Into the Woods

By Rebecca Stetson Werner

Dear Lucy,

I wrote this story for you, but when I began it I had not realized that girls grow quicker than books. As a result you are already too old for fairy tales, and by the time it is printed and bound you will be older still. But some day you will be old enough to start reading fairy tales again. You can then take it down from some upper shelf, dust it, and tell me what you think of it. I shall probably be too deaf to hear, and too old to understand a word you say, but I shall still be

your affectionate Godfather, C. S. Lewis.

Introduction: The Lion, the Witch and the Wardrobe

I am packing for several days away from my family, away from my husband, Jonathan, and our three children. I am going to spend much of that time in a hospital, I know. I am preparing for this by carefully considering what I will need and what I need to leave behind. I stand before my closet, my Wardrobe, and consider my options. I pull out two skirts. They strike me as nicer than my typical jeans and perhaps they will somehow help me feel more comfortable, more grownup, more respectable in the hospital world I am about to enter. Maybe I’m reaching for a fur coat as I pass through the Wardrobe and into Narnia.

I move from the closet to my nightstand and gather my laptop and cell phone and coil up their power cords. I take several folders and books of work I am in the midst of. And then I grab a book of fiction, thinking I might have a lot of time on my hands, and I toss it into my shoulder bag. The one I grab is from the pile of middle-grade-reader books I have recently collected from the library for Julia, our daughter. Books that expose young readers to the world outside their family, with themes of the difficult but doable, dark but with a promise of a happy ending.

Julia and I are working our way through this stack, both of us happily devouring the stories. So perfect for her because she is nine. So perfect for me because apparently this is what I need right now. As I enter this new stage of my adult life and grow up a bit, and I reach for the fairy tales of my childhood to help me walk through this new terrain and find a path through the dark forest. Just as C.S. Lewis promised. They are my sustenance right now, and, like a gingerbread house, they have me enchanted and captivated.

So. Two skirts, a cell phone, and a child’s book to keep me company during a very adult journey. I register the irony, and also how it seems just right.

Somewhere within me, down deep, I know. I know it is very important what you select for a journey. In your bag will be the only things you will have when you face problems, uncertainties, riddles, witches, and wolves. What seems random, what seems thrown in for another purpose, or by chance? Could be what you trade for your very life.

At least that’s how it works in fairy tales.

•••

As with all great art, the fairy tale’s deepest meaning will be different for each person, and different for the same person at various moments in his life. The child will extract different meaning from the same fairy tale, depending on his interests and needs of the moment. When given the chance, he will return to the same tale when he is ready to enlarge on old meanings or replace them with new ones.

Bruno Bettelheim, The Uses of Enchantment

My father has been gone from the hospital’s surgical waiting room for quite a while. Really, for a long while. Though I am not sure this is actually true. It feels as though I have been here alone—alone but surrounded by strangers who are separated from me by their own internal struggles and worries about their own loved ones—for hours.

My mother is in surgery, a minor surgery, a surgery resulting from her age, a “tune up” as we explained it to our three children when I told them that I was going to be away for two nights in order to be with Grammie in the hospital. I am here just in case. Here to keep my father company. Here to try to make sure my mother moves more easily through the complicated sequences of hospital care. Here to get her home as quickly as possible.

I have come to that place in my life: I am caring for my own children, big enough to not need me at all moments of the day, but often needing me more, needing me to be figuring, wondering, considering with them in more complicated ways. This time of tending my children blurs and overlaps with the beginnings of tending my parents. Helping them out here and there.

And then, my father returns to the waiting room from a trip to the bathroom and from a walk out to the car to find something to pass the time. He gives me a small smile and walks over to our chairs with his lopsided gait, never quite having regained his surefootedness after his knee surgery a few years ago. He eases into the chair beside me and says, “I should have left a trail of breadcrumbs. I got a bit lost.”

I look at him, assessing his seriousness.

He does not seem upset. If he was lost, he seems to have handled it. And then, I look down at my hands in which I’m holding the fiction I grabbed as I packed at home. It had remained tucked away in my bag until, alone in this room, I had dug it out in order to help me ignore the pain and sadness of the people around me, to drown out the daytime talk shows blaring on the TV in the corner of the room. To hold my gaze so I could give myself and those around me a sense of false privacy.

Its title? Breadcrumbs, by Anne Ursu.

In this moment, I realize that this book is my Floo Powder, my portal between two worlds. My magic beans, my potion in a vial, my key tied around my neck opening the last door I need to pass through. From the moment I started to prepare for this journey, and really for every moment, every major event of my life, there is a steady undercurrent of story. Moving like a river that guides and explains, flowing under the surface of real life. These fairy tales and children’s stories—with their themes and roles and relationships, their adventure and struggle with maturation and separation and needs and desires. They are told to us when we are young and are here with us in every conscious moment. We retreat to them, draw upon them, quote them, and use them between us as a shared experience and vernacular to guide us.

Fairy tales, given their oral storytelling origins, hold common truths. In fact, they must. For in order for one narrator to decide to pass them along to another, tales had to have been deemed good stories. Had to hold themes and roles and problems and resolutions that resonated with their audiences. They were told again and again until eventually they were written down. And then read again and again, until they became a part of our cultural history, and of our personal narrative and compass for our own lives, internal and external.

I look over at my father, my former woodsman, to see if somehow he knows, if he is referencing my book’s title. But he is not and does not know that I am reading this modern fractured fairy tale. He is instead listening to his own internal map, relying on the network of story that is within him as well, trying to make meaning, trying to understand these unfamiliar woods by following the rules of those storied woods he does know and has visited before. Hoping that perhaps he will know what to do now.

