I am one of those people who finds comfort in reading about food. The first of these kinds of stories to appeal to me was Bread and Jam for Frances.
This picture book, by Russell Hoban with illustrations by Lillian Hoban, features an anthropomorphic badger named Frances. Russell Hoban wrote six Frances books between 1960 and 1970 that were based loosely on the antics of his four children and their friends. Bread and Jam was first published in 1964.
The story opens with the badger family sitting the breakfast table. Mother, father, and baby sister consume soft-boiled eggs, which they talk up in an effort to get the older daughter, Frances, to vary her diet.
Frances prefers her bread and jam, and she sings little songs about her favorite food rather than acknowledging her family. Later, she refuses the veal cutlets, string beans, and baked potatoes at dinner, and reveals that she traded her chicken salad at lunch for—well, you know.
The next day the entire family has poached eggs on toast—the entire family, except for Frances. Her mother serves Frances her preferred meal. At lunch, her friend Albert has a sandwich, a hard boiled eggs AND a cardboard salt shaker (handy!), fruit, and custard. Frances discovers that her mother has packed bread and jam again. She watches Albert eat. When she goes out to the playground, she sings and plays with little energy. After school, her mother serves her a snack of bread and jam.
It’s the spaghetti and meatballs, however, that really break our badger friend and make her decide to eat something other than bread and jam.
I find it funny that young me decided to settle into a seat at the library and read and reread Bread and Jam for Frances. I did not like jam, or most sweet things, when I was a child.
I find it funny that young me decided to settle into a seat at the library and read and reread Bread and Jam for Frances.
I did not like jam, or most sweet things, when I was a child. I didn’t enjoy soft-boiled eggs, grapes, or black olives—all foods that people (badgers) eat in this book. My mother mostly cooked variations of Chinese/Taiwanese dishes, so I didn’t know what a breaded veal cutlet was, nor had I tasted custard. Moreover, I was a picky eater who would gaze at a huge party table filled with fancy foods and then ask for a piece of toast.
But I did like to read about food. I went through the other Frances books, all of which contain bountiful feasts. I loved Laura Ingalls Wilder’s Farmer Boy and still remember passages about popcorn, pound cake, and other delights.
When the news got to be too much, I opened up the New York Public library website and searched under for fiction with the keyword “cake.”
Eventually, I got over my fussiness, tasted many of the things I’d previously only read about—and started to enjoy those that I’d hated as a kid. I still like to seek out books about food. In fact, recently, when the news got to be too much, I opened up the New York Public library website and searched under for fiction with the keyword “cake.” I needed something that would go down easy. I figured that a book that featured something beautiful and sweet would be just the thing.
But I wasn’t actually eating cake myself—I didn’t even particularly want any. I just wanted to read about other people making cake, or maybe eating it. And then, I began to wonder why.
Of course, Bread and Jam for Frances isn’t really about bread and jam.
We don’t even learn what flavor of jam Frances likes; Lillian Hoban’s illustrations depict a reddish-pinkish splotch in the middle of a slice of white. Maybe it’s raspberry, maybe it’s rhubarb, maybe it’s the blood of fairies. We just don’t know. What matters more is the fact that in eating it, Frances is flouting the rhythms of her family’s life by rejecting what is on offer at meal times.
By contrast, Frances’s post-bread and jam lunch is both rich and orderly:
“I have a thermos bottle with cream of tomato soup,” she said.And a lobster-salad sandwich on thin slices of white bread.I have celery, carrot sticks, and black olives,and a little cardboard shaker of salt for the celery.And two plums and a tiny basket of cherries.And vanilla pudding with chocolate sprinklesand a spoon to eat it with.”“That’s a good lunch,” said Albert.
This is a very sophisticated lunch, Albert! Frances goes from a white bread and sugary jam to black olives and lobster salad. She even sets out a doily and a small vase of violets.
What matters more is the fact that in eating it, Frances is flouting the rhythms of her family’s life by rejecting what is on offer at meal times.
