To the Pain

crystalball — By Beth Hannon Fuller www.studiofuller.com

By Dina Strasser

Mandolin? Mandoline? I’ve never been able to figure out the pronunciation of this device or how it connects to music. I have angered it. It has just sliced lengthwise through my right thumb.

I have been battling a series of small but debilitating injuries since I hit my fourth decade—an ankle orthoscopy, plantar fasciitis, arthritic knees, unexpected bursitis in my shoulder. It’s old hat now. Maybe this explains why my first thought is the purely prosaic: “Fuck. Now I can’t finish dinner.”

But there the potato sits, half scalloped; there is the mandoline, so swift and clean in its retribution that I do not bleed until several seconds after I hang my thumb under the running faucet.

The water begins to turn a deep shade of rose. Anthropomorphizing the mandoline is a bad idea. Inaccurate. I turn my hand over, gingerly, and see that there is no flesh behind a portion of my thumbnail.

The shaking starts.

“Honey?” I call.

•••

I have slung my teacher’s bag onto my single shoulder, often dozens of pounds, unprotected, for over a decade. In a misguided fit of back-to-nature, I spent a summer in “minimalist” sneakers, not realizing that my tendons weren’t strong enough to handle the strain. And what preventable loss of focus drew me away from noticing where my fingers had gone today?

Surely, as with all truths, the reality is a confluence of things both within and outside of my control, but I realize as I clutch the bloody paper towels around my hand that this doesn’t matter. I have already decided that I have not earned the right to cry.

I take deep, shuddering breaths over and over as I sit in the lobby of the urgent care facility. “I can’t scare the kids,” I keep thinking, although the kids aren’t there.

My husband negotiates the paperwork.

“You have to sign these,” he finally says, grimacing.

“Seriously?”

The irony makes me laugh, softly, and then a little hysterically.

I grip the pen between my index and middle fingers and, by the fourth form, I have managed something like my name.

•••

“I am not going to be your friend right now,” says the nurse and briskly dumps a syringe full of saline onto my thumb. I am glad my husband is still outside finishing up the papers, so he doesn’t hear my swallowed scream.

A doctor pauses only long enough in the exam room to assure me that I have not damaged any nerves or tendons, that nothing drastic is needed for healing, and to explain that they will place a special foam on my thumb to stop the bleeding. “Okay?” he says. His mouth smiles, and his eyes say, “Now is when I need to smile.”

“Okay,” I say, and he has left before the second syllable hits the air.

The nurse, my husband, and I joke about “Carrot Guy” who came in just before me (now dubbed “Potato Girl”) as the nurse binds me tightly with a pressure dressing and compliments me on my pain tolerance.

I’m grateful. Really. I’ve seen a few doctors recently, and I’m grateful for them all, no matter how busy they are. I try to catch the nurse as we leave, but he wishes us a cheerful goodbye, determinedly eye-contactless, and starts rapidly wiping up the drops of blood I have scattered on the floor. It’s six o’clock, and the office is closing.

My husband scoops up the mandoline the minute we get home. It was expensive, but I don’t feel the slightest bit unhappy about watching him pitch the whole thing into the garbage can, scalloped thumb slice still stuck to the underside. We agree that you’re better off with a plain old knife. You can see where it’s going.

•••

Three days later, I find out what I did to myself officially. It’s Ingrid who tells me, my primary care doctor. She’s unhappy, in the way doctors are unhappy who don’t want to besmirch their colleagues.

“They didn’t give you bandages that wouldn’t stick to the wound?” she says lightly but frowning. The nurse who took me in said something similar but far less diplomatically.

Ingrid has just come back from seeing the patient scheduled after me, allowing me to sit in an examination room and soak the dressing off my thumb in warm salt water. It takes almost an hour. I’ve had to work at it, pulling gently, literally asking my skin aloud to let go of the material and hoping that no one can hear me. The wound is reopened and throbbing out little tendrils of blood into the water by the time it agrees.

I’m disoriented by Ingrid’s question, because she’s staring right at me and typing into her health care software at the same time, without looking at her fingers. It hits me belatedly that she’s doing this on purpose, to make sure I don’t feel sidelined by what her hands are doing.

“It’s called degloving, what you did,” she says. I laugh until I realize that she is using an actual medical term. I am struck by its poetry.

She fills a bag with non-stick gauze, soft antibiotic ointment, and magical bandages that are impregnated with Vaseline, and she redresses my hand. She takes her own right hand and wordlessly rubs my knee for comfort.

•••

I am turning in a tight circle, flapping my arm around as I try to shake off my bathrobe.

“Ah! A penguin in need of assistance!” says my husband, in the plummy tones of Superman.

