It’s December again, the month my grandmother, Mummu, passed away. This year marks forty years. In my linen closet is a small box that contains the baby booties pictured above. Mummu knitted and gave the booties to me when I was an awkward, skinny girl who wanted nothing as much as I wanted to become a mother. When she presented them, she said, “In case I die before you have a baby.” That was Mummu, forthright, down-to-earth. I never did have that baby. But I have kept the booties tucked away, and when I notice the box as I go to the closet for sheets, they remind me of her. The booties speak to me about disappointment, too, and the way life has soothed it—more broadly, the way life gradually prepares a person for what lies ahead. Sometimes, you just know that the future you’d imagined will not be yours, and you come to face that hard fact with acceptance, even a sort of embracing.
Many years ago, I went home to our family farm to visit my mom and dad. While I was there, my mother’s brothers Ernie and Bill came by. We fell into telling family stories over kahvi, which is Finnish for “coffee.” We sat a long time at that table, reminiscing and laughing as the blues and grays of evening began to filter in through the window. It struck me that no one turned a light on—no one wanted to break the spell. My uncles were educators and good storytellers. There was a playful impertinence in their eyes as they told their stories, and I understood it completely. Drinking kahvi with the uncles, I saw again what I’d always known: playful impertinence runs in our family. It’s why I write, why I write what I write—more than that, why I write poetry, which to much of the world seems a waste of time.
I feel ridiculous, and the feeling grows each day. I feel presumptuous and ridiculous, to think that as a writer I have anything worth saying when oceans are rising, the planet is burning, and the TV screen pulsates with images of people visiting horror upon horror on one another. Still, something insists that my fingers pick up the pen, and when I do, I listen, and I think, and now I have come to one conclusion. When there is nothing worth saying, say what you dare not say.
The woman in this photo, with her fishing pole and her funny cap, is my maternal grandmother, Hilda. The picture was taken on a family picnic when my mother, Rauha, and her closest siblings were young adults. They had to walk a distance to get to that lake, over rough terrain with no path. Notice that my grandmother is wearing a dress, to a picnic, and even an apron. But don’t be deceived. This simple-looking woman from backwoods Michigan was more complicated than the image suggests, and she knew herself to be capable of changing the world—yes, I said changing the world. She would have called herself traditional, but her “traditional” life was the garden my more liberal life naturally grew in. To twist familiar scripture a bit: Hilda begat Rauha, begat Donna.
Like we all do, I suppose, I think back to the house I grew up in. Life seemed more intense there, closer to the elements. The photo above was taken at that house, a boxy gray two-story built by one of the mining companies that once flourished in our Upper Michigan town. I was in high school when I took the photo—the mines were mostly closed. That’s my sister Diane standing in the yard with a neighbor’s dog. We were enjoying the heaps of snow that had sprung up overnight. My parents sold the house when Diane was ten. As young as she was, she remembers the gray house, especially the front porch. That porch, with its single couch and windows on every side, is strong in my memory, too. I left for college from that house nearly fifty years ago. But I long sometimes to go back to it, to walk again through that comforting front door and look out those sheltering windows.