A week or so before snowmageddon stymied Texas, my dear friend and writing pal Sue recommended a book called “When Women Were Birds,” by Terry Tempest Williams. I’m endlessly grateful, as it provided a warm and poignant embrace during the powerless hours. If Anne Lamott says it’s “brilliant, meditative, and full of surprises, wisdom, and wonder,” you can bet it’s a winner. As I sat on my big purple couch in the frigid darkness, swaddled in three blankets with a flashlight precariously perched on one knee, I devoured Williams’ evocative, lyrical prose and was instantly inspired to scribble this poem — just before the electricity sizzled back on for another brief round:
I am worn out. I am scared. I am alone. I am freezing. I can almost see my breath.
I am a balloon that is slowly deflating. I am an opaque mosaic of dusty shards that don’t quite fit. I am the map of another country. I am overwhelmed. I am underemployed. I am seeking. I am hiding. I am not knowing . . . I am fried.
I am filled with emptiness. I am hollow with grief. I am here but not present. I am shallow but deep.
I am aching to be seen, but I don’t want to be noticed. I am yearning to connect but no energy to speak. I am salt in the wound. I am salve on the sore. I am dented but still running. Where is the door?
I am shadow. I am moonlight. I am desire. I am disdain. I am letting go. I am holding on. I am selfish. I am shame.
I am kind. I am cold. I am love. I am lost.
I am waiting in the wings. I am milling in the mezzanine. I am loitering in the lobby. Where is the stage? I am scripts unwritten. I am books unread. I am the Rock of Gibraltar. I am the tools in the shed. I am a frothy, white jet trail. I am blood-orange sunshine. I am Purple Rain. I am Auld Lang Syne
I am select soccer and team tennis. I am saxophone lessons and art classes. I am ear infections and root canals. I am a pair of new dark glasses. I am fistfights in the kitchen. I am boxes in the hall. I am lullabies in the nursery. I am drawings on the wall.
I am sighing I am sobbing I am wailing I am praying I am allowing I am inviting I am chuckling I am fraying
I am a sutra unraveled, but I am whole.
I am a cotton shirt, not pressed. I am a pair of jeans, too tight. I am a child without a mother. I am a mother full of fright. I am the tears in a handkerchief. I am the words on the page. I am a candle in the window. I am a flashlight in the dark. I am a sip of black tea. I am a broken heart.
I am an imposter and an expert — respected and dismayed. I am confident and confused — anxious and praised.
I am stardust. I am golden. I am taking. I am giving. I am releasing Now Forever And for you, I am living.
Texas and the universe demonstrated this truth with debilitating intensity last week. Indeed, we are living in a time of radical transformation, a period without predictability or security. Socioeconomic upheaval, geopolitical unrest, erupting racial tensions, escalating cybersecurity threats, and climate change are all coming to a head. And oh, and this is all happening in the midst of a global pandemic.
I will admit I am hypersensitive as I navigate the agony of my own grief, but the world is becoming increasingly fragile and complicated. Control is an illusion. Sure, we can decide whether we turn on a flashlight or light a candle in a blackout, but how do we manage our lives with any kind of certainty? So many directions, but nowhere to go.
When most all the infrastructure services that are designed to support and protect us in arctic temperatures fail catastrophically, our trust evaporates. And we panic. Plus, we’re back to ground zero on Maslow’s famed hierarchy of needs. Forget self-actualization — I’ll settle for flushing my toilet.
And amplifying the precariousness is the capriciousness of it all. Some people are still without any power in Texas; some are boiling every sip of water they drink; others are recovering from extended rolling blackouts (like us), and others had no disruption at all. Then, there are the food supply-chain disruptions happening now and broken pipes everywhere you turn.
Yet through all the chaos, I have been grateful. I have appreciated my 24-year-old son Ian’s calm, grounded presence, as well as the kind texts from friends across the country who checked on us — though I could not always read them in real-time, because our cell service was toast, too. I was grateful for the vigilance of our building management and our dedicated maintenance team. They worked tirelessly to repair broken pipes, open locked-down security doors, and silence errant fire alarms. I may say everything reminds me of “The Twilight Zone,” but the building seemed to have a will of its own at times — like it was mischievously misbehaving.
