¡Andando!

About a month ago I had a car accident. Another driver called Anwar Kamal S. sped through the GIVE WAY sign at a roundabout and hit my Mazda 2 sideways. Luckily, I was not hurt. The car was written off, though. The accident temporarily revived some fleeting memories of feeling (seeing) my own body pushed, pulled and dragged by a force way beyond my control more than four years ago, in very different circumstances.

Over the next few days many different thoughts crossed my mind. I thought about Jason Carney and his best friend Alina, both of whom lost their lives after being broadsided by a drunk driver twelve years ago. I never knew Jason or Alina, but I feel sorry for them, for their senseless, absurd deaths, for the unbearable pain their parents were inflicted. I also thought the same could have happened to me – except it was at a roundabout (you have slow down even if just a little!) and in my case the driver (I firmly believe) was not drunk. Muslims (the vast majority of them at least) do not drink.

As days went by, I also thought about how the little car had been an integral part of our lives, Clea’s life included. Not that I feel any special attachment for the car itself, but rather for those indelible memories I cherish more and more as I get older.

The Mazda was the car in which Clea and I drove together to Sydney Airport one unforgettable night in September 2008. It was also the car where Clea and I shared those morning conversations every parent loves to have on the way to school. I reminisced about her first year of schooling, when her brothers went with their mother to a Childcare Centre in a different part of town, while Clea would jump in the car with her school bag, so full of vitality, so keen to learn.

It was the car whose engine I often had to turn on five minutes before leaving because the frost would make it impossible to drive off to school straightaway. I thought about Clea’s reply whenever I locked the home door and said ‘¡Andando!’ (literally, ‘walking’, but it’s one very idiomatic way of saying ‘Let’s get going!’). Although she already knew what it meant, Clea invariably said: ‘Andando no, ¡en coche!’

I have also been thinking that, regrettably, somewhere, there will be parents who will return home after the summer holidays without their child. Nothing can prepare us for the loss of our child. It is utterly unthinkable to consider that our child may predecease us. Nothing can bring them back. All we can do is to face up bravely to a new day every day. And that does feel too much sometimes.

¡Andando!

Torrijas

It is her favourite breakfast. Days-old bread soaked in warm milk, lightly coated in beaten eggs, then fried in olive oil until golden and finally sprinkled with sugar (and too much sugar would never be enough, of course!). Also known as French toast, I have always called it torrijas, and I still recall my parents frying torrijas of a cold winter morning, sometimes accompanied by thick hot chocolate.

These days I simply use French sticks (which I allow to ‘age’) from the supermarket, but the best are always the ones made with Pane di Casa, thicker Italian-style loaves you can cut into any shape that takes your fancy.

We had perfected some sort of family comedy routine. When the plate was full, I would sit at the table and stare at them, at Clea and her two younger brothers, and very seriously declare my breakfast was ready, so what were they going to eat for brekkie? She would immediately reply in an indignant tone: ‘¡Son para todos!’ They’re for everyone, they’re to be shared!

I still make torrijas as often as possible. Her brothers have elsewhere declared it one of the best foods in the world. I still will sit at the table, place the big plate in front of me and announce that my breakfast is ready, and what is everyone else going to eat?

I still hear Clea in my head, crying out that the torrijas are for everyone, indignant at the sheer injustice of her father promising to eat all of them by himself.

How can such a sweetly perfected family comedy routine vanish? Why?

I’d pour tonnes of sugar over them if that could lure her back, and I’d feel no guilt or shame for giving my child all the sugar she wanted. Just this once.

Thoughts and Feelings

The following headline, preceding the interview Eleanor Catton gave The Guardian caught my eye: ‘male writers get asked what they think and women what they feel’. It’s symptomatic, isn’t it?

To be accurate, Catton’s actual words were ‘I have observed that male writers tend to get asked what they think and women what they feel’. It certainly is an interesting and fairly sharp observation, but perhaps it may be worthwhile to go beyond the realm of literature.

