The Coming

By Craig Kirchner

His wife rushed in looking like she couldn’t breathe.
They’re coming, the man at the gate told me.
They call ahead so he is not an issue. We have an hour.

He printed out all the poems and put them in a box,
buried them in the woods behind the condo,
gave his wife the key and a scribbled map.

When they come, they’ll take the laptop,
so I deleted and scrubbed the best I could.
Don’t lock the door, they’ll just beat it down.

Tell the grandchildren I was just trying to be me.
It wasn’t meant to be disrespectful or unpatriotic,
and that I love them.

If I return and things ever get back to normal,
we’ll dig them up and be careful who we share them with.
I’ll burn the ones about the camps and the purge.

If I don’t come back, and no one has yet,
you know I have loved you, as much as it is possible to love,
and never meant to ruin your life with my words.


Craig loves storytelling and the aesthetics of the paper and pen. He has had two poems nominated for the Pushcart Prize, and has a published book of poetry, Roomful of Navels. After a hiatus, he was recently published in Decadent Review, Yellow Mama, Chiron Review, The Main Street Rag, and several dozen other journals.

Photo credit: Ralf Steinberger via a Creative Commons license.


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Breathe

By Ryan Owen

When her husband lowers the newspaper and stops hiding his cancer, Stacy learns that their voting rights have eroded as quickly as his health.  

The front fold rests on his lap. “How?” she asks.

“With new laws.” He taps the headline with an ink-stained fingertip.

From the kitchen countertop, a screen’s colorless aura startles awake, its glow spilling onto the tan tiles of the floor.

“Let me explain voting rights to you,” a robotic voice replies from the countertop.

Their eyes go wide.

“They can hear us now.” Arthur mouths the words. A hoarse whisper.

A powdery crescent scars the wall where Stacy pitches the device. Black plastic thorns litter the tiles. She steps around them as she picks her way to the bathroom.

She stares at its dead screen as she closes the door. Arthur yells that it can’t hear their words anymore, communicate them to false protectors, misguided champions. Nevertheless, she’s cautious to act, resist . . . persist.

She can’t let them win, or they will silence her words and know her thoughts. Steal her voice. For a forever that feels like death.

She has already locked her smartphone into its metal box in the attic. When she exits the bathroom, she descends the cellar stairway to cut the power to the house.

“Flip the main breaker,” Arthur shouts his deathbed advice. 

He’ll be dead by the election. They both know this. Neither says it aloud.  

She comes up the stairs, following the smooth grain of the wood handrail. She sits at Arthur’s desk, harvesting the loose threads in her thoughts. An early-morning rain soaks the sounds drifting through the window.

Her fingers rest on the cool glass keys of the typewriter. Their smooth steel rings brush her fingertips.

She is safe here. No one sees her words, reads her thoughts, as she launches them at the page.  

Her inspiration comes alive.

She presses the keys. Like soldiers, the hammers rise, striking the paper, creating the letters, forming the message.  

Will it work? She steels herself against self-doubt.

Her finger slips. The word ‘vote’ has two o’s.

She sighs.

Arthur was a gardener once, and she finds a thick thorn like a dinosaur claw, in the desk drawer. She scratches away the ink of the extra letter. She finishes the word, vote, the t grainy on the rough parchment.

Her fingers shake.

The years have swelled her knuckles, her fingers unbendable rods, rigid stems.  

Her gray hair sways in the reflections of each of the forty-nine glass panes forming the keys.

Vote. Or you never vote again, she types. She breathes.

Arthur breathes beside her. He watches. It’s all he can handle.  

She adds the period. They exhale.

Arthur hands her a new sheet of paper. An eyelet on her sleeve catches on the carriage return lever. 

She inhales.

She begins the next letter.


Ryan Owen is a writer living among the glacial erratics and waist-high stone walls of central New England. Ryan resurrects antique typewriters and writes all first drafts from their glass-and-chrome keys. Ryan’s fiction has been recognized with an honorable mention in the Writers of the Future contest and has been published in Idle Ink, Litbreak Magazine, and Penumbric Speculative Fiction Mag, and is forthcoming in Literally Stories and Writers Resist. Find Ryan on Twitter/X, @4gttnNewEngland or on Bluesky, @iviesofinkribbons.