As the days oozed into nights without power, heat, internet, or cell service, I also remembered the “Twilight Zone” episode called “Midnight Sun.” Lois Nettleton played an artist who was suffering in stifling summer heat, painting abstract canvasses dripping with pigment. Alas, the earth had fallen out of its orbit and was moving closer to its central star. The obligatory twist occurs (spoiler alert) when the opposite is true. In actuality, artist Lois has been nursing a raging fever. When it breaks, we discover the earth has been plunged into sub-zero temps as it is jettisoned from the sun’s orbit. A potent metaphor.
“Twilight Zone” or not, I was scared.
I still am, but I’m aware my fear is exacerbated by the trauma and shock associated with losing my precious 26-year-old son Elliot in a flash of indifferent tragedy 30 months ago. His untimely, out-of-order death continues to rattle me to the core, each and every day — so sudden, senseless and shocking. C.S. Lewis said, “Grief is like fear, but you are not afraid.” Well, in this case, you are. It’s apropos of everything these days — this feeling of utter, urgent precariousness and instability. The kind of complicated grief traps you like a hostage in a boundless fog of disconnection and anguish. I am always balancing on a precipice – looking for a way to hold on and live in a world that is forever changed.
Dr. Todd Miller, our wise and wonderful eye doctor, had a rare simpatico with Elliot. They would banter incessantly about music and technology. Dr. Miller also was enamored with motorcycles in his youth. I deeply appreciate his perspective and that he allows me to talk of Elliot and my grief whenever I see him.
“The appeal of riding is like finding the ‘sweet spot’ between pleasure and fear,” Dr. Miller said. “It’s a balance, a kind of calculated risk.” But what kind of formula do you use to calculate such a risk?
I cannot dwell on these questions, though they continue to haunt me. Still, I have come to realize that fear is a common part of grief. And precariousness is woven into the fabric of our existence — more salient now than ever. Life is ephemeral. Fleeting. Then, gone. Combine that with the ambient grief we share for a confederacy of losses in the pandemic, summarily splashed across social media. It feels like we are slogging through some kind of mind-bending Truman Show.
I am coming to accept that all life is precarious — a temporary gift we must respect and nurture as best we can. Our souls are all on different journeys, and that includes our children. A spiritual medium once said to me, “Our children are not ours. They just come through us.”
As the snowmageddon crisis in Texas has taught us, we are not in control — even when we think we are and even when are just sitting on the couch.
Turns out, we are just along for the ride.
My Precarious Boy
I need to find a crack to breathe in this stolid suspended chasm. Empty moments dissolve into heavy hours — to make bearable being awake. Persistent memory. Present absence. Precarious life now that saline tears debride the unhealable wound forever — a faint shadow, cast in the light of his darkness. So raw and exposed but not seen.
I watched another incisive and provocative film as the snow fluttered into my courtyard this weekend — “A Ghost Story.” It’s a beguiling yet disconcerting film about a woman’s loss of her husband, a musician, in a tragic car wreck close to their home. Aside from its unflinching and brazen gaze at the enormity of grief after a sudden loss, the film explores the concept of the cyclicality of time. It’s the notion that time is not linear — and the past, present, and future are infinitely entangled and concurrently unraveling in the universe’s quantum ball of string.
Shrouded in a bedsheet with eyeholes haphazardly snipped like a trick-or-treater, Casey Affleck appears as the deceased husband trapped in some sort of cosmic purgatory, eerily looming in his wife’s space as he watches over her achingly authentic attempts to grapple with grief. Given its lingering pace, excruciating at times, and perplexing narrative arc, I almost expected to see Rod Serling lurking in the corner, too. I’m not sure if it was the macabre whimsy of the strange, costume-cloaked figure — or the shy, poignant presence of his spirit, but it felt like filmmaker David Lowery peered into my soul for a brief instant.
The real twist comes when the bereaved wife moves out of the house they shared, and the bedraggled ghost remains. He is stuck there for decades, seeing residents come and go, but he also finds himself thrust back into the past — until the spiral of time circles back around again to the couples’ most recent time in the house. In one particularly potent scene, we see the mischievous specter make the very same loud bang on the piano that had awoken the couple at the beginning of the film — when they searched to the living room and were not able to find the source of the noise.
The glimpses of overlapping time and space are both unsettling and comforting somehow. On one hand, they reinforce the omnipresence of those we lose and love, but they also remind me of the peculiar events I experienced around my 26-year-old son Elliot’s death. Two days before his mysterious motorcycle accident, I was at home in the afternoon and heard a crash in my office at home. I ran up the stairs, walked in, and saw my treasured porcelain doll on the floor, shattered.
