Excerpt

I was born with a song in my back. You said it’s because my father played the guitar and sang to your belly all the time when I was on the other side of it. Sometimes when I lie cradled in bed, somewhere between sleep and eyes wide open, I hear the timbre of my father’s voice. It’s funny I remember his hum as a silver thread weaving its way along your lips, but his face is long gone from memory. His absence was the most bitter song, one you didn’t know how to stop playing.

You slept in bed next to me for months, feet dangling off my mattress. I pretended to be asleep, but I always felt how your tears made my neck warm then cold. When my father’s guitar still hung by the front door, you’d get on me for eating mandarins in bed. But after he left, you burrowed your head in places it didn’t belong—in my hair, between the couch cushions, under the kitchen sink, even in the oven one time. But your head sank deepest into my pillows, where shuddering breaths shifted to soft snores. I hated the age seven and the odor of citrus because they both reeked of grief.

Jeneé Skinner

Jeneé Skinner has a degree in Creative Writing and went abroad to the University of Oxford to study Renaissance Literature and the Italian Renaissance. Her work has appeared in Catapult, Roxane Gay’s The Audacity, Missouri Review, and elsewhere. Additionally, she won Michigan Quarterly Review’s Jesmyn Ward Prize and was a finalist for the Black Warrior Review’s Fiction Contest. She has received fellowships from the Tin House Summer Workshop and Hedgebrook. Previously, she was the Writing in Color Book Project Fellow for the Lighthouse Writers Workshop. Her work has been nominated for Best Microfiction, Best of the Net, and a Pushcart. She’s a graduate of the Iowa Writers’ Workshop, is an assistant memoir editor at Split Lip Magazine, and is at work on a novel and short story collection. You can find her on Twitter @SkinnerJenee and Instagram @jskin94.

Patrick Ryan on “Shadow Memories”

A confession: Our new issue is anything but a holiday story. Or I should say, it’s many things but a holiday story. It’s about motherhood, addiction, regret, resentment, religion, and depression. It’s about demons in every sense of the word. It’s also about a shadow that’s as scary as the rabbit in Donnie Darko.

“Shadow Memories” begins with a declaration: I was born with a song in my back. This sentence grabbed me the first time I read it because of its mystery. Is it meant to be taken literally? Is it a metaphor? Who’s speaking? And to whom? To give away as little as possible, the narrator is a daughter, speaking to her mother. The story, in effect, is a recounting of the daughter’s life, delivered to the mother at some point in the future. There is a novel’s worth of material here, squeezed with precision into an unconventional narrative that might, at times, make you shudder.

Perhaps you need a break from traditional holiday stories. Perhaps you’re one of those people who likes to watch scary movies rather than roast chestnuts. Fittingly, it’s the author, Jeneé Skinner, who indicates in our Q&A why “Shadow Memories” might be a fitting story to come out in December: When I asked her to tell me more about the shadow, she said she thinks of it as the Ghost of Christmas Future.

So “Boo!” and “Happy Holidays” all in one issue. We hope you enjoy this highly original and haunting story—though you might not want to read it close to bedtime.