He and I have been adjusting ourselves to each other in these past hours, figuring out who sits and who stands near my mother during admission. Who gets the first kiss goodbye as my mother is wheeled off to surgery. Who answers the phone when my mother’s name is called in the waiting room. Who pays for snacks from the cafeteria. Who is in the lead and who is following behind on this path. It used to be him leading, always. But today, as uncomfortable with and as ill-suited to the task as I may feel, I think it may be me. If my father is not the woodsman, then I may not be the little girl anymore. Even if these woods are dark, and the nurses and wolves are scaring me a bit.

My father, as many do who reference this story, seems to have forgotten that the trail of breadcrumbs was faulty. On their first trip to the woods, Hansel cleverly drops white pebbles to lead them home. It is on their second trip that he uses breadcrumbs, his only available material, and these impermanent, edible, and disappearing trail markers are what ultimately cause Hansel and Gretel to get lost in the woods, unable to return home. Only then, faced with this problem, does Gretel rise to the occasion and lead the way on her own self-determined path to their happy ending. Somehow it is troubling to me that my father has forgotten that we don’t want to leave breadcrumbs, that what he needs is something more permanent. And inedible.

So far? My role is to hold things. I have placed my mother’s car keys in my shoulder bag next to my cell phone and have tucked her wedding ring, the one they snipped off her finger in case there were complications, into my change purse. Before I did so, I checked the engraving. The nurse had not cut through the inscription, my parents’ initials, followed by the date of their wedding. Somehow I am relieved. And like any fairy tale, each item I collect has some kind of meaning, some kind of purpose, each statement a window into underlying wishes and needs.

•••

This is what happens on journeys—the things you find are not necessarily the things you have gone looking for.

Anne Ursu, Breadcrumbs

My phone vibrates, a text from my brother. He is at work, a doctor, several states away. He hasn’t heard from me. My father and I have been waiting here for six hours for what we were told would be a three-hour procedure. I have not texted my brother for a while with an update. Because I am trying to sit still, trying not to move. Movement might be interpreted as panic by the imaginary wolves of possibility in the room with me. I am waiting for some information. I have been hoping not to have to send a message admitting that I have no idea what is taking so long. I know right now where my father is, but I have lost my mother for a bit.

Despite the states separating us, my brother and I are here together in this new place. Trying to figure out how to make this shifting role with our parents work. And how it will work between us. Because we are still the same people, the same children. We are still on the same path, walking together, he the older brother, me the younger sister. Our roles, our history, the story of our childhood together cannot be ignored as we take these next steps.

My trickster brother, my fellow backseat rider, has grown into a brilliant and successful adult. He actually saves lives on a daily basis. In his role as Hansel, his focus is on the world in front of him, and he moves through it with strength, skill, and confidence. He expects, as darkness falls, for the white stones he wisely laid earlier to begin to glow, to keep us safe, and he expects to know the right thing to do.

I’m not sure he would ever leave a faulty trail of breadcrumbs. That’s my role. I am much more likely to leave behind a trail of the accidentally vanishing variety, birds eating the crumbs and making our way home impossible. And this mistake would not shock anyone who knows me. I have been given the role of observer, wanderer, emoter, but rarely leader. My ear is more likely pressed to the forest floor, listening to the rumblings and undercurrents and meanings that are held beneath the surface of the action above. When I try to walk the path that Hansel would blaze, I trip and stumble and get lost, because this is not my role and not the path I would choose for myself. But with my lifetime of poorly chosen materials, I am afforded the ability to laugh at myself and not be very surprised to find myself lost in the woods because I was listening to the rhythms below, with no plan for getting home. I look about the room. It is relatively empty. There is no one to ask for directions.

Some time later a nurse and then a doctor come to tell us everything has gone well. My mother is doing just fine and is in recovery. I am relieved. And a bit angry at the doctor for the frozen fitful slumber my father and I have been plunged into for the past three extra hours. I ask a few questions. My father is quiet but asks for reassurances that she is okay. My mother’s doctor looks tired. I try to forgive her. I tell her I hope she can go rest for a bit. She looks taken aback. I realize that this was not the thing to say here. She is the one doing the caring.

We are told we have another hour before she will be ready to be transferred to her room. I tell my father I will be right back, and I go to the bathroom. I text my brother and Jonathan from the stall. I need a few moments of aloneness with my relief.

I emerge and go to wash my hands. I look at myself in the mirror. I reach up to my hairline and pluck a grey hair from where it has been sticking straight up toward the florescent lights. I stare at my reflection for a few moments before another person enters the room.

Mirror, Mirror.

•••

She had done her best to be prepared, but had not anticipated crazy people.

Anne Ursu, Breadcrumbs

Despite all my preparation, packing, and collecting along the way, I had not expected to get into an elevator with my mother, pale and scared looking, still under the influence of anesthesia. Nor had I anticipated where this elevator would take us.

“Did you and Dad get some breakfast?” she asks when she sees me walking toward her. Despite the drugs, she knows her role, her lifetime as the Baker. I feel comforted that she seems lucid. This is a very typical question from her. I answer that yes, we have. And glance at my father. Should we tell her we’ve had lunch, too? I wonder through my eyes at him. He does not answer. Unlike in fairy tales, we cannot apparently speak with our minds.

I squeeze in beside her and hold her hand, lifting my large shoulder bag above the railing of her bed. I turn to her. She is focusing on me. Staring at me. The attention is unsettling. I crack a few jokes and then swallow more, realizing that the recovery room nurses in this incredibly small space with us might see my retreat to being silly as inappropriate. Or more likely, as the rantings of a heartless mad woman. My father is silent, making himself as skinny as possible, standing behind my mother’s head. I am not sure she knows he is there.