She was the first doll I ever acquired for my small but precious childhood doll collection. I loved her. We had reunited when I found her in an old, tattered box cleaning out my parents’ house after their deaths in 2014. She had been perched on a shelf of books Elliot had left behind after he moved into his own place. The entire bookcase was filled with his scholarly volumes, always reminding me this was his room, as well as my office — another example of his tsunkoku. It shook me to the core at the time —though I was not sure why. I even mentioned it to Ian, Elliot’s brother who was home from the summer from college. There was no reason she should have fallen that day — no vents nearby and the cat was asleep on the couch downstairs.
I will admit that I do tend to look for connections in unusual places. As I have reviewed the events of that devastating year, 2018, and the months following, I have noticed so many unexplainable synchronicities, events and signs. Though I am confident I will never decode all of them while occupying this earthly plane, noticing them has taught me our knowledge of creation, divine wisdom, time, space and the universe is miniscule.
In fact, last year when I was rummaging around on the internet for answers, I discovered the concept of nonlocality, a quantum theory in which two or more particles exist in interrelated or entangled states remain undetermined until a measurement is made of one of them. When the measurement is made, the state of the other article is instantly fixed, no matter where it is. “In space–time as a whole, it is a continuous interaction extending between past and future events,” said Avshalom Elitzur of the Weizmann Institute of Science So, explaining the unexplainable just got even harder in the non-linear context of time and space.
But this I do know — time might be an illusion, but love is not.
The first time I saw this whisper of a word dancing in Elliot’s prose, I required a dictionary—not an uncommon occurrence when reading anything he wrote. He used the term to describe a chorus in the program notes for his saxophone recital—as poetic as they were precise. A susurrus is a murmuring or rustling sound. Such a visceral, expressive metaphor—complete with a hint of onomatopoeia.
This is where it gets interesting.
A couple of months ago, I noticed a new notification in my venerable yahoo.com email box. I’ve had it for ions—since the boys were young, but it’s still functioning reliably. In fact, I’m grateful for my inconsistent email hygiene over the years—as I am relishing the treasure trove of memories and conversations buried deep in its archives.
The subject line of this particular email was: “Word of the Day: Susurrus” from email@example.com. I don’t remember signing up for this alert, but I was game. Of all the words in the world, how could they pick this “Elliot word”? My heart jumped. He was the wordsmith’s wordsmith—the inimitable “word genius.” How many people do know who received a perfect score on the verbal SAT—not missing one question?! Could this be a wink from Mr. E? After all, we were both inveterate word nerds, and the Wrights are peppered with writers. Why not? I mused as I felt a giant grin, so unfamiliar of late, stretch across my tear-stained face.
Elliot was an exquisite and erudite writer. Following his graduation from the University of Toronto, where he majored in classical saxophone, he reviewed contemporary classical recordings for a respected music publication in Toronto called The Whole Note. In Dallas, he reviewed local concerts of all genres for The Dallas Observer. And he crafted provocative think pieces for Central Track.
Yet he soon abandoned the glamorous writing life to pursue another one of his extraordinary talents as an IT savant at Global Payments. Clearly, he could write compelling stories in almost any language and any context. Here is an excerpt from his brilliant program notes from his fourth-year saxophone recital on March 31, 2015, at UofT—as captivating as the music. Elliot wrote these evocative words about a piece he played spectacularly:
Sonata for Alto Saxophone and Piano | Edison Vasilievich Denisov (1929 — 1996)
DENISOV – Though his place of birth is a full 900km deeper into Siberia than the penal colony where Dostoevsky was transformed at the end of a mocking rifle barrel, Denisov suffers from neither the anguish of mysticism (as was the case of his contemporary, Gubaidalina) nor subarctic austerity. In fact, at its core, Denisov’s music is all lyricism and ardent expression, refracted through the crystal lattice of his mathematical mind.
Commissioned by Jean-Marie Londeix in 1970, the Sonata for Alto Saxophone allows saxophonists to have their cake and eat it, too: it is at once a sophisticated serialist composition and an unbridled jazz freak-out. The first movement is a kind of shambling waltz, the left leg of the waltzer filed down by the machine-gun 32nd notes exchanged between the saxophone and piano. The second movement is a saxophone soliloquy, a lyrical murmur glinting through the Siberian ice which entombs it. All this melts seamlessly into the final movement, a dodecaphonic jazz burnout inflected with an almost hysterical irony: the big—band “shout” chorus which appears midway through the piece becomes more of a “susurrus” chorus, and of course it is just as the music approaches a full-blown pseudo‐free jazz eschaton that Denisov is most meticulous with his musical orthography. Condemned by the Soviets as a “formalist” and reared in the harshest regions of Russia, Denisov’s music expresses a wryness in the face of all the improbability of being.
