by Trisha Cull
The Death of Small Creatures
The Death
of Small Creatures
Trisha Cull
Nightwood Editions | 2015
Copyright © Trisha Cull, 2015
all rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted, in any form or by any means, without prior permission of the publisher or, in the case of photocopying or other reprographic copying, a licence from Access Copyright, the Canadian Copyright Licensing Agency, www.accesscopyright.ca, [email protected].
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Typography & Cover design: Carleton Wilson
Cover Image: Benson Kua
Nightwood Editions acknowledges financial support from the Government of Canada through the Canada Book Fund and the Canada Council for the Arts, and from the Province of British Columbia through the British Columbia Arts Council and the Book Publisher’s Tax Credit.
This book has been produced on 100% post-consumer recycled, ancient-forest-free paper, processed chlorine-free and printed with vegetable-based dyes.
Printed and bound in Canada.
library and archives canada cataloguing in publication
Cull, Trisha, 1974-, author
The death of small creatures / Trisha Cull.
Issued in print and electronic formats.
ISBN 978-0-88971-307-9 (pbk.).--ISBN 978-0-88971-041-2 (html)
1. Cull, Trisha, 1974- --Mental health. 2. Depressed persons--
Canada--Biography. 3. Bulimia--Patients--Canada--Biography.
I. Title.
RC537.C84 2015 616.85’270092 C2015-901140-X
C2015-901141-8
Caravaggio and Marcello: for sunshine and clover—I dedicate this book to you.
Acknowledgements
Thank you, my mother, for your strength, gentleness and grace.
Sandy: for your moonlit porch, basil from your garden, and your open doors.
My family: for your fortitude and the beauty of your frailty.
Dr. P: for your graciousness, wisdom and candour; for allowing me my enchantments.
Anna: for night walks and strange trees that smell of vanilla, though we’ll never know why.
Krista: for your willingness to lose our friendship in order to save it.
Caroline: for your force of nature.
Fiona: for being the first to listen.
Dr. W: for going the distance.
Richard: because I love you.
Silas White: for helping me to see the finer details and bigger picture.
Andreas Schroeder: for being the first to make me feel like a real writer.
Also to Richard for baring your soul by allowing me to share your emails, and to Dr. P for the use of your clinical notes.
I love you as the plant that never blooms
but carries in itself the light of hidden flowers;
– Pablo Neruda, “Love Sonnet XVII”
Journal
October 10, 2008
Saw Dr. Lohrasbe today after a two-week lapse of not seeing her, due to scheduling issues. She had some news for me, not sure what to make of it.
Last week I had an EEG. Electroencephalogram.
Dr. L told me that my first EEG results were abnormal, that they may have found something on my frontal lobe. She has referred me to a neurologist, who will presumably do some tests to determine the neurological significance of this thing that may or may not be on my frontal lobe. I am not especially alarmed. I wonder if I should be. Is it a coincidence that I’ve been getting pangs of pain in my head lately? She said that had my old doctor continued to increase my dosage of Effexor, I may well have had a seizure.
October 10, 2008 (second entry of the day)
I’m flying right now. This is possibly the highest high of my so-called hypomanias thus far. Whatever it is that first compelled me to seek medical treatment (I was depressed and not sleeping and kind of agoraphobic and utterly gripped with anxiety) is definitely evolving into something more serious. I feel it happening.
Sometimes there is a black hole, this surrealism. How stark and strange the world feels at times. At its worst, you feel like you are going to die. This proclamation of death seems to be very typical when one is in that state of severe depression. It’s called impending doom. There’s a common thread between people who end up there, or rather here, severely depressed, wherein they all assert this notion of imminent death.
You just know.
I tell my husband, Leigh: “You don’t understand. I’m not just sad. I’m sick.”
Everything feels ultra-real right now.
I feel a red metal wheel spinning inside my head. There’s that thing I referred to in my last entry, just sitting there in my brain, perhaps. It’s like I can see it. It’s a little white cloud. It’s just a little white cloud.
