WEBVTT - The Local Intelligentsia

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<v Speaker 1>Family Secrets as a production of I Heart Radio. I

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<v Speaker 1>grew up in central Pennsylvania in a very small farming

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<v Speaker 1>town with parents who had both grown up in working

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<v Speaker 1>class families and had gone to college, and they were

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<v Speaker 1>like sort of the local intelligentsia. They were very cultured.

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<v Speaker 1>They spent a little bit of time away from this

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<v Speaker 1>small town. My mother lived in New York for a while.

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<v Speaker 1>My father went to Europe during his army service, but

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<v Speaker 1>then they both came back to this little town and

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<v Speaker 1>just stayed there and raised me and my two younger brothers,

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<v Speaker 1>surrounded by my father's family. My father ran the local

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<v Speaker 1>funeral home. I didn't live in the funeral home, but

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<v Speaker 1>it was just up the street where my grandmother lived,

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<v Speaker 1>and his sisters lived on the same street. His brother

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<v Speaker 1>lived nearby. Just this whole clan of Bechtels, and the

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<v Speaker 1>funeral home itself was a family business. Several generations of

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<v Speaker 1>Bechtels had run it. And we lived in this little

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<v Speaker 1>town between the Allegheny Plateau and the Bald Eagle Mountain.

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<v Speaker 1>I feel like that that topography is somehow significant, like

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<v Speaker 1>it was sort of a rift between this plateau, these

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<v Speaker 1>big empty mountains where nobody lived and where they were

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<v Speaker 1>strip mining for coal all the time. And then this

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<v Speaker 1>Ridge and Valley region of Pennsylvania, which if you look

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<v Speaker 1>at maps, are these really tidy ranges of mountains that

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<v Speaker 1>move off to the east. And we were right on

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<v Speaker 1>the edge of that, right between those two features. That's

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<v Speaker 1>the extraordinary graphic memoirist Alison Bechtel. You may have heard

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<v Speaker 1>of Allison's memoirs fun Home and Are You My Mother,

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<v Speaker 1>as well as her recently. Really the Secret to superhuman Strength.

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<v Speaker 1>Alison's story revolves around a secret that began well before

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<v Speaker 1>she was born, one that was always kept from her,

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<v Speaker 1>and yet in the light of retrospect, seems to always

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<v Speaker 1>have been hiding in plain sight. But she didn't see it.

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<v Speaker 1>Of course, she didn't see it. We never do. If

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<v Speaker 1>a secret is embedded into our childhoods, it becomes our

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<v Speaker 1>reality because that's how we survive. We inheritors of shame

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<v Speaker 1>and silence, until survival means knowing the truth rather than

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<v Speaker 1>living in a lie. I'm Danny Shapiro, and this is

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<v Speaker 1>family secrets, the secrets that are kept from us, the

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<v Speaker 1>secrets we keep from others, and the secrets we keep

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<v Speaker 1>from ourselves. I'm so interested in the way you described

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<v Speaker 1>your parents as you know, sort of the local intelligentsia.

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<v Speaker 1>It has sort of little echoes of revolutionary Road the

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<v Speaker 1>Richard Yates novel. Yeah, I've always been curious, like why

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<v Speaker 1>did they stay there? I myself was desperate to get

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<v Speaker 1>out of that place, and both my parents loved going

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<v Speaker 1>to New York. They go make the four hour drive

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<v Speaker 1>to New York to go to the theater and museums.

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<v Speaker 1>So why why were they living in this place that

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<v Speaker 1>was really cut off from all that. I still don't know.

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<v Speaker 1>I don't know anything. The older I get, the less

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<v Speaker 1>I know, especially about my parents. But one thing was

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<v Speaker 1>my my father's father had a heart attack and needed

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<v Speaker 1>my dad to run this family business. So my father

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<v Speaker 1>did that. He came home from Germany where he was

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<v Speaker 1>in the army, where my one where my mother had

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<v Speaker 1>just gone to meet him and get married, and they

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<v Speaker 1>were very excited to start this life in Europe together

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<v Speaker 1>and travel around after he was done with his stint.

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<v Speaker 1>But instead they came home and stayed there. But they

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<v Speaker 1>were both just passionately interested in different kinds of art

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<v Speaker 1>and literature. They both loved poetry. They met in a

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<v Speaker 1>play my mother was a more serious actor than my father,

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<v Speaker 1>but they both acted in college, and my mom went

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<v Speaker 1>on to do an internship at the Cleveland Playhouse and

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<v Speaker 1>she continued to act in summer stock all through my

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<v Speaker 1>childhood and beyond. And my dad, although his day job

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<v Speaker 1>was teaching in the high school and running this funeral home,

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<v Speaker 1>his real passion was for antiques and for restoring our

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<v Speaker 1>old Victorian house. This was a really unusual house. It

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<v Speaker 1>seems like it became more unusual and more unusual as

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<v Speaker 1>your father sort of had his way with it. Yeah,

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<v Speaker 1>this was his real love and his life was restoring

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<v Speaker 1>this house. Um. It was built probably in the eighteen sixties,

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<v Speaker 1>a big American Gothic house that was all decrepit by

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<v Speaker 1>the time my parents bought it in the nineteen sixties.

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<v Speaker 1>Talking about the library, the library was amazing. I mean,

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<v Speaker 1>who has a library in their house? But we did,

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<v Speaker 1>like a real library with Florida ceiling, glassed in bookshelves, um,

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<v Speaker 1>lot lots of you know, calf bound antique books as

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<v Speaker 1>well as plenty of new books. Just a wall of

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<v Speaker 1>books that people were just struck dumb by. They would

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<v Speaker 1>always ask my father if you'd read all of those books.

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<v Speaker 1>He would always say, has read most of them. There

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<v Speaker 1>were velvet drapes, there was flocked wallpaper. There was another

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<v Speaker 1>Florida ceiling feature, this giant peer mirror. It was like

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<v Speaker 1>twelve ft tall. It was a very grand, beautiful Victorian library.

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<v Speaker 1>And your father did all this himself. This is a

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<v Speaker 1>passion of his. Yeah, he did. And um, it wasn't cheesy.

