March 2022 Publication Roundup

March 2022 is ending here in Los Angeles with both rain and sunshine, which feels like a hopeful sign. Another hopeful sign: our WWS members are, as always, consistently sending out their work and publishing in fantastic markets.

I’ve included an excerpt from published pieces (if available) or a blurb if the publication is a book, and a link (if available) to where the pieces can be purchased and/or read in their entirety.

Please join me in celebrating our members who published in March!

Continue reading “March 2022 Publication Roundup”

Toward Reckoning  

A review of Toni Ann Johnson’s novella, Homegoing 
by Hazel Kight Witham

I first heard Toni Ann Johnson bring voice to a character onstage at a reading in the MFA program we shared. I barely knew Toni Ann, but I was swept into the world of her fiction by the characters she illuminated with her humor, vivid dialogue, intriguing conflict, and acting chops.  

I didn’t know she had a significant history as an actress, both on stage and in film, and experience giving characters voice through her work as an award-winning screenwriter: she won the Humanitas Prize for her screenplay “Ruby Bridges,” another one for “Crown Heights,” a true story about two teens who connect in the wake of the Crown Heights unrest of 1991.  

Toni Ann Johnson’s novella, Homegoing, winner of Accent Publishing’s Novella contest in 2021, explores vital questions we all need to reckon with. The book opens in New York City, the winter of 2006. At the outset, Maddie, a singer, has just suffered her second miscarriage and her husband, who reminds her he “wasn’t ready” for a baby anyway, is bailing back to Los Angeles.  

She is twisted with grief and the shock of betrayal, “curled up like a fist on the floor.” A phone call with her mother, Velma, reveals that she is more interested in who from their mostly white neighborhood in the New York suburbs has ended up on the obituary pages. Her mother’s inability to listen or empathize with Maddie, or even allow space for her to share the news of her miscarriage, is breathtaking. 

 Hollowed by these twin losses: her baby, Nina, and her partner of ten years, Rolando, Maddie is further leveled by the inability to voice her grief. Her mother doesn’t know how to listen, and neither does her father. She spends a week invisible, bedridden, underwater. She can’t go to her job as a singer in a piano bar, she is cut off from her voice. A visit from her mother gets her up and moving but she is still heavy with sorrow that no one seems to want to let her express.  

On the TV all the channels begin covering Seinfeld star Michael Richards’s racist meltdown on the stage of the Laugh Factory in LA, the place Maddie’s husband is headed without her. Richards’s vitriolic performance of this country’s deep-seated racism, compounded by her mother’s mourning of a white neighbor, brings Maddie’s childhood rushing back. She grew up the only Black child in a white, conservative town in the wealthy New York suburbs, where kids who are her friends in kindergarten “realize she’s Black” by third grade. They perform the racist behaviors they inherit from their elders, and no one seems to think there’s anything wrong with that. 

The performance of overt racism becomes a through line. While the comedian is publicly called out, Maddie reckons with the trouble of returning home to that mostly white, conservative town as the holidays descend. A neighbor’s death brings her back to her hometown on New Year’s Eve to both mourn one more loss and contend with the harms of the past. The kids who filled her childhood are all grown up now, and Maddie, raw with grief and the loneliness it brings, asks some of them to account for their childhood transgressions and their cowardly silence. 

The responses range, and reveal the complexity of reckoning: her own mother dismisses Maddie’s memories, the bully acknowledges and apologies, her friend Tobias, “breaker of her young heart,” just wants to move on. 

But the story is not, of course, only about grief and racial reckoning. Johnson’s humor is a through line too. It comes in memorable scenes, like when Velma’s spiteful Dachshund seems the embodiment of microaggressions—a snapping, snarling, unapologetic creature that Velma defends unconditionally. It comes in the dialogue that renders each character vivid and compelling. 

Humor and reckoning collide too when Velma once again offers her daughter up to this community with all its blind spots, racism, and privilege. The novella rises to a crescendo in the scene where Maddie’s mother Velma has volunteered Maddie to sing “Amazing Grace” at the funeral of the deceased. Maddie learns she will be performing just moments before when she sees her name on the program, and has no time to prepare for this sudden call. She is furious with her mother, but takes the stage anyway, standing before the mostly white community, the handful of people of color, performing a beloved anthem in this display of public grief. 

Johnson reminds us of the complexity of this song, an ode to awakening, to being lost and then finding redemption, a song written by a slave trader who made his fortune trafficking in African lives. As Maddie sings before the crowd she asks herself, “What am I doing standing in this white church in this white town that crushed my spirit, singing the words of a white supremacist who wrote it for his own forgiveness? Why should I forgive?” 