I may of course be wrong, but according to my experience, males in general hardly ever get asked what they feel, let alone how they feel, particularly when the one asking is another male.

This might be a fundamentally Australian way of going about things, that is to say, a cultural trait. After all, Australia is such a weird place, where the question, ‘How are you?’, does not really mean ‘How are you?’ It is merely a greeting, not a question. Perhaps I’m clutching at straws there, but anyway, I’ve said it.

A few months ago, a TV campaign was launched by Beyond Blue to raise awareness about anxiety and depression among male Australians, particularly among the younger section of the population. It is of course an extremely laudable effort at making the community at large understand the issues of depression and anxiety, in an attempt to empower them to seek help when they feel or think (playing it safe here, I know) they need it.

What I found surprising (though nothing should surprise me anymore, really) about the campaign was the tongue-in-cheek approach adopted. The public face of the campaign is a doctor (an actor in real life, of course) who says rather funny things while encouraging viewers to go to the Man therapy website.

I found it rather sad that the (apparently) only way they could think of, in order to reach out to them, that is, so as to get males to take some interest in their own feelings, had to be through making fun of them.

I think it says a lot about the Australian male psyche. About how vulnerable it is, really; it also says a lot (and not too good) about the sadly frail façade many males hide behind in order to feign, to show themselves as joking, light-hearted blokes rather than genuinely disclose their own feelings to others.

But then again, authenticity is hardly something that defines our times. Or is it?

Tenses

A few weeks ago I read a blogpost titled ‘Forever 19 or What if?’ by Rebecca Carney, in her blog Grief:A Woman’s Perspective. Like with everything Rebecca writes, her words resonated in me, they made me think. This one post, however, made me think especially long and hard about language, not just the words in her post but rather about how our daily grammar has changed.

You see, I can't help being a linguist. A philologist. I have taught English and Spanish as second languages for many years. I have also been a translator and an interpreter for many years. I take notice of language and grammar. I perceive changes when they occur.

The conditional perfect is defined as “a grammatical construction that combines the conditional mood with perfect aspect”. One typical example of the conditional perfect in English is ‘I would have done things differently’. Thus, the conditional perfect is “used to refer to a hypothetical, usually counterfactual, event or circumstance placed in the past, contingent on some other circumstance (again normally counterfactual, and also usually placed in the past)”. All of those quotes are from Wikipedia.

For most people, the verbal tenses of their daily lives are both the present and the future. The rhythms of the everyday dictate their lives: the things they do or are doing at a certain time of the day, but also the things they plan to do or wish to do in the short and the medium term.

But for the parents of a dead child, their present and their future have been truncated. Their lives are anchored in the past, in a past that has become a ‘forever’. Forever 19. Forever a young man full of promise, like Jason Carney. Forever 6 years and 9 months. Forever a schoolgirl enjoying her first real holiday on the tropical sands of a paradisiacal beach in the middle of the Pacific Ocean, like Clea. Forever.

The conditional perfect is the verbal tense that defines the daily life of the grieving parent. We no longer think about our child in the future tense. We think about them – a lot, constantly, continually – but we do not think about what they will be doing in months or in years. We think about them and use the past tense as we reminisce about their interrupted lives. We think about them and use the conditional perfect as we muse over who they would have been, about what could have been, what should have been, what might have been.

For the parents of a deceased child, “What if?” is a ubiquitous question in our lives. And the answer is always in the conditional perfect, never in the future, forever in the past.

Snow

Snow has again covered the Brindabellas. Overnight, a white blanket had fallen on the hills and created a marvellous sight for Sunday morning. It will not stay there long. When snow makes its rare appearance on the smallish hills that surround Canberra, it is never a lengthy stay. It hasn't been a cold winter at all, and before we know it, it will be over. The chill in the wind will soon be the only reminder of the presence of the snow to the south-west.

