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Tag Archives: Orphans

ORPHANS by Becky Tuch

Cleaver Magazine Posted on December 11, 2014 by thwackDecember 11, 2014

Orphans
ORPHANS
by Becky Tuch

Four in the morning and Maddie and I have nowhere to go. I said I was sleeping at her place and she said she was sleeping at my place and, well, now we’re in this diner. We’re both afraid to go home, me not wanting to wake my mom whose voice can be as shrill as hard rain and Maddie not wanting to bother her own parents, who’ve been having a hard time ever since her one brother ran off with the Krishnas and her other brother started rescuing stray dogs.

Hours back, we’d put on our platform shoes, took the F train to the city and stood in line for a rave. When the bouncer looked at my ID, which said I was sixteen, he turned us away, saying you had to be eighteen to get inside. Maddie protested, said of course we were eighteen, sir, there’s just a mistake. But he just looked us up and down with our round baby faces and our eyes that were hungry for something but too young to know what. He turned to the line, said, “Next, come on,” and we were shoved off to the side into the hot open night.

On the subway back Maddie asked me who the hell gets a fake ID that says you’re sixteen. I shrugged, not knowing what to say, except that sixteen sounded pretty old to me.

“So one time,” I begin, and Maddie’s blinking her eyes so slowly, eyes big and brown the color of horse hair, freckles clustered all over her nose. She’s looking at me, waiting.

“One time,” I say, holding down laughter in my throat. “My brother…he came home with this girl and my mom…”

But I can’t finish the story. That’s how it is with Maddie. Trying to get the sentence out is like trying to stand on the foam in the ocean. I want to do something straight and clear, but all I can do is tumble and laugh and give in.

She shakes her finger. “Let me tell you about my brother.” She tells me about the older brother who went to California to follow the Dead and came back home in a Lightning Van, which was just a van with lightning bolts painted over it. Then about the other brother, who owns a pit bull and always wears reflective sunglasses.

“Will that be all for you ladies?” the waitress asks.

“We have nowhere to go!” we tell her.

“Poor things,” she says, and drops off the check.

Tonight, we are refugees. We are orphans. We are stars sprung loose from the solar system, clinging only to each other in our hot glowing orbit.

We can’t let each other fall asleep. Then they’ll kick us out for sure.

There are plenty of stories to tell, though. Stories about our brothers, both older, both lost to us in the dark forest of late adolescence. Stories about our parents, dim suns hovering. Fantasies that are dreams that live all day long in our minds and which we’ve never revealed to anyone, until now.

“I’m afraid of heights,” Maddie says.

“I’m afraid of getting fat,” I tell her.

“I’m scared I have an addictive personality. Both my brothers are addicted to drugs.”

“I’m scared I’ll never fall in love. Both my parents are dying from loneliness.”

Just around the time the sun is coming up, the bell over the door jingles. The guys who come in are guys that we know, from back in the day when we used to hang around in the neighborhood. JayJay is a skinny Puerto Rican boy with a sharp pointed Adam’s apple and a smooth face the color of the coffee in our cups and always too much cologne and a way of looking at you that can make your thighs become butter.

Azzo is his friend, a taller, rounder, Puerto Rican kid with a soft voice and curly hair and gentle hands and the kind of guy you want to confide in and get advice from, usually advice that has to do with whether JayJay likes you. Azzo is sweet and tall and broad-shouldered and wears knitted sweaters in the wintertime and has a habit of putting his arms around girls in a protective loving way and has lots of acne.

They’re so high. That’s what we say the moment they sit down. “You are so high.”

They just laugh. Their hair and clothes smell like they’ve been rolling around in a marijuana field, and their eyes are screaming-red.

JayJay reaches across the table to pick up a menu and starts reading it, tapping his knuckles on the table. Azzo asks what we’re doing here.

“Just hanging,” we tell him, like it’s every night we stay up ‘til sunrise in the Grecian Corner diner.

“I’m hungry!” JayJay announces, his eyes big as he looks back and forth at me and Maddie, shrinking in our red leather seats, not sure which one of us he wants to eat first.

