With eloquence, candor, and simplicity, a celebrated author tells the story of his father's alcohol abuse and suicide and traces the influence of this secret on his life as a son, father, husband, minister, and writer.
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About the Author
Frederick Buechner, author of more than thirty works of fiction and nonfiction, is an ordained Presbyterian minister. He has been a finalist for both the Pulitzer Prize and the National Book Award and was honored by the American Academy of Arts and Letters. His most recent work is Beyond Words: Daily Readings in the ABC’s of Faith.
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The Dwarves in the Stable
One November morning in 1936 when I was ten years old, my father got up early, put on a pair of gray slacks and a maroon sweater, opened the door to look in briefly on my younger brother and me, who were playing a game in our room, and then went down into the garage where he turned on the engine of the family Chevy and sat down on the running board to wait for the exhaust to kill him. Except for a memorial service for his Princeton class the next spring, by which time we had moved away to another part of the world altogether, there was no funeral because on both my mother's side and my father's there was no church connection of any kind and funerals were simply not part of the tradition. He was cremated, his ashes buried in a cemetery in Brooklyn, and I have no idea who if anybody was present. I know only that my mother, brother, and I were not.
There was no funeral to mark his death and put a period at the end of the sentence that had been his life, and as far as I can remember, once he had died my mother, brother, and I rarely talked about him much ever again, either to each other or to anybodyelse. It made my mother too sad to talk about him, and since there was already more than enough sadness to go round, my brother and I avoided the subjectwith her as she avoided it for her own reasons also with us. Once in a while she would bring it up but only in very oblique ways. I remember her saying things like "You're going to have to be big boys now," and "Now things are going to be different for all of us' "and to me, "You're the man of the family now," with that one little three-letter adverb freighted with moregrief and anger and guilt and God knows what all elsethan it could possibly bear.
We didn't talk about my father with each other, and we didn't talk about him outside the family either partly at least because suicide was looked on as something a little shabby and shameful in those days. Nice people weren't supposed to get mixed up with it. My father had tried to keep it a secret himself by leaving his note to my mother in a place where only she would be likely to find it and by saying a number of times the last few weeks of his life that there was something wrong with the Chevy's exhaust system, which he was going to see if he could fix. He did this partly in hopes that his life insurance wouldn't be invalidated, which of course it was, and partly too, I guess, in hopes that his friends wouldn't find out how he had died, which of course they did. His suicide was a secret we nonetheless tried to keep as best we could, and after a while my father himself became such a secret. There were times when he almost seemed a secret we were trying to keep from each other. I suppose there were occasions when one of us said, "Remember the time he did this," or, "Remember the time he said that," but if so, I've long since forgotten them. And because words are so much a part of what we keep the past alive by, if only words to ourselves, by not speaking of what we remembered about him we soon simply stopped remembering at all, or at least I did.
Within a couple of months of his death we moved away from New Jersey, where he had died, to the island of Bermuda of all places--another house, another country even--and from that point on I can't even remember remembering him. Within a year of his death I seem to have forgotten what he looked like except for certain photographs of him, to have forgotten what his voice sounded like and what it had been like to be with him. Because none of the three of us ever talked about how we had felt about him when he was alive or how we felt about him now that he wasn't those feelings soon disappeared too and went underground along with the memories. As nearly as I can find out from people who knew him, he was a charming, good-looking, gentle man who was down on his luck and drank too much and had a great number of people who loved him and felt sorry for him. Among those people, however inadequately they may have showed it, I can only suppose were his wife and two sons; but in almost no time at all, it was as if, at least for me, he had never existed.
Don't talk, don't trust, don't feel is supposed to be the unwritten law of families that for one reason or another have gone out of whack, and certainly it was our law. We never talked about what had happened. We didn't trust the world with our secret, hardly even trusted each other with it. And as far as my ten-year-old self was concerned anyway, the only feeling I can remember from that distant time was the blessed relief of coming out of the dark and unmentionable sadness of my father's life and death into fragrance and greenness and light.
Don't talk, trust, feel was the law we lived by, and woe to the one who broke it. Twenty-two years later in a novel called The Return of Ansel Gibbs I told a very brief and fictionalized version of my father's death, and the most accurate word I can find to describe my mother's reaction to it is fury. For days she could hardly bring herself to speak to me, and when she did, it was with words of great bitterness. As she saw it, I had betrayed a sacred trust, and though I might have defended myself by saying that the story was after all as much mine as his son to tell as it was hers as his widow to keep hidden, I not only didn't say any such things but never even considered such things. I felt as much of a traitor as she charged me with being, and at the age of thirty-two was as horrified at what I had done as if I had been a child of ten...
Most Helpful Customer Reviews
A father's suicide and a daughter's anorexia exemplify the sort of secret that radically modifies an individual and, in turn, can be modified by being told. The fiction of noted theologian/novelist Buechner ( A Long Day's Dying, LJ 1/1/50) has been called "psychological." His nonfiction, too (including Whistling in the Dark, LJ 7/88) explores his comprehension of the soul rather than exhorting. This slim memoir does well what Buechner has become noted for doing: showing with subtlety the stark nature of being one thinking being among many. His prescription for the church to look at Alcoholics Anonymous for a modern model is compelling.
quite, quite interesting and very quick to read. I'm going to read all his other stuff now too.
We need a new book