Susan Carol Hauser

Archive for the ‘The Marriage Bed: New Manuscript’ Category

The Marriage Bed (Published in The Sun, August 2008)

In The Marriage Bed: New Manuscript on November 15, 2010 at 3:26 pm

The Marriage Bed

You will have to take my word on this: we loved each other. We were married to other people, we fell in love, and finally we were together and then married, for thirty years. We both expected Bill to die first, he was twenty-seven years older than I, and through all of those years, even from the beginning, I told myself that I could live with his absence because our love would carry me the way a wave carries the light of the sun. It would not be the way it was when my younger son Aaron died at age nine in a bicycle accident, the floor of the earth, the vault of the heavens untimely opened and all of us swallowed whole. Bill’s death would be timely and it was, in the end. He was eighty-five and failing, his body done, though he was sorry to have to go.

During Bill’s last six months, after he’d been diagnosed with esophageal cancer, I did not think about what I would do, how it would be, “after.” I tried to, at first, but it maddened me, so I followed Bill’s lead, as I so often had: I ignored the fact of our eventual separate paths and stayed as much as I could in the well-worn, comfortable track we had forged over the years. After all, when it happened, he would still be with me in ways that counted. Our consummate mutual trust, our knowing each other in inexpressible and sometimes inexplicable ways, our not being alone even when apart — these would hold, I was certain, and would keep me safe. I imagined myself in a sort of beatific state, clothed not in widow’s weeds, but in light, a noncorporeal manifestation of our marriage.

I trusted this belief, even in Bill’s last days, as we lay together, often awake, my body curved to his back, my arms curved above his head in an arc, because the weight of them on his shoulders was too much. I trusted it as he took the little spoonfuls of morphine; I trusted it as his body cooled and finally stopped. I trusted it in the first weeks after his passing, when I wept and then wailed, like a widow in an old Greek movie, and even when I quit wailing, and finally stopped weeping, falling silently into sleep curled against a pillow, my arms arced above my head.

I was surprised by the relentless crying, but it was not until the second year that I realized I’d been wrong about love and light carrying me forward through an emotionally blissful life. I missed Bill. Though I sometimes sensed him waiting for me at home, or coming in from the yard while I was making dinner, every time, he was not there, did not come in. He kept on not coming back; he keeps on not coming back. He does not feel present to me, in spite of occasional moments when memory sparks into brief flame, as though he were here. And as his physical presence faded and fades, so does the palpability of our love: it does not feel present to me. Untested by day and deprived of touch by night, it, like Bill, has become a memory.

EVEN BEFORE BILL DIED, our mattress was in need of replacement. The weight of our bodies had pressed valleys into our respective sides, an almost imperceptible spine, like that of an incipient mountain, rising between the two. Often as we slept we fell back into those cradles, half waking now and then to regain the middle ground, a leg or arm extending over the breach, a hand or foot making landfall. When Bill was on the other side, I did not notice the stress of the mattress on my back, the ache perhaps relieved or even prevented by the warmth of our paired sleeping. With Bill gone, I could not find a place to lie that did not hurt. I tried sleeping on his side, and sleeping in the middle, and turning the mattress over and around. Nothing worked. For four years, nothing worked. Finally I decided it was time for change. I went to the furniture store. The old bed was king-size. By switching to a queen, I could get a better mattress and have more space in the modest bedroom.

I decided to not think about it much, about the symbolism of the gesture, the release of the marriage bed, the decision to purchase one better suited to one person, and I chose a good mattress, one that would last, and I had the new bed delivered and the old one spirited away. I made up the new one with the too-big king-size sheets and then I lay on it on my back, right in the middle, then turned over on my belly and stretched out my arms. I could reach over both sides at the same time with my hands, able to encompass the breadth of the bed in my arms. I arose and stood at the foot and looked at it. No cradles. No room for ghosts. I was proud of myself. It was my bed now, not ours.