Photo credit: Ben Rogers via a Creative Commons license.


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Two Poems by Lonav Ojha

To Refaat Alareer,
who became a kite

 

Brother, you looked so loving,

holding very gently

that box of

strawberries, and behind

your home, not yet,

not again,

but incessantly

in ruins.

 

You were not a number,

you were,

an educator,

a cheerful poet,

settler’s boogeyman,

 

and now that you’re dead, English is also

a language for mourning.

 

A strike occurs in a medium

it does not

simply

………

….

fall.

 

And your words

hang in air

heavier than any

gravity bombs.¹

 

1. American

•          •          •          •          •          •          •          •          •          •       

 

A letter to a friend explaining the student movement

 

I have been listening

to more Bollywood these

days. I have been writing Press Statements

for the Press that does not state what

must be stated. I live in despair. And I

sometimes wish I didn’t have to, but hearing

love songs, Bollywood love songs, without

having anybody to love in a Bollywood sort of way,

means I’m hoping to learn a few things

about romancing myself.

 

A newly made friend

told me

during the protests that he’s serious about

killing himself, & he was writing

a letter, and another

said she’s cutting herself after many years.

The first person, we don’t talk anymore, because I have

nothing to say.

 

They’re still alive. I am also still alive.

I am listening to Bollywood songs. I am writing

Press Statements.

I am talking to L, and he says,

the Vice-Chancellor is planning something

HUGE!!

He’s been flying back and forth to Delhi. He,

is a bastard, and I’m listening

to Bollywood songs, and I’m doing alright.

And I’m trying to love my friends, the ones I can,

the ones who can love me.

 

Long live that look

on your face, and mine. I am

listening to Bollywood

songs, and I’m imagining someone

who would have me fully.

I suffer egregiously from the main character

syndrome. I suffer from having faith

in people. Long live the crane

behind the Magis block that spent a year

building what it will never occupy.

Long live the cats in the New Academic Block

that don’t give a shit. So I am

writing Press Statements. I’ve always

danced in my room,

when nobody’s watching,

when the world is burning,

and I haven’t stopped.

 


Lonav Ojha is a 22-year-old writer from India. His work has previously appeared on ASAP Art, Agents of Ishq, LiveWire, and The Open Dosa. He was also longlisted for the 2024 TOTO Awards for Creative Writing in English. He writes regularly on his personal blog, Stories Under My Bed, where he attempts to reimagine resistance from the praxis of joy and education. Since the 2014 national elections, his country has plunged into the depths of Hindutva fascism, crushing dissent in all its varied expressions and stifling whatever remained of academic freedom in public universities.

Photo credit: Magne Hagesæter via a Creative Commons license.


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Thank you for reading! If you appreciate creative resistance and would like to support it, you can make a small, medium or large donation to Writers Resist from our Give a Sawbuck page.

 

The Notorious

By Alex Penland     

 

Do you remember Yad Vashem? How
the path that leads you through the
exhibit is chronological and single
lined, each point presented on a hair
pin turn of events: here is where a new
legislation was passed, here is where
some diplomat died, here is where the
people thought oh, one more degree
in this pot won’t make the water
boil yet. But then you cross the river
gap to the next section of the exhibit
and are suddenly granted a perception
of time as a whole, not a part, and when
you reach the section where it gets so
bad that you think you must be near the
end you look down the line at all the
bridges and no. You’re half through.
Half through the voices saying we
thought they wouldn’t dare, thought
people were better than they were or
human goodness was more ubiquitous
than it is or some protection was more
sturdy than the flimsy social contract
it turned out to be and things get so
much worse, and the hope of it becomes
less a light in the tunnel and more a
light in the eyes blinding us from the
things that live in the darkness. She
was one of those protections, I think
now, a stone wall painted on paper,
and through the fire it’s amazing she
held the line as long as she did, but
that greasy burning and a squealing
that is not pigs is coming closer now,
and for the moment I am on the safe
side of the shower door, but I can’t
help but look down the crack in the
exhibit hall and think we aren’t even
close yet, we’re not even close to the light.

