Chapter 1
Family Matters
You hardly need to look further than your family to find some of your best possibilities for writing stories. In some ways, a family is a collection of stories handed down (or sometimes suppressed) by the generations. But thereās a big difference between the stories that a family tells about itself, the story it wants told (Weāre all perfect and nothing ever goes wrong!), and the real story that the writer in the family knows and understands (Weāre a bit of a train wreck, arenāt we?). Of course, weāre exaggerating. Most families have success stories and failure stories and failure stories that are really success stories and success stories that are really failures, and stories that fit neither of these judgmental terms, but are open for interpretation. Ambiguous stories. But one thing indisputable about families is that they have conflicts, and conflict is often considered the backbone of storytelling.
Does it make you uncomfortable thinking about your own family stories, the ones that your parents probably donāt want you to reveal to the world outside the family? If so, good. Stories donāt only create tension in the reader, but they also can create tension in the writer. What might come as a surprise is that stories rarely resolve the tension they create in the reader. Novels quite often have endings that resolve all the loose ends, but stories tend to leave the tension unresolved. There might be movement toward a resolution, but not in any grand or final way. Stories that end neatly in ways that release the tension rarely feel satisfying, but feel quite the opposite. Take, for example, the classic, trick ending. She woke upāit had all been a dream. While there are certainly famous narratives that resolve in just such a fashion (āOh, Auntie Em, itās you!ā), short stories tend to leave the reader feeling pretty disappointed if the author makes too much of an effort to resolve the tension. Thatās likely because the reader will see such an effort as inauthentic. We know that most moments of tension are not fully resolved, but are deferred, sublimated, partially forgiven but not forgotten, overcome for the most part but still haunting, reduced to a nagging voice, and so on.
Letās go ahead then and take a look at conflict and the building of tension in one of our model stories for this chapter. Go ahead and read āThe Brothersā by Lysley Tenorio first, before continuing:
āThe Brothersā
by Lysley Tenorio (USA)
Lysley Tenorio is the author of the novel The Son of Good Fortune and the story collection Monstress, which was named Book of the Year by the San Francisco Chronicle. Born in the Philippines, he lives in San Francisco, and is a professor at Saint Maryās College of California.
My brother went on Ricki Lake to prove he was a woman. The episode had a title that kept flashing at the bottom of the television screen: is she a he? is he a she? you decide! The show went like this: a guest would come out onstage, and the audience would vote on whether or not she was the real thing.
They came out one at a time, these big-haired and bright-lipped women, most of them taller than the average man. They worked the stage like strippers, bumping and grinding to the techno beat of the background music. The audience was on its feet, whistling and hooting, cheering them on.
Then came Eric.
My brother was different from the others. He was shorter, the only Filipino among them. He wore a denim skirt and a T-shirt, a pair of Doc Martens. His hair, a few strands streaked blond, fell to his bony shoulders. He was slow across the stage, wooing the audience with a shy girlās face, flirtatious, sweet. But he wasnāt woman enough for them: they booed my brother, gave him the thumbs-down. So Eric fought back. He stood at the edge of the stage, fists on his hips and feet shoulder-width apart, like he was ready to take on anyone who crossed him. āDare me?ā he said, and I saw his hands move slowly to the bottom of his T-shirt. āYou dare me?ā
They did, and up it went. The crowd screamed with approval, gave him the thumbs-up. Someone threw a bra onstage and Eric picked it up, twirled it over his head like a lasso, then flung it back into the audience.
I looked over at Ma. It was like someone had hit her in the face.
He put his shirt down, lifted his arms in triumph, blew kisses to the audience, then took a seat with the others. He told the audience that his name was Erica.
Heād left a message the night before it aired, telling me to watch Channel 4 at seven oāclock that night. He said it would be important, that Ma should see it too. When I told Ma she looked hopeful. āMaybe heās singing,ā she said, āplaying the piano?ā She was thinking of Eric from long before, when he took music lessons and sang in the high school choir.
I reached for the remote, thinking, That bastard set us up.
I turned off the TV.
That was the last time I saw Eric. Now heās lying on a table, a sheet pulled to his shoulders. The coroner doesnāt rush me, but I answer him quickly. āYes,ā I say. āThatās my brother.ā
Ericās life was no secret though we often wished it was: we knew about the boyfriends, the makeup and dresses. He told me about his job at the HoozHoo, a bar in downtown San Francisco where the waitresses were drag queens and transsexual women. But a year and a half ago, on Thanksgiving night, when Eric announced that he was going to proceed with a surgery (āStarting hereā he said, patting his chest with his right hand), Ma left the table and told Eric that he was dead to her.
Itās 6:22 p.m. Heās been dead for six hours.
āWe need to call people,ā I tell Ma. But she just sits there at the kitchen table, still in her waitressās uniform, whispering things to herself, rubbing her thumb along the curve of Ericās baby spoon. Next week she turns sixty-one. For the first time, she looks older than she is. āWe have to tell people whatās happened.ā
She puts down the spoon, finally looks at me. āWhat will I say? How can I tell it?ā
āTell them what the coroner told me. Thatās all.ā He had an asthma attack, rare and fatal. He was sitting on a bench in Golden Gate Park when his airways swelled so quickly, so completely, no air could get in or out. As a kid, Ericās asthma was a problem; I can still hear the squeal of his panic. Canāt breathe, canāt breathe, heād say, and Iād rub h is back and chest like I was giving him life. But as an adult, the attacks became less frequent, easier to manage, and he deemed his inhaler a thing of the past. āThe severity of this attack was unusual,ā the coroner explained. āNo way he could have prepared for it.ā He was dead by the time a pair of ten-year-olds on Rollerblades found him.
