Just Another (Storytelling) Day

It’s January 1st, 2021. In one sense it’s just another day, with another sunrise, and another sunset. But our embrace of the Gregorian calendar has a way of altering our perception of time, and we, therefore, perceive ourselves as having exited one year (past) while entering another (future) at the stroke of midnight. Never mind that there are 24 time zones, and so, two dozen strokes to mark the occasion. Time, like story, is never a simple contemplation.

This “out with the old, in with the new” mindset belies the fact that nothing has actually changed. The scourge of human trafficking and climate change, religious fundamentalism, radicalized racism, pandemic passivism, and sociopathic narcissism still ravage humanity and the planet. Millions strive to change this narrative, but these are very stubborn stories.

But if midnight serves as a reset button, a way to recalibrate, to turn the page and begin writing a new narrative, then it can be a redeeming process. As the year 2020 was coming to a close I spent a few days around Christmas with my family in Sweden and thought a lot about the impending stroke of midnight that would occur after my return to Portugal.

Morning View Outside Stockholm December 2020

The extended dark mornings reminded me of the dark reality humanity was dealing with. Having endured nearly four years of the worst American president in history. A man who has publicly turned his back on 7.8 billion people – yes, even his most loyal supporters – condemning the earth to decades of environmental catastrophe. Adding to the darkness, a pandemic that was long ago predicted, and yet criminally ignored, ravaged country after country. By the time midnight arrived on December 31st over 83 million would be infected, resulting in over 1.8 million coronavirus deaths.

Yet there were lights shining within the darkness, represented by stories that I had heard throughout the year. Stories from friends, family, and many strangers. Stories of loss and disappointment, of dreams that were put on hold, or cancelled altogether. Lives that had shifted from confidence to unnerving uncertainty. Yet each story contained the seed of a different future. One that appreciated the connectedness of humanity, one that cast a light on the illusion of separateness. Was darkness serving a higher purpose?

This consideration of how dark times shape us was on my mind when an email arrived from the amazing poet Silvi Alcivar, offering an insight into the nature, and the benefit, of embracing that which has always existed in our world – darkness.

“and i keep thinking about how all the darkness of these days is really showing us where there is light, who holds it, what we have to offer of our own, and how the darkness seems to have a necessary place too. the moon knows this. and the stars. and the roots wintering in earth. and the creatures no one has ever seen who live in depths of ocean humans will never touch. and the dark itself.” ~Silvi Alcivar

I studied my fellow passengers as they boarded the return flight to Lisbon. Everyone was wearing a mask, which on the one hand was reassuring, but masks hide the emotions that play a vital role in telling our in-the-moment story. I wondered why they were there, what their reason was for ignoring – as I had done – the advice of medical experts to stay home over the holidays. What did the season mean to them? How had their year been, and what stories would they create in 2021? Truth told, each of us lives within our own mystery.

And despite the safe practices required by the airline, the reality was that we were taking a risk vs staying at home. But at the same time we were choosing life. We had decided to include others as characters in our story, creating a richer narrative. That’s not a defense of the decisions we had made, just a raw explanation, and it posed a difficult question:

If we find ourselves in the midst of darkness,
how do we choose to live life?

How will you choose to live life on January 1st, after the imagined stroke of midnight sounds and we put 2020 behind us? Will you frame the new year as a new start, or a new chapter, or maybe just another day of storytelling in your exceptional, yet mysterious life?Wheat Stalk Close Up Stockholm 2020

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Aleeza Kazmi at The Moth from The Beacon School in New York City

The Moth has been hosting storytelling events for 20+ years, and the thousands of storytellers who have graced their stages are proof that every story is unique, and that the best stories come from our personal experiences.

I’ve always felt that storytelling should be a required course in high school, as it’s fundamental to how we formulate our thoughts and how we’ll express ourselves throughout our lives. I was delighted to discover this story by Aleeza Kazmi when she was still a student. (she’s a professional storyteller now)

Children of color often deal with issues related to identity when they’re growing up, and in this story, Aleeza recalls such an incident from when she was just six years old. Beyond her particular circumstances, it’s a narrative which speaks to the courage we sometimes need in order to express the fact that we are proud of who we are.

