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Dear Alice Munro,

Leisurely Summer Reading: Child's Play

Leisurely Summer Reading: Child’s Play (Photo credit: Madison Guy)

Dear Alice Munro,

The space you write within, the WWII and post WWII era, the train stations, the sanitariums, the surge of GI students to universities–is the world I’m finding to have preceded me.  At times, when I read a story of yours, for example, “Tell Me Yes or No,” or “How I Met My Husband,” I feel as though I’m researching, still, the history of Brockport.

You know, you are Alice Munro.  The last four pieces in your latest collection, Dear Life, are what you call “the closest thing to autobiographical,” as anything you’ve written.  I know this is both true and not.  But who’s going to argue with you?  You’re Alice Munro.  Did you ever think you would tear a reader’s life to shreds because when the text fades, there is no way to see the world as it was before?  When I finish reading your stories, I cannot get back inside, it’s like a life that’s already been lived.  The bald scalp after a relentless haircut.  The lower back after a pink kanji tattoo.  What’s done is done.  History, as Alice Munro has written it, has been.  Reading it a second time does no justice.  There are no do-overs.  Your stories, like all other stories, are not cats.  We all only have one life.

I’m writing you this blog post–which I’m sure you are waiting to read–because my mother-in-law told me to write a story about a little girl.  This will be the closest thing to autobiographical fiction I will ever write.  And I am no Alice Munro.  I am leaving behind, at least for this one story, your world of barnstorming planes and Quaker Maid factories that I have been squatting in for months.  The setting I write will be entirely my own era, but my life is not something made for fiction.  I only live in a world suitable for it.

It will be some sort of ghost story, and I don’t know, have you written a ghost story?  A real, true ghost story?  I will Google this when I finish your post. It is something I should know.

The world I enter now has factory-induced rain bubbling down the cuticle of Spring Street.  Soil that may or may not give a little girl MS.  The story will have a cast of Cold Storage workers on their way to and from shifts that seem to begin and end every minute.  The little girl will walk down a street with a car prowling next to her, its passenger will reach to pull at her skinny arm.  She will not run away.

I am sending this out into the blogosphere (an ugly word), where you will not see it.  If I were in your Canadian town with a copy in hand, I would place it under your Welcome Mat or tuck it behind the cover of a book you might check out of the library.

Sincerely.

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Where We Find Our Children

"This vehicle has been checked for sleepi...

(Photo credit: fedira)

I slept with my amethyst rosary wrapped around my hand last night.  I curled up in my son’s bed, hoping I wouldn’t alarm him, but knowing that if I were him, I would be alarmed.

But he was asleep, breathing deeply as though he was absorbing all the life from every corner of the house.  I would have given him all I had.

When I was 17, in 1999, Columbine happened.  The Monday after, we all went to school, but looked a bit harder at those around us.  I told my mother not to worry, that she was crazy, smoking cigarettes one after another, inhaling hard as though she could suck away all the smoke and horror so far away.  She could not stop staring at the screen, watching trails of students running from their lives, any one of them or every one of them, one of her four children.

When I looked at my mother after Columbine, I knew she was right to worry, or at least that she was normal.

Yesterday, I didn’t hear the news until 2:30.  I hadn’t turned on the TV all day.  When I heard about it, my son was at preschool in Brockport‘s Ginther School, and I was in my kitchen, on the phone with my mom, who said, “God, are you watching this?”

She told me in brief, and I turned on the news, knowing I had to get all I could, grab my own sense of it because not five minutes later my 4-year-old and his best friend would bound through the door with Spiderman backpacks and light-up shoes and zippers and gloves and hats and I would be a parent, calming myself so I could handle the chaos of fun, the lightning fast chirping and questioning and squeals of kids being just what they are, what they should be, breathing, running, vibrant kids.

By the time they came through the door, exactly the way I’d expected, I’d seen and heard enough to be changed, to hope the red of my eyes and nose would go away before the boys would notice.

I turned off the TV.  I was scared, let alone these innocent babies.

We all are children at our core, after all.

This past week, absentmindedly, I had The Morning Show on, not thinking about how horrifying the news could be until the report came on about the mall shooting in Oregon.  My son sat across from me with a buttered english muffin, licking the butter off before biting into the bread itself.

He stopped chewing.

“Why is he naughty?  Why did he shoot?”  Johnny asked.

I wish I’d been paying attention to the TV during the lead-up instead of fixing my coffee.  I had to say something when I couldn’t comprehend it.

