It’s mean to laugh at the expense of our sleeping children, yes? I asked.
Yes, very wrong.
We decided that what we had to do, instead, was document them, so we took out our recording gear. My husband swept the space with his boom pole; I zoomed my handheld voice recorder up close to the boy and the girl. She sucked her thumb and he mumbled words and strange sleep-utterances into it; cars drove by outside in the street into my husband’s mic. In childish complicity, the two of us sampled their sounds. I’m not sure what deeper reasons prompted us to record the children that night. Maybe it was just the summer heat, plus the wine, minus the joint, times the excitement of the move, divided by all the cardboard recycling ahead of us. Or maybe we were following an impulse to allow the moment, which felt like the beginning of something, to leave a trace. After all, we’d trained our minds to seize recording opportunities, trained our ears to listen to our daily lives as if they were raw tape. All of it, us and them, here and there, inside and outside, was registered, collected, and archived. New families, like young nations after violent wars of independence or social revolutions, perhaps need to anchor their beginnings in a symbolic moment and nail that instant in time. That night was our foundation, it was the night where our chaos became a cosmos.
Later, tired and having lost momentum, we carried the children in our arms into their new room, their mattresses not much larger than the cardboard box where they had been sleeping. Then, in our bedroom, we slid onto our own mattress and wedged our legs together, saying nothing, but with our bodies saying something like maybe later, maybe tomorrow, tomorrow we’ll make love, make plans, tomorrow.
Goodnight.
Goodnight.
MOTHER TONGUES
When I was first invited to work on the soundscape project, I thought it seemed somewhat tacky, megalomaniacal, possibly too didactic. I was young, though not much younger than I am now, and still thought of myself as a hard-core political journalist. I also didn’t like the fact that the project, though it was orchestrated by NYU’s Center for Urban Science and Progress, and would eventually form part of their sound archive, was in part funded by some huge multinational corporations. I tried to do some research on their CEOs—for scandals, frauds, any fascist allegiances. But I had a little girl. So when I was told that the contract included medical insurance, and realized that I could live on the salary without having to do the myriad journalistic gigs I was taking on to survive, I stopped researching, stopped acting as if I was privileged enough to worry about corporate ethics, and signed the contract. I’m not sure what his reasons were, but at around the same time, my husband—who was then just a stranger specialized in acoustemology and not my husband or our children’s father—signed his.
The two of us gave ourselves completely to the soundscape project. Every day, while the children were in daycare and school, respectively, we went out into the city, not knowing what would happen but always sure we’d find something new. We traveled in and out of the five boroughs, interviewing strangers, asking them to talk in and about their native tongues. He liked the days we spent in transitional spaces, like train stations, airports, and bus stops. I liked the days we spent in schools, sampling children. He’d walk around the crowded cafeterias, his Porta-Brace sound bag hanging from a strap around his right shoulder, his boom held up at an angle, recording the cluster of voices, cutlery, footsteps. In hallways and classrooms, I’d hold my recorder up close to each child’s mouth as they uttered sounds, responding to my prompts. I asked them to recall songs and sayings they heard in their homes. Their accents were often anglicized, domesticated, their parents’ languages now foreign to them. I remember their actual, physical tongues—pink, earnest, disciplined—trying to wrap themselves around the sounds of their more and more distant mother tongues: the difficult position of the tongue’s tip in the Hispanic erre, the quick tongue-slaps against the palate in all the polysyllabic Kichwa and Karif words, the soft and downward curved bed of the tongue in the aspirated Arabic h.
The months passed, and we recorded voices, collected accents. We accumulated hours of tape of people speaking, telling stories, pausing, telling lies, praying, hesitating, confessing, breathing.
TIME
We also accumulated things: plants, plates, books, chairs. We picked up objects from curbsides in affluent neighborhoods. Often, we realized later that we didn’t really need another chair, another bookshelf, and so we put it back outside, on the curbside of our less-affluent neighborhood, feeling that we were participants in the invisible left hand of wealth redistribution—the anti–Adam Smiths of sidewalks and curbsides. For a while, we continued to pick up objects from the streets, until we heard on the radio one day that there was a bedbug crisis in the city, so we stopped scavenging, quit redistributing wealth, and winter came, and then came spring.
It’s never clear what turns a space into a home, and a life-project into a life. One day, our books didn’t fit in the bookshelves anymore, and the big empty room in our apartment had become our living room. It had become the place where we watched movies, read books, assembled puzzles, napped, helped the children with their homework. Then the place where we had friends over, held long conversations after they’d left, fucked, said beautiful and horrible things to each other, and cleaned up in silence afterward.
Who knows how, and who knows where the time had gone, but one day, the boy had turned eight, then nine, and the girl was five. They had started going to the same public school. All the little strangers they had met, they now called their friends. There were soccer teams, gymnastics, end-of-year performances, sleepovers, always too many birthday parties, and the marks we had made on the hallway wall of our apartment to register our children’s heights suddenly summed up to a vertical story. They had grown so much taller. My husband thought they grew tall too fast. Unnaturally fast, he said, because of that organic whole milk they consumed in those little cartons; he thought that the milk was chemically altered to produce premature tallness in children. Maybe, I thought. But possibly, also, it was just that time had passed.
