Читать книгу A Widow’s Story: A Memoir - Joyce Carol Oates - Страница 16

Chapter 10 Vigil

February 14, 2008—February 16, 2008.

Those days!—nights!—a Möbius strip continuously winding, unwinding.

This nightmare week of my life—and yet—during this week Ray is still alive.

“Don’t worry about that, honey! I’ll take care of that when I get home.”

And: “Just put it on my desk. Next week will be soon enough—I should be home by then.”

At his bedside. Breathing through the nasal inhaler Ray is reading, trying to read—one of the books I’ve brought him from home—I am reading, trying to read—with what fractured concentration I can summon—the bound galley of a book on the cultural history of boxing which I am reviewing for the New York Review of Books. It’s a mealtime—but Ray isn’t hungry for hospital food. It’s time for his blood to be drawn—but the nurse has difficulty finding a vein, Ray’s arms are bruised, discolored.

The air in the hospital room smells stale, used up. Outside is a wintry-dusk February day. This afternoon there is a reading at the University sponsored by the Creative Writing Department—readers are Phillip Lopate and a visiting Israeli writer—of course I can’t attend, nor can I attend the dinner afterward with my writing colleagues. A hospital vigil is mostly slow time. Stalled time. In such stasis dread breeds like virulent bacteria.

And then—this happens—Ray begins talking about something I can’t follow, in a slow drawling voice—a confused tale of needing to get something from home—to bring to “Shannon’s house”—Shannon is a favorite nurse—Shannon has been friendly with Ray—somehow, in the way of dream-delirium logic, Ray thinks that he isn’t in the hospital but in a “house” belonging to Shannon—he is her guest, and I am, too.

So quickly this has happened, I’m not prepared. When I’d brought Ray to the ER a few days before he’d said a few things that were baffling to me, that didn’t quite make sense, but now he’s speaking to me as a sleepwalker might speak and this sudden change in his condition is shocking to me, frightening. Quickly I tell Ray no: he isn’t in Shannon’s house. He’s in the hospital—in the Princeton Medical Center.

Ray doesn’t seem to hear this. Or, hearing, discounts it.

His concern is something I am to bring for him, from home—to use here in Shannon’s house. He has an “apartment” in Shannon’s house.

Calmly I tell Ray no: he is not in Shannon’s house, he’s in the hospital where Shannon is a nurse.

“Honey, you’ve been very sick. You’re still sick. You have—”

But Ray is irritated with me. Ray will have to argue with me to convince me, yes we are in Shannon’s house.

“Honey, no. Shannon is a nurse. You’re in the Medical Center. You have pneumonia—you’ve been very sick. But you’re getting better—the doctor says you might be able to come home next week.”

How long we discuss this absurd issue, I can’t recall afterward. I am shaken, disoriented. This man—this slow-speaking stubborn childish man!—is no one I know.

At the nurses’ station I seek out Shannon—I ask her what has happened to my husband and she tells me not to be alarmed, this sort of thing happens sometimes, it’s common, it will pass. I ask her where on earth Ray has gotten the idea that he’s in her house—in an “apartment” in her house—and Shannon laughs and says yes, “your husband who is such a sweet man” has been saying that to me, too—it’s better not to upset him, just humor him for the time being.

Humor him. For the time being.

How embarrassed Ray would be, to know that he is being “humored”—this is very upsetting.

I seek out one of Ray’s doctors—Dr. B_.

Dr. B_ is Ray’s admitting physician. Dr. B_ is better known to Ray than to me, a very nice cordial man of early middle age. Dr. B_ will be the Certifying Physician on my husband’s death certificate.

Dr. B_ too tells me not to be alarmed—“delusional thinking” isn’t uncommon when a patient’s brain isn’t receiving quite enough oxygen.

My husband, Dr. B_ assures me, is only “mildly delusional”—the nasal inhaler isn’t working or he’s breathing through his mouth and not his nose as he’s been instructed. That’s why it’s good for me to remain with him as long as I can, Dr. B_ says, to “anchor” him to reality.

I am relieved—Ray is only “mildly delusional.”

I am relieved—Dr. B_ is so matter-of-fact, even a bit bemused. As if, if he had but the time, he could entertain me with any number of comical delusions of patients he has known—very possibly, previous patients in room 541 being treated for pneumonia.

Dr. B_ tells me the condition is reversible.

Reversible?

How casually this crucial term is uttered. Reversible!

Yes, Mrs. Smith. Reversible, usually.

Dr. B_ orders the nasal inhaler to be removed, the oxygen mask to be resumed. Within a short while—it’s a miracle for which I will hide away in a hospital women’s room, to weep in gratitude—my husband has returned to normal—to himself.