“I don’t know, Johnny,” I said.  “I just don’t know.  Some people are not nice,” I said.

“Well, will he go to jail?”  Johnny asked.

“Yes, Johnny,” I said, not going farther into the story than I had to, shielding him, as much as I could, from all the death.

I wanted to save him from this horror.

He would ask me about the mall shooting again after lunch.  Again, I’d shift away.

Is this what it is?  What we imagine: the pulses racing, the terror inside, the prayers we know they’d be saying if they could think about anything other than survival.

Yesterday, Johnny and his friend, Sam, clomped down the stairs to ask me to help them construct the train set, to get it back on track and make the engine run.  I did what I could, listening to them consider how to piece it together.  I looked to their innocence to negotiate my own thoughts.

When I came down, my husband whispered updates to me, turned the TV down low, and we distracted Sammy, our toddler, somehow too young to be scared, with trucks.

I’d just read the latest piece of fiction, “Creatures,” by Marisa Silver, in The New Yorker about a couple whose son is expelled from preschool for biting his classmate.  I thought, when I read it, these poor parents, their poor son, and I wonder today, how I’d read it, what might change, where my son might appear in the text, where the story would write itself from the end.

My sister-in-law came over last night for coffee, and we talked about the news as though it was just that–news, but we knew how much more it was.  We said we were sad the way everyone in America said they were sad, the way we all feel it in our guts and not in our brains because our brains can’t touch it.

Then we agreed that we should do anything to prevent this, as anyone in America would give their right arm, or more, their own lives, to prevent this from happening again.

If only we could be superhuman.

When Johnny came to the kitchen with his older cousin, he wore his blue Transformers helmet.  Every time he laughed, the noise escaped the awkwardly large dome like a robot, as though he was some machine, but from below it, I saw his shoulders wobble and peeks of human skin.

Later last night, I folded my sons’ laundry–their mini socks, their small pants with worn knees and shirts thin at the elbows from bending and jumping and dancing.

Later last night, I picked up their toys, tucking them in drawers and stacking their books on the table.

Later last night, I gasped at every moment my children entered my mind, and soon, gasping was all I could do.

We find them everywhere, and after they come, we are not only ourselves.

If only.


Old News

One thing I miss about living with my parents: the Democrat & Chronicle that arrived outside their screen door every morning.

When it didn’t arrive–snowy mornings, especially, or came late for whatever excuse the deliverer had, there was an absence, some missing constant. I was an adolescent and read the paper with my morning bowl of Fruity Pebbles. Some days, if on the front page was a sports-related headline, like the Super Bowl Champs, or a particular legislative conflict, say, the Monica Lewinsky debacle, I might have skipped to the ‘C’ Section: Living, where I could read my horoscope to see what magical or melodramatic event my day would hold, or Jack Garner‘s review of Armageddon, where I’d decided that any movie with astronauts would at least get 8 stars. If the paper didn’t show up, it was today’s misplaced cellphone. A can emptied of all its coffee grounds. Or, imagine, if the Facebook site crashed.

As I grew up, I became more concerned with the ‘B’ section: Local, the (mostly) miniature catastrophes, the small-town news. A page or so in, I would find the Obituaries, and read them, looking for familiar last names, which, if I did recognize them, would mostly be the great grandparents or grandparents of my acquaintances.

Now, when I go “home,” to my parents’ house, I instinctively reach for the newspaper that was usually folded and in the center of the table (except for the Sports section, which I never read, but was always next to the toilet, anyway), but now they only get the weekend paper, which is a strange option to me, as though all important stories are saved for the weekend. Sadder, to me, is when I recognize that people either don’t have time for a daily paper, don’t have the desire to handle its unwieldy pages, or, like me, refuse to pay for what they can now get for free. The problem is that the paper determined what was important to me, so now, in this information-age, how do I find what’s important in the face of so much else? The whole internet full of triumph and tragedy intimidates me, and I can close the window easily enough.

Idaho, a news photo of the dog who was tried for murder. Here, he is situated at a typewriter.

Lately, I’ve spent at least two hours a week at the Emily L. Knapp museum in Brockport, the old Seymour Library that sits a block away from my childhood house on Spring Street. The building’s first-story once held the library and has since been turned into the village hall, but when I was little, it was the only place my parents would let me walk to on my own. The sidewalks on Park Ave were uneven tiles, and I remember looking down nearly the entire way to be sure I wouldn’t trip. When I arrived at the building, I would find the same librarian, a woman with a long straight ponytail hanging at least to her lower back. Then, I would check out the same book nearly every visit: The Valley of the Ghosts, book with a strange corpse-like figure on the cover with anatomically correct breasts that made me slightly self-conscious to check the book out, but I suppose not self-conscious enough.

