Lift - Kelly Corrigan [1]
The last time we went to Philly to see your grandparents, Jammy taught you how to play dominos while I checked my e-mail. I listened as she explained the rules in stages, showing you all the ways to score until she was sure you understood. When you bagged your first point, she helped you move your peg up the board, winking and clicking her tongue and saying jokey stuff like By Georgia, I think you’ve got it.
When I was little, I don’t think she winked or clicked or punned.
And my coming-of-age? Imagine one long string of cursing, crying, and lying followed by stomping and slamming, punctuated by the occasional kindness—These eggs are good or Is your knee feeling better? Jammy must’ve cut those moments into tiny pieces and rationed them to herself; for all she knew, it’d be a month until I fed her another morsel of affection.
I don’t know when you’ll read this. Maybe when you’re a teenager? No, probably later, when you’re on the verge of parenthood and it occurs to you for the first time that someone has been loving you for that long. Maybe (let’s hope not) you’ll read it because something’s happened to one of us—my cancer came back or Dad was reading a text going across the Bay Bridge and cars collided—and you want to piece together what it was like before. No matter when and why this comes to your hands, I want to put down on paper how things started with us.
I always wanted kids—more than all other things. Not very Harvard Business School of me, I know. There are other things I want to do, big crazy things, like make a movie and build an artists’ compound and fix my printer. But at night, in the years before I met your dad, when I was talking to a God I wasn’t sure I really believed in, I whittled down all my requests to one: children. You.
Greenie has this huge family and I love being inside something that big. I love the noise and hugging and high-fiving and how we tell the same ten stories every time we’re together and, after that, we tell the same six jokes, all of which have titles, like “Precious” and “Probably” and “The Sportcoat Joke,” which Uncle Dickie delivers with a Scottish accent and a harelip for no reason anyone can give. I remember once in college climbing on-stage with a band. The music was so loud. The bass line came up through the floor into my body. That’s what it’s like being in a room full of Corrigans.
Kathy is my favorite. She’s one of Uncle Gene’s seven kids, which I think explains her self-reliance and therapist’s eye for interpersonal drama. I like her because she’s so totally unguarded. I’ve always wanted to be like Kathy, and over the years, I’ve tried on various parts of her: I mimic her one-sentence e-mails in all lowercase letters, I listen to John Prine and early Bonnie Raitt. I clutter my bookshelves with unframed photographs, old lunch boxes, and homemade art. She’s why I cut my hair short every couple of years and wear bandanas when it’s too hot to turn on a blow-dryer. I read the books she sends me and the poets she mentions. She introduced me to Rilke, who has this line about how some harmonies can only come from shrieking, and another about how when crystal shatters, it also rings. The Rilke line that’s up on my bulletin board is “the knowledge of impermanence that haunts our days is their very fragrance.” So many true and delicate thoughts that prose can’t touch. Promise me you’ll read him.
Kathy took a job teaching high school English because she loves reading and talking about books, especially the things people accidentally reveal by empathizing with one character over another or hating a story too much or crying over a certain passage. But more than reading, she loves her students—the