In her whole life that our nine-year-old daughter Mitike can remember until this year, America has officially embraced hope and progress.
After all, just the day before I brought her home from Ethiopia on August 29, 2008, the Democratic National Convention in Denver nominated Barack Obama as the nation’s first African American presidential candidate. On election night that November, a group of us gathered at a neighbor’s house to watch the results and bite our nails—and when CNN called the election for Obama, we all grabbed spoons and pots and pans and marched jubilantly around our chilly Alaska block, chanting, little one-year-old Mitike happily in the lead, shouting, “Obama! Obama! Obama!” in her Amharic accent.
When CNN called the election for Obama, we all grabbed spoons and pots and pans and marched jubilantly around our chilly Alaska block, chanting.
And because she has been immersed in this kind of progress since the first day she arrived in America, Mitike assumes it is a basic quality of our nation. When Hillary Clinton accepted the nomination from the DNC on July 28 last month, Mitike peered at me and Meredith and asked, “Why are you crying?” We stumbled to explain how incredible this step forward is for our country, to finally have a woman candidate for president. I mumbled something about 1920, Susan B. Anthony, 235 years since Abigail Adams. Meredith tried to explain how the 2016 DNC, with its uplifting of people with disabilities, LGBTQ people, women, the poor, and immigrants, embodied and celebrated the message we long to hear about the United States of America: that in this nation, we work to move closer and closer to increasing the opportunities for all people, because we are stronger and better when we work together. Mitike listened to our muddled emotional explanation and then shrugged. “Moms. That’s just the way America is.”
Of course, I’m grateful that our daughter takes for granted that her adopted country is good, and that it will continue to move forward toward the “more perfect union” for which those wise (and flawed!) writers of the Constitution hoped. But I’m also filled with fear about the future our country could tip into in November. I fear the racist, homophobic, xenophobic, misogynist rhetoric of Donald Trump and his supporters. I fear that the country our daughter believes she knows will fail her.
And because she has been immersed in this kind of progress since the first day she arrived in America, Mitike assumes it is a basic quality of our nation.
We Americans find ourselves in a dangerous moment, stretched painfully between what some of us hope our country could be and what Donald J. Trump wants our country to become. As First Lady Michelle Obama proclaimed in her eloquent speech on July 26: “[This election] is about who will have the power to shape our children for the next four or eight years of their lives.” The question has become not a question of policy but a question of whether we teach our children about progress and love, or about divisive hate.What is at stake in this presidential election is not Mitike’s formation. At nine, she believes wholeheartedly that the world requires us to be kind and lovingly accepting of those who are different in any way from us. She trusts that a nation, like a person, is simultaneously fallible and tasked with the responsibility to improve. For eight of her nine years, she has watched and listened (an avid fan of NPR, which I play while I cook dinner) as President Obama has wrestled with immigration, Guantanamo, Osama bin Laden, drone strikes, the auto industry, equal pay for women, police brutality, race, same-sex marriage. Obama has not always made (or been allowed to make) the decisions I wanted him to, but—while my child watched, learning—he worked to lead our nation in the direction of progress.
I fear the racist, homophobic, xenophobic, misogynist rhetoric of Donald Trump and his supporters. I fear that the country our daughter believes she knows will fail her.
What is at stake in this election is not who Mitike becomes, but whether she will be safe in her own country—and whether we will be. What is at stake is how America treats Mitike as a person of color and as an immigrant and as a female, and whether her friends at school—many of them refugees, some of them Muslim—will be treated with the respect and given the rights every person in America deserves. What is at stake is whether her mothers’ marriage to each other will continue to be honored as legal, and whether all of us will continue to be able to write and speak freely in this nation without fear of repercussion. What is at stake is whether America will fall prey to its own shadows—like the seething racism that prompts some citizens to call their president unspeakable names, or like the terrifying misogyny that allows Trump to dismiss his vile, derogatory behavior toward women as “locker room talk”—and thus endanger the entire world.
Meredith and I have protected Mitike from many of the ugliest of our nation’s weeping wounds: the details of the Sandy Hook massacre, for example; or the racist comments hurled at Malia Obama online when she announced her acceptance into Harvard last May. I don’t want Mitike to feel that afraid. But every day Trump says or does something more offensive, or proclaims his cavalier apathy toward world affairs, every day his supporters seethe with vitriol toward Obama and anyone else who isn’t a white English man with roots in colonial America, it becomes harder and harder to protect Mitike (and ourselves) from fear.
