My life could be compared to a graph, a diagram showing the relation between variable quantities, typically of two variables, each measured along one of a pair of axes at right angles.
Sometimes I feel like a flat line, slogging through each day trying not to let too many emotions overwhelm me. I try not to think of the past, of Gregory when I am at home, of home when I am with Gregory.
Sometimes I feel like a saw toothed line, now up, now down, now happy, now sad.
Over time I am sure that the graph of my life is on an upward trend towards healing, towards coping, towards learning to live my life without the Gregory I first met some forty years ago.
When I am with him the line stands still, I am happy, the graph on hold. We have developed our small interactions that may or may not mean anything to an observer but which mean the world to us, a look here, a wink there.
I tell him I love him and he replies, "OK" or he shakes his head. Or I ask, "Do you love me?" and he nods. I get silly and in a high falsetto voice screech "I love you this much!" with my hands flying out to my sides or over my head. He giggles and that makes me laugh as well.
I take his Teddy Bear, named Peaceful, and put on a puppet show. The bear dances, and sings, and hugs Gregory while smothering him with kisses. Gregory laughs, or looks at Manny with his This Guy is Crazy look, and once Gregory grabbed the bear's nose in his mouth, biting and "grrrrring" back at the bear as he shook his head from side to side bear style.
We hold hands with the hand holding in constant motion, perhaps to cut through the malaise that often accompanies Gregory's inability to focus and to let him know, "I am here. I love you." I stroke his leg or squeeze his arm with the same message.
Or we sit in silence, just being there together; looking out the window, watching a movie on his television, spending time in the shaded park out back.
I give him treats which he easily receives as I pop them into his mouth: mini-cookies, chocolates, a drink of juice, a piece of fruit. Sometimes I put a pretzel rod into his mouth and he will reach up to hold it as he takes a bite and then continues to feed himself until the pretzel is gone.
I break into song, "If you're happy and you know it clap your hands," as I clap my hands. Second verse I clap his hands and sometimes he will continue clapping along as I sing.
When I am not with Gregory, the line can stand still as well. I loose myself in the here and now of a cup of coffee on the balcony over breakfast or on a walk in the neighborhood.
I sit at my computer and write as the ideas flow non-stop trying to keep up with my typing skills.
Grocery lists, folding towels, washing dishes, petting the cats come without the need for much through and they are good. A visit with friends or dinner out help time pass.
Then, when I least expect it, the graph line spirals out of control and I am mired in grief and sorrow and tears and loneliness. And I cannot imagine how I will continue to go on without the man who I love more than a graph could ever represent.
And I cannot see for the tears which splash my glasses and chill my face as they run down my cheeks. And the emotions are so strong that panic sets in at having to function while the emotions continue to escalate.
And graph lines have upward or downward trends, they DO NOT spiral. They do not spiral.
Then being spent, somehow a calm enters the lines of the graph and for a while the line is again flat. Emotions kept at bay. Sometimes up, sometimes down, sometimes happy, sometimes sad. And the next day will arrive, trending, trending.
I say I am aware of GRIEF sitting on my right shoulder 24/7/365 but also great JOY sitting on my left shoulder. Most of the time I am in balance.
Shared with me by friend Stevie Kallos, author of Broken for You, Sing Them Home, and soon to be released Language Arts. I loved her first two books and if you haven't read them, run out (don't walk) and buy them!
This poem by Billy Collins spoke to me saying, "Life is what you make of it!"
The Afterlife by Billy Collins
They're moving off in all imaginable directions,
each according to his own private belief,
and this is the secret that silent Lazarus would not reveal:
that everyone is right, as it turns out.
you go to the place you always thought you would go,
the place you kept lit in an alcove in your head.
Some are being shot into a funnel of flashing colors
into a zone of light, white as a January sun.
Others are standing naked before a forbidding judge who sits
with a golden ladder on one side, a coal chute on the other.
Some have already joined the celestial choir
and are singing as if they have been doing this forever,
while the less inventive find themselves stuck
in a big air conditioned room full of food and chorus girls.
Some are approaching the apartment of the female God,
a woman in her forties with short wiry hair
and glasses hanging from her neck by a string.
With one eye she regards the dead through a hole in her door.
There are those who are squeezing into the bodies
of animals--eagles and leopards--and one trying on
the skin of a monkey like a tight suit,
ready to begin another life in a more simple key,
while others float off into some benign vagueness,
little units of energy heading for the ultimate elsewhere.
There are even a few classicists being led to an underworld
by a mythological creature with a beard and hooves.
He will bring them to the mouth of the furious cave
guarded over by Edith Hamilton and her three-headed dog.
The rest just lie on their backs in their coffins
wishing they could return so they could learn Italian
or see the pyramids, or play some golf in a light rain.
They wish they could wake in the morning like you
and stand at a window examining the winter trees,
every branch traced with the ghost writing of snow.
They're moving off in all imaginable directions,
each according to his own private belief,
and this is the secret that silent Lazarus would not reveal:
that everyone is right, as it turns out.
you go to the place you always thought you would go,
the place you kept lit in an alcove in your head.
Some are being shot into a funnel of flashing colors
into a zone of light, white as a January sun.
Others are standing naked before a forbidding judge who sits
with a golden ladder on one side, a coal chute on the other.
Some have already joined the celestial choir
and are singing as if they have been doing this forever,
while the less inventive find themselves stuck
in a big air conditioned room full of food and chorus girls.
Some are approaching the apartment of the female God,
a woman in her forties with short wiry hair
and glasses hanging from her neck by a string.
With one eye she regards the dead through a hole in her door.
There are those who are squeezing into the bodies
of animals--eagles and leopards--and one trying on
the skin of a monkey like a tight suit,
ready to begin another life in a more simple key,
while others float off into some benign vagueness,
little units of energy heading for the ultimate elsewhere.
There are even a few classicists being led to an underworld
by a mythological creature with a beard and hooves.
He will bring them to the mouth of the furious cave
guarded over by Edith Hamilton and her three-headed dog.
The rest just lie on their backs in their coffins
wishing they could return so they could learn Italian
or see the pyramids, or play some golf in a light rain.
They wish they could wake in the morning like you
and stand at a window examining the winter trees,
every branch traced with the ghost writing of snow.