Resemblances

I strongly resemble my mother. In school, people always knew if she showed up there, and the news would reach me: “Your mother’s here. She was in the hall heading to the office.” What? How did they know? “You look exactly like her.”

I want to tell you what my father looked like. You can’t really see him by looking at me. He had curly hair, which was brown, a regular brown and not dark like mine was back while he was alive. When he was in the sun, there was almost a red hint. Whenever he grew a moustache and beard, red would show up along with the brown. Dad’s eyes were blue. Sometimes they appeared greenish, or grey. We girls used to tell Dad that they changed depending on what color shirt he wore. That he had “mood eyes.” On the last day I saw him alive, his left eye was such a brilliant blue, I was startled. I felt guilty, too, for softly pulling up his eyelid to peek beneath it while he was so deeply asleep. I didn’t see a color that blue until nearly 20 years later, when I visited the Bahamas. The water was impossibly blue, like Dad’s eye.

My father had a receding hairline, hairy chest and arms, and hair in his belly button. On Saturday visits with him, he’d sometimes nap on the murphy bed in his apartment while we girls watched TV beside him. While he was asleep, we’d roll up his pantlegs and roll down his socks, giggling at his hairy white legs. Then we’d peek into his bellybutton for lint. He’d snore slightly, until our fussing over him woke him up. Lying down, Dad’s ribcage seemed large. His voice rumbled up out of his chest when he spoke. He was a man of average height, not heavyset, with good posture, and when he needed to command attention, he could. He could have been a police officer, but he wasn’t. He worked in the public schools and liked people. They liked him, and his voice. Usually when he conversed with others, they shared a chuckle before parting ways.

Dad was fair, as a British descendant, and his skin was sensitive to anything harsh. When he worked at a deli counter for a summer, wrapping meat in paper and string, trying to break the string cut his hands. He was the only one who had to reach for the scissors. I remember the time he got burned from a grease fire on the stove. When he moved the pan into the sink, flames wafted over the back of his wrist and gave him 3rd-degree burns. I’d just had first-aid training in 6th grade at school, and I forced him to let me examine his hand. The skin was red, and purple, and blue, with an open wound. Dad had wrapped it himself, and I insisted that we take him to a doctor. Dad’s teeth were slightly crooked and the top canines were pointed. We liked it when he bared them a little, and called him a vampire.

I don’t look like my father. My hair was dark, like my mother’s, before it went salt-and-pepper. My eyes are so dark a brown as to be nearly black. My coloring is not as pale as his, though lighter than if I weren’t sensitive to the sun, so perhaps I inherited something of my father’s sensitive skin. Here – where I mostly take after Dad is in my hands. I’m left-handed like he was, and my palms are somewhat square like his. The tips of my fingers aren’t elegantly oval like my mother’s but spatulate, like Dad’s. On a sidewalk in a suburb of Michigan, there are four handprints pressed lightly into the cement: Dad’s, Mom’s, my older sister’s, and mine. The mark nearby is from my younger sister’s shoe when she twisted away, afraid to let Mom put her hand into the wet cement beside ours. 25 years after Dad died, I placed my hand in the print Dad had left. His hand appeared only slightly larger than mine, surprisingly. When I remember holding his hand, warm and slightly moist, it always seemed much bigger. Oh – my thumbs are his. Just after he died, I was reading a book. I noticed my hands holding the pages open, noticed my right thumb. I cried.

Tell me about love.

Love was a marshmallow I begged for at age three. The perfect white didn’t turn out the way I expected. Once it was on my tongue it changed from pillowy to mush. I wanted to spit it out. I was warned not to, to give it a chance. I jumped down from my chair and ran to hide, to find someplace to get rid of this strangely melting mouthful. Just at that moment I realized I could taste sweetness. The flavor made me happy.

Love was two Nancy Drew books, yellow and blue, the fresh pages smelling of ink and mysteries. Love was a way to become more than I was before, expanded, mesmerized.

Love was red yarn glued to a sheet of white cardboard, in the shape of a heart, and the words Happy 13, the yarn stiff with the dried glue and the shifting freehand letters my sister created.

Love was a small handful of Dahlias, stems wrapped in tinfoil, carried to school on a spring day. It was a watercolor painting of that bouquet.

