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Nicole Dennis-Benn | Mama’s Writing

Mama’s Writing is Raising Mothers’ monthly interview series, created by Deesha Philyaw.


How has the experience of raising children shaped your own personal growth as a writer and as an individual?

I have a lot more patience with myself and in general. I know things cannot always get done, and forgive myself if I’m not meeting those expectations of myself. I have also become very mindful of my time. I only go to important literary events and/or say yes only to paid gigs that are worth leaving my family for.

If you could go back and give yourself advice before becoming a parent, what would it be?

Nothing really. Nothing can really prepare one for parenting. You just take the plunge and learn to swim.

How do you navigate societal expectations or stereotypes as a Black parent in your writing while staying true to your authentic voice?

I tend to focus on generational traumas and how they shape us. I also delve into mother-daughter relationships a lot, given the importance of that relationship as it relates to our understanding of ourselves as women in society. My goal as a writer is usually to humanize individuals; allow the reader to see the world through their eyes, their perspective, their experiences. In my novel, PATSY, for instance, I challenge the reader to take off their lens and remove the label of “mother” and see the individual. Folks tend to put mothers on a pedestal, and thus begin to see mothers as martyrs, saints, or asexual beings. I write against those stereotypes.

What themes or topics do you find yourself drawn to explore in your work since becoming a parent, and why?

I am still drawn to themes of identity: be it race, gender, sexuality, class. I am also still interested in writing about the relationship between women, be it mothers and daughters, sisters, friends, lovers. I am not done with those themes yet. Or rather, they’re not done with me! However, one thing I find myself exploring more since becoming a parent is ancestral history. I don’t believe it is a result of becoming a mother, but just a curiosity that I’ve always had and have now found the confidence and voice to explore.

How do you handle creative challenges or setbacks?

I keep trying. I keep coming back to the page. But if something is not working, no matter how many times I keep trying, then it might not be the story for me to write. It takes a lot to acknowledge that sometimes a story is not yours to write. Perhaps the timing isn’t right, or my level of maturity. I either gracefully move on, or give myself time.

How do you navigate the fine line between sharing personal experiences in your writing while respecting the privacy of your family?

Since I am a novelist, I never have to worry about that since everything I write is fiction. My imagination is my vessel. I pull from it. That, in itself, is a gift. 

How do you carve out time for self-care, down time, and creative expression? 

I schedule massages every once in a while. I also workout in the mornings. It’s hard when I’m deep in a story to do anything at all, but I tell myself that I don’t want to be a “broken down” successful author. I want to look good and feel good, too.

How has your parenting journey impacted your perspective on your writing career and artistic aspirations?

I now find myself caring more about my children’s well-being. I now advocate for myself more in hopes that my sons can eat and live comfortably. I have always been ambitious. But now I am twice as ambitious. I also negotiate more. Before, I would go on tours and teach in far away places. Now, I am even more selective.

How have other mother figures you have encountered in your community influenced your parenting? Your writing?

I am good friends with my inspiration, Edwidge Danticat, who is a phenomenal mother and writer. I constantly message her for advice, and we talk about balancing motherhood with our careers as writers. Tiphanie Yanique is another person who I look up to as a mother and a writer. I also listened to Toni Morrison speak about her sons and how she balanced her career with being a mother. These women inspired me to strike that balance as well, understanding how to give myself grace.

What advice would you give to other mothers who aspire to pursue their writing goals while raising a family?

Be flexible. Your writing time can sometimes change, but it’s okay. Just go with the flow. Sometimes the best scenes are written under duress.

Who are your writer-mama heroes?

The women I mentioned above: Edwidge Danticat, who has been a phenomenal mentor and friend; Tiphanie Yanique, who I have always admired; Zadie Smith, and Toni Morrison. 


Nicole Dennis-Benn is the author of HERE COMES THE SUN (Norton/Liveright, July 2016), a New York Times Notable Book of the Year and a 2017 Lambda Literary Award winner. Pulitzer Prize winning journalist, Soraya McDonald describes Nicole Dennis-Benn’s debut as reminiscent of the work of Toni Morrison. Her bestselling sophomore novel, PATSY (Norton/Liveright, June 2019), is a 2020 Lambda Literary Award winner, a New York Times Editors’ Choice, a Financial Times Critics Choice, a Stonewall Book Awards Honor Book, and a Today Show Read With Jenna Book Club selection.

The Big Chop

This is Unfolding Inheritance, a column by Kristen Gentry exploring mother-daughter relationships, the impact of parental addiction, and the journey of finding and loving yourself through it all.

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My life’s timeline is split–before BC and after. A calendar that places me, a Black woman, not a man purported to be white, at the center. 

More times than I can count, I’ve been shopping and stopped by a compliment, “Your hair is beautiful!” A turn will nearly always reveal a Black woman with natural hair–an afro, locs, braids, a fade, two-strand twists, a twist-out, you name it. I’ll thank her and throw a compliment right back. “Yours is gorgeous!” 

These exchanges draw us to one another, tracing our dates of origin, “How long you been natural?” We share our stories, products that get us through, laugh and sister-girl tap one another on the arm, the shoulder.

Sometimes I initiate. There are many jokes about this, Black women’s enthusiastic validation of one another. The funniest I’ve seen was on A Black Lady Sketch Show because IYKYK. 

But why do we do this? 

Because, afterward, we carry on with our cups, too often empty, now brimming. Because natural hair journeys are cute on Youtube–a sequence of photos set to India Arie’s “I Am Not My Hair” revealing curls and baby locs climbing out, reaching, milestones of hangtime and ponytails, hair sweeping past shoulders, stretched straight to meet the back of a bra strap–but we know how hard the journey is  off-camera. For all the moments we couldn’t see, we say, “I see you.”

#

The BC is an after and the beginning. 

