Authors: Siri Hustvedt
As an adult, I can tell myself that treating schoolchildren like prison inmates is bad pedagogy, that the half-lie may have saved me from a scolding or worse, but the story’s interest lies in my struggle over semantics and the moral resonance of interpreting the meaning of a word. Had Mrs. G. not used the word
emergency,
I never would have remembered the incident. Some words, sentences, and phrases sit forever in the mind like brain tattoos. On the playground, children used to sing the chorus “Sticks and stones may break my bones, but words can never hurt me.” Few things then or now have ever struck me as more false than that ludicrous chant. Words can devastate, and they can heal.
I don’t have a picture in my mind of our Sunday school teacher reading the story of Abraham and Isaac to the class. I can’t remember what she looked like and I don’t recall her name, so I’ll call her Mrs. Y. I retain a vague memory of light coming through a window and floating specks of dust in the air, but that might be from another class and another year at St. John’s Lutheran Church. I do know we heard the story and that it alarmed me even before the teacher uttered these words:
“You have to love God more than anyone or anything.”
“More than your parents?” I asked her.
“Yes.”
That “yes” tortured me for days. What kind of a God asked a man to kill his own son? What if God asked me to kill
my
parents? I could never do it. I knew I loved them far more than I loved God. Although I can’t remember the class, I do have a vivid memory of lying on my bed at night thinking about
the sentence.
I can still hear my sister’s steady breathing across the room. I wished so hard that she would wake up. The fear was in my lungs and made it difficult to breathe. I hated the thought that God was there, an all-seeing, all-knowing, jealous God was there, in the room with me and Liv and this God, the one I was supposed to love more than anyone or anything, was the same God who asked Abraham to murder his son. God was capable of anything.
After a week of lying awake with
the sentence,
I finally confessed to my mother: “Mrs. Y. said we have to love God more than our parents.” My mother looked at me and spoke a single word:
“Nonsense.”
She was sitting at the kitchen table when she said it, and I was standing very close to her. I can still feel the relief in my chest and a lightness coursing through my body. I turned around, and suddenly weightless, I felt as if I were floating down the stairs to my room.
When my daughter was three years old, she looked up at me and said, “Mom, when I grow up, will I still be Sophie?” I said yes because it’s true that a name follows a body over time, but the three-year-old who asked the question bears little resemblance to the grown-up young woman I know today. We need to think of the self as a continuum, a steady story over time. The mind is always searching for similarities, associations, repetitions, because they create meaning. When recognizable repetitions are disrupted, people say, “He wasn’t himself,” or, “I don’t know what came over me. I’m not myself today.” A few years ago, I listened to a woman who was both a doctor and a manic-depressive speak in public about a memoir she had written. She described the end of her manic episodes by saying, “I returned to myself.” But strictly speaking, that logic is false. Whether people are besieged by a chemical imbalance or thrown into a panic or depression by a wrenching loss, their inconsistencies also belong to the self. It’s the feeling or impression of foreignness that makes us want to cast off the interruptions, explosions, lapses, and inconsistencies—all the material in ourselves that we refuse to integrate into a narrative.
I didn’t know what to do with what I saw in my mind those nights I lay thinking over the sentence—Abraham’s hand clutching the knife and raising it in the air as he prepares to murder his son, to cut open his body. For me, whatever the theological explanation, it was an image of vengeance, rage, and impending mutilation. Many years after that fateful Sunday school class, I sought help from a clinical psychologist at Columbia University, where I was a graduate student. I felt very calm when I walked into Dr. R.’s office, ready to explicate my various troubles and anxieties. I sat down in a chair opposite him, looked him in the eyes, and all at once, without the slightest inner forewarning, burst into tears. He didn’t say a word, but I watched his hand move toward a box of Kleenex, conveniently placed within arm’s reach, which he then handed over to me. It was a practiced, knowing gesture. Even at the time, I found a touch of comedy in the scene and wondered how many other distraught graduate students had shed unexpected tears in this doctor’s office. It’s a sorry little fact that we are often as mysterious to ourselves as we are to others.
I visited Dr. R. for several weeks, but I no longer recall how many. I talked a lot about life and love and my nerves, but there is one comment he made that stands out with the sublime distinctness that only recognition can bring. He said that he thought I was terribly afraid of violence in myself. He then pointed out that he was absolutely convinced that I was incapable of violence either against myself or against anyone else. As soon as the statement was out of his mouth, I felt huge relief. It was as if someone had come along and unloosened a long fat rope that had bound me from neck to toe.
