THING (excerpt)
By Line Kallmayer
{ 1 }
I am in the car with father, he picked me up from the airport. My flight was delayed, and I am very pregnant, and it is late at night and the weather’s really bad. And we are driving down dark roads near the woods, listening to the radio. Probably because it is still hard to find words, and it has been for years, at least that’s the story, and there is a story, and I am working on it. We’re in the car, father squinting, his large frame pressed firmly against the wheel, over the wheel, his face angled towards the windscreen of the tall van that is rather dirty, but he has brought water, although his girlfriend has tried to convince him not to go and for me to get a bus, but there is no bus, and inside she is kicking up a storm, her feet pressed against my waist. Then on the road a deer appears, as if straight out of the dark into the light up ahead, and I think I scream faintly, if that is even possible. I screech holding my belly when father without a sound turns the wheel. I think we will crash, but we don’t, and then I hear the bump, just before I yell look out! I see it before he does, but it is already too late, and fortunately he is an excellent driver, and I see it, when we hit the rear end of the animal, and I know it will never stand a chance, and there is no one around, except a passing car that doesn’t stop, van lights up, and we back up, and there it is in the middle of the road, lying down, breathing. I can feel the warmth of the blood and stillness on my breath, and we agree that it will have to be put down, or it will die slowly. I have to find something to finish it off with, father says, and I ask him if I should come, and he wants me to stay in the car with my belly under my coat, and he happens to have a hammer in the back that he takes out from behind the sliding door, and he approaches the deer and stands over it, and I hold my hands to my face and want to cry, and he swings it over its head, but then it moves, it moves! It jumps up on its broken hip and hind legs and limps away, it understands what’s closing in. Father takes a step backwards and lets the hammer fall, and I can tell he is in trouble, we both are, and it is so quiet. I almost can’t stand it. All I hear is my breathing, and how he comes back and steps into the car, and I can tell he wants to cry, and I take over and say, what are we going to do, and the deer has now made its way to the side of the road, and it is probably lying there, and we agree we’ll call someone for help, a helpline or something, they can send someone, and we mark the spot on the side of the road where all this has happened, and we leave, it is midnight, and it never leaves us, this. It becomes an image of some kind, a moving one without sound.
Father says that the hunter is still out looking - that he’s had to pour an extra drink, sit for a while as he came back, and now he doesn’t like to drive late at night anymore, and this is not the first time he has hit a deer.

Megan Wynne, Made Up Mother, 2014, digital print, 36 x 24".
{ 2 }
You have become a thing, the doctor says. I sit there for them all to see in the corner of the room with an instrument on my breasts, swing door opens, shuts, and he is walking outside in the hallway with our screaming child in an open stroller, it’s what they had available. The baby is five weeks old. We had been waiting for over an hour in the lobby at the children’s ward, after the paediatrician had called the hospital during a routine check-up.
I’m sending over a little one, he said, you need to see her, I’m worried, she’s too small, he said. Now, I don’t want her to catch anything while she is there, okay? he said to the nurse.
We’d waited in front of a small wooden playhouse based on a television show, about Teddy and his best friend Chicken, who really cannot speak and whom he bosses around. It took ages.
No milk comes, no matter how hard I try. I pretend that it will – I have it all under control. Soon it will come. It will! It will flow.
It has to flow.
It does not flow.
I manage ten drops into a large bottle.
You must be admitted, the doctor in white says in a hurry, she makes fast decisions, she has to, after studying the baby’s tiny yellow body on the examination table. She is too thin, she is.
It does not flow.
They can learn, they say, when they call the admissions office.
But we learn nothing.
I don’t sleep. I don’t sleep there either. I haven’t slept since the baby. I may have passed out, but that is about it. There is never any time when I sleep.
A loneliness that I haven’t known before has come. I hadn’t seen it coming, but there it is. I will never ever be able to tell anyone, about this.
The baby hallucinates at my breast. She sees everything I cannot.
We discuss painkillers, nappy brands and the colour of shit. My nipples like rocks.