I grumble wordlessly as the robe drops off my wrist just as I was about to take him up on his offer. As a pair mismatched almost exactly by a foot (I’m five foot three), we have evolved a silent vocabulary of gestures to indicate when I could use a taller person to step in. Standing forlornly in the kitchen with my hand floating in midair means, “Please get that damn coffee mug off the top shelf,” for example. Approaching him silently from behind with a light bulb is also effective.

Today, though, I unequivocally need him not because of my bathrobe, but because I can’t hook my bra straps together. It’s one of those tasks, I discover, which demands working opposable thumbs. I am more and more aware of these kinds of minute movements. I collect them, the way I used to collect small semiprecious gems in grade school. The heel kicks back to close a door when my hands are filled. The fingers hook the collar of a t-shirt to toss it up over the head. The shoulders, astonishingly, comply. Garnets. Rose quartz. Fool’s gold.

My husband, with fingers too large for these delicacies, is fumbling with hooks and eyes. “How do you people do this?” he mutters.

But he was the first to gently pull away the bloody paper towels and just as gently shoo the kids to the neighbors’ house and bundle me into the car. He reached across the seat and buckled me in with the same calm as when he held my hand, almost a decade ago, while I contracted blindly and endlessly to bring our two babies into the world. He saw both resulting c-sections performed behind the curtain placed in front of my head. He was too tall for it to obscure the view.

I finish my ablutions in the bathroom, wrapping up my thumb, lower palm, and wrist with the magic Ingrid bandages, then gauze, then cloth tape.

When I am finished, I open and close my four free fingers over the resulting thick tube for several moments, as if I am making a shadow puppet duck. This shape is reminding me of something, but it takes a while to bring it back.

It’s mittens. I remember suddenly, out of nowhere, how I would stay out for so long on snow days that ice would coalesce into small hail-like balls on the knitted wrists, with strands of wool as their nuclei. I remember the gritty feeling of the wool scraping across my mouth as I took off the mittens with my teeth.

•••

My eleven-year-old daughter has just ripped open a package of litmus papers we’ve ordered for her school science fair project—she’s cleaning pennies with solutions of varying acidities. Once she discovers the rainbow of results, however, she becomes an unstoppable cyclone of litmus testing.

“Oh! Orange juice!” I hear her gasp, and the fridge door rattles open.

I am deciding at our laptop, after a long internal debate, that I’m going to post about my accident on Facebook. I’m preternaturally sensitive to sounding like I’m whining on social media.

I don’t define “degloving” in my post on purpose, hoping people will feel its weird beauty as I did. This turns out, amusingly, to not have been the best idea.

“WORST.GOOGLE.IMAGE.SEARCH.EVER,” a friend responds.

“What else, what else?” my daughter ruminates out loud. “Hair spray!”

“Oh god, it’s not that bad,” I type back, after seeing for myself what “degloving” brings up.

“Bleach!” my daughter sings out.

“Wait, hang on, you don’t have—” I call to her, but she’s already flung herself down into the basement where we do our laundry.

I lurch up from the computer and down into the basement after her, thinking to find her some latex gloves to use. She’s perversely saddened that we don’t have enough corrosive bases in the house for her to get the deep plum shade of the higher numbers of PH.

I don’t find gloves. She could care less. She brightens when she discovers that at least in the PH world, there appears to be no difference between slamming a glass of cranberry juice or one of red wine vinegar. This is good to know.

On the way back up from the basement, I pass the shelf where we store our less-used cooking contraptions. My eyes pass over the standing mixer, the apple peeler, the cherry pitter, and I shudder. I realize that I have now renamed this shelf in my head “Things That Can Hurt Me Really Badly.”

What is getting older but a yawing, a slipping and widening, of that shelf to hold more and more things? Pots. Pans. The stairs. My ankles. Ice. My blood pressure. My brain.

I look down at my hand. How on earth am I going to do this?

My daughter tears off another strip of litmus paper. “Maybe I can spit on it,” she says thoughtfully.

I can’t help it. I laugh, loud and long, and she joins me.

•••

Just before I go to bed, I notice there’s a new comment on my Facebook thumb post. It’s from Rachel, an old college friend, whipsmart and wonderful.

“This is why we don’t own a mandoline,” she writes. “Or a mandolin, which is what autocorrect wants me to own.”

At least I’m not the only one. As I settle down to sleep I picture a clueless, cartoon Autocorrect and I, with a potato in one hand and a mandolin in the other, looking confused.

I cradle my bandaged hand in the crook of my left arm. I’ve re-wrapped it once more, once a day, as Ingrid showed me. “Don’t roll over on it,” my husband says sleepily, already in bed. My daughter is reading quietly about bacteria cultures in her room. The ibuprofen kicks in.