“It’s a book of ghost stories,” I’d tell my mom when she looked at me funny.

So, every Wednesday for the past couple months, I’ve gone to this museum, the richest resource I’ve found for the anecdotes of Brockport’s village, and carefully turned page after large page of musty old newspapers bound together by year. There, a committee of researchers, archivists, historians, or citizens preserve these papers. They alert me to topics in old newspapers or photographs that I might find “interesting,” they say and laugh a little, that it involves murder or death.

One day a committee member said, “Here, Sarah. Here’s a picture for you.” Across the Brockport train tracks lay the dead body of an unidentified man, and the look on his face was, as awful as it was, peaceful. I made a copy of the picture, which I nearly had to pry out of the clerk’s hands at the Walmart Photo Center after he argued that it might be copyrighted. He hid the photo away from my sons, who sat in the cart next to me.

“I will not reprint it,” I said. “I just want to look at it.”

I persisted, unlike myself. How could I write about something I couldn’t hold centimeters from my eyes, couldn’t prop up on a mini-metal easel on my desk to refer to (the stones piled up against the ties, the angle of his shoe, the way his face was restful, but his body was not)? How could I write about what I couldn’t fold into origami or rip to smithereens if I wanted to?

I had to have a hard copy, I just could not look at it on my cell phone, where the image of the photograph was stored.

The word “microfilm” intimidates me because I’d rather read something I can touch. For example, I printed every article about Idaho, the dog charged with murder, from the Brockport Republic’s internet database before I could begin the story. I wanted to turn pages.

A lot of the stories I research for my fiction come from scrapbooks–the collection of news-clippings that Raymond Tuttle, one prominent resident, clipped with scissors and glued into a notebook with stitched binding. A layer of what the Brockport resident found notable or quirky. This is my favorite way to research, it’s almost as if he’s pointing these stories out, calling on the residents to tell them. It is a built-in filter, so I do not cower away from the years of newspapers bound in volumes, or feel incompetent in the face of boundless years captured on the internet.

One Wednesday at the museum, I sat down and asked the village historian, Jackie Morris, for more information on the houses that were razed or moved to expand the campus in the 1940s or 50s. We sat for a little while, talking about the families whose homes were moved or dropped to the ground, and when I moved a newspaper or two that had collected in front of me, I found a random scrapbook page, the clipping of a Brockport Republic article with a dotted line around the campus, denoting the space where the razing would occur, showing the houses that were scheduled to be moved.

“Oh my god,” I said to Jackie. “Where did this come from?”

She said, giggling, “I told you, sometimes Seymour likes to help us out up here. Sometimes he gives us what we’re looking for.”

There is a pile of The Stylus, Brockport’s student-run newspaper, on my desk, and I recognize some of its writers to be my current or former students.

My mother brings a copy of the university paper home to my father every week, and she prods me, too, when she finds an article especially interesting–this week, she made sure I read the article about a disgruntled student who’d been expelled and brought a rifle and 500 rounds of ammunition to the SUNY Brockport campus one year ago, who was arrested before any tragedy occurred, and while I read the story in terror, my heart thumping, I was thankful that this one-year-later-article was all that came of it. Long after I stopped reading, I was still transfixed in that time, stuck wondering what the campus looked like that day, imagining the exchange between the expelled student and the officer. And the students, I thought most about the students, the how, the why and the who of the community on that day.

This semester, in the ten or so awkward minutes before class begins, I mention stories to my students that, with time, have become just plain interesting, but at one time, were much more. They are captivated by details like a pile of 10,000 tomatoes in the parking lot of the Cold Storage, the horror of the dead man on the train tracks, instances like a dog on trial for murder, and, with all their intrigue, I hope it’s proof that this tangible “rag,” this ghost of an era and all that it stands for, is not on its way out.


How to Make a Mess

just one of many exercises from Kerri Smith’s “Mess”

My mother is the anti-mess.  The careful super-heroine.  The best worrier (or warrior?) ever.

She gets angry when a child falls because she, or someone around her, couldn’t stop them from falling.  She tells them “rub it,” when they smack their foreheads on the corner of the coffee table.  It worked for me growing up.  It works for me now.

