Wine stains and heart mends
As the credits played out at the end of Avatar: The Way of Water, my boyfriend took off his 3D glasses and looked at me. “Are you crying?” he asked.
I nodded and wiped my cheeks.
“Aw,” he said, “You liked the movie, huh?”
“Yes,” I sniffed.
Then a fresh wave of tears ran down my face.
My boyfriend immediately stood up and came over to me. “Oh baby, I’m so sorry, I understand why you’re crying now.”
He tried to sit in the same theater chair as me, to hold me and soothe me, but instead he accidentally sat on the large Pepsi in my cup holder, knocked it backwards, and got soda all over his butt. He pulled me to my feet, away from the mess, and held me in the aisle.
I hugged him and giggled a little—both at the situation and because I loved him so much.
In a matter of like ten seconds, he had already comforted me immensely, for two reasons. The first, because he didn’t let the awkwardness of soda-soaked pants distract him from his mission. And the second, because he knew that I was crying over my brother Zach, the heartbreaking scene in the movie that had triggered my tears.
It’s awful to admit this, but I initially never expected him to play this role in my life. I never thought that my boyfriend would see me crying and automatically assume it was because of Zach.
We met at an interesting time in my life—just a week before the one year anniversary of Zach’s death. Once you get past the one year mark, it’s kind of an awkward and terrible season of life to be in. It’s like you have an expiration on how long you can be grieving, on how long you can hold the identity of “sad sister of dead brother.” Most people stop asking how I’m doing in regards to that and don’t think to bring him up anymore.
The shock and raw grief is gone, but the ever-present pain of having to live the rest of my life without my sweet little brother constantly bubbles under the surface.
My boyfriend is very simple and straightforward in his comfort for me: I know you miss your brother. I’m here for you. Let me hold you.
I love you,” he says, and Addie wonders if this is love, this gentle thing.
—V.E. Schwab, The Invisible Life of Addie LaRue
After the movie, later that evening, I accidentally spilled red wine on my brother’s white hoodie, which I wear almost every day.
My boyfriend immediately looked up how to get red wine stains out of white fabric and went to work. Soaking the stain in white vinegar (“not red vine vinegar?” I weakly joked). Scrubbing laundry detergent into the spot. Rinsing it out in hot water.
The stain was gone.
I clutched the warm, wet sweatshirt in my hands and thanked my boyfriend and hung it on his desk chair to dry overnight.
The next day, back at my parents’ house, I examined the spot outside in the late afternoon sun, in better lighting. The wine stain truly was gone, but I noticed that the area was a bit frayed now. Threads popped out where my boyfriend had vigorously scrubbed the sweatshirt.
My heart melted. I sunk into this little patch of white fabric and pinned the moment and the feeling into my memory.
This is what it feels like to be safe and loved.
After he had cleaned my sweatshirt for me, my boyfriend was a little bit restless. It was getting late, I was cozy in bed, and we had planned to watch something together on his phone until we fell asleep. But he was unable to sit back and relax.
“Why aren’t you getting comfortable?” I asked. He was sitting on the edge of the bed, hunched and cross-legged.
He stood up and paced a bit. “Because you were crying earlier over your brother and then you stained his sweatshirt, and now I’m just in full on protection mode.”
. . . we were home, we had drawn the circle, we were safe for the night.
—Joan Didion, The Year of Magical Thinking
It was a place where I knew I was loved.
—Claire Oshetsky, Chouette
The Year of Magical Thinking
Title: The Year of Magical Thinking
Author: Joan Didion
Read In: 2022
Quoted In: Wine stains and heart mends
I have been a writer my entire life. As a writer, even as a child, long before what I wrote began to be published, I developed a sense that meaning itself was resident in the rhythms of words and sentences and paragraphs, a technique for withholding whatever it was I thought or believed behind an increasingly impenetrable polish. The way I write is who I am, or have become, yet this is a case in which I wish I had instead of words and their rhythms a cutting room, equipped with an Avid, a digital editing system on which I could touch a key and collapse the sequence of time, show you simultaneously all the frames of memory that come to me now, let you pick the takes, the marginally different expressions, the variant readings of the same lines. This is a case in which I need more than words to find the meaning. This is a case in which I need whatever it is I think or believe to be penetrable, if only for myself.
Fires were important to us. I grew up in California, John and I lived there together for twenty-four years, in California we heated our houses by building fires. We built fires even on summer evenings, because the fog came in. Fires said we were home, we had drawn the circle, we were safe for the night.
Quoted In: Wine stains and heart mends
I remember thinking that I needed to discuss this with John. There was nothing I did not discuss with John. Because we were both writer and both worked at home our days were filled with the sound of each other’s voices. I did not always think he was right nor did he always think I was right but we were each the person the other trusted. There was no separation between our investments or interests in any given situation.
A week or two before he died, when we were having dinner in a restaurant, John asked me to write something in my notebook for him. He always carried cards on which to make notes, three-by-six-inch cards printed with his name that could be slipped into an inside pocket. At dinner he had thought of something he wanted to remember but when he looked in his pockets he found no cards. I need you to write something down, he said.