Q&A by Patrick Ryan

PR: Where did you get the idea for this story?
JS: The idea of a girl’s journey with religion, witchcraft, and inner demons has been on my mind for a while. I’d seen many narratives where young women came into their power through supernatural means, but I was curious about women who continue to struggle with troubled pasts, toxic coping mechanisms, and figuring out who they are outside of whatever powerful entity. The dark side of both the repression of being and the indulgence of self-medicating. Especially in a world where magic was more in the background or a supporting character.
PR: How long did it take you to finish a draft you were happy with?
JS: The first scene was written within a day. I put the story down for several months before returning to it when I needed to submit something for workshop. I don’t remember getting much sleep, there was so much tension in my body. The rest of the story was finished within a week. The protagonist and her voice were so familiar to me that I was always happy embracing her narrative. It helps that I edit as I write, rereading previous sections to help me re-enter the language, emotion, journey that she was going on. The feedback I received complimented the story that was already on the page for the most part.
PR: The first line of the story is “I was born with a song in my back.” For the reader, that’s either a strong declaration of an unusual thing or a metaphor soon to be explained (or both). The writer in me knows that once you put a sentence like that down and commit to it, you really have to commit. Why did you choose it to open the story? (It’s even more mysterious when you consider that the reader doesn’t know, at the beginning, that the speaker is addressing her mother.)
JS: Musicality and lyricism are features I’ve been attracted to for quite some time. How could I fit the meaning of a story into one line? I thought about what elements were most important to the narrator. What followed her throughout the years. The way she spoke, her relationship with her mother, nature, and music/lyricism. A song can encapsulate an emotion, a relationship, even a whole lifetime within it. Like a poem. While the song in her back connected the narrator to her mother and the wounds that had been inflicted, it also spoke to the desire to find beauty in the midst of being lost, especially due to depression.
PR: Technically, “Shadow Memories” is written in the first person. But the first person narrator is addressing her mother throughout, recounting for her their shared past. Certainly, she’s providing some pieces of the puzzle her mother wouldn’t otherwise know about. Interestingly, this approach allows for no “real-time” interaction between them, since we don’t get the mother’s reactions to this monologue. And by the end we glean that the mother might never hear or read this account. (I might be projecting that.) Can you tell us about why you decided to tell the story this way?
JS: This is probably the closest thing I’ve come to autofiction. What I mean is, in both the mother and daughter of this story, I was exploring aspects of my own mother. The criticism, emotional distance, talent, depression, heaviness and fatigue, hypocrisy, self-destructive behaviors, struggle with identity and fulfillment. Who she was outside of being a mother, which oftentimes didn’t seem like it was of interest to her. Yes, she chose me, and at times we enjoyed each other’s company, but I never felt like I was one of the loves of her life. Occasionally she’d reveal more of herself to me, times of surprise at my success or the choices that made me who I am. Occasionally she was proud of me. I felt this conversation that was kind of epistolary happening through the narrator, albeit one-sided. It’s as though the mother/my mother can’t be trusted to tell the truth, to listen, to provide the security the narrator and I need in order to move forward. There’s also a risk of falling back into bad habits when we get too close to the person who hurt us, particularly when they have no interest in apology or change. Even if they did, their actions soon reveal they’re the same person. Therefore, the narrator and I have to make do with where our own words leave us.
PR: Your use of the mother’s shadow in the story is extremely creepy. It reminded me of the shadow in Peter Pan, which, for being a novel written for children, is pretty creepy in parts. The mother’s shadow also reminded me of that rabbit in Donnie Darko. Generally, I avoid this kind of question, but I feel compelled to ask: Do you think of the shadow as a metaphor? And, to your thinking, is the narrator truly free of that shadow at the end?
JS: LOL, I refuse to ever look at the cover of Donnie Darko again, because it kept me awake all night after I saw it. It’s funny that while my writing can be creepy and dark, I’m so familiar with the creatures I write about that they don’t scare me. The shadow is both metaphorical and literal. I pictured it as The Ghost of Christmas Future, physically. Always looming, always watching, always tempting. The shadow represented a few aspects of the narrator’s life: trauma, depression, a demonic force. The shadow was a tether that connected the narrator and her mother, a generational inheritance, the corruptive force lingering around the church, covering the mother’s apartment, in the eyes of the narrator’s lovers. So many of us walk around with these shadows carried from various places in our lives, which is why it made sense that the narrator would be attracted to the shadows in other people. One darkness feeds another. The shadow can be all consuming if allowed. While the mother is overtaken by it, the narrator tries to recover and move on from it. As with addiction to any vice, mindset, or behavior, the desire to return to what’s familiar never goes away completely, so the shadow never goes away. But hopefully with enough growth and support the narrator can go on with her life.
PR: Do you consider this a horror story? A fantastical story? And do you have others in this vein?
JS: I see this as a cross-genre story that contains elements of horror, the fantastical, and more. Aspects of Carmen Maria Machado’s “Eight Bites” and Toni Morrison’s Beloved kept coming to me when I considered the premise of my story (I’d love recommendations of other stories like these if anyone has some). There’s psychological horror of the past that haunts and recreates itself in the present. And how a woman’s body is used as a tool to reflect the internalized horror. Most if not all my stories contain mothers who tend to be flawed and complicated by themselves as well as in how they manage their relationships. The closest creepy crawly mother story I have to this is in Catapult, and it’s called, “House Was a Fist.” In it, the haunted house serves as a mother figure to an unnamed narrator who wants to escape and live her own life but is haunted by the violence of previous generations.
PR: What are you working on now?
JS: I’m finishing up a novella about houses, wombs, and infidelity. I’ve been working on it off and on over the course of this year. Every time I’ve put it down, lines for essays have come out, so my notebooks are filled with fragments about my mother, faith, men, poverty, and mental health. Since I’ve been supposed to finish the novel for the last two years, the added distraction of essays coming to me pisses me off (not really but kinda). A friend offered that I may have to get through the nonfiction in order to make room for fiction. I’m riding the wave of that belief, trying to be grateful that I have stories to write.
PR: What’s the best piece of writing advice you’ve ever received?
JS: This varies according to the season I’m in. Lately, working, gaining consistency, and finishing what I’ve started has been important. I’ve been stuck in the same space for at least two years now. Even when I made turtle steps of progress, ultimately, I’ve allowed my most valuable writing to take backseat and much of the rest of my life has fallen suit. I’ve wanted people in my life to commit to me but realize I haven’t been committing to myself. I’ve been close to finishing, close to breakthrough for too long. The only way to restore faith in myself and truly embrace what’s next is to officially close out this chapter of my life so I have the space for what’s next. Heartbreak, poverty, loneliness, broken families, the past, the unknown, too much comfort, and emotional storms will always exist somewhere, but so must faith and purpose. Perfectionism be damned. A quote from Doris Lessing has been guiding my practice: “Whatever you’re meant to do, do it now. The conditions are always impossible.”