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My Cake Lesson

The X Page: A Storytelling Workshop

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My Cake Lesson

by Tamara Cooper

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Once when I was 15, I went to my friend Jenny’s house after school to do our integrated science assignment, which was due the following day. Jenny, who didn’t like doing homework, decided to bake a cake instead of doing our assignment.  

“Do you want to help me?” she asked.

“No,” I said. “I don’t know how to bake—and I want to complete the assignment. You go ahead.”

Jenny started taking out the ingredients, the whisk, and the bowl. As she was about to start putting the ingredients together, a friend of hers—a boy—came by. She told me to finish making the cake.

“I don’t know how,” I said.  

“Tamara,” she said, “mix all the wet ingredients, then add the cake mix from the package.”

She then went to the veranda to spend time with her boyfriend.

On the counter, I saw three eggs. I broke them one by one into the bowl and then added 250ml of water and 150ml of oil and whipped them together.

As I was about to add the cake mix to the wet ingredients, I heard Jenny’s mother outside. (Jenny’s mother would make several trips home during the day since her business place is nearby.)

“Who is this?” said Jenny’s mother, very loudly, to Jenny and the boy. “Who is the boy you have in my house, gyal? Is this what you should be doing? Or doing your assignment? Answer me before I slap you. Since you want to be treated as a child, I will treat you that way.”

I continued to add the cake mix to the wet ingredients and whipped it into a batter.

Jenny’s mother stormed into the house, cursing at the top of her voice. She walked into the kitchen and saw me.

“Hi Tamara,” she said.

She then told me that I would have to complete baking the cake at my house because Jenny was going back with her to the store. She gave me a container to put the batter in.

Jenny’s mother was so angry, and Jenny wasn’t moving fast enough, so her mom conked her on the forehead. I comforted her, but being rebellious was her middle name, so she moved even slower. I then told her that I would go home and bring the cake to school tomorrow.

I poured the batter out into the container and walked gingerly home, trying not to spill it.

I live approximately three to four blocks away. I was a bit worried, wondering what I would tell my mom because I was supposed to be doing my homework with Jenny. Should I tell the truth or should I tell a lie? I walked slowly. I was so deep in my thoughts I walked past everyone without saying “Hello” or “Good afternoon.”

When I was almost home, I decided to tell her the truth.

After I told Mom what had happened with Jenny, she told me all homework would be done at our home from now on, so she could keep an eye on me. Mom is a dressmaker and is always home.

But I was still standing there holding a container full of batter.

“Can you show me how to bake this cake?” I asked her.

“It’s easy,” Mom said. “Turn the burner, strike the match, and put it in the hole in the oven.”  

I went to the kitchen, oiled the bottom of a 12-inch-round baking pan, and poured in the batter.  

“Mom!” I shouted, “can you come and help me, please?”

“No, Tamara, you must learn and try for yourself first.”

So, I turned the oven burner and struck the match. As I opened the oven to light it, it exploded. I realized that all the hairs on my arm were burned off. I was so shaken up.

“Moooooooooooommmmmmmmm!”

Mom ran into the kitchen. She explained, while she put the cake in the oven, that you must open the oven first before you strike the match.  

Within 35 to 45 minutes, it was done. Even though it was frightening, I was pleased to have baked my first cake. I took a shower, cut a slice of cake, and enjoyed every bit of it.

The next day, I took it to school for me, Jenny, and the rest of our friends to have after lunch. I told them the story about me lighting the oven and that the hair on my arms burned off. Everyone came around me to look at my arms and make sure I wasn’t hurt. When they realized I was okay, they started laughing at me.

For weeks my friends made fun of me.

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The Talking Tree

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The Talking Tree

by Barbra Yeko

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“Lunch break is done, it’s time to move on!” Chebet our forest guide shouted. Tummies full, we all scrambled to our feet, plates and forks still in hand. Nothing tasted better than pilau rice and meat!

“Pick up any plant, leaf or flower, add some water from the stream and make a soup in your plates,” Chebet instructed. I picked pink flowers, small spiky leaves and big succulent leaves. I made a slimy pink soup! My classmates had all sorts of colours and textures on their plates. Kato, always the funny one, pretended to feed Chesuro with his.

“The forest gives us so much,” Chebet said. “Who knows? You may have just created a cure for HIV on your plate!”

“Listen to the forest,” he urged. “What do you hear?”  Captivated by his passion, we closed our eyes and listened.