Maddie’s grief—for her lost child, her broken marriage, her challenging parents, and the betrayals of this childhood home, make for a tricky performance. “Singing magnified every feeling,” and when she falters, her childhood friend, daughter of the deceased steps up, calls for the community to step up, and they begin to sing together, offering this complicated, beautiful song back to Maddie. The moment is riveting, but also another kind of performance: what is it to sing of being lost then found, blind, then seeing, when so much has still been unaccounted for? What grace is this community asking without having done the work to earn it? 

It is a moving moment, but Johnson quickly reminds us of how far we still must go. When that childhood friend Tobias is bitten by her mother’s vicious Dachshund, he offers a trade: the harm and disregard he perpetrated in the past for present forgiveness of canine transgression, as if the two could be comparable: “Maddie, how ’bout, I let this go, and you let your stuff go?” 

She responds: “Let it go where? Where do I send it?” 

Shortly after, a neighbor with Alzheimer’s unleashes a racist diatribe against Maddie, lunging at her as he hollers the n-word and rails that she doesn’t belong in the house. It is a scene that brings the Laugh Factory moment directly to Maddie, highlighting all the vicious ignorance of our shared past. 

When the beleaguered wife of the man apologizes for his behavior, Maddie thanks her, but doesn’t let her off the hook: “I’m surprised though…Because you called me the same thing when I was a kid. You hated ‘us people’.” Now the woman is friendly with Maddie’s mother, and Maddie wants to know: “What’s changed?” 

By the end, Johnson’s character understands the impact of this place of her childhood better. “The voice of this place had been loud and she’d carried it with her all her life. Now she saw that the voice was nothing but a beat-down, demented, old fossil clinging to the need to be better because its own image was so fragile.” 

“What’s changed?” is a question that Homegoing asks of all of us. What does healing look like? How can we reckon with the past if we do not listen to those hurt by it, and make authentic amends? How do we hold each other accountable for harm? How do we reconcile with each other in this country where so much brutality was baked into the beginning, and the legacy of it lives on in our language, in our actions and inactions? How do we make amends, instead of dismissing old wounds, or hiding behind excuses? 

What truth and reconciliation might be possible in this country if we could do that? If we could hold space for the grief and trauma our history has brought, and that our present perpetuates, but work toward better for one another as we move together into something new?  

Toni Ann Johnson’s Homegoing invites us through the story of Maddie and the vibrant scenes she inhabits, to consider how we listen, how we honor, and how we make amends—authentically, not performatively—so that we may move toward collective grace together.

  

author headshot of Hazel Kight Witham on a sun-soaked island off the coast of Maine.

Hazel Kight Witham is a mother, teacher, slam poetry coach, and writer who was made in Los Angeles and still calls it home. She has published work in The Sun, Bellevue Literary Review, Integrated Schools, Mutha Magazine, Cultural Weekly, Rising Phoenix Review and other journals. She is a proud public school teacher in LAUSD and was a 2020 finalist for California Teacher of the Year. She is a member of Women Who Submit, and gathering with them throughout the high seas of pandemic kept her afloat as a writer. Find her work here: www.hazelkightwitham.com.

Breathe and Push: The Art of Rumination

by Désirée Zamorano

How do you deal with your emotional wounds? For me, as a writer, telling what I hope are emotionally engaging stories, doesn’t that mean the wounds need to be examined from all angles? Prodded, to see where the most tender parts are, and returned to, over and over again, even if the wound has healed?

Towards the end of 2019 a close friend of mine for over decades stopped talking to me. She and I had gone through the child-raising years, health crises, family struggles. I had ignored the distancing hints, even as I hid parts of myself from her.  I had for the last few times set up our coffee dates. The last time we met, I gave her a copy of my daughter’s zine.

A month later I didn’t hear from her. I emailed, got thanks for the zine, then silence. My birthday passed, unremarked. Christmas passed, with no traditional photograph of four smiling faces in front of an elegant backdrop.

The isolation of the pandemic gave me plenty of vacant, musty hours to immerse myself in this. I brooded on the fact that when she mentioned her (mostly white, like her) book group had just read, The Sun of Distant Lands I had suggested her club might also consider reading White Fragility. Had that been it?

I examined that friendship from every angle there was, from wounded self-justification, to prostrate abject apologies over unknown crimes. (All right, full disclosure, I never considered I had done any wrong. But I can apologize on the drop of a dime.)

