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Author: Brad Johnson

Brad Johnson is an author and blogger who helps writers discover their niche, build successful habits, and quit their 9-5. His books include Ignite Your Beacon, Writing Clout and Tomes Of A Healing Heart. For strategic content and practical tips on how to become a full-time writer, visit: BradleyJohnsonProductions.com.

The Secret Lives of Yoga Instructors

“Pros and Cons” by Jenny Bhatt

For the first session of the day, Urmi stands next to Jaideep on the dais.  He  makes  eye  contact  with  the  five  students—holding each one’s gaze for a couple of seconds before moving to the next. In Hindi, he murmurs to her, “As if their limbs are about to break off,” and then that flashing brilliance of a smile.

Urmi scans the room too. It is near the end of the week-long yoga retreat. By this point, almost every student’s face is marked with the ascetic suffering of an ancient saptarishi. They rarely imagine yoga to be hard work—more so emotionally than physically. And this class has had more of a strenuous workout because of the atypically smaller size.

Ankita rests against a wall massaging a lavender-infused lotion onto her hands and, as if absentmindedly, the red and black fleur-de-lis tattoo around her belly button. Her branded yoga wear draws the eye to every curve and swell. Next to her, Bernd, the German, flexes his biceps and keeps shaking his bow legs out as if getting ready for a run. His bald head glows redder under the fluorescent lights. Behind them, the two American women whose names Urmi cannot keep straight—Blonde and Blonder, she has named them privately—titter to each other. They’ve nested themselves with bricks, belts, bolsters, and bottles around their mats. And at the very end, Farrokh, who is either from Oman or Yemen, slumps against the back wall. His hooded eyelids confirm that he has already enjoyed a pre-class spliff.

Urmi looks down at her feet, sucking her stomach in so she can see more than her toes. They often pair her with the newer instructors like Jaideep to “break them in.” And though he comes with some teaching experience, Jaideep has made her more aware of how, with each such break-them-in instructor—mostly male, mostly good-looking—she gets older while they remain about the same age. Enunciating each English syllable carefully because Blonde and Blonder always remind him to speak slower, Jaideep describes again why sun salutations are important in every kind of yoga practice. Demonstrating the twelve-step sequence as if he hasn’t been doing it every day of his career, he calls out the names of each asana in both English and Sanskrit and points to the placement of each foot and hand, and nods toward the direction of the eyeline. In each asana, his entire being ripples with a strength that seems to nourish them all. As they join him, Urmi walks around to check their form—adjusting a drooping arm, nudging a straying foot, aligning a tilting head.

Ankita, not quite twenty yet, needs the most attention. Although, Urmi suspects, it is not her attention so much as Jaideep’s that the girl seeks with her audible grunts and shallow breaths.

“How much of this basic stuff do we have to do?” Ankita says as Urmi straightens her knee. She has asked this every morning although she can’t get through even three rounds without those cries and gasps.

“How many could you manage a week before?” Urmi says. 

“What?”

“At least twelve rounds done in full,” Urmi says, placing a finger on her lips.

The girl opens her mouth to speak again but turns to Jaideep instead. After a couple of beats, she drawls, “Oh . . . ‘kay . . .” still staring at him. His silhouette is radiant from the light of the rising sun behind him. The ocean beyond is a writhing sheet of blue-grey silk.

As she scatters her gawky limbs along the floor for Chaturanga, Ankita’s hair tumbles down from her topknot and she wobbles to her left. Jaideep steps off the dais and goes over immediately.

“Straight hips, Ankita,” he says, placing his hands on her waist before lowering them to her hips to twist and thrust them down. As he steps away, his hands round over the small firmness of her butt. “Good,” he says with a pat.

Her expression is fragile and with a joy-like shimmer on it.

Very suddenly, he lays down on the floor beside her and raises his palms and feet. “Here,” he nods at her.

Ankita widens her eyes. Urmi sees the rush of red to her cheeks. He nods again. The girl moves sideways over him, mapping her fingers and toes to his so they interlock. The rest stop to watch. Grasping, he lifts her even higher. She is looking down on him with about a foot between them. Her hair grazes his shoulders and chest. She teeters a bit. He grips her harder. She giggles.

“That’s it!” Jaideep bellows. “See the balance now!”

They all look. Urmi looks too and feels the entire room focused on the two figures. There is something about the way they are clutching at each other with all fours: her faith and his power holding them together.

“Up,” Jaideep commands.

Ankita arches her shoulders so that her breasts thrust forward and her face rises like a fresh blossom.

In that moment, she is any young, skinny girl: eager to please, alternating between simpering and simmering modes, contorting herself readily for the world’s approval. An approval that, Urmi has come to realize, never lasts and is never enough.

The pose holds; Ankita’s focus and balance are flawless. Then, she collapses onto Jaideep and the moment passes.

Urmi watches as Jaideep stands, helping the girl to her feet as well.

“Excellent,” he beams at everyone.

After breakfast, the students wander about the private beach. Blonde and Blonder wade into the water, letting off peals like twin temple bells; Bernd settles with his iPad on the open porch, staying close to the weak wifi router; and Ankita and Farrokh fling a frisbee about on the sand, neither managing to catch it before it falls each time.

It is Urmi’s first time at this location and she has not been sleeping well in this storybook palace with its high-ceilinged rooms and uniformed staff. Time seems to have slackened as if dragging itself forward from the previous century. Every night, she has lain on the Victorian bed in her room, staring at the full-length mirror across for hours. In the dark, the reflection of the iron bed-frame—with its intricate floral flourishes, opulent scrolls, and antique knobs—floats and shifts about like some hulking otherworldly creature.

The breeze, though cool, carries traces of sand that feels gritty against her skin as she sits on the porch steps. She had read online that, after September, the weather gets unpredictable in this part of the country and most of these fancy resorts close up till after the New Year. A raggedy old man, hunched over with a cattail basket filled with football-sized green coconuts on his back, appears trudging as if from nowhere. The women run to him. As if frightened by their excitement, he mumbles and hurries on, one heavy step after another on the gold-white sand.

The session before lunch is their last anatomy lecture of the week. The local doctor, hired at an exorbitant rate for a daily hour and a half, arrives fifteen minutes late. She hands out square booklets with cartoon figures and dense paragraphs in tiny typography. Chuckling nervously at her own jokes, she keeps asking for Jaideep or mentioning his name. Urmi sits in the back with her headphones on, trying to hold off asking one of the staff again to hunt down the frequently disappearing instructor.

Lunch is a quick meal, then everyone lazes about on the bamboo recliners in the shaded corner near the coconut grove. At some point, the women bury Bernd to his stomach in sand while Farrokh keeps saying, “Duuuude,” as if a terrible thing is happening. When Jaideep finally shows up, he sits on the recliner next to her and pulls off her headphones.

“Welcome, O Moon of Eid,” Urmi lights two cigarettes and hands him one. They watch the women skipping around Bernd’s bare torso while he tries to catch a leg or two. After savoring a couple of drags, she asks, “What are the pros and cons of doing this?”

Jaideep raises his eyebrows. “This?”

He has changed into a rose-colored kurta, unbuttoned and crumpled. Closer, he is like those old-school Hindi movie heroes from the ’60s and ’70s with their studied, practiced charm.

“This. All this.” She draws a large circle in the air with both hands. He shakes his head so she continues. “Teaching yoga for a living to rich men and women who won’t remember any of it—or you—in a month.”

Placing a pair of sunglasses onto his nose, he waggles his chin in a droll, dramatic manner and says, “All is fleeting. Time flows endlessly like this ocean.”

“Oh, come on.” Urmi smirks. “You can do better than that. There are plenty of perks, obviously. There must be some cons too.” 

The wood creaks as Jaideep lies back as far as he can go. “Sure,” he says, “as with everything in life, hain na?

“Tell me,” says Urmi.

