Название: When I Had a Little Sister: The Story of a Farming Family Who Never Spoke
Автор: Catherine Simpson
Издательство: HarperCollins
Жанр: Биографии и Мемуары
isbn: 9780008301651
isbn:
Many years after the disposal of my Great-Great-Aunt’s things I read Mrs Gaskell’s Cranford. In it Miss Matty burns her parents’ love letters.
‘We must burn them, I think,’ said Miss Matty, looking doubtfully at me. ‘No one will care for them when I am gone.’ And one by one she dropped them into the middle of the fire, watching each blaze up, die out, and rise away, in faint, white, ghostly semblance, up the chimney, before she gave another to the same fate.
I ask myself now: is it possible to dispose of a person’s effects with dignity?
Some months after writing this I discussed these memories with my Cousin Mary. She remembered all the stories of Great-Great-Aunt Alice; yes, she did indeed buy her husband a one-way ticket to Australia, writing ‘liar, thief and all that is bad’ on the back of his remaining photograph. And yes she was a suffragette and made money in stocks and shares and in business, and tried to keep warm by putting the electric fire on the bed – and she did set the bed on fire. But here my memory proved faulty. The bed-fire had in fact killed Great-Great-Aunt Alice after a short hospital stay. So who was the tiny grey-haired lady eating prunes whose stuff we had shared out? It turned out to be another unmarried, childless great-great-aunt called Annie. And this underlined for me that after death not only do we disappear and our belongings become scattered, but our stories begin to blend with the stories of others and meld and shapeshift like a flock of murmurating starlings.
A few years after Great-Great-Aunt Alice (or, as it now seems, Annie) died, my Great-Aunty Margaret died too, also leaving no children, so the contents of her seaside bungalow went up for public auction. I had moved away by then and didn’t go and afterwards I asked Mum what had happened to Great-Aunty Margaret’s most prized possession – her silver epergne, an elaborate candelabra centrepiece that she displayed on her sideboard, proudly telling everyone it had once belonged to Rochdale Town Hall. My mother said, ‘She’d polished it so much she’d worn the silver plate off.’ She shrugged. ‘Somebody must have bought it, I suppose.’
Great-Aunty Margaret suffered from dementia and as it progressed she told us the same stories over and over again. The one she recounted most often was how she got up on her twelfth birthday to be told she was never returning to school and there was a job waiting for her in a Rochdale cotton mill. ‘I did cry,’ she repeated. ‘Oh, I did cry.’ She spent the last months of her life in a home. Her upright piano, and the sheet music for ‘I’m Forever Blowing Bubbles’ and ‘I Wonder Who’s Kissing Her Now’, went to the home with her in the hope she would play for the other residents. On arrival she declared she had never set eyes on that piano before and it most certainly was not hers. She never touched it again.
Great Aunty Margaret left school at 12 to work in the cotton mill
Some of Great-Aunty Margaret’s more personal effects, which in her handwritten, home-made will she had earmarked for particular old friends, were brought to our farm in a black bin liner for my mother to distribute. They included her fur three-quarter-length, her astrakhan coat and her engagement ring – a small flower set with diamonds.
My mother dumped the bag in Gran’s Dairy – I don’t know why, the farmhouse was big enough for umpteen bin bags – and my father mistakenly, but inevitably, dragged it out for the bin men. Within days it was flung in the dustcart and that was the end of Great-Aunty Margaret’s legacy. Mum and Dad made a mad dash to the council tip at Fleetwood to try to retrieve the bag of Great-Aunty Margaret’s treasures but arrived to find a sea of similar black plastic bags stretching to the horizon and realized the furs and diamonds were gone for ever.
As a young woman Great-Aunty Margaret had wanted a family. There was a story that she once thought she was having a baby. She got fat. She made preparations. Unfortunately she stayed pregnant for more than nine months, at which point the phantom baby faded away.
We emptied the farmhouse over many weekends during spring and summer, 2014.
It was filthy, dusty work. I dug through the dead weight of Tricia’s vinyl records and found a Roy Wood album from forty years ago and played it at full blast. ‘Look Thru the Eyes of a Fool’ crackled and slurred and jumped and blurred under the blunt needle and vibrated the stagnant air in the house just a little. As fire was cleansing, so was noise.
I found a load of washing Tricia had done months before still in the machine mouldy and rotting and loaded it straight into a bin bag.
I took photographs to remember the things we burned and to feel I was keeping a part of them: the fusty Disney picture books of Cinderella and Bambi and Alice in Wonderland from the 1970s, the disintegrating 1950s Vogue pattern for evening gloves, the handbook for a 1960s wringer, a 3d pattern for a crocheted hat that would ‘only take one hour to make’, hard-backed books with titles like Ezra the Mormon and The Major’s Candlesticks, rotting, mildewed Sunday-school prizes signed in fading ink and in a formal script ‘for Stuart, for regular attendance, 1934’. From under the stairs we dragged out half-made rag rugs from the 1950s and a romantic print of a Regency couple marked on the back ‘Christmas 1908’.
Growing up surrounded by all this lingering stuff, with the past and the present and the living and the dead tangled and colliding, it’s hardly surprising that as a child I looked out of my bedroom window and glimpsed Grandma Marjorie, dead since 1938, carrying a basket of washing across the back yard.
By taking photographs of what we were removing, I believed I was in some way keeping the spirit of the thing. It was unthinkable that I should forget. What if I suddenly needed to know the exact shade of blue of Grandma Mary’s old beaded evening gown? The one she wore in the 1970s to meet the Queen. Was it sky blue or was it nearer royal blue? Or what if it was important to recall the precise swirling pattern on the sitting-room carpet? The carpet that was being fitted when half our feral cats climbed in the back of the fitter’s van and were driven off and lost for ever.
I took photographs of Dad’s mummified football boots which had hung on the garage wall for seventy years, of the view from every window, of the texture of the brickwork, the rust on the outhouse window locks, of the flaking paint on the barn door, of the weeds sprouting between the cobbles and the ivy coiling round the fence posts. Turning these story fragments and half-memories into photographs meant the past was not completely lost nor the memories obliterated. All these things were part of our lives here and might in some small way explain how that story ended as it did.
Me and Dad, discovering Ezra the Mormon and The Major’s Candlesticks
I snapped away and heard Lara whisper to Cello, ‘Mum’s just taken a photo of the ground.’
If things could be saved – if they weren’t stinking of mould or half-eaten by moths – we sometimes packed whatever it was into a box and dumped it in Dad’s garage to create a whole new problem for another day, saying to ourselves, ‘Well, you never know.’
I framed a certificate I discovered in the sealed-up cupboard halfway up the stairs that still housed Aunty Marjorie’s Sue Barton books, the paint on the cupboard doors finally cracking from top to bottom as I wrenched them fully open. The certificate was from the Ministry of Agriculture’s ‘1944 Victory Churn Contest’ and СКАЧАТЬ