fortune tellers

I root for each fortune teller I meet.

Say her name. Lucy. Lucia. Say it. Mention her.

photo by ManWithAToyCamera.

I am like a magpie, and their blinking neon sign the shiny thing I must peck. I am drawn to the gypsy caravan, the crystal ball, the smell of sage and incense, the Zoltar machine, and aura of pure indigo. Each one talks about my failing writing career and my husband, artwork and my marriage, how I myself am psychic, and destined to be a reader myself. Nothing about the daughter that died.

Channel her. Speak her words, share (what must be) her stilted, strange wisdom of never having breathed, yet so grieved. Channel her.

The five buck psychic asks me for a question, and I tell her about Lucia. How she died in me, and how my husband wants another baby, and I am scared this baby will die too. Right before he is born. (This was eight months out from her death, but it feels like today.) I wanted to know why she died. Science failed me. There is no physical reason my daughter died, but surely, there is a metaphysical one. I found the five buck psychic on-line. She sends me her reading four days later. She tells me that Lucia is a Buddha and that she chose me for her last life, so she could heal old wounds, the ones that need the comfort and unconditional love of a womb experience. And she knew that I would be strong enough to handle her death. It was the soul contract we made. I read her email aloud on the way to the airport. We were flying to Panama for a week, taking our grief on vacation.

"Do you find that comforting?" I asked my husband. Unsure if I should be offended or reassured.

"Yes. It is comforting." We were comforted for the rest of the day. The next day, we ceased being comforted and were back to relentless discomfort of baby-death, grief, angst, fear, anxiety, and bitterness.

Still, I find that idea most comforting of all the ideas posited by the religions of the world--that my baby is a holy woman, a wise soul, an awakened being, a Buddha. Her soul released from suffering. That I gave her unconditional love, that she choose this life because I was strong and loving and earth mother-y. Further, I found the idea that I choose this life comforting. Of course, it arrogantly supports the vision I have of myself as capable, loving, selfless, in control, powerful, rather than the truth of it which is that I am chaotic, frightened, humbled, mediocre, out of control, powerless. I found out later that this idea is a Hindu understanding of stillbirth, that the baby who chooses to be stillborn is in their last life before achieving moksha, before being released from the samsara, the cycle of life, death, and rebirth.

Still, that first psychic gifted me with a moment of solace. It wasn't enough, though, I wanted to hear about her from her. I wanted to hear her voice. And so I began my hero's journey through the metaphysical world. In the last three years, I have consulted psychics, tarot readers, astrologers, fortune tellers, palmists, hair readers, angel channels, auric interpreters, shamans and medicine women every few months hoping for a message from my daughter.  And not one of them, until two weekends ago, mentioned my daughter without my prompting. She is gone. Her energy doesn't reside in mine. But I still rooted for them. I thought hard as they pulled cards, sat still in meditation.

All of my writing, my artwork, my entire life changed after I pushed her dead six pound body out of my vagina, surely you can see this on my soul, in my aura. It must be etched in gold, or charred and blackened in the parts of me that once shone. Surely, you must feel it when you touch my hair, look into my palm, read the tea leaves. I can see it, even the cheesemonger can see it when I ask for a pound of provolone. Just say her name. I believe you can.

I watch these psychic shows when no one is around. They are my guilty pleasure. The one with the lady with long fingernails, talking like a mobster. She channels stillborn children here and there, and despite myself I weep, blubber almost. I watch her in the middle of the night, on-demand, so no one can see me almost blubbering. It is babylost porn. She tells the grieving mothers mundane things mostly, confirmation that their children are around them. I just want that. A confirmation of something--that she lived, that she died, that we grieve, that she is a person with a soul, or rather perhaps that I am.

+++

We wear headphones and microphones. It is the Mind-Body Expo and we are nestled on the second floor on the football stadium, tucked in the corner next to the Tibetan arts table. Here there are psychics and soul artists, channels and astral journeyman, reiki masters and healers in modalities I have never heard of, tables of jewelry purporting to open your third eye or connect you to the Akashic records. My sister signs up to see a shaman women. She is barefoot and beats a drum. I waited for the "World Renown Psychic Medium," as her sign states. I read laminated newspaper articles on her table while I waited. She found many missing persons. Well, three.

