from a work-in-progress

grandma's house and fields

Listening to the young pianist playing Janáček’s “In the Mists”, I close my eyes and imagine the landscape where you were born. Foothills of the Beskids, near Janáček’s home village. He was a folklorist as well as a musician and gathered the songs and spoken tales of Moravia-Silesia. Did you sing? Did your family have its own musicians? Did you listen to the bells on the sheep and imagine them into simple tunes? Listening, I am in Moravia, I am in a village of white buildings painted with ultramarine flowers by Anežka Kašpárková, I am myself a babička, stitching blue cloth in long red stitches.

Listening to the young pianist playing “In the Mists”, I hear birdsong, the brittle canes of winter roses brushing against my house, the sounds you would not have noticed in your daily work (a house without roses), feeding chickens, washing the laundry of a family of 10, then 9, then 8, then rising again, the deaths and births echoing the seasons, the river freezing, thawing, the return of green leaves on the cottonwoods in Drumheller, on the beeches of your childhood home in Moravia-Silesia, all of it hidden in mist, morning mist coming down off the Beskydy Mountains, frozen mist in your final years in Beverly, a stone’s throw from the North Saskatchewan River.

Listening to the young pianist playing “The Madonna of Frydek”, I am in the fields of barley, soft grasses, poppies. A blown-away leaf, the composer said, could be heard as “a love song”.

Listening to the young pianist playing “The Madonna of Frydek”, I remember the sign for Frydek as we drove to your village. We drove on, drove on, through snow, past the church with the spring of eternal waters (said to have cured those suffering cholera), past the graveyard inaccessible in snow, the miracles of Mary, and a road ghosted by the footsteps of my grandmother’s family, her two sisters, the brother who no one remembers, who died in his dugout house in a squatters camp in Drumheller during another epidemic, hearing them somehow in the snow, the light wind, and now in the penultimate chord as the pianist completes his encore. Now, now, now. I am applauding and I am brushing tears from my eyes in the dark hall.



2 thoughts on “from a work-in-progress”

  1. Exquisite prose, Theresa – a haunting sliver of remembrance. A friend once said that my book about my great-grandfather was “a blow against amnesia.” You are fighting amnesia every day in your work.

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