The way in
Once you’re in, forget the rest of the world. It’s you and the words and whatever story you’re telling and even if it’s a shitty first draft, if you can lose yourself in it, if you can feel the flow, then something about it will be good, true, authentic, real. Don’t think too much (I write after pausing for a few seconds to think). Sometimes it won’t work out, sometimes what you first come up with will just be the kernel of what you are going for, but who can resist the feeling of being totally there, completely immersed, going for something more solid, more revealing, than reality itself?
I’m no good at fiction. Or the kind of fiction I write is in brief spurts, nothing extended (I don’t count the “novel” I wrote during nanowrimo a couple of years ago). What I mainly write is “fact” filtered through my mind and packed with metaphor. It’s true, it’s a story and some of it really never happened, or what really happened, what I really thought, was so long ago that it has become a fiction itself. What ends up mattering are the remains, the ideas, the impressions that other people left upon me, gathered up in my mind and associated with other times and with stories I’ve read and with the long walks in the middle of the night along tarry roads.
And there are stories I return to again and again, even in the brief fictional pieces I occasionally write. The themes are large – grief, guilt, desire and one’s attempts to stamp it out. My main characters are conflicted women, women who live one life and imagine another or who have been hollowed out inside by a sad past, or dogged by it, shadowed by a darkness that, if the story goes right, will slowly fade over time and coffee and whiskey, over conversations in dark bars, over the long process of self-forgiveness, of being kind to the people they were when they were powerless.
My alter egos drink too much. They pick up men, or they used to before they regained control over their lives. They grasp the hands of children as if they are children themselves, until they reach the epiphany, the moment of change, the realization that they are all grown up and ok and the child they are holding can depend on them, that it’s a gift to depend on a grown-up.
The way I get into a piece is by getting into myself. It’s not always optimal, this self-obsession, this need to tell a version of my story over and over again in different ways, to foist myself on my characters, but hopefully in the process I reach someone out there. We share the truth for a moment or two, and they leave the room holding a piece of me, ever changing, melancholy at the core until the shift takes place.
From yesterday's final Round Robin prompt: "What I know about writing."
Image of "Les grands moulines de Paris" by Julien Mangez.
Telling the truth
I don’t know how we got on the subject of adoption. Maybe it came from his questions about my first marriage, though there were no babies, adopted or otherwise, from that union and about whether I had another child. From that point, we traveled to my mother’s adoption and her biological mother’s second rejection years later, her denial of contact and details.
And then I blurted it out. I want to write about it this morning, but it is one of those things that just can’t flow easily from my fingertips, so bear with me.
He was curious about babies. About whether I had any more out there. About adoption (the fact that my mother never knew her “first parents” made him cry and he resolved that we should find these people, and not just contact them, but meet them). I knew I had to tell him someday about my own experience, but I thought it would be later, much later, when it seemed more age-appropriate, but at the same time I didn’t want to keep it a secret, something dark and heavy.
So I told him my story, minus much of the emotional pain, of the stillborn baby I had when I was sixteen. I was expecting curiosity or perhaps disbelief, like the “you’re kidding!” response I got when I explained sex to him a couple of months ago. I wasn’t expecting tears, tears at the fact of the baby’s death, at the fact that he had a brother.
A brother. Tears. It was the first unfiltered response to my story that I have ever gotten. He wanted to know if he had a name. He wanted me to write it down so that he wouldn’t forget it. He wanted to know what he would have looked like. I had to explain that the baby would be almost 26 years old by now, a grownup, and he wished that if the brother did still exist, he would be still be a kid and be around to play with.
How did I know he was dead? Where did I have him? I told the story without blame. I tried to explain how someone might not be ready to raise a baby. I told him that no one knows why the baby died and that when I was pregnant with him, the still-living boy, I was closely monitored, just in case.
Oh, the depths of this conversation, of feeling, of connection, the tangibility of what went before. It makes my heart ache. It returns me to the world, and I mourn again for what we lost.
