Due Process

I un-followed a Canadian author who helped shape my identity as a human and as a creator. I un-followed her because of a letter she signed. To be clear (because no small statement is ever clear) I did not un-follow her forever. My feed is an ebb and flow of the things I enjoy, the things that give me hope and the things I hope to know. My feed serves me. That’s why it’s mine. I may find, in the near future, that reading her small, instant words feeds me. For now, I’m choking on it. I also did not un-follow her simply because she took a political or personal action I disagree with. She has built up enough good faith as a creator that I see no need to view the world through a lens identical to hers. I un-followed her because it hurt.

Two words she threw out like a casual sprinkling of flavour on a massive meal: Due process.

I am a sexual assault survivor. I am a multiple sexual assault survivor. In almost every case, it was a man who held cross-sections of power attempting to or succeeding at misusing my physical and emotional form because they could.

When I started to realize – well into my teens – that what had happened to me was, indeed, against our presumed social contract, I began the process of seeking my due.

Due process simply means fair treatment in the judicial system. Not only fair treatment for the person who stands accused, but for the person who stands destroyed. Too visceral? Too emotional? Probably.

Here is due process to a person who has been raped, sexually abused or sexually assaulted:

1

Tell someone. This person may be yourself. Often that’s the first person you tell. If you are young, you may tell yourself after a book or a flyer in your school or an episode of Degrassi confirms that the tearing and ripping inside you is not an anomaly, but a reaction. There’s an overt message that you are not alone in numbers, but 1000 subtle messages that you are probably alone regardless. If you are an adult, telling yourself can happen during, or just after or years later. It can happen when you do that math inside your head that says if I scream he will kill me or if I just make it to the end it will be over and she will leave. Math is a process. Math figures out how much more they have to weigh than you to hold you down. Turns out, it’s not that much. It is not fair that this is how you must talk to yourself, but neither is it judicial, so we will pass this step.

2

Tell another someone. Maybe a friend. Maybe using code words. In my case, it was a guidance counselor. She was not the first person I told, but she was the first to break the code. There is a good chance that the person you tell will not believe you. They may try to find a way to show that it was your fault. This is about you, but it’s also not about you. It’s about constructing a safe cocoon of control that says I would not have made those choices so it would not happen to me or I did something similar once and I am not a villain. Sometimes they will believe you, but since they have spent a same lifetime watching dashing men on film win women over by hands-over-ears ignoring their nos and stops and I mean stops, they will wonder if it isn’t just the way things are. This is also not fair. Now that you have told someone, we may be drifting into the judicial. After all, everyone you tell, even your diary or your mother, can be called up later to testify. That’s the process. Maybe it’s better to say nothing at all, and to smile in pictures at picnics, but then, those pictures may also be called to testify. Anyone/thing you tell is likely to come back at you. This blog could come back at me. Every time we speak, we give a piece of ourselves to that process that we cannot take back with honest words. Words are not proof.

3

Tell the police. Go to the police. We use ‘the’ with police because everyone knows what you mean. No need to give qualifiers, adjectives. They are the police. The police with candies at parades and dirty looks when you walk in groups with other people from school. The police who, perhaps, look more like your assailant than you. Here the process comes due. If you have made it to this part in the process, you are one of only 6 out of 100. 94 out of 100 people chose to stop at step 1 or step 2. You sit in a room or curl up in a ball in a room or pretend you are not in a room and try to take something that is bigger than any part of you and break it down small enough that it will fit on a piece of paper that can go in a file in a drawer or on a computer and maybe turn into fair treatment in the judicial system. If this outcome were common, there would be more than 6 of you. It is not common. Numbers show that. Stories show that. Rooms full of women secure that no one is listening show that. Our arms and our medications and our nervous ticks show that.

4

There are two ways this step in the process can go. You may find, like I did, like a fall from a high height that lands you square on your back, that the last step takes all the wind out of you. It is okay if your process ends here. The next step involves lawyers. Lawyers are people who went to school for a very long time to study a system created before most folks could vote or own property or avoid being property. An apple tree can grow a thousand ways, but it’s still an apple tree. Until we plant something new, this is our only apple tree. This apple tree sucks. People will tell you to have faith in it. They may point to new branches that have grown since you were considered a person. They may say that the roots are strong enough to maintain us through change. That is bullshit. Only 1 out of 65 of us will see fruit from this tree and that fruit is often small and full of worms. Have I lost you? Anyone who tells you that you should not have feelings until due process is served is choosing not to see that no matter how nobly an idea may grow, it is only by its fruit that we can truly judge it. There is no fucking fruit.

