Magic Puppet: On Writing Golem

I’m really pleased that the following piece about how to write about “unbearable experience” has just been published in The Bellingham Review. It’s also about why I chose to use fantastical elements in writing Growing Up Golem.

When I set out to write a memoir about my parents 16 years ago, one of the things that stymied me was early feedback from my peers that the content was “too unbearable” to read about.

It was indeed difficult to be my parents’ daughter. My father hit me a lot. He was also remote and didn’t often speak, and my mother encouraged my sisters and me to make fun of him and call him names, which often resulted in him hitting me more. Despite this ugly bit of manipulation, my mother was nurturing in some other ways – she always fostered my love of learning and books, and continually stimulated my mind. Yet she also would parade naked in front of me, or in flimsy panties and bras, and force me to tell her she was sexy and that I loved and adored her more than anyone.

I didn’t think my parents were too unbearable to read about, but would my readers? An even more compelling issue for me was that I wanted to capture the “uncanny” feeling I had always had of being my mother’s puppet, or her creature (like a magician’s familiar, or something she had created in a laboratory, to experiment on with different stimuli or provocations). How could I write about this when, in the strictest sense, it wasn’t “true”? That is to say, it was truly my feeling, it was indeed what it had subjectively felt like, but my mother wasn’t actually a magician, and I wasn’t actually her homunculus.

Without the magic, however, there was no understanding the frozen way I had lived my life, as if completely separated from my own will and desires, or the fact that I’d never had a long-term relationship till after she died — as though forbidden or prevented by a mysterious spell that destined me for her alone.

Then I remembered that my mother had actually told us she could do magic – a mixture of Jewish magic from the Kabbalah and pagan European magic from Romania, which she claimed she had learned as a child from her grandparents. In fact, up till early adulthood, at least one sister and I had believed that she could actually practice this magic (not to the extent of making golems, but we believed that she could, as she said, foretell the future and interpret dreams).

I decided to use this factoid, with a twist, as the controlling metaphor for the memoir. The twist would be that I would write the book as though my mother really WERE a powerful Kabbalistic magician. And I would combine memoir with fantasy and write the thing as though, instead of giving birth to me, my mother had created me by magic as her own personal golem, an animated clay servant out of Jewish legend. Every statement in the memoir would be true, except those involving magic or other fantastic activities.

This way, I wouldn’t have to let fiction writers have all the fun, but could actually make use of all the richness of myth and archetype in telling my life story. How could I turn myself from a magic puppet under a lifelong spell, into a human being? That would be the question of the book.

It might also be a way to make my father’s physical abuse, my mother’s (nonphysical) sexual and emotional abuse, more bearable for the reader to come on an extended journey with me through it. The light coat of fantasy would be one way of “tell [ing] it slant.”

Five Days with Fred Phelps

Donna with Phelps

I had the privilege of reading this piece at a recent Brooklyn Museum event with Queer Memoir for Women’s History Month, March 5, 2016. It’s a companion piece to the original article I wrote for Poz magazine in 1994 about the five days I spent undercover with the Rev. Fred Phelps and his family in Topeka.

Anyone here remember the Rev. Fred Phelps? I can see that some of you do 🙂 He was this guy who had a church in Kansas that was almost all members of his family, and they would fly all over the country to celebrate at the funerals of people who died of AIDS.

He and his adult children would picket funerals in New York and LA and Topeka with enormous signs that said “Fags Equals Death” with a big smiley face. Or they would say “God Hates You. Filthy AIDS Spreaders.” Phelps liked to send personally-crafted, mean letters to bereaved family members. Right after Nick Rango died, Phelps mailed his mother a letter calling him a “famous fag” and “filthy piece of human garbage who checked into hell November 10.” “I love to use words that send them off the edge emotionally,” Fred said. “There’s nothing better than that.”

I decided to go visit the guy and write about him. I was a writer for the Village Voice at the time and for the past couple of years I’d specialized in getting in Christian disguise and writing about antigay activists. They really scared me and at that time, they were really getting powerful, even in New York. But Fred scared me more than the rest, not just because he was all about hurting us in a very personal, emotional way but because he had a history of violence.

Two of his adult children said he’d beaten them all, including their mother, with an axe handle, and starved some of them. They remembered a game involving Fred holding a child in the air and repeatedly smashing his knee into the child’s groin while laughing. Fred was convicted of battery on someone protesting one of his demonstrations in the 90s, and other folks his church had hit had filed charges. I called the church and said I was a writer for a conservative publication and I wanted to visit Phelps and his flock in Kansas. They said come on down. Continue reading “Five Days with Fred Phelps”