TEETH
How much more?
How much longer?
I suppose it’s the same with all children: if they are awake inside a car, they ask for attention, ask for bathroom stops, ask for snacks. But mostly they ask:
When will we get there?
We usually tell the boy and girl it’ll be just a little while. Or else we say:
Play with your toys.
Count all the white cars that pass.
Try to sleep.
Now, as we halt at a tollbooth near Philadelphia, they suddenly wake up, as if their sleep were synchronized—both between the two of them and, more inexplicably, with the car’s varying accelerations. From the backseat, the girl calls out:
How many more blocks?
Just a little while till we make a stop in Baltimore, I say.
But how many blocks till we get all the way to the end?
All the way to the end is Arizona. The plan is to drive from New York to the southeastern corner of the state. As we drive, southwest-bound toward the borderlands, my husband and I will each be working on our new sound projects, doing field recordings and surveys. I’ll focus on interviews with people, catch fragments of conversations among strangers, record the sound of news on the radio or voices in diners. When we get to Arizona, I’ll record my last samples and start editing everything. I have four weeks to get it all done. Then I’ll probably have to fly back to New York with the girl, but I’m not sure of that yet. I’m not sure what my husband’s exact plan is either. I study his face in profile. He concentrates on the road ahead. He’ll be sampling things like the sound of wind blowing through plains or parking lots; footsteps walking on gravel, cement, or sand; maybe pennies falling into cash registers, teeth grinding peanuts, a child’s hand probing a jacket pocket full of pebbles. I don’t know how long his new sound project will take him, or what will happen next. The girl breaks our silence, insisting:<
br />
I asked you a question, Mama, Papa: How many blocks till we get all the way there?
We have to remind ourselves to be patient. We know—I suppose even the boy knows—how confusing it must be to live in the timeless world of a five-year-old: a world not without time but with a surplus of it. My husband finally gives the girl an answer that seems to satisfy her:
We’ll get all the way there when you lose your second bottom tooth.
TONGUE TIES
When the girl was four and had started going to public school, she prematurely lost a tooth. Immediately after, she started stuttering. We never knew if the events were in fact causally related: school, tooth, stutter. But in our familial narrative, at least, the three things got tied together in a confusing, emotionally charged knot.
One morning during our last winter in New York, I had a conversation with the mother of one of my daughter’s classmates. We were in the auditorium, waiting to vote for new parent representatives. The two of us stood in line for a while, exchanging stories about our children’s linguistic and cultural stalemates. My daughter had stuttered for a year, I told her, sometimes to the point of non-communication. She’d begin every sentence like she was about to sneeze. But she had recently discovered that if she sang a sentence instead of speaking it, it would come out without a stutter. And so, slowly, she had been growing out of her stuttering. Her son, she told me, had not said a word in almost six months, not in any language.
We asked each other about the places we were from, and the languages that we spoke at home. They were from Tlaxiaco, in the Mixteca, she told me. Her first language was Trique. I had never heard Trique, and the only thing I knew about it was that it is one of the most complex tonal languages, with more than eight tones. My grandmother was Hñähñu and spoke Otomí, a simpler tonal language than Trique, with only three tones. But my mother didn’t learn it, I said, and of course I didn’t learn it either. When I asked her if her son could speak Trique, she told me no, of course not, and said:
Our mothers teach us to speak, and the world teaches us to shut up.
After we voted, right before saying goodbye, we introduced ourselves, though it should have been the other way around. Her name was Manuela, the same as my grandmother’s name. She found the coincidence less amusing than I did. I asked her if she might be willing to let me record her one day, and told her about the sound documentary my husband and I were almost finished working on. We had not yet sampled Trique—it was a rare language to come by. She agreed, hesitantly, and when we met in the park next to the school a few days later, she said she would ask for one thing in exchange for this. She had two older daughters—eight and ten years old—who had just arrived in the country, crossing the border on foot, and were being held in a detention center in Texas. She needed someone to translate their documents from Spanish into English, at little or no cost, so she could find a lawyer to defend them from being deported. I agreed, without knowing what I was getting myself into.
PROCEDURES
First it was just translating legal papers: the girls’ birth certificates, vaccination records, one school report card. Then there was a series of letters written by a neighbor back home and addressed to Manuela, giving a detailed account of the situation there: the untamable waves of violence, the army, the gangs, the police, the sudden disappearances of people—mostly young women and girls. Then, one day, Manuela asked me to go to a meeting with a potential lawyer.
