What We Miss When We’re Not Looking

We need healing more than ever now, in many ways. How often we are pushed to forget what this means.  

This is a story about loss and healing, adapted from a story I read in the Salem News earlier this week.

God forbid, Mary would think, at the slightest thought of cat against car. She would take off her own shirt, wrap the body, clutch it to her chest. Use her own mouth as needed. A soft toothbrush would be better, to mimic the mother’s tongue. She would rock and hold and hum, use a dropper to feed if she had to, until well.

But when Max disappeared, there was no body, only an open screen, as if to say, here is the trace of love leaving, and it reminded her back to similar spaces, too many to count. The cool side of the bed, the left-behind toys, the unnecessary landline that only solicitors called, which she kept active anyway, just in case.

Max, she called. Max! He did not come. She called every shelter, even a pet psychic. She walked the neighborhood. She drove the surrounding neighborhoods.  She looked differently at every bush, every alley and drainpipe, gulley and ditch.

Phonecall, phonecall, phonecall. Hour, hour, day. Weeks, then months. Then it was years. An ache like that will swallow a person whole unless they find something else to do with it.

She found some others with similar aches, needing someplace to put them. They went about finding the lost kittens. They brushed them with toothbrushes, wrapped them in clean towels, bottle fed them until they could eat. They paired them with the mother cats who had lost their babies. They took in dogs, too. A few birds. They took in so many that they needed a bigger space. They became an organization, a shelter, an adoption center, a rescue for animals and each other. 

Max, by the way, came back. This was six years later. He had fleas in his ear but was otherwise fine. 

I can’t help but wonder how much good would never have happened if Max hadn’t decided to go and stay missing when he did. About all the littles that would have died in the elements, undiscovered, if no one was looking with such an ache. Or about all the lonely people wandering without any place to put their dangerous aches, becoming dangers to themselves and others. All that needed saving, left untended. All the answers to other questions, left undiscovered without the first one, Where is Max?

The pleas of others that might have been missed, except that someone was listening in earnest, for answers to their own.  I’m reminded how often I’ve been moved by loss and heartbreak, into places I would otherwise never have found.  I suspect that much of the visible light in others is a function of what escapes through the breaks.

If Max had not returned, this would still be a redemption story, but I wouldn’t know it. Not because there wasn’t a shelter created after he left, but because the creation of the shelter was something long and slow, and not the sort of event that lends itself to a story in the news. A disaster works for a story, if not its aftermath. Same with a sudden victory. The essentials are there – who, what, where, and when, at least, if not why. 

Growth in numbers is a news story. But numbers are abstractions, not living things. When it comes to the healing and growth of living things and human creations, sometimes there is only a why, to begin with. Who, what, where, when – these emerge over time, and they tend to be diffuse, influenced by many people, doing many things, in numerous places and ways, over and across time, slowly, in ways that are neither sudden nor singular nor dramatic. In fact, if you show up looking for something on which to report, in any given growth area, what you find may look like nothing at all.  Loving patience is a practice, and as such it is almost never a happening. Loving patience is what allows the living to grow and heal. We need healing more than ever now, in many ways. How often we are pushed to forget what this means.  The question is ever, What’s Happening?  and the answers we tend to find in response tend to be the ones that have us perpetually missing the greater possibilities in a given moment. 

Real growth and real change is slow work, and often looks like nothing to report. Unless you look hard and long, the way only someone with a full or aching heart will do, unable to stop.

The story that inspired this post can be found here. I’ve taken liberties with names, backgrounds, and imaginative elements, as appropriate for my wondering purposes. 

Who is This For? (Part 3)

Those needing shelter. Those who know to offer it when needed, even when they don’t know how. Those hiding scars and recent wounds, and those who know how to recognize the wounded, everywhere.

Who is this for?  

Those who have known the anguish of caring, and the terror of an all-consuming love. Who have sometimes been terrified by the range and volume of other emotions, identified as harbored within themselves, ready to erupt.