A wind has picked up, making the trees behind them swish and sigh. The women have changed to swimwear and are shrieking as they run into the tossing waves.

“You don’t think it’s a decent way to make a living?” he asks.

She clicks her tongue at him, annoyed that he has turned the question around on her.

Flicking away his cigarette butt, Jaideep signals a uniformed man closer and tells him to bring lemon sherbet. When the cold, sweating glasses arrive, buzzing flies land on their rims. He swats them away and gives her a glass.

“To making pros out of cons,” he says, raising his glass to her.

Urmi sits up and throws her head back, exposing the length of her neck. She feels him watching her throat move as she swallows. “To conning the pros,” she says back.

The students come over, clustering in twos on the available recliners. Ankita, dripping wet from the dip, perches on the edge of Jaideep’s recliner. They talk about going out as it is their last night. 

“There are no restaurants or clubs nearby,” Jaideep tells them again, removing his sunglasses. “The driver will have to take you close to the airport and wait.”

Ankita pouts with the perfect duck face and slouches next to his arm.

“My back,” she moans.

Jaideep glances at Urmi and presses a palm on Ankita’s slick back, then runs it up and down. She shivers and scrambles closer so that her head is almost nestling in the crook of his shoulder. With blazing adoration, she looks up at him. A hush falls.

She squirms against Jaideep, trying to get his hand to go lower. It does not. Giving up, she scrambles back onto her feet. “Well,” she says, her voice brittle, “Another swim. Come one, come all?”

The others join her as if obeying an order.

Ankita squeals and jumps onto Bernd, making him stumble forward. Jaideep says, “Oye hoye, patakha guddi . . .” in a guttural, singsong tone.

When he lays back with his arms under his head, Urmi reaches over and touches him. Lightly at first, then with urgency.

Jaideep blinks sharply at her and his lips part.

How you can just do this to a man, she thinks, and get his complete attention. Even though that attention does not always work to your advantage. She was probably younger than Ankita when she had discovered the first of those two things.

Lifting her half-empty glass with her free hand, she sips without removing the other hand.

“What are the pros and cons of this?” she says.

His face flushes to almost the same shade as his kurta. “Let’s go upstairs,” says Urmi.


They walk into the hotel and climb the single flight of stairs to the rooms. Urmi sways her hips against his. She is more nervous than she has been in a while. At the top, Jaideep tugs at the fastening of her pants. Heat erupts between her legs and rises up through her belly.

“Your room,” she says, pushing him to the end of the corridor.

Jaideep’s room is considerably larger than hers and the bed is a mahogany four-poster with thick burgundy damask stripe bed linens. There are screened floor-to-ceiling windows and distant yelps and shouts drift up along with humid, fishy odors. He closes the bedroom door and goes into the bathroom. She stands by one of the windows and sees boats and nets laid to dry out below, toward the left. An endless expanse of water spreads to the right.

When the toilet flushes, she stands up straighter, waiting for him to come up behind her. Instead, the bed groans as he pitches himself across it.

“There’s good and bad about this view,” she says, leaning out. 

“Everything has to be about pros and cons?”

“Maybe. Yes. Why not?”

“Why not . . . just take things as they come?” 

Arrey . . . because you want to be prepared.” 

“Are you always prepared?”

“Nope,” she raises her arms high to the top of the window frame, standing on her tippy-toes, and leans further out.

Jaideep is quiet.

Pivoting away from the window, she catches herself in the wall mirror opposite the bed.

“Well, then?” He also looks at her reflection.

Urmi takes off her top. Her breasts are round, if not perky; full, if not bouncy. She tries to take care of herself but the aging process continues to astonish her.

She turns around to him. “But at least I’m ready for the worst then.”

Sprawled on the bed, his arms and legs are flung wide. His longish, uncombed hair is more tousled than ever. And his quick yoga instructor’s eye assesses her.

She knows he has seen better form. She wants to cover herself up again. Instead, she asks, “Changed your mind?”

He shakes his head.

A gust of salty air from the window is like a blow on her naked shoulders and back. Nearby, on the edge of the TV stand, there is a cigarette pack. She walks to it, takes two out, then sifts among the notes, coins, cards, and crumpled payment receipts for a lighter. A battery-thin platinum one has the letters “ANKITA” spelled out with sparkling rhinestones.

“What do you think of her?” She says, picking up the lighter and brandishing it.

“Pros and cons?” He laughs.

“She’s mad about you,” Urmi says, “It’s more than a crush.” 

Patakha Guddi?” he says, “She’ll be married off to some lakhpati-crorepati in a couple of years.”

Urmi twirls the lighter. She is reminded of the first time she saw the girl hand it to Jaideep—at the airport when they were all waiting for the bus that would bring them here. The two had instantly become friendly and sat together in the back for the two-hour journey. She had sat in the front, just behind the driver but had listened to Ankita’s giggling and Jaideep’s gravelly murmuring almost the entire way.

“So. All yours now?” she asks, flicking her thumb so that a flame jumps up.

Jaideep props himself up on one arm. “No, baba. Too dhinchak for me.”

“Sure, boss,” Urmi says.

She puts the unlit cigarettes and the lighter back and moves toward him. Lust and jealousy, she thinks, always make a good combination. Sitting on the bed, she wonders what it would have been like if he had made the first move. She would have liked him to. But men like him don’t do that with women like her.

She lies down beside him, easing into a stretch that releases some of the knots in her. “So,” she says, “are you going to show her your Kama Sutra asanas?”

“What?”

“Ankita.”

“Are you always so . . .?” he asks.

She puts her hands around his face, brings it down to hers, and kisses his mouth with a fierce hunger. It tastes of mint against her smokiness. Should she have gone to her room and brushed her teeth too? Pulling his kurta up, she presses herself against his skin, which smells of the ocean. His chest is not as hairy as she had imagined.

“What is it, yaar?” he peers at her. Then, he pushes her back and, with a single motion, removes her pants and underwear so smoothly that she wants to congratulate him. Instead, she runs her nails down his arms—the arms she has been watching all week in various asanas—leaving long, white scratches on them. He doesn’t make a sound. His eyes are half-closed as if intoxicated. She could be any woman. And yet, she has him in this moment now.


Later, when even the noises outside have died down in the evening twilight, they lie side by side. The sweat is drying off their bodies in the now-cooler breeze from the windows.

“I stayed in a palace like this once in Jaipur. When I was in the salon business and went to weddings to do bridal parties,” she says, licking her dry lips.

“Salon business?”

“Yeah,” she says, “I’ve had a few different careers.” She rolls on her side, facing him. “I used to be young and pretty then. People thought I was one of the rich and famous too when I got all dressed and made up.”

“You don’t think you’re pretty now?” Jaideep says. Urmi says nothing.

Jaideep places a hand at her waist, moves it at a measured pace up her arm and shoulder, and lets it stop in the curve of her neck.

“How old are you?” he asks. 

“Forty-five.”

“Wow.”

She touches the cradle of her hips, where his hand had not been. “I did the teacher training course ten years ago. Thought I would have my own yoga studio by now.”

“What’s stopping you?”

Silence fills the room. Urmi thinks she should leave. This conversation is not what she wanted. What did she want? Whatever it was, the good part—the pro—is over. This is the con part.

“What were the other careers?” His fingers are playing gently with her earlobe now.

She moves his hand away and sits up. “Don’t do this.” 

“You don’t like conversation?”

“Yeah,” she says, swinging off the bed. “Too many questions.” 

Going to the TV stand, she lights two cigarettes and offers him one. It’s a useful trick she learned from a past lover. Smoking means less talking. Though, it doesn’t prevent other undesirable, even dangerous, things from happening.

“Which was your favorite job of all?” Jaideep asks, stubbing his out in a glass, unsmoked.

“None. Dunno. Never stuck at any long enough to really find out. If I got bored or I wasn’t good at it, I left.” Urmi shrugs.

“You’re good at this—teaching,” Jaideep smiles, holding out both arms to her.

