Your Life Story Isn't Your Life. It's Your Story.

"Your life story isn't your life. It's your story."

I'm feeling that quote acutely as I sort through thirty-five years of pictures, handwritten correspondence (letters! notes from abroad! the best postcards!), awards, published and unpublished writing and other random keepsakes. The small, finished room in our basement is full of this shit.

While I have an occasional flash of joy a la "The Life-Changing Magic of Tidying Up," I'm keeping more than I want to keep. I'm keeping it out of a vague sense of obligation to my mother or unborn child (not sure which).

I'm keeping letters from my college friends because the humans themselves bring me joy, and I'm not inspired in this moment to reread every letter I've ever received from them. Does that mean I'll never want to do so?

I'm keeping the box of pictures from my mother because, while I've been completely happy cutting my own photo collection in half, I've run out of steam. I can't hold another 300-500 pictures in my hand, one by one, and decide what to do with them.

This weekend, Sonia and I went to Connecticut to visit one of her friends from law school. On her fridge was a magnet: "Life isn't about finding yourself. It's about creating yourself."

The friend is gorgeous -- tall and African American with perfect skin and amazing, long dreadlocks. She's from Virginia and told us the story of her husband walking into law offices where she was working and looking her up and down, clearly curious about her but clearly not going to do anything about it. Against policy if not the law, she searched in his file for his email address and sent him a message asking him out. They were married a few years later.

When I praised her bravery, she said, "Girl, I had to find my husband," and shrugged it off.

I don't know too much about this couple, but I liked that quote on their fridge. In the course of a weekend, we went to a winery, a cider mill, a casino and a corn maze. We made small talk easily and avoided politics and anything too personal. There was a sense of confidence in both of them, a sense of plunging headlong into the future together.

There are things I kept because I'm creating myself.

Because I kept the letters from a youth counselor named Mark, I'll remember lying on the floor of an elevator with him in a hotel near the Mall of America. I was sixteen, he was twenty. We didn't kiss. He wasn't my first taste of the illicit.

Because I kept the laugh-out-loud "communication contract" written by my ex boyfriend Dan, I'll remember how funny he was, how I probably would have chosen him if I was able to choose a man.

Because I kept a book constructed by Ari and written in a few months into our relationship, I'll remember the intensity of my first relationship with a woman, how it came upon me like a revelation.

There are things I didn't keep, too. But they're not a part of my story.

Recently, I sat in on a session about trauma's effect on the brain in young children. In all children, the neural pathways that are encouraged (i.e., "If I cry, I am comforted.") are the pathways that become set. Other potential pathways are pruned away. This pruning continues through our lives.

There were maybe a dozen letters from unrecognizable names. These completely forgotten intimacies -- both friends and lovers -- had been completely pruned from memory. Yet I'd been present with them all once, maybe more than once. Regardless, they were in Friday's trash.

It's both empowering and tragic, the relentlessness of time. The reality of so many people -- and each moment -- intersecting with your life so briefly. The constant need to create one's life, and the fact that each moment passes into the abyss if we don't seize upon it.

Parker (Part 1): New Frontier

When I first met Parker, we were 19-year-old undergraduates at the University of Westminster in London. 9/11 had just happened.

A few days before, I'd been sitting in a London hotel room with my mother the night of September 11, 2001, and I came out for the first time -- as agnostic. Through her careful protests, I shared my ideas about how the universe might work, based largely on James Redfield's The Celestine Prophecy.

Then I put my mother on a plane back to the States. I was on my own for the first time.

Parker and I met in a drab college common room on the ground floor of a narrow building in the heart of the Victoria neighborhood in central London. A hundred undergraduates were crowded in for orientation, the anxiety and excitement palpable. We all sat in uncomfortable chairs in a circle around the edge of the room, international students and first year Brits. Our lives were just beginning.

I remember looking around the circle of faces, deciding whom to befriend. In my newly empowered state, with mixed results reinventing myself in my first two years of college, I was determined to do this study abroad thing right. I chose Parker, a gorgeous boy with the cheekbones of a god, and a young woman with a tie-dyed shirt and a pierced labret.

The three of us processed the aftermath of 9/11, ate mushrooms for the first time, head-banged in grungy basement bars and danced all night in cavernous clubs. We also ate meals together, watched movies and wondered about the world. By the end of my four months in London, they were my closest friends.

My senior year of college, Parker asked me with some reverence for a phone date. I was sure he was going to tell me that he was in love with me, which meant he was probably going to come out to me (that was usually how it worked).

Instead, he told me that he was exploring BDSM, that it was a part of him. He could share magazines to help me understand, if I wanted. It seemed important to him that I understand.

This was a new frontier, but I didn't flinch. It was like my friends from high school who came out as gay or admitted to abortions despite our years of Catholic education: I knew their hearts and knew all of the pieces of their decision-making. I could not find fault with them; instead, I needed to expand my perspective.

Something similar happened a few weeks ago. I shared my blog with Parker and he had some things to share with me, too: he'd taken up acting in porn in Berlin and working as an escort. I suspected he was queer or bisexual, too, so I asked if I could interview him.

Parker went to school for architecture and pursued careers in art writing and video game design before embracing a life of sex work within the past year. The new frontier for me here was not the fact of the sex work -- I've known anecdotally that there are plenty of people doing sex work who choose it and enjoy it.

The new frontier was that I hadn't loved anyone in the industry. I hadn't had the chance to see how the work fulfilled them in a way similar to how I feel fulfilled in my own work. I hadn't explored big questions like love, ambition and satisfaction with someone who is both a fantastic critical thinker and has found peace and presence in sex work.

I haven't let Parker speak in this first post, but you'll meet him and read his careful analysis and irreverent skepticism in the few that are coming.

It felt important first, to say: I love him, and I'm unsure if we can ever be truly fair to a subject we love. I'll do my best.