“Really?”
“Yup. Here’s what we’ll do. We’ll split your time into two chunks: writing time and nursing time.” She pauses with an impish smile, measuring my reaction. “That means you’ll have to start wearing a watch.”
“You know I never wear a watch,” I say. “Watches, the color white and wasabi . . . The three Ws I’d rather stay away from.”
“Well, there’s a W word you might welcome,” she says mysteriously. “Because it happens to be the answer to your problem.”
“What is it?”
“Winnowing!”
Seeing me draw a blank, she laughs. “Separating the grain from the chaff,” she remarks. “That’s exactly what you need to do.”
Again I look vacantly: Again she smiles with confidence as if she has the pulse of the world under her finger.
“Think of it this way, Sis. The human brain is like a set of kitchen drawers. The cutlery is placed in one drawer. The napkins in another. And so on. Use the same model. When you are nursing, open the ‘motherhood’ section. When you are writing, pop open the ‘novelist’ one. Simple. Close one drawer, use the other. No confusion. No contradictions. No fretting. All thanks to winnowing.”
“Wow, that’s splendid, but there is a small detail you left out: While I’m writing, who will take care of the baby?”
“As if that’s a problem,” she says with a snort. “Hello. The age of globalization is here. Snap your fingers. You can find a nanny. Filipino, Moldavian, Bulgarian . . . You can even choose her nationality.”
Little Miss Practical thrusts her hand into one of her pockets and produces a paper. “Look, I’ve made a list of all the information you’ll need. Phone numbers of the nanny agencies, babysitters, nursery schools, pediatricians. You should also get an assistant to answer your e-mails. It’ll make life easier. And if you get a secretary and a tape recorder, you can stop writing altogether, ya’ mean?”
With a heavy heart I ask, “What do you mean?”
“I mean, instead of writing your novels, you can speak them. The recorder will tape your voice. Later, your secretary can type up the whole text. Isn’t it practical? That way you can finish a novel without having to leave the kid.”
“Just curious,” I say as calmly as I can manage. “How exactly am I going to afford a nanny, an assistant and a secretary?”
“Oh, you’re being so negative,” she says. “Here I’m offering practical solutions for material problems and you see only the downside.”
“But money is a material problem,” I object, my voice cracking. For a brief moment neither of us says a word, mutually frowning and sulking.
“Besides, even if I had the money,” I say, “I still couldn’t do what you suggest. It goes against my sense of equality and freedom. I can’t have all those people working for me, as if I were a raja or something.”
“Now you’re talking nonsense,” snaps Little Miss Practical. “Don’t you know that every successful female writer is a raja?”
“How can you say that?”
“How can you deny that?” she asks back. “Remember that wolf woman you adore so much.”
Just when I am about to ask what wolf woman she is talking about, it dawns on me that she is referring to Virginia Woolf.
“Do you think that lady of yours had only a room of her own? No way. She also had a cook of her own, a maid of her own and a gardener of her own, not to mention a butler of her own! Her diaries are full of complaints about her many servants.”
Laden with curiosity I ask, “Since when do you read about the lives of novelists?”
Little Miss Practical’s readings are based solely on two key criteria: efficiency and functionality. How to Win Friends and Hearts, The Key to Unwavering Success, Ten Steps to Power, The Art of Knowing People, Awaken the Millionaire Inside, The Secret to Good Life . . . She gobbles up self-help books like popcorn, but never reads novels. Fiction, in her eyes, has no function.
“If it’s useful, I’ll read it,” she says defensively.
“And what is the use of the wolf woman?”
She turns a disparaging dark gaze on me. “That lady of yours used to write orders to her servants on scraps of paper. What chores needed to be done, what dishes needed to be prepared, which dresses needed washing . . . She would write them down. Can you imagine? They lived under the same roofbut instead of talking to them, she wrote to them. . . .”
“Well, we don’t know her side of the story,” I say meekly.
“Everything was her side of the story. She was the writer, Sis!”
