Wicked Americana by Sacha Bissonnette
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I told my mom I loved her at a gas station in Minnesota but I’m not sure she heard. The cashier must’ve been stocking drinks or something so it felt like it was just me and her in there.…
I told my mom I loved her at a gas station in Minnesota but I’m not sure she heard. The cashier must’ve been stocking drinks or something so it felt like it was just me and her in there.…
My first job was at a farmstand with a twenty-five-foot papier-mâché witch named Winnie towering over the parking lot. Eyes like a lizard’s with vaginal slit pupils and a boulder of a nose. She enchanted people. Drivers would pull…
Indiana, in our cold one-car garage, motes of dust falling sideways, the sunlight diffused by the snow covering the ground outside, and we watched Apá working the punching bag, his untaped fists flashing with each swing. Behind my brother…
Aboveground I was twelve years old when I last saw Blanca Esperanto. She lived at the end of the road. Their house was a brown, dry affair of rustling wood and dark leaves. She loved sitting on the ledge…
MAY Grandma Robbie led Anthem heart-center of the peaches, a quiet intersection between four groves, perfect as the holy cross. The trees weren’t much taller than Anthem. Tall as the big sister she never had. Growing up an only…
People will say Ry must have planned the robbery for weeks. They’ll want purpose and emotion and strategy. They’ll say she had a gun tucked into a pocket. They’ll say she must have been desperate: four kids at home…
1. I’m on the 7 train on my way to Manhattan from Queens. My AirPods blast Cardi B’s “I Like It” as I squeeze my way through the crowded car, not liking the pushing and the pulling as I…
Essay by Sam Dilling • Cara Blue Adams’s debut short story collection, You Never Get It Back, is a nuanced portrait of love, loss, and longing. The stories follow the life of Kate Bishop, the central character, from childhood,…
The smell of weed did nothing to calm Roland’s nerves as he reached the bottom of the stairs. He found her, the smoker, splayed out with a book on the long end of the couch in a bright blue…
Content Warnings—ableism, audism We corner our resident assistant right outside her dorm room. Her back presses flat against the door. Her hands come up. She is ready to escape, but she is also ready to give a reason. I…
How do you write about rage? That’s the question that kept refusing to give me an answer as I worked my way through this essay. It feels inappropriate and strange to write about rage when I have been privileged to enter many spaces. Yet rage is a part of my life. My life is not defined by rage, but it is contoured, often, by it.
There have been spaces I couldn’t access as well. Months after the CDC confirmed there was indeed a COVID pandemic, I got an invitation to be part of a writing workshop. I asked for an ASL interpreter and connected the workshop coordinator, a hearing nonsigner, with someone willing to work pro bono. But the coordinator worried about privacy, and I passed on the coordinator’s questions to the ASL interpreter. Before the ASL interpreter could answer the questions, the coordinator sent us an email, trying to intimidate the ASL interpreter, a neutral facilitator, into following her ethics. The coordinator knew how ASL interpreters could be ableist, the coordinator wrote, and the ASL interpreter needed to not be ableist.
I grew confused. Then I grew angry. This workshop, like so many others, was hearing-dominated. Worse, it was hearing-centered. The coordinator insisted the ASL interpreter and I follow her ideas, ideas from a hearing perspective, rather than trying for a conversation and giving us space to respond. The coordinator showed us she wouldn’t listen, and the invitation soured.
The invitation was retracted, but my anger stayed. This lingering, I thought, is the marker where anger becomes rage. When the heat seethes deep inside you and builds, instead of ceasing.
Promises of sanctuary and access are plentiful when you’re a Deaf person in a hearing industry. Still, today, I can count on one hand the number of promises fulfilled.
So, maybe in writing about rage, I write about where I come from. I write about the audiologist’s office, the place where I first learned about hearing expectations. I write about where my frustration comes from, and the point where frustration boils over into something else.
Yet, no one wants to read about a child’s rage. So, I start older, on the cusp of adulthood. I start at my first attempt at college. I go back and forth, trying to find the balance between exposition and scene.
In writing nonfiction, you try to show the world through yourself. Depending on how you write, the reader can choose to merely gaze upon your ideas from the outside, as if you present them in a glass case. Or the reader can submerge in them. When you open up, the reader sinks into what you feel. So I open up. Rage can be all-consuming, in certain moments.
So, how do I write about rage? By letting myself feel it first and then asking myself why I feel it. Think about the times you’ve been angry at hearing people, I tell myself. Ask yourself why. Follow the fire back to its beginnings. Where’s the powder? Where’s the spark? Has the explosion of anger happened yet?
ROSS SHOWALTER’s stories, essays, and criticism have appeared in The New York Times, Electric Literature, The Rumpus, Catapult, Literary Hub, Black Warrior Review, and elsewhere. He teaches creative writing courses with the UCLA Extension Writers’ Program. Find him on Twitter and Instagram @rosshowalter.