Essays

Wrapped

Our home is wrapped in thin plastic. We can’t get out or in. The doors are sealed, windows masked and covered. This is what happens when you can finally afford to pay someone to paint your house for you. You sit inside feeling asphyxiated.

I almost taste the plastic pulling into my mouth when I breathe the way it did when I was a child experimenting with airlessness—that “I know I’m not supposed to do this which is why I’m going to try it a few times and see what happens” feeling.

Oh, the rush of air pulling in with more than ordinary force and the way the mouth heats that air, then the alien sensuality of the bag connecting with the lips all the way around, followed by that sudden, hard stop when no more air can get through, the shock and aftershock of it all at once, like a symphony going silent after roaring from the stage at full volume, the timpanist’s hand held high above his instrument, the conductor’s arms hanging in front of her as if invisible wires control her wrists and the whole orchestra rigid, focused, tingling from head to toe and back again, the only thing keeping them in place is the downbeat, the one that’s coming, coming, coming, any second, any second, just as soon as the conductor gives her orders.

Then she does. She is me. The downbeat is the moment I pull the plastic from my mouth and air flows in, unrestricted and urgent and wanton. That cool air, that life-giving air oxygenating my body and bringing my brain fully back online. You could almost call it a form of rebirth if children who play with plastic bags are capable of such a thing. I was, or at least I think I was, but I’m not your ordinary child. Or perhaps I’m too ordinary. One can never know what one is or is not in comparison with others who may or may not be what they are or are not.

Light still penetrates the plastic-covered windows but it’s gray and gauzy like one of those days that happens all the time in Seattle but never here in Tucson. Even during monsoon season, storms make the sky dark, not the color of cement or that dull, not-quite-elephant color nobody uses in the forty-eight pack of Crayons. Do forty-eight packs still exist? I remember when I got my first set. It was thrilling to see all those colors lined up tidily in their box. It felt like as many colors as the world could hold. Then the sixty-four pack came out, and I suddenly needed those additional sixteen colors. Capitalism has had its fingers in my heart my whole life.

Some of the plastic is off now. That’s a relief. I could leave through the front door if I wanted to. Now that I can, I don’t want to. When I couldn’t, “I must leave now” was the only thought in my head. It pounded in 4/4 time as I wrote this, a percussive accompaniment to my hollow key clicks that only I could hear.

Maybe I felt like I was in the womb when all that plastic surrounded me. Maybe I felt like I was a cell inside its wall. Maybe I felt like I was going to turn into ooze and transform into a moth. Maybe I felt something darker, something only my body and animal brain remember, like my recurring dream of men who are wolves who are coming for me, and I’m inside a house but there are no walls, no locks, no doors, only gauzy drapes, so I wrap myself in them but the men see me, and I can’t run because the drapes only tighten when I try.

Falling in Love with Places

I fell in love with Tucson today. That means I’m now in a quintuple with three cities: Walla Walla (Eastern Washington), Greater Zion (Southern Utah), and Tucson (Arizona). I may be in love with all of Southern Arizona. We’ll see how the relationship develops over time.

Here’s how it happened! Actually, I don’t really know how it happened. My love for places tends to emerge after I’ve been somewhere for a little while. It’s like simmering cinnamon, vanilla, orange peels, and other stuff on the stove. You forget about the concoction, then suddenly the sweet perfume permeates your body. You can’t say which component you’re responding to because it’s not one thing. It’s all the things together.

That’s how it happened in Utah. I was downtown and Neil Diamond’s “Sweet Caroline” came on the radio. I looked around and saw all the quaint little shops like MoFACo, which has since closed down, and the pawn shop that’s really a gun store but also has nice T-shirts and beaded keychains. The sun was bouncing off the Mormon pioneer-era bricks, accentuating their texture and calling attention to the fact that each one was made by hand.

I fell, hard. It didn’t matter that this wasn’t my history or that folks there didn’t really want me in that place, as a poet or as a human being. I loved it. That was that. I’d already decided I wasn’t staying in Utah by that point, but that didn’t make my love for the place any less real or enduring. I know I complain about it and can’t live there and find it extremely problematic on a cultural level. But I do love it.