You’re not always going to see where the knife is going. Sometimes you’re going to look for a stringed instrument to make music, and find it is a bloody blade instead.

But what else is there to do? You reach out. You strip off your gloves. You play.

•••

DINA STRASSER is a language arts educator of many stripes. She has been published in the New York Times, The London Times Online, and Orion Online, and she runs an award-winning blog on education at http://theline.edublogs.org. This is her second essay for Full Grown People.

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.

The Safety Net

basketballhoop — By andrewmalone/ Flickr

By Anjali Enjeti

A seam near our garage door bisects the cement driveway—our family’s foundation for hula-hoop challenges and colorful chalk artwork. At the end of a slight downward slope, roughly fifty feet away, our portable basketball hoop projects a tall shadow.

We purchased it a little over a year ago, and although I have never formally played basketball, every evening after dinner, I abandon piles of dinner dishes that need loading and pots that need scrubbing, to shoot hoops in our driveway.

Lining my bare feet along the crevice, in between moss and stray bits of pine straw, I dribble two, three, four times in a thumping rhythm that shores up my concentration. With unwarranted bravado—I’m competent, but not good—I coax the preteen posse congregating on my porch to try to do what I’m about to do.

One of them carries on in his conversation without so much of a glance. One takes an approving bite of a banana chocolate chip muffin that I’d just pulled from the oven. Another picks at his cuticles. A fourth, my twelve year-old daughter, flashes hopeful eyes. She’s used to my routine basketball antics: Let’s see if I can make a basket with my eyes closed. Let’s see if I can make a basket while standing backwards. Let’s see if I can make a basket left-handed.

But this particular shot, where I position myself a full three car lengths from the hoop, is not usually a successful one for me. Despite this, I call it my lucky shot. And, when the ball whooshes through the net, I feel like a champion. Like David must have felt when he felled Goliath.

I dribble several more times while facing my orange-rimmed nemesis. Some more kids have gathered near my mailbox on bikes and scooters. They’re focusing on me. I haven’t made this shot in a long time, and now I regret calling so much attention to myself.

As I launch the flesh of rubber from my fingertips, I know, right away that it’s going in. The net swoosh of a clean shot makes the victory even sweeter. A chorus of hoots and hollers erupts and I high-five my way back into my house. But I know better. The kids aren’t so much as praising my athletic skills as they are hoping my inflated ego will generate a second round of muffins for their consumption.

•••

Sometimes when I’m playing—hoisting my five-year-old into the air closer to the rim, or showing my nine-year-old how to cradle the ball in her hands—a neighbor passing by our home will slow down at the foot of my driveway to compliment my athleticism. “I wish I had your energy,” he or she might say. “I wish I could keep up physically with my own kids.”

I smile, shrug my shoulders, and offer a neutral, somewhat muted comment in return: “I’m getting older. It’s getting harder.” But truthfully, I’m not sure what to say. Because how I appear on the outside is so far removed for how I actually feel.

I spend much of my day in pain—significant, sometimes excruciating, pain. And I have lived with this pain for so long, I can barely remember what it feels like to function without aching, throbbing, or piercing sensations.

I suffer from coccydynia, a condition where my coccyx or tailbone becomes inflamed. Roughly fifty percent of all coccydynia cases are the result of an injury or pregnancy. The other half of all cases, including my own, have no known cause. Sitting and lying on my back causes my pain, but once it’s inflamed, I am in pain every single second of the day. On good days, my pain resembles a moderate rug burn. On bad days, it’s like I’m sitting on a dagger. And there are often more bad days than good.

I’ve seen countless doctors, tried a gazillion drugs, practiced yoga, and endured physical therapy, chiropractics, herbs, and acupuncture. Some treatments help, some of the time, but any relief is temporary. And there is no known cure.

I avoid movie theaters, car rides, restaurants, churches, amusement parks—any place where I would need to sit for extended periods of time. I don’t ride bikes, nor do I ever eat dinner at the large, wooden table in my kitchen—I stand at the counter for every meal. An hour kayaking, one of my new hobbies, will translate into days of agony. I collapse into bed every night with an ice pack wedged against my lower back. Patches of frostbite have permanently stained my skin. They look like angry, gray amoebas.

It’s taken me eighteen years of pain to stop pretending I am strong. To understand that for all of its virtues, the pretense of strength has a downside. It weaves a tale of happy endings and heroics, which trick its sufferer into believing they are more invincible than they really are.

Nearly half a lifetime of pain has forced me to answer this one question: What, for crying out loud, is wrong with being weak?

