When she needed to speak
of anything but the comings and goings of any ordinary day it was a different
matter altogether. For our Ma, drawing an envelope-sized rectangle on her lap
with her one good hand had as many meanings as the drying tealeaves on the
bottom of her Mum’s cup. If she drew just that and nothing more, it meant often a
task we could perform without leaving The Vatican. But if she drew the
rectangle and pointed out the window it meant that she needed something done in
Carrickfergus, or something from Carrickfergus; it meant, possibly, that she
wanted something from or done in Belfast, or something from or done at the
church, or something from or done in New Ringgold, Pennsylvania, or something
from or done in the bloody Land of Oz. Of an occasion it meant that she wanted
something from the shops, a treat, a chocolate bar, stamps. Or it might be that
there was a new bishop appointed in some suburb of some backwoods Brazilian
town and she wanted to hear of him and his good works, because the TV had made
a fuss of this particular gentleman and maybe she’d like a magazine to have
read to her describing his good works. That rectangle meant that the Pope
himself had signed some declaration about something, and that it affected
something in her life somehow. It was important this rectangle, for frig’s
sake, and she needed the news, the insight, the gossip there and then. If she
drew the rectangle and pointed to the TV it meant that she had heard of good
works by Bishop Desmond Tutu, and sure isn’t he a great humanitarian, at least that's what someone had read to her from the magazine she now wanted. Of an
occasion it meant that she had learned of bad works attributed to Bishop Len
Brennan, and she was laughing out loud but not without some hint of guilt, but sure she'd make up for it by putting an extra shilling in the weekly envelope. The
rectangle and the pointing of the finger meant everything. It meant anything.
She called me from the kitchen. She drew the rectangle. She pointed out the
leaky window.
“Okay, what is it, Ma? You want
something sent? Card? Letter? A bill paid?”
“No,” she replied, blunt
and emphatic, leaving me with little doubt that I need not ask those questions
again, for frig’s sake, y’eejit.
“Is it a cheque? Do you
need to pay something?”
“No.”
“Okay. I need something
else, Ma, a bit more here. Is it to do with anyone in here?”
“No.”
“Is it to do with the
church?”
“No.”
Every few questions I
clarified, just to be sure. “Okay, it’s nothing to do with us, the church, the
bank, or money? Yes? That right?”
“No.”
“Right... So… No as in it’s
not something to do with them, or no it is something to do with them?”
“Yesths.”
“Right. Okay. Is it a
letter?”
“No,” she replied,
getting frustrated at my frustration.
“Okay Ma, I have no idea
what the hell it is you want.” When at the very edge of giving up on her
fruitless task she would swipe her hand in the air and exclaim “Och”. Och was
another of the Irishisms I had removed from my vocabulary years previously. That
short guttural utterance indicated disappointment, or frustration, and was as
cast away an exclamation as those blessed and depressing and pervasive remnants
such as “aye”. The modern Irish garnish liberally their language – foreign or
domestic – with these ancient tics. Och, in this sense, denoted my mother’s
mild anger and her frustration. Swiping her hand and uttering “och” was her way
of getting rid of the previous conversation, the useless one that went nowhere,
the failed chat that hung in the air between us, limply, benignly. The
scrubbing of the air meant “Oh, let’s just forget it” or “Nope. You’re way off there, boyo.” Her good hand sent failed conversations crashing to the
ground.
“Is it the church? The
bank? Someone in here? One of your sisters?”
“Yesths! Yesths!”
“Okay, was it the bank?
No? Your sisters? The…”
“Yesths! Yesths!”
“Ah, your sisters. Okay,
which sister Ma?” Our hearts would sink at the mention of our Ma’s beloved
sisters: the guessing was to start again, but this time it would involve people
we met only rarely; people whose birthdates were mysteries; women of whose pedigrees
and predicaments we remained ignorant due to miles, years of seemingly happy absence,
and more than a little indifference to their lives and deaths. Except Aunt
Kathleen, whose influence remained. She did say “och” on an occasion or two
that I can remember. I probably shuddered.
The stroke left Ma
unable to remember the names of her sisters with the exception of Kathleen, so
she called all of her sisters “Katleen.” She did the same with my sisters. And
my brother. And me. And Aunt Phil. And Aunt Margaret. And Dad. “Katleen” was
everyone she had ever known, and anyone she would ever know. Katleen was the
name she gave to every face because she had no way of recollecting a name, or a
duck, or a bus, or a cat, or of saying any of these with any clarity.
“Which sister, Ma?”
“Och!” Her hand rose,
swiping away the notes she sang to the staff, dropping them to the floor like
so many dead flies. “It’s Katleen.”
“I thought so. Which
Kathleen do you mean? Do you actually mean Kathleen?”
“No.”
“Pauline then, that
Kathleen?”