We talk about our respective nights, me and Maddie waiting on line at Nassau, being turned away in spite of our heroic feat of getting fake IDs made on West Fourth Street, then all our efforts to purse our red lips in a way that makes our cheekbones higher, our baby fat melt away.

They tell us about some party over at Luc Bustomanta’s house, how the music was bad but the weed was good, how the beer was bad but the dancing was good, how the party overall was bad but the walk there and back through the hot summer night was good and, now, since they’ve run into us, just getting better.

We don’t know what to say. How do we talk to these men, these boys with their soft hands and their red eyes and their loud pleased laughter? We want to run. We want to stay. We want to drink our coffee and be quiet and pretend they never came in and that it’s just me and Maddie and we are innocent as babies. We want to seduce them and dance with them and be the ones to make their nights ones that they will never forget.

JayJay eats a plate of waffles with whipped cream. Azzo eats oatmeal with sugar and fruit and nuts.

“Oatmeal?” JayJay says.

“I’m on a diet,” Azzo admits.

“Hey,” JayJay says. “You girls want to come back to my house?”

And what could be more perfect? We, who have been orphaned by our own incompetent plans. We, who are surely older than we are, who want nothing more from our lives than to grow out of them.

“Where do you live?” I say, but by then we’re already out on the avenue and stepping into the warm summer night.

JayJay leads us into his bedroom and doesn’t turn the light on. He’s got a bunk bed with two thin mattresses. Up on the top bunk there’s a white window curtain and if you peek through it you can see the street that leads up to the schoolyard where we all used to hang out and play handball and drink forties, before Maddie got into raves and I got into following Maddie wherever she went.

For a long time, we do nothing but sleep, the four of us like sardines lying side by side, warm and snug and safe in the darkness of the room and the night.

The first thing that wakes me is the tingling in my shins. When I open my eyes, JayJay is on top of me, his left hand around my ribs, slowly sliding upward, his right hand pressing down on my hip, pushing into the mattress. His lips are on my throat; his hair smells of coconut oil. Then his forehead is on my chin, a firm pressure. His tongue tastes of sleep, of whipped cream, of maple syrup.

I can feel his legs moving between my legs, like eels squirming up along the shore. And my eyes are flickering and I’m running my hands along his back, up and down, soothing, whispering, “Don’t stop, don’t stop.”

On the mattress below me I can hear Azzo and Maddie doing the same thing. The same swishing of the sheet. The same creaking of the mattress. The same sticky sounds of lips and saliva, boy grunts and girl hums and bodies entering bodies, skin yoking itself to skin. The same darkness wrapping itself around us like the arms of our parents, holding us safely and tenderly in the night.

Eventually, we drift back asleep and I wake to find Maddie up in the bed beside me, curled up like a baby lamb. I turn to her, caress her back, run my hands down her hair.

The boys are out of the room and daylight is spilling in. Blue and bright through the thin white window curtain. I hold Maddie like she’s my child. I kiss the top of her head like my mother always would to me and my brother.

“Are you sleepy?” I say, lips near her skull.

She nods against me.

“Me too,” I say.

“Do you think it’s too early to go back home?”

“I think it’s okay now.”

We dress and make our way into the hallway. JayJay and Azzo are in the living room talking to JayJay’s aunt. She’s got a cane stretched out before her and one leg bent, the other straight in front of her. She tells us to sit. We do. Her voice is raspy like a thousand cigarettes have been smoked and burned inside her lungs.

“Why are you dressed like that?” She points her cane to our platform shoes, our pants.

“We were going to a rave.” Maddie’s voice is soft, apologetic almost.

JayJay’s aunt bangs her cane on the floor. “You look horrible,” she says. “Ridiculous.”

Maddie and I look at each other. JayJay and Azzo look at us. We all look at the floor.

“I’m a lesbian,” says JayJay’s aunt. “And I sure wouldn’t fuck ya.”

“Well,” Maddie says. “Okay then.”

She bangs her cane on the wooden floor, many times, over and over. “Ya hear me?” She points her cane at Maddie as she lets out a loud raspy laugh. “I say, I’m a LESBIAN. And I WOULD NEVER FUCK YOU.”

I stare at Maddie, wondering what she’s thinking, what she’s going to do.