 

We were on the slopes of Elgon, a volcanic mountain that lies on the eastern border of Uganda to Kenya. The forest surrounded us, thick, hot, and humid. Colobus monkeys called out to each other, their echoes bouncing off the undulating terrain. The air tasted of fruit, decaying wood and fresh greens all at once. The fiery tengwerek safari ants crisscrossed our paths, moving along highways and tunnels they created using their own bodies. Pity the foot that stepped on these highways!

We trekked deeper into the forest. I was at the front of the line right next to Chebet asking all the questions my nine-year-old brain could summon but mostly just showing off. I knew most of the plant names, I knew how soil was made, I even knew the chemical formula of water! My dad was a forest guide too, he spared no teachable moment.

We came to a large tree with a huge trunk full of thick dark leaves. We rested in its shade happy for a break.

“It’s free time!” Chebet announced. This meant we could do whatever we wanted to do.  Some played dul with little stones, others made dolls from leaves and twigs, others made mukatyet, the donut like cushion made from leaves you put on your head when you carried a heavy jerrycan of water from the river. Others made bouquets of flowers and leaves from the huge tree we sat under. I picked flowers and tried to make a necklace.

Suddenly, a loud rumbling voice filled the air, startled, everyone dropped what they were doing. It was a deep, crackling angry voice.

“Who are you? What are you doing?” the voice demanded.

“Why are you plucking my leaves and flowers?”

“Did I allow you?”

I threw the flowers I was holding away from me and braced myself to run. Kato had jumped into a nearby bush. I was heading there too. There was a stampede behind me, children had fallen all over themselves trying to run away in different directions. I looked for Chebet. There he was on the ground tummy first, completely terrified right next to the overturned water jerrycan. When I saw him like this, I knew we were in deep, deep trouble. He motioned to us to get on the ground and stay quiet. On the ground we crouched, hearts beating like drums.

“Why do you hurt me?” the tree thundered again. “Who gave you permission?”

Everything went quiet, a whole five minutes seemed to pass by. The tension was palpable. I heard someone stifling a cry, Kato tried to speak and everyone else hushed him down.

Chebet stood up. “What do you hear the forest saying?” he asked.

This time, even I did not have an answer.

 

For the rest of the week we spent at the camp, everyone was trying to figure out what the voice was. Was it really a tree? But trees don’t talk. Was it a witch? A ghost? A spirit that guards the forest? Was it a kalabanda—the one with wooden feet that walked around in the night looking for children that failed to fall asleep? Chebet said he had never heard anything like it in his entire life but perhaps we should focus on what the voice said about the forest.

“What was that voice?” I asked my dad immediately I got home after camp. 

“What do you think it was?” he said with a playful twinkle in his eyes.

Then I knew. As part of our learning experience, a forest guide with a loud deep voice had entered the tree trunk.

 

I am almost 40 now, only beginning to grasp the power of voice.

The tree spoke, we stopped and listened.

The tree spoke, we were spurred to action.

The tree spoke, we debated.

What if we used our voices and spoke?

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Kate Jenks Landry’s Writing Space

Welcome to my writing room. 

I call it that, but other kinds of working and living happen here as well — painting, playing, sewing, tutoring, napping. It is also not the only place I write. In summer, you are just as likely to find me working on my front porch. In winter, I often write in the bath. And, of course, so much of writing is not writing at all, but reading, listening, thinking. I do these things while I’m going about my day, chopping onions, pulling weeds, packing my children’s lunches. I am constantly jotting down notes to myself on index cards, or pausing mid-dog walk to email myself cryptic little ideas or bits of dialogue that have popped into my head.

BUT. To have a quiet space with an actual door that closes to which I can retreat when it’s time to lay out all my scraps and stitch them together? That’s a blessing I don’t take for granted. When I am deep down in the querying trenches, or slogging away at revisions, this is where I come.

Not that that door is entirely impenetrable. My children like to work and play in here as well, messing with my art supplies, writing each other coded messages on all of my sticky notes. There is a bin of mostly-naked Barbies on the couch right now, and magnet tiles spread over the carpet. During lockdown, this is where much of the homeschooling happened. But the door does keep the dog out, which is important, because he loves to eat my pencils. 

At the far end of the room, a pair of desks sit below windows that look out into the tops of the trees behind our house. One is a utilitarian Ikea trestle table, raised to standing height and mostly used for cutting fabric when I’m sewing. The other is an antique pine table that was the kitchen table in my childhood home. On top of it you will find either my laptop or my sewing machine, along with an impressive assortment of dirty coffee cups.

