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by Mikaela Brewer ​for The 44 North, Senior Editor



after Natalie Diaz’s “Of Course She Looked Back


In a small middle school classroom in Red Lake, Ontario, Rilla Fable was called upon to answer a question in English class. 


Cocking his head to the side, so that his ear became a funnel for her voice, Mr. Wilcox nodded as Rilla spoke. But it was clear he hadn’t heard her, for he paraphrased his own question following a kind smile. 


Rilla wasn’t one for speaking, really, at all. But Jack, who sat behind her and had turned thirteen first, said that she better be careful: Her vocal cords would surely dry out if she didn’t use them enough, catching fire like sticks rubbed together when she ever did need to speak. 


Despite what everyone else thought, her inner world wasn’t, likewise, silent. It was anything but. 


Rilla glanced out the window. The smoke was so dense that the teachers’ parking lot was no longer visible. She closed her eyes for a moment and listened: The brush fires couldn’t be seen. Nor could the snapping and cracking be heard. 


***


Rilla’s N95 mask strings were too tight, folding her ears down as she walked home from school. Her dad’s cycling sunglasses, with wraparound wind protection, didn’t block the ash from slipping behind her contact lenses. The fires weren’t far now, and the sky was thick with an orange haze that bled the sun’s light. Surely, the evacuation order would come soon. 


Rilla stopped, knelt, and thumbed a brown-singed red lily growing from the boulevard. She looked across the dry grass as she stood; the wildlife was scorched along the sidewalks. Summer gardens had scattered into crumbs across front yards. Tree leaves had withered to lace. Rilla swept a finger along her bare forearm: No sweat. The air itself seemed dead, parched in the 35-degree heat.


Taking a shortcut through a paved ravine without sidewalks, Rilla had to avoid the bluffs this time—closed to the public to delay the fire spreading. There wasn’t much foot or car traffic here, given the steep, uneven asphalt, but there was usually a wide river bisecting the road, continuing beneath it. Rilla could always hear it rushing a few hundred metres away, comforted: It always seemed to know which direction to run. But there was no sound, now. For weeks it had been nothing but a small stream, hardly even a ‘burn’ as Rilla’s Scottish grandfather would’ve called it. But nestled among it were the friendly faces she’d hoped to see—the real reason she took this shortcut.


Rilla stopped on the metal-plated bridge overlooking the river, smiling as she watched pots being filled in the stream, soon to soak and soften dried ramen noodles. The coloured tents looked like a carnival, and perhaps that wasn’t an entirely dismissive observation. Each person she’d met in the encampment had a skill to offer the group: Cooking, sewing, medicine, geography, and knowledge of safe injection sites. The difference was, no one lined up to see the brilliance they had to offer the world. Locals seemed to see them as glitches in their life: Stains, filth, and impurity. They didn’t see Tomah’s large brown hands whittling wooden brushes and spoons from fallen trees, or Mag’s knowledge of nettle, witch hazel, and willow bark, or the fact that she could make absorbent diapers. There was Jern’s dexterity with a knife and needle, crafting bandages and clothes from scraps. Arnold seemed to have a complete territorial map of the area in his head, all the way to Thunder Bay. And then there was fourteen-year-old Fariq, who made Rilla blush, and tracked the moon while he carried buckets of toothpaste water to be discarded away from the stream. Just now, he looked up from mending a shoe with thread and needle alongside Jern. His serious, dark brows unfurrowed as he smiled and nodded. Rilla nodded back, lifting her elbows from the bridge that overlooked the encampment to wave. Would they ever be seen past houselessness, or struggling with heroin, psychosis, schizophrenia, HIV, and more that Rilla hadn’t yet seen the impact of? She admired their togetherness and their skills, but quickly caught herself: They were worthy of care, belonging, food, shelter, and dignity—unconditionally.


Fariq waved to her, but it seemed sad, as if ‘goodbye’ in code. She had to go home, now. The sky was reddening. 


