Thursday, April 5, 2018

MAY YOUR HEART BE LIGHT



There was to be a mandatory school Merry Christmas party after Sunday mass. Most mandatory events had never felt like a party or fun, held in the damp basement of the school,
 an old red brick building with a tall black iron fence around it and a paved over recess yard. I dreaded going, but knew I had to be there or there would be consequences. 
    School events were always mandatory, even Sunday mass which we had to attend with our class. Often we were called to "volunteer" for school events to collect coats, serve food, help set up or clean up. Fun? I didn't think so. Sometimes parents were asked to donate food to be sold at a mandatory event and then families had to pay for the refreshments they themselves had provided.  
     On our way to our lessons in the morning we climbed the creaking wooden stairs and entered the high-ceilinged, spartan classrooms, white concrete block walls, desks anchored to the floor in straight rows, back and side blacboards and a cloakroom in the back of the room. The  only color in the room was provided by the statues of the Blessed Mother or The Sacred Heart of Jesus. These were more sentinels than saints, part of whose purpose was for children to kneel before them to ask forgiveness for not knowing an answer, chewing gum, a sideways glance at another student, a fidget or a whisper. Such “penance” might come only after a swift, sharp whack of a ruler across the hands of the little offenders.
    All these associations, including that certain smell and a mood permeating the building were enough to make a child wonder if any activity at the school could  ever be fun. A child would, ideally, wish to live without fear or worry of accusations and/or humiliation. I could not have articulated all this back then, but the expections of school environment must have created a feeling of uneasiness and hesitation about attending another mandatory school event. 
    My idea of a fun event would have been full of light and color-- carefee, with music and games, and a certain freedom to interact with one another.  At our brief recess after lunch, we could play and for color we might see a bright yellow dandelion growing up through a crack in the concrete and there was the blue sky above, under which we played, skipping, played tag or jumped" rope—until the nun standing watch rang the brass bell to call us into prayer before the afternoon lessons. All was regiment and requirement—including the mandatory "Merry" Christmas party.
    I cried on Friday afternoon when I got home when my mother told me I was to spend the weekend at my aunt’s house, which I also never thought of as a fun place, despite her fancy furniture and bottles of 7-up in the refrigerator. Not only would I be marked absent for the party, but also for Sunday mass. If I could have articulated it then, I would have said, "There will be blood!"
   "But, Mom, Mother Mary Canice said we have to go! please, please.”
    I don’t remember what my mother said in response to my plea, but it was also mandatory that I be left at my aunt’s musty smelling row house on Gratz Street in North Philadelphia. I cried all the way there, knowing there would be a reckoning on Monday in the third grade classroom. I cried again that night in the small spare room at the top of the stairs that doubled as a storage space of sorts. I was homesick and heartsick, surrounded by stacks of books and piles of clothes here and there. I stared at the tan wallpaper printed with red tennis rackets or at the ceiling, where strange shapes danced, illuminated by the streetlight shining in from the window facing the alley behind the house. 
    I don’t remember what else happened that weekend or the trip back home, but I will never forget what happened on Monday morning. 

    Seated at her desk our stern nun who, at some point, had grown a cold stone in place of a heart, held in one hand a short list of the children who had not attended mass and/or the fun event. It was literally a “hit” list as it turned out, which became apparent when she began to call the names of children, who (for whatever reason) were "no shows."  In her other hand she wielded what she often referred to as her “buddy,” a metal ruler. One by one, my classmates were called to stand beside her. James went first, then Ann Marie, then Rosalie—all disappeared behind the desk as she turned them over her lap, and the whacks began. I knew I was last according to alphabetical order.
    As I walked up to the desk, I looked to the stature of Holy Mary Mother of God in the corner whose face shone down in kindness. I lay face down across a lap over the nun's black garments. She lifted my school uniform to meet out my punishment for not attending and having fun at the Merry Christmas party.  
    I kept my eyes on Mary's countenance, and, with each strike, I whispered one of names for her we would hear during a mass for the 
 to which the children responded, "Pray for us."
    Tower of Ivory
    Joy of the Just
    Comforter of the Afflicted
    Mirror of Justice
    Mother of Sorrows
    Cause of Our Joy
AMEN



ME TOO

From across the room Sarah recognized the young woman sitting with him at a table in a dimly-it corner of the restaurant. She knew she would find him here, but didn’t expect to see the girl whom she had often wondered about during her absence—wondered if she or others, known and unknown, were being exploited, controlled, and abused, as she had been. Two years had passed since she had seen either one of them. He was the reason she had left town, and now, the reason she had returned, with a capacity she did not have as a child of seven years old when it all began--courage.

She sat calmly at first, strengthened by the knowledge that something was to be done, something she had set into motion that would expose him. So many thoughts, feelings and fears filled her mind and heart. But anger was the motivator that would transform into courage to take action. The fire of anger building over years of humiliation, shame, confusion and despair was now now the burning courage to confront him, and to save her friend if she could. 