The origin of that beginning can be traced to my funds, stuck in college student struggle, that left me holding out for long overdue touch ups. I’d part my hair at the crown and marvel at the thick waves pushing from my scalp wondering what they would become if freed to grow without a relaxer. This curiosity led me to Nappturality.com, where my initial spark of interest quickly blazed into a full-flamed obsession. I’m talking a real obsession. Not that flimsy, fleeting brand of “obsessed” people sling around nowadays to define their affinity for mediocre rappers and cheap crap bought from sketchy websites. I pored over forum members’ freeform locs, tight-fisted curls glistening with homemade moisturizing concoctions, twist-outs rioting around brown faces in unruly fluff. It was 2002, and I was riding the wave of what the Black hair zeitgeist would be throwing down real heavy by the end of the decade. 

In the year of the dumpster fire that was 2020, I had locs that could cover my breasts if I wanted to take an artsy nude, and all of my younger cousins wore their natural hair. I stood at our Juneteenth cookout watching the sun shine down on their braids dangling with beads, ribboned with mermaid pastel weave, locs thrown up with a scarf, thrown out of the face with a rubber band, an afro puff blooming fat like a hydrangea. Their hair was the most beautiful “fuck you” –flipped straight from their scalps–to the respectability politics thrust on Black people, Black youth especially, following the murder of George Floyd. White people who hated us and other Black people who loved us wanted us to apologize, raise our hands, bow our heads, pray, and hope we could somehow make right whatever a white eye had found wrong in our breathing, driving, sleeping, being. The Louisville Police Department murdered Breonna Taylor five miles away from my cousin’s home where we lit the sky with our Juneteenth fireworks.  

But all that wasn’t until later. 

Before then, it was just me with the acronyms I’d learned from Nappturality.com, telling my mother I was planning a BC (big chop) to cut off my relaxed hair and sport a TWA (teeny weeny afro). As expected, Mama looked at me like I spoke a language she didn’t, couldn’t, understand. 

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In the few pictures I’ve seen of my mother before I was born in 1980, she sports an afro.  If you attended a public school in the United States and didn’t blink, you may have caught the lesson of the Black Power Movement taught in February’s rush of Black history after slavery, the Civil Rights Movement, and Martin Kuther King, Jr’s assassination. You may have glimpsed a flurry of fists and afros thrust into the air, black leather jackets, rifles. Even if your teacher didn’t have the knowledge or interest to deliver the message with words, you could discern the fertile political ground of Black natural hair in the images, damn near hear the horn blast and grunt of James Brown. But my mama wasn’t an “I’m Black and I’m proud” type of chick. Her afro wasn’t about that life. It was the style’s trendiness for her, not the revolution. And afros were popping, until they weren’t. 

Mama kept her jheri curl long past the style’s prime. Hers wasn’t the stringy, greasy mess of Coming to America Soul Glo jokes, but it was still embarrassing when I, fifteen-years-old rocking a fresh asymmetrical stacked haircut with long face-framing bangs à  la T-Boz on the CrazySexyCool album cover, answered the phone to my boyfriend clowning, “May I speak to the last woman on Earth with a curl?”

The curl died three years later with Richie, my maternal grandmother, whom my cousins and I called by her first name. Mama showed up to the funeral with wispy relaxed hair styled in a tousled mushroom bob. 

I can’t help but question this timing, though I may be reaching. The rift between my grandmother and mother, Richie’s first of six daughters, second of nine children, was as wide as the Ohio River’s length, old as time as I knew it. Like me and Mama, Mama and Richie shared a face. Richie wore a curl until chemo took it, and the shared hairstyle further highlighted their physical similarity, the mother-daughter relationship that never was. As a child, I couldn’t fathom Richie’s opinion keeping Mama from doing anything. With the exception of Richie’s face, Mama seemed fully independent, formed on her own. As I got older, it became easier to see the influence of mother hunger and past hurts in Mama’s behavior. I don’t remember Richie saying much, but her eyes could cut. I wonder if such a wound is what Mama was avoiding by waiting until Richie was gone to make a change.  

The relaxer’s harsh chemicals were unkind to Mama’s hair. Over the years, she fought to maintain her hair’s length and health until she eventually returned to her natural hair out of defeat. 

Didn’t matter to me; I was elated.

But Mama refused to bare her hair. She wore wigs of long, barrel curls outside of the house and, inside, kept her plaits covered with a wrap cap. She called her hair “nappy.” This word in mama’s mouth was not the positive remix on the pejorative like that of Nappturality or bell hooks’ children’s book, Happy to be Nappy. It was “nappy” in the classic sense, a racist slur championing white beauty ideals. I hated that word with the intensity it  was meant to make me hate myself. I especially hated that Mama used it indiscriminately. We’d be in the car after some gathering and she’d say, “Whoo! So-and-so’s baby got some nappy hair!” and shook her head while I cringed.

#

L’il Wayne claims, “Long hair, don’t care,” but I beg to differ. 

Long hair cares. A lot. At least, I did.

Long relaxed hair wasn’t just what I had, it was who I was for large portions of my life in predominantly white schools–”the Black girl with the long hair.” When I got the aforementioned T-Boz haircut, I’d grown tired of being boxed because of my hair. I didn’t really like the cut, but I was proud of myself for trying something new. 

A couple years later, inspired by Nia Long and emboldened by my first cut, I got a pixie, and soon realized that the easy, breezy ‘I woke up like this’  vibe  of the cut was a whole lie. Getting it to look good took time–to wrap a teeny, tiny ass curling iron around every strand of hair stacked in the back or it would stick out–and money–to maintain regular appointments for cuts and touch ups to stop new growth from making my own hair look like a poorly attached wig chilling on top of my head. I didn’t have either of these resources so I chose to grow out my hair again.  

When my natural hair obsession hit, my hair was long again, so the chop I was considering would, indeed, be big. 

When I told my boyfriend about my plans, he sicc’d his mama on me.

“Nooo! Nooo!” she cried. “Your strength is in your hair.”

I knew the strength she spoke of held more attributes than beauty, but I was twenty-two, and strength and beauty were often one and the same. I wondered what role my hair played in my bond with her snitching ass son and his attraction to me. Did my hair hold the strength of our relationship? 