I vividly remember the few times my parents would drive us outside the city of Valencia to see the snow. It was a rare phenomenon, too. But as a child I was mesmerised by it: there was something magical about so much whiteness. By the road, however, snow would become slushy and dirty; you had to walk away from the car park to see big stretches of the cleanest white stuff. We never had proper snow gear, and invariably would get cold and feel miserable. These days I think I actually dislike the snow: I can’t ski, I don’t see myself trying to learn now, and I much prefer the company of a book by a warm radiator, with a hot cuppa nearby.

This photo is the first time Clea saw the snow. It was September 2008. After the solitary wintry blast of the year – for that’s what it has become, winter: one very cold weekend per year! – we drove to the Brindabellas and parked the car near the Corin Forest Mountain Retreat. There would be another trip to the Selwyn Snowfields for a one-day snow ‘treat’. Quite uneventful, really.

There wasn't much snow on the ground, but it was enough to make a few snowballs and throw them at each other. Clea enjoyed the battles with her brothers and took aim at her parents. Laughing. Giggling. Shrieking with joy. Shocked when a snowball hit her near too close to her face. Feeling the cold in her hands. She looked beautiful, pure, as beautiful and pure as snow. My beautiful babita. I miss you, mi amor.

Nothing to say

About four or five months after Clea died (sometime in early 2010, it was probably mid-February) I got home one afternoon and found a message on the answering machine. It was partly an offer of employment, partly a request for assistance. The message had been left by someone who I used to work with. Someone who had known Clea, had held Clea as a baby in his arms, had talked to her and praised her. This same person had not been brave enough to call or write to offer his condolences, yet barely five months later he was choosing to call at times when he knew I would not be home.

I did not return the call. The caller insisted a couple more times, leaving messages about this stupid job but not once saying anything about our loss, our trauma, our grief. I never returned the call.

On the one hand, I was not interested in the job I was being offered: I had a permanent full-time position in those days, so there was no way I would have quit in order to take a few hours of tuition as a casual. On the other hand, it felt absurd to return a call from someone who seemed incapable of acknowledging my daughter's death. I know for certain this person knew what had happened to us in Lalomanu on 29 September 2009.

Fast forward three years. Yesterday I saw this person again. He was at the school Clea used to go to, the school where her brothers are receiving an education. This person must have walked past the little plaque by the bottlebrush bush that the school planted in memory of Clea.

One of the things I have learned from having had a very close brush with death is this: I do not need to pretend I like people. I do not need to feign interest in persons I have no interest in. I can speak my mind: I can voice my feelings and can express what I think. I have nothing to lose.

I did not speak to this person. I did not want to. I don't have anything to say to him anymore.

Treaty yeah!

A great Yolngu man died yesterday. Yunupingu died of kidney disease at 56 years of age, at an age much younger than most Australians have died or will die. Like so many of his indigenous people, he died too young. Australia has lost a great man, a great artist and a great indigenous leader.

Yunupingu was the leader of Yothu Yindi, a fantastic band. In 2009, during one of the school assemblies, my daughter Clea and all the students in her year danced and sang along to one of Yothu Yindi’s greatest hits: Treaty. She played these bimli, the clapping sticks, which she had hand-painted herself. It was a fantastic display of energy, of commitment, of youth who could believe in themselves and in a more just future for all their connationals.

It feels it was only the other day that I was standing there, watching and clapping along, encouraging the very young school kids in their singing and dancing, in their embracing the indigenous culture of the First Australians, in demanding a Treaty for this country.

Maybe one day there will be a treaty. Probably not in the next few years, I'm afraid. I think Clea would have liked to see a treaty for all her people, indigenous and non-indigenous.

She's now buried in this Ngunnawal land, where she was born: she's also part of this land.

Blueback

We like to talk about books at home. Even if we do not actively discourage watching TV, it is our firm belief that a book tells you a lot more than any movie or TV series can. It is all about how you read, actively engaging your imagination and allowing your imagination to be engaged, in ways that are far more rewarding than the passive intake TV usually means.