The three of us met in a waiting room in the New York City Immigration Court. The lawyer followed a brief questionnaire, asking questions in English that I translated into Spanish for Manuela. She told her story, and the girls’ story. They were all from a small town on the border of Oaxaca and Guerrero. About six years ago, when the younger of the two girls turned two and the older was four, Manuela left them in their grandmother’s care. Food was scant; it was impossible to raise the girls with so little, she explained. She crossed the border, with no documents, and settled in the Bronx, where she had a cousin. She found a job, started sending money back. The plan was to save up quickly and return home as soon as possible. But she got pregnant, and life got complicated, and the years started speeding by. The girls were growing up, talking to her on the telephone, hearing stories about snow falling, about big avenues, bridges, traffic jams, and, later, about their baby brother. Meanwhile, the situation back home became more and more complicated, became unsafe, so Manuela asked her boss for a loan, and paid a coyote to bring the girls over to her.
The girls’ grandmother prepared them for the trip, told them it would be a long journey, packed their backpacks: Bible, water bottle, nuts, one toy each, spare underwear. She made them matching dresses, and the day before they left, she sewed Manuela’s telephone number on the collars of the dresses. She had tried to get them to memorize the ten digits, but the girls had not been able to. So she sewed the number on the collars of their dresses and, over and over, repeated a single instruction: they should never take their dresses off, never, and as soon as they reached America, as soon as they met the first American, be it a policeman or a normal person, they had to show the inside of the collar to him or her. That person would then dial the number sewed on the collars and let them speak to their mother. The rest would follow.
And it did, except not quite as planned. The girls made it safely to the border, but instead of taking them across, the coyote left them in the desert in the middle of the night. They were found by Border Patrol at dawn, sitting by the side of a road near a checkpoint, and were placed in a detention center for unaccompanied minors. An officer telephoned Manuela to tell her that the girls had been found. His voice was kind and gentle, she said, for a Border Patrol officer. He told her that normally, according to the law, children from Mexico and Canada, unlike children from other countries, had to be sent back immediately. He had managed to keep them in detention, but she was going to need a lawyer from now on. Before he hung up, he let her speak to the girls. He gave them five minutes. It was the first time since they’d left on the journey that she’d heard their voices. The older girl spoke, told her they were okay. The younger one only breathed into the phone, said nothing.
The lawyer we met with that day, after listening to Manuela’s story, said sorry, she could not take on their case. She said the case was not “strong enough,” and gave no further explanation. Manuela and I were escorted out of the courtroom, along corridors, down elevators, and out of the building. We walked out onto Broadway, into the late morning, and the city was buzzing, the buildings high and solid, the sky pristine blue, the sun bright—as if nothing catastrophic were happening. I promised I’d help her figure it out, help her get a good lawyer, help in any way possible.
JOINT FILING
Spring came, my husband and I filed our taxes, and we delivered our material for the soundscape project. There were over eight hundred languages in New York City, and after four years of work, we had sampled almost all of them. We could finally move on—to whatever came next. And that was exactly what happened: we started to move on. We were moving forward, but not quite together.
I had gotten involved further with the legal case against Manuela’s two girls. A lawyer at a nonprofit had finally agreed to take on their case and, although the girls were still not with their mother, they had at least been transferred from a brutal, semi-secure detention facility in Texas to a supposedly more humane setting—a former Walmart supercenter converted into an immigration detention center for minors, near Lordsburg, New Mexico. To keep up with the case, I had been studying a bit more about immigration law, attending hearings in court, talking to lawyers. Their case was one among tens of thousands of similar ones across the country. More than eighty thousand undocumented children from Mexico and the Northern Triangle, but mostly from the latter, had been detained at the US southern border in just the previous six or seven months. All those children were fleeing circumstances of unspeakable abuse and systematic violence, fleeing countries where gangs had become parast
ates, had usurped power and taken over the rule of law. They had come to the United States looking for protection, looking for mothers, fathers, or other relatives who had migrated earlier and might take them in. They weren’t looking for the American Dream, as the narrative usually goes. The children were merely looking for a way out of their daily nightmare.
At that time, the radio and some newspapers were slowly starting to feature stories about the wave of undocumented children arriving in the country, but none of them seemed to be covering the situation from the perspective of the children involved in it. I decided to approach the director of NYU’s Center for Urban Science and Progress. I presented a rough idea of how to narrate the story from a different angle. After some back-and-forth, and a few concessions on my part, she agreed to help me fund a sound documentary about the children’s crisis at the border. Not a big production: just me, my recording instruments, and a tight time line.
I initially hadn’t noticed, but my husband had also started to work on a new project. First, it was just a bunch of books about Apache history. They piled on his desk and on his bedside table. I knew he’d always been interested in the subject, and he often told the children stories about Apaches, so it wasn’t strange that he was reading all those books. Then, maps of Apache territory and images of chiefs and warriors started filling the walls around his desk. I began to sense that what had been a lifelong interest was becoming formal research.
What are you working on? I asked him one afternoon.
Just some stories.
Lost Children Archive: A Novel Page 2
