To those who ask me of my favorite poem

By Matthew Swann

I am often asked if I have a favorite poem. And the truth is for a long time I didn’t. Even though in the beginning I would often boast, either to new friends or potential lovers, that I write poetry. Very rarely did I ever read any poems outside of my own, which I would (and still do) write and enjoy, only to look back months later and hate. I suppose some would say that’s par for the course when it comes to any form of creative expression. If we are trying to bring a feeling into the world, then how can we ever be satisfied with the results if said feelings are constantly changing? I digress. Back to the point: I wrote but did not read, and a writer who never reads can arguably never be a great writer, and I wanted to get better, so I started to read. 

The first books of poetry I ever bought, outside of those needed for class, were collections. I walked into a bookstore with a friend on a cold evening in March. Once we entered, we headed upstairs, the owner of the store alluding to us that the good stuff was to be found there. As we ascended the stairs, I searched the shelves for poetry specifically written by Rumi and Gill Scott-Heron, the latter I was familiar with via his discography and the former more related to my spiritual musings, which I had found myself falling into more and more as quarantine secluded me within my own mind. Upon the dimly lighted shelves, I searched, negotiating the titles of the volumes, conveniently ordered in alphabetical order (as all shelves should be). As I made my way through the volumes of alphabetized prose, I came across a name I was familiar with but had not considered in my search: Charles Bukowski. I became aware of Bukowski similar to the way I had been made aware of Gill Scott-Heron, through music. In the song “Cellz (Born Like This)” by MFDOOM, the poem “Dinosauria, We,” also known as “Born Into This,” precedes the verses of the song. The poem’s content captivated me the first time I heard it and prompted me to Google to discover the author. That is when I first came upon the works of Charles Bukowski. 

If someone asked me to describe Bukowski’s poetry, I would take the easy way out and call it human. The poems of Bukowski are troubled, nihilistic, reproachable, depressing, pitiful, and yet at the same time, hopeful, enduring, and at times, even humorous. For me, Bukowski’s poetry represents what it means to be an honest writer, to be true to yourself and your audience because writing is not just a self-serving endeavor but an altruistic one. To write is to yell into the void, exclaiming “I am here,” in hopes to hear a responding voice say, “So am I.” A great example of this is Bukowski’s poem “To The Whore Who Took My Poems.”

some say we should keep personal remorse from the
poem,
stay abstract, and there is some reason in this,
but jezus;
twelve poems gone and I don’t keep carbons and you have
my
paintings too, my best ones; its stifling:
are you trying to crush me out like the rest of them?
why didn’t you take my money? they usually do
from the sleeping drunken pants sick in the corner.
next time take my left arm or a fifty
but not my poems…” Charles Bukowski “To the Whore who Stole my Poems”

This poem is my favorite. I came across it when I began reading Essential Bukowski, the book I found in that bookstore on that fateful night and promptly bought, along with two other volumes, with money I did not have. Flipping through the collection’s pages one afternoon during poetry club, the name of the poem jumped out at me, and I knew I had to read it to the rest of my fellow club members. Despite the striking name, interpret this poem more like a love poem than a written vendetta. It is a poem that I believe that all writers, and, by extension, artists can relate to. “To The Whore Who Took My Poems” is a love letter to the creators of the world. Those who do more than muse but strive to create. Who read novels and books and poems written by those whose names sit on gold plaques, which above them read “The Greats,” and not only dare to critique them but to also write at their level if not better. The creation of art is beautiful, but it is not a romantic endeavor. As much as people would like to believe it to be so, the life of an artist, of a writer, is not carefree, nor is it glamorous. It takes more than being able to string words together on a page to create an acceptable piece of work—whether or not it is good is another story. The work we create as artists may not deserve to be liked, but I believe that it at least deserves to be respected, just as we would respect the people who create it. Because when you take a part of yourself and put it into something, sometimes losing it can be as painful as losing a limb. 

The Many Forms of Grub Street

By Cora McDaniel

 

In early March, I met with Felicity Knox, the assistant university archivist at TU’s Special Collections and University Archives (lovingly referred to as SCUA) to talk with her about the history of Grub Street

For those who aren’t aware, archives (including ours at TU) play a vital role in the academic community. They meticulously collect materials of historical value in order to preserve and protect that which would otherwise be lost to the everyday chaos of life. These materials can range from yearbooks to student newspapers… to old editions of Grub Street. If you go to the SCUA website, you can see, laid out before you, digitized copies of every Towson literary magazine published from 1952-2022. These would eventually culminate in the Grub Street we know and love today. 

As part of my conversation with Ms. Knox, she offered me the opportunity to hold in my hands some early editions of our student literary magazine, each of which had different names. I saw copies of The Publication, Towers, and The Talisman—each of which contained vastly different artwork and literature. Much like Grub Street has today, there was always a poetry and prose section, however the art wouldn’t appear in the magazine until the 1952-53 edition of The Publication

Strangely enough, the most interesting sections to read through were the editor’s notes and the front and back matter of the magazine; this was where the voices the magazine’s staff came through most, and the drama (when there was any) was published in well-hidden niceties and dreadfully formal language. The magazine’s first name change, for instance, occurred because of a conflict between Towson’s student newspaper (The Towerlight, an organization which still exists today) and The Publication

In 1956, The Towerlight (known then as The Tower Light) published an article which stated that the literary magazine should change their name to something, “more stimulating, and yet in keeping with the nature of the magazine.” After some deliberation, the name Towers was eventually decided on—and changed, once again, soon thereafter. Students on campus kept confusing The Towerlight and Towers (another wonderful moment of historical drama), thus compelling the magazine to change their name yet again. It would take more than 30 years for the magazine’s staff to finally settle on the name Grub Street. I found the process of reading through the magazine content beyond interesting. Eventually, I was able to see a story come through in my head. That’s the beauty of archives—you’re able to see a picture of the past that might otherwise not exist if an archivist hadn’t bothered to save it.