Beside the desk is a big board my mom made for me out of sheets of foam insulation wrapped in flannel, intended as a place to piece quilts. Mostly, I use it to tack up story ideas, outlines, and little drawings and notes from my kids. 

There are books in the room, of course, many about writing and teaching. By my desk there is a basket where I try to keep the library books corralled.

There is a couch along one wall, perfect for curling up in a morning sunbeam to read or rest your eyes. It may be a little faded and saggy these days, but once upon a time it was the first grown-up piece of furniture my husband and I bought together. Above the couch are picture ledges that house a rotating assortment of picture books. The ledges are flanked with artwork by some of my favourite illustrators and artists, including Carson Ellis, Isabelle Arsenault, Amanda Farquharson, my children.

I feel so lucky to have this space, because it is bright, and personal, and quiet, and because it has so many nooks and crannies in which to jam all of my stuff. Most of all, I cherish what it represents, which is the room I have carved within my own life to do this work. It embodies the incredible gifts of time, money, childcare, and faith that my family has invested in my writing, even when I had no idea if it would lead anywhere at all.

Kate Jenks Landry lives in Kitchener, ON, with her husband Michael and their pair of wiley, brilliant daughters. She spends her days writing, baking, reading, re-writing, drinking dangerous amounts of very hot coffee, re-writing some more, and endlessly walking her dog.

Her poetry has appeared in The New Quarterly, Acta Victoriana, The Harthouse Review, Ecolocation, and Room Magazine. Her debut picture book, Beatrice and Barb, is forthcoming from Kids Can Press in 2023, with a second to follow in 2024. 

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Photos courtesy of Kate Jenks Landry.

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What is Susan Wismer Reading?

The Wild Silence came to me in a wonderful pile of loaner books from my dear poet friend Mary Barnes.  Joy Harjo, Sharon Butala, Richard Powers— hard to know where to start. But my hand went quickly to Raynor Winn’s sequel to The Salt Path.

I am a walker. When all else fails me, I go for a walk. No surprise then that I would pick up a book about a middle-aged couple who decide that a reasonable response to a diagnosis of terminal illness, and the loss of their home, their income and their savings, is to walk England’s SouthWest Coast Path’s 630 up and down miles. That was The Salt Path. Along with (literally) about a million other readers, I was hooked with the first book. Of course I wanted to know what happened next.

The Wild Silence is about finding a home. It’s about ecological restoration on a piece of overworked, neglected farmland. And it’s about illness, health, life, death and the place of writing in all of that. Despite its many successes, the book is unassuming, humble. I loved that about it, perhaps most of all.

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Photo courtesy of Susan Wismer.

Cover photo by Brandi Redd on Unsplash

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Tammy Armstrong’s Writing Space

I live with my husband in a lobster fishing village on the south shore of Nova Scotia. When the weather’s cold and moody with fog horns, my writing space is a small upstairs room. My desk came from a retired music teacher in Lunenburg. Hanging above it are two animally prints. The larger one is by Sally Muir, a Bath-based artist who paints primarily lurchers. This one’s called “Charity.” I love the expressions she manages to capture in her dogs. My husband gave me the smaller print, “Six-part Harmony,” for my birthday last year. It’s by Kenojuak Ashevak. I think the coyote and fox feet are so wonderfully long and tricksy.

Unfortunately, I rarely write at my desk. Most days, I sit in the big chair by the window. The bulletin board above has bits and pieces from friends and editors, an Our Lady of Guadalupe card from Chimayó, New Mexico—where they collect holy dirt for healing—and a ticket from a trip to Delos, Greece, an island that was once too holy for anyone to live or die on. A friend in Boulder made me the quilt on the back of my chair to celebrate finishing my PhD some years ago. Outside the window are three English Walnuts. This is where all the bird drama happens. Grackles, finches, house sparrows and fox sparrows, starlings, hummingbirds, blue jays, and red wing blackbirds all use the upper branches to belt out songs come spring. In the fall, it’s busy again with blue jays scooping up acorns and fledgings putting on their shows.

On the other side of the room, is my husband’s chair. We often have morning coffee up here together. He put the skylight in last fall and now when it rains, it almost feels like I’m in a treehouse. Behind his chair are a few photos of friends and dogs, as well as poetry collections, my never-ending tower of library books, and some seal vertebrae and other bones I’ve found while tramping around local beaches in the winter.

