Blue Nights (15 page)

Sitting in frigid waiting rooms once again producing the insurance cards, once again explaining why, the provider’s preference notwithstanding, the Writers Guild-Industry Health Plan needs to be the primary and Medicare the secondary, not, despite my age—my age is now an issue in every waiting room—vice versa.

Sitting in frigid waiting rooms once again filling out the New York–Presbyterian questionnaires.

Sitting in frigid waiting rooms once again listing the medications and the symptoms and the descriptions and dates of previous hospitalizations: just make up the dates, just take a guess and stand by it, for some reason “1982” always comes to mind,
well, fine, “1982” it is, “1982” will have to do
, there can be no way to get the answer to this question right.

Sitting in frigid waiting rooms trying to think of the name and telephone number of the person I want notified in case of emergency.

Whole days now spent on this one question, this question with no possible answer:
who do I want notified in case of emergency?

I think it over. I do not want even to consider “in case of emergency.”

Emergency, I continue to believe, is what happens to someone else.

I say that I continue to believe this even as I know that I do not.

I mean, think back: what about that business with the folding metal chair in the rehearsal room on West Forty-second Street? What exactly was I afraid of there? What did I fear in that rehearsal room if not an “emergency”? Or what about walking home after an early dinner on Third Avenue and waking up in a pool of blood on my own bedroom floor? Might not waking up in a pool of blood on my own bedroom floor qualify as an “emergency”?

All right. Accepted. “In case of emergency” could apply.

Who to notify. I try harder.

Still, no name comes to mind.

I could give the name of my brother, but my brother lives three thousand miles from what might be defined in New York as an emergency. I could give Griffin’s name, but Griffin is shooting a picture. Griffin is on location. Griffin is sitting in the dining room of one or another Hilton Inn—a few too many people at the table, a little too much noise—and Griffin is not picking up his cell. I could give the name of whichever close friend in New York comes first to mind, but the close friend in New York who comes first to mind is actually, on reflection, not even in New York, out of town, out of the country, away, certainly unreachable in the best case, possibly unwilling in the worst.

As I consider the word “unwilling” my lagging cognition kicks in.

The familiar phrase “need to know” surfaces.

The phrase “need to know” has been the problem all along.

Only one person needs to know.

She is of course the one person who needs to know.

Let me just be in the ground
.

Let me just be in the ground and go to sleep
.

I imagine telling her.

I am able to imagine telling her because I still see her.

Hello, Mommies
.

The same way I still see her weeding the clay court on Franklin Avenue.

The same way I still see her sitting on the bare floor crooning back to the eight-track.

Do you wanna dance. I wanna dance
.

The same way I still see the stephanotis in her braid, the same way I still see the plumeria tattoo through her veil. The same way I still see the bright-red soles on her shoes as she kneels at the altar. The same way I still see her, in the darkened upstairs cabin on the evening Pan Am from Honolulu to LAX, inventing the unforeseen uptick in Bunny Rabbit’s fortunes.

I know that I can no longer reach her.

I know that, should I try to reach her—should I take her hand as if she were again sitting next to me in the upstairs cabin on the evening Pan Am from Honolulu to LAX, should I lull her to sleep against my shoulder, should I sing her the song about Daddy gone to get the rabbit skin to wrap his baby bunny in—she will fade from my touch.

Vanish.

Pass into nothingness: the Keats line that frightened her.

Fade as the blue nights fade, go as the brightness goes.

Go back into the blue.

I myself placed her ashes in the wall.

I myself saw the cathedral doors locked at six.

I know what it is I am now experiencing.

I know what the frailty is, I know what the fear is.

The fear is not for what is lost.

What is lost is already in the wall.

What is lost is already behind the locked doors.

The fear is for what is still to be lost.

You may see nothing still to be lost.

Yet there is no day in her life on which I do not see her.

A NOTE ABOUT THE AUTHOR

Joan Didion was born in California and lives in New York
.
She is the author of five novels, eight previous books of
nonfiction, and a play
.