Author: Jen

  • warm hands

    December 9, 2008 sits in my body like a bruise that never finished blooming.

    It was that hour after sunset when the sky goes the color of a dirty dish towel and the house smells like someone should be cooking, but no one is. Four o’clock. The clock still mattered then. Time still pretended to be orderly.

    My father fell from the second story of my childhood home. The drop was short enough to seem survivable. The concrete below disagreed. He struck his head, hard enough that his body revolted—vomit on cold ground, breath hitching, the animal panic of a system that knows something is wrong but can’t yet name it.

    Cold moved in faster than help. December doesn’t wait.

    At the hospital, I held his hand. It was still warm. That detail matters to me. Warm meant possibility. Warm meant walkers, physical therapy, the clean ache of rehab rooms, the promise of small victories—standing, swallowing, smiling at the wrong joke. I cataloged hope like a professional.

    Then a man in a white collar entered the waiting room.

    He did not rush. He did not sit. His shoes were quiet on linoleum. That’s how I knew. The body understands before the mind signs off.

    After that, time stopped pretending.

    Seventeen years later—seventeen years, ten days, a handful of stray hours—I still wake up thinking about his family. His brothers and sisters. The people who knew him before I did, or claimed to.

    I have almost no stories.

    My mother erased them before she died—unfriended, unfollowed, cut loose like diseased branches. When she spoke of them, it was with the flat, venomous efficiency of someone who had already made up her mind. Two brothers. Two sisters. Shadows with names.

    The stories that reached me anyway arrived sideways. A teenage sister handed alcohol by an uncle like it was a secret handshake. Conversations about sex that didn’t belong to him. An uncle who teased girls onto his bare lap, shirtless, joking, smiling. The kind of memory that doesn’t shout, just stains.

    I want forgiveness to be simpler than this. I want it to be a decision, not a daily negotiation with my nervous system. I tell myself everyone carries shadows. I tell myself families are messy. I tell myself I am not the judge.

    And still—every time I try to contort myself into something palatable, something worthy, I am punished for it.

    The racist remarks left on my page didn’t start the rupture, but they named it. They crystallized a truth I’d been circling for years: some people cannot bear witness. They scroll past discomfort. They disappear you quietly. The way they disappeared my mother. My brother. My sister. My father.

    I learned early to take the blame.

    I was difficult. I was too much. I was an addict. These were convenient containers, tidy enough for other people’s relief. On paper, though, the math doesn’t work. I’ve done the same training, the same hours, the same work as peers charging two hundred and fifty dollars a session behind polished clinic walls. There’s an irony in how often I sit across from clients whose wounds rhyme with mine.

    Some days I want that to mean something noble. Some days I am just tired.

    I listen. I bear witness. I help them stitch meaning out of rubble. And sometimes, quietly, privately, I wonder how I’m supposed to survive my own isolation. What does this kind of solitude do to a body over decades? What does it calcify?

    The night I blocked my aunt, I did it slowly. Manually. Name by name. Even the uncle who once listened when things were darkest. On his page was a photo from my father’s funeral. My father—quiet, unassuming, deeply loved.

    None of us were in the picture.

    Not the people who lived with him. Prayed with him. Watched him read bedtime stories until his voice softened and the room went syrup-thick with safety. The funeral had blurred by then anyway. My workplace hosted a luncheon—white tablecloths, careful smiles. His family arrived dressed up, said almost nothing, and left promptly for their lives.

    Grief, apparently, had a schedule.

    My father mattered in a way that still feels untranslatable. I was a daddy’s girl without theatrics. We didn’t need constant conversation. I knew the smell of him. I knew the rough geography of his hands when we prayed together. His startling blue eyes. His soft hair, which he let me mess up before opening a book and launching into our beds like it was a holy calling.

    The Boxcar Children became my cousins. Hobbits taught me how endurance works. Adventure wasn’t abstract—it was training.

    I removed my aunt from the mailing list. Cut off her access to my life. The final offense was small and stupid: I named something true—that she and my other aunt orbit men like moons, regardless of the gravity involved. Since they aren’t reading, I’ll say it plainly: the men they’ve chosen are repugnant. Putrid. Whatever kept my father away from that family for years at a time lives in me now too.

    They speak of my mother with a casual disrespect that still rearranges my bones.

    I love my parents. I carry them everywhere. I wish—still, embarrassingly—that my family cared enough to see me clearly, or at all.

    December 9 keeps ticking forward. The bruise never heals. I don’t need it to. I just need it to be named.

    And this—this is me naming it

    .

  • credentialing catharsis

    At 10:59, the door takes two knuckles—not a knock, not a greeting. A reminder with bones. In the hallway, a television laughs at nothing. A child runs the length of the carpet and back, as if the building contains a track. The blanket presses its orange geometry into skin—little squares, shipping stamps, proof of transit.