October 22, 2008
I’m eating and keeping it down again, feeling gluttonous. I have never been a skinny bulimic. I feel the nutrients in my blood too. There’s colour in my cheeks. My gut is heavy but I can climb stairs.
I will be starting a part-time job at Royal Roads University, in the library, weekends only. I need to enter back into civilization at some point.
I have another appointment with Dr. L tomorrow morning. I will stay with her until I find someone else. I had a prescription refilled at a walk-in clinic yesterday. The doctor (whom I later saw pull out in a BMW) prescribed more Seroquel and asked, “So this program is working for you then?”
“This program?” I said. “Well no, actually it’s not. I’m thinking of getting a new psychiatrist.”
He said, “I wouldn’t do that. Good psychiatrists are hard to find in this town.”
For all he knows, my current psychiatrist could be prescribing me crystal meth. He knows nothing about me or my current shrink, so advising me to stay with one shrink because there are apparently so many other inept shrinks is setting the bar pretty low.
“I’ll give it some thought,” I said.
I have an appointment with the neurologist on November 4 to determine the medical relevance of the spot on my frontal lobe.
October 24, 2008
I am weary, exhausted. I am the high-pitched ting of a triangle: the inner vertices, that tiny space in which to rest, “the point where the axis of an ellipse intersects a curve.” I resonate within myself, angular, silvery, a tuning fork yearning for a more precise approximation of the note it is destined to equal, but never will. I am the divining rod dowsing for water, the electromagnetic field between the opposing branches of that V.
Negative space is relevant.
I feel my forehead pulled toward the magnetic earth as if there is a metal plate in my head. The depression squeezes my throat, digs in, presses me earthward. I am conjuring a great tumour, but cannot take myself that seriously. I hear Arnold Schwarzenegger saying, “It’s nodda tuma.”
Spent hours today and this evening looking for a lost or missing cat, the stray who has for the past four months taken up residence on my sister’s porch. We have been feeding him, laying him to bed in a large empty flower box, with blankets and a hot water bottle, while we look for a home for him. We cannot take him inside because my sister already has two cats and a rabbit, and of course I have two rabbits, plus Leigh is allergic to cats. We walked around quiet streets in the darkness, under lamplight, strolling down sidewalks under great red leaves ticking on the unders
ides of branches, red maples, about to fall from the brittle cusps, the nodes—which have been the supple umbilical for the green summer leaves—now dying.
A perfect autumn night on the island; if only the circumstances were better. We both ached inside, longed for this cat—to find him, to have him come bounding from someone’s yard or from under a hedge, for him to find us and stop our aching.
We call him Easy Boy.
I’m hampered by this notion of returning to work, and back in an office, a library. I have to do it, but it feels completely impossible.
Fighting with Leigh. Why do I again feel like a zero in this relationship? Is it just me, my self-esteem issues, or the bipolar, or is there a genuine manipulation going on, Leigh deliberately devaluing me? Or more likely, all of the above?
Sometimes I think I just want to leave him so I can fall in love again, start over, as if it boils down to just wanting to feel that rush again.
One
The Dogs of Rome (July 2003)
Moat Lake, Strathcona Park, BC
A lake is the landscape’s most beautiful and expressive feature.
It is Earth’s eye; looking into which the beholder measures
the depth of his own nature.
– Henry David Thoreau
The moon falls quickly in the mountains. Here is conclusive evidence, its measurable plummet from three fingers above the ridge of Mount Albert Edward, then two fingers, then one, then no moon anymore.
I lower my hand.
My wrist falls over the cool tin edge of the dinghy. Fingers dip into the suddenly dark lake. A constellation disassembles then reconvenes, Cassiopeia, the upside-down queen. I take a mouthful of red wine, hold it in, bitter wild berries. You never remember the swallow, only how it feels inside. I take an equally long drag of a cigarette, each time surprised to find it lit, anticipating wet ash. Everything here is sacrament—this wine, this lake, this smoke. I whisper, Strathcona, raise the bottle under starlight, fall back, close my eyes.