5

Some people may think that the previous step is the last one in the process, but there is another. This is a step we take when we’ve exhausted one of the previous steps and found that, no matter what the promise of fairness is, the social contract we have signed has crap clauses. It has the clause that wealthy people and famous people and popular people and really any people can still succeed, no matter what they do to us. They can be free. They can be loved. They can be president. It has a clause that says we are to stay very, very silent no matter what happens, unless the tree gives us grand, ripe fruit. They do not point out the very small text that says it rarely does – and then usually when very pretty and convincing humans with pristine pasts and no scars point at very mean looking humans and say, “it was them!” So what do we do? We hold our hand to our mouth and with a theater aside, we whisper our stories in quiet spaces. We write maudlin poetry and carve lyrics on our bellies. We cry when we masturbate and flinch at gentle touches. We sometimes throw the contract out and shout and shout and shout, only to be met, finally, by a two words that I can no longer bear:

Due process.

Henry Rollins, Rape and the End of the World

Thanks to my brother-in-law’s wild life touring with the Trews, he wasn’t able to use his fifth row tickets to see Henry Rollins‘ spoken word performance at the Music Hall. My love and I were happy to step up and take one for the team, putting the tickets to good use.

I’ll start with a confession. I am NOT punk rock. Not even a little. I don’t gel with the music and I’m not edgy. I apparently didn’t get the dress code memo that black t-shirts were the required uniform.  I wore a horned Loki sweater to the event. But my love has listened to Rollins’ spoken word albums since we met over 20 years ago and Rollins’ books of poetry and performances in works like He Never Died speak to me on a weirdly personal level.

IMG_2191.JPGStill, I had never seen him live and I’d never listened to his bands. I expected I’d be going on a night that my love really enjoyed and his joy would make the night wonderful. After some waiting, Rollins took the stage. He wrapped the mic cord around his hand, took a deep breath, and spoke like a machine gun on auto-load for two hours and twenty five minutes.

Here’s the thing about me. I’m old. I mean, I’m not Pop’s Soda Shoppe old, but I remember when plaid was king and orange and brown were considered a reasonable colour scheme for a living room. While I talk about my trauma on my blog, for the most part I go through the world like a normal human being. I smile at jokes. I read books on the bus. I watch cheesy movies. I pass for normal. Unless you speak to me and I’m open about it, nothing about me screams ABUSE AND RAPE SURVIVOR. Yes I have PTSD, but generally I’m pretty good at keeping my symptoms to myself. I camouflage. I blend.

Still, as Rollins progressed through his talk, it was like he was dancing on every one of my triggers. He talked about his friend RuPaul. Weirdly, RuPaul’s autobiography was the first book I bought when considering that I might be queer. He talked about global warming and the end of the world. He talked about how music gave him proxy parents, musicians who spoke to him in ways his own parents couldn’t, when he needed to be understood. He talked about being the weird, spazzy kid whose brain worked differently than other people’s. He even talked about misogyny, homophobia and racism, problems that hit close to my heart – an organ I don’t always protect like I should.

So yeah. I cried a few times as he raced through his anecdotes. I was watching a dude at the front of the room be honest and beautiful and real and it tore me up. Here was a guy at almost all the intersections of privilege, choosing to challenge every advantage he had and to be naked in the face of scorn. I dug it.

When he talked about his discovery of punk, I found a place where our paths diverged.He was looking for music that spoke to the anger he felt, his base emotion being rage at the world around him. When I discovered music, I didn’t go that way. Rage wasn’t a colour in my palette. Anger wasn’t an emotion I had permission to feel. So instead, I reached for sorrow. I gravitated to blues and folk, to R&B and soul. In tunes about lost loves and do-wrong partners, I found my companions. Sure, their loss was of a different flavour to mine, but it still spoke of heartache and destruction. I remember the first time I heard Joplin’s Cry Baby. Hell, I knew it was a sin, but I loved the way she wept in tune. I loved the way she bellowed pain. Here was my avatar.

As I aged, I discovered Janis Ian and Ma Rainey and Odetta and Joan Armatrading and Buffy Sainte-Marie. Damn, but those women could wail. Rather than anger, I immersed myself in sorrow and I survived.

img_2192Near the end of Rollins’ set, he told a story about a young woman who waited outside one of his shows, seeking an autograph. As a storyteller, he told her story. He talked about her rape. He talked about her experience with not being believed, about how her rapist was allowed to share space with her – to smile at her – because she was not believed. By this point, I was weeping silently. It would not do to weep loudly or burn the feeling down. He talked about her suicide attempts and her cutting. He talked about her attachment to his music, how it gave her more of a voice for her anger.

