5 results for (book:sdpc AND heading:introduct AND stemmed:cri)

SDPC Introduction Valerie metaphor grief hospital death

‘I went back to work on a long-overdue Seth book the next day, but don’t let my determination to carry on Jane’s work fool you. A cave has opened up inside me, and I can only trust that the wound would heal itself. I still cry for my wife several times a day, fifty-seven days after her death. From watching Jane for 504 consecutive days in the hospital, I learned that human beings have tremendous, often unsuspected reserves of strength and power, yet I still don’t understand how I can feel such pain and live.’

‘Oh, sweetheart, if only you were here with me to see this,’ I said aloud to Jane. And as I talked to her I suddenly found myself crying for her again there in the semi-dark night while the wind seethed and roared. Deep wrenching sobs began in my legs and stomach and rose up through my chest. I tried to keep talking to her, but could not. ‘It must be better where you are,’ I finally gasped, ‘but you should see this. It’s so wonderful …’ And as I spoke I intuitively understood that the motion of the wind was an excellent creative metaphor for the motion of Jane’s soul, that its cool feel upon my face could be the physical version of her caring for me ‘from where she is.’ The storm of my grief eased after a while, but the wind and the light rain continued. I dozed. When I woke half an hour later the wind had diminished a great deal. I felt drained. I went into the kitchen for a glass of water. Was Jane’s soul resting from its earlier great commotion, or had she moved away for the moment while exploring other aspects of her new reality that were perhaps out of range to us earthbound creatures? I crawled back into my bag and slept until dawn.

A block to the west of the hill house, the main road drops straight down into the outskirts of Elmira. Opening off the road to the left like a series of steps are short, level sidestreets upon which I often run late at night. In the beginning the running helped me physically handle my grief over Jane’s passing; I cried often as I ran, and tried to comprehend where she is now. I’m a natural runner, but had been unable to do more than a little jogging in recent years because of the pressures of work and of taking care of Jane as she became more and more ill. After her death I could run nightly if I chose to. I find that activity still secret and evocative. The streets are lined with trees arching up to meet overhead; periodically those intersecting patterns of leaves and branches are punctuated by bursts of light from the streetlamps. At certain times the moon follows me along in its phases. The only sounds might be the wind in the treetops and the chug-chug of my shoes on the asphalt. A dog may bark in the distance. When I do it right I float effortlessly along. And amid my tears I finally permitted the obvious to become obvious to me. The following is revised from my entry in my grief notebook.

SDPC Part Two: Chapter 11 Cunningham Miss starlings killing Rah

The idiot cries.
The tears slosh inside his boots.
The people say he’s bats
Because he weeps
When the police shoot down the starlings
Aiming at the tall-eyed trees.

One man bent to wash his hands in it
And saw
The skin peel off like dirt,
But the lawn was full
With the falling corpses of the birds,
And when he cried out, no one heard.

SDPC Part One: Chapter 3 cobbler Sarah village wires bullets

[...]
The cat strolled about in the warm lamplight.
“The coffee must be done,” I cried.

SDPC Part Two: Chapter 10 Mark Rob furniture arrangements bookcases

[...] Our poor maligned friend, the ape, did not suddenly beat his hairy chest in exultation and cry, ‘I am a man.’ The beginnings of human consciousness, on the other hand, began as soon as multi-cellular groupings began to form in field patterns of a certain complexity.

SDPC Part Two: Chapter 9 clock sensation Miss Rob twenty

[...] Although everyone about me was talking quite loudly, I had the weird sensation of voices within me, of mouths open or crying in soundless rhythm.