 


Alex Penland was a museum kid: a childhood of running rampant through the Smithsonian kicked off a lifelong inspiration for science fiction, poetry, and science-inspired fantasy. Their work has been internationally published in The Midwest ReviewStory Cities, and the upcoming Strange Lands anthology by Flame Tree Press. Their poetry has been awarded by Writers’ Digest and previously appeared in the December 2018 issue of Writers Resist.  They currently live in Scotland studying for a PhD in Creative Writing. You can follow Alex on Twitter @AlexPenname or visit their website at www.AlexandraPenn.com.

Yad Vashem photo by Anders Jacobsen on Unsplash.

The Fire Still Burns

By Gary Priest

 

Fire makes us all believers.

There’s a unity in fear that allowed science and religion to merge into a rational hysteria that swept us all along on a wave of koala memes and apocalypse FOMO.

The eco-inspired crimewave started in the mid 2020s. This was not just shutting down airport runways or protest hashtags. This was something darker, primal and all persuasive.

My first assignment as a rookie eco-cop was crowd control at the murder of an oil company CEO. He was castrated and hung from a lamppost outside a petrol station on New Year’s Eve, 2028. Six months later, I found myself first on the scene of a luckless idiot who discarded a burger wrapper on a Soho street and was kicked to death by a passing group of vegan death metal kids.

Ten years after those first deaths, “ecoslaughter” was written into the rule of law. By the early 2040s, it was impossible to get a conviction on any death that could show a motive related to saving the planet.

The skies got a little bluer and the oceans were more saltwater than cellophane again.

We saved the world.

Twenty years came and went. I remained on the force.

On a dull evening patrol, I drove past a group of teens waited in an orderly line to get into the hippest of the town’s vice-free nightclubs. I could probably find some reason to take them in. The smallest violations were now offences. Sneaking an outlawed carbohydrate, wearing leather shoes without a permit, and, of course, loitering with intent to pollute, which could be twisted to cover anything anyone did and was great for keeping arrest numbers up.

Hoping there might be some meatier infractions inside the club, I parked my bright green smart car and with one flash of my badge at the door, strode inside the large hall. The whale song and bird tweets were a long way from the old days of EDM and rock ’n roll, but after the Bank Holiday Modular Music riots of ’44, the influencers decided that all human-made music was ecologically unsound.

I still remember the day they executed Keith Richards. The lethal injection didn’t work, so they beheaded him live on the nine o’clock news. The tattered illusion of humane deaths for musicians was put aside. They crucified Miley Cyrus, fed Alfie Boe to a pack of feral hogs and kept going until every last one of them was dead.

Groups of pious youth swayed back and forth to the somnolent sounds of nature. These were the inheritors of the planet.

I hated them and I hated what the world we saved had become.

That was my secret.

Back in the early 21st century, there was a gestalt shift that left no room for doubt in anyone’s mind. They called it Twitter-logic. You never expressed doubts, you never backed down, and if there was a mob, you had better be part of it or you would find yourself its next target.

That shift pulled us back from the brink of global catastrophe. Who’d have thought all those armchair environmentalists would one day bring about the Plastic Purges of 2042, the Meatless Monday Massacres of ’55.

I played along, said all the right things and became the perfect symbol of the new age of woke warrior.

Don’t get me wrong, I was glad the planet had been saved, and I admit that the draconian means were probably the only option we had left by the end of the 2020s. But now that the planet was yet again an Eden, it seemed we had forgotten how to enjoy its bounty and grace.

I clocked up a few arrests in the club. Minor violations of recycling laws and dental hygiene directives. The Prius prison vans came and took the offenders away, and I went back to my patrol.

It was a quiet night and I was nearing the end of my shift when the call came in to investigate a code 411, “possible youthquake in progress.”