Only in the act of writing this have I understood that Dr. R.’s words echoed the single word my mother had spoken years earlier: “Nonsense.”
A field trip to the state hospital in Faribault: The room is large and rectangular, with tall windows that line one of its blank walls. I walk down the aisle between rows of beds. The windows are on my left. A gray light streams through them from outside. I walk slowly and say nothing. Someone, probably the guide, a man or a woman, I don’t remember, says that this room is for the “profoundly retarded.” In one bed there is a boy, a big child, perhaps ten or eleven, dressed only in diapers wrapped around his slender hips. His hair is dark and silky, and he lies on his back with one cheek turned onto the pillow. The flesh of his thin but flaccid body looks like an infant’s
—
beautiful, white and un-marred. His eyes have no focus. He drools. And then there’s a
view. I see the parking lot from a distance
—
three orange school buses in weak sunlight and, behind them, tall and mostly bare trees. I can’t say with any certainty whether the view is from inside or outside the asylum, but because I seem to be looking down at the buses, I suspect that I saw it from inside, perhaps from a second-story window. Why that child is fixed inside me is a question I can’t fully answer, but I think the sight of him mirrors some speechless fear and sorrow in myself. In him I saw an image of abandonment and isolation greater than anything 1 have ever seen before or since. And why has the image of the buses stayed with me? Perhaps they were the promise of going home.
One may wonder why the school authorities imagined that trooping ten- and eleven-year-olds through the grim wards of a state hospital would be a beneficial outing. We weren’t studying anything that even distantly touched on the subjects of retardation, madness, or state asylums. Our fifth-grade teacher, Mr. L., had certainly not initiated the excursion. (It was probably an annual duty organized by invisible authorities. The following year, we toured a museum dedicated entirely to farm accidents, in which we were treated to life-size models of arms severed by threshing machines and tegs mashed in combines.) Mr. L. was young and soft-spoken and respectful. Although I wasn’t at all aware of it at the time, I suspect his kindness gave me energy. His classroom was more like my own home, and in that environment I thrived. I wrote, directed, and (selfishly) starred in a play mounted in the school theater; gathered signatures from every pupil in the fifth and sixth grades to petition the principal for the right to talk during lunch {an action that failed miserably); threw myself into writing and illustrating a novel for English called
Carrie at Baxter Manor;
and discovered a passion for the abolitionists. I found new heroes in Harriet Tubman and Booker T. Washington and struggled through the Victorian language of
Uncle Tom’s Cabin,
all the while riding high on a wave of what children call “popularity.”
The following year, my old wound reopened. It began in February and lasted until the school year ended. For reasons that were obscure to me, I precipitously fell from favor with the girls who had once liked me. I turned into a despised outcast—the butt of cruel jokes and torments. I was jostled, pinched, and pushed. Every remark I made was met with snickering and whispers from the girls who by some stroke of magic had become omnipotent in that tiny world of sixth-grade pubescent girlhood. I lived in a state of bewildered anguish for months. Like most stories of female bullying, mine began with a single girl. I am sure she had detected my bruised inner sanctum and took aim. Had I been tougher, I might have resisted her machinations. She came from a family in which the sibling rivalry was ferocious. Her desire to hurt me was no doubt homegrown, but I had few tools at the time for analysis of her psyche, and even if I had, they probably wouldn’t have done me much good. Open hostility—making sure I was kept out of games and conversations—mingled with surreptitious cruelty, false acts of kindness to trick me into believing that I had been accepted once again. These deceits were worse. The duplicity sickened me. I drooped and dragged my sorry self around like a kicked dog. My only defense would have been genuine indifference. I had seen it in others and would have loved it for myself, but this quality evaded me. I wanted to be liked and admired and couldn’t fathom what had decided my abject fate. One day, however, I returned to my desk and found that a drawing of mine had been marked up and torn. My enemies had made a strategic error. A small breeze of comprehension blew through me. I was the best artist in my class, and I knew it. My pictures were universally praised, and I was proud of my gift. Desecrating a drawing was a sign of envy.