I don’t feel like quarreling. With a ruler in her hand, a calculator in her pocket and plans in her head, Little Miss Practical is used to measuring, calculating and planning everything. I take the list she has prepared for me and leave in a hurry, still feeling uneasy.
I spin the wheel again. It stops at letter E. This time, I walk east.
There, in a city as spiritual as Mount Athos, beyond a wooden door, sits Dame Dervish—her head bowed in contemplation, her fingers moving the amber prayer beads. On the tray in front of her there is a bowl of lentil soup and a slice of bread. Her thimble is full of water. She always makes do with little. On her head is a loosely tied turban that comes together in the front with a large stone. Patches of hair show from beneath the turban. She wears a jade dress that reaches the floor, a dark green vest and khaki slippers.
Seeing she is in the midst of a prayer, I sneak in and listen.
“God, Pure Love and Beauty, may we be of those who chant Your name and find restoration in You. Don’t let us spend our time on Earth with eyes veiled, ears deafened and hearts sealed to love.”
I smile at these words and I am still smiling when I hear her next words.
“Please open Elif’s third eye to Love and broaden her capacity to grasp the Truth. Connections are the essence of Your universe; please don’t deprive her of Your loving connection.”
“Amen to that,” I say.
She flinches as she surfaces from her thoughts. When she sees me standing there she breaks into a smile, lifting her hand to her left breast in greeting.
“I need your help,” I say. “Have you heard the question Ms. Agaoglu asked me? I don’t know how to answer it.”
“I heard it indeed and I don’t know why you panic so. God says He sometimes puts us through a ‘beautiful test.’ That is what He calls the many quandaries we face in this life. A beautiful test. There is no need to rush for ‘the answer’ because all answers are relative. What is right for one person may be wrong for another. Instead of asking general questions about motherhood and writing, ask God to give you what is good for you.”
“But how am I supposed to know what is good for me?”
She ignores my question. “Whether you have children, write books, sell pastries on the street or sign million-dollar business contracts, what matters is to be happy and fulfilled inside. Are you?”
“I don’t know,” I say.
Dame Dervish takes a deep breath. “Then let me ask you another question. Are these novels of yours really yours? Are you the creator of them?”
“Of course they are mine. I create them page by page.”
“Rumi wrote more than eighty thousand splendid verses and yet he never called himself a creator. Nor did he see himself as a poet. He said he was only an instrument, a channel for God’s creativity.”
“I am not Rumi,” I say, a bit more harshly than I intended.
Our eyes meet for a second and I look away, uneasy. I don’t want to confer the authorship of my books to another, even if it be God.
“Let me tell you a story,” Dame Dervish says. “One night, a group of moths gathered on a shelf watching a burning candle. Puzzled by the nature of the light, they sent one of their members to go and check on it. The scouting moth circled the candle several times and came back with a description: The light was bright. Then a second moth went to examine it. He, too, came back with an observation: The light was hot. Finally a third mo
th volunteered to go. When he approached the candle he didn’t stop like his friends had done, but flew straight into the flame. He was consumed there and then, and only he understood the nature of the light.”
“You want me to kill myself?” I ask, alarmed.
“No, my dear. I want you to kill your ego.”
“Same thing, isn’t it?”
Dame Dervish sighs and tries again. “I want you to stop thinking. Stop examining, stop analyzing and start living the experience. Only then will you know how being a mother and being a writer can be balanced.”
“Yes, but what if . . .”
“No more what-ifs are needed,” she says. “Did the moth say ‘what if’?”
“Okay, I am not Rumi, I am not a moth. I am a human being with a mind and four mini women residing inside me. Surely my way of dealing with things is more complicated.”
“Uh-huh,” says Dame Dervish, chewing her bread.
It is the kind of “uh-huh” that can mean only, “You aren’t ready yet. Like a fruit that needs more time to ripen, you are still hard on the inside. Go and cook a little, then we’ll talk again.”
Shuffling my feet, I take my leave and walk toward the south.
