In an excerpt from her memoir Negative Space, Lilly Dancyger writes about moving back to New York City as a teenager and grappling with her father's death.
At your wedding, you set out on a two-person expedition toward a place you try to envision but have never seen. Later, you may wake one morning alone under an alien sky and wonder how you ever came to be here.
The city didn’t put stop signs at our suburban corner until I was thirteen. Despite the reckless driving, no one was ever killed. Pet dogs and stray cats weren’t so lucky. Neither were the squirrels.
I thought: I would never write a fictional scene like this, because it was too obvious—the art butting up against reality, as though my story held some kind of portentous power.
My daughter is a more realistic judge of character than I, less likely to give someone the benefit of the doubt. Is this man, for instance, trying to save our lives or make a buck?
I grew up in a community where the phenomenon of speaking in tongues (called glossolalia by linguists) is more than just some loaves-and-fishes Sunday School curiosity.
The Iran-Iraq war that made me who I am ended thirty years ago. Keeping quiet will not make it go away. I don’t believe in talking through it, either. Between silence and speech lies the act of writing. This is where I seek my remedy.
There was the time I found an entire horse or cow skeleton laid neatly on top of the shed roof. When I asked my brothers what it was doing there, they looked at me patiently and said, We found it in the desert.
You never get used to seeing dead refugee children, or women who died giving birth on a wrecked boat, their tiny babies still attached to them by the umbilical cord.
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