With eyes closed, I am talking to a quite lively ghost.1
My father died the morning of December 1. He would have been 95 this Valentine’s Day. His poor health, unusual for him, to some extent prepared us for his death over the past six months. It’s all grief, whether it came before he died or whether it comes now.
The first time I missed him was that afternoon. I was talking on the phone to an old friend of his, and I wanted to repeat to him something she said, to say, “Hey, Pop!” The family was together; it was strange that he wasn’t there.
“Just tell him!” his friend suggested. She is the Episcopal deacon who would officiate at his memorial service the following week.
So I did, cupping the phone a bit. We laughed.
It’s funny what processes the emotions. I was touched by the viral cartoon of George H.W. Bush’s fighter plane landing in heaven and his reunion there with Barbara and Robin, who had predeceased him. I’ve tried to describe the cartoon to different people, and I can’t get through it.
Bush and my father were born the same year (the former on my birthday), and they died within hours of each other. While the country was mourning Bush, we were mourning my father. I texted to my family what I imagined to be Bush’s last words: “Warren Stephens survives.”
They were a lot alike — public men with reputations for integrity. My father’s public, of course, was local, his beloved Newport News, where he spent his entire life outside of college, the military, and his last year with my mother near my siblings in a Richmond retirement community. (Here’s the story of his death in the local paper.)
This morning I wept, too, through Mary McCarthy‘s postface to Hannah Arendt’s The Life of the Mind. Arendt had finished the second section (“Willing”) of this trilogy a week before she suddenly died. Arendt had finished “Thinking” the year before, and her friends discovered a sheet of paper in her typewriter containing only the word “Judging” followed by two epigraphs after she died. I wonder what the epigraphs were, but McCarthy keeps them between Arendt and herself.
There’s a lot McCarthy doesn’t say, which makes her postface, like the process of grief, so interesting. She says that she had worked with Arendt to edit several of her most well-known works. When she collaborated with Arendt as her editor, they got to know each other’s minds. Arendt thought that McCarthy’s Catholicism, which McCarthy had disowned, had adequately prepared her for philosophy. She saw McCarthy as a perfectionist — I assume most authors understand their editors as such — and McCarthy knew she could outlast Arendt if they disagreed. “‘You fix it,’ she would say, finally, starting to cover a yawn.”
She describes how her editing felt like collaboration while Arendt was alive. Arendt was going through her “Englishing,” and McCarthy for her part learned enough German to better understand Arendt’s thought expressed in her syntax. German allowed McCarthy “to make out the original structure like a distant mountainous outline behind her English phrasing.” From then on, McCarthy would put Arendt’s prose “into German, where they became clear, and then do them back into English.”
After Arendt’s death, the editing got harder, of course. Death proved more formidable than a foreign tongue. McCarthy still engaged in dialogues with Arendt, “verging sometimes, as in life, on debate. Though in life it never came to that, now I reproach her, and vice versa.” McCarthy even describes her nightmares — lost or (worse) newly found manuscripts — missing Arendt or uncovered Arendt — that throw over everything. There is something here of the danger and frankness and the feeling of internal process that I found, as a teenager, in the talk among the dead in Our Town.
Why isn’t grief, when it comes, as frank as the grave? Maybe Arendt can help. She liked to distinguish between the inside and the outside of the human body, and she lumped our “passions and emotions” with the likes of or livers and kidneys. Compare our emotions’ “monotonous sameness” with what they lead to, i.e., the “enormous variety and richness of overt human conduct,” she suggested in “Thinking.” Grief, I’ve read, has predictable stages, rather like digestion. But grief, like a Program Era writer who shows without telling, also expresses itself with the outer life’s variety and richness.
Maybe grief’s dekes and indirection are invitations from the dead. Hey, Pop.
- Mary McCarthy in the postface to Hannah Arendt’s The Life of the Mind ↩