Relenting, she stubs out her cigarette and goes to him.

“I don’t think so,” she says, lying back down. “I might find something else. With less travel.”

“Travel? Part of the pros, hain na?

“Only if you’re an instructor.” She sighs. “Anyway, I’ve never even led a class on my own since the certification exam. I don’t have that expert confidence.”

Jaideep nods. “I never have enough confidence in front of a full room. But I love to push my body as far as I can and to show— teach—others what theirs can do too. So, bas, that’s what I do.”

As if he has shared an intimate secret, she whispers back, “Yes, that’s what I love too.” She should have left ages ago, probably. She might stay only a few more minutes.

Spinning onto her side again, she puts a tentative hand out toward him. He grabs it and places it onto his stomach, holding it there.

“Did you never . . . want to settle down?” Jaideep asks.

This question is one of the reasons she hates getting into any question-and-answer game. Sooner or later, it comes up. She tries to take her hand away but he holds it tighter.

“I was. Settled. Once. I left him,” she says. “That’s all you’re getting.”

Jaideep relaxes his grip on her hand and moves it up to his chest. A low hum vibrates from his diaphragm.

That sudden resonance and the even rhythm of his heart are soothing. She feels the tension of her clenched jaw and loosens it.

When Jaideep lets her hand go, she leaves it there.

“It’s not everything people say it is—being settled.” He uses air quotes for the last word. He speaks so softly now, she could cry.

Moving up close, he slides a leg between hers. Raising her chin, he says, “Pros and cons, hain na?

He’s teasing her now, she knows. She cannot speak; her throat hurts.

They remain still like that for three, maybe five, minutes—her hand on his chest, his leg between hers. Then he whirls her up above him and laughs, “Well, then. Show me what you can do, Miss Yoga Instructor.”


The group assembles the next morning, their exhaustion tinged with relief because this is the last class before everyone leaves for separate destinations. At this hour, the light from the windows all around the studio is so pale, it has also bleached the ocean almost white.

Jaideep and Urmi are a full ten minutes late. The room’s restlessness is palpable when they enter. As they take their usual spots on the front dais, Jaideep scratches his overnight stubble distractedly. Urmi, standing alongside, feels his every movement as if he is touching her. Five pairs of eyes stare curiously at them. Urmi wonders if they have guessed. She hopes so.

“Asleep on their feet,” she murmurs to him in Hindi. 

“Them? Or us?” His sense of humor, at least, is still alert.

“Both.”

She flies out tomorrow to another part of the country to assist another instructor. He leaves today to instruct some other group in some other place too.

“Pros and cons to that,” she adds after a beat.

Hand still on chin, Jaideep grins at her, “Yes, true.”

He steps forward and addresses the group. “Urmi is teaching this last class. I must see to some travel arrangements. My apologies.”

Reaching an arm back, he takes her wrist and draws her forward. She looks at him, mouth slightly open.

“Well, then. Show us what you can do, Miss Yoga Instructor,” he says and her stomach flips over. He squeezes her fingers before letting go.

As he walks out, Urmi notices Ankita’s eyes narrowing into slits of ice. The girl sags against the wall.

Urmi takes a deep breath. But there is something thrilling in having the room all to herself; in having everyone’s attention to herself. She hasn’t felt like this in such a long time that she cannot even recall when. She starts them off with six leisurely rounds of sun salutations.

Ankita shows her rebellion by not holding any asana for the required duration and acting as if she’s only going through the motions. When Urmi goes over to encourage her to raise her arms straighter, the girl does not respond. There is something wounded in her, something unyielding. Her chin juts out so that the line of her jaw is sharp, and her eyes are glittering bright.

Urmi marvels at how the girl’s infatuation or crush or whatever it is for Jaideep has developed so rapidly in a matter of days; how it is as savage as a wild animal inside of her. And, just as easily, in a couple of months or so, Urmi thinks, she will recall this time only when she sees the photos on her phone. In a year or so, she will likely not even remember the names of people she has met here. Several years later, she will share the story of her luxury beachside yoga retreat with that lakhpati-crorepati husband’s friends over some elaborate dinner, joking about how the male instructor flirted with her in class.

“Come on, Ankita,” Urmi coaxes, “a few more rounds.”  

“I’m aching all over,” Ankita glares past Urmi at the liquid gold of the ocean through the windows.

“You’re going to let a bit of pain stop you?” Urmi signals to the rest to continue.

Ankita’s mouth tightens.

Next to that sulky gloom, Urmi allows herself a little surge of pride. “It’s a good kind of ache. I mean, you get beyond a point and it stops hurting. You’re stronger then. Here, let me help you,” she says.

“Jaideep knows how to help me.” Ankita says, looking every bit the frail child she is.

How easily, Urmi thinks, we place our trust everywhere except in the one precious sanctuary that is ours alone, ours forever. She smooths the stray hairs away from Ankita’s forehead and the girl startles like a bird.

Going back to the dais, Urmi sits cross-legged on her mat, waiting while the class follows suit. Then she announces, “We’re going to do something new. A parting gift from me.” She pauses carefully before adding, “Let your body’s wisdom guide you. Trust your body—it knows you best.”

And she begins to take them through a slow Yin yoga session, guiding them through deeper stretches than they have done all week. Holding each floor-based asana for a longer duration than the one before, she encourages them to loosen and relax various individual parts of their bodies. Speaking in a low, languid tone, she asks them to let everything—thoughts, emotions, sensations— flow and fall away.

Sunlight streams onto their supine forms. Like a single body, they all inhale and exhale together. The energy in the room becomes so calm and still that the only sounds, other than her voice, are the waves breaking and birds chirping.

Something is shifting and changing within her too though she does not try to identify what or why. A deep-rooted hardness is thawing inside. An ever-present weight is lifting away. She feels light enough that she could glide in mid-air.

Without moving, she senses that Jaideep is standing in the doorway. A warmth washes over her as they look at each other. Between them, the students lying on the floor are like gossamer threads connecting them. When he lifts an arm in farewell, the ache that begins inside her is, she knows, the good kind. The need it reveals has nothing to do with him.

In a month or so, Urmi thinks, she will still remember this week as vividly as the day before. In a year or so, she will still recall the man in his crumpled rose kurta and sunglasses lying back on a recliner as if he is right next to her. And, a couple years later, when she is running her own studio, she will still evoke the touch of his hands on her skin and the sound of his words: “Show me what you can do, Miss Yoga Instructor.” But now, as she looks away from the empty space he has left and back to her class, she knows this is her moment to make all those future ones possible.

The post The Secret Lives of Yoga Instructors appeared first on Electric Literature.

Interview With An Author: Branden James ∣ Writer’s Relief

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Interview With An Author: Branden James ∣ Writer’s Relief

In our Interview with an Author series, Writer’s Relief asks professional writers to share their tried-and-true secrets for publishing success.

When Branden James became a finalist on season eight of America’s Got Talent, he used his time in the spotlight for more than just singing—he also shared details of his personal life, including coming out to his religious family and the resulting broken ties.

The overwhelming positive response to his personal story inspired Branden to continue being open and authentic. After blogging about his life experiences, he decided to write a memoir. His book, Lyrics of My Life, has just been published and is available now at his website.

In his memoir, Branden shares what it’s like to struggle with depression, contract HIV, and be a victim of sexual assault—all while maintaining his Christian faith.

BONUS: Leave a comment by September 17, 2020, and you’ll be entered to win a copy of Branden’s book, Lyrics of My Life! U.S. residents only.

Will you tell us more about your book, Lyrics of My Life?

The book came about by complete accident, really. I was told by my social media manager at the time that I should write more blog posts to improve my SEO score for the online presence of the musical duo I play in called Branden & James. I was writing them regularly for quite a while. The blog posts began to resonate with people, and I was approached by a couple of literary agents. The rest is history! I never intended to write a book. But the story I told when I was on America’s Got Talent was quite impactful to many, and I realized the power in sharing my story.