My cousins just wanted me to do the damn thing already. They were tired of the saga of my back-and-forth.

Both of my fathers showed their usual support for my decisions. As far as they were concerned, it was my hair, my business. 

Mama, however, was invested. “You don’t want to do that,” she said. “What if you don’t like it?”

Leave it to a mother to feed your fears with her worry. 

“It’s hair. It’ll grow back,” I feigned nonchalance.

“That’ll take a long time,” she said. “What are you going to do until then?”

I flopped my shoulders in a flippant shrug. 

Nom nom nom went the fear. 

#

Still, I made the choice and booked the appointment–BC Day. 

My mistake was calling Mama on the way to the beauty shop hoping to drum up some encouragement. I knew she didn’t want me to do it, but thought she’d relent into support and offer something comforting when she heard the fear pinging in my excitement. “You’re not gonna like it,” she said. “Don’t do it. You’ll regret it.” She read my future with blunt certainty. 

Though even innocent babes could be on the receiving end of her critiques, she’d never called my hair nappy, at least not to my face. That wasn’t her way, the realization dawned on me. Her hard refusal to offer reassurance, her unwavering conviction that I would hate my natural hair carried the words she wouldn’t say: my hair was nappy, no good.

I knew this wasn’t true. 

But I didn’t want my boyfriend to break up with me. I wanted to know I was beautiful and receive the validation of this truth from others. I didn’t want to hear whispers of “That girl got some nappy hair” floating behind my back. 

What I didn’t want to do was exactly what I did. I told my beautician I wanted a touch up instead and cried while she applied the relaxer. 

#

I know my mother loves me. That she meant no harm. 

She was trying to shield me from the pain of my fears coming to life, all the brutal ways we’ve known this world to reveal its cruelty and prejudice against Black bodies, Black beauty. I understand this.

Seeing ourselves through white eyes renders Black women invisible or beastly, dismembered to the juiciest parts, chopped, and screwed so bad that freeing our nature becomes a danger that spurs our mothers to attack us before the world can. 

The problem with that protection is that it still hurts. 

#

I wore my long, straight strands in defeat. They were a constant reminder of the way I’d let fear, my own and my mother’s, bully me into denying myself of being the Black woman I wanted to be, an “I’m Blackety-Black and I’m Black, y’all” type of chick wearing her hair boldly, unapologetically, like a crown, like the  good thing it is, because all Black hair is. 

I vowed that nothing would stop me again; I didn’t give a damn who wouldn’t like it. 

As luck would have it, my boyfriend and I broke up while I was waiting to grow enough unprocessed hair to finally follow through with my big chop. I was also accepted into Indiana University’s M.F.A. program in creative writing and would be leaving in the fall. My doubts about finding a good Black beautician in the ultra whiteness of Bloomington gave me confidence about my decision to go natural and do my own hair. The money I’d save was very necessary since I’d be living on my own for the first time, paying all the bills with my fellowship money. And I was excited about the journey of learning my new hair, which was simply my old hair, my only hair, a realization that was wild when I thought about it.

The next time I sat in that salon chair, I was ready. I didn’t tell Mama I was doing it. Instead, I brought my cousin to cheerlead. 

My stomach dropped, heart leapt, breath caught as scissors crunched through my ponytail, snipped strands into my lap, and clippers buzzed around my ears. Then, a spin and stop. 

The sight of my reflection in the mirror–the exposed neck, my brown face unframed, the profile of my pea head beneath tight curls–brought air back to my lungs in a dramatic gasp.

“Awww!” My cousin smiled. “I like it. How do you feel?” 

I turned my head in the mirror, finding myself in multiple angles. “I like it!”

I rose from the chair and stepped over the old me, shed all over the floor. 

#

Mama didn’t like it. This was disappointing, but, of course, no surprise. What was  surprising was how easily I pivoted past her judgment. I’d lived my whole life craving my mother’s approval, but I was twenty-three, setting out on my own to write stories and live a life that was mine. Finding pride in my reflection had become more important than her praise, which was no longer required to anchor my self-confidence. 

Like me, Mama was a product of the racism that raised her. We’d simply lived in different generations and places that grew us different. This strangely twisted us to one another as I matured. 

A couple weeks before she and Daddy D would drive with me to Bloomington in a stuffed pick-up truck, Mama gifted me hefty bottles of fancy shampoo and conditioner. “They said it’s supposed to be good for natural hair,” she said, squinting at the shampoo’s label for the truth of this claim. “Anyway, it should last you for a while,” she set the bottle on the kitchen table with a thud. 

“Thank you.” I hugged her and felt nostalgic for the days when she cared for my hair. 

I longed for a return to my first beginning, for her to grease my scalp with a small tub of yellow hair grease, to sit between her knees feeling safe and loved, to know only that my hair, our relationship, everything was good.  


The Orca and the Spider: On Motherhood, Loss, and Community

1.

Once upon a time, in the Southern Resident community off the coast of the Pacific Northwest, a female orca gave birth to a calf but the baby died within the hour. The mother, known as Tahlequah or J35, carried her dead calf for a number of days, attracting worldwide attention in her spectacle of grief. More than a week passed and Tahlequah showed no signs of letting go, but as she became weaker the other female orcas in her pod took turns carrying the dead calf in a stunning display of maternal support and community.

This was no mere gesture. The calf weighed 400 pounds, and it’s estimated that the orca pod swam around 1,000 miles during what came to be known as the “grief tour.” Millions of people around the world empathized with Tahlequah and responded by creating essays, poems and artwork. We are naturally captivated when animals act in ways that seem to fit a human narrative; we instinctively project our own emotions onto other species. Orcas may actually be worthy of the comparison. Among the most intelligent and sensitive of mammals, they travel in organized clans, have complex social interactions, and communicate in a distinct language. Orcas live in matrilineal groups and stay with their mothers their entire lives.

