Black Milk Part 1

Black milk.

on writing, motherhood, and the harem within.

Elif Shafak.

For three females, Beyza, Aurora and Zelda.

For seventy years I have been steadily lowering and lowering my opinion of women, and I must still lower it more. The woman question! How could there not be a woman question! Only not about how women should control life, but how they should stop ruining it.

-Tolstoy the Misogynist.

The goal of our life should not be to find joy in marriage, but to bring more love and truth into the world. We marry to a.s.sist each other in this task.

-Tolstoy the Feminist.

I feel great tenderness for her [his daughter Masha]. Her only. She makes up for the others, I might say.

-Tolstoy again.

Note to the Reader.

I was in Istanbul when the earthquake hit in 1999. At the time I lived in one of the most vibrant and diverse neighborhoods in the city, where the quality of houses varied as widely as the stories of the people who inhabited them. When I ran out of the building with everyone else at three in the morning amid shouts and screams, I saw something that stopped me in my tracks. Across the street was the local grocer-a grumpy old man who didn't sell alcohol and didn't speak to marginals-sitting next to a transvest.i.te with a long, black wig and mascara running down her cheeks. I watched the man open up a pack of cigarettes, his hands shaking, his face as white as a ghost, and offer one to her. That was, and still is, the image of that night that has stayed most entrenched in my mind: a conservative grocer and a crying transvest.i.te smoking side by side. In the face of disaster and death, our mundane differences evaporated and we were all One, even if for only a few hours.

But I have always believed that stories, too, have a similar effect on us. I am not saying that fiction has the magnitude of an earthquake, but when we are inside a good novel we leave our cozy, small apartments behind and, through fictional characters, find ourselves getting to know people we had never met before, and perhaps had even disliked as our Others.

Years later I would recall that night in a completely different context: After the birth of my first child I experienced a strong depression that separated me from the one pa.s.sion in life that until then I had held above everything: writing fiction.

It was an emotional tremor for me. When I ran out of the building of the Self that I had carefully constructed all those years, there in the darkness, scared and shaken, I encountered a group of Thumbelinas-six tiny finger-women, each of whom looked like a different version of me-sitting side by side. I knew four of them already. The two others I was meeting for the first time. I understood that if it weren't for the extraordinary situation of my postpartum depression, I would have never seen them in a new light, and they would have kept living in my body and soul without ever listening to one another, like neighbors who share the same air but never a peaceful greeting.

Perhaps all women live with a mini harem inside and the discrepancy, tension and hard-achieved harmony among our conflicting selves is what really makes us ourselves.

It took me a while to get to know and love all of the six Thumbelinas.

This book is the story of how I faced my inner diversity and then learned to be One.

I am a writer.

I am a nomad.

I am a cosmopolite.

I am a lover of Sufism.

I am a pacifist.

I am a vegetarian and I am a woman, more or less in that order.

That is how I would have defined myself until I reached the age of thirty-five.

Up to that moment, first and foremost I saw myself as a teller of tales. Once upon a time, people like me shared their stories around a campfire, under a sky so wide you could never be sure where it ended, if it ever did. In Paris, they sc.r.a.ped together the rent by writing for newspapers. In the palace of a despotic sultan each story earned them the right to live one more day. Be it the Anonymous Narrator, Balzac or the beautiful Shehrazat, I felt connected to those storytellers of old. The truth is, like many other novelists, I felt closer to dead writers than to contemporary ones, and perhaps related more easily to imaginary people than to those who were real-well, too real.

That was how I lived. That was how I planned to go on living. But then something totally unexpected, miraculous and bewildering happened to me: motherhood.

It changed everything, changed me.

I blinked at my new role, as baffled as a bat wakened by sunlight.

The day I learned I was pregnant the writer in me panicked, the woman in me became happily confused, the pacifist in me remained pa.s.sive, the cosmopolite in me began to think of international baby names, the Sufi in me welcomed the news, the vegetarian in me worried about having to have to eat meat and the nomad in me just wanted to take to her heels and run as fast as she could. But that is what happens when you are pregnant. You can run away from everything and everyone but not from the changes in your body.

When the postpartum depression hit, it caught me completely unguarded. Stretching out in front of me like a dark tunnel that seemed to have no end, it scared me out of my wits. As I tried to cross through it, I fell down several times and my personality was shattered into pieces so small there was no way I could glue them back together again. Yet, at the same time, the experience helped me to look within and meet anew every member of the mini harem I had carried inside of me all those years. A depression can be a golden opportunity given to us by life to face head-on issues that matter greatly to our hearts, but which, out of haste or ignorance, have been swept under the carpet.

