All in Non-Fiction

Against my closed eyelids I see us young and in love. We are riding off into the English countryside to our newlywed bed at a cozy B&B in the idyllic market town of Oundle, where a single road winds through old stone row houses and small local shops, about an hour from Cambridge University. Our cheeks are rosy, our eyes twinkling.

I just like to ride by the Summit Avenue rowhouse where Fitzgerald wrote This Side of Paradise, his first novel, and ran out into the street to stop traffic and spread the news that Scribner’s had agreed to publish his book. Fitzgerald’s exuberance is now offset by a plaque mounted outside the rowhouse listing it as a National Historic Landmark but not saying why, a more modest, Minnesota-like approach for sure.

I didn’t have a sandwich for lunch. I had ramen. I made your sandwich and then made ramen for myself because I didn’t want to use the rest of the bread on a sandwich for me. You hate it when I use the rest of the bread. You hate it when I use the rest of the bread, even though you rarely eat it. You just like knowing that the bread is there as an option.

18. Three plastic Christmas trees we used before we switched to live ones. The smell of pine new, the task of feeding it water a hassle, the tiny leaves remaining in our apartment weeks after it was thrown on the curb. Sometimes I miss the ease of that former plastic.

19. A recorder the size of a brick I threw away in secret because I accidentally recorded myself saying bullshit when I was ten.

One day in June of 2019, during Darriss’ fourth year of being in jail, his mother Minda and I drove two-hours from Lowell, where we both lived, to Norfolk to visit Darriss. I left all the stuff I had in my pockets inside Minda’s car, everything except my ID and a paperback I’d brought to read in the waiting room. My clothes were soaked with sweat from my anxiety and they felt tighter than usual.

Not 50 years after Reconstruction and a decade after the World War I ceasefire, America sought fresh, bold voices—new visions of a united country, pacification. But Faulkner and Toomer weren’t interested in propaganda. The two writers revealed to the nation its bitter truths. They painted a country marred by obsolete traditions and crumbling heritage, revealing festering racism.

While more decent and responsible audiences should connect the dots between the skinheads’ deeds and their bloody fates, several others have missed the point. But it takes an overwhelming amount of cognitive dissonance to pretend that Russell Crowe as Hando, leaning against a fridge with a skeleton-bone arm tattoo and holding a glass of milk against his head like James Dean in “Rebel Without A Cause,” wasn’t supposed to look sexy and cool.

They ask you and you share a little about the ghetto, no father, mother with two jobs, being a latchkey kid, gang wars. They are quiet, then excited. They say, “Oh my God, what a childhood, yet here you are.” They say that they could never have accomplished what you did: master’s degree, house in a beautiful neighborhood, public admiration for your work in domestic violence, wonderful, wonderful, wonderful children.