She sat alone on a wall by the burnt-out shell of a public library. Hardly a youthquake, but certainly a curfew violation to start with.

She wasn’t much older than fourteen. Her hair was a messy nest of blonde and pink. I could have taken her in for the hour and the highlights, but those abuses were the least of her transgressions.

Smoking a cigarette. In public! A goddamn roll-up! That was a twenty-year minimum sentence right there. At her feet, a small pile of cigarette butts, an empty bottle of bootleg vodka and what looked like the remains of a highly illegal kebab.

I got out of my car. She didn’t look up, just puffed out a plume of smoke and started singing.

Instinctively, I drew my gun. Still, she didn’t react.

The song came from way back in the 1980s. “Are you singing a Russ Ballard song” I asked.

She stubbed out her cigarette on the wall and tossed it to the ground.”‘The Fire Still Burns,” she said. She did not smile but assaulted  me with eyes granite grey and defiant.

“How do you even know music? It was outlawed before you were born.”

Her laugh was flat and without warmth. “It’s all still out there in the dark cloud if you know where to look.”

Another violation.

“And is that how you want to die? Singing some forgotten power ballad from the eighties?”

She shrugged. “You remember it.”

“That’s not the point, you dumb fucking kid. I have to kill you now. You get that, right?”

After the first few years I no longer enjoy the killing, nor did I feel anything other than a grim certainty that to disobey an eco-statute would mean my death as well as the offender’s.

“I have to kill you”’ I repeated.

‘Of course, you do. Been waiting  half an hour for one of you green-booted arseholes to come  and end me.’

My grip tightened on the gun. There was no arrest protocol for this many violations.

“Why are you doing this”’ I asked.

The kid smiled for the first time. “Because extinction is the only rebellion I have left, green-boot.”

I shot her twice in the head and once in the chest. Her smile reddened as she toppled over the wall to the ground. I called the cleanup squad and went home.

For the first time in years, my heart soared. I was too old and too scared to rebel, but that kid hadn’t given it a second thought, and if there was one of her, there were probably more. One kid smoking cigarettes and singing outlawed songs might do little else but give hope to her embittered executioner, but a thousand of them could become a trending topic, a hashtag, a movement, and that was how the world changed these days. In her grey eyes I saw the rebirth of the natural revolt of youth. Our generation saved the world, and now maybe, just maybe, the next one could save us.

Later, in the surveillance dead-spot of three a.m. I started singing “The Fire Still Burns,” softly, in the cold solitude of the night.

 


Gary Priest writes short fiction and poetry. He has over thirty publications online and in print including Daily Science Fiction, The Eunoia Review, and Literary Orphans. He lives in the UK at the end of a dead-end road, which may explain everything.

Photo by Markus Spiske on Unsplash.

Long Time Listener

By H. A. Eugene

 

Greetings HTW gang!

First off I want to say thanks to Gabe, Mack, and your producer, the lovely Vicky! I am a fan of the podcast and have been a member of the How’s That Work? gang for almost longer than I can remember! As proof, I submit to you this photo—yes, that’s me in a HTW t-shirt, standing between the inimitable Gabe Gibbons and the illustrious Michael “Mack” McCready, after a live recording at the Bell House in Brooklyn! It’s been years so you probably don’t remember, but my stepdad Kevin took me (he also took the picture). I think I was fifteen. Fact is, I started listening to your podcast when I was just a freshman in high school, and I’m sorry if this makes you feel old! Please consider it a compliment. (Happy-face!)

Anyway, I’m writing today to serve you what I’m going to call a long time listener compliment sandwich: a few tiny corrections, sandwiched between a whole lot of tasty gratitude!

First, the tasty stuff: The podcast How’s That Work? has taught me so much! You guys do such an outstanding job explaining complicated things in simple terms. Maybe it’s your down to earth personalities, I don’t know. But your on-air banter makes you guys seem like friends in real life, and in a lot of ways, it makes me feel like you are both my friends, as well. (Smiley-face!)