So I remind myself: our little girl has grown up believing that America stands for progress, so now is the time we model for her that light, as the prophet said, still shines in the darkness.
However, of this I’m certain: if we fall into fear and let our children tremble, we won’t even need to hold the election this coming November. Of course FDR was right: we must fear fear itself most. It is our fear that will defeat us.
So I remind myself: our little girl has grown up believing that America stands for progress, so now is the time we model for her that light, as the prophet said, still shines in the darkness. Mitike and I spent an entire afternoon registering voters in a park here in Denver. On the weekends, we hike in our beautiful mountains and we spend time with our family, trying to talk more about hope and progress than about fear. Every day, Meredith works in her private psychology practice to help people find peace in their lives, and I drive to a high school to teach teenagers how to express themselves and advocate for themselves in writing. And Mitike watches. We chant what Michelle Obama said she teaches her girls: when others go low, we go high. I remind Mitike (and Meredith, and myself) that no matter what happens in November, the general direction of this nation is progress. Just look at how far we’ve come.
This is not the time to be afraid, but the time to act, to vote, to stand up and speak for what (and who) matters, to declare our belief that our nation will continue to progress toward a more inclusive and more just place for all Americans of every kind.That’s what America is, right?
We can’t afford to take for granted how far this country has come. This is not the time to be afraid, but the time to act, to vote (as President Obama said, “Don’t boo, vote”), to stand up and speak for what (and who) matters, to declare our belief that our nation will continue to progress toward a more inclusive and more just place for all Americans of every kind.
On April Fool’s Day, Google unveiled its new (fake) product, the Cardboard Plastic headset, which enables its wearer to experience, in 4D, “Actual Reality.”
The morning I read this satirical headline on my iPhone, I was standing in line with my fiancée, Meredith, and my daughter, Mitike, at the Orlando airport after three frenetic days at Universal Studios, a place where unreality seems incredibly real — and where a writer on spring break vacation can muse about what is real and unreal, and why it matters.
We visited Universal (which includes the Wizarding World of Harry Potter) because Mitike loves the Harry Potter series. All year, we’ve read the books aloud as a family, watching each movie after we completed the book. For Christmas and her birthday (and possibly next Christmas, too), Meredith and I gave Mitike the spring break trip to Orlando, complete with tickets to Universal. Santa Claus gave her a Gryffindor robe and a wand, with a note: “I think you may need this.” And so the drift from Actual Reality began.
I expected an amusement park… I didn’t expect that, inside Universal, it becomes disturbingly difficult to decipher what is real from what is not.
I expected an amusement park; I expected Meredith and I would share wise smiles at the special effects. I didn’t expect that, inside Universal, it becomes disturbingly difficult to decipher what is real from what is not. Of course, the dragon that breathes fire periodically from the top of the Gringotts Bank is some sort of mechanical creation. Of course, the “magic spells” TK’s new interactive wand could perform are connections between motion detectors. And of course we didn’t reallytake a mining cart down into the bowels of Gringotts.
However, we did sit in a startlingly real old English square and sip butterbeer under the hanging signs of Diagon Alley, and we did converse with a goblin. When we stepped back into the Leicester Square Station, I blinked to see the San Francisco wharf. Later, we took a boat cruise into Jurassic Park, and the stegosaurus looked quite alive, its sides heaving with breath. Back in Hogsmeade again, we wandered into a real Hogwarts Castle, and all the paintings moved and spoke, and I couldn’t remember what was real anymore, actually.
What is real? Our second day at Universal, we stood in a movie theater and cowered at the sound of gunshots in the Terminator 2 3-D show, grinning at each other because we knew it wasn’t real. After all, at the entrance to Universal Studios, serious security guards search every bag of every visitor, and every person has to walk through a metal detector. We were far safer in the Terminator 2 show than we ever are in Colorado movie theaters or Colorado schools.
What is real is terrifying. What is unreal is entertaining.
What is real is terrifying. What is unreal is entertaining — like the ridiculous message in Terminator that robots will someday dominate humans. Let me check my iPhone and ask Siri to make sure it’s not real.
What is real? In the long lines for the rides at Universal, families watch each other. How can that father scold his son so harshly? How didthose two get together? The teenager in that family looks miserable. Why is that twenty-something guy in line for a Harry Potter ride all by himself? And us? What do people see and think when they look at us? So that’s what a lesbian family looks like. Did they adopt that little girl, or did one of them carry her? Do they braid her hair themselves? Or: they’re sinners, living like that.
