Personal Essays Archive
Mariateresa Di Lascia’s modern classic, which won the Strega Prize (the Italian equivalent of a Pulitzer)—but is only now forthcoming as an English translation—is incredibly pertinent to the way our society is grappling with how a woman’s life is often marked by an endless series of hidden indignities.
Three years ago, I was thrown out of a Trump rally. A friend got circled by police officers, stared at by supporters. He protested. I jumped in. As the police officers wrangled me, Trump said, I can’t believe in Louisiana it takes this long.”
Those of us who experience trauma find it difficult to put our experience into words in the first place. Many of us flounder, sputter, or stay silent, at a loss for how to adequately translate our experience into language.
Those who write about their mental illnesses—Jane Kenyon, Susanna Kaysen, Andrew Solomon, Kay Redfield Jamison, and Elizabeth Wurtzel to name a very small few—often struggle to reconcile their character with the disease that riddles them.
Between December 1960 and October 1962, around fourteen-thousand unaccompanied children arrived in Miami from Cuba as part of Operation Pedro Pan; my father, migrated here on June 29, 1961.
I left Hungary in 1981, and never questioned that freedom of speech has always been a feature of the West.
This year, I learned that the emotional background to William Goldman’s famous novel is fictional.
Reading John Donne’s “Air and Angels,” I came to know that if I listened to a poem, I would know it, even if I didn’t understand everything it said.
Spic, Richie said in the cafeteria, and I don’t remember why. After, as we walked back to our fourth grade classroom, I pushed him down when he turned his back.
I first met Jim McPherson when he was twenty-five to my twenty-six. I’d read none of Jim’s work and had no idea that he’d published in the Atlantic, had studied with Alan Lebowitz, been mentored by Edward Weeks, and was finishing his first collection, Hue and Cry.