As with any materials held within an archive, its content can say a lot about the time period from which it was collected. Art made in the ‘70s would, naturally, reflect much about the cultural and historical happenings of that decade. The same can be said about Grub Street, in all of its wonderful and weird forms. So, if you’re interested in learning more about our phenomenal archives on-campus and Grub Street, read through a few of the older editions of our magazine. It’s fascinating. 

Exploring the Opposite Viewpoint in Five Tuesdays in Winter by Lily King

By Rileigh Hartman

 

 Lily King’s short story collection, Five Tuesdays in Winter, preserves an ever-constant pull towards love through affliction and desire. The second story of the collection, which the book is named after, details the love a bookseller has for his employee. Described as reticent by his preteen daughter, Mitchell’s longing for Kate is thoughtfully disguised through his silence. However, in the end, there is a twist; she had been falling for him too. Mitchell thought his feelings were unrequited until she caressed his cheek, the fullness in his chest reason enough to lean in. But now, the story begs the question of how it would read if Kate was the focus instead. To answer this (and nudge the irony), I wanted to use her viewpoint to explore the possibilities of who Kate may be and what she may have felt during the story.

~ ~ ~

  Kate followed Lincoln to Portland. She was estranged in their shared apartment; coasters under her water glass, clothes still tucked in boxes— she never planned to stay. But she didn’t like to think of herself as someone who wouldn’t find love, that she was incapable of it. She could charm anyone, but it always led to them misplacing her, forcing her into boxes she didn’t check. Sometimes, she believed that if she tried to fit where people thought she should go, she’d find love there. Or if she went against fitting in, then not finding love was more intentional than contingent. The only time Kate felt sheltered was between book covers.

  When Paula, Mitchell’s daughter, complained about her Spanish teacher one Saturday afternoon, Kate offered to help. If she was honest with herself, speaking Spanish again would only stir up memories of Peru she didn’t want to revisit. Maine was nice anyway: decent views and handsome company. Later on the first Tuesday evening, it took her longer to pick out an outfit. The bookstore was home by then, and she treated it as such in her secondhand jeans. But it felt different to be going into Mitchell’s home— she wanted to look like she wouldn’t fit. Then Mitchell stared at her for a moment longer than usual when he opened the door, and she was suddenly seamless; settled in his gaze as she remembered what it felt like to be wanted somewhere. During her time with Paula, Kate wanted to ask if Mitchell had seen other women since his wife left, but he didn’t seem like the type of person who’d try to find love twice.

  At Westy’s, Kate always searched for the Mitchell-renowned mushroom soup after he mentioned it to her, and the glimmer in his eyes appeared. It had been years since he’d seen it, but she still enjoyed their inside joke: fitting into a space she didn’t know could exist. Kate couldn’t bring herself to smother her smile when she saw Mushroom Soup written on the menu. As she opened the door to the bookstore, she couldn’t tell what she was more excited for: the soup or the look on Mitchell’s face when she offered it to him. Of course, the latter won. When Mitchell brought up Mrs. White and Kate asked what she was like, he went quiet. But Kate didn’t disrupt his silence; she liked it. There was no place to fit in or out of. He said that she was like her. Even without knowing Mrs. White, Kate felt like she and Mitchell could love each other in a way that only they could understand.

  Paula asked her to stay for dinner on the fifth Tuesday— Valentine’s Day. She’d wanted to decline but it sounded better than going to the mall again, the reminder of how alone she was. Upon arrival, Kate handed Mitchell a small chocolate box, noticing how his eyes stayed trained on the gift instead of her. Time never caught up to when Mitchell knocked on the door to tell them dinner was ready and Paula stood abruptly, leaving a red stain on her quilt. Kate ran to the local pharmacy, never feeling more out of place with her lack of a motherly touch. Yet, she’d grown to realize that being around Paula and Mitchell was like reading her favorite book for the first time again. So, she ran back to the house.

  The quilt was tucked in Mitchell’s hands when she left Paula’s room. They walked to the laundry room, and when they faced each other after washing the quilt, the space between them felt smaller. Mitchell asked why the drunk man last week told them they have the same eyes. It wasn’t true— Mitchell had green eyes, she had brown. But she knew what the man saw. He was fearful that she would leave but loved her anyway; she was fearful that he’d misplace her but desired him regardless. Kate remembered the word Paula used for him— reticent— but could only think of herself, which spurred her fingertips to caress his cheek. He pulled her closer, and Kate thought about how she would never leave his side as she leaned in with him.

~ ~ ~

   Five Tuesdays in Winter follows two complex individuals who have quietly chosen each other. The significance and irony of their relationship is how they were both reticent but we, the reader, only received one side of their story; we were only seeing Mitchell’s world sculpt around Kate. In the rewrite above, her character is translated from the specks we’re given of her through Mitchell’s point of view. Kate is subjective, yet we’re given just enough information about her that it becomes clear she shouldn’t be left in the reader’s peripheral. As Mitchell demonstrated, being reticent doesn’t mean untroubled. 

  Lily King’s collection carries the theme of only sharing one side of a love story. While she accomplishes making her reader ponder the romantic probabilities for each story, it leaves little room for discovering the unacknowledged character’s perspective. In Five Tuesdays in Winter, the surprise ending gnaws at the unsettled relationship between Kate and Mitchell, making it feel unfinished. But letting the reader know what Kate was going through and what she could have been thinking about strengthens their bond and puts their relationship on more solid ground, creating a well-rounded love story and breathing life into her love for Mitchell.

