Tag: Bridport Memoir Awards

Leaving Locust Avenue

I thought I would take a minute here to acknowledge the shifting of my memoir title from Learning to Survive to Leaving Locust Avenue. First things first: a big THANK YOU to Caroline Litman, gifted writer and fellow Highly Commended author in the Bridport Memoir Awards. She read my book, and floated this title with me. I immediately knew it was right. So grateful to her for this stroke of insight.

Second: the title makes clear that this house is at the centre of the abuse. On this avenue. In Southwestern Virginia suburbia. It feels right and important to flag here that Child Sexual Abuse occurs everywhere and anywhere. Including within the four walls of my childhood home. My sexual abuse did not happen in some ‘deprived’ area, by parents who were ‘addicts’ or ‘on benefits’ etc etc… I make these points because, believe it or not, over the last couple of years I have had people say exactly these things: ‘oh I knew it happened in some parts of town’, and ‘oh but you are doing so well, how?’ etc. All judgments of not only me now, but the circumstances I and others grew up in. And a ridiculous, shaming attitude toward those who grew up differently. This attitude conveniently keeps CSA at arm’s length — over there, not in my backyard.

Once and for all, here it is: Child Sexual Abuse happens to at least 1 in 6 children across all socioeconomic levels. I am happy to provide the resources I and others, including dozens of charities and organisations, use to arrive at this — but I would also encourage you to look it up yourself if you have questions, as along the way you will find out a great deal about Child Sexual Abuse.

My father was a professor, as were many wage earners living along this particular avenue. And his crimes were completely hidden in this house. How many more houses along this street hid Child Sexual Abuse? Statistically speaking: several. Yes, almost certainly: several.

Third and finally, I come to my leaving Locust Avenue. It was the last thing I wanted to do, in so many ways. But I felt forced out, scapegoated (as I now know is typical in family cases of abuse) — and I had to do something to save myself. As followers of this blog will know, I had to leave behind my [half] brother and [half] sister after 11 years of living with them, and was forbidden from telling them anything. It was a terrible secret to keep. Feeling forced to leave my childhood home destroyed it for me, forever, regardless of any good times there.

So yes. Leaving Locust Avenue is right. It captures so much at the heart of this book.

Here is an excerpt from the memoir which recalls when I first arrived at Locust Avenue.

***

Ommie and Granddaddy take me to Blacksburg the first time [when I am six years old]. Ever the intermediary figures, with them I feel entirely at ease. I remember no feelings of apprehension or even distress saying goodbye to my mother. I don’t remember saying anything to her, or her words to me. I believe we drive up, taking the two days along the Natchez Trace, through Alabama and a corner of Mississippi, then up through Tennessee, South Carolina and North Carolina, arriving at last in deep Southwestern Virginia, in the Blue Ridge Mountains. The only clue I have to the nature of the experience is that later my grandfather tells me he catches me sleep-walking on the journey. He wakes up in the middle of the night in the Best Western, and I am standing there, with my hand on the door handle of the room, about to open it. We are two floors up, and outside there is a metal railing around the rectangle of the pool in the middle. Needless to say, he leads me back to bed.

            The house on Locust Avenue, in Blacksburg Virginia, where I mostly live for the next 11 years, is medium sized. Set in a hilly suburban area, it is a single storey olive green clapboard with a steep drive up to the carport. With three bedrooms, a living room, a lounge, dining room/kitchen and two small children, until I arrive it must seem relatively spacious. There is a large flat space out back, the only flat place in the neighbourhood in fact; in later years we brave my father’s warning of killing the grass every evening in order to play kickball, softball, and ‘ghost’. It is a real neighbourhood, with at least a dozen kids of all ages in the streets, especially in summer.

            Of course, I know nothing about anything at first. I am impressed by the swings under the big tree, and remember swinging in them with a kind of aimlessness, while Ommie and Granddaddy stand close by watching.

I am impressed too by my half-brother and half-sister, six months old and two and a half, respectively. Already I have missed having siblings, and this ready-made family thrills me. I remember picking [my sister] up, and half-carrying, half-dragging her down the hallway to her room, delighted I can do it. I remember [my stepmother’s] anxiety about this action, afraid I will drop her.

            [My sister] is a beautiful child, with enormous blue eyes like Granddaddy’s, and long ash blonde hair. The photograph from close to this time shows her sitting serenely with her legs tucked out to one side, in a blue velvet dress with her hands folded neatly in front of her. Her hair is pulled back just at the crown, her widow’s peak emphasising her high forehead and her gentle, serious face. In the picture she looks vulnerable, like life has caught her unawares, and it is true that from the instant I walk into that house I feel protective of her.