Who have been moved near weeping on occasion, at the flow of a good pen, or at the way that someone had the patience to slice grapes, one by one, in tiny circles and half-moons, for folding into a family-style dinner salad, offered to strangers. Who need art with a hunger often sharper than the need for food. Who don’t understand how anyone can find any level of emotional display actually shocking, because even if they practice restraint fastidiously, with the faith of an earnest devotee, they know how close they are, at any moment, to losing it all.

Who cry in witness to beauty, with the sheer relief of finding someone who cares enough to look long and hard, taking it in, who even in the satisfaction of some total consummation with divinity, chooses not to stop in the afterglow, but returns to the ache, caring enough to look long and hard–– to offer it back up, all of it, to anyone looking.

“Shelter” by Mark Kidsley on flickr under a Creative Commons Attribution Non-Commercial No-Derivs 2.0 Genericlicense. 

People who can remember or imagine a circus tent on fire, and the terror of the blocked entrance. Those who look at the exit signs long and often, and also at the sky.

People who lose things: cats, dogs, loves, ideas, directions, the name of the song they are always almost having, on the tips of their ever-licking tongues. People who find things, too. Especially broken and lost bits of others, waiting on the ground underfoot.

Those who hold babies. Those who avoid holding the offered babies, for fear that the heart will shatter too loudly. The babies and the former babes––and the very old, so close to death that nothing but the wide lens will do. Or the magnifying glass, to study the favorite wrinkles fanning out, like bird wings spreading around the corner of beloved eyes.

Those needing shelter. Those who know to offer it when needed, even when they don’t know how. Those hiding scars and recent wounds, and those who know how to recognize the wounded, everywhere. Anyone familiar with the sense of their own eyes floating behind them, up and over like a kite, looking down.

Who know the ache of hearing a musical phrase so expansive, familiar, and hauntingly rich that they want to climb inside and live in its space until time evaporates.

As I began to understand that there would be no end to the list, and no reason to work towards one, I decided to pause, with an intention to revisit it from time to time, as with certain records, occasional prayers, and pilgrimages, as a reminder back to some original impulse for finding shelter in a strange land.

Big and Little: a Reunion

You announced, Play a game, and you returned me––back to what I’d learned how to renounce. 

BIG
I held you in my arms and breathed against the silence. Then, when you were speaking, you announced, Play a game, and you returned me––back to what I’d learned how to renounce. 

When you were speaking you announced, Tell me a riddle! and I held you high above me toward the stars. Here is how to croon what I am learning to announce, of wonder: here is Venus, now Orion; there a satellite, now Mars.

And everything we shared came out in singsong, and every note within it came out true. Teach me spaghetti by the moonlight, drink a spring song. Everything contained a season; it was you, in this loving cup, now brimming, lands the chorus of a soul; long bent on new receiving, long past dying in its hole. Would you wait and listen for the riddle I would tell, beyond the point of speaking past this silence of this well?

Where I have fallen will you find me, if I give you certain clues; will you listen if I play now, every verse of these late blues?

I’m finding now a riddle, and I’d sing it if I could; but I’m out of rhymes, so share here: once, man living, cut for wood.

What’s tall when young, short when old, and can die in a single breath?

This is the end of the time when we rhyme.  But wait!  Consider these words. Another puzzle goes like this. I kept it for you: Consider a fork in the road. 

A stranger in a strange land arrives at an intersection: East or West? One will take you to your destination, the other to hopeless despair. At the fork, two men. Each knows the way, but one always lies. What to do?


LITTLE
Remember how we used to play the guessing game?

Animal, vegetable, mineral: over time, like this: whenever the seahorse, during the age of the narwhal, from time to time, the tortoise––sooner or later, a ferret.

From time to time, a gem squash as long as an English cucumber. In the meantime, this heirloom tomato, and all of a sudden- Rutabaga!

At this instant, taste the snap-peas, until zucchini, okra, chives, until adamantine and agate, since granite, garnet, jacobsite.

Before, until now. Ever after, return. Again!