There, in a city as crowded as Tokyo, behind a thrice-bolted door, is the relentless workaholic Miss Ambitious Chekhovian. Four and a half inches in height, ten and a half ounces in weight, she is the skinniest of all the finger-women. She is always eating away at herself, so naturally she doesn’t gain any weight.
“Time is not money, time is everything,” she is fond of saying.
In order not to lose time, instead of cooking supper and setting a table she munches on crackers and chips and takes a lot of vitamins as supplements. Even now, there is a pack of biscuits, tiny cubes of cheese and a minuscule box of orange-carrot juice in front of her. There is also a vitamin C tablet and a gingko biloba pill beside her plate. This is her dinner.
Of all the statements made by men and women since time immemorial, there is one by Chekhov that she has taken up as her life’s motto: “He who desires nothing, hopes for nothing, and is afraid of nothing, cannot be an artist.” That is why she is a good Chekhovian. She desires, hopes and fears, all abundantly and all at the same time.
Today, Miss Ambitious Chekhovian is wearing an indigo skirt that reaches just below her knees, two strands of pearls around her neck and a matching jacket with an ivory silk blouse inside. She has a tiny bit of foundation on her snow-white skin and is wearing dark red lipstick. Her chestnut hair is held back in a bun so tight that not a single strand of hair manages to get loose.
Every inch of her is groomed, clipped and buffed, as always. Her porcelain teeth gleam in their straight rows like expensive pearls. She is determined, resolute and hardworking—excessively so.
“Miss Ambitious Chekhovian, will you please help me,” I say. “You heard what Ms. Agaoglu asked. What is your answer?”
“How can you even ask?” She frowns at me with her thinly plucked eyebrows. “Obviously, I am against you having a baby. With all that we have to do ahead of us, it is hardly time for children!”
I look at her with puppy eyes.
“But I was next to Dame Dervish a minute ago and she said that there is no point in running amok in life.”
“Forget that crazy finger-woman. What does she know? What does she understand of worldly desires?” she says offhandedly. “She has lost her mind somewhere inside those prayer beads of hers.”
She pops a biscuit into her mouth, then a vitamin pill, and takes a sip of juice to wash it all down. “Listen, dear, let me summarize again my philosophy of life: Did we ask to be brought into this world? Nope. No one asked our opinion on the matter. We just fell into our mothers’ wombs, went through arduous births and voilà, here we are. Since we came along in such an accidental manner, is there anything more sublime than our desire to leave something worthy and lasting behind when we depart the world?”
I find myself nodding heartily, though the more she speaks, the more lost I am becoming.
“Unfortunately too many lives are crushed in a monotonous routine. Such a pity! One must actually aim to be special. We have to become immortal while we are still alive. You have to write better novels and develop your skill. ‘You need to work continually day and night, to read ceaselessly, to study, to exercise your will. . . . Each hour is precious.’”
“Was that Chekhov again?” I ask suspiciously.
“It was Anton Pavlovich Chekhov,” she says with a frown, and to hammer home the point, she repeats his name in Russian. “АHTOH Павлович Чехов.”
“Right.” I sigh.
“Look, I made a calculation: If you write a new novel every year for the next ten years, give a lecture every month, attend all the major literary festivals in Europe and tour the world, then in eight years and two months you’ll have reached new heights in your career.”
“Oh, give me a break, will you?” I say, exasperated. “Do you think literature is a horse race? Do you think I am a machine?”
“What is wrong with that?” she says nonchalantly. “Better to be a machine than a vegetable! Instead of living like a sprig of parsley, passionless and lifeless, better to live with the dash and zest of a working machine.”
“And what about motherhood?”
“Motherhood . . . motherhood . . .” she says, glowering, as if the word has left a bad taste in her mouth. “Better leave motherhood to women who are born to be mothers. We both know you are not like that. Motherhood would upset all of my future plans. Promise me. Say you won’t do it!”