Small Press Highlight: Fallen Tree Press

By Marleigh Heffner

Fallen Tree Press is a Maryland publisher that focuses on poetry chapbooks. Terri Simon and Patti Ross, the editors of the press, formed Fallen Tree Press in 2022 following an avid conversation at a bookbinding class in 2017. Simon has written and published multiple chapbooks, including Ghosts of My Own Choosing (Flutter Press, 2017), and has appeared in a number of both online and print journals. Ross has a background in theatrical performance and journalism; she has recently begun sharing spoken-word poetry and published her first chapbook, entitled St. Paul Street Provocations (Yellow Arrow Publishing, 2021). Through Fallen Tree Press, Simon and Ross wish to publish a diverse selection of authors and aim to uplift the voices of the underprivileged; they also donate a percentage of their proceeds to charity. 

Fallen Tree Press has two published collections and are rapidly working on their third. Their first publication was an anthology that combined art and poetry. Portraits of Life: An Ekphrastic Anthology is a collection of art by April M. Rimpo and Elaine Weiner-Reed and poetry that has been inspired by their art. Mount Fuji, 36 Sonnets by Jay Hall Carpenter is the press’ second publication; it is based on the series of Japanese paintings 36 Views of Mount Fuji by Katsushika Hokusai. In this chapbook, Carpenter writes about nostalgia, love, and death using the form of Shakespearean sonnets. Both chapbooks can be found for sale on the press’ website.

Simon and Ross wish to help poets get their work noticed and out into the world; they continue to do so as they explore new submissions for Fallen Tree Press’ third chapbook, which can be expected this summer.

Grub Street Announced Gold Crown Awards Winner! Plus, A Q&A with Last Year’s Co-Editor-in-Chief

By Colin Lang

Grub Street has won another award! The Columbia Scholastic Press Association (CSPA) has announced that Volume 71 of Grub Street, which was published just last year, is a Gold Crown Awards winner. The Crown Awards honor the best student-produced publications, which are chosen by the CSPA’s judges. There were a total of 805 publications eligible for judging. Before becoming a Gold Crown Awards winner, Grub Street was one of several Crown Awards Finalists, which are chosen based on overall excellence. This excellence is determined by the quality of a publication’s design, concept, coverage, writing, and photography. This month, the CSPA held a ceremony announcing which publications were awarded Gold Crowns, while the rest of the Finalists won Silver Crowns. A wide variety of publications were Crown Awards Finalists with the most publications coming from high schools and many also coming from colleges. There is even a small amount of publications that come from middle schools. Towson University is not the only college from Maryland to be announced as a Gold Crown Awards winner. Mount St. Mary’s University, located in Emmitsburg, won a Gold Crown for their literary magazine, Lighted Corners

 

The CSPA was founded in 1925 and unites student editors and their faculty advisors to promote excellence in student journalism. The CSPA holds contests and awards publications to continually make student media better by setting the standard higher and higher. The student members of the CSPA come from all types of schools and colleges, which highlights its diversity of voices.

In light of Grub Street winning a Gold Crown, I reached out to Kourtney Douglas, who worked as one of the two Editors-in-Chief of Volume 71, with a few questions related to her time working on Grub Street.

This interview has been edited for clarity and length.

 

Colin Lang: What was the most fulfilling part about completing and publishing Grub Street?

Kourtney Douglas: I think the most fulfilling part of working on Grub Street Volume 71 was becoming acquainted with some of the brilliant minds behind work we had become so familiar with. It really demonstrated to me how intimate of a privilege it is to be a part of someone’s writing journey and process. I am beyond humbled by the experience. I also got to work with some really awesome people who will surely go on to do some great work, in whatever field they end up in.

 

CL: What was the hardest part in the process of publishing Grub Street?

 

KD: I think the most difficult part was simply logistics. Thankfully, besides [on] a handful of works, Kelsey and I often agreed with our genre editors, and we all seemed to work well together. Most of the trouble came when outside life starting “life-ing”–a lot of it was asynchronous, and it did become difficult as the work increased. Most of us worked while being full-time students, some of us supported partners and families. For me, I’m a full-time caretaker of a school-aged relative, who had a lot of health challenges, and I also got COVID-19 during the revision process. I credit Jeannie Vanasco, our advisor last year, and Kelsey Franklin, my Co-Editor-in-Chief, with getting us to the end successfully.

 

CL: What advice would you give to future Grub Street editors?

 

KD: I could ramble for a long time about all that I learned, so let me try to get it into something you can use. I think my biggest advice is to learn all you can about the process. Ask possibly stupid questions, challenge norms and standards, and don’t shy from the idea of nuance and impossible complexity in the media you enjoy. You can be critical and still love something. You can personally dislike something while acknowledging its value and impact. Think deeply about the fact there are other humans on the other side of Submittable, sending in their work with trust in your ability to honor how vulnerable submitting is.

 

CL: How does it feel to have worked on an award-winning literary magazine?

 

KD: I forget what a big deal Grub Street is to many. I’m humble and thankful for the experience. If we made an amazing issue that never won a single award, I’d still be just as pleased. What is important to me is the growth and acknowledgement of the team and artists and getting the work to readers who want it.

 

CL: What knowledge from working on Grub Street do you take with you to this day?

