redux: “Who’s there?”

Note: this post is from February, 2019. I describe the process of writing “A Dark Path”, an essay subsequently published in Brick 104. Sometimes essays begin in thin air, a voice in the darkness calling out.

___________________________________________

pelvis

Something happened the other day and I want to write about it while it’s still fresh and lively in my thinking. I got up in the night (after midnight as Wednesday eased into Thursday) to sit at my desk and ponder the beginnings of an essay to accompany the dark path quilt I was sewing. I know this might not make sense to people who do one of these things or the other but not both. Each discipline requires a different set of skills, a different kind of focus. Still, working on the two things in tandem has become a way for me to explore the process of making something and thinking deeply about the way it connects to ideas, dreams, visual signals, metaphors. My essay “Euclid’s Orchard” traced the making of a quilt of the same name. It followed my attempts to learn something of mathematical language and pattern in order to understand my son Brendan and his life-long calling. (He is a professor of mathematics at the University of Alberta and when I look back at his childhood, I see that he was always pursuing patterns and numbers. Though when I asked him once if he always thought about numbers as a child, he said, “That’s the way you’d describe it but it was more about relationships, patterns, equations.” “Even then?” “Yes, even then.”) Another essay, “An Autobiography of Stars”, documents the making of a starry quilt for my daughter who was still a teenager. I wanted to give her the heavens and all they contained. Not all my essays have matching quilts but they almost have some sort of puzzle at their heart. Something I need to figure out.

So as Wednesday became Thursday, I was at my desk, the space lit by a small lamp, and I was looking at the beginning of the dark path essay. To the right of my computer is the pelvis of a long-dead dog. While I was sitting there, I remembered something that happened to me when I was 14, an accident with my horse. I heard (if you can believe me) the voices of the two soldiers in the opening scene of Hamlet:

Bernardo: Who’s there?
Francisco: Nay, answer me. Stand and unfold yourself.

I shivered a little in the night, in the small space of my study under its Giotto ceiling, and I began to write. An hour later, maybe two, I went back to bed. Then in the morning I returned to my desk and finished what turned out to be a complicated and (to me) fascinating nexus.

What I wrote wasn’t what I thought I’d write. When I began the essay to accompany the quilt, I imagined it would describe the process of choosing scraps of fabric and laying them out in a pleasing pattern. Yes, there’s some of that in the essay. I thought I’d describe how much John and I are enjoying reading the Inferno of Dante each evening by the fire. Yup, that too. But I also found myself drawing together pelvises, fractures, the fear of losing myself in the process of aging, various paths I’ve made and taken in my life so far, and oh, some other strands of loose thread into a crooked but interesting seam. It took me almost all of Thursday to finish the first draft and a good part of Friday (yesterday) to fix some weak areas and to tighten the structure. (Those seams! The connective tissue!)

Sometimes you just have to write. You can’t wait for the right moment because when exactly will that be? You need to pay attention to your own fears (Who’s there?) and walk into the night to meet them. You hope the path you’re following is not too broken and rough. You hope your footing is at least adequate, in the darkness, in the grass that has grown up over the path you made with rocks to lead you out to the outhouse when you first lived here, your baby (not the mathematician but the one who became a historian) sleeping in the unfinished house.

“when sorrows come”

hellebore

The hellebores are blooming by the front door. Sometimes on a grey day that’s all it takes to boost the spirits. Sometimes a little sleep would help too. For the past few nights I’ve had difficulty sleeping—last night I got up at midnight to spend a few hours at my desk and then went back to bed. I was still awake at 5. I feel as though I’m underwater, moving slowly, asking for everything to be repeated. But to be honest? I love to be up in the very small hours of the morning, just after midnight, when the house is so quiet you could hear a mouse. And sometimes it is a mouse, one brought in by Winter, scurrying around and trying to find a safe place. Last week a mouse huddled under a wooden box and I used a feather duster to brush it into a rubber boot. When I let it go on the upper deck, it raced to the grape vine and disappeared down its woody trunk, as though it knew exactly how to navigate the sides of our house. But no mouse last night. Utter quiet. I was trying to puzzle through some family connections and had a file folder, an actual paper one, on my desk. Just as we were leaving for Ukraine in September, in fact sitting in the ferry lineup at Langdale enroute to the airport, an email arrived on my tablet from the young woman who is my aunt Ann’s great-granddaughter. (Hello Amanda, if you’re reading this!) We share some relations but not all. Her great-grandmother was my father’s half-sister. My grandmother was Amanda’s great-great-grandmother. But Amanda is on the same quest as I am, finding out how people fit in our vast family tree and she’s been very helpful in locating documents. What arrived in September were some death certificates as well as a marriage certificate. And they weren’t what I expected. The story I’d always been told was that my grandmother’s 9th child, the last one born to her and her first husband, died of diphtheria, just 7 months after my grandmother’s husband died of Spanish flu. I’ve known that story and a few years ago I learned another sad part of it: my grandmother’s brother, who’d come to Drumheller just a month after she arrived in 1913, and whom my father never knew anything about and who isn’t remembered in the village he and my grandmother came from in what’s now the Czech Republic, died within days of my grandmother’s first husband. I learn from the forms sent by Amanda that my grandmother’s brother died in her home, a bare shack in a squatters’ community in Drumheller, and that he died of Spanish flu, yes, but also of blood poisoning. And that the baby, 10 months old at the time of her death, died not of diphtheria but of malnutrition and whooping cough. Malnutrition. I was shocked to read that but maybe I shouldn’t have been. A woman with 9 children, one an infant, loses her husband and her brother within a couple of days of one another, without much English, with no means of support, in a shack in a small town ravaged by a flu epidemic—how difficult it must have been to simply go on, let alone produce milk to keep an infant alive and strong. In later years, my grandmother had a cow but not then. So that infant died in May of 1919 and less than a year later, my grandmother re-married. Her new husband was the man who became my grandfather. They had a child in 1921, her 10th child, his first, and almost exactly 3 years later, that child died too. My father told me his sister had died of diphtheria but on the death certificate, the cause of death is “Septic tonsillitis”. Two years later, my father was born.

