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by Mikaela Brewer ​for The 44 North, Senior Editor


Artwork by Logan Brewer
Artwork by Logan Brewer

Please note: this short story discusses cancer, climate catastrophe, mass death, and sexual assault. It may activate folks with similar lived experiences, beyond what feels safe to spend time with. Please engage with this story how/whenever it feels safe for you.


"Where did all the horses go? In Tamang mouth, ghost, and blossom come from the same root. In Tamang Tongue—there is no way to say this / in English."



***


Not many can say they’ve survived three flash floods, let alone in the same day. 


At 8:37 a.m. local time, as my mother slept just minutes away from her alarm, she drowned in the Gorkha district of Nepal, along the Nepal-Tibet border. As ice and rock collapsed from a glacier high in the Himalayas, water surged downstream via the Lhende Khola, Bhotekoshi, and Trishuli rivers, sweeping her home away with chunks of bridge, building, and road. Here in Canada, around 6:30 p.m. local time, a second flash flood rushed, unwanted, between my legs, in a dark supply closet at the end of my residency shift in the pediatric ward. The third poured as blood, minutes later, from a mouth a few floors down where my best friend was dying from cancer. 


That amount of water pressure should have powdered my bones. 


I limped out of the closet into the washroom across the hall, fell to the floor in the stall, and wept so there would be room for oxygen in my body. I must have fallen asleep because when I opened my eyes, my friend was sitting across from me, bare ass on the floor under her hospital gown, wiping crystallized tears off my face with her thin thumbs. The ceiling fan swished the stale air; the sound of waves coming again and again. My mouth tasted like salt.


“I’m going to bloody kill him,” Gelly said, her Irish accent thicker, it seemed, to compensate for her body’s withering. 


“I can’t take any more death today, Gelly.” Dr. Williams, the lead physician on the floor, had been making comments to me for months. This time, after the news broke from Nepal, he told me he wanted to comfort me—that he wanted to make me feel better. Still in shock, I vaguely remember giving in to him touching me. Soon, his want took over, and he was too strong to stop. I hadn’t told Gelly this yet. 


“I know, love, I’m sorry.” She paused and, maintaining a serious face, said, “We should’ve shaved my hair tomorrow instead.”


I couldn’t help but smile, yet it felt wrong. And I still didn’t know what to do—I was waiting for more news, more information. My mother was dead. My childhood home was erased.

 

“How did you get up here?” Gelly snuck out often to see me, as long as she was physically able. More and more often, she wasn’t.


Gelly looked at me long and hard. “I told the receptionist the truth.”


I nodded, but didn’t say much in reply. The homesickness washed nausea over me, and I quickly spun around to throw up in the toilet. I could feel Gelly’s hands on my back as a brace. When I’d finished, she said: “Well, maybe you have room for my plan now?” 


“Your plan?” 


“Aye, my plan. I made a new friend downstairs. She’s a cook.”


I looked at my watch: 2:13 a.m. “Gelly, I need to go home and sleep.”


“No, no, no. Well, yes. But not quite yet. Right now, you need yam curry.”


“Yam curry? How do you figure on making yam curry?”


Gelly pulled me to my feet, tidied my thick black hair, took my hand, and led me down the hall. The hospital lights were still on, but many were sporadically dimmed. It was an eerie place to be on a quiet night, especially after such a violent day. Everything was still functioning, but not quite fully, as if run by ghosts. It seemed there was less colour in the already drab labyrinth of hallways, diluting and draining away like my tethers to Nepal. The burn of disinfectant from whoever had mopped the floors made my eyes water as we rounded the corner to the staff kitchen.


A nurse, maybe a few years older than me with long black braids and warm brown skin, stood with her back to us. She was organizing ingredients on the table with a tender touch: Purple yam, ginger and garlic paste, asafoetida, ground turmeric, salt, cumin, and coriander, Kashmiri chilli powder, chopped tomatoes, bhat, Greek yogurt, Tama Ko Achar, and Hariyo Khursani Ko Achar. How she found these ingredients, I had no idea, let alone how she snuck them into the hospital. There was a Nepalese grocer in the city, but I’d always figured I was the only one in the building who knew where it was.


The woman turned around and smiled kindly, just enough to see her dimples propping up a spray of freckles.


“Seti, this is Niimi, my nurse downstairs.”


Niimi placed her hands on her hips. “Seti, would you help me?”


Exhausted, delirious, and still gripping Gelly’s hand, I nodded. Gelly let go, stepping shakily off to the side to sit in one of the kitchen’s chairs. I made eye contact, aware of her exertion, but she nodded toward the table and smiled. She was so thin that her entire face wrinkled, though she was only 23. It was her wisdom, laughter, and kindness made visible; I wanted to believe. 


I walked slowly toward the table, guided by my hands as if they were a puppet’s. I started peeling the yams, cut them into one-inch chunks, and covered them with water to preserve the colour and texture. I heated the oil, slowly folding in the ginger and garlic pastes until they softened. Into the pan I dusted the turmeric, yam, and salt until shimmering golden brown. My fingers slid in the chilli powder, cumin, and ground coriander to cook for a few minutes, then the tomatoes to cook for a few more under the lid. As I removed it and sprinkled in the fresh coriander, I became aware of my mouth. It watered not only because I was hungry, but because I’d been speaking of my mother the whole time. 


Gelly and Niimi had been asking me questions about Nepal—about my parents, about their horses, and about my mom’s recipes and flower garden. How she loved the chef Santosh Shah, but thought he didn’t quite make yam curry right. Niimi handed me ingredients as Gelly asked their names and origins in Tamang. I scooped the steaming curry onto 3 paper plates, complete with bhat, Tama Ko Achar, Hariyo Khursani Ko Achar, and Greek yogurt.