If the weather’s nice, I work outside on our back deck. When we first moved here there was no backyard. Shoulder-high brambles and rogue grape vines covered everything, even backing up against the house. The first summer we were here, my husband found a scythe in the garage and started cutting everything back. Five months later, we could walk down to the water. We met a lot of neighbours while he worked. They liked to stand around and watch and make suggestions like, “You should just take a flamethrower to it!” Now it’s a small haven for wildlife (and sometimes neighbours too).

Warmer weather also signals a shift in how I work. I keep my summer months for reading, research, and editing projects I’ve worked on upstairs all winter. I enjoy the time away from the computer, dipping into books and writing notes for possible projects—always with no expectations. Being outside helps me think slower too. It gives me time to see how each of my writing spaces, and the work done in them, speak to each other. And good distractions are out there too: willets, seagulls, eiders, mallards, shags, and sometimes singing seals and hares poking around the greenhouse. I also have to throw the frisbee many, many, many times for our dog, who insists on coming out to work with me every chance he gets.

Tammy Armstrong has published two novels and five books of poetry. Her most recent poetry collection, Year of the Metal Rabbit (Gaspereau Press, 2019), was a finalist for the Atlantic Book Awards’ J.M. Abraham Poetry Award and won the inaugural Maxine Tynes Nova Scotia Poetry Award. Her novel-in-progress, “Ursula,” was a finalist for the 2020 Harper Collins/UBC Prize for Best New Fiction. She lives in southern Nova Scotia.

 

Photos courtesy of Tammy Armstrong.

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What is Kate Jenks Landry Reading?

I’m an excruciatingly slow reader, but that never stops me from having many books on the go at once, scattered about the house for me to dip in and out of as I go about my day.

I like to keep a book of poetry in my purse, to be pulled out whenever I find myself with a minute or two to fill. Currently I am loving Poems for Reluctant Housewives, my friend Jennifer Harris’s debut chapbook from Gasperau Press. Wry, heart wrenching, sharp as a kitchen knife, it taps into the heightened sense of domestic pressure felt by so many during the pandemic era.

I also always have a bedtime book on the go with each of my daughters. Right now, Zoe and I are reading Anna James’s charming Pages and Co. series, in which the protagonist, eleven-year-old Tilly, discovers she can wander inside the pages of the books she loves. My younger daughter Mae and I are currently enjoying Bee and Flea and the Compost Caper by local author Anna Humphrey.

I’m in the habit of keeping cookbooks on my bedside table to read them before I fall asleep. I’m currently working my way through Simply Julia: 110 Recipes for Healthy Comfort Food, by my all-time favourite food writer Julia Turshen. Turshen is a truly skilled recipe writer, consistently marrying clear, precise instructions with warm, encouraging prose. Her approach to food is accessible, simple, and inclusive, making her books the perfect gift for just about anyone. In this latest volume, she also offers tons of honest, nuanced reflection on the ways in which diet culture and issues of food justice impact our relationships with food and our notions of what healthy eating can look like. 

My obsession with picture books trumps my love of all other genres, and you will find stacks of them all over my house. Anyone who knows me well knows that I’m a Mac Barnett superfan. I would be hard pressed to choose a favourite title, but his last few have been particularly juicy. 

The Great Zapfino, written by Barnett and illustrated by Marla Frazee, is the work of two absolute masters of the form. Every aspect of this book works in total harmony — even the trim size, tall and thin, reinforces the verticality of the story, mimicking the dizzying highs from which the protagonist must jump. The text is barely 70 words long, but it sets the stage for Frazee’s black and white illustrations, which feel wonderfully loose yet rich with detail and pathos.

When the young narrator in What is Love? asks his Grandma the titular question, she replies that she cannot tell him, but if he goes out into the world he might find the answer for himself. He spends what turns out to be a very long time wondering about, asking all sorts of people “what is love?” He receives answer after answer, each of which is unsatisfying to him. “Love is a house,” the carpenter says. “Love is a fish,” the fisherman answers. “Love is a list that goes on for pages,”  the poet replies. When, finally, he returns to his grandmother she asks him if he found his answer. “Yes,” he says simply. He doesn’t tell us what it is. 

I love this book. I love the lush palate and the bold, organic shapes that form Carson’s very particular aesthetic vocabulary. I love its powerful use of metaphor, how it mesmerizes us with the beauty of its language only to turn around and assert the limits of language: it can help us explain our feelings and experiences to others, but never fully.

 I especially love the ending; like the narrator’s wise old grandmother, Barnett refuses to hand us an easy answer. Love is not a fish, or a house, or a poem. It is not the grandmother or the garden. It is all of these things, and none of these things, and other things entirely. Like the protagonist, we must decide the answer for ourselves. 

