There are few names and no dates on the photos. Together, they span fifty years. The oldest are bound in a half-torn album tied with a limp shoelace.
The pictures begin with my lithe and lovely grandmother, no more than a teenager, posed alluringly against a tree trunk in a grassless yard. In another, she has arranged herself on top of railroad tracks. Here she is, a poor girl wearing new clothes, and her hair is marcelled. There are pictures of other young women, her friends or sisters; they take turns wearing a fur-trimmed coat. This is their dress-up; these are their aspirations. They have taken pictures to show how desperately they want to get out from the pictures. Cross the tracks. Leave home.
Oh, how you know the feeling.
Many pictures have been ripped from the pages. Glued to the front, as if a new title, the first page remade when the album filled, is a photo labeled “Jim Jimmie Erma,” a family portrait. My father, little Jimmie, looks about four years old. His father holds the boy close in his thick arms, taking responsibility. My grandmother stands alongside wearing the coat and traveling hat. They are squinting into the daylight.
From this vantage point, I can see the secrets and scars in their unblemished faces. They confess to me of future crimes and punishments. Even as an innocent, my father looks exactly as I feared him, a fact that strikes me as peculiar only when I consider that my daughter will see her own hysterical mother in my cherub-cheeked baby pictures. The mother she will misjudge and misunderstand, the mother she might reject and revile, until one day she doesn’t.
But I am going to erase all that—everything I think I see—and give them a fresh start. I’m going to give them what I would if they were my own children, or if they were me. Because they are me. I’m going to give them love. read more