Daughter of the Queen of Sheba Read online

  Daughter of the Queen of Sheba

  Jacki Lyden

  Table of Contents

  Title Page

  Table of Contents

  ...

  A Few Words

  Copyright

  Dedication

  ACKNOWLEDGMENTS

  Epigraph

  Oh, Miss AMerica, you are so Beautiful to Me

  Fishing on Lake Puckawasay

  Teotihuacán Mexico, 1960

  Hunting Season in Wisconsin

  Child of the Times

  Hitting the Road

  Mesopotamia, Carthage, And Thebes

  Living in the Land of Babylon

  The Queen of Sheba

  HOUGHTON MIFFLIN COMPANY

  BOSTON · NEW YORK

  1997

  A Few Words

  This book was written first and foremost for my mother and my family, without whose reminiscences I could not have created it. But in the end the memories are mine, colored or pitted, perfect or imperfect, as best as I could recollect. It is the past as only I see it. My mother was unsparing in allowing me access to her records, and I have been unsparing, I suppose, not only in recreating her here, but in sharing memories with the world I know she does not always share herself. For all these reasons, I've changed many place names and proper names. However those closest to me regard this work, it is my tale, and a living reflection of the world we once shared together.

  Copyright © 1997by Jacki Lyden

  All rights reserved

  For information about permission to reproduce

  selections from this book, write to

  Permissions, Houghton Mifflin Company,

  215 Park Avenue South, New York,

  New York 10003.

  Library of Congress Cataloging-in-Publication Data

  Lyden, Jacki.

  Daughter of the Queen of Sheba / Jacki Lyden.

  p. cm.

  ISBN 0-395-76531-5

  1. Lyden, Jacki. 2. Radio journalists—United

  States—Biography. 3. Foreign correspondents

  —United States—Biography. 1. Title.

  PN4874.L93L93 1997

  070'.92—dc21 [B] 97-19952 CIP

  Printed in the United States of America

  Book design by Robert Overholtzer

  QUM 10 9 8 7 6 5 4 3 2 1

  for my family

  ACKNOWLEDGMENTS

  This book depended on so many kind friends at odd intervals that it seems a miracle to have completed it. To name everyone who spoke an encouraging word would take pages, and yet I needed those words and am grateful for them. I would like to thank first of all Molly Daniels and the Clothesline Writers Workshop at the University of Chicago, as well as the William Benton Fellowship and its directors. Also the Writing Program at Skidmore College and the tutelage of David Rieff. I am deeply indebted to the writers Beverly Donofrio and Alex Kotlowitz, who kept congruent with me through many adventures and who, in Bev's case, led me to countless moments of revelation, as well as to the world's best and most indefatigable agent, Gail Hochman. I am grateful to her beyond anything I can put on the page. I would also like to thank the Ragdale and Yaddo foundations for their timely, indispensable retreats. And National Public Radio, and Bill Buzenberg and Barbara Rehm, for almost everything, lo these many, many years. In Canada, David and Grecia Kendall provided refuge, along with the denizens of Draper Street in Toronto, including Sally Glanville. And Amy Marcus, forWard's Island, our readings, and her extraordinary friendship. In Ireland, thank you always to Ellie Lyden, who defines grace. And farther abroad, from the Gulf War and Baghdad to beyond, Nora Boustany, Hillary Mackenzie, Geraldine Brooks, Tony Horowitz. Also in Iraq, I owe large thanks to Isho Yousif. From the Albourz Mountains and Tehran to Toronto, I am grateful always to Ramin Dedashtian and his loving companionship. And in Los Angeles, to Renee Montagne and Patricia Neighmond, colleagues and shelterers extraordinaire. Also to Jeffrey Shore for his wisdom and strength. He put me back together again.

  Janet Silver at Houghton Mifflin is simply the editor of one's dreams, brilliantly talented. Her work on this book saved it from many swerves. And she was spectacularly assisted by Jayne Yaffe, my manuscript editor.

  Finally, my thanks to Yair Reiner, for the joy he brings each day. And for reading that last line.

  Failing to fetch me at first keep encouraged.