What is real? In the long lines for the rides at Universal, families watch each other. How can that father scold his son so harshly? How didThe line shuffles forward. We all nod at each other, and smile.
What is real? A woman walks by us in the New York part of Universal, trailing her two children and her husband, fixated on her phone. She smiles to herself as she scrolls through the family photos that she has presumably just posted on Facebook — photos of the four of them in the Wizarding World of Harry Potter, which they’ve just left. But this woman is missing the way her little daughter stares up at the fake New York skyline in awe, and the way her son tilts his head toward his father to listen. This woman is missing, too, the gentle angle of the late afternoon sun on the lagoon, the real way her family is here together. She nearly collides with us, so absorbed is she in the unreal world of her phone.
What is real? On our way to the airport in Denver, at the beginning of our trip, Mitike called to us from the backseat, “Look at how beautiful the mountains are! Take a picture on your phone!”
What is real? On our way to the airport in Denver, at the beginning of our trip, Mitike called to us from the backseat, “Look at how beautiful the mountains are! Take a picture on your phone!” The Front Range glowed orange in the sunset, and I murmured, “Once, people just enjoyed them without worrying about how to post their experiences on Facebook.” Meredith laughed, “Once people just worried about how to cross them.”
True. But at Universal Studios, twice, I caught myself admiring the etched silhouette of the mountains, glad I could glimpse them, until — twice — I had to remind myself that I was standing in flat central Florida, and that those “mountains” were a movie set Steven Spielberg had designed for the “King Kong: Skull Island” experience. The set is quite convincing. It looks real, even to a Colorado girl.
What is real? We lament that Donald Trump’s candidacy “can’t be real.” When our children have nightmares, we reassure them: “It wasn’t real.” When tragedy strikes, we cry, “This can’t be real!” When a friend’s brother visited her in Alaska, he exclaimed, “The glacier looks like a movie set — it doesn’t look real!”
What is real? We long for it — be real with me, we tell our close friends, our lovers — but it’s elusive. The moment we think we have glimpsed it, it shifts, and we don’t believe it anymore. You love me? Is this real?
What is real? We long for it — be real with me, we tell our close friends, our lovers — but it’s elusive. The moment we think we have glimpsed it, it shifts, and we don’t believe it anymore. You love me? Is this real?
Universal Studios does not try to answer any of these questions about reality for its thrill-seekers. Unapologetically, the park encourages visitors to leave their Actual Reality glasses at the entrance gate with the security guards. The intention, as with every movie and novel, is to forget reality a while, to visit an invented space.
But maybe we also visit places like Universal — and read novels, and watch movies — because visiting the invented for a while reminds us to recognize and love what is real. At the Orlando airport on our final morning in Florida, just as I finished reading the headline about the Google Cardboard Plastic headset, the TSA agent nodded at the three of us to move forward. “One of her moms can go through the scanner with her,” she said, pointing at our daughter. Without blinking.
What is real: people in this country have begun to see us as a family. I smiled at Meredith. No Cardboard Plastic headset needed — sometimes, the 4D experience of Actual Reality is sweet.
What is real: people in this country have begun to see us as a family. I smiled at Meredith. No Cardboard Plastic headset needed — sometimes, the 4D experience of Actual Reality is sweet.
I loved visiting Universal Studios. I returned to Jurassic Park again and again, the little girl in me ecstatic to see dinosaurs “for real.” I loved watching my daughter’s open-mouthed wonder inside Hogwarts Castle, and I loved Meredith’s appreciation of the quiet (fake) San Francisco wharf. I love drifting away for a while into imagination. But I also love returning.
Right now, for example, I’m writing from a corner of the deck at my in-laws’ in Evergreen, Colorado, gazing every so often at the real skyline of mountains, the real blue sky, enjoying the real sun on my shoulders. A three-toed woodpecker and a chickadee take turns visiting the bird feeder to my right, and all around me, the spruce and pines stand in stately silence, real snow at their feet.
At the moment, I want only this Actual Reality: my daughter, running out to hug me and to ask if she can eat a piece of chocolate; my dog, who sprawls happily beside me in the sun; and Meredith, who is napping upstairs right now (still recovering from our Orlando trip), who intends to marry me in two months, and who loves me, for all that I am. For real.