The look on her face makes me feel like Iām a liar. āHe couldnāt breathe,ā I say. āItās the truth.ā I go through cupboards, open drawers, not sure what Iām looking for, so I settle for a mug and fill it with water and though Iām not thirsty I drink it anyway. āHe couldnāt breathe. And then he died. When people ask, thatās what you say.ā
Ma picks up the spoon again, and now I understand: āAng bunso ko,ā sheās been saying. My baby boy, over and over. Like Eric died as a child and she realized it only now.
The morning after the show, my brother called me at work. When I picked up, he said, āWell . . . ?ā like we were in mid-conversation, though we hadnāt spoken in six months.
āYou grew your hair out,ā I said. āItās blond now.ā
āExtensions,ā he said.
āThey look real.
āTheyāre not.ā He took a deep breath. āBut the rest of me is.ā
It was a little after seven. I was the only one in the office. Not even the tech guys were in yet. I turned and looked out my window, down at the street, which was empty too.
āGoddamnit, Edmond,ā my brother said. āSay something.ā
I didnāt, so he did. He said he was sorry if it hurt Ma and me, but this was a once-in-a-lifetime opportunity. āI showed the world what Iām made of.ā He said this slowly, like it was a line heād been rehearsing for months. āWhat do you think of that?ā
āI saw nothing,ā I said. āWhat?ā
āI saw nothing.ā It was the truth. When Eric lifted his shirt, they didnāt simply cover his breasts with a black rectangle. They didnāt cut to commercial or pan the camera to a shocked face in the audience. Instead, they blurred him out, head to toe. It looked like he was disintegrating, molecule by molecule. āThey blurred you out,ā I said.
I could hear him pace his apartment. Iād never visited, but I knew he was living in the Tenderloin in downtown San Francisco. The few times he called, there were always things happening on his endācars honking, sirens, people shouting and laughing. But that morning, there was just the sound of us breathing, one, then the other, like we were taking turns. I imagined a pair of divers at the bottom of the ocean, sharing the same supply of air.
āYou there?ā I finally said. āEric, are you there?ā
āNo,ā he said, then hung up.
And thatās how it ended, for Eric and me.
I go to my apartment to get clothes, but stay the night at Maās. My old bed is still in my old room upstairs, but I take the living room couch. I donāt sleep, not for a minute. Before light comes, I call Delia in Chicago, but her fiancĆ© picks up. I ask for my wife, which irritates him. But technically, Iām right: the divorce isnāt final, not yet. Iām still her husband, and I wonāt let that go, not until I have to.
āNo message,ā I tell him, then hang up.
Somehow, Iām wide awake all morning. Driving to the funeral home in North Oakland, I donāt even yawn.
Loomis, the man who handled Dadās funeral eleven years ago, waits for us in a small square of shade outside the main office. Heās heavier now, his hair thinner, all white. Back then he walked with a limp; today he walks with a cane.
āDo you remember me?ā Itās the first thing Ma says to him. āAnd my husband?ā She pulls a picture from her wallet, an old black-and-white of Dad back in his Navy days. Heās wearing fatigues, looking cocky. His arms hang at his sides, but his fists are clenched, like heās ready for a fight. āDominguez. First name Teodoro.ā Loomis takes the photo, holds it eye level, squints. āI do remember him,ā he says, though he saw my father only as a corpse. āAnd I remember you too.ā He looks at me, shakes my hand. āThe boy who never left his motherās side that whole time.ā
That was Eric. Ma knows it too. We donāt correct him. The funeral doesnāt take long to plan: Ma makes it similar to Dadās, ordering the same floral arrangements, the same prayer cards, the same music. Only the casket is different: Dadās was bronze, which best preserves the body. Ericās will be mahogany, a more economical choice. āItās all we can afford,ā Ma says.
Later, Loomis drives us through the cemetery to find a plot for Eric. We head to the north end, pull up at the bottom of a small hill where Dad is buried. But his grave is already surrounded, crowded with the more recent dead. āThere,ā Ma says, walking uphill toward a small eucalyptus. She puts her hand on a low, thin branch, rubs a budding leaf between her fingers. āItās growing.ā She gives a quick survey of the area, decides this is the place.
āBut your knee.ā I point out the steepness of the hill, warn her that years from now, when sheās older, getting to Eric will be difficult.
āThen you help me,ā Ma says, starting toward the car. āYou help me get to him.ā
Back home, Ma calls the people we couldnāt reach last night, and each conversation is the same: she greets them warmly, pauses, but canāt catch herself before she gives in to tears. Meanwhile, I get the house ready, vacuuming upstairs and down, wiping dirty window screens with wet rags, re-arranging furniture to accommodate the foot traffic of all the guests who will pray for my brotherās soul. This will be the first of nine nights like this.
āI hate the way Filipinos die,ā Eric once said. It was the week of Dadās funeral. āNine nights of praying on our knees, lousy Chinese food, and hundred-year-old women keep asking me where my girlfriend is.ā The businessmen were worse. On the last night of Dadās novena, one guyāhe said he was related to us but couldnāt exp...