The other night, the boys were discussing the Lockie Leonard TV series. They were both quite surprised when they were told that Lockie Leonard is actually based on a series of books by an Australian author, Tim Winton (who happens to be one of my favourite Australian novelists, by the way). They both think the Lockie Leonard TV series is quite cool; I explained to them that while the TV episodes are very funny, the books are even more.

That brought to my mind another book by Tim Winton, Blueback. Blueback is a story about a young boy, who meets a giant blue groper while diving near his home on the western coast of Australia. The boy will grow up developing a sense of affection and protection for the fish, and in adulthood he becomes a marine biologist.

I mentioned Clea had once begun reading the book, which she stopped reading because it was way too hard for her level. I also said how sad it is that she was unable to finish it. So sad, so very unfair. Her brothers’ response was one that makes me very proud of them. They are not afraid to express their emotions. They are learning to be real, genuine, and that makes me feel good, despite being sad.

I will one day reread Blueback. And I will be thinking of my daughter, I will be wishing she could read it herself. At 10 years of age, it would certainly be at her reading level now.

“I no longer know you that well”

I received an email from someone I have known for many years. The message was very brief:  apart from some supposedly funny jokes, this former friend seemed to imply I no longer cared about our friendship.

I decided I would reply.  “Nothing further from the truth”, I said. “It seems a difficult task for lots of people to accept that the Jorge they once knew died on Lalomanu Beach on 29 September 2009. He’s not coming back. […] The dead never come back to give us peace, to reassure us that everything is alright  Because in fact, it is not.” I attached a copy of a sonnet I recently wrote, one that has not been published yet. It’s not every day that you send poetry to people you know, is it? It might be seen as something special...

A longer reply came back a few days later, the first truly meaningful message in three and a half years. Well-meaning, of course. It reminded me (as if I did not have all of this before losing my daughter) that I “still have a wonderful wife and two sons”, that I am “in good health” (how do they know? Have they spoken to my GP?) “a job” (Wrong! Not true! I quit my job more than a year ago, and I work from home now…) “a healthy household economy” (again, how have people gained access to my finances? I must speak to the bank manager about this soon…) and also that I have “intelligence”. The icing on the cake is that “that is a lot in a world where, you know only too well, there are plenty of people who lose their loved ones, and on top of that, they have nothing at all”.

Perhaps the person they once knew they no longer know. Or perhaps, they can't be bothered to make the effort (yes, I acknowledge it takes some effort) to reconnect with the new me I am. Perhaps this me I am in 2013 is altogether too painful, too raw. It takes guts to reach out. It takes guts to pick up the phone and hear my voice, the voice of a broken father, the voice of a sad man nearing his 50^th birthday and who still cries every morning because his only daughter was killed by a tsunami during a family holiday, and although he saved one of his sons, he was unable to save her and could not find her body despite searching for her for hours.

I guess I should seek forgiveness from them. For my shortcomings, for my inadequacies, for being unable to realise “how lucky” I should feel. Perhaps I should seek forgiveness for having bared my soul to them by means of a book, a book that I wrote, published and mailed to so many at my own expense.

I mean, how or why did I dare reveal my trauma and my grief? Stepping across the comfort zone? Heavens forbid! Surely I should have kept all of that to myself, so as not to disturb sensitivities…

“People think they know you. They think they know how you're handling a situation. But the truth is no one knows. No one knows what happens after you leave them, when you're lying in bed or sitting over your breakfast alone and all you want to do is cry or scream. They don't know what's going on inside your head – the mind-numbing cocktail of anger and sadness and guilt. This isn't their fault. They just don't know. And so they pretend and they say you're doing great when you're really not. And this makes everyone feel better. Everybody but you.” 
― William H. Woodwell Jr.

Lily and Huff

Perhaps I have imagined this: during the (occasionally unendurably) long hours I spend home alone I have recently walked into Clea’s bedroom; I have sat there and have grabbed some of her books from the bookshelf.

