March in New England, despite
its temperatures that drop into the teens, heralds hope. The spring equinox
packaged in light, not just in lengthened days but in a palpable brightening,
reminds us that nothing stays the same. On this cusp of a season, not a day or
a week or a month but of a pregnant trimester, we enter the throes and
sacrifice of awakening. Little wonder that both the Christian mystery of
crucifixion and resurrection, and Persephone’s rape and return are set in
spring.
Writes Mary Oliver in her poem
“On Winter’s Margin”
“and
what I dream of are the patient deer
Who
stand on legs like reeds to drink the wind;—
They
are what saves the world: who choose to growthin to a starting point beyond this squalor.”
Writing memoir, in the thaw of
memory, we revisit and revision our tracks. The prefix re indicates repetition.
Again and again we reclaim our stories translating then to now. And out of that
raw mix of image and emotion springs hope. Each memoir carries its own desire.
A wish to be seen, to connect, to share personal truths in the service of
something greater may inspire the memoirist, consciously or not.
Hope’s twin, despair, lurks in
shadow. The vital rains of spring run like tears down the windowpane. And in
the chaos of a trashing wind deadwood comes loose.
In writing and in living, hope
may be faint, fragile, deep, resolute or profound. It may falter in the face of
repudiation. Singular or all embracing, from health to peace on earth, our hope
gives us courage to grow thin to a starting point beyond squalor.