When everyone stands in line at lunch to buy stuff, they all look like they are standing together. I couldn’t stop wishing that I was standing with them, too. I didn’t want to bother Dad about asking for money, because he looks stressed out whenever I do, and I can’t ask Aunt Amy, because she thinks I am happy with the kaiser rolls. But I started collecting change when I find it—a penny on the ground or a quarter in the broken soda machine, and yesterday I took fifty cents off of Aunt Amy’s dresser. I felt bad. Still, it made enough to buy a pack of Nutter Butters.
I liked everything about it. I liked waiting in line with everyone. I liked that the girl in front of me had red curls on the back of her head that you could tell she curled herself. And I liked the thin crinkle of the plastic when I opened the wrapper. I liked how every bite made a falling-apart kind of crunch.
Then what happened is this—I was nibbling a Nutter Butter and staring at Sky through the raining leaves. That’s when he saw me. He was turning to talk to someone. He went into slow motion. Our eyes met for a minute, before mine darted away. It felt like fireflies lighting under my skin. The thing is, when I looked back up, Sky was still looking. His eyes were like your voice—keys to a place in me that could burst open.
Yours,
Laurel
Dear Judy Garland,
I thought of writing to you, because The Wizard of Oz is still my favorite movie. My mom would always put it on when I stayed home sick from school. She would give me ginger ale with pink plastic ice cubes and cinnamon toast, and you would be singing “Somewhere Over the Rainbow.”
I realize now that everyone knows your face. Everyone knows your voice. But not everyone knows where you were really from, when you weren’t from the movies.
I can imagine you as a little girl on a December day in the town where you grew up on the edge of the Mojave Desert, tap-tap-tap-dancing onstage in your daddy’s movie theater. Singing your jingle bells. You learned right away that applause sounds like love.
I can imagine you on summer nights, when everyone would come to the theater to get out of the heat. Under the refrigerated air, you would be up onstage, making the audience forget for the moment that there was anything to be afraid of. Your mom and dad would smile up at you. They looked the happiest when you were singing.
Afterward, the movie would pass by in a blur of black and white, and you would get suddenly sleepy. Your daddy would carry you outside, and it was time to drive home in his big car, like a boat swimming over the dark asphalt surface of the earth.
You never wanted anyone to be sad, so you kept singing. You’d sing yourself to sleep when your parents were fighting. And when they weren’t fighting, you’d sing to make them laugh. You used your voice like glue to keep your family together. And then to keep yourself from coming undone.
My mom used to sing me and May to sleep with a lullaby. Her voice would croon, “all bound for morning town…” She would stroke my hair and stay until I slept. When I couldn’t sleep, she would tell me to imagine myself in a bubble over the sea. I would close my eyes and float there, listening to the waves. I would look down at the shimmering water. When the bubble broke, I would hear her voice, making a new bubble to catch me.
But now when I try to imagine myself over the sea, the bubble pops right away. I have to open my eyes with a start before I crash. Mom is too sad to take care of me. She and Dad split up right before May started high school, and after May died almost two years later, she went all the way to California.
With just Dad and me at our house, it’s full of echoes everywhere. I go back in my mind to when we were all together. I can smell the sizzle of the meat from Mom making dinner. It sparkles. I can almost look out the window and see May and me in the yard, collecting ingredients for our fairy spells.
Instead of staying with Mom every other week like May and I did after the divorce, now I stay with Aunt Amy. Her house is a different kind of empty. It’s not full of ghosts. It’s quiet, with shelves set up with rose china, and china dolls, and rose soaps meant to wash out sadness. But always saved for when they are really needed, I guess. We just use Ivory in the bathroom.
I am looking out the window now in her cold house, from under the rose quilt, to find the first star.
I wish you could tell me where you are now. I mean, I know you’re dead, but I think there must be something in a human being that can’t just disappear. It’s dark out. You’re out there. Somewhere, somewhere. I’d like to let you in.
Yours,
Laurel
Dear Elizabeth Bishop,
I want to tell you about two things that happened in English today. We read your poem, and I talked in class for the first time. I’ve been in high school for two weeks now, and so far I had been spending most of the period looking out the window, watching the birds flying between phone wires and twinkling aspens. I was thinking about this boy, Sky, and wondering what he sees when he closes his eyes, when I heard my name. I looked up. The birds’ wings started beating in my chest.
Mrs. Buster was staring at me. “Laurel. Will you read?”
I didn’t even know what page we were on. I could feel my mind going blank. But then Natalie leaned over and flipped my Xerox to the right poem. It started like this:
The art of losing isn’t hard to master;
so many things seem filled with the intent
to be lost that their loss is no disaster.
At first, I was so nervous. But while I was reading, I started listening, and I just understood it.
Lose something every day. Accept the fluster
of lost door keys, the hour badly spent.
The art of losing isn’t hard to master.
Then practice losing farther, losing faster:
places, and names, and where it was you meant
to travel. None of these will bring disaster.
I lost my mother’s watch. And look! my last, or
next-to-last, of three loved houses went.
The art of losing isn’t hard to master.
I lost two cities, lovely ones. And, vaster,
some realms I owned, two rivers, a continent.
I miss them, but it wasn’t a disaster.
—Even losing you (the joking voice, a gesture
I love) I shan’t have lied. It’s evident
the art of losing’s not too hard to master
though it may look like (Write it!) like disaster.
I think my voice might have been shaking too much, like the poem earthquaked me. The room was dead quiet when I stopped.