I am not sure what came first and what followed. Did I exit from my depression and then start writing this book? Or did I complete the book and in that way manage to crawl out of the tunnel? The truth is, I cannot tell. My memories of those days are vivid and intense, but they are far from being chronological.

I do know for certain, however, that this book was written with black milk and white ink-a c.o.c.ktail of storytelling, motherhood, wanderl.u.s.t and depression, distilled for several months at room temperature.

Every book is a journey, a map into the complexities of the human mind and soul. This one is no different. Every reader therefore is a traveler of a sort. Some tours introduce one to cultural heritage sites, while others focus on outdoor adventures and wildlife. In the pages that follow, I want to take you on two tours at the same time, one into the Valley of Babies, the other into the Forest of Books.

In the Valley of Babies, I will invite you to take a closer look at the many roles that make up our lives, starting with womanhood, motherhood and authorship. In the Forest of Books, I will discuss the lives and works of various women writers, past and present, East and West, to see how they have dealt with similar topics, successfully or unsuccessfully.

This book was written not only for women who may have shared, or will share, a similar depression but also for anyone-man or woman, single or married, parent or childless, writer or reader-who finds it difficult, at times, to balance the multiplicity of roles and responsibilities in their lives.

The Sufis believe that every human being is a mirror that reflects the universe at large. They say each of us is a walking microcosm. To be human, therefore, means to live with an orchestra of conflicting voices and mixed emotions. This could be a rewarding and enriching experience were we not inclined to praise some members of that inner orchestra at the expense of others. We suppress many aspects of our personalities in order to conform to the perfect image we try to live up to. In this way, there is rarely-if ever-a democracy inside of us, but instead a solid oligarchy where some voices reign over the rest.

Black Milk is an attempt to topple that oligarchy through peaceful means, to move forward into a full-fledged, healthy inner democracy. While it would be naive to a.s.sume that a democratic regime is a bed of roses, it is still preferable to any kind of despotism. Only when we can harmonize and synchronize the voices within can we become better mothers, better fathers and yes, probably better writers.

But I am getting ahead of myself here and I shouldn't. I need to do a U-turn and go back in time, and look for the moment when everything started.

Lucky Dishwasher.

There we were, my mother and I, caught in a bittersweet maze of feelings that only mothers and daughters are capable of getting caught in. But my heart was full of grat.i.tude for the way she had responded to the sudden news and I thanked her for being so supportive.

"Oh, I am not being supportive at all, honey. I am just like a poor dishwasher who by chance finds a lottery ticket on the sidewalk and learns that he won the jackpot."

As accustomed to my mother's codes and ciphers as I am, I didn't get this one right away. "I'm afraid I don't understand."

"But it is so clear, sweetheart. You feared I would be upset when I heard you secretly got married in another country, and when you saw I wasn't upset in the slightest, you felt grateful. Is that right?"

I nodded. "Right."

"You see, only a mother who is certain that her daughter will get married someday would be disappointed upon learning that she has done it without notice. Frankly, I never had any expectations of you in that regard. It seemed like you would be the last person on earth to get hitched. So I didn't go and buy a lottery ticket every week and pin my hopes on it. Does that make sense?"

It was beginning to.

Happy to have my full attention, my mother continued enthusiastically. "So I accepted the situation as it was and went on with my life. Then one day out of the blue I found this ticket on the sidewalk and learned that I had won the lottery. That is how I felt when I heard the news of your nuptials, as astounded as a lucky dishwasher!"

I had recently gotten married in Berlin. It was no coincidence that we had chosen this city to tie the knot because our marriage, at least to us, seemed no less surprising than the unexpected reunification of Germany. Like East and West Berlin, we, too, had been together once, then separated, and were now getting back together. My husband and I also had-and still have-personalities as different as capitalism and communism. Eyup is a gentle and generous soul, an always-rational man bestowed with an amazing inner balance and the patience of the prophet Job, from whom he got his name. As for me, I would have to tick off pretty much everything opposite from his qualities, starting with "impatient," "impulsive," "irrational," "emotional" and "walking chaos."

We refrained from having a wedding as neither of us was fond of ceremonies. So we simply walked into the Turkish Emba.s.sy on Kbaum Avenue and announced our intention to get married. There was a homeless man sitting on a bench next to the entrance, his head full of lice and thoughts, his face turned up to the sky, happily basking under the sun. I thought he would make a perfect witness but when I tried to ask him if he would come inside with us, he spoke no English, I spoke no German, and the sign language we invented there and then was not creative enough to cover a subject this unusual. Instead we offered him a pack of Marlboro Lights, and in return he seemed to bless us with a toothless smile. He also gave us a shiny golden chocolate wrapper that he had carefully smoothed out. I accepted the gift with delight. It seemed like a good omen.