Nothing here trembles. You must be careful.
At the end of the lake, a waterfall, nature’s painless traffic. Firelight laps across the sky. Around that dark island, intervals of laughter. The man said a family of bears lives nearby. Nail down the shutters if it gets windy. Tie up the boats. Storms come quickly from down that ridge, hone in upon the lake like a funnel. A man once lost his hand when the wind closed the door on him. They had to chopper him out, couldn’t save the hand.
I am thinking of his hand now as my fingers dip into the lake again. This is how two hands meet in deep dark water. This is how it feels.
Six months ago is the first time, heart pounding, arms numbing into inevitable death, my worst fears confirmed, that death is cold and uncertain and endless. My sister is talking about Rome, her second trip to Italy. We didn’t want her to go, imagined a 747 colliding with the Colosseum and blowing it apart the way the planes blew apart the towers. We imagined a ball of fire where the gladiators once battled.
“Do Roman dogs look different than Canadian dogs,” I ask, “like how the birds in Mexico look like pterodactyls?”
“The dogs are thinner,” she says. “The women, fatter.”
“What happened to the dogs?” I ask.
I know I cannot push too hard but must allow her that moment of reprieve when the mind soars above the olive grove inside its current of electrical impulses. I must not cut across too quickly or she will lash out like a whip, etch her pain into my flesh and leave an elegant, flawless gash.
She called me early one morning during this trip, her voice crackled and distant. “I’m standing on the Italian Riviera,” she said. “I’m reading Smilla’s Sense of Snow.”
Now, on the wall above her fireplace is a picture of the Colosseum, foggy and crumbling at the edges due to overexposure. She learned by accident a civilization is crumbling too, post-September 11, this ghost beyond the Pantheon.
She gives me a small, rough pink stone. “I took it from Ostia Antica,” she says, smiling, “but it’s not really stealing.” My sister’s smile is sophisticated and innocent. When she was a little girl it was the same. When she stubbornly refused to do what one adult or another demanded of her, her long brown hair swept over a large blue eye. You end up believing whatever she says because she comes at you with her incredible beauty and bearing a secret gift, a stone that can cure a broken heart, or a thimble of Chianti placed in your hand as you enter her home from the rain.
“A piece of ruin?” I surmise.
She unfolds a small square of paper, smoothes it across her thigh. Firelight ripples through blue goblets of cheap Cabernet.
“Here’s a map,” she says. “It’s not really stealing because you are going to put it back.” She points to the star. “Just where I found it.”
“Is this your way of getting me to Europe?” I ask, rubbing a rough edge, thicker at the base and pointy at the top. It could cut skin, this ruin.
We scribble an itinerary on a napkin for this next journey to Europe—airfare, hotel and hostel rates less one night train to Venice, bread and cheese times fourteen days. We will land in London and stroll through Trafalgar Square wearing Nine West leather boots with three-inch heels, pea coats and white wool scarves, then onto Amsterdam for some light hash and indeterminate forms of corruption. In Italy we will wander cobblestone streets until dusk, drinking wine, seducing men with our blue eyes and Botticelli bodies. We will laugh about it in the morning, like in Mazatlan when she found the Mexican boy draped over my body at the Azteca Inn, his firm round ass afire in a shaft of light through the curtains, blue jeans crumpled at the foot of the bed. How I whispered like a Latin lover, dragging my finger down his rippled abdomen, “No Luis, I will not give you my phone number,” and the translation in darkness to follow, my fingers dragging across the pages of the book. Sorry. I’m sorry… lamento tener que decirte que… amante… we are, Luis, you and I… los amantes… lost.
Then back up the boot and over to Spain, though she may go ahead to Africa for a few days, come back adorned in copper jewellery made from the remnants of trinkets gathered from minