Even in the face of death, “life goes on.” It’ll break your heart, it’ll piss you off. But it does. It goes on.
When we suffer a heart shattering loss, one that comes suddenly and too soon, it’s enough to make us scream … at the sky, at the mirror, at God … at the birds, so arrogantly singing in the trees, as if nothing has happened. What are they doing? Don’t they know?
Part of the heartbreak is that we’re still alive. And there’s a part of us that wishes we weren’t.
But time passes. We cope, as we must. And Faith … which is a comfort most days … becomes a sharp-edged action word. A word we’ll grip in our hands with the tears streaming. With our teeth gritted. Holding onto it, almost in spite of ourselves. Letting it cut us till we bleed. Wishing it would.
Because how else will we hold onto it at all?
When someone is suddenly taken from us, it’s so confusing. In an instant, life itself explodes to the surface. It’s impossible to know which step to take. It’s everything, all at once. And it’s nothing at all.
We try to think how to move from this day to the next. But thinking is impossible. So we just try to find our feet.
When, after many months, we’re starting to have snippets of time when we feel okay, we’re quickly plunged into guilt and grief, because what right do we have to feel “okay?” We don’t even want to! This all needs to stop!
But the world keeps turning. And we keep moving forward. It’s not easy. One day, far into the future, we will have beautiful memories to look back on. Memories that will warm our hearts, and make us smile.
But today we are in the wreckage, not wanting to leave it if it means leaving her, but trying to find our way out because nothing is the same. And it never will be.
“The reality is that you will grieve forever. You will not “get over” the loss of a loved one. You will learn to live with it. You will heal and you will rebuild yourself around what you have suffered. You will be whole again, but you will never be the same. Nor should you be the same nor would you want to.” – Elisabeth Kübler-Ross
These days we’re like a two way mirror.
Or through a glass, darkly.
At the grade school on Grandparents’ Day, if he shows up he is brittle and distant. He wears a starched smile, the kind that never reaches the eyes. When he looks at me, he doesn’t. Perhaps he can’t bear the reflection of himself that he sees there. Or perhaps I’m making too much of it, and he’s forgotten who I am. Like that time at the Film Festival when I saw him and called out to him. He looked at me, quizzically, then moved toward me, head shaking slowly, hand extended, with the words,
“I’m sorry, you’re going to have to help me.”
I did not take his hand. I looked at him in disbelief, and said,
“Cece.” He was embarrassed that he didn’t know who I was that day. But I realize now that he never really did.
Looking back at the years we were together, I recognize the holes he crawled through to go from our life together into his other life. I couldn’t see it at the time. The camouflage of home and family clouded my vision. But distance brings clarity. And friends who were there then have come to me from time to time since; as an act of confession? To clear their conscience as accomplices? I can’t honestly say.
While I don’t know every detail about what was going on then, I know more than I ever wanted to. Sometimes information serves no good purpose. Except, you know … it helps me realize that I was in a completely different relationship than he was. And it’s confirmed for me that he had no clue of the goodness that was present and waiting for him there. Loving him there. Knowing this is a different kind of heartbreak all by itself.
When someone becomes addicted to dancing with the dark, the light is just an irritation.
People always ask me when I started to write. Especially songwriting.
I can think of points along my childhood and teen years, when I wrote to process feelings or moments; heartbreak. Confusion. Boys. But the truth is I’ve always, as long as I can remember, written it down.
I say that, and it strikes me quite odd that a tiny girl, not exposed to literary pursuits, would even think of writing.
I was a post war baby; my mother and daddy were young, beautiful, hard working. My daddy was a Navy man, and knew how to do just about everything. They were musical, and funny, but they were not the type to bury themselves in Tolstoy or Hemmingway. They had better things to do: roll up the rug in the dining room on Saturday afternoon and dance to Benny Goodman and Kay Starr records. Or sit on the front stoop at sunset, leaning into each other, beer in hand, and watch the kids ride their trikes in the driveway.
So how did I end up here, at this keyboard? Or way back there, at that Big Chief tablet with my Dixon Laddie #304?
I remember a moment when I was five. I was sitting on the swing in the back yard at 1563 North Marion. The sky was so blue, and I was so happy, I wanted to write a song about how I felt. I threw my head back, and instead of words coming out, I cried. My happy went heartbroken in that moment; I wept, because I knew I was too little to write a song that sounded like the ones on the radio.
And it’s interesting, isn’t it? How I remember that moment so clearly. How even as I think about it, I am “back there,” under that blue sky. In that back yard on that swing. My stomach even grabs for a second as the feelings I had then are here with me now.