After 17 days and several waves of news coverage, Tahlequah finally released her calf back into the ocean. The writer Lidia Yuknavitch tweeted:

Yes, I know I am not this Orca. But her letting go of her dead calf rings through my whole body. Letting my dead daughter go took over a decade—and her life and death became my writing. Sending human mammalian love to an Orca—for what is carried…

I, too, was touched by the story and thought about my own experiences with grief. I tweeted in reply:

I am thinking, our astonishment at the grieving orca reflects a terrible blind spot in our culture. No one who has lost a loved one stops mourning in one news cycle. We carry the grief for longer than anyone ever knows but it is invisible, which only multiplies our pain.

People are uncomfortable with the orca’s spectacle of grief, as though it is abnormal and unhealthy. No. We are the ones who are unhealthy. We expect and push people to get over profound sadness and loss too quickly.

For most people, Tahlequah was a heartwarming story about the power of a community of mothers. For me, it opened up a wound that I didn’t yet have the words for.

2.

I grew up in a typical nuclear family: father, mother, sister, brother. We were four sides of a table, a perfect, stable square. We’re from Taiwan originally, but lived in the U.S. for most of my early childhood where we gained American citizenship and I grew up speaking English. After that we lived in Hong Kong for a decade, where my brother Ted and I attended an American school.

When Ted and I graduated from high school, we always knew we would go to college back in the States, but we didn’t really think about what came next. Ted moved to Los Angeles and enrolled at USC. By the time I started college at U.C. Berkeley five years later, he had finished his studies and was back in Hong Kong. Fast-forward a few years: Ted took a vacation in Thailand and liked it so much that he decided to stay. Martial law was lifted and democracy emerged in Taiwan, making it safe for my parents to return there after 19 years abroad. I stayed in the Bay Area after graduation. Within a few short years we all dispersed to different countries, separated by borders and oceans, our own miniature diaspora.

From age 19 onwards, I lived on my own in the States with no relatives nearby. I remember sad, solo fast-food meals on Thanksgiving because I was one of few college students not traveling home for the break. I didn’t attend my own graduation ceremony because there was no one coming to watch me walk in my cap and gown. I stressed out whenever I had to complete an emergency contact form, because I did not have someone local who could claim me if I was hurt or got in trouble. While these were lonely experiences, I didn’t dwell on them or hold any of this against my parents. I simply accepted that we were different from other families, that this was normal when there was an ocean between us.

As an adult I visited my parents almost every year and saw my brother every few years. Ted and his girlfriend had three kids, and I eventually married and had one. We settled into a comfortable status quo of periodic visits to Taipei and Bangkok, and the easy harmony of grandparents enjoying their golden years with small grandchildren.

Then the health issues started. My brother was only 46 when doctors discovered an aggressive tumor in his liver, and he died just nine months later. My mom was diagnosed with Alzheimer’s and suffered an agonizing descent into dementia that lasted more than a decade. My dad never expected to outlive his son and his wife, and his heartbreak hastened his own decline and passing. Within a six-year period I lost all three of them.

One by one, the sides of our perfect square collapsed. Even though we lived an ocean apart for more than two decades, each loss was like sawing off a table leg, causing the whole structure to wobble and fall. Although my brother and my parents weren’t present in my daily life, they provided an invisible scaffolding that I didn’t realize I depended on until they were gone. All the things that proved I had a home in California—house, job, passport, driver’s license, ability to vote—were the result of choices I had made, rather than natural ties to a culture and community. It was a one-sided equation: I could claim it, but it did not claim me. The only true unit of belonging I had that was intrinsic and undeniable and could not be undone, that understood my complicated identity without needing an explanation, was my family.

With each loss, I traveled overseas for the funeral then returned to California where I would be showered with condolences for a week… then nothing. There was no grave for me to visit. No fellow mourners to share my loss. No church or temple to advise me on the right rituals. My grief was a secret painfully apparent to me but invisible to others, like a fresh tattoo on unexposed skin. My sorrow was like a stone dropped into a lake that immediately sank to the bottom and made no ripples; like hearing deafening music that no one else could hear. It felt to me like a form of madness, this loneliness that was too profound for words.

3.

The first time I saw “Maman,” one of a series of monumental steel sculptures by the artist Louise Bourgeois, was in Roppongi Hills, Tokyo, where I was on vacation with my husband and son. Since then we’ve also seen the giant mother spider at the National Gallery of Canada in Ottawa, and at the San Francisco Museum of Modern Art. Someone who wasn’t familiar with Bourgeois or her work might be surprised at the association of maternal feelings with an insect that usually triggers an instinctive loathing. But a quick look at the descriptive label reveals that Bourgeois appreciates the spiders’ industriousness and skill at weaving, a reference to her own mother who was in charge of mending tapestries in the family atelier. She describes spiders as friendly creatures that provide a valuable but thankless service to humans by trapping and eating other insects. Cleaning up, removing obstacles, finding food, and defending the nest: these are all classic examples of a mother’s work.

Like mothers, spiders can inspire awe and fear disproportionate to their size. So it’s fitting that Bourgeois made the sculptures dramatically oversized, up to nine meters high. Their huge, elongated shadows represent the enormous influence mothers have over their children well into adulthood. Although monstrously large, as if made for a vintage Japanese disaster movie, getting close to Maman brings an unexpected feeling of intimacy. You can stand underneath her. You can be enclosed and sheltered by her, the same way your mother once enveloped and surrounded you. The spider mother appears delicate with her fragile skinny legs, but she is literally made of steel.

Maman is stronger than she looks. She is your first and forever home, and she weaves the world into existence.

Native American mythology is filled with tales of a goddess/ancestor called Spider Grandmother, who weaves the web of creation from which all other living things emerge. Numerous other myths around the world depict spinning and weaving goddesses; the making of textiles was considered a distinctly feminine skill. In her essay “Woven,” Lidia Yuknavitch shares a Lithuanian myth about the water spirit Laume who brings blessings to women who are good weavers and mothers, and judgment to those who are greedy, foolish or do not protect their children. Weaving, creating, and mothering are intertwined and celebrated as women’s work. But the flip side is that being deficient in these arts can lead to violence and punishment.