That’s when, despite it all, I felt hope. She wasn’t like me, attaching meaning to the blues. She saw her reality in a genre that felt anger and expressed it. She had found a connection to a genre that demanded that anger be seen, acknowledged and felt.

She raged.

I was shaking.

Rollins ended his set and left the stage. All my nerves were activated, all my sense peaked. I knew I couldn’t push my way through a crowd, a press of bodies, to get to an exit. Still, I sing the blues. I do not rage. I sat and waited for the crowd to pass.

Then a security guard, a uniformed man standing a good foot over me, came over and tried to hurry me up. As always, words caught in my throat and ideas stammered through my head like unruly passengers. I needed to wait until the crowd cleared. After all that exploration, I couldn’t leave through a crowd. Not yet. He raised his voice, impatient with what I’m sure he saw as my impertinence, an accusation a woman doesn’t escape until she meets soil and headstone. I managed words, as the crowd waiting for the VIP Q&A started to gawk at the scene developing by them.

“If you give me a moment, I can explain. Just come over here.”

I knew he wouldn’t understand unless I explained. Still, 100 strangers didn’t need to know my life. For me, electing to tell my story only when I wanted had helped me find my voice. Being cornered into it didn’t appeal.

The guard would have none of it. He was brisk. He had a job to do. I was in the way. Still, I waited. I took breaths. I waited and eventually I left.

I thought about what Rollins had told the woman who had come to his show. He had asked her if people had been telling her, of her rape experience, that it would pass. Of course, they had. Rollins had explained to her that this was probably not the case. It would live inside her, like an energy. It wouldn’t pass. It rarely does. But it was an energy she could harness. As I walked home, I thought about this. I thought about the energy that, after all this time, still takes up space in my body. It wearies me. It has changed the lens through which I see the world. I thought about the space it occupies and the shockwaves I still feel, decades later, when a man on stage talks about abuse and rape and falling apart.

I know he’s right. It hasn’t gone away, no matter what people promised. It’s here inside me. So I do what I can. I describe it. I examine it. I am honest with it and about it. I write even if no one reads. I write because it spreads the energy out. I write because I can.

I Like To Cut My Skin

I like to cut my skin
It’s the only thrill I’ve got
It’s better
I know
To feel something
Than not

I like the tug and catch
And the perfect lines I draw
It’s better
I know
To exorcise
The flaw

I like to cut my skin
I cannot tell you why
It’s better
I know
To say nothing
Than lie

by Heather Emme

To read all the #verseday poems, click here. To read my twitter poems, click here.

Bleeding Ink: Chick Tracts and my Evangelical Childhood

It was the mid eighties. I lived in Flemingdon Park, a mostly immigrant-populated neighbourhood on the edge of Toronto. My family – and I mean my whole family, three generations of it – attended Flemingdon Park Pentecostal Church. Of the church, I remember every detail. I remember the hardwood pews I sometimes helped my grandmother polish. I remember the chandeliers with a hundred small lights that seemed opulent next to our rented boxes, each with the same bulk-bought light fixtures. I remember the washrooms where we watched women fix their lipstick in their Sunday best, two piece polyester suits and hats with lace and flowers and small craft store birds. Sometimes their eye would meet and they’d give a knowing nod as a mother brought Jesus to their child with hands and purse straps and coat hangers.

screen-shot-2016-10-25-at-10-41-54-am

Pretty on the outside…

The Jesus freak movement of the seventies brought swaths of people (including my family) to religion, but it was the hard-nosed, cult-like, almost mythically weird evangelism of the eighties that kept them. Somewhere along the way, the idea that god is love gave way to the sure-fire knowledge that god was right. And as god’s chosen folks, we were right by proxy. Several times a week, we gathered in the red brick building on Grenoble Drive and listened to stories of hell, fire and redemption. My brain, always a little bit sideways, took it all in. I believed every word of it.

To explain it to someone who hasn’t been through it, imagine you were raised watching horror films every day from as early as you can remember. Only, instead of your parents assuring you it was all just a made up story, they told you it was real. All of it. They told you Freddy and Jason and Pinhead and Leatherface were real. They told you the only thing that was standing between you and them was constant prayer, never-ending obedience and diligent belief. Imagine that the judge who determined whether or not you were given over to them was always watching. Not a single moment was your own. One mistake and you would be theirs. To assure your safety, your salvation, you were hit whenever you strayed, even in thought. That was my childhood. That and potlucks, music and felt cut-outs of Noah’s ark.

