Features • Spring 2026 - Fear
Gezi
Once again, a newborn cried for the first time. The bald scream carried her voice through crowds in a chestnut-smelling street, rousing the cats from their curbside sleep. The sound stretched farther on to the trees of Taksim as they shuddered with an intensity foreign to them. The cats knew of what was coming before us. They found Spirit in a corner of İstiklal, licked and nursed her. They were the ones who would tell her about the name of the street, about how long before it meant independence, it meant dismissal and rebellion. They told her, as she cried, that she was rebelling even now when she did not know the word for it. They were the ones who decided that the time was right and carried the newborn to a nearby park. The cats, from atop the branches of Gezi, all silent in their knowing, wanted to show Spirit the trees.
Poetry • Spring 2026 - Fear
There’s something to be said about those little birds inside the eggs, with the sticky baby down and bones melted tender. This morning, you call me soup-for-brains and I imagine a boy’s guts cupped inside the feathered belly on my plate—another boy pressed open like a drum, a membrane. I drink the brine from a jar of Koon Chun plums for breakfast. Practice, I say, and you call me Pussy for the first time all week. They say it doesn’t taste like anything. Just the salt of the duck and the blood-tang of marrow. But I forgot you’re tutoring Leah Wong at her place today, so I turn and face your black-feathered buzzcut. No time for a game behind the school with the Chus’ half-popped basketball, which yesterday I poked till it dimpled and likened it to one of her mom’s big fake ones, and you hit me. For a split-second I thought I saw your eyes turn milky and your spine go baby-bent, but I pulled up your T-shirt and you were still hairless as a girl, your skin opaque. So it’s dinnertime and Mom isn’t home yet and all I have is the chick in my egg. He’s just boiled awake, beak parting to call me Dumbass. Soft. My fingers turn to yellow protein in calcium dust, prying you into this wet, scalding kitchen. Walls gum-pink and beating; I take you where heat reigns.
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From the Archives
Features • Fall 2017
I used to wonder what it was like to be my mother, breathless and confused in a maternity ward, three times in a row. To push three defective children out from inside of her; to spend nine months dreaming in intricate detail of the pristine bundle of joy that awaited her, and each time, to wake up to a wriggling pink mass dangling out of a nurse’s arms and think oh no.
My granny likes to tell me that when she came to greet me in the hospital, she peered down into the mess of blankets perched on my mom’s chest and a great big pair of eyes stared back at her. Like Harry Potter’s first impression of Dobby, when he sees those two eyes and nothing else blinking at him through a bush, mine sort of hung there, round and earnest, eclipsing the rest of the infant body she knew must be attached.
This is what she says.
I was an Ohio baby, the first of her grandchildren to be born in the state where her grandparents plopped their Old Country trunks down and never left. So it’s fitting that when she stared down at me and cooed hello, Miss Big Eyes, her subtle midwestern dialect smushed the Miss so it sounded more like Ms., and the g didn’t come out all the way; and thus, I became Ms. Bigeyes.
The Ms. was important to me, because it matched my mom. Well before defects 1, 2, and 3 came along, just as second-wave feminism was coming to a close, my mom made my dad read A Room of One’s Own before he could marry her and kept her last name once he did.
A name that means Ohio like my granny, Ms. like my mama.
And Bigeyes like my dad. My father is a man who disposes of mouse carcasses with studied cool and pats his substantial belly like a good boy puppy and writes all his words in capital letters and compliments other men’s vehicles, but he is also a man who meticulously stitched the head back onto my teddy bear every time her fluffy pink torso went rogue, who gets dizzy after one glass of wine, who stores his toothbrush in a gold lamé dopp kit. And when he took me to see Marley and Me, I turned to look at him during the part where they put Marley down, and his eyes were so clear and shiny and full. And I understood that my eyes are his eyes, just a tiny bit greener, like my mom’s. But that mostly it didn’t matter that he was good at sweating and watching sports; we were Bigeyes and Bigeyes, Jr., and the world looked pretty much the same to us both.
But in the world of this maternity ward hospital room, where cinematic first impressions are the name of the game, I find Granny’s origin story hard to believe. She says the eyes were all she saw, but I’ve seen pictures of baby me. I know what I looked like.
Number One
Number one was my brother, who came out mostly fine, except that his left thigh was covered in a dark, swirly patch of skin. Shaped like an upsidedown Ohio, I used to think, as he massaged gallons of sunscreen into the area, which the doctors said was dangerous if it burnt. What happened was that God pressed too hard with the marker he was using to shade in my brother and colored that leg darker than the rest of my brother’s pale, Ashkenazi skin and was like whoops! My b. But it was chill. This defect wasn’t so bad. The nurse probably didn’t even notice right away; only my mom did.