Lyrics of My Life is a memoir that chronicles what my life was like growing up in the ’80s and ’90s as a closeted gay male Christian in an ultraconservative, hetero-centric family. I had no one to turn to, nor anyone I trusted to talk about my feelings, so I turned to music. My piano was a place of solace; then came the singing, and my confidence slowly built up from there. Music shaped me into a complete person with an identity and self-worth. I understood that my talents were worth something; therefore, I was worth something too.

So many kids reached out to me after AGT explaining that they also had problems in their homes. I understood that it was more common than I thought, but still often not talked about. I wanted to help these young people, and this opportunity presented itself. The book is a road map of sorts, for others who are in similar situations. My story is one of triumph over trial; most people don’t have it that easy. After many years, I was able to reconcile that it is more important to love my family and have a relationship with them than it is to be angry and bitter toward them for the things they did. My parents were nineteen years old when they were married. They were just kids raising kids, really. Times were different, even in progressive Southern California. People didn’t openly speak about homosexuality outside of the TV show Ellen and a few other Hollywood outlets.

I made some bad choices along the way: I let someone take advantage of me sexually, I got caught up in the party scene, and eventually I contracted HIV. I felt like a statistic, like a failure, after that happened. It was like going back into the closet again. I feared my life would end early, and lived a hard and fast life for a while, running away from the reality that I might someday die from complications related to HIV/AIDS. It wasn’t until I was on AGT that I was able to reconcile things with my family. It’s as if seeing me through the TV screen filtered out their usual judgment of what they referred to as my “lifestyle choices.” I realized then that my parents were genuinely proud of me and never stopped loving me, so why would I stop loving them?

Music continued to be my savior and my place of solace; it was at times my only friend. It took me eleven years before I was able to tell my parents about my HIV status. After I did it, I woke up one day and realized I didn’t hate myself anymore: I was actually pretty damned proud of who I was. My relationship with the church was rocky to say the least: it still is. But I also realized while writing the book that God doesn’t discriminate and never stopped loving me.

Today, I’m happy to know that I’ve set myself free by being authentic and transparent about who I am. The lyrics of our lives are written along the way through the hardships, joys, pains, and trials we all experience. It’s up to us as individuals to find a way to love ourselves enough to forgive ourselves for the things we might hold ourselves to blame. I hope that the readers will see this powerful lesson and always remember to fight hard for the things they believe in—and above all, treat others with compassion and kindness.

What role did social media play in staying connected to readers, building an audience, and getting noticed by the publishing industry?

I’ve always had a social media presence since I was on AGT in 2013. It morphed from my work as a solo artist to a full devotion to the work of my duo with my husband, Australian cellist James Clark. It’s a tricky game, but I think we’re finally seeing the light at the end of the tunnel and we’re engaging more people, both musically and relationally. We’ll see what happens when people read my story and the reviews start coming in.

How did you move from your music career to publishing a book?

Although my longtime friend and social media manager, Justin Baker, says, “Writing a book was always the objective,” I never saw it that way, but sometimes you need other people’s eyes to really understand things about yourself that you cannot see on your own. In 2014, I appeared in the Cherry Blossom Festival in Washington, D.C. After my performance, a perfect stranger came up to me who knew who I was and said, “You are an agent of change. Don’t forget that your story means something to many people.” I started a conversation on AGT, and realized then that someday I would find a way to finish it. I turned to songwriting, but it wasn’t the best way for me to express my feelings and the story I wanted to tell.

The blogging was a much more comfortable outlet for me, so I just ran with it and decided I would ignore whatever I perceived as shortcomings in my own life and tell everyone about how my failures are actually what have helped me.

What has been the biggest stumbling block or frustration for you so far, and how did you overcome it?

I had writer’s block for about a month during the process of getting this all down. That was tough. The hardest thing was so vividly reliving some tense incidents throughout those tumultuous years: feeling betrayed by my family, being molested, getting thrown out of the car by my father, my HIV diagnosis, and the process of shedding that old layer of skin that was hanging on to me, but wasn’t the essence of who I am anymore. I remember being angry when I wrote sections of the book. I cried a lot. I called my mom and said some things that weren’t necessarily kind. I was in a funk for about a month, and it was over the period of my fortieth birthday. God bless my husband, James, for helping me through it. It was intense at times.

What patterns, habits, or motivational techniques have best served you on your journey to success?

I wouldn’t say I have any patterns or habits. I’m an artist. I’m driven by creativity and by whatever is happening in the moment. My lack of self-esteem, I can compare to the struggles of an alcoholic. It is there every day, and I have to remind myself that I’m good enough, I’m brave enough, and people will find value in the things I have to say or sing about. Those skeletons will always be in my closet—I’m committed to dealing with them on a daily basis in order to simply survive. I take an antidepressant, which has helped me stay in a positive mindset. I am predisposed to depression, and that’s okay. My motivational techniques lie mostly in choosing to ignore that voice of self-doubt in my head and reminding myself that I’m happy, healthy, and worthy of any aspiration I may have. Medicines have changed: I no longer worry that I’m going to die from HIV/AIDS complications. I have a “new lease on life” as Jonathan Larson wrote in the score of Rent, the musical.

In one sentence, what’s your best piece of advice for getting a book published?

Write from your heart, be authentic, be kind and compassionate, tell your story with pride—and then throw the cards up in the air and see where they land. That’s what I did.

About Lyrics of My Life

Lyrics of My Life is authentically Branden: a memoir highlighting the conflicts of growing up gay in a world that looked upon his true self and beliefs as an impractical, sinful way of life. Branden spares no details about his unstable life as a young adult, estrangement from his close-knit family, and, despite it all, his unbreakable will to overcome adversity. In a quest for his own personal freedom, Branden finds reconciliation with his family, rediscovers his faith, and realizes that affliction and hardship are not what define us as human beings.

Praise for Lyrics of My Life

“Branden’s bravery and willingness to share his most personal experiences are going to help so many people struggling with similar issues. This book is very necessary for the times we are in to help others see the light and have hope.” — Pia Toscano, American Idol finalist and touring recording artist with Jennifer Lopez, David Foster, and Andrea Bocelli

“Branden’s book is needed for these times. Being true to our soul and living with courage are required for survival, and his moving story will certainly inspire others, as it has deeply inspired me.” Michael Feinstein, Grammy and Emmy-nominated singer, pianist, and music revivalist

BONUS: Leave a comment by September 17, 2020, and you’ll be entered to win a copy of Branden’s book, Lyrics of My Life! U.S. residents only.

For more information on Branden James, please visit his website.

 

Messrs. External & Bodily

House and Heart

 

What happens here goes on for some time. Has gone on for some time. Trees used to grow with wood so hard it lined the walls of all the capable buildings in town. Sometimes the sky is so black it looks cleaner than anything could ever be. Now it’s rather sheep and puddles and stomachs never in need of a laxative push.

The allotments are cracked and studded with broken buckets. Space is marked and people do their best, but somewhere somebody made a false prophecy for the land that is roasted by degrees of heat and sun, washed up in weather and nobody tames it. We’re all out measuring weather’s weight, factoring the pulse of weeds against the waft of rooms that stink of pancakes, steak and orange juice.

Today it is mud. If it were flooded with water, you might row around in a wide loop with little ducks everywhere because we love them. Instead some leaves shuffle by with indecision, others suck up the breeze, scooting past the plastic rims, licking their rounds before bedding down to nestle, stuck in wet straw. That is the bottle’s play of plastic light, how it flits like a tiny disc in all the hollow things, like a clock or a memoir or the moon.

Prudence plays a small role in the conduct of this place – there is grass that seems able to converse with everything – with the rabbles of dogs and rabbit hutches, with the new trains and their slick blitz, the older ones all mechanical clang in the air’s draft – puffed out – and further across the earth just a big sleepy ventilation. This one is a landscape sold on the merits of all the other landscapes, on the nice horizontal sketches of museums and the peculiar power of invented lives that look very much like our own.