Transcript

So I’m six years old and I’m in the first grade and I’m sitting at a table with my three best friends and we’re all really similar. We all wear the same clothes from the children’s place that our mom’s by us, and we play on the monkey bars during recess and we play house underneath the playground at St. Catherine’s Park, which was behind our elementary school. All of our names start with A, there is Anna, Amanda, Ashia, and Aleeza. We’re working on self portraits, and this is sort of an icebreaker project of the first grade. My teacher, Ms. Harrington, presented it as a way to get to know each other’s faces. These were gonna be hung up on the wall, and I was really excited because we were on our third day of self portraits and we were going to color them in finally.

I was super excited about this because my mom had bought me a coloring book over the summer and I learned how to color inside the lines. I learned all these, yeah, really excited about that, and I learned all these really cool techniques for how to draw properly. I was basically young Picasso and I was ready to show off my skills to my friends. I knew this was an extremely special project because Ms. Harrington had brought out oil pastels. Every table got one box, and every box had one of each color. I love oil pastels because I used there really soft, and so I used to take them and pinch them between my fingers and feel them melt into my skin almost. Because there’s one of each color in every box you had to be patient and wait for your color to not be used, and the color I wanted was being used.

I was ready to color in my face, and all of my friends had colored in their face peach, and since we were all the same girl, I figured I would use peach as well. So finally, peach was available, and I color in my face and I’m going slowly and I’m watching the oil pastel melt into the paper and I color inside the lines. It’s beautiful, and I look down and this self portrait, this girl I had just drawn, is exactly how I see myself. It’s like I’m looking into a mirror, and I’m proud, and I feel Ms. Harrington, my teacher, looking over my shoulder, and I get really excited because Ms. Harrington loved it when people drew well. And I was like, she’s gonna say to me that she’s gonna hang it above her desk, so that when people came in, they knew that I drew this amazing portrait.

I was getting ready for her to compliment me, and instead she looks down and she says, “Aleeza, that’s not your color.” And I’m confused by this cuz I don’t understand how colors can belong to people. So I start panicking and I’m like, Was I not supposed to use oil pastels? You know, did I do something wrong? What did I do wrong? I couldn’t figure it out, and I couldn’t find a way to ask her.

She didn’t explain further, she just grabbed the oil pastel box and started looking through it. Didn’t find the color she was looking for. So she went to the crayon bin. Now, every elementary school had this infamous crayon bin where little bits and pieces of broken of crayon that were unwrapped and disgusting and mixed together over years and years and years and never went away.

And I never used crayons. I always used markers or color pencils or something. But Ms. Harrington went to the crayon bin, and she’s rummaging through it, and she pulls out this crayon, and it’s this nub of a brown crayon that’s unwrapped and gross. Ms. Jill Harrington hands it to me and she says, “Lisa, this is your color.”

I still don’t understand it because how can colors belong to people? But I can’t figure out a way to ask her, and so I take it and she tells me to color in my face, and so I do. But crayon and oil pastel don’t mix together and they’re not friends and they don’t wanna be on the same page together. So I’m pushing in this crayon and I’m going in all different directions and trying to make it mix with the peach, but it’s not doing it.

I’m coloring outside of the lines now and I’ve colored into my eye and my lips and now’s red on my chin. I’m panting, and Anna, Ashia and Amanda are all staring at me and I’m embarrassed. When I’m done, I look down and I’m this grotesque monster that can’t decide if it wants to be peach or brown. I wanna scream at Ms. Jill Harrington, “Please do not hang this up, I’ll do it again. I’ll do it your way this time.”

But she grabs my self portrait before I’m able to say anything, and she puts it into the pile with all of my even tone, beautiful peach friends, and it’s hung up on the wall. I go home that night and I ask my mom, “Why am I not allowed to be peach?” And she explains it to me as well as a mother can to a six year old who’s going through an identity crisis.