             I am ashamed to admit that in all of our years together I never really consider the effect my entrance must have on her. It is only with my own two children, with the exact same age difference, that I can see how I – this vocal, eager to please, attention seeking child – might have overrun and quieted an already naturally introverted little girl. Suddenly [my sister] is the middle one, and despite the several visits to Texas I take in the first years, she remains so until I just as suddenly leave the house eleven years later.

            Both [my sister] and I, in a sense, and differently, become stranded. It is due to her quiet determination to keep in touch that we manage to communicate at all in the years after I leave the house, given what will happen.

            I imagine that for [my brother], being so young, my entrance is more seamless. My earliest memory of him is noticing his bottle propped up on the cushion of the sofa while [my stepmother] prepares dinner. I remember going over to it and holding it for him; I want someone to feed him. Is it my imagination, or does he look me in the eye then? I wonder now if my deep affection for babies begins with him, with the desire to connect.

            Physically, [my brother] too has the long face, the blue eyes of our family. He is always [my stepmother’s] baby though, and I have clear memories of him sitting on her lap, her going through his hair, looking in his ears, grooming him like a chimp grooms her little one. For many years, until recently, he and I fall entirely out of contact, which I regret. As with so much else, I feel I failed him. It was not my job to catch him when so many things seemed to fall apart, first for me, then for him; nevertheless, I wish I had been able to.

And what of my father and stepmother? They inspire in me no emotions, and I suppose at first I look at them as just the next set of grown-ups to take care of me. I am used to living elsewhere, so at first my father’s house is just another in a long line. I remember that he has black glasses and dark hair. I remember [my stepmother’s] long hair and long legs, her quiet, slow-moving ways. Her distance. My father teaches mathematical physics at Virginia Tech, and is at work most of the time. I remember a few arguments, raised voices, and going into school afraid that they will get divorced. But in the main, I remember no display of emotions either from my side or theirs, only the unspoken sense that I have to be good – I have to behave – in order to stay. And that staying is imperative. Underneath it all, beneath the daily smooth running of life, things are desperate somewhere, and I know it. And as is the way with children, I end up feeling like everything, all the ways in which this will or won’t work — everything ultimately depends on me.

post-traumatic growth

This photo of me was taken a few weeks ago by the same brilliant photographer who shot E and A’s wedding last summer (Hannah Hall Beddoe/Cuts the Mustard). I have known for a while that I needed new author photos, as the wonderful ones I had (by friend Nancy Wilson Fulton) were over 10 years old.

After discovering that my work was shortlisted in the Bridport Memoir Awards this year, I needed author photos urgently. I’ll say more about the awards in the next post, but suffice it to say I’m thrilled to bits. Child Sexual Abuse reaching the top five in an international, open competition. This is a win no matter what.

But back to the photos. I went to see Hannah of Cuts the Mustard because I trusted her. She was in the Lakes (six hour drive from here), so a bit of a haul over a weekend, but I knew I couldn’t go to a stranger. Especially a man. That was not ever going to happen.

In the couple of weeks which followed the shoot, I tried to identify my feelings. The process of doing them had felt harder than I anticipated. I felt on the spot. I felt awkward. And at some point, I realised that I felt scrutinised. Not, I hasten to say, by Hannah — but by the camera itself somehow. I tied myself into a knot trying to appear ‘normal’, all the while feeling so very ‘different’.

It’s not rocket science to figure out what is going on here. Being forced to appear ‘normal’, to perform, when really so much is NOT normal under the surface. Really you want to run away forever.

To Hannah’s enormous credit, I began, as the session went on, to see the person behind the camera for who she is: a friendly face, a face which means me no harm, a face which believes in me. Hannah knows my history, and I began to think ‘oh, just be how you are every day’ — she likes you! You like her!

The shoot improved exponentially partway through. I can identify when I began to ‘risk’ showing myself. I realised she wasn’t going to use anything against me. That I did not need to hide.

Because that’s what my father would do. Swoop into any show of my ‘true self’, try to weasel his way in, try to ‘steal’ it — or so it felt. So I learned to hide the way I felt, nothing showing on my face. I learned to live with scrutiny, with my father seeming to examine my face, my movements, for anything he could bring up later, in my bedroom, that night. Anything to get ‘closer’ to me.