  Missing me one place search another

  I stop somewhere waiting for you

  —Walt Whitman,Leaves of Grass

  Oh, Miss AMerica, you are so Beautiful to Me

  MY MOTHER'S HAND was open like a bisque cup, all porcelain, and Christ Jesus' fingers were tentacles entangled around her palm. Christ Jesus appeared to her as a white octopus, luminescent in the darkness, deep in the middle of the night in our small town of Menomenee, Wisconsin. It was 1966. I was twelve. My mother was young and beautiful, married to a man who didn't appreciate her nighttime disquisitions with "Reverend Lord." "Jesus said, 'Take my hand,'" my mother explained to me a quarter century later. "He said, 'Dolores, you are destined to do great things.' He said, 'Dolores, I will exalt you through a thousand contests of the soul and the summits of all mountains and always be with you.'" Well, someone had to be. Her conversation with Jesus was hardly a non sequitur. And everything happened to us after that.

  My stepfather was the one in charge, not God. He was a doctor in our provident town and owned a small hospital and clinic, which treated half the populace, who granted him authority over their lives and paid him not only with cash but barter trade—buckets of blueberries, cartons of tomatoes, picked by hands smelling of motor oil. We lived above the clinic, on a fragment of a lush old farm overlooking Lac La Jolie. Having money walled us in, I thought. It afforded my stepfather a manner of universal disdain, accented by his height and his dark, ungraying hair, which was slicked back by brilliantine into a shining crest like Clark Gable's. To the people in our town, my stepfather was Richard Cory in the poem by Edward Arlington Robinson. He glittered when he walked.

  The day after my mother had her first vision, without saying anything to anyone, he drove her in his banana yellow Cadillac to Wagner's Hospital. Wagners was an old mansion that had been turned into a home for the mentally ill on an estate at the edge of town, beneath heavy and towering pines. I knew about Wagner's. The fate of unfortunate people was decided there, a fate reflected in the spectral light that shined through the pine bows surrounding it. I had heard that there were souls snaking in the branches. The shagged-off bark looked like the whorls of fingerprints, as if the trees had been touched by ghost escapees who cast hunched shadows on Wagner's long, circular drive. I could imagine my stepfather striding through the trees at Wagners, parting the shadows like so much velvet drapery at daybreak. "Nervous breakdown," he announced to the receiving nurse at Wagner's, and my mother was small and mute beside him, more like a pretty child than a wife. He signed her in to one of the locked wards, and that was all we knew.

  I came home from school to find my mother's mother standing like a rag bundler in my mothers kitchen. My grandmother always looked like that, like a woman born to physical labor, the Irish fishwife who trundled wheelbarrows full of mollusks, or dug kelp into the garden on her knees. Yet she loved drama, she had an almost operatic feeling for it. And so my grandmother was crying, inhaling her tears in a stagestruck manner, her embroidered sighs sailing like hankies somewhere down to me. She was keening, heaving, and intoning the names of Jesus and Mary and Joseph and all the saints. I wasn't praying; I was calculating. I compared the void of my mother's absence with the volume of my grandmothers sobs. I thought my mother was dead, that my stepfather had finally killed her and hidden her under the deep
pine-needle carpet at Wagner's. Or that he had left her sequestered there forever in an old room with worn velvet brocade on the walls, until she joined the other ghosts. Of course, he hadn't killed her. But if she couldn't be perfect, she might as well be dead. Cracked crystal always gets thrown out, after all, no matter how cherished it once may have been.

  Nervous breakdown. I wrote the words in my diary on October i, 1966.1 was a diarist from the time I could write, and I wrote on anything I could find: drug company calendars discarded by my stepfather, church envelopes, manila folders and shirt cardboards, autograph books, and my white plastic Girl Scout Diary with its gold trefoil and lock. I imagined my mother's nervous breakdown was like a maypole unraveling, reversing the centrifugal force, the streamers of her mind spinning backward in one grand rush. Perhaps that's how the mind loosened, with a snap, a fluttering sound, its images in tatters.

