good girl as always.
âI tried to see around to the back of his head.â Thatâs Mum, talking about Dad in his casket.
I canât make the leap, not even in my febrile imagination, to picture Dad lying there, eyes closed, voice gone, hands devoutly folded, a rosary twined through his work-chapped fingers. Even harder to imagine Mum squinting at his dead freckled head, craning to look for bruises suffered as he hit the Venskusesâ blacktop.
âI couldnât see anything.â Thatâs Anne, confirming Mumâs hope that it didnât hurt when he fell.
âWell,â Mum sighs. âHe was dead before he hit the ground.â This is her comfort, repeated to all the visitors, repeated so often that Iâll retain a permanent vision of Dad in slow motion, sliding open the garage door, pausing as if to hear a whisper from God, then dying quick, falling slow, and landing soft.
âHe didnât suffer,â Mum says. I hear the metallic clink of a teaspoon. âAt least we have that.â
Cathy nudges me. âWhat are they saying? Move over. I canât hear.â
âShh. Itâs about Dad.â
Another clink, a sigh, and then a rustling. Mum is fiddling with the curtains, sounds like, at the kitchen window. What is she looking at? Thereâs nothing to see at night but our neighborsâ rooftops, and the lights along the river, the lit-up smokestacks and dark sky filling with Oxford clouds.
I hear Anne murmur something, her voice too low to catchâis she crying?
âIs she crying?â Cathy whispers. My sleeve is wet where her cheek rests against it.
âI donât know. Shh.â
âMaybe it was the work,â Mum says.
The man practically lives there,
she used to say of Dad, who spent so much time at the mill, double shifts and triples, a wife and two children to care for, then three more girls.
The man practically lives there.
And now he doesnât.
I hear the curtains slide closed, green gingham curtains Mum bought and Dad liked. Sheâs closing us inside, away from the steamy sky, away from those other families with working husbands, living fathers.
âIt might have been the work,â she says again.
My eyes sting but Iâm too young to fully know why. That hushed note in my motherâs voice is shameâthe shame of widowhood: her husband gone
like that.
Gone, too, is our appearance as a family whole, gone the illusion of bounty, the sustaining tableau of a man with a lunch pail leaving 16 Worthley Avenue every morning and returning to that same address every night. Gone
like that.
I hear a chair slide back, Mum getting up from the tableâto go where? To her empty bed?
âQuick,â Cathy says.
We scuttle to bed, still listening. The bathroom faucet goes on, then off. A faint splashing of water. Then the faucet goes on again. Cathy burrows nearer and we put our arms around each other. Her hair feels damp; our pajamas need washing. Then another quiet, feminine exchange of words behind the wall. The floorboards creak beneath their negligible weight.
After a moment of nothing, I hear another long, shame-shaded sigh from our mother.
It has been forty-one hours. We are changed. We are less.
3. Hiding
DAD'S SOLEMN REQUIEM HIGH MASS has vanished, utterly, from my memory. I donât know where it went. Did I banish it myself, my nine-year-old mind deciding on the instant to evict the sight of my fatherâs casket being ferried down the aisle of St. Theresaâs? Or did it vanish eleven years later, after Mumâs cancer deathâher Mass replacing Dadâs for all time, his incense and psalms replaced by her incense and psalms, her bells, her readings, her celebrantâFather Bob, again, his tears dripping down on her draped casket.
What does remain of Dadâs funeral, vivid and urgent, is the afterwards: our kitchen filling once again with people. Dadâs people, that is, the ones from
Phillip - Jaffe 3 Margolin