At some point, in my teens, while the abuse was still going on, my father took pictures of me. They are not explicit pictures, but they are agonising nonetheless. They look grown up, so focused on me, the camera’s cold gaze. I was frozen, yet required to be ‘relaxed’. A child forced into grown up poses. Thinking about it now, I feel just sick, sick to my stomach.

Somehow, these experiences led to me being convinced that I do not, under any circumstances, ‘take a good picture’. My children and husband are ‘photogenic’. I am not. I have felt this way for as long as I can remember.

When the photos come through from Hannah though, I am gobsmacked. And elated. There, on the page, in so many photos, I am myself. I recognise me. My husband recognises me, seeing in my movements and expressions so much that is ‘typical’. I look: yes, I am happy with that kind of ‘typical’. I am happy with how I guess I must appear to the world. This is me.

I have always hated representations of myself. They feel so far away from my nebulous idea of ‘me’. I harboured a fear in fact that I always looked fake, that there was always some of kind of ‘wall’ between my interior self and my external appearance, and never the twain shall meet. I honestly had zero idea that these photos could be ‘me’ in the world. But my friends and family assure me that they are.

So what happened? How did I arrive here? Later, I spoke with my good friend Clare Best (another CSA survivor) about this. It turns out that she wrote a blog post herself about having author photos taken — by her son in this instance — and how this led to a sense of growth, of being more rather than less grounded, connecting with the self in profound ways.

Clare mentioned the idea of ‘post traumatic growth’. I’d never heard of it. But reading up on it: this is clearly what has happened to me, in particular ways, over time. The latest one being finding my way through being photographed, and experiencing it differently than ever before. There is a part of me that might have turned away completely from having these photos taken. I did find it gruelling at first, extremely emotionally challenging. But at some point, unawares, I grew past/through the initial, old trauma. I can now see that I have done this a number of times in my life, around very specific things. It is patently obvious that PTG is by no means the inevitable outcome (‘what doesn’t kill you makes you stronger’ — NO!), nor should there (as the above linked article is careful to point out) ever be an expectation or imposed narrative of certainty around PTG happening. Because we all know that there are some things about having been abused which will always remain raw — different things for different people — but forever traumatic and triggering. It’s just that for me, surprisingly, being photographed is now not one of them.

Last night we went out to dinner to celebrate the Bridport prize. My husband took a picture of me in front of some nice food, to send to the kids. He showed it to me — ‘you won’t let me send this, will you?’ After 37 years together, he is prepared! But I looked at it and thought: nah, I don’t care. Send it! So he did.

***

The following excerpt from my memoir LEARNING TO SURVIVE, recounts being scrutinised by my father. This particular event happened when I was over 18, but it is one of many such occurrences throughout my teen years.

***

That same summer, the household in Blacksburg acquires a set of weights and some gym mats. They are in the basement, in the half of the downstairs sitting room which has never been used for much. After a serious knee dislocation during a modern dance rehearsal at Oberlin College, I am in rehab, building my leg muscles, generally getting back into shape, and I use the weights every other day, doing sit-ups and stretches as well. When he’s home, my father comes downstairs to watch me. He says he is learning about weights, and smiles, laughs a half-laugh. But I know he’s simply coming down here to look at me. When [my stepmother] comes home, he quickly gets to his feet, goes upstairs.

            Encounters like this are common, I realise now. From age 11, when the abuse starts, right up until the last time I see him, at age 21, every time we are alone he behaves as if I am party to a secret, a secret between us. He behaves, I realise now, as if we are actually in a secret relationship. As if external forces ‘keep us apart’, but we still ‘long’ for each other.

            For me of course, nothing could be further from the truth. He repels me, disgusts me. His laugh, his hands rubbing together, fingers clasping. His physical awkwardness. I have a hard time being around him at all. I have no wish ever to see him again. Yet: here I am. Here is the family. Here is Blacksburg. Here is where I grew up.

            What I struggle to accept now is my tolerance of the situation. How do I not storm out and never come back? How do I eat in the same room? How do I smile? How do I breeze in and out every day? Secrecy, I guess, is hard to break the surface of. It holds firm, membranous and tough, despite the liquid chaos underneath.

            And I suppose, if I’m honest, a part of me still hopes. I hope that all of this will pass, and I know that some part of me is strong enough to last until it does. I continue to hope – for years – that he will change. That he will seek help in the ways that perpetrators I later witness are forced to seek help. I know – deeply and with real regret – that everything about his attitude to his relationship with me is wrong. What takes me so many years to do is give up on him. Give up on the family, give up on [my stepmother]. And it’s this giving up which brings lasting pain, to this day.