***


No one was home, which wasn’t unusual. As Rilla sat at the island on a bar stool, shelling pistachios, the kitchen saturated with orange light streaming in the windows. But Rilla stood to close the curtains as she did every evening: With her eyes closed, clearing shell residue from her teeth with her tongue. She didn’t want to see the sign across the street, today or any day, but just as she thought of it, the curtain clips clattered over the tension rod, and an alarming sound reverberated through the small townhouse. The evacuation order.


Rilla clamped her eyes shut and accidentally swallowed a sharp bit of shell. Her phone continued to siren, and the curtain clips seemed to reverberate their clanging in her teeth. She opened her eyes, just a crack, no wider than what was left of the burn in the ravine, and her gaze fell on the sign. One of those black and white, “Safer Ontario” signs filled with straight-faced, armed police officers in flapjackets. As the screen changed every day, it read abbreviated versions of, “Protecting Ontario neighbourhoods: Ontario is working to protect our neighbourhoods by tackling auto theft, clearing encampments, shutting down drug injection sites near schools and daycares, building more jails and strengthening the bail system, so criminals stay behind bars.”


Rilla winced, shook her head until dizziness blurred the image, and turned away.


“What do you think this means about remaining human, or finding the human spirit, in difficult times?” Mr. Wilcox had asked about Octavia Butler’s Parable of the Sower


“To grieve, prepare, and breathe,” Rilla had replied, recalling the fascinating etymology of that word ‘spirit’: The breath of life, or of God. 


There was only fire to breathe, now. Breathing would be hard—speech even harder. But Rilla’s voice had never been loud, and maybe it wasn’t a speaking voice she needed, but a quiet, generative one to disrupt the silence she longed for. One that says: Witness.


In the distance, flames cast ghostly shadows on the underbelly of the clouds. They flickered through the curtains like the sun through closed eyelids. 


What if they didn’t receive the evacuation order? Rilla wracked her brain for a memory of anyone in the encampment with a phone. 


Her rage churned from grief in her stomach, like cheese from milk. She knew her dads would be texting her that they were coming, driving towards the meeting spot they’d chosen that morning: Under the sign. It stood on two thick concrete poles above the seesaw, a sentinel on two immovable legs. 


Parallel burns streamed down Rilla’s face as she grabbed her evacuation-ready bag and walked outside, grateful, now, for the tightness of the mask.


Do they have masks?


Out the front door, Rilla could see the flames licking the treetops in the hills. Fire isn’t survivable. Rilla knew that much. It can’t be breathed, digested, or burned inside the body. But she was sure that’s what her grief felt like. Only when she was safe would she cough up the ash of all that had burned behind her. 


The anticipatory grief, it seemed, wouldn’t burn into anything but a stream in a ravine. Rilla scanned the county road her house sat on. Across the street, to the left, was the playground and the sign. To the right was the lip of the ravine. Rilla closed her eyes so tight, they squeezed out ash and salt. Hardening is human, whether into the charred bone of death, or alive into the salty-sting of regret.


Of course, when Rilla opened her eyes, she ran back.



Resources:


by Mikaela Brewer ​for The 44 North, Senior Editor


Amanda Gunn, “Ordinary Sugar” from Things I Didn’t Do with This Body. Copyright © 2023 by Amanda Gunn.


Artwork by Logan Brewer
Artwork by Logan Brewer

Note: This poem is not in the public domain! Please use the link above to read it. 


My first encounter with Amanda Gunn’s “Ordinary Sugar” was through Poetry Unbound with Pádraig Ó’Tuama, not long after I read his bread recipe-poem and reflections on soup. Poems and recipes are kindred spirits, both in form and function. And, as Anthony Bourdain writes in Medium Raw: A Bloody Valentine to the World of Food and the People Who Cook, “the ability to feed yourself and a few others with proficiency” is a vital, fundamental skill. Perhaps the same is true of poetry: We’re not all poets, but everyone can ask how they’re nourishing others with words, or learning how to absorb them for the soul. As Ó’Tuama writes:


“[R]ecipes are an old form of poetry, and I think a recipe and a poem each have a measure at the heart of them—a measure about pain, a measure about love, a measure about pleasure, or about survival. They’re giving a certain form of instruction that can turn you either towards the deliciousness of food or the deliciousness of language, that can help you look at your own life and feel like you’re finding something from it in the engagement with the writing.”