Now she stood fueled with that courage and walked over to the corner table. She wanted to scream, to rage, but being in a public place, part of her strategy, and having prepared for so long for this moment, she knew that she must act and speak out of that center of courage, of certainty to stand her ground. The calm of utter certainty expressed in her whole being was what was needed  to free finally free herself, and her friend and maybe others. She took a deep breath, determined to moderate at least her voice, though her eyes belied the calm when she looked upon the face of the predetor, the thief who stole her childhood.

"I remember you."  He was startled at the interuption and did not recognize her at first.  “Doing the same thing to her that you did to me?” Then to her young friend, whose face was inscrutibly blank, and not quite present--almost in a trance-like state. “Come, let' go for a walk now, and you will be safe, I promise.” 

“Who are you?” You have no business...." he spoke, as if she were a stranger, but his eyes and his nervous gestures also revealed that he knew exactly who she was and that he would, for the first time in his life be accountable.

“Sarah, what are you doing here? Where have you been?” the younger woman seemed to awaken in that moment to her friend who had disappeared without a word of why or a goodbye.

“You’d better leave right now, or I’ll call the police,” he demanded, but already the young woman had gotten up to stand beside her long-lost friend who put an arm around her shoulder. It was the first time in her life she had felt someone saw, knew and would protect and defend her. 

"Oh, they have already been called." and the case is in the works, so go home alone, and wait for all the others to come forward who also remember who and what you are and have done to them."

The two women looked at each other deep and long in silence, with the knowledge of what the other had experienced. They felt an unfamiliar strength in the invisible bond now forged between them—and a bridge formed to somewhere else that they would cross together. 

You too?” the young woman asked, now in tears.

“Me too.” But no more! We are free now."

“Sit back down,” he commanded the young woman, but already his power had shattered the illusion that her fate was sealed. Never again would he be able to control either of the women he had manipulated and abused, but, nevertheless would endure the life-long effects of what what they had experienced. Still, now there was a way toward healing, recovey--and  most of all no longer captives.

“We are in a public place now, not like when we were kids and you could get away with it.” Sarah, reeling and feeling faint to think of the past and of how many others, and for how many years. 

“You have a great imagination it seems, or maybe your fantasies? I don’t even know who you are.” 

“Well, we know who and what you are.  "No, not my imagination or fantasy, but yours--now exposed. Now it is out in the light of day and there will be a reckoning. It's over."

Sarah gently pulled the young woman closer to her, guiding her away from the table, and wondered how many others would come forward with the investigation that was well underway, but she couldn’t think about that now. It was time to turn away from the past and cross that long bridge--one step at a time.

The younger woman began to cry, at first softly, then as if gasping for breath. When they emerged into the clear night air, her whole body convulsed in waves of cold pain and dark shame. Walking along the tree-lined street. Sarah, also in tears looked to the stars peeking through the black branches silhouetted against the sky, clouds at the horizon luminous as the full moon bared its face behind them--silver linings against the dark heavens.

The sobs subsided into quiet breathing. Together the woman felt the promise of calm after a storm--and a feeling of light and warmth that might slowly, if never fully, eclipse the dark and cold and now--something completely new—something never before known or even imagined: HOPE.

Tuesday, February 20, 2018

JORGE LUIS BORGES WITH THE FINISH LINE WRITERS, GLOUCESTER , MA

ME: Welcome Señor Borges? May we imagine that you are here with us at the Gloucester Writers Center and that we are having a conversation?


JLB: You may imagine anything. You are a writers, are you not?  But, please, Señora, call me Jorge. It is good for me to be remembered. So you have been wishing to meet me?


ME. Well, I must admit Señor, I mean Jorge, I barely knew you existed until very recently, but now that I have read a little about you….


JLB: Ah! Then we have something in common, as ”I myself never knew if I actually existed.”


S. That is exactly why I am drawn to you. I feel that way sometimes as a writer between the thin veil of reason and imagination, reality and fiction.


JLB: Si si, si, my point—well one of my points. My work has been described by one critic as “irrealty.” You are experiencing what has become known as the “Bogesean conundrum”: "whether the writer writes the story, or it writes him.”


ME: Or “her?” So, yes, It was when I found what you said about writing that I knew I had to meet you.


JLB: You mean instead of Stephen King? Are you referring to my statement that, “I am all the writers that I have read, all the people that I have met, all the women that I have loved; all the cities that I have visited, all my ancestors.”


ME:. Yes, that’s it! I see your point. Who are we, fundamentally, if we are everything we have experienced, known or have ever been? 


JLB: “I am he as you are he as you are me and we are all together.”


ME: “I Am the Walrus,” I loved that song—a man of your stature and erudition quoting the Beatles?


JLB: As you say, Señora, you barely knew I existed, so your reaction is understandable. The essence of life and the universe to me is “an inexplicable maze, a labyrinth: I have only my perplexities to offer you.” I said that when I was almost 70 years old.


