Tag Archives: writing

Memoir Moment — Holiday Sister Blues

]New Year’s Day 1951.  I am 3.  Daddy wakes me early.  He has dismantled the Christmas tree and tells me we are taking it to the country. . . We’ll leave it with food for the deer in the forest.

“Why can’t we keep it here Daddy?”

“Mommy wants to clean the house. You’ll be big sister soon.

Big sister.  Confusing. Dorothy is my big sister. She is 18, a grown-up,. She takes care of me when she comes home from college.  I’ll be big?

Later that day, Daddy comes into the apartment carrying a big basket with a hood over one end.

“What’s that?” I ask.

“It’s a bassinet. A bed. For the new baby.”

                                                                        ———————————

I did not understand. What was a “new baby?”

We had no television, and except for my cousin Johnny, who was nearly the same age as I, I had little contact with children.  We lived in a basement apartment in a bustling Flushing, Queens, neighborhood, and I am sure there were children all around, but our social life revolved around my mother’s parents and sisters, who, still reeling from their narrow escape from the terrors of Europe, had not begun to venture into the community. 

I had dolls.  Silent, inert, boring.  One drank from a small plastic bottle and expelled water from a hole between its legs.  Most uninteresting.  If that’s what a baby was, I wanted no part of it.

“Don’t worry,” Dorothy said.  “When they bring him home, you’ll love him.”

Perhaps.

 Early in the morning on January 9, Daddy woke me. “You have a baby brother, Carla,” he whispered. “His name is David.”

Baby brother.  David. 

They brought him home on January 13.

We were sitting in the little living room at the bottom of the entryway when the doorbell rang. Dorothy ran up the stairs to open the door; as the cold wind swept into the room, I saw my grandmother’s imposing silhouette blocking the sunlight, and I heard her muttering something to whatever she held in her arms.  Behind her, Daddy cautioned, “Watch your step, Mutti. It could be slippery, and. . . “

As she descended into the apartment,  I saw that she held a strange, bundle of squirming blankets, and she was scowling.

“This baby will wiggle out of my arms if I don’t put him down. Sit on the couch, Carla.”

I froze.  Why did they want me to sit?  Daddy had gone back to the car to get Mommy, and I wanted to see her not sit.

“I said, sit, young woman.”  When grandma became authoritative, she was imperious.

I sat.

“Straighten up,” she commanded. 

I did.

“Hold out your arms.”

I obeyed.

Then she placed her bundle into my lap. 

“This,” Grandma announced, “Is David. David Walter.”

“Oh,” I mumbled, genuinely disappointed. He was a round, red, wrinkly thing.  His skin was blotchy, and his eyes, buried in the deep folds of his face, squinted as he began to wail.

“Please take him back,” I begged.”  He’s ugly.”

I let him slide off my lap, and Grandma gave me the evil eye as she caught him. 

“He is yours, and you will take care of him.  From today on, for the rest of your life, this is your little brother.”

She put him back in my lap. Dorothy sat next to me and wrapped her arm around my shoulder. “You’ll see, sweetie,” she whispered. “You’ll grow to love him. The way I learned to love you.”

That soothed me.  I trusted Dorothy.  I felt her love, pure devotion, and I believed her unconditionally.  I understood the concept of being her little sister.

From then on every January was about David. He was often ill, nearly died of bronchitis and developed asthma before his 2nd birthday, but he was never sickly.  He was adventurous, excited by every new experience we could share, and even before he could talk, he seemed fearless and was confident that his big sister would be at his side.

David changed my identity, and though he was not the last to call me Big Sister, he was uniquely fused to me as I was to him.

When our sister Helen was born 3 years after David, he and I became the big sibling duo, cleaving tenaciously to a private language, to private rituals of play, to shared secrets that excluded Helen and each of the 5 babies who followed her into our lives.  Our parents changed; the soft sweetness of their marriage became increasingly hostile, and their way of dealing with issues became more unrecognizable with each passing year.  Helen was young enough to take them as they were, but David and I understood that the parents we knew resided in a pocket of memory to which only we two were privy.