Walla Walla was different. My husband and I had been out that way once during a major snowstorm, so we didn’t see much when we were there. We made the move there from Seattle on a clear, crystalline day. As we got to the outskirts of the town—Jon rattling along in the moving van and me following close behind—there were suddenly golden fields everywhere flanked by low-slung, heavily eroded purplish mountains that seemed to encircle a whole, otherworldly place, or at least that’s how I remember it.

I fell in love with Walla Walla then and there. I began weeping and calling my friends to tell them how immersive that landscape was. I think I even made some audio recordings to document the moment.

Tucson was a simmer, no doubt about it. We’ve lived here for four months. I didn’t know if I’d ever have that “falling” feeling replete with crying, full-body chills, and that distinctive dizziness I get when falling in any sort of love, even (or especially) when I fall in love with a place.

But it happened. Some alchemy occurred between the music on the radio, the landscape, the roads winding through wildlands, the people and their graciousness and their quirkiness and their fragility and their strength, the creativity embedded in this city, the smell of the grocery store and its worn concrete floors and its awkward layout and its enchanting shoppers milling about and the chip display and the meat- and vegetarian-meat display and the slightly sad produce and the immunity shots that were on sale and the children looking for their favorite healthy sodas and …

It just happened. Like that. Lickety-split. I know for sure it’s love because I’m all the way back home now, and I still feel this way. I love you, Tucson. I really do. Oh, now I’m crying again.

Heartbreaking Wombat Poem

I will describe the heartbreaking wombat poem I wanted to write last night when I was too tired to write because I’d been messing with poetry submissions for fifteen hours straight. (I actually submitted zero poems after all that effort.) The time for actually writing the heartbreaking wombat poem has passed. But here’s what I kind of think the poem would have done. Keep in mind, I never know what the poem will actually do until I start engaging with it for real.

—

The Poem Has Some Kind of Title

The poem opens with something about how a wombat can’t survive in the wild with only three legs.

The poem goes into detail about the kinds of things the wombat can no longer do because of the missing leg, making reference to an individual wombat who’s experiencing this situation. Evading predators. Foraging. Climbing.

(The poem’s not sure wombats climb. The poem will look that up.)

The poem starts to talk about the wombat in ways humans can relate to, especially those of us who are growing older.

The poem turns to humans explicitly and all the things we can’t do. The poem provides lists here because they can cover a lot of emotional territory. Accretion can be an effective technique in the poem and help the poem avoid sentimentality and other gobbledygook that mucks up poems and may muck this one up despite the poem’s efforts.

Here, the poem may take a turn toward the emotional things we can’t survive, not just the physical things. Traumas. Losses. Unimaginable suffering. The poem will provide some examples, perhaps those pulled from recent news or perhaps from the poem’s past.

The poem might move out from individual traumas to larger traumas by talking about groups of people who are like wombats, ones who’ve lost their lands and are being driven from their homes into the harsh reality that the world is no longer designed for them if it ever was. It’s for others, many of whom want them gone the way they want wombats gone.

The poem may bring up Marky Mark and the way he brutally beat two Venezuelan men when he was sixteen years old, namely how that’s not dissimilar from people attacking and harming wombats, though of course the comparison is problematic because humans aren’t wombats and Marky Mark does whatever he wants, and it’s funny how the history of celebrities always seems to be getting lost, as if it’s all being tucked inside the pouches of wombats never again to see the light of day.

It’s risky, but the poem might talk about the emotional lives of wombats, perhaps discussing how we can’t know the interior lives of nonhuman species, but we can make some educated guesses. And we really don’t know that much about our own interior lives, do we, and that doesn’t keep us from talking about ourselves and each other, so why not allow the stretch here. It’s a poem, after all, not a scientific lab that experiments on animals. (And thank goodness it’s not.)

