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Metaphor
Elyse Durham
The seventh year we were married, our wedding rings fell off our fingers.
This is not a metaphor. We loved each other; we were faithful; we just
couldn't get our rings to stay on, and so they fell.
They fell into toilets and pots of soup. They fell into trash cans and open
shoes. They fell down the laundry chute and onto sidewalks. They fell, worst
of all, into the throats of our two poodles, at the same time, and for no
reason at all. (Our vet was not pleased with us. Nor were the poodles.) They
flew, they swung, they leapt from our fingers, gleefully, eager to leave.
We could not account for this at all. We had not lost weight. We had not
moved to a frigid climate. We did not spend our days rubbing olive oil onto
our hands or dipping them into melted butter. We were not old enough to be
shrinking.
We tried everything. Of course, we had the rings resized, more than once, by
different jewelers. It made no difference. They tumbled off in the car when
we went to buckle our seatbelts. We dabbled—and succeeded—in gaining
weight. We ditched our gold bands—too traditional, we decided, so plain as
to be near mythological, sinister, akin to gold of Gollum—and purchased
silicone rings of dull gray. But those fell off, too, and at that point we
decided that if we were going to be on our knees all the time, hunting for
objects, the objects might as well be beautiful.
Were we dying? There was only one way to be sure. We surrendered ourselves
to the doctors. They gazed in our mouths and borrowed our blood. They
scanned and they scraped and they listened. One of us had no cause for
concern. The other one was me.
***
We sat in a waiting room of pale blue and sailboats. We crossed and
uncrossed our legs to keep them from sticking to the cracked vinyl seats,
cursing our choice to wear shorts. We rolled our eyes at all the jokes in
Reader's Digest, which are never funny but often profane.
We hushed when they pushed a long, pasty man on a gurney through the double
doors.
Then they came for me. I had to go alone.
A bone scan, they said, first of the hands, then the body. A radioactive
injection. Two hours. Then they'd scan me again.
The first technician was eager for conversation. He strapped my hands to the
table. Would I like a warm towel for them?
I would.
Did I possibly have late-stage metastatic cancer? This scan was often
reserved, he said, as if speaking of wine, for those with metastatic cancer.
I did not know. The doctors, I said, did not say so.
***
I do not feel the injection. I hold my breath and I wait for a tingling,
some indication that my body is now radioactive, that I will soon have the
ability to walk on ceilings and push around glasses of milk with my mind.
But there is nothing.
The second technician does not want to talk. But I want to. I am frightened
by the men (why only men?) we pass by in the other rooms, shrunken men,
silent, tethered to this world by a thread.
Lovely weather we are having, I say to the tech.
Go empty your bladder, she says.
After, I lie on a hard plastic slab, wrapped up mummy-tight in warm weighted
blankets. I can feel the technician's frozen scowl through the pane of glass
that separates us.
I hold my breath when the camera passes over my face, only inches away. It
is leaning in for a kiss. They told me it would be loud. It only hums.
When the kiss passes, I look up at the monitor and I see a picture not of my
body, but all of the particles that are not my body. My body is a black
hole, swallowing light. My ring is still on my finger. Suddenly, I wonder if
I should have removed it, if the rays and particles will fuse it right to
the bone. No matter. Let them be fused.
I watch the particles dance around my darkness and I find them very
beautiful, find myself feeling sad that this is a wonder I will never see
again. Then I remember that I do not know if I will never see it again, that
I could be on the precipice of something that is a beginning as much as it
is an end.
I look up at the ceiling and there, for my comfort, is a beach scene printed
on vinyl. And I begin to see the truth of it all: that this warm weighted
blanket is only the sand. That the glow of the bright lights is the sun. And
this ring, this circle of gold on my finger, is no gold at all: it is ice
and rock and dust, the rings of Saturn, orbiting the world of me.
Rocked by the waves of this world, I sleep. I dream. He and I go hand in
hand between the trees and the dumpster outside Trader Joe's where we once
walked each evening in search of apple seltzer. Though the mud is deep and
cold, though the trees reach down and snatch the light from our faces, we
walk on, for this path is the only path, the only way to reach that day that
has no evening. He stops to tie his shoes, as he always does—once, late and
frustrated, I advised him to try velcro—and I slip ahead, knowing he will
come find me when he can. I don't look back, because I am neither Lot's wife
nor Orpheus, and I'll arrive unscathed. This is not a metaphor.
I awake unshrouded, and I see him hunched over, still tying his shoes, and I
wave, and I wave, and he doesn't see me yet, and I'm caught between this
moment and the moment after, when he will finally look up, and I wait, and I
wait, and I wait.
.
Elyse Durham's work has appeared in Cincinnati Review, Image, and others.
She's a 2021 Elizabeth George Foundation grantee in fiction.
Read her postcard.
W i g l e a f
10-06-23
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