What’s also interesting is that this is mostly a list; it tells us nothing about how the food tastes. We don’t learn that the lobster salad is tangy or crunchy, or that the cherries are ripe and juicy and their flavor dances on the tongue—because that is beside the point. The main description of eating is about how methodical Frances’s consumption of her food is; the last words of the book are “she made the lobster-salad sandwich, the celery, the carrot sticks, and the olives come out even.”
What matters is not the food itself, but the system. Frances takes one measured bite of everything, one after another. Her lunch—the flowers, the doily, the arrangement and recitation of items—is meticulous and perfect, and so is her method of eating it.
Frances eating her lunch isn’t about food—it’s about the restoration of order. Something as unruly as appetite—as hunger and desire—can be sated, arranged, brought to heel.
What matters is not the food itself, but the system.
Or maybe it is about the food, too. While I was writing this, my daughter nabbed Bread and Jam for Frances. Then, she wanted a soft-boiled egg for lunch—two, actually. She also asked for one for breakfast the next morning. Each time, it was my pleasure to remember the book, to be able to provide this small bit of comfort and satisfaction to her life.
I did a book report on Great Expectations when I was in the fourth grade. Night after night, my father and I read Charles Dickens’ melancholy albeit intricate account of Pip. I was fascinated by the language used as much as the story itself.
My teacher was shocked when I announced my report findings. It was clear that I’d certainly found something more than interest in a book a little too advanced for a fourth grader—I’d found my passion: writing.
Writing has been my passion and constant companion ever since. I always knew I wanted to write, but wasn’t sure which specific medium suited me best. Novels were enormous projects that took years of diligent research, editing, and unspecified quantities of coffee. Short form writing, such as essays and poetry, were outlets more aligned with my needs and voice. I wrote poetry all throughout high school, chronicling my first relationship, love affair with competitive swimming, and my own understanding of the tumultuous world around me. Though I was fortunate enough to win a few awards and read my work at hotels near the airport, I wasn’t quite sure how to move forward with this beautiful creative outlet. Poetry is a stunning visual and auditory art form, but didn’t seem to pay the bills.
I wasn’t quite sure how to move forward with this beautiful creative outlet. Poetry is a stunning visual and auditory art form, but didn’t seem to pay the bills.
In a move unanticipated by everyone, including myself, I joined a sorority when I began college. I’d just graduated from a small high school of 800 students and it seemed like a vibrant way for a shy young woman to make friends at a school of over 40,000. It paid off—I found much more than friends. Soon after joining, an older member posted a job opportunity in our community Facebook group about an SEO writing position with a nearby agency. I knew nothing about this type of writing but immediately took her up on her recommendation, wanting to try something new. Before I knew it, I was training in an office in Woods Cross, Utah, learning the ins and outs of writing social media regimens, SEO content, and press releases. I was completely blown away by the intricacy and detail that goes into every piece. Each article came with meticulously-selected keywords that had to be seamlessly integrated into the content a certain number of times, in accordance with the then-SEO best practices. Amidst the world of keywords, optimization, and marketing, I was also introduced to the challenge of social media marketing, which immediately clarified my career path. Through this first remote writing job, I fell in love with social media marketing, content writing, and advertising.
Before I knew it, I was training in an office in Woods Cross, Utah, learning the ins and outs of writing social media regimens, SEO content, and press releases. I was completely blown away by the intricacy and detail that goes into every piece.
During and after the completion of my degree in English, I moved on to a few different agencies here in Utah. With their help, I discovered how to apply marketing strategy to the content I’d been writing. Under the invaluable guidance of my mentor, Kate, I learned how to identify key target audiences, promote posts, create relevant ads, and engage in meaningful conversations with audiences. Kate is one of the most brilliant people I’ve ever had the pleasure of working with. She helped magnify my existing knowledge and artistry and empowered me to reach my professional goals. Soon, I felt comfortable speaking with clients on my own, discussing my writing ideas, and formulating strategies to fulfill their marketing goals in an authentic way. Most of the clients I’ve worked with so far are automotive, e-commerce, or health care. Each industry presents a unique challenge in their differing audiences, needs, and standards. I’ve adapted my writing voice to match each, creating a versatility that otherwise might not have been readily achievable. It’s a thrill to create art that serves as a conversation piece, sales tool, and key advertising strategy.