An important part of our church was evangelism. We sent missionaries around the world. We rented buses to go protest women’s clinics. We delivered religious tracts door to door.

We delivered Chick tracts door to door. Jack Chick was the one man hate-machine behind the infamous comic books that still see distribution around the world. Filled with horrific racist, sexist and homophobic caricatures and oversimplified theology, Chick tracts were the preferred outreach tracts of evangelicals. The recipe was simple. Sin was shown, fear was instilled, redemption was promised and the then “sinners prayer” (which appears nowhere in the bible) was said. After that? Well, we were never given a very clear after picture, unless we were shown their ascension to heaven, the door prize for living the anti-social perfection of the Chick reality.

flemmo_2-copy

I’m the short one…

On occasion, my church would do a Chick tract delivery day. On that day, we would walk the neighbourhood in small groups, carrying shopping bags or pulling trundle buggies filled with small, black and white comics that invited people to join our cause – or else. Stamped on the back was the name and address of the church. The idea was they would read the book, find god and need a place to turn.

I was an anxious child. I’m an anxious adult. For me, the idea of going door to door sent nervous tingles through my whole system. I would get dizzy just thinking about it. Still, fear of hell won out, so off I went, eagerly dropping tracts in mail boxes or through apartment mail slots, joining my mother in preaching to the folks who opened their doors to us. I remember my mother and a person of another belief system having a debate as I stood clutching my Chick tracts. Behind them was their child, looking equally unsettled.
“You love your child,” My mother said, “But you’re condemning them to hell.”
“I could say the same to you.” They replied.
I met eyes with my fellow condemned soul and said nothing.

When the day of delivery was over, each of the children was given a “comic” to take home. A gift for sharing the spirit. I was given The Poor Little Witch, a comic that only really makes sense if you remember the Satanist panic of the eighties. In it, a girl named Mandy wishes in front of a candle that girls will stop picking on her in gym class. By the end, she’s drinking baby blood. I’m not exaggerating.

screen-shot-2016-10-25-at-11-10-23-am

I re-read this comic often, praying the prayer at the back. Somewhere along the way I lost it, but I never forgot its heavy-handed message or the fear it set in my stomach.

You see, Chick tracts didn’t just serve the purpose of recruitment. Chick tracts were fear pamphlets. Each one served to create a massive them and a tiny righteous us. As children in our church, we were expected to isolate ourselves from the rest of the world. Obediently, we excused ourselves from school lessons, avoided making friends with sinners and closed our eyes if we passed an ad that might provoke sinful thoughts. These tracts confirmed that our isolation was not just right, but life-saving. What if I should talk to the wrong teacher and end up drinking baby blood at threat of knife point? What if I listen to the wrong music and let demons into my body? What if I forget for the smallest moment that I am a sinner and lose it all?

To most, the passing of Jack Chick is a cultural hiccup. It’s a chance to laugh at the funny books that tell such ludicrous lies that people wonder if they might be parody.

For me its a reminder of the weird horror movie I grew up in. One where demons were real and torture was promised as a punishment for reading the wrong book or thinking the wrong thought.

As they die, these men like Oral Roberts and Paul Crouch and Jack Chick, we children of their legacy keep on. We peel away the horror stories and find ourselves. We find a narrative that is not black and white, sketched in righteous fury. We revel in grey and ignore the nightmares that sometimes haunt us of blood and ink and fear.

We grow up and leave these comic books behind.

On My Back

As I write this, I have my leg through the strap of my backpack. I am in the computer commons at college and, surrounded by my peers of all ages, I am thinking – always just a little – of my bag. If I cannot see it, I must feel it. If it is not attached to me, it must be visually nearby, close enough to grab should an alarm go off or a thief pass by. I accept that I may lose what I have, but I do not accept that I must be passive about it.

This started when I was a teenager and homeless. In my bag was everything I valued. Everything I could not lose – my ID and my writing. I was those two things. Proof I was counted and proof I was not alone, even if words were my companion. Sometimes there was a paperback or some snacks. Sometimes extra clothes or a some change I’d scraped together. Always at least one scrap of paper with phone numbers of people I might call if things got worse (I did not contemplate how they could get worse.)

When I was homeless as a young adult, this time with my love, we both carried bags. We could share the burden. Still, I did not put it down. I clipped it to myself with a carabiner in case I should drowse off (which I almost never did.) Vigilance was my byword.