Every culture has its ways of defining acceptable womanhood.

4.

My own mother did not weave or make clothes, though she did own a sewing machine that she used mostly for hemming and small repairs. But like most mothers she was a weaver of community, responsible for maintaining the social fabric that cushioned our lives. For decades she had a box with a hinged lid designed to hold index cards for recipes, but she used hers as an address book. It was a bright sunny yellow with a design of red poppies, and she kept it long after it started to rust at the edges. I still remember my mom’s neat handwriting on each lined card, and how my own card had been whited out and overwritten numerous times due to my frequent moves. In college I lived in six different apartments over four years; seven, if you count the year I studied abroad in Paris.

My mom’s recipe box held addresses and phone numbers for the families we went to church with, my dad’s Bible translation colleagues, and others who were part of a large network of Taiwanese Americans on the East Coast and beyond. The box followed our family from place to place: New Jersey in the 1970s, Hong Kong in the 1980s, and then Taiwan in the 1990s after my parents moved back there for good. I never really thought about the recipe box or what it represented until the 2000s, after my mother was diagnosed with Alzheimer’s.

The first sign that something was wrong was when she struggled to grade papers and keep up with her work as a professor at Taiwan Theological Seminary. She also fell behind on filing their U.S. taxes, something she had always handled and that my dad had no idea how to do himself.

It was around this time that my parents stopped sending Christmas and birthday presents to me in California. Though the gifts were always from the two of them, my mom was the designated gift shopper and the one who kept track of birthdays and special occasions. I received cards and a check for a couple of years, signed in my dad’s handwriting, then those stopped too. As my mom slipped further into dementia, it became increasingly difficult for my dad to fill all the gaps.

In retrospect, this was a much bigger deal than we were willing to admit. Not because anyone resented the lack of gifts, but because my mom had always been known as an extremely thoughtful and tasteful gift giver, someone who put a lot of effort into beautiful wrapping paper and cards because she took genuine pleasure in it. What hurt was the loss of this part of her personality that we so admired, this form of expression she had lovingly cultivated over a lifetime.

The most refined aspects of her identity were the first to go, followed by the ability to care for others and ultimately the ability to care for herself. In between one of my visits to Taiwan and the next, my parents’ household spiraled into complete disorder. My mom was no longer capable of basic housework or hygiene, and my dad struggled for months until he hired a housekeeper to help with cooking, shopping, cleaning and laundry.

In happier, healthier times before the crisis of dementia, my trips to Taiwan had been filled with outings to Taipei for shopping and eating, and visits to museums and sights in the surrounding towns. My parents enjoyed playing tourist with me. We also often visited with relatives on both sides of the family. I saw my dad’s family the most because they lived just blocks away from my parents’ apartment, and we always made a trip north to Tien Mu to see my mom’s brothers and their families. It wasn’t until near the end of my mom’s illness that I realized I hadn’t seen any of my mom’s family for years, because my dad hadn’t thought ahead to make arrangements with them. That’s when it really hit me that my mom had been the nucleus at the center of all family gatherings, the planner who brought everyone together.

I didn’t notice the unweaving until it was too late. The next time I saw my mom’s relatives was at her funeral.

5.

I became a mother myself at the age of 38. I was lucky that I had a smooth pregnancy with no complications. We hired a doula to hold my hand and coach me through the contractions and pushing. My son arrived at nine in the morning, and all day long the nurses and staff were in and out of my room, constantly checking on us, until the evening when it became dark and very quiet. While my husband napped on an armchair, my baby and I stared at each other in the moonlight and tried to adjust to this new reality. It was like we were meeting each other for the first time, but also, paradoxically, like we had known each other forever.

My husband’s mother came from Canada to stay with us for a month after the baby was born. I was grateful for the help, but cautious because my husband’s relationship with her was strained. She was volatile and had strong opinions, and I did not want to clash with her over our different approaches to raising a child. The unspoken arrangement was that she would take care of my husband and me, and I would take care of the baby. She managed the shopping, cooking, and cleaning, and had jurisdiction over the entirety of our apartment except the master bedroom, the inner sanctum where I stayed with the baby and where she only appeared when invited in.

My mother-in-law was a superb cook and she fed and cared for us well, in addition to spoiling her grandson with toys and clothes. I became closer to her over time, and somewhere inside me a door I had forgotten about swung open. But it would not open all the way, because what I really wished for and could not have was my own mother by my side. By then my mother was living in a senior care facility in a suburb of Taipei. My dad worked during the week at home, then commuted two hours north every Friday so he could spend the weekend with her, although the house rules required him to sleep in a separate guest dormitory. Neither of them could travel anymore; their last international trip had been to California to attend my wedding four years before. When their grandson was born, they shared their joy and well wishes over the phone.

After my mother-in-law left, we were on our own. Because we didn’t have any relatives near us, there were no extra hands when we needed them, no sources of maternal wisdom, no endless supply of hand-me-downs. I learned how to be a mother from my friends and from the internet.

My son is 11 now and for the most part I think we’ve done a good job raising him. He visited his Taiwanese grandparents several times and has good memories from before they got sick and passed on. He also spent time with his Canadian grandma but hasn’t seen her in several years. For complicated reasons we are no longer in touch with her, and the story behind that particular pain isn’t mine to tell.

I envy my friends who have healthy parents that live nearby, who have the ability to slip out for a spontaneous date night or to take off on a weeklong, kid-free vacation. How I wish we had occasional help that we didn’t have to pay for—something my friends take for granted—although it was never about the money. How I wish I had a sibling or cousin with children in the same city so that we could send our kids to the same school, share dinners and holidays, coordinate vacation plans, and so on. How I wish my son could grow up with a clan, a group of mothers and children traveling together through life like a pod of orcas, always looking out for each other, secure in their belonging to something bigger than a family of three.