The prompt for this was "At the grocery store," which obviously has nothing to do with what I wrote. To really write about this will take some time. It was a striking conversation and healing and very sad all at once. I realized that at least I could talk about it without being so focused on me and without maligning my own parents. For once the focus was on that baby and the sadness of his death, the feeling of mourning that I still stuff down.
Photo of the boy at Point Reyes by his father.
Written in the body
This man, the first familiarity, melts away and suddenly I am kissing my body double. His legs match the length of mine. His feet are tanned and small. Our similarities, the smallness of our combined frames, surprises me. I mourn the body who went before. It is the last time I let the physicality of someone, their solidity, the feel of their lips, the way their legs intertwine with mine, become an object of attachment.
When my body double leaves me, I don't mourn the loss of his corporeality. I mourn the loss of tenuous connection, the closeness of two damaged souls meeting periodically to solve the problem of the human need for touch. And when the next man comes along, his feet like miniature anvils, his body broad and short, I let the concept of physical attachment go completely. I don't record the feeling of him against me, the pressure of his hand in mine. It simply doesn't matter anymore. All that remains are the labels. After that marriage ends, I often catch myself almost calling the new man by the old one's name. A matter of habit.
This was the sloughing off of connection and association. We are animals of contact, of the burrowing together under covers, the familiarity of the loved one’s body, of their smell and the way their chest rises and falls, the cadence of their walk. I remember the first man best and after that let go of the musk, of the tracing of thighs and knees, of the texture of hair between fingers. I simply do not want to get too attached. The pain of the inevitable break is too much.
But to realize it! There I am in a fast car looking down at his feet, here I am on bright blue wall-to-wall and he is about to kiss me, here we are together at a country-western bar, talking talking talking. And here he is, boyfriend #4, husband #2, with me for over thirteen years now, the long history, the beauty of context. He knew Kevin, my mother’s cruel boyfriend. He met my grandfather, dead since Valentine’s Day 2002. He’s known my animals. He’s the father of my child. Our history goes on and I know the feel of his hand in mine, have cried in his arms, a sensation I have deliberately and slowly forgotten.
I need to remember again.
From the prompt "The key." But this had nothing to do with the prompt. I've been thinking about this bodily attachment, how detached I am from it now and why that happened. When I was up at 1:30 this morning, one of the images going through mind was of D's feet, his foot on the gas pedal, and how strange it was when I started dating J, how the differences between them were so obvious and palpable and how I missed what had come before. That was the last time I mourned someone's physical presence, more of my self-protection system doing its job overzealously.
I'm posting every messy Round Robin prompt, a prompt a day until the RR ends. I rewrote this one entirely, though I'm having a hard time taking it further. They've upped the dosage of the little purple pills (because that's how it works) and my thoughts are hard to hold on to this morning.
Image by William Degen.
Back to the old house
The house meant safety and comfort. It was predictable, constant, the place my mother and I returned to when life was falling apart, where my grandmother would take care of me when my mother was working or needed the time.
Then, when I was nine years old, my grandmother died. She collapsed in a chair in the kitchen while I stood watching. With my grandmother unconscious and my grandfather unable to use the phone, it was up to me to call the ambulance. My grandfather and I waited for the Volunteer Fire Department, a long, horrible wait. We watched the men struggle to lift her substantial body onto the stretcher. Would things have been different, I wondered, if I had gotten the cat off the chair sooner, if had understood my grandmother's gasps and flapping arms more quickly?
Sometime between the card games (solitaire, spit, go fish), the many phone calls to friends and relatives, the shopping trip for a burial dress, blue just like she'd wanted, and the wake where an uncle pulled out a cousin's loose tooth, the family decided that my mother and I would move in with my grandfather. In less than a month, we were out of our one-bedroom student housing apartment and back in the house at Hollywood Beach, my unemployed future stepfather along for the ride.
My grandfather’s house was cigarette smoke and chemicals, sugar and coffee, sawdust and mildew. It was porn magazines next to the candy in a cabinet in my grandfather’s room. It was my stepfather’s workout den in the unheated guest cottage we called the Little House. It was séances and Ouija boards, the yearning for a sign that my grandmother was still watching over me. Sometimes it was fights around the dinner table, arguments over food or housecleaning. It was nights in tight spaces, me in the sleeping bag under the bedcovers, in the attic with the pull-down steps, on the inflatable raft under the picnic table. It was sadness and anger and grief, the knowledge that I was on my own.