Dorothy and I saw each other infrequently as I grew up – she married a Los Alamos scientist and built her life with him and their six beautiful children in the New Mexico mountains; my parents settled us in the northeast. When we visited on another, Dorothy and I had little to be nostalgic about. She told me stories of her life before I was born, stories of what little she remembered about her own mother, stories that included grandparents, aunts, and cousins whose lives ended long before mine began. She knew little of my childhood, as she was in college, then in motherhood before I started school. She existed in a universe I could never see except through her singularly focused lens, and she had less and less time to know mine.  We cherished one another, but we had little commonality.  

David’s and my pasts intersected and connected; we existed in the same time and space.

Over the years of marriages, divorces, and remarriages, births of children, parenthood, and grandchildren, we weathered the storms and celebrated the joys in tandem.  We would butt heads, and we might lose touch from time to time. But we always reinvigorated the bond, reinstated the closeness that was buoyed by our collective memories. If we felt wronged, we always forgave, always valued the revival of the relationship.

The other kids, whose births came in quick succession after Helen’s, established their own private bonds, which omitted us just as we had omitted them. I am now aware that there were things I didn’t know about that perhaps I should have seen, but I left home before David got to high school, and I was caught up in the maze of my own delayed adolescent awakenings. More than anything, we were terribly inept, quasi-parental units, not siblings to them. I was Big Sister to David alone.

Big Sister.  Little Brother. 

Grandma promised for the rest of my life. She could not have known.

In 1964, when David was 13, he was diagnosed with diabetes, which re-routed his trajectory.  The illness cheated David in all manner of ways, and likewise, he cheated death with multiple tricks for as long as he could. After endless surgeries – two kidney transplants, two amputations, quintuple bypass – and seemingly infinite catastrophic illnesses like pneumonia and sepsis, David died in 2023, at age 72. 

Now, nearly three years later, I am still grappling with my identity.

So long as David existed, I was a Big Sister. That role helped define my sense of self as a parent, as a teacher, as a human being. I was flawed, but I was tethered. 

All but one of our younger siblings have rejected me.  I am a mother and a grandmother, who has succeeded in many ways and failed in more. I am who I am. But I am no longer a big sister.

 Only David would understand what I mean.

Looking for Poetry? How about 39 Poems, by Charles Butler!!

Walking is Believing in Charles Butler’s Powerful Collection 39 Poems

New York is a challenge on the best of days.  Summers are blisteringly hot. Winters numb the nose, freeze all digits. Every walk on a city street is an opportunity to engage with the world or let it stream by unnoticed.  Homeless folk sleeping on rat dung, playgrounds dotted with dog poop, crowded sidewalks teeming with angry people struggling to get where they need to be, pushing impediments both human and non aside with equal disregard.  And if you are paying attention, if you look life in the eye, you see what Charles Butler sees at every turn, the observations he makes in his very accessible collection of poems called simply 30 Poems.  Butler sees and describes the dark side as it blends with the light, he feels the life that refuses to be extinguished even as it fades.

“you almost miss it

almost

someone’s life bled out

at your feet

think on it

times you bled”

                                                                                                            ii legal pad poetry

Butler’s Brooklyn-twanged voice gives each poem its own resonance, singular presence. Each one is a story and a journey, part of the next story that is a journey that leads to the next all the way to the final stop.  All the poems lean on one another, leading us into hearts, minds, souls, beings that celebrate and suffer through to the end, where we see that the sum total is a stories lead to the same journey’s end.

Butler doesn’t pretend to offer answers.  His collection is a compendium of observations.  Deep as the message is, he’s not trying to be profound. 