The animals know more, we think. They happen upon their information in the manner of the barn with its sure cocks and happy roosters. They know the remedy for this mental trick is buried in another trick, the joke of substance in absentia. He tells us so: one bird with his squawk, yellow beak sideways, no blinks, mocking the other birds for even thinking about landing. Whole suburbs are founded on these gestures of claiming territory. On claiming inconvenience.
In the year when there was snow all over and only the beakers and a few stalks cracked a path through the whiteness, people brought their horses here and pounded their pubics around on brown leather saddles. There was no dust to settle in, no ridges of mutual support for the overlooked physics of dirt. It was wet and white and a little green, like salt or coriander.

People lost their keys from pockets and the losers would scrabble around, fingers frozen, realising they could no longer justify their margins of existence, their fragile positions of simply being a breathing vessel on this giant blue planet. The creases and stains of other people roughed up the land. A time of frozen plenty. Feet shod dirt on carpets. Worms fattened, buried deep till summer. And with all the necessary authority of it coming, weather went off again, falling right off the edge of the Earth’s sinking bowl. Rarely did anyone stop to note even a finger or a foot, and if we did, we were not factoring in the occurrence of the shared skin and creases, the truth that all this same stuff covered each of us, stopped us leaking out, held us soft and terrible like fragile enamel.

Like a single sick giggle, everything was doomed with early disillusionment. What happened was whole cycles of people feeling murderous about one another. What happened was pale bodies full of cheap wine. What happened was cultural shoes snapped at the heel, men and women run ragged whipping their heads and exposing teeth and hair to the sky for breaking. Most people in their small houses got through each day simply by hating their neighbours. Days clocked up and it was hard to tell if we were charmed by time or the weather.

It was a season of communal malaise. Of narrative struggle. People looked how the seasick look at maps and dream of land. How the hungry see a wrapper, a skeleton fish and trace the edges of their own bones with a slow finger feeling morose and giddy-eyed.

Many people in towns grew fat, whilst those in the country stayed thin in apology to nature, their bodies a solemn alignment of the dignities of careful growth, clever promises made to make the trees carry on with buds and fuzz and lichen. In the town there were idle feet, often centigrades rocketing to one impossibility or another. It was slums and edifices, murky sky and gin palaces; it was idle land, fresh air, bright sunshine and no public spirit. Infidelity kept them warm and cold. Couples split and rearranged, with mouth-first landings somewhere moist and unusual. There was always somebody half naked, congested in their cubbyhole homes like so many shrews and voles and mice.

In the country they’d never fell a tree and make an axe handle. They were reverent and slow-fingered. In the towns, they stuffed anything that would burn into their fireplaces and carried on breathing the rotten air. The table was laid and they were divorced in time for tea. They didn’t look after their bones and would do anything to escape the house. People paid each other to keep at a distance, living out their own gloomy ironies of feeling connected via transaction. They humped their sofas and each other, mislead in their conception that heat meant empathy and therefore intimacy. When fingers got stuck in bottles and limbs stood grey-clothed in empty bathtubs they wondered whether this was the plunge of great erotic feeling, of unparalleled velocity.
We acquire our own versions of happiness. We pick them up at the chemist. We will meet the daughter of a pharmacist, a magician, the unwitting farmers, the florist, dusty curates, all of them touched by the blow of a fortune teller. Which body belongs to the future mother? Which tousled hot head to the boy with the battered bottom? The big hands and squeezed hearts belong to the busted marriage pair, their molars hanging out unhinged, their intestines blocked with impotent sludge, spud skin and unzipped flies. Once the sore of domestic morbidity cracks, it tends to spread at speed.
There is a house in the distance. A few all around. It’s big like a town. Some buildings with their backs ripped off send staircases sloping right out into air. They’re covered over with boards and belts of warning orange, but people go in and out, their decisions predicated, naturally, on conditions of weather. We stay put and look up at the trees and the blocks of buildings overlapping them, taking little time to calculate the degrees of calibration offered by either god or architect. There is no looking at the corners with their nice bricks or cornicing, thinking how neatly one inorganic block folds into the bright breast of natural things. No. Not that. We drink coffee and gallop from building roof to tree canopy, barely noting the difference between slate or leaf.

From where we can see it now, the view is stretched out. If we lie on our side or close one eye the view feels heavy, looser on the edges. We can angle our own choice perspective. What should feel like pollution feels rather like a suggestive hanging on, as though all these silhouettes of everything and nothing that float on by in layers could be caught and dragged back into a shapely form. We could pull time from the top or bottom and should choose a landscape suitable to our condition.

The sun whips the railway into little shards. The smell of hot tracks, their groan in the heat. We watch the train lines black and unmoving and make chromatic rhymes with the mashed-up flies and spiders of autumn, black too but talcumed now in the dust. We could imagine ourselves packaged aboard those trains, finally chopping the scene to bits in escape, seeing anew something ravishing, some palomino horses in a field or cement in factories with their piles scooped and troubled like concentric hairdos. Those troubles not designed to trouble us, or not yet anyway.

Anachronistic heavens, we all stood under them. The HaHa house stands too in rubble like some murderer in ruins. We called it that when the two top windows fell out and in absence of a door or in fact any certain relationship to soil or sky it sagged downwards in a crudely propped guffaw. Each step around the house had a different hue of desperation. And each brick, with all its acid brothers and acid sisters of mortar and their uniquely aggregated pity, had its own melody.

Golden Gingko used to blossom all around. Grass bent as it shouldn’t, snapping off in the wind. Grass turned to hay, sweet straws, battered-blown across the land. Only recently some amicable nobody folded plastics over the windows, coarse ridge-sewn plastics – banners for breathing – and now all the condensation hangs in the bottom edges with weed decks thudding and daily unravelling threads so you can’t pick window from wall.

They used to be touched by light, the windows; not broken by it, but opened up, polished. The house was named a wonder with its hyacinths, sloping grounds and happy rush of folks about. Not a burglar’s dozen like now with the copper wrenched out and carried away for cash. Something of structure had made an invisible leap out the window with those burglars, its own soiled body visible for just a moment as water had lurched out where the copper was sawn and the radiators rang themselves cold against the wall in alarm.

We wondered whether the house mourned for a repossession of indoor and outdoor space, or yins and yangs and all the half-hidden parts that no longer got their shapes to rhyme together. That rather just rested in a foggy doze. In times of rain and wind, the house accommodated for mood by flinging tiles off its roof, a cascade of roofs, onto the ground, the roof garden. The physics of the roof with its mimicry of the physics of breasts was always on a slow downwards fall. In summer – a hoppy brew – it stank of ferns; the only yeast of subversion. The little place sat there in weather taking its whacks.
We have been watching for some time. May we be forgiven. We Messrs. with eyes all over. When we took a jug with both hands and scooped its heavy bottom up to pour, the weather flowed out of it. We looked at the water in our glass, observed the specks and their impossible swirl and knew answers lay in an observation of closeness that sometimes meant staring at nothing much at all.

 

This is an excerpt from The Boiled in Between by Helen Marten, out with Prototype. 

Image, Helen Marten, Untitled, coloured pencil on paper, 2020, Courtesy Sadie Coles HQ. 

The post Messrs. External & Bodily appeared first on Granta.

5 Writing Tips To Improve Your Final Draft | Writer’s Relief

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5 Writing Tips To Improve Your Final Draft | Writer’s Relief

You’ve been writing, editing, proofreading, and rewriting your short story, poems, or novel. At long last, you’re at the point where you feel your WIP (work in progress) is done! Pat yourself on the back, do a happy dance, get a celebratory snack—but don’t start submitting just yet. The experts at Writer’s Relief know that there’s a good chance you still have more work to do before you’re ready to submit to literary editors and agents. Use these writing tips to improve your final draft and boost your odds of getting published.

