Mirror of Erised

She was a very pretty woman. She had dark red hair and her eyes – her eyes are just like mine, Harry thought, edging a little closer to the glass. Bright green -- exactly the same shape, but then he noticed that she was crying; smiling, but crying at the same time.

I reread the first book of the Harry Potter series last week. It’s been a long-long time since I first met The Boy Who Lived. I’ve been trying to remember exactly how old I was then, and I can’t put my finger on it. Young, incredibly young, is the answer that matters. Funny, because I do remember that when I first read it, on my sister’s recommendation, I had to tell myself that it was ok for the much older person that I was to read the children’s/young adult books. You know, because they are good, and they just happen to be being written when I was no longer a child or a young adult. It turns out the definition of “young” changes a lot as one ages. Go figure.

I first read the book in the American edition, but by then I already knew that Sorcerer’s Stone was the weak tea Americanization of the original British Philosopher’s Stone.  I knew about Philosopher’s stone—learned about it from some adventure stories I read when I was actually a bonifide kid growing up in the Old Country. And I remember that the words sorcerer’s stone kept bugging me in the text, as did the references to soccer (because, you know, the rest of the world calls it football) and a few other things. I tell you this because this time I read it in the Old Country Language translation—we got it for Monkey, but as a responsible parent I had to check out the translation, don’t you think?

It’s a good translation, with less than a handful places where I thought the translator didn’t appreciate an idiom or a standard turn of phrase, and as a result, produced a clunky sentence that didn’t read like it belonged. I’ve forgotten some of the plot points, though they all came to mind easily at the first hint of each in the text. The cleverness of descriptions delighted me again. Uncle Vernon wishing hearing Harry’s name to be a figment of his imagination, despite usually wishing to stay far away from imagination and its figments—that made me laugh. 

Monkey is eleven now, the age the protagonists are when the story starts. I realized, reading it this time, that when I first read the book, I imagined them younger. What I am saying is that I knew they were eleven, but my conception of what an eleven year old is was off. And this time the question my close friend raised some years back about whether Slytherin house and kids entering it are too easily stigmatized was close to my mind as I read.

I tell you all of this to emphasize that this time the reading of this book was a much richer experience for me. I knew the plot, but I was seeing it a little bit anew. Reading in a different language made it more of a 3D experience, if you will—it made the language stand as a bit of its own thing, in addition to the story. Reading this time was an experience joyful in a way that stretching is pleasurable after sitting too still for too long. I felt my brain delighting in the multifaceted work it was doing—the “oh, I remember why I like this” and the “yeah, still got it”-- much like I imagine a runner sidetracked by an injury might feel during the first run back, sensory memory of joy in the doing coming back alongside the here and now sensation of her muscles responding to the familiar challenges.

I was on the reader’s high, if you will. Which high carried me straight into a dark room with an ornate mirror resting on clawed feet.  

The tall, thin, black-haired man standing next to her put his arm around her. He wore glasses, and his hair was very untidy. It stuck up at the back, just as Harry's did.

Mirror of Erised. I remember that when I first read the book I liked this mirror as a plot device a lot. I liked that Ron sees what he sees, and how Dumbledore uses the mirror in the end. I even remember being affected by the description of Harry looking at his family, and appreciating the extra punch the mirror packs precisely because Harry has never even seen a photograph of his parents before.

But this time there was something else. This time there was a hard gulp of knowing exactly why Lily Potter in the mirror is smiling, and why she is crying. Lily Potter got to do the one thing many of us have at least once said we would’ve liked to do—she got to trade her life for her child’s. Lily in the mirror is not real, but the mirror shows Harry how she would’ve reacted if she was. Lily in the mirror is not real, but to me she is recognizable.

Because I met my first son only after he was dead, much of what little that I know about him is about what he looked like. I know that my younger son has the same nose as A, for example. But my younger son’s face has changed so much over the years. I have to admit to myself that I have no idea what A would’ve looked like as a six year old.

Once Harry understands what he is looking at, he is searching the faces and figures of his family in the mirror, delighting in recognition. If I got a glimpse of A as a six year old, as an eleven year old… Even if it wasn’t real, I’d drink it in too.

On a related note (it’s related, I promise), if you’ve ever talked about the day your child was born dead or the day your child died as both a happy and a sad day, what reactions did you get? Because I think most people just don’t believe us when we say that. There’s the look of genuine incomprehension that people get. The look may be followed by kind words, the right words. Or it may be followed by a platter of platitudes. Or by nothing at all. And those reactions tell us a great deal about the people who utter them. But the first bit, the incomprehension, I’ve come to see it as a very honest and very human reaction—what people hear in the story is the death, the finality of it, the horror. And they get the sad day part. But I think it takes an extraordinarily wise soul to also get that the very finality of it takes away the luxury of separating the joy from the sorrow—this is the day, and this day is all we get. So we rejoice in the beauty of our children, in the family resemblances, in whatever little things we manage to carve out. Mostly, we rejoice in them having been here, in them being our children.

