It was the summer of 2013, a formidable summer in Egypt. We walked from our villa toward the sea, carrying collapsible aluminum chairs, bags of cucumber-and-cheese sandwiches and pea-sized yellow grapes that are called banaati—literally, “girlish.” This had been our ritual for the past seven Fridays. My grandmother walked ahead with my aunt, and I followed floppily in their morning shadow. We spent every weekend at Qariyet El Muhandiseen, one of many gated compounds that have sprung up in the last four decades, providing summer getaways for the Egyptian elite. Completed in the late eighties, only twenty-six kilometers west of Alexandria, this one in particular is considered démodé.
When people speak of my city’s river, they say: declined. What they mean is: dry. Only modern cities can survive on the promise of water. Early people settled just east of the river, on the then-fertile floodplain that offered easy access to water, mud, fish, grasses, all the necessary components to forge a life in the desert. In the summer, I imagine cool breezes.
Tucson lies in a valley between four mountain ranges, so each range becomes a landmark. A trained eye can decipher a way through the desert using these mountains alone, though this eye will also see the lines of cottonwood trees, will find where water runs silently underground—the Santa Cruz River (translation: “Holy Cross”) long buried under a bed of pummeled stone, sand, bits of mica.
Sixteen years ago, my mother found my father behind the shed on a Saturday morning in June. “Get up off the ground in your good shirt,” she told him, before she understood he was dead. “He looked like he was sleeping,” she told us. “The gun glinted in the grass.”
Seven years after my father’s suicide, I opened the envelope containing police photographs of the scene. He did not look like he was sleeping. Limbs: a swastika. Angles inhuman. Violence and velocity rendered in two hundred pounds of a six-foot man. The gun glinted in the grass—she was right about that.