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<v Speaker 1>You know a lot of people do that sort of

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<v Speaker 1>thing on their own and it just looks like a

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<v Speaker 1>i don't know, like a bad B and B or

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<v Speaker 1>a Laura Ashley explosion. But now it was very tasteful.

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<v Speaker 1>And you know, he studied a lot, got lots of

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<v Speaker 1>magazines and journals, and he knew a lot about this

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<v Speaker 1>specific period, and he was always collecting stuff, discovering stuff,

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<v Speaker 1>talking to old people. And it was beautiful. How would

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<v Speaker 1>you characterize, from like Alison, the child's point of view,

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<v Speaker 1>your parents marriage during those childhood years and maybe sort

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<v Speaker 1>of into your teenage years. My parents fought a lot,

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<v Speaker 1>but I didn't, you know, I didn't really think about

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<v Speaker 1>their marriage. I mean, who really thinks about their parents marriage?

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<v Speaker 1>It's the air that you breathe. And I was surprised

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<v Speaker 1>later when my mother would describe to me, Oh, that

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<v Speaker 1>was when your father wasn't speaking to me for three months,

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<v Speaker 1>Like I never noticed that, but apparently it would go

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<v Speaker 1>for long stretches of sulking and not talking to her.

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<v Speaker 1>Do you think that has anything to do with, you know,

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<v Speaker 1>the fact that you had siblings, Like I asked that

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<v Speaker 1>as an only child, because I think for me, I

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<v Speaker 1>was a student in a way, not of my parents

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<v Speaker 1>marriage because that would have been sort of beyond my comprehension,

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<v Speaker 1>but of my parents. I really studied them because it's

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<v Speaker 1>kind of all I all I had, is my subject.

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<v Speaker 1>Whereas I wonder if you have siblings, whether you kind

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<v Speaker 1>of are often in sibling world in a certain way. Yeah,

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<v Speaker 1>I wonder if that's true. I was just sort of

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<v Speaker 1>having a parallel life in the same house. I mean,

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<v Speaker 1>I was certainly taking them in, but I never thought

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<v Speaker 1>about their marriage. What was it like to live in

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<v Speaker 1>in the constant presence of sort of death as a fact,

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<v Speaker 1>you know that it just it just was that there

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<v Speaker 1>were corpses, there were dead people. There was this funeral home,

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<v Speaker 1>and there's this moment where a young man has died

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<v Speaker 1>and your dad calls for you and asks you to come,

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<v Speaker 1>and it's you know, there's this naked, hairy young man

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<v Speaker 1>with a chest wound lying there, and your dad asks

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<v Speaker 1>you to hand him a pair of scissors in a

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<v Speaker 1>very very matter of fact way, and then you very

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<v Speaker 1>very matter of fact LYE do so. Yeah, I mean

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<v Speaker 1>mostly the funeral home was kind of cool. I liked

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<v Speaker 1>seeing the dead bodies. It was interesting. I felt like

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<v Speaker 1>I knew something other people didn't know. My school friends

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<v Speaker 1>would be like, oh my god, you see dead bodies

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<v Speaker 1>and what's it like. I liked being able to just

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<v Speaker 1>play it cool, you know, and to have the sort

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<v Speaker 1>of hidden knowledge that other people didn't have. But it's

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<v Speaker 1>pretty alarming when Allison's dad shows her this young guy's body,

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<v Speaker 1>which has been opened up for an autopsy. Up until then,

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<v Speaker 1>she had only seen dead people once they were in

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<v Speaker 1>their caskets, all dressed up and with their makeup done.

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<v Speaker 1>So Allison, who's ten maybe eleven, plays it cool. It

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<v Speaker 1>was traumatic, but there wasn't any allowance for it to

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<v Speaker 1>be traumatic. So much of Allison's story has to do

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<v Speaker 1>with what isn't said, what can't be said. There's what

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<v Speaker 1>people say, like please pass the scissors, and then there's

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<v Speaker 1>the subtext. Everything, it seems, can be experienced and discussed,

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<v Speaker 1>everything except for feelings. There's a lot of exchange of

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<v Speaker 1>of information, of literature, of poetry, of you know, many

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<v Speaker 1>different things, but not feelings, not how did you feel

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<v Speaker 1>about that? Yeah? And I you know, only much later

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<v Speaker 1>did I understand that that if anyone had talked about

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<v Speaker 1>their feelings, the whole edifice would have just come crashing down.

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<v Speaker 1>When you're in high school, you end up in your

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<v Speaker 1>father's English class, and it seems like like sort of

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<v Speaker 1>that's the period of time where you're most able to

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<v Speaker 1>communicate with each other in a certain way, with with

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<v Speaker 1>the texts between you as like the bridge. Yes, my

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<v Speaker 1>father had always tried to guide my reading. He was

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<v Speaker 1>always suggesting books and trying to get me to read

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<v Speaker 1>things that he liked, and I would always resist that.

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<v Speaker 1>It was like the only way I had to rebel

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<v Speaker 1>as a child. But when I was in his class,

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<v Speaker 1>of course I had to read the books. So it

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<v Speaker 1>was an interesting situation, and what I found was I

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<v Speaker 1>really liked them. We read Um Pride and Prejudice that

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<v Speaker 1>semester catch her in the Rye. It was a class

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<v Speaker 1>on coming of age. So it was really so meta,

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<v Speaker 1>you know. But yeah, we started really bonding and connecting,

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<v Speaker 1>and you know, I was one of his better students.

