The Possibility of Repair

It's been a hell of a few weeks. There have been incredibly difficult times in the Shambhala community (read all about it here), and just recently, someone posted an article I found related more for me to memoir than to our current situation in Shambhala.

It's here.

In the article, memoirist Wendy C. Ortiz discusses her own memoir, Excavation, as well as numerous novels and her own experience as a psychotherapist. A lot of what she says resonates with my own process of telling about my childhood sexual abuse, and with the complexity of books I have discussed here, such as Zoe Zolbrod's The Telling as well as Claire Dederer's memoir and my discussion of it here in On Victimhood.

Because things are so difficult and full at my end, I am not going to say more than this for now. I am giving myself permission to simply post things I find interesting, without much commentary, and link them to other writing I have done at depth. I look forward to what reading Ortiz's memoir will do in terms of affecting my own telling about abuse, as well as conversations I have with clients I work with in terms of how to tell about their own experiences of abuse.

On Victimhood

I have so many things to say about Claire Dederer's memoir Love and Trouble* that I can't possibly fit them all into one blog post. Mainly, I find I just want to highlight her words and share them. So I will focus this post on the most highlighted part of the book - her final chapter - "On Victimhood."

One of the things I struggle with the most in my memoir, currently titled Not Alone, is how to talk about sexuality. How to write about it? Really. Really really. When I first started writing about it, it seemed clear - because it is clear - that I was strongly shaped by a couple of young victimhood experiences with sexuality. Older boys - not yet men, but certainly with more agency than me - taking advantage of me sexually. These were both traumas, the two sets of experiences, and at first I thought my memoir was all about how they affected my sexuality. Then I thought, "Well, losing my dad at age 12 certainly affected my sexuality as well." That's true, also.

The fact is, the more I wrote, the less focused on victimhood I was. The more interested in nuance, in exploring all the subtle effects of growing up, socialized female, being cisgender and bisexual. Some traumas, some beautiful explorations. It's possible my young body enjoyed some of the victimizing encounters - that's not uncommon, even if they cause trauma - but that doesn't mean I "asked for it" or even that they are less traumatic (pro tip: if your body enjoys something traumatic that happens to you sexually, it makes it EVEN HARDER to unpack all the shame).

So when I came upon this final chapter in Dederer's memoir, which I was already relating to strongly for its exploration of how her sexuality came up for question again in her mid forties, I was blown away by statements like these. I feel like I am phoning in this blog post just quoting a lot from Dederer, but the fact is, in this final chapter she says so much of what I have wondered about, including feeling icky writing it.

I only wanted to tell stories of how sex had happened to me. Mary Karr has said that the reason she wrote Cherry, her memoir of teenage lust, was that teen sex was never written about, just teen victimhood. Now that I’ve had a whack at it, I can see why—it is easier to write the victimhood. The victimhood was like a vehicle that took me closer to what really interested me, what was obsessing me in middle age as it had done in youth: sex. But if I wrote only about assault and predators, I didn’t have to face myself as a sexual person.

Sex was a home and a site of purest simplicity. You just were. It pains me to write these words more than any other words in this book: I liked it. It’s still so hard to say it. The premise of this book is that I was wild and unhappy as a teen, and my unhappiness stemmed from my sex-crazed nature. But what I really felt was what I feel now: Life was hard, and I didn’t know what the hell I was doing, and I was profoundly, near-fatally afraid of failure, and sex was the only thing that made me feel better. And who doesn’t want to feel better?

The conflation of victimhood and desire is very hard to talk about, but that doesn’t mean it’s not real, at least for me. Even writing that sentence makes me afraid, as a feminist, that I am saying something wrong. But for me the freest and purest expression of sex has come with the playacting removal of volition. Being constrained in some manner, whether by hands or ties or just the physical weight of another’s body. 

Of course the moments—and there are more than I’ve told here; a list—when I’ve actually been assaulted were the opposite of pure and free. This is the complication. We all understand that rape isn’t really a sexual act.