 

KD: Grub Street was the first time I had worked on this large of a team for any kind of major project in years, so those skills: learning to be curious about others’ opinions and not judgmental, being open-minded, flexible and creative when it comes to logistics–those are things I still use everyday. I also learned or relearned so much about writing, about form, and about the process, both the internal and external, of publishing and writing. Also, I got to talk to one of my favorite poets, Hanif Abdurraqib, when Jeannie invited him to class, and I found so, so many great authors through the books assigned in class.

Small Press Highlight: Poet Lore

Reviewing America’s Oldest Poetry Journal

  Poet Lore serves as a solid pillar of both historical and contemporary literary journals by being the oldest poetry-based publication in the United States. Now located out of our very own Bethesda, Maryland and backed by The Writers’ Center, a nonprofit, this journal has been published out of a handful of different cities for nearly 140 years. Founded in Philadelphia, the journal in its formative years was a comparative literature project of Shakespearean scholars and life partners, Helen Clarke and Charlotte Porter; though the two quickly shifted their focus to that of living writers. The women moved to Boston after two years where the journal remained until it was bought by Washington D.C.’s Heldref Publications in 1976. Eventually, it shifted to The Writer’s Center where it has been published biannually for the last 25 years.  In its longevity, the journal has had the opportunity to publish the early works of renowned poets like David Baker and Mary Oliver. 

It is clear that Poet Lore’s staff is proud of its long and inclusive history. The website declares that “poetry provides a record of human experience as valuable as history”, emphasizing not only the importance of history but the inherent value of the written word. The journal publishes content that is both urgent and intimate, offering its audience “poems built to last” with an emphasis on quality. In an interview with Frontier Poetry, Poet Lore editor Emily Holland said, “we love featuring poems that broaden the spectrum of what poetry is – and can be – on the page.” In fact, the editors are so dedicated to the vast possibilities of poetry that in their newly redesigned issue, the editors opted for a larger trim size to publish poems that might not format well on a standard book-size page. They also printed multiple poems to a page to show connections between pieces. This sizing detail is one example of how the team emphasizes voices that lack widespread renown, reconfiguring the journal itself to better accommodate its contributors. In doing so, Poet Lore remains true to the vision of its founders by maintaining its progressive and inclusive legacy. 

-Review by Chloe Ziegler, Grub Street poetry editor

Grub Street featured in Poets & Writers!

Last month, Poets & Writers released a spotlight on poet Abigail Chabitnoy, who was published in Volume 71 of Grub Street!

In their monthly Literary MagNet series, Abigail and writer Dana Isokawa discuss her writing process, Indigenous background, and all of the journals she has work published in, including our very own Grub Street!

We are proud to be a part of Chabitnoy’s publishing journey.

Read Abigail Chabitnoy’s work In Grub Street here.

Essential or Sacrificial?

By: Marissa Hawkins, Assistant Fiction Editor

It’s hard to think about a time before all of this: when we could go outside without wearing a mask and gloves, when we could hug without fearing sickness, when we could see our family in person and not through a zoom call. While some of us are getting used to this new norm, for however long we have to, some of us can’t stay at home. 

Consider the cashier you saw at the grocery store before this all happened. Or maybe the mail person who comes to your door almost every day. What about the drivers of Amazon, FedEx, and UPS trucks? There are so many essential employees, and it’s horrible that only now are they being recognized as crucial. Before, I’m sure you saw a “Karen” in the wild, screaming for a manager. You thought it was normal, and it was. But after this pandemic started, did you start thanking the employees at those grocery stores? Did you start noticing them?

It’s not hard to pinpoint when the world decided to go to shit. It had started the week before spring break. That Monday, everything was fine. The world was as peaceful as it usually was, which wasn’t that peaceful. But toilet paper and hand sanitizer hadn’t yet became the new money system. That Monday, I had left the grocery store where I work to head to Urgent Care. Why? My sciatic nerve decided to be fucked up, and while waiting for a doctor, I noticed signs about COVID-19 posted everywhere. The novel coronavirus had taken over the medical world by this point, but it didn’t seem that bad. A guy had jokingly asked me if I believe this shit was real and if it would be bad. I looked him straight in the eye and told him I didn’t think it would last, that it would be just like the Swine Flu, that it would come and go as quickly as it appeared. I wish I had been right. He laughed, nodded his head, and said he hoped the same, before he was called back for whatever he came in for. I think about that moment, sometimes, wanting nothing more than to go back and change my answer. To tell him I wasn’t sure. Or even to tell him I believed it would only get worse. I know at the time I didn’t lie, because at the time I was still laughing about COVID-19 memes. Now, I scroll through Facebook and see nothing but death and destruction as the virus destroys our world.

Reality set in a few days later, on that Friday after classes had been canceled until spring break was over. I went to work at 4 a.m., like I always do—and it was packed. Like, usually a few people were shopping here and there, the normal people. But no, the parking lot was packed… at 4 a.m.! I could barely even find a parking spot. It was like when people learn about a snowstorm and stock up—but worse. It was as if people were told they would never be able to leave their house ever again. They took everything; the shelves were bare. Nothing but the things people would never dare to eat, like jars of pig feet. YES! Pig’s feet. I know, gross. But it was left there, surrounded by nothing but settled dust. The one gross reality of this pandemic is how much dust can be found on the shelves and how much mold can be found in the fridges that keep the eggs. I know you likely didn’t want to read that, but that’s the reality. I didn’t want to see it; you didn’t want to read it—well tough… if I’m going down, so are you.