“I think I might be talking funny,” my mother says thickly, as though her face is numb and her tongue non-responsive. And then, “Did you and Dad get some breakfast?” Her eyes grow wide, and even more scared as I answer that we have. And lunch, too. “Did something go wrong? Am I okay?” She’s garbling the words.

Her vulnerability is dawning on me. I respond by being overly cheery. I explain to her what the doctor told us, that it just took longer than they had anticipated, but that there had been no complications. I start trying to be funny again. My father can’t hear me. My mother is loopy and confused. The recovery room nurses just look at me. I am babbling.

“Did you and Dad get some breakfast?” she asks for the third time. I turn to my father, who either has not heard her or is really good at hiding his reaction. Are we trapped in some small circle of time together, sleeping in this moment for eternity while the rest of the world moves on without us? Or maybe I am just being childish and this is just something that happens when Moms come out of anesthesia?

This hospital. I was born here. And as if to make this all come full circle, I follow my mother’s wheeled bed out of the bank of elevators and onto the maternity ward. “Ah,” I say, “this is where we met.” I say it mostly to myself. But my groggy mother and her recovery room nurses look at me with equal amounts of confusion and concern.

•••

“Critics who treat ‘adult’ as a term of approval, instead of as a merely descriptive term, cannot be adult themselves. To be concerned about being grown up, to admire the grown up because it is grown up, to blush at the suspicion of being childish; these things are the marks of childhood and adolescence. And in childhood and adolescence they are, in moderation, healthy symptoms. Young things ought to want to grow. But to carry on into middle life or even into early manhood this concern about being adult is a mark of really arrested development. When I was ten, I read fairy tales in secret and would have been ashamed if I had been found doing so. Now that I am fifty I read them openly. When I became a man I put away childish things, including the fear of childishness and the desire to be very grown up.”

C.S. Lewis

Once we are settled into her room, we focus our efforts on the same things that I imagine my mother and father focused upon when we were last here all together forty years ago: eating, sleeping, and pooping. I notice families outside her door taking their first walks in the halls together, babies pushed before them in wheeled bassinets. I see lactation consultants come and go. I watch some newborns being cared for in the nursery. I run into tired fathers in the kitchenette downing coffee. I think of my children, and of my now-woodsman, Jonathan, to the north of here. And turn back to my parents.

I order my mother meals on the phone and I take my father for a third meal in the cafeteria. On my mother’s ward, the mothers’ ward, we pass by the newborn nursery at its center. I see myself there as a baby and see my own children being given their first baths in nurseries very similar to this one. I quietly register that I am now like my mother in another way: there will be no more newborns for me.

My mother is struggling with her lack of control, of being the one who now needs tending, and her mood is rolling in unexpected waves. As she wakes from her long slumber, we are cast as children, then as evil step-parents, pulled in and then pushed away. Her eyeglasses now returned to her, she holds them up, looks at me through them and then not through them. With glasses. Then without. Over and over. She sees me blurred followed by invisible, and I am not seen well in either case.

I step out and go for doughnuts. I nibble from the gingerbread house for a bit and bring back treats to my parents. Upon my return, I once again enter this shifting, muddy, dim terrain populated by the where and who and when we are, and by what we packed and who all of us have been up to this moment. We crash and bump and collide into all of these selves in the room together. The Woodsman and Gretel, the Snow Queen and the Gingerbread House Woman, the wolves and the birds. Hansel is on the phone, asking me about medications for which I do not know the names. I try to make light, but know that I should have asked about this already. I would like to talk to him about how full and noisy and messy it is here in the room with all of our past and present selves dancing about like wood nymphs. But I don’t. I just go find a nurse to answer his questions.

The chaos in that room. The spilling and boiling emotions. The things that have been felt and seen and said. My instinct is to talk, to process them, as I have awkwardly attempted to do throughout the day. But I choose to hold them instead. And not just hold them, but bottle them, thrust in a cork, and pop them into my bag. That is something I can offer all of us. For now, I will keep my awareness to myself so we can all continue moving forward together. I can wait to press my ear to the ground. I can choose to just keep walking.

•••

Now, the world is more than it seems to be. You know this, of course, because you read stories. You understand that there is the surface and then there are all the things that glimmer and shift underneath it. And you know that not everyone believes in those things, that there are people—a great many people—who believe the world cannot be any more than what they can see with their eyes. But we know better.

Anne Ursu, Breadcrumbs

Finally, I am heading home. My mother is doing well. My father is at the helm. My brother will be here later in the day. We have our happy ending. Yet I know I have now entered unfamiliar woods. And that I am going to have to walk around in them for some time now. And contend with the rustling noises.

When I get to my car, I notice that I have a message. From my father, to whom I have just said goodbye a few minutes before. I dial voicemail and set my phone on speaker. I begin my long drive back to my children, hoping to meet them outside their school, to hear about their days.

I just got outside and noticed there is a steady sleet coming out of the sky. The temperature is hovering at freezing. But as you drive north, it may be slippery. I don’t think it is going to accumulate, but I wanted to let you know. Please drive carefully.

The Woodsman has returned. So I grab a bite of turkish delight. Feel the fur coats brush against my face as I pass back through the Wardrobe. Flick the reins of my Subaru. And head north, toward home.

•••

REBECCA STETSON WERNER lives in Portland, Maine with her husband and three children. She has a doctorate in child psychology but uses it mostly to help her better understand all of her parenting blunders and to help her children choose good books. She has contributed to Taproot Magazine and Grounded Magazine and writes about parenting, children’s books, and life in their very old home at www.treetoriver.com.