ME: I just turned 70 myself, and I too am filled with perplexities, which keep me in wonder and doubt. I am agnostic—sometimes! 


JLB: Which simply means that, “all things are possible, even God. This world is so strange that anything may happen, or may not happen. I have given the major part of my life to literature, and I can only offer you—doubts.”


ME: I can say the same—living for literature, or at least with literature all my life, which is more real to me than most things—the body of truth in it clothed in fiction. So, you mean to say you did not live by any one religion or system of thought?


JLB: I have lived in many countries, experienced many cultures, read and understood many philosophers. The most significant influence in my life was father’s library with its thousands of books. I have not thought to find answers to my questions or solutions to the enigma of being human, so I enjoy everything and employed everything as esthetically enjoyable constructs.


ME: Your thinking, and your writing remind me that, at times, I feel it is not I who is writing, as if  what comes to me is latent in my DNA, waiting thppo be expressed, but randomly…or maybe from somewhere else—again perplexities and doubt. Not that I am in your league, don’t get me wrong. I wouldn’t presume to…


JLB: Gracias, but, Señora, there is no league—only labyrinths, mirrors and dreams.


ME. Oh, I don’t know what to say about that, do you mean in writing?


JLB: I mean in life, even for Shakespeare. Have you read, my “Everything and Nothing”?


ME: No, but I heard about it when I was listening to a New Yorker Fiction podcast in the introduction to one of your stories.


JLB: Really, I am mainstream now? I invented hypertext, did you know?


ME: What? I have to look that one up. Hmm and I am not sure you are mainstream exactly, but I wouldn’t be the one to ask. I do remember reading one of your stories when I was in college,  “Funes the Memorious,” about a young man who is haunted by his memory of absolutely everything he has ever seen and experienced.


JLB: Si si, So you have read something of mine and now heard of others. So, tell me about that New Yorker Fiction podcast.


Me:    Well, the story on the podcast was your “Shakespeare’s Memory,” and  made me think about…hmm, I guess it made me think about and understand more about irreality.


JLB: Ah, my story about a man who is given the gift (and curse) of having all of Shakespeare’s memories which displace his own. Wonderful, and you will read my “Everything and Nothing”?


ME: Yes, I will as soon as I get back to reality—whatever that is, right?


JLB: Right. I will briefly summarize it, if I may to you and  your fellow writers: Jane, Dan, Barbara, John, Stacey, Cindy 1 and Cindy 2, as it contains the essence of how I think about the relationship between writers and writing—creators, and creations.


ME: Yes, please do; we’d love to hear it


4 JLB: It involves Shakespeare, who he was and perhaps his own search for  a fundamental identity. We know him by his works, but little of his so-called real life. First, he was as an actor, and content to play someone else, but was that enough? No, he then imagined, moved, thought, spoke and felt through his characters in the plays—hundreds of them, many of whom also disguised themselves as others. He created “all possible shapes of being.” After twenty years of “controlled hallucination” he returned to the “village of his birth, where he dictated his final will, which excluded every trace of emotion and his life-long literary gifts.


In  “Everything and Nothing.” I wrote, “the story goes that before or after he died, he found himself before God and said: ‘I who have been so many men in vain, want to be one man: myself.’ The voice of God replied from a whirlwind: ‘Neither am I one self; I dreamed the world as you dreamed your work, my Shakespeare, and among the shapes of my dream are you, who, like me, are many persons—and none.”


ME: I will have to take that into my "ponder heart," as Grace Paley would have said. Thank you, Jorge Luis Borges, for being with the writers in Gloucester tonight, and for your life and work of imagination and inspiration. It was an honor--even in its unreality.


JLB: De nada, es un placer—to exist once again in the present among the living, rescued from death's oblivion to speak to fellow writers—seekers wandering in and recording life's labyrinth of everything and nothing.