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<v Speaker 1>He always liked his sharper students. Yeah. I mean there's

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<v Speaker 1>a moment in fun home where you or he says

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<v Speaker 1>to you, You're the only student class who is sort

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<v Speaker 1>of like worth teaching to or something like that, and

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<v Speaker 1>then and you say, your class is the only class,

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<v Speaker 1>you know, sort of worth taking. Yeah. Yeah, we were

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<v Speaker 1>a mutual admiration society. Yeah, it was. It was really

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<v Speaker 1>kind of a tender moment, even though what's happening is

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<v Speaker 1>that the literature and these coming of age stories and

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<v Speaker 1>the inner lives of the characters on the page are

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<v Speaker 1>standing in for anything that might resemble, um, you know,

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<v Speaker 1>a feeling. Yeah. Well, my my dad, I think, was

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<v Speaker 1>very eager for a friend, and the older I got,

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<v Speaker 1>the closer I got to him. He died when I

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<v Speaker 1>was nineteen, but we just were on this trajectory of

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<v Speaker 1>just getting closer and closer and talking more and more,

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<v Speaker 1>and it was great. I loved it. I loved having

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<v Speaker 1>that connection with him. Although later a therapist told me

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<v Speaker 1>that was probably inappropriate, that he was leaning on me

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<v Speaker 1>so heavily for connection. We'll be back in a moment

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<v Speaker 1>with more family secrets. Allison goes off to Oberlin College

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<v Speaker 1>and really begins to come into her own. What this means,

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<v Speaker 1>most deeply and powerfully for her is that she comes out.

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<v Speaker 1>She knows she's gay, and in the great surge of

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<v Speaker 1>energy of that realization, she wants to tell her parents immediately.

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<v Speaker 1>She wants to share it with them. So I wrote

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<v Speaker 1>them a letter, and the grand tradition of my shutdown Emily,

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<v Speaker 1>I shared this intimate news with them in a typewritten

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<v Speaker 1>letter sent through the mail like with a stamp on it. Yes. Um,

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<v Speaker 1>at that point I hadn't had sex as anyone yet.

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<v Speaker 1>I wasn't really absolutely. I mean, I felt certain that

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<v Speaker 1>this was true, but yeah, it was all still somewhat theoretical,

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<v Speaker 1>and I was just starting to tell like friends and

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<v Speaker 1>people close to me. So I told my parents and

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<v Speaker 1>been waited in some trepidation for their response. It should

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<v Speaker 1>be said too, because listeners under a certain age, it

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<v Speaker 1>will be incomprehensible. The idea of waiting two days, three days. Now,

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<v Speaker 1>we write an email and we hit send, and we

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<v Speaker 1>hold our breath, and you know we hear back five

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<v Speaker 1>minutes later. Um. Yeah, I was holding my breath for

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<v Speaker 1>three or four days. My father called me on the phone,

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<v Speaker 1>and I was a little taken aback that it was

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<v Speaker 1>just him, even though I was used to talking to

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<v Speaker 1>him all the time. I thought this was like an

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<v Speaker 1>important family piece of news I had broken, and that

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<v Speaker 1>maybe my mother would be in on it too. But

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<v Speaker 1>she wasn't and wouldn't come to the phone actually, as

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<v Speaker 1>I as I learned, because she was so upset, and

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<v Speaker 1>my dad had this sort of giddy air about him,

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<v Speaker 1>like he was sort of excited, like, well, it's it's

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<v Speaker 1>good to know that you're human at least, and it

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<v Speaker 1>felt almost like sort of leering or I don't know,

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<v Speaker 1>like he was this I don't know, something paternalistic about it.

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<v Speaker 1>That was annoying to me, and I didn't quite understand

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<v Speaker 1>why is my dad being so giddy and why is

0:14:37.760 --> 0:14:40.840
<v Speaker 1>my mother not coming to the phone. My mother and

0:14:40.840 --> 0:14:44.560
<v Speaker 1>I had another exchange of hard copy letters before we

0:14:44.600 --> 0:14:47.320
<v Speaker 1>spoke on the phone. She sent me a very confusing

0:14:48.280 --> 0:14:52.400
<v Speaker 1>letter saying she wished that I would rethink this lesbian

0:14:52.440 --> 0:14:55.640
<v Speaker 1>thing and just focus on my work. What was the

0:14:55.680 --> 0:14:57.800
<v Speaker 1>tone of the letter, like, what was the emotional tone

0:14:57.800 --> 0:15:02.080
<v Speaker 1>of it? Well, it was kind of cold and formal,

0:15:02.160 --> 0:15:07.000
<v Speaker 1>like my mother was with me. It was very articulate,

0:15:07.280 --> 0:15:11.200
<v Speaker 1>very carefully thought out, and I responded to her letter

0:15:11.280 --> 0:15:14.240
<v Speaker 1>in kind with a letter. I think I even broke

0:15:14.280 --> 0:15:16.560
<v Speaker 1>it down into like a B C, you know, into

0:15:16.840 --> 0:15:20.880
<v Speaker 1>sub paragraphs and things, rebutting all the things she was saying.

0:15:21.520 --> 0:15:25.280
<v Speaker 1>And then following that exchange, she called me, and here's

0:15:25.280 --> 0:15:29.520
<v Speaker 1>where the real information finally reached me, and she told

0:15:29.520 --> 0:15:33.600
<v Speaker 1>me in this phone conversation that my dad had had

0:15:33.760 --> 0:15:36.840
<v Speaker 1>affairs with other men over the course of their marriage,

0:15:37.600 --> 0:15:41.120
<v Speaker 1>and some boys, some of his high school students. And

0:15:41.600 --> 0:15:47.320
<v Speaker 1>I was just completely floored, just blown away. Never had

0:15:47.400 --> 0:15:52.640
<v Speaker 1>never occurred to me. Remember at the beginning, when I

0:15:52.640 --> 0:15:56.040
<v Speaker 1>talked about the secret hiding in plain sight and the

0:15:56.080 --> 0:15:57.880
<v Speaker 1>way we who have been living in the shadow of

0:15:57.880 --> 0:16:02.320
<v Speaker 1>that secret can't see what is patently obvious. Alison and

0:16:02.360 --> 0:16:05.720
<v Speaker 1>I share this two very different kinds of secrets about

0:16:05.760 --> 0:16:09.160
<v Speaker 1>our fathers. But what is striking is the way that

0:16:09.240 --> 0:16:12.440
<v Speaker 1>each of us talk to this knowledge away. I mean,

0:16:13.000 --> 0:16:16.640
<v Speaker 1>it was obvious that Alison's father was gay. In my case,

0:16:17.160 --> 0:16:20.160
<v Speaker 1>it was obvious that my father wasn't my biological father.

