Months ago, that story came across the wires about a six-year-old
boy held aloft in a silver balloon, stolen up into the wind, careening across
the landscape. You were there, too, caught, like me--leaning close to the
computer screen, listening out for the evening news, honing in on that image of
that balloon, twisting, bobbing, moving too fast against the bright sky.
For some watching, there was the excitement of the chase.
That drama: What would happen next? For
me there was only terror. Even when the child was in the air, I thought, he was
already gone. There was no saving him. The reports that came quickly in 10 to
15 minute increments and then slower, stretching across hours, seemed to
confirm that the chance of rescue was slim. The balloon flew too high, with the
potential to go even higher and drift for days. There were risks to the boy for
hypothermia. Officials had no real idea how to arrange a rescue once they put
helicopters on the balloon’s trail. Policemen looked sadly into the camera and
expressed their doubt and worry. There was little in the way of consolation.
Then the balloon touched down, empty. The boy apparently
lost along the way, fallen somewhere down to the ground and--how could you not
think?--dead.
But next they found the child, hiding in the attic, and the
story switched, almost with denial of what it had been before. Suddenly, he was
just a bad boy, hiding from further punishment in the top level of his house.
He was here, and alive, hunkered into a cardboard box--simple as that, it had all been a misunderstanding.
I was frightened to realize how quickly I’d jumped to
pronounce this small, hiding boy, who was, indeed, safe in his parent’s house,
dead and gone--to have to recognize how comfortable I’ve gotten with the worst
case scenario that I don’t even stop anymore to think that there might be an
alternative.
How did that happen? How did I become that person?
This way. In the moment, that pitch-black, close your eyes
tighter than you ever have because you cannot bear to believe that this is
really happening moment, and all the darkest moments afterwards, when I have had to face the loss of a child and when
that knowledge has simply been too much. When hope became a country I could no
longer visit, I learned to duck down and keep local, fluent in the quieted
language and strange customs of grief. When I could not be among people and understand anymore what it means to understand trouble as something outside and beyond.
Soon enough, the real news turned up, that this was all a
hoax concocted by parents searching for limelight and perhaps a better deal on
their reality series. We’d been tricked, and it became our job to laugh at
ourselves. The “balloon boy” became a national joke, a silly Halloween costume,
wisecracks on late-night TV, an item in December’s wasn’t-this-a-wacky-year
yearend roundups. In January, we settled back into our daily lives with that
story forgotten, one among so many ideas that capture our national interest for
moments until we’re onto judging this starlet’s tacky dress or secretly
encouraging the rumored divorce of that supercouple.
But not me. I can’t let it go. I am still with that
imaginary boy, up in the air, in danger, but also bunkered in the attic,
avoiding scrutiny. Seven months after losing L., it feels easier to be
suspended and hidden rather than out amongst the world.
It’s not just that the father was back in the news in the
past weeks, re-pleading his innocence after claiming guilt. It’s that the
essence of that story has stayed with me: as much as I can’t let it go, it will
not let go of me--that silver balloon loose and lost in the wind, a small
child--a son, no less--carried away and away and away.
It’s the way that that hovering, here but away, keeps
reentering the house of my days. On the way out the door to work, I grab a
paperback from the stack of recent buys from the thrift store. Once I sneak
onto a seat on the Metro in the morning crowd, I open Enduring Love, by Ian McEwan. I’d seen the movie version a few
years ago. I remember the gist of the story, a literate thriller where, as in
all McEwan books, things go terribly wrong in accidental ways. I remember that
there’s an tragedy with a hot-air balloon that starts off a tale of obsession
and violence.
But here’s what I’ve forgotten, or didn’t pay ample attention
to back then: trapped in the basket of a hot-air balloon is a boy, along with
his grandfather. I’m somehow not dissuaded from starting it even though the
back cover reminds me clearly that this novel involves tragic accident, and I
get caught, against what should be my better judgment, in the opening pages,
the rush of plot, the whole wonder of what
will happen next coupled, in the same breath, with terror.
Because there it is, again. A balloon, in horrible lift and
dodge--a child caught in its relentless push up into places the body does not
belong and cannot sustain within. “The child was incapable,” McEwan writes,
“and about to be borne away. Two miles to the west were high-voltage power
lines. A child alone and needing help. It was my duty to hang on.”