People didn’t seem to notice it much, either, as he grew up. A leg is just an extremity, after all. I thought he looked fine, was in the clear, until he hit high school.
Meredith tells me that her sister, Lauren, who is in my older brother’s grade, has a crush on his friend, Bobby, and that another one of her sister’s friends is interested in another one of my brother’s friends, but that neither her sister nor her sister’s friends are much interested in my brother himself. According to Lauren, his nose is the dealbreaker. “It’s too big,” she says. “Lauren says that you guys have the same nose, actually, but you carry it better. She thinks he might grow into his, though.”
It’s a lot to process, because she talks fast and I think I am supposed to thank her and there are so many names and degrees of separation, but also because this nose stuff is all new to me. I understand that some noses look different than others, because when I stare in the mirror and push my nostrils up I look a lot like my first grade teacher, which is fun. But the “carrying it well” and “growing into it” thing; the idea of the bad nose/good nose dichotomy–this was not on my radar. I had no idea! Lucky for me that I have friends like Meredith to set me straight.
Further inquiry leads me to the phenomenon of the Jewish nose, which, Meredith again clarifies, I have but not as bad as my brother. Phew. I thought Jewish was just a religion, but it’s kind of cool that we have this genetic thing that we all share. I wish the Jewish nose looked more like Meredith’s, though, so that her sister wouldn’t think my brother was ugly.
I learn later that there are other genetic things about being Jewish, like owning all the money in the world and controlling the entertainment industry. Fascinating. What about people who convert? Do they get a new nose and money when they agree to wear a yarmulke? Meredith does not know the answer to this question.
I never met my grandpa, but based on pictures, I think that this nose that my brother and I share came from him. Apparently, he was obsessed with the Holocaust. In a freakish way. I wonder how he felt about the face-measurement tool the Nazis used. If your nose is too big you’re a dirty dirty Jew and it doesn’t matter that your family converted to Christianity in 1298. His Hitler books fill up four entire rows in our study, but not one bears any trace of underlining, notes, or highlights. When he flipped through these pages half a century ago, was he angry? Resigned? Did he wish his features were just a little less prominent, so that just this once, he could blend in? Or did he feel blazing pride, marked by God himself as a boy with a big fat nose?
Number Two
After my brother, there was me, Bigeyed and 80s-feminist-independent, but the defect crept north north north and plopped down smack in the center of my face. A giant red balloon growing on top of my mouth, puffed full of air but made out of lip, big enough to be a third eye. God was putting the finishing touches on my face when an angel or like wandering soul came by and bumped God’s elbow and God was like NIGEL dude we talked about this you really need to get control of yourself but there I was and there God was and there Nigel was and there my mom was with defective child number two. I’m sure the nurse noticed right away, this time. It is not a thing you can easily miss. I wonder if she gasped when she inspected my face. I wonder if my mom had to nudge my dad to smile weakly instead of the confused sort of grimace he had accidentally adopted. I wonder if my granny did her usual cough and politely said hello, Ms. Bigeyes so that everyone would stop feeling so weird about my face.
I know my lip was disgusting, objectively, because children tell the truth, and before my preschool peers learned that it is bad to point at someone’s face and say “what’s wrong with your lip?” they did exactly that, and after I explained it to the best of my primitive communication skills, they usually stared blankly for a while and then said “well, it’s disgusting,” and wandered off.
The interesting thing about this response is that physical and moral disgust are a two-way street. You see something immoral and you feel disgusted, but also sometimes you see something disgusting and then your brain interprets that as immorality. This is a real psychological thing that I do not know the official name of but is definitely a thing. Let’s call it Sins of the Ew.
Armed with the empirical evidence of my youth, then, I have concluded that had I been born four hundred years earlier, The Puritans would have thought I was a witch. They would see my face and consider it a Sin of the Ew and say TO THE COURT! and then I would get to give a long and dramatic woe is me monologue from the witness stand in my cute Puritan bonnet and everyone would be emotional and the whole town would be torn into pro- and anti-Eliya factions and riots would break out, but due to the fact that I am also left-handed and Jewish and do theatre, three historically wicked characteristics, the consensus would eventually be that I am in the Definitely Satanic camp, and I might end up burning at the stake but gosh darnit if they wouldn’t write my name in their diaries and court records and then hundreds of years later all the historians would be like wow who is this Eliya person she seems like a Big Fucking Deal.
