My Life as a CNA #1: Swifts Premium Meats

My dad was a big guy.

I'm talking the broad-chested, big armed, big bellied kind of working guy. The kind of guy who literally, early in his working life, could heave several hundred pound sides of meat up into the Swifts Premium Meats truck he'd been hired to drive.

Then he got married.

He wanted to be home, not out driving. He wanted to make a good salary in order to build his own home on land given to him and my mom by his mother-in-law, and to adopt some kids.

My dad and his favorite "things" in the late
1950's: his mother, his wife, and his Chevy.

So he went to work as a machinist and sat at a work bench day in and day out with a loupe strapped to his forehead and machine oil covering his hands. By the time I came along in 1961 he'd got eczema, got fat, and dreamed of getting out. It took him another 10 years of drafting, research, and scheming about franchises and the great outdoors before he was able to invest his and a bit of money from his mother into the new development of a K.O.A. (Kampgrounds of America) campground in Mystic, CT, 25 miles away.

It was clear that being a factory machinist was making him unhealthy. Like almost everyone in those days, he was a heavy smoker. And the weight he was gaining just felt inexorable to us all.

My mother had a recurring nightmare, one she told me and my brother as little kids at the time, that as he was coming in the back door in the evening after work a murderer -- holding her hostage behind the door -- would shoot him. This was probably a lot more about her own fears than my dad's reality, but the message to her was that my dad was so big that death would not be able to miss him. She feared for his life, that his size would take him.

And it did.

I just had to confront my dad's life and death again, 20 years after he passed from complications of diabetes-caused amputations, in my first clinical shift as a Certified Nursing Assistant (CNA).

I served three older, White male patients during my first shift. They all had diabetes, and all had circulation problems in their legs and feet -- just like my dad.

When I walked into the first room, I could hardly stop staring at those so-familiar legs. If you're a severe diabetic, the excess sugar in your blood stream impedes your immune system while simultaneously causing neuropathy, putting one at greater risk for an all-too common and dangerous bacterial skin infection of the legs known as cellulitis. 

This man's legs looked just like my dad's: swollen until they looked hard as newel posts, and a deep bluish red.

I wouldn't be exaggerating if I told you I wanted to cry: for this man, who had already lost a few toes so that his feet functioned in more of a club-like fashion; and for my dad, who died in 2002 after having his second below-knee leg amputation resulting from uncontrolled Type 2 diabetes. Obesity is one of the major factors in the onset of Type 2 diabetes as it causes insulin resistance. And obesity in the U.S. is a systemic social disease -- not a personal one alone. 

My next stop was to assist a very obese man with his toileting. Again like my dad, his weight-driven diabetes was creating infections and had made him unable to independently perform some of his key activities of daily living (ADL's in CNA jargon).

My nursing partner and I took care of him that day, as we said, "like a king." The duty nurses loved all these patients: they knew them well. The gentlemen, like my father, were in and out of the hospital regularly, living long term with the impacts of their life choices.

During my father's first hospital stay sometime in the 1990's, when they told him they were unable to heal the open wound on his foot that had been festering for months despite excellent care, he began to throw things at the nurses assigned to him. He was so angry that medicine was unable to fix a problem he knew would ultimately take his life.

But the only one who could have fixed it was him.

The Always Unfashionable Patriarchy

The author in first grade circa 1967.
As she grew older, she played football
but chose not to see herself as intimidating.

It's again unfashionable to talk about "patriarchy" -- if indeed it ever was, for a millisecond perhaps during the 1970's and 1980's, "in fashion."

But damn, as I become an older woman stepping out of the hierarchies of power, I experience daily its continued and oppressive dominance as a player in our White colonialist racist culture.

Patriarchy -- the hegemony of men over women -- is a cultural power structure and conjoined twin of capitalism because the hegemony of men over women has always, like capitalism, been about the power of property and power over the labor of those who create and cultivate it.

Who's got it, who's not.