Kate Jenks Landry lives in Kitchener, ON, with her husband Michael and their pair of wiley, brilliant daughters. She spends her days writing, baking, reading, re-writing, drinking dangerous amounts of very hot coffee, re-writing some more, and endlessly walking her dog.

Her poetry has appeared in The New Quarterly, Acta Victoriana, The Harthouse Review, Ecolocation, and Room Magazine. Her debut picture book, Beatrice and Barb, is forthcoming from Kids Can Press in 2023, with a second to follow in 2024. 

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Photos courtesy of Kate Jenks Landry.

Cover photo by Mike Benna on Unsplash

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Being Rescued

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Being Rescued

by Cecilia Vizcaíno

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I am quickly entering the sea. We are in Miramar, Argentina for our summer vacation. The beach is full of people sunbathing, young men playing soccer, children making sandcastles with canals at the shore, some people are swimming in the sea in front of me, to avoid the groynes.

I am 16 years old and I can see Popi, my 6-year-old sister, my youngest sister, in the sea. She is far out and the water is by her neck. It‘s a sunny day, hot, and the waves are the usual, a bit strong if you are not paying attention.

I feel that Popi is struggling to get out but I am not sure. I’m worried so I’ve decided to go in to check on her. I can feel my warm sunbathed belly getting cooler as the water goes up and up, covering my chest. I am wearing my first bikini ever (it has very subtle stripes of different colours, it’s small but not tiny); it makes me feel older, more responsible somehow… As I get closer, I understand that she is, in fact, afraid and trying to get out. She is bobbing up and down, trying to walk or jump back in my direction,“Ceci, I can’t get out!” She yells. “I am coming!” I yell back.

I am close to Popi now, and suddenly I realize that the tide here is very strong. Even though we are not very deep, the tide is pulling us out to sea and towards the rocks. I hold Popi’s hand tightly and we try to walk against the tide, toward the beach. But we are still getting closer to the rocks. I don’t understand what’s happening, why I cannot go where I want to, but my legs seem to move sideways, like a crab, Popi too, but it’s even harder for her. It’s like an underwater strength that pushes our legs and bodies to the right, instead of front. And no matter what we do, we cannot control it. It’s very strange because I can still walk. It’s not that deep but deep enough to push us against those rocks.

A man is entering the sea. He is not running, but he is certainly coming in our direction. He has a lot of muscles all over his body, and is wearing a small, tight bathing suit. He is blondish with curly hair, definitely not my type; he blows a whistle… then I realize that he is a lifeguard! I cannot believe he’s coming towards us; this cannot be happening. I am not a child and I know how to swim!!! I may not have a lot of experience swimming in deep waters but this is
not deep at all… How is he going to help us? This is so embarrassing…

“We are OK, don’t worry!” I shout at him, “if we keep walking against the tide, we’ll be able to make it eventually…” I’m thinking out loud. But he doesn’t seem to hear me or care about what I am saying; he keeps advancing in our direction, doesn’t even bother to answer. In fact, I do realize that I can’t do this on my own. The lifeguard reaches us in no time and grabs our hands. He has some sort of “superpower” that helps us get back to the beach, as if the tide wasn’t so strong anymore, as if he has created a protective bubble all around us. Now that we are close to the beach, we don’t need him anymore—but he won’t release our hands! Popi doesn’t seem to mind this at all. She looks tired. My hand feels locked in his. The water is around our knees now and we can walk by ourselves but he still holds our hands! As if he’s doing it on purpose, or showing off his bait!

Everyone at the beach has been watching the scene, from the moment the lifeguard entered the water. There is not a lot of action at the beach except for these moments… Many times I have been a spectator myself, but I never thought I would have to be rescued one day.

Our dad and my step-mother run towards us, leaving behind the huge semicircle of strangers around the beach—the strangers are clapping their hands, the usual after a rescue. My hair is wet and cannot easily cover my lowered red face. Yes, I am sunburned but this redness covers my whole head… I feel goosebumps in the rest of the body as a soft wind blows by.

This is one of the most embarrassing moments in my life until now. Little do I know there will be many more.

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The Virgin

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The Virgin

by Anandi Carroll-Woolery

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My younger brother and I were bored. We had come from Port of Spain, the capital of Trinidad and Tobago. We had been whisked away from our toys, our books, our TV shows, to the village of California in Central Trinidad for a family wedding. The name California sounded glamorous to my nine-year-old imagination. I had visions of luxurious mansions and expensive cars.