Monday, February 5, 2018

CATCHING THE STARS

Fran thinks about the multitude of days she has taken the same elevator to the 10th floor. She walks down the hall to the blue door to put the key into the lock for the last time. Today is the final day for her Play it Again sheet music store in New York City, maybe the last one in the country. It has been a cherished space for here and for conductors, composers, musicians, opera singers and others for almost 40 years. They came, not only to buy music, but also to visit her to exchange ideas and experiences, and to share the inspiration of music which, for Fran, was the foundation of the world.
    Some thought Fran’s stewardship of the thousands of sheets of classical music, many rare, made her comparable to a maestro herself, orchestrating the vast collection: organizing, moving, expertly arranging, according to composer, composition, or by other more subtle aspects only she knew about and could convey to those who frequented her shop. Uncanny were her insights and intuitions.
    She had met and served world-class figures, and so many other extraordinary and ordinary “guests,” as she called all her customers. They talked and laughed with her, always charmed by her dark eyes and flash of a smile that could seemingly fill the space with light. Mostly, they wondered at the esoteric nature of Fran’s knowledge of music and of her collection. But with the souces through the internet, more one can research, browse and download anything and everything related to music. Concerts are now performed with music loaded onto laptops instead of from touchable paper on stands, so no need for a brick and mortar shop. 
    And so Fran had been preparing for some time for the inevitable oblivion of hers, and all that its wares represented. Nevermore, or rarely, will musicians have that sensuous experience of seeing music on paper, holding sheets in hand, turning pages, or even tucking them away somewhere until remembered, or found again in a file or on a shelf, like treasured old books.
    Some few customers who had heard about the shop's fate came by as often as they could in the last few months, if only to visit Fran in her quiet universe of unheard music and to take in the ambiance of that space: a certain slant of light in the afternoon; a mood of anticipation, like a concert hall before the conductor walks on and the overture begins. There was also light in Fran’s whole being for the love of music yet to be discovered, played and heard by others. She had become affectionately known as, “the beating heart and soul of classical music.”
    Last week, when interviewed by a nice young man from the New York Times about the impending closure, she told him that her shop was, “a place where there was one of everything. I just love that moment when you put something on the counter and the person says: ‘Ah! I can’t believe you have this.'” But, she always did, even if the "guests" did not know exactly what they wanted or needed. Her hands deftly lifted each sheet tenderly to lay before them, pointing out the uniqueness of a score and all the subtleties of a particular version—like a mother who knows so well--the virtues and foibles of each of her children.
    Over the years, new visitors were not only amazed to learn of the scope and depth of the colossal collection, but were also curious about the inexplicable basket of eggs and bunches of rosemary, sage and basil on the front desk. Frequent visitors knew that, while Fran lived in the city, she also had a little farm in western Massachusetts where she raised chickens and tended vegetable gardens. Her guests often carried out freshly-gathered eggs or herbs wrapped in newspaper, along with their sheet music and receipts—always handwritten in pencil by Fran herself, all part of what she called her “little stage,” happy that every day she got to “do her act.”
    When visitors began to dwindle to just a few, then often not even one all day, she felt herself at the edge of a cliff about to fall over.
    Today, Fran turns the key for the last time to the familiar sounds of the creaking door and tinkle of a bronze bell, which in the last few days had not stopped ringing. Dozens of friends and well-wishers braved the wintry weather to visit the shop for the farewell--some for the first time, but all for the last. She stands disoriented at the door in temporary parlysis. Although she had anticipated this day for months, even years, she seems unable to step across the threshold. For a moment, she thinks she hears the strains of all of the music she loves—symphonies, fugues, concertos and sonatas emanating from the hidden notations within the stacked leaflets inside. At last, she takes a deep breath and the last step into the familiar silence, except for the muffled sound of traffic far below. She scans the space in her own farewell. There is nothing to be done, except to finish up some paperwork and wait for the movers who will come later today to take the boxes of treasures away to be archived at the University of Music and Performing Arts in Vienna.
    If she herself could create a composition to accompany this day, it would be a lamentation for the passing of an era. Yet, one has been creating itself in her heart and will resonate there ever after. Instead, she listens to Mendelsshohn's Hebrides and, as always, the strains transport her to another time and place.
    She is a young woman in a summer long ago on the isle of Uist in the Outer Hebrides. Living in a small crofter’s cottage with the MacKays, who had welcomed her as part of their family. Living and working with them she learned many new things: how to collect seaweed, tend gardens, shear sheep—and about living a simpler life. Most of all, she learned to observe, to pay attention. While at first she experienced the stark landscape as remote and austere, in contrast to the vast city along the Hudson, day by day she began to notice the subtlties of color on land and sea, to feel the purity of air, to bask in brilliant sunlight and to hear the distant rhythm of the sea. There was comfort, too, in the daily rhythms of the day and the seasons.
    Upon her return, she wanted to live part of her life in that simpler way. She eventually was able to acquire the farm in the Berkshires. Although she had never thought of her work there as her true purpose in life--that was in the city, in this shop on West 54th Street. Still, the farm sustains her, brings a kind equilibriam and peace she had learned that summer and has never forgotten, and believes it lives in her as clearly and vividly as does music.
    Throughout this day she listens to Mendelssohn's The Hebrides and welcomes her last guest in the form of the bright memory of the isle of Uist--which always brings joy and solace. The evening before she left Scotland, she spent with the MacKays. As the sun went down, they took a simple meal together, drank whisky, recited and sang Robby Burns’ poetry and songs. Filled with sadness, she spoke to the MacKays of her gratitude for all the wild and beautiful things around them: Eagles flying high above the wide drifts of flowers beyond the white sand beaches; the thatched-roofed cottages with their driftwood or whalebone timbers, the lovely low stone walls; and the kindness and generosity of the Hebridean people.
    “I will never forget any of it, or you,” she promised.
    “You haven’t seen everything yet, Lass," said Mr. Mackay. "Come with us now, but keep your eyes closed."
    She was led out by the two older children on a narrow path approaching the sea to the sound of slow waves washing ashore. When she opened her eyes, she saw infinite bright stars perfectly reflected from the heavens all across the calm water.
    