Still, almost 20 years on, I am attached to my bag. I hold it like a child, arms wrapped tight around it when I take the bus to school. It is both shield and storage. I hide treats in its deep pockets and reward myself for never letting go.

If you wonder how seriously I take it, I have left shops rather than surrender my bag. At friend’s parties, with strangers I don’t know, I tuck it safe, hidden away under a bed or in a closet. Even then, I wonder if it’s been disturbed, my black mesh holder of my identity and my ideas.

“For the test,” the teacher said, “you must all leave your bags at the front of the room.”

I had planned for it. I sat near the front. I sat where I could see it, should a moment of panic hit.

I put it down and waited, chewing painted nails. Then the test was passed out and I read the first question (something about library cataloguing that will likely not interest you.)

An hour later, the test was done. The test was done and not once had I looked to make sure my bag was still there. Panicked, I glanced to make sure it was where I had left it.

It was.

I scooped it up and left the classroom.

I wondered why this place, this event, could make me forget my fears. Was it because I was so immersed in the subject, I lost myself for just a moment? It was a dangerous and heady idea. I considered, though, that it might be something more. Maybe, as I learn this trade, my internal sense of value is shifting. Maybe I’m not just things in a bag that can be taken from me. I am ideas and thoughts and other abstractions that can not be housed in a bag on my back. I am a person who stores value in my home and the people I love and the ways I contribute.

I think of Rita Mae Brown who said in “Six of One”:

“Put your money in your head, that way no one can take it from you.”

There’s some truth in that. As I disperse my value out I find I am less attached to some things, less afraid of losing them.

I still sit with my leg through my bag, but I do it knowing that sometimes, in the right times, I may forget.

 

Time/Space

He is a scientist
What’s more
An engineer
And he can hear
The drum, the thrum,
The humming of the gears

And he can tell
(Like the top was popped)
What’s underneath
What’s buzzing in my ears

One time he told me
Time
The line
Is not a line
It slips and slides
Like gears that grind
Until their teeth
Are powder fine
Until their teeth are gone

I know that song
My active head
I lie abed
I’m lost in time
Not powder fine
Not faded by
These years
These gears
My teeth, they grind
Until they’re flat
They make
A line
And all the points are gone

And now I ride a bus to school
A bus that takes me
Back in time
Past places that are not in line
Past buildings where I took up space
The place
They ground me down
The face that I have found
I’m bound
Lost in a sideways eight

I think on what he said
My bed
My teeth
My gears
My years
My head

I hope time is not linear

So she hears what I say to her
The girl trapped in the infinite
The halted time of being hit
I whisper to her not to quit

“You’ll be okay
You’ll be okay
You’ll be okay
Okay”
I say

Until we pull away

by Heather Emme

To read all the #verseday poems, click here. To read my twitter poems, click here.

Existing in the Disaster’s Wake

Content warning: Assault and abuse.

Yesterday I saw my assailant on the subway, for the second time in as many months. Previous to that, it had been years since I’d shared a space with him. I don’t believe in a higher power. I don’t believe in fate. Still, my mind is trying to make order out of the disorder that seeing him twice in so short a time has caused in my body.

Here is where I have landed:

He is real and he is out there, in my city and in my world. He goes home to what was my family. Every day they share a space with him, when, for me, those seconds were repugnant.

I think about this like a small, personal epicenter of a bigger reality: we, as a society, are okay with sexual assault. Our conviction rates are so low as to make the crime tacitly legal. Of the reported 460,000 Canadians assaulted every year, only around 7000 will see a conviction. When convictions do happen, people do more time for stealing a car than sexually assaulting a human. When someone is convicted, it’s often discovered that they had previous complaints that were dismissed by police. Most who speak to police report being unsatisfied with the process. The most common feeling selected by those surveyed? Devastated. It’s a word we use when a disaster destroys a city and leaves it rubble.

And after that devastation, comes the attempt to rebuild. In the case of a disaster, most can assume that the danger has passed. That the hurricane is over. That the wildfire has gone out. No one pities the disaster. No one brings the earthquake in to their home. We don’t fault the city for daring to exist in the disaster’s wake. My disaster walks around my city. He joins Ghomeshi and Cosby and Turner and all the other disasters that are given succor while we rebuild.

I wonder what it would mean if they turned the disaster away. I wonder what it would mean if I did not have to, in my casual daily travels, brace for the storm. I can’t know. I’ll never know. I can just rebuild again, stronger this time – like every time – and hope that what I’ve built survives.