I keep telling myself I don’t want to write about grief, but then I show up to my semi-regular blog writing and it wants out again. Grief expert Alan Wolfert says grief is the interior experience and mourning expresses it outside yourself. And mourning is essential, he says, because one heals through mourning. (My friend Ruth Bergen Braun alerted me to Wolfert’s work; see “The six needs of mourning”.) So here I am, expressing.
I’ve been reading Emily Carr’s journal, Hundreds and Thousands. I had not known that, besides her wonderful painting, she was such a good writer. Describing her dead sister Lizzie “radiant” in her coffin, all her “frets and worries” gone, she writes “I always want to remember Lizzie’s coffin face. It was so completely satisfied.” Seeing the dead person may be traumatic in many circumstances of death but my experience of Helmut’s body was similar to Carr’s of Lizzie’s, for in spite of the awful sad silence of him no longer breathing I was struck by the beautiful ease of his face. He looked good. I’d always thought him handsome, but what I mean is, his face was settled — utterly settled. There was nothing intentional or effortful there, just rest. This wasn’t entirely new for his face, for he’d won resolve and patience in his suffering, but now it was a step beyond; perfected.
So I was thinking about that, remembering, and later, when I went to bed I couldn’t sleep because I was imagining him slipping away from himself with his last exhale, but I couldn’t see him running or leaping or dancing, the way people often imagine their ill loved one’s release. He was never runner, leaper, dancer. What it would have to be was the sensation of wind, freedom on the open road. What he felt on his motorcycle. A motorcycle ride was like prayer for him: restoration in almost every kind of way. And if his drive took him northwards or through Birds Hill Park and he happened to see a deer, that was a God-sighting as bonus.
Yes, that I could imagine. Or flight. He’d taken a test flight once and would have liked to learn to fly. Air and speed or lift. Not the mechanics of these objects in their metal and leather for his soul, but the particular ecstasy of movement they imply.
Or like hitting the road in his El Camino. Which made me think of our honeymoon, a road trip from Manitoba to Ontario and back again, all those hours in that two-seater brown El Camino when we listened, many times, to his tapes, chiefly Kenny Rogers and Charlie Pride. Music in my family of origin consisted of two kinds of music — classical and church music like hymns, fireside choruses, cantatas, oratorios, and the like — to which I added radio pop, but he liked country, and that’s what we listened to that week, and the sway and croon of it seemed just right for miles and miles to go and for a honeymoon.
So I was thinking all this and wasn’t falling asleep. Suddenly I wanted to hear Charley Pride once again. I knew there was a CD of his hits in the other room, which hadn’t been listened to for ages, and I figured maybe I would listen the next day, for nostalgia’s sake. But no, I needed it now and I argued with myself because I glanced at the bedside clock and saw it was midnight. But who would it bother, I was the only one in the apartment, and besides, I would keep it midnight low, so my wanting won out and I got up and put the CD in my little boom box, next to my pillow, and I listened through all 20 songs. They sounded a bit thin in that little thing, and began, the sleepier I got, to sound more or less the same, but for that hour or whatever it was, I lived in the longing and heartbreak of that music, and in the memory of being on the road a long while ago, together.