Two facts, in conflict and simultaneously true. I can be excited by the idea of victimhood and still have been victimized. Even if I’ve turned into grist for the sexual mill, nonetheless, I didn’t get to choose to be victimized that first time, that first among many. I didn’t get to choose the historical circumstances that have complicated my life. I get to own and even enjoy my excitement over being dominated or punished, but I also get to be pissed at a culture that didn’t protect me.

In this #metoo moment (or, to be more accurate, white female popularization of #metoo, which began long ago under the guidance and care of women of color with less public awareness paying attention to it), words like this feel all the more risky and also essential. Unpacking the complexity of sexuality, especially victims' sexualities, is not only respectful but also crucial. We cannot rest in the place of polarization and dualism, as tempting as it is. Not only do we wind up dismissing those who victimize others, we other the victims themselves/ourselves.

Dederer's book has upped my own game in my own memoir.


*I also want to name that this title is almost the same as a brilliant short collection of fiction from 1973 by Alice Walker, In Love and Trouble, Stories of Black Women. Please read this as well. It's a memoir blog, otherwise I'd discuss that, too!

Stunning Piece from Junot Diaz

Here's an amazing piece by Junot Diaz in the latest New Yorker.*

Trigger warning that he talks about being the victim of severe sexual abuse as a child, and how he re-enacted many of those same dynamics - only now as the perpetrator - as an adult with his female partners.

I have been thinking about victimhood a lot lately, as a part of the whole #metoo situation, but also because there are parts of my sexual history that, in my opinion and in some of my readers' opinions, fall into a strictly grey area. Places where my relationship with someone perpetuated my own victimhood, and I didn't make a conscious choice to continue that, but somehow I was also choosing to be there and not saying no.

I am struck by this same ambiguity - without evading responsibility - in Diaz's article.

What Versus How

When they begin writing memoir or even reading it, so many people are concerned about the "what", or the content: Can I tell stories about my mom or dad or sister or brother or cousin? I can't really talk about my marriage, right, or my children, or my former job, right?

Starting memoir concerns are most often about these kinds of things - about what to tell, what not to tell. They belies a misunderstanding common in our culture - memoirs are "tell-alls" and what we tell is the hardest part. Will I get sued? Will my mother die? Questions like this are about content.

Content is important, don't get me wrong. Certainly Wild would not have been as strong a seller if her mother hadn't died (to be crude) and Eat Pray Love is leveraged on Gilbert's divorce (again, not to be crude). If those women had chosen to not write about these key aspects of their personal struggles because of fear over libel or dishonor, they would not have written the books at all.

However, what is more important is not what is written, but how it is written.

Fire Shut Up In My Bones

Charles Blow's memoir of this title is nothing short of miraculous. It resonates with me in a way no memoir has since I Know Why the Caged Bird Sing by Maya Angelou. Two black lives - hers, a generation back; his, more contemporary - lives of poverty, of the south, of resilience and sexuality interrupted. And more. More than this list. Lives of incredible spaciousness mixed with precision.

I read a chapter/passage of this book in the New York Times awhile back. Please read that here. It gives you a strong sense of his voice, his power, and his vulnerability. I knew as soon as I read it that I'd need to read the memoir.

It is so incredibly hard to write about sexual abuse. So hard to truck the line of being a victim without turning it into a litany of victim-hood. And some people do that, maybe some need to do it. But Charles Blow refuses that. He refuses to make a single story out of his abuse, though the book is peppered with references to it and begins with the moment when he confronts his abuser once and for all. It is clear it was one of the biggest events in his life - marked him for a long, long time. A deep wounding. And also that his love - for his mother, for his family, and the love he received from them, though he felt so alone for so long - may not have fixed it, but exists alongside it.

Resilience. We can't write about it until we can respect ourselves, trust ourselves, celebrate ourselves for our own survival. The gritty truth combined with compassion, the mixed-in sense of suffering and insight - these are the combinations I find most compelling. Mixed-in. A part of the same. Not separate. Not as much about overcoming and living within, breathing, surpassing while never forgetting.

Almost impossible to articulate. And yet, Blow has done it so well here, all 228 pages.