0:16:21.160 --> 0:16:23.920
<v Speaker 1>So many of us have that sense when we discover

0:16:24.040 --> 0:16:27.080
<v Speaker 1>the truth of wanting to smack ourselves upside the head.

0:16:27.520 --> 0:16:30.320
<v Speaker 1>I mean, my god, how could we not have known?

0:16:31.200 --> 0:16:34.800
<v Speaker 1>But that's the thing. It was too dangerous, far too

0:16:34.920 --> 0:16:42.080
<v Speaker 1>dangerous to know, so we just didn't. So you find

0:16:42.120 --> 0:16:45.240
<v Speaker 1>this out and it makes like no kind of sense

0:16:45.280 --> 0:16:49.120
<v Speaker 1>and all kinds of sense in a way. Yeah, it

0:16:49.160 --> 0:16:53.680
<v Speaker 1>immediately I just began sort of reassembling this puzzle of

0:16:53.720 --> 0:16:57.440
<v Speaker 1>my life and and it he actually he used that

0:16:57.480 --> 0:16:59.520
<v Speaker 1>metaphor too, I think, but I've always thought of it

0:16:59.560 --> 0:17:03.880
<v Speaker 1>that way. I mean, it was just so very strange

0:17:04.880 --> 0:17:09.879
<v Speaker 1>that I had stumbled onto their deep dark secret in

0:17:09.920 --> 0:17:12.920
<v Speaker 1>my you know, in my youthful naivete, just thinking, oh

0:17:13.000 --> 0:17:15.680
<v Speaker 1>this is I'm a lesbian. I'm gonna tell everyone. I'm

0:17:15.680 --> 0:17:18.119
<v Speaker 1>going to be open and above board about this. I

0:17:18.200 --> 0:17:22.359
<v Speaker 1>had no idea what what I was triggering. You saw

0:17:22.440 --> 0:17:27.199
<v Speaker 1>your father only a few times from the time that

0:17:27.800 --> 0:17:31.760
<v Speaker 1>those conversations and that letter writing campaign was happening until

0:17:31.800 --> 0:17:36.560
<v Speaker 1>he died. Yes, once he came, he stopped at my

0:17:36.680 --> 0:17:39.320
<v Speaker 1>school briefly, and I saw him, and then I came

0:17:39.359 --> 0:17:43.159
<v Speaker 1>home for spring break, it's spent a week. There was

0:17:43.200 --> 0:17:45.399
<v Speaker 1>another time I came home at the end of the

0:17:45.440 --> 0:17:49.680
<v Speaker 1>school year, very briefly and brought my girlfriend that time, Yeah,

0:17:49.760 --> 0:17:51.920
<v Speaker 1>and so he met my girlfriend and my mother met

0:17:51.960 --> 0:17:56.119
<v Speaker 1>my girlfriend, and it was all very stressful. Did you

0:17:56.160 --> 0:17:58.880
<v Speaker 1>have further conversations with him? What you know? Was there

0:17:59.320 --> 0:18:02.560
<v Speaker 1>sort of bed on that initial you know, I'm so

0:18:02.600 --> 0:18:06.240
<v Speaker 1>glad you're human kind of conversation. Some of it happened

0:18:07.000 --> 0:18:11.160
<v Speaker 1>again in this epistolary format by letters. I have these

0:18:11.160 --> 0:18:13.800
<v Speaker 1>treasured letters that my dad sent me during that time,

0:18:13.800 --> 0:18:18.560
<v Speaker 1>although they were all quite cryptic and increasingly not making

0:18:18.680 --> 0:18:21.960
<v Speaker 1>a lot of sense. We had one conversation about it,

0:18:21.960 --> 0:18:24.200
<v Speaker 1>which was during the spring break that I was home

0:18:24.240 --> 0:18:26.360
<v Speaker 1>and he and I went out to the movies one night,

0:18:27.080 --> 0:18:28.960
<v Speaker 1>and I was determined to bring it up and to

0:18:29.000 --> 0:18:32.159
<v Speaker 1>make him talk about it. It was very one of

0:18:32.200 --> 0:18:36.000
<v Speaker 1>the most you know, frightening things I've had to do.

0:18:36.440 --> 0:18:37.880
<v Speaker 1>I tried to think of a way that I could

0:18:37.920 --> 0:18:40.480
<v Speaker 1>get in, and it was he had given me a

0:18:40.600 --> 0:18:45.760
<v Speaker 1>copy of Collects Memoirs at Christmas time, and so I

0:18:45.880 --> 0:18:49.359
<v Speaker 1>used that book and I said, did you know what

0:18:49.359 --> 0:18:51.240
<v Speaker 1>you were doing when you gave me that book? Because

0:18:51.280 --> 0:18:53.800
<v Speaker 1>of course, that there's a whole long scene in her

0:18:53.800 --> 0:18:57.520
<v Speaker 1>memoirs about her the lesbian subculture of Paris, which I

0:18:57.560 --> 0:19:01.880
<v Speaker 1>found quite riveting. And he said no, he hadn't really

0:19:01.920 --> 0:19:04.000
<v Speaker 1>thought about it, but it was it was an opening

0:19:04.000 --> 0:19:05.919
<v Speaker 1>and I had gotten in and we just had this

0:19:06.359 --> 0:19:09.919
<v Speaker 1>short conversation until we got to the movie theater. But

0:19:10.000 --> 0:19:13.200
<v Speaker 1>he opened up to me and he said, well, here's

0:19:13.200 --> 0:19:15.960
<v Speaker 1>another interesting thing. When when my mother called me on

0:19:16.000 --> 0:19:20.960
<v Speaker 1>the phone to tell me this shattering information, she explained

0:19:21.000 --> 0:19:24.760
<v Speaker 1>it that my father had been molested when he was young,

0:19:24.840 --> 0:19:28.960
<v Speaker 1>when he was fourteen, and on this night that my

0:19:29.040 --> 0:19:32.240
<v Speaker 1>dad and I were talking, he described to me this

0:19:32.280 --> 0:19:34.959
<v Speaker 1>incident with this older man on the farm where he