Solange Knowles may be Beyoncé’s younger sister, but that doesn’t mean she’s content to stay shadowed in a corner.
Yes, Solange may not be a household brand, but I can’t help but think that she prefers it this way. This level of celebrity allows Solange to directly critique anti-blackness and white supremacy in America without the fear of public backlash that could destroy her pop culture bankability.
Beyoncé, who rarely gives interviews, may not take a publicly vocalized stance on issues of social justice, but she often makes her support known through financial support. Earlier this year, Queen Bey and husband Jay Z donated $1.5 million to the Black Lives Matter movement, in addition to other civil rights organizations. In the beginning of the summer, she gave around $82,000 from her Formation World Tour to assist the water crisis in Flint, Michigan. People may criticize Beyoncé for not literally speaking out in a blunt, unapologetic way like the actor Jesse Williams is prone to do. However, this has never been a part of Beyoncé’s handling of her image as an entertainer or member of pop culture royalty.
In the case of Solange, she utilizes social media in a form that her older sister avoids. Her Twitter and Instagram, along with her website, Saint Heron, routinely confront racism and the country’s impulse to uphold white privilege.
In the case of Solange, she utilizes social media in a form that her older sister avoids. Her Twitter and Instagram, along with her website, Saint Heron, routinely confront racism and the country’s impulse to uphold white privilege.
I can only wish that I’d grown up with someone like Solange as a public figure who is so insistent on protecting Black girls and women. On her Twitter, Solange recounted an unpleasant and highly uncomfortable concert experience in New Orleans. Solange, her husband, and her eleven-year-old son, Julez, attended a Kraftwerk concert at the Orpheum Theater. The audience at the electronica concert was not diverse: Solange noted that the overwhelming majority of patrons were white. When Solange danced to a song, a group of white women told her to sit down. Solange refused, and the women threw a lime at her.
To be Black in white spaces means that you are suddenly blessed and cursed with hyperawareness…
To the naive reader, this story may seem nothing more than an unfortunate incident to be chalked up to rude and drunk concert attendees. For Black girls and women who understand what Solange meant by the term “white spaces,” it’s affirmation of a long-known truth.
To be Black in white spaces means that you are suddenly blessed and cursed with hyperawareness, injected with the X-Men ability to interpret not just outright racism but malevolence cloaked in a cloudy layer of passive aggression and microaggressions. To be Black in white spaces means that you are both the designated ambassador of your entire race and no one at all, invisible, with an interchangeable face. In an essay titled “And Do You Belong? I Do” and posted on Saint Heron, Solange elaborated on her Tweets. She wrote:
It usually does not include “please.” It does not include “will you.” It does not include “would you mind,” for you must not even be worth wasting their mouths forming these respectable words. Although, you usually see them used seconds before or after you.
You don’t feel that most of the people in these incidents do not like black people, but simply are a product of their white supremacy and are exercising it on you without caution, care, or thought.
Many times the tone just simply says, “I do not feel you belong here.”
Anti-blackness is not solely relegated to overtly hostile or malicious displays of bigotry. There are numerous ways to make someone feel as though they don’t belong, as though their safety has been compromised. Later on in her essay, Solange wrote, “You constantly see the media having a hard time contextualizing black women and men as victims every day, even when it means losing their own lives….You realize that you never called these women racists, but people will continuously put those words in your mouth.”
White people who have deluded themselves into believing that they are progressive liberals often tout the phrase, “I don’t see color.” They frequently follow up with something along the lines of, “I don’t care if you’re black or white or green or blue,” ironically disproving their point, as they classify minority status as akin to alien foreignness. I didn’t grow up in the South, but that doesn’t mean I’m a stranger to racism, and to feeling like my blackness, my “Otherness,” doesn’t fit into my very white surroundings. The institution of whiteness ruled that my identity wasn’t authentic enough, that my blackness was dependent upon adhering to a narrow vision of blackness as defined by the white gaze. Boys who I deemed the love of my life have accused me of being too sensitive, of imagining things, of seeing fire where there isn’t smoke. That’s the clever trick of white privilege: the combination of willful ignorance and lack of lived experience imagines equality where it does not exist.
That’s the clever trick of white privilege: the combination of willful ignorance and lack of lived experience imagines equality where it does not exist.