Maybe I have started reading out this story, Lily Ladybird, once more, the way I used to read it out to her when she was a toddler, she sitting on my knees after her bath, smelling clean and fresh and so, so very full of life. Maybe I have read it again translating the story into Spanish, the way I used to read it to her, even though the book is written in English.

It is just possible that I have been unable to finish it, but I remember it well. It tells the story of a good little ladybird who lived in an enchanted garden. One day she lands on an old branch that happens to be the nose of very horrible witch, who gets very cranky with Lily and casts a spell on her. “No longer will you be good and kind and helpful!” says the witch with an ominously wicked, croaky, throaty voice, and then lets out the most horrible laughter a daddy pretending to be a witch can put on.

Lily’s nose gets all twisted and crooked, and she starts behaving really badly. Her poor mum cries. Her friends stay away from her… Where was her father, by the way? He never gets a mention in the story… But Lily makes new friends: a hideous spider, Dolly, and a very slimy toad, Tony. And then one night they steal a magic wand from a fairy, and start mucking around… and suddenly, the spider turns into a carrot, and the toad turns into a bunny! That'll teach them a lesson! So the fairy sees that Lily is actually good-natured but she’s under the malignant spell of the witch, and so she turns her back into her good old self.

Perhaps I have had to put Lily Ladybird down. It is just possible that I could not go beyond the wicked bout of laughter Clea loved to hear. That childhood excitement of being suddenly given a little fright…

Maybe I have then taken in my hands this other very old book, called Huff the Hedgehog. It actually belongs to Clea’s mum. Her name is still handwritten on the cover. A very very old Christmas present.  Huff is a very hungry hedgehog, who goes around looking for food. He repeats his little rhymed self-introduction to every animal he comes across. I remember that when Clea first asked me to read this book, I had of course to come up with a rhymed version in Spanish. I did, and I suspect it was probably nearly as good as the original:

“Soy Huff el puercoespín,

todavía no he cenado,

si no como pronto,

voy a quedarme muy delgado."

Every time Huff finds something edible, a farm animal comes up and tells him that it’s their food Huff is taking. He walks away every time, hungry and disconsolate, knowing that if he does not get his dinner, he'll “get thinner and thinner”. And eventually he meets a lovely blonde girl who gives him a bowl of bread and milk. Huff loves it.

Maybe someone was listening, maybe not. Perhaps tears welled up and then they were falling down my cheeks, and desperation again filled my mind. It is just possible that I had to close the books and put them away.

I think maybe Huff and Lily felt lonely, perhaps even a little sad, when I tried to read their stories.

Beachgoers

We’ve once again headed back to a beach for a long weekend, to the beautiful shores of the Pacific Ocean that killed our daughter, our sister. I have always loved the sea: I grew up by the Mediterranean Sea, which is a much gentler sea than the absurdly called Pacific. Peaceful, it isn't!

Those two days by the beach I was watching Clea’s brothers play in the water, how much they enjoy the beach. The first morning we were at the South Coast town where we stayed, they both were so impatient and excited they ran together across the dunes to check out the surf. They are not afraid of the ocean, even though they are well aware that it was this very ocean that took their sister away from their lives, even though they know that this was the ocean that nearly killed them, that could have killed the whole family that Samoan morning in late September 2009.

It took us a whole year to be near a beach again after the tsunami. I remember someone offered their beach house to us a couple of months later, during the summer, only to nod sympathetically when I declined and replied that going to the beach was not my idea of a relaxing holiday. And of course it wasn't just then.

It was Lalomanu Beach in Samoa that we chose to return to, a year later, as we soon realised that it was essential for these two Aussie kids, Clea’s brothers, not to be scared of the ocean for the rest of their lives. What better place than Lalomanu, then? It was of course a very painful thing to do, yet it was necessary. It was the right thing to do.