I didn't wear a wedding gown not only because of my distaste for such a ritual but also because I don't ever wear white. I have always had a hard time understanding how other people can. For years I could not even sit on a couch if it was too white, but I was gradually cured of this habit. My friends have several theories as to why I don't like white. They think I might have fallen into a cauldron of rice pudding when I was a baby (unlike Obelix falling into the Magic Potion, this gave me no supernatural powers) and ended up hating the color, but not the pudding. However, I have no such recollection, and their second theory about me being biased against doctors, dentists or lab technicians-people who wear white-isn't true either.

In any case, on that day in May, I adorned myself in my preferred color of choice: black. As for Eyup, he wore dark pants and a white shirt, to honor tradition to some extent. That is how we said "I do." Without fuss and on a whim. Although Eyup's parents and five sisters, and my mother and grandmother, would have loved it had we had a typical Turkish wedding with food, dance and music, when they found out that we had gotten married, they were kind enough to respect the way we chose to go about it.

Lucky dishwashers aside, my mother wasn't the only one who didn't expect me to get married. Apparently neither did my readers. As followers of my novels and essays, they had always been the first to understand what I felt. But this time they showed more shock than understanding. In letters, e-mails and postcards they expressed their surprise. Some even sent me clips of my earlier interviews where I had said, "Domestic bourgeois life? Forget it! It doesn't suit me," and, "I don't think raising kids is my thing, but I believe I could make a good stepmother someday. You know, someone you can easily take to a football game or to a prom dress rehearsal." Now, with a "gotcha" moment in their eyes, those smart readers with wry humor demanded to know what had changed.

There was only one answer I could give them: love.

I love my husband and always feel a strange calmness and happiness descend upon me when I am next to him. Yet there was a part of me that didn't know how to deal with such tranquillity and wouldn't or just couldn't settle down into wedded bliss. Perhaps it was because I couldn't settle down anywhere for too long. Having been born in Strasbourg, raised in Madrid, and resided in Ankara, Istanbul, Amman, Cologne, Boston, Michigan and Arizona, I had been living out of a suitcase all my life-certain that I could stay anywhere and everywhere on this planet as long as I didn't have to put down roots. As the only child of a single mother, I had accepted one truth about human nature early on that I saw others trying to resist in vain: that loneliness was an inseparable part of being human.

I liked loneliness. I cherished it. I knew people who would go nuts if they were alone for too many hours. It was the opposite with me. I would go nuts if I had to be in the company of other people all the time. I would miss my privacy.

My vocation as a novelist thrives upon solitude. In almost all areas of art one has to work with other people during the creative process. Even the most egotistical of film directors has to be good at harmonizing his energy with that of others, learning to function as a team. So, too, fashion designers, actors, dancers, playwrights, singers and musicians.

But not fiction writers. For weeks, months and sometimes years on end, we retreat into the novels we write; we stay inside that imaginary coc.o.o.n surrounded by imaginary characters, writing destinies, thinking we are G.o.d. As we develop plots, add sudden twists, create and destroy characters, we can easily end up presuming we are the center of the world. Self-absorption and an inflated ego are the two most harmful side effects of our profession. That is why we make poor lovers and even poorer wives and husbands. Writers are primarily asocial creatures-though we can easily forget that with a bit of fame and success. The novel is the loneliest form of art, as Walter Benjamin once said.

During the period after my wedding I was teaching in Arizona and every few weeks I would hop on a plane for a twenty-six-hour flight (with connections) to be with my husband and friends back in the crazy, chaotic, colorful rhythm of Istanbul, and then I would return to Arizona to retreat into my desert solitude.

The first thing you feel when you walk out of Tucson International Airport is the heat wave, rising from the depths of the earth, licking your face with invisible flames. The first thing you feel when you walk out of Ataturk International Airport in Istanbul is the wave of noise, a loud jumble of cars honking, motorcycles rumbling, jackhammers drilling and people talking, yelling and whistling, all at the same time.

Heat wave, noise wave. Back and forth. This went on for almost two years. Then one day, I learned I was pregnant.

I hadn't known I wanted to become a mother and it took me by surprise. But I wanted to have this baby. It was as if another part of me-a domestic, nurturing, maternal side-was now rebelling against the part that had dominated all those years. The insurgent forces of motherhood infiltrated the tiny little villages south of my personality with amazing speed and agility, but the vested powers sitting in the capital were still holding strong.

