When you tell someone that you used to do gymnastics, she frequently answers that she, too, did it. When she was seven. And hadn’t thought about it in years. The implication is clear — gymnastics is the sort of sport you’re supposed to outgrow. In most instances, you
start doing it before you know how to sign your own name and it’s over by your first adolescent growth spurt, joining the childhood hobby trash heap, which in my case includes rollerblading and playing with Barbie dolls.
But in my case, I couldn’t seem to shake the sport unlike the rest of my practice peers, who ended their involvement with gymnastics by the end of high school. There I was, about to start grad school in Creative Nonfiction at twenty-three, still checking the online message boards devoted to the sport daily in order to learn which Romanian gymnast had a new vault or who was injured and or who quit and so on. (The gymnastics community, both online and in real life, is especially tight knit for the same reasons that Jews tend to cluster together — there are so few of us who give a damn.)
As I was trying to figure out the topic for the first essay I wanted to write for my workshop, my mind drifted to the sport, which I hadn’t really written about much (even if I talked about it ad nauseum and watched YouTube videos of competitions from two decades prior merely to admire the way a particular Soviet pointed her toes). Hey, I said to myself, I’m still as obsessed with gymnastics in my 20s as I was at seven. In a very Seinfeldian way, I wondered — What’s that about?
So I wrote my first essay exploring the role of the sport in my life. Like Genesis, I started at the beginning, or at least what I thought was the beginning — my seemingly coming-out-of-nowhere obsession with gymnastics. In those earliest examinations, it seemed like I had woken up one day and decided that I must learn how to flip over my hands. It was a pretty unsophisticated piece, both in writing and insight, and thankfully none of it made its way into any formally published work.
But even in those early efforts, what was becoming very clear was the role that my family’s strict observance of Orthodox Jewish rules was playing in my participation in the sport and how it added fuel to the fire of my obsession. There was the fact that I couldn’t go to a real competitive gym because their afterschool classes started too early for someone with the longer hours of a yeshiva student. Or that leotards posed a religious problem to someone who wore only skirts and longer sleeved skirts outside of the gym. And nearly all competitions took place on Shabbos. When it came to the lower level ones, I simply wasn’t allowed to compete. As for the elite, televised ones—I had to learn how to program the VCR so I could eventually watch them after the stars came out on Saturday night. All of these limitations imposed by Judaism simply made me want to do and think about the sport even more. I like to imagine that if I had been totally unfettered by religious doctrine, I probably would’ve left the sport behind when it became apparent that I simply wasn’t any
good at it.
During one after class drinking sessions at a local bar, my workshop professor, who had been subjected to a semester-long barrage of gymnastics, tipsily looked me in the eye and said, “You’ve got this whole Potok thing going on. Except with a weird thing about gymnastics.”
While my personal essay collection, Heresy on the High Beam: Confessions of an Unbalanced Jewess, bears little resemblance to Potok’s novels—fiction vs. nonfiction, male vs. female protagonists, different eras—I’d like to think that perhaps had Potok been enamored with gymnastics instead of the national pastime then maybe Reuven Malter, the main character in
, would’ve hit his head on the balance beam instead of getting nailed in the eye by a baseball. That would’ve been cool.
Pronounced: yuh-SHEE-vuh or yeh-shee-VAH, Origin: Hebrew, a traditional religious school, where students mainly study Jewish texts.