Sunday, August 25, 2013

"Good Food"

Hard to know how to write this. Immigrants to the U.S. are not supposed to tell stories like mine. At least that's what I've been told. But all I can write is what I have known.

Imagine November 1964 in Chicago, a dry afternoon with a steely sky overhead and jets of a cold, wet wind worming their way under your stocking cap and into your ears. See Montrose Avenue on the north side, its broad sidewalks cracked with age. And then look down the block and see where I am straggling up the street. Behind me comes my mother, a little silk kerchief tied under her chin. Each of her hands is occupied. My sister Lena grasps mom’s left hand even as both of mom’s hands push a little stroller in which my sister Anna rides. The stroller shudders and jolts over the cracked walk, but Anna doesn’t seem to mind.

We’re out shopping. Ahead of us about a block down the street sits the neighborhood market where mom will buy groceries for tonight’s supper. But before we can get there, we walk past a set of red neon letters flashing away. “Good Food,” the sign announces. The restaurant window is streaked with dirt. It’s impossible to tell if the café curtains were once very white or a buttercup yellow. On this afternoon in 1964 the fabric in the window seems unable to choose between grayish white and dust. The closer we get to the restaurant window, the stronger the smell of old grease becomes.

I turn to my mother, point at the sign, and ask, “What does the sign mean?” 

She answers, “God mat.” 

My eyebrows shoot up. “In there?” I say.

“Oh, this is what they do in America,” mom says. “They use words to tell you what they want to be true. It is called advertising. We would never eat in there.” As she talks, she expertly avoids an especially big crack in the sidewalk, sparing Anna a good jounce.

“Why would a restaurant that looked so dirty put a flashing red sign in its window that promised good food? Wouldn’t anybody walking by see how scary the place looks and laugh?” The whole set-up was clearly inexplicable to my 8-year-old brain.

In Swedish my mom replies, “In America there are people who pay more attention to the words than to what they actually see or hear or smell. Or taste. I don’t really understand it, but they do.”

“So people eat in there?”

“I think they do,” mom says. “It’s open,” she says with a shrug. And by that time we have made it past the café.

Of all the ways Chicago was different than the beautiful little town of Laholm where my family and I lived for a while, this memory of the neon sign contains within it the essence of what made me most sad about living in America. Often Americans offered me lofty words when all I wanted was the smell of good food and clean curtains in the window. In public school the teachers extolled the virtues of democracy even as they clearly treated different races and different ethnicities of children with differing degrees of harshness. Over and over again I heard Americans speak with pride about the great values of their country even as I saw terrible inequalities within its communities, inequalities that those with more seemed content to leave in place even when many in their town were going without.

I started to understand the realities of Chicago by walking its streets. We lived in a neighborhood called Ravenswood. It was said that there were more races and nationalities in our little neighborhood than in any other part of the city. At least this is what I heard while living there in the 1960’s. And I was one of the kids whose parents were from another country.

When we moved into our Chicago apartment after living in Sweden for about eighteen months, I had become more comfortable with Swedish than with English. It’s a complicated story that I’ve alluded to in other blog posts, but my parents emigrated to America in the 1950’s only to return to Sweden in the 1960’s, a move that proved unsustainable, and so they immigrated permanently to America after only a short attempt to resettle in the country where they were born.

Realizing Chicago was now my home, I tried to reconstitute my ability to speak English. I struggled to figure out how to make friends in the city school where I heard so many languages. And—perhaps one of the reasons I came to teach dialects to theatre majors many years later—I listened in fascination to all the ways that different groups of Americans pronounced the same English words.

One little girl who seemed as shy as me seemed to make every word she said sound like a soft song that slid from consonant to consonant with a flow of vowels in between. After a few weeks I learned that Debbie was originally from Appalachia. The Chicago born and bred kids said she spoke English with a southern accent. To my ear the way Debbie sang her words sounded a lot like the way my dad’s friend, Thomas, spoke his Swedish. Thomas was from a province in Sweden called Skåne and he could drawl and growl out his words with a drama and sense of laughter that made me want him to tell stories forever.

But though I tried to get Debbie to talk with me a little bit at school, she’d give me a smile and a word or two, but that was about it. She said she couldn’t come to my house to play after school and that I couldn’t come to hers. The other kids in our third-grade class avoided her, or seemed to look right through her. I didn’t know why. Sure her clothes weren’t as new as some of the other girls’, but she was kind to kids and seemed to like school and books, like me.