I was so enchanted with the susurrus that I used it in a haiku that felt directly channeled through Elliot’s consciousness. It reflected his passion for Japanese culture, his love of poetry, and his voluminous vocabulary:
Time In a susurrus, what is done, always will be— dissolving the now.
And it turns out that susurrus was just the overture for me. There have been other words since then from the same email that have snatched my breath away.
The next was camber, a word I did not even recognize.
As I read the definition, I gulped. It refers to the slightly convex shape of a road or other horizontal surface. Coming from Middle English, its roots track back to the Ancient Greek word “chambre” (arched room or burial chamber) and the Latin word “camurus” (curved inwards). I instantly thought of the treacherous curved ramp where Elliot apparently lost control of his motorcycle. Could this be another piece of the accident’s puzzle—something that hindered his ability maneuver safely on that hideous day in August? There are still so many unanswered questions that torment me, and I would not put it past my mischievous rascal of a son to communicate in such a perplexing and obtuse way.
Upon further research, I discovered the term “negative camber,” which specifically refers to a road condition that scuttles motorcyclists. This curve of the road’s surface requires the rider to recalibrate the angle of the lean and velocity of the turn on the fly—a factor I had not uncovered in my extensive research. But it feels plausible. I wondered . . . could this word be administering a glimpse a grace? Could this be an explanation that might help soothe my unsettled soul? These random glimmers and glimpses always seem to appear just when I need them most. But oh, the possibilities continue to swirl around in my head like an agitated hornet’s nest.
Are these questions keeping me mired in the gravity of gone? Is this why I feel so stuck in the muck—overwhelmed and anxious, enmeshed in the trauma of those fragments of the puzzle that may never be solved? It does feel like the road to nowhere.
Elliot, is it time to let go of needing to know?
Especially when there are so many potent words to ponder, like the group of Japanese words that popped up just yesterday. One was tsundoku. Quintessential Elliot, it refers to the habit of acquiring too many books to ever read and letting the pile grow indefinitely — one of his favorite words and activities. (However, I think he actually read every one.)
Made me smile.
Another was wabi-sabi. That’s embracing the transience and imperfection of nature—and the eventual end of everything.
Still working on that one.
So, the journey continues . . . one moment and one word at a time. Keep them coming, Mr. E. I love you.
The other night, I watched a new film on Netflix called “Pieces of a Woman.” It burrowed into my soul like the vaccination needle into your arm. Yet surprisingly, the subtle and deftly poignant images packed the most potent punch.
This provocative film takes us on the horrifying journey of a home birth gone tragically wrong, but that’s just the first half of the story. (Spoiler alert.) Though the cataclysmic event is harrowing and devasting, some of the most profound and affecting moments come after it. Perhaps, I experienced the narrative in this way, because this heartbroken mother’s journey is similar to my own. Though the particular circumstances are different, the gravity of losing a child at any age carries its own unique, untenable weight.
“Elaine, why would you subject yourself to such a sad, triggering film?” one might ask, and one would be justified in posing that question.
But the answer might be just as confounding. As I walk this unbearable path, I find that connecting to others around our shared, unrelenting pain—often through art, helps me feel less alone and even witnessed in a misery-loves-company sort of way. Being seen is a momentary salve on the gaping, unhealable wound. And frankly, it takes the focus off me for a brief instant and gives me another way to contextualize what still feels impossible to believe.
Not every moment in “Pieces of a Woman” works, but this kind of story signifies a gradual shift in the way we are acknowledging grief in our culture. In the second half of the film, we come face-to-face with a woman’s unvarnished grief journey and emotional fallout—exposed, raw and unapologetic. Martha’s grief takes center stage, often colliding with her husband’s incongruent mode of coping—ignited by rage and alcohol. Her pain is there for all those around her to see—in all its awkwardness and messiness. Most people I encounter want someone who has suffered a tragic loss to get over it quickly and be “OK,” because they don’t want to face their own looming mortality. But Martha bears all.
Ellen Burstyn is brilliant and riveting as Martha’s mother—mounting a hostile resistance against her daughter’s unfathomable pain that also prevents her from providing the compassion and care her daughter aches for. In Burstyn’s mordant revulsion to her daughter’s festering sorrow, we sense her character’s own inability to process difficult feelings. This is at the same time fiercely intimate and unflinchingly universal.