They sold the Hollywood Beach house in 1990, but I still visit it in my dreams. It stands for itself, it stands for part of me. The dreams used to be yearning, worried, guilty. I forget to take care of my (dead) grandfather. My mother and I bury body parts in the front yard. My uncle and aunt show up and I hide from them. Then the dreams changed, got a little better. My grandfather and I coexist in the house. We have a companionable sit at the dining room table. I leave before my aunt and uncle arrive. Interestingly, the Little House is never featured in these dreams, despite its importance in my own personal history.
Last Thursday night, I had another house dream. It was a beautiful summer day and various neighbors were busy with yard work or socializing. I felt comfortable, a part of things, visible and connected. My mother and I were discussing the renovation and eventual sale of the house, reminiscing about good times. I worried that the foundation would need to be redone, but she thought it was sound. My aunt and uncle arrived and went to work moving furniture from the house out to the lawn. Thinking this was a yard sale, a large crowd gathered in the grass and started dickering over the furniture. I yelled that it wasn't a sale, just the preparation for renovation. Suddenly I was happy about it, the prospect for an improved house, the same house but better, remade. Maybe we didn't have to sell it. Maybe we could add another floor, tear out the mildewey carpet, put up drywall where 70s embossed paneling had been, and come back to this house to live. It could be itself, a summation of memory and experience, and it could be something new at the same time.
What to make of it? The house is me, I am the house. The house is what it was, a place where things happened and people died, a holding place for my memories, a symbol of false security. My childhood was difficult, full of moves, losses, and bad men. Once my grandmother died, I had no adult advocate, and so I constructed a framework for myself, one where I made sure to rely on no one for my emotional needs, where I took care of my physical needs on my own as soon as I was able. I've let go of some of this. I have friends, a husband, good relationships with my parents. But I am still self-sufficient to a fault and quick to mistrust others. The framework gets in the way. It feels as much a part of me as my bone and muscle, organic and necessary to my existence. But perhaps I can work around it, make it into something new. The old house needs renovating. The foundation is sound. I'm ready.
And I'm not nearly as melancholy about it as Morrissey:
Image: The old house, undergoing renovation a year and a half ago. The Little House is to the left, obscured by the digger.
A tale of necessary sadness, in two acts
Act I
Something is going on with me. I’m sleeping terribly, cry at nothing. Last night at dinner my son asked for another Dress Me Monkey story: “What else would Dress Me Monkey do?” This is our cue to come up with some fantastical new tale about how the toy would spend the proceeds from treasure he never manages to steal. I said the first thing that came to my mind, that Dress Me Monkey wishes he could go back in time to the nights when he ate with his mother and father and they told Dress Me Human stories. "His parents are far away now, and Dress Me Monkey misses those days. He would like to go back for a meal or two."
The dinner had been a difficult one, with the kid complaining about his food and telling me how the refried beans on his homemade nachos looked like dirt, like something worms would eat. I'd spent a lot of the day fighting my initial crabby responses to his normal kid behavior. I was tired. My past has been coming back and poking me lately, spilling out, and meals are one of those difficult times for me. So I came up with a Dress Me Monkey story that fit my mood, inappropriate though the story might have been.
"Why did Dress Me Monkey want to have dinner with his parents again, like he was a little monkey?" the boy asked.
“Because everybody wants that,” my husband said and started to cry. The boy was concerned and snuggled up close to his dad. We explained that Daddy was crying partially because he misses his mother, who has been dead for twelve years, but that also sometimes adults miss the past, the sweet simplicity of the family table. Then it was my turn to cry, because my childhood mealtimes were mainly horrible. The emotional tenor of my those dinners depended on my mother's mood and the man she was dating. She had only three boyfriends over the course of my childhood, but each of them had their own issues, would make me stand at the table or wouldn't talk when I was there or would pull me apart, show my every flaw. When the last one, Kevin, came along I ended up eating dinner alone most of the time.