Customers started turning into demons in desperate need of TP, and the employees started to see that the world was just a place and they were objects. And then, suddenly, the news showed that we were more than only slaves to the system. We were “essential.” Each week my boss sent out new changes to the policy, something that our union had worked so hard to get passed. Slowly, things in the store started to change. Now we couldn’t take returns or exchange, couldn’t offer rainchecks, weren’t allowed to bag groceries in any bags that customers brought in. There were so many more rules, until eventually they put up plexiglass barriers and gave us masks and gloves. Why did it take so long? Well, they waited for an employee at one of its stores to die until they’d protect us. I was reading the article about the employee who died. Her immune system was compromised, but she loved her job—and her death triggered the debate: are we essential or sacrificial? And if I’m honest, I’m not entirely sure I know that answer. But I’m starting to lean toward sacrificial, especially since people getting unemployment are getting paid more than essential employees are right now.

Most people already knew that they were getting fucked over by the minimum wage. Why else would I be striving to get out of that shit job? I was supposed to graduate from Towson University, find a job (where I didn’t have to work on weekends), and quit working at the shitty grocery store before Thanksgiving. But as time slowly trickles away, the world remaining in never-ending panic, a part of me fears that I will be trapped at a job I hate for longer than I intended. What if we stay this way until 2021? Or even in 2022? This is what doctors are predicting because some Americans are so fucking stupid and don’t want to listen. Instead, they protest about opening the world back up. They believe this is some sort of thing to push Trump up the polls. Or even that it’s all fake. I don’t know about you, but this feels real. Too real for comfort. And I just want it to end. I want to go back to the time when the world was peaceful, but I also hope that we change the world. I want to see a world where everyone realizes that we have fucked up, that we need to fix how we act, how we treat others. Because if working during this pandemic has taught me anything, it is that a lot of people are assholes. 

My boyfriend, right now, works as a counter outside of our store. The limit of people allowed inside is 20% of capacity. Guess what that is? 117 people! That is still too many people, and they don’t even follow the directional signs (so that they flow correctly) and they don’t remain 6-feet apart. What’s funny about that, though, is they don’t care in the aisle, but once they get to the register, they scream if someone is too close to them. But that is a story for another time. Back to what I was really about to say. My boyfriend told me that the other day, he was telling people that they were only allowed inside if they wore a mask or somehow covered their face, either with their jacket or shirt. Simple, right? It makes sense, right? Well, some fucker told him, “I don’t have a mask,” and simply ran inside the store, not caring about them or anyone else for that matter. What’s funny is security couldn’t do anything. They can’t do anything. My boyfriend can’t stop customers from entering. The employees can’t ask customers to leave if they don’t have their mouth and nose covered. It’s just a front to show that we are doing our part. But once you get inside, we can’t do anything. We can’t force anyone to follow the signs, to cover their faces. We can only make suggestions. Funny enough, though, when the same guy exited, the security guard stopped him and told him next time he came, he needed a mask and then sent him on his way with a fake retail smile. 

The grocery store chain’s executives may seem to pretend they care on the outside, and the union may say they are trying everything in their power to protect us. But they don’t. We are nothing but sacrificial lambs to them. They pretend to give us protection, they gave us a raise of 10% until this is all over, gave us a coupon for $20 off our next order. But they don’t care. I was talking to the manager, and all he got was an extra day off for that week. He got nothing else. They don’t care. They only care about the money this pandemic has brought in, even with the lack of product. AND DON’T EVEN GET ME STARTED ON THE LACK OF PRODUCT! We still don’t have toilet paper or paper towels, the Lysol section is empty, as is the hand sanitizer. And the entire frozen section is bare because they keep canceling the trailer. Because of the pandemic, we can’t even order what we need. They just send us a truck of rationed supplies that they sent to other stores, in our chain, in Maryland. So, if a customer asks when we’ll get something in, the answer is “who the fuck knows” or a shrug. And then they get pissed at us because we don’t know. I heard the store manager saying that she has gotten blamed for our store not having products; the front-end manager even got yelled at and accused that we weren’t allowed to take returns that have left the store. And if you thought grocery store employees were abused before, you have not seen it during this last month. We have been screamed at, berated, and drained of all our energy. Even when I work four hours at work, I feel as if I had been there all day. I’m exhausted, I don’t have the energy, and it’s worse than it was before.

This past week, I took a vacation. I had planned to take it before this shit happened only to have to deal with school and be able to sleep in. Because of this pandemic, I used it to clean my room. From the 15th until the 22nd of April, I deep cleaned my room from top to bottom. I dusted, I swept/vacuumed, and placed some things into storage. I couldn’t be prouder. But now, as I sit here typing, I realize my impending doom. I go back to work tomorrow. I must go back to Hell and deal with trash. I must go back to wearing a mask on my face and fogging up my glasses. I must go back to being yelled at by customers for not having the golden TP. I don’t know how much of this I’ll be able to take before I snap, especially after being at home for a week. Going back to the flow of things will not too easy, especially with no flow to be had.

When it All Became Real

By: Kaitlin Marks, Managing Editor

 

Before this whole thing became real, a tangible threat that sent us home and closed down Disney World and stole breath and lives, people made jokes about buying plane tickets and being invincible.

In my Monday night class, a girl scrolled through flights on her laptop. “If it’s only going to hurt old people and kids with weak immune systems, I’m buying a cheap flight.”

Another kid joined in. “Yeah, it sucks for them, but this is just going to take out those people, so I don’t really care that much. I’m still going to go to California for spring break.” 

I looked down at my highlighted notes on family resources and almost imperceptibly shook my head. The words “only” and “just” suggested that those lives don’t matter. I had a sinking feeling that as bad as that outcome clearly would be, this wouldn’t end with the old or immunocompromised.

When school shut down, I thought about how this invisible thing could reach everyone. 

When the university announced that the rest of the semester would be spent at home, I knew I wouldn’t mind the actual being at home, but I definitely have minded the way my thoughts start whirling. 