“You’ve got to fight and seek revenge,” she barks. “That’s the only way you can move on.”
The grim reality is you never move on. You don’t “get over” the love of your child. You just find a way to carry the pain.
In fact, Martha vehemently protests the concept of revenge. In one of the most searing moments in the film, Martha finds a beautiful photo her husband snapped on that bittersweet day, just after she delivered her baby. As she views image, we see Martha’s hardened heart soften like molten lava. She begins to replace some of the hard darkness with light, some of the fierce anguish with love. I felt that so deeply. She actually begins to forgive—her midwife, her husband, her mother, and perhaps, even herself.
The other gorgeous detail that brings me to tears is Martha’s meticulous collection of apple seeds, nurturing them carefully in cotton pads or tiny blankets in the refrigerator. She mentions at one point that her newborn smelled like apples, and we often see her eating apples—unconsciously drawn to them in the grocery store, as well. But when she opens the refrigerator one day to check on them, she discovers they’ve begun to sprout and bud, and she is awestruck by the persistence of nature and the miracle of life before her eyes. This becomes its own solace, its own comfort. This stunning nuance seeped into every cell as I empathized with every tear she shed; every wail she unleashed. The sensitivity of this storytelling is breathtaking—and the performances, masterful, as devastating as it is glorious. This shattered mother is able to find a glimpse of grace and a moment of infinite connection—an uncharted path back inside her own shattered heart.
Today, I noticed a similar miracle in my own living room. The delicate orchid plant a friend gave me for my birthday about six months ago had lost all its blooms. Since the leaves remained green, I continued to water it as my late Aunt Virginia, the orchid whisperer, had instructed. She used a turkey baster to gently inject two squeezes per week. Carefully infusing every Saturday, I have been watching the tiny green pouches with anticipation, and to my surprise, one opened this morning—a fragile, tiny orchid saying, “Hello world.”
Like Martha when she lifted the carefully arranged cotton pouches from her refrigerator, tears welled. There is something magical and comforting about witnessing life . . . its brazen persistence, the continuity of creation, the divine order of things. I must allow this to sink in, to feel it down to my marrow. Another day . . . another glimpse of grace.
This has been a poignant and moving week—punctuated by the power of words and the vulnerability of relief. Tears have welled spontaneously and frequently. And synchronicity has worked in mysterious ways. Last weekend, I participated in a profound and revelatory writing workshop with poetry priestess Meghan Adler. Astonishing, informative, and inspiring.
I am exceedingly grateful for every moment spent in the company of this sacred circle. Here are a couple of poems:
I notice the always ache I notice the awful gravity of gone I notice my breath beside a stream of sea-salt tears I notice the volume of your absence I notice the hallow of my emptiness and accept it as peace. I notice the fading jet trail against the bright azure sky— dangling like a cotton thread from heaven. Then, I notice your brother’s laughter in the other room. I notice what I notice—and I wonder. Are you there?
They say Mo-Ranch is a thin place, where the edges blur between now and then. I say Mo is a dream, a collection, really—had, made, and missed. Mo is a gene attached to my DNA—crafted and careening without fear down a creaky wooden slide into the cool green ripples. Mo is a memory, bittersweet and fragile, like a scoop of Blue Bell in July. Mo is a feeling. Forever and never again—still, inhabiting my heart. Mo was saxophones, songs, and s’mores. Can this be all that family is? But now, Mo is a time to remember and to grieve, held in the river’s lap by day and wrapped in glitter’s blanket by night. We say it’s not just a place at all. It flows through all who know Mo—by grace.
It comes in many forms, and its spikey talons dig into your flesh, heart, and soul with varying degrees of force, pressure, and duration.
But there is another layer now, a cacophony of angry, bellicose voices that surround, infiltrate, and pierce us relentlessly—pinging and careening like atomic particles in a supercollider of accelerating chaos. David Brooks said in The New York Times this week, “There are dark specters running through our nation—beasts with shaggy manes and feral teeth.” The reality is that these events in America continue to weigh on us like a mammoth psychic boulder.
And then, there’s the pandemic—manifesting universal grief, a primordial stew of sorrow, but there is a rancid ingredient in the pot. In this brave new concoction, so many of us are stirring unresolved pain and anger into the mix, which is hindering our ability to care for each other and ourselves. We are stuck, hardened, and adversarial.