So I came up with a plan. I would hand-deliver a birthday invitation to Debbie’s apartment. Then she’d have to see that I really wanted to be her friend.

Now to understand this next part of the story, I have to explain that both of my parents came from very rural communities. They grew up walking everywhere, and from a young age they made their way to friends’ houses, or to a local shop, all on their own. Sweden when they were growing up was a very safe place for kids to explore. They had never known anything else. When we moved to Chicago, I was allowed to move about our Chicago neighborhood on my own at a pretty young age, which is why I managed to get permission from my mother to hand-deliver Debbie’s birthday invitation on my own.

“How far are you going?” my mom asked me, worried a little that she didn’t know exactly where I was headed.

“Just two blocks, mom. It’s just two blocks,” I answered with the impatience of a ten-year-old anticipating an adventure.

And so mom said, “O.K., but if you’re not back in fifteen minutes, I’m coming after you.” I shot out the front door before she could change her mind.

Debbie had given me a rough idea where she lived. I had the street and the apartment building number, but I’d actually never been to that block before. I set off on a warm and sunny October afternoon, invitation in hand, but nothing would have prepared me for what I found.

Chicago remains a city where a block of buildings inhabited by people with the means to keep them in decent repair will be located right next to a city block where unscrupulous landlords put no money at all into their buildings and yet see fit to charge tenants city prices for rent. Our family lived on a block where people were, as it was said then, keeping up. Homes were pretty much taken care of, and lots of yards had a few flowers in the front. But when I turned onto Debbie’s block I immediately felt how the entire environment was different for the people who lived there. For one thing, all the large, old trees had been chopped down and at the end of the summer and autumn the front yards were a uniform dried brown as grass starved of water went dormant. Lots of the buildings had broken windows. Some of the apartment buildings had no door protecting the building’s vestibule. I saw young kids looking out windows on the second floor that had no screens. Everywhere I looked I saw peeling paint on the buildings and broken glass on the sidewalks. I had crossed some sort of a line and felt it instantly.

But I was a stubborn cuss at that age, still am, so I kept walking until I found the brown brick apartment building with Debbie’s number on it. I looked up at it and thought I understood why I couldn’t play at her house. I thought I understood why she seemed so uncomfortable in front of the girls at school who wore those cute pleated skirts and the socks with lace at the ankles. Debbie’s building was missing entire windows in places. The front door hung from one hinge. There was no grass in the front yard, just dirt.

I didn’t know what apartment she lived in, so I just called out her name in the hope that she would hear and see me. I called and called until someone stuck a head out a window and gave me a look and I decided it was time for me to go home. If Debbie heard me, she gave no sign.

I never got to give Debbie that invitation. She avoided me at school for the next few days and then, mysteriously, disappeared. I never saw her again.

So now, at the age of 57, I think about Debbie every time I hear someone brag—and there’s really no other word for it—about how great our country is. I think about that little girl trying to get along in the public school having come from that apartment building every morning, and knowing that’s where she was going when school got out. How in the world was she to be expected to manage well at school with that kind of environment for her home? And at school both teachers and students looked at the edges of her, almost as if they were hoping she would just go away, which is exactly what she did. Perhaps her family was temporarily living with relatives in Chicago until the mom or dad could find some work. Perhaps she disappeared because the family moved on in pursuit of that next job. I will never know.

I do know that  gross differences in how people live in our country have yet to be addressed. These inequities are everywhere, but the country seems fixated on the neon signs that proclaim how lucky we are to live here. Some communities may offer breakfast, lunch and a snack to kids at school who need that, but those kids need more than school meals five days a week. In some parts of the country the gulf between those who struggle and those who don't is worse than it has ever been. Those who are part of the 1% have little chance to meet someone like Debbie and, even if they did, they might attribute her unfortunate circumstances to the sloth of her parents. The Puritan work ethic is alive and well in the U.S. today.

Now I could have done a little research and cited pundit after pundit, statistic after statistic, to document the iniquitous economic system of countries such as the United States of America that still believe capitalism just needs to be free in order to make us all happy. But I’m a writer setting down what I know, and what I have experienced first hand. Here’s hoping that my little story furthers the discussion of a punishing economic system that we could change, if we shared a common commitment to do so. In my opinion, an economic system that leaves so many struggling or suffering is not a success.


And Debbie, I wish I had been able to deliver that invitation. I wonder what became of you.

