The following rather lengthy piece is a personal story that mentions how I got the African painting that headlines my blog. It's a tough story; both sad and gruesome -- and it's not about the artwork itself. If you don't want to go there, the raw specifics are that the painting, which is colored sand on wood, was purchased in the early '90's in Dakar, Senegal from an itinerant vendor outside a hotel frequented by expatriates. There is no artist's name, or any other mark, anywhere on the painting.
Fear Twice-Told
I must not fear.
Fear is the mind killer.
Fear is the little death that brings total obliteration.
I will face my fear.
I will permit it to pass over me and through me.
And when it has gone past I will turn my inner eye to see its path.
Where the fear has gone there will be nothing.
Only I will remain.
Dune, Frank Herbert (New York: Berkley Pub., 1987, c1965)
Fear I
August, 1985. I am gasping as I climb in the populous foothills of the Great Rift's
I am terrified. Figuratively - but firmly - attached to my back is my “bete noire” (which in my mind's eye is the twin of the demon released by Ged in le Guinn's Earthsea Trilogy: a night-black, round-backed creature with long claws) of panic and fear. I don't yet know that "panic disorder" is a recognizable diagnosis. That I'm by no means unique in the experience. Had I know, and faced the beast from the start, and fought it with counseling, I might have rid myself of it more easily. But I didn't want to give the Peace Corps any fodder to dismiss me. So today I trek the mountainside on my first true assignment, teaching supplies in my backpack and stark terror in my heart. I do not know if my condition is evident to the mammas hoeing maize and manioc along the wayside. Their broad grins and habitual “Mwabukire!” seem no different. Perhaps my mental state is indistinguishable from my physical weakness: red face and heavy breathing. My assistant, climbing easily behind me under a heavier load, says little to me but chats in Kinande to the mammas, obviously deriving significant status from his accompaniment of the local mzungu.
I know that I can conquer this fear, and I do. Hours later, laughing with my elderly “students” as we look at the “new, improved” beehive I've come to show them, the fear is gone, and only I remain.
Fear II
February, 1993. I stand on a balcony overlooking the Pacific. I can see, dimly floating on the azure waves, the island of Gorée, from which, a century ago, African natives, torn from their homes in the interior, started their voyage to the slave markets of Europe. This hotel where I'm staying caters to well-to-do clientele, including expatriate “experts,” of which I am now, shamefully, one; and also to local men and women made wealthy by more overt extortion. The rooms are cleverly constructed to jut right over the waves, letting the shore breeze erase all scent of sewage-laden tidal refuse. I am leaning on the railing, naked except for a thin wrap around my chest, just recovered from a bout with amoebic dysentery. Hidden by the sidewalls from any eyes but the gulls', listening to the slurp-slurp of the tide, smelling the salt wind and seeing the bright white daylight, I feel, momentarily, purged, free, and clean.
But I am not clean. I know, although the medical proof is yet to be sought or provided, that I am pregnant, and that the fetus, which could have been my long-sought first-born, is dying inside me. The fault is entirely mine. After five years of trying without success, I took this extended business trip to the African West Coast, swallowing known foeticidal anti-malarials to ward off the possibility of the quick-killing P. falciparum, endemic to this area. The deadly conjunction of the unexpected conception and the pressures of my professional life have left me bereft and deeply afraid: afraid of what I have done, what remains to occur, and how I will live with it.
I dress and leave the room, pausing at the hotel entryway, where local artisans ply their wares. I buy a Picasso-esque sand painting in soft tans and browns; an African mother with a burden on her head and an infant on her back. Years later, it will hang above my staircase, framed by the 150-year-old logs from the original log cabin. Every time I pass beneath it with a daughter in my arms, I will say: “Mommy, baby, mommy, baby.” The girls will love the mantra and the image. They will not know it does not pertain to them.
Two weeks later, back in the States, the thoughtlessly self-induced miscarriage bleeds me and wracks me mentally and physically. A fumbling young doctor tells me, however, that although the uterine wall is gone and there is no further hope of life, no fetal tissue has been passed.
A day before the prescribed exploratory ultrasound, I am in the shower when I feel a soft mass pass from me, sliding down my leg and resting on the screen above the drain. I stand in the sluicing water, myopically looking at the definitive evidence of death. It takes all the strength I have to bend down to collect it.
No discernibly human features remain; just a fleshy mass; a casual bit of offal from the butchery. Nothing to speak of the tenacity of this once-living, once-potential-human, clinging to its host until all possible life-support was gone. Nothing left.
The fear has only begun. I am unsure what remains.
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