Indeed, this creates a challenging milieu for anyone who is grieving a personal loss. But grief is not a competitive sport, as they say. There are as many flavors of grief as there are types of relationships, but I must admit, losing my first-born 26-year-old son 29 months ago in a sudden and violent motorcycle accident tops my list.
And I know loss.
At this point in my life, I have lost everyone in my immediate family, except my precious 24-year-old son, Ian.
My marriage in 2000
My only cousin, Scott, at 56 in 2007 from alcoholism
My mother, Ann, in 2012 after two strokes and a 32-month debilitating illness
My father, Everett, in 2014 after shrouding a lifetime of illness and secrets
My only aunt, Virginia, in 2020 in isolation due to COVID
My only sister Melissa’s presence after Elliot’s death
My kitty of 14 years, Patches, in 2020
And my dear first-born son, Elliot, in 2018
These are my stages of grief. This is my confederacy of losses, and recently, their collective impact has been both untenable and inevitable, as I come face to face with my own mortality.
Looking back on these years of struggle, I now recognize why everything else in my life has been messy and difficult, exacerbated by that baseline of trauma and turmoil. So these days, I am learning to be gentler with myself. I’m learning to forgive. I remember being completely flummoxed by Elliot’s wisdom on the day of my father’s funeral in 2014.
He mused, “For such a small family, we certainly have expansive abysses to bridge.”
Poignantly astute. And ironically true.
It’s like living a double life sometimes—one where you have to act like everything is OK, fabulous, and sunny all the time—and one where you are constantly overwhelmed and looking for ways to fill yourself with worthiness, love, and peace. The good things always seem to evaporate—so temporal and insubstantial, like the ribbon of smoke from my mother’s cigarette.
I don’t have the answer—far from it, but writing helps me see . . . helps me understand the truth of what I think and what I feel. Writing also has helped me recognize that finding glimpses of grace, even the faintest glimmers in the middle of the ickiest muck, is not only surprising—it’s necessary. It’s what I need to live, the way I can put one foot in front of the other and keep going. Especially now.
I also am strengthened by savoring the moments of awe, surprise, and connection more intentionally. Grief is like walking around in quicksand, a strange kind of suspended animation or slow motion that suffocates and separates you from the rest of the world—a bittersweet state that compels you to take a beat, whether it’s in misery or in magic.
And the magic is definitely in the angels, those celestial messengers who just seem to show up—out of thin air. How grateful I am for them, tears welling . . . I’m not sure where I would be without these cherished friends in my life. They appear when I need them most, and they are present in ways I never could have imagined. The mysterious grace of those who just know—they see me, acknowledge my profound pain—and stay anyway. They keep me going. I am writing this because of them. I dedicate this to them.
I only hope I can give other shattered, grieving hearts the same salve, the same presence . . . and in the words of Emily Dickinson, the thing with feathers. That is my meaning. That is my hope. That is my purpose.
Last night, I caught the very last story on “60 Minutes.” It highlighted the rare and timeless rituals of Kabuki, still thriving in Japan today. Though this took me back to my days studying theatre at Northwestern, I was reminded of the Japanese word for Kabuki. It means “off-kilter.” Apropos of everything.
Instantly, I also felt Elliot’s presence in the stylized whimsy of this ancient theatrical spectacle. What bittersweet synchronicity that I happened to turn on the television at this very moment on the last dreary Sunday evening of 2020. And since then, I have felt El’s unmistakable zeitgeist all around.
Japanophile was just one of his many monikers—son, brother, nephew, grandson, friend, housemate, boyfriend, wordsmith, poet, alumnus, brilliant iconoclast, IT savant, musician, saxophonist, shakuhachi flutist, composer, music critic, artist, philosopher, pinball wizard, raconteur, Global Payments engineer, volunteer, mission tripper, teacher, journalist, book devourer, bitcoin purveyor, witty conversationalist, “whitish-hat” hacker, tilde.towner, fellow traveler, cool cat, hip nerd, aviation ace, computer game whizz, old soul, restless heart, disarming intellect, insatiable student, reluctant soccer goalie, skeptical theologian, Japanese car aficionado, Japanese motorcycle fanatic, skateboarder, origami master, loose tea connoisseur, and world citizen.
Oh, I know I’ve left out something . . . so much to so many in one wild and precious life.
“That’s OK,” my wise and spiritual friend Sue reassures me, her heart also irreparably torn apart by the loss of her adult son, “As mothers, we cannot ever possibly know the totality of our sons’ existence, the edges of the lives they led,” she muses. “And somehow, that’s strangely healing. They have and always will exist far beyond us.”