I don’t believe that silence is a beneficial defense mechanism. In a society where being Black is punishable by death, silence only aids white supremacy. Solange recognizes that silence does not encourage change. She also realizes that she can use her public platform to connect with other Black girls and women and make them feel less isolated and alone.
Solange recently interviewed actress Amandla Stenberg for the February 2016 issue of Teen Vogue and spoke to that feeling of unquantifiable kinship between Black girls. She noted, “There’s a secret language shared among black girls who are destined to climb mountains and cross rivers in a world that tells us to belong to the valleys that surround us. You learn it very young, and although it has no words, you hear it clearly.” Knowing this language has made it possible for women to produce safe spaces in the midst of uninhabitable land. It’s a sense of higher consciousness, the look that transpired between the only other Black woman and me in my graduate school writing class, the exchange that prompted me to grab the open seat next to her. A feeling of anchoring myself. It is less a shared code of pain than it is a show of solidarity.
Anger is often viewed as destructive. Solange challenges that idea, arguing that anger can be a healthy, even necessary response to unfathomable atrocities ranging from the physical to the emotional and mental.
Anger is often viewed as destructive. Solange challenges that idea, arguing that anger can be a healthy, even necessary response to unfathomable atrocities ranging from the physical to the emotional and mental. While Beyoncé seems to filter her frustrations through subversive tactics that are primarily based on a nonpersonal, business-first sensibility, Solange participates in racial politics via personal reflection.
The media may deem Solange “crazy” for speaking out, as is often the case when Black people refuse to be complicit in racially motivated abuse. Solange is not exposing anything new or revolutionary, but her comments are viewed as such due to America’s legacy of deep denial. In the closing part of her essay, Solange remarks, “We belong. We belong. We belong. We built this.” Anger is testament to this mantra, a reminder that blackness is not validated by trauma.
At my first parent-teacher conference at my daughter’s kindergarten, one of the newer instructors asked me why my daughter would often re-read books that were “too easy” for her.
My daughter was already a strong reader by then. She’d taught herself, although we didn’t know about her new skill until sometime before her third birthday; she held up a cup at a restaurant, pointed to the words, and told us, “This says, Have fun.”
It did say, Have fun. We rushed through dinner and zipped home so that I could hold up magazines and novels and point to random (easy) words to ask her what they were. By the end of the evening, we had confirmed that she knew how to read.
There was no stopping her after tha—no.
That’s not true.
That makes it sound like it was never-ending progress: a rush toward fluency and proficiency when it was not like that at all.
Yes, every day, month, and year, she read harder, more complicated things. But as that teacher noted, she would also go back and re-read books—picture books, board books, books without words. She went forward. She went back. She re-read more than she read.
Yes, every day, month, and year, she read harder, more complicated things. But as that teacher noted, she would also go back and re-read books—picture books, board books, books without words. She went forward. She went back. She re-read more than she read. We didn’t push her; she was in charge of her pace. The main thing that we did was to make sure there was always something for her to read. We took her to bookstores and libraries. We let her pick out and renew what interested her. We read to her when that was what she wanted. We left her alone when she needed that, too.
It didn’t occur to us to do anything different. So when the teacher asked us why—more out of curiosity than judgment—why my daughter re-read so often, I was surprised. I muttered something about familiar books being comforting, and the teacher seemed content with that. It never occurred to me to tell my daughter not to re-read. I had done the same as a child, too. And for me, yes, re-reading was a way to soothe myself. But re-reading was also a way of marking how much I had learned.
The text of a book doesn’t change—most of the time. A couple of authors have on occasion gone back to update details. (For example, Judy Blume altered a scene in later editions of Are You There God? It’s Me, Margaret so that the protagonist used stick-on maxi pads instead of the belt and fastener that was prevalent when her classic children’s novel was first published in 1970.)
But for the most part, what changes is not the book, but the reader.
There are the jokes written for adults (by adults) in stories meant for children that most kids aren’t likely to find funny until later. Or there are the scenes where there are emotional currents that children—the protagonists of the book and maybe the young reader—don’t necessarily understand.
For example, I was reading middle-grade writer Susan Tan’s latest book, Cilla Lee-Jenkins: This Book Is a Classic recently, and came across this passage:
Until right as I was about to put together the triceratops’s tail, I heard a conversation that made me stop and pay attention.
They were still talking about the wedding. And my mom said, “Just remember, this is your day. All that matters is you and Paul. Everyone else will deal.”