It’s fair to compare this emerging and distinctive form of marketing to an iceberg; there is a lot more underneath the surface than meets the eye.
Social media marketing seemed simple from the outside looking in: make a Facebook post or tweet here and there promoting the business. However, after working with multiple advertising agencies, it’s fair to compare this emerging and distinctive form of marketing to an iceberg; there is a lot more underneath the surface than meets the eye. Facebook’s data suggests that a marketer has fewer than two seconds to make an impression on a user before they keep scrolling on their phone or computer. Obviously, this means less needs to be more when it comes to content. I’ve learned how to take my love of writing and transform it into pieces that not only satisfy the character limit but also grab the users’ attention within that short window of time. Each word must be selected with the utmost precision; it could literally be the difference between a sales lead and a dreaded “hide all posts” click or website bounce.
I’ve learned how to take my love of writing and transform it into pieces that not only satisfy the character limit but also grab the users’ attention within that short window of time.
Social media marketing is as much about the writing itself as it is targeting and strategy; if anything, it’s reaffirmed that high quality content wins every time regardless of current trends. This doesn’t detract from or degrade more traditional forms of writing. Instead, it adds the unique challenge to say more in a smaller space. It adds an objective to your writing. I thrive on this challenge and the rush I get knowing thousands of people read my work every day. In retrospect, I’d like to think that little girl with her nose in a book would be proud of the woman adapting a timeless artform for contemporary use. Working in advertising has been a test of character as well as character limit—I can’t wait to see where this ever-changing industry takes me next.
When I was a teen, the most relatable young adult book I ever read was The Outsiders by S. E. Hinton.
The Outsiders validated my experiences with being out of place among my peers and made me feel that my own story could be valuable someday. However, it also made me conscious of my ethnicity, especially since all of the characters were white.
Inspired by the real-life clashes of two high school gangs known as The Greasers and The Socs, the book is told from the perspective of a fourteen-year-old Greaser named Ponyboy Curtis. Published in 1967, the book is such a popular classic that it is required reading for many middle school and high school students.
The Outsiders validated my experiences with being out of place among my peers and made me feel that my own story could be valuable someday. However, it also made me conscious of my ethnicity, especially since all of the characters were white.
As I read more YA books as a teen, I noticed that there weren’t a lot of books with black characters that had the same impact as The Outsiders. Although there were black YA authors like Sharon M. Draper and Walter Dean Myers, I couldn’t connect to their stories. Most of the books by black YA authors that I read discussed socioeconomic issues like teen pregnancy, racism, and rape. While I knew that there were black teens who did experience these things, I wasn’t one of them. I was a nerdy black misfit who felt like no one could see the real me.
Most of the books by black YA authors that I read discussed socioeconomic issues like teen pregnancy, racism, and rape. While I knew that there were black teens who did experience these things, I wasn’t one of them. I was a nerdy black misfit who felt like no one could see the real me.
Besides The Outsiders, the only book that I connected to was Bronx Masquerade by Nikki Grimes. Not only was Bronx Masquerade written by a black author, but it also featured many characters of color. Written in verse, the book uses the style of a poetry slam to tell the thoughts and emotions of eighteen teens as they navigate their identity. The book spoke to me as a budding poet who was unsure whether or not my point of view was valuable. As the first novel I read in verse, the book showed me a unique way to tell my story. However, as influential as this book was, I would soon forget about it.
Since I couldn’t find any other books I could relate to, I ended up reading more YA by white authors than black. Between high school and college, I read many contemporary and YA fantasy authors, including Laurie Halse Anderson, John Green, Richelle Mead, and Suzanne Collins. The only black YA author I read was Jacqueline Woodson. She stood out to me because her work included coming-of-age stories with black characters that didn’t feel generic at all. Although I couldn’t relate to any of it, I still appreciated it. Some of her work is influenced by poetry, especially titles such as If You Come Softly and Brown Girl Dreaming.
As a result of reading mostly white YA authors, I started to feel like I could never truly belong in YA literature. I wanted a black character in a John Green romance and a black character who was magical like Harry Potter, but they seemed hard to find. Black teens had experiences that were just as varied and complex as those of white teens, but I kept seeing the same stories getting told and being published. I eventually forgot about Bronx Masquerade because it reminded me of how rarely I could find stories that related to me.