    Fran has never returned to the Hebrides, but on this day in her beloved shop, as on many days since, her thoughts return to "catching the stars," that night--a memory of magic--wading into the sea, cupping the stars in her hands, even as they slipped through her fingers back into the dark water.

Friday, December 8, 2017

PEOPLE TELL ME THINGS


People tell me things, and I write. What kinds of things do people tell me? Things that are true, made up, funny, sad, crazy, joyful, tragic, secret things and sacred things.

    There are stories of hard-won knowledge and transformation. I hear beliefs, doubts, regrets, hope, illusions, longing, magical thinking and despair. I notice a gesture, a gaze, a facial expression, a mood.  At the time, I am not thinking that I will write about what people are telling me, and I may never write most of what I hear, but I am truly interested, so I listen. I empathize. I learn. I am enlightened. I remember.

    Later, sometimes much later, when I am in moments of inspiration, I seem to free associate in a compilation of what I have heard, my own experience and frame of reference  (mythology, literature, history, psychology, etc.). I may see a pattern or theme in people’s lives, as I try to see in my own. I interpret, intuit, dramatize, expand, magnify and integrate in the throes of the creative process, ultimately touching on relatable experience about being human.

    Dante Allighieri wrote about the medieval tradition of interpreting story on four levels, which can be applied to experiences in life as well. There is the literal - the reality of a story; the allegorical - what a story represents symbolically; the moral - a story's ethical implications or lessons; the analogical - what it is like, the metaphorical aspects, that which rises to philosophical, spiritual, universal realms. I may tap into this kind of interpreation, but not methodically--more or less in a subconcious way, but always with a wish to convey the profundity of truth therein. It just happens that when I am writing--being moved along by what and from where I don’t know--what I have heard starts to appear as poetry or story.

    I love when this happens, a flowing forth without conscious intention, taking a form and shape of its own. I do not feel, though I have wondered, if I violate a trust, even though what develops is a compilation, a blending of  stories sifted through and expanded upon through my imagination and inspiration. I suppose if people who have shared things with me recognize their words, actions as parts of their story, they may feel betrayed or offended. I would hope not. A writer's task has always been to lay bare the human condition and, in some cases, to "rescue the dead [and forgotten] from obscurity."

    Writers bear witness.

    Fabulist Italo Cavino noted, “A classic is a book that never finishes what it has to say.” And so it is with our lives—filled with meaning that writers pass on, paying tribute to those who have shared their stories. Thus, collectivly, writers reveal, again and again, in all its variety and forms--the human condition--which also never finishes what it has to say.

    For while the tale of how we suffer, and how we are delighted and how we may triumph is never new, it always must be heard. There isn’t any other tale to tell. It’s the only light we’ve got in all this darkness (James Baldwin).

     

    People tell me things, and I write.

GENTLY DOWN THE STREAM

Time is relative. Isn’t everything? It’s all a matter of perspective. Time goes faster or slower depending on velocity and gravity: Hello Einstein, or was it Newton? Not that I understand the theory of relativity or Newton’s concept of absolute time, but I do think we all experience time as passing more quickly when we are exeriencing something pleasant and enjoyable, and more slowly in situations of discomfort of any kind. 
    I like the definition,"Time keeps everything from happening at once." (variously attributed to Mark Twain, John Lennon and even Einstein).  Thoreau wrote in Walden, “Time is a stream I a go a-fishing in." which suggests that time is just there to leisurely dip into and out of without worry about passing, wasting, or running out of it. He observed, even in Concord at that time, a sense of urgency around time. The world was in rush, and that meant neglect of the things of the mind and heart. For him that was solitude and living simply, close to nature in his beloved woods.
  What would he think of the way we live now? Now-- dependent on cell phones, social media, email, video games, TV, and an app for everything imaginable (and more yet to be imagined) and working overtime. Thoreau saw where we were headed (and still are at  speed of light)We have indeed been cast out of "The Garden,” having taken a big bite of an Apple of another kind.
    Although we live in the present, our thoughts and feelings mostly revolve around the past or the future, causing anxiety about what could have been accomplished, yet to be done.    Thus, focusing on the present is difficult. Have you noticed, though, that living in the present seems to happen when we fall in love—when no one or nothing exists but our beloved, or when we are with children, partly because we must to tend to all of their present needs and activities, of which play is certainly one of them. 
     Children compel us, if we are attentive and responsive to live and love and in doing so, we transcend time. We are unaware of it. To quote another voice: “For the present is the point at which time touches eternity.” (C.S. Lewis)
  Once when my grandson Finn was about four years old, I told him I would be going home “tomorrow,” and that it made me sad.  With the wisdom of childhood, he said, “It’s not tomorrow now.” That penetrated to the core of my being.  I realized I was trying to impose the future on him when he, rightfully so, lived only in the present, the “now,” as children and lovers do. 
     Finn challenged me into doing the same—to be with him in the here and now—no worries, only the joy of each other’s company.  As adults, we refer to the calendar and clock for our day, week, month and year, getting the children to school, catching the bus, preparing that report, making phone calls, keeping appointments, planning way too far ahead--with no end in sight. 
Can we not so much “take time,” but forget time and the absurdity of our spinning on a blue planet madly through the dark, cold expanding universe into what, into where? Can we “just be,” sit quietly under the stars, or under a tree with a friend, calm ourselves before sleep or upon waking, live in the present with or without children or lovers?  

