A Field Guide to Getting Lost (5 page)

I walked back, the island behind me and before me the ruinous Salt Palace where the truck awaited, back into the world of ordinary clutter. But near where I’d started there was one more surprise in that landscape: a series of shallow indentations where water had dried into salt crystals. One was a carpet of roses, one a heap of straws, one a field of snowflakes, all made of muddy salt, though when I tried to cut away a small cluster of the pale brown roses to take with me, they immediately became less beautiful. Some things we have only as long as they remain lost, some things are not lost only so long as they are distant.

T
hings in my family have a way of disappearing. When I was much younger, my father’s baby sister showed me a whole box of family photographs, and the blank wall that lay behind my own beginnings gave way under a cascade of cardboard-mounted formal poses and strange unnamed faces in all the range from sepia to gelatin-silver gray. My aunt and I sat for a long time with the cardboard box in her living room cast into almost perpetual gloom by redwood trees, turning over images while she recited names I knew and names I didn’t. The photograph that made the greatest impression on me was of my grandmother and her two younger brothers at Ellis Island or from about the time they came through that great portal of immigration in New York Harbor. They were lined up in an overlapping row according to height and the conventions of the era’s portrait photography. Their heads had been shaved, perhaps for lice or ringworm, and they had the hollow-eyed, haunted look of so many immigrants of the time, these three children in their matching white sailor suits who had got themselves all the way across Europe and the Atlantic and would cross another continent alone.

When I asked about the photographs long afterward, my aunt said that the box of images didn’t exist and I must have imagined the whole thing. A few years later, I asked again, and she acknowledged the box’s existence but said it had vanished. Photographs, which are supposed to serve as the anchors of an objective past, are as unstable as everything else that constitutes my paternal family history. My father and aunt are gone now, their parents gone long before, and there is no one to repeat or contradict the few scattered stories they told. Each story came as a surprise, an utterance not to be questioned, elicited, repeated, and they had the enigmatic brevity of oracles and newspaper filler items. In some ways this paternal family history resembles the place it came from, in which countries were devoured and regurgitated by empires, borders fluctuated in disregard of language and culture, in which communism suppressed the past with the airbrushed photograph as its famous adjunct, so that images kept pace with the times and those who disappeared from the world also disappeared from pictures of it. The three children with the shaved heads had emigrated from Bialystok, which had long ago been in Lithuania, then Poland, then Prussia, was once held by Napoleon’s troops, was Russia during the time of their emigrations, a much-bombed war zone between Germany and Russia in the first world war, occupied again in the next world war by the Germans who would make the Jews disappear.

It may be too that truth was not a fixed quantity for my family, poured as it was back and forth from the various languages they spoke, just as emigration didn’t constitute the same kind of displacement for people whose diaspora had begun so long before. At home they spoke neither Russian nor Polish but Yiddish, a medieval German dialect, though they weren’t German either but heirs of the diaspora that had begun in Israel almost two millennia before (if not, as the blue eyes and blond hair among us testified, pure descendants). Nothing of that tongue survived into my generation but a few insults: Yiddish can describe defects of character with the precision that Inuit describes ice or Japanese rain. Another language, Hebrew, was preserved for other uses, and an indelible image of a then imaginary homeland kept those speakers from melting into their surroundings. I wonder sometimes about the merit of that miraculous tenacity, that adherence to a lost landscape and a senescent language. A case could be made that they would have been better off melting into the landscape as no doubt many now forgotten did, adopting native tongues, stories, places to love, ceasing to be exiles by ceasing to remember the country they were exiled from so that they could wholly embrace the country they were in. Only by losing that past would they lose the condition of exile, for the place they were exiled from no longer existed, and they were no longer the people who had left it. Perhaps that willful forgetting, that refusal to tell tales, came from the wish that we could become native to the New World as they never did, never could, to the Old.