BIG
Back to the crossroads question, and the two men. Remember this: ask either, “What direction would the other say?”  Whatever you hear, do the opposite, and you will be on the right path.

Whatever you hear, take my hand, in this silence, where I’ve fallen, show me:  Laugh!


LITTLE
[laughing]

Again!

“Baby elephant” by Georg Sander on flickr under a Creative Commons Attribution Non-Commercial 2.0 Generic license. 

Calypso’s Lament

She generally gets painted as the jilted, short-sighted lover, but I could never read her without thinking that she must have genuinely loved him to make such an offer, and it must have truly broken her heart when he left.

Let it be a song, then, and us inside its shattering wings — and you, when did I first know by your hand the letting of the blood of ancient wounds, unscheduled tears? If it began in this moment, where would you find me, if at all? In the space where we last slept, dream me dreaming you.

“Calypso” by Pinc Floit on flickr under a Creative Commons Attribution ShareAlike 2.0 Generic license

My arms, so long beseeching some anchor, now find you, and the smooth plateau of your hungering back erupts in tremors above me; the aftershock a head before this altar, a whispered Amen. It is easy to learn new aches. New peace is something else, when the night undoes the day.

Let me be the simple task that is the most difficult to do; sketch filigreed complications on the stretched skin between these ribs, only bless and be blessed. “Shh,” someone says, don’t hurry, but I am faithful as the dog that holds on, because the desire to pray is a prayer.

If you will not heal my doubt, let me bear the unbelieving, about face, face this enemy facing consequence your face in my hands, I heard you calling, let me see.

In the beginning, the word; it was a god of open mouths, all breath and a promise. Take it, I say, here. I had only this imitation to give, and immortality. Blessed be this sin, teach me your new shame; to die is only difficult for the proud. If this kingdom we are holding is the only one, leave mine pillaged and let me know its glory only by what remains.

Let me give what I may not hold, dream an answer to the question I dare not speak aloud and pass it back, folded, in your hands. Do you fear the dead? I want to meet them in the olive grove before we find opposite sides of an invisible highway from which to sing our goodbyes. Let me know a patience to cook blood, freeze the earth against my cheek. 

Give us this day, taste. 

What is this mortal body? I want to study how it shudders around a heart. From this quiver pull a single arrow. Aim another card close to my chest; teach me new deliverance, then give me rest.

You had a secret and lost it. It was the expanse of your life. Look, I will open another to you. Call it forever. Come here. Let us be suddenly young and always, our monuments etched in Crayola hues, each touch conferring the ancient blessings of the rainbow that followed the flood.

What else did we ever do with our bodies, but offer them on altars, before the sun and the moon against drought and flood, against all the ways there were to die slowly we found new ways to sing, take me now and make it swift, so many candle flames roaring against the darkened hills?

Give me a sermon and I’ll sing you a psalm. Raise a hand, raise a glass, raise the dead. Take this body from this tomb where they left me in rags after the last breath I took alone. Brother, take my hand and do not move for it may pass. Hurry, it may get away. Are you tired? I am tired too, of waiting on this island, but how else do you take the measure of a beating heart?

*In Homer’s Odyssey, the goddess Calypso is a nymph on the island of Ogygia, where she detained the hero Odysseus for seven years, as he tried to get home. By the time he washed up on her shores, he had lost all his men and most of his hope. He found comfort and pleasure on the island, and was well cared for by the goddess, who was a match for his wit and a lover of music. His departure was an essential moment in his journey home, when she freed him reluctantly after receiving an order from Zeus, via Hermes, the messenger. She had offered the hero immortality if he stayed; he refused. She generally gets painted as the jilted, short-sighted lover, but I could never read her without thinking that she must have genuinely loved him to make such an offer, and it must have truly broken her heart when he left. As the story goes, there was no one like him. As I do with women of antiquity (including goddesses, nymphs, and gorgons), I sometimes wonder about what parts of her have been erased in order to fit the perspectives of the men who wrote her history for her.