But, lately, I’ve learned, sometimes there is nothing you can do.  At first, this was scary for me.  With MS, I tried medicines, then abandoned medicines, drank green tea, then drank coffee, took cold showers, took hot showers, slept not at all, or slept all I could.  I took every prescription the doctor gave me and none of the prescriptions the doctor gave me.  My MRI showed what my brain wanted to do, regardless.

With my sons, I followed them around the house with a batch of paper towels, arms rearranging whatever they had displaced.  I “picked up” the house over and over again everyday, not stopping to make messes with them.  I  rarely joined their “picnic” in the middle of my living room floor, which simply meant they dumped every toy from their bin on our area rug.

Everything was the end of the world.  A misplaced throw-pillow.  A Cheerio in the corner.   I saw it coming when my son took off his socks many times a day to pick the “fuzzies” from his toes.

I write with my teeth clenched if I can’t wash my dishes before I begin.  I feel like I have two jobs running at one time, two songs playing in discord from one speaker.  Everything is too much.

I found this book, Mess, by Keri Smith.  After reading the introduction, I realized that, aside from being nervous and unhappy,  being consumed by this need for order hinders my creativity, gives me unearned headaches, and a lot of guilt about missed picnics.

As far as work, I never would have been excited to cut apart a piece of fiction with scissors, yet when I actually did it, I almost cried with the connections I had made, the ties of emotion I arranged simply by disconnecting what I had thought, at one time, was whole.  It hadn’t been whole, at all.

This morning, I did the dishes.  But I left the coffee spots on my desk, opaque brown splats on a thick sheen of glass.  While I might have wiped them up before, now, I let them rest, the little buggers, spots like those on an MRI.

Mess, by Keri Smith

Instead, I went to work again, cutting apart the story I had taped together with scotch tape yesterday afternoon, and re-taped it in new places.

I’m trying.  I drink coffee, take my prescriptions and even a vitamin (as my mother takes daily, with water she drinks from a small plastic tumbler that she hides next to the paper towels).  I sleep hard (with a prescription) and cry warm, fat, tears when need be and write drafts more imperfect than I had originally realized, but I’m happier because of it.  And now, on top of it all, I make messes in meaningful ways.  I tape my son’s paper alligator on the living room wall and fight him when he takes it down.  I argue that I like his abstract self-portrait on our kitchen cupboard.   And I’m slowly becoming okay with the messes that have been made, like an indecipherable MRI, my own abstract, self-portrait.

Now, when I go to my mother’s, I will open and reopen her kitchen cupboards, the only messy part of her house. Besides the pantry closet (SHH).  Her socks might be neatly tucked one inside the other, but she does leave a basket of folded laundry in front of her closet, next to a dresser.  Still, you will never find a dirty dish in the sink for longer than ten minutes.  They’re clean before she eats dinner.  This happens more often than I’d like to admit in my own house.

“Broken Fall,” by Bas Jan Ader

Watching  “Broken Fall,” by Bas Jan Ader, a video that Keri Smith writes about in her introduction to Mess,  I both laughed and gritted my teeth, unsure which was the right response.  At first, I wanted to pluck him from the branches and set him down safely.  But I bet, as times goes on, I will want to flick him off the branch and listen to the splash.   And then, when he stands up with a scrape on his knee or a knot on his forehead, I will tell him to “rub it.”


Halloween Leftovers

As I write this, I am coercing the Sour Apple Laffy Taffy out of my molars with my tongue.  89.1 is on the radio in my kitchen.  My husband has just left for work, and when he left, I was slicing a piece of fiction (inspired by a 1920s plane crash in Brockport) into paragraph-sized morsels with kid-scissors.  I realize I am alone for the first time in nearly a week.

Loser Candy

Compelled to rummage through the candy bowl from Halloween, I stopped my project, and stared down into the bowl: Sour Apple everything.  Whoppers.  Clark Bars.  Runts.  Blech.

A week or two before Halloween, Johnny and I were watching the cartoon Gravity Falls, a Disney series that explores an eerie village through the eyes of a creepy family.  Johnny loves this show.  I was unsure at first, but loved it after seeing this: The Summerween Trickster–a candy monster made out of the bottom-of-the-bowl-rejects that the children of Gravity Falls have termed “Loser candy.”  So I sifted through my own Loser Candy, and succumbed to Sour Apple Laffy Taffy.  It was neon green (and tasted it), unsatisfyingly waxy, nothing like an apple.  Not even sour.  Not tasty enough to warrant the tiredness of my jaw after minutes of chewing.

