






After
the funeral, after the lowering of the casket and the gloomy tea and
cookies attended
by near-strangers in black, Cynthia settles into the now-empty house,
the
dishes done and
put
away by her niece and nephew, a tuna casserole sitting in the freezer. She found it strange
seeing all those faces she had only known through wedding and baby
announcements, even
an
invitation to a divorce party, her own correspondence a steady streak
of checks
through the
mail. Cynthia
walks from the kitchen to the living room and pauses.
She realizes that this will be
her
life now: endless shuffling from one empty room to the next. Inside the living room, she notices
a pile of blankets someone had removed from the hall closet and
abandoned on
the ottoman. Perhaps they had forgotten that she
wasn’t
dead yet, that they would have to wait before
they could paw through her things like at an antique shop, hunting for
treasure. She
picks up the first blanket, a green and white lambswool that smells of
cedar
and gathered
dust. She drapes it over the couch and
picks up the next, a flowered afghan with a large hole
their black lab Bailey had chewed in anxiety when they first moved into
the
house. When she
told her husband she didn’t want children, he said that was fine:
they would
just have a lot of dogs. Their last dog, Bartleby, an Airedale Terrier
with a bark that sounded like an old man clearing
his throat, had died a week before her husband. She
walks to the hall closet where she finds a needle and thread. These she uses to loosely
stitch together the blankets into a kind of tapestry.
She pulls three wooden chairs from the
dining room and drapes the tapestry over them.
After she finishes, she climbs inside.
The light
from her lamp glows round against the fabric, lighting her small space
in red
and white and green. When
she and her husband were newly married and moved into their first
apartment together,
she had walked into the small, dirty space and seen the scuffed gray
walls, the
water stains
on the ceiling, the peeling linoleum floors, and she had sat on the
floor and
cried. Her husband
had pulled their powder blue sheets from the box marked Bedroom, taken
them
into the main room, and draped them over
a couple of chairs the previous tenants had left behind.
He then
took her hand and gently led her inside the makeshift fort. The space was small and suffused
with the heat from their bodies, and she could not see beyond the
surface of
the fabric. They
slept there that first night, surrounded by blue. Now,
she sits underneath her own makeshift fort, watching the heavy blankets
dip
low, waiting
to see how long they can withstand their own collapsing.
Melissa Reddish graduated with an MFA from
American University in 2008. Her work has
appeared in Wazee and Flywheel Magazine. She is also the co-faculty
editor of Echoes and
Visions, a student literary publication of Wor-Wic Community College.

One of my
favorite things about writing is getting into the head of a character
and hearing his or her voice, especially if it informs a perspective
different from my own. For this piece, I started with the image of a
fort in the middle of a living room, but it wasn’t until I heard
the voice of the narrator that I realized that the woman making this
fort had gone through an irreparable loss. The rest of the story
proceeded from there.
Sometimes I think the most dangerous advice you can give an author is
“write what you know.” That would imply that I could only
write about taking my Black Lab for walks down by the water and
teaching freshman composition. Better advice would probably be
“research the details of your story” and “write with
emotional integrity.”