“I leave

the big poems

t’the

assholes

y’know ‘em

ones who figure

they can change

the world

with a stanza

or a verb”

just poetry. . . man

Hey scatters the collection with human encounters, human experiences, human emotions, none of which will surprise the reader but will evoke a visceral response.  The joy and heartbreak of holding a newborn baby, black and female; the gratitude for friendship and the mourning of its loss; the taste of coffee and it likeness to young love; the shudder of knowledge as old age creeps in.  And so many more acknowledgements of the joys and sorrows, discoveries and disappointents that are the human condition. All observed in Butler”s “walkabouts at night” when he “was lucky and went this way instead of that way” (“Normal”).

At the end of the 39 Poems, his 39 Steps, walks through and around Brooklyn and America, Butler sums up in CODB:

“only. . .

joy, pain, hope, sadness

just the

cost of doin’ business

‘n livin’

Is bizness”

A powerful commitment to the vagaries that define the fragile confusion that is life.  A stimulating read.

Fanfare for the Common Woman

Audio podcasts are a wonderful innovation, especially for those of us with insomnia.  Nothing is more soothing for me than a gentle voice talking about interesting worlds.  I especially love science, history, and theater talk, film history podcasts, or literary discussions, and David Remnick.  It is comforting to feel myself relaxed out of anxiety into someone else’s knowledge and then to drift off to sleep.

I confess that there are many podcasts that irritate me.  The ones that make me sit up, desiring to scream into my device– though that is certainly not an option for a considerate apartment dweller in the middle of the night – those that frustrate me with their pontification or false modesty,  political rants or misinformation. 

The ones that most irritate me are the podcasts that pretend to offer hope and life modeling to women over 50. On podcasts such as unPaused, with Marie Claire Haver, or Wiser than Me with Julia Louis-Dreyfus.  These offer advice from the megastars like Isabella Rosselini, Nancy Pelosi, Gloria Steinham, Michele Obama, Jane Fonda, et high-falutin al.

Inevitably, these admittedly wonderful, rightfully revered role models are women who have achieved great fame and fortune. They are most certainly noteworthy, and I deeply admire them and their accomplishments.  But they are women who have been receiving attention for a long time already and are rarely in positions to which any of us groundlings can reasonably aspire. 

All the while, everyday women who achieve less than phenomenal but still noteworthy successes are overlooked. Despite the fact that we, too, are pundits. We, too, offer stories that could be truly inspirational.

I have many friends who have lived lives worth sharing.  Women – mothers and wives — who have written books that may not have been bestsellers but still had audiences and made a difference for their readers.  For example, my dear friend, who nursed her husband through harrowing bouts of PTSD, raised her family, took care of her brothers, ran a lovely small business, and managed to paint some lovely watercolors?  She knows about survival and rising above adversity and setting goals, and attaining happiness. Another brave woman I know writes songs that aim to forge peace and understanding while curating a huge cache of legacy art, and another creates phonics videos to promote literacy among disadvantaged children. They love their work, and they are proud of what they do, as many everyday women do. Some nurture student artists — those who may not be the Oscar or book award winners spewing gratitude for their mentors — and help them to nurture dreams that lead to meaningful careers that improve the world in multiple ways, Even while schlepping personal children from pillar to post, attending extracurricular activities, keeping husband’s clothes cleaned and pressed, etc., myriad ordinary heroines persevere.  Women who work as nurses, physicians’ assistants. dental hygienists, bus drivers, etc., while providing care for elderly parents.  Those who act in plays on, off, and way off Broadway,  direct educational and community theaters, sing in and direct choirs, play music, and lead small-town orchestras.

You can see my point, I am sure.  The accomplishments of women are incalculable. 

Surely the multitude of women who have built modest successes are no less interesting than those who have made millions?  Is it not exemplary that real people keep plugging away, writing, painting, acting, teaching, serving the sick, and providing goods and services?  Aren’t the common variety supermoms/daughters/aunts/sisters/grands apt role models for younger generations?