    In the lobby, a plastic fern shines with waxed dust. Behind Plexiglas, the clerk worries a hangnail until it bleeds. Her nail curves, hooks, releases. She sings the line like policy recited as prayer: check-out at eleven.

    Everything here knows its job.

    A cooking show murmurs salvation made of butter. The refrigerator coughs, rests, coughs again. Boots dangle off the bed. A bottle tips, then steadies. No sex—never a trade, never a price. Men provide rides and pizza and a body between danger and the drop, and then they leave cologne ghosts behind.

    The phone lights my face like a campfire. It never warms me.

    I send the link anyway.

    It’s short. Five minutes. A whisper. A prayer. The kind of reading that fits between red lights and microwaves. The screen delivers the same quiet: delivered, delivered, delivered.

    When the response arrives, it arrives prepackaged.

    That’s really dark.

    Not a line. Not a question. Not a place where the sentence caught. Just a classification, like weather. Like the work has failed at being pleasing.

    Dark, as in: unruly.

    Dark, as in: doesn’t resolve.

    Dark, as in: you’ve brought something here that won’t behave.

    On television, suffering behaves. A drunk father. A capable daughter. Chaos arranged into arcs that end on schedule. People binge it and call it gritty. They feel sophisticated for tolerating the mess because the mess stays behind glass.

    In real rooms, the eyes slide away.

    Not dramatically. Just enough. A glance toward the door. A phone check. A sudden interest in menus, grout, the exit points of a table. The same movements appear when a personal essay lands in an inbox: pause, deferral, the decision to let it sink.

    Silence becomes a response style.

    Psychologists have a name for the way relationships strengthen when good news is met with engaged attention—questions, interest, presence. They call it capitalization. The opposite response—flatness, indifference—doesn’t merely fail to help. It erodes.

    Art is a capitalization attempt with teeth.

    It says: this is what I see. This is what happened. This is what I made of it. It asks for witness, not applause. And witness is not neutral. Witness confers legitimacy. Witness redistributes authority.

    So most people opt out.

    They praise from a distance. They say she’s such a good writer the way they say that town has good food. Portable. Untested. They keep the relationship to the maker while refusing the making. The hierarchy holds.

    This pattern repeats across domains.

    Someone insists they don’t feel anything after stimulants at four in the morning, jaw working, stories multiplying. They lecture about addiction as weakness, baffled that nicotine could touch them. Immunity is their favorite credential.

    A friend says of morphine, with pride disguised as concern: he doesn’t get high. he hates that. As if an unverifiable interior state elevates him. As if wanting relief is shameful but needing it—properly framed—is noble.

    Denial performs status.

    The same economy governs art. Some damage is acceptable if it is credentialed—screened, aestheticized, contained. Some testimony is welcome if it arrives with institutional blessing. The rest is called dark and quietly refused.

    Families are especially good at this. Familiarity fossilizes the story. Reading the work would require revision—of memory, of hierarchy, of who gets to name what happened. Avoidance preserves the file.

    So the work remains unopened. The writer remains discussable.

    I notice how often recognition arrives sideways.

    A stranger reads. A professor says yes. A workshop invites. A weak tie becomes a bridge. The people closest—the ones who “matter most”—can’t give five minutes to the sentences that hold my life.

    This isn’t romance or justice. It’s structure.

    Sociologists describe how weak ties transmit new information better than strong ones because they connect outside closed loops. Close circles echo. Distance carries signal.

    The fantasy says family is where the deepest holding lives. The data—and the culture of estrangement it documents—say something colder: intimacy often invests most heavily in denial. The person who names reality becomes the problem by definition.

    In the motel parking lot, I walk to the superstore where charity and bargains share an aisle. A man asks for a dollar for fruit. I bring him an apple. Another man’s look tells me the corner has rules I don’t understand. The wind folds my cardboard sign like a bad fortune.

    Invisibility becomes a skill.

    Invisibility makes the world easier—until the writer tries to be seen.

    That moment looks small: a texted link; a subject line; a would you read this? Inside, the body braces for the old maneuver: deny, erase, feign confusion.

    Rejection would at least touch the work. The softer violence is the non-event. No click. No trace that the words entered another mind.

    A book can handle bad reviews. A book can handle conflict. A book can handle being called too much.

    A book cannot argue with being ignored.

    That’s why the clerk’s hymn lands so cleanly. Check-out at eleven. An institutional version of the same message: time’s up; move along; no one holds you here.

    And still, some doors open.

    Not because the work becomes gentler. Not because it performs gratitude. Because certain rooms are built to tolerate reality, not replicas. They are fewer. They are quieter. They require actual looking.

    This doesn’t guarantee recognition. It doesn’t promise relief.

    It clarifies the conditions.

    At 10:59, the door takes two knuckles. The fern shines. The nail hooks, releases. The phone lights my face like a campfire.

    I send the link anyway—not as a plea, not as a performance, but as record. As proof of passage. As breath.

    At eleven, I walk out.