Three times he asked me to finish him off, three times I refused. This was before, before I allowed myself to think anything I want. If I had been then what I’ve become today, I would have killed him the first time he asked, his head turned toward me, his left hand in my right.

God’s truth, if I’d already become then what I am now, I would have slaughtered him like a sacrificial sheep, out of friendship. But I thought of my old father, of my mother, of the inner voice that commands us all, and I couldn’t cut the barbed wire of his suffering. I was not humane with Mademba, my more-than-brother, my childhood friend. I let duty make my choice. I offered him only mistaken thoughts, thoughts commanded by duty, thoughts condoned by a respect for human law, and I was not human.

twenty-one

“The truth is, being contained in the back seat of the car, pinned down by my children’s bodies, their hands searching under my clothes for skin to caress, was bliss. It was also true – I thought as the veld whizzed by and we kept a lookout for kudu and baboons – those two weeks with nobody to attend to, nobody to interrupt me, nobody asking for food or comfort, had been bliss too. Being away and being alone had restored my sense of self. I had been able to think and to write.

He would smile, perhaps relieved by my unaffectedness. Sometimes Yasmeen cried. I thought two crying daughters would be too much for him, so I trained myself to wait until I was alone, in my closet or in the bath. My father would wipe Yasmeen’s face, hug us both, ask us if we wanted chocolate milk.

“Good girl,” he’d whisper in my ear. I was good because I was restrained. My father, I believe, carried a lot of hurt from his relationship with my mother. He did not like to see the related pain radiating from his daughters’ eyes.

Those letters taught me about longing. Reading them in front of my father taught me to hide it, often even from myself. I know now what a dangerous kind of denial that is. It leaves you ravenous. It makes your seismometer vibrate when the phone call you are shocked to discover you have been waiting for your whole life offers you precisely what you are terrified to want: Hello, Nadia. This is your mama.

You once asked me what it means to be a writer. So here goes.

Seven of my friends are dead. Four from overdoses. Five, if you count Xavier who flipped his Nissan doing ninety on a bad batch of fentanyl.

I don’t celebrate my birthday anymore.

Take the long way home with me. Take the left on Walnut, where you’ll see the Boston Market where I worked for a year when I was seventeen (after the tobacco farm). Where the Evangelical boss—the one with nose pores so large, biscuit crumbs from his lunch would get lodged in them—never gave us any breaks. Hungry on a seven-hour shift, I’d lock myself in the broom closet and stuff my mouth with cornbread I snuck in my black, standard issue apron.

This was the story I wanted to tell without sentiment or cynicism; the one I thought justified speaking hard truths. The flash of insight I’d had—that I could not leave my mother because I’d become my mother—was my wisdom: a tale of psychological embroilment I wanted badly to trace out.

To tell that tale, I soon discovered, I had to find the right tone of voice; the one I habitually lived with wouldn’t do at all: it whined, it grated, it accused; above all, it accused. Then there was the matter of syntax: my own ordinary, everyday sentence—fragmented, interjecting, overriding—also wouldn’t do; it had to be altered, modified, brought under control. And then I could see, this as soon as I began writing, that I needed to pull back—way back—from these people and these events to find the place where the story could draw a deep breath and take its own measure.