Clea’s brothers now enjoy the sea. They are not scared of the waves; they were riding the fairly small waves there were on the beach last weekend. They were riding the same boogie board their sister Clea had been trying to stand on in very calm waters, just a few months before the ocean came over the land and drowned her. Clea just loved going to the beach. Now Clea’s brothers scream in sheer delight every time they catch a wave and come rushing towards the shore. They look up and seek my acknowledgement, my approval, my encouraging eyes.

I give them the thumbs-up, and they go back in for more excitement, for more waves, for bigger ones. Some good we have done.

Last week the rope of the boogie board finally broke and could not be mended. But I wanted to keep the Velcro wrist band that was once around Clea’s tanned wrist. The rope can be replaced, and her boogie board can continue to be ridden by her brothers and even myself for a few more years.

Being in the ocean brings mixed feelings. I am not religious at all. I do not think we have a soul, the way Christian religion describes it. I do not think there is another life after we die. Yet I stare at the ocean and I like to think that in that vastness, in that indomitable expanse of blue water, there is perhaps a tiny drop, perhaps a very small dot of something that once was Clea, and whenever we enter the sea, we are somehow closer to our daughter, to our sister.

It may seem to make little sense, perhaps it is contradictory, but it is meaningful to me.

Unforgivable

Adam Strange, a New Zealand-born film-maker, was killed by a shark on an Auckland beach last Wednesday. He was Jeanette’s son.

As soon as the news reached Adam’s family, Jeanette wanted to fly from Wellington, where she lives, to Auckland. Jeanette was in fact in possession of a Jetstar ticket to travel the following week. That had been the plan: to meet up with her son in Auckland. Jeanette’s daughter called Jetstar, the air carrier, and explained the dreadful circumstances that required her mum to go to Auckland urgently, only to be put on hold for ten minutes while a supervisor’s advice was obtained, and to finally be told Jeanette would have to purchase another ticket.

A couple of hours later, Jeanette was able to travel to Auckland with Air New Zealand.

Jetstar have since apologised. But it’s too late. You see, there is no pain like the pain of parent who has lost a child. There is absolutely no justification for inflicting more pain upon a traumatised person, whose whole world has been shattered, whose pain will never disappear. Why add insult to the injury? Is the NZ$321 fare worth it? Why was it perceived there was a need to follow stupid corporate protocols instead of following one’s heart? Was it not clear to them there was only one correct way to deal with the situation?

I find what those people at Jetstar did revolting; never mind their belated apology. It is unforgivable.

My thoughts are with Jeanette. May Adam rest in peace.

The Impossible

We have been receiving a few well-meaning warnings about the release of the movie The Impossible. In case you don’t know, it tells the story of a Spanish family who were holidaying in Thailand when the Boxing Day 2004 tsunami struck. They all survived, miraculously. The Spanish director, Bayona, enlisted two extremely famous actors to play the roles of the parents, María and Quique.

The other day I came across a lengthy newspaper article titled ‘Unidas por el tsunami’ (United by the tsunami), and signed by a Toni García. I was curious, so I read it. I can’t help but see it as part of the huge ongoing promotional campaign for the movie; I just cannot consider it any other way.

But for me, the only thing of value in the whole article is María’s words. She chose to sell her story, and that's fine. I suppose she did so because it's a story that ends ‘well’, so to speak. Had she lost any of her three children, I'm certain the movie would have never seen the light of day.

María says she now knows herself strong, “because I know I'm fragile”. I do know what she’s talking about.

She knows her/their survival was a miracle, but says that any religious connotations attached to the word need to be removed, dispelled. In other words, it was impossible for her/them to survive, but somehow, inexplicably, she/they did. I also know what she means, and I completely agree with her. I feel exactly the same way about what my two sons, my wife and myself went through on 29 September 2009.

She acknowledges that she did make an attempt to read a book about the survivors who lost loved ones that fateful day, but she was unable to. I read Pacific Tsunami: Galu Afi, but I doubt I'll ever read it again. María thinks that the proverb “Time heals everything” is just a big lie. And I agree with her. “Time does not heal anything, time is life […] . […] from afar everything becomes more bearable, everything has become more anaesthetised. The rest are clichés”, she tells the reporter.