First Thing

snowy couple — By Gina Kelly www.ginakelly.com

By William Bradley

My Hodgkin’s Disease had returned—my doctor was fairly certain. It turns out he was wrong, that the strange glows on the scan were … well, something other than cancer. But Emily and I didn’t know that at the time.

This was in 2006, six years after my last radiation treatment. This time, it was in my thigh rather than in my neck and chest area, but nonetheless, the doctor seemed sure that it was back. I would need to have a biopsy performed, of course, but that felt like just a formality. A hunk of lymph nodes would be cut out, and then we’d begin treatments—likely radiation therapy, but a bone marrow transplant remained a possibility as well. Time was off the essence. I was likely going to die. My wife and I had serious thinking to do.

What we did know was that, when I’d had my bone marrow transplant in 1998, my doctor had said that I had a forty percent chance of living for more than five years. We also knew that I had radiation therapy to treat a recurrence two years after the transplant. Emily and I didn’t meet until after I had completed these treatments, but we had discussed my medical history, and what it meant for our relationship, once we were “seriously” dating—we met in grad school while working on our Ph.D.s in English, and had tried to keep things relatively casual so that we wouldn’t be tied down to another person. Neither of us wanted to compromise on our professional ambitions by becoming too attached to someone similarly ambitious, so we self-consciously tried to limit our relationship to one of hanging out and hooking up—a bit more intimate than friends-with-benefits, but nothing too emotionally consequential.

But at some point while hiking through the Missouri wilderness, or discussing the latest academic scandal reported in The Chronicle of Higher Education over coffee, or drinking cheap wine in her small basement apartment, we fell in love with each other, and we decided the best thing to do would be to get married. I couldn’t quite tell you when I realized that Emily mattered more to me than keeping all of my options open for the sake of my career, but I know that it happened.

Our life together was filled with reading, writing, sending out academic articles and creative work, supporting each other when the eventual rejections came, applying for academic jobs, worrying about money. We also played Scrabble, sought out strange landmarks like the world’s largest statue of a goose (“Maxie” in Sumner, Missouri), watched livestock shows at state fairs, and—in the words of the girl in Hemingway’s “Hills Like White Elephants”—we would “look at new things and try new drinks.”

We had both been involved with other people before we met each other, of course. Both of us had been in college relationships that had continued for far too long, with protracted break-ups and broken hearts. After my bone marrow transplant, my college girlfriend and I were breaking up for the final time. I reflected on what I wanted in a romantic relationship. Someone adventurous, willing to travel and have new experiences. Someone who loved literature as much as I did, but who could also enjoy the same type of lowbrow culture I enjoyed—I wanted to be able to talk about books and art with someone who could also appreciate the sublime genius of Don Knotts’s performance in The Ghost and Mr. Chicken. Someone who had a sense of humor, who would laugh if I called her “scumbag” and would be willing to high-five me after sex. In short, I wanted to be in a relationship that was fun—I’d had enough of passive-aggression and adolescent angst.

As it happens, Emily had recently reached similar conclusions about her own love life. It wasn’t love at first sight, but we immediately knew that we made each other laugh and had fun together—she was not only down with the high-fiving but was willing to call me “dude.” Things grew from there.

As Emily and I contemplated what a malignancy would mean for our relationship, I realized I couldn’t really say that life was unfair. I had been fortunate to be disease-free for as long as I had been, I figured, and I had experienced a powerful love and friendship the likes of which I don’t think too many people get to experience. The only disappointment was that we couldn’t make it last forever, and it looked like our time together was coming to an end.

In the week between the tentative diagnosis and the biopsy that would ultimately be reassuring, we spent our days crying, our evenings drinking wine and trying to reassure each other that this would be okay, nothing we couldn’t handle. I’d done all this before, with only my parents for companionship and support, listening to depressing music like Warren Zevon’s Life’ll Kill Ya or Lou Reed’s Magic and Loss alone in the den that my parents had hastily converted into a bedroom when I’d been diagnosed. With Emily beside me, it wouldn’t be nearly as lonely or depressing. She knew how bad things had been before, how dark those days had been.

“I’m going to take care of you,” she said, looking at me from across the table on our screened-in porch while we drank our Pinot Grigio. “It’s not going to be like last time.”

I nodded and tried to agree. We said such things to each other, but hanging between us—unspoken, but mutually understood—was the understanding that a recurrence at this point could very well mean I would die.

The morning of the biopsy, Emily drove me to the hospital. After the nurse called me from the waiting room to the pre-op area, I handed Emily my wedding ring, which she put on her thumb. I kissed her goodbye.

What followed seemed to take forever—the shaving, the pre-surgery talk with the doctor, then watching the anesthesia drip through my IV.

I shut my eyes, then opened them to find myself sitting up, in recovery. It happened that fast. Emily and a nurse were laughing. I had a Diet Coke and a glass of water in front of me—my usual beverage order, if I’m not drinking wine or beer.

“Where did this Diet Coke and water come from?” I asked.

Emily smiled. “You asked the nurse for them when you woke up after your surgery.”

“Oh,” I replied. “I must have thought I was at a restaurant.”

At this, both Emily and the nurse exploded in laughter again.

“That’s the fourth time you’ve asked that question,” Emily said, “and then followed with ‘I must have thought I was at a restaurant.’”

I laughed too—although I should tell you that, later, when we told the story to friends, they were horrified. “I would have been afraid that it was permanent,” one friend replied. That obviously hadn’t occurred to Emily—or else, she is so used to the way I am normally that she didn’t worry that any lasting brain damage would be noticeable or change her life in any fundamental way.

At one point—still foggy and a bit confused—I glanced down at my left hand. My wedding ring was back where it belonged.

