Conscience Round

There are experiences in my life that act like time machines. Specific combinations of color, sound, odor, all churning together into a cyclone of sensation that I breathe in without realizing, like an unwitting sorcerer’s apprentice being experimented on by her master. A cloud of luminous gas resurrecting a previous time. Memory experienced as magic.

For example, while hurrying down a busy sidewalk, I spot a Coca-Cola vending machine, its side emblazoned with a model’s perfected face and upper body, her dimensions altered by the size of the machine into something an order of magnitude larger than life. Instantly, I am plunged back into the meaty middle of a sweltering Mediterranean summer, the crotch of my bathing suit riding up in the back, pellets of sand packed into the slimy layer between my skin and the black Spandex. I’m waiting outside, leaning against the brick wall beside the vending machine, sandaled feet toeing the dirt in the partial shade cast by a bar awning. My mouth is painfully dry. Every thought moves lethargically, like a stunned frog crawling through mulch towards the hazy promise of water. I pass the time by examining the model on the vending machine: her eternal smile, her slicked-back hair. The heat presses down like a huge wet hand curling into a fist around me. I am trapped on a family vacation to the beach, fantasizing about running away, feeling my emotions consuming me, like quicksand, but also growing more and more distant, becoming unrecoverable, irretrievable, jackknifing away when I try to hold on.

It lasts less than a second, but my experience of this memory is vivid, precise, and all-encompassing, grabbing my mind like a glove snatching a ball out of the sky. Inside the dark-eyed capsule of time, I remember what it felt to be living as this girl, in that body, in that mind. It was always dusk in my heart, then. Every part of me was exhausted by the fighting. I could summon neither the crystalline energy of day nor the meditative totality of night. I was a blurry, hazy point in between. I was anxious, ashamed, and impossible to love. I feared going home at the end of the day. I feared entering that starless, moonless vacuum, where nothing good could ever grow, where I—

The model on the vending machine smiles soothingly. The glass bottle of Coca-Cola sweats in her hand.

I blink and everywhere, everything has changed. I am back on the sidewalk, twenty-eight and carrying a canvas bag full of heavy plastic folders, already late for an errand. Cars roar past. I’ve walked past the vending machine and the memory has metabolized itself into a tide, then a froth, of feeling that bubbles around me before subsiding, leaving me untouched though not unharmed.

When I look at my writing from those times, I do have a sense that the girl on the beach didn’t get the chance to grow up and just died an invisible, undignified death. She was a comet crushed by orbiting bodies into shards of pus and plasma. She never knew real life or real release. In her place, I emerged, an adult with a mishappen soul, and I carry her decaying flesh inside me like a second skin. To travel back to her via memory feels as profane as reanimating a corpse. Every vein in my body twists into knots. Is this all I will be able to—

In Tokyo, looking up from where I lazily slide onions around a pan, I see a scrap of the city nightscape in the window: its dark and moody clouds, its red blinking lights. Tall buildings stare back at me. The dimensions of the window alter the dimensions of the city into something an order of magnitude smaller than life. I am transported again, but now I don’t know exactly where I have been taken. My hands are still my hands. My eyes are still my own. I am not remembering the past but the present. I am thinking about what it will be like to remember this moment, these moments, which stretch out in front of me like beads on a rosary. I am imagining myself opening the front door, coming up the stairs, and standing in front of myself in the living room. She doesn’t take my hand. She doesn’t speak gently. I watch her face change as she struggles to find the right words.

The bottles in the bar shine like carved gemstones. The wooden stool creaks underneath me as I wait, shifting noticeably from one leg to another. My drink is served by a blonde waitress whose gift, I soon understand, is dispensing gin with a generous touch.

Nights in winter have a lonely, magical quality to them. Bodies passing in the dark. Shuffling home, head low, under blurry yellow lights. The sparkle of an eye disappearing beneath a chunky wool hat. Plumes of breath vanishing into the beryl-blue air. Every year, we are put under the same collective spell and it feels like the cold may last forever.

My buzz is like being deep underwater. Every thought is submerged. Every movement takes twice as long to execute. 24% alcohol hits on the fifth minute like a chorus reaching its climax, and I topple out of my life, out of my body, into a haze colored like fossilized amber, like dusty, veined silver. A sappy love song that I recall from my adolescence bleeds out of the speakers, reactivating an old wound that has scarred over so many times I register the pain not as pain, but as familiar warmth. Between bites flavored like rosemary, I sing along, noticing now the knife-twist of lyrics I failed to understand ten years ago, to devasting, fatal effect.

I know I have changed since then, but not in a way that I can neatly slot into a story of growth. No—I have not always changed for the better, not necessarily. Too often I have changed the way a bone breaks: abruptly, painfully, with no immediate sense of what happened and why. Very few lessons available in the aftermath. The shock of the impact is all that has managed to mark my memories.