But all she says is, “I hear you,” and it’s the way she looks away from me then that tells me how alone we are, how adrift. We miss our older brothers. We miss being small. We miss believing that there is such a thing as a grown-up, and that grown-ups live on a place called land. ‘Cuz if there are no grown-ups, and there is no land, where do you return home to?

After a moment, Maddie and I push each other up, leaning against our armrests. We think it’s time to go. We stand and walk through the hallway, JayJay trailing behind us. At the door he kisses me on the lips, reaches for my waist. Then he leans over, kisses Maddie on her lips, cupping the back of her head.

“Fun running into you girls.” He smiles a sweet boyish smile.

“You too,” I say.

“We’ll have to do this again sometime,” Maddie says.

And then she and I walk, arm in arm, shoulder to shoulder, heads pressed close, down the front steps of JayJay’s house and slowly along the sidewalk, down toward the avenue, where, just over the lips of the buildings, on top of the houses and bridges and stores, the radiant round sun is beginning to rise. It’s a Sunday. The day is just beginning.


Becky-TuchBecky Tuch is the founding editor of The Review Review, a website dedicated to reviews of literary magazines. She has received literature fellowships from The MacDowell Colony and The Somerville Arts Council and her fiction has won awards from Moment Magazine, Glimmer Train, Briar Cliff Review, Byline Magazine and elsewhere. Other writing has appeared in Salon, Virginia Quarterly Review online, Hobart, Quarter After Eight and other print and online publications. Find her at www.BeckyTuch.com.

 

Image credit: Nika Gedevanishvili on Flickr

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Published on December 11, 2014 in Fiction, Issue 8. (Click for permalink.)

ORPHANS by Hadrien Laroche reviewed by Jamie Fisher

Cleaver Magazine Posted on November 9, 2014 by thwackJuly 6, 2020

Orphans cover art. A black-and-white photograph of three children hanging dead from a treeORPHANS
by Hadrien Laroche
translated by Jan Steyn and Caite Dolan-Leach
Dalkey Archive Press, 130 pages

reviewed by Jamie Fisher

Orphans starts with an advisory warning from the translators. Orphan, they explain, has a slightly different meaning in French: orphelin describes not only a child who has lost her parents, but a child who has lost only one parent.

The explanation is necessary, but also somewhat inadequate. Looking back along our linguistic family tree, orphan shrinks and dilates to cover so much more. In Latin an orbus is “bereft”; in Old English ierfa, an “heir,” with close ties to “suffering” and “trouble”; in Old Church Slavonic, a rabu (think robot) is a “slave” or “servant.” When we work our way back to Proto-Indo-European, orbho means “bereft of father,” but also “deprived of free status.” Orphan begins to sound simultaneously like someone who has lost his parents and someone who is inescapably tied to them.

In Orphans, Hadrien Laroche explores all of these extended definitions. The narrator visits or discusses three orphelins: fatherless Hannah née Bloch; motherless Helianthe née Bouttetruie; and the self-orphaning Henri né Berg, who “disinherits” his living parents but finds himself unable to escape their influence. All three are tormented less by the absence of a parent than by the surviving parent’s insistent presence.

In a book that revolves around parentage, it seems appropriate to address questions of intellectual filiation. Laroche was the final doctoral student of Derrida, father of deconstruction, the man who declared, “We think only in signs.” Laroche’s narrator describes himself as interested in constructing systems of symbology. The three stories are mostly this—drafts for three worlds, lightly plotted.

Hannah, an old woman when we meet her, lost her father in the Holocaust and finds herself unable to escape her mother’s influence. She comes to a final estrangement with her mother over her widow’s vision of life, narrowed by death and predicated on a claustrophobic family loyalty that never quite allows her children to move beyond their father’s death. “Kamikaze mother!” Hannah rails to our narrator. “A mother who produces daughters who no longer have any reason to live, who lack life and are close to turning back towards death, such a mother is no good for society.”

Helianthe’s damnation comes down the paternal line. After she and her husband purchase a chalet, the renovations recommended by her architect-father begin to consume their lives. His design—“badly understood, badly drawn, and deliberately vicious”—begins to feel like a critique of God, slightly veiled. “By destroying with one hand what the other hand built,” Laroche writes, “he disrupted his own work.”

