On Fatherhood

I woke this morning without waking. I was submerged, lost in the words of a book, and when I rose, I realized that my family slept beside me, and I was blessed.

The seasons of my life used to be marked by school-time. It was in time to the academic calendar that I lived and breathed, and in time to that calendar that God taught me and grew me. When school was ended I felt rootless - or more accurately, shallow-rooted - for I did not know how the seasons of my life would be marked anymore, or how I would be taught, and it seemed the voice of God grew cold. Now I think perhaps I see. I had previously thought I understood a certain initiation into the lonely world of men. If I try to put my finger on how I know this world exists, I can only point to fragments - a remembered image here, a trope there - but I believe it does. The world of men who every morning leave the things that really matter to spend the best part of their day apart from them, and when they return are too weary to love and drink those things as they should - the world of men who accept this as not only a worldly necessity but their duty - I believe this world exists. And I am part of it. I say men; perhaps I should say providers - but I do not know. I am still exploring these cold, harsh badlands of the soul.

And now ... perhaps a new age of my life begins as well, and with it new lessons to be taught, new parts of me to be coaxed out of dormancy and nurtured. Surely my father realized with a start some mornings that his wife and child slept beside him, and all was well. Surely my mother as well ... is it the same feeling, for women? I do not know. I am inclined to doubt it, though I suppose they must be similar. But I know that I experienced such a moment this morning and felt a kinship with all the men who had experienced it before me, running through my breast like a spike of metal that shot through time, pinning me, anchoring me, to another world of men.

They say that everything changes when you have a child. That is not how I would describe it, although I suppose it is literally true. I have been a father for sixteen days now, and thus far my actual child-rearing duties have consisted largely of soothing my daughter when she is upset and changing her diapers, and both of these feel as natural as breathing (though I will admit to a certain mystification at how my daughter's poop gets some of the places it does. I can understand a projectile rebounding in the confines of a diaper, but I am being forcibly disabused of my naive notion that a human butt can only point in one direction at a time). There is, oddly enough, no sense of change. The evidence is present in the reorganization of my priorities, but the reorganization feels so pervasive that I can already scarcely remember a time when it was not so.

No, it is not my daughter who occasions a sense that everything has changed. The sense of change - for there is a sense of change - is to Thayet's account, not our girl's.

Esther Selene once told me that before I could be a father I would have to learn to be a husband. I expect she meant it prosaically at the time, but I have been reminded of her words often, these past two weeks. You see, it is not when I am changing my daughter's diaper or holding her close to assure her that all is well with the world that I most feel like a father. It is when I can soothe her so that Thayet can sleep - when I feed Thayet because her hands are busy with the baby - when I can interpose myself between my wife and the world's desolation so that she can rally herself for our child.

I do not mean to suggest that taking care of our daughter is "women's work," or yet that Thayet does not interpose herself between me and the world's desolation. Of course her shield shadows me. She is my queen, my wife, my riduur, bal mhi juri kando an a tome. It cannot be otherwise. And yet ... to shelter Thayet in this way, to create space for her to be who she is meant to be ... that is when I feel most like a father. This is not news, of course. My own father told me once that this was how he understood Biblical headship, and I understood it at the time. But I understand it again, and differently. To pour out one's self so that one's beloved can be about it may not be "men's work," but it is certainly - at least - a man's work. As it was, and is, the Lord's work.

It is not a work that I perform all the time, of course, nor yet perfectly. But I think I understand what it is. Like a redowa, the strings of my soul thrum when I get it right. Like a redowa, it leaves me wanting more. Unlike a redowa, it makes my soulstrings sound with joy, not delight.

I have it on good authority that I am besotted with my little girl. This is undoubtedly true, but it describes a whole galaxy of things that are happening in my heart. One of them is the joy of discovering a new person. Another is the joy of discovering my daughter. And another is wonder at the ways of the Lord, for shining enough light that I can better see the structure of my life, and its path more clearly. This is the work I was made for. This undergirds the things I do, and even my profession, like worship undergirds dance. My family sleeps, and all is well.

Happy Birthday to a Dear Friend

For her birthday, Shanah Van asked that we give somebody else a gift lin lieu of giving one to her. This post is probably going to be late, because it’s taken me a while to figure out what to say, and also because I’m writing this from a place that doesn’t have internet access.

You can tell this is a serious post because I’m going to start it off with some disclaimers. Let me start by breaking the rules a bit and saying that I love Shanah Van. This has been true for some time but “I love you” was one of those things that was locked away in the statue room for the right person. Now it’s been given to the right person, so I can say “I love you” to Shanah and not feel bad (I suppose most of you know this, but for anybody who doesn’t, let me note for the record that I dislike qualifying “I love you” with phrases like “as a friend” or “in Christ.” Of course I don’t love Shanah the same way I love my sister, or my mother, or Thayet, and I harbor no romantic inclinations towards her. But the fact remains that I love her, and that’s that).