I wonder what would have happened if granny had been honest with all of us when she took a gander at her first ohio grandchild. If she had said something like hello, Ms. Biglip. Maybe we all would have been cool with how my face looked, and I wouldn’t have minded in kindergarten when Rose said I was a dumb girl with a big fat lip and one person giggled and the name stuck. Maybe when she called hey, Big Fat Lip Girl across the playground, I wouldn’t have wanted to keep digging in the sandbox until the bottom fell out. Maybe when Mrs. Hiller heard what Rose was calling me, she wouldn’t have made Rose apologize in front of everyone, and I wouldn’t have stared around with my eyes bursting out of my head, petrified that this public proceeding would only make the name more popular.
In another world, I would’ve smiled and thought that my big fat lip was just like my grandpa’s big fat nose, and that would have been that.
The year I turn fifteen, a Buzzfeed quiz tells me that when a boy stares at your lips, it means he wants to kiss them. I am distrustful of this advice. Clearly whoever wrote this has a symmetrical face. And no witchy inclinations whatsoever. But a few weeks later, a boy is indeed staring at my lips. It makes me uncomfortable, at first, because I am used to people staring at my mouth and I know what it means. But he looks sort of happy when he stares. So I am thinking maybe Buzzfeed was right.
And then a year after that, I am standing in my living room with a lot of adults who have run out of things to say, and a very nice lady tries to make small talk by pointing to a picture on the mantel. What an adorable baby you must have been! she says. And I realize I am no longer Big Fat Lip Girl at all, because all of my baby pictures feature a prominent lip pillow, and I suppose that if the baby in this picture does not have a lip pillow and this lady still thinks it is a picture of me, it must mean that my big fat lip has shrunk beyond obvious notice.
But then I realize that this also means I must respond to her comment, I must correct her in front of everyone, and I feel angry. I wish I had my lip pillow back, I wish for burning at the stake or even Mrs. Hiller in front of the kindergarten class; I wish for anything that would prevent this moment. Can’t she tell that that baby is so obviously not me? Its mouth is medium and its nose is medium and its eyes are medium. I do not want to tell her who is in the picture. I do not want to tell her what happened.
Number Three
Number three was my sister. God was hungover and trying to catch the Sunday game but the remote wouldn’t work and he was also in a big fight with Moses and really he was just so distracted and stressed he would later tell someone, really wasn’t paying attention and he messed my sister up, he messed her up from the inside out in a horrible way. God didn’t say anything this time when he realized what he’d done. He felt bad. Really really bad.
She was born with perfect medium mouth and medium nose. Her name means beautiful in Hebrew and in English. She was picture perfect. Except that her eyes were medium, too. They did not focus, they did not fill with much of anything.
The nurse, this time, did not notice anything was wrong when she inspected my sister. I know this for a fact. My mom tells the story of Bella’s birth delicately, like she is dangling a piece of lint near her mouth and if she talks too loud or too fast it will blow away. But there is a flash of pride when she comes to the part about the nurse, a triumphant maternal flare of the nostrils. Like when Miss Clavelle turned on the light, my mom said something is not right! with my child and the nurse said no ma’am, it’s a beautiful baby girl and my mom said said SOMETHING IS WRONG WITH MY CHILD, MY CHILD IS NOT BREATHING, GET THE DOCTOR. And she was right, of course. Because my mom always knows everything.
I do not know what my granny said when she saw Bella for the first time. Probably a gentle cough and then nothing at all. Silent like God.
Features • Winter 2016 - Danger
I stood in the backyard in Berkeley (behind the tree, next to Marion’s easel and paints) and flicked off the little red safety.
Marion was inside, in our dirty kitchen, heating water for pasta while dicing sausage for sauce. *If I don’t come back in a few minutes*, I had told her, *something is wrong*. She had laughed at me.
I pointed the capsule towards the ground. I offered a licked finger to the wind, but it didn’t cool. It was a still July evening in the East Bay. *Check for a breeze*, my boyfriend Jared had told me, and then you can test it. *You won’t be able to use it when you need it if you don’t test it. *
I wrapped the capsule’s Velcro handle around my fingers, and pushed the trigger down.
Not much happened. A stream of liquid coursed out. Fixated, I held the plastic down a little too long, then pulled my finger up too slowly at the end—the fluid dribbled, pooled on the ground. A successful test, and now I knew. It only took one press of the button: brief, decisive. The packaging said the capsule contained 20 sprays, and that one had been worth maybe 2. At the end of the summer, I still had 18 left.