The Potters smiled and waved at Harry and he stared hungrily back at them, his hands pressed flat against the glass as though he was hoping to fall right through it and reach them. He had a powerful kind of ache inside him, half joy, half terrible sadness.

Erised is desire spelled backwards, as if read in a mirror. The mirror shows us the deepest, most desperate desire of our hearts. Lily and James and the rest of the Potters are in the mirror because Harry desperately wants to know them. The story of The Boy Who Lived inverts our stories. Or maybe I should say it reflects them. Harry doesn’t get to separate the joy from the sorrow either. With the mirror he has more than he’s ever had before—he can see where he came from, he can see that he was loved. And that is a lot, and it brings joy. But these people who loved him, they are still dead. In a weird way, because they are no longer abstract ideas of mom and dad, because now they are this mom with green eyes, and this dad with unruly hair, maybe they are actually a little more dead now.  And no matter how many days or nights in a row Harry might’ve come to the mirror, the glass remains, fragile, but as always, impermeable. And the people who loved him remain dead.

And that recipe for a powerful kind of ache is just too familiar.

Have you ever encountered your grief reflected in an unexpected piece of art—a book, a movie, a play, a painting, a photograph? Or tell us what you think you would see in the Mirror of Erised. 

strength.

I refuse to become a seeker for cures.
Everything that has ever
helped me has come through what already
lay store in me. Old things, diffuse, unnamed, lie strong
across my heart.
This is from where
my strength comes, even when I miss my strength
even when it turns on me
like a violent master.
--Adrienne Rich

The early days, my tenderness scared me more than the realization of my mortality. Death never scared me, rather the desperate need I felt to be comforted; to have someone fix my grief; the desperation to have my daughter's death and life acknowledged; to be held, cooked for, and tended to; the pure vulnerability; my inability to control my emotions; my hyper sensitivity; the pure, raw, screeching insomniac grief--that frightened me. It meant the pain would continue, perhaps indefinitely, because of the unchangeable fact that my daughter died, and I could do nothing to prevent it, change it, or make it right. This strong, capable, forgiving person had been permanently transformed into an angry, bitter, grief-stricken beldam without kindness in her heart. That scared the crap out of me.

I thought I knew what grief was before Lucia died. Extreme sadness, longing perhaps. I had no idea that grief is forgetfulness, self-centeredness, anger, moodiness, wanting to be alone when in a group and in a group when alone. Grief was hungry and desperate and pulling hair out from discomfort. It was fear. Times ten thousand. It is the feeling of shrinking and starving. Grief is obsession and living in the past. Grief, unadulterated and unwieldy, seeks a cure. I sought a cure.

I never admitted this to anyone except for in my writing on the internet, where I edited and pruned and plucked out phrases that sounded poetic and raw, but never managed to make my grief sound nearly as ugly as it felt. In person, I remained relatively staid, at times, even gracious. When asked how I was, I said, "As well as can be expected." When people saw me with my two year old, they saw an involved, present mother. Perhaps I forgot that they couldn't hear my inner voice saying over and over again, the mantra of grief, "My God, the baby died. I can't believe the baby died. The baby is dead." Over and over and over. I was so tired of my own voice, and yet could hear nothing else.

I waited for words of comfort to come, but there were none. I waited for someone to see through that veneer, but they didn't. An exposed nerve, I buzzed with irritation. I reached beyond my skin for something to protect that vulnerability. I drank too much, wrote too much, cried too much, complained too much, self-pitied and directed all the kindness I couldn't extend to myself to other grieving mothers, but it still wouldn't change. And because that vulnerability is so cold and uncomfortable, and the grief is so demanding and relentless, I shifted and adjusted. I shoved that tenderness deep down. I thought the ability to hide my vulnerability kept me alive for many years. Maybe that is true, or another in a series of lies I told myself, but nevertheless, I shut down. Shut out. I found something that was much more comfortable than vulnerability. I wrapped myself in unforgiveness, another layer of anger, marked it with the stamp:

JUSTIFIABLE ANGER.
DO NOT REMOVE.

That tenacity, roots tangled in the craggy sides of an uninhabitable place, desperate to find measly drops of water, just enough to survive, became the illusion of strength.

"You are so strong," Random, well-meaning person would say.

 "I don't know how else to be." I would look away.

Not you too.

You have mistaken my anger for strength.

I am a hurt animal.