I have a missing person.

She whispers, "Can you hear me?"

"Yes." My own voice startles me. She tells me about her process and that she will be talking fast. I get a chill and she begins. She tells me that my grandparents are stepping forward.

She holds my hands in her own, and says, "Your grandfather is here. He is holding up two fingers, then a third. Do you have two or three children?"

 I gulp.

"I have two living children, and a child that died."

"Okay. I see you have two in spirit. The miscarried one is a boy. He said he liked the name Michael." That is the only name on our boy list during this last pregnancy so convinced I was that the growing dot in me was a girl. Michael is my grandfather's name. The hairs are standing up on my neck, and in my gut, I know that is true now.

"Your daughter will be reincarnated as your oldest daughter's first child, and your son will be your second grandchild. They will be part of your family again. They have always been part of your family."

The tears fall unself-consciously. I want this all to be true. I want Lucia to be a Buddha, while simultaneously and selfishly, I want her to come back.  I want to hold her again, some day, even as an old woman. I want to bathe her, and feed her rice and beans. It wasn't her voice, but it was the hope that I may see her again. And maybe that was enough.

Tell me about your experience. Have you consulted a psychic, channel, medium, palm reader, tarot reader, or other metaphysical worker for insight into your grief? What were you told? Was it comforting or disconcerting? If not, have you considered it? What holds you back?

pomegranate

I open my mouth. The scream escapes. It is a primal, ancient scream. The Banshee wail that precedes death and mourning. It has been building inside of me through all of my tragedies, humiliations, fears. But the death of my daughters propel it forward, out of me. It is also the scream of Demeter. It comes from deep inside of all women. The goddess roars through me. It is hardly a noise one knows before a child dies, it is something entirely different. A different cry, an animal sound, a wild rage that tears through normal ears. It is the hurricane. The volcano. The typhoon. It is in the Ancient Greeks, the Druids, the Celtic gods, the old Norse and Inuit tales where I find my story into the underworld. We babylost are no longer of this era and we should stop trying to be. We come from the distant past. The grief goddesses inhabit us to retell their stories. We channel their woe, their anger, their cries. We are transported to a place halfway between heaven and hell, the blessed and the cursed, the living and the dead.

+++

I can only really muster worship to the goddesses of grief--Demeter and Hecate, the Norse goddess Frigga, the Aztec goddess Coatlicue. There is a distinguished lineage of goddess grieving. She rarely behaves well. I learn the lessons of grief from mythology. I starve the world. I punish others. But the earth people will be restored. It is me who withers again when Summer leaves, every year, when I am reminded of my daughter's death. It is me who curses the most human parts of myself.

The chill moves through me. I nod to Autumn, bow to her, make elaborate arm gestures to welcome her through my life again. Autumn equinox marks Persephone's descent--her return to Hades, the god who abducted her all those millennia ago, raped her, held her captive in the underworld, fed her pomegranate to seal her fate. Her mother Demeter, the goddess of the harvest, begins her long walk around the world weeping, mourning, taking the life from the crops. Autumn equinox marks my descent too. I walk into my grief season, seizing the harvest, choking the life from everything around me, falling into a deep darkness. It is a welcome turn, when the earth and sky match my insides. It is my slow trudge until my daughter's death day on Winter Solstice.

This veil is thin now in October. Do not underestimate its power. The ancestors step just out of view, like through a gauzy film, whispering: Be better than you think possible.

I shake my head and rub mud into my skin. I light bonfires and bring them forward. "Oh, no, I mourn now, grandmothers. I am my shadow and myself. Two people mourning. Weep with me. Share half a tear, half a cry with your half-daughter."

On the first year, when the earth opened and swallowed Persephone, Demeter walked the earth for nine days searching for her daughter. She ate nothing. She drank no ambrosia. She refused to bathe. She just hunted her only daughter, desperate and possessed with the finding. There are rumors that Persephone screamed before she was taken. Hecate heard it, in fact. And they ask Helios, the sun god, who tells them it is Hades who stole the virgin, raped her. When she was told what happened, she enlists the help of her friends Famine and Petulance to punish the humans until she can see her daughter once more. They are the withered old hags of goddesses, but powerful nonetheless. They delight in cauldrons of poison and starvation and cackle to themselves. And Demeter, a compassionate goddess, felt justified in her actions.

Persephone is allowed to return home only if she has eaten nothing. But she could not resist the allure of the blood red pomegranate, sexy and furtive. The juice drips down her chin, and Hades licks it off her, sealing her fate to return for six months every year.

photo by zenobia_joy.

I find myself jealous of Demeter, seeing her daughter for six months, exacting her grief in such a global way.  And the jealousy reads like a sweet nectar of what could be. I drink in the hope. Lucia ate pomegranate in my womb. Or rather, I did. I pulled the seeds from the membranes one by one until my hands were sticky and stained. I didn't know better. The seeds shone like garnets in my hand. And I, gluttonous and greedy, ate more of the underworld. I couldn't stop at six. I ate the entire fruit and then more. I ate resentment and anger, grudges and hurt egos, swallowed them whole. They were still alive and writhing when they hit my stomach, inches from where Lucia slept.

When she died, I walked this liminal land, the space between the dead and the living. The land running alongside the river Styx. I barely heed the warnings of those who came before me:

Do not pay the ferryman if you see him. Do not approach him. But wave across to the others, vacant and plodding through the dark. Ask for your child. Wail, if you must, the shriek of Demeter will be recognized here. But do not get on the boat. And for the love of everything holy, do not eat any pomegranate seeds yourself any longer. They mean something different now, love. Even though they taste like Lucia. They mean something different.

I have existed in liminal spaces for a long time. The borderlands are my patria. My homeland. I am half white and half-Latina. Half-American and Half-Panamanian. I am half a believer, half a skeptic. I am half straight and have AB positive blood. The creatures drawn to me wear horns, and tall boots with twenty-seven buckles, and white make-up, wooly vests and listen to songs about vampires, but work in a corporate office during the day. I live in a suburb, a small town that feels like mid-town. Halfway between city and country. We have a farmer's market and tattooed vendors who smile at your bike trailer and say, "Right on."

After the first snow without her, I became half a mother. Half a breeder. Half of my children are dead. I have half a song. It is about winter, and the triple goddess, and pomegranate seeds which I suck just enough to be allowed visitation rights. She is gone and my summer never comes. Just space and time until I grieve again.

It is half a myth without an ending.

Do you feel between worlds? Which ones? Do you feel close to certain myths or stories now? Has that changed since the death of your baby(ies)?

a girl on the train

I am going to tell you this story. I don't think I ever told it before.

 photo by .aditya.

This was a few years ago, and I was less than a year from Lucia's death, and I was pregnant again and coming home from a midwife appointment in the city. I was on the train. I was listening to Stereolab, holding onto a pole, staring out the window at graffiti and darkness passing underneath the city.

Then I saw her waiting for the train. I couldn't believe it. She walked onto the car, brushed past me. I smelled her without being weird. And she even smelled like I thought she would. She had dark hair and eyes like my husband. I couldn't stop staring at her. She was Lucia grown up. I mean, I thought Lucia could look like her. Then I guess I thought she was Lucia. She must have been twenty-two, or so. She looked athletic with wide shoulders. She wore orange and red, and carried a small purse crossed over her chest, nothing ostentatious. She checked her iPhone and listened to music and tapped her toes. She wore cool, sensible shoes. Clogs. Just like me. And a scarf around her neck.

I whispered Lucia's name, but she didn't budge. I turned away now and again for the sake of convention. But I situated myself so I could mostly stare at her while pretending to look through her, like she was a specter, which of course, she was. And when the train pulled into my stop, I stayed on. I stayed on the train to see her longer. To look at her face. Praying she would smile, or talk. She was my baby, but she didn't know it. I wanted to see the way her neck eased into her shoulder. It was a very adult part of the body, and Lucia was never adult.