Love tasted like getting kissed the moment I stepped off of the Greyhound bus. It sounded like two guitars and the voices of strangers, smiling behind the figure of my beloved.

Love was a black eye from my sister’s head when the toboggan hit a bump halfway down the hill. Neither of us knew what had happened, until the swelling, and the question, “Did she hit you?” Punched in the eye by my sister’s skull in a knitted red cap. Laughing, rolling, tumbling in cold snow.

Finding myself

I am 60. Have I found myself yet? My parents used to tell us that we children were found under a cabbage leaf as babies, before Mom was ready to sit us down with the Encyclopedia Britannica volume that showed the nude on one half and the other without flesh. Or they’d say we were found in a shoebox.

When I gardened, I never came upon myself beneath the leaves of lettuce or rhubarb. Not under a leaf in the grapevines that hid small green orbs that looked made of wax, and tasted so sour before they were ripe.

I’ve not stumbled upon myself in an old shoebox tucked back into the shadowy corner of a closet. I’ve looked plenty of other places, too, just to be thorough: not in the breadbox or the drawer beneath the oven with the pots and pans. Not in the garage with the odor of gasoline and the hot motor of the lawn mower after a turn around the yard. I haven’t found myself in the hollow of a guitar or along the silvery tube of a flute. I looked for myself in the packages that arrived each month by mail, first with a kit for making a new craft, and later an LP or cassette tape from Capitol Records or recordings of The Academy of St Martin in the Fields that taught me to love Classical music.

Perhaps I find myself inside of notebooks, tucked between leaves of paper. Perhaps it isn’t the 3-dimensional me, but a flat, paper-doll-type approximation of who I am. The closest representation of how I appear most of the time. I take up a pen and tentatively make a mark on the paper image. I might feel self-loathing today and add a mustache, a small dark rectangle like Hitler or Groucho Marx. I might try to draw clothing that feels like myself, a black leotard, a red pashmina wrap.

Finding myself might be the greatest gift of my life, but I suspect that there’s a fear it will be a disappointment, a map of how far I have yet to journey before I am in the neighborhood of my true self. Perhaps that fear makes me set myself aside in a shoebox for now, in a shadowed corner.

What are you waiting for?

For a while now, I’ve been on a minimizing kick. My lifelong tendency as been to keep everything, save everything, to make it last. Perhaps it was because my father only earned $15,,000 a year, or because of the recession in the 1970s, but something made the impression on me that I had to conserve for the future. So as I reduce my clutter these days, I’m likely to find a notebook with still-blank pages, from when I was in high school. I mean, pre-1981! Paper from 1980 has turned yellowish, and it has a smell, some sort of old-but-not-musty odor, probably from the acid in the fiber. When I find something like this, something I never completely used up, I wonder, “What have I been waiting for?” Of course I’ve needed notebooks and I’ve used paper in the past 40 years. But this particular spiral-bound notebook, I have held back. Incidentally, the cover has a woodblock image of trees, signifying that it was somehow made with less paper pulp, therefore fewer trees, than before.

My 60th birthday is not far ahead. Recently, I notice, there are a lot more things I question, in terms of time. Projects I’ve planned to do but haven’t, for years. What am I waiting for? Family heirlooms, with no descendants to whom I might leave them. I will want my sister to have them, for her grandchildren. Why keep them with me, since I don’t have a use for them? Can’t I just give the things to her, or my nieces, now, as I minimize? What am I waiting for? I’ve been culling books, aiming for at least a one-in, one-out balance. Some books I’ve had on the shelf for 20 years, but still haven’t read. What am I waiting for? It’s possible that I have books enough to keep me reading for 20 years out. What am I waiting for?

Really, although I will enter a new decade, I didn’t expect time to come up as an issue like this. I’ve never cared before about age. I was fine with turning thirty, somehow ecstatic at reaching 40, and the 50s have been fine. I don’t know why looking at 60 strikes me with this growing urgency, but it does. Each day brings more awareness of the time that is behind me now, and the truth is, I don’t know how much is still ahead of me. But something in me asks:

What are you waiting for?

Imagine a woman

Imagine a woman

begins to read her own life

from the beginning, and finds

that much is missing, not to be replaced.

Imagine she turns pages over,

looking for the mother, the father

who would nurture and nourish

the infant the woman had been.