0:19:35.000 --> 0:19:37.280
<v Speaker 1>grew up. I don't think he used the word molested,

0:19:37.280 --> 0:19:38.679
<v Speaker 1>but I'm not sure how he would have said it

0:19:38.840 --> 0:19:41.840
<v Speaker 1>if he described it as a as a pleasurable encounter

0:19:42.359 --> 0:19:45.800
<v Speaker 1>and described this man as quite attractive. With me, it

0:19:45.920 --> 0:19:47.960
<v Speaker 1>was a positive experience. With my mother, it was an

0:19:47.960 --> 0:19:50.720
<v Speaker 1>excuse for why he had turned out this way. But

0:19:50.880 --> 0:19:54.280
<v Speaker 1>clearly I could see how deeply ashamed my dad was

0:19:54.320 --> 0:19:56.199
<v Speaker 1>of all this. It was really painful for him to

0:19:56.240 --> 0:20:02.040
<v Speaker 1>talk about it with me, but he did at one point.

0:20:02.040 --> 0:20:04.760
<v Speaker 1>When she's home, Alison and her dad have a really

0:20:04.880 --> 0:20:09.159
<v Speaker 1>uncomfortable conversation. She pushes hard for it. She needs to

0:20:09.200 --> 0:20:13.600
<v Speaker 1>talk with him about his sexuality and hers. She broaches

0:20:13.600 --> 0:20:16.200
<v Speaker 1>the subject in a car on their way to the movies.

0:20:16.960 --> 0:20:20.480
<v Speaker 1>Moving cars are such great places for these scary conversations.

0:20:20.920 --> 0:20:26.800
<v Speaker 1>I find no one can escape. The conversation isn't exactly satisfying,

0:20:26.880 --> 0:20:32.320
<v Speaker 1>but still it's something. Then she's back at school and

0:20:32.400 --> 0:20:36.919
<v Speaker 1>she receives the worst kind of news, terrible news. Her

0:20:37.000 --> 0:20:40.240
<v Speaker 1>dad has been hit by a truck. Her dad is dead.

0:20:42.640 --> 0:20:45.320
<v Speaker 1>One of your responses, and it's it's such an incredibly

0:20:45.400 --> 0:20:49.600
<v Speaker 1>human grief responses. You know, you and your brother have

0:20:49.680 --> 0:20:54.880
<v Speaker 1>it too, Like you're laughing. Yeah, it's such an uncomfortable thing.

0:20:55.000 --> 0:20:57.080
<v Speaker 1>It's like, what do you do. You're not laughing because

0:20:57.119 --> 0:21:02.240
<v Speaker 1>it's funny. You're laughing because you're expelling something. Yeah, we didn't.

0:21:02.240 --> 0:21:06.240
<v Speaker 1>Oh my god, you know, I don't. No, I can't

0:21:06.280 --> 0:21:08.439
<v Speaker 1>remember what I even thought I was. It was a

0:21:08.440 --> 0:21:12.479
<v Speaker 1>five hour drive away, so I got this news. I

0:21:12.560 --> 0:21:16.600
<v Speaker 1>was completely traumatized, but not you know, in my in

0:21:16.600 --> 0:21:19.080
<v Speaker 1>the in the tradition of my family. I cried for

0:21:19.119 --> 0:21:21.760
<v Speaker 1>about half a minute. Maybe maybe thirty seconds, and then

0:21:21.800 --> 0:21:25.560
<v Speaker 1>I was like fine, I I insisted on driving. My

0:21:25.600 --> 0:21:29.160
<v Speaker 1>girlfriend had a car, but I drove, and we both

0:21:29.400 --> 0:21:32.800
<v Speaker 1>drove five hours home. And I can't tell you what

0:21:32.880 --> 0:21:35.919
<v Speaker 1>I was imagining had happened at that point. I know

0:21:36.040 --> 0:21:39.359
<v Speaker 1>that that night my mother confided in me that she

0:21:39.480 --> 0:21:42.680
<v Speaker 1>was pretty sure my father had done this on purpose.

0:21:43.000 --> 0:21:45.040
<v Speaker 1>And and I don't think it that had occurred to

0:21:45.040 --> 0:21:49.600
<v Speaker 1>me until she said that. It just all seemed so crazy,

0:21:49.880 --> 0:21:53.000
<v Speaker 1>but everything had been crazy for months. Why do you

0:21:53.000 --> 0:21:57.280
<v Speaker 1>think she told you that so quickly? Um? I think

0:21:57.320 --> 0:22:00.760
<v Speaker 1>I was her only confidante. I know that her best friend,

0:22:01.080 --> 0:22:04.479
<v Speaker 1>to whom she told absolutely everything. Else I didn't know

0:22:04.920 --> 0:22:08.119
<v Speaker 1>and wouldn't know for a long time. I think she

0:22:08.240 --> 0:22:11.480
<v Speaker 1>just needed to tell someone. And when she did tell

0:22:11.520 --> 0:22:15.520
<v Speaker 1>you that, did that make sense to you? Yes? Completely?

0:22:15.560 --> 0:22:19.359
<v Speaker 1>It felt absolutely right, and I think it consoled us

0:22:19.400 --> 0:22:23.080
<v Speaker 1>both in some some strange way, because at least it

0:22:23.200 --> 0:22:26.680
<v Speaker 1>was intentional. And I try to explain this to people

0:22:26.680 --> 0:22:29.320
<v Speaker 1>and they look at me like I'm insane, but it

0:22:29.400 --> 0:22:33.160
<v Speaker 1>somehow seems different. For a death to be an accident,

0:22:33.800 --> 0:22:36.400
<v Speaker 1>that's really terrible, But if someone intended for it to happen,

0:22:36.440 --> 0:22:39.800
<v Speaker 1>then at least something went right. You know, No, that

0:22:39.880 --> 0:22:41.880
<v Speaker 1>makes sense to me. It's like, even if it's something

0:22:41.920 --> 0:22:44.159
<v Speaker 1>that might have passed, it was something that was a choice.