Now the poem may list a bunch of stuff a wombat can’t do after certain types of emotional damage, like being attacked or run over or left in the road or being burned or losing habitat or whatever. The poem may feel this is an effective way to bring you into the animal’s life quickly, before you can stop reading.

The poem wants you to feel all of this, both for the wombat and for other humans, but its mechanism of action is to get you to feel. You must feel what the wombat feels so you can feel what you feel and then extend more compassion and understanding to those around you.

That’s what the poem wants.

The poem will end but not before it tells you the wombat died. Humans made the decision to euthanize the wombat once they realized the leg couldn’t be saved. The poem may offer a kind of prayer here for safe passage from this world, but the poem knows it’s better if there were safe passage within it.

The poem will leave. It will disappear into the margins because the poem always has safe passage into silence.

Morning Prayer September 21, 2024

In the fall, Tucson smells like mildew, dirt, and cold metal. The wildlands behind our home are full of mouldering plant matter, animal matter, too. Every morning here is like an episode of my favorite series ever, Sunrise Earth, which aired on PBS years ago. The earth wakes up the same way everywhere: incrementally, tenderly, and without assistance from humans.

The coyotes are howling. They’ve been like this for days. They made it to fall. They’re anticipating winter, perhaps, bodily if not consciously. The moon has been big and glorious, which has affected us all, especially, it seems, the coyotes.

It’s like Sunrise Earth here with the birds calling and singing and buzzing, first the curve-billed thrashers, then the northern cardinals, then the house finches and the cactus wrens and the gila woodpeckers. A northern flicker even joined the crowd today, a rare treat.

The birds sing more as the sun rises higher, until it’s above the saguaros and palo verde trees. They sing until they stop, either because the sun is where it’s supposed to be and singing time is over or because the Cooper’s hawk has made an appearance. The birds are alarm clocks. They have a collective circadian rhythm that’s entrained on dawn. They help me keep my body clocks in sync and in working order.

Human sounds are here, too, which is where these mornings diverge from the Sunrise Earth episodes. Cars, too many of them, speed along Old Spanish Trail anticipating or dreading where they’re headed. Someone operates a chainsaw next door, an undertaking that started before six in the morning. If only humans would stop and watch the sunrise for five minutes and be part of the earth rather than setting themselves apart from it. I don’t know what that might change, but it might change us.

May we all be part of the Earth today. May we find a way to anchor ourselves on this planet and the lands we inhabit. My we be of this world, not separate from it.

Incrementally, Tenderly

Morning Prayer September 21, 2024

In the fall, Tucson smells like mildew, dirt, and cold metal. The wildlands behind our home are full of mouldering plant matter, animal matter, too. Every morning here is like an episode of my favorite series ever, Sunrise Earth, which aired on PBS years ago. The earth wakes up the same way everywhere: incrementally, tenderly, and without assistance from humans.

The coyotes are howling. They’ve been like this for days. They made it to fall. They’re anticipating winter, perhaps, bodily if not consciously. The moon has been big and glorious, which has affected us all, especially, it seems, the coyotes.

It’s like Sunrise Earth here with the birds calling and singing and buzzing, first the curve-billed thrashers, then the northern cardinals, then the house finches and the cactus wrens and the gila woodpeckers. A northern flicker even joined the crowd today, a rare treat.

The birds sing more as the sun rises higher, until it’s above the saguaros and palo verde trees. They sing until they stop, either because the sun is where it’s supposed to be and singing time is over or because the Cooper’s hawk has made an appearance. The birds are alarm clocks. They have a collective circadian rhythm that’s entrained on dawn. They help me keep my body clocks in sync and in working order.

Human sounds are here, too, which is where these mornings diverge from the Sunrise Earth episodes. Cars, too many of them, speed along Old Spanish Trail anticipating or dreading where they’re headed. Someone operates a chainsaw next door, an undertaking that started before six in the morning. If only humans would stop and watch the sunrise for five minutes and be part of the earth rather than setting themselves apart from it. I don’t know what that might change, but it might change us.

May we all be part of the Earth today. May we find a way to anchor ourselves on this planet and the lands we inhabit. My we be of this world, not separate from it.