A wild thing, baring her teeth at everything, waiting to heal, trying not to get eaten.

I need you.

Think like an animal.

Bite the scruff of my neck.

Make me cry.

I am dying of loneliness and grief.

I am dying of vulnerability.

Strength, I had nothing of it. I wanted nothing of it. It was another way for me to be Other. A noble, grieving mother-angel, not a person filled with rage and self-loathing. People said, "Stillbirth, it's the worst thing I can imagine." It isn't the worst thing I can imagine, and the truth is they truly don't even know the worst of it--the shitty, horrible mess in my brain. That the best of it was that I spent time with my dead baby, the worst is leaving her in the hospital to live the rest of my life. They cannot imagine how ugly I was inside, how dark I became, though I thought they could smell it coming off me. I behaved badly after all. I was dying of my own poison. It must have seeped out my pores. I kept going, but nothing I did was strong, noble or sacred. I just kept going. That did not seem like strength to me. It seemed like stupid stubborn obstinance.

"Oh, but that is strength," the wind whispers. "It is knowing you have nothing left and still going on."

The wasteland that lies between what I feel and what is true is frozen and dark, and at night, the ice weasels come. When I traversed that land, I saw that my anger froze all my landscapes, fear killed the plants and overreaction drove away all the people, I grieved all over again. Like it was the first day she died, and I had to live with the reality of my own creation. When I reached out, I could not mend the fences tore down, the bridges I had burned, the wrongly placed words I rejected. I lost my daughter, and gave away all my friends, simply because I was not brave or strong enough to trust them with grief. But when grief came again, it broke open the hard shell that encased everything I had ever believed. Something humble, damaged, but beautiful emerged. Even as it was happening, I saw it emerge, leaving the guilt of who I was behind. I did the best I could with what I knew. That is perhaps the saddest part, that that person was absolutely the best I could be with the knowledge I had. But this new, delicate being emerging searches for meaning again in the trees, the moss, the full moons, the rocks of a thousand shades of healing. My walk through the tundra of anger saved me nothing. It gave me nothing. It served me not at all. Except that it happened, and from it, I emerged. 

Was grief what you expected? How was it different? Did you embrace your vulnerability or your strength? How do you feel when someone calls you strong? In what ways has strength helped you? How has it turned against you like a violent master? 

Not Gonna Panic (Part 1)

Something happened to me, physically, in the wake of holding my dead daughter, Roxy. I felt it happen that day, walking from the room where she was born back to our private hospital room where our family waited, wailing. See, one of the perks of having your baby die is that you get your own private room for a few days. They mark the door with a purple flower, which I assume is to warn nurses not to be cheery and congratulatory. I have wanted to stomp the life out of every purple flower since.

Where was I? Oh yes, the hallway walk. It may have been 20 feet, but in my memory it’s 3 football fields. I remember every zombie step, knowing that there was more horror fighting to get into me than could fit, so my veins felt crowded and noisy with electric, terrible blood. A time-release panic valve was installing itself, and I could feel it. A panic payment plan was set up inside of me. I think I know now, 5 plus years later, that I will not live long enough to pay the debt.

I fell through that day without completely dying of it, but I was different. Not just emotionally. Not just psychologically. I was different, physically. I started having panic attacks within the week. I assumed I was having heart attacks. I was certain I was dying. I went to the ER. I went to the clinic. I went through a battery of tests, wore a heart monitor for a month, etc. “No,” the doctor said, “your heart is fine. It may be post traumatic stress.” I’ve been on anti-anxiety meds for half a decade now. The panic attacks are fewer, but they still come. They can be triggered by adrenaline of any kind (roller coasters, sick kids, playing basketball, etc.) I’m a lifer, most likely. This song is about having one of these attacks. It is the self-talk. It is the darting, random thoughts as I try to keep it together long enough to escape my place of work before I collapse.

Whatever is wrong with you goes all the way
Through your awful last name in the dark
I wonder where that dog will run to?
I wonder how long that dog will run?
You can keep your hand to your chest
You can worship by the elevator, leaving
Calm down
Beating beating beating beating
A mannequin in a dress, an overpass
I hope I never get used to losing you
The sound of a car on a bridge
And the things you can’t take back
No matter how long you live
Calm down
Beating beating beating beating
I’m not gonna panic
I’m not gonna panic
I’m not gonna panic

Since your loss, does anxiety overwhelm you? How do you handle it?

perspective

I am so honored to be welcoming Erica from I Lost a World as a guest writer today. Erica's son Teddy was diagnosed with a congenital diaphragmatic hernia in utero. He was born August 15, 2008, and gone the next day. Erica has shared her beautiful writing and perspective at Glow before, and we are so glad she is back. --Angie

Perspective.