  There is the silence, the warmth, the breeze, the sound of the sea for a timeless time—before we dip back into that stream, where, actually, everything is happening at once. Splash!

Wednesday, March 22, 2017

QUESTIONS & ANSWERS

Thinking a thousand thoughts 
What ifs and if onlys?
I do not speak them--
fearing the answers

Words have power to bring things into being

Do you believe it?
Then why are you silent, dear one?
Have you no thoughts?
Who silenced you?

In a meadow of tall grass
I whispered
a prayer, a wish, a memory, a dream
Doves called—one to another
sun rising above purple hills
I thought I heard you answer

But it was just the wind

DEATH DITTY

Where will you lay your head?
Down in the meadow where the wood thrush sings

Where will you leave your heart?
In the high tower where the church bell rings

What will you leave behind?
Loaves and fishes for hungry poor

Where will you sail your ship?
Far away to a starry shore.

Monday, December 26, 2016

BROKEN BEADS BLUE SKY

Her mother’s beads broke and scattered across the floor backstage. Four strands of rose-colored iridescent beads, a tiny crystal between each and with a gold filigree clasp. She remembers gazing at them, touching them, rolling them in her small fingers as she sat on her mother’s lap. That was so many years ago.

When Christina was 21, her mother had warned, “Don’t marry that man,” but she did.

On her wedding day, only a few months after her mother had died from an aggressive cancer, she had begged her father, “Don’t let that woman sit next to you where Mom was supposed to be,” but he did.

On her honeymoon, under a clear blue sky on an island beach, she lay on her tie-dyed scarf, the sun beating down, a cool breeze off the surf, high tide rolling in. She had called to her husband who walked along the waves, “Don’t be long,” but he was. She waited—alone until the sun was going down, wind chilling her to the bone. The once cloudless sky now resembled the transparent scarf  wrapped around her shoulders: fading blue, streaked with grey and yellow, which made her cry.

Since then, he has been “disappearing,” leaving her to wonder and worry.

Where does he go? How long will it be until he returns? Does he ever realize he is missed, or even that he is expected back at all? Doesn’t he remember he was going to finish fixing that door, that he was supposed to meet me for lunch, that he will miss dinner with the family—again?

Whenever she tried to sort out the how and why of it, her thoughts raced to a vanishing point. She told herself it didn’t matter after all.

What worried her most was her husband's patients arriving when he might not be there to receive them. One day, she cancelled the few remaining appointments. After several doctors’ visits, she and her husband learned there was good reason for his behavior which prompted his early retirement. Still, discovery of the reason for the years of disappearances and seemingly random, inconsiderate antics didn’t change things much. Even with medication and therapy, there would be no quick fix, no perfect ending. It was she who had to adjust. It was she who struggled to transform denial into acceptance, impatience into tolerance, and resentment into understanding—hateful contraries.


These are the thoughts arising in Christina as she collects the scattered beads. She had brought them in with the other pieces of her mother’s jewelry for the high school girls to wear in their roles as aristocratic Victorian ladies. After the play, one careless girl in a hurry tugged at those strands of memories, sending them into the shadows behind the curtains.

I’ll take the for repair, to be strung back together, all four strands—like new. What is wrong with that girl anyway?

Christina liked finding purpose for the things she had salvaged from her childhood home in a forlorn, upstate New York town. Besides the jewelry, she has a yellow Bakelite clock in the shape of a teapot in her kitchen above the stove. Six ruby red wine glasses, a set of dishes trimmed with dogwood flowers, and hand-painted Italian bowls, all arranged in a glass-front cabinet, as her mother had kept them. Most cherished are old letters and cards found in her mother’s desk after the funeral—touchable memories to take into her hands and hold to her heart, a comfort when she can’t mange to be accepting, tolerant or understanding.


Driving home this night, she comes back again and again to brokenness: Things are coming apart. That very morning, as she dressed for the long day ahead, she brushed against and dislodged the small plate hanging on the wall—the one her mother had given her before entering the hospital for the last time. On the sky-blue and white memento, in silvery script was: Baby Christina Marie ~ Born November 10, 1974 ~ 7 pounds 3 ounces. She left it shattered on the floor.