Writing Tips To Improve Your Final Draft Before You Make Submissions

Let your work sit untouched for a few days. This may seem counterintuitive, but it’s a crucial step to get yourself in the best headspace for editing. While some writers jump into edits the moment they’ve typed “The End,” it’s better to put the draft aside for a few days, weeks—or even longer. You’ll come back to your draft with fresh eyes and will be able to see any needed changes you didn’t notice before.

Ask someone to read through the draft. Whether you have a friend or family member who’s a grammar geek, or a standing relationship with another writer or critique partner, it’s helpful to have another reader review your draft. By the time you’ve finished a draft, you’re so close to the work that you may find it hard to remain objective, and you may miss plot holes, clunky lines, or passages begging for character development. An outside reader will notice these discrepancies and ask questions you might not have considered—but an editor or agent definitely would.

Research publishing industry guidelines for your genre. Though you should never write solely to satisfy trends, it’s also a good idea to make sure your writing is following the current publishing industry standards for length, topics, and format. No matter how strong your writing is, a literary journal editor or literary agent may simply have to pass it up if it falls too far outside the submission guidelines. If you’re writing prose, take the time to research how long pieces should be (whether they’re stories, essays, or books). If you’re writing poetry, find out whether editors are interested in rhyming poetry, prose poetry, free verse, or other forms. Knowing if your draft meets the criteria for the markets where you plan to submit will ensure you’re sending your work to the right places!

Cross your t’s, dot your i’s, and check for typos. You say you’ve proofread? Okay. Proofread again. We can’t say it enough: Proofread, proofread, proofread! Though a single spelling or grammatical error isn’t likely to make or break your draft’s chance of publication, multiple errors and typos probably will. Even if you’re a naturally gifted grammarian, it’s easy to make small mistakes or typos as you’re writing. If you’ve already proofread and aren’t finding any issues, try reading your piece aloud—you’ll be more likely to catch errors the eye flits over while reading! Again, ask someone with grammar skills to review your work for you. The Writer’s Relief proofreading experts can help.

And The Best Tip For Improving Your Final Draft…

Know when to stop. It’s tempting to keep returning to your piece to edit…and edit…and edit. Maybe you wake up in the middle of the night with a brilliant new idea you want to add, or you find yourself spending days trying to reword one pivotal line. While editing your draft is always necessary, eventually you have to stop editing and start submitting.

After You’ve Submitted Your Final Draft

Once your final draft is polished and submitted, you can do another happy dance, get another cookie—and start working on your next project! Don’t sit waiting and worrying about responses. Move on to writing your next draft, and use these tips to make sure your final draft is always your very best work. Remember, the more well-written submissions you send out, the better your odds of getting your work published!

 

Question: What is your favorite go-to editing tip?

Not Just a Side Dish: How to Create Supporting Roles in Fiction

Heather Griffin shares her tips on how to create supporting roles in fiction that come off as more than just a flavorless side dish. Rather, supporting roles can sometimes steal the show.

Every dinner needs a side dish, on a slightly smaller plate.”

When you are having a meal in a Michelin 3-star restaurant, the side dish still plays a significant role in the whole meal. Even sometime the side dish would affect customers’ evaluations. In every story, the main characters are the main dishes like Wagyu Beef or Matsutake, the supporting roles are the side dishes like salad. Sometimes, the side dish might be more impressive and outstanding than the main dish.

When creating a romance story, some writers, especially rookies, tend to pay more attention to design the main characters. They spend a lot of time considering the main characters. From the terms of physiology, sociology, and psychology, they aim to create a “perfect” main character. By contrast, when they create supporting roles, they just like making a salad with overnight cabbage. The flat supporting roles will make the whole story tasty like the flavorless salad.

(Exploring Star Wars and the Hero’s Journey.)

I assume that you have heard about the Hero’s Journey. In a hero’s journey, he or she cannot achieve the gift of the Goddess without any tasks and trials. When the hero or heroine faces a challenge, the challenge might be launched by a supporting role—the enemy. To pass the test, the hero needs supporting roles, such as mentors and allies, to help. This concept indicates the importance of supporting roles.

But how to create a colorful supporting character? To create a vivid supporting character, the process is similar to designing a leading role. In Dreame Writing Courses, three basic dimensions are highlighted.

  1. Physiology. Including sex, age, appearance, habitual action, etc.
  2. Sociology. What should be considered in this term are class, occupation, home life, social circle, etc.
  3. Psychology. Including personal ambition, temperament, attitude, abilities, and so on. With this dimension, a character’s personality will be formed.

To create a character properly needs practice, it is good to be mindful of who your characters are within these dimensions’ context. You should clearly know how they will react to every situation, their behaviors should be well-founded in the contexts of physiology, sociology, and psychology. Otherwise, readers might think one character is flat or “out-of-character.”

Especially when writing the supporting roles, the word counts for them are limited in most situations. Authors keen to set the suspense for main characters. At the very beginning stage, authors might provide the hero or heroine with two completely opposite characteristics in different dimensions (like she is poor but joins an upper-class institution). This setting would attract readers to expect the following story. In terms of the supporting characters, the author cannot use plenty of lines to explain the crack between these contexts. So when creating a supporting role, writers should make the person’s physiological factors, social background, and personality mutually consistent.

Supporting roles are different from the main characters. When creating a supporting role, you should design the distinguishing feature. Meanwhile, planning a relationship between the supporting role and the leading roles.

1. Creating the distinguishing feature

As mentioned before, supporting characters do not feature as prominently as main characters do, so the writer is forced to develop them with a limited number of words. In limited word counts, you should enhance the character’s personality from behavior and language. Habitual behavior, foibles, or pet phrases can serve to endear a character to readers. These small details can also reinforce the reader’s impression of a character.

For example, if you want to create a supporting character who is rich but arrogant, when this rich man talks to the main character, he might have no eye contact with the hero and use overbearing words. In this way, you can show the man’s distinguishing feature effectively.

2. Building a relationship between the supporting role and the leading roles

There are two kinds of relationships—unity relationships and hostility relationships. In a unity relationship, the supporting role’s responsibility is a kind elder, a mentor, or a friend, who would always give a helping hand to our hero or heroine.

By contrast, in a hostility relationship, the supporting character must be an antagonist, the main character’s worst enemy; a betrayer who betraying the protagonist and getting the protagonist into trouble; a clown, a comic character who causes problems for the leading roles.

Here is an example from one of the most famous novels, Harry Potter and the Prisoner of Azkaban, by J.K. Rowling. In this story, Peter Pettigrew betrays the Potters, and Voldemort is the antagonist, the most powerful enemy that Harry will face. The Dursleys are certainly clowns. They mistreated Harry, but they were punished, and the punishment they received was dramatic and hilarious.

Harry Potter’s world is magnificent; the story is pushed by a large number of roles. However, most of them are supporting roles, or let us call them the general supporting roles. They just promote the storyline in a certain area, they’re like NPCs in a video game. Besides, some supporting roles are designed for story clues. These roles appear in the whole story, especially in an important plot, they could drive the protagonist to keep growing. Just think about Dumbledore.

Another fascinating thing about supporting characters is, some popular roles might have their derivative stories. It is a new trend in today’s book industry. If one supporting role is outstanding, readers would be not satisfied with the finite lines in the original works. So many writers start to create “side dish” stories, to complete supporting roles and find the new possibility of plots.

“Do not ignore supporting roles.” Every experienced editor and successful author would talk like this. For different authors, they would have different creative methods to create supporting roles. This process makes every story unique. But the mature authors’ common ground is they always keep the design process logical; they always think of the characters as real people. Before the book is published to the public, you never know which character would be their favorite. A mature writer designs all the characters with deliberation. As a reader, we are lucky to experience the story with diverse angles.

*****

Have you always wanted to be a writer? Don’t let doubt or fear get the best of you—take a chance and learn how to start writing a book, novel, short story, memoir, or essay.