  It was my grandmother who used the word breakdown first. "Your mother's in the nuthouse," she said that very first afternoon, tears winking over her face. "Nervous breakdown. Like a car brakes is gone. No control. She's tired, her nerves is shot, she needs a rest. She dassn't know who she is." My grandmother was a peasant and a rebel. She had the thickness of tallow in her voice, and she rubbed animal fat onto her red knuckles and face when she skinned beaver or mink. I loved her almost as much as I loved my mother. She believed in lies, or as we called them in the Irish tradition, stories, the more elaborate the better, and if stories had been gemstones then my grandmother would have offered to me the Hope diamond and the Jewel of Jamshid, the greatest star in Persia, because there was no story too great to offer her daughter or granddaughter. Which is why we almost never believed her. But I believed her that afternoon. Nervous breakdown meant nothing to her unless it meant a heart attack of the spirit. And I was grateful to her. Had Mabel, my grandmother, not come to stay with us—my two younger sisters and me—then we would have had to stay alone in that house with my stepfather. Then I might have been tempted to crush his brain with the piece of petrified stone I kept above my bed. Or I might have run away and joined the rodeo, a secret I often shared with my grandmother but did not effect until some years later. But how could I run away? Kate and Sarah and I and Mabel and my mother, Dolores, names like the rays on the compass. They were the world of visible magnetic force, and I could no more abandon them than rearrange the continents. My mother learned, however, that when the old geography became too painfully familiar she did not have to abandon it. She invented a country of her own.

  Often that October when she picked us up from school in my mothers station wagon, my grandmother would drive my younger sisters and me past Wagner's Hospital, which was across the road from the silvery Lake Ipesong. Firs circled it like a feather collar. Many times we stopped, pretending to pick milkweed pods or cattails or count geese on Ipesong, as we secretly cast hard glances up at the broad lawns of the sanitarium. We children had hunters' eyes for our mother. I could see a few patients wandering the greens, searching for croquet balls lost in another century, their gestures full of sticky lassitude, as if it were hot summer and not autumn. I never saw my mother, even though I felt her eyes upon me. I looked in vain at the vaulted windows for a lock of auburn hair under the Gothic eaves, or for a hand with red-painted moons. It was as if she were behind a harem's scrim, and she did not appear. Fall moved from soft to brittle days. From the lawn at Wagner's, I collected some of the vestigial leaves of autumn to look at them under the microscope in the junior high science room. The veins, their nervous system, were traceable, dissectible. In the leaf world, all was in order.

  Nervous breakdown: the words locked in my diary. Nervous breakdown meant my mother slackened and sank, where before she was perpetual movement and our lives were the synthesis of that movement. Those were the days of my great religiosity: Bible classes, Communion classes, supplicant prayers. I pictured my mothers form caught in a pillar of light, as was the kneeling Mary Magdalene's on the flyleaf of my Bible, forever keeping watch in the Garden of Gethsemane. My mother would be sculpted and frozen solid, encased by the Gethsemane moonlight, she and Mary Magdalene on their knees together. Just as I was getting used to this image, my stepfather brought her home.

  As my mother came up the front walk toward us, she looked to me like a fawn I'd seen penned on a farm, its nose sniffing the air. Like the fawn, she held her head at an odd angle, as if invisible antlers weighed it down. Or perhaps she was listening for faraway music. A lambency lit her eyes: on, off, there, here. You could see the filament glow and fade. But she said, "Oh, kids, I missed you so," and we cried, "Oh, Mom, we missed you too!" and she had yards of hugs for all of us, holding my youngest sister close until she writhed in her arms. She planted kisses. She baked cookies for us. It was years before I knew that my stepfather had checked her out against all advice and prescribed her medication himself from that time on, upping the Haldol on his own scrip. I saw the scrawls and the bottles lined up in our medicine cabinet. "To Pretty Face for Peace of Mind." "To Dolly Girl for a Weak Heart." Nembutal, Valium, kisses from the 1960s.