In 2015, I bought Daniel Jose Older’s Shadowshaper after seeing that it was an YA urban fantasy book with an Afro-Latina protagonist. I also discovered the grassroots book campaign We Need Diverse Books and the contemporary YA book Juliet Takes a Breath by Gabby Rivera. All of them would plant the seed for a new relationship with YA books.
Shadowshaper was the most incredible book I’d read in a long time. It combined art and the supernatural for a creative, awesome magic system. It was set in a culturally rich environment that was palpable and interesting. It dealt with real-life issues including colorism, gentrification, and cultural appropriation. To top it off, there was a diverse, inclusive cast of characters that entertained and related to me. Shadowshaper began to reshape my opinion of YA literature by massaging my senses with words and color.
While Shadowshaper changed my opinion of YA fantasy and sci-fi, Juliet Takes a Breath changed my opinion of contemporary YA. I ended up reading the book twice within two months and writing a feature article to help promote it. This book became my best friend, one that I wanted to keep turning to for guidance and empathy. Victor Hugo once wrote that books were cold but safe friends, but this book is one of the warmest things I have read. After reading Shadowshaper and Juliet Takes a Breath, I became determined to find the books I wanted to read as a teen and spread the word about them.
After reading Shadowshaper and Juliet Takes a Breath, I became determined to find the books I wanted to read as a teen and spread the word about them.
Afro YA books matter because black teens need to see themselves in words. They matter because I am feeding myself books I should have devoured as teen. They matter because The Outsiders showed me my worth as a writer, while Brown Girl Dreaming showed me my worth as a black writer.
We Need Diverse Books has been saying what I felt throughout my teens and early twenties: We need diverse books, and we demand them. We demand them, we uplift the authors who write and represent them, and we tell the world about them. We have always been here, and we aren’t going anywhere.
The Afro YA promotes black young adult authors and YA books with black characters, especially those that influence Pennington, an aspiring YA author who believes that black YA readers need diverse books, creators, and stories so that they don’t have to search for their experiences like she did.
Latonya Pennington is a poet and freelance pop culture critic. Their freelance work can also be found at PRIDE, Wear Your Voice magazine, and Black Sci-fi. As a poet, they have been published in Fiyah Lit magazine, Scribes of Nyota, and Argot magazine among others.
On the evening of Mother’s Day, I stood gazing proudly at my sixty-four square feet of raised garden.
I love each plant: the green leafy broccolini, the heart-leafed French radishes, the purple-veined Russian kale, the climbing sweet peas, the glossy spinach and butterhead lettuce, the flowering yellow blossoms of the slender mustard greens, the clustered tender beet shoots, the open palms of the purple cabbage. Every afternoon, after I battle teenagers and bureaucracy all day, I greet my wife and my daughter and then slip out into the backyard to tend these vegetables, some of which I planted in mid-March. Every afternoon, I water each square by hand; I examine each leaf. Meredith teases me that most of the time, when she glances out the window, I’m just standing back there and staring at the garden, not doing anything. It’s true. I’m successful here, in this perfect 4 x 16 rectangle of sixty-four squares. I plant seeds in perfect soil (one-third peat moss, one-third compost, one-third vermiculite); I water; I watch the plants emerge and grow. It’s quite different from teaching, where I have no control over the soil and cannot always provide the right kind of water or sunlight. In the garden, my labor has direct, predictable results. Not so in my classroom. All day at work, I clench my teeth, but in the afternoon, I begin to relax. I touch the sun-warmed soil, and I breathe.
I watch the plants emerge and grow. It’s quite different from teaching, where I have no control over the soil and cannot always provide the right kind of water or sunlight. In the garden, my labor has direct, predictable results. Not so in my classroom.
But then, at noon on the day after Mother’s Day, I half-listened to student presentations in my classroom as thunder boomed in a black sky. The students, trying to remain polite, looked nervously out the windows, probably thinking of their exposed cars in the parking lot. This time of year, Colorado thunderstorms usually bring hail, and sometimes that hail is frighteningly destructive. At the front of the room, Stephanie was talking about advances in medical technology, and we all nodded encouragingly, but the students thought about their cars—and I worried about my beloved plants.