Click to continue.

Pinky Agarwalia: Biography of a Child Saint in Ten Parts

1

The lore of the fragment was what brought us together, like wasps licking a wooden frame to build their nests. Each time we heard the story we took some of it back, in our mouths, like damp chemicals or pulp + saliva. Then spat it out to fill a hole or make the wall stronger.

I am new to writing. Is the notebook a time crystal?

Mother: ‘Behind the curtain of blood I saw a shape.’ That shape was an equation. Equation, constellation. What happens when we experience the Mother’s love?

Father: ‘I saw a terrible thing. It was after the war. A mother on the ground . . . her baby rooting for milk, suckling her . . . even though . . .’

Is the Mother a gap on the physical level that links human beings together in a sense of united loss?

Tried to get these questions out. Can’t focus.

Mother: ‘What would you like to feel?’

Father: ‘Get me tea, and the paper.’

These are examples of communal lore. How we were when we were together and what it was like when we were apart. Also: orange grasses, foxglove, conifer, mango, dolphin, bitch.

I heard a story of a Mother and Father who loved each other so much they had an operation to remove the hearts from their bodies then sew them into each other’s parts.

It must have been so chilly, like an eclipse made visible only when photographed, when the time came to lift the organs out with a powerful, single movement and give them to a nurse.

‘I tell her that rocks like meteorites retain light, a sensible energy thought into substance by experiencing it,’ writes the poet of another era, putting forward an idea of writing that resembles transcription, connection with a reader, but also loss.

A scrawl, a scribble.

I’m no saint.

 

2

I want to live a simple, beautiful life with memories and friends. I do not want to die of carotid ill-health or by the hand of another.

In stating what I want and what I do not want, I practice a form of positive desire, the spirituality of a bygone era.

Imagine a February morning in 1997 or 2019, the bright green grass and the ten black ravens hopping across the lawn on the outskirts of a city filled with knaves, dolls, bears and gymnasts, but also clerics who abandoned their calling to become what we all were in the end: a ruined self.

Now gone.

Something happened.

If an ancestor is someone you can still tell a story of, then perhaps I am not a descendant.

On the planet Avaaz, where a city once was, is now a hole. Imagine a house bursting into flames in the rear-view mirror of a yellow-and-black taxi.

At the rim of this hole are low hills or mounds, forest-green and gleaming with bouncy eyes. Rat, lion, piglet, boar, cat, dog, snake, cow, sheep, rabbit, horse. Ex-zoo, this is less a wilderness than the end of cages. Here, the lion eats the horse, the snake bites the dog, and the rat nips at the heel of the cow.

Can animals save us, or will it be the plants who become conscious, adept, empathetic: the functional adults of our universe?

To answer these questions, I left my home for the rim.

I was a child and perhaps I am still a child.

Lick a rose for its dew.

Wash your face when it rains.

Don’t drink from the tap.

I know what to do.

 

3

Imagine reincarnating as a sea creature.

Imagine reincarnating in 1993, if you were born in 2023. Or 2121, if you were born in 2021.

Can we reincarnate in a society or an ocean that precedes us in the timeline of a) antiquity or b) apocalypse? Imagine the shattered turquoise or aquamarine shard of the fresco, underfoot. Imagine family time.

Turns out the apocalypse is boring and sensible, a combination of sugars, fats, and trying to come up with a cunning plan.

My suicide is more beautiful than your life, murmurs Father on the floor of the stable, where he has curled up in the place where horses once lay to take his pills.

If you are reading these words in the last century, I understand that you loved a film called Melancholia starring Kiefer Sutherland. If you are reading these words in the coming century, Kiefer Sutherland was a loser poet. He was not a friend to his daughter or wife. Another planet appeared in the sky, a charged form of nudity that illuminated the siblings in the film, as well as the parent–child bond.

Who is reading these words?

Who is your partner in life?

Was the person who saved our planet a devoted scientist who made room for new feelings in the space between their body and yours?

What saved us in the end? Was it food?

Meanwhile, the sun evolves every single day into something else, something further from ‘sun’.

Because I was not part of a group, I knew that sexual trauma was a likelihood.

This is why I had to leave.

Like a vector, I parsed the countryside, nibbling stream mint, cowslip, lily and dill.

To survive.

 

4

The city is behind me now, releasing energy that is immediately channelled to anyone who needs it.

Self-induced stress and fear are the most toxic things to the system, said Mother one day, on the couch. I remember what she said because the next day her loving support was gone.

Do you know why? Ancestor, why didn’t you change your ways in advance of the destruction that rendered memories into oil? Descendant, contextually, you’re a miracle.

Below the flag of Avaaz and above the harbour, a body emerges from an outline of golden light: the citizen host. No, I don’t know who this is.

I ran from the glowing body that was unrecognisable to me.

It was stressful. I was scared. It was toxic!

The body I saw was like an invisible painting that becomes apparent when water is dropped upon it.

I ran from this new art.

Towards the trees where something, I could hear, was making a sound.

A sound, a prefix, a tone.

‘Attune yourself to inner magnetism,’ said the predator.

But I fled – something the predator did not expect.

Ancestor, what did you do in such moments, when all those sweet things were in smithereens? How did you skirt the new dominance? What were your strategies and formulas? How did you remember your Mother’s face in ordinary moments? Did you have access to what we know now, the idea of the body as remembering everything that ever happened? Tell me about the dandelion and the pear tree. Tell me where you are from.

Descendant, if you are child, when the world splits into three parts, flee.

To the rim.

 

5

I saw an amazing thing as I lay in the straw.

Last night, I dreamed that behind the waterfall was a form of writing I could not read, something like a scrawled prescription or scroll with only the letters H, I, N and E still legible.

The night decants the moonlight over the nettles along the brook. ‘Solidarity not charity,’ chants the leader of a temporary camp, in the paternalistic tone I’ve come to recognise as a weak disguise. So, I push on, slipping away from the fire, walking as far as I can beneath the full moon the colour of a ripe plum.

August + December – February = June?

The footpath throws me into time and I walk until there it is, like the skirt of a dress filled with snakes or doves, or the roar of a cafeteria.

The waterfall.

Behind the waterfall is a cave.

I step out onto the wet, broad stone without shame or anger.

Am I a moon bird?

Look how lightly I step from the bank to the ledge, my right hand clinging to the stone of the cliff and the fingertips of my left hand extending towards, then through, the water.

Then all of me is inside, not outside.

This is what I see: a small fire, recently lit and fragrant, packed tightly into a circle of heavy stones. Each stone has a red oval painted on its roundest part, ringed with gold paint, then a thinner line of turquoise pigment or dye.

There’s a kerosene stove with a kettle on it, singing at the boil.

A low wooden desk with a cushion to sit on. Someone has painted the cream fabric of the cushion with lemon, emerald-green and red paisley swirls. On the desk, wrapped in gold silk, is a book. Nobody is here. In this context, I hear two words.

Open it.

 

6

Kneel down in the boggling mud.

So icy.

Here.

Yes, I am speaking now. As Pinky scrambles up the scree.

Imagine a flame balanced in a bowl of water or in the bubbling spring at the origin of rivers, hovering there.

Here, a third stream comes from underneath with the energy of a fountain. Is this the history of rivers? Is an origin a confluence?

Dear Pinky, in the fourteenth minute of this new galaxy and in the last few moments of your own childhood, I am communicating with you.

Like this.

Pinky, can you hear me?

This is the place.

Put your hand in the water. Yes, that’s it . . . as far as it can go.

Blood angels calve in the moonlight, but you’ll never see such a thing.

There. That’s it. Pull it out now.

Right out of the water and the mud and the flame and the ice and the muck and the bright.

That’s it, my lovely.

Reach in.

Can you hear me?

‘Yes, I can hear you.’ – Pinky to Hildegard, who has begun to speak.