Second, let me say that this post is bending the rules of this blog just a bit. My intention is not to honor, and not to offend. I don’t think anything I’m going to be saying is news, so anybody who knows who I’m talking about ought to also know already what I say here. But if anybody finds anything here offensive or uncomfortable, please let me know, and I’ll be happy to redact accordingly.

That said, on to the post.

I couldn’t think of one person to give a gift to, so instead I’m going to do a partial tour through my statue room, now that it’s closed. There are plenty of statues I’m going to skip, and of course the whole concept means I’m not going to be hitting any of the guys (and I’m still missing a blogname for Blue Rose’s boy). What can I say? Can’t hit everybody in one post.

In my head there is a long hall, all in white, with bright lighting that seems to come from everywhere and nowhere. At the end of this hall there is a painting framed in rich brown wood, which is the only color in the entire scene. We’ll return to the painting later. At the end of the hall you can turn left or right. I don’t know what lies to the left. To the right, at the very end of the hall on your right, is the door to the statue room.

This hall and the door itself are all plain featureless white, all brightly reflecting the same sourceless white light. Inside are statues of all the girls I’ve ever had crushes on (there is only one girl I can say I have ever loved, in the romantic sense, and she isn’t here). They stand on a vast crowded floor on low circular podiums, carved in white stone smoother than the creamiest Parian marble. All is the same pristine, unbroken white except for Nari’s statue, with its steel thunderbolt—pristine, but not cold. There is a warmth in the stone of the statues, a bittersweet fondness as of old friends. I have often wished that I could carry a document like this in my wallet, so that if I were in a serious accident somebody could try to find these women and tell them what a difference they made, that Natalie remembered them. But of course such a document would be far too large to carry in a wallet.

In revisiting this place it is not my intention to revisit old feelings for the sake of old feelings. But I would like to single out a few because they taught me something significant that has helped to bring me here.

There is Nala, who can be named at last after Twilight and Kathelia’s wedding. Her statue is a lioness with an imperious tilt to her head, gaze focused on something distant, caught in the motion of crouching into unseen grass. Nala was the first girl ever to show interest in me as a boy, and also the first girl I had a major crush on that I learned to be friends with. My first crush ever was Raven, but in all the ways that matter it began with Nala. She was the one who first introduced me to that complicated dance through the woods of pursuit and pursue. It would never have worked out, but for anybody who thinks Thayet and I are a surprising match—oh, you should have been there in middle school with me and Twilight and Nala, in the days of the Empire and Gen. Hayes.

There is Thea, whose statue is a long and sinuous dragoness backwinging as she sets down on a lake unseen, head tossed upward with the joy of the grass and the sun and the water. Nala was my friend. She was wild and romantic and fiery, like a wood elf come to life. We would wrestle and play and fight and dream together. But Thea—Thea was kind to me. My old friend. The girl I used to go on dates with that left me with a grin I just couldn’t shut off, because she liked me for me. Thea taught me that I really was as good as anybody. She believed in me.

There is Princess, whose statue is the dragoness Sasha—I don’t know how else to describe it. In early high school my Dragon Girls inspired me to write a pair of beauty pieces that tried to explain our relationships. Thea’s was titled Simply Wonderful. Princess’ was simply I Know a Girl. Princess taught me for the first time what it was like to be friends with and attracted to a girl who was my intellectual equal. Someone who didn’t think I was smart, or weird, or verbose—just Natalie. Wonderfully Natalie, enjoyably Natalie—but just Natalie. She taught me how wonderful that is, and how necessary, and how possible. When we went out we’d just talk, enjoying the electricity that crackled between us. People would always mistake us for boyfriend and girlfriend, and she was (is, I suppose) a beautiful girl—but I think I was always just Natalie to her, and to me she was just Princess.

There is the Hawaiian, whose statue is just her, standing behind her keyboard, wearing a smile being lifted on unheard chords to God. The Hawaiian was the first Christian girl I had a real crush on. She taught me how necessary, how indispensable it is to fall in love with a girl who loves Jesus. And she taught me that you have to wait for God’s timing even when you can’t see any external obstacles.

There is Blue Rose, about whom I could say so much, but I imagine that too much would embarrass her. Her statue is just a long-stemmed rose, standing upright, suspended by unseen forces above its podium. She is the lady knight at my round table, who has always looked out for me, always called me back, always called me on by her example to be like Jesus. I always felt that we went through Stanford like two figures out of a Tyrtaios song, neither running ahead nor lagging behind, encouraging each other with our words. She taught me … well, lots of things. She taught me that the true things do not necessarily become untrue just because they operate differently in new life circumstances. She taught me the importance of being myself even as myself changes and grows. She taught me new ways to be brave and obey God.