The older he gets, the more I worry that I have not done enough to knit a tapestry that will enfold and protect him, that will open doors and give him room to stretch while keeping him out of harm’s way, that will imprint a pattern so deep and recognizable that he can always find his way home. This is what I am most afraid of: that I will be exposed as the mother who cannot weave, who cannot on her own produce the work of many hands, the unseen web that no one notices but everyone needs. Try as I might, there is no material stronger than kinship.

6.

I used to visit Taiwan almost every year. When I was younger, my parents would make a big deal out of taking me around to see all my relatives. There would be many dinners in fancy Chinese restaurants where we’d get a private room and enjoy an elaborate ten-course feast. No two meals were the same, although I came to understand there would always be a whole fish and a soup course at the end. The occasion for the gathering would be “Gu-lace-uh tńg-lâi” (Grace has come home) and I was always amused by the formality of it, as if my aunts and uncles thought each visit might be my last.

When my parents were still healthy, we were constantly invited to social gatherings—lunch at an oolong tea plantation, day trips to see artisan pottery in Yingko or the Ju Ming sculpture garden, outings to the golf club where my cousin was a member. There was never any shortage of things to do or people to see. But once my dad’s health started to decline, my trips were less about sightseeing and more about going to the hospital and navigating a bureaucracy that was totally unfamiliar to me. There were many things expected of me as my parents’ daughter, and my cousins took turns chaperoning me to renew my Taiwanese passport, enroll in national health insurance, pay hospital and hospice bills, visit a notary to draw up a will, pay property taxes on my dad’s apartment, open a bank account to handle funeral and estate expenses, and so on. I was not consulted on any of these things but simply showed up when I was told to, brought my Taiwanese ID card, and got used to signing my name in Chinese characters. I let my cousins do all the talking for me, understanding nothing except the obligatory backstory when they explained to each new clerk that I was the one who grew up in America and forgot how to speak Taiwanese along the way.

Only when I returned to California did I appreciate the power of this network in Taiwan, and the fact that it sprang up unbidden to meet my needs, already knowing what do to and where I needed help, without me ever having to ask.

Once when I visited Taiwan more than a decade ago – before my son was born, before my dad got sick – I woke up with intense abdominal and back pain triggered by an ovarian cyst and possibly a urinary tract infection. I felt alternately chilled and feverish. My dad called my cousin Un-liang, an OB/GYN, and she recommended going straight to a specific lab to get a blood test and urine test. My aunt and other cousin picked us up in a taxi and the four of us went to the lab together.

I did the urine sample first, then sat down to have my blood drawn. I held a cotton ball over the inside of my arm while we waited for the lab results, then suddenly felt very nauseous. I stood up to go to the restroom and immediately felt light-headed and closed my eyes. I felt myself sweating and hyperventilating as the blood drained from my head. I began to collapse, but there were people on either side of me holding my arms – my dad and my aunt, and the lab technician and doctor – and when I started to fall they slowly lowered me to the ground where I laid for several minutes. I remember how cool the floor felt. A thin tube was inserted into both of my nostrils, followed by the command to “Breathe!” I inhaled the oxygen weakly at first, then more steadily.

My body melted into the floor. It felt good, peaceful, the way you are supposed to feel at the end of an intense yoga session when lying in savasana, dead body pose. I had the contradictory sensations of feeling light as air, almost high, yet firmly rooted to the ground. I heard the murmur of voices but didn’t understand what was being said. Once the nausea passed and my breathing returned to normal, I had a strange sense of well-being; a profound sensation of letting go and being held as I fainted, of being slightly outside my body as though observing my pain instead of living through it. But I never lost consciousness – on the contrary, as my body went limp, my perceptions intensified. The feeling of complete and utter vulnerability took me by surprise, because I had not expected it to be so beautiful.

7.

More than a year ago I began to feel an acute and specific fatigue. I was spending a lot of time doing and organizing things for other people, but my labor felt invisible. I took charge of group projects. I planned outings and dinners. I bought more books than I could possibly read, attended nonstop literary events and cheered for my friends’ successes, all while working at a demanding full-time job. I did all of these things willingly, until I reached a point where I felt completely hollowed out. I was putting so much energy into my community and it wasn’t being reciprocated.

Although I was desperate to exhale and unwind, I was afraid that if I pulled back, the things I cared about wouldn’t happen, or worse, I would be left out and life would go on as usual. My absence would not leave a hole in anyone else’s Thanksgiving or birthday or baby shower. Everyone else was already secure in their own clan with their own built-in schedule of rituals and celebrations. Even though I have excellent friendships, I still felt as though I was on the margins, so my subconscious reaction was to try to move closer to the center by being the one who organized things. The only way I could guarantee myself an invitation to the party, I reasoned, was if I planned the party myself.

My exhaustion carried on for weeks. I could barely drag myself to the grocery store or cook anything that required more than two steps. My husband did more than his share at home, but even then, I struggled to summon the energy to do the few things required of me. The thought constantly spinning in the back of my head was, Can someone else do this? Does it have to be me? I fantasized about having a sister nearby, on whose sofa I could collapse and who would happily feed my family if I was too depleted. I thought about how much more time I’d have for myself if I wasn’t always the one who had to drive my son to and from every guitar lesson and basketball practice and play date. I dreamed of how nice it would be not to have to pay for 10 weeks of summer camp, because as a working parent with no family nearby, I had no other choice.

It seemed like everyone else had a support system to help them, that they could count on without even asking. For a while I withdrew from my social life and felt hurt and resentful, until I finally realized that it wasn’t my friends who were letting me down. It was not their fault. What was causing my depletion was the absence of a familial support system, an unforeseen consequence of my family history and the forces of diaspora that had separated me from my relatives and landed me in a country where I was comfortable with the language and culture, but had no network to sustain me. Where I had to do everything myself.

8.

Distributed computing is the model that gave us the internet. When multiple computers are networked together, they can process much larger computational loads than they can handle individually. The effort is shared among all the member computers; the more members there are, the stronger the network and the greater its overall capacity.