Gunn’s “Ordinary Sugar,” like opening an heirloom cookbook, unfolds the complexities of the generational relationship between poem and recipe. Recipes as poems—and vice versa—are a form of ancestral archiving and memory, amplified here in the rhyme of the second stanza: keep, knees, pristine, sweet, green, pleasurably, plenty. These words summarize the ‘story’ Gunn is sharing with us; rhyme aids memory for prayer, song, patience, attention, and presence.


Remembering is also an honouring of people and their circumstances, especially through a recipe and how it’s engaged with or followed: Making sweet potato pie from russets, the gleaming glass eye, pregnant wordlessness, and fast spinning through the kitchen. There isn’t a distinct narrative arc in the poem, per se, true to the patchwork our memories often are, but Gunn includes clear, specific, detailed snapshots—not temporally bound—and brings them alongside her present-day voice’s reflections, inviting us into Grandma Mattie’s life experience and ensuing motivations. Then, the poem tethers this archiving to a bearing of witness through time—how Gunn paid attention as a child and how she’s paying attention now, through inheritance. The stanzas move from Aunts Mary & Earline → Amanda → Grandma Mattie → Amanda → Amanda’s mother → Amanda. Generational influence is layered, akin to those graham cracker cakes, yellow cakes, and the recipe book they’re making was kept safe in.


In this vein, Gunn shows not only the desire her family had to soothe what might have been a difficult life, but a witnessing of why: Hunger, poverty, starvation, and the threat of scarcity are present because they’re remembered in the body, and therefore inherited as well: “Too, the ruthless / manic canning, putting by, / putting by, against memories / too near starvation—the / machine in her belly built / to last.”


Like the inheritance of poverty or scarcity—and the accompanying shame, fear, and silence—some things aren’t documented in a recipe book. Ways of survival and being are altogether missing from our present day-to-day lives: The economic intelligence and commitment to caring for a summer garden—weeding, tilling, watering, and feeding with eggshells and coffee grounds—and harvesting it before the first frost to have enough food for winter. But we all come from oral cultures, and Gunn’s poem seems to say: Don’t forget to witness and remember what wasn’t written down—it’s as much a part of the recipe (of survival) as the ordinary sugar made extraordinarily by love.


And ultimately, though an accessible free-verse poem in five stanzas, “Ordinary Sugar,” is in fact the recipe that includes as much as Gunn can gather. Through the language of food and cooking, it alchemizes its reader and speaker: What’s inherited takes a new shape when digested, then gifted, like the bread and jam in the final stanza. As Ó’Tuama says: “[A] recipe is an opportunity in writing to give some tools for survival as well as maybe a couple of quantities.” When we follow a recipe, it’s not only those fed who survive. The person who crafted it lives on, too.

by Alaina Zhang ​for The 44 North, Newsletter & Reviews Editor


“Please let me keep this memory, just this one.” —Joel Barish, Eternal Sunshine of the Spotless Mind 

Last quarter, I was lucky enough to take a class called Medieval Dreams and Visions. After reading works by Chaucer, Dante, and other authors who lived centuries ago, we ended the quarter by watching Eternal Sunshine of the Spotless Mind


The 2004 film follows a young man, Joel, as he revisits his diary after several years. Sitting next to the beach, the cold wind slashing against his face, he finds it difficult to recall why there are missing pages in his diary, remembered only by where they were torn away. The hollowness is all-consuming. Soon after, on a train, he meets a young woman named Clementine whom he quickly falls in love with. Later, it’s revealed that the two had previously been in a relationship, which ended poorly: Clementine had undergone a surgery to erase all memories of Joel. The disjointedness Joel feels at the beginning of the film was, in fact, the result of his own surgery to, in turn, forget Clementine.