The collapsing house that Helianthe “inherits” from her father is also equated to her faltering body, suffering from a pathologically idiosyncratic “orphan disease.” The section concludes with Helianthe dramatically ripping up the plans her father had drawn for the chalet: “In front of a destroyed wall face, Helianthe née Bouttretruie whispered that she could never give life. She was only good for ‘passing on death.’”

Hadrien Laroche author photo

Hadrien Laroche

In Henri’s story, both parents demonstrate how our families cast us in roles, reenacting old cultural forms with a disappointingly mechanical ease. His father expects him to inherit the family business; his mother spends her days making elaborate family albums “constructed entirely from images of celebrities lifted from various magazines and newspapers”: “To the right of a snapshot of a pained-looking Georges Perec in skis at Villard-de-Lans, she had inscribed the name of her brother.” All of this enrages Henri, who decides to “disinherit” his family. When he destroys the automatic signature machine “enthroned” on his father’s desk, it is intended as a triumphant rebellion against his mechanical parents.

Laroche’s novel is not entirely a triptych. The fourth orphan, hidden in plain sight, is the narrator himself. He wanders from home to home, an oblique house-guest deciphering his hosts’ personal systems of symbology “in order to pass the time, without understanding why I did it.” As the narrator writes of Hannah, “The world of signs that she inhabited was coherent… Like everyone, she lived in a singular space, full of signs and symbols, which were blindingly obvious to whoever came along, and which she, however, had no need to know how to read.”

Passages suggest that he is, like Helianthe’s illness, a kind of “orphan disease”: “One day, out of the blue, the orphan disease takes shelter under a man or woman’s roof…, grafting itself onto the foreign body.” By the novel’s end, as the narrator paces alone in the forest, Laroche suggests that by grafting himself onto his hosts’ stories, he has achieved liberation from the confines of his own house, and the body it symbolizes: “In a certain sense, I was never at home. Now I knew myself to be definitively outside the house. So much the better.” As the last light of a window is “definitively” extinguished, “from my feet to my head, I felt a needle-like cold penetrate me deliciously, bracingly, decisively. Then, coming around the bend, beneath the moon, I saw that extraordinary rock face”—one of many plays on Laroche’s own surname, the rock.

For a novel in which the narrator exists mainly as a framing device for observing the lives of others, Orphans is remarkably uninterested in understanding other people. Laroche has created—if we can divest the word of certain prejudices—a very self-interested book. The novel brims with excited self-references that play on Laroche’s name; they can feel absurd, but also sweet, a riff on the reason many of us read—to recognize ourselves in someone else. By the end we haven’t gotten anywhere, but in Laroche’s hands, this doesn’t feel like defeat. His book ultimately amounts to a claim that fiction is a form of self-transcendence that brings you, triumphantly, back to yourself. As he has said in interviews, somewhat gnomically: “If there is a lesson in Orphans, it’s this: we all have to become sons, or daughters, we can’t escape that. Or the child of our own lives, though that’s not a given. Or rather, we can become the child of our own works; that’s possible.”

Much of Laroche’s work is predicated on his own individuality. The novel’s jacket tells us that Derrida considered Laroche “one of the most talented and original thinkers of his generation.” Laroche’s talent is easily identified, but his originality can be difficult to pick out. Even Laroche’s obsession with the possibility of originality feels borrowed from his teacher’s work. Derrida used a typewriter to distinguish between event (singularity) and machine (repetition); Laroche’s destruction of the automatic signature-machine feels more like an encore than a further development of Derrida’s themes. He’s very much his father’s child.

As a result, Orphans feels dispiritingly familiar, even dutiful—a graduate student’s citations of the dominant literature. Like a Dutch Golden Age painter, tucking memento mori skulls behind every fruit bowl, Laroche arranges all his post-modern appurtenances clearly. In a novel dominated by observation and collection, even minor characters seem to have obsessions designed to support Laroche’s thesis: tape-recording every phone conversation, or compiling boxfuls of strangers’ photographs. It would have been interesting to see how Henri could have disowned his mother if she enjoyed less conveniently symbolic hobbies—meat tenderizing, perhaps, or roller derby.