What's annoying and frustrating to me these days are all the White men who conceive of themselves as "progressive" and talk-the-talk of diversity, equity, inclusion and change but whose actions still belie they are all about power and control. These defensive and offensive actions create a toxic environment of bullying, condescension, transactionality and ego-centeredness of the individual in which many of us know we no longer have to work, play, or live. 

Just one example: within the last year, when I was onboarding a White man to a new position in a company I founded, he made a point of telling me he was aware he was "intimidating" due to his size. He claimed to have been a football player. Obviously a small one -- maybe a running back? -- as he was barely taller than I and I in no way found his stature "intimidating." 

I laughed. I knew the goal of his passive aggressiveness: he wanted me to be intimidated. The same dude had rudely shut down another of the female founders during his orientation process.

THIS is what the "great resignation" is really about. The pandemic made a whole lot of workers and even volunteers, including in the nonprofit sector, aware we don't have to put up with this as "assumed normality" anymore. No being chided or lectured or "merely" condescended to by male staff or board members. No placating privileged and entitled donors of any gender. No being disrespected based on one's gender, the color of one's skin, or one's age. No being underpaid for same. No falsely attending to the transactional when we all know the relational is what matters. 

The pandemic, thankfully, forced many of us to break from the norms of White colonialist culture to belatedly realize that our families, friends, and relational personal lives are more important to which to attend than these priorities, values, and behaviors of a labor market constructed by White men to dominate, exploit, and justify their own inequitable gains. As one of the most important anti-racist documents in the arts stated it: we see you.

Imagine walking through the looking glass and into a different world. A world in which the values that have been ascribed to the feminine -- listening, questioning, collaborating, cooperating, respecting life, the planet, and the ancestors just to name a few -- govern our interactions: business, political, and social.

We can all, regardless of gender, walk through that mirror at any time. That's all feminism is: a choice. A choice of what world we want to live in, what values we want to promote, what behaviors we will tolerate. It's the courage and the privilege of saying "no" to terrible boyfriends, husbands, employers, boards and values. But we can't minimize the ramifications of saying no. They can be considerable: loss of income, loss of family, loss of prestige.

Let's wake up to unity. Too often we don't see that the values we ascribe to "all we have" overshadow the more important values we give up in order to have what we do.

#justsayno

#EndThePatriarchy

 

When Everything is Weaponized

Where shall we end, those of us wanting to live in peace in this weaponized world?

Let's not be fooled: weaponizing everything has another word when it is a strategy used by non-White people. 

That word is terrorism. And terrorism is the environment in which we are now living in the U.S. -- and not as a target from foreign entities.

Terrorism: ordinary individuals weaponizing their bodies, vehicles, or arms to achieve control and political aims.

The news from Wisconsin this week has not been good on this front.

Last night, a man drove his red SUV through barricades and into a holiday parade, killing, at last count, five people and injuring many more. Weaponizing his vehicle, as we've seen in Charlottesville and other incidents.

This was not a protest but significantly in many ways a Christmas parade: and even if it were a protest, the response should not be weaponized by either individuals or the government.

We allegedly have the right of peaceful protest in this nation. Of taking a knee whether on the football sidelines or the streets.

But wait: that brings us to the second piece of news from Wisconsin. The verdict in the Kyle Rittenhouse case.

If weaponizing our civic commons is legal -- i.e., everyone has the right to open carry deadly weapons in public -- then the only self defense is weaponized. As the jury found in Rittenhouse's case.

Gun rights activists are predominantly white and male and this is no accident given our nation's history. Pew survey after Pew survey have found that 60%+ of adults with guns in America today are white men, while this same demographic represents just one third of the U.S. population.

Guns are means of violent control. Ask any woman. Every year, more than 600 women are shot to death by "intimate partners" -- roughly one every 14 hours. Ask any indigenous person, against whose ancestors White colonists used guns and fire to commit "total warfare" or genocide to take the land: killing women and children in multiple massacres, placing bounties on scalps, destroying food supplies. Some but not most of these massacres were conducted by the military; the rest by the "militias" or Rangers now so sacred to the conservative right wing. And these "militias" were fiercely defended by the government in the Second Amendment as they were the principle means for the control of enslaved peoples. Disarming militias was seen as equivalent to subverting the slave system.

