 16:43 I Eros limbslackener shakes me again— that sweet, bitter, impossible creature. — Sappho, as translated by Jim Powell In the Dream House.indd 5 15/10/2019 16:43 7 Dream House as Not a Metaphor I daresay you have heard of the Dream House? It is, as you know, a real place. It stands upright. It is next to a forest and at the rim of a sward. It has a foundation, though rumors of the dead buried within it are, almost certainly, a fiction. There used to be a swing dangling from a tree branch but now it’s just a rope, with a single knot swaying in the wind. You may have heard stories about the landlord, but I assure you they are untrue. After all, the landlord is not a man but an entire university. A tiny city of landlords! Can you imagine? Most of your assumptions are correct: it has floors and walls and windows and a roof. If you are assuming there are two bedrooms, you are both right and wrong. Who is to say that there are only two bed- rooms? Every room can be a bedroom: you only need a bed, or not even that. You only need to sleep there. The inhabitant gives the room its purpose. Your actions are mightier than any architect’s intentions. I bring this up because it is important to remember that the Dream House is real. It is as real as the book you are holding in your hands, though significantly less terrifying. If I cared to, I could give you its address, and you could drive there in your own car and sit in front of that Dream House and try to imagine the things that have happened inside. I wouldn’t recommend it. But you could. No one would stop you. In the Dream House.indd 7 15/10/2019 16:43 8 Dream House as Picaresque Before I met the woman from the Dream House, I lived in a tiny two- bedroom in Iowa City. The house was a mess: owned by a slumlord, slowly falling apart, full of eclectic, nightmarish details. There was a room in the basement— my roommates and I called it the murder room— with blood- red floors, walls, and ceiling, further improved by a secret hatch and a nonfunctional landline phone. Elsewhere in the basement, a Lovecraftian heating system reached long tentacles up into the rest of the house. When it was humid, the front door swelled in its frame and refused to open, like a punched eye. The yard was huge and pocked with a fire pit and edged with poison ivy, trees, a rotting fence. I lived with John and Laura and their cat, Tokyo. They were a couple; long- legged and pale, erstwhile Floridians who’d gone to hippie college together and had come to Iowa for their respec- tive graduate degrees. The living embodiment of Florida camp and eccentricity, and, ultimately, the only thing that, post–Dream House, would keep the state in my good graces. Laura looked like an old- fashioned movie star: wide- eyed and ethereal. She was dry and disdainful and wickedly funny; she wrote poetry and was pursuing a degree in library science. She felt like a librarian, like the wise conduit for public knowledge, as if she could lead you anywhere you needed to be. John, on the other hand, looked like a grunge rocker- cum- offbeat- professor who’d In the Dream House.indd 8 15/10/2019 16:43 9 discovered God. He made kimchi and sauerkraut in huge mason jars he monitored on the kitchen counter like a mad botanist; he once spent an hour describing the plot of Against Nature to me in exqui- site detail, including his favorite scene, in which the eccentric and vile antihero encrusts a tortoise’s shell with exotic jewels and the poor creature, “unable to support the dazzling luxury imposed on it,” dies from the weight. When I first met John, he said to me, “I got a tattoo, do you want to see?” And I said, “Yes,” and he said, “Okay, it’s gonna look like I’m showing you my junk but I’m not, I swear,” and when he lifted the leg of his shorts high on his thigh there was a stick- and- poke tattoo of an upside- down church. “Is that an upside- down church?” I asked, and he smiled and wiggled his eyebrows— not lasciviously, but with genuine mischief— and said, “Upside down according to who?” Once, when Laura came out of their bedroom in cutoffs and a bikini top, John looked at her with real, uncomplicated love and said, “Girl, I want to dig you a watering hole.” Like a picara, I have spent my adulthood bopping from city to city, acquiring kindred spirits at every stop; a group of guardians who have taken good care of me (a tender of guardians, a dearheart of guardians). My friend Amanda from college, my roommate and housemate until I was twenty- two, whose sharp and logical mind, flat affect, and dry sense of humor witnessed my evolution from messy teenager to messy semiadult. Anne— a rugby player with dyed- pink hair, the first vegetarian and lesbian I ever met— who’d overseen my coming- out like a benevolent gay goddess. Leslie, who coached me through my first bad breakup with brie and two- dollar bottles of wine and time with her animals, includ- ing a stocky brown pit bull named Molly who would lick my face until I dissolved into hysterics. Everyone who ever read and com- mented on my LiveJournal, which I dutifully kept from ages fifteen to twenty- five, spilling my guts to a motley crew of poets, queer weirdos, programmers, RPG buffs, and fanfic writers. John and Laura were like that. They were always there, intimate with each other in one way and intimate with me in another, as if I were a beloved sibling. They weren’t watching over me, exactly; they were the protagonists of their own stories. But this story? This one’s mine. In the Dream House.indd 9 15/10/2019 16:43