It was not glamorous. We sat at the edge of a dirt driveway which stretched out from Great Uncle Nello’s purple, two bedroom house. It was one of the more upscale houses in California with white metal security bars over the windows and a grey sheet metal roof instead of thatch. The car and the jeep in the driveway were dusty and scratched and dented.

The sun was high overhead in a cloudless sky. Port of Spain was hot, but the heat was nothing compared to the oven of Central Trinidad. The land surrounding California was flat: ideal for planting sugar cane. There were no hills, no valleys, no rivers to take the edge off the heat.

Men from the village were constructing the wedding tent. They lashed fresh green bamboo poles to the window bars on the outer wall of the house, building into the grass lot next to it. The men cut the bamboo lengths with machetes, sweat pouring down their hairy bare brown chests. They worked silently, and the rhythm of the metal blade against cracking bamboo was their conversation.

I heard the clanging of pots and metal tawahs. That morning, Uncle Nello had shown us his precious tawah—a circular cast iron pan with no sides to make the buss-up-shot. It was gigantic, bigger than me with my arms stretched out. It could not fit on a regular stove, so Nello had set up an outdoor kitchen in the backyard. The tawah rested over an open flame cradled in a mud stove. He spread the flatbread dough and turned it around bit by bit to cook it evenly.

He flipped the giant bread over and greased it again with the brush. The bread was browning and bubbling and blistering. Another dousing of butter and he swished the bread, still flaky and warm into a tablecloth. He clapped the cloth vigorously and “buss it up” until the bread was like strips of a distressed cotton shirt. He took two pieces out and gave them to us to sample.

“Best buss-up-shot in Trinidad! Now, go in front and play. My son who getting married coming any time now and I have plenty more to make.”

This is how we found ourselves in the front yard. There was nothing interesting there except the prayer flags on the small patch of grass in front. The flags were faded red and orange pennants attached to dry brown bamboo poles erected from past prayer ceremonies. The pennants hung listlessly in the hot air. We saw pebbles close to the edge of the road. I held a smooth one between my thumb and my forefinger and tried to launch it like a marble but it skittered unpredictably to the right. My brother, in the meantime, had collected a handful and piled them on the driveway.

“Let’s build Mount Everest!” he shouted.

“Bigger than Mount Everest!” I challenged. We continued the hunt for pebbles and added to the mound.

Great Uncle Nello’s sister Chan was helping him plan the wedding. She had a high-pitched voice and we could hear her clearly from the driveway even though she sat back on the front veranda. She talked non-stop in a mix of English and Hindi and it was all about the wedding.

“How much people coming to this wedding? I don’t have enough plates. Eh, you, yes, Mukesh,” she flagged down an unsuspecting victim who was working in the yard. “Go in the back and chop down banana leaves and cut them into four pieces. Wash them down. People have to eat off of them. And do it properly—you have a reputation for being dutty at times.”

She turned her attention to the leader of the tassa drum band. “You telling me you want another five hundred TT dollars because of the recession?” she sucked on her teeth loudly making a “steups” sound to show her disdain. “You don’t even beat your drum in time, it does be all ‘kilkatay.’ Alright, I will give you an extra two hundred because I am a kind and generous person.”

She conferred with a lady on the veranda with her. “I don’t know why Nello insisting that we serve curried chataigne at the feast. It go make everybody gassy. Chataigne, my foot, more like ‘shit’-aigne. Deffy-nightly not.”

Her anxiety then turned to panic, “We need a virgin to rub de saffron.”

“What about Indra?” the lady offered.

“Ah said a VIRGIN, Parbatee,” Aunt Chan retorted and the others on the verandah burst into laughter. “Nello son go be here any time soon, and we need a virgin to rub de saffron.”

A white Crown car pulled up to the edge of the drive, kicking up the dust. We scampered back, abandoning our Mount Everest of Pebbles project. Chan called to Nello, “Look, your son Deo reach! Leh we start de prayers.”

Uncle Nello ran up to the car, opened the door and embraced his son. As he turned to take Deo into the house, his eyes rested on me. His face lit up. “Come, girl. We need a virgin to rub de saffron.”

I knew the Virgin Mary from Religion classes at school and could not see how she would be involved with Hindu wedding prayers. I had no idea what rubbing de saffron was.

