Where Moral Authority Begins | Part V: The Unbearable Virtue of Superbelt

I was nine or ten when the lashings turned end of day ritual. Before each lashing I was to undress from the waist down—pants and panties—and bend over the edge of the bed they shared, my mother and stepfather whom I called Daddy. She was never in the room, my mother, always somewhere else in the house, doing something. I imagine her, now, drinking a cup of coffee or a glass of pinot grigio or folding laundry or cleaning the kitchen because that was what she often did, clean the kitchen. She liked a tidy home and was good at keeping a tidy home. We left our outside shoes at the door.

I could hear the slide of the belt behind me each time as he pulled it from his slacks. I still have one hanging in my closet, a belt, not the slacks. I don’t remember being whipped with that belt, in particular, but it became a talisman of sorts. It had personality, like an aging college hippie in bell bottoms and loose cotton shirt, the belt low on the hip, swaggering, holding it all together. It is brown leather and wide with a big metal buckle. I wore it nearly every day in grad school at Johns Hopkins then American University. I secretly called it Superbelt, my symbol, my token, my power stolen from his waning youth, reappropriated for my cause.

The Ritual

Daddy’s preferred belt was finer, smooth leather, meant for business. It was not luxurious. It was middle class appropriate. Brown or black, usually, whichever belt he’d chosen to hold up his slacks that morning, which is to say that it was always the belt he wore, never a belt from the closet. I sometimes wondered if he chose the belt in the morning with this in mind, feeding the belt through the loops of his slacks, visualizing ripping it out that evening upon returning home, an effective routine after a hard day’s work like a fresh cocktail waiting in my mother’s hand, a kiss on the cheek. I was the kiss. The belt was his unbearable virtue….

Read the full essay at Eckleburg: “Where Moral Authority Begins | Part V: The Unbearable Virtue of Superbelt“

Where Moral Authority Begins: Part IV: Jesmyn Ward’s Sing, Unburied, Sing

by Rae Cine

 

I first fell in love with Jesmyn Ward’s prose when I read her 2017 National Book Award winning novel, Sing, Unburied, Sing. I don’t know how many times I’ve read it over the years. Jojo struck my heart at the very beginning. I do love a vulnerable character, a young character forced to grow into their adulthood at a much too young age, because this is the reality for so many children, a reality that “society” prefers to ignore. And therein lies one of the novel’s many values—its power to connect with the morals and mortalities readers bring to it.

We meet Jojo in the opening lines, a dark and uncertain space:

I like to think I know what death is. I like to think that it’s something I could look at straight. When Pop tell me he need my help and I see that black knife slid into the belt of his pants, I follow Pop out the house, try to keep my back straight, my shoulders even as a hanger; that’s how Pop walks. I try to look like this is normal and boring so Pop will think I’ve earned these thirteen years, so Pop will know I’m ready to pull what needs to be pulled, separate innards from muscle, organs from cavities. I want Pop to know I can get bloody. Today’s my birthday…. (1)

Read the full essay at Eckleburg.

Where Moral Authority Begins

Part I: Toni Morrison’s Beloved

Part II: Dorothy Allison’s Bastard Out of Carolina

Part III: Cormac McCarthy’s Child of God

Part IV: Jesmyn Ward’s Sing, Unburied, Sing

 

Rae Cline’s debut novel, Precious Ugly (7.13  Books), is a work of Appalachian literary fiction. It was a finalist for the Curt Johnson Prose Award and CRAFT’s First Chapters Contest. Her short fiction and essays have appeared in The Paris Review, McSweeney’s, North American Review, and StoryQuarterly. She is the founding editor of Eckleburg and lives in New York City.