In the Darkroom Read Free

palpable in that moment, but what? Was I witnessing raw aggression or a performance of it? Was he competing with his daughter or outracing someone, or something, else? These weren’t questions I’d have formulated that morning. At the time, I was trying not to retch. But I remember the thought, troubling to my budding feminism, that flickered through my mind in the final minutes of the run:
It’s easier to be a woman.
And with it, I let my legs slow. My father’s back receded down the road.
    At home in those years, my father was a paragon of the
Popular Mechanics
weekend man, always laboring on his latest home craft project: a stereo and entertainment cabinet, a floor-to-ceiling shelving system, a dog house and pen (for Jání, our Hungarian vizsla), a shortwave radio, a jungle gym, a “Japanese” goldfish pond with recycling fountain. After dinner he would absent himself from our living quarters—our suburban tract home had one of those living-dining open-floor plans, designed for minimal privacy—and descend the steps to his Black & Decker workshop in the basement. I did my homework in the room directly above, feeling through the floorboards the vibration of his DeWalt radial arm saw slicing through lumber. On occasion, he’d invite me to assist in his efforts. Together we assembled an educational anatomy model that was popular at the time: “The Visible Woman.” Her clear plastic body came with removable parts, a complete skeleton, “all vital organs,” and a plastic display stand. For much of my childhood she stood in my bedroom—on the vanity dresser that my father also built, a metal base with a wood-planked top, over which he’d staple-gunned a frilled fabric with a rosebud pattern.
    From his domain in the basement, my father designed the stage sets he desired for his family. There was the sewing-machine table with a retractable top he built for my mother (who didn’t like to sew). There was the to-scale train set that filled most of a room (its Nordic landscape elaborately detailed with half-timbered cottages, shops, churches, inns, and villagers toting groceries and hanging laundry on a filament clothesline) and the fully accessorized Mobil filling station (hand-painted Pegasus sign, auto repair lift, working garage doors, tiny Coke machine). His two children played with them with caution; a broken part could be grounds for a tirade. And then there was one of my father’s more extravagant creations, a marionette theater—a triptych construction with red curtains that opened and closed with pulleys and ropes, two built-in marquees to announce the latest production, and a backstage elevated bridge upon which the puppeteer paced the boards and pulled the strings, unseen. This was for me. My father and I painted the storybook backdrops on large sheets of canvas. He chose the scenes: a dark forest, a cottage in a clearing surrounded by a crumbling stone wall, the shadowy interior of a bedroom. And he chose the cast (wooden Pelham marionettes from FAO Schwarz): Hunter, Wolf, Grandmother, Little Red Riding Hood. I put on shows for my brother and, for a penny a ticket, neighborhood children. If my father ever attended a performance, I don’t remember it.
    â€œVisiting family?” my seatmate asked. We were in an airplane crossing the Alps. He was a florid midwestern retiree on his way with his wife to a cruise on the Danube. My assent prompted the inevitable follow-up. While I deliberated how to answer, I studied the overhead monitor, where the Malév Air entertainment system was playing animated shorts for the brief second leg of the flight, from Frankfurt to Budapest. Bugs Bunny sashayed across the screen in a bikini and heels, befuddling a slack-jawed Elmer Fudd.
    â€œA relative,” I said. With a pronoun to be determined, I thought.
    In September 2004, I boarded a plane to Hungary. It was my first visit since my father had moved