Come on, social influencers, podcasters, you who want to inspire women, find those of us who fuel the world with its real power. Look for our books, our drawings, our songs, our stories. Ask us what we know. Let us show you how fascinating we can be.

Book Review: The Weight of Ink, by Rachel Kadish

Despite the dark suggestion of her title, Rachel Kadish’s The Weight of Ink (Mariner Books, 2017) is pure illumination. 

I turned to Kadish’s book as I began cobbling the details and backdrops for a fiction I am working on about members of a 17th C New Netherlands Jewish community, refugees from the Portuguese Inquisition. Since Kadish’s book, set in the same time period, concerns the life of Portuguese Jewish refugees who have found their way to London by way of Amsterdam,  I was drawn in by a hope that her descriptions and depictions would give me a more vibrant, sensory experience of the world I hoped to create.  It did not take more than a few pages to know that I had made a wise choice, that I would find what I was looking for. And much more.

The life of Kadish’s characters, defined as much by ink as by history, is a seemly model for the ones I hope to bring to life. Mine too, will be defined by their stories, stories that bear the pressure of ink, which in the case of Kadish’s characters, is considerable . . . both physically and literally. 

Kadish’s book presents two heroines, each of whose existence attests to the ink’s sway.  One is a Ester Valasquez, a Jewish intellectual born into the wrong century, and the other is Helen Watts, a 21st C baby boomer academic intent on breathing warm life into the legacy of the woman whose work she has discovered in the carapace alcove of a house built in the aftermath of England’s Civil War.

Watts, a sexagenarian historian at a contemporary London university, finds herself wrestling with self-doubt and recrimination after she realizes that documents given to her by a former student are authentically written by a woman in the 1600s. Watts has never hoped for such a find, one that seemed unfathomable. That a female in that time period could have asserted herself strongly enough to have accomplished the work Helen has found seems incredibly miraculous.

The ancient writer Ester Valasquez is a true anomaly:  a brilliant Portuguese Jewess, trapped in but not stifled by the male-ordered strictures of 17th C society, both secular and religious. Ester, who speaks and writes fluently in Portuguese, Hebrew, Dutch, and English, is an orphan in the protection of the prestigious Sephardic Rabbi Ha-Mendes. Brutally blinded and disfigured by the Inquisition, Rabbi Mendes has made it his self-appointed mission to bring Judaism to the Jews of London, who have only recently been readmitted to Britain by Oliver Cromwell.  It is a community that lacks an educational center, and Rabbi Mendes engages Ester’s brother Isaac to be his scribe, to set his sermons and essays to paper.  Isaac dies, however, and Ester eagerly takes over as the rabbi’s scribe. Over time, as the rabbi ages, he writes less and less, leaving Ester to write letters in his name and others’, letters that are both heretical and dangerous.  That she gets away with her subterfuge has everything to do with the upheavals of the great Plague and then the Fire of London.  

The ink Ester uses is a heavy amalgam of iron salts thickened by tannin harvested from gallnuts, a bluish-black ink that mercilessly stains her fingers. Though the paper Ester uses is undoubtedly made of strong linen, the ink seeps through and leaves holes among her sentences.  By the time Helen Watts and her assistant Aaron Levy receive the documents, the ink has turned sepia-brown, and the weighted pages are difficult to read.

The words Ester writes are themselves more leaden than the ink itself.  Her letters, signed in names of men she deemed incapable of writing, are sent to the men with the best minds in Europe of her time, but the letters she writes to Baruch Spinoza, excommunicated apostate denounced by Jews and Christians alike, are the most dangerous. 

When Watts find proof that Spinoza actually responded to Ester’s letters, Watts realizes that the ink was even more ponderous for Ester and is a discovery she finds nearly intolerably heavy.