The journalist, Toni García, writes the following: “[María] rescued one of her sons from the water, despite being badly injured.” Hey, welcome to the real world, Toni García! Any worthy parent, let me tell you, would try to save their child in such circumstances.

Asked whether it is good to talk [about the tsunami], María replied: “It depends on who you talk to. There are very few people who will sit with you and talk about the subject openly. Me, I ask a lot of questions, and if someone’s had an accident I will ask them, patiently. However, at least in my case, people think it is taboo to talk about it, about the wave, the tsunami. When I returned [to Spain], people would look at me with fear, as if saying, ‘Take it easy, I'm not going to ask you anything’.” I know all too well what María is talking about.

I read elsewhere a stupidly cruel review of The Impossible. It more or less said it was a very melodramatic film about a family of tourists who had lost their entire luggage in the Boxing Day tsunami. The point the reviewer wanted to make was that hundreds of thousands of people died, that so many thousands of families lost loved ones, children, siblings, parents, grandparents… so why make a movie about a Western family whose five members survived? Other reviewers have drawn attention to the fact that the movie basically ignores the Thai victims by focusing only on a Western family. I will offer no opinion on that, because I have not seen the movie.

But I have watched the trailer of The Impossible. Online. All I can say is, the tsunami scenes are incredibly realistic. It is very much like that. But I also want to emphasise the 'incredible' aspect of it. Don’t forget it's a movie. Reality is a f**king lot worse.

Luckily for the director, María had a lot of input in the script. I guess we should not be surprised if it were awarded an Oscar for the FX.

But what I really wanted to consider was this: I wonder what we would say to each other, if one day I met María. I have seen her photograph: I have noticed how her eyes look somehow lost, like they're glancing at something that is not there. That look is vaguely familiar.

She still has all her three children. I have only two left.

On the morning of Boxing Day 2004 we were on a beautiful beach in New South Wales, thousands of kilometres away from the death and destruction that was taking place in the Indian Ocean. Clea was almost two years old; she was running on the white sand, running away from the waves that came too close, and she was giggling, giggling, like she always used to do.

I will not watch the movie. But it's nothing to do with the tsunami images, it's nothing to do with fear. The truth is I don't need a movie to remind me.

I guess I just don’t enjoy happy endings that much these days.

The No-Go Area

You meet lots of people while travelling, and that’s a good thing, no doubt about that. You get to exchange views, anecdotes about places, little bits of important information about your next destination or places you have already been to, etc. It’s all very civil; some people are very chatty; some will ask you lots of questions; some will tell you lots about themselves, while others seem to prefer not to say much at all.

Travelling with two young boys always attracts the attention of other travellers. People like to comment on how well behaved they are, or they will ask whether they are twins (“they look so much like each other are they twins?”), or they will make a comment on their (obvious) Australian accent.

A fairly usual (and really, harmless) comment we get is the one about how lucky we are to have twins. I remember a waiter two years ago, while we were visiting Burgos (Spain), who made the comment to me while serving lunch. I replied that everything was relative, and that I did not (could not) consider myself lucky. He looked puzzled, and asked me what I meant. So I told him: “These two boys had an older sister. She died a year ago in a tsunami, in Samoa, in the Pacific. We were all caught by the tsunami. Clea was the only one who drowned. Do you really think I am lucky?”

His expression changed on the spot, of course. He apologised profusely. I did not understand why he needed to apologise. I still don’t. He did nothing wrong.

The no-go area is what I call that moment when someone I have just met finds out that my daughter died three years ago in the Samoan tsunami. It does not seem to matter much that a library was built and named after her in the Samoan village where she drowned. Anything related to Clea becomes a no-go area. Most people do not want to know anything else.

