September 25, 2014 § 6 Comments
Lynette D’Amico on the origin of her essay Faithful, found in the newest issue of Brevity:
So the was turns to is, in whatever one writes.—Marianne Boruch
When a dear friend’s mother was in hospice at home, dying of ovarian cancer, she asked me to come. We are both daughters of Italian mothers. Of course I came. This was in late summer. We mark our friendship by cigarettes: the years of sneaking around with cigarettes, the years we smoked together, the years since we quit smoking. Her parents’ house was out in the dense oak and hickory woods of Jefferson County, Missouri, out of cell phone range. We took the night shift, staying up all night with her mother as she diminished further and farther. The progression toward death is already disorienting, add to that: disconnection from the outside world, our exhaustion, the Italian propensity to express grief in anger and blame: sad-mad, mad-sad—we were out of our minds. We ate handfuls of black licorice during the long nights, both of us wanting a cigarette, the bitter-sweet bite of licorice a solace on the tongue.
My own Italian mother would be dead by spring. I talked to my mother every day. If I missed her call, she would leave me long, chatty messages, often multiple messages. After her death I realized I still had all these saved messages from her, more immediate than photographs, as effective at transporting me into her presence as the nearly empty bottle of Jean Naté cologne I kept on my bedside table.
I’m primarily a fiction writer, but I get a little bored by plot, narrative: this happened and then this happened. I’m a sucker for language, image, the rhythm of a phrase. At first draft, meaning, if any, is secondary, not the point. The point is bald, gasping beauty. Like Annie Dillard says, “I wanted beauty bare of import; I liked language in strips like pennants.” With “Faithful,” I started with the phone: the disconnected phone during the dying of my friend’s mother, no cell phone service, the saved phone messages from my mother.
Because I’m a writer, how I try to make sense of the world is through words. Of course, words are completely inadequate to make sense of grief, to make sense of the terrible loss of our Italian mothers. But I had to try anyway. In earlier drafts I went through the three stages of memoir, what poet and memoirist Rigoberto Gonzalez refers to as “the sentimentality of nostalgia, … the low-emotion in anecdote, and … the frivolousness of crowd-pleasing storytelling.”
I remembered a line from Maira Kalman’s wonderful book that illustrates a year in her life, The Principles of Uncertainty, about the death of her own mother: “She is no longer alive, and it is impossible to bear.” What more needed to be said? That line became a version of the refrain in “Faithful”:
“The impossibility that she is dead.”
“How impossible it is that she is dead.”
“It is impossible that she is dead.”
“The impossibility of her dead.”
I transcribed my mother’s phone messages. She died in April, ten days after Easter. There were still Easter cuccidate she had made in the freezer.
Like the slipperiness of grief itself—expanding, contracting, laying low, and then wham! You think you can go to the grocery store and walk by the escarole, the green and purple grapes, and not think of your mother’s table? I couldn’t come to a resting place with this piece, not to an end point, but a pause point: stop here for a little while, look around, go for a walk, wash a dish. Sentences, paragraphs, went on and on. There would be no end to it. No relief. Punctuation marks stabbed me. The white space on the page was a gaping hole I fell into again and again. Every time I came to the page my friend’s mother, my mother was dying over and over again.
In James Longenbach’s brilliant essay, “All Changed,” about the effect of tense shifts in poetry and prose, from his book The Virtues of Poetry, he says in regard to the poem “Easter, 1916” by William Butler Yeats:
…the simple present tense produces a timeless presence. …the poem is looking at events that occurred in the past, but something is happening right now, in the time it takes to speak the words of the poem.
In my own clumsy way, I wanted to try narrating a past event from present tense, or the intrusion of the present tense into a past tense narrative, so the phone is still ringing in the last line. It is happening right now. Do you hear it?
Lynette D’Amico earned her MFA in fiction at the MFA Program for Writers at Warren Wilson College. She has published work previously in Brevity and The Gettysburg Review. She is the content editor for howlround.com.