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The Fabric of Memory

novella

Active Member
Mourning is a funny thing. Like a pulse throbbing in your wrist, there beneath the skin, but you’re only really conscious of it occasionally, when a particular unexpected memory rises up, even just the memory of loss, and you feel that empty place, cold and warm at the same time. People, even you, might think that you're done with it, and then you feel it again, alone and private, like a cool spot in the ocean when you’re swimming, and maybe you wonder for just a second whether it will stay there or move on in the current.

Years ago, people mourning moved through life wrapped in death, yards and yards of black, dull cotton and rustling taffeta, veils and gloves and jet beads, locks of hair in secret lockets, to gaze at blankly, remembering something once flashing in the sun. Black for a year or more, so that everyone knew it was happening, a private ritual made public. A wreath on the door. A silent piano.

It isn’t like that anymore. People expect you to shut up about it, get over it, move on. They say it's good for you. Lose the visible traces, erase the empty spaces. Which is why Lane felt guilty whenever it happened, whenever the loss rose up in her throat and filled her chest, always a new surprise, as if she had forgotten for a moment. It had become a secret, without her wanting it to, like the closetful of her mother’s clothes she couldn’t give away. Chinese dresses, a velvet cape, a sequined jacket, tiny Gucci boots. Someone would see those things, still carefully arranged by season, and think, oh, so that’s how it is. She’s gotten stuck.

Which wasn’t exactly true. She hadn’t even opened the closet for months. Except once in the summer, remembering a brown and cream cotton shirt her mother had brought from Hawaii that would have looked so nice. She carefully took it out, off the padded hanger, and slipped it on. But it seemed that her mother’s perfume still clung to the fabric, that something too intimate still inhabited the soft collar, the carved wooden buttons. Whether that was true or not, Lane decided not to wear the shirt, returned it to the hanger, and shut the door. But not before running her hand, just for a second, across the sealskin coat, forever unwearable, but so soft she could have buried her head in it right there and sobbed, as if the fur, so deep and dark, could muffle anything. Another thing to regret.
 
while some people might weep at your brilliance, I had a specialist remove my tear ducts, so that I will never cry again.
 
watercrystal said:
umm. my previous response is not constructive.


That's okay, watercrystal. The word funny here is a colloquialism meaning something close to "strange," not a reference to any kind of humor.

I think we are talking through that old language barrier again. . . .
 
novella said:
That's okay, watercrystal. The word funny here is a colloquialism meaning something close to "strange," not a reference to any kind of humor.

I think we are talking through that old language barrier again. . . .


I thought i got that meaning the first time i read it. but never mind.

in fact, lots of things already lost as you were writing down, and as we were communicating.
 
RaVeN said:
Women Rule....or at least they should.


RaVeN

Are you saying that because you're secretly, under all that facial hair, a girl or because you like the whip-cracking type? Both?

(I know you're really just nice.)
 
I say that because (IMO) women bear greater burdens of emotions.

They speak a different language that I would never be able to convey. They're in harmony with their feelings and can express themselves in a manor that no man could hope to accomplish. That doesn't mean that I'm unable to appreciate or admire them.


That, and the fact that they've got really neat bumps.


RaVeN
 
I just rewrote the prose as a poem, after reading something about clothing.




The Fabric of Memory


Mourning is a pulse throbbing in your wrist,
there beneath the skin. A particular unexpected memory rises up,
even just the memory of loss, and you feel that empty place,
cold and warm at the same time. People, even you, might think
that you're done with it, and then you feel it again, alone and private,
like a cool spot in the ocean when you’re swimming,
and maybe you wonder for just a second
whether it will stay there or move on in the current.

Years ago, people mourning wrapped in death,
yards of black, dull cotton, taffeta,
veils, jet beads, locks of hair in secret lockets, to gaze at blankly, remembering something flashing in the sun.
Black for a year or more, so that everyone knew it was happening,
a private ritual made public.

It isn’t like that anymore.
People expect you to shut up about it,
get over it, move on.
It's good for you
to lose the visible traces,
erase the empty spaces.

Then it rises up and fills your chest and throat,
always a new surprise,
as if you had forgotten for a moment.

It becomes a secret, without you wanting it to,
like the closetful of clothes you couldn’t give away.
Chinese dresses, a velvet cape, a sequined jacket, tiny boots.
Someone would see those things,
still carefully arranged by season, and think,
Oh, so that’s how it is.
She’s gotten stuck.

Which isn’t exactly true.
You hadn’t even opened the closet for months.
Except once in the summer, remembering a brown and cream cotton shirt
your mother brought from Hawaii. It would have looked so nice.
You took it out, off the padded hanger,
and slipped it on. But it seemed that her perfume still clung to the fabric,
that something too intimate still inhabited the soft collar, the carved wooden buttons.
Whether that was true or not, you decided not to wear that shirt,
returned it to the hanger, and shut the door,
but not before running your hand, just for a second, across the sealskin coat,
forever unwearable, but so soft you could have buried your head in it right there
and sobbed, as if the fur, so deep and dark, could muffle anything.
 
Not a big fan of poetry (hey, what can I say, I'm a guy), so I'll comment on the prose.

I can't believe I didn't spot this when you first posted it - it's pieces like this that keep reminding me to check out the Writer's Showcase every once in a while.

I found the piece mesmerisingly beautiful - after I'd read the opening words I knew instantly that I'd be finishing this without taking another breath. So unbelievably powerful, emotional, tangible, believable.

Excellent.

Cheers
 
I think it works much better as prose than as a poem. As a poem, I'm less open to the immediacy and wash of emotions that the prose form brings--I'm not sure why, since there have been many, many times when a poem has brought those intense feelings along with it.

Perhaps the complex syntax of the prose lines didn't translate well to the poem, or something similar. I'd stick with the prose (which, since I didn't say it before, is goshdarnamazing--what Martin said about finishing it was dead on).
 
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