Yet, I didn't want to lose the wandering, independent, carefree spirit that I was. Inside my head there were six voices speaking all at once. Hence I entered this pregnancy with mixed feelings, as if I were being dragged toward the unknown by an undercurrent that was stronger than my heart. It didn't help that I was put on trial during the final stages of my pregnancy due to the sentences a few of my Armenian fictional characters uttered in my novel The b.a.s.t.a.r.d of Istanbul. By coincidence the trial was set for the day after my delivery. Although I was acquitted at the first hearing, and the experience had no bearing on my subsequent depression, those tense days added to the challenges of the entire year.

I gave birth in September 2006, the most beautiful month of the year in Istanbul. Happy and blessed as I felt, I was also perplexed and unprepared. We rented a charming, quiet house on the islands where I could nurse and write. That was the plan. But it turned out I could do neither. My milk wasn't sufficient, and each time I attempted to go back into the world of fiction and start a new novel, I found myself staring at a blank page with growing unease. That had never happened to me before. I had never run out of stories. I had never experienced writer's block or anything that came close to it. For the first time in my adult life, as hard as I tried, words wouldn't speak to me.

Suddenly I was seized by the fear that something had irreversibly changed in me and I would never be the same again. A wave of panic surged through me. I started to think that now that I had become a mother and housewife, I would not be able to write fiction anymore. Like an old dusty carpet, my old Self was pulled out from under my feet.

Books had been my best friend since the day I learned how to read and write. Books had saved me. I had been an introverted child to the point of communicating with colored crayons and apologizing to objects when I b.u.mped into them. Stories had given me a sense of continuity, center and coherence-the three Cs that I otherwise sorely lacked. I breathed letters, drank words and lived stories, confident that I could twist and twirl language in a pa.s.sionate tango.

All this time my writing had filled the one suitcase I took with me wherever I went. Fiction was the invisible glue that held my different facets together, and when it was no longer with me, all my pieces fell apart. Without it, the world seemed like a melancholic place, infinitely sad. Colors that had looked bright and cheerful were now dull. Nothing was enough anymore. Nothing seemed familiar. I, who had traveled across continents, easily finding home in so many places, could not find the strength or will to go out into the street. My skin got so thin everything started to hurt me. The sun was too hot, the wind too harsh and the night too dark. I was full of anxiety and apprehension. Before I knew it, I had plunged into a severe postpartum depression.

After weeks of watching me cry, my maternal grandmother-a gentle but mighty woman with abundant superst.i.tions-held my hand and whispered, in a voice as soft as velvet, "My dear child, you've got to pull yourself together. Don't you know that with every tear a new mother sheds, her milk turns sour?"

I didn't know that.

I found myself thinking about this image. What would happen if my milk curdled? Would it darken, acquiring a thick and murky texture? The thought of this not only alarmed me but also made me feel guilty. The more I tried not to cry the more I felt like doing so. How come every other woman I knew adapted to motherhood so easily, but I couldn't? I wanted to breast-feed my child as long and best as I could. The image of spoiling milk nagged at me during the day, and attacked me in my dreams.

Then one morning, after months of depression, seclusion and unsuccessful treatment, I woke up with an urge to write again and sat at my desk. It was quiet, except for a few fishing boats in the distance and the baby sleeping in her cradle. There was a scent of jasmine in the air and the sky over the Bosphorus was a blue so pale that it had almost no color. Suddenly I had this most soothing realization that everything was okay and had always been so. As Rumi said, the night contained the day. We could start our lives over, anytime and anywhere.

It was okay that I had panicked and could not stop crying. It was okay that I had feared I couldn't manage writing and motherhood at the same time. Had my milk not been as white as snow, that, too, would be okay. If I started to write about the experience, I could turn my blackened milk into ink, and as writing had always had a magical healing effect on my soul, I could perhaps inch my way out of this depression.

That same day, I put the baby in her pram and walked out of the house into the bustling street. At first cautiously, then more daringly, I started talking to other women about their postpartum experiences. I was surprised to hear how many of them had gone through a similar emotional turbulence. Why didn't we know more about this? I had always been told that all women jump for joy as soon as they hold their babies in their arms. No one said that while jumping some of us. .h.i.t our heads on the ceiling, making us temporarily dizzy.

As I kept writing Black Milk I had myriad moving conversations with women of all ages and professions. Slowly and steadily, it dawned on me that I wasn't alone. That helped a lot. It was ironic for someone who had always taken pride in her ability to be alone to seek solace in numbers, but I chose not to dwell on that. The simple fact is that postpartum depression is far more common than we, as a society, would want to believe.