I hate it, I really do.

Something bad happens, something that would rock another person to their foundations, and my response, so often now, is the trite-sounding, “Well, at least no one is dead.” What a cliché.

And I mean it. I really do look at the world this way, and I think that the common perception is that this is a gift, to have your life events bar set so low, to be able to find comfort in a baseline of the people you love being alive. People, the people I think about as regular people, watch sad movies in order to glimpse this perspective for a few minutes, a couple of hours. They talk about remembering and recognizing their priorities.

I am jealous because I used to do that, too. Before I met this tiny little person, so alive and vital and perfect except for a small hole in his diaphragm that meant his lungs couldn’t develop. Before we tried everything we could think of to save him and before we saw that it hadn’t been enough. Before I held him in my arms and watched him try and fail to breathe.

And now, for the rest of my life, I have been cursed with this perspective.

photo by kalyan02.

My favorite Terry Pratchett quote, from his book The Truth, is this:

“There are, it has been said, two types of people in the world. There are those who, when presented with a glass that is exactly half-full, say: this glass is half full. And then there are those who say: this glass is half-empty. The world BELONGS, however, to those who can look at the glass and say: EXCUSE ME? THIS is my glass? I don't THINK so. MY glass was full! AND it was a bigger glass!”

I often wish I were better at living that way, at demanding more from others and from myself, at being the fearlessly squeaky wheel. Sometimes I fantasize about being braver and insisting on getting my share. But one of the things that can happen when your baby dies – your baby, that entire world’s worth of love and possibility – is that you go quiet. You try to fly under the radar of luck or fate or God or the devil or the Universe. You hold what you love extra tightly and wish you could borrow Harry Potter’s invisibility cloak as you worry about the next disaster, that other shoe, the next “character building” experience, that next test of faith or fortitude. I find it hard to squeak, even when I should.

A curse, I tell you.

And yet, not entirely. I wouldn’t have given up any of my time with Teddy, not even if it meant I could get rid of this perspective. Ever since Teddy’s death, I’ve been longing for my old stories – stories of home and safety and knowing my place in the world. I enjoyed living those stories, and my new stories are still uncomfortable and frightening. But I know that when I am afraid to look through the lenses of my new perspective, my stories are stale and trite and unsatisfying. Which is worse, somehow, than uncomfortable or frightening.

My perspective has changed and this has changed me. I see death around corners and feel ghosts in summer breezes and when bad things happen, I say, “At least we’re alive,” and mean it even though I will never be able to say “things work out for the best” again. I can say “I’ll miss you forever, Teddy,” instead, and “I’ll want you back forever,” too.  I can craft different stories from that place – a bleak place but an honest and sometimes strangely beautiful one.

How have your perspective and stories changed? Do you think that your life is different because you are afraid to draw attention to yourself by demanding more? Do you see your changed perspective as a gift or a curse, or both? How so?

This time, again

Those five weeks between when we found out he was sick and when he died exist outside of time.  They accordion out behind me as one infinitely long moment and then compress back to simply Before George and After George, the contents reduced to the width of a single piece of paper.  I alternate between being surrounded by memories, smells, tastes which bring me back to those weeks and real disbelief that The Horrible Thing actually happened at all.  

The more time that passes the more I seem to have difficulty grasping the core of what his death has really meant.  I tell myself that I can't regret what happened in the past because my present is filled with love for my daughter, who in a very honest sense only exists because her brother doesn't.  I fortify myself against the reality of his death rationalization by rationalization.   I am a master at trying to soften the edges of his death.

Then March comes around the corner, always unexpectedly, to knock the breath out of me.  The ether of emotions that normally fog my brain crystalize and it is all suddenly so simple again.  I gave birth to a baby in the cold sterility of a surgical suite.  I held his small sick and dying body, kissed his head, whispering to him I loved him and that I wished he could stay.  Then I simply waited for his tired heart to stop its battle to keep beating.  In March I can distill all the regrets and justifications and apologetics that I conjure up during the other eleven months of the year into a simple elixer of love and heartbreak.  

I am a mother to two children.  One who lives and thrives: a marvel in front of my eyes.  The other dead and gone: a shadow in the periphery of my vision.  But for a few weeks in March, when the world around me is waking up from its wintry slumber, that shadow feels a bit more substantive.  Almost as if I can reach out and hold him again, kiss his head, whisper him I love him, and that I wish he could have stayed.  

 

Do you rationalize the death of your baby to ease your pain?  When the anniversary of the death of your child approaches does it change your perspective on the past or make you feel closer to the one you lost?  How do you feel (or think you will feel) about milestones or anniversaries?  Are they intensely personal events or do you feel the need to share those important dates with people in your life?