I flicked the little red safety on, and went back inside the house. I tucked the capsule into a pocket of my purse, easily accessible to desperate hands, and went into the kitchen to help Marion with the sauce.
***
The active ingredient in pepper spray is oleoresin capsicum, an oily resin that makes eyes burn and swell shut. It’s the same stuff that makes a good salsa. Last spring, chopping jalapeños for chili, I got a little juice on my hands and forgot to wash them. Thirty minutes later, after an absentminded rub of the eyes, I found myself bent double over a gushing sink, trying desperately to pry my eyelids open so I could flush them out. It felt like I was going blind. Even when I managed to force my lashes up, light and air made my whites and pupils sizzle, my vision blur. This pain came down to capsaicinoids, the compounds that make up oleoresin capsicum and determine its strength. The habeñero pepper rates 350,000 Scoville heat units. Pepper spray rates over five million.
A 1994 US Department of Justice report makes a strong argument for pepper spray as a weapon. It’s more potent than mace, affecting not only on the eyes, but the breath— inhaled spray swells mucous membranes along airways. Pepper spray rarely kills but almost always incapacitates, providing a viable alternative to guns and even tasers. Unlike tear gas, it works just as deftly on the drugged and drunk. It doesn’t linger on clothes; ventilation, soap, and water clean it right up. It’s great for riot control but banned in international war.
Civilians have access to the same caliber of pepper spray that law enforcement officials do. Sometimes it’s misused, but not often. Another Department of Justice report, last updated in 2011, documents 63 cases of death in police-civilian interactions where pepper spray was involved. Of these cases, most credited the cause of death to heart conditions or drug overdoses. In the few cases where pepper spray did link closely to victim death, causing positional asphyxia, it did so by exacerbating pre-existing asthma or other respiratory conditions.
***
I bought the spray last summer while working in the Tenderloin, a pocket of San Francisco named for an analogous neighborhood in New York City. Urban myth credits the name to a ‘hazard pay’ bonus for law enforcement officials, cash that the cops put towards fine cuts of meat. There are other namesake rumors: paid-off bribes (more money to eat well) and prostitute thighs (a different kind of flesh).
Bad things happen everywhere. This is what I tell my nervous grandparents every time I pack a suitcase. One gathers stray caresses in Prague public squares, shares bedrooms with suspicious strangers in São Paulo hostels. But men also follow footsteps in the heart of affluent Cambridge, and malls get shot-up in my own small Oregonian town. Really, no city is immune. One must travel anyway.
The Tenderloin’s statistics, while troubling, are brighter than Rio’s or Harlem’s. And yet, this place shook me; it scared me.
The first day I went into the office, I mistakenly exited BART a few blocks too far from the building. To get where I needed to be, I had to cut through Civic Center-UN Plaza.
Civic Center-UN Plaza is officially the home of the glistening San Francisco United Nations building, bounded on one end by a city hall on a hill. Unofficially, it’s home to a huge encampment of homeless men, women, and children. There are needles in arms, wheelchairs, rooted up trash cans, women in short skirts soliciting, women in long skirts screaming. There is hunger there, the pervasive smell of urine. Cops with large guns stand outside the government buildings, surveying the squalor with guns slung across their chests. It’s far from a slum. There are theaters in the Tenderloin, and restaurants, and schools. Still, it is something to break a heart: to watch the men with briefcases and women in blazers walking at a clip, brushing off need like a pesky fly; to crane a neck at those government palaces, looking down on their Americans with chilled apathy.
The first day I went to the office, I was wearing a knee length skirt. That day I would learn that this look was too formal for the office’s casual vibe—and also, that this was much too much leg to go incognito. I had my phone in my hand (big mistake) cluelessly staring at a map. By the time I got to the center of the Plaza, and realized that I should have traced the perimeter, it was too late to stop.
“Hey beautiful,” a man leered, lurching in front of me. Whistles sprouted from points on the square. The sun was bright. I vaguely processed, heart throbbing, that I was getting too much attention. Too many eyes were on my legs, and on my purse. It was 10 am (I had been asked to come in late that day) so no other employee was out on the street. I was being followed, surrounded. Stubble floated in and out of my vision, deep voices in and out of my ears. I tried to decide: Should I smile? Should I frown? Which would provoke less of a response? I made it to the door of the building, fumbled with the lock. When the surly security guard let me in, I was sweating.