“When did you give this back to me?” I asked, holding up my hand.

This time, Emily did not laugh as she ran her hand up and down on my arm, telling me that it was the first thing I’d asked for—before the beverages, even—when I saw her after coming out of surgery.

“You said that you missed it,” she told me.

Emily and I have been together for eleven years, and as happy as that time has been, I have to tell you that we argue as much as any couple. Maybe even more—we can both be strong-willed and opinionated, especially when it comes to matters of teaching and writing, which are important parts of our careers. Sometimes, we argue over a work of literature. Sometimes, it’s pop culture. We rarely argue about politics, but it happens, sometimes.

More rarely—but more seriously—we fight about the important things in our marriage. Whether one of us takes the other for granted. Occasions of self-centeredness. Concerns that one of us prioritizes work over our relationship with each other. These are the serious fights. The ones that result in tears for her, or me stomping out of the house to “go for a walk, to clear my head.” These are the times when we get overwhelmed with thought—fears, suspicions, and pressures that probably come from outside the marriage itself, but are nonetheless real when we contemplate them.

But what I like about the story of my recovery from surgery is that it testifies to the fact that loving her isn’t something I have to think about—that even when my mind is wrapped up in a confused fog, when I’m basically just a being incapable of reflection, operating on instinct, unconscious habit, and biological imperative, I still love her. More than I love my job, more than I love literature, more than I love anything in the world. And I love her first, even before I get my Diet Coke and glass of water.

•••

WILLIAM BRADLEY has been married to the poet and Renaissance scholar Emily Isaacson for almost nine years now. She was the one who encouraged him to try to publish the creative nonfiction he wrote, and since then, he has had work appear in Fourth Genre, Brevity, The Normal School, Utne Reader, The Missouri Review, and other magazines. They spend most of their time in Canton, New York, where he teaches at St. Lawrence University.

Hope Floating

By Robin Schoenthaler

I was forty, and single, and pregnant, and jubilant. I blossomed during a perfect pregnancy and then proceeded to give birth to a beautiful baby boy I named Ryan Peter Schoenthaler, eight pounds twelve ounces and twenty-one gorgeous inches long. He died nine days later in my arms, still and cool.

I buried that boy on a sunny hillside in a tiny casket designed to look like a bassinet, and by the time I stumbled out of the cemetery, I was a dead woman walking. Some days I couldn’t keep my eyes open; other days I could barely speak. I dreamed in adjectives: impossible, unbearable, unimaginable; I woke up with verbs: pulverized, imploding, eviscerated.

Two years later, I gave birth to a boy named Kenzie James. I got through the pregnancy and birth through denial, plain and simple, with one permanent pricetag: nine months of total amnesia. Of that period of pregnant pause, I remember OJ Simpson and I remember grinding my teeth, and that is really all.

Three miscarriages and three years later, when my last son came along—Cooper Craig Schoenthaler—I was wholly awake and fully attentive and I remember everything. Of the six pregnancies, I am left with one birth story.

Cooper was delivered by Cesarean section. An average C-section takes six or seven minutes from incision to delivery; Kenzie’s took an endless half-an-hour; Cooper, eleven minutes. Eleven minutes to a lifetime.

I lay there while they opened me up again, floating along the arc-line that had gradually and irrevocably led me to this scene—lying flat on my back in a yellow room with bright lights. I was a woman physician under the care of women who started out just like me, women who struggled over books and tests and money and hostile men in positions of power for years at a time and who now put their bodies and souls on the line.

I remember my obstetrician Sharon coming to my hospital room at midnight to attend Ryan’s brain-dead baptism. I picture her holding my hand in the NICU that night and then again and again over the next five years. I think of all the phone calls: I would sob and she would let me make any appointment any time as I worked through the surviving of survivorship.

I think of all the tables I have laid on and all the doctors I have seen—a long line, a stately procession—giving me good news and bad news and no news at all. I think of Ryan’s delivery and his death. I think of how I lifted his body straight up above me, offering him to the sky. I think of Sharon two years later holding Kenzie aloft, in triumph, a giddy elevation of child-spirit, a peak moment, a crystal. I think of the dim light in Ryan’s NICU room where his soul sailed away, and the bright lights in Kenzie’s delivery room when his soul sailed in.

I think of the night light that Kenzie uses—how at three he is already such a singular little person who wants to look at books alone at night, how his soul is full of light and always has been. I feel the presence of both Kenzie and Ryan very distinctly within me, as well as a whole line of women who have given birth before me—my grandmothers and my friends, my mom and all the bereaved women in books and on buses.

I listen to the heartbeat monitors and think of Ryan’s heartbeat ceasing and Kenzie’s frantic heartbeat when he’s feverish and the roaring in my ears each time I miscarried and I can’t help but compare them to the steady beat-beat-beat that is my own heart’s rhythm in this room at this moment.

It’s a long eleven minutes.

Then I hear Sharon start to croon. In seemingly an instant, she again holds one of my sons aloft in the light. The overhead lamps create an aura, a halo, an embrace and I experience blindness reversed as the light heightens every pore and every limb and Cooper is outlined in beauty, screaming shrieking bloody beauty. He is alive, he is aquiver, he is a soul.

They bring him to me wrapped up and warm. I get my first good hard look at him: he is red-faced and dumbstruck, and I am the same.

I reach for him. No one says a word. The room is quiet; it feels like an altar. There’s no heart monitor machines now, no barking loudspeakers, just the murmuring of Sharon and her partner, and the nurses counting sponges. I kiss Coop over and over—his perfect cheeks, perfect skin, perfect neck. He turns to me when I speak.