0:22:45.080 --> 0:22:47.200
<v Speaker 1>I mean, when we started talking, you were you were saying,

0:22:47.359 --> 0:22:48.919
<v Speaker 1>I don't remember how you put it. But you know,

0:22:49.000 --> 0:22:52.000
<v Speaker 1>the older you get, the more it's a mystery to you.

0:22:52.000 --> 0:22:54.119
<v Speaker 1>You know, the more you the more your parents are

0:22:54.119 --> 0:22:56.600
<v Speaker 1>a mystery to you. And I I do think for

0:22:56.640 --> 0:22:58.919
<v Speaker 1>those of us that keep on thinking about this stuff,

0:22:58.920 --> 0:23:02.440
<v Speaker 1>either because it's our nature or because it's our circumstances

0:23:02.440 --> 0:23:07.760
<v Speaker 1>and we have to um, there's nothing resembling closure or

0:23:08.640 --> 0:23:12.200
<v Speaker 1>being at a place where it all feels like tucked away,

0:23:12.480 --> 0:23:16.840
<v Speaker 1>even and maybe especially when we've written about it, you know,

0:23:16.920 --> 0:23:20.880
<v Speaker 1>when it's bound between the pages, I know, it keeps

0:23:20.960 --> 0:23:23.280
<v Speaker 1>evolving and you can't do anything about it. I keep

0:23:23.280 --> 0:23:26.879
<v Speaker 1>finding out bits of information that completely changed my story,

0:23:26.960 --> 0:23:32.879
<v Speaker 1>and I'm like, wait, right, it's a very strange plight,

0:23:33.280 --> 0:23:37.119
<v Speaker 1>because it really is like you're holding the world still

0:23:37.240 --> 0:23:40.120
<v Speaker 1>between the covers of a book. You know, the relationship

0:23:40.160 --> 0:23:44.920
<v Speaker 1>between the you that wrote fun Home and fun Home

0:23:45.400 --> 0:23:48.000
<v Speaker 1>that's the story. It's the relationship between the self and

0:23:48.040 --> 0:23:56.640
<v Speaker 1>the story. At the moment the story is told, We'll

0:23:56.680 --> 0:24:12.679
<v Speaker 1>be right back. Allison's book ends up being adapted for

0:24:12.720 --> 0:24:17.359
<v Speaker 1>the stage, and Fun Home becomes a musical, Yes, a

0:24:17.520 --> 0:24:21.119
<v Speaker 1>musical that wins the Tony Award in two thousand fifteen

0:24:21.200 --> 0:24:25.199
<v Speaker 1>for Best Musical, among many other accolades. I saw the

0:24:25.240 --> 0:24:28.320
<v Speaker 1>show when it first ran off Broadway, and in the

0:24:28.400 --> 0:24:32.800
<v Speaker 1>stage adaptation, there are three Allison's. An actress plays her

0:24:32.840 --> 0:24:35.840
<v Speaker 1>as a kid, another actress plays her around the age

0:24:35.840 --> 0:24:38.800
<v Speaker 1>she was when her father died, and an actress plays

0:24:38.800 --> 0:24:42.199
<v Speaker 1>the adult Allison, who stands off to the side and

0:24:42.280 --> 0:24:47.280
<v Speaker 1>watches it all unfold. To hear the three Allison's sing together,

0:24:47.800 --> 0:24:51.840
<v Speaker 1>their voices creating a tapestry of harmony, is to witness

0:24:51.960 --> 0:24:57.360
<v Speaker 1>a dramatic depiction of wholeness. I've got to admit there's

0:24:57.359 --> 0:25:00.920
<v Speaker 1>been part of me that feels almost you know, guilty

0:25:01.000 --> 0:25:06.639
<v Speaker 1>or bad, pulling you back into that time. And you know,

0:25:06.680 --> 0:25:10.240
<v Speaker 1>and that material because it lives on in the pages

0:25:10.320 --> 0:25:14.360
<v Speaker 1>of your fantastic book, and so it's always finding new readers,

0:25:14.359 --> 0:25:18.280
<v Speaker 1>and it's always sort of newly alive for people. You know,

0:25:18.600 --> 0:25:21.240
<v Speaker 1>new people are finding it newly alive, and for you,

0:25:21.359 --> 0:25:24.520
<v Speaker 1>it's something that is, you know, sort of very much

0:25:25.280 --> 0:25:28.680
<v Speaker 1>by both in the past and not. I guess yeah.

0:25:28.760 --> 0:25:32.719
<v Speaker 1>It has been a bit weird having this part of

0:25:32.720 --> 0:25:35.760
<v Speaker 1>my life keep sort of bringing itself to the surface

0:25:35.800 --> 0:25:38.800
<v Speaker 1>over and over again. But that's fine. I can handle it.

0:25:41.200 --> 0:25:45.679
<v Speaker 1>There's a phrase Alison uses con substantial paternity that I

0:25:45.720 --> 0:25:49.640
<v Speaker 1>actually had to go look up. Consubstantial is defined as

0:25:50.359 --> 0:25:54.200
<v Speaker 1>of the same substance or essence. We can be genetically

0:25:54.240 --> 0:25:58.760
<v Speaker 1>linked consubstantial, but there is another kind of link as well,

0:25:58.840 --> 0:26:02.560
<v Speaker 1>which is a spirit rual length. In a beautiful moment,

0:26:02.840 --> 0:26:07.240
<v Speaker 1>Alison's father and she are discussing James Joyce's ulysses since

0:26:07.320 --> 0:26:09.520
<v Speaker 1>this is the kind of thing they did together, and

0:26:09.600 --> 0:26:13.120
<v Speaker 1>Allison's dad says, is it so unusual for the two

0:26:13.200 --> 0:26:17.520
<v Speaker 1>things to coincide? I did find myself thinking, and I

0:26:17.560 --> 0:26:19.879
<v Speaker 1>suppose it was because of my own story and my

0:26:19.920 --> 0:26:25.719
<v Speaker 1>own experience. But the idea of having deep and profound

0:26:26.480 --> 0:26:33.119
<v Speaker 1>spiritual connections which can or cannot be part of having

0:26:33.560 --> 0:26:40.120
<v Speaker 1>a consubstantial or genetic connection. And there's this part of