I press my glass against my cheek and flutter my eyelashes at nothing in particular, the way I’ve seen the brokenhearted do in the movies.

Walking home, the night sky is like a party held in a stranger’s apartment, five floors above me. I stand and watch its lights flicker above me, listening to the faint, distant music of the stars and the wind. I take a deep breath of cool air, feeling like a drop of water buried deep in the brine pools of the ocean, feeling like a part of something that doesn’t know I exist. I am sober when I reach my front door. I drag my fingers across the metal frame, feeling its chill. I imagine my hand is a butterfly, the kind with dark brown spots that simulate a parade of open eyes. Its wings open and close in time with my heart.

New year, new me. New year, new opportunity to stalk my soul down the corridor, across the river, over the mountain, and around my bedroom.

Sliding my pointer finger across my broken phone screen, I feel my skin catch and drag around the point of fracture, like a strip of fabric snagging on a thorn. I pull away from my phone before the jagged edge can draw blood and bring my fingertip in close for inspection. A dirty, gold-tinged half-moon straddling pink flesh, the fingerprint like crop circles or waves in a shallow pool, lazily approaching the shore. The skin remains unbroken, so I return to my scrolling.

I come across job listings littered with words that I recognize and use frequently, and that I still don’t understand, particularly not in this crushingly contemporary context. These are not words in sentences, but hieroglyphs strung alongside each other in a garland. “Best practices” of “brands” that need “cultivation” or “learnings” that pinpoint “space” to “pivot.” I am particularly intrigued by “brand,” because I can’t read the word without its second meaning bubbling up into the froth of my thoughts. To mark, with painful implications.

Living out my small life in a spiraling megacity, I often feel like an 8-bit creature composed mainly of a mouth roaming a spontaneously generated set of white-walled malls, hungrily swallowing products: ordinary products, but also lifestyle-as-product, ethics-as-product, individuality-as-product. Sometimes the marketing is devilishly creative, and the consumption at times satisfying—the equivalent of haute cuisine. But I am pursued by a hangover that seems to locate me no matter where I am, and an incredible, relentless urge to purge my body of the aftereffects of my things, as well as my job, my ambition, my aspirations, my expectations, and to keep only my little and lonely life.

Flying over the nighttime geometry of Tokyo, en route to rejoin my boyfriend across the ocean, I turn my face to the view below, feeling the 20,000-foot chill as intensely as an ice cube in my mouth. My bodily senses are five stallions chomping at the bit, caught in an eternal race across an immense desert under an orange sky, the sand whipping at their legs and eyes—but now, my limbs arranged against the hard cushioned seat, my eyes trained on the moving landscape, I feel them slow from a sprint to a crawl as I redirect my mind toward the splendor of the vista, shrouded in cloud or anointed in light, and the theater of my breath, a three-act show that plays wetly over the cold acrylic airplane windows.

Every thought coursing through my flesh, every belief in my pantheon has been stunned into silence by the sensation of being run off the ground and buoyed into the air, momentarily ceasing their hydraulic crush of me. The end of this pressure is an invitation to abandon, at least for the next eight hours, the threats of the future, and I feel the frisson of a thrill as perfect as a first kiss.

Tokyo Bay is a prism of light. The Atlantic Ocean is a black hole. The snow over Minnesota is a blank page crisscrossed by lines that are indecipherable to my eye though I also harbor the suspicion that they are perfectly legible to those with the right gifts. What meaning is made in the flourishes of a foreign language, the eddies of water, and the flurries of snow, symbols gusting far below me, caught up in the currents that will travel far beyond me?

In Miami, the sky is preternaturally huge and fierce. It exerts a kind of force that communicates intransigence, total command, and the possibility of wildness, like the stare of a monarch framed in the doorway, or a tiger appearing between trees, tail thumping against the bark as it vanishes into the darkness. In the late evening, I sit on the old dock, legs swinging, with the sky looming behind me, its bath of purple tones, scattered clouds, and rays of light dancing over the river. You are not alone here, it seems to be saying, transmitting both comfort and danger. The sky recalls the ancient primacy of the natural gods, the divine personalities of the clouds, the sun, the stars, the firmament, and their roles in birthing, shaping, and consuming the world. “Buildings block the sky in Tokyo,” Strawberry reminds me, when I say that I can’t believe how big the sky is here, and I laugh because he is right, and because his pragmatism presents such advantages versus the blurry fantasy of my sky-as-tiger or sky-as-king. Later, I wonder what else blocks my vision there, at home in Tokyo.