Cory is not a fan of the show Gravity Falls, and I thought that by telling him about the clever Summerween Trickster, he might change his mind.  But this is the same person who looks at me strange when I watch Coraline with Johnny for the twentieth time.  Or The Nightmare Before Christmas.

Cory looks at me cross-eyed when I say to Johnny, “Hi, Johnny.  I’m your other mother.”

Johnny will say, “You do not have button eyes!”

My students think it strange that I watch such a creepy movie with my child.  But why hide the scary?  Johnny sees monsters all the time in movies and cartoons, but acknowledging that what appears in real life can be scary or threatening, too, like in Coraline, might make him more… prepared?

My cousin bought me The Happiness Project for my thirtieth birthday, so I’m sure some consider it abnormal that I dwell in the dark.  But I see it as pulling at life’s unbound strings, just braiding these fibers together, attempting to understand the fabric.

When brainstorming writing ideas, my students have said, “But I don’t have any conflict in my life.”  I press them with questions until they find something.  When students resist conflict and tension, the feared candy at the bottom of the bowl, I ask them, “Well then, if you understand everything, why write?”

Sometimes I feel like I understand nothing, and that’s when I write the most.

It doesn’t all have to be negative, but most of us don’t dwell on what makes our lives easy–the happy times, because we enjoy them, and take them as memories for a “rainy” day.  We live in the awkward, fearful, combustible moments and stare hard at the uncomfortable moments that play tricks on our minds or come back to haunt us when we think they’ve gone for good.


A Letter to My Grandfather Regarding Ghosts

I’ve been reading a lot about the paranormal lately, Grandpa.  Today, I finished The Sweet By and By, by Jeanne Mackin, which I

The Elephant

The Elephant (Photo credit: @Doug88888)

love mostly because it explores the mind in grief, the desperation to believe in afterlife, in spirits, ghosts, visitations, posthumous contact.  I can see how even the hardest skeptic, Grandpa, will come around after losing someone they love dearly.

I imagine you in this space, in your home in Pittsburgh, before you died, but after Grandma passed, longing so hard you believed that Grandma was still there.  Is that why you left her recliner there even after she was gone?  They looked like twin seats, you the pilot, waiting for your copilot before take-off.  I can feel her, too, Grandpa, sometimes.  Sometimes the tin cookie cutters Aunt Hilary gave me fall from their hanging place on my kitchen wall, and though Cory tells me it has been sliding down the nail since I last replaced it, inching its way off the hook, I believe Grandma might have thrown it at me, playfully, if I’ve sworn, or messed up the gravy, or said something unkind, or perhaps argued against my conservative husband.

I wonder these things, specifically: were there ever mysteriously more ashes in the ashtray–a slow mounting of phantom ashes next to yours?  Perhaps a whiff of her perfume, the scent I can still glean from Grandma’s chenille scarf you gave me shortly after she passed, the scarf that I preserve in a ZipLoc bag because of its scent, because of trace white hair, her hair, that clings to it still.  Or this–a warm dent in the mattress, a dent just grandma’s size, slight and still, but warm.  I wondered these things while I read this novel.  I hoped you had these tiny moments of peace.

After you passed, Grandpa, Sammy was born.  I keep coming back to this because in your last days, when I couldn’t see you, everyone told me you said some things about Sammy and Johnny.  Everyone says it’s the promise of children that helps one approach death, though I think that’s something you alone could grasp on that day.  Sammy was born the next day, three weeks before he was expected, but the day after you passed.  A signal, perhaps?

Grandpa, my close friend is learning life without parents, as is my father, now, and I don’t know what to say, but you managed so gracefully, so wonderfully, beyond your own losses.  I wonder if some contact from beyond guided you.

Last April, a year after you passed, Aunt Hilary gave me one of your writings–not the standard limerick you wrote, but a short nonfiction piece titled “File No. 209.”  It was about Grandma’s toes, how she could use them as fingers.  I remember family talk of the “Lotze toes,” characterized by an abnormally large space between the first and second toes, and wondered if it was this phenomena that had you writing this piece.  Either way, I learned you had sent it out in the 60s, and that it had been rejected.

When I sent your piece out again, fifty years later, I did so hesitantly.  It is one thing to submit your own work to a magazine, to prepare yourself for rejection, but it is another thing to feel responsible for the work of someone you love.  For my own rejections, after the first few crying fits, they became less-intrusive than paper cuts.  Rejection, in some way, becomes a state of permanent grief after tearing open the envelope, a way of saying, “Eh.  I didn’t think Third Coast would want that essay,” the same way one might wake on the 417th day after losing someone they love and say, “Oh.  Right, they’re gone still.”  That they’ve gone somewhere without you, left you, uninvited.