All social media is built on this foundation, with the goal of connecting more people and broadening the network. It mimics the way we build communities, but it is not a substitute for the community, even though the tech companies would like you to think they are synonymous.

Just as larger networks are more powerful and resilient, smaller networks are less capable and more fragile. Every gap is a threat, every hole has the potential to grow bigger, to loosen and unravel the web. A true community, like a tapestry, is both the structure and the story. It provides both form and meaning, and one can’t exist without the other. An online social network, while beneficial, can only go so far. I can’t call my Facebook friends to pick up my son from school if I’m going to be late. I can’t expect my Twitter friends to bring dinner over if I’m feeling burned out and unable to take care of anyone.

And so I come back to the orca and her lesson for me: I can’t bear the weight of my sadness alone. I need a pod to lessen the load, to help me carry what I can’t carry myself. There’s a Vietnamese expression of condolence that captures this feeling perfectly: “chia buồn” translates to “dividing sadness” or “sharing your sadness” to convey that you don’t need to bear your burdens alone.

From the spider mother I’ve learned that weaving a strong network is the key to survival. The electronic kind is good for connecting people but it’s not a substitute for physical presence, for the hands and feet and backs that can actually lighten your load. Apart from giving birth, building the network is the most important women’s work, and the most significant act of creation that makes everything else possible.


Excerpted from Grace Loh Prasad’s The Translator’s Daughter: A Memoir (2024), by permission of Mad Creek Books, an imprint of The Ohio State University Press. This essay originally appeared online in The Offing.

Six Novels with Summer as a Backdrop

The soothing crash of waves colliding against the shore. Birds chirping under a shady canopy of trees. The quiet conversations of strangers sharing the patio of your favorite café. Whatever soundtrack you prefer as you enjoy your beloved books over the next few months, my only recommendation is to keep the summer vibes going. 

Whether you’re searching for heartbreak, romance, drama, or full-bodied laughs, these masterful works of fiction are perfect for staying in season while being transported through time and space. Some classics, some classics to be – all of these are worth a spot in your beach bag as you battle the heat and take a much-needed vacation between the pages of one of these summer must-reads.

Summer is often my season of reflection. It’s my in-between. As an educator, summer is when I unwind, reset, spend my days outdoors, and taste the saltiness of the sea. It’s when I stack my to-be-read list with authors across the diaspora and consume as much literature as I can. Whatever summer is to you, I hope you find time to drift into another world and find refuge in a good book that plucks the strings of your heart (hopefully, on a beach).

***

One Summer in Savannah by Terah Shelton Harris (Sourcebooks Landmark, 2023) – The coastal city of Savannah, with its trees draped in Spanish moss, is a beautiful city to take in sun and sand. It’s also the setting for Harris’ unforgettable debut, described as provocative, brave, poetic, and a masterclass in storytelling. The novel follows Sara, a woman still healing from a sexual assault that took place eight years prior, and Jacob, the twin brother of the man who robbed her of so much joy. As their stories collide, the reader is taken on a journey of heartbreak, redemption, and forgiveness. 

The Romantic Agenda by Claire Kann (Berkley Books, 2022) – This romance novel is on several ‘Beach Reads’ lists across the web, as well as Buzzfeed’s Most Anticipated LGBTQ Reads of 2022, Parade’s Best Romance Books of All Time, as well as other lists for lovers of love. Set during a vacation between friends, Joy is in love with her best friend Malcolm, who’s in love with someone else. When Joy devises a plan with Fox to make Malcolm jealous, she gets a glimpse of what she may be missing. In The Romantic Agenda, love may bloom in unexpected places. 

Black Cake by Charmaine Wilkerson (Ballantine Books, 2022) – Eleanor Bennett passes away bearing the weight of her secrets. In a poignant tale of family, true love, trauma, and incredible loss, Eleanor’s children learn the mysteries of their mother while also managing their own grief. While Black Cake follows Eleanor through 40 years, her story begins on a Caribbean island where the beach beckons her and provides refuge. While not entirely set in the summer, Black Cake has moments of sweet summertime bliss.

Sidenote: The series is also a phenomenal binge to add to your summer watch-list (if you’re okay with shedding a few tears).

Seven Days in June by Tia Williams (Grand Central Publishing, 2022) – This instant New York Times bestseller centers the stories of two writers reunited by chance fifteen years after, as teens, they spent a week together relishing in the bliss of teenage love. Now, as their flame is reignited at a literary event during a steamy summer in Brooklyn, they have to confront former feelings and traumas while remaining hush-hush about their past – and present – connection.  

Where the Line Bleeds by Jesmyn Ward (Scribner Book Company, 2008) – Twin brothers struggle to find themselves after finishing their final year of high school and being thrust into the uncertainty of newfound adulthood. Set in the sticky summer in Bois Sauvage, Mississippi, the brothers clash with their independence, the realities of the working class, and the ghosts of their pasts. Joshua and Christophe experience all the nostalgia of those of us who discovered ourselves in the 90s, when summers were alive with sounds, BBQs, old-school cars, and parties in the park. 

Where the Line Bleeds took me back to my summer of self-discovery, where like the twins and their counterparts, everyone is simply trying to make a way to run to or from themselves. There’s heartbreak, blossoming love, friendship, conflict, and all the makings of a beautiful tale that will rip your heart into pieces.

Ward’s second novel, Salvage the Bones, is another read set in the summer and follows a family as they prepare for the catastrophic Hurricane Katrina and its aftermath. 

Waiting to Exhale by Terry McMillan (Penguin Publishing Group, 1992) – A classic that explores the layers that make up the relationships between Black women and men. It’s what we would expect – all the scandal and sultry details of crumbling marriages, mistresses, budding romances, and relationships with blurred lines. The star of the story, however, is the beautiful friendship that grounds the four Black women protagonists. The plot opens on New Year’s Eve and follows the ladies through a year of wins and losses. Summer is seated right in the middle of the plot, providing a sweltering backdrop for women who are unapologetically finding their places in the world.