Everyone who survived the Holocaust survived it because they had left behind this hostile interim homeland, and only one woman went back. She had been saved by love, her daughter told me long afterward in Los Angeles. She had fallen in love with a Russian her family urged her not to marry, followed her heart into Russia anyway, and survived there during the Second World War that took her husband when she was pregnant with her younger child, a son. After the war this widow went back to join her family in Poland, but every one of them had been exterminated. She stayed on alone with her children until tuberculosis took her when they were still small. They were consigned to an orphanage run by anti-Semitic nuns and then, when their ethnicity was discovered, shipped off to Israel. The son as far as I know lives there still, but the daughter went to France to study and later came to the United States. She had lived with bedouins in the Negev desert, with royalty in Kashmir, with architects in Arizona. On the table in her bedroom were small glasses of soil, beautiful powders in ochers and reds and even lavender she had gathered in deserts around the world, and it was as though through being uprooted so many times this was all the homeland that was left to her, this collection of earths like the jars of rouge and powder another woman might have on her vanity. Since then we have lost touch. But she was related to my grandfather, not my grandmother.

My grandmother’s mother disappeared too, or so I was told. As often happened, her father left first, then sent for his wife when he had established himself in the New World, in Los Angeles, and earned passage money for her. Later, he sent for the children, who had been lodged with relatives after their parents had departed. Or that’s what I was once told, when I was told that my great-grandmother disappeared somewhere between Eastern Europe and the West Coast of the United States. I used to imagine all the things that could have happened between the two places, picture her getting off a train somewhere on the prairie, getting lost and staying lost, starting up an unimaginable new life unlike the one allotted to her by her family and her ethnicity, stepping out of the noisy compression of an Isaac Bashevis Singer story into the expansive calm of a Willa Cather novel. The vast spaces of the American West, so little known to its immigrants even now, have always invited travelers to lose their past like so much luggage and reinvent themselves.

I realize now that it was my own desire to step out of the train, the car, the conversation, the obligation, into the landscape that I gave this imagined ancestor. I grew up with landscape as recourse, with the possibility of exiting the horizontal realm of social relations for a vertical alignment with earth and sky, matter and spirit. Vast open spaces speak best to this craving, the spaces I myself first found in the desert and then in the western grasslands. Such spaces are not as easy to enter as might be imagined; they are often the private land one passes on the way to the public lands of trees and steepness, private both because prizing nothingness is harder than prizing something and because when they aren’t the utter blankness of desert-dry lake beds they are useful for growing or grazing.

One Independence Day a few years ago, I was at a picnic at a huge cattle ranch in northeastern New Mexico, a stranger to the people there except the friends who brought me. In this the monsoon season, the grass was a green carpet patterned with small burrows, stubby cacti, and with wildflowers from which bright insects leapt at my approach. It rolled on uninterrupted to the blue mountains a day’s walk or more away, an expanse in which it seemed you’d never have to stop or would have become transformed by the time you’d traversed that whole distance. With excuses to the party I went into it, walking until the cluster of cottonwoods and elms, sole trees in all that vastness, had grown small long after the people beneath them had vanished. Summer breezes caressed me, my legs stepped forward as though possessed of their own appetites, and the mountains kept promising. I stopped before the trees were gone, not ready that day to disappear entirely into the vastness. Perhaps these spaces are the best corollary I have found to truth, to clarity, to independence.

“Emptiness is the track on which the centered person moves,” said a Tibetan sage six hundred years ago, and the book where I found this edict followed it with an explanation of the word “track” in Tibetan:
shul,
“a mark that remains after that which made it has passed by—a footprint, for example. In other contexts, shul is used to describe the scarred hollow in the ground where a house once stood, the channel worn through rock where a river runs in flood, the indentation in the grass where an animal slept last night. All of these are shul: the impression of something that used to be there. A path is a shul because it is an impression in the ground left by the regular tread of feet, which has kept it clear of obstructions and maintained it for the use of others. As a shul, emptiness can be compared to the impression of something that used to be there. In this case, such an impression is formed by the indentations, hollows, marks, and scars left by the turbulence of selfish craving.” In Yiddish, shul means a synagogue, but I was trying to send this missing ancestor not to temple but to a path through an uninhabited expanse where heaven seems to come all the way down to your feet.