It almost reminds me of waves. Whenever I’m stressed, the ocean always calms me down. But now, waves of stress, doubt, fear, anxiety, sadness, grief roll over and threaten to upheave everything I hold close. I watch the news and have to cut myself off because it all becomes too much. 

I go to the grocery store with my mom and sister. We assign roles so nothing gets cross-contaminated: I hold the phone we use to scan items and avoid checkout lines or interactions; Lindsay, who wears gloves, picks up the items for me to scan and places them in the cart; my mom, who also wears gloves, pushes the cart. We don’t cross lines. We follow the rules we’ve set for ourselves. We fear every breath, every passing shopper who steps too close. At this point, the state is under a stay-at-home order. There have been deaths, cases are practically doubling each day, and things are rapidly looking apocalyptic. And yet, as my sister and I sidestep to avoid the older couple in the meat aisle, we hear them scoff. They say things like “Idiots believing in this whole hoax” and “I would never be stupid enough to get that disease.” I watch them touch their faces, touch the cart, pick up and put down items, wander much closer than six feet. My sister and I slowly get angry. We walk away. We know this is going to last because people aren’t listening. We fear how long it might last. We try to make the best of it. 

Days themselves feel normal by now. 

 

____________________

 

{April 8th} 

Donald Trump talked about reopening the country “with a bang.” Last week, he described his goal of “packed churches” on Easter. Someone on the news today said we shouldn’t politicize the virus. I think it’s impossible not to pick apart politics when lives are being thrown away, when people are suffocating when that fate is avoidable, when we’re focusing on economics and political candidacies instead of the rising numbers daily. 

Today was the day with the highest death toll yet. Almost 2,000 American people died from COVID-19.

Tonight, now alone in my room, I find myself thumbing through my old journal, the one I wrote in during my freshman year and sporadically since, but not in a long while, the one with the rose gold cover and lettering that’s about half full (notice the half full—there by intention). I don’t write in my journal about the death toll, or about COVID-19 at all, really, even though I can. Instead, I fill a page with one of my “happy lists,” the giant lists I love to write of every single thing—big and tiny—that made me feel joy, even for an instant. It feels familiar to write this list. It feels out of place to do so in spite of the world collapsing outside. It’s hard to see that reality when I spend a whole day out in the sun with the dogs, reading and studying and sunbathing, and then cook a meal my family loves, and then go outside and have a bonfire, smoke trailing up to the stars. When I look up at the stars, it’s easy to forget about the previous day’s worries, anger, and fear. I feel weightless. I feel boneless. I feel like myself, even if only for an instant. 

 

____________________

 

{April 12}  

On the day before Easter, I spend the evening stress-baking away the week’s news announcements and anxieties and worrisome predictions. My mixer whirls ingredients into yellow cupcakes—I create DIY cake flour with the regular kind and some cornstarch, and add in sour cream to make them tender and fluffy—and before I divide the batter into the yellow and pink pastel liners in the tin, I toss a few handfuls of pastel sprinkles into the batter on a whim. Later in the afternoon, when my parents and sister come in from splitting wood in the backyard, my mom gasps: “you made funfetti?” I tuck the moment away.

After dinner, around 9:30 p.m., I tell my dad about the plan for the cupcakes as he joins me in the kitchen, eager to help. I also make homemade Oreos, and he rolls the dough into a log for me, checking every few seconds to make sure he’s doing it right. I whip up chocolate icing. He does the dishes. We both taste leftover bits of dough and swipes of frosting from the bowl. I frost the first cupcake with a plastic piping bag and a tip that makes little lines, creating a little chocolate bird nest. Dad does the rest, swirling the frosting as I nestle three little pastel-colored Cadbury chocolate eggs in the center of each. I focus on getting the placement just right. I focus on how it feels to finish the last one and lean back on my heels, neat rows of cupcakes on the tray reminding me that some things are normal, after all (note: my hands are covered in chocolate icing, my dad is covered in icing, my sister asks me to squeeze icing from the piping bag into her mouth for a laugh, all is messy and well). I focus on planning for tomorrow, on trying to create joy for someone, for myself. 

 

____________________

 

{April 13}

Easter Sunday—a day of light, a day of hope. People across the country wake up and try to create magic for their little ones as they scatter colorful, treasure-filled eggs through living rooms and playrooms and backyards. 

Today, at breakfast—we have French toast—my dad explains that he’s sad about what’s going on in the world, and hates that people are sick with this, but that he’s grateful for the time with us and the memories we are making. I feel the same. 

I have little prizes from when I was in charge of my after-school mentorship program at the elementary school—tiny squishy chicks and bunnies, candy, fluffy little duck figures from the craft store, pencils with fun animal and food erasers—but we donated our plastic eggs a few years ago. Our neighbor does what I asked in my late-night message from the night before: traipses up the hill to our house, dog on his leash in hand, and deposits two (unopened) packs of plastic Easter eggs in a planter on our front step.  

My mom and sister and I stand around our kitchen table filling the eggs with little treats, making colored construction paper signs to hang on our fence posts with sayings like “hop this way” and “eggs ahead!” (Note: I just mistyped “hop this way” as “hope this way,” and now I’m thinking about how that is just what today felt like.)

We get on the golf cart to make things go faster—me on the backseat with a pink basket filled with eggs, tape in hand, mom and Lindsay in the front pointing to spots that would be perfect for hiding—and start creating the trail of eggs. We tape the signs we made to fence posts surrounding the field. 

We’re deciding how many eggs to drop along the outside of the fence when neighbors who don’t speak to us approach. 

We say hello. 

They do, too. 