Morning Prayer September 16, 2024

Trees don’t move in the wind. They’re moved by the wind, the way we all react to unseen forces, unseen faces, unseen lives, and unseen lies. But I digress. This isn’t about deleting and inserting letters to stumble on real or imagined connections. It’s about how, wherever I’m standing, I want to be standing somewhere else. A foot over, a mile, a state, a bioregion.

There, where I saw my first Blackburnian warbler. There, where I learned the name scissor-tailed flycatcher. There, the mud. There, the sand. There, the untidy rows of cows. There, tidy rows of roses a girl could hide in if it weren’t for the thorns.

I’m trying to stand still for ten minutes every morning while I watch the sun rise and listen to birds. Yesterday, a western screech owl. Today, a pyrrhuloxia, as in red or tawny, not as in pile of wood for burning the dead.

I’m trying not to think about how the northern cardinal should be the one named pyrrhuloxia, not the pyrrhuloxia, or about how that must mean the person who named the pyrrhuloxia had never seen a cardinal, or about how the person who named the pyrrhuloxia must have felt the first time they saw a cardinal after having named the pyrrhuloxia pyrrhuloxia.

I’m trying not to think, which is always the biggest impediment to not thinking. I just want to stand for ten minutes with my feet planted, my body unstirred, like palo verde trees on a calm morning after hard rain. I want to be here, with these birds and these trees and these cactuses in this desert. I want to feel safe enough to remain still for ten minutes. I’ve seen cottontail rabbits do as much, though their mouths were working incessantly because they move their jaws up to one hundred twenty times per minute when they chew. That’s twice my average resting heart rate but nowhere near the four thousand times a hummingbird’s wings beat per minute.

I’m trying not to think about facts and comparisons. This more than that. That less than this. Living beings are not just math, so I’m trying not to tilt my head and scan for rabbits or add up my heartbeats as they batter my chest or make a futile attempt to count the wingbeats of the Costa’s hummingbird who’s zipping past me.

I’m trying not to worry about Valley Fever and global warming and poisonous toads and communities in crisis and birds falling from the sky from avian influenza and assassination attempts and wildlife without habitat and unseen lies and unseen lives and unseen faces and unseen forces and my father and my family and my childhood. That’s what lies in stillness. All of that and more.

So I count. I compare. I slot things into more than that, less than this. I learn facts. I look around. I take in. I fill my head with details. And I move. I have a head full of analysis, a body full of terror, and the trauma to justify both.

Those last three things on my list are the crux of the matter: my father and my family and my childhood. They’re the real, lived dangers that tie me to the rest of the dangers in the world, the rest of the heartbreaks in the world, the rest of the injustices in the world. The broken wing. The dry lake. The toxic dust. The highway. The swimming pool. The bedroom.

My father didn’t have any guns. He’d had enough of them in Korea. We had an empty gun case built into a wall at our lake house. I wanted to fill it with flowers. He wouldn’t let me. It had to be empty, a sign for anyone who saw it that he meant them no harm.

My father was the weapon. He ultimately turned himself on himself but not until he destroyed everyone else. I mean us. I mean his family. I say his as if we belonged to him. Belonged as in were owned by, not as in were members of. He owned us all. Kin from the Old English cynn, which sounds like sin. To kin, to sin, to skin, again. Buckskin and doeskin and firing pins and deadly sins. No win, no wins, no whining, no whinneys.

I stood still for five minutes this morning. Five minutes in which I didn’t keep vigil, in which I watched the sun rise and listened to the birds. It’s not ten yet. I’ll keep trying for ten.

May we all be free from suffering for ten minutes today.

Good morning.

Listen, Listen

Morning Prayer September 14, 2024

Do not see the horrors of the world. Do not speak the horrors of the world. Listen, listen to the horrors. We only need to listen to know them in our bones. Then we can see. Then we can speak.

Cover your eyes until you hear. Cover your mouth until you hear.

I mean bomb. I mean siren. I mean gun. I mean blade.