So. I want my family meals to be happy. Full of love. The food I prepare is part of that love and I try hard not to force the boy to eat things he doesn't like, which is why he eats macaroni and cheese almost every night. Last night the meal was something he has eaten before, but it didn't appeal to him and the whole situation got to me.
I know that his rejection of my food is not a rejection of me, but sometimes I still have that visceral reaction, that and "You have no idea how good you have it, little boy." And I get angry at myself for thinking such a thing. He doesn't "need" to know that. He needs to grow up secure and happy and loved, without the burdens of my childhood thrust upon him. But right now the past is spilling out of me, surprising me with its emotional abundance. It can be overwhelming.
Last night, as I was getting him to sleep, he asked about our day. This rundown of our daily activities is a bedtime ritual. Sometimes I learn more about what happened at school or we go deeper an earlier discussion. When I got to the dinner portion of my synopsis, I apologized for the weirdness of it and asked if he had any questions. "Why did you tell a sad Dress Me Monkey story?" was the first.
The real answer was because I am sad right now. I am processing something deep and fetid, airing out emotions that don’t easily surface. I’m not sure why it's happening and while I don’t like the effects – waking up in the middle of the night or too damn early, occasionally scaring my child, being cranky and sleepy all day – I think what I’m going through is necessary. What I told him was that when I was little mealtimes weren't always happy times and I was feeling sad about it during dinner. And then we moved on to why Daddy cried at the dinner table.
Act II
It happened again last night, the two a.m. alarm clock. I woke up sad, obsessed with an aborted friendship. After a good cry -- quiet, intense -- into my pillow, I went into the boy's room to read and hopefully return to sleep. (He had already migrated into our bed.) When sleep finally snuck up on me, I had a complicated dream. In it, my husband's family was visiting (though, in typical dream style, an old boyfriend of mine showed up, too, looking very much like a middle-aged Eastern Shore type, with a baseball cap, greying beard, and a beer belly). It was a surprise visit. I hadn't had a chance to clean and I was ashamed at how the house looked and angry with my husband for springing them on me.
My dream self went stomping off into the night. Our oldest cat, Zoe, fifteen years old now and a sack of bones, dotty, constantly hungry, followed me. We wandered frenetic city streets, joined the rush of humanity. In one square, mimes performed acrobatic feats and played with fire. The glow of a neon sign drew me into a murky bar. The next thing I remember, Zoe and I were walking home. A rainstorm had blasted through the city and scrubbed away the people, leaving behind damp sidewalks and oil-slick puddles that reflected the shimmer of streetlights. It was spooky, the kind of emptiness where you expect to hear an echo of footsteps behind you. Zoe, frightened by a stray cat, fell behind.
One minute I could see her, the next she was gone. I screamed her name over and over again. I used the dinnertime call: Zo-Zo-Zo-Zo-Zo. And then I opened my eyes, totally awake, feeling the responsibility, feeling the loss.
But at least I was feeling something.
Image: Asher with Nick's shadow. Zoe has asked not to be photographed for the blog. She's an old-fashioned sort who values her privacy, though her name actually is Zoe. She also agreed that this photo was the best fit for the post.
Does it seem like my past is always spilling out? Maybe here. This is different though, like I'm working through something big. I sometimes discount the effects of my childhood and often think I should be over it by now. But it's not so simple, is it?
A virulent strain of grief
I’ve been reading a lot about death lately, death and long hospitalizations and the kind of hope that people with sick children cling to, a stretched kind of hope that comes with chemotherapy and radiation and surgery. When I started writing for National Novel Writing Month, that’s where I was drawn, partly out of some kind of voodoo thinking that writing about it would protect my family and partly out of wanting to work through how someone copes with the loss of a child.
And then there was what happened to Kevin.
I’ve written about Kevin, my mother’s long-term boyfriend, here before, in short bursts of roundabout language. He came into our lives when I was fourteen and nothing was ever really the same again. By the time I was fifteen, I was living in the Little House with disastrous results and he and my mother were at the thin edge of eighteen tumultuous years together. Kevin is starting to lose his mythical qualities, has become more human in my mind in the last year, more culpable and weak. He was a bully, really, a smart and witty bully, though that of course was not the whole of him.
