What We Lose

What We Lose
Zinzi Clemmons

A short, intense and profoundly moving debut novel about race, identity, sex and deathThandi is American, but not as American as some of her friends. She is South African, but South Africa terrifies her. She is a black woman with light skin.Her mother is dying.In exquisite vignettes of wry warmth and extraordinary emotional power, What We Lose tells Thandi’s story. Both raw and artful, minimal yet rich, it is an intimate portrait of love and loss, and a fierce meditation on race, sex, identity, and staying alive.

Copyright (#ulink_3c52b366-e176-5e65-8558-506601ecf5ad)

4th Estate

An imprint of HarperCollinsPublishers

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London SE1 9GF

www.4thEstate.co.uk (http://www.4thEstate.co.uk)

This eBook first published in Great Britain by 4th Estate in 2017

First published in the United States by Viking in 2017

Copyright © 2017 Zinzi Clemmons

Cover design by Anna Morrison

Zinzi Clemmons asserts the moral right to be identified as the author of this work

A catalogue record for this book is available from the British Library

All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins

Source ISBN: 9780008245979

Ebook Edition © July 2017 ISBN: 9780008245955

Version: 2017-12-07

Dedication (#ulink_05fbf79a-b78d-5c60-bd37-bd01b3cff2cd)

For my family: Mom, Dad, and Mark

&

André, for teaching me how to write love

Epigraph (#ulink_3f220974-88be-5f75-8da8-869888d936d7)

I want to write rage but all that comes is sadness. We have been sad long enough to make this earth either weep or grow fertile. I am an anachronism, a sport, like the bee that was never meant to fly. Science said so. I am not supposed to exist. I carry death around in my body like a condemnation. But I do live. The bee flies. There must be some way to integrate death into living, neither ignoring it nor giving in to it.

—Audre Lorde, The Cancer Journals

African-American women now have about the same risk of getting breast cancer as white women. However, the risk of dying from breast cancer remains higher for African-American women … In 2012, African-American women had a 42 percent higher rate of breast cancer mortality (death) than white women.

—Susan G. Komen organization

Contents

Cover (#uf7ef9fb3-3048-56fd-92a8-378857c599b4)

Title Page (#u19421030-8b7c-52ab-9eb0-ca38b85717ca)

Copyright (#u304ab36f-6468-5de6-95ae-efb2080e85e4)

Dedication (#u9bc9b4b9-3230-53a5-b465-640c0ddc6ba1)

Epigraph (#u427ae9c5-a11e-5219-8532-516eba2be04a)

Prologue (#ue3379be7-42cd-525b-a896-26fe6ace8de7)

Part One (#uf1697a1f-fe75-5d58-9b85-ea2382155646)

Part Two (#litres_trial_promo)

Part Three (#litres_trial_promo)

Footnotes (#litres_trial_promo)

Credits (#litres_trial_promo)

Acknowledgments (#litres_trial_promo)

About the Author (#litres_trial_promo)

About the Publisher (#litres_trial_promo)

PROLOGUE (#ulink_3bec21fb-fb92-5d49-8025-96968dea74d9)

My parents’ bedroom is arranged exactly the same as it always was. The big mahogany dresser sits opposite the bed, the doily still in place on the vanity. My mother’s little ring holders and perfume bottles still stand there. On top of all these old feminine relics, my father has set up his home office. His old IBM laptop sits atop the doily, a tangle of cords choking my mother’s silver makeup tray. His books are scattered around the tables, his clothes draped carelessly over the antique wing chair that my mother found on a trip to Quebec.

In the kitchen, my father switches on a small flat-screen TV that he’s installed on the wall opposite the stove. My mother never allowed TV in the kitchen, to encourage bonding during family dinners and focus during homework time. As a matter of fact, we never had more than one television while I was growing up—an old wood-paneled set that lived in the cold basement, carefully hidden from me and visitors in the main living areas of the house.

We order Chinese from the place around the corner, the same order that we’ve made for years: sesame chicken, vegetable fried rice, shrimp lo mein. As soon as they hear my father’s voice on the line, they put in the order; he doesn’t even have to ask for it. When he picks the order up, they ask after me. When my mother died, they started giving us extra sodas with our order, and he returns with two cans of pineapple soda, my favorite.

My father tells me that he’s been organizing at work, now that he’s the only black faculty member in the upper ranks of the administration.

I notice that he has started cutting his hair differently. It is shorter on the sides and disappearing in patches around the crown of his skull. He pulls himself up in his chair with noticeable effort. He had barely aged in the past twenty years, and suddenly, in the past year, he has inched closer to looking like his father, a stooped, lean, yellow-skinned man I’ve only seen in pictures.

“How have you been, Dad?” I say as we sit at the table.

The thought of losing my father lurks constantly in my mind now, shadowy, inexpressible, but bursting to the surface when, like now, I perceive the limits of his body. Something catches in my throat and I clench my jaw.