I mean hand. I mean voice. I mean footsteps. I mean heartbeat.

I mean fire in wildlands. I mean fire in territories and cities and countries. I mean whole areas turned into carbon. Trees. Structures. Animals. People.

I mean the horror we hear coming and the horror we don’t hear until it’s come, until it’s sitting on our chests, pinning us down. To the bed. To the floor. To the sopping ground.

I mean flames and thermal winds roaring like jet engines, what feels like the whole world rumbling.

I mean horror like bones breaking because horror often breaks bones but also sounds like bones breaking when no bones are broken.

The horror of wrong death, wrong place, wrong time, wrong turn, wrong war, wrong leader, wrong policy, wrong hope, wrong prayer.

The horror of wrong family, wrong father, wrong town, wrong time, wrong words, wrong body, wrong hands, wrong home.

I mean bomb turning brick to sudden dust. I mean siren screaming aimless into night. I mean gun bucking in eager hands. I mean blade causing muscle to burst like distant thunder.

I mean hand turning body into target. I mean voice lulling child into trust. I mean footsteps like percussionists pounding out time. I mean heartbeat like another person inside the chest trying to tear themselves free.

The horror of why. The sound of that question as it sits on the tongue croaking like a toad.

I mean horror as gunshots down a long hall. Then in a room. Then in a library. Then in another room. Then back in the hall.

Horror in the school, in the business, on the base, in the place of worship, in the car, on the street, in the parking lot, in the neighborhood, on the highway, at the train station, on public lands, in the bedroom, at the splash pad.

The always-more of horror. The never-endingness of horror. Our faces like dry pools. Our skin dull as powder. We want no more of this screaming horror.

Now we hear it. Now we don’t. Now we do. Now we don’t. We are children, every one of us, playing games with our senses.

May we listen. May we see. May we speak.

Quirky

One year and three days ago today, Jon and I went for a hike in Snow Canyon, located in Ivins, Utah. A couple approached us. They were in their 70s. They asked to take pictures of us because they liked how I was dressed. They even got another hiker to take photos of us with them.

The man started talking about polygamy and all his polygamous relatives. He said I looked like his sister, who is very pretty. He asked me to pull up my dress and show my legs. Everything he said was funny, lighthearted, girdled in puns. It seemed harmless, especially coming from someone his age who was with his wife. But it didn’t feel harmless, not if I’m honest with myself. My body knew it wasn’t harmless. The body always knows.

They love-bombed us with all the things we had in common. She was an English teacher who loves literature and weaving. He was that everydad kind of guy who noodles with electronics and technology. They were just like each of us, so similar it was uncanny. The wife, C—, even noticed that she and I both have moles on our right cheeks. Family, she said. We could be family. You could be my kin, he chimed in.

We exchanged email addresses because C—, whose nickname was Queen, wanted to send me images of a woven rug she’d purchased. We still weren’t registering the kind of danger that we were in, that I was in. I was trying to flex in Southern Utah, to meet folks where they were at and to be open to everyone. Danger wasn’t on my radar, not until later that day. I was leading with love and trying to survive in an inhospitable culture.

Later, I emailed Queen about the weaving. I got a reply back from Quirky instead, one year ago today. That was his nickname. His response to my email was a photo of him naked in his bathtub with a bottle of lavender essential oil on the tub’s rim. His accompanying text was: You have to promise me that if I send too much, just tell me!! Off to Bear Lake after I get out of this bathtub!

It was too much, Quirky. Way too much.

This is the day: August 31, 2023. This is the day one year ago when I became terrified of everyone, the day my C-PTSD and bipolar 1 swooped in to save me, as implausible as that might sound and as inelegant as those protective mechanisms appeared to me and to others. They saved me from terror, from abject terror about being fundamentally unsafe in the world, even in super-safe family-friendly sunny Southern Utah. They saved me from not recognizing that I wasn’t safe, that Quirky and Queen weren’t safe.