[Warning: The below goes into detail about an illness and a harrowing hospital stay and may be upsetting to some readers.]
In March 2002, Kevin, 55 years old, died of, well, it’s a little murky. He was in the final stages of myelofibrosis, a bone marrow disease, though it was probably pneumonia that did that last dirty work. With myelofibrosis, the bone marrow becomes fibrous and hard. Blood production that normally occurs in the bone marrow moves to other organs -- the spleen, the liver -- in a last-ditch effort to make blood, a phenomenon with the poetic name extramedullary hematopoesis. These organs try, but ultimately fail, to make useful blood. Instead, they produce bad blood, the cells immature and misshapen, blood that does a half-assed job of keeping the body healthy. People with myelofibrosis are often anemic; they bruise easily and are susceptible to infection and bone pain. While there are drugs to manage this disease, there is no cure outside of a stem cell transplant, which is always a dicey position. If you have it, one way or another, myelofibrosis will eventually kill you. Or more accurately, an infection will kill you. Or you will develop leukemia. Or you will develop a wasting illness. Or your liver will cease to work (because of the extramedullary hematopoesis).
Before March 2002, before we called in hospice and accepted the fact that Kevin’s death was imminent, Kevin spent six months in the hospital, nearly all of it in the Critical Care Unit (like an intensive care unit) or a unit one step below Critical Care. Trying to write about that time in a way that makes any sense is impossible. I’ve tried it, tried to come up with a timeline and a reason why he ended up on a ventilator (aka respirator) shortly after he was admitted and how early on we thought he was going to slowly bleed to death until a miracle worker hematologist/oncologist came up with a genius solution to get Kevin’s blood to clot, and how Kevin couldn’t swallow because his epiglottis was damaged from his emergency intubations, so he couldn’t eat and how there was a doctor we called Dr. Death because he insisted on telling Kevin he wasn’t going to make it, let alone walk again (he was right on the former, wrong on the latter). Kevin was on the vent/off the vent. He kept on getting pneumonia. He was hooked up to tubes and lines, trapped. But alive.
Fall 2001 was full of death and fire, of anthrax scares and work closures, of mail that came to the federal library where I worked months old, crispy and irradiated. It was the beginning of Kevin’s long end, a journey that required great vigilance on my mother’s part and the amazing efforts of a large number of doctors and nurses. Being in CCU for six months is incredibly intense, all-encompassing, and stressful, and when a patient is as fragile as Kevin was, you have to be vigilant. It isn’t that the professionals aren’t competent, it’s just that they want to do things, think that action is always the best course. And sometimes it isn’t.
When I sat down to start my NaNoWriMo novel, all those details of his hospitalization came out, details I have stored away for years: the sound of the ventilator and the beeps of IVs that need attention; the smell of pneumonic mucus as I suctioned it out of Kevin's trach; the image of Kevin trapped under a blanket of tubes and devices, so fragile you didn't want to touch him (and the too-late knowledge that he must have been desperate for touch); the horrors of his frequent intubations, emergency procedures where doctors had to essentially jam an air tube down his throat after his oxygen levels dropped precipitously; the rushed meals at Taco Bell Express, knowing we had to get back and that eating in front of him when he was getting his food, this green sludge, through a stomach tube would have been horribly cruel; how skinny, impossibly skinny he became. How, after being bedridden and hospitalized for three months, he took his 80-pound frame and a walker and did halting laps around the CCU, in an act of pure will.
So all this came spewing out last month, disguised under a new premise with a much younger protagonist. After the month was over and the first draft off my head, I realized I had a lot of legwork to do. For example, I know next to nothing about the disease I had chosen to grace my unlucky character with. And what do I know, really, about parental grief, which is a particularly virulent strain? I've been doing research, reading books and looking at websites. There is one blog out there, very detailed and well-written, created by a mother who was chronicling her little boy's fight against cancer. That little boy died in September. The whole thing is horribly sad (and as I read it, I wonder: why, exactly, am I doing this?).