The weather person had warned me on the radio that morning when I was halfway to school: thunderstorms this afternoon, with possible hail. I considered turning around. In ten minutes, I could have rushed to the garden shed, grabbed the PVC pipe and the floating covers, protected those tender shoots. Or I could have grabbed mixing bowls and large plastic pots and set them upside down over as many plants as possible. I considered, nearly veering onto the next exit off of I-25, but the twenty-four papers waiting on my desk to be graded pulled me north. My plants would be fine. The chances that they would be hurt by hail were slim. After all, they had survived a few heavy snows, many nights of frost, a hungry baby rabbit, seed-searching Northern Flickers, and spring winds. A little hail couldn’t defeat them now.
I didn’t even think to worry again until Meredith texted me about the “crazy” hailstorm that day that had backed up traffic and caused accidents and actually forced the city to pull the snowplows out of the garages. She was glad to be home, she said. I couldn’t ask about the plants. Instead, I endured my seventh-period class, twenty-nine seniors as burned out with school as eighteen-year-olds can be, irritated that I am still making them do work this close to graduation day.
The hail that day came unannounced, in a wild rush of freezing wind and black sky, while the two of us ate dinner at our little table. “Oh, no, Mommy! The little plants!” Mitike cried.
On the drive home, I remembered my first spring in Colorado, when Mitike was four. It was the first week of June, we had just fled Alaska, and I was desperate to find some tangible joy. I loaded Mitike into our new used Subaru, and we drove to the nearest greenhouse, where we bought the sweetest profusion of pansies and herbs and vegetables. All afternoon, we worked with our spades (Mitike’s was purple) to turn and amend and plant the raised boxes and the large garden in our new Fort Collins backyard. Finished, we stood back and admired the little green leaves waving in the breeze, transplanted like the two of us, ready to thrive.
The hail that day came unannounced, in a wild rush of freezing wind and black sky, while the two of us ate dinner at our little table. “Oh, no, Mommy! The little plants!” Mitike cried, and we ran to the back door just in time to watch marble-sized ice balls rip our transplants to tiny shreds and then flatten the pieces cruelly into the cultivated soil. Both of us stood and sobbed, our noses pressed against the back door’s cold glass window.
That was almost exactly seven years ago. Now, driving home in sunshine (Colorado’s weather changes that quickly) after the booming noontime storm, I told myself such hail destruction couldn’t possibly happen twice to the same gardener.
Meredith met me on the porch of our house and gestured toward the irises and black-eyed susans and coneflowers in the front bed. “They’re fine, aren’t they? They’ll bounce back.” I kissed her and surveyed the torn leaves, the battered look of the plants as if some large creature had laid down on them. These were plants native to Colorado, hardy enough to survive hail. They would be fine.
That evening seven years ago, I said we were both sobbing, but that’s not true. I was sobbing about what (and whom) we’d left behind in Alaska, and she, only four, burst into tears because her mommy did not know what to do with all the grief.
Together, Meredith and I walked through the house to the backyard, to the vegetable garden, Mitike and Fable close behind.
At the edge of the box, we stopped and gaped.
The damage was horrific, far worse than the hailstorm seven years ago. The plants I had been nurturing for two months had been flattened, beaten, stripped, broken—decimated. The hail, apparently the size of the peas I had so lovingly planted two months before, had pounded most of the leaf and stem fragments into the soil. A pea vine clung to its orange twine lead like some gruesome execution. The bared broccolini stalks pointed accusingly at the sky. No plant had escaped damage. The feathery tendrils of the asparagus lay listless beside a flattened and uprooted tomato plant. The sunflower shoots were ripped and torn, pieces hanging like severed limbs.
