Prologue
I had no cell phone service. No way to leave. I had ridden here in the back seat of a minivan, lurching through miles of winding and branching dirt roads, through a night black with trees and dust and stories of fights.
I had no cell phone service. No way to leave. I had ridden here in the back seat of a minivan, lurching through miles of winding and branching dirt roads, through a night black with trees and dust and stories of fights.
I went to Denmark. For my first trip to Scandinavia. In January.
The semi-employed anti-hero of this tragic sob-story did what we all want to do but cannot because of various reasons, mostly time-related.
Today, he is known as “the father of gynecology” and is loved for—as his statues say—“treating empress and slave alike.”
In my afternoon with wizards and troll farts, I collected electronic sparkles, almost broke my neck, and unknowingly imprisoned myself and my younger brother.
I sent the email at 3 p.m., and at 3:05 I wondered how they would get the blood from the seats and I couldn’t get it out of my head.
I was wrong. I am eating crow. I need to figure out how to be a part of a world that seems too strange and treacherous to believe.
The first mittens that the girl ever knits are for her father, but he does not wear them, because he is afraid he will ruin them.
This balancing act bestows a lot of power on therapists. It also becomes a breeding ground for callousness.
Themes of identity across generations of Russian-Jewish women are wonderfully woven together in Julia Alekseyeva’s brilliant debut graphic memoir, Soviet Daughter: A Graphic Revolution.