You know, I’m not peach and your dad isn’t peach. She does her best, but I still don’t understand it, and I don’t wanna ask her cuz I don’t wanna sound stupid, cuz everyone else seems to understand this concept of color, but I cannot wrap my head around it. So I put this idea on a shelf and I don’t think about it again until the sixth grade when I’m in a new school, and we’re all asking each other questions like, “Where did you go to elementary school and what’s your favorite book?” Just trying to get to know each other a little bit, and this one boy comes up to me and he asks me, “What race are you?” Which might be a complex question. Some people, they can’t look at me and know what race I am.

I didn’t know what race I was because I never really thought about it, so I’m trying to look for an answer. I think back to this Jill Harrington and that brown nubby crayon, and I tell him, “I’m brown.” And he looks at me, and he’s so confused, and he says, “What do you mean you’re brown? Brown isn’t a race.”

I find the words finally and they come up, and this little six year old me inside is screaming, and then now I’m screaming and I’m saying, “Who are you to tell me what I am? If I say I’m brown, then I’m brown and deal with it.”

So this boy never spoke to me again, which is fine, because I finally found the words and was able to stand up for myself.

Watch Aleeza’s video, make some notes about what impressed you, then read the manuscript and watch again. You’ll see and hear it differently the 2nd time around. You will also notice a bit of editing. To avoid the talk from reading as a run-on sentence, the word ‘and’ was removed in several places.

[Note: all comments are my opinions, not those of the speaker, or The Moth, or anyone else on the planet. In my view, every story is unique, as is every interpretation of that story. The sole purpose of these posts is to inspire storytellers to become better storylisteners and to think about how their stories can become more impactful.]

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Interviewing From a Historical Perspective

The process of crafting an impactful story often begins with identifying events and insights from your life’s journey, but such stories become more compelling and diverse when they include the experiences of others, as additional voices will broaden and deepen the narrative landscape, allowing audience’s to better understand the point you’re proposing, or the lessons you have learned.

One way to do this is by interviewing people who can offer listeners/readers a perspective that expands beyond yours. As with the disciplines of writing and speaking, interviewing is an art form that one must study and practice. When clients ask me how to conduct interviews I steer them to the On Being podcast, hosted by Krista Tippett.

Her interviews with renowned scholars, writers, poets, scientists, and religious leaders explore the most fundamental and profound questions. What does it mean to be human? How do we want to live? And who will we be to each other? If you’re looking to sharpen your storytelling skills, consider this podcast is an interviewing masterclass.

The podcast recently replayed a timely episode recorded on November 17, 2016: This History is Long; This History Is Deep – it’s an interview with Isabel Wilkerson. By reading the transcript while listening you can identify when Krista is diving deeper into a particular topic, or moving their conversation into new territory.

…our country is like a really old house. I love old houses. I’ve always lived in old houses. But old houses need a lot of work. And the work is never done. And just when you think you’ve finished one renovation, it’s time to do something else. Something else has gone wrong. ~ Isabel Wilkerson

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95,000 Names – 95,000 Stories

Traditions are an essential element of every culture. Merriam-Webster defines the term as “the handing down of information, beliefs, and customs by word of mouth or by example from one generation to another without written instruction.” Stories, in other words. But not just spoken, as humans are prone to create celebrations based on these stories. Such is the case with Pride Month.

The Christopher Street Liberation Day March took place on Sunday, June 28, 1970, one year after the Stonewall Uprising, and provided the sparks that would ultimately ignite the LGBTQ+ movement for equality. In subsequent years gay pride marches and parades would spread to cities across the United States and throughout the globe. The number of events continued to increase rapidly, and in 1999 President Bill Clinton declared June as “Gay & Lesbian Pride Month.”

The modern version of Pride events are largely celebratory, but a remembrance of those who lost their lives to the AIDS epidemic remains a solemn component. Some five decades later, the month of June 2020 has become a focal point for many others whose lives tragically ended before their time, as COVID-19 deaths approach half a million and protesters take to the streets with voices raised in support of Black Lives Matter, protesting to eliminate extreme police violence.

With Pride events cancelled this year due to the virus, it felt as though origin stories which were threads of the tradition would fail to find a public voice. But last week The Kitchen Sisters broadcast an insightful podcast episode that told one of these stories – 95,000 Names: Gert McMullin, Sewing the Frontline.