My God. Lucia will never be an adult.

The fact hits me like I fell in front of the train instead of rode in it. Lucia will never kiss a boy. She will never go to college, or eat a peach or dance in a rainstorm. I will never run into her randomly on the train where we can ride home together. I sometimes forget the details of all she will miss in my missing. She will not wear sensible shoes on a Tuesday, or crazy heels on a dark New Year's Eve. She will not hate basketball, or love it, even. Lucia is missing everything too. This body, this youth, this sexiness, this life we lead when we are young and death is something conquered, not an inevitable destination. Lucia never left the station.

I have nothing left of her. A wisp of hair, and grief. If there was a tea to take away grief, I wouldn't drink it. It is all I have of her--grief. An astrologer said I ride the train through two worlds--the living and the dead. I will never fit in either place. It is my destiny, he said. By the alignment of the stars, and my birth time, and this life, he said, Remember,  you made this soul contract. You picked your suffering. To me, he said, it looks like you picked the express train to spiritual growth, which means this is going to be a hard life.

I want this grief, this dis-ease of the heart. The grief is love, I think. It is the aching part of love. It is the sad part of love. But it is still love. Grief ties me to her. Aching. Pain. Suffering. They are her calls to me, and in that way, the pain is sweet and beautiful. She is just a name now. To my children. They stopped asking me about her weight, and what age she would be. She is Lucy, the very sad story I told them one afternoon. She is a butterfly now, and maybe a ladybug. She is the dedication of a song, or a picture, but not a real girl. She doesn't ride the train, and listen to music. She doesn't wear her hair down. Not like the other sisters.

This ride home felt like a journey between two worlds. I am Orpheus, walking again with a lyre into the underworld, and it invigorates me. It is not unlike going into 8th Street station. It smells of piss and cigarette smoke. There is a darkness in me. One I finally see. If I embrace it, the astrologer says, I will be happier. Even way back then, before I knew about the darkness in me, I paid the conductor, and followed the girl that could have been my daughter. My Lucia is dead. Her ashes are lumpy (so is my soul.) I probably wouldn't recognize my little girl walking and talking like a twenty year old. After all, I never saw her live. But that girl on the train was her for twelve minutes. And I loved her like my baby. The girl gets off the train and runs down the stairs. I watch her disappear behind a wall. Lucia is dead again.

I cross the platform to the train going back to my home. It's only two stops. The car is empty. It is hard not to cry, so I don't fight it.

Have you ever seen a stranger who reminds you of your child? Is there any adult in your life that reminds you of what your child could have been? Who is it? Do you want to be close to them, or far away? What parts of your child's adulthood do you miss most? 

questions and answers

photo by wakingphotolife.

What is Lucy made of, Mama?

She is made of people ash with bone.

She is white, almost. Sometimes grey.

She had no knuckles, she was too young, I think. So there are no knuckles bones. So she is the other bones with people ash. That is what her body is made of, daughter.

But the important part of her is made of whispers and prayers and paint fumes on a spring morning, a candle lit to push away the stink of it, and a moment we took advantage of. The wind blows the chimes in the dining room.

She is made of chimes.

She is made of sprouts and nests and small mites writhing in hay. There is a chipmunk who sits on the roof of the garage. I wave to him every morning. She is made out of him.

She is made of wood blocks and printing ink. She is made of porcelain and  papier-mâché. She is made of vine charcoal and 90lb. paper, shredded and waterlogged with seeds embedded in its pulp. She is made of summer and fiddleheads. Yoga and smoothies with berries and almond butter. She is made of long flowing skirts, and a purple dress that made me look like Barney, but feel like a goddess.

She is made of email fights and heartbreak and broken clavicles, too. I try not to talk about that part of her, because I used to believe that the dark parts of her making killed her. Sometimes I think that is what made her live so long. It gave her tenacity. She is made of strength.