It remains inexplicable to me that we can finally become happy again, ever, after someone we love has died. Yet there I stood at the end of my bed, a scant four years out, feeling happy. Was this not betrayal? It does not help to say that they are gone and do not care. The problem of grief is never with them; it is with us, with those who remain. Like the bed we lie in, it is ours.

I LIKE LIVING ALONE. This was a surprise to me. I had never lived alone until Bill died. I married the first time at nineteen, and when I divorced at twenty-nine I had my children with me, and then Bill and I were together. And my life now is neither lonely nor dull. I have family and friends who love me and whose company I enjoy. Andrew, my older son, Debbie, my daughter-in-law and Wren, my granddaughter live close by, and I am with them almost every day. I have good work to do, in my writing and my job. Sometimes I fear that I prefer to live alone and even prefer to be alone in my bed. Other times I fear that the desire to lie in bed with a man, naked together in thought and deed, will forever light the corner, a melancholy lamp.

Perhaps I have not waited long enough for love to rise above grief. Perhaps I am doing something wrong, not trusting the love, not letting it illuminate the room. Perhaps I want too much. Most people, I think, never have, even once, the kind of love we had. Why shouldn’t I be happy that I did? Satisfied?

I am not satisfied. I want to be crazy in love again with someone who is crazy about me. In the parking lot one day at the university where I teach, I sat in my car and wept as I watched a long-married couple, teachers nearing retirement, get out of their car and walk next to each other up to the building, their shoulders touching now and then. I wept for myself; I wept for them.

I HAVE DREAMS sometimes about my son Aaron, and now about Bill. I awake from having been with them. At first I am comforted; then I am angry. Dreams are a cruel game, reminding me of what I had, and then of what I do not have. That is the thing about death: we are left with only memories, pale, deteriorating reflections of something that no longer exists. This thought reveals a bitterness that bubbles up but does not linger. That is the thing about grief: the path from the moment of impact to the season of peace is neither straight nor predictable, and doubling back seems inevitable. Although the dreams are bittersweet, I am glad I have them.

THE MOST BRUTAL experience for me after Bill died was the ritual presentation of the death certificate. Six months out, I went around town taking Bill’s name off our mutual accounts: electricity, telephone, mortgage, banking, savings, retirement, car license. At every turn I had to present a certified copy of proof of death. The people I dealt with were always kind, but in each instance I had to say out loud, “My husband has passed away,” and hand over the paperwork. They’d photocopy it and give it back to me and I would take my proof back to the car and put it in a little case on the seat beside me, where I kept it because I needed it more than I thought I would, at places I’d thought it would not matter. Once I was even required to close our joint account and open a new one in my name alone. Though I resented this, the experience turned in my favor: I filled in the application form and my choices for marital status were “single,” “married” or “divorced.”

“I’m widowed,” I said to the clerk. She did not know what to say, and neither did I. I left the item blank.

“Widowed,” I thought as I returned to my car, proof of my status in my hand. “I am a widow.” I wondered why I had not thought of it before. In that moment I was returned to a relationship with my husband in the eyes of society, if not in my bed. I was pleased. Not long after that, I had occasion to go on a shopping spree. I bought new shirts and tops, bright colors, suggestive silks, scooped necklines. “From the ‘Widow Steps Out’ collection,” I said to my companions, and thought that Bill would have been pleased.

I thought about this, too, after I bought my new bed: “The Widow Gives Up Her Bed of Sorrow.” And although I know it is not always true, I do sleep easily and well on the new mattress. Sometimes I sleep near one edge, just to prove to myself that this is not a single bed, that there is room for possibilities. And sometimes I still turn and face Bill’s side and pull a pillow close against my chest and belly and pelvis, or I lift my arms in an arc above my head, and I say, “Goodnight, Bill,” and let love carry me down into the respite, however brief, that is dream.

