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Once behind the closed door of his room, my father makes himself small as possible on the edge of his unmade bed. Staring hard at the baseboard, he tries to slow his tumbling heart. He has never seen his father cry, not even when his mother died. Now, having witnessed it, he feels like he has pulled the rug of manhood out from under the old man's feet. He convinces himself that it must be the lost mules his father was praying for, or for the mangled man who lies unconscious in the hospital bed in Nashville, and that this is what drove him to tears. It is only much later, picking asparagus in the ghost of a garden, that he will admit who his father had really been crying for: for his son, and for his son.

These days, my father remembers little from the time before the tractors. The growl of their engines in his mind has long since drowned out the quieter noises: the constant stamping and shifting of mule weight in the barn, the smooth sound of oats being poured into a steel bucket. He remembers the steam that rose from the animals after work. Pooled heaps of soft leather harness waiting to be mended on the breakfast table. At the threshold of the barn door, a velvet-eared dog that was always snapping its teeth at flies. Orphan standing dark and noble in the snow, a sled hooked to his harness. Eula Parker in a dark blue hat laughing and saying his name, hurrying after him and calling out "Wait, wait," one warm Sunday as he left church for home.

He remembers too his mother's cooking spices lined up in the cupboard where they had been since her death, faded inside their tins, without scent or taste. When he knew he was alone in the house, it gave him some sad comfort to take them out one by one and open them, the contents of each as dusty and gray as the next. He has just one memory of her, just an image: the curve of her spine and the fall of her hair when she had once leaned over to sniff the sheets on his bed, the morning after he'd wet it. This is all he has of her: one moment, just one, tangled in those little threads of shame.

In the same way I only have one memory of my grandfather, one watery picture from when I was very young. When my mother and father would rock me on the porch at night, my grandfather sat with them in a straight-backed chair, playing the banjo. He would tie a little tissue paper doll to his right wrist, and it danced and jumped like a tiny white ghost. I remember sitting on my mother's lap one night, and in the darkness the only things I could see were the tissue doll, the white moon of the banjo face, my mother's pale hair. I remember watching that doll bobbing along with my grandfather's strumming and, from time to time, the white flash of his teeth when he smiled. And I can hear him sing just a piece of one of the old songs: I know'd it, indeed I know'd it, yes, I know'd it, my bones are gonna rise again.

This is the story that my father tells me as he bends like a wire wicket in the garden, or, I should say, what once was my mother's garden. He parts the tangle of weeds to find the asparagus, then snaps off the tough spears with his knife, straightening slowly from time to time to stretch his stiff and rounded back. The garden is like a straight-edged wilderness in the middle of the closely mowed lawn, a blasted plot of weeds and thorns and thistle. Nothing has grown here since my mother died and no one wanted to tend it. Nothing except the asparagus, which comes up year after year.

From Reasons for and Advantages of Breathing. Published by HarperCollins Publishers Ltd. Copyright © 2009 by Lydia Peelle. All rights reserved. Reprinted by permission of HarperCollins Publishers Ltd.

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