My least favorite part of each day was walking to and from work. Sitting at my cubicle, time ticking towards 4 o’clock release, I would shiver at the screams wafting up from the sidewalk—the cries of one woman, the same each day. My second day, walking from office to BART with a fellow intern, I made eye contact with a woman sitting on the ground. She stood, yelled, and pitched trash at me, hitting the side of my face. I covered my head with my purse and power walked for the BART entrance. The next week, I watched a man pick up a needle and inject it into his arm at the bottom of the subway stairs.
To get to and from my house in Berkeley, I walked down Shaddock Avenue, away from the tourist ice cream shops and into quieter residential areas. A man got down on his knees and proposed, citing my smile and eyes as rationale for wanting to marry me. A man on a bike shrieked as he careened into my path, shirtless and wild-haired. Two men called out to me as I strolled to work; when I didn’t look back at them, they whispered “bitch, you bitch” and wove through the crowd to keep up with me. I picked up my pace. That was usually my tactic: move faster.
I hate to admit how scared I was—I, who carry a stamped passport, I, who know the tactics to defend myself—a poke to the eye, a knee to the groin—and the right words to yell—‘Fire!’ or ‘Get away from me!’—and the wrong things to do—no solo taxi rides late at night, don’t wear your flashiest jewels on BART, don’t engage anyone on the street in conversation. The experiences I catalogued were disconcerting, but I know (and knew then) that they were far from true horrors.
I felt elitist in my fear, petty for wanting to protect myself. These were people without access to toilets or nutritious food, people with yellow eyes and sallow skin. Most of those who yelled at me were obviously out of their minds—schizophrenics, or deranged from drugs. My fear didn’t strip me of compassion, but it did make it impotent. Instead of handing out bottles of water and Band-Aids, I was scuffing past the debris, secluding myself in a cubicle, getting away from it all at any cost. On the train, I thought about the Gospel healings—equating the lepers and spirit-possessed screamers of Galilee to the junkies in the Tenderloin. What a thing it would be to make illnesses jump into pigs, to make this nation well.
***
Pepper spray is legal in all 50 states. In some, like my home Oregon, that’s a general ‘go ahead;’ in others, it’s qualified. In California, I could order a capsule on Amazon, provided I was over 18 and purchasing less than 2.5 liquid ounces. Most of the regulations are of the non-minor, non-felon sort. Many states restrict carrying in public places like schools. Of course, abuse is a crime, and pepper spray cannot be carried onto planes.
When I returned to Boston with spray in hand this fall, a local told me I was a criminal, that you needed a firearms permit to carry pepper spray or mace in Massachusetts, and that you could only purchase them from a registered firearms dealer. That regulation has changed, though; the local was ill-informed. As of September 2014, a provision in a new piece of state gun legislation makes it no longer necessary to carry a permit to buy. (Massachusetts had previously been the only state with such a rule in place.) You still have to buy from a dealer, and you can’t order through the mail.
The other interns in my office carried pepper spray. My parents advised me to get some. But ultimately, I ordered a capsule of Sabre because Jared asked me to. He came to visit me for a week, walked my streets. We ate yellow curry in Berkeley, hiked from Ghirardelli Square to the Golden Gate Bridge. We also went to my office together. After his plane ride home, I received an email. It contained several links to Amazon pages.
*Please, please buy at least one of these. They cost practically nothing and they're a good investment for you even post-San Francisco, since you'll almost certainly be jogging and commuting in urban environments.I do think it will make you feel a little more secure and empowered. *
*I want you to get serious about learning to defend yourself. *
***
Growing up, my dad kept a baseball bat under my parents’ bed. He has retained all his muscles and used to play shortstop in high school. I have no doubt he could seriously wound or even kill an intruder with a few fell swings.
When I walk through a parking lot after a late night movie, I hold my car key between my fingers, ready to enter into an eye or slide up a nostril. In middle school, us girls sat on the gym floor with the physical education teacher and identified other common purse items that could be used as weapons: a comb, an uncapped pen.
My grandfather has owned guns all my life. He takes them to the Alaskan wilderness to hunt, hangs the heads of the animals around his pole barn.
But baseball bats are for baseball, keys are for driving, combs for brushing, pens for writing, and in this case, guns for hunting. There was something different about buying this spray.
What does it mean to carry something meant for hurting, and only for hurting? To carry it from a house in Berkeley, through the stiff air of the subway, down the blocks of the Tenderloin, into Celtic Coffee to get a Thai iced tea, and into a law school where women wear pearls?
On a practical level, it would mean simply this: if someone came at me with a knife, or a gun, or a bicep, on my way to work or going home or going out, I would have a few extra seconds to escape, to shout for help, to get out my phone and dial three numbers. And that felt good. That’s why women buy this little container of liquid: to keep us out in the streets, going to work for legal think tanks, and having fun with friends.
On a philosophical level, it felt strange, even wrong. Nothing happened to me that summer in San Francisco except those catcalls—at most, there was the incident with the trash. I always walked to work in daylight. I never witnessed any crimes.
And yet, I learned to avoid the inconvenience of others’ suffering—even though doing so made my conscience groan. I always picked a man in a suit to follow. I covered my wide eyes with sunglasses, and cast them down. I converted my nervous smile to a flatline frown. I never held my phone outside of my bag, and I clenched that zippered bag under an arm. I wore pants instead of skirts. I took the shortest way around the block. I held my breath to keep the urine stench out. I waited eagerly for market days, where the plaza was filled with stalls of zucchini and berries and I was assured an undisturbed walk. And I had that little canister in my purse: tested, ready to really hurt someone, someone on the kinds of drugs and with the kind of lung conditions one acquires from living outside that, with oleoresin capsicum in the mix, could maybe, it’s possible, result in death.
***
There are plenty of make-it-yourself pepper sprays on the Internet. Most recipes require crushed chili peppers and ground black pepper, heated and strained. Some claim Tabasco sauce will do the trick. Generally, the comments are more horrifying than the instructions.
*If a man dares to hurt me or rape me then I would do everything I could and if he goes blind he deserves it. He's evil and should be punished. If he's blind he will never do it again that's for sure.*
* *
*A knife would be backup to the pepper spray in case that does not subdue them.*
* *
*This pepper spray is a good one to use on incoming border crossers btw.*
There’s fear here, and perverted righteousness, too. I don’t trust the administrators of that justice—including myself.
***
As we strolled from a Tenderloin theater, a man grabbed my friend Ben by the arm, clung to it like a child, and wished him Happy Birthday again and again. The week before I arrived, Civic Center bloodied with an afternoon shooting and a woman named Kate was killed on the piers. One July day, there was a stabbing on the BART line I took to Berkeley; someone had knifed a transit employee while he stood post in his booth.
Nothing out of the ordinary for a city, but just enough to sustain my fear. It fed on of urban myths about meat and newspaper headlines about violence, on the worries of those who loved me, on possibilities. Fear settled itself over innocents, fogged my judgment. Nothing happened to me, and I did nothing. I rode BART in guilt. Women slumped in their seats trying to sleep, men with black garbage sacks mumbled songs to themselves, and I tried to focus on my book. Making eye contact would probably be okay—but what if it wasn’t? So I didn’t.
The pepper spray felt ridiculous. Could I even whip out the capsule in time, flick off that safety, press the button for the right duration and with the right force, when I really needed to? I wasn’t sure if I could. I was glad that I had it, sometimes: when the sky got dusky, or I heard the “bitch” whispers snaking behind me. The pragmatist rejoiced at those moments. Of course, I could hurt them if I needed to. I could and I would, I told myself. It was legal, I was exercising my shot at self-defense. But the idealist was saddened by my acquiescence to fear—my impulse to fight off the dangerous world with tooth, nail, and spray. I couldn’t tell how justified that impulse was.
Features • Commencement 2014
Mykola Kulish, Ukraine’s most famous 20th-century playwright, was known for his formal experimentation and dismissal of contemporary conceits. He was also among many Ukrainian writers forced to couch any reference to Ukrainian national identity in a teleology of socialist revolution, culminating, inevitably, in a Bolshevik victory.
Kulish was able to find loopholes in devices of characterization, setting, and allusion all the same. In Kulish’s 1930 play, Sonata Pathétique, neither Soviet triumph nor pure Ukrainian nationalism is fully exempt from satire, as Kulish pokes fun at the national cult of Ukrainian poet Taras Shevchenko, widely considered to be the founder of modern Ukrainian literature and language. The work is centered around the conflicts between Ukrainian and Russian forces following the 1917 Russian Revolution. In Act Four, a conversation takes place between nostalgic retiree Ivan Stupay-Stupanenko and his daughter, strong- willed Ukrainian nationalist Maryna, as the Bolsheviks march into their sleepy provincial town:
Stupay (tries to uncover the window): I’ll go to meet them!
Maryna: They’ll kill you.
Stupay: I have arms.
Maryna: What arms?
Stupay: The Ukrainian language.
Maryna: A language is only persuasive when it’s backed by weapons.