Imagine the woman does not turn

away from her story, but reads on,

and when she cries, imagine

the way she holds herself

in her own arms

gently.

Imagine a woman with a book

of her own life

that has no appendix, no code

to connect this wound

to that scar, that soreness

to this ease. And the woman

does not stop reading.

She places a finger lightly on each black shape

along the line, determined to feel

the hardest angle, the sharpest

point at each sentence’s end.

Imagine the woman presses harder,

then looks at her fingertips

imprinted with every true word.

Imagine the woman takes the book

in both hands,

sets it firmly aside, then

taking ink and pen in hand,

she opens a fresh notebook,

and imagines a woman

who knows what words

are needed to make the first book

into a song.

Book delivery

What would I want delivered to my doorstep every morning, like the newspaper or milk? Books.

Let’s suppose these books are selected specially for me, but they are a surprise. I won’t know what books to expect, so it will be like a visit to the best bookshops, where I never know what treasure I will encounter. The only guarantee is that I will be enchanted, immediately engrossed, or filled with joy at what I will learn once I open the book’s cover.

The books will be both old and new. The new books will have colorful book jackets, like a Natalie Goldberg painting. Or understated images. The books that are old will be beautifully embossed with delicate art and elegant lettering. The old ones will never be musty, but perhaps fragranced with incense.

The book delivery will include some good, classic fiction. And poignant memoir, like Diary of Anne Frank. And travelogues, and the best instruction in the arts – visual , musical – and yoga, ballet, and cooking. Food. Histories of domestic life, like Lark Rise to Candleford, and children’s books like The Wind in the Willows, and Peter Rabbit. Poetry – free verse, haiku, lyric. And in all languages.

As a child I used to wonder why “Publisher’s Clearinghouse” had a monetary prize, and not publications: books. What a disappointment to learn that there are no “books every week for the rest of your life!” Of course, one could buy books with the money, but that would take away the element of surprise.

No, better to have a caravan stop quietly each morning at my door, and drop off a beautifully wrapped bundle of books tied with colorful silk string. I would pick it up from the porch with reverence, with the quiet joy of one who welcomes a dear, dear friend inside.

Where am I from?

I am from this green place, this wet place, that place of weak sun, of strong sun. I am from the shore where there is sand, where there are rocks not worn by the water. I am from this place where we speak with our mouths, we speak with our hands, with our hearts.

I am from places which I have never left. I’m from the language of my homeland. I am far from the language of my birth. I am from a town that had gravel streets. I’m from paved highways. We ate the most usual foods there, we opened boxes and cans and with heat we said we were cooking. We fed ourselves less than other people did. We sang more than other people did, and did it alone if necessary, and in the snow.

I am from telephones on the wall, and musical boxes on the table, and one television against the inner wall separating the living room and the basement stairs.

I am from staring at the moon. Where I began the earth was rock hard, and then soft as a marsh. The traditions I am from are so arcane we didn’t know what they were; they looked like nothing, like a non-Norman Rockwell, like a family broken, a family together.

I am from this earth, where I awoke this morning and at least a hundred other mornings, and I look around me with eyes wide each day, asking again and again: “Where am I from? Where am I from? Where did I ever come from, and when?”

Something I still have yet to accept

I still have yet to truly accept that Tinta has left us. It is true that I saw her sweet body slim down to a wisp, from seven pounds to probably less than four. It’s true that I crouched beside her as she lay on her side and took her last breath. It’s a fact that the pads on her little paws began to cool quickly, and her eyes clouded as if she had cataracts. When I lifted her body, wrapped now in one of John’s old river driver shirts, her stiffness made Tinta feel heavy, much heavier than she’d weighed at her healthiest.

In the dark when the full moon was right above the magnolia tree, I placed the bundle of white shirt and dark cat into the hole John had dug by the elm. I lit incense. We placed autumn flowers from the yard – purple asters, mums, late snapdragons – beside Tinta. I kneeled in the damp dirt. I know this. It’s been nearly two weeks. I know this.

I know that when I’m alone in the house I will not hear the soft clicking of Tinta’s back nails on the old linoleum floor in the kitchen. I know that what catches my eye in the TV room on the Turkish rug is John’s black suede shoes, not Tinta sleeping in a patch of sunlight. When I pass the bedroom, Tinta is not curled up on the woven spread with loose threads; she is not on the windowsill above the radiator, watching birds in the camellia bushes.