“No.”
“Bernie?”
“No.”
“Sally?”
“No. Oh god, it’th
fantathtic.” She felled our benign chat with one swipe.
“Right, okay. So it must
be Rosaline then?”
“No.”
“Oh for Jesus sake, Ma!
I’ve said them all. Is it Kathleen? Pauline? Bernie? Sally? Or Rosaline for god’s
sake?”
“Och, no! It’s Katleen!
Och!” Her hand rose and erased again, and the pile of flies grew.
“You said it was to do
with one of your sisters, Ma.”
“No. No. You’re
thithterth!”
“My sisters? Anne-Marie
and Martina? Those sisters?”
“Yesths! Your
thithterth!”
“Ah, right. Gotcha. What
is it?”
Composing herself, and
savouring a minor triumph, Ma drew the rectangle on her lap once again, pointed
out the intact but still leaky windows and then back to herself.
“O-kay. First off, is it
Anne-Marie or Martina?”
“Yesths.”
“Which one, Ma?”
“Katleen.”
“Anne-Marie?”
“No. Oh god… Katleen!
Katleen!”
“Right. Okay. What do
you need Martina to do?”
“I need…” She had no way
of telling me what she needed, so she drew the rectangle.
“Oh, I don’t know how to
thay it, you know? It'th all wight but it'th all wong at the thame time, you
know?” As she said that she pointed to her throat and drew a dividing line up
her body, from her nave to her chaps, cutting her good-bad body in half with
her long index finger. This was her way of saying, “If this damned operation
hadn’t given me a bloody stroke and sliced my vocal cords and taken away my
ability to think I’d be able to tell you what I want to say, so I bloody well
would!”
“I know, Ma, I know.
We’ll get there. Is it money?”
“Yesths.”
“Do you need money from
the bank?
“No.”
“Do you need to put
money in the bank?
“No. Och!”
“Do you want to give
someone money?”
“No.”
“Do you need some money
now?”
“No. Oh yesths! Yesths!
Mawtina… money. Och!” More notes trailed from the air.
“Okay… So you want
Martina to do something with money, but you don’t want her to take money from
the bank or put money in the bank? Is that right?”
“Yesths.”
“Money, money, money… Is
it someone’s birthday? Do you need her to buy a gift?”
“No!” More dead flies.
“Okay Ma, let’s just
keep trying here.”
“I can’t thay it, you
know. Oh god, it’th fantathtic!” Her hand went to her cheek, and she lay on it
heavily, pushing her elbow into the side of her belly. Her head she shook in
confused desperation, and she regarded the fire in the hearth with a look of
resignation.
“I know Ma, I know. But
we’ll get there. Trust me. Do you have to pay for something?”
“Yesths! No. Oh God.
Katleen hath to pay thomething!”
“Martina has to pay
something? That Kathleen?”
“That'th it! That'th it!
Katleen haths to pay thomething! Oh thank god, thank God.” She took my hand,
looked me in the eye and said, “I love you, oh god, I love you, I alwayth have
and I alwayth will, you know.”
“I know, Ma. Love you
too. Right, now we’re cooking with gas, Ma! Let’s keep going. So, what does she
have to pay?” She drew the rectangle on her lap once again.
“Do you have to give
money to Martina for her to pay this?”
“No.”
“Right, okay. Is she
buying you something?”
“No. Thee’th got the
money.”
“She has the money, and
she knows she has to pay someone the money, I take it?”
“That’th it shon. Sthee
hath to pay money to me!”
“Oh, right. Martina has
to give you money? Why?”
“For… I gave her…to… Oh
god…” Near-dead flies and near-dead notes hung, mingled momentarily, then
crashed.
“I can’t thay it, you
know. It’th all wight but it’th all wong at the thame time, you know.” She carved
from her nave to her chaps again, pointed to her head, spinning her hand at the
wrist. I’m confused now, that is what she meant.
“I know Ma. Try to
relax. We’re nearly there.”
“I gave her money, and…”
“And you need it back, I
take it?”
“That’th it! That’th it.
Oh thank god…”
“At last Ma! Told you
we’d get there. How much did you lend her?” She drew another rectangle.
“Paper money?”
“Yesths.”
“A five?”
“No.”
“Ten?”
“No.”
“Twenty quid?”
“No.”
“Thirty?”
“No.”
“Okay. Was it more or
less than thirty?”
“Lesth. Och!” Flies.
“Ten.”
“No!” Notes. Then flies.
She turned her hand at her head.
“Twenty?”
“Lesth than that ath
well.”
“Fifteen?”
“Yesths! Yesths!”
“See? We got there.
Didn’t I tell you we would? Don’t worry, I’ll give her a nudge about it. She
owes you fifteen quid then?” I laughed.
“Thank you, shon. Thank you.”