Cloudbursts in Strawberry’s hometown are like something out of a fairy tale. The tension in the air breaks open and the rain pours down, hotly, wetly, heavily, like blood. The weather wields its powers with the clumsiness of a child, but with the grace of an artist. Gemstones sparkle in the air and glance off the water. Under the gray shadow of clouds, Strawberry’s family car hums nervously on the highway. I try to assist by navigating with my phone, zooming into the knot of roads on the map and getting lost, for a moment, in exploration as my finger undoes the strands and follows it into the fields of New England. I graze there, on distant heather in a land unseen, like a lamb, before I am called back by Strawberry asking me about the next exit. He looks younger than ever behind the wheel, like a boy magician handling levers and buttons behind a velvet curtain that opens onto a vast world. The captain of the ark, he leads us down a path littered in raindrops and flower petals.

Anxieties are sticky. They hold fast to my skin, drying down not just to a stain, but to a tattoo. I am praised for my kindness by the people who know me best but I never feel kind. I have never felt kind once in my life. In fact, I feel my own cruelty all the time. It has its own beating heart, embedded right next to mine. I feel it propelling me forward. I feel it holding me back. What’s more likely—that they have misread me, or that I have misread myself? Which would be more painful?

Lying on the grass, my hands folded over my chest, I look upwards, the whole of my vision turning green, gold, and baby blue as I look through the irregular sheaf of leaves, branches, and sparkling air overhead. I hold my body still while my eyes dart around, from twisted branch to falling leaf, following the long-lived dance held between the trees and the wind. Every few seconds, a quick-moving bird or insect joins into the choreography, their shadows skittering over the grass.

I try to watch purposefully, with the meticulous, deeply considered attention of an astronomer charting clouds of stars. I try to think of nothing but the wind, the trees, the grass. I reduce them, as though simmering away the water in their bodies, to a slurry of light, matter, and sensation. The wind is a blue-toned and fragrant memory of the seashore and the grass is a kiss on my ankles and wrists. The world is here, in this field. It is contained in the eggshell of the sky, pricked by needles of metallic yellow and olive-green light. I try to keep my mind on a leash, yanking it back when it threatens to dash out of the fenced-in perimeter and onto the road below. This is a task that requires every ounce of my concentration.

Across the field, a young woman, her face obscured by a thick scarf, is bent over her phone. Our gazes never meet. I don’t notice when she leaves but when I next look around, she is already gone. Now, in her place, an older woman is leading a toddler across the patchy grass. She pauses every so often to let him test the sensation of walking on his own; he sinks to his knees, at a loss. His eyes, blinking against the light, move in my direction, but I am too far away for him to truly see: a silhouette bathed in the green blur of the trees. His hands grab at the tufts of grass. When he leans down to inspect the clump in his hand, I notice the roughly circular bald spot on his crown, as obvious as a speckled, pink-and-white carnation pinned to a dark lapel.

Something about very young children has always made me uneasy; with their jerky movements, farsightedness, half-formed limbs, and toothless smiles, they seem especially close to death. Never mind that, in terms of proximity and according to the moral order of things, we should never be farther away from death than we are as children. But even as a young girl myself, I felt that the veil between my life and death was strikingly thin, almost insubstantial. A barrier more like a cobweb than a curtain. I never possessed the sure-footed belief in my own immortality that seemed to characterize the childhoods of others. I was always conscious of fragility, particularly my own. Everything around me and about me seemed weak, insufficient, prone to breakage and failure.

In the photos where I most strongly recognize myself—my real presence, spared from artifice and revealed authentically, in the tepid waters of a drugstore darkroom, before being printed on laminated plastic and handed to my mother in a paper envelope—I am unsmiling, and my eyes are faraway, beholding a fuzzy, nearly invisible figure in the distance. A tiny psychopomp in a black felt hat, cradling a doll with a red satin ribbon woven through the synthetic strands of its hair.

In the moments after the woman-and-baby duo exit the park, a gray-haired gardener, shears in hand, a rubber apron over her midsection, walks assiduously through the field. She vanishes under the cover of the distant trees. I wonder what the world may be trying to tell me with this parade of women entering and exiting the field, while I lay under the cool shade of the largest maple. Will I ever grow old enough to appreciate the passage of days, to enjoy them, to indulge in their small, varied pleasures like the gem-like stars, the star-shaped leaves, the trees like angels, the wind like God? Will I ever lose the perverse urge to siphon away the value of my own time via the vice, the maw, of melancholia, its grip tightening around me like a cuff strapped around my torso, numbing me before the blood draw that reduces me to nothing but matter and sensation, nothing but cells oriented toward despondency, nothing but the shells of thoughts configured for fragility, toward failure?

I don’t want to be “productive”. I don’t want to be “pessimistic”. I don’t want the self-help manual, the uplifting conversation, the sun-bleached afternoon, the tender poem, the TV show produced by a crowd of web-savvy millennials, the gimmick, the joke, the cry in the dark. I want to never cause harm. I want to take back all the pain. I want to forgive. I want to choose right. I sit up, leaves in my hair, suddenly overwhelmed by a feeling I can’t name and will later be unable to describe, to give life beyond where it lives, sick to its stomach, within me. I want to never fear death. I want to meet its eyes across the field.