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Emily Raboteau | Mama’s Writing

Mama’s Writing is Raising Mothers’ monthly interview series, created by Deesha Philyaw.


How has the experience of raising children shaped your own personal growth as a writer and as an individual?

I have two kids. They are now eleven and thirteen years old. My writing habits have changed a lot since they came along. I’m more methodical now. I try to get a little bit of writing every day, preferably in the mornings, rather than binge writing at night, which is what I used to do. My subject matter has also changed. In the last decade plus, I’ve been writing less fiction and more nonfiction – personal / political essays about the forces that threaten my kids’ well-being. My new book, Lessons for Survival: Mothering Against “the Apocalypse,” is a collection of linked essays about climate change, social and environmental justice, from the lens of Black motherhood. I’m more interested in local politics than I used to be. I guess I feel I have more skin in the game, though I don’t mean to suggest anyone needs to have kids to feel that way. 

If you could go back and give yourself advice before becoming a parent, what would it be?

Since I knew that I wanted to have children, but not the degree to which it would take a village to raise them, nor how much wisdom I would need from older women, I would advise myself to live closer to my mother, or to convince my mother to move closer to me. 

How do you navigate societal expectations or stereotypes as a Black parent in your writing while staying true to your authentic voice?

I write about stereotypes pretty directly. I suppose my authentic voice means to call them out. For example, I wrote an essay about the insidious racism and stereotypes that surface in New York City playgrounds among parents anxious about school placement. What the “good” schools are. Where the “bad” schools are. Those conversations are really code for race and class. We have one of the most segregated school systems in the nation. It’s so painful. 

What themes or topics do you find yourself drawn to explore in your work since becoming a parent, and why?

I was a travel writer before I had kids. My last book, Searching for Zion: The Quest for Home in the African Diaspora represented a decade of travel looking at Black utopian communities across the globe. My writing became a lot more local to NYC after having the kids, since this is where we live, and it’s harder to do deep investigative journalism elsewhere. Luckily, New York City is a global city, and endlessly fascinating, with so many layers and pockets. Ironically, I wrote this one essay called “Climate Signs,” about visiting a public art project staged across the city’s five boroughs, and it was anthologized in Best American Travel Writing, even though I technically never left home. I’ve learned to train my traveler’s gaze upon my home place. That said, now that the kids are older, they’re saying they want to go to Japan…

How do you handle creative challenges or setbacks?

I’ve learned to ask for extensions on deadlines when I need them, which is pretty much always. I’m late with everything. Someone always gets sick, or gets head lice, or something, throwing a wrench in my writing time. I’ve learned to be more flexible, less precious about guarding my time. The pandemic was the biggest setback of all, but I was weirdly productive in that era. Maybe because I was taking notes on and writing about the era itself, as we were living through it. 

How do you navigate the fine line between sharing personal experiences in your writing while respecting the privacy of your family?

I’m not comfortable revealing very much about my family at all, outside of the experience of mothering, which is to say, my own experience. I don’t write about my kids’ diagnoses or gender identities, for example. Their life stories are still in development, and are theirs to tell. The only story I feel comfortable telling is my own. I write about my fears for my kids, my hopes for them, my love for them.

How do you carve out time for self-care, down time, and creative expression? 

I’ve been enjoying gardening for both self-care and creative expression. I try to get out into my garden every day, even if it’s just to have a cup of coffee, or to weed a little. It calms me down to be out there, among the pollinating plants, watching the bees and birds and stray cats. You know, I went through this Jamaica Kincaid phase in my twenties. I read everything she’d published – except her book on gardening. I wasn’t ready for it until I reached middle age.

How has your parenting journey impacted your perspective on your writing career and artistic aspirations?

Being a parent has both lowered my bar and raised it when it comes to my writing career. I’ve published three books. I’ll be satisfied if I publish five total before I die. I just want one of those books to survive me. I can’t know which book that will be. For me, that would be enough. I remember when my kids were babies hearing some kind of calculus about how having a baby was like giving up on writing two or three books. I felt upset about that at the time, as if I’d given up on a dream. I’m more relaxed about it all now. I’d rather take my time with the writing so that it’s seasoned. I’d rather have quality time with my kids while they’re still under my roof than feel bitter about not spending enough time working. 

How have other mother figures you have encountered in your community influenced your parenting? Your writing?

I have comadres in my community – women with kids the same age as mine. We trade childcare to offer one another free time to do whatever it is we need to do. I feel comfortable asking these women if they can take my kids, and vice versa. I think it’s good for my kids to be exposed to other kinds of parenting, other cultures, other languages.

What advice would you give to other mothers who aspire to pursue their writing goals while raising a family?

Find the comadres. If you’re mother’s still alive, live near her so that she can help out. Wake up early in the morning. Don’t be so hard on yourself. Join a writing community.

Who are your writer-mama heroes?

Grace Paley was my teacher. She’s one of my heroes because she balanced writing with activism and parenting. Like Alice Munro, she only wrote short stories. That’s what she had time to do, at the coffee table, while her kids napped, or were at school, She had time to write short-form. The form had to fit around the content of her life. 


Photo Credit: Rachel Eliza Griffiths

Emily Raboteau’s books are Lessons for Survival, Searching for Zion, winner of an American Book Award and finalist for the Hurston/Wright Legacy Award, and the novel, The Professor’s Daughter. Since the release of the 2018 Intergovernmental Panel on Climate Change (IPCC) report, she has focused on writing about the climate crisis. A contributing editor at Orion Magazine and a regular contributor to the New York Review of Books, Raboteau’s writing has recently appeared and been anthologized in the New Yorker, the New York Times, New York Magazine, The Nation, the Atlantic, Best American Science Writing, and elsewhere. She serves as nonfiction faculty at the Bread Loaf Environmental Writing Conference and is a full professor at the City College of New York (CUNY) in Harlem, once known as “the poor man’s Harvard.” She lives with her family in the Bronx.