For a long time I imagined that she was the woman in Lewis Hine’s 1905 photograph “Young Russian Jewess at Ellis Island.” For a photographer known for his social documentary work, it’s a strange image, with its brooding, intense face and its indistinct, soft-focus background. Ellis Island, which in most photographs appears overrun by people, is empty and still here. The only indication of place is the blurry bars of the fenced walkways through which lines of people were processed in the Great Hall. This image of such a private and solitary moment in the packed bustle of Ellis Island is a document of an anomaly in the place and in the work of Hine. It’s not about social conditions. It’s about the soul. A woman with a scarf or shawl pushed back, just far enough to show her dark hair, parted in the middle and not recently washed, looks at something past the camera, neither intimidated nor engaged by it. Only her cloth coat with its asymmetrical closure places her as being from the far eastern fringes of Europe. Up close she is nearly beautiful, young and somehow tender, but from further away or with a smaller or darker reproduction, you can see the skull in the set face of this emigrant, as though through hunger, exhaustion, fear, she is close to other borders than national ones. Above her shadowed eye sockets, her forehead gleams as white as the sky behind her. It’s as though we can see through it to the same distant pallor that is the sky, or as though both are only absences on the photographic paper.

Long after the image of the woman stepping onto the prairie was secure as a talisman, I was told that my great-grandmother didn’t disappear. Her husband had her incarcerated in a mental hospital when she arrived in California, and her three children arrived to find that their father had married again, this time to an American woman, and had a new daughter. I imagined the rest, my grandmother arriving to find that she had been supplanted by a half-sister fluent in the English she would have to learn and would speak with a heavy accent the rest of her life. She seems to have found her way at first, joining according to another photograph a ladies’ hiking club: stalwart young women in knee-high lace-up boots and bloomers so uniform they look like a military group, up in the young, piney mountains of Los Angeles. I cannot pick her out of the group of olive-skinned maidens with hopeful gazes. She married my grandfather, another immigrant from a nearby town in the Russian Pale sometime in the later 1920s, brought over by his older brother after he was caught up in the throes of the Russian Revolution. They met in a Jewish hiking club, someone once mentioned, and this fact doesn’t fit in with anything else about them, for they seemed utterly urban, shrunk into their bodies as tenements of flesh, not as instruments of adventure in the open space of the New World. This is the closest in fact these ancestors get to my fantasy of getting off the train in the prairie.

My great-grandmother disappeared from her children’s lives. And the question is whether this woman chose to disappear or couldn’t find her way out of her own thoughts. Was she lost only to them because she had found another way, or was she lost to herself as well, bereft of the ability to navigate the world and her own mind? The mind too can be imagined as a landscape, but only the minds of sages might resemble the short-grass prairie in which I played with getting lost and vanishing. The rest of us have caverns, glaciers, torrential rivers, heavy fogs, chasms that open up underfoot, even marauding wildlife bearing family names. It’s a landscape in which getting lost is easy and some regions are terrifying to visit. There’s a Buddhist story about a man galloping by a monk who asks, Where are you going? Ask my horse, says the man. And this uncontrollable emotion doesn’t let you pick your destination or even see it. It’s the simplest form of madness, one most of us taste some of the time.

 

 

My grandmother appeared in my life as abruptly as her mother must have disappeared. No one mentioned I had a grandmother other than my mother’s seldom-seen Irish-American parent in the East, until one day on a trip to Los Angeles not long after we moved back to California, before I started school. We drove up to a tall concrete institution in a sea of asphalt, and this unanticipated ancestor came down and kissed me while we stood outside. She left lipstick on my cheek, and my mother turned around and gave a little scream because she thought it was blood. Later on, she was transferred from this place to the state asylum in Napa, not far from where we lived. For years I thought it was a retirement home, because she was on a ward populated entirely by elderly women who, thirsty for the sight of children, used to flock around us and give us coins when we visited, and because no one told me otherwise. It was an uncannily tranquil place full of broad lawns scattered with trees casting pleasant shade around them. When I try to recall it now I remember the red-winged blackbirds we used to see in the marshes of San Pablo Bay on our way there; and an afternoon or many afternoons my younger brother and I spent making daisy chains on one of the lawns there, which my grandmother wore till they were wilted around her vast bosom and hunched back; and I remember the cherry cider stand under a huge tree we used to stop at on the way home and the taste of cherries. It never occurred to me to ask her about the past, and she probably wouldn’t have had much to say.