Almost home now, she loosens her fingers on the wheel as she drives down the tree-lined street. She recalls the sense of freedom she once had felt driving east on the Massachusetts turnpike to her uncharted life—to all that  lay ahead of her, singing out, “Boston, you’re my home.” Later, she found she had to get away from her new home when, once too often, her husband did not show up for dinner; or she again had to make excuses to angry patients; or he had forgotten to call for heating oil, and she came home to a frigid house. Then there were those maddening, one-sided conversations, constant distractions and interruptions, unrelated questions and non-sequiturs until she had to laugh—or go insane.

Who am I living with anyway, Salvador Dali?

She usually laughed, but when she could not, it was time to flee. She would pack up the car and head west with her two small children to visit her father, which also meant seeing the woman he married—now her step mother, who without a shred of consideration for the motherless bride’s request, saw fit to take her “rightful place” next to Christina’s father in the church pew.

During one of those spontaneous trips, that woman called Christina selfish and disrespectful when Christina had said, “I’d like the kids to eat before Dad gets home. They are usually in bed by eight, and it’s been a long day, with the drive and all.”

“Well, your father won’t be here till eight-thirty, so they’ll have to wait. It won’t kill them to not get their way—for once.”

Christina bit her bottom lip, ignored the comment and continued setting the table, as her mother had always done. She spread a crisp white cloth. She found the familiar white dishes with an ivy border pushed to the back of the kitchen cabinet. She took pleasure in placing them around the table, as if she were still a girl at home on a school evening.

“I don’t think Dad would mind if the children ate early, Charlotte,” she tried to reason, and called the children to come to the table. Before the words were out, she felt the sharp sting of Charlotte’s hand across her cheek.

“You never did have an ounce of respect. Well, you  are not the crowned princess around here anymore.”

Christina dropped the plate she was holding, put her hand up to her face and blinked back the hot tears welling up, so the children wouldn’t see. But they had heard Charlotte’s harsh words. They saw the broken plate and their mother leaning over to pick up the pieces.

Charlotte grabbed the plates already on the table and the shards from Christina’s trembling hands and tossed them into the trash. “There, I’ve been meaning to throw those old things away,” she said, as she removed drab brown dishes from the cabinet, held them out to Christina, and pointed to mismatched glasses on the shelf, two with Peter Pan and the Darling children flying away, and three others with watermelon slices.

“Now, finish the job, and we’ll wait for your father to come home.”

Christina mechanically went around the table with the dishes and glasses, taking solace in thinking of her mother’s thin-stemmed, ruby red glasses in her own cabinet at home.

Can people just be replaced like broken china?
In the quiet of night, she returned to the kitchen, took the plates out of the trash, and put them into her suitcase, intending to mend the broken ones when she got home.

She loved her father deeply, despite his betrayal and “o’er hasty marriage” where, “the funeral baked meats did coldly furnish forth the marriage tables,” lines from Hamlet she had quoted to her husband on the day of what they have since referred to as, “the unholy union.”


Scenes of that incident, her wedding day and sitting on the beach at sunset linger now. She shudders at the memory of them. Then she remembers how, when her father arrived home that evening, he smiled, hugged her and said he was glad she had “come home,” though it never felt like home again without her mother.

Home. Is it a place or a feeling?


She is glad the day is at an end, and that there is a parking place to be had. Gathering up the bags in the back seat, she hears the rustle of leaves from the chestnut tree at the curb’s edge—a welcome in the balmy night air. She stops with a sigh to look up at the few steps to the porch, feeling worn out and on edge.  At least a small weight  had lifted with her director duties completed for the school year.

She manages the steps, opens the front door and climbs the staircase to the second floor. Facing her at the landing are two doors. The open one is to the shadowy office where streetlights cast dark reflections. Black branches dance on the ceiling and walls, like a crazy light show in the abandoned room. She pushes open the other door to the living room and drops the plastic bags containing a red paisley smoking jacket, a blue chiffon dress, black suede heels, a silver cigarette case, a blonde wig, a straw handbag, a bunch of yellow paper roses, a wooden jewelry box and a pink satin bag with the broken beads.

She intended to go straight to bed, but the sofa looks inviting. Too tired to walk the few extra feet to the bedroom, she flops down, picks up the remote and clicks to the classic movie channel. Staring at the TV screen, her mind drifts to a recent visit with a friend. As they walked along a windy beach, the tide rolling in over the deserted, narrow shore, Christina told her friend about the dreaded oncologist’s appointment that day, and the diagnosis.

There was a long silence.

“They say, if we could see things from the highest perspective, it would all be good,” her friend said.

It was thoughtless and rude of her to say that. Hadn’t she just heard the bad news?

The friends had long confided in each other, exchanged ideas and experiences, pondering whether life has any meaning at all, and, if so, what it could be. They would look at each other and say, “It is what it is; it will be what it will be.”
Now, it was different; Christina knew what was to be, and so did her friend.