Meredith and Mitike watched me warily. The source of my calm destroyed, I could dissolve, or panic, or rage. They had seen all three. Mitike leaned toward the nearest broken, teetering red cabbage plant and murmured, “You’re okay. You’ll be okay! Just be strong.” Of course she was actually talking to me. That evening seven years ago, I said we were both sobbing, but that’s not true. I was sobbing about what (and whom) we’d left behind in Alaska, and she, only four, burst into tears because her mommy did not know what to do with all the grief. I’ve tried to be strong for her most of the time, but sometimes the hail damage has just been too egregious.
On this day, though, in the sunshine, a wiser Sarah than the one seven years ago, I felt not grief but acceptance. This happens. Hail. Wind. Death. Heartbreak.
On this day, though, in the sunshine, a wiser Sarah than the one seven years ago, I felt not grief but acceptance. This happens. Hail. Wind. Death. Heartbreak. In the garden, the fragments of lettuce leaf and broccolini bud become compost for the next seeds. Maybe the beets will revive themselves from this flattened state, and maybe the pea shoots will climb out of this, or maybe not. In a week, I’ll pull out browning stems and replant. In three weeks, I’ll have a lush garden again, just in time for another hailstorm. And then I’ll replant again. I can be as stubborn as I am tender.
Later that night, I retrieved my scissors from the garden shed and began to chop away at the battered lettuce heads, the torn spinach, the shredded kale. They might grow new leaves, and pruning gives them the energy to try.
If only I could learn to approach a failed lesson plan or a rejected manuscript in the same way. Start over, start over. There are many more days of sun than hail.
Trump, in a speech on Friday, February 23, 2018, to the Conservative Political Action Committee in Washington, D.C.:
“Well-trained, gun-adept teachers and coaches [should carry firearms in schools]. I mean, I don’t want to have a hundred guards with rifles standing all over the school. You do a concealed carry permit. This would be a major deterrent, because these people are inherently cowards.”
Saturday, February 24, 2018, Trump tweet:
“Armed Educators (and trusted people who work within a school) love our students and will protect them. Very smart people. Must be firearms adept & have annual training. Should get yearly bonus. Shootings will not happen again — a big & very inexpensive deterrent. Up to States.”
It’s March 24, 2020.
In Denver, Colorado, a certain English teacher with streaks of silver in her brown hair completes her final “Armed Educator Training,” which her school district has mandated for all educators, in compliance with SB1999 passed after Colorado endured another mass shooting, this time in a Colorado Springs high school in May of 2019. This time, nearly fifty students and educators died. This time, finally, enough Colorado legislators stood up to demand alternatives. Thus “Armed Educator Training”: six courses all K–12 teachers are required to complete before the end of this 2020 school year. Former military personnel or teachers who can demonstrate similar arms certifications are exempt if they complete the appropriate paperwork. Upon completion of the six courses of the Armed Educator Training, each K–12 teacher receives a standard-issue M&P 9, with a Picatinny rail under the muzzle. On this day, March 24, 2020, a stern army colonel with wire spectacles perched on her nose hands this English teacher her M&P 9. The English teacher holds the gun on the palms of her hands and does not look away.
Behind her, a kindergarten teacher breaks into quiet tears as she is handed her gun. A middle school math teacher accepts his grimly. A high school chemistry teacher grabs hers a bit too eagerly. The room is silent. No one says thank you. No one laughs or jokes with each other, as they have been doing in the dreariness of these evening classes and at the shooting range, where learning how to hit the targets felt more like a sporting competition than anything real. But now. They fit the new guns into the blue plastic holsters they have been issued, and they accept the paper certificates that confirm their completion of Armed Educator Training.
At home, the English teacher sits in her car in the driveway for several minutes, trying to grasp this brave new world. She will leave the gun in her glove compartment and transport it to school tomorrow, in the clear plastic bag (all bags and backpacks at her high school must be clear now) that currently holds her students’ research papers, three books she needs to skim to prepare for tomorrow, and various spoons and forks she has neglected to return to her kitchen. She refuses to bring the gun into the house. Not with her child in there. But then she shudders: her child’s teachers all carry guns now, too. Every teacher in Denver is required to, now.
