More on: Essays

The waters of the Sonoran Desert are scarce and wily. In O’odham lands, shy rivers will retreat underground, seeping into the sand, as if to rest from the seen world for a while.

Today, in a comprehensive fulfilment of biblical promise, your iPhone, which counts your steps and is acquainted with your ways both public and private, will offer to route your path home and watch over your lying down.

It’s as though the movie represents an alternate life for any of us. Take away a job. Take away a spouse. Take away an able body. Take away good mental health. How many of us could maintain our current lifestyles for long before we’d feel the crunch, the walls closing in?

In my family, as in others, it was money that finally broke us apart. The brother who was out—my uncle—was now in; the brother who was in—my father—was now out. An old story, set now in southeast Georgia: Lear in the Low Country, the prodigal son come home to the provinces.

Every time the women came to bathe, inevitably, someone’s bracelet or earring fell into the drain, and the head female bath attendant led a blindfolded Haji Gershin into the baths, where he stood amidst the naked women, tapping the copper pipes, his head cocked to the side.

It is a horrible, wrenching, annihilating sentence. Erpenbeck, in all her unsentimental moral rigor, refuses to look away from the moment of absolute horror.

I was so undone—not by Lola’s death but by the prospect of flying halfway around the world again only to turn around to fly halfway around the world again again—that I had to Skype my therapist in New Jersey for guidance. Meantime, Sam was jabbering away in idiomatically perfect Hebrew on his cell phone and telling me to chill out. “Mom, it’s not like we’re being put on the next transport to Poland.”

Memories—so many people say, “You’ll always have your memories.” But even though my son died almost three years ago, memories of him are almost entirely painful. They are not Wordsworthian “recollections in tranquility,” but sharp stabbing pains that arise out of nowhere.

For if there were a heavenly recorder, then Frank could be assured that someone would make sense of his life, that it would not be lost to memory but would always be an object of significance.

One way to describe what O’Keeffe did with landscapes is to say that she was trying to figure out a way to look out at the horizon and to see things out there as deeply as she was able to see things like flowers and plants up close.