Yes, I think that notion is powerful. I take a breath.
And perhaps, it’s grace.
Right now, it’s Elliot’s Japanese thread that dances before me, so it’s no surprise to me that 2020 was my “year of the haiku.” They seemed to flow from me like a gentle mountain stream. I dedicate them now to Mr. Elliot. They greeted me as I walked, as I sat quietly in my office, and often, as I washed my hands—over and over . . .
With these words, I hold you—and all who have struggled and lost so much in this year like no other, as will I for El forever:
Heart Make it stop—this now sacred, unquenchable ache, because you took flight.
Time In a susurrus, what is done, always will be— dissolving the now.
Apart Life in a bubble— Hermetic under its veil. Together alone.
Grave No other reason. A grave erratum must be— Buried on his page.
Lament Grief’s ambient tears, Permeating my membranes inside tomorrow.
Swann Passed is my future So now In Search of Lost Time Still—breaking my heart.
The holidays are tough; they just are, this year in particular. Even in years without global pandemics and the strife of 2020, they serve up a bittersweet concoction of complicated family dynamics, mixed with tidbits of joy, the overwhelming presence of loss—and deeply cherished memories of celebrations past. This is my third Christmas without my son Elliot.
For me, the holidays are something to endure, to get through. But for my dear son Ian’s sake, my priority is to create new traditions for us, fresh memories for him, for me and for us. Easier said than done this year, but being together will be my greatest gift.
There are plenty of new experiences now. Last weekend, I participated in a deeply moving ritual – the 24th Annual Worldwide Candle Lighting, sponsored by Compassionate Friends, virtual this year. The event honors and remembers children gone too soon. My dear friends Patty and Ken, along with First Unitarian Church, hosted a beautiful Zoom ceremony with profound and intimate meaning for those who struggle every day to pick up the sharp fragments of their shattered hearts.
Whether two days or 20 years, the pain never goes away. It just changes, but still inextricably intertwined with every moment and every breath. What a sacred time this was for those who understand, who know without saying a word, to honor the names and memories of our precious children, sorely missed but never, ever forgotten.
In thinking about how I would honor my extraordinary Elliot, on this day I thought of his poetry. He spoke from the depth of his soul, and I felt compelled to share his inimitable words that continue to resonate and inspire me in my writing each day. I recall with gratitude when Elliot’s University of Toronto poetry professor contacted me via this very blog. Thank you, Ricardo Sternberg, for sharing your admiration for Elliot and his exquisite words, a welcome glimpse of eternity. I read this as his candle burned:
THE ONLY THING I HAD TIME TO WRITE
By Elliot Wright
This cut in my bone is the cut in yours, a home for bad infinity; Cantor’s blade is teething there, mythic sword in stump.
Time, kindling for consciousness, julienned, burns like straw, and pallid smoke smears memory as sheets of stratus smear the sun.
The clock unspools a fibril a slender invisible line for stringing my images along like a Chinese line of cash–
It’s hard to tell–they’re shaved so thin– which image here is derived from the last.
It’s hard to adequately express my gratitude for the First Unitarian community—thoughtful, caring, authentic, and present. Thank you, thank you. Sending love and light to all who suffer in this unbearable darkness. I am with you. My heart is with you.
Elliot was wearing green and white socks on August 5, 2018, the day he somehow flew off his motorcycle over the side of an elevated entrance ramp—and into the arms of the angels. I could hardly bring myself to pull them out of the left black-leather boot sitting still on the floor at my feet next to the glass coffee table. Unsoiled, they were wadded up together in a haphazard ball. I imagined some harried ER nurse or technician removing them hastily before pushing the gurney holding my son’s fatally bludgeoned body down the stark white corridor to the operating room.
I was not there yet.
I found the socks after I mustered the strength to open the stuffed white plastic drawstring bag I received from the hospital with the words “E. Wright – Maj. Trauma, 08.05.18,” marked in black Sharpie on the side. They were turned inside out, but I could tell they were covered with tiny shamrocks and other little icons. I gasped but could not swallow for a moment as my eyes welled with tears like a filling bathtub. I could barely see. The smallest details always seem to have the biggest impact. What perverse and horrifying luck they wrought. I lifted the bunch of bright green fabric to my nose to catch one last whiff of his life. There was a faint, earthy odor that I immediately recognized in all its bittersweetness.
