“One day in April — ” begins John Gardner’s tour-deforce short story, “Redemption,” “a clear, blue day when there were crocuses in bloom — Jack Hawthorne ran over and killed his brother, David.”
A farming accident comes to define Jack, who at 12 decides he is evil and, as a result, removes himself from all of humanity, especially his remaining family — the parents being particularly devastated by the death of the seven-year-old David.
Gardner’s story guides the reader through Jack’s hell, which is not the accidental killing of his brother but ostracizing himself from human contact, human interaction, the intimacy of others.
And as powerfully as he crafts the first sentence, Gardner ends the story symbolically: “Then the crowd opened for him and, with the horn cradled under his right arm, his music under his left, he plunged in, starting home.”
Beautifully and tenderly, but without sentimentality, the story ends with “home,” and marks Jack’s redemption as his return to necessary community of other people, notably his family, in order to be fully human, in order to live.
As a high school English teacher, I was fortunate to teach advanced students American literature during their sophomore year and then have the same students again in Advanced Placement Literature their senior year. We read and studied Gardner’s “Redemption” in 10th grade, and it laid important groundwork — the power of craft as well as the central themes — for investigating Margaret Atwood’s The Handmaid’s Tale.
Atwood’s speculative fiction, a dystopian novel, focuses on Offred (June) as the titular handmaid of the tale about a not-so-distant future in which a theocracy arises out of the militant overthrow of the U.S.
Offred (June) is forced into isolation as a handmaid: fertile women assigned to Commanders and designated to repopulate the theocracy, the Republic of Gilead.
Without her husband and daughter, and sequestered in the Commander’s home until each Ceremony (intercourse with the Commander while lying back between the legs of the Commander’s wife) intended to impregnate her, Offred (June) confesses:
Or I would help Rita make the bread, sinking my hands into that soft resistant warmth which is so much like flesh. I hunger to touch something, other than cloth or wood. I hunger to commit the act of touch. (p. 11)
Her loneliness gnaws at her throughout the novel, which includes a recurring motif of touch:
I wanted to feel Luke [her husband] lying beside me. I have them, these attacks of the past, like faintness, a wave sweeping over my head. Sometimes it can hardly be borne. What is to be done, what is to be done, I thought. There is nothing to be done. They also serve who only stand and wait. Or lie down and wait. I know why the glass in the window is shatterproof, and why they took down the chandelier. I wanted to feel Luke lying beside me, but there wasn’t room. (p. 52)
For Offred (June), to touch is to live, and to be denied touch is to die — drawn as she is to suicide.
Later, she admits while recalling “[l]ying in bed, with Luke, his hand on my round belly”:
If I thought this would never happen again I would die.
But this is wrong, nobody dies from lack of sex. It’s a lack of love we die from. There’s nobody here I can love, all the people I could love are dead or elsewhere. Who knows where they are or what their names are now? They might as well be nowhere, as I am for them. I too am a missing person. (p. 103)
Touch, intimacy, love — these are essential for being fully human, to live.
Ultimately, this lack of touch, intimacy, drives Offred (June) past her own humanity to a violent inhumanity as she fantasizes:
I think about how I could approach the Commander, to kiss him, here alone, and take off his jacket, as if to allow or invite something further, some approach to true love, and put my arms around him and slip the lever out from the sleeve and drive the sharp end into him suddenly, between his ribs. I think about the blood coming out of him, hot as soup, sexual, over my hands. (pp. 139–140)
An inverse of Jack’s killing his brother driving him to believe himself evil and to isolate himself from others, Offred (June) suffers a forced seclusion that breeds at least disturbing urges toward murder.
And as she confronts, becoming a “missing person.”
“American men,” writes Mark Greene, “in an attempt to avoid any possible hint of committing unwanted sexual touch, are foregoing gentle platonic touch in their lives. I’ll call it touch isolation.” 
Greene offers a historical perspective on the culturally shifting attitudes toward platonic touching between men that has been rendered taboo due to the rise of homophobia in the twentieth century. Greene also notes how touch is common between adults and babies, but for boys, that intimacy is gradually replaced “with the introduction of [a] ‘get tough’ narrative.”
Addressing the taboo of touch in schools, Jessica Lahey asks, Should Teachers Be Allowed to Touch Students?:
The sensory experience of touch can’t be divorced from the emotional experience, [David J. Linden] explained, because the way humans perceive touch depends on its social context. An arm thrown over your shoulders by a domineering boss is perceived very differently than an arm thrown around your shoulders by a trusted friend, for example. “The sensation is perceived differently because the emotional touch centers in the brain are receiving signals about social nuances, even if the touching is identical,” and these nuances, Linden explained, are one of the reasons it’s so hard for schools to create rules governing touch.
