Back The Gin Closet
Chapters (15)
  1. Cover
  2. Title Page
  3. Copyright Page
  4. Dedication
  5. Content
  6. STELLA
  7. TILLY
  8. STELLA
  9. TILLY
  10. STELLA
  11. TILLY
  12. STELLA
  13. Acknowledgments
  14. About the Author
  15. About This Guide

That summer I helped research the asylum case of a woman named Daro. She was a refugee from Senegal. Her problems had started when she resisted the cutting rituals of her tribe. She used her hands to show us, held her palms in a V above her crotch and then rubbed two fingers together. She fled her village—had been, she said, “run out”—and then suffered persecution at the hands of distant cousins in Dakar.

I transcribed interviews that my mother conducted through two translators: to French, then Wolof, then back again. Mom’s voice was scratchy on the tape recorder: “Why do your cousins persecute you?”

There was a shuffling farther back, a circling game of telephone. “They think she have disrespected her village,” the translator said. “But she did not want the knife for her daughters.”

I went to my mother’s bed that night and lay next to her. “You were right,” I whispered. “It’s terrible.”

I wondered if she’d given me this case to prove a point, to show me how wrong I’d been. I’d told her something terrible and false about the world, about innocent people’s lives, to show that I was not the same person she was. I remembered Daro’s voice, the sorrow marking up her foreign tongue, and started crying.

“Don’t cry,” my mother said. “Just help.”

So I tried: I searched Daro’s name on the Internet. I typed: “Daro Izowede + persecution.” And then: “Daro Izowede + defying tradition.” The only thing that came up was a list of personal ads. Daro had made one before she left Dakar. It showed her face in profile—the thumb-sized photo, her long acrylic nails spread like a fan across her cheek. My hello phrase is I am looking for a man to love I do not know the name.

At the office I printed out pages of information from human rights websites. I highlighted all the parts that were about rural rituals, or rural violence, or sexual violence, or mutilation, or getting married. I made neat folders with neat labels. It felt good to stack them on my mother’s desk. I said, “I hope these make a difference.”

“They will,” she said. She rose from her chair and shook my hand.