There is Shanah Van, whose statue is herself in an enormous gown (green, though the stone of course is white) with layers of petticoats. She is caught in the midst of a spin, and though her face is blankly serious there is joy lurking beneath the surface. Shanah was my Sweatshirt Girl, who with Blue Rose kept me going through those first two years in Testimony and thereby opened up so much of what God had for me, and who bears a large portion of responsibility for the fact that I dance (and therefore, in a way, for my meeting Thayet). I think Shanah was the first girl at Stanford to flirt with me—she taught me how attraction can nourish friendship, if the friendship comes first.

The last statue I want to take you past is that of Esther Selene, whose statue is the a mare’s head thrown back and whinnying, against a backdrop of a crescent moon whose arms enclose three stars. It was Esther Selene who taught me a large portion of what I know about dating and romance (and who first taught me how to apply what I know), who taught me the joy of doing it right, and who put the last nail in the coffin of the idea that at heart I’m really just a nerd, and nobody outside of my family will ever love me.

And that brings us to me, as we weave our way through all the other statues whose subjects I don’t have time to honor now, and I direct your attention away from the statue of the country girl in the checkered dress with the basket on her arm. It would bend the rules too much to talk about who I am, but I suppose you know—and to the extent that I am a worthy partner for a woman, a large part of the credit goes to the women above.

Now it is time to close the door to the statue room, and return to the painting we passed by at the start. The painting is of a woman, with tumbled curls of hair so brown it is nearly black and creamy pink skin, with a full and mobile and very red mouth. The wood of the frame is a rich brown, and to the left of the painting as I show it to you there is a heater shield trimmed in silver and blue. To the right is a hoplite aspis, also in silver and blue.

This is Thayet, after the half-K’miri queen of Jonathan IV (did everybody catch the details there? Don’t tell me you haven’t read the books), whose subjects call her the Peerless—but I call this woman my sister, fellow priestess, lady knight, and my future queen. I call her, after the phrase of Solomon, the one whom my soul loves.

The woman in this painting loves Jesus. She is morally brave, and willing to do what he tells her to. She is wild and romantic and fiery, but I would like to call your attention to the self-evident fact that her painting is not of a kite. It is of Thayet as Thayet I, founder of the Queen’s Riders (and let us recall as well the character of the Queen’s Ladies). Wild and romantic and fiery, yes, but flighty—no. Her emotions run high, but as a person, she is steadfast. She is practical, in her way, which is usually not my way—that is to say, we are both young, and we have different (but I think complimentary) areas of expertise when it comes to living life well both practically and morally.

There is a surprising sadness in the face of the woman in this painting. She has been through a lot—which is not especially impressive, of course, nor particularly admirable. Lots of people have been through a lot and come through it the worse for wear; suffering is an opportunity to build character but doesn’t produce it. Here is what I do find admirable: to bear suffering and retain one’s happiness, one’s sense of delight. Of course, lots of people can stay happy in the face of crushing disappointment; it’s one of many defense mechanisms the psyche can choose from. So here is something more admirable still: to bear suffering and joy simultaneously, with joy the deeper and higher of the two. Happiness can be a defense mechanism. Contentment and wonder can be defense mechanisms. Joy comes from the Lord, and my love is a joyful woman.

She’s always been there for me. Of course, there are lots of reasons to always stick by a person, not all of them good. But Thayet stuck around because she believed in me, believed both in what I’m trying to be and that I can do it, and she believed those things for the right reasons. Anybody can believe in a dream and the ability to accomplish it as wishful thinking. I don’t care about wishful thinking. I care about honesty and obedience and dreaming the dreams Jesus dreams for us. I care about sticking it out even when you don’t feel like it because Jesus told you to. And that is why there is an aspis on the wall. Her emotions run high, and I love that. But her colors are argent and azure.

She taught me to open new areas of myself to introspection. She taught me new ways to believe in myself - not in the tired, defiant way in which we must never believe in ourselves, but in the simple, humble way of acknowledging what is. She taught me to be more open. And to hold on to the old, Nehemiah-like determination as well.

And that again leaves us with just me. And who am I? Have I grown as a result of knowing all these girls? Well, this is still Speaking Natalie, and I’m not going to answer that question myself in detail. Ask my parents. Most of you know how. I will content myself with saying yes. I am more myself—more who I am supposed to be, and who I long to be—for the varied loves of these women. There is more to say in my heart about each of them than I can say here, or could say here if I had all the time in the world.

Happy Birthday, Shanah. I love you.