0:26:40.200 --> 0:26:43.440
<v Speaker 1>your book where you're trying on your father's clothes as

0:26:44.000 --> 0:26:50.160
<v Speaker 1>as a kid, right, and he's trying on women's clothes

0:26:50.320 --> 0:26:52.560
<v Speaker 1>at the same time, or is it's kind of there's

0:26:52.560 --> 0:26:55.159
<v Speaker 1>a lot about again in that sort of hiding in

0:26:55.200 --> 0:26:58.520
<v Speaker 1>plain sight kind of way, all of it. She would

0:26:58.560 --> 0:27:02.359
<v Speaker 1>buy my mother's clothes or her and he confided in

0:27:02.400 --> 0:27:05.439
<v Speaker 1>me that during that one conversation we had that he

0:27:06.000 --> 0:27:08.920
<v Speaker 1>dressed in girls clothes as a kid when he got

0:27:08.920 --> 0:27:13.679
<v Speaker 1>a chance. There's this other sentence, which is sexual shame

0:27:13.800 --> 0:27:17.520
<v Speaker 1>is its own kind of death. And I would love

0:27:17.560 --> 0:27:19.800
<v Speaker 1>for you to talk about that a little because I

0:27:19.840 --> 0:27:25.560
<v Speaker 1>think the silencing of the deepest parts of ourselves, either

0:27:25.680 --> 0:27:28.080
<v Speaker 1>because we live in a way and in a place

0:27:28.080 --> 0:27:30.760
<v Speaker 1>where it feels like it's out of the question or

0:27:31.040 --> 0:27:33.840
<v Speaker 1>it will be too mortifying, is so much at the

0:27:33.880 --> 0:27:36.760
<v Speaker 1>basis of so many of the kinds of secrets that

0:27:36.800 --> 0:27:42.000
<v Speaker 1>people keep. Yeah, that's the real tragedy of my father's

0:27:42.040 --> 0:27:46.400
<v Speaker 1>that I feel like, with only a little bit of

0:27:46.560 --> 0:27:48.920
<v Speaker 1>time or a little bit of help, or a little

0:27:48.920 --> 0:27:51.680
<v Speaker 1>bit of being born slightly later or having some slightly

0:27:51.680 --> 0:27:55.920
<v Speaker 1>different experiences, he might have been able to do that,

0:27:56.320 --> 0:27:59.679
<v Speaker 1>you know, to confront that. But he just wasn't. He

0:27:59.760 --> 0:28:04.000
<v Speaker 1>just couldn't do it. And when I talk about sexual

0:28:04.080 --> 0:28:06.840
<v Speaker 1>shame being a kind of death, I think precisely because

0:28:06.920 --> 0:28:11.080
<v Speaker 1>our sexuality is, you know, it's it's your literally the

0:28:11.080 --> 0:28:14.520
<v Speaker 1>core of your vitality. It's what keeps us all reproducing.

0:28:14.880 --> 0:28:17.600
<v Speaker 1>So to have that stop it up in some way,

0:28:17.920 --> 0:28:19.840
<v Speaker 1>you know, I just think of my dad living this

0:28:19.920 --> 0:28:24.920
<v Speaker 1>sort of half life in this little conservative farm town,

0:28:25.520 --> 0:28:28.479
<v Speaker 1>or a double life, half or double I don't know.

0:28:29.680 --> 0:28:34.400
<v Speaker 1>At some point after his death, you come across some photos,

0:28:35.160 --> 0:28:38.840
<v Speaker 1>and among them is a photo of Roy, the babysitter

0:28:39.560 --> 0:28:42.520
<v Speaker 1>who babys that for you and your brothers in the

0:28:42.560 --> 0:28:46.360
<v Speaker 1>summer of sixty nine. And there was a trip that

0:28:46.440 --> 0:28:49.240
<v Speaker 1>your father took you on and Roy was the babysitter,

0:28:49.360 --> 0:28:53.880
<v Speaker 1>and it's clear that they were involved with each other.

0:28:54.520 --> 0:28:58.000
<v Speaker 1>And there's this very handsome picture of Roy mixed in

0:28:58.120 --> 0:29:02.120
<v Speaker 1>with these other family those and he had your father

0:29:02.160 --> 0:29:06.240
<v Speaker 1>had blotted out or inked out the date on the

0:29:06.320 --> 0:29:09.680
<v Speaker 1>Roy photo, but he had left it in. These are

0:29:09.680 --> 0:29:13.960
<v Speaker 1>the mysteries that were left with right, like why why

0:29:13.960 --> 0:29:16.360
<v Speaker 1>did he leave the photograph in with the rest of

0:29:16.400 --> 0:29:20.720
<v Speaker 1>the photographs but block out the date? Honestly, Danny, I

0:29:20.760 --> 0:29:23.440
<v Speaker 1>was like, that's weird. I don't know. I didn't go

0:29:23.480 --> 0:29:25.960
<v Speaker 1>any further with it. I mean, it was literally in

0:29:26.000 --> 0:29:29.200
<v Speaker 1>an envelope with all the other pictures with the same

0:29:29.280 --> 0:29:31.080
<v Speaker 1>date stamp on them, And so if he really had

0:29:31.080 --> 0:29:33.800
<v Speaker 1>been concerned, you would have destroyed the freaking photograph, you know.

0:29:33.880 --> 0:29:35.720
<v Speaker 1>But I think it was I think I felt like

0:29:35.720 --> 0:29:37.520
<v Speaker 1>it was his way of saying, look, there's nothing wrong.