When Aunt Hilary sees an elephant randomly in her day, she tells me.  Or a note you wrote to Grandma in the 80s wafting to the floor from a bible she’d just picked up.  Or this: when I’m hit with the smell of eucalyptus from nowhere, but in my mind, from your condo in Cincinnati.

I knew the odds.  I knew the magazine I sent your writing to only accepted approximately .8% of submissions (according to unscientific data, so you probably are rolling your eyes), but I also knew this piece was stunning, endearing, but wondered if it was just our family that loved it.

Then, last week, the editor at DIAGRAM was happy to accept your piece, “File No. 209”  for publication, and I thought, for a moment, maybe the worlds had converged.  Maybe you were here, watching me jump and dance and scream in a way that no other acceptance has made me do, in a way that had my German Shepherd’s head cocked.

We all look for peace somehow, Grandpa, mostly in the everyday: the first cup of coffee or cigarette after rising; the shower water, once warmed; the space one hides in after telling a bad joke.  Then there are moments when peace is not found, but is bestowed: your name in print as though you’ve never left; an acapella proposal that Grandma would have loved; a baby, being too patient, making us all wait on edge.  But soon, we all know, these moments come like the quiet grasp of a finger.


How Children, and Fiction, Grow.

Auerbach covered the Lindbergh Kidnapping as a...

Auerbach covered the Lindbergh Kidnapping as a reporter/photographer. (Photo credit: Wikipedia)

What I’m writing right now is my worst fear: a story, born from fact, of a woman who loses her son in the Erie Canal, drowned by a really large puppy.  This actually happened, though the particulars are fictionalized.

Stalled, and re-started, and re-stalled on this story, I figured what I need is
actually more emotion because I tend to avoid emotional avalanche in my fiction.

I’ve read conflicting accounts of the story from national newspapers, local newspapers, anecdotal histories, and then corroborated with Ancestry.com, obituaries, and yes, sometimes I feel like a stalker.  I mull through histories that aren’t mine, like shopping at an estate sale, buying photographs with unnamed faces and features that aren’t mine, so I last night, before I fell asleep, I imagined it to be mine.

I listened to the late-summer bugs and scared myself with thoughts about how vulnerable my children were.  My oldest son’s fingers were twitching with sleep, his mouth slightly open, and he was sweating in the humid air, refusing before bedtime to remove his Disney comforter for some sort of security.

Lately, before bed, he’s been asking about monsters and ghosts and something called the “silly silly gumbo” from a cartoon, and THAT scares the business out of him.  He drapes his arms around me, having asked for a hug, and his grip is tight because he’s not letting go.  I refuse to pull away and leave him with his arms open and empty, so I just sit there, waiting for him to say something like, “You know, mommy?  Superheroes protect us.”  And then I say, “Yes, but policemen do, too.  And so do the walls of our house, and Molly, and Mommy and Daddy do, too.”  And then he asks where the naughty guys live, and I tell him they live far far away.  And he says, “In the woods?”  And I think hard, because everything matters, and there are woods around our house, so I say, “No, not around here.  I’ve never seen a naughty guy.”  And I lie like that until he feels safe enough to loosen his grip, to give me his kiss.

God.  And he’s just three.

So my husband was snoring beside me last night, and I thought, what if I were Mabel, the mother from my story?  It is something I hesitated to think, but my mind had already gone there.  What would I miss most?  Mabel is consumed with the Lindbergh baby, and so my mind wandered to that, how the family was unaware their child had been kidnapped from his bedroom window.  When I hear on the news that that’s happened, I turn skeptical, imagine the parents are neglectful, drunk, or involved somehow.

My mind reeled around the conversation I had with Johnny before bed, and then Sammy, my other boy, who’s just learning to sit still while I read him bedtime stories about fireflies, that his thick fingers turn the cardboard pages for me.   How, when he curls up to go to sleep, he still pushes his butt high up in the air with his knees underneath.  For security.

Every night, before my husband and I go to sleep, he peeks in on the boys and latches their doors closed.

I got out of bed before I could stop myself, and tip-toed down the hall to see for myself that everything I’d imagined about my boys asleep was true, that they were there.  And they were.

I left their bedroom doors open, not worried about noise, wanting to hear everything that happened in their rooms, every breath even.