Unwilling

Owen died three months ago today. I’ve been remembering how, with babies, you begin by measuring their new life in days, then you slip into counting by weeks, then months, then years. I suppose it makes sense that something similar happens with deaths, except that it’s no longer about growth, about a presence expanding further into the world. Instead it feels like he is receding, which might be why it’s true (as people warned) that the loss actually feels worse now in some ways. At first, the overwhelming grief was because he had left us so deliberately and irrevocably. That sorrow remains, with all of its complications, but as time passes for us but not for him, it’s hard not to feel that now we are the ones leaving him, which we did not choose to do—which we desperately do not want to do, but can’t help or stop.

“The dead slip away,” Riley says, “as we realize that we have unwillingly left them behind in their timelessness.” I’ve been thinking about other times I left Owen, more or less willingly—the first time I dropped him at daycare, for example, and then I sat and cried in the car, because even though everyone told me (and everyone was right) that he would adapt and come to love it there, it felt unnatural to walk away while he cried and reached for me. I watched him head into school so many times, knowing things weren’t always easy for him there but that I couldn’t go in with him and try to make it better, as much as I wanted to. I also remember, more happily, leaving him in residence when he started his degree at Dalhousie—that was such an optimistic time for us all. Separation is part of growing up, of course, part of parenting, part of life: as wise Joe Gargery says, “life is made of ever so many partings welded together.” But this parting is different, because instead of holding our lives together it has broken them apart.

“Unwillingly”: yes. I think that’s why it still feels impossible, unbearable, to sort out his room, his clothes, his few other possessions. There were things we had to do after he died—practical things, from arranging his cremation and writing the obituary to sorting out his bank accounts and cancelling his phone plan. These steps weren’t voluntary, though: they were hard necessities, responsibilities his choice had pressed onto us. The rest of it, whatever else we do, is up to us. We will be doing things on purpose: we will be making deliberate choices (willing choices) that put him, that keep him, in the past, separate from our present, which—no matter how much we wish otherwise—will keep getting further and further away from his last day.

That doesn’t mean we are or will be “moving on.” Megan Devine (who rightly notes how unhelpful it is to be “reassured” about the imaginary “better” future in the very early days of grief) offers a hopeful vision of what might happen eventually:

In your own ways, and in your own time, you will find ways to stitch this experience into your life . . . Grief changes you. Who you become remains to be seen. You do not need to leave your grief behind in order to live a newly beautiful life. It’s part of you.

Now, though, I still find that new world hard to imagine, much less look forward to. How can I go there willingly, knowing it would represent (in Riley’s words) “a second, now final, loss”? I still, hopelessly, just want to hold on to him, to keep him from slipping away, not from his life, which he had the right to leave on his own terms, as he did, but from mine.

Time Passes

I was really annoyed by the “Time Passes” section of To the Lighthouse the first time I read it. It’s beautifully written, of course: evocative and poignant and intentional. But it draws so much attention to itself, to its writing: it’s fiction as high art, and not just art but art on self-conscious display. Not that there’s anything wrong with that, on its own terms, but that’s not (usually) my favorite kind of fiction. Woolf’s “calculated parentheticals” especially rubbed me the wrong way.

I admitted at the time that I’m not a very good reader of Woolf’s fiction, and it showed. I wouldn’t say I’m much better at reading her now (although last summer I read The Waves and was completely entranced, so something has changed) but I have been thinking a lot lately about the way time is passing, about the way time has passed, since Owen’s death, and just as the poets were there for me when I was first searching for ways to express my shock and grief, it turns out Woolf is here for me now as I struggle with the strangeness of a world that has its own process of continuity and change, indifferent to my personal loss. Like Mr. Ramsay’s, my arms remain stretched out but empty; here too spring is coming, “bare and bright,” “entirely careless of what was done or thought by the beholders.” For all its beauty, Woolf’s account of time passing is not a comforting vision: it isn’t a version of the mourners’ mantra “it takes time.” Perhaps the beauty of the writing is its own consolation. Woolf’s illuminating attention, too—not just to the effects of time passing but to her beholders, like Lily Briscoe, and to herself as a beholder—resists that cold carelessness.

Time passes.

Woolf described the structure of To the Lighthouse as “two blocks joined by a corridor,” with “Time Passes” connecting the main parts, “The Window” and “The Lighthouse.” One way I suppose I could think about where I am right now is precisely in a corridor between two blocks, one of them my previous life, which included Owen, and the other my future life, which will go on without him. In a literal sense, of course, I am already in that new life, but it doesn’t feel that way yet: I feel disoriented, adrift, unsettled. What’s missing, I’ve been thinking, at least in part, is meaning, which is not to say that there is some intrinsic meaning in Owen’s death for me to find out (thankfully, nobody has been insensitive enough to tell me “everything happens for a reason”), but that eventually I need to figure out how to incorporate his death into my understanding of my life. Somehow, that is, the end of Owen’s life has to become part of the story of my own life: rather than considering it a break, a catastrophic rupture, in that story (the way it feels to me now), I need to learn to see it as belonging to a new, different continuity. (Mrs. Ramsay, though dead, is still very present in “The Lighthouse.”) I just don’t know how to tell that unified story yet, or how to live that life, a life connected to but also separated from my past, with this sad, confusing period as the passage from one to the other.