Aunt Chan took me to the partially constructed wedding tent. She filled a brass cup with water and then arranged green mango leaves, stalks of pink ginger lilies and a puff of red ixora in them. She smoothed my hair back and straightened the straps of my blue cotton sun dress. “Take off your sandals,” she commanded and I obeyed. In the meantime, family and neighbours gathered in the tent and sat on mats on the ground.

Uncle Nello led his son Deo into the bamboo tent and seated him under a curtain of coconut fronds. Cousin Deo had changed out of street clothes and now wore only a white dhoti loincloth. Uncle Nello, holding a brass plate, dipped his pinky finger on the edge of the dish and drew a red dot on Deo’s forehead. He sang a Hindi prayer and took one of the mango leaves out of the cup, shaking drops of water off the leaf over Deo and then over me.

He handed me the plate, which was filled with glittering, yellow paste.

Uncle Nello whispered very loudly, “Rub up de saffron on he chest. He is the bridegroom.”

I wanted to obey. But I didn’t want to touch a strange man. He was a cousin—one that I had never met. He was naked from the waist up.

Uncle Nello grew impatient. He took my free hand and guided it to the plate. “Take a handful and rub it up on he chest!”

The saffron paste was golden and shimmering on my fingers. I wiped one dollop on Deo’s chest and stopped, hoping my mission was fulfilled.

“Yes, yes. Rub it, girl, rub it good! Both hands now!”

He held the plate for me and I plunged both hands in. A cloud of gold dust rose.

I rubbed the paste on his chest, his shoulders, his upper back, in circles and spirals. Deo’s expression never changed and nor did mine. Uncle Nello and Aunt Chan nodded approvingly.

Everything was yellow. Besides my hands and his body, there was gold dust in my hair, on Deo’s cheeks, flecks on the white cotton trim of my sundress and in streaks on Deo’s loincloth where it nestled in the folded fabric.

Aunt Chan led me out of the tent into the blinding light of the noonday sun. She gave me a sideways hug, careful not to get saffron stains on her new pink sari.

“You did good, Anandi. I was really worried we wouldn’t find a virgin to rub de saffron today.”

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The Delicious Jam

The X Page: A Storytelling Workshop

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The Delicious Jam

by Abeer Shamiea

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It was early morning, and I woke up to the melody of the songs my mom likes to play on the tape recorder. I heard my mom cleaning around the house preparing for a big project for today.

I felt I needed a few minutes to move from my bed. I wrote my favorite words on the wall, not with a pencil but with my finger. I liked tracing words on the wall! I was seven years old and just started learning to write words. I felt happy and proud when reading or writing new words. I traced the words “love”, “mom” and “jam” because I love my mom and the jam that she makes for us.

Yesterday, the mobile vegetable seller brought a bulk order of the best kind of apricots that mom had ordered. He drove his small truck between streets and lanes in my hometown of Damascus, Syria selling his seasonal fruits and vegetables. He would sell all the different kinds of apricots: “Alkelabi,” “Al Baladi,” “Al Ajami,” “Al Hamoui,” and “Attadmuri.”.

He called out the names of the produce for sale in funny rhymes so the people would buy from him:

المشمش ما وردي يا بلدي …
خميريا بلدي…
…دايب يا مشمش

The apricots are from Al-Baladi kind and they are reddish.

The apricots are ripened and tender and almost melted.

Albaladi and Alajamia were the best for making jam. My mom looked for big-sized fruit, reddish, and sweet.

I knew there would be busy days ahead making jams. Yesterday, my sisters Rawan and Dayana and I helped my mom remove the seeds from the fruits. We loved helping mom while chatting! My mom liked to talk about our future. She had a sense of humor too, I laughed at her jokes sometimes. At other times, I felt mad if she got upset with me because of the mess I made.

I was very excited to see the jam ready in jars, but I knew I had to wait for a week or two before I could taste it! Preparing jam is a long process!

My mom was very picky about the final product. She took care of every step. She would not accept anything other than perfect work and perfect results. I enjoyed watching her prepare food. My mom left the soft, velvety skins on the apricots and cut them in half. She cooked down the half-cut
apricots with sugar. She needed to be precise about the time of cooking to get a beautiful orange-amber color. She removed the froth from the top of the mix constantly during the cooking, so the jam did not get bitter. She then poured the mix into trays, covered them with gauze, and let them sit under the sun to thicken for a week. I would go up to the roof with my mom to check it every day. We checked if the color was good and if the thickness was perfect. When it was ready, my mom filled the jars with yummy jam.