Friday, August 2, 2013

Healing Ritual in a Community Garden

Healing Ritual in a Community Garden*

This part of the play, Ecology Rituals, needs to happen in a community garden. It doesn’t matter if that garden sits on city land, or land donated by a major corporation, or land that was once an ugly and dangerous empty city lot now converted by local residents into an oasis of green. Any community garden where strangers come together to nurture plants for beauty or for sustenance will do perfectly.

The play will happen best if the garden is in full swing with lots of garden plants and the ubiquitous weeds.

Let the audience range freely around the perimeter of the garden, until that part of the action where they are invited to join in the ceremony. Then some of them will find their way onto the little paths winding between the small plots of land.

Time of day is not so important for this part of the play, though it would be more pleasant if the action happened in the gentle hours of morning or on a cool day that threatens rain, or in the late afternoon when the scorching of summer’s sun has abated somewhat.

There are both men and women in this part of the play, of all ages. And children. And animals if you can get gentle ones, dogs or cats, pet birds, rabbits, snakes, bring them all as long as they don’t threaten the garden. Invite audience members to bring their gentle pets to the performance, too.

The gardeners approach from all directions. There are nine or more of them. They are singing:

Follow me
To a place of hopefulness;
Follow me
To a place of peace
Follow me
To a plot of land
Where all battles cease;
Come and take my hand.

Carry water
To the thirsty garden;
Carry water
To the growing crop;
Carry water
To a bit of heaven
Where all conflicts stop;
Lift the water up.

At the end of the second stanza, all the gardeners stand at the perimeter of the garden. They look over the little sections of tended land as if taking in all that has happened there since the last time they brought water. Then they set down their buckets and watering cans, and turn their backs on the garden as they speak to those who have come to watch and listen. As they speak, they may run, dance, tumble, or twirl through and about those who are there to witness them.

When I step into the garden, I leave behind hatred of all those who do not think as I do.

I leave behind my terror at not knowing how to decide where truth lies.

I forget about fighting when I come here.

I shake off anxiety about what is coming next when I walk these paths.

When I come here, I strip away my need for riches.

As I get close to this place, burdens I’ve taken on drop from my shoulders.

I’m not lonely here.

I’m not angry here.

I never hurry when I’m here.

As one, the gardeners turn toward the garden. As one they step inside its boundary. As one they sigh, “Aaaahhhh!” as their feet touch a garden path.

Each in his or her own way, they tilt their watering cans and buckets and begin to lovingly drench the soil of one little corner of this garden. They move slowly as they pour the water, humming and then letting their voices build into a communal song of joy. When they cross paths with someone else they water each other’s feet or hands or heads and bodies, returning to a watering of the land as they pass by them. There is a water source nearby for them to refill their watering cans and buckets.  The song reaches its richest and strongest point when the garden is thoroughly wet, and they all have gathered in the center of the garden to finish the song.

            This little place is precious,
            Standing here out in the open,
            Reaching up toward the sun
            So bravely, so bravely.

            What grows here is luscious,
            Beans and corn, basil and peppers,
            Lettuce and tomatoes
            Delicious, delicious.

            Bring this land some water,
            Cool and fresh, clean and healing,
            Carried by loving hands
            To nurture this place.

As the song finishes, others have appeared at the edge of the garden with all sorts of pails and urns and bowls and pitchers—all full of water. Or advance ads and the theatre box office could have invited audience members to bring their own little watering cans that they can fill with water at the performance site. For those who have not brought their own containers, facilitators bring these containers to the audience, inviting them to take one and go into the garden to water the place for themselves. As the audience members begin to make their way into the garden and to pour their water onto the plants and flowers, the gardeners standing in the center break into a new song.

            I do not know you,
            We have never met,
            I don’t know your politics,
            Or your religion yet.

            Who are your parents,
            Where do you live,
            What work do you do,
            You know, I don’t give

            A damn! You heard me!
            Why should I care about
            Labels like that;
            I want instead to shout

            You saw the beauty here,
            You brought the water,
            You were drawn here,
            Son or daughter,

            Stepped inside
            And lifted up
            A pitcher of life
            A loving cup

            A hope
            A wish
            A dream . . .

            Of healing.

The gardeners in the center go to the plants and harvest whatever is in season. They give the food they have gathered to members of the audience as they exit the garden and the playing area. They improvise a chant as they leave.

*This is an open-source document. Please feel free to quote, use, perform this as you feel called to do. The lyrics are still in need of music. Source attribution is unimportant. But that includes you, too. . . Give it away. Give it all away.