Weakness isn’t a pity party—it’s base in a game of tag. It’s crying on the phone to a loved one, because you don’t know if you can take the pain much longer. (Even though you know you will, and must.) It grants permission for the enthusiastic pronunciation of the f-word, desperate texts to friends in the middle of the night. It is the recognition that you are drowning, and that you need someone to throw you a fucking life preserve. Sometimes, that person has to be me.

I dread appointments with my array of highly qualified health care professionals. “How bad is the pain today?” they begin, flipping through my chart.

On a pain scale of zero to ten, zero meaning no pain, ten meaning extreme pain, my answer is rarely below five. And in the pause, between their question and my answer, I can’t help but link my entire existence to merciless, numerical increments.

If we’ve only recently started a treatment plan, I’m honest. “Seven,” I’ll announce, with a nod of the head. But if we’ve been working together for some time, with little to no progress, the shame of continued pain—the let down of failure—colors our encounter. I will throw my care provider a bone, graciously reducing the number, as if placing my aching body on some sort of reverse grading curve. I do this partly because I feel guilty about their sincere disappointment in the outcome of the treatment plan. As if I’m some kind of co-conspirator with my condition.

But I also do it because the way I characterize my pain is the only way left for me to control it. If a therapy fails to take even the edge off, the least I can do is choose its value. Because while my provider will spend only one hour a week considering its position on the pain scale, the number will continue to haunt me as I exit through the lobby, locate my car in the parking lot, and sit, motionless, in traffic. It will dominate my thoughts at three a.m., when I wake up to get a fresh frozen ice pack out of the freezer. It will share the same space in my psyche as my social security number.

If I am to achieve any kind of autonomy in agony, it’s in the when, why, and how I describe it. It’s my only option for a long-term coping mechanism. Because the pain consumes not just a singular moment in time, but years of milestones in the distant future. Will I be able to sit during my oldest daughter’s high school graduation? Will I be able to make that long plane trip to visit my favorite uncle in Australia? If I can barely endure this pain at age forty, how will I manage when I’m fifty, sixty, or seventy?

These are the questions that no acupuncturist, physical therapist, or rheumatologist will ever be able to answer. They don’t measure in precise integers on a scale, but hover in the spaces between them, in the infinite fractions and decimals that follow.

Which is okay, I think. Because ultimately, I have to believe, that my life and how I live it, is so much more than a numbers game.

•••

One cool, late summer evening, I rummage through the garage, kicking aside squirt guns and bottles of bubbles in search of my favorite basketball. I have spent much of the day pacing the floor in pain, pressing rotating ice packs into my flesh, chewing through an entire packet of gum while watching crappy reality television—doing anything and everything to distract myself from my colicky spine. I consider going upstairs to lie down, to submit to the merciful unconsciousness of sleep. But the seductive pull of the hoop calls to me from the driveway.

When I finally find my ball, wedged behind the recycling bin, I decide that today, I will conquer a different kind of shot. This time, I will position myself even further away from the hoop and hurl the ball, overhand, like the pitch of a baseball, with the hopes of hitting anywhere on the backboard.

Somehow, on this driveway in front of my home, my pain and I inhabit a level playing field. When I gaze out at the net, with its empty, jigsaw spaces, I conjure a power, a temporary confidence in my body. With the rough surface of the pavement supporting my bare feet, the fragrant scent of gardenias wafting throughout the front yard, I assume the home court advantage. And on this court, no one is keeping score.

Dribbling, I lull myself into concentration. The porch-dwelling preteens eye each other. They are placing nonverbal bets about my chance of success.

Palming the basketball, I take aim at the white square target on the backboard. My thumb pulses against the bumpy rubber casing. My arm reels back like a catapult. When it releases, my sight traces the ball’s arch into the atmosphere. But at its peak, I realize my shot is way off mark, destined only for wind.

I rest my hands on my hips while the collective groan of the neighborhood sounds in unison. My daughter jumps off the front porch to chase the ball into the next yard.

As she runs it back over, dribbling a few times around the driveway, I consider going back inside the house to lie on my side with my ice pack. Perhaps a hot cup of chamomile tea will help distract me a little from the pain.

“Hey,” my daughter calls from underneath the basket. I assume she’s going to take a shot herself.

But she doesn’t. “You’re not too far off,” she says, tossing the ball back toward me. “Why don’t you just try again?”

•••

ANJALI ENJETI, a recovering attorney, is currently pursuing an MFA in Creative Writing (Fiction) at Queens University in Charlotte. She writes for ArtsATL, the only comprehensive arts news source in the Atlanta area. She lives with her family in suburban Atlanta.

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.