If I were to choose a favorite HTW episode, it would be the one where you explain how lightbulbs work. You really brought the story of this humble, first-of-its-kind electric appliance to life in a lively, illuminating way! (Sorry, I couldn’t resist!)

My second favorite episode has to be the saxophone. Where it came from, how it’s viewed in popular music—oh, and I loved your list of most famous saxophone solos. I looked them up and they were oh, so tacky and oh, so terrible!

And if those are my first and second, then my third favorite HTW episode of all time has to be doughnuts. And this is where I must point out my correction. (Gasp!)

In this episode, you mention that the doughnut was invented by Dutch immigrants, with Russian, as well as French influences. This was followed by the statement “we are a nation of immigrants” and “diversity is what makes us great”—two dogmas, which—I hate to say, but absolutely must point out—haven’t been the case for a while, and as such, should not be broadcast as if they were. It’s a fact that aside from a few outliers, the vast majority of the USA’s greatness comes from native-born Americans of European descent; more specifically, native-born Americans of European descent who extoll the Western traditions this country was founded on, and that to this day, are a major part of our American Brand in the World. (Moreover, it bears stating that, when it comes to doughnuts, those largely antebellum foreign influences were assimilated very quickly into our lexicon, and therefore, became American in nature.)

To be perfectly clear, I am well aware that everybody old enough to recall a time before the internet can also recall having been raised with cheesy cliches like these. So I understand why this might seem correct, so don’t feel bad! It was an honest mistake. After all, this is how facts change over time, right? I think it was Gabe who explained, in the saxophone episode, how the instrument started out as a hokey novelty, and how its role in blues, jazz, and rock music eventually brought it the recognition it deserved. Like I said: how facts change.

That said, here are a few other corrections. In your recent episode on the origins of our glorious border wall, the legal framework for fast-track mass deportations actually came about way back in the second Trump term, not the third. Sweeping reforms like these would have been impossible without the cooperation of Congress, which had been all but assured by Justice Ellis, whose interpretation of the first amendment allowed for the type of large-scale fundraising required to defeat our enemies at the ballot box. Then there’s Justice Damiano’s traditionalist views on race, which played a major role in arguing for the repeal of the Voting Rights Act, and its replacement by the much stricter Voter Identification Act. All of this led us down the bumpy road to abolition of the antiquated concept of term limits. (And if you think about it, none of this positive change would have been possible without the faithful support of patriotic media networks that resisted the pressure to give in to liberal fact checking, but I guess that’s another episode, right?)

That said, despite your obvious biases, your border wall episode also helped me to better understand the incorrect liberal reading of our then-current immigration crisis, which falsely claimed that immigration drivers were spurious concepts like “climate change” and “economic destabilization,” as opposed to simpler, more truthful motives, like enrichment on the part of greedy non-Westerners. (And yes, I am aware of the accusations of heavy-handed wielding of the law on the part of certain agencies, incorrectly administered blood tests, unlawful deporting of distant relations, and even cases of basic mistaken identity. But really, without real evidence, stories like these are just a bunch of fake news, am I right?)

In any case, I really can’t thank you guys enough for what you do. Your podcast literally explains the world, and I think for children especially, this is priceless. And for adults? Well, it’s just nice to hear a familiar voice explain complicated things in a simple way.

As for me, I’m sure you’ve figured out I’m no longer a kid! Though, as a private contractor in a counter terror task force, I do work with kids. My team’s focus is Central and South American immigration vectors, and my job is to learn all I can about the problem of ethnic minority dissident groups. I interview the young children we get in the camps, and as you probably guessed I can’t say a whole lot about that! (Eyebrow-raised, intrigue-face!) But all told, we are very proud of our work, and I speak for my whole team when I say, like you, we definitely take learning very seriously!

Your podcast taught me that the world is a wonderful place, full of things to learn and do. It also taught me learning can be fun. Though, if I’m being completely honest, sometimes, the things I learn and do make me sad. Oh well. I suppose it’s like my stepdad Kevin says, the weak need the strong to show them how to walk the straight and narrow, which is his way of telling me I should always be proud of what I do, and never be ashamed. After all, it’s not my fault people get themselves deported any more than it’s a policeman’s fault that people still—even now, with curfews, media blackouts, and extrajudicial paramilitary SWAT teams—break the law. (Sad/puzzled face!)