Ester has undertaken her intellectual pursuits with a full understanding of the consequences she will face.  She refuses the protection of marriage, the comfort of children, real love.  She has made a choice, and she is faithful to that choice throughout her life, though she finds an acceptable compromise that ensures she never has to worry about money, and her words will never betray her. Watts faces her discovery of the letters 400 years later with a similar conviction.  She, too, has made her work her life. She, too, has prized intellectual pursuit over the pursuit of conventional happiness.

Rachel Kadish has accomplished a miracle. She has given provocative life to a concept that few would deem important.  It may seem that the age has passed when a woman was not officially allowed to read and write, no longer are women prohibited from becoming actors, cannot wear men’s apparel. Women, some would argue, are no longer at the mercy of husbands and fathers for support, prohibited from inheriting the wealth of either.  In the absence of all such repression, Ester’s life might seem arcane. But the seemingly stark contrast of Helen Watts’ contemporary life points to a truth of most women’s reality, a truth that prevails today. 

Like Ester, Watts made her choices. She had all the academic and intellectual freedom she could ask for, but she, too, had to forego the pleasure of deep, committed love.  Even in her youth, when she was tempted by a handsome, commanding Israeli man, she could not commit her whole self to him.  Like Ester, she understood that belonging to a man, even to a man who offers deep, protective love, meant being swallowed by his life, his pursuits, his dreams.  Four hundred years later, Watts came to the same conclusion. Too easily women compromise themselves and disappear into their men. 

The Weight of ink is a deep dive into the minds and lives of two women widely separated by time and culture.  Both reside in a life colored by equal parts joy, satisfaction, and regret. Both are warrior women.

Book Review – How to Lose Your Mother: A Daughter’s Memoir, by Molly Jong-Fast

When Molly Jong Fast’s How to Lose Your Mother: A Daughter’s Memoir (Viking 2025), I resolved to avoid it. I mean, Erica Jong, author of my liberation, facilitator of my most humorous self-deprecation. I didn’t want to know the sad, selfish underbelly of my hero. Then, one day, I listened to an interview with the author, and I thought, “Well, if I can listen to this book in her voice, maybe I’ll learn something.” I did. I found the audio book narrated by the Jong-Fast herself, and, wow, am I glad I did.

Once I relented, I found myself feeling enormously grateful to Molly Jong-Fast for sharing her mother’s missteps, blunders, neglect, and abuse. It made me more aware of my own mistakes and offered me a sense of what my own children might have felt at times in their childhood.

Erica Jong was nothing like me. She was glamorous, well-connected, and a star with a severe drinking problem. I was and had nothing of the kind. But I am a writer, and I know now that too often in my children’s lifetime I felt I had relinquished my Self on their behalf, and I am sure I unwittingly hurt them in some of the ways this mother hurt this daughter. Erica Jong’s dementia and her singular life view prevent her from understanding what happened to her daughter, but with any luck, I still have some time. To make some repairs. Or at least to let my kids know I care. I am sorry.

At base, How to Lose Your Mother: A Daughter’s Memoir, is an everywoman story. When I wrote my memoir, I struggled with how to depict my mother, who suffered multiple traumas too few years before I was born to have sorted them out; she grew to be the mother everyone wished were theirs, but there was always a regret between us for what we could not have. I realized, as I wrote and forgave us both, that the complexities of the mother/daughter conundrum are much the same for even the happiest of pairs. Each mother, each daughter is a reflection of the other. As my mother’s face becomes more clearly the one I see in the mirror every day, I understand more deeply how normal we actually were.

I am grateful to Molly Jong-Fast for the mirror she held unto my nature in much the same way I remain grateful to Erica Jong for Isadora Zelda White Stollerman Wing . . . and later for Serenissima and the sensual dive into Jessica Shylock’s world. . . . as well as so many other pages of entertainment and enlightenment.

How to Lose Your Mother: A Daughter’s Memoir is a lovely — if oftentimes harrowing — read, a book any daughter is liable find herself and her mother in. A terrific experience.

Thanks, Molly!!