When I finally sat down, deeply sore in body, mind, and spirit, I looked into Gelly and Niimi’s faces. Gelly was dying far from a home scarred with war and oft-forgotten colonial violence. Niimi’s tribe’s lands were being sold for military and economic development. We had known such loss, and yet, we each remembered something that very early morning: Curiosity about life in the face of death; offering an able body as Earth, the largest we know, cries for help; and making from ancestral memories while devastation and violation threaten to unmake them. My hands had become my mother’s in this small kitchen across the world.


There’s a poem I adore from Nepalese poet Samyak Shertok, called “Mother Tongue: A Haunting.” One line has settled uncomfortably in my heart for a long time: “If to speak one’s mother tongue is to keep one’s mother alive, / I kill my mother daily.” Earlier in the poem, he also writes: “In Tamang mouth, ghost, and blossom come from the same root.”


There is formal support, I know, for sexual violence, grief, and palliative care. The way Gelly and Niimi are looking at me now, eating our makeshift yam curry, I know I won’t have to find or approach help alone.


I can’t speak Tamang fluently, but the best nourishment that evening was the grief and love cooked into the meal—ingredients as containers. Right now is all we have sometimes. Right now, maybe, is all we need to keep each other, and by extension my family, alive in the way we know how.


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by Mikaela Brewer for The 44 North, Senior Editor


Neist Point Lighthouse on the Isle of Skye, Scotland.
Neist Point Lighthouse on the Isle of Skye, Scotland.

In Virginia Woolf’s To the Lighthouse, there’s a twenty-page chapter where the characters disappear from the stage. Time passes in the 1920s, and we witness their summer home on the Isle of Skye, Scotland, begin its return to the Earth.


That same decade, outside the world of novels but a sure-footed setting for one, a small red brick house was built up the hill from Kempenfelt Bay. A century later, it will be forked from the ground—expropriated for a freeway expansion in a small town.


At the marina in Barrie, Ontario, I rest my elbows on a rock large enough to reach my chest. I look up the hill, now Bayfield Street (Hwy 26); I can see the chimney of that red brick house—my great-grandmother’s, now my grandmother’s.


Before I climb to it, likely for the last time, my eyes glaze over with memory film: The gardens of rhubarb, baby spinach, blackberries, mint, chokecherries, strawberries, and milkweed; the blue rope swing; the heartier, yellow rope swing as my limbs lengthened in youth; the tarp sheds with bicycles of every size; going to school smelling of roasts, homemade fries, and soaking sauce pans when we stayed over on weeknights; my grandpa’s floor-to-ceiling toolshop, converted from an electrician’s testing room; my grandma’s dress design studio, like an autumn forest made of fabric and buttons, where my 8th grade graduation dress was sewn by hand.


In Underland: A Deep Time Journey, Robert Macfarlane writes: “Into the underland we have long placed that which we fear and wish to lose, and that which we love and wish to save.”


From Underland by Robert Macfarlane
From Underland by Robert Macfarlane

His words linger: I recall the caves, tunnels, underground rivers, and mycelial-root networks he writes of over 500 pages of travel in the “underland.” Unlike the home ashore the Isle of Skye, my grandma’s house will be torn from the ground with tongs designed to shred and destroy. No one, even outside of our family, will inherit it. The parts that came from the Earth—which are many, given when it was built—will not return home. And I realize, quite suddenly as I’m writing this in my notebook at the marina, that I can’t be the artist this time. Maybe there are moments in our lives where no human can be…  


It’s another who makes us again and again. We seem to remain one of their favourite things to sculpt and paint. They know, though, to flinch from us; monarch butterflies, crows, and red foxes dip back into the woods at the sound of our footfall. They lick their wounds and stitch them with moss, lichen, limestone, and mushrooms. They conceal what’s been taken and gouged from them with water and goldenrod. But they aren’t graceful in their grief or rage—as much as we expect them to be. 


I wonder now: Do humans create environmental disasters, or are they in fact the Earth creating—trying to forge art from ever-violent wounds? As we’re responsible for those wounds, our dis-ease with their art—that erupts, explodes, crashes, or drowns—is inevitable.


My family were Scottish settlers on Anishinaabeg land, first among the Ojibwe on Manitoulin Island. What’s happening now to my family’s home has repeated over, and over, and over again—across the Americas, the Congo, Sudan, Palestine, Iran, Lebanon, and beyond. It’s still happening, and no, white families aren’t safe—no matter their ‘allegiances.’ 



When we ravage a body with the claws of an empire, how can we be surprised that its art is revolutionary, radical, abolitionist? An earthquake, a tsunami, a hurricane blooming inside the rawest flesh. 


Like those of us fighting to live in hope’s lane rather than despair’s, Earth processes the only way they know how: Art. And wounds, we know, will wound—especially the most vulnerable.


How can we not spotlight them as the artist—as only defined by the attempts on their life? 


I trust them, wholeheartedly, to hold and remember the memories I can’t—in their soil alongside the Anishinaabeg peoples’. I trust them with “that which [I] love and wish to save.” Even paved over, I must believe something remains intact. 


And when Earth crafts their art in quakes and floods, the shape of rhubarb gardens and children’s bicycles, to the beat of a rope swing well-broken in, will we see it for what it is? Earth as the only artist to follow into the fray, because if they’re an artist, then so are we.

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.



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