This was all my way of saying you and your podcast helped make me who I am today. And so thank you for that!

(CYA alert! I really don’t think anything I wrote here is problematic, but feel free to take stuff out as necessary if you want to read it on an upcoming episode. Also, if you have any questions, just reply to this message, and I’ll pass it along to my superiors.)

Anyway, thanks for everything!

Sincerely,
A long time listener and lifetime fan

 


A. Eugene writes weird stories about food and death and pretty music about homicide and fascism. He currently resides in beautiful Brooklyn, New York, where he is a staff member of the Bushwick Writer’s Group. Find him at www.haeugene.tv and on Twitter @haeugene.

Photo by Brett Jordan on Unsplash.

Mamichu

By Robert Walton

 

“Mamichu, it’s cold!”

I looked at Ivar. I looked at his knobby lump of a head, at his lips lying beneath his broken nose like twin dead slugs, at his eyes glistening beneath his granite ledge of a brow, eyes so small I never knew their color. There was no pleasure in looking at him. I looked away. “Why do you say this?”

“Because the wind cuts like a gypsy blade.”

“No, why do you say ‘mamichu’? What is mamichu?”

“Just a curse—a Zagreb curse for when you have to look up to see hell.”

“What does it mean?”

Ivar’s brow lowered, extinguishing his eyes. “It’s the worst curse of all.”

“The worst of all?”

“The worst!”  He chuckled like a diesel engine starting on a frozen morning. “It blasphemes sisters, mothers, grandmothers even.”

“Oh,” I recoiled in mock horror, “even grandmothers! Saints preserve us!”

Ivar shrugged. “It should be reserved for the worst of the worst. I say it about the wind, but I don’t mean it, not really.”

“You don’t mean it? Why say it?”

“Habit. Curses become a habit. The morning wind, this camp, they’re not so bad. My grandfather told me of the true gulag, Stalin’s gulag. One in twenty lived. My grandfather was the one.”

“Bah! Old men’s stories. Stalin’s gulag couldn’t be worse than here.”

“Peter, do we have soup?”

“The soup is snot.”

“But we have the snot.”

I did not reply.

“Do we have bread?”

“The bread crawls with weevils.”

“But we have the weevils. Munch them. Savor the snot. You live, man. You live! This Putin camp is paradise. We could be in America, in a ‘tender care center’!”

“Ha! Mar-a-Lago, maybe.”

A troop of guards carrying Kalashnikovs approached the gate. Two dragged a man between them. The camp commandant followed behind. Six guards peeled off, three to either side, and leveled their weapons. Two more slung their rifles and opened the gate. The prisoner’s feet made twin furrows in the mud as he was pulled into the compound and dropped on his belly.

Three hundred men in the compound stood motionless.

“Who is it?” I whispered.

“Yuri—our mate.”

“How can you tell? His face is gone.”

“It will heal. Believe me.”

The guards turned and paced back through the gate. Ivar stepped forward then. He went to Yuri, knelt, rolled him gently onto his back and cradled his head.

The camp commandant stared at Ivar. He was a short, slender man, like a banker or a pimp—a man whose work is to make others work.

“Drop him.”

Ivar didn’t move.

“Drop him.”

Ivar stroked Yuri’s blood-matted hair. “Outside the wire, we are yours. Inside the wire— we may care for each other as we can. It is the law of the camps. The unwritten law.”

“I am the law.”

Ivar didn’t reply, but continued to cradle Yuri’s head in his battered hands.

“You’re the one called Ivar?”

“I am.”

The commandant nodded to the guards. “Bring him.”

Two guards handed their weapons to men standing beside them. Four more aimed vaguely at the motionless prisoners. All six entered the compound. The two gripped Ivar.

Ivar glanced at me. “Peter?”

I nodded.

