Broderick Basini

“With Tommy by his side but Anthony Jr. nowhere to be seen, Anthony cranks out an old 8mm projector, and soon choppy black- and-white images appear on the cream wall capturing a few snapshots from the canyon of their life—that tell nothing, and yet somehow everything. They watch old movies, from 1963, 1952, 1948, 1947—the older, the more raucous the children and parents becoming. This year, because Ingrid isn’t here, Anthony shows them something new. It’s from 1963. A birthday party, this one with happy sound, cake, unlit candles. Anthony is turning twenty. Tatiana is very pregnant with Janie. (“Mommy, look, that’s you in Grammy’s belly!” exclaims Vicky.) Harry toddling around, pursued loudly and relentlessly by Pasha—oh, how in 1999 six children love to see their fathers wild like them, how Mary and Amy love to see their precious husbands small. The delight in the den is abundant. Anthony sits on the patio, bare chested, in swimshorts, one leg draped over the other, playing his guitar, “playing Happy Birthday to myself,” he says now, except it’s not “Happy Birthday.” The joy dims slightly at the sight of their brother, their father so beautiful and whole he hurts their united hearts—and suddenly into the frame, in a mini-dress, walks a tall dark striking woman with endless legs and comes to stand close to Anthony. The camera remains on him because Anthony is singing, while she flicks on her lighter and ignites the candles on his cake; one by one she lights them as he strums his guitar and sings the number one hit of the day, falling into a burning “Ring of Fire ... ” The woman doesn’t look at Anthony, he doesn’t look at her, but in the frame you can see her bare thigh flush against the sole of his bare foot the whole time she lights his twenty candles plus one to grow on. And it burns, burns, burns . . . And when she is done, the camera—which never lies—catches just one microsecond of an exchanged glance before she walks away, just one gram of neutral matter exploding into an equivalent of 20,000 pounds of TNT. The reel ends. Next. The budding novelist Rebecca says, “Dad, who was that? Was that Grammy’s friend Vikki?” “Yes,” says Anthony. “That was Grammy’s friend Vikki.” Tak zhivya, bez radosti/bez muki/pomniu ya ushedshiye goda/i tvoi serebryannyiye ruki/v troike yeletevshey navsegda . . . So I live—remembering with sadness all the happy years now gone by, remembering your long and silver arms, forever in the troika that flew by . . . Back”
― Paullina Simons, The Summer Garden

“I’m pretty sure she’s got an angel job now where she plucks a large handful of flowers and carries them up to God where they will bloom even brighter than on earth.”
 
Can we ask God to bring her back home?”
You know what, she’s already home.” Starla patted her chest. “She’ll always be right here in our hearts.”
But I can’t give her a hug.”
 
Yes, you can . . . if you hug yourself or me or Willa or Daddy or Big Pop or GoGo you’re hugging her because she’s a part of us.”
― JoDee Neathery, A Kind of Hush

“He had left off being a perfectionist then, when he discovered that not promptly kept appointments, not a house circumspectly clean, not membership in Onwentsia, or the Lake Forest Golf and Country Club, or the Lawyers' Club, not power, or knowledge, or goodness - not anything - cleared you through the terrifying office of chance; that it is chance and not perfection that rules the world.”
― Judith Guest, Ordinary People

“After I die, and you read something bad about yourself in my diary, do yourself a favor and keep reading,” I often say to Hugh. “I promise that on the next page you’ll find something flattering. Or maybe the page after that.”
― David Sedaris, Calypso