When I see the word “swim” on a sports website, I expect to find coverage of the sport of swimming. I’m crazy like that. But if you know anything about Sports Illustrated or their annual swimsuit edition, you can guess what I found: photos of models in bikinis, sitting on beaches and lounging in meadows and perching in groups on convertibles, but none of them actually swimming.
Further, she muses about her experiences with people talking about being hesitant to swim:
The whole matter wouldn’t be worth mentioning except that I know people — many people — who tell me that they don’t swim or that they feel uncomfortable swimming because they don’t want to be looked at.
It makes me very sad. I love swimming. I would like other people to love swimming. But these people don’t swim. And they are not unusual; Body Positive Athletes reports, “93% of people have identified a fear of judgement about their size, shape, or level of fitness as a barrier to starting physical activity.”…
I don’t know how to make uncomfortable people feel comfortable about putting on a swimsuit, how to combat our obsession about how we look and how other people look.
From touch taboos to paralyzing body image phobias — is this not the tyranny of the Puritanical James Baldwin deplored?
Are there not messages here about the power of radical love (self-love, love of others) that Baldwin dramatizes in Tell Me How Long the Train’s Been Gone?:
[S]ome moments teach one the price of the human condition: if one can live with one’s pain, then one respects the pain of others, and so, briefly, but transcendentally, we can release each other from pain.
There is a sadness to these questions, ones that remain with Baldwin’s words echoing in the background — words that seem not to touch us.
In his All Those Strangers: The Art and Lives of James Baldwin, Douglas Field turns to Baldwin’s “Nothing Personal,” where Baldwin too seems resigned: “I have always felt that a human being could only be saved by another human being. I am aware that we do not save each other very often” (p. 98).
In “Freaks and the American Ideal of Manhood,” Baldwin acknowledges, “This rage for order can result in chaos, and in this country chaos connects with color” (p. 827). And then:
Freaks are called freaks and are treated as they are treated — in the main, abominably — because they are human beings who cause to echo, deep within us, our most powerful terrors and desires.
Most of us, however, do not appear to be freaks — though we are rarely what we appear to be….
We are part of each other. (p. 828)
“[O]ur most powerful terrors and desires,” then, found in all we do not touch, cannot touch, and thus, loneliness.
Being Single Is Hard, writes Emma Lindsay.
In her confession about the challenges of being single, Lindsay is eventually drawn to touch:
But anyway, the part I actually find hard about being single is that I never get touched, and this isalways overlooked and undervalued. This is where the myth of self sufficiency breaks down.
And here she begins to interrogate both language and the Puritanical roots of the U.S. Like Offred (June), Lindsay challenges the simplistic blurring of sex and intimacy, grounded in touch:
In fact, some of my friends started complaining that I was too independent (I swear, I can’t win) but, at the end of the day, I can’t touch myself. Or, I can touch myself, but it doesn’t have the same impact as when someone else touches me.
Did you chuckle to yourself when you read that because it sounded like I was talking about masturbation? That’s not a coincidence. That is part of the problem.
We don’t even value platonic touch enough for it to exist in our lexicon without a sexual overtone.
“I’m talking about affectionate touch,” Lindsay emphasizes. “And, it is completely reasonable to be afraid of not getting that.” And then she concludes: “Touch matters so much. Why do we keep acting like it doesn’t?”
Lindsay’s essay brought me to Baldwin and back to my high school students.
As we discussed The Handmaid’s Tales, one of the topics was the connection between words and the act of making ideas or actions taboo.
I would ask students what word(s) we used for men with many sexual partners, and usually “stud” or similar words were mentioned — and that these words connoted something positive, an accomplishment, a “score.”
I followed with what word(s) we use for women with many sexual partners, and we had many — ”slut,” whore,” “tramp.” These, of course, are all negative, about the act of sex defiling the woman, ruining her (by implication “for other men”).
“i like my body when it is with your/body,” writes e.e. cummings in one of his many explicit and beautiful poems that celebrate love, sex, and intimacy without the taboos that render us unable to live, to be fully human. This is a celebration of the flesh otherwise demonized and shunned by social norms and religious dogma:
i like your body. i like what it does,
i like its hows. i like to feel the spine
of your body and its bones, and the trembling
-firm-smooth ness and which I will
again and again and again
kiss, i like kissing this and that of you
To touch, to be touched — gifts offered between and among, whether sexual, platonic, or unidentifiable intimacy.
We mortals in the flesh are only fully human in the flesh, pressed against the one we love so that we both may live.
 Adapted from an earlier blog post On Touch, Loneliness, and James Baldwin’s Radical Love