So I guess you could say the writing thing has always been part of what I am. I remember in first grade, Sister Dianna was teaching us a song, and I was saying the words with her. She stopped, looked at me, and said,
“Mary Cecelia, do you know this song already?” No, I didn’t. I’d never heard it before. But somehow, I knew what would come next in the lyrics. Didn’t everybody? No, it turns out. They didn’t.
In third grade, Sister Mary Damien announced that the Highschool newspaper class was asking for poems from the grade school. They were going to publish one poem in the next edition of their paper. We were to turn our poems in the next day. My hear jumped, and my head started spinning with the tomes I would write.
That night at home, I took out my Big Chief tablet and my Laddie pencil, and I wrote. I wrote at least a half dozen one-stanza poems. I gave each stanza a name, and its own sheet of lined paper. I made the pages as neat as my third grade southpaw printing could get.
The next morning, I shuffled into the classroom with my classmates, laid my stack of poems on the corner of Sister’s desk, and took my seat. I watched her eagerly, hoping she would be proud of me.
Finally, Sister Damien walked over to her desk and picked up my pages. She leafed through them, then ripped them in half and threw them in the waste basket. As she did so she looked up at me briefly and stated,
“You were not to copy out of a book.”
My stomach lurched. My face turned hot. My eyes welled up. I was horrified, for several reasons:
First, it would never have crossed my mind to turn in someone else’s work; the fact that she thought I would do such a thing made me want to cry.
Second, even at seven years of age, I was in a panic: those were the only copies I had. I learned an important lesson that day: always make duplicates.
Third, though my classmates were laughing at me, I was more concerned with people thinking I had such a flawed moral compass. They clearly didn’t know me at all.
On another level, buried deep beneath my chaotic feelings, was a little voice that whispered,
“Hmmm. They must have been good. REALLY good. She thought you copied them out of a book.”
A backhanded compliment from a nun, saying my work was so good I could not have done it. I’ve lived a lifetime of twisted victories like that.
In fourth grade, we had music class two mornings a week. One morning the music teacher announced that there would be a music program, and that we would be in it. She then said to the class,
“We will need someone to sing the solo. Are there any solo singers in here?”
The entire class turned, without a sound, and pointed at me. All I’d ever done was sing with everyone else. I was completely unaware of my own voice. With all those fingers and eyes directed at me, I buried my face in my arms and cried.
Eventually I did sing the solo in the program that year. And I kept writing. There were times, big stretches in fact, when I was writing for my life. And music is the silver thread that’s always kept me tethered here.
In fact, writing and music have laced the pieces of my life together, helped me make sense of myself, this world, and the path I’m on. They still do.
I used to think maybe these things were pieces of generations past, pulling me back. But I’m starting to believe maybe they’re pieces of the future, pulling me forward.
Either way, I’ll take it. And I’ll write and sing the pieces of my life together, for as long as I’m here.
I’m sitting at my kitchen table, studying the palm of my hand, and waiting for snow.
The house is warm, but my nose is cold. The wintry chill around the edges of the house drives me to the center so I’m here, at this table. And thinking of building a fire.
But these lines. They’ve been on my palms since I grew hands while in my mother’s belly. Had I known them to reveal things, had I known there was a map, I might have done life differently. I might have checked the highway that starts at my wrist and curves up to the center-point between my thumb and forefinger.
I would have read the road signs held in the two that cross from left and right.
Years ago I went to a palm reader in New Orleans. I was newly divorced and trying to figure out how to navigate in the world as nobody’s anything. The palm reader looked at my hands, traced the lines she saw, and nodded.
“Three children.” I shook my head.
“No. Only two. Two children.”
“Oh well,” she said, still looking at my hand, “You will have a third. There are three children here.” She looked up and smiled.
I paid, left as quickly as I could, got outside, leaned against the wall, folded into myself, and tried to breathe. Apparently my palms didn’t show the complete hysterectomy I’d had the week of my twenty seventh birthday. There would be no more children. But I could still feel her fingernail tracing that line. I looked at my palm. How could she see that? How did she see the one I lost? How is that written there? I choked back sobs, slouched against a building in the French Quarter. I’m teary now, just writing the words. So be it. The question I had, and still have, is this: is my story really written here? Right here? And how I could never read it, never even know it was here to be read?
I had wanted a house filled with children, but looking back – even through the grief of loss – I can see it all came together exactly as it should have.
Life is a fascinating tapestry of love and its heartbreak, growth and its pain, choices and their consequences … and the freedom to know that all things work for good in the hearts of those who believe.
So I sit here, check the weather forecast, watch The King’s Speech, and … realize that I’m idly running my finger across the line. The one that told her there were three. And I remember: whatever any of us might think we know about anything, we don’t know everything … we simply cannot. We’re inside it, looking out. There’s a certain relief in that, really. And how exciting it is to be aware that there’s always more to learn, reasons to wake each day, eager to wrap our arms around this miracle of life.