Handful
Mauma was gone sure as I’m sitting here and I couldn’t do a thing but walk the yard trying to siphon my sorrow. The sorry truth is you can walk your feet to blisters, walk till kingdom-come, and you never will outpace your grief. Come December, I stopped all that. I halted in my track by the woodpile where we used to feed the little owl way back then, and I said out loud, “Damn you for saving yourself. How come you left me with nothing but to love you and hate you, and that’s gonna kill me, and you know it is.”
Then I turned round, went back to the cellar room, and picked up the sewing.
Don’t think she wasn’t in every stitch I worked. She was in the wind and the rain and the creaking from the rocker. She sat on the wall with the birds and stared at me. When darkness fell, she fell with it.
One day, before they started the Days of Christmas in the house, I looked at the wood trunk on the floor, shoved behind mauma’s gunny sack.
I said, “Now, where’d you go and put the key?”
I had got where I talked to her all the time. Like I would say, I didn’t hear her talk back, so I hadn’t lost my sanities. I turned the room upside down and the key was nowhere. It could’ve been in her pocket when she went missing. We had an axe in the yard shed, but I hated to chop the trunk apart. I said, “If I was you, where would I hide the key that locked up the only precious things I had?”
I stood there a while. Then, I lifted my eyes to the ceiling. To the quilt frame. The wheels on the pulley were fresh with oil. They didn’t make a peep when I brought the frame down. Sure enough. The key was laying in a groove along one of the boards.
Inside the trunk was a fat bundle wrapped in muslin. I peeled back the folds and you could smell mauma, that salty smell. I had to take a minute to cry. I held her quilt squares against me, thinking how she said they were the meat on her bones.
There were ten good-size squares. I spread them out cross the frame. The colors she’d used outdid God and the rainbow. Reds, purples, oranges, pinks, yellows, blacks, and browns. They hit my ears more than my eyes. They sounded like she was laughing and crying in the same breath. It was the finest work ever to come from mauma’s hands.
The first square showed her mauma standing small, holding her mauma and daddy’s hands and the stars falling round them—that was the night my granny-mauma got sold away, the night the story started.
The rest was a hotchpotch, some squares I could figure, some I couldn’t. There was a woman hoeing in the fields—I guessed her to be my granny-mauma, too—wearing a red head scarf, and a baby, my mauma, was laying in the growing plants. Slave people were flying in the air over their heads, disappearing behind the sun.
Next one was a little girl sitting on a three-leg stool appliquéing a quilt, red with black triangles, some of the triangles spilling on the floor. I said, “I guess that’s you, but it could be me.”
Fourth one had a spirit tree on it with red thread on the trunk, and the branches were filled with vultures. Mauma had sewed a woman and baby boy on the ground—you could tell it was a boy from his privates. I figured they were my granny-mauma when she died and her boy that didn’t make it. Both were dead and picked bloody. I had to walk out in the cold air after that one. You come from your mauma, you sleep in the bed with her till you’re near twenty years grown, and you still don’t know what haunches in the dark corners of her.
I came back inside and studied the next one—it had a man in the field. He had a brown hat on, and the sky was full of eyes sitting in the clouds, big yellow eyes and red rain falling from the lids. That man is my daddy, Shanney, I said to myself.
One after that was mauma and a baby girl stretched on the quilt frame. I knew that girl was me, and our bodies were cut in pieces, bright patches that needed piecing back. It made my head sick and dizzy to look at it.