She sits in the driveway, and outside the March wind pummels her car. The car rocks. Mentally, she lists all that she still does not have as a teacher, though she now has a gun:
she does not have whiteboard markers
she does not have the students’ attention, since they are staring at their cellphones
she does not have a key that works in both classrooms in which she teaches
she does not have enough desks for all of her students when all of them attend
she does not have time to use the bathroom
she does not have a printer or a projector that work reliably
she does not have a reasonably sized class
she does not have enough books, or paper, or pencils
she is not paid enough to live in most of the neighborhoods in her city
she does not have adequate healthcare
she does not have regular assistance with her students’ mental health issues
she does not have reassurance that the district has invested adequately in her retirement
she is not paid enough to save for her own child’s college education
But she has a gun. On the passenger seat beside her, the gun in its ridiculous blue plastic holster, inanimate but not innocuous, waits for her to do something with it. She remembers other times she has held and fired a gun: as a child, when her father had reached around her and held the rifle with her so they could point and fire at clay pigeons the machine threw into the air over their cornfield. And she remembers the time in Alaska. In Alaska, where she trained to be a teacher, her program required all urban education students to do a one-week intensive in a rural school. She had flown to Kodiak Island, to a village of fifty, where two teachers led a K–12 school for eighteen students, lived together (though they were not a couple), drank tequila, and shot guns. For the entire week, the teacher had become increasingly dismayed by the ferocity with which the other two teachers wanted to finish the day so they could go shoot guns. Every afternoon, the three of them walked the short distance to the town dump, set up rusty cans on stumps, stepped back, and fired. Bang. Bang. BANG. The teacher wanted to know if they could hike instead. Ha, said the man teacher. Hike? There are Kodiak bears out there. THIS is all there is to do safely here. He lifted his pistol again, a little shakily, since he had been drinking. Bang! The other teacher, the woman, laughed bitterly, examining the pistol she held. Yeah, they say you have to be insane or be running away from something to come out here to teach. I think I’m doing both. She leveled the pistol at the man a moment, and they both laughed crazily. Bang! A tin can exploded in the distance, out by the dump where only the bears and the bald eagles could hear.
Until the mandatory Armed Educator Training, the teacher had not fired a gun since that moment in the Alaska. Some of the teachers in the training had reminded her of those two teachers on Kodiak Island: desperate, fierce, angry. Give me that gun, an eighth grade social studies teacher had said, his teeth gritted. No active shooter will think to bother my classroom, ever.
Now she sits in her car beside the gun, and outside, it has begun to rain: large drops splash rough-edged circles on her windshield, which is cracked. Where is she safe, if not in her classroom? Where is her daughter safe? She thinks of a cartoon she saw once, of a boy on a playground holding a stick. The teachers gathered around him, staring down at him, debating. Should we arm all the other children with sticks? Or should we take away his? The cartoon teachers frowned in their indecision.
The front door of the teacher’s house opens, and her wife steps out, peering through the gray rain. She wraps her sweater around her body and walks out onto the porch, down the two steps, across the driveway. She doesn’t hesitate: she opens the driver’s-side door and grasps the teacher’s hand. Come on, sweet wife, she says. Come inside. She glances at the gun on the passenger-side seat, but mostly she keeps her gaze focused on the teacher.
Shivering suddenly, though she is not cold, the teacher begins to cry. I don’t want this—I just want to teach writing—I hate living in America—I—
Her wife pulls on the hand she holds and guides the teacher out of the car. She shuts the car door, and the car, smart, locks itself with the gun inside.
Dinner’s ready, the teacher’s wife says quietly. Let’s just go inside.
Inside, dinner is already on the table, and the women’s daughter sits waiting, her dark eyes round with concern. The fireplace is on, and the dog greets them, wagging happily, as he does every day. The teacher lets her shoulders relax. Her daughter springs up from the table to hug her, and the dog wedges himself happily between them.
And the teacher gives herself permission, as she does every afternoon, to forget the world outside this one, to forget guns and inept politicians and deep gun lobby pockets that refuse to ban even semi-automatics and bump stocks and fear and students who jump at any loud noise and lockdown drills and lockout drills and the flashing red and blue lights of America.
Her wife locks their front door. Here, by the fire, the three of them settle into their chairs at the dinner table, and the dog stretches out at their feet.
But it is not enough. The teacher knows it: it is not enough.
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