I lay there with this miracle in my arms, flooded with all that can happen over the course of half a decade. I remember the long period after Ryan’s death when a pain-free interval seemed impossible, when anguish never ended and never waxed or waned.

But I realize, lying there, that somehow, somewhere, something carried me through. It is too strong to call it “hope”: there was no hoping back then. It’s too strong to say it was anchored in me—it was not. But it must have floated, in and out, with the moon, or with the seasons, or maybe with each breath.

Because something helped me hear the muffled words that sometimes bounced off the sheer rock cliffs of my pain. I began to hear the voices in the cemeteries I visited—voices of mothers who murmured that if I could just keep breathing long enough the tunneled darkness might begin to lift. I began to see the anguish of my cancer patients in terms of cells defying death. I began to connect myself to a humanity bound up with suffering—plague victims, war dead, road kill, religious martyrs, and most of all a long line of women who had keened over children in caskets.

Something had taken hold of me. It wasn’t optimism or confidence or faith in an equitable universe—that was gone and would never come back.

It was much fainter: a tiny turning, a whispered murmur, a miniature red berry lying deep and dormant. But the berry dropped a seed and the seedling took. A tiny bud appeared and on it there must have been a drop of dew, and that was where I let that little thing that must have been hope float. I never touched it, I never named it, I really never even knew it was there. I just let it float. I let my hope float. I let my hope float on an impossibly tiny bud and now I had another son, I had two more sons.

They move us to the recovery room where it is dimly lit and quiet. Cooper nurses. I am pain-free and at a level of peace that is hard to describe to this world. I curl up on the gurney in the darkened recovery room, all dreamy sated senses.

Eventually the nurse and I begin to chat. She remembers Ryan well. “Every time I pass Room 428 I think of all the flowers you left behind,” she tells me. Then we coo about Cooper, how beautiful he is and already such a good nurser and so alert and connected and smart.

She tells me then about her own difficulties with conceiving, her doubts and how frightened she has become. I can so completely relate to this young woman at the beginnings of yet another long trail. She says to me, “We’ve tried so hard to have a baby, but I’m afraid to keep trying. How did you keep your hope alive?”

I start to tell her, but I hesitate. I’m suddenly tired beyond imagining, my eyes and limbs feel weak and I am nearly asleep. I murmur, “Just let it float.” She says, “Hope Floats? Isn’t that a movie?” and I giggle into the pillow.

Lying there laughing, I feel them like a flash flood, the raw and precious lives that led us here: the lives where pain has a beginning but anguish has an end, where seasons start and berries fall, where there are voices that can pierce the darkness and where cells that split can mean life in one year and death in the next and where there are webs that connect us with our ancestors and that in the darkest winter there are buds that can act as cradles and that hope may not spring eternal but that it can absolutely float.

•••

ROBIN SCHOENTHALER is a writer/mom/physician (the order varies by the day) who lives outside Boston with her sons Kenzie and Cooper. They are now seventeen and fourteen, and Ryan, had he lived, would be a freshman in college. Her website is www.DrRobin.org.

Hit Upside the Head

By Powell Berger

Human touch, calloused hands, lips. I wonder if I’ll ever know it again, if I can ever trust it again. Sometimes I think maybe, yeah, I can do it. I can know human intimacy again. Then other times, I heave and shudder and pull the covers over my head. Sometimes I do both at the same time.

My cell phone rings. His smiling face, captured on his birthday at his favorite Broadway show in happier times, lights up my screen. The marriage ends, but life continues, and there are things like soccer schedules and divorce filings. It’s all pretty amicable and friendly, considering. I try not to talk about the lies and the abuse, and he doesn’t bring up my many failings. We’re good that way.

“Figure I should tell you I spent last night in the emergency room,” he tells me after we sort out the weekend soccer comings and goings.

“What happened?” I know his drama and don’t want to over-react or get sucked in. But I know he’s had some minor health issues lately, and I was/am married to him and have kids with him. I still care.

“I collapsed. Passed out. They called an ambulance and the EMTs took me to the hospital. Apparently just exhaustion. And low blood pressure and dehydration. I was at Pinky’s.”

Pinky’s. The neighborhood bar where he hangs out now, sucking back beers with a crowd I don’t know. And yesterday, apparently, where he passed out. At twenty, passing out at the bar gets you dumped in the back seat and taken home. At almost sixty, they call an ambulance.

“Did you hit your head?” I picture him sitting at the bar, collapsing off the stool onto the floor. He drops his beer, there’s a mess, and people scatter. Some stranger hollers and the bartender calls 911. The clip plays out on my mental reel, and in it, he might’ve hit his head.

“No. I didn’t hit my head. They say I slumped in my chair and my eyes rolled back and I went all limp.”

Someone did what people do when it looks like someone might die right there at the table. Someone called an ambulance. Someone at the table because he was sitting in a chair; he wasn’t at the bar.

I listen but I don’t breathe. My kids’ dad and my soon-to-be ex-husband collapsed less than a mile from my house and I didn’t know about it. And he could’ve hit his head.

The mental reel spinning, I think of him in the ambulance alone, at the hospital alone. This man who had his first IV when he had out-patient knee surgery in his early fifties, who’s yet to spend a night in a hospital bed, who gets queasy at the sight of blood and needles. He’s alone and scared and on a gurney, then in an ambulance, and finally, a hospital.

“Was someone there to help you, to talk with the doctors?”

He pauses. A painful, long silence. And I feel stupid.

He was at a table, not at the bar. Tables are more intimate, more private.

“Yeah, my lady friend was with me. I’m seeing someone now and she was once a …” He says something about what she once was but I don’t hear it. A nurse, maybe? A doctor? A candy striper or a stripper or an astronaut?