Published in The Sun, August 2008

Copyright 2008 Susan Carol Hauser

Foreword to New Manuscript

In The Marriage Bed: New Manuscript on April 22, 2010 at 12:16 am

In the spring of 2010 I completed a nonfiction manuscript I’d been working on for several years. My book proposal says this about the collection: In these intertwined contemplations, SCH investigates the facts, emotions and consequences of living with eyes wide open. She stares down grief and a life of choices. She interrogates the mysteries of writing, of teaching, of spirituality and of living a personal philosophy. Readers of this collection will feel stronger and more courageous as they face life’s inevitable losses and the fragility of their own hopes.

Here is the foreword to the collection:

I promised this book to myself several decades ago, long before most of the events described took place. I was writing commentaries for public radio. They were short, around three hundred words. The air-time window was three minutes. In that slight opening I had to engage listeners, take them somewhere, and bring them back. I enjoyed the challenge of it and the shimmering, poetic feel of the intensified writing that relied on sound and image as much as on idea.

Sometimes, though, I wanted to say more than the commentary form allowed, wanted to follow a notion beyond its immediate boundaries. I loved reading the sustained work of other writers where image led to thought, thought to image, the conversation continuing like a long walk on a country road, ending only when it felt right to turn around, to go back home. How do they do that, I wondered? How do they keep the discussion going? I wanted to do it myself, to see if I had something more to say than could be said in a few minutes. I also wanted to explore writing that stepped beyond the particular decorum of the airwaves. What did I have to say that I was not saying? How closely, I wondered, was I heeding a childhood dictum: if you cannot say something nice, do not say anything at all. It was not that I wanted to be rude or gossipy, but I knew that my commentaries implied that I was always pleasant, even-tempered, and that I preternaturally accommodated all griefs. I felt like I was writing only half of who I was.

I started writing longer essays, five-hundred to a thousand words. It was difficult for me to sustain them but I liked the way the effort stretched my abilities. Some of them were published in magazines, some in a collection, Girl to Woman: A Gathering of Images (Astarte Shell Press). But the real leap forward for me came from a tangential writing project: biographical profiles for Scribner’s American Writers, reference books that are carried in most libraries in the United States. The requirement was for ten-thousand words per subject. At the suggestion of the series editor, Jay Parini, I broke each article into eight or nine sections, making the total manageable. It was strange and wonderful to write expansively. By the time I finished three profiles (John James Audubon, Witter Bynner, Carol Bly) I had the hang of it.

My first long essay after that, “The Marriage Bed,” the title piece for this collection, spun out to eighteen-hundred words. The second one, “Celestial Event,” made it to two-thousand. “Writing Teaching Writing” propelled itself to an astounding five-thousand words. I did not know I had it in me. I had found my stride.

Most of the essays were written over a three-year period, half of them during a sabbatical leave from my position in the English Department at Bemidji State University. A few, the very short ones, were written some years ago but seem to fit here, stepping stones between the longer iterations. There are four essays that I am most proud of: “The Marriage Bed” for its honesty, “Celestial Event” for its science (which I could not have articulated without the help of two physicists, Larry Pinsonneault and Paul Weber), “The Value of x” for its bravery, and “What I Know” for its crankiness. I like that the first sentence and the last sentence of the book are the same, an idea I had when I wrote the first one. I like that “Ammy’s Doe” falls perfectly into two sections, each with almost exactly the same number of words, and I especially like that this happened spontaneously: I did not realize it until long after the writing was complete.

My writing origins are in poetry. I was driven to prose by the desire for an income, a way to make a living in northern Minnesota, and by the desire to become more fluent with words. The analogy I gave myself was the artist who understands the chemistry of both watercolors and oils. I sweetened the deal by making another writing promise to myself: some day I would return to poetry as my only genre, retrieving it from years of occasional indulgence and long periods of neglect. With the completion of this collection of essays, I look forward to fulfilling the promise for a while, but I know I will amend it: I am not likely to give up the pleasure of the long reach, the hard pull of writing an essay.

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