Then he carefully laid Yuri’s head on the mud and rose on his own. When the gate shut behind them, we were forgotten. A dozen others followed me to help Yuri.

They took Ivar, but they did not bring him back. Only his screams returned—until they ceased.

A line of thirty guards formed in front of the wire the next morning. The camp commandant—chin lifted, eyes bright— stepped in front of them and stared at us. It was a challenge.

Mamichu.

It may have drifted on a forest breeze from pine needles nearby, or sparked from sunlight glinting off barbs on the wire.

Perhaps I whispered, “Mamichu.”

“Mamichu, mamichu.” We prayed, “Mamichu.”

“Mamichu, mamichu.” We chanted, “Mamichu.”

Raw throats opened wide and we roared, “Mamichu. Mamichu!”

Mamichu.

 


Robert Walton is a retired teacher and a lifelong mountaineer and rock climber, with many ascents in the Sierras and Pinnacles National Monument, his home crags. His writing about climbing has appeared in the Sierra Club’s Ascent. His novel Dawn Drums won the 2014 New Mexico Book Awards Tony Hillerman Prize for best fiction, first place in the 2014 Arizona Authors competition, and first place in the historical fiction category of the 2017 Readers Choice Awards. Most recently, his short story “Uriah” was published in Assisi, a literary journal associated with St. Francis College in Brooklyn. Learn more about Robert at his website and follow him on Facebook.

“The New Order” painting is by Noel Counihan, 1942, National Gallery of Australia.

Beware a Kinder, Gentler American Fascism

By David L. Ulin

Originally published by LitHub, November 16, 2016; used with permission of the author.

Let me begin with an admission: I don’t know how to write about this. I’ve been trying since Wednesday morning, day after the election, when I awakened with what felt like the worst hangover in the universe—and without the benefit of having gotten drunk. I’ve tried writing about Harvey Milk and the effect of the White Night Riots on the movement for gay rights. I’ve tried writing about vote tallies and the Electoral College. Tuesday night, I spent half an hour on the phone talking my son off the ledge—or no, not off the ledge, since it was the same one I was standing on. Later, I walked my daughter home from our polling place, where she had spent the day working and had voted in her first election; as we neared our house, she turned into my shoulder and burst into tears. I don’t want to make this personal, but of course I do. All politics is personal, or grows out of personal concerns. I am the father of a gay man and a straight woman, and both are at risk today. If you don’t think this is personal, then you better get out of my way.

I am not an activist, I am a writer. But we are all—we must be—activists now. As to what this means, I don’t yet know. Yes, to protests; yes, to registering voters and contesting elections; yes, to believing—to continuing to believe and fight for—this fractured democracy. But even more, I want to say, a yes to kindness, a yes to the human values for which we stand. This week, I began to dismiss my classes with a wish or admonition: Be good to each other and be good to yourselves. They’re scared. So am I. It seems the least that we can do.

What astonishes me is that the world continues. What astonishes me is that life goes on. What astonishes me is that I can step outside at break of evening, dusk deepening like a quilt of gauze across the city and everything looking as it always has. Down the street, a neighbor walks her dog while chatting on her cell phone; the smell of wood smoke lingers in the air. Just like last week, just like normal, although what does normal mean anymore? We have an anti-Semite as advisor to the new president, who is promising a first wave of deportations immediately after Inauguration Day. And yet, what frightens me is that in a year, or four months, this election, this administration, will become normalized, as will whatever happens next. We will get on with it, we always get on with it, but I don’t want to get on with anything. The dislocation is maddening: the inability to imagine a return.

I’m writing from a place of privilege; I understand that. I am a straight white male living in a (relatively) progressive state. Still, let’s not be fooled about what this means. Hate speech in a high school classroom in Sacramento, a gay man struck in the face in Santa Monica. Objects in the mirror are always closer than they appear. I have relatives who chose not to vote for president in Pennsylvania. In Pennsylvania, where the final margin was 68,000 votes. If this is a Civil War, it is one in which the battle lines are not the Mason-Dixon line but the driveways that separate us from our neighbors, our place in line at the supermarket, the traffic light at the nearest intersection, the kid at the next desk in our schools.