We don't need to complete a jigsaw puzzle picture from the above to get that the White Colonialist history of the U.S. is based in large part on white male violence centered on the gun. 

The Second Amendment protects "well regulated militias" -- not individual terrorists. And the more our legal system and government seek to protect the rights of terrorists, the further away from democracy we move.

And finally: around "gun rights" as around so many issues, I have to laugh that this nation, and especially the conservative right, considers themselves proponents of Christianity. The Christian faith with which I grew up was quite clear: "All who take the sword will perish by the sword." (Matthew 26:52)

In times like these, I almost wish we really WERE a nation that truly followed the teachings of Christ: feed the hungry. Clothe the naked. Visit the imprisoned. Put down your swords. Peace be with you. But that's a far cry from the deadly White Colonialist nationalism that is our historical legacy. Putting this behind us will take extraordinary acts of will, morals, and vision at every level of society. Where is our Martin Luther King, Jr.? our Dalai Lama? our Nelson Mandela?

#EndGunViolence

#AntiRacism

#AntiColonialism

Maple Syrup Pie

My maple syrup pie just out of the oven.

Last Friday, November 5 my birth mother, Jeanine Yvonne Deslandes Cook, would have turned 80 had she not passed away at the beginning of September.

Having "found her" only 15 years ago, Jeanine and I did not know each other well and the rich Quebecois heritage with which she grew up -- both of her French-Canadian parents had immigrated just across the border to northern Vermont, and Jeanine spoke only French until she was sent to school at age six -- is unfamiliar to me still.

This is especially true as for some reason, my adopted mother told me that the ONE THING she knew about my birth parents is that they were 100% Irish. She was obviously confusing French-Canadian with Irish as my birth father, it turns out, was an immigrant from Quebec as well. Nonetheless, as a middle schooler I fastidiously created an Irish identity for myself: reading and re-reading Leon Uris's novel "Trinity" and crafting a deep, rich, lusty Anglophobia that persists to this day. I truly do not understand the American fascination with all things British and royal, especially Masterpiece Theatre and movies. Really, rebels. Really.

Jeanine Yvonne Deslandes
Cook in 2016.

But one of the first things Jeanine gave to me was a photo album containing printed recipes from her and from her mother. Her death was quite unexpected, and I treasure this recipe book today as I have few family photos or stories.

On the first page of this recipe book there are TWO recipes for maple syrup pie.

Even with my faux-Irish, Anglophobic heritage I did grow up in New England, and maple syrup is one of my favorite things in all the world.

My Bohemian adopted-maternal grandmother, Mary Urban Endrich, used to treat me to tricolor, store-bought pound cake (harlequin! like the ice cream) soaked in maple syrup. The best part was at the end, when all the crumbs in the bottom of the bowl were saturated with syrup. Yum.

So when I stumbled upon these maple syrup pie recipes I was enchanted.

One of the cool things about both recipes is that it is so clear they were treats made by and for people with little in their larders. They are both made from very few ingredients, all of which would have been on their shelves nearly all the time: flour, butter, and maple syrup. You don't even need eggs, or cream -- although the latter is delicious on top. 

The difference between the two is primarily that one is double-crusted and baked, and the other is poured into a pre-baked pie shell and allowed to set. 

One has a shake of pepper in it. You bet I did that.

And of course I researched other recipes -- because truly, the recipes were so simple I wasn't sure how they held together! One of them sounded like a maple flavored roux in a crust, and I wasn't so sure about that...

I ultimately adapted Mom's recipe with this one from Florence Fabricant in the NYTimes in 1987 -- it has eggs, and I kept Mom or Grandma's shake of pepper, adding some salt flakes on the top just for good measure.

Fire Shut Up in Our Bones

Foreground: Char'es Baby, Billie, and adult Charles
in the new opera, "Fire Shut Up in My Bones."
Photo by Ken Howard

Yesterday afternoon, a warm and sunny fall Sunday, we treated ourselves to a Metropolitan Opera HD broadcast way down east here in Ellsworth, Maine.