She is made of the moon. Further, she is the moon. Hanging effortlessly over our nights, disappearing gradually day by day, and then appearing again, brighter and closer than ever. She is also made of winter solstice. She is made of icicles and darkness and sad songs about sunshine and being taken away

She is made of atoms and stardust and self-sacrifice. She is made of nothing, but everything.

How old is Lucy now, Mama?

She is as old as the trees, my love. Her roots are so far into the earth, they are lava and rock. She is the Anasazi. She is the crone. She is the baby whose bough is breaking. She is as old as the canyons and young as the idea. She is a moss-covered age, one with ferns at her base. She is sixteen and driving erratically. She is eighty and hunched over in secret lives never lived.

She is three and two months old. Younger than you, but also ancient, like the gods, and at the same time, she is always newborn.

What happens when we die, Mama?

Our skin grows cold and turns ashen. Our body becomes stiff. The skin around the fingernails recede making every fingernail longer. The skin hides away and reveals something animal about our humanity. The meaning of life is gone then. The carnal meaning, I mean. The impulse for more is gone. We are just skin and bone. We are carbon, filtering into earth. It nourishes something lovely, we like to think. That also is transitory. The spark leaves our eyes and enters other people's hearts and burns brightly. So brightly it feels like fear. I want to tell you that our body is a shell, as cumbersome and heavy as a turtle. We figured out how to carry it, but it is not comfortable. The part that rots and makes a home for other creatures of the dark, that part is not us. It is something else. It is soil. It is life in its death. We do not have a soul, baby. We are a soul and have a body. I read that once. I believe that.

But what happens to our soul, baby, is not my privilege to know. I just sense that we become part of every person and everything, like a raindrop falling into the ocean. Can we separate the raindrop again? Never, but we still are water.

What do you think happens when we die, baby?

I think we go into trees, Mama. That is why it is very important to hug trees.

+++

What round about answers are you giving these days? What kind of questions do you get asked, either by children or adults, that stump you? How do you answer them? What kind of questions do you ask? Are your answers concrete or esoteric? Have your answers changed over time?

or alternatively, you can just tell me what your child is made of...

geography

"psychogeography - the study of the precise laws and specific effects of the geographical environment, consciously organized or not, on the emotions and behaviour of individuals." 

Guy DeBord

“No matter whether one is flying over Newfoundland or the sea of lights that stretches from Boston to Philadelphia after nightfall, over the Arabian deserts which gleam like mother-of-pearl, over the Ruhr or the city of Frankfurt, it is as though there were no people, only the things they have made and in which they are hiding.”

W.G. Sebald - The Rings of Saturn

My daughter was born in our local hospital, about ten minutes walk away from my own front door. She did not die there. She died in another hospital, in a different town, about fifty miles away. 

The first hospital is so physically close, so much a part of my life, that I have started to tune its presence out. I used to walk past and feel the air dense, a haze of hopes and fears emanating from the coarse render, as though my daughters and I were replicated in every room on every floor. Now it hardly registers, a grey rectangle squatting on the horizon. The memory of my daughters' births overlaid now with a dulling patina of time.

It is the second hospital that haunts my thoughts, the one where Georgina died. It is an old building, a former work house and then an asylum. A strange, twisty place, full of echoing halls and outmoded gadgets. 

My haunting started early, even before my daughter died. In the windowless NICU parents' kitchen, amidst the labelled pots of yoghurts and stained coffee cups, I phoned my friend to tell her what had happened. I suddenly felt myself whizz up to the ceiling and then higher still, saw from above my distress call emanating from the gizzards of the building, a flickering patch of bioluminescence amidst stone and cement, a synapse firing helplessly in an uncaring nervous system of concrete and discoloured gloss paint. Tap tap tapping. And I knew that this place was one which would not leave my mind easily.  

The room in which my daughter lived was a small one, a side ward with a blue linoleum floor. There were four bays, the twins were in the two spots closest to the door, Georgina to the left hand side as you entered the room. This place where my first born spent the majority of her life, where she took her final breath. A room I subsequently spent a great deal of time in. I failed to recognise the incubator in which she had lived when it came around again, or to locate the room where she finally died, where her heart stopped beating. My husband knew them, the incubator he pointed out, the room he would not, but they had already left my memory. This made me feel as though I had betrayed her, that I could not find these two small spots of contact between my daughter and the earth that remained behind her. 