“Yeah,” my dad said. “Also the trick is knowing how to manage Mom. She can be a handful, but you just have to know how to keep her happy.”
“That’s easy for you to say, big brother,” Auntie Eva said. “You’re the son—you just have to show up and be yourself and you’ll make Mom and Dad happy. I have to be perfect…”
Cilla is an optimistic, aspiring writer. She’s in third grade and happens to be biracial. Her beloved aunt is about to get married, and the event brings out tensions in the family that Cilla doesn’t quite understand. Adults may be able to unpack all that’s going on, but Cilla’s confusion—her growing knowledge that the grown-ups see all of the events of life quite differently—mirrors the younger reader’s. In a way, the fact that this book may be understood on more than one level means that this book is meant to be remembered and re-read.
But of course, sometimes, re-reading doesn’t make a book seem better.
It never occurred to me to tell my daughter not to re-read. I had done the same as a child, too. And for me, yes, re-reading was a way to soothe myself. But re-reading was also a way of marking how much I had learned.
This column, of course, is all about re-reading. It’s about looking at how books shaped me, and also at how my perception of those books has changed now that I’m an adult. At times it has been a delight and a comfort to greet my old friends. Sometimes it has been painful but rewarding. Sometimes it’s been shit.
Recently, my husband was flipping through the channels when he happened upon an episode of The Golden Girls, a classic NBC sitcom that ran from 1985 to 1992. As soon as I saw it, I said something about how often I’d watched the show in re-runs after school. I remembered watching TV in the basement, eating peanut butter sandwiches. I was a latchkey kid and spent hours alone except for books and the television. I knew even then that the show wasn’t perfect, but in a lot of ways it didn’t matter. It was a comforting place where I could settle.
Of course—of course—as soon as I said something about this to my husband, the following happened onscreen:
Teacher Dorothy, played by the great Bea Arthur, is doing roll call for her adult education class. She says, “Jim Shu.” No one answers. She says, “Oh, very funny. Gym shoe.”
Then an Asian man, played by Ralph Ahn, stands up and says, “I am Jim Shu.”
Dorothy apologizes profusely. She explains, “I thought someone was pulling my leg.”
Jim Shu looks at her up at down and says, “I don’t think I could drink that much sake.”
The live studio audience laughs wildly, even though the line doesn’t really make any sense. Also, sake is Japanese, Jim Shu is probably Chinese, but who can tell the difference? LOL ASIANS AND THEIR FUNNY-SOUNDING NAMES FOR THEMSELVES AND THINGS.
It was like a kick in the stomach. But at the time I first saw it, I probably thought I should laugh along. Even while sitting alone in the basement.
This column, of course, is all about re-reading. It’s about looking at how books shaped me, and also at how my perception of those books has changed now that I’m an adult. At times it has been a delight and a comfort to greet my old friends. Sometimes it has been painful but rewarding. Sometimes it’s been shit.
I guess it’s a measure of what a person I’ve become—Oh, look how I’ve grown—when the space for comfort is no longer comfortable.
And I don’t wish that the children’s books I’ve re-read as an adult were different, nor do I wish to unlearn what I know now in order to feel soothed by old, familiar fictional people and places.
But if I did have to do it over again, I might answer my daughter’s teacher a different way. If she asked why my daughter returned to books that were too easy for her, I would tell her that in re-reading, my child was exploring the spaces she’d been in, furnishing them with new knowledge. And in doing so, she was asking if she needed more.
The Calvin and Hobbes Lazy Sunday Book by Bill Watterson is one of the few books I’ve kept from my childhood.
The book was a compilation of full-color, multi-panel Sunday strips from Watterson’s iconic cartoon, which ran from 1985 to 1995. At one point I had all of the Calvin and Hobbes collections. I don’t know how or where I lost them. My copy of the Lazy Sunday Book is now falling apart.
The strip is about a boy, Calvin, and his stuffed/real tiger, Hobbes. Hobbes is inquisitive, often hungry, more cerebral than his companion, more inclined to inject a note of caution. He’s also very much a cat. Calvin is an intelligent, reckless, and not unfocused boy; but it’s clear that he prefers to keep his attention to his own imaginative world, which puts him at odds with the one his parents live in. Only Calvin sees Hobbes as a real tiger—his parents and most of the people around him see Hobbes as a stuffed animal; the strip plays off the tension between Calvin’s elaborate fantasies and the “real” things happening behind it. When Calvin plays Spaceman Spiff, he soaks his neighbor/classmate/enemy Susie Derkins (who is at first drawn as a huge bug-eyed alien) with a ray gun that turns out to be a water pistol. In another strip, we’re shown a dinosaur chomping through his meal—until Calvin’s mother yells at him to use better table manners; then we see a Tyrannosaurus Rex shamefacedly eating with a fork and knife, knobby elbows tucked in.