We had multiple reasons for wanting to experience Terence Blanchard's milestone new work, "Fire Shut Up in My Bones," based on the book by the same name by Charles M. Blow. First opera by a Black composer at the Met -- and, as Blanchard himself said, not because there isn't a lot of truly great work by Black composers out there deserving of this stage. The book was edited, proudly, by a dear friend of ours.

And last but not least, as women and lesbians who have experienced poverty and abuse, we're all too familiar with the original saying of Jeremiah 20:9 from which Blow's tale takes its title: "But if I say, 'I will not remember Him or speak anymore in His name,' then in my heart it becomes like a burning fire shut up in my bones; And I am weary of holding it in, and I cannot endure it."

We know that the oppression we repress with our silences has been deadly for us. Silence = Death.

Blanchard and Blow's new work is opera on its grand, traditional scale with all it promises: will there be blood? Revenge? Murder? The libretto, by Kasi Lemmons, depicts Blow's choices and actions on setting his fire -- fire burning internally over his sexual abuse as a 7-year-old boy growing up in poverty in northwestern Louisiana -- openly upon the world. 

The abuse, homophobia, sexism, poverty and toxic masculinity with which the opera portrays Blow wrestling is a constant for women, and particularly BIPOC women. As I sat in the dark watching the character of Blow struggle with his angels of Destiny and Loneliness (embodied by soprano Angel Blue), I could not but wonder: what would my friend, activist and playwright dee Clark, think? and would, or could, her story ever be validated and made visible on a world stage as large as the Met?

As many of my friends, colleagues, and readers are aware by now, dee passed away last Sunday, on All Hallow's Eve. The chronic health issues with which she struggled, including a genetic pulmonary disorder that demanded she be on oxygen 24/7, had spiraled downhill too quickly in just one week. She was only 64 but like many of opera's mythical female protagonists had lived lifetimes. It is a loss for all of us, for survivors everywhere and for our communities -- and tragic in that she did not live to see her memory-play, THE LAST GIRL, fully produced as she so dearly wanted.

Everything dee did with her life after surviving years of sexploitation and trafficking, including and perhaps especially writing THE LAST GIRL and creating a healing advocacy program for survivors around it titled Making the Last Girl First, was to support and amplify the voices and needs of other BIPOC girls surviving similar situations.

Like Blow, dee learned that telling her own story was healing, and encouraged others to tell their stories as well. Unlike Blow, dee's circumstances didn't support her in attending Grambling State or any university, nor did she have the male privilege and visibility to become a regular columnist at The New York Times. Last Girls too often become Forgotten Women. BIPOC girls are last precisely because it is their voices and lives that are viewed as disposable in U.S. culture; lives that remain invisible beneath the narratives and repression of this nation's dominant culture, forged as it is by racism, sexism, and poverty.

We will continue to develop and to share dee's story and play in tribute to her and to advance the legacy of her work. 

Would she have enjoyed "Fire Shut Up in My Bones"? I found its framing of homosexuality and women troubling: these oppressions are not just presented as Charles's crosses to bear, but in scenes, such as the top of Act 2 with beautiful gay male spirit dancers, that connote homosexuality more generally as punishment -- as a lower-level choice than his privileged relationships with women.

But dee said to me over and over she was an opportunist: she had learned to take advantage of those small gaps and windows and resources when they appeared. And she loved music, and the way Blanchard skillfully wove together jazz, gospel, and classical into the operatic form is stunning, as are the performances. I am hopeful that the success and visibility of "Fire Shut Up in My Bones" provides an opening for the voices of Black survivors of sexual abuse to be heard, recognized and supported. 

I imagined that if dee were sitting next to me she would have known this and, enjoying the spectacle, wanted it for her own story. "How do we get THE LAST GIRL at the Met?" she'd lean over to whisper, just as she did when we discussed sharing her memoir in book, cinematic, or dramatic form (she wanted to do all three).

I want this level of acknowledgement and visibility for THE LAST GIRL and for all forgotten women, too. Charles Blow and Terence Blanchard, are you listening?!