Stupay I will meet them and remind them of Shevchenko’s sacred words: “Embrace,
my brethren, the smallest one.”
Maryna: Who will you remind of it? The Bolsheviks? The bandits? The bloodthirsty barbarians who are destroying our loftiest ideals? (She covers the window.)
Unlike Maryna, Stupay is consumed by an overwhelmingly romantic, ethnic, and ultimately antiquated conception of Ukraine. For him, Shevchenko and his language are the only hope for national regeneration: “Hundreds, thousands, tens of thousands of Ukrainians swore before Shevchenko’s picture not to lay down their hands until Ukraine is restored to full freedom. I swear it, too!” Maryna counters such idealism with a more pragmatic approach: the idea that military might holds the key to national defense. The nar- rative warps the attitudes of both into alternatives that are, at best, vaguely unsatisfying. Neither proves a fully suitable emblem around which a divided nation could rally.
**
Earlier this spring, Ukrainians celebrated the 200th anniversary of the birth of their national poet, Sevchenko. The deteriorating relations be- tween Russia and Ukraine, having lowered to a simmer in the Western media, flared up again briefly here and there. Clashes between Russian nationalists and those opposed to secession interrupted commemorative rallies in Sevastopol, while Prime Minister Arseniy Yatsenyuk told a crowd around the Shevchenko statue in Kiev that they wouldn’t “budge a single centimeter from Ukrainian land.”
Confusion concerning Ukraine’s borders—political and otherwise—is, of course, hardly new. Generations of Ukrainian writers have so com- fortably plodded the terrain of riot and revolution between Russia and Ukraine that the genre—a particular kind of Soviet historical epic—has become a reliable trope. Yet the elevation of Shevchenko as a symbol of a single, united Ukraine belies, as the process of canonization tends to do, the complexities and contradictions that have characterized the country since long before its official birth, long before even the establishment of the Ukrainian language. Sonata Pathétique, in which Ukrainian nationalists, Red Army Bolsheviks, and Russian autocrats collide to the variously steady and frantic tempos of Beethoven’s sonata, is an eerily prescient reminder of these contradictions.
It was only in 1905 that the Russian Academy of Sciences officially declared Ukrainian to be a language rather than a dialect, thus ending over half a century of linguistic and cultural suppression. Among the Russian literati of the nineteenth and early twentieth centuries, the country was a provincial outpost surrounding the cosmopolitan (though certainly not “Ukrainian”) Kiev. This prejudice eased only with the official establishment of Ukraine as one of the founding SSRs in 1922, after what is now widely considered a civil war between Russia and the Ukraine from 1918 to 1920. Now, for the first time, Ukrainian literature was part of a state enterprise. The early Soviet policy of korenizatsiia encouraged this status, seeking to promote (and monitor) ethnic nationalism, local language, and national literary activity in what historian Terry Martin has called “The Affirmative Action Empire.” A brief but powerful flowering of Ukrainian literature and culture ensued.
In 1926, riding high on the literary nationalist wave, Kulish helped to found VAPLITE, the Free Academy of Proletarian Literature—a writers’ union that aligned itself officially with communism but took an ironic, often comic, and subtly subversive approach to literature through its magazine The Literary Fair. Kulish himself had fought for the Russian Army in World War I before joining the Bolsheviks. But by the late 1920s, he had become more interested in the question of national communism. How could Ukraine embrace the values emanating from Moscow while still cultivating its own literary tradition?
Kulish’s Sonata Pathétique was a response to such a challenge, as well as to the prevailing examples of nationalist theater in Ukraine and Russia. Ironically, given the radical politics of Mikhail Bulgakov’s The Master and Margarita— which was not to be published until long after Bulgakov’s death—one of these examples was Bulgakov’s The Days of the Turbins, a play about the White Guard, the Russians intellectuals of the Tsarist Army, which ran regularly in Moscow from 1926 to 1941, and which Stalin himself was reputed to have seen more than 20 times. Kulish took offense at Bulgakov’s characterization of the Ukrainian national forces as anarchic and unmotivated. And he was impatient with the requirements of socialist realism emanating from the Moscow Art Theatre, where Bulgakov staged his work. These requirements would ultimately harden into policy, responsible for a crackdown on modernist experimentation in Ukraine and elsewhere beginning in the early 1930s.
