weakness, the sudden flush washing my temples with damp.
"Jesus H. Roosevelt Christ," I muttered, breathing deeply as my heart slowly returned to normal.
One of the effects of a disturbed sleep cycle is that one stops dreaming coherently. Through the long years of early motherhood, and then of internship, residency, and nights on-call, I had got used to falling at once into oblivion when I lay down, with such dreams as occurred nothing more than fragments and flashes, restless flickers in the dark as synapses fired at random, recharging themselves for the work of the day that would come too soon.
In more recent years, with the resumption of something resembling a normal schedule, I had begun to dream again. The usual kinds of dreams, whether nightmare or good dream—long sequences of images, wanderings in the wood of the mind. And I was familiar with this kind of dream, too; it was common to what might politely be called periods of deprivation.
Usually, though, such dreams came floating, soft as the touch of satin sheets, and if they woke me, I fell at once back into sleep, glowing dimly with a memory that would not last 'til morning.
This was different. Not that I remembered much about it, but I had a vague impression of hands that gripped me, rough and urgent, not wooing but compelling. And a voice, nearly shouting, that echoed in the chambers of my inner ear, along with the sound of my fading heartbeat.
I put my hand on my chest over the leaping pulse, feeling the soft fullness of my breast beneath the silk. Brianna's breath caught in a soft snore, then resumed its even cadence. I remembered listening for that sound when she was small; the slow, stertorous rhythm of reassurance, sounding through the darkened nursery, even as a heartbeat.
My own heartbeat was slowing under my hand, under the deep rose silk, the color of a baby's sleep-flushed cheek. When you hold a child to your breast to nurse, the curve of the little head echoes exactly the curve of the breast it suckles, as though this new person truly mirrors the flesh from which it sprang.
Babies are soft. Anyone looking at them can see the tender, fragile skin and know it for the rose-leaf softness that invites a finger's touch. But when you live with them and love them, you feel the softness going inward, the round-checked flesh wobbly as custard, the boneless splay of the tiny hands. Their joints are melted rubber, and even when you kiss them hard, in the passion of loving their existence, your lips sink down and seem never to find bone. Holding them against you, they melt and mold, as though they might at any moment flow back into your body.
But from the very start, there is that small streak of steel within each child. That thing that says "I am," and forms the core of personality.
In the second year, the bone hardens and the child stands upright, skull wide and solid, a helmet protecting the softness within. And "I am" grows, too. Looking at them, you can almost see it, sturdy as heartwood, glowing through the translucent flesh.
The bones of the face emerge at six, and the soul within is fixed at seven. The process of encapsulation goes on, to reach its peak in the glossy shell of adolescence, when all softness then is hidden under the nacreous layers of the multiple new personalities that teenagers try on to guard themselves.
In the next years, the hardening spreads from the center, as one finds and fixes the facets of the soul, until "I am" is set, delicate and detailed as an insect in amber.
I had thought I was well beyond that stage, had lost all trace of softness and was well set on my way to a middle age of stainless steel. But now I thought that Frank's death had cracked me in some way. And the cracks were widening, so that I could no longer patch them with denial. I had brought my daughter back to Scotland, she with those bones strong as the ribs of Highland mountains, in the hope that her shell was strong enough to hold her together, while
"Jesus H. Roosevelt Christ," I muttered, breathing deeply as my heart slowly returned to normal.
One of the effects of a disturbed sleep cycle is that one stops dreaming coherently. Through the long years of early motherhood, and then of internship, residency, and nights on-call, I had got used to falling at once into oblivion when I lay down, with such dreams as occurred nothing more than fragments and flashes, restless flickers in the dark as synapses fired at random, recharging themselves for the work of the day that would come too soon.
In more recent years, with the resumption of something resembling a normal schedule, I had begun to dream again. The usual kinds of dreams, whether nightmare or good dream—long sequences of images, wanderings in the wood of the mind. And I was familiar with this kind of dream, too; it was common to what might politely be called periods of deprivation.
Usually, though, such dreams came floating, soft as the touch of satin sheets, and if they woke me, I fell at once back into sleep, glowing dimly with a memory that would not last 'til morning.
This was different. Not that I remembered much about it, but I had a vague impression of hands that gripped me, rough and urgent, not wooing but compelling. And a voice, nearly shouting, that echoed in the chambers of my inner ear, along with the sound of my fading heartbeat.
I put my hand on my chest over the leaping pulse, feeling the soft fullness of my breast beneath the silk. Brianna's breath caught in a soft snore, then resumed its even cadence. I remembered listening for that sound when she was small; the slow, stertorous rhythm of reassurance, sounding through the darkened nursery, even as a heartbeat.
My own heartbeat was slowing under my hand, under the deep rose silk, the color of a baby's sleep-flushed cheek. When you hold a child to your breast to nurse, the curve of the little head echoes exactly the curve of the breast it suckles, as though this new person truly mirrors the flesh from which it sprang.
Babies are soft. Anyone looking at them can see the tender, fragile skin and know it for the rose-leaf softness that invites a finger's touch. But when you live with them and love them, you feel the softness going inward, the round-checked flesh wobbly as custard, the boneless splay of the tiny hands. Their joints are melted rubber, and even when you kiss them hard, in the passion of loving their existence, your lips sink down and seem never to find bone. Holding them against you, they melt and mold, as though they might at any moment flow back into your body.
But from the very start, there is that small streak of steel within each child. That thing that says "I am," and forms the core of personality.
In the second year, the bone hardens and the child stands upright, skull wide and solid, a helmet protecting the softness within. And "I am" grows, too. Looking at them, you can almost see it, sturdy as heartwood, glowing through the translucent flesh.
The bones of the face emerge at six, and the soul within is fixed at seven. The process of encapsulation goes on, to reach its peak in the glossy shell of adolescence, when all softness then is hidden under the nacreous layers of the multiple new personalities that teenagers try on to guard themselves.
In the next years, the hardening spreads from the center, as one finds and fixes the facets of the soul, until "I am" is set, delicate and detailed as an insect in amber.
I had thought I was well beyond that stage, had lost all trace of softness and was well set on my way to a middle age of stainless steel. But now I thought that Frank's death had cracked me in some way. And the cracks were widening, so that I could no longer patch them with denial. I had brought my daughter back to Scotland, she with those bones strong as the ribs of Highland mountains, in the hope that her shell was strong enough to hold her together, while
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