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As I write this, you are kicking and shimmying inside me, stretching me out of my skin, preparing me for your birth and mine.

Your moves are jerky and random like your father’s dancing. You may or may not inherit his cinnamon skin or my crazy hair but I know that we will inherit much more from you.

I promise to try and not look for pieces of us in you. You are your own person. While you’re a part of our flesh, you are not us.

You are human, and have within you the wisdom and knowledge of the universe and I will help you uncover who you are while you teach me what you know.

I promise to help you unfurl your wings but won’t push you to fly.

I will show you that happiness can be found in doing what you love but will be your cheer squad if you go searching for it elsewhere.

I will lead by example and show you how creativity and passion can set fire to the soul and light the way to a fulfilling life.

I will teach you that kindness is a form of prayer and it starts with the gift of your smile.

I promise to keep these promises. But if I slip up or lose my way, if I smother you with unconditional love or add some conditions, please be patient with me. Mum’s learning too.

In my maternal grandmother’s village in Adana, Turkey, the term ‘girl’ was kneaded and compressed like dough. Its weight made my great grandmother tighten her grip on my grandmother’s world, her fear wedging between them. It was the fifties and neighbours weaved in and out of each other’s yards and lives, their mud-cement homes conjoined like a family. “Ayıp!” neighbours would say if a girl ventured too far from home. “A young girl has no business on the streets!” Ayıp was shame, and fear of the word hardened my great grandmother, a woman who walked home from the cotton field when her contractions started, to give birth alone on her lounge room floor.

grandmas-sewing-machine

My nene’s sewing machine.

My great grandmother’s fears knotted my grandmother’s tongue, made her curl inward. She left school after completing grade three to the dismay of her illiterate mother who wanted her to study. “Why study, Sevim? Go learn to sew, it’s better for a girl!” neighbours said. A girl’s hands were for stitching, not reading and their collective voice was enough to steer my quiet grandmother away from the classroom and into a sewing course. By eighteen, my grandmother was a seamstress and a wife and she set up a small business in her marital home where she made her five daughters sleeveless dresses that defied the modest dress code.

As a girl, Mum dreamed of wearing pretty frilly dresses that the actresses wore in the movies. She grew up in the seventies when Turkey’s Yesilçam “Green Pine” film industry flooded cinemas with hundreds of movies a year. It gathered the masses to the big screen like a seductive lover. The doe-eyed heroines mesmerised with sultry lips, while tall, dark and handsome men protected, fought and conquered. Yesilçam was a patriarch with firm ideas on a woman’s role in society. Women were sisters, wives, mothers, aunts, and grandmothers. Men were husbands, breadwinners, brothers and fathers who protected a woman’s honour and virginity. If women were rich, money was an invincible guard. It quashed the poor, broke poverty’s bony fingers, taught the public life lessons while cementing their place in society. Mum watched these movies at a local open-air cinema sipping lemon gazoz with her siblings. They sat on wooden chairs as the stars on the big screen fell in love and lit up Mum’s romantic dreams. She was seduced by the romance; humoured by the goofy comedies and angered by the injustices when star-crossed lovers were separated by strict fathers or evil uncles.

When Mum migrated to Australia, she hired Yesilçam movies from Turkish video shops in Melbourne’s north. Yesilçam was familiarity in a foreign world and thick, black videotapes piled on top of each other in our Footscray lounge room. It was in this room that Yesilçam showed me where I’d come from. My roots were dusty and poor, macho and romantic. The men were strong; they were leaders, they saved and married women and conquered evil. Women were good or bad. The good woman cooked, loved, nurtured, mothered within the sanctity of marriage. The bad woman had sex out of wedlock and tarnished her name and honour. The movies lectured like a wise aunty. ‘Hee! See the girl who ran away with that boy? Tsk! She brings her family great shame! No one will want to marry her when they get caught!’ These warnings registered early on and I learned that ayıp was a word reserved for girls, a word that lowered a father’s head and laid the blame on the mother. Fear of the word shadowed me as a teenager in the nineties where gossip could spread like wildfire in our predominantly Turkish neighbourhood.

“Don’t worry about what people say or think,” Mum said often. “Shame is on those who talk! Good or bad is not about what you wear, who you talk to. It’s what you say and how you act.” Mum, a primary school graduate, was educated by novelists and their stories taught her about humanity and new ways of seeing. Her strong voice buffered me and my sisters from the judgements of the outside world. “Trust yourself,” she told me, “like I trust you.”

With Mum’s conviction, shame lost its potency. Shame became a reaction to my team’s loss at the football. Shame was a theme in Yesilçam movies that no longer mirrored a changing culture and society. Honour and virtue were not scripted values, they were mine to define.

 

First published in The Big Issue #517 edition.

 

 

 

 

When I was a kid, my dad had soccer shoes with red cleats on the soles. They were round and puffy and I was scared he’d lose his balance and break himself. They looked as dangerous as Mum’s heels. Some days we’d sit in silence and watch tennis together, on one couch each, holding the armrests. He’d play the Saz, a stringed Turkish instrument, his fingers leading the way into the tune, his voice thin and fragile. Once, I even sang with him, but my heart was beating so fast the words came out wobbly. What if he didn’t like my voice? But he didn’t say a thing. He always had a firm grip on the Saz, his veins protruding on arms that were white and hairy. Those fingers would wave threateningly at me when I was too much for Mum. Dad worked at a factory for 12 hours every day and as soon as he came home he’d wash the day’s labour off him. He hated the smell of sweaty feet. So did I.

With years came curfews that were broken, fights about dress codes that I’d win with mascara streaked tears and the crack would widen until we were standing on opposite sides. Hugs were reserved for Bayram and birthdays, a brief tap on the back. Awkward silences in front of the TV, we’d flick through the channels with the same speed we’d have conversations. But time has a way of softening us, like Dad’s face, creased with years of hard work, the black of his hair, whitened with time. Sometimes his cheeks would sag when he sat forward and on impulse I’d cradle his face in my hands and squeeze until he’d go bright red. ‘You’re crazy,’ he’d say, shaking his head, his lips a lopsided grin.

The first time my dad said ‘I love you’ was on my wedding day. The hug was a tangle of arms and his body was stiff with unsaid things. ‘I love you, kizim,’ he mumbled into my shoulder and kissed my cheek. He gave me the most precious gift of all, he closed the divide. And just like the Saz Dad used to adjust in our lounge room, time fine-tuned us until we found the right pitch.