The mental reel spins again, but this time, on a different track. Some woman I don’t know rushes in with him, her face contorted with concern, holding his hand and demanding attention stat. He’s scared, but he’s comforted by her presence. She takes charge, takes care of him. Her. Not me.

He’s not in the hospital now; he’s on the phone with me, calling from his office. That means he’s okay and didn’t likely spend the night at the hospital. No one checks out of the hospital and goes straight to work. So he went home, late, after they released him. But patients who collapse are advised not to be alone.

The mental reel stops. The scene freezes in that awkward spot, like when you hit pause on the DVR.

I think I’m going to throw up.

He says something about the doctors taking him off the blood pressure medications or changing the dosage. I say something about the stuff they sell at Pinky’s not doing much for hydration.

We move on. Apparently, he already has.

•••

POWELL BERGER is a freelance writer living in Kailua, Hawaii. She’s editor-in-chief of Travelati, an iPad magazine once described as “This  American Life in the travel context.” Her writings have appeared in Travelati, Inside Out Hawaii, and various other online and print publications. Her travel adventures with her two teens are chronicled on  her blog, www.familyvagabonding.com, and her writing world is housed at www.powellberger.com.

Under the Knife

mannequin — By Gina Kelly www.ginakelly.com

By Kate Haas

Until recently, I’d entered a hospital exactly three times in my life: for my own birth (technically my mom walked through the swinging doors on that occasion) and for the routine births of my two sons. That was it. At forty-five, I’d never so much as had my tonsils out. And I liked it that way. Oh, I knew all about the OR and the ER, the NICU, and the PICU. But that familiarity derived from TV hospital dramas and heartrending medical memoirs, long my guilty, voyeuristic pleasures.

This contented detachment from all things hospital ended abruptly when I learned that I needed surgery to remove a benign ovarian cyst. The news sunk in with horrid clarity. Scenes from those shows and books flashed into my mind: the tense OR, doctors barking medical jargon, machines hissing—and myself in the center of it all, off the sidelines, pitched into the drama. Even allowing for my propensity toward the melodramatic, it was an alarming scenario.

At the same time, I also felt ridiculous: here I was in midlife, scared of a situation most of my friends had dealt with before the age of ten. Of course, none of my third grade pals had read Atul Gawande’s Complications: A Surgeon’s Notes on an Imperfect Science before going in for those once-routine tonsillectomies.

It wasn’t the surgery itself that unnerved me the most. It was the idea of being put to sleep. What if I didn’t wake up? My best friend in college had knee surgery our freshman year. She woke up. My sister opened her eyes after a c-section. I wasn’t thinking about them, or the scads of people who awaken in recovery rooms every day. Instead, I fixated on a minor character in one of one of Ann Hood’s memoirs, a young woman who dies from a rare reaction to anesthesia while getting wisdom teeth removed. I told myself it was crazy, but I couldn’t shake the vision of looking blurrily up at a masked face, and then…the final darkness.

I looked forward to the first appointment with my surgeon. My book group had recommended Dr. M., whose name inevitably popped up in any online discussion of local OB/GYNs, trailing adjectives like awesome, caring, respectful, and empathetic. Maybe Dr. Awesome would calm my fears.

When we met, Dr. M. turned out to be unsmiling and matter-of-fact. “I can schedule you for Tuesday, “ she said briskly. This was Thursday. I blanched.

Dr. M. gave me an appraising look, then switched smoothly to empathetic. “Some women need more time to adjust to the idea of surgery. I’m, ah, guessing you’re one of those.” We settled on a date six weeks away. Then I asked about the anesthesia.

“There’s always a risk of complications,” she acknowledged. “But it’s very small. And they’ll give you something to help you relax before the surgery.”

I nodded. In all the books and doctor shows, patients are well tranquillized by the time they roll into the OR. With enough pharmaceutical assistance, maybe I wouldn’t be freaking out, after all.

To allay my fears during the final weeks before my surgery, I asked everyone I knew for reassurance about going under. “It was HEAVEN,” responded a woman on a parenting message board—clearly the mother of an infant. “A medically induced nap.”

At my pre-op appointment, Dr. M. concluded by prescribing post-surgery drugs. “Would you like Percocet or Vicodin?” she asked, pen poised over her pad like a waiter inquiring whether I preferred the merlot or the pinot.

I looked at her blankly. Was evaluating the relative merits of prescription painkillers one of those modern-age skills I had failed to acquire, like texting? I searched my brain. “Um, Dr. House is addicted to Vicodin, I know that,” I offered.

“Let’s go with the Percocet,” Dr. M. said quickly.

•••

A week later at the hospital, nurses set me up in a curtained cubicle under what looked like a white blow-up swim raft. A continuous flow of warm air into the raft made it settle into position just above me. I wondered why they didn’t just give me a blanket.

My husband and I waited in the cubicle, where I grew increasingly twitchy. He read Coraline out loud to pass the time. “Is this too creepy for you?” he asked, after the chapter where Coraline is locked in the closet with the ghost children.

I contemplated the warming raft, hovering over me like a monstrous cocoon, and the imminent prospect of being rendered unconscious, possibly forever, via a needle in my vein. “Not really,” I said.

Now and then nurses came around with apologies about the delay. Dr. M. was delivering an early baby, it seemed. “Oh, that’s fine!” I assured them, doing my best to impersonate the plucky patient everyone loves. “It’s actually the anesthesia that really bothers me.” I didn’t mention my anxiety about waking up afterwards, figuring this might attract the evil eye, make me look paranoid, or both.