In the night when I was puzzling through these details, making a little drawing to figure out the time-frame of each event, I thought how sorrow must have been the abiding atmosphere in my grandmother’s house during those years. One death after another, two of them the frayed threads that connected her to the home she’d left in the Beskydy Mountains, the young husband she’d married in her early 20s and her brother, who lived in a dwelling dug into a bank of the Red Deer River, the third a thread of hope, a small life to care for and to survive for. Or maybe she simply couldn’t care for the baby, couldn’t rise from her bed, couldn’t nurse it. There were 8 other children in the shack. Probably not much food. I thought of Claudius, in Hamlet: Oh Gertrude, Gertrude, when sorrows come, they come not single spies, but in battalions.

Hellebores have their roots deep in folklore and the one growing by my front door is a Christmas rose, its name alluding to an old legend in which a young girl who had nothing to give to the Christ child wept; her tears fell onto snow and hellebores sprouted from them. They are lovely, yes, but also toxic.

“Who’s there?”

pelvis

Something happened the other day and I want to write about it while it’s still fresh and lively in my thinking. I got up in the night (after midnight as Wednesday eased into Thursday) to sit at my desk and ponder the beginnings of an essay to accompany the dark path quilt I was sewing. I know this might not make sense to people who do one of these things or the other but not both. Each discipline requires a different set of skills, a different kind of focus. Still, working on the two things in tandem has become a way for me to explore the process of making something and thinking deeply about the way it connects to ideas, dreams, visual signals, metaphors. My essay “Euclid’s Orchard” traced the making of a quilt of the same name. It followed my attempts to learn something of mathematical language and pattern in order to understand my son Brendan and his life-long calling. (He is a professor of mathematics at the University of Alberta and when I look back at his childhood, I see that he was always pursuing patterns and numbers. Though when I asked him once if he always thought about numbers as a child, he said, “That’s the way you’d describe it but it was more about relationships, patterns, equations.” “Even then?” “Yes, even then.”) Another essay, “An Autobiography of Stars”, documents the making of a starry quilt for my daughter who was still a teenager. I wanted to give her the heavens and all they contained. Not all my essays have matching quilts but they almost have some sort of puzzle at their heart. Something I need to figure out.

So as Wednesday became Thursday, I was at my desk, the space lit by a small lamp, and I was looking at the beginning of the dark path essay. To the right of my computer is the pelvis of a long-dead dog. While I was sitting there, I remembered something that happened to me when I was 14, an accident with my horse. I heard (if you can believe me) the voices of the two soldiers in the opening scene of Hamlet:

Bernardo: Who’s there?

Francisco: Nay, answer me. Stand and unfold yourself.

I shivered a little in the night, in the small space of my study under its Giotto ceiling, and I began to write. An hour later, maybe two, I went back to bed. Then in the morning I returned to my desk and finished what turned out to be a complicated and (to me) fascinating nexus.

What I wrote wasn’t what I thought I’d write. When I began the essay to accompany the quilt, I imagined it would describe the process of choosing scraps of fabric and laying them out in a pleasing pattern. Yes, there’s some of that in the essay. I thought I’d describe how much John and I are enjoying reading the Inferno of Dante each evening by the fire. Yup, that too. But I also found myself drawing together pelvises, fractures, the fear of losing myself in the process of aging, various paths I’ve made and taken in my life so far, and oh, some other strands of loose thread into a crooked but interesting seam. It took me almost all of Thursday to finish the first draft and a good part of Friday (yesterday) to fix some weak areas and to tighten the structure. (Those seams! The connective tissue!)

Sometimes you just have to write. You can’t wait for the right moment because when exactly will that be? You need to pay attention to your own fears (Who’s there?) and walk into the night to meet them. You hope the path you’re following is not too broken and rough. You hope your footing is at least adequate, in the darkness, in the grass that has grown up over the path you made with rocks to lead you out to the outhouse when you first lived here, your baby (not the mathematician but the one who became a historian) sleeping in the unfinished house.

opera grotesque

Last night, a production of Hamlet, as told by the Tiger Lillies, at the Place des Arts here in Montreal. I’ve read reviews of other productions and I’m still trying to figure out what I think. In many ways, an astonishing and original piece of theatre. It was a very physical and athletic play,filled with flight and swimming (and drowning) in air, feats of tremendous and beautiful body work. The voice of Martyn Jacques, the Tiger Lillies front-man, filled the theatre, as he sang to both the actors and the audience. What troubled me: the way the syntax of the songs made them muddy sometimes, in service to the expected rhymes rather than dramatic effect. And let’s face it — language doesn’t get more perfect than Shakespeare’s. So commentary on the play needs to be pretty amazing to work. And I didn’t think this production always worked. But when it did — the harrowing Desolation Song as Ophelia dies — it was entirely memorable. I’m glad we went. And we talked about it the entire walk back to the Gingerbread Manor B&B where we are staying for a couple of nights (recommended by Forrest and Manon) and where I can smell breakfast as I write.

hamlet

Yesterday we arrived to snow but not romantic fluffy snow. It was wet and slushy and we got very cold. Luckily we found Juliette & Chocolat where we drank little jugs of extraordinary hot chocolate and shared a fabulous brownie. This morning there’s a blue sky and high pink cloud. So onward! And upward!