Autumn

“Cities were in her bones. Her fellow passengers could complain of smuts and smells, of the incredible chaos of carriages and wagons, but Eliza enjoyed her glimpses of a Mayfair wedding, a woman hitting another woman with a broom on the Charing Cross Road and a band of Ethiopian minstrels outside Westminster.”
― Zadie Smith, The Fraud

“Nobody tells this to people who are beginners, I wish someone told me. All of us who do creative work, we get into it because we have good taste. But there is this gap. For the first couple years you make stuff, it’s just not that good. It’s trying to be good, it has potential, but it’s not. But your taste, the thing that got you into the game, is still killer. And your taste is why your work disappoints you. A lot of people never get past this phase, they quit. Most people I know who do interesting, creative work went through years of this. We know our work doesn’t have this special thing that we want it to have. We all go through this. And if you are just starting out or you are still in this phase, you gotta know its normal and the most important thing you can do is do a lot of work. Put yourself on a deadline so that every week you will finish one story. It is only by going through a volume of work that you will close that gap, and your work will be as good as your ambitions. And I took longer to figure out how to do this than anyone I’ve ever met. It’s gonna take awhile. It’s normal to take awhile. You’ve just gotta fight your way through.”
― Ira Glass

“Instead of the word 'love' there was an enormous heart, a symbol sometimes used by people who have trouble figuring out the difference between words and shapes.”
― Lemony Snicket, The Carnivorous Carnival

“History is storytelling,’” Yaw repeated. He walked down the aisles between the rows of seats, making sure to look each boy in the eye. Once he finished walking and stood in the back of the room, where the boys would have to crane their necks in order to see him, he asked, “Who would like to tell the story of how I got my scar?”

The students began to squirm, their limbs growing limp and wobbly. They looked at each other, coughed, looked away.

“Don’t be shy,” Yaw said, smiling now, nodding encouragingly. “Peter?” he asked. The boy who only seconds before had been so happy to speak began to plead with his eyes. The first day with a new class was always Yaw’s favorite.

“Mr. Agyekum, sah?” Peter said.

“What story have you heard? About my scar?” Yaw asked, smiling still, hoping, now to ease some of the child’s growing fear.

Peter cleared his throat and looked at the ground. “They say you were born of fire,” he started. “That this is why you are so smart. Because you were lit by fire.”

“Anyone else?”

Timidly, a boy named Edem raised his hand. “They say your mother was fighting evil spirits from Asamando.”

Then William: “I heard your father was so sad by the Asante loss that he cursed the gods, and the gods took vengeance.”

Another, named Thomas: “I heard you did it to yourself, so that you would have something to talk about on the first day of class.”

All the boys laughed, and Yaw had to stifle his own amusement. Word of his lesson had gotten around, he knew. The older boys told some of the younger ones what to expect from him.

Still, he continued, making his way back to the front of the room to look at his students, the bright boys from the uncertain Gold Coast, learning the white book from a scarred man.

“Whose story is correct?” Yaw asked them. They looked around at the boys who had spoken, as though trying to establish their allegiance by holding a gaze, casting a vote by sending a glance.

Finally, once the murmuring subsided, Peter raised his hand. “Mr. Agyekum, we cannot know which story is correct.” He looked at the rest of the class, slowly understanding. “We cannot know which story is correct because we were not there.”

Yaw nodded. He sat in his chair at the front of the room and looked at all the young men. “This is the problem of history. We cannot know that which we were not there to see and hear and experience for ourselves. We must rely upon the words of others. Those who were there in the olden days, they told stories to the children so that the children would know, so that the children could tell stories to their children. And so on, and so on. But now we come upon the problem of conflicting stories. Kojo Nyarko says that when the warriors came to his village their coats were red, but Kwame Adu says that they were blue. Whose story do we believe, then?”

The boys were silent. They stared at him, waiting.

“We believe the one who has the power. He is the one who gets to write the story. So when you study history, you must always ask yourself, Whose story am I missing? Whose voice was suppressed so that this voice could come forth? Once you have figured that out, you must find that story too. From there, you begin to get a clearer, yet still imperfect, picture.”
― Yaa Gyasi, Homegoing