Rumination, holding a scalding puzzle piece to my past, or my present, or my blighted future; taking its measurements, its temperature, its weight, examining its psychic heft and dimensions, mentally recoiling, mentally recording. This is my personality, and I can excuse this behavior because it’s good for my art, I whisper to myself. All this rumination, neurotic or artistic, is who I am, I tell myself.

A few weeks into California’s lock down, where the traffic nearly vanished and the streets were instead filled with the chirruping of birds, I, part from the need of distraction, part from my restless self-improvement compulsion, enrolled in the popular, free Coursera class on the Science of Well Being.

Mid-course, I ordered one of the recommended readings: The How of Happiness by Sonja Lyubomirsky. There I discovered terrible truths about myself: I have a penchant for social comparisons. Where do I rank? How far up, how far down? Research shows we tend to compare ourselves up, to what’s missing. And even if we compare ourselves downward, against those who are lower down whichever scale of our choosing, it brings us no consolation whatsoever, only guilt or a sense of inadequacy or a sense of undeserving whatever gifts or greatness or joy we have. What a happiness buzz kill, amirite?

The answer, according to these well-being experts? Stop. Doing. It.

The horrible thing is, these insidious social comparisons for some of us (me, me, me) are as second nature as breathing in and out. 

I don’t know where you are on the social comparison scale; perhaps, like my husband, it never enters your head to think if that person walking by is better fit than yourself, more fashionably kitted out, or whether an acquaintance or friend has a smaller behind and a larger bank account; the measures are limitless, almost like our capacity for self-loathing and self-recrimination. 

Sonja Lyubomirsky links social comparison and rumination together, although her term is “over thinking,” How presumptuous! Dammit, Sonja, I’m a writer and over thinking is something we pride ourselves. If there were a test on it I’d score 110%. Again, you’re telling me to simply cut it out?

Actually, she offers five specific strategies for subverting your own worst impulses in order to open the possibility of leading a fuller life, opening your brain waves like passageways to more positive possibilities. One in particular involves writing it all down. Of course, I am simplifying things here, because if you want her strategies completely spelled out, and if you want to find areas for your own flourishing, do Sonja a favor and buy the damn book.

For my particular neurosis, I was prescribed to spend a minimum of fifteen minutes writing about this very thing you are ruminating over, for four consecutive days. Write about the incident that you’re reliving, write about anything connected to it, write about other things you’re over thinking, over and over again. So that’s what I did, kicking and screaming and cursing, and then I forgot on the third day so I started the clock again.

This was not fun. This was not pleasant. I am here to say, it was actually kind of painful doing an autopsy of the events that seemed to seared into the obsessive/compulsive part of my brain. I had to force myself to continue writing for fifteen minutes. When that ended, I did not feel much better. When the full four days ended, I did not feel much better.

(Oh, Lord, what is the objective criterion one can use on oneself for how we feel?)

As the weeks passed, I admit I was not paying much attention, but my mind no longer seized on the missing friend. When my mind fluttered across her, it blithely, cheerily, kept going. No more pauses. No more spiraling loops and recriminations and ruminations and accusations. Nope. On to something else.

That had been happening, but it had taken me a moment to actually notice. Huh, well, indeed, I no longer had that anxious mentally racing laps circling her. Huh, well, my oh my, was it all really as simple as that?

Recently, more than a year after the realization that my friendship had ended, I received a card from my former friend.  I groaned. Had she sent me an early, cheery, smiling Christmas family photo? I dreaded what I would find inside. 

I slit the envelope open and pulled out a birthday card. I examined the text for clues as to why things had ended. There was nothing, only neutral birthday wishes, signed off with “take care.”

Did I scrutinize every interaction again? Did I, like previously, unpack the years before she stopped talking to me, for further possible hints and clues layered between child-rearing activities or political disagreements?

No, I did not. I felt released from the tug of this dangling thread of a severed relationship, and tossed the card and envelope into the trash bin. That writing away your ruminations strategy has the depth charge of a long-lasting, slow-release wonder drug. I felt freed and light-hearted

The next time I catch my mind going round and round the toilet bowl of obsessive rumination, or over thinking, I’ll be sure to sit down for four days straight, and write it out and flush it away like the mental waste it is.

Désirée Zamorano is the author of the novel The Amado Women (Cinco Puntos Press). Her work often explores issues of invisibility, inequity, or injustice. Her writing has appeared in CatapultCultural Weekly, and The Kenyon Review, and upcoming in the  Akashic anthology series South Central Noir. A frequent contributor to the Los Angeles Review of Books, she was recently a scholar at the Sewanee Writers’ Conference.