To the background bantering of Hepburn and Tracey, she is remembering how she and her friend had read about and discussed reincarnation and karma, and considered it a more rational alternative to heaven or hell—or nothingness. They neither entirely believed, nor disbelieved, but were attracted to the idea that souls choose the circumstances of their existence before birth—ones that provide the context to live out their karma. They agreed everyone’s life seems to have a theme and pattern, with recurring questions and challenges to guide them, maybe even to a certain destiny, but also there are choices to be made in life, informed by increasing consciousness and self-knowledge.

Still, for her friend to have suggested that anything could be good about her diagnosis was wrong. Thoughts crowd in, as she scans the cluttered room.

Is this my destiny? Did I choose it? Can I change it, fix it, get well? Is the highest perspective heaven? And why do I have to sink so low to get there? Do I know or believe anything? Her husband shuffles in and stands in front of her. She is surprised to see he is still awake. Usually, he is on the sofa asleep or already in bed. After twenty years of marriage, there is still no predicting what she can count on him for, yet he loves her; she loves him. That much is never in question.
He is not unfaithful. He is not unkind, and he always wanders back home to her. It has just taken those years of adjusting and lowering expectations to realize that she can depend on him only for the things he is able to do, and not always for those she wishes for or needs.

Is that my karma, or his?

Her mind fogs over with the mystery of it all, grateful for those things he can manage.

“How’d it go?”

“Oh, the kids did a great job. We packed the house, and everyone loved it, but…I’m glad it’s over.” The broken beads still have her upset, but she doesn’t have the energy to tell him about it.

“Want something to drink? There’s some leftover pizza.”

“No, I’m fine. Hey, are you coming with me tomorrow?”

“ Ehh…what time?”

“My appointment is at two. I’ll be home around one.“

“I’ll go with you,” he says, padding back to the kitchen, then comes back with a glass of cranberry juice and a cold piece of pizza.

“I…I don’t think I can eat…”

“I’m going to bed,” he interrupts leaving the room.

“Okay, I’ll be there in a few minutes,” she calls back, wondering whether he will be around the next day when it is time to go to her first chemo treatment or if he will be AWOL again.

She leans back against the soft cushions, trying to focus on the last scenes of the film, unable to keep her eyes open for more than a few seconds at a time. When she opens them again, she sees, “THE END” in white letters on a grainy black background. She manages to rouse herself, but begins to dread another sleepless night. She sits staring at the bags on the floor, thinking again about high perspectives, low places, broken beads and dishes, karma and cancer treatments.

She wonders if she has the strength to undress, as she picks up the crumpled nightgown at the foot of the bed next to the shattered blue and white pieces on the floor. She turns away, eases into bed and edges back, against her husband until her legs touch his.

Tomorrow is another day, but not an ordinary one.
Images of her children’s faces appear. It was the hardest thing telling her family—their sadness and apprehension of grief—another long silence. Her daughter was in tears, and her son said, “I want you to get well.” Her husband got up and walked away with his head down.The oncologist told her she would not get well, and would be in some kind of treatment for the remainder of time she had left. Since then, family talk has been only of practical matters: treatments, appointments, and the details of “getting things in order.” She has shielded her son and daughter from most of it, taking on the burden of their pain, as well as her own.
Still, she has hope; she has the will to live, if not the strength to think about whatever she will have to endure with the treatments. She isn’t sure how miracles fit into her life’s theme, free will or destiny, but she believes in prayer and in miracles.

“Of everyone I’ve ever known,” her friend had also said that day, “you are the bravest, strongest, most positive person.”

Funny, I don’t feel strong, positive or even like a person. She thought of herself, rather, as a shadow of the self she tried to build and sustain in this lifetime, with parts of herself missing, wavering, like the quivering branches on the ceiling of the abandoned room at the top of the stairs—a shadow of something real, but not real, caught between hope and despair—another uncharted place.

“You love life and live life,” her friend had said that day, as if Christina needed a reminder, especially now. She also was left to ponder the other thing her friend had said, “It’s not over till it’s over.”

She closes her eyes, whispers a prayer, listens to her husband’s quiet breathing, as thoughts, feelings and images swirl together, fading into the dark future, into sleep.

In the hospital waiting room, she gazes out the window at the vast, clear blue and cloudless sky, holding the pink satin bag full of beads.

“Christina,” a nurse calls and comes over to stand in front of her—blocking out the blue. “We’re ready for you; come on back.”

She looks at her husband—lost child—not even pretending to be strong for her. She wonders if he will come back when he is called to sit with her for the treatment, or if he will have wandered off. He lifts his hand and manages a smile, which she carries with her down the long hall and into the sterile room.

The nurse gets her settled on a bed turned up to a sitting position and prepares a bright red IV drip. Christina is grateful to be opposite a window with a view of blue sky.

In the closed palm of her hand, she holds a single rose-colored bead. She loves the feel of its round smoothness. It has nothing to do with the rest of the beads now. It is beautiful and perfect all on its own.

She closes her eyes, imagines herself bathed in the glow of its color, looking down from a very high place—a place where she sees everything exactly as it is.