Aids Quilt in Front of Washington Monument

Photo by National Institutes of Health, Attribution-ShareAlike 3.0 Unported (CC BY-SA 3.0)

As with any tradition, the efforts of many people comprise the narrative threads, yet most contributors remain behind the scenes and their story fades over time. Thankfully, the story of Gert McMullin lives on.

In 1985, Gert McMullin was one of the first San Franciscans to put a stitch on the AIDS Quilt, the quilt that began with one memorial square in honor of a man who had died of AIDS, and that now holds some 95,000 names. Gert never planned it this way, but over the decades she has become the Keeper of the Quilt and has stewarded it, repaired it, tended it, traveled with it and conserved it for some 33 years now. Gert knows the power of sewing.

A beautiful story that spans decades, connects two pandemics, and exemplifies the generosity of humans who pour their heart into the lives of strangers.

In 2020, when COVID-19 hit, Gert was one of the first Bay Area citizens to begin sewing masks – PPE for nurses and health care workers who were lacking proper protection – masks she makes from fabric left over from the making of the AIDS Quilt. The comfort, outrage and honoring of an earlier pandemic being used to protect people from a new one.

As I reflect on the month of June 2020 I’m most grateful for the many traditions seeking equality across racial, gender, and sexual boundaries – boundaries that are false, yet harmful constructs born of discrimination. The question at hand is how our personal narratives can be allies to such noble endeavors. How indeed.

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A Decades Long Struggle for Justice as told on The Memory Palace

The Memory Palace continues to be one of my favorite storytelling podcasts with its unique way of bringing forth historical landscapes of people, places and events that traverse the arc of time, deftly infused with an insightful sense of relevance that speaks to current affairs.

With the struggle for racial equality front and center we have an opportunity to take a step back and revisit other struggles which continue to compromise millions of lives. Within the time frame of 8 ½ minutes Nate DiMeo compresses decades of oppression against the LGBTQ community, painting with both broad and fine strokes alike, calling out moments that crushed the dreams of countless lives. Yet love, relentlessly, pushed back the waves of oppression.

On the surface this story may seem dissimilar from the current storyline playing out in city streets, but that one phrase, “to be who they were”, binds these two struggles at the wrist. It’s difficult for me to fully comprehend, to grasp beyond the intellectual, to feel the emotions at a cellular level, to walk the streets and feel compelled, as a matter of survival, to be someone else in order to safely navigate society. 

Beyond the topic laid poetically bare, pay close attention to how Nate weaves the history of one physical place and the souls who passed through its front doors to the national narrative, now his pacing gives us space to assimilate each word and phrase.

A White Horse on The Memory Palace Podcast

Transcript

This is the Memory Palace, I’m Nate DiMeo

The White Horse Inn on Telegraph in Oakland opened in 1933, or thereabouts. No one’s been able to nail down the date. Historians have tried, as have some of its various owners it seems over the years, but if you’re not an academic, or if you don’t have a personal financial stake in solidifying its claim as the oldest gay bar in the United States to operate continuously in one location.

It doesn’t really matter when the White Horse first opened its doors, just that it was soon enough, for a man to walk in on just the right night in 1936 or 46 or 54, and see the most beautiful man he’d ever seen in his life, and just be done for.

Soon enough for another man, who had heard of this place, heard of places like it, whispered about, or mocked by the fellows in the assembly line, or in the office, or in his usual joint across town, heard the cracks about pansies and perverts and queers, and feared what they might mean.

Feared why the words seemed to cut right through, sit strange in his belly, and tightened his throat, but who fought through that fear to make his way there to the White Horse. Who may have circled the block all butterflies, before working up the courage to park. Who may have walked right past it, rather than be seen walking in by some stranger. Or maybe he pulled his collar up, and tipped his fedora low, and pushed through the door as fast as he could.

And who may have learned that night, in that bar, where men talked to men by the fireplace in the back, where women flirted with women in the light of the jukebox, men held hands by the pool table like it was nothing, like it wasn’t everything, knew that night for sure, that this was the place he belonged, that this might be the only place he belonged.

Like it was for other women and men. Those who were identified correctly as such at birth, and those who weren’t, people who needed their lives to change, to make sense, to be less lonely, to be less scary, to be more fun, to be safe.