What do we do about it? We stand up, vocally and without equivocation, for the most targeted and the most vulnerable, we give our money and our comfort and our time. We are still a nation of laws, with a Constitution, and an opposition leadership. This, however, cuts both ways. If fascism or autocracy takes root here—and the seeds have already been planted, let’s not delude ourselves—it will be a kinder, gentler fascism, couched in the rhetoric of the American experiment. Normalized. That’s the America Philip Roth describes in The Plot Against America, in which Charles Lindbergh wins the 1940 presidential election and brings fascism to the United States. Roth’s country is one in which the World Series is still played in October, and kids sit in the kitchen with their mothers, talking about what they did at school. “Do not be taken in by small signs of normality,” Masha Gessen wrote last week on the blog of the New York Review of Books. “…[H]istory has seen many catastrophes, and most of them unfolded over time. That time included periods of relative calm.” All the same, Gessen reminds us we must “[r]emember the future. Nothing lasts forever.” To forget the future is to give up hope, and hope is our most prevailing necessity.

And hope, I want to say, begins with each of us. And hope, I want to say, begins at home. I keep thinking of Vaclav Havel, that dissident turned president, who in his 1978 essay “The Power of the Powerless” stakes out the position of a “second culture,” in which freedom begins as a function of our willingness to behave as if we are free. What makes this essential is its insistence that we are accountable, that the reanimation of “values like trust, openness, responsibility, solidarity, love” falls—personally, individually—to us. Keep the record straight, in other words, bear witness and participate, but also hold onto yourselves. “Individuals,” Havel writes, “can be alienated from themselves only because there is something in them to alienate.” I make a choice, then, not to be alienated; I make a choice to engage. I make a choice to preserve the values of tolerance, of love, of looking out for the other. I make a choice to act as a human being. “If the suppression of the aims of life,” Havel continues, “is a complex process, and if it is based on the multifaceted manipulation of all expressions of life, then, by the same token, every free expression of life indirectly threatens the post-totalitarian system politically, including forms of expression to which, in other social systems, no one would attribute any potential political significance, not to mention explosive power.” This is the resistance I am seeking, this is the revolution we require.

At heart here is a different sort of normalization—the normalization of who we are. We live in a country where we’ve been told (are being told every day) that we don’t belong. What do you think hate speech is? An attack on our right to consider ourselves American. I am an American, however, and so are you … and you and you and you and you. I do not walk away from that. We—and by that, I mean we in the opposition—are a nation in our own right and we have to stick together, to find the necessary common ground. My mother, who turns 80 in a couple of months, told me the day after the election that she had been talking to a younger friend, a woman with a teenage daughter; “I won’t live to see it,” my mother said, “but you and your daughter will.” She was referring to a woman president, but also, in a sense, to the restoration of what let’s call American values, for want of a better phrase. The conversation made me sad, and yet we can’t give in to sadness; that is not our luxury. At the same time, it is also necessary that we express it, that we can tell each other what we are feeling, how we are.

So how are you? I am worried, I am angry, and (yes) I am sad. I am also trying to live my life. This is the normalization I will not yield. Call it second culture. Call it whatever you like. I am reeling, we are all reeling, but I am teaching, I am writing, I am trying to take care of those I love. Saturday evening, I went out for dinner with my family. We sat across from one another and tried to be in each other’s company, which remains, as it has ever been, its own small sort of grace. The following morning, my wife and daughter began making plans to go to the Women’s March on Washington. This is where we are now. This is who we are. Resist. Remember. Stick together. Be good to each other and be good to yourselves.

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David L. Ulin is a contributing editor to Literary Hub. A 2015 Guggenheim Fellow, he is the author, most recently, of Sidewalking: Coming to Terms with Los Angeles, a finalist for the PEN/Diamonstein-Spielvogel Award for the Art of the Essay.

Reading recommendation: The Power of the Powerless by Václav Havel.