Days, nights in giddy succession—like a roller coaster—at the hospital, at home—at the hospital, at home—driving into Princeton, driving out into the country from Princeton—this February has been a cheerless month yet this week—the final week of our lives together—our life—overcast mornings are suffused with a strange sourceless sunshine.

This mysterious radiance from within.

I am relieved—more relieved than I wish to acknowledge—that Ray’s mildly delusional state has faded.

Not in a mood to ponder reversible, irreversible—nor in a mood to consider what is normal, what is self. Harrowing to think that our identities—the selves people believe they recognize in us: our “personalities”—are a matter of oxygen, water and food and sleep—deprived of just one of these our physical beings begin to alter almost immediately—soon, to others we are no longer “ourselves”—and yet, who else are we?

Is the self the physical body, or is the body but the repository of self?

It’s the most ancient of all philosophical—metaphysical—paradoxes. You do not see a self without a body to contain it, yet you do not see a body without a self to activate it.

When my mother died at the age of eighty-six she had lost a good deal of her memory—her “mind.” Yet she had not lost her self, not quite.

She’d become severely forgetful, you might say a dimmer and less animated version of herself, as a monotype fades with repeated strikings, its subtleties lost. Yet Mom was never entirely lost. In a garden at her assisted living facility in Clarence, New York, we were sitting with her—my brother Fred and me—and Fred asked her if she remembered me—and Mom said, “I could never forget Joyce!”—and in that instant, this was so.

I loved my mother very much. Friends who knew us both have said how much of my mother resides in me—mannerisms, voice inflections, a way of smiling, laughing. I know that my father resides in me also. (Daddy died two years before Mom. Her mild delusion was that Daddy was living in a farther wing of the facility: “Over there,” Mom would say, pointing at a specific building. “Fred is over there.”)

Loving our parents, we bring them into us. They inhabit us. For a long time I believed that I could not bear to live without Mom and Dad—I could not bear to “outlive” them—for to be a daughter without parents did not seem possible to me.

Now, I feel differently. Now, I have no option.

Returning home!

What happiness—what relief—returning home!

As if I’ve been gone for days not hours.

As if I’ve traveled many miles not just a few.

Behind a ten-foot fence so faded you would not identify it as redwood—behind a part-acre of deciduous and evergreen trees—our house hovers ghost-white in the darkness—no lights within—but I thought I’d left at least one light on, that morning—I am so very very tired, I am so eager to get inside this place of refuge, I feel faint with yearning, I could weep with relief, exhaustion.