“Don’t you worry,” one nurse told me. “They’ll give you something to help you relax.” I was relieved to learn that relaxation was still on the agenda. I needed some of that, and soon. The nurse checked my chart. “Ah, you’ve got Dr. A.,” she said. “He’s the best anesthesiologist in the hospital. Really skillful, just great. He’s the one I’d want for my own family.” She winked. “And he’s the best looking, too.”

What did it mean, I wondered aloud after she left, that the nurse thought my anesthesiologist was hot? Why did she tell me this? Was I meant to conclude that good looks correlated with skill?

“I think you’re over-analyzing this,” said my husband.

It took three nurses and five tries to get the IV into my apparently miniscule vein. By the end, I was thoroughly demoralized. In that motherly way of theirs, the nurses kept repeating that I was “being a trooper, honey.”

The anesthesiologist arrived at my cubicle to introduce himself. He was tall and dark, but no McDreamy. Here comes the relaxation, I thought gratefully. Instead, Dr. A. inquired about my breakfast—a ruse designed to reveal whether I’d eaten anything since midnight—and asked a few routine medical questions. “I’ll see you soon,” he said cheerfully before departing. I interpreted this to mean that he’d return momentarily to administer my medicinal stress relief.

Eventually, some bustle began in the vicinity of my cubicle. A gurney arrived, along with a new nurse. She was short and solid and looked very capable. “Ready to go?” she asked.

My husband was holding my hand. “Can I go along?”

“Absolutely,” said Nurse Capable.

I watched the florescent lights pass overhead as we rolled through the long, white corridors and into an elevator lined with burnished metal, like a high-end refrigerator. I tried to breathe calmly and listen to Nurse Capable’s soothing flow of chit-chat. It was mostly about Dr. A and what a great guy he was. “He’ll set you right up,” she said. “Like drinking a bottle of your favorite wine, that’s how relaxed you’ll be.” I appreciated her reassurance. But wasn’t I supposed to be relaxed already?

At the swinging doors to the OR, my husband kissed me goodbye—this part, at any rate, was just like the doctor shows—and I rolled in. The room was very cold and full of people. Bright lights pointed in all directions. Over to the side, on a blue-draped cart, lay a glittering row of sharp metal instruments. I stared at them in dismay. I wasn’t meant to be seeing this. I was supposed to be doped up, so I wouldn’t notice all those scalpels, or wouldn’t care if I did. Instead, I felt horribly lucid.

Nurse Capable maneuvered my gurney to the center of the room. “Ok, hop up on the table,” she instructed.

I’m not proud of my fascination with medical dramas. I admit, there’s an element of morbid rubbernecking involved. And I’ve known all along that they can’t be very realistic, not all of them. But never, not on St. Elsewhere (my gateway drug to the genre), or on any I’ve seen since, has anyone told the patient to hop up on the table. The patients are too relaxed—like I was supposed to be!—to hop anywhere.

Lacking other options, however, I hopped up. Dr. M.’s masked face loomed over me. “This is Dr. S., who’ll be assisting today,” she said, pointing to one of the gowned figures hovering nearby. “Our anesthesiologist will be along soon.” Then she nodded to toward another masked face. “And this is Alex.”

“Hey, how ya doin’?” said a youthful voice.

Who the heck was Alex? Was this Take Your Kid Brother to Work day? And couldn’t he guess how I was doing? “Frankly, I’m terrified,” I said. “Isn’t everyone?”

“Huh. You mean you’ve never had surgery?” Alex asked.

I couldn’t keep the edge from my voice. “No, I have never had surgery. Have most people?”

“Oh yeah, once you get to be, like, forty, it’s a lot more common.” In the mind of Alex —whoever he was—it was clear that forty lay on a remote horizon indeed. I hoped he wouldn’t be allowed too near any of those scalpels.

Dr. M. spoke up. “Ah, here’s Dr. A.,” she said soothingly. “I know you’re nervous about all this. He’s giving you something to help you relax right now.”

I looked up at the lights. I looked around at the instruments and the machinery. A couple of minutes seemed to pass. My final minutes, possibly. “I don’t feel relaxed,” I said.

Seemingly two seconds later, I opened my eyes to a bright yellow light. My mouth felt coated in sawdust, and I was barely conscious, but I knew instantly, gratefully, that I had woken up, after all. “I’m thirsty,” I croaked, hoping someone was listening. “I’m really thirsty. Is everything okay?”

“What did she say?” said a voice.

“I couldn’t make it out,” said another.

“I’m thirsty,” I repeated. “Can I have some water?” The words seemed to float languidly above me into the brightness, like the viscous bubbles drifting upward in a lava lamp. I heard each syllable go by and slowly realized why no one understood: I was speaking Arabic. For it’s own inscrutable reasons, my consciousness had emerged from its chemical sleep set to a language I hadn’t spoken on a daily basis since leaving the Peace Corps, nearly two decades earlier.

I’d navigated a good deal of foreign territory during the course of that long, strange day. The doctor shows had prepared me for the high tech equipment and medical jargon. The memoirs had given me other people’s stories to latch onto. Still, so much had been unfamiliar. (I never did discover the identity of Alex). And yet, I realized afterward, nothing had been quite so alien, so mysterious, as that moment of awakening. It was what I’d fixated on for so many weeks, and it had gone exactly the way it was supposed to. Yet the return to consciousness, and the surfacing of those long dormant words, had brought with it a different, unlooked for awareness: the strangest thing I’d encountered in the hospital wasn’t frightening at all, and it turned out to be inside my own head.

•••

KATE HAAS is a creative nonfiction editor at Literary Mama and the publisher of Miranda, a long-running print zine about motherhood. Her writing has appeared in Salon, Brain, Child, Babble, and The Toronto Star. She lives in Portland, Oregon, with her family. Read more of her writing at www.katehaas.com.