In the forties and fifties, and later, men and women, friends from the neighborhood at the bus, and church, friends who knew the truth about each other, would walk arm and arm up Telegraph Road to the White Horse, would play at being people they were not, and then walk through the door, into that windowless room, and become who they were.

They’d go their separate ways, he to a boyfriend, and she to a girlfriend, and they’d spend a few hours in a place where so much of what they’d been taught all their lives about what life was supposed to be, but who they had to be to be happy, or responsible, or good, or saved, just fell apart, just put the lie to the whole thing.

Laws of the universe themselves, just torn up and tossed like confetti to swirl in the bar light, and flit in the laughter and the dance songs, a light on the eyelashes of some pretty man, or float on the surface of martini glass.

And then they’d say good night to their boyfriend and girlfriend, to the people there who understood, who helped them understand, and they’d link arms and go back out into the world.

Have no illusions about the world. The world did not want that man and that woman to be who they were. Gay sex was a felony. Cross-dressing was a crime. People risked imprisonment, forced sterilization, institutionalization, lobotomization, for acting on who they were.

If the cops, armed with laws that let them raid bars if they suspected women were dancing with women, or men were holding hands, or speaking in high-pitched voices in some cities. If the cops came and threw you into the patty wagon, if not threw you up against a wall, your name would wind up in the paper along with your address. You could be fired, kicked out of your apartment, lose your car loan, get beat up, or worse, by people in your own home, or by people who now knew where your home was.

The laws would change. Attitudes would change, sometimes for the better, and sometimes not. The war seemed to change everything for awhile, especially there in the Bay area. All these soldiers and sailors and nurses flooding in, away from home for the first time, discovering who they were for the first time, discovering whole worlds in windowless rooms like the White Horse.

In the sixties a straight couple bought the bar, and they were so worried about raids, it seems, and some speculate so skeeved out by their own clientele, that they instated a strict no touching policy.

No more slow dances, no kissing, no nothing. It was like that for years. And still people came to the White Horse because it was their place. But then the late sixties came, and the hippies came, and the radicals came. Berkeley was just down the road. The black Panthers was around patrol right there in Oakland, and gay men and lesbians, and transgender started staking more radical claims, started living more radical lives, and the White Horse embraced gay liberation.

And by then it was just one of the many gay bars in the area where people could find each other, could find out who they were and who they want it to be, where they figured out what was possible to ask from this life, where they asked for it together, as they’d done in the White Horse since 1933, or thereabouts.

The White Horse Inn was open the night in 1966 when transgender women fought back against police harassment at Compton’s Cafeteria across the Bay in San Francisco.

It was still open two years later when the Stonewall Inn was raided across the country, and people protested for three days, and never really stopped.

It was open on the night in 1973 when an arsonist set fire to a gay bar in New Orleans, locked the door, and killed 32 people. The White Horse was there for people who used it to mourn.

It was open for people who wanted to celebrate 1962, when Illinois became the first state to decriminalize homosexuality, and 13 years later when California joined it, and 28 years later when the Supreme court forced 14 States to do the same.

It was opened in 1977 when San Francisco elected Harvey milk to its board of city supervisors, and in 78 when he was assassinated.

It was opened in 1979 when 75,000 people marched in Washington for their civil rights.

And it was open all throughout the 1980s, when its customers started dying, when its employees started dying. In one year alone, eight bartenders, eight, died of AIDS related illnesses.

And the White Horse had stayed open, as it has been, again and again, when men and women, boys and girls, transgendered people were murdered for who they were.

So many since 1933 or thereabouts, mourned by what people now call the LGBTQ community. The community built year by year, night by night, in windowless rooms like the White Horse.

It was open when Vermont passed its civil unions law, when Massachusetts passed its marriage law, when San Francisco’s mayor issued marriage licenses, and when the California Supreme court annulled those unions. Annulled the marriage of the manager of the White Horse too.

It was open when the California voters rejected gay marriage, and it was open for dancing when the Supreme court threw that vote out.

It was open on a Saturday in June when someone killed 49 people in Orlando, Florida, in a place like the White Horse, where people came to be who they were.

And it was open on Sunday, and it’s open tonight. It will be open tomorrow.

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