When I enter the back door and call out, “Soy yo (it’s me),” Tinta will not trot in from some corner of the house, and jump onto the kitchen chair expectantly. I don’t have to interrupt my writing constantly to give her a fresh spoonful of food from the can.

But I still haven’t accepted Tinta’s absence. Not yet. She is still more here than not here, in my awareness. In my habits, in the way I know this house to be. I’m afraid I’ll start to search for her, the tiny cat with so many places to hide: on the quilts in the closet, beneath the bookshelf that serves as the headboard, down in the deep grapevine basket nestled in laundry. My heart is still reaching out to hers, still communicating, as if Tinta’s heart can still answer back.

The end of summer

The black walnut tree across from my kitchen window always signals the end of the summer before any other signs appear. It feels premature, the green orbs falling to the paved street. They’re a bit smaller than tennis balls, leathery, firm. They pop when a car tire runs over them. They make a soft “pock” when they hit the ground. I never knew black walnut trees until I moved to this house, nearly 30 years ago, now. I didn’t know how slow they were to admit spring, and quick to acknowledge autumn.

The other early sign of the end of summer comes from people. So many tend to jump ahead, prompted perhaps by the commercial advertising on all forms of media, telling us we must prepare for what is still weeks, if not months, away. I am frustrated by this hyper-speed leap into what will come next. What about the now? For me, advertising is so pushy. When I see beach ads in winter, or snow ads in summer, I’m compelled into a yearning for something other than the present. That’s not how I wish to be.

The end of summer is bittersweet: the loss of sun, of the sense of freedom that warmth and lighter clothing give, the return of school schedules promising new mental expansion. I always loved school, with new pencils and books, but still the loss of summer made me sad. It’s hard to sit here at the point of pivot, to be just here and witness the change.

Writing for my father

Dad died when I was 27. That’s when I began to write for him.

What I wanted – or needed – to do was to write his story before it disappeared from the world. In that sense, I wrote in his stead, rather than for him as in having him as listener or reader. A poem I wrote at that time was “Song for my father,” in which I acknowledged that I wanted to vocalize his words, but I knew I could only do my own keening for his loss.

My dad was so unremarkable, so unheroic, that when Sinatra’s “My Way” was played over the audio at Dad’s funeral it was almost laughable. About the only thing my father did “his way” was his death. He literally died in his sleep, in a coma, but I’ve always believed it was suicide by stroke. The second day after he was found unconscious, I had a talk with Dad in my head. “You’ve been looking for a way out, Dad. Here’s your window. Take it.” It wasn’t what I wanted, but the doctor said the stroke left him “no quality of life” even if he continued to live. And Dad had prepared his three daughters for years – since we were children – with his expectation of an early demise. For no particular reason, he didn’t expect to live longer than his father, who died at 45. Dad paved the way with self-denial, depression, and lack of hope. He gave me a great deal of love, but his quality of life had already become very low when he managed to slip out of that open window.

So I wrote for Dad. He had actually made a few notes in the last year of so of his life, prodded by conversations with me. He even spoke to me in the notebook. What he wrote echoed his sense of uselessness and lack of direction in life. I wrote for Dad in hopes of filling in the blanks left behind. I wanted to show the value in his life, for me in particular, and in the way all individual human lives are valuable. I wanted to express how I could accept his absence because I loved him so much, and what it was about him that I loved. I remember standing next to his hospital bed after he died, whispering, “Okay, okay; it’s okay.” It felt as if he’d become my child rather than my father, and I was overcome with tenderness and the desire to reassure him that his daughters would be all right. That I would be all right.

That night I was ill. The day of the funeral my anxiety was enormous. As our car followed the gray hearse through the streets of Detroit, I sat between my sisters hardly able to breathe. At the graveside a spider navigated the green AstroTurf beside my foot. Spiders had always terrified me. I thought I could become hysterical, and then realized, “If I let myself become a basket case in my grief, it won’t honor my deep love for Dad.” I managed to pull away from the worst of it, but stayed desperate to write for my father, to try to find the meaning in his existence, to discern the real truth of his short life.

I’m still writing.