This sounds normal, but for these people who have so much hate for anything outside of their bubble, it’s not. When we were really little, the parents suddenly decided that my younger sister and I were a “bad influence” on their three children. For a while, their kids would sneak out to the corner where our yards met, where they could chat with us, shaded by the trees. Eventually, they got caught, we stopped meeting, and I haven’t spoken to them since. I often wonder about how they’ve grown up. I wonder if they wish things had been different. I wonder who they are now. 

Anyways, the present-day neighbor-parents and my mom and sister and I are standing in my driveway conversing. We tell them what we’re doing, how we’re creating an Easter event for our (favorite) neighbors who have Charlie (who is 5) and Sophia (who is 2), and they actually smile, exclaim how wonderful it is, reminisce about the good old days when their kids were little and they would hide eggs. That moment shines for me as a highlight of this whole mess. They walk away, and stunned a little by that simple, kind, human encounter, we turn back toward creating Easter magic for our favorite little kids next door. 

 

____________________

 

{April 14} 

Every summer, for three years now, I spend a week volunteering as a counselor with PALS, a nonprofit that creates immersive experiences for young adults with Down Syndrome and their peers to create transformative friendships and build a more inclusive world. In short, it’s the most magical period of time I get to experience every year—it’s the thing that brings me more joy than anything else in the world. This summer, I was supposed to be roommates with one of my favorite friends from camp, Alana. I was making plans for matching outfits and playlists for getting ready early in the morning at camp. Today, the directors sent out an email saying that all of the camps scheduled throughout the summer are canceled.

My counselor friends and I text as we cry. There’s a pain—in knowing you won’t get a week where everyone is included, accepted, and celebrated—that I can’t describe. 

Prior to this day, I’ve handled all of the things I’ve learned would be canceled with acceptance. Losing the rest of an in-person school semester, visits with friends, visits with family, the launch party for Grub Street, knowing that my 21st birthday will most likely take place in quarantine, losing planned beach trips and business trips my mom and I were supposed to take—none of it stung like losing PALS. 

But I understand why they had to do it. 

Beyond the logistics surrounding camps that normally take place on college campuses, and volunteers flying from around the country, there is a heavy layer of fear surrounding the entire disability community. 

People with Down Syndrome sometimes have heart problems. They sometimes have diabetes, and they get leukemia at much higher rates. Some people with Down Syndrome are in perfect health, and some have to fight underlying problems. 

Before the virus started, I had already learned the horrific truth that individuals with DS or other disabilities in some states in the United States can be denied life-saving organ transplants (even as babies and children) because those governments don’t see their lives as worth living. 

Every single individual with Down Syndrome that I have met has—and deserves—a valued, worthy, amazing and joyful life. People with DS and other intellectual differences have jobs. They go to college. They have friends. They participate in sports, bake for their communities, run businesses, and achieve their dreams. They are the most wonderful people you could possibly be privileged enough to know. 

And yet. 

And yet. I can barely fathom having to write about this, but I need to talk about it. 

And yet, people with Down Syndrome and other disabilities can (legally, in some states) be denied life-saving care if they contract COVID-19, even if they have a perfectly fulfilled life. 

Every time I read about this, my eyes burn, my spine tenses, and my hands start to tremble. I have a physical and visceral reaction to the level of injustice this harbors. 

Amy Silverman of The Arizona Star reports on early state COVID-19 response preparedness plans. She writes: 

Some state plans make clear that people with cognitive issues are a lower priority for lifesaving treatment. For instance, Alabama’s plan says that ‘persons with severe mental retardation, advanced dementia or severe traumatic brain injury may be poor candidates for ventilator support.’ Another part says that ‘persons with severe or profound mental retardation, moderate to severe dementia, or catastrophic neurological complications such as persistent vegetative state are unlikely candidates for ventilator support.

In a world where the word “retard” should never even be used, let alone applied to the rationing of medical equipment, this took my breath away. I thought it would be the worst thing I’d read. 

I was wrong. 

Silverman goes on to describe the ambiguous, and thus even more frightening, plans in other states. She writes: 

Other plans include vague provisions, which advocates fear will be interpreted to the detriment of the intellectually disabled community. For instance, Arizona’s emergency preparedness plan advises medical officials to “allocate resources to patients whose need is greater or whose prognosis is more likely to result in a positive outcome with limited resources.” Between a person with cognitive difficulties and a person without them, who decides whose needs come first?

When lives aren’t seen as valuable, we risk throwing away people who have strengths and opinions and dreams, the same as everyone else. We risk ignoring capability, choosing the obvious solution, refusing to see the truth about what a fulfilled life looks like. We risk creating a section of history that someday, people will look back on with horror. When we decide that someone isn’t worth saving because they might be a little different, we become something unimaginably cruel. We tighten the confines of what it means to be a human by drawing a line between a valuable and worthless person. We cannot allow discrimination like this to take away people who have capabilities beyond what we see when looking in from the outside. People with disabilities are not broken. Our society is broken for seeing them as such. 

My throat is tight as I write this. 

I cry as I write this. 

____________________

 

I wonder. I look up. I tilt my head back until my ears almost touch the surface of the water, until all I can hear is the bubbles, until all I can see are the stars and the moon and the smoke rising from the embers of the fire up on the hill. At this moment, the turning stops. Everything shudders to a quiet, restorative lull. I’m not thinking about ifs or whens, but I’m thinking about writing, something I haven’t been able to touch since the whole thing began. I spent the whole day baking, coaxing butter and brown sugar and vanilla and flour into something that makes my family smile. I tell my mom it’s therapeutic. I think that it’s because it demands attention. You can’t create a perfect pastry dough if you’re worried about statistics running across a screen. You can’t whip frosting into smoothness when your mind is filling your body with dread. You can’t write words when you can’t stop thinking, what if this is it? How does this end? 