My labia had been torn in two, they said. That was weeks ago, but I still haven’t looked. It reeks, that’s all I know. They’d checked the stitches after a day or so, carried out the mandatory conversation with the parents after the happy event. A standard birth, the woman behind the screen said, with just a few complications. He, in particular, could hardly speak of it, he had been terrified, but they ought to get over it– especially now when there was plenty for them to attend to.
We are in the neo-natal ward for who knows how many days. Nurses come in and out. They all want to look at my chest and see me feed. They share different perspectives, enough advice for an army. The baby wants to be close to me all the time. She’ll have to be fed through a tube. Do you think you can handle it when we insert it, they ask, and I sit, I must sit, and I say I prefer not to, and please could they only talk to me about this feeling? They run it through the baby´s nose and into her belly. I try to fight down the tears.
Five weeks have passed of my constant attempts at producing. I have been moved and shifted around. Interrogated and observed. Every three hours an alarm goes off. I must get up, sit up straight in an armchair in the corner, wheel the machine out, attach the cups, on. I listen to the pull, staring at the swollen lumps, the darkened area, waiting.
Why did no one ever teach me about the complexities of breastfeeding?
On the night of the birth an elderly nurse had come in, the baby kept crying. I had no milk, who did, and she gave her a small shot, just enough, and the baby slept five to six hours. But what I did not know was that this small unceremonious act had ruined my every chance. It had destabilized everything.
Every drop must be sealed in a bottle, and so I walk down the lit hallway to the other end of the ward to a small room where a tiny fridge stands on a steel table. I stick my daughter’s name on it and place it in there. Every three hours, I produce no more than a centimetre; others fill jars of thick cream.
They want me to try to feed her from a bottle. To attach a small straw to my breast, they mean well, this is so the baby will still suck and think she is getting the milk from her mother even when she isn’t. They are all nice. They tell me the same things again and again; they go through the routines. The baby’s stomach hurts, and every evening, she is inconsolable. They give me all advice in the book. I don’t tell them that I have heard it all before, too tired.
A physiotherapist comes to work with the baby. She moves her little body in her hands like a doll, a craftsman moulding clay.
I have asked that no one visit. They all want to visit. I get messages offering help with laundry, delivery of goods. They want to see the baby, of course they do.
Perhaps you should give up, he says, late at night, when he cannot go on like this. Our view from the window onto a construction site, someone died after a fall.
The nurses agree I should give up, no way I’ll produce the milk the baby needs after nights of just one centimetre.
I manage to escape to the other end of the ward into a large leather massage chair. I sit in the dark for just a second or two, but I must hurry. I haven’t gone through all this to give up now. I know this, I’m the only one who knows this, and this is what others see as a kind of madness.
After about two weeks they allow us to leave, the baby has gained enough weight, and I tell the nurses that I will start on the goddamned bottle, but may offer a breast now and then, although they think it’ll never work. If only I could hear myself, that would really be something. I must convince them I’m sane. They look at me in concern, and I’m not sane, but it is part of it, to go to this place. I know something they don’t. I know right now what it’s like to be in here. In this place.
On my way back, I bump into a mother from the pre-birth course, and she tells me that no one in the group breastfeeds anymore.
They have all given up.

Robert Singer, Basilar 1 & 2, 2021, digitally processed cerebral angiogram.
{ 3 }
I watch the Hannibal Lector series when I begin labour. It helps. I eat candy, the only thing I can get down. I was never too keen on taking those pills, but I had little choice. It’s two weeks past my due date, and I am forty. That’s what they said. I’d left dinner just as it was being served when I was still myself, the plate hot on the table.
Four centimetres, the woman says. I’m not used to people looking at me down below. You’re ready, and you’ll get the best midwife in the world.
I have no memory of being transferred.
My list of wishes given to the best midwife in the world. I don’t have any chemistry with the best midwife in the world, who seems to have something else on her mind entirely.
It’s “a tetanic labour”, a storm, she says. You’ve had too much medication.
Titanic? Doesn’t sound promising.
At least I have my techniques.
But there are no breaks.
And there’s a reason for concern: the child is stressed.
I receive an injection in my thigh to weather the storm. It has little effect, although I get to catch a breath, until it kicks up again.
Rectal now. I get up in case I need to shit. I worry I cannot shit enough. That I will shit in the water, or afterwards.
I am now in a large tub. He fetches a drink with a straw.
There is a pending issue: part of membrane blocks access. Midwife tries to release it by putting her whole hand inside, but she is unsuccessful. Body flinches. Midwife increasingly distressed. Baby increasingly distressed.
In excruciating pain now. Membrane still blocking. Not allowed to push although I feel I should. He puts warm blankets on my lower back.
New issue: baby’s heart rate.
Pulled out of tub, legs shake uncontrollably.
so cold
I sit on the toilet, must sit on the toilet, midwife says and is now giving orders.
Cannot sit on the toilet. Pain unbearable. No hint of relief.
dying
Push, midwife says.
cannot push
Can’t stop shaking.
Midwife in complete panic now.
Several people enter.
Strapped down in the middle of the room.
where is the music?
Doctor’s theory: Machines are malfunctioning. Numbers don’t add up. No heartbeat traced.
They give it another go.
…still none.
Machines seem to work.
This will be very uncomfortable, doctor says.
Suction disc placed on baby’s head.
Pull!
Push!
It feels like a car is hauled through all soft things inside.
no sign of midwife where is she?
forcefully
she screams:
murder!
A girl finally comes out in one piece.
is she okay?
she is okay!
They place her on my stomach.
Skin against skin, they say.
black faeces and blood.
1. This baby is someone else entirely.
Why is this a surprise?
2. How do women do this all the time without complaining?
3. I never want to do this again.
doctor grabs my hand.
I am so sorry, she says.
I hear someone laughing
(it’s me?)
Then, I cry.
Thank doctor for saving my baby.
sobbing
The little one on the table.
look at her!
Midwife washes her.
Makes herself useful.
Her tiny legs that used to kick me from the inside knock over bowl of water drenching the midwife.
strong legs!
Someone lifts the placenta from a black plastic bag for show.
It is very small, they say, the tree, it is good we got her out in time, she’s so hungry.
They place her near the darkened nipples.
A silent nurse squeezes the left one.
Nothing really in there, how is she supposed to eat?
Stitched up,
the needle going through a tickle in comparison.
We’re finally left with alone.
In the quiet of the morning,
four o‘clock.
A tray of food is brought in: a piece of buttered rye bread with halved meatballs, and a pastry shell with boiled chicken in white sauce.
Small flag next to it.
I shower in a pool of blood.
A man arrives to wheel me over a bridge to what they call a hotel.
Someone congratulates me, may be the woman from the examination room. Unable to speak, how can she possibly recognise me? Does she see right through me? Does she see it?
the terror on my face
They put me in bed with the baby on top with a view onto a construction site.
It’s like looking at my brain.
I stare.
New midwife checks in.
Breastfeeding looks fine! she says.
….but my nipples bleed.
In the morning, mother, father, father’s girlfriend, mother-in-law and father-in-law come to see the baby. One by one, they enter in procession.
Father’s girlfriend is first to hold it. I don’t think about how wrong that is, just then, or I don’t care.
The birth becomes a tale already, distanced from what is only too real.
A new story begins
of greater importance.

Megan Wynne, Impregnated, 2016, digital print, 36 x 24".
Line Kallmayer is a Danish artist and writer whose work blends text, media, and performance to explore ethical and aesthetic questions. Educated at Copenhagen University, Goldsmiths, Malmö Art Academy, and the Polish National Film School, she has published Ten Days with an Exorcist (2013) and Bird (2017), with recent pieces in AGNI and The White Review.
Megan Wynne is a multi-media conceptual artist who uses her body as a site to explore the interdependence and anxiety of the mother-child relationship. Her process often involves the act of relinquishing control in experimental collaborative performative scenarios with her three children, which are documented in video and photography. Her work has been featured in many publications including Bust Magazine, The British Journal of Photography, and Elephant Magazine. In 2021 she co-produced and shot an Emmy nominated documentary segment on her own work for WHRO PBS. She has exhibited her work throughout the US as well as internationally.
Robert J. Singer is an intracranial neurosurgeon, multimedia artist, and guitar builder (Waterstone Guitar/Elysian Pedal Co.). His workroom, Whalebone Studios, is located in Southampton, NY, where he lives with his wife and three dogs.