After my mother died I received a letter from a friend in Chicago, a former Maryknoll priest, who precisely intuited what I felt. The death of a parent, he wrote, “despite our preparation, indeed, despite our age, dislodges things deep in us, sets off reactions that surprise us and that may cut free memories and feelings that we had thought gone to ground long ago. We might, in that indeterminate period they call mourning, be in a submarine, silent on the ocean’s bed, aware of the depth charges, now near and now far, buffeting us with recollections.”
It was deep into the summer, some months after the night when I needed to be alone so that he could come back, before I recognized that through the winter and spring there had been occasions on which I was incapable of thinking rationally. I was thinking as small children think, as if my thoughts of wishes had the power to reverse the narrative, change the outcome. In my case, this discovered thinking had been covert, noticed I think by no one else, hidden even from me, but it had also been, in retrospect, both urgent and constant. In retrospect there had been signs, warning flags I should have noticed. There had been for example the matter of the obituaries. I could not read them. This continued from December 31, when the first obituaries appeared, until February 29, the night of the 2004 Academy Awards, when I saw a photograph of John in the Academy’s “In Memoriam” montage. When I saw the photograph I realized for the first time why the obituaries had so disturbed me.
I had allowed other people to think he was dead.
I had allowed him to be buried alive.
I began. I cleared a shelf on which John had stacked sweatshirts, T-shirts, the clothes he wore when we walked in Central Park in the early morning. We walked every morning. We did not always walk together because we liked different routes but we would keep the other’s route in mind and intersect before we left the park.
This man from New York Hospital, then, was talking about taking only the corneas, the eyes. Then why not say so? Why misrepresent this to me? Why make this call and not just say “his eyes”? I took the silver clip the social worker had given me the night before from the box in the bedroom and looked at the driver’s license. Eyes: BL, the license read. Restrictions: Corrective Lenses.
Why make this call and not just say what you wanted?
His eyes. His blue eyes. His blue imperfect eyes.
and what i want to know is
how do you like your blueeyed boy
In time of trouble, I had been trained since childhood, read, learn, work it up, go to the literature. Information was control. Given that grief remained the most general of afflictions its literature seemed remarkably spare. There was the journal C. S. Lewis kept after the death of his wife, A Grief Observed.
. . . they clogged their sinuses with unshed tears . . .
John used to write down the things she said on scraps of paper and put them in a black painted box his mother had given him. This box, which remains with its scraps of paper on a desk in my living room, was painted with an American eagle and the words “E Pluribus Unum.” Later he used some of the things she said in a novel, Dutch Shea, Jr.
Read, learn, work it up, go to the literature.
I never actually learned the rules of grammar, relying instead only on what sounded right . . .
Until now I had been able only to grieve, not mourn. Grief was passive. Grief happened. Mourning, the act of dealing with grief, required attention.
What would I give to be able to discuss anything at all with John? What would I give o be able to say one small thing that made him happy? What would that one small thing be? If I had said it in time would it have worked?
Survivors look back and see omens, messages they missed.
The remember the tree that died, the gull that splattered onto the hood of the car.
The live by symbols. They read meaning into the barrage of spam on the unused computer, the delete key that stops working, the imagined abandonment in the decision to replace it. The voice on my answering machine is still John’s. The fact that it was his in the first place was arbitrary, having to so with who was around on the day the answering machine last needed programming, but if I needed to retape it now I would do so with a sense of betrayal. One day when I was talking on the telephone in his office I mindlessly turned the pages of the dictionary that he had always left open on the table by the desk. When I realized what I had done I was stricken: what work had he last looked up, what had he been thinking? By turning the pages had I lost the message? Or had the message been lost before I touched the dictionary? Had I refused to hear the message?
Before dinner John sat by the fire in the living room and read to me out loud. The book from which he read was a novel of my own, A Book of Common Prayer, which he happened to have in the living room because he was rereading it to see how something worked technically. The sequence he read out loud was one in which Charlotte Douglas’s husband Leonard pays a visit to the narrator, Grace Strasser-Mendana, and lets her know that what is happening in the country her family runs will not end well. The sequence is complicated (this was in fact the sequence John had meant to reread to see how it worked technically), broken by other action and requiring the reader to pick up the undertext in what Leonard Douglas and Grace Strasser-Mendana say to each other. “Goddamn,” John said to me when he closed the book. “Don’t ever tell me again you can’t writer. That’s my birthday present to you.”
I remember tears coming to my eyes.
I feel them now.
In retrospect this had been my omen, my message, the early snowfall, the birthday present no one else could give me.
I know why we try to keep the dead alive: we try to keep them alive in order to keep them with us.
I also know that if we are to live ourselves there comes a point at which we must relinquish the dead, let them go, keep them dead.
Let them become the photograph on the table.
Let them become the name on the trust accounts.
Let go of them in the water.
Knowing this does not make it any easier to let go of him in the water.
In fact the apprehension that our life together will decreasingly be the center of my every day seemed today on Lexington Avenue so distinct a betrayal that I lost all sense of oncoming traffic.
I think about swimming with him into the cave at Portuguese Bend, about the swell of clear water, the way it changed, the swiftness and power it gained as it narrowed through the rocks at the base of the point. The tide had to be just right. We had to be in the water at the very moment the tide was right. We could only have done this a half dozen times at most during the two years we lived there but it is what I remember. Each time we did it I was afraid of missing the swell, hanging back, timing it wrong. John never was. You had to feel the swell change. You had to go with the change. He told me that. No eye is on the sparrow but he did tell me that.