That Timeless Flow

 

Recent happenings close to home have bewildered me by day, terrified me by night. Yet, the shroud of fog begins to clear. I see outward, through the windows to my soul. A sense of tranquility replaces anxiety and confusion. A calmer state of mind allows me to sort through the simpler things. Scattered pieces of life's puzzle come together of their own accord; my intervention is neither required nor sought. 

What I have commonly referred to as the past, I now realize, is not a block of time and events disconnected from today, but life and living's continuance through to this present moment. A flowing stream, irresistible, from that so-called past of no discernible nor recorded beginning.

In that timeless flow from then to now, I see myself not as participant but on-shore observer. Rushing past me are images of people and buildings and books. And so much more, the more of my former childhood surroundings that have edged their way into my today's reality. It is a continuation of what I started out as and what I continue to be ...

Through nature, through nurture.

None of this is so unusual ...

That House on the Hill

I want the warmth of hearth and home. It is natural.

The house that draws my heart and mind away from all reasonable and natural desire, however, is desolate of any ember that might be kindled into a passionate flame. From yet so far a distance my imagination conjures up interior walls blackened by the oily soot of poorly trimmed kerosene lamps and a dank, poorly drafted fireplace whose tepid fires never quite took. The windows, likewise, are years and years gone unwashed. The now opaque panes distort through their dried-on grime views from within, visions from without. Paneled ceilings, somber and bleak, drip decades-worth of filthy webs downward toward stalagmite accumulations of swirling debris that reach upward, grasping tentatively, from warped and gaping oaken planks.

A grand and spiraling staircase takes center stage but startles me as its wide and toothless grin reflects the loss of many a baluster. It dares me any further approach. I draw back instinctively yet am morbidly fascinated by what is gently swaying in shadow ...

In the dark, at the top of the stairs....


My arrest of attention upon movement upstairs was abruptly diverted by the slamming shut of the huge entry door, that accomplished with a huge sucking sound and consequent evacuation of a heavy, fetid atmosphere. More unsettled by my own annoyance at the rude interruption of the unfolding of delicious terror than I was by actual fright, I spun round and stopped dead, face-to-face with a most unexpected sight ...


What could have been only a hasty delivery by an unseen courier - so much of my account seems fraught with the unknowable, the invisible - was my scarcely determined assessment of a large wooden container's sudden arrival, landed squarely at the entrance. I saw the downward, lazy swirl of dust coming to rest whence it came, having been excited and cast upward from the box's crash to the floor's thick cushion of dust. My approach toward the mysterious carton was, needless to say, accomplished with the utmost caution, and not a little trepidation as my thoughts cast backward to the tale of Pandora. However dim the light stealing through the long unwashed glass proved to be, I was, nevertheless, able to read the name of the addressee ... Elizabeth Vincent, my long-departed mother. Any vestige of fear clutching at my heart gave way to an insatiable curiosity to discover what ill lay in wait for me from within the steep, rectangular walls of pine. In my mother's stead, I deemed it entirely suitable to take possession of her property.

Locating a crowbar amongst a heap of tools and diverse household paraphernalia in the kitchen, I hastened back to the box and began unfastening the several nails holding the broad lid in place. After a number of unsuccessful attempts to slide the tapered, flat end of the bar between the tight seam between cover and box, I finally penetrated the seeming hermetic seal that, ironically, appeared to wish absolute denial of entry therein. The usual loud and protracted squawk of nails letting go their tenacious hold on wood did not disappoint for all its raucous clamor.

I worked my way around the box - some nine-foot-square was the lid - and at last had released each nail's fast hold to the box proper and set to pull off and lower the lid to the floor. Though I had figured the box to be pine for its light coloring and presence of characteristic knots, yet the top was exceedingly heavy. I managed it down by tugging at one corner, drawing it bit-by-bit toward me, then, likewise, the opposing end.

As I let out a sigh of relief over the unusual expenditure of time and effort, I let the lid drop, barely missing my feet.


Astonished, incredulous, aroused emotionally.

Words, even when taken to the superlative level by that four letter word, cannot adequately describe my trembling, choked-by-sobs self. The capacious container was resting place to a multitude of books that had been lovingly and carefully arranged in a deep cushion of excelsior. Though this bevy of books had the evident look of relative antiquity about them, there was not the characteristic odor of must and damp so prevalent among cemeteries of long-forgotten books.

I reached with the utmost reverence for the volume that had caught my attention and won my affection as a mere lad: Arundel, by Kenneth Roberts. Knowing nothing then about the historicity of the American colonies' various accounts (some, I have since learned, are disputed as to accuracy), I was taken by N.C. Wyeth's cover art of Indians and settlers canoeing the swelling waters of the Dead River ... the Arundel River ... the Kennebec ... la Riviere du Loup? I cannot recall, but the deep blue waters tipped by creamy white caps, the crisp, colorful off-shore autumn foliage, the looming, inscrutable blue hill, have long since inhabited my imagination.

Once out of my memory-stirred reverie, I began slowly turning pages, traveling digitally the maps depicting the moves of Colonel Benedict Arnold and his men, the Prologue by Steven Nason (the story's protagonist). On page ten I caught sight of Steven's loving tribute to his mother, Sarah. Why my careful though somewhat random perusal took in that particular account, I've no clue - there was simply too much to take in, given my excitement and agitated sense of deja-vu. Nevertheless, the words were fitting, as I could have said the same about Elizabeth Vincent, my mother.

Steven thanked God for his mother's education ...


She read Shakespeare and Plato; in addition, she spoke French, some of which she passed on to her son, and that of no little benefit to him. Apparently Sarah Nason, nee Butler, wished her son to ponder matters other than the merely mundane: fish, weather, sleep. Regarding the outlay of funds for educational purposes in their district of Arundel, the citizenry were wont to decry the prodigal expenditure of fifty pounds a year. I have reason to believe that Steven rose above the loutishness of his neighbors, though he did not consider himself a man well versed in letters.

In like manner, with regard to the above comments relative to parents' mentorship of their malleable offspring, my siblings and I were encased, as it were, with books of every description. Whether the virtual overflow of every sort of reading matter in our cluttered bungalow had been principally for Elizabeth's personal enjoyment and, collaterally, that of us children, I do not know for certain my mother's prime motivation. Surely, she encouraged and promoted our literary travels by leading her enthusiastic bookworms each week to the ancient Carnegie Library of stone and ivy. I cried when the city tore down the venerable edifice where adventure and learning had come together and borne me. The replacement contained the same books of paper, spines and hardback covers, but the former atmosphere (one of enlightened decay) among the stacks was missing. The sanitized air of the new building did not sit well with me. I was just a kid; I didn't know why.

Somehow this dirty old house, whose true character I'm still not certain of, is in concert, silently so, with Elizabeth Vincent's container of books.

I must dig in further.