When you are in the middle of a life-and-death-struggle, the intensity of keeping someone alive, of trying to make them well, it's all you can think about. Everything becomes medical and you find out all you can. You learn about the strength of nurses and the support system that crops up in a hospital. You learn to live with things you never thought were possible before. You are steeped in the smells and sounds of illness and it feels like it will never end. You don’t want it to end with death, but sometimes it does and you have to let go of the struggle. I read this blog and I cry, for this family and the little boy that will never grow up. I hope that I can do justice to him and to Kevin and to all the people who have experienced such prolonged pain.
The kid at Kevin's grave on Maryland's Eastern Shore, April 2009.
Perhaps this is an impossibly tall order. What I'm looking for now is authenticity, a way to write something that sings and is true and real, that doesn't exploit illness as a book topic, but brings it to life and honors those that have gone before us.
It's daunting.
Top image: Kevin at Georgetown University Hospital, January 2002, about three months before he died.
And five days later cold
It started with Maggie May's post on how one could possibly cope with losing a child. Or maybe it started before then, in my first grief at nine over the death of my grandmother, the grief that morphed into my obsession with Ouija boards, seances, and ghosts. Or possibly it was before even that, sparked by the hit-and-run death of the unpredictable feline Sheba, or the demise of acrobatic Regis, whose neutering stitches became infected, or the abrupt disappearance of Hector, my future ex-stepfather's dog who had to be put to sleep because of his epileptic fits.
The themes of death and grief and how we cope with them have been on my mind, simmering under the surface. I watched Kevin fade away in puffs of canistered oxygen and piped-in morphine. I've had my own sad mourning story, the first line written in the Little House when I became responsible for someone else's death, when what was left of my childhood was stomped into flatness.
So when I just started writing without a plot in mind for National Novel Writing Month (or NaNoWriMo), maybe I shouldn't have been surprised at what was coming out of my fingertips.
If I say anymore, I might just stop writing. I seem to be on a roll and I don't want it to stop. And I can't get A.S. Byatt's poem Dead Boys out of my head. She wrote it after her 11-year-old son was killed in a car accident. She had to go on living, because it was her only real choice.
An excerpt from Dead Boys by A.S. Byatt
One son is many sons.
A bundle, a putto, a grave
Boy with kind eyes. One blow
Cracks all their bones at once.
Pastes all the gold hair red.
Soft lip and toothless mouth
Drop blood on the breast.
A white-haired crawler on grass
Head like a dandelion-clock
Above daisy faces that come,
Yellow and white and green
Year after year after year
Stops like a toy wound down.
Like a doll dropped in the wet.
I am a cold grey house.
In every room a boy
Gestures and halts and falls
Again and again and again,
A boy with his hamster curled
On his trembling extended palm,
Like a rigid ammonite,
'Is he dead, is he asleep?'
And the boy who leaned his head
On my shoulder in a bus.
He slept so deep, he jerked
And lolled as the bus ground on
Like a puppet, like a sack,
But he was warm that week --
My cheek was damp with his warmth --
And five days later cold.
Image from Celestial Dome.
Living proof at my fingertips
My husband and I were standing against the wall at the Fox Theater in Oakland, this over-the-top restored venue from the late 1920s, drinking our beers and waiting for the group Echo and the Bunnymen to come onstage. We'd already had a lot of laughs that would be almost impossible to explain here (for example, the image of us wearing cucumber and cabbage outfits, just to find our moment of glory in the truly ridiculous [but very cool-sounding] Echo song Thorn of Crowns). Without warning my dead son winnowed his way into the conversation, which lead to talks of alternate lives and then my father showed up, too, unrepentant, demanding the old song and dance of anger.
My father and stepmother visited us last month, which was a truly wonderful visit, one for which I am grateful. As a result of nerve damage in his back, he is in constant pain and traveling is very difficult on him, but they made the trip and we all had a good time. There was just one ripple in the visit, one that I tried to ignore, in a discussion that would have been impossible without the blog. He found writing to survive over a year ago and read through it in its entirety. Eventually he apologized via email for any pain he had caused me, which was the extent of our interaction on the topic. During this most recent visit he asked "Are we ok?" meaning, I suppose, "Is everything all right between us?". Yes, I said, we were ok -- when he read the blog I felt like he was listening to me. Did he feel like we were ok?