I can’t stop reading, despite the anxiety those pages fill
me with. Because with this terrible danger that starts on page one, after a man
has died trying to pull the balloon back down to earth out of the troubled air,
that it’s not until page thirty-five that the author, almost as afterthought,
tells us that the boy survives.
It’s only a book. Just a story. I have to tell myself these
things, half shaking to realize how caught I’ve been in the outcome. McEwan, in
fact, is doing exactly what he should do to build his plot and capture us into
caring about its spinning out into intellectual drama.
I should put the book down, but I don't. It doesn’t help that the couple at the novel’s center are
childless, and that the inability to have a child is a deep sadness to the
woman, how she “mourn[s] for a phantom child, willed into half-being by
frustrated love,” how so many conversations between the couple arrive at, stop,
then turn away from the absence of a baby. It doesn’t help that she is smart
and capable out in the world but with a central wound few see--that, in fact,
he turns her not to usable character but that he gets her right as human. And that he gets other grief right, too--the woman
widowed by the inciting accident, for whom conversational exchange becomes so
difficult, McEwan recognizing that “suffering the way she was, a social
encounter like this must have been like drunk driving--hard to gauge the right
conversational speed, easy to overcompensate with reckless steering”
Suddenly, I’m one of those crazy readers speeding and
steering and courting danger who sees far too much in a book, taking its
lessons far too much to heart. I can’t help that call to duty, to hold on to
the rope, to pull that child, against all odds, away from danger, even though
the story itself will find him safe and landed, back into the fold of the
living. I can’t help but talk about it here, knowing it’s silly--the hoax of
the writer. Knowing that the story is long over and that no one else wants to
hear about it.
So this is grief--hating, as this book tells me, as an
overtold news story teaches me, as my own life as a grieving mother forces on me,
the ruthlessness of gravity.
I am at once in that basket, holding tight to the shivering
boy, telling him, lying to him, that it will all be okay; and on the ground,
pulling fiercely on the rope in my small weight against the force of the world’s
wind, my body raw with hopeless trying; and I am the balloon itself, alternately
filling and collapsing with heat and wild air, pulled away from the scramble of
people in their lives below. I’m the boy cowering in the attic, fearing more
trouble to come down on my head. I’m that boy in Colorado in those moments of implausible
belief he was being carried across the wide expanse of open sky, before there’s
sureness he’s careening into catastrophe. I’m an invented balloon, silver and
gleaming, catching the hard glint of sun in its unapproachable, sure rise, but
then, in the next shadow, showing its handmade seams, the way it doesn’t fit
together, and like any story people no longer want to hear--its inability to
hold the true weight of a life. I am the impending dropping down of loss, coming but not
yet arrived.
Because I am still trying for it all not to be true.
Never mind that I’m stalwart in my ability to face the truth. I know it in the deepest of bone and softest recess of my inner brain. All of it I know through its relentless presence: how that empty in my belly afterwards will follow me always. How I held a
dead child in my hands, beautiful as he was to me, and could do nothing to make
him whole and healthy or bring him into this world in any measure of real living.
The reality of my loss is undeniable, and I have learned all the proper names
to call it.
But to be drawn back, somehow, to the before, where yes, the danger had already begun, but when and where
I still carried my boy with me, safely, away from the danger we’d have to face
together. To hover, to be aloft, to be full--to go back to the parts of the
story where we are hidden and safe, where we are one, where the relentless push
of people and daily life poses no threat. That's an equal want to the weight of the so-called truth, bearing its own imperatives in bones and brain.
I do not write near as much as I
should, because it takes that grounding down, looking up at the sky
and murmuring, behaving as if the catastrophe is outside myself rather than is my self, and it takes contending with
the worry that I just tell the same silly story over and over like an old woman
struck with dementia.
Give me, instead, of give me, please, the air, those few moments of beautiful and doomed
possibility. Give me, so that I can dwell there, even if only for mere moment,
the tiny safe passages in the secret places of the world where I’m accountable
to no one but the boy I am still trying, every day, to save.