Compartments

Ancient History

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Portrait

One of my ancestors was a folk artist named Justus DaLee. Several months ago I did a little online research regarding his life and his works when I came upon this painting:

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It is known as the Justus DaLee Family Record Memorial Drawing.

Justus and his wife Mary, along with seven of their ten children, are pictured standing in a graveyard. Every family member is dressed in gray or black, tidy and simple. Eight headstones, covered in undiscernable markings, stand to the right. Two larger headstones dwarf Justus and Mary—one of them stands between them. Above is a chapel of sorts with a kneeling figure inside. In the center background, a ship sails away. Three birds fly overhead. A tree that looks like a weeping willow dominates the entire left side of the painting.

It transfixes me.

I find it fascinating to study this visual link to a far-flung yesterday—especially when I consider Mary. There is something about her, this great-great-great-great grandmother of mine.

detail_dalee.jpgRather than standing primly at attention, as one would expect from a portrait made in the 1830s (nobody knows for sure when it was painted), she holds herself up by leaning on one of the enormous grave markers. She is weary. Her eyes look down. Her mouth is twisted. She doesn’t want to be there and seems detached. She looks down in one direction. The children look in the opposite direction. Her husband, the artist, is faithful to represent. A baby boy had been born in 1819. He died in 1819. A daughter, Ruth, died at age eleven.

I wonder if Ruth is the kneeling figure in the chapel. I wonder if the baby boy is the ship, sailing away. There is no way to prove or disprove my interpretation of the symbolism—but I doubt an artist father would leave two of his children out of a family memorial record. They are there, somewhere.

Perhaps I need to look no further than Mary’s face.

Whatever I’ve been through does not come close to what she experienced. Her sorrow is forever recorded in watercolor, soluable and fragile, but strong enough to speak to me where I sit, today—centuries shattered. I am a daughter of sorts, admitedly diluted by years and pioneer trails and DNA’s helixes spiraling away, away, away.

in media res

I first suspected I was pregnant while we were at Sea World. We were gliding past a horde of penguins on a crowd-moving conveyor belt, watching it snow behind glass. Several different species rocketed through the water together. Some stood on rocks, looking bored. I was doing math in my head.

When we got home from our trip, I walked into the house, went to the bathroom, and took a test. It was positive and I said something akin to “golly!” An hour later I was scurrying asthmatic Tommy to the ER. I kept the news to myself for several days. I had to turn this new development over and over in my mind. You see, I wasn’t entirely happy.

Less than a year ago I gave birth to Beatrix via emergency c-section due to cord prolapse—her life was in immediate danger. My recovery was horrendously painful and hallmarked by complications. My incision became infected, which led to antibiotics, which led to thrush in both of us, which led to the deterioration of our nursing relationship because I literally howled and cried at every feeding. Even after the thrush was finally booted, nursing was never the same.

After I told my husband, we agreed to keep it to ourselves until at least the first ultrasound. I ended up annoucing it on a forum for moms of many and to a few local friends I do a summer Bible study with. Nobody else knew. My symptoms were and still are very sporadic and light. I simply wasn’t confident that anything good was happening inside—and I have the authority and history of eight previous confirmed pregnancies to back up my suspicions. Despite my initial unhappiness and my worries, I had hope. I was allowing myself to see into the future, glimpsing a deep-winter birth.

The baby would smile about the same time the tulips begin to yawn in their underground beds, awakening and arching up and out, but barely.

I liked it. I loved it.

And then I saw nobody where there should have been a somebody.

And just like that, everything swirls together—shuffling penguins and a long airplane ride and two pink lines and an emergency room and restless sleep and a heart racing and blushing and telling and hugging and praying and wondering and worrying and dreaming and fatigue and ketchup craving and fireworks and birthdays and praying and telling and hugging and hoping and dreaming and driving and parking and riding an elevator and sitting and tapping and following and laying and watching a screen.

And then telling. Again.

In media res. The story isn’t over.