Stories get harder and harder to recognize within the daily humdrum of life. Sometimes they happen by and I miss them, all the while pondering what to write about. Like the time just a few weeks ago when I was with a colleague in the Kinshasa botanical gardens. We'd gone there to discuss a book we'd both read and also because we'd both never actually gone walking around the gardens. I'd wanted to check out a mural I had seen a glimpse of on-line- scoping out a potential art field trip for the students- and she on a recommendation from a fellow teacher.
We'd been walking down the paths along the wall when we found ourselves looking up at a bridge adjoining the main market downtown. It's a bit deceiving in the gardens as you can't really tell that the hectic, crowded marketplace borders the walls of the downtown oasis. There was a gang of street kids perched atop the bridge and we hesitated before continuing. It was like, in that moment, we were both envisioning them swooping down from the bridge to land in front of us Batman style and pilfer whatever paltry cash we might have had lining our pockets.
"Is it some kind of service road?" my colleague asked as images of the Bronx zoo filled my mind. However, this small path seemed lacking service littered as it was with plastic water bottles and other debris. There was a young boy who appeared to be washing his clothes at the end of the lane. I made the decision to continue walking on (not sure how I got to be the one to make the decision, but it seems I sometimes get the credit for knowing more about Kinshasa than I actually do, being less of a stranger than I actually am) so we continued. Show no fear is what I figured. And while they continued to call out "Madame" no one actually swooped down or landed in front of us. It was a moment when a story could have happened. And it was a day that brings to mind all sorts of contemplations, from the degrees of being a stranger to the complexities of "double pricing"- one price for Congolese and one price for 'etrangers' to the police behavior when we parked the car- but it was a story that escaped me, common place as it's all become. Navigating the many levels of Kinshasa, determining which street kids are possibly on my side, which can recognize me as someone who really sees them and which are just plain hungry, how to talk to police and defuse the anger and righteousness hot sun and white skin seem to bring out- all just daily excursions through the social rankings of Kinshasa.
But what I have noticed is how it has affected the other stories. The ones I read. In my 4th grade literacy class, we just experienced a lesson on schema (by Debbie Miller to give credit) that I really loved. I wrote down one side of a paper "Zongo Falls," a local attraction most kids have been too. They were overflowing with ideas about what it's like to go there. Sensory images filled the page. Camping, bugs, forests, rainbows, waterfalls, flowers. At the top of the other column, I wrote Kalamazoo. Predictably, the class went pretty silent. They started asking questions and wondering if there were cages and animals there. At the end of the exercise, I wrote SCHEMA down the side of the paper with all their observations about Zongo. "These are the ideas we bring to reading, based on our experiences and knowledge of the world," I told them. Many authors recognize the reader brings as much to the novel as the author tries to put out. Our personal experiences and images formed by those experiences shape the way we read a novel. It had been the exact discussion my colleague and I had been having about the book we'd read, The Bone People. Interestingly enough, she'd had the experience of reading it some 15 years earlier and could compare her reactions. I was intrigued by how they differed.
Just as I have been intrigued, reading two other novels, The Dark Road and Behind the Beautiful Forevers, at how my schema has changed. Both of these books relate tales of people living unimaginable horrors and dealing with them in the best way they know how. All the while reading them, I simultaneously wonder if the people don't recognize the poisons they are surrounding themselves with and understand their inability to do anything to avoid it. But worst of all, my schema has grown to imagine real people that I see everyday living in these similar conditions. It's not necessarily the brilliancy of the author that makes these books so real to me as the conditions here in Kinshasa that I can see are nearly equal to the tragedies lived out by the characters in the books- real life characters. My schema has expanded and my ideas of the world now include people who wait for the next rain storm to erode the small hilltop on which their house resides, or the mothers and children and young men who fill water bottles at a burst pipe overflowing from cracks in the city street or, even worse, puddles that have become small lakes on dirt paved side roads.
Abdul, the garbage scavenger in Behind the Beautiful Forevers becomes akin to the kids you see walking among the rubble picking through waste and the homeless guy who wears black duct tape and ports a bag overflowing with bottles around the city streets. Abdul is the woman who sleeps on the little cement overhang just next to the UN building with her bags and bags of garbage keeping her warm. His little friend Sunil is that young kid downtown by Michaels store that I passed sleeping on the sidewalk, worn down by hunger and fatigue. He is all those gangs of street kids with fire in their eyes and empty bellies who smoke cigarettes outside the grocery stores and the night clubs, hoping for a little bit of nothing to fall their way.
When I finish reading these books, I can't even retreat to my suburban abode and pretend like it doesn't exist because they are all there on the outskirts, every time I go out my door. The Beautiful Dark Bone People trying to find their way down the Forever Road, a little bit at a time. Scavenging, brutalizing, hurling threats, guarding little moments of happiness, scraping with their neighbors, laughing in the sunlight, drinking rat poison and making the best of very little prospects. One day at a time, one moment upon one moment until the last story is told.