I look into the horizon, longing to be somewhere else. In the ensuing silence Miss Ambitious Chekhovian slowly gets up, walks to her bag and fishes out a piece of paper.
“What is this?” I ask when she holds it out to me.
“It is an address,” says Miss Ambitious Chekhovian. “The address of an excellent gynecologist. Guess what! I already got you an appointment. The doctor is expecting you at six-thirty on Tuesday.”
“But, why?”
Miss Ambitious Chekhovian’s eyes light up as her voice gets an eerie softness: “Because we want to solve this problem once and for all. This operation will do away with all of the existential questions that have been messing with your mind. I’ve decided to have you sterilized.”
“What am I, a stray cat!?” I say, flushing scarlet with rage.
Dissatisfied, she shrugs and turns around. “It is up to you.”
I know I should mind my temper but I can’t. Still grumbling, I leave her to her veterinary campaign and head up north.
There, behind an ornamented iron door, in a city as bustling with ideas as New York, lives Miss Highbrowed Cynic. Her windows are covered with burgundy velvet curtains and flimsy cobwebs, her walls with posters of Che Guevara and Marlon Brando.
She wears slovenly hippie dresses that reach the floor and mirror-threaded Indian vests. She wraps bright foulards around her neck and wears bangle bracelets of every color up to her elbows. When she feels like it, she goes to get a tattoo or another piercing. Depending on the day, she either leaves her shoulder-length hair loose or puts it up in a haphazard bun. She does raja yoga and advanced Reiki. All the acupuncture she’s received has yet to help her quit smoking. If she isn’t smoking a cigarette or a cigarillo, she chews tobacco.
Her handbags are cluttered sacks, where she fits in several books, notebooks and all sorts of knickknacks. She usually doesn’t wear makeup, not because she is against it but because when she puts a mascara or lipstick in her handbag, she can never find it again.
Miss Highbrowed Cynic is following an alternative diet nowadays. She has a plate of organic spinach, organic zucchini and some kind of mixed vegetables with saffron in front of her. She is a staunch vegetarian on the verge of turning vegan. It has been years since she last ate meat. Or chicken. Or fish. She claims that when we consume an animal, we also consume their fear of death. Apparently that is the reason we get sick. Instead, we are mean
t to eat peaceful leafy greens, such as spinach, lettuce, kale, arugula . . .
“Hello, Miss Highbrowed Cynic,” I say.
“Peace, Sister,” she says, waving her hand nonchalantly.
“I need to pick your brain on an important matter,” I say.
“Well, you came to the right place. I am brains.”
“Okay, what is your opinion about motherhood?”
“What is the use of asking rhetorical questions when it is a well-known fact that everyone hears only what they want to hear,” she says. “Wittgenstein wrote about the limits of language for a reason. You ought to read the Tractatus.”
“I don’t have time to read the Tractatus,” I say. “Ms. Agaoglu is still in the living room waiting for an answer. You’ve got to help me now.”
“Well, then, I urge you to think about the word envy.”
“Come again?”
“Envy is not a simple emotion, mind you, but a deep philosophical dilemma. It is so important, in fact, that it shapes world history. Jean-Paul Sartre said all sorts of racism and xenophobia stem from envy.”
“I am afraid I don’t get a word of what you are saying. Could you please speak more plainly?”
“All right, let me put it in simple terms: The grass is always greener on the other side.”
“Which means?”
“It means if you have a baby, you will always be envious of women who don’t have children and focus fully on their careers. If you choose to focus on your career, however, you will always envy women who have kids. Whichever path you choose, your mind will be obsessed with the option you have discarded.”
“Is there no way out of this dilemma?” I ask.
She shakes her head desolately. “Envy lies at the root of our existential angst. Look at the history of mankind, all the wars and destruction. Do you know what they said when World War I broke out? The war that will end all wars! Of course that is not what happened. The wars didn’t end because there is no equality and no justice. Instead we have an imbalance of power and income, ethnic and religious clashes. . . . All of this is bound to generate new conflicts.”