 

7

There are forests here and snowdrops in abundance. I never imagined being here. Did you?

From agar, from flock, from lovers, from bodies that flush with warmth, from the cultural memory of lighthouses, polar bears, the revolutionary nature of young people all over the earth, something was preserved. I can feel it here, for the first time, with you.

Imagine a bunch of carrots with soil still caked on them, green tops like ferns. Or imagine the sound of a wooden flute beyond the Mughal labyrinth. Imagine the national flowers of contested regions. Every person who travelled here is unsteady, I can feel that.

Dehydrated.

If home is found on both sides of the globe, home is of course here, and always a missed land, said the poet, with whom we can still feel an emotional affinity, though he is long gone. The delicate works of that earlier time will never be kept on record now. It is up to us to memorise them; poems by people who have been incarcerated, poems by people who left their homes, poems constructed with paper and string.

Things that happened, things that might happen, on the planet Avaaz.

Here is the fragment.

[Pinky Agarwalia gestures to a chunk of ice on the tall wooden table, addressing the group. The ice is luminous, almost neon, rotating to the left then back again (twitching) without any effort or contact from Pinky herself, or the members of her audience, who are seated on the floor or leaning against the sides of the cave.]

‘As you can see,’ continues Pinky in a formal tone, ‘the fragment is a six-dimensional object that we have to integrate. It’s evolving. We don’t have much time.’

The ice has a lower luminosity than what it contains and so the light from the fragment crosses two frequencies, like an unknown language. Some photons can’t escape the staggered mesh.

How will we melt this ice that does not melt when we heat it or crack when we smash it on the ground?

Pinky taps the book.

 

8

An unknown language is a rose meteor, because what doesn’t ebb off leaves lines.

An unknown language is held in a quasi-steady state until someone reads it for the first time. Then it becomes toroidal, streaming lines.

An unknown language is non-dimensional and so it can’t be written down. So, what are you looking at?

You need a code to look at the unknown language.

Encased in ice, a word vibrates.

Discontinuous spikes pulse in the body of the viewer.

It helps to wear damp silk. The coolness calms the vagus nerve, a nerve that wraps around the heart as it travels from gut to brain.

The fragment of an unknown language is unstable, convective, buoyant, and can’t be extracted, just as the real universe can’t be plotted.

Is the one you love a proxy for radiance? (Hildegard, the chameleon)

Is the fragment a cosmological simulation? (Hildegard, who ingested galantine, converting the energy of her life into an identity as bright as six billion suns.)

An unknown language comes from a foreign place, like a sample of the life once lived there.

An unknown language is a very rich source, a repository of shared information, like an amethyst cave at the place where the river meets the sea.

Herbs and bodywork relieve the build-up of tension. (Hildegard, off-message)

Hildegard, you were so close to me at the origin of rivers and then in the cave. Was it you who were so recently there, stoking the fire with the toe of your pointed boot?

Hildegard, your metamorphosis, like an animal or fish, keeps slipping through my hands.

I follow your command.

 

9

Like a text that is destined to be read as a sign might, the book was a series of commands. As Pinky read each sentence in turn, the words lit up with a weak flame, one by one, so that when Pinky finished reading, there was no book.

Red flowers, a moorhen. Pinky waited until the spring came before she left the cave and returned to the camp below, where other orphans had gathered, sitting with their backs to nature out of a sadness they couldn’t stop.

To whisper, follow me.

Up and up to the origin of rivers went the children, on Pinky’s heel.

For her eyes were shining.

Whoever followed her stopped asking, What is happening to me?

Hot water sipped upon waking. A branch to chew on that cleaned the teeth and nourished the breath. Vegetables, seeds, black tea. ‘Mandala for the undefended heart,’ said Pinky, when one of the orphans asked her what she was drawing.

The cave was like a violet door in the side of the mountain.

There was a way to enter and another way to leave, to relieve the bowels in a wood, a shovel in hand to dig a hole and refill it.

I can compete with you in the body I have. This was a new thought, one of many the orphans had, individually.

Soon it was time to gather.

‘It’s time,’ said Pinky.

Let’s begin.

Once they were ready, the children or near-children or ex-children gathered in a circle within view of the cascade, which was Prussian blue and sparkling in the early morning light.

In the middle was the block of ice.

 

10

With the fingertip of your fourth finger touch the bone of your heart and with your other hand touch the ground.

In the years to come, we would learn from our failures and write about what we left behind. Our writing took the form of stories and poems, which we shared in the woodland clearing where we met to learn from each other. There wasn’t a university in our future, and there never would be again. Instead, we apprenticed to our elders, then shared in their care.

That morning, the morning of our first ritual, we looked at each other like shy swans, bending our necks to look down, and then up again.

Pinky, now our leader, repeated the instructions in a clear voice, and we remembered the book which had set itself on fire as she read, each word in turn. Was this our mythology?

The paper’s hiss. Ash on the fingertips. ABC flame.

The final instruction was this: Bring to mind an experience of hatred.

The gold light descended then from the crown to the heart, dissolving the head of the enemy, the regret, the pain.

Pinky set the chunk of ice at the centre of our circle, on the ground.

We visualised the gold light extending from our hearts.

To pierce the chemistry of the fragment.

Imagine twenty spokes of the brightest light you have ever seen.

As the ice shatters, a sound is released.

A new sound which reaches us as pale green light, vibrating lightly, lightly, like bees but also flowers.

Is a stamen a tuning fork? The Pleiades, above us, tilt.

In synchrony.

Was this the moment that our species took a turn?

 

 

author’s notes: Mei-mei Berssenbrugge’s A Treatise on Stars (2020) and Agha Shahid Ali’s ghazal, ‘Land’ (2001), are the two works of poetry I reference. The line ‘I saw an amazing thing as I lay in the straw’ is from a monologue I memorised as a teenager, but I have perhaps misremembered as I cannot find the source text. The phrase ‘shy swans’ derives from a description of ponies in James Wright’s ‘A Blessing’: ‘They bow shyly as wet swans. They love each other. / There is no loneliness like theirs.’ The spacetime vocabulary comes out of talks and lectures at the Kavli Institute for Cosmology in 2019 and early 2020. The way of speaking to ancestors and descendants, across time, comes from Joanna Macy’s The Work That Reconnects, a practice I was first introduced to by Regina Smith at Naropa University. The imagery of ‘national flowers of contested regions’ comes from Iftikhar Dadi and Elizabeth Dadi’s Efflorescence series (2013–19), and their installation at Kettle’s Yard, part of the exhibition Homelands: Art from Bangladesh, India and Pakistan (2019). The cave behind the waterfall is a cave I myself visited as a child. There, I was served tea by the person who lived inside it, perched on a hand-woven stool. The curtain of blood appearing in the mind, and through it the equation’s proof, comes from a story of the mathematician, Srinivasa Ramanujan, whose vision of Mahalakshmi this was. The phrase ‘unknown language’ comes from Hildegard of Bingen, a twelfth-century mystic, as channelled by Pinky Agarwalia, an orphan of what was once Earth and is now Avaaz. Pinky divines then perpetuates Hildegard’s instructions in 2121, the year of devastating ecological norms, species mutation, and new ideas of education, healing and love. Imagine quantum laser beams shining from the shabby little hearts of twenty orphans in a variant of the spiritual practice, Chöd. Imagine an alphabetic fragment encased in ice that does not melt in fire nor shatter when you throw it on the ground. The ice signifies, perhaps, forms of trauma that are intractable, yet which also preserve something, or protect it from destruction. Are all biographies a study of surviving something we were only passing through?

 


This is an excerpt from Unknown Language by Hildegard of Bingen and Huw Lemmey, published by Ignota Books. Don’t miss the launch party on Zoom on Thursday 17 September, 7 p.m. BST; 2 p.m. EDT; 11 p.m. PDT.

The post Pinky Agarwalia: Biography of a Child Saint in Ten Parts appeared first on Granta.

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