C-PTSD saved me by making my body scream when I couldn’t hear it whimpering. Bipolar 1 saved me by giving me something other than sheer darkness as the only thing left in my existence. Bipolar made me think maybe, just maybe there’s something other than and beyond evil in this world—something unlike the Workys or their earlier counterparts: the Coolidges, the Yoders, the Swains, the Whites, and last but not least, my family, the Guthries.

Quirky and Queen are real people who really did live in Utah and who really did what they told us they did for a living. I looked them up after I received Quirky’s email. I looked Quirky up again today. He died at the beginning of 2024. He was active in his LDS ward, loved gardening, was charismatic, and made everyone feel welcome. A real gem in the community. No cause of death is listed.

I am walking out of that chapter of my life now, that near undoing (or unbounding, to extend the metaphor). Welcome, August 31, 2024. I’m happy to be here, or at least moving in the direction of happiness and healing.

Purple Martins

I watched desert purple martins last night in the glorious saguaro near my home on Javelina Way. I was surprised that there are still nestlings who haven’t fledged yet. They need to get going so they can prepare for migration.

I love birds as dearly as anything on this earth, which means I love them imperfectly. I initially studied them so I could write with more detail about the natural world. I didn’t want to always say bird in a poem and leave it at that. Bird. Tree. Sky. Not good enough. Poets are not children naming things generally and statically for the first time. (I’d actually argue that children are more creative than that and could teach poets a great deal about how to encounter and describe natural worlds.)

I wanted to know the birds’ names, their habits, their struggles. It was a fact-finding mission. But then I loved them, suddenly and completely. I was done in by their delicacy and resilience and incomprehensible beauty. I loved them. I remember where I was when I realized that was the case: watching a house finch on my fence at my home in Overland Park, Kansas. I at once loved that particular bird and all birds. Their gorgeous or silly calls. The myriad ways in which they walk or fly or run or crash into branches or come to an inelegant stop on glassy water.

I watched birds for seven years and kept daily logs, took photos, fed them, gave them water, checked on their roosts and nests out by lakes and in apartment complexes around the city. I knew where every eagle’s nest was located. I watched. I worried. I hoped. Those vulnerable days on the ground before first flight. The slinking neighborhood cats. The poisons neighbors used for rodents. I watched one—a trumpet swan—slowly freeze on Wyandotte Lake in Kansas City, Kansas, when a cold snap hit during migration. My dear friend, also a poet, was with me. All we could do was watch and hold vigil until death came with its white gloves that to anyone else would have looked like gentle snowfall.

I did all this while I wasn’t writing poetry. I was never going to write poetry again. (So much for that.) Did I impose my love of poetry on birds? Probably to some extent. I had a lot of love inside me. It had to go somewhere. Love always has to flow out and out, forever, endlessly, the way Pablo Neruda describes it.

“The Martins,” a poem I recently wrote, isn’t just about the community I live in or the sprawling development on the other side of Old Spanish Trail. Ultimately, it’s about me and death and family and love and the natural world and conflict (internal/external, individual/collective, natural/designed). And it’s about birds. Desert purple martins to be precise.

Yesterday, I was discriminated against when I disclosed my dyslexia—a documented, ADA-protected disability—to my coworkers. I’d been struggling all day to do my work but was unable to do so because of a modifiable issue in my immediate workspace. The employee I share a cubicle with was gathering with others. They were engaging in loud, boisterous conversations, including those that did not pertain to her work or to work at all. This went on for hours.

Eventually, when I was trying to send an email but was unable to accurately type a single sentence because of the noise and distraction in my immediate vicinity, I decided to share my diagnosis with the folks who were gathered in my space. I thought explaining how noise affects my ability to read and write would help them understand and be supportive. Instead, I was met with dismissiveness, sarcasm, and a refusal to be supportive. When I said, “I’m dyslexic,” one employee threw a hand in the air and sarcastically replied “Congratulations?” then staring me down as if I’d done something inappropriate. It was the equivalent of saying something akin to, What do you want, a medal?