  The Queen of Sheba appeared one pallid afternoon about a week after my mothers return from the hospital. I came home from school to an unnaturally quiet house. My sisters were off somewhere with my grandmother, who had taken over the task of picking them up from school and sometimes took them on errands or to her house to give my mother a break. My mother was home alone, sitting at the smooth ranch oak kitchen table, staring out our second-story window at Lac La Jolie. Trees rimmed the hard darkness of the lake's edge, like dirt in an old bottle. Their branches moaned in the wind. It was starting to snow, and the remaining day was a natural fugue for November. My mother had taken the belt off her shirtwaist dress and was running it absently through her hands. I hugged her but felt uneasy, and asked if she was all right. She said yes in a distant and small voice. Not satisfied with her response, I sat with her awhile, then went to my room to change clothes. I curled up on my bed for a moment, intending to go back and jolly my mother up. I liked to do that. I had a talent for it. I would make her a treasure hunt. She found those amusing. Each clue would be a flower, something exotic to me like a hyacinth or a bird of paradise. I touched the flowers in my bedspread. My mother had painted my room lavender and hung lavender drapes. It was the first room of my own, a peace offering for having to live in my stepfather's house. In my room, I was allowed to stack as many books as I liked. I was reading one about both the Mayans and the Aztecs. The latter worshipped the goddess of the moon in the creamy light that fractured among the dark ziggurats of the Mexican plains. It was my Other Cultures period. I was dancing somewhere with the feathered hordes, holding a spray of quetzal plumes, when there was a knock on my door. Then the door opened and a vision stood there.

  "I am the Queen of Sheba," my mother announced to me in a regal voice. She had taken the silky yellow sheets from her voluptuous bed and twisted them around and around her torso like a toga, leaving one shoulder, as white as a gardenia, bare except for her bra strap. She'd used her eye pencil on her arms—the same one with which she lined the upper and lower inner lids of her eyes—and drawn hieroglyphics. The sheets around her were hooked together with heirloom antique pins from Austria. Her long auburn hair was swept up and crowned with an old tiara that we girls had played with as little children, pretending to be lost princesses. She looked at me solemnly.

  "I am the Queen of Sheba," she murmured confidentially, "and I bequeath to each of my three daughters a country. To you, Jacki, the oldest, Mesopotamia. To your sister Kate, Thebes. To my youngest daughter, Sarah, who is nine, Carthage." My mother moved her shoulders from side to side in the dreamy undulation of a tribal dance and twirled her fingers in the air, as if she wrought from it the great gift of an enchantment. Then she silently mouthed an incantation and blew me a kiss, backed up, pulled the door shut, and was gone.

  I was alone in the house with her, but she might have been on another continent. I could not follow her. For a long while I
lay still as I imagined a captive might lay on an Aztec altar. Then I went to phone my grandmother at her bungalow. She didn't believe me for a moment, she said. Then she told me not to tell anyone and to stay in my bedroom until she arrived. My mother's bedroom door remained shut for almost an hour. Sheba was a vision, and she vanished that same afternoon in the twilight.

  I have been watching warily for her ever since, but never so hard as when my mother slips off into the caverns where the past and present and future are etched together. You could say that my life as her daughter, the life of my imagination, began with my mother's visions. My sisters and I took them for our texts. Her madness was our narrative line. I am trying to decipher that line still, for its power and meaning over our past. Many years later, as an adult, I longed to be sent to find things out in places of great secrets, loving most the places that were the farthest and strangest and hard. When I finally reached Mesopotamia as a journalist in the curse-filled days before the Gulf War, when Saddam Hussein had vowed to burn up half the earth and dance on crushed skulls and drink the blood of American pilots (but could not in fact properly air-condition his hotels), secrets were the main currency. In those long afternoons in Iraq, where men were held hostage as human shields, I drank cocktails in the shelters of embassies and private clubs and thought of the misery and lust on the faces of those who could not leave the heavy glaze of their confinement. I traveled. I was free. To interview the hostages, I could put on a dress with patterns of green leaves and fruit. I could dress with the care of an ancient queen. I could trace my toe in the red dust of Saddams false Babylon, a grotesquerie not worthy of my mother's imagination. I could wander Baghdad with the secret police, the Muhabarat, trailing along in bored pursuit.