My visual memories of those months are like gray fragments. I can see the hallway in the school building and the door to the toilet where I would sneak into a stall and shed a few tears as quietly as possible. I remember contemplating my pleated skirt and the gray ribbed wool stockings I often wore in winter as I sat there alone and, despite my unhappi-ness, felt relieved to be away from the others.
At my mothers urging, my father took up my case with the teacher, Mr. V. That encounter took on mythical dimensions in our family because Mr. V. was surprised by what my father had to say. Oblivious to all the intrigue that had been lurking in his own classroom, he spoke the words my parents would both later repeat to me: “But why Siri? She has so much going for her.”
It must have been in November or December of the following academic year that I had an epiphany. I now think that moment was simply a self-conscious recognition of my own dramatically changed circumstances. My family had left Minnesota for Bergen, Norway. My father was spending his sabbatical doing research at the university in the city where my mother’s brother and sister and their families lived. I loved the Rudolph Steiner School I attended. I loved my teachers. I loved my best friend, Kristina. The moment came one night after a party given by one of the boys in my class. He came from a wealthy family that lived in a large, low, elegant house outside Bergen. I was wearing the pink dress my mother had sewn for me, a minidress with a lace ruffle down the front, and the pink suede shoes with a small heel that had been purchased at the largest department store in Bergen. At the party I had danced with every boy in my class. Each one in turn had wrapped his arms around me and swayed slowly to the maudlin class favorite, “Silence Is Golden.” As I stepped out the door into the cold night, I saw that it was snowing. Outdoor lights illuminated the circular drive in front of the house as well as the snowflakes, which were so large I felt I could see the articulated form of each one as they fell slowly to the ground and turned it white. The scene wasn’t only beautiful; it was touched by magic. The dull, brown, and barren world of only hours before had been transfigured into a new and radiant albescence. I didn’t understand it at the time, but no picture could have matched my inner life more perfectly. I told myself to remember the snow and to remember my pure, strong happiness at simply being alive to see it. That thought has never left me.
The lesson of these brutal shifts of fortune ran deep. For some people, cruelty came easily, shamelessly. For me, every unkind word I uttered was followed by a merciless guilt and remorse I could hardly bear. I continue to be preoccupied with these differences among people. The mysteries of personality aren’t easily parsed, but it is certain that human beings run the gamut from the highly empathetic to the absolutely cold. The secret lies in our bodies and in the stories of our lives with other people, in the dark nuances of repetitions and interruptions.
It’s the summer of 1968, and most of the day and into the night I read. I read one book after another. The hooks excite and agitate me. I can’t stop reading during the day, and for the first time in
my life I suffer from ongoing insomnia. One night at two o’clock in the morning, I am still awake. I have been reading
David Cop-perfield,
but I’ve put it down from exhaustion. I get out of bed and walk to the window. I lift aside the shade and look into the night that isn ‘t night but isn ‘t daylight either. A pale yellow-green haze illuminates the rows of houses in front of me. It’s Reykjavik in June. There are no people outside and no noises. Everyone is asleep. Standing there, I am struck by a strong but pleasant sadness. All my anxiety leaves me as I look outside. I stand and look for a while longer and then return to bed.
Again and again, I have seen those houses in that queer light through the window. The memory is stubborn and potent. Why is this memory so insistent when others have vanished? Unlike the evening when I watched the snowfall, I didn’t tell myself to remember that view, but it returns to me all the time. The memory carries a feeling of melancholy that is linked to both reading and sleeplessness. The experience of David’s childhood had been an enormous one for me. By the time I looked out that window, I had lived through the sadism of Mr. Murdstone, the death of Dearest, the tenderness of button-popping Peggotty, the flinty goodness of Aunt Betsey, and the wonders of Mr. Dick, a character who remains one of my favorites in all of literature. It was that summer I began to nurse the fantasy of becoming a writer. The books made me feel deep and alive, as if these stories were closer to me than anything else. No one could have been less orphaned than I was with my two loving and attentive parents, and yet the sufferings of David Copperfield and Jane Eyre touched on my old sore. I surrendered the whole force of my empathy to the hero and heroine of those novels. Nevertheless, when I read about their sufferings and humiliations, my grief for them was a kind of safe translation—a reinvention of my own emotional life. Through them, I was able to make a turn in myself, and somehow that view from the window seen alone and at night has become an image for what I now recognize as the end of my childhood.