Image taken from the Norman B. Leventhal Map Center at the BPL

I should like to go back into that room and stand there, now that it is empty of people, at nighttime perhaps? I don't know what it is that occupies that space now. An office? A different type of ward with larger occupants? I know that it is no longer a neonatal intensive care unit. That time has passed. The NICU is now located in another hospital on the other side of the town. I don't know what it is that I hope to find there, in that stillness, in the depth of the night. I always had a creeping sensation that there was something happening in the NICU, something hidden away behind the scenes. Because the plastic boxes and alarms surely couldn't be real. Too terrible and strange, surely a facade or a trick. Perhaps I hope that she is still hidden in the walls somewhere. Or maybe I am looking for pieces of her? Or shards of myself? Those that flew away with such force that pieces might still be embedded in the walls, those that crumbled away gently to such a fine dust that they could never be reconstituted, those I ripped out with my fingernails and cast away with a shudder of revulsion. Look, there's the part of me that cared when your boyfriend dumped you. That small pile of fluff in the corner, there's my certainty that everything will, in the end, be ok. That small translucent snippet of cellophane, a discard from some piece of medical equipment, the part of me that looked around eagerly for help, turned to higher powers for assistance and aid. 

There is only one other place where I can feel her so close at hand. Rather unromantically, it is the final toilet stall at my place of work, the one that adjoins the cleaning cupboard. In my dreams, the two places combine, to form a strange lurching amalgam of places where I might find some left behind pieces of my daughter. I turn away from her incubator to find myself in the toilet cubicle, although in reality these two places are miles apart.

I used to kneel there, by that toilet, clutching at the bowl, nausea roiling through my stomach. After she'd died, I walked back into the small, smelly cubicle for the first time in over a year and sunk to my knees again. I suddenly felt solitary and alone although it had been a long time since I had been a being in triplicate. I balled myself up amongst the cleaning supplies, laid my cheek down on the industrial size packet of toilet rolls and ached for her. "She was here," I murmured. "She was just here." And as I lay there, I momentarily felt that I could reach out, grab the empty air and twist it through ninety degrees, to send her hurtling away from her death and back to me. But, sadly, that proved to be just an illusion, although it is testament to my own desperation and craziness that I tried it. I had to check that it wouldn't work. 

 Are there any places that remind you of your baby or babies? Or where you feel a particular connection to them? How would you, or do you, feel about re-visiting these locations? Do you feel that you are looking for something?

la llorona

photo by A30_Tsitika.

I paint my face like a calavera. I don't know what I am trying to achieve, making myself look dead, but I do it. I am alone. It feels like I am doing something wrong, and in that way, I am excited. I put a base of white onto my face. It reminds me of high school and listening to the Cure and being a punk rocker. Then I pull out the black face paint crayon and draw a joy there, a swirl here. Some flowers and decorations. I am more beautiful with the mask of death.

I want to feel close to her.  I want her to be amongst my posse in the afterlife, the otherworldly gang of ancestors that come when the veil between the living and the dead is thinnest, guiding me into good real estate decisions and warning me of enemies. I beckon her to come this day, the next and one after that. To rest in my arms while I dress like a calavera. We are but a whisper away from the other side. Maybe we are a coat of white face paint away.

I straddle cultures. I straddle existences. Half-white. Half-Latina. Half-mother. Half-La Llorona. I am an erstwhile Catholic and a half-assed Buddhist. I spent years living on the Mexican border in Arizona, speaking Spanish like a Chicana, and come home to a house full of Panamanians. I married a Southerner and live in New Jersey. I have attended midnight masses in four continents. I put each image of death, each candle burned, into a steaming cauldron, stew them for decades. I take some dark ideas out, adding liturgy and spells, until it is a soothing, warming bowl of ritual. Because above all else, I am a ritualist. I like rites. I like routine. I like customs. I like ceremony. I like something to do over and over because it is. What. We. Do. So I paint my face. I paint my face and I build an altar across my dining room. And I pull out the pictures of the dead.