I loved Calvin and Hobbes from the day the first black-and-white strip appeared in my childhood local newspaper, The Winnipeg Free Press.
I loved Calvin and Hobbes from the day the first black-and-white strip appeared in my childhood local newspaper, The Winnipeg Free Press. (Wikipedia tells me this day was November 18, 1985.)
My parents subscribed to the Free Press, which had a full-page black-and-white comics spread on weekdays and a color funny paper on Sundays. Along with Calvin and Hobbes, I read Peanuts, Cathy, Bloom County, and many others; I was so devoted to the funnies that when I went away to university, my parents saved great piles of them, and even though I told them they didn’t need to do so, I’d go through those when I came back home, too.
I loved Watterson’s illustrations, which, depending on the bent of Calvin’s imagination, looked like lush watercolors or saturated, eye-popping 1950s superhero comics. He plays with perspective in some panels, and in others he tries styles of art from different periods. And always, the dialog is smart, funny—sometimes heartbreaking.
Maybe at the time, I gave a thought to why such a smart kid had so much trouble at school, why he had no non-tiger friends. Only now do I begin also to think about Calvin’s frustration—all the characters’ frustrations, really.
I didn’t always identify with Calvin. (As a child, I was more of a Susie Derkins.) I enjoyed Calvin—his creativity and his intelligence. But despite that, Watterson never hides how difficult Calvin is. He’s hard on babysitters (and his babysitter is also hard on him). He’s greedy, mischievous. He isn’t a kid who gets As on his report card. Sometimes, he sits at his desk dreaming. Often, he gets in trouble with his teacher, Miss Wormwood.
Maybe at the time, I gave a thought to why such a smart kid had so much trouble at school, why he had no non-tiger friends. Only now do I begin also to think about Calvin’s frustration—all the characters’ frustrations, really.
Calvin’s dad is a enthusiast of the outdoors and cold weather; he bikes to work at his corporate job—and comes homes to chaos and disappointment. In one strip, he goes out early on his boat during vacation. “This is the life! A brisk swim at dawn, a morning out on the boat.” But when he returns with a freshly caught fish, Calvin’s mother sits bleary-eyed at the table and says, “You eat your dead animals. All I want is some coffee.” Calvin complains that there is no TV on this holiday. The dad’s balloon is punctured.
Calvin’s mom is a sharp woman who is clearly not willing to be an acquiescent, smiling spouse. She’s often exasperated by her difficult kid. And Calvin’s neighbor/enemy Susie Derkins is a rule-following, at times anxious perfectionist who has big ambitions. One time, when Calvin does ask Susie to play, she takes over: “OK, we’ll play house now. I’ll be the high-powered executive wife. The tiger here can be my unemployed housekeeping husband…” Calvin immediately regrets inviting Susie, but oblivious, she takes off, saying, “I’m off to Wall Street. Don’t wait up.”
At other times, Susie’s annoyance with Calvin often ironically results in her abandoning decorum and rules as she explodes over his antics.
In all of the human characters in the strip, there is a mismatch between their ideals and what they have right now: the dad would like a more outdoorsy, enthusiastic family; the mom would like a more sedate life; Susie has a clear vision of what she will do in the future and worries about how she can put herself on the right path now. And Calvin—well, the whole strip is really about how in real life a six-year-old is pretty powerless—forced to take baths when adults make them, told to sit in school instead of being allowed to have space adventures.
I find myself more in sympathy with Calvin now.
Childhood can be lonely and frustrating. Kids are stuck in an adult reality learning rules that don’t seem to make sense, conventions that people already seem to know—or assume one should know. I don’t blame Calvin for taking to his own worlds, despite the havoc that he wreaks on the adults and other people in his life. At this point, I probably have more in common with Calvin’s parents than with the kids. But paging through Bill Watterson’s Lazy Sunday Book, I laugh out loud at Calvin and Hobbes’s quips, I marvel at the illustrations, and I find myself remembering and holding onto my enjoyment for just a minute longer—just another minute—before Monday morning comes.
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