After my morning shower, as I smooth body butter over my skin and pull a cream-colored sweater over my head, wet hair dripping onto my shoulders, I notice that the twitch in my eye that’s been happening for a week now is back, and worse yet, it’s the whole side of my face. Google tells me that it could be sleep deprivation, eye strain from being on screens too much, an overload of stress, seasonal allergies. I have all four of the options going on, so I don’t know what the cause is, but does it matter? Clearly it’s a product of circumstance. Maybe we’re all just a product of circumstance. 

A girl I know writes an Instagram caption about this being a trauma, about our bodies responding in unpredictable, unfortunate ways, about grief and our right to feel the pain of the things we’ve lost. I think about balance, about how I can be so productive some days and so fixated on darkness the rest. How can I feel happy, content, relaxed on nights like tonight, sitting under the moon with the ones I love most, sipping cold water as sparks crackle off the logs in front of us, but other times, feel on the brink of something—the pit in the stomach, the eye twitch, the feeling of tears ready to spill at a moment’s notice, the shaking hands? 

I think about the trauma caption, and I try to focus on ways that I feel lucky. I’m lucky to have a family I love, that provides and takes care of me and is cautious. I’m lucky we have a yard that’s huge and green and we can go outside and breathe without fear. We have groceries and I cook almost every night and challenge myself to new recipes. We have game nights and Netflix binges, golf cart rides and bonfire nights. This new normal is like a reflection of our past normal, the normal of summers and Sundays where things felt perfect. The difference, I guess, is that undercurrent of electric worry humming beneath the air, lingering in every happy moment. The anxiety I feel creates knots I can feel. 

Tonight, at least, I feel melted, boneless, weightless. I slide under the covers smelling like fire and chlorine, my hair still tied in a bun and wet against the pillow, and my little black rescue puppy curls up against my stomach, and I’m writing this while the noise machine on my nightstand plays storm sounds, and all feels okay. Writing makes me feel whole. I’ve been terrified to write creatively, focusing instead on checking off assignments and articles to be published and job applications and internship applications instead of letting my mind wander, for fear that the wandering would lead to the darkness. I think—I hope—that the wondering, the wandering, is leading me to something else. Something like hope, an open window, a breeze. 

Seeking solace in art

By: Maria Asimopoulos, Fiction Editor

A few days ago, my best friend Krupa texted me to tell me she was taking a break from her usual streaming routine to revisit Divergent, a book and film that were huge when we were teenagers. I told her it was an excellent choice and that I’d been itching to rewatch The Hunger Games. “I just did that too,” she said. “It hits a little harder in these times.”

Years ago, at the start of my undergraduate English program, I sat at a cheap desk in my dorm studying for Spring semester finals. I had been at it for hours, flipping through PowerPoints and crafting notecards instead of sleeping (which is arguably what I should have been doing at 5 a.m.). I’m now a senior, but this moment came back to me today, April 19, at the start of my fifth week under lockdown due to the coronavirus pandemic. The contents of the notecards are the reason why.

In my hands were American literary movements from realism through postmodernism: time, space, history, and people, bundled up nicely into abbreviated bullet points and blue ink for me to study. I held literature’s reflection of the human condition in my hands, and I wondered what it looked like now, on that May morning in 2017. So I googled it.

Dystopian literature. A movement hadn’t been defined yet; critics went back and forth arguing whether we had moved beyond postmodernism to begin with, but a brave few suggested that dystopian fiction was our next stop on the literary wagon. Indeed, with booming franchises like Divergent and The Hunger Games so fresh in my memory, 18-year-old me could believe it. Authors were telling stories of environmental destruction, economic despair, and the collapse of society. With climate change and wealth inequality looming in the back of our collective consciousness (of course, these days I would argue that it’s more at the forefront), it is no wonder we had such a need for these stories.

And it’s no wonder that we feel such a powerful need to return to them now. Our economy is crumbling and, for many of us, the thought of participating in society makes us paranoid. We’ve become increasingly conscious of our bodies in relation to the world: the ways they function, their positioning around other people, the way we hold ourselves in grocery stores. We’re not being sorted into personality categories like characters in Divergent, nor are our children being rounded up to fight to the death as they are in The Hunger Games. But we are getting a front row seat to the exposure of vulnerabilities in our medical and financial infrastructures. We’re bearing witness to politicians’ blatant disregard for human life while we burn through our savings and apply desperately for unemployment that many will not receive. We’re video chatting with loved ones to express our condolences during funerals that have a mandated limit on how many people can mourn together. Dystopian.

In all the time we spend at home, art is more critical in our modern lives than ever. Movies and TV can distract us from endless hours spent indoors. Never before have I seen quite so many people posting music recommendations on their social media. We can finally find moments to get to the endless reading list, books that have been glaring at us from our shelves for weeks, begging us to take a break from our busy schedules and open them. We can spend this strange time panicking, or we can spend it immersed in other worlds and stories. Many of us are choosing the latter. 

If dystopian literature wasn’t where the bulk of critics thought we were moving a few years ago, perhaps it will be now. Brave New World has just re-entered my “to read” list on Goodreads. I’m going to keep on my vow to rewatch The Hunger Games—more than that, I’ve been itching to reread it, too, and I haven’t felt that urge about a YA novel since my mid-teens. 

These are unprecedented times. It often feels as though we have more to worry about than we ever thought we could handle. But when a virus cracks the world wide open, maybe literature is just the thing we need to begin to fill in the gaps.