Oh, how Elliot loved socks—an avid collector of the most eclectic colors, patterns and prints. I smiled. They hailed from Tokyo, Toronto, Lubbock, New York City and Amazon—the quirkier, the better. For his last with me Christmas, I bought Bombas for him and for his brother, Ian—thick, warm and cushy with a mission. One purchase, one donated. The Tom’s Shoes of socks. But Elliot seemed to have foot struggles all his short life. Just a couple of weeks before his death, he mentioned needing to see a podiatrist for the third or fourth time to extract tiny shards of glass he had accidentally stepped on in the middle of the night after he dropped a wine glass on his loft’s concrete floor. And how I remember several visits to the orthopedist when he was a teenager to have his painfully ingrown toenails surgically excised.
“Cut straight across,” I would recommend—but he always followed the curve.
Being a single boy-mom is not for the faint of heart.
Yet these green socks seemed to have a life of their own. A couple of days after Elliot left the earth forever, George, a Northwestern pal, thespian, and medium/psychiatrist living in Pittsburgh, Pennsylvania, messaged me on Facebook with fierce urgency. It was surprising. We had not spoken in more than 30 years. Not even a “like.”
“Elliot wants me to connect with you now,” he said. “He’s coming through with lots to say,” George insisted. I was flustered but responded.
“He says he’s OK. He wants you to know he’s OK. And there’s something about green socks or lime-green shoes. Something green . . .”
There is no way George would have known this detail. Though I had posted the grim news about my loss on social media, I never made any reference to clothing—nor the socks of any color. I hadn’t found them yet. He had never met Elliot. I felt a shudder down to my marrow. It was startling and oddly comforting at the same time, but I was still in a general state of shock.
“It wasn’t karma. It wasn’t fate,” George typed in the messenger box. “That means it’s mechanical failure, user error, encounter with a vehicle or something like that. Elliot is saying, ‘Something went wrong.’”
I devoured every word.
The relentless pursuit of the details of Elliot’s demise consumes me. I am restless, distracted, and anxious most of the time. I have no way to make sense of it. I know that horrible things happen all the time. And yet, we live in a culture that runs on blame. We don’t have the tools to accept or process the unfathomable or the messy. So, I am caught, stuck, mired in this inextricable, mind-numbing place. Like trying to straighten out a Mobius strip or untangle a knot caught in the finest gold chain, I keep turning, twisting, and tugging, but the resolution is futile.
I hear my late mother’s voice in my head.
“Elaine, your best talent is your ability to untangle things. You can unravel anything,” I remember my mother saying as she took a puff from her extra-long Max cigarette. And she was right. Fixing things, figuring things out . . . or at least, trying is what I do—my modus operandi, probably since childhood. However, this clearly defies all my best solutioning skills.
When I was a girl, I learned to pull at every link of a tightly tangled necklace with the help of a fine silk needle and a magnifying glass, ultimately identifying the one strand or link that would loosen the angry snarl and let the wadded chain fall free. Oh, how I wish I had that needle now, but there is no such thing in my universe’s haystack. I must embrace the ambiguity. I wonder if I will ever know how to be in the world. The obsessive thoughts torture me day and night, awake and asleep, a haunting refrain I can’t seem to get out of my head.
Was there another driver on the ramp who caused him to swerve? Maybe going the wrong way? Was he cut off? Did one of the 911 callers who refused to provide their contact information see something or do something? Is someone covering up? Was he caught up in a manic episode? A migraine fog? Was it an accident? Did he misjudge the tight turn? Endless torture.
The minimally damaged bike was found still running, sitting peacefully on the ramp with the kickstand down. I saw it on the dash-camera video footage I requested from the city. How could this be? There are too many questions. In the Texas Health Resources records I requested, the EMTs reported that “a motorcyclist was cut off and forced off the road on LBJ ramp.” Everything contradicts, and nothing makes sense.
“He was going too fast and lost control. That’s it, mom,” the DPD traffic officer said with a smug smirk, “It’s not the first time, and it certainly won’t be the last.”
Don’t call me mom, I thought as I tempered my tearful response. The sanctimonious officers conducted no investigation. I was livid and still am. I cannot stand that my baby’s fate was summarily dismissed. It’s a forever knot buried in the depths of my heart, a heavy layer of everyday grief I must learn to carry. How I wish I could just let it go, let it be, and be at peace. Everyone says it takes time. If only I could find just the right thread to pull—or sign to see.