This nightmare vigil! The smell of the hospital clings to me—that distinctive smell as of something faintly rotted, sweetly rotted beneath the masking odor of disinfectant—as soon as you push through the slow-revolving front door and into the foyer you smell it—the smell of hospital-elevators, hospital-restrooms, hospital-corridors—the smell of Ray’s room—(what a quaint sort of usage, Ray’s room—until it is vacated and Ray’s bed filled by another)—this smell is in my hair, on my skin, my clothing. I am eager to get inside the house and tear off my contaminated clothing—I am eager to take a shower—to scrub my face, my hands—my hair that feels snarled, clotted—But no first: phone—I must check phone calls on Ray’s phone, and on my own—No first: cats—I must feed the cats, let them outdoors—skittish and distrustful they prefer to be let outside than to eat in their corner of the kitchen—No first: mail—but I am too tired to run outside to the mailbox, the very thought whirls in my brain shrinking to the size of a dot, and vanishes—No first: lights—for the house is so very dark—a cave—a sepulcher—like a crazed woman who has thrown off her manacles I run through the rooms of the house switching on lights—living room lights! dining room lights! hall lights! bedroom lights! Ray’s study lights!—I turn on the radio in the kitchen—I turn on the television in our bedroom— can’t bear this silence—you would think possibly I am rehearsing Ray’s homecoming—the entire house lighted as if a party were taking place within—No first: clean with manic energy I will vacuum the rooms of the house, lingering over the carpets, of all household tasks it is vacuuming I most enjoy for its brainless thumping and the immediate gratification it yields—there is something especially gratifying about late-night vacuuming—vacuuming into the early hours of the morning which one could not do, surely, if one’s spouse were home and trying to sleep—inspired then I will polish a selection of the household furniture—though it doesn’t really need polishing, I am eager to polish the dining room table for it’s at this table that Ray will eat his homecoming meal in a few days—I am not sure which of his favored meals I will prepare—must discuss this tomorrow—what a pleasure to polish the dining room table which can be polished to a ravishing sheen though it’s but mahogany veneer—No first: Ray’s desk—this is crucial!—I will remove the accumulation of mail from Ray’s desk—both Ray’s desks—I will polish both desks with lemon polish, to surprise him—I will straighten the items on Ray’s windowsills which include such curiosities as semi-used Post-its, ballpoint pens whose ink has long dried up, small boxes of paper clips, coiled-together rubber bands, a small digital clock with red-flashing numerals like demon-eyes glowering in the dark—charged with the urgency of my mission I will gather Ray’s scattered pens and pencils—as an editor, Ray indulges in crimson, orange, purple, green pencils!—and arrange them in some sort of unobtrusive order on his desks; I will Windex his windows, what a pleasure to swab at the glass with paper towels, as beyond the glass-surface there hovers a ghost-woman whose features are lost in shadow—it is very dark outside—moonless—somehow, it has come to be 1:20 A.M.—no more am I inclined to lie down in that bed in that bedroom than I would lie down in a field in glaring sunshine—as a traveler in even quiet surroundings I am wracked by insomnia—the slightest alteration of my life, I am wracked by insomnia—impossible to sleep while Ray is in the hospital, and distasteful somehow—for What if the phone rings? What if—but housecleaning is an antidote to such thoughts, next I will peruse Ray’s closets, bureau drawers—or maybe I should sort books in the guest room, which have begun to spill over the white Parsons table—No first: flowers—as Ray welcomes me back home from a trip with flowers on my desk so I should welcome Ray back from the hospital with flowers on his desk, must remember to buy flowers at a florist—potted begonias? Cyclamen?—but which florist?—you can buy flowers at the Medical Center but—maybe not a good idea, what if they are suffused with the dread hospital-smell—thinking such thoughts, plotting such stratagems drifting through the rooms of the brightly lighted house singing to myself—humming loudly—talking to myself—giving detailed instructions to myself—for when there is no one to whom one can reasonably speak except two wary and distrustful cats, one must address oneself—in my heightened mood of anxiety commingled with relief—the relief of being home—my uplifted sparkly voice reminds me of no one’s so much as Jasmine’s—now I remember Mail!—it’s urgent to place Ray’s mail in rows, neatly—for a magazine editor receives many items of mail daily—this mail I will sort: personal, business, important, not-important—all advertisements discarded—like a diligent secretary I open envelopes, unfold letters so that at a glance Ray can absorb their contents; since Ray entered the hospital I’ve been paying bills, a household task Ray usually does, and these bill stubs I will set out for Ray to see, and to record; for Ray keeps assiduous financial records; you will say But it isn’t necessary to pay bills immediately when they arrive—you can wait—you can wait for weeks!—but in waiting there is the threat of forgetting, there is the threat of chaos—there is the threat of totally losing control; now in the snowy courtyard there are shadowy hulks like crouching animals, these are UPS and FedEx deliveries for Raymond Smith, Ontario Review, Inc. which I haven’t noticed until now—2:20 A.M.—it seems to me urgent to haul these packages inside the house, struggle to open them—several are deliveries Ray has been asking about, and so tomorrow I must bring them to the hospital—page proofs, galleys—proofs of book jackets—there is a special pleasure in bringing Ray something he has requested—something attractive, striking—page proofs for the May issue of the Ontario Review cover feature on the artist Matthew Daub whose watercolors of small Pennsylvania towns and rural landscapes Ray so admires—something that will be cheering to Ray in his grim hospital room, something we can share—as for more than thirty years we have shared planning issues of Ontario Review and books published by Ontario Review Press—in my dreamy state staring at reproductions of Matthew Daub’s watercolors—thinking how much happier visual artists must be, than writers—writers and poets—we whose connections to the world are purely verbal, linear—through language we are beseeching others who are strangers to us not merely to read what we have written but to absorb it, be moved by it, to feel—then with a jolt I remember—Postpone trip!—this is urgent—I must postpone our upcoming trip to the University of Nevada at Las Vegas where our writer-friend Doug Unger has invited Ray and me to speak to graduate writing students—this trip, long-planned, is within two weeks—impossible so soon; maybe later in the spring, or maybe in the fall, Ray has suggested—Tell Doug I’m really sorry, this damned pneumonia has really knocked me out—I will send Doug an e-mail for I can’t force myself to telephone anyone, even friends, especially friends—abruptly then another thought intrudes—even as I am preparing to write to Doug on my computer—No: “Vespers”—at 2:40 A.M. I am moved to play a CD—Rachmaninoff’s “Vespers”—one of Ray’s favorite pieces of music—sonorous choral music of surpassing beauty which Ray and I heard together at a concert years ago—it might have been in Madison, Wisconsin—when we were newly married—when the great adventure of accumulating a record collection together had just begun—beautiful haunting wave-like “Vespers” which a few months ago I’d heard, returning home from a trip climbing out of the limousine in the driveway and smiling to hear this thrilling music from inside the house where Ray has turned the volume up high, to hear in his study, and thinking Yes. I’m home.