My mom made the best jam on earth with her talented hands. Oh! if I could describe the sweetness of that jam, or the aroma that filled the air of the house, or the color that was just right, not too dark, or too light.

Our kitchen was teeny tiny and barely fit two people, and had only three shelves, and yet my mom magically prepared the most delicious food. She lined up the many jars of different kinds of preserves neatly on the shelves. I knew that the delicious jam waited for me on the shelf all winter, calling me to eat some with pita bread and white cheese when I came back from school hungry.

My mom’s care accompanied us even after she passed away the winter that I turned fourteen years old. That winter, I found the jam she made the year before, waiting for me on the shelf when I came back from school. My mom did not know that she would leave us forever, but she left us this treasure she made with her hands.

I miss those days that were bundled with love, care, and warmth from my mom. I wish my mom could have spent more hours talking to us, kissing us, hugging us, telling us more stories about her childhood, and sharing with us her dreams and wisdom.

I miss her. And I know that my mom’s love and care were packed in that delicious jam.

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Twenty Scones

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Twenty Scones

by Thoko Hanjahanja-Phiri

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I am at home. It’s safe and cozy inside. Safe because I am not getting rained on outside. The weather has been miserable for several days now. “The crops are getting uprooted because of all the heavy rain, which will not be good for the harvest,” I heard my mother say the other day.

Ordinarily, I would be outside in the warm sunshine playing with my friends in the dried-up backyard. Not today. Ordinarily, Amayi, or mum, would be having her afternoon nap. She loves her naps. Not this afternoon.

I am in the kitchen talking to my mother who keeps telling me to “hold on a minute,” as she moves dishes around, works the cake mixture, and attempts to wipe clean her flour-stained hands on a navy-blue apron. There is a line of sweat crowning her brow, which she wipes away with the back of her hand.

“Mum, how many scones are you baking today. Twelve?”

“Twenty” she responds.

Twenty? What a treat. Twenty delicious tea scones as we call them in Malawi (biscuits to you), which I expect to turn out a light golden brown. The rain on the rooftop startles me as it begins to pound harder. I feel the strong breeze which brushes aside the kitchen curtains, and a chill briefly creeps over my bare arms.

The smell of fresh baking wafts through the air, teasing my nostrils as I start to jump excitedly, ready to revisit the familiar taste of the tea scones. Before I can taste one, I
hear a noise, a loud tap-tap-tap noise coming from the dining room across the corridor. Being a curious Jane, I forget about the golden treats and push open the door wide.

To my surprise there is a blackbird pecking at the windowsill, a sound that is quickly starting to irritate my ears. The blackbird is not afraid of me and keeps making a tapping sound, even as I try to scare it away. The bird turns to face me and says my name quietly at first and then much louder. But instead of a sweet-tweeting sound, I hear a deep male voice calling out, “Thoko, Thoko, Thoko!” The bird’s face morphs into a human face. Just as this apparition starts to frighten me, I awaken from my dream to hear my brother, Tiona, calling out my name Thoko, Thoko, Thoko.

I reluctantly push myself over the edge of my childhood bed, no longer eight years old but a grown mother with two children. I open the door gently to behold a man wearing a black shirt and black pants covering his older dark brown skin, bearing two tired but kind eyes.

“Hi, big bro. Thanks for waking me up,” I mutter submissively, accepting his request to come to the kitchen, where everyone is waiting.

My sister-cousin who has baked a dozen scones—the smell that was teasing my dreams—offers me one to have with my tea. My eyes scan the kitchen hoping to catch a glimpse of my mother also baking but she is not there. There is a stream of countless relatives coming in and out of the kitchen, the central hub. It is a Saturday afternoon, and my mother should be having her nap anyway.

One of my younger cousins gestures excitedly, claiming that she took the last jar of marmalade, but I am distracted by the tassels on her black head-scarf swaying side to side as she speaks. I see a sea of black all around me. Almost everyone is adorned in black. I feel overwhelmed by the lack of colour and need a change of scenery.

With one sharp breath, I silently step outside unobserved by those near me into the fresh air outside. There is no rain this afternoon, but the angry, gray rain clouds are slowly advancing from the horizon. I step into the garden that my mother loves so much. An array of colours blind me—hues of yellow, red, and blue happily dance off the petals in the brilliant summer sunshine.

I am drawn to a cluster of yellow daisies. In this little corner of my paradise, I am reminded of why I am here in Blantyre, Malawi far away from Kitchener-Waterloo. One precious flower, my mother Daisy, is no more. She rests peacefully underneath the now dry, broken brown ground.

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