Well, sure, but he wanted me to know that, despite my accusations to the contrary, he had tried. I had no idea what he was talking about, but his response was probably to this post, where I write about my anger at my parents for doing nothing when I desperately needed help: "My mother stopped parenting; my father never even started. They deserve my compassion. It's no use getting angry at those who don't see their own worth." It's a heavy accusation and I stand by it. The truth hurts. We didn't dig any deeper into that particular pit, but our discussion bothered me, still does, and that was what I was talking about in the lobby of the Fox Theater, that and imagining my never-to-be-24-year-old son, dressed in skinny tapered pants and an ironic t-shirt, angry at me for my own form of neglect, of the fetal variety.
The band started. We hustled to our seats, suddenly surrounded by the music that was a part of the soundtrack of my mid-teens and I started to cry. I sobbed through the first three songs while my husband patted me reassuringly, probably feeling bad about the tickets, which were a birthday present. The music transported to a bleak time in my life, when things started really getting bad and I was indescribably alone. I felt the direness of my situation at fifteen and sixteen, combined with the beauty of my current life. I am forty years old, married to a good, supportive man. We have a healthy, creative, wonderful child. My life is in enveloped in love and warmth. How did I get so undeservedly lucky?
Our conversation in the lobby -- the clinical look at my father, the ghostly appearance of my son, my guilt over that time of terrible fear and anger -- began to make sense. No matter how much work I've done here on revealing secrets, writing out my pain and anger, trying to forgive my parents, I can't take the experience of what happened in the Little House away. Even thinking about the music we were about to hear brought me to the edge of that past, to the isolation and neglect. And my father's main reaction upon reading this entire blog, apart from a generic, though I'm sure heartfelt apology, was to tell me that he tried. He has never acknowledged any direct responsibility for (or curiosity about) that time. I wish his acknowledgement didn't matter. Maybe someday it won't.
I've put so much effort into trying to forgive the unaware that I've forgotten to pay attention to my own grief. I still carry around sadness for things lost, for not mattering enough, for acknowledgment that will never be. So I cried and cried until Ian McCulloch started singing about vegetables. My husband turned to me and raised his eyebrows. We started to laugh.
I really am lucky.
Echo and the Bunnymen play "Silver" in Oakland, courtesy of some fellow fan:
Writing prompt: Its dark and secret heart
Mom-mom, 1934.
My obsession with ghosts started in the sixth grade, though it had its roots in my grandmother’s death two years earlier. We were in the kitchen, putting groceries away when she suddenly clutched at her throat and started gasping for air, frantically motioning to the kitchen chair. I stood there, confused, scared. Finally, I moved the cat, and Mom-mom collapsed into the empty space.
It was up to me to dial 911. We waited 40 minutes for the ambulance to come all the way from Elkton. She was dead or close to it by the time it arrived. Congestive heart failure. In a couple of weeks, my mother, her boyfriend, and I moved in with my grandfather and tried to cope with her absence and our new living situation.
I’m not sure where the Ouija board came from. Maybe it was a Christmas present. I started carrying it around with me, taking it to school, begging my friends to help me contact my grandmother. They went along with it and I believed everything. Mom-mom had a friend named Sam up there in heaven. Everything was all right, and she was watching over me.
My mother took the death chair out of the kitchen, eventually storing it in the attic space over the garage. I was into sleeping in tight spaces, under picnic tables, in tiny tents I set up in the backyard. One night I convinced my best friend to spend the night in the attic with the chair. The space was hot and smelled of cut wood and roofing tar. I kept staring at the empty chair, waiting for my grandmother to appear.
Over the years, through neglect and hard times, I kept on waiting. When, as a teenager, I moved to the Little House adjacent to my grandfather’s place and felt totally alone, I wished for a sign of her presence, a sign that someone was watching over me.
Now I know that such hopes are false.