Some of the same qualities that may have made Laroche an excellent student undermine his fiction. He seldom resists the temptation to annotate his own work. After Henri destroys the automatic signature-machine—“the imprint of his father’s signature was separated in two, dismantled, pulverized” —Laroche adds helpfully, “He had even in a sense committed patricide.” Periodically he summarizes his conclusions: “Changes, inheritance decisions, modifications, blank slate, invention, rebirth, the literal destruction of ancestors: it can’t be any other way.”

Laroche’s symbolism is theoretically tidy, but in often vital combat with his joyful sensuality.
At his best he is a fascinating and original creature: a symbolist, but also a poet of viscera. Call it sensual symbolism. At its best, Laroche recalls Marianne Moore’s deservedly repeated line about poetry: “imagined gardens with real toads in them.”

He feels most assured when at his most specific and sensuous, particularly in “Hannah née Bloch.” Consider his symbolism involving hands, both abstract and delicately physical:

The mother often repeated that her family was like the fingers of a hand. The expression made sense in this particular circumstance: three children, mother and father, which makes five. One couldn’t separate the members of the family without dying… The meaning behind the adage repeated by this one-hundred-year-old woman was that no one could leave without killing the rest of the family, and in particular the mother, whose hands were after all quite beautiful, veined, and long-fingered. Or, equally worrying, one couldn’t leave the others without dying.

Here the consequences of his symbology feel naturally true, but less than fully obvious. And often his language is as alluring as it is off-putting; he isn’t afraid to equate “the severed finger” to “the separated and thus liberated child,” or to open the book with a vision of Hannah in the shower, sudsing her sunken navel.

A cooperation between symbolism and sensuality can be difficult to achieve. Laroche intends to shock us freshly with all the old brutalities of ancestry and inheritance, but he ends up supplementing his point with violence that feels ancillary to the narrative: out of nowhere he will describe the spontaneous erection of a hanged man, or the putrid fly-laced vinegar that Hannah uses as a facial cosmetic. It’s too much toad, with no garden to maintain it. Here and elsewhere, Laroche seems undisciplined, using repulsion as a substitute for the moral outrage he really wants to cultivate.

And he is, primarily, interested in outrage. I was astonished by an interview in which Laroche claimed, “my books are humorous. You can hear the laughter that accompanies every tragic moment!” It’s true that the novel can be funny but the dominant mode is indignation rather than uproariousness, often at his artistry’s expense.

Orphans is Laroche’s first published novel, and the first part of Laroche’s “Man Orphaned of His Humanity” trilogy to reach English speakers. (His biography of Jean Genet was translated earlier.) What will propel readers through the next two books is less likely to be Laroche’s familiar arguments than his sensuality—Orphans’s heady sentence-by-sentence beauty, skillfully rendered by translators Jan Steyn and Caite Dolan-Leach. He describes idleness as “an aristocracy of will,” sentimentality as “the endlessly beating heart growing fat inside each of us, this sticky schmaltz in glazed red.”

That’s a masterful line, capable of repelling even as it attracts. I thought again of Hannah née Bloch, whose mother saved her children by briefly scattering them— “to the house of a neighbor born to Catholic parents, to a cousin’s house on the other side of the river, or to the back of a shop of an aunt who sold spices on the Avenue Alsace-Lorraine: cinnamon, cumin, saffron, vanilla.” It’s the cinnamon that saves us, every time.


Jamie Fisher author photo

Jamie Fisher is a freelance writer, Chinese-English translator, and budding manuscript conservationist working out of Philadelphia.  She graduated recently from the University of Pennsylvania, where her majors were Linguistics and East Asian Languages & Civilizations. She can be reached at [email protected].

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Published on November 9, 2014 in fiction reviews, reviews, translation. (Click for permalink.)

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DESPINA by Jennifer Hayden

DESPINA by Jennifer Hayden

From KENNINGS, Visual Erasures by Katrina Roberts

From KENNINGS, Visual Erasures by Katrina Roberts

VISUAL NARRATIVES ARCHIVE

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