All of which I perfectly understand. Why would anyone wish to know more about parental grief, or about the circumstances of anyone’s death, or about what it is like to go through a tsunami? Why would anyone who is in fact on a holiday wish to step into this uncomfortable territory of terror and horror, of loss and grief, this disconsolate terrain of what it is like to live life without your child?

It is perfectly understandable. I am a stranger who they happen to meet on a bus, in a hotel or at a restaurant in a country thousands of miles away from home. I am not part of their world, their reality. Just like my reality is, quite logically, not the sort of story you want to hear while on holidays.

We, the grieving, are strangers to them, and I think it is fair enough that we will remain strangers, and we will never hear from each other again.

But why have we become strangers to others who were so close and used to know us so well? Why have our new, not-chosen-by-ourselves lives become a no-go area?

A scream that gets drowned in a void

A rare insight into parental grief from a fiction writer.

“No one ever thinks of what a violation of the natural order one's child's death means until they have a child themselves. For a parent, there is no greater experience of disorder than their child's death. Suddenly the hours break down, night suppresses day, blood crystallises into wounding needles. Theirs is a scream that gets drowned in a void, a grief whose venom is like no other. Their world shatters, like a mirror on which their image had been reflecting. […]

I ventured into the notion of my daughters' death as if into a nightmare which ultimately was but an exorcism. “If I imagine it, it won't happen, because fiction never ever mixes up with life”, I would tell myself by way of relief. But the nightmare lasted a few years, the years I needed so as to assimilate the fact that, if death happened, it would be an unavoidable reality. I cannot say that I prayed, although I was very close to doing so. The gesture with which I rejected such a recourse was, I think, what brought me back to serenity. No one is the keeper of their future, or at least, no one can say they are until they overtake it and are able to hide that future within their own life, like a part of their own selves. That is why I thought that, if at some point in time I suffered the misfortune of losing one of my daughters, my problem would not be to lose her, but rather worse, to accept my life without her. However, I didn't feel that way about Clara, my wife. Clara's death, just like my own would have to be for her, was a natural event, within the natural order of things, like leaves falling from deciduous trees every autumn. Loneliness, loss, grief…, these would then be the consequences of compliance with one of the laws of life. But a child's death leaves the parent suspended between two voids, a before and an after, and loneliness, grief and loss become an unnatural horror where all hope and all incentive are consumed in themselves, without any support at all, without any consolation.”

Jose Maria Guelbenzu, El amor verdadero [True Love], p.549-50. My own translation.

Valid art

“The Moms revealed that if you're not crazy then speaking to someone who isn't there is termed apostrophe and is valid art. Mario’d fallen in love with the first Madame Psychosis programs because he felt like he was listening to someone sad read out loud from yellow letters she'd taken out of a shoebox on a rainy P.M., stuff about heartbreak and people you loved dying and … woe, stuff that was real. It is increasingly hard to find valid art that is about stuff that is real in this way. […] It’s like there’s some rule that real stuff can only get mentioned if everybody rolls their eyes or laughs in a way that isn't happy.”

David Foster Wallace, Infinite Jest, p. 592.


Or that the real and the sad and the woeful have been becoming utterly unbearable for most people, to the extent that we appear to prefer fiction to fact, virtual worlds to tangible realities, and the safe remoteness of distance to any kind of uncomfortable closeness.

Happy 10th Birthday, Clea

You are ten years old today, Babita. You know you will always be mi Babita. Siempre. Ten years ago you made me feel the most special, the most fortunate man on the planet.

I wish we could hug you, and make a cake for you, and put 10 candles on the pinkish icing. I wish we could give you the presents you wanted for your tenth birthday, Clea Soledad.

Today I have bought pink roses at the market in Da Lat, Babita. I have bought them for you. I cannot take them with me all the way to Gungahlin, Clea. So I guess I will have to leave them somewhere, perhaps under one of those beautiful bottlebrush trees that grow tall and proud by the lake in Da Lat.

I wish, I wish, I wish. Te quiero, Babita, Siempre.

Papa.