0:29:37.720 --> 0:29:40.640
<v Speaker 1>That's why I have this picture right here, because it

0:29:40.720 --> 0:29:44.120
<v Speaker 1>was perfectly open and above board. Yeah, I mean, like what,

0:29:44.240 --> 0:29:46.360
<v Speaker 1>you know, what what we're left with in the end,

0:29:46.400 --> 0:29:49.960
<v Speaker 1>Like you write, what's lost in translation is the complexity

0:29:50.000 --> 0:29:54.160
<v Speaker 1>of loss itself. Right, That's one of my favorite lines,

0:29:54.640 --> 0:29:56.840
<v Speaker 1>because what do you do with that? You can't you

0:29:56.840 --> 0:29:59.200
<v Speaker 1>don't know, you can't know, You're not going to know,

0:29:59.640 --> 0:30:02.720
<v Speaker 1>And it just kind of stands as an artifact of

0:30:02.800 --> 0:30:06.800
<v Speaker 1>that time and of your dad. Yeah. This was a

0:30:06.880 --> 0:30:10.600
<v Speaker 1>year after my dad died when I found it, And

0:30:10.680 --> 0:30:12.800
<v Speaker 1>I suddenly knew when I found that picture that I

0:30:12.840 --> 0:30:16.520
<v Speaker 1>wanted to tell this story, that it was just too

0:30:16.600 --> 0:30:21.360
<v Speaker 1>good of a story. I felt guilty about having that feeling, too,

0:30:22.000 --> 0:30:24.040
<v Speaker 1>but it all kind of came to me in a

0:30:24.160 --> 0:30:29.000
<v Speaker 1>kind burst in that little photograph. Everything was there. You know,

0:30:34.000 --> 0:30:38.320
<v Speaker 1>Allison grew up on an artist's colony of sorts. Her

0:30:38.400 --> 0:30:42.080
<v Speaker 1>dad is in the library exploring his profound connection to literature.

0:30:42.800 --> 0:30:45.360
<v Speaker 1>Her mom has her work in the theater, and then

0:30:45.440 --> 0:30:47.720
<v Speaker 1>all the kids are each doing their own artistic thing

0:30:47.760 --> 0:30:51.480
<v Speaker 1>in their own rooms in this rambling house. It wasn't

0:30:51.640 --> 0:30:55.360
<v Speaker 1>the artistic life Allison's parents had dreamt of or anticipated.

0:30:56.200 --> 0:31:00.400
<v Speaker 1>They returned to central Pennsylvania because Allison's dad's dad had

0:31:00.440 --> 0:31:04.600
<v Speaker 1>had a heart attack. These things happen, plans get derailed

0:31:04.680 --> 0:31:10.440
<v Speaker 1>or dreams deferred. But perhaps Alison's parents found it easier

0:31:10.800 --> 0:31:13.560
<v Speaker 1>to stay in her dad's hometown, for him to work

0:31:13.600 --> 0:31:15.680
<v Speaker 1>as a high school teacher as well as in the

0:31:15.720 --> 0:31:20.920
<v Speaker 1>family business, for them to be the local intelligentsia. What

0:31:20.960 --> 0:31:23.920
<v Speaker 1>would have happened if they had moved to Greenwich Village?

0:31:24.160 --> 0:31:27.520
<v Speaker 1>Would their marriage have survived, would they have stayed together?

0:31:28.880 --> 0:31:30.760
<v Speaker 1>I feel like the message I got from both my

0:31:30.800 --> 0:31:34.760
<v Speaker 1>parents was don't have children, and I didn't you know.

0:31:34.840 --> 0:31:37.880
<v Speaker 1>I took that very seriously. It was like children had

0:31:37.880 --> 0:31:41.600
<v Speaker 1>put an end to both of their artistic hopes. Um,

0:31:41.800 --> 0:31:47.080
<v Speaker 1>but I think that was part of the cover. Children

0:31:47.120 --> 0:31:50.600
<v Speaker 1>aren't necessarily what gets in the way of an artistic

0:31:50.680 --> 0:31:55.040
<v Speaker 1>or creative life is dishonesty with oneself. That gets in

0:31:55.080 --> 0:31:59.880
<v Speaker 1>the way of, you know, being able to express that life. Yeah,

0:32:00.120 --> 0:32:02.040
<v Speaker 1>and they had a compact that they were not going

0:32:02.120 --> 0:32:06.080
<v Speaker 1>to confront the truth of their situation. And then I

0:32:06.120 --> 0:32:08.640
<v Speaker 1>came along and you know, threw it down on the

0:32:08.680 --> 0:32:13.080
<v Speaker 1>floor like a gauntlet. I feel like there was something

0:32:13.120 --> 0:32:17.840
<v Speaker 1>about that life that served their purposes that kept them

0:32:17.840 --> 0:32:23.040
<v Speaker 1>from having to really face the real I don't know.

0:32:23.120 --> 0:32:25.480
<v Speaker 1>I mean, the truth is they shouldn't have been married

0:32:25.560 --> 0:32:47.480
<v Speaker 1>to one another, But where does that leave me? Family

0:32:47.560 --> 0:32:50.920
<v Speaker 1>Secrets is a production of I Heart Media. Dylan Fagin

0:32:51.080 --> 0:32:55.320
<v Speaker 1>and Bethman Mcaluso are the executive producers. Andrew Howard is

0:32:55.320 --> 0:32:58.600
<v Speaker 1>our audio editor. If you have a secret you'd like

0:32:58.680 --> 0:33:01.520
<v Speaker 1>to share, leave us a boy smell and your story

0:33:01.600 --> 0:33:06.080
<v Speaker 1>could appear on an upcoming bonus episode. Our number is

0:33:06.680 --> 0:33:12.160
<v Speaker 1>one secret zero. That's secret and then the number zero.

0:33:13.120 --> 0:33:16.560
<v Speaker 1>You can also find us on Instagram at Danny Writer,

0:33:17.320 --> 0:33:21.760
<v Speaker 1>Facebook at facebook dot com slash Family Secrets Pod, and

0:33:21.840 --> 0:33:24.800
<v Speaker 1>Twitter at Fami Secret Spot. And if you want to

0:33:24.800 --> 0:33:28.680
<v Speaker 1>know about my family secret that inspired this podcast, check

0:33:28.720 --> 0:33:55.840
<v Speaker 1>out my New York Times best selling memoir Inheritance. For

0:33:55.920 --> 0:33:58.360
<v Speaker 1>more podcasts for my Heart Radio, visit the I Heart

0:33:58.440 --> 0:34:01.400
<v Speaker 1>Radio app, Apple podcast, or wherever you listen to your

0:34:01.400 --> 0:34:02.080
<v Speaker 1>favorite shows,