Interestingly, women knew about this in the old days. Our great-grandmothers were aware of all kinds of postpartum instability and therefore better prepared. They pa.s.sed on their knowledge to their daughters and granddaughters. But today we are so disconnected from the past that we have no real access to this wisdom. We are modern women. When we are weary and bruised inside we hide the signs with the latest makeup techniques. We think we can give birth one day and go on with our lives the next. Some of us do, of course. The trouble is, others simply cannot.

In Turkey, elderly women believe that during the forty days following the birth of a baby, a new mother should be kept in the company of her loved ones. If she were to be left alone, even for a moment, she might become susceptible to the attacks of the djinni-falling prey to a deluge of worries, anxieties and fears. That is why traditional families still decorate the bed of a new mother with scarlet ribbons and scatter sanctified poppy seeds around the room to ward off any supernatural powers looming in the air.

I am not trying to argue here that we should be guided by a bundle of superst.i.tions or expect health care to cover decorations of garlic strings and evil-eye beads in maternity wards. What I am saying is that women of premodern times-through their old wives' tales, traditions and beliefs-recognized an essential fact that we are not that good at acknowledging: Throughout her life, a woman goes through several major stages, and the transition from one to the next might not be easy. She might require additional help, support and guidance before she starts living fully in the present again. As a woman moves from one day to the next, struggling, problem solving, organizing and controlling, there are times when the machine of her body may falter. It is this simple and age-old wisdom that we have lost touch with in our determination to be successful, strong and always perfect.

Mrs. Weakness is not a popular woman among the members of our generation. n.o.body knows where she is now, but there are rumors that she has been sent into exile to an island in the Pacific or a village on the outskirts of the Himalayas. We have all heard of her, but it is forbidden to say her name aloud. At our workplace, school or home, whenever we hear someone talk about her we flinch, fearing the consequences. While she is not exactly on the Interpol List of the Most Wanted, n.o.body wants to be a.s.sociated with her.

None of this is to deny that motherhood is one of the greatest gifts in life. It molds the heart like clay, bringing one in tune with the rhythm of the universe. There is a reason why countless women say motherhood was the best thing that happened to them. I agree with that from the bottom of my soul.

Nevertheless, a woman does not become a mother the very minute she gives birth. It is a learning process, and for some it simply takes longer than for others. There are those, like myself, who find themselves shaken to the core by the entire experience. I am not claiming that the transition into motherhood is more difficult for creative people, as I have seen women from all walks of life undergo similar trouble, albeit in varying degrees. No woman is absolutely immune to postpartum blues. Perhaps the strongest and most confident among us are the ones who are, in fact, most vulnerable. Interestingly, this psychological roller coaster can happen just as easily with the second, the third or even the sixth pregnancy as with the first.

After all, pregnancies are like snowflakes. No two are exactly alike.

PART ONE.

Life before Marriage.

Signs.

It is noontime in Istanbul. I am on the steamboat Gypsy, named after the way it dances in the blue waters, ferrying pa.s.sengers between the islands and the mainland. Young lovers stealing kisses, high school students skipping cla.s.s, office workers prolonging their lunch break, photographers lugging their cameras, salesmen backpacking their wares, tourists being tourists . . . Somehow people from all walks of life seem to have found themselves in this nutsh.e.l.l of a vessel that is swaying from side to side. I am squashed in a corner. With books on my lap, I am sitting between an overweight woman and a well-groomed, elderly gentleman. Having completed an interview for a literary magazine on one of the islands, I am on the return route. The city girl is going home. Alone.

Shortly after the boat leaves port, I realize I have forgotten my notebook at the place where I did the interview. Suddenly, I feel bad. Why do I always go around forgetting something or other? Umbrellas, cell phones, vitamins, mascaras, lipsticks, hair bands, gloves . . . I forget half-eaten sandwiches that I've put aside for a few minutes, and I forget, in public toilets, my silver rings after I've taken them off to wash my hands. Once I even forgot a gla.s.s bowl with two turtles in it, a birthday present from a dear friend. As I couldn't bring myself to confess to my friend that I had lost her present the very day she had given it to me, during the weeks that followed, every time she asked me about the turtles, I made up stories.

"Oh, they are doing great, gorging on my cyclamens, gaining weight."

Then I said: "You know, the other day one of the turtles sneaked out of the bowl without my noticing. I looked everywhere but couldn't find it. Then later, when I turned on the reading lamp, there it was. Sitting comfortably on the bulb! The shadow it cast on the wall looked like a monster."

I went on inventing the adventures of my two turtles until one day my friend looked me in the eye and asked me to please stop. Her voice suddenly dwindled into a whisper; she told me she had a confession to make.