While he still could, Kulish challenged Bulgakov’s argument through an expressionist rather
than realist frame, seeking to probe the limits of modernism by folding a different work of art—a musical score, no less—into a theatrical piece. The “early legato of a hoarse cock” presages the capture of Russian soldier Georges by Ukrainian nationalists; the accompaniment to the grave section becomes a fugue of Easter bells as the protagonist, the poet Ilko Yuha, anxiously awaits the return of Maryna, whom he loves. Sometimes the echoes are explicit in the stage directions: “(He can almost hear the sound of horses’ hooves as an echo of the Pathétique).”
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While far from the most appealing character in Sonata Pathétique, the plucky, headstrong Mary- na is probably the most interesting. She uses the love of Ilko—who is gradually converted to Bolshevism, but who, in one scene, proclaims “the way of love!” over “the way of revolution!”—just as she uses the admiration of André, a member of the White Army, to further her own goals of an independent Ukrainian state. These manipulations backfire: by the end, Ilko feels so betrayed that he hands her over to the triumphant Bolshevik forces.
Of course, history had already intervened in sup- port of Soviet victory. And the success of socialism had to be certain for the play to have any hope of being staged at all. As it was, Kulish was unable to publish it in Ukraine. But Sonata Pathétique went on to be staged in Moscow to an initially favorable response, eventually expanding into regional cities like Omsk and Korsk. By late 1932, though, the Ukrainian literary renaissance had ended. The official Soviet newspaper, Pravda, wrote a scathing review of the play based mainly on his condemnation of it as “nationalist.”
Kulish would go on to be arrested in the purges and would die in a concentration camp, either in 1937 or 1942—the official historical record unravels, here, into uneasy ambiguity.
Historian Timothy Snyder has called the contested terrains of Eastern Europe the Bloodlands. The mass killings from 1930 to 1945, he has argued, which we tend to associate with the images of Auschwitz and gas chambers and Stalin’s gulags, were part of a broader, more sustained process of murder. 10 million civilians who never entered concentration camps were shot, deliberately starved (beginning with Ukraine in 1930), or gassed in killing centers unrelated to work and death camps. By the time of Auschwitz’s greatest efficiency in 1943, a vast percentage of the in- habitants of these lands, Jewish and non-Jewish, had been killed. Trampled over by the massive violence, famines, and purges of Stalin’s regime, only to be re-trodden by the genocidal and environmental ravages of Hitler’s empire, in-between lands like Ukraine were condemned to near-annihilation. The search for Ukrainian identity was subsumed under the daily, yearly battle over Ukrainian lives—a battle that Kulish himself lost.
After being suppressed by Soviet censorship, Sonata Pathétique would not be heard of again until the mid- to late-1980s. It was only with Ukrainian independence in 1990 that a full edition of Kulish’s works would be published, emerging from the rubble of what in some ways had been a lost, foreshortened century. Its reissue kickstarted an- other chapter in the process of national identity and definition whose competing partisans have yet to come to accord.
Pathos in Ukrainian—?????—means both what it does in English, and also something like “the essence of things.” The structure of theater and music might impose a kind of aesthetic unity, then, for a people and in a land where real, lived unity—or even the freedom to pursue it—has long been elusive.
“Well, I’ve risen,” declares Stupay as he emerges into the streets of battle toward the end of Sonata Pathétique. “But I don’t know which side I should join.”
(He thinks and hesitates). Neither this side nor that. (The bullets whizz by.) Wait. There are Ukrainians on both sides. What are you doing? Let me think!
And as Stupay bends to the ground, still undecided, a bullet strikes him in the chest. He falls, his own vision for Ukraine extinguished between the yellow and blue of the Ukrainian flag and the bright crimson of the Reds. “I suggested red, yellow and blue stripes,” he’d said, “but they won’t listen to me.”
Fiction • Winter 2013 - Origin
In researching the life of the Russian poet Osip Mandelstam for one of the stories in my second book, Someone Else, I came across the name of one of his wife’s friends, Anna Ivanovna Kuznechikaya. It’s an unusual name and I wondered for a time if it was in fact real. “Kuznechik” is the Russian word for grasshopper, and means, literally, “little smith”; grasshoppers, the language quaintly suggests, are just such tiny smiths, working away with hammer and anvil as their profession demands. It would be interesting, I thought, to take each man apart into his animals and then come to a thorough agreement with them. Because what an astonishing hierarchy there is among animals, and the truth is, as Elias Canetti has remarked, we see them according to how we stole their qualities.
Fiction • Commencement 2013
“I am afraid that life is a game.”
“What sort of game?”
Our patient’s hands are clasped over his gut. His right heel rests on his left ankle. He is pained by this question. We can observe his memory twitching as he tries to recreate the experience of this life is a game anxiety.