I can’t imagine anyone responding that way if another documented, ADA-protected disability had been disclosed, such as a physical disability for which someone was requesting a ramp when only stairs had been provided. The response was unfathomable and unacceptable. I realized then that I will never be able to advocate for myself in that workplace or to feel a sense of safety, inclusion, and belonging there.

Immediately after this incident, I attended a one-on-one training that was not accessible. When I disclosed my disability to the instructor:

1. did not treat it as a disability,

2. made comments that were not acceptable and would never have been made if it were a different type of disability,

3. continued the training despite my having explained why it wasn’t working for me without modification to the way it was taught and what was being asked of me.

One comment the trainer made when I told him I needed my own keyboard and mouse—which are assistive technologies for me—if he wanted me to do extensive typing as part of the training, was that “everybody” has trouble with that keyboard and mouse. Even after I was clear that dyslexia is a disability, that it’s protected under the ADA, and that it’s not the same situation others without a learning disability may have with the keyboard, he continued to make that statement. It was minimizing, dismissive, and uninformed.

Again, if this were another form of disability, that would not have happened. His approach was no different from telling someone in a wheelchair who can’t use the stairs that everybody has issues with the stairs, then continuing to expect the employee to scale the stairs somehow without any other alternative.

I cannot take on the responsibility that job requires within a culture that is discriminatory in general and toward me in particular. Even with an accommodation request, which I’ve never had to make before in my career, the culture will not change quickly enough for this to be a tenable workplace.

I will not continue to subject myself to comments like the ones those employees made, and I shouldn’t have to. I invested a great deal in this position financially, emotionally, and otherwise. I turned down one offer and terminated the interview process with another potential employer to be at UA. I’m not going to be able to see my brother-in-law before he dies because I needed to be present at work. I started work two days after being in the emergency room for a serious, chronic medical condition that’s affecting my heart. I did all of that because I thought UA and UA Libraries lived their mission and would be safe places where I could learn, work, grow, thrive, and give back in spades to AIS, UA Libraries, and the University of Arizona as a whole.

In addition to the issues I’ve recounted above, employees use ableist, sanist, and otherwise dehumanizing language regularly. I was subjected to instances of discriminatory language, behavior, and attitudes multiple times a day. As someone who was supposed to be helping to shape the culture there and ensure the library is a trauma-informed space and community, I didn’t have the ability to effect change because I wasn’t empowered to do so. That was clear from day one. I was literally told by a high-level leader to just keep taking notes about what was happening. That’s right. Discrimination is occurring. Ableism and sanism are occurring. But all I could do was take notes that I kept to myself. Until when. When would something be done?

The reality is that I am a queer, female, trauma survivor who thrives despite having multiple disabilities. Only some of my identities and statuses are currently being protected at UA Libraries. This queer-positive environment is sorely lacking in inclusion in other areas. It’s always the disabled, the disenfranchised, and poor, the silenced, the struggling, and the utterly destroyed among us who continue to be harmed by people’s dogged adherence to bigotry, as if it has to be funneled somewhere rather than being eradicated entirely.

Can’t be racist anymore? Be ableist or sanist! Can’t be sexist anymore? Be ableist or sanist! Can’t be transphobic anymore? Well, it’s your lucky day. We’ve got some fancy schmancy ableism and sanism right here for the taking!!! Step right up! We’re running a two-for-one sanism sale! Buy one ableism, get a sanism for free!

But here’s the thing: Where we discriminate against one, we discriminate against all. Since this country was founded, ableism and sanism have been part of its fabric. And now, they appear to exist in order for bigots to express their generalized bigotry in the only way that’s currently palatable, which is by attacking human beings based on their disabilities.

Ableism and sanism affect the most vulnerable folks in our communities. We need to do better by them. All of us. And that includes the people working in our academic libraries.

I expected equal protection across statuses, but ableism and sanism appear to be endemic at UA Libraries. It’s unfortunate. It’s actually devastating.

Some acts of bravery require resignation. My act of bravery this morning was to resign.

P.S. On my way out yesterday, I saw the bumper sticker on an employee’s car. It read, Ask me about my lobotomy. Fuck that noise.