I line up their photographs on my ofrenda. This time of year feels sacred and frightening. The leaves fall. My people fall. My grandmother. My aunt. My great-grandmother. My grandfather. My father-in-law. My daughter. So, I take a bit of them and add it to my Día de los Muertos altar. I decorate it with their funeral prayer cards, the Irish blessing written on the back. I put little bibles and prayer books. There is a rosary created by a blind nun and a bowl of fruit. I make sugar skulls. I paint a large painting of a woman crying and holding a stillborn baby. I hang it in the middle of the wall, papier-mâché skeletons flanking each side, flower lights hanging around the wooden frame.

Ssssshhhh. Don't tell anyone, but the painting is me and Lucy. It is a 16 inch by 20 inch secret done in bright acrylic. I tried to paint the Virgin Mary, but I always paint me holding Lucia and crying. It is pathological. It makes others uncomfortable. There is this show of competing artists. One of them could take pictures of nothing but clay and red dye that looked like bloody  internal organs. She suffered from colitis her whole life. She tried to create other work, but she always ended up painting organs hanging from a box. I keep painting my dead daughter. I paint death because I do not show her picture in my house, except on Day of the Dead. I put her picture in this little brightly colored frame that betrays the gray of our heartbreak. I can close it up with an orange ribbon when neighbors come by. Does anyone notice our Lucy there, lips red as the sacred heart? The lips are strange and mesmerizing to me, and I have kissed them. The dead wear makeup too.

+++

Is it okay to tell you a ghost story? It is Halloween after all. Sometimes I feel like La Llorona, the Wailing Woman, who walks the edges of ponds, arroyos, the rivers, the places where water runs and her children might wash up. See, the legend goes that her children were swept away by a flash flood, carried off dead, and she, driven insane by the grief, wanders the rivers of the world looking for them. She screams and keens into the night. In another land, the legend is that she killed her children herself, threw them in the river. But the end is the same--they are gone, and she is condemned to wander the earth. But the scream is one we all know. She screams into the night, "Dios Mio! Mi hijos! Mi hijos!" or "My God! My babies! My babies!"

She is beautiful and terrifying. Every old man and woman in Mexico has a La Llorona story, even my mother. It is a ghost story, a nightmare, to lose your children. Everyone knows that. La Llorona is a warning told to children who become young adults. Do not venture out at night or La Llorona will snatch you. Do not go meet your boyfriend by the riverbed, under that beautiful weeping willow, La Llorona will steal you from us. I am both comforted that child loss is acknowledged, even in ghost stories, as something to drive you mad, condemn you for eternity, and also sad that we have such bad PR. I get La Llorona, I do. I feel condemned some days. Like La Llorona, wild hair, wild eyes, wandering the babylost rivers of the internet, wailing, "Dios Mio! Mi hija! Mija! My daughter. My daughter. Oh  my God, my daughter."

This time seems wrought with ghosts and visions and the other world. Today is Halloween and Samhain, the Witches New Year. Tomorrow and the next day, the Days of the Dead. Tomorrow is Día de los Inocentes ("Day of the Innocents") also known as Día de los Angelitos ("Day of the Little Angels").  November 1st is a day set aside to honor children and babies who have died. We who wander the internet wailing have created our own culture around death, our own rituals of mourning. An angel writes our baby's name in the sand across the world. We write poetry. We light candles together. We trade skulls and hearts and ornaments.

I paint my face white, turn myself into a skull. I commune with the dead. I create elaborate altars for her. I summon her, conjure her baby form in the arms of my grandmothers and aunts. I stare into a bowl of water, scrying and crying. There is something comforting in the desperation of these motions. It is something other than wailing.

What ways do you honor the dead during Halloween, Samhain or Days of the Dead? Or if you don't, why not? What rituals have you created for yourself? For your family?  Are these rituals different for your baby(ies) than for your older ancestors? Do you connect with the community of parents who have lost children during October? What rituals feel most comforting to you?