I’ve realized that some of the books I picked up to reread, seemingly at random, in the first few days after his death were actually stories about lives that have been broken in this way: The Accidental Tourist, for example, which is a novel all about grief, or Disturbances in the Field. I put them down again without finishing them, I think now because ultimately these novels are about recovery and renewal, and I wasn’t (I’m not) ready for that. The “it gets better” narrative is insistent and not as encouraging as I know people mean it to be. It has been a relief, in that respect, to spend some time with Megan Devine’s (badly titled) It’s OK That You’re Not OK. Devine’s mission is to push back against efforts, however well meaning, to “fix” someone’s grief; like Ignatieff in On Consolation, she emphasizes the importance of acknowledgment, and of just letting sad people be sad. Everyone’s grief is different and so books about grief are bound to strike people differently as well. I don’t like everything about Devine’s, but some of it makes a lot of sense to me, and I found this video on her website both soothing and wise:

In her book, Devine quotes a friend who wrote to her after her husband died and explained “how my therapist used to ask our group to ‘be like the elephants’ and gather around the wounded person.” “Gather your elephants, love,” her friend tells her; “We are here.” I am so grateful to my elephants; thank you for being here.

Still

This so-called ‘work of grief’ is turning out to be a shatteringly exhausting apprehension of the needed work of living. It demands to be fully lived, while the labour of living it is physically exhausting—like virulent jetlag, but surging up in waves.

The notes and emails of condolence have stopped arriving and I’ve acknowledged each of them. Yet after all this ritual and effort, he still hasn’t come home. What more does he want?

Denise Riley, Time Lived, Without its Flow

rocky shores

“How are you doing?” people ask a lot these days in emails and messages, kindly reaching out, letting me know they are still here, still available, still caring. I am genuinely grateful, because (as many of them who have known grief themselves have said) grieving is a lonely business even when it isn’t midwinter during a pandemic. And yet somehow as time goes on I find I am less and less able to reply with grace, because (unfairly, unreasonably) what I hear, even though of course it isn’t what they’ve said, is “How you are doing now, what has changed, are you doing any better yet?” Actually, some people probably are tacitly asking that, or at least wondering it, hoping—for my sake—that I am doing better. “How would you be doing?” I sometimes want to reply. Riley talks about “kindly onlookers” saying “I can’t imagine what you are feeling.” “I’d like them to try to imagine,” she says; “it’s not so difficult.”

OUP MiddlemarchIt is terrible, the damage grief does to one’s own generosity. I don’t like it, though for now I can’t seem to help it. Anger is often mentioned as one of the ‘stages’ of bereavement; I haven’t seen any discussion of selfishness, but that’s what it feels like, or self-absorption. All these years reading Middlemarch and now I can’t displace myself and my sorrows from the center of my narrative: I’m disappointed in myself. How I have always admired Dorothea’s resolution after her night of mourning her lost love: “She said to her own irremediable grief, that it should make her more helpful, instead of driving her back from effort.” Of course, thinking the man you loved is not the man you thought him to be—even believing that your chance at joyful passion is over—is hardly the same as knowing your child walked away from you into the night and will never come back.

How am I doing? I am still sad, still (how, after two months?) shocked, still struggling to make sense of a life that has been dealt such a blow, still trying not to think about it but also still unable not to think about it, still counting the days since it happened, still remembering the days before it happened and marveling at their innocence. (Who know a bullet journal could take on such pathos when it turns out that its cheerful notations—decorate tree! Maddie here! Christmas dinner!—were counting down to this?) I am still unable to bear going in his room or looking at baby pictures (why are the happiest memories the saddest ones?), still finding it surreal that his ashes are on our bookshelf, still frequently startled into painful sobs by thoughts or reminders of his life and his death.

ignatieffThe other question I’m hearing more and more is some variation on “have you considered talking to someone?”—meaning, of course, someone else, someone professional, someone who knows what to say. (Maybe that’s why the “how are you doing” question feels a bit loaded, as the combined subtext starts to seem like “this has gone on long enough.”) This has made me think again about Ignatieff’s comments in On Consolation about our current reliance on “therapeutic professionals” who “treat our suffering as an illness from which we need to recover.” “When suffering becomes understood as an illness with a cure,” he says, “something is lost.” I don’t think anyone who has suggested this to me means to imply that it is wrong for me to still be grieving; again, I know that they want to help, they want—for my sake—for me to be feeling better, doing better, living better. I don’t know if a therapist would approach my grief as something to be fixed or cured. I hope not: I don’t want to “recover” from it, and I don’t think I could. (“Some part of you may still remain in the underworld,” Riley says, and that seems right, meaning both true and appropriate.) I will find out, though: I have found someone to talk to (it’s not an easy process, as many of you probably know), though they can’t fit me in for a while. It is hard to think even that far ahead, but it seems likely I will still need whatever it is that they have to offer.

I feel like I need to add: I mean it that I am truly grateful to everyone kind enough to check in with me. Please don’t read this as my wishing you wouldn’t.

Owen Maitzen