The dream-like setting of the film lends masterfully to the theme of vulnerability it aims to portray. Not just a romance or sci-fi movie, the story is really about self-confrontation and reconciliation. Joel, upon realizing that he does not in fact want to forget Clementine, is forced to navigate his own brain and walk the memory lane of his mind. One of the most poignant moments in the film is when Joel enters the memory of being bullied by other kids and Clementine—a version of her inside his head—is watching. Childhood trauma is private and often so shameful that adults bury it deep inside themselves. Joel, however, is forced to confront those memories, which shaped who he is now. In a film, it’s healing for us to see Clementine bearing witness, whether real or imagined by Joel; Childhood trauma isn’t observable by our adult friends or partners, even if we verbally share memories with them. The scene ends with Clementine dragging Joel away, and although all of this takes place inside Joel’s mind, it’s real enough to make him—and us—feel seen in a vulnerable moment. 


My perception of the film also shifted because of my class. One of the surrounding questions we were interested in throughout the quarter was why authors across the ages are so drawn to the experience of dreaming and continue to weave it into their works. In the movie, the dream world is less a dream and more a disorganized catalogue of memories, which invite us, alongside the characters, to navigate the reflection, trauma, and life that make up who one is in relationship with others. 


For me, dreams have always been a special source of inspiration—a place where I can witness my deepest desires and hopes materialize in strange ways. My dream world is also a space where I truly feel safe and free, a space available only to myself. Admittedly, I don’t think I’ll ever be able to decipher the meaning of my dreams or know whether they have meaning at all, but what I do believe is that dreams can confirm my insecurities, trauma, restrained feelings, and thoughts. What surfaces in my dreams is a combination of magic and reality in its rawest form, and the act of dreaming alone can be reassurance that my life can take on alternative endings, parallel worlds, and unimaginable possibilities. 


The idea of “making sense” of a dream is, in fact, similar to the art of interpretation itself. In our class, this was one of the reasons we attributed to the prevalence of using dreaming as a storytelling framework. When we read about dreams, there are often at least two, if not more, layers of interpretation at play: We’re simultaneously making sense of a bewildering experience and attempting to decipher why a work was presented through the lens of dreams in the first place. When creatives build dream worlds for us that don’t exist, or exist in a multiverse, the seeds are often personal or collective memory re-imagined. This unique meaning-making opportunity, via dreams, expands how we think and remember. In other words, we can see that more is possible beyond our waking, conscious hours. 


That’s exactly what I felt Eternal Sunshine of the Spotless Mind expressed. After Clementine and Joel realize what they’ve gone through, after they hear the ugly things they said about each other before the surgery, they still decide to give each other another chance—at least in being remembered if not in a relationship. They’re also choosing to give a chance to the idea of a possibility, even if it might not end in the best way. 


Relationships can be terrifying. We can never know what someone else thinks, nor what their words and actions mean. Though the procedure of memory probing and removal in the film seems cinematic and unbelievable,  we, too, probe through our own minds, equipped with nothing but fear, to dig up memories—ones we never wished to revisit—in search of some truth about ourselves. The difference between the film and reality is what makes it most powerful; the story asks: What if we were to show all of this to someone else, who we love, with an equally complex past? Would it really be incriminating? Or would it heal the ways we think we’re alone? Eternal Sunshine of the Spotless Mind provided me with a newfound perspective on what it means to be in a relationship with others, and to be in a relationship with oneself. 


We spend almost a third of our lives in deep sleep, dreaming. Perhaps, like Joel and Clementine, we’re sorting through the entangled web of our dreams, trying to find the confirmation, confidence, and reassurance we all need to move forward when our eyes open again and a new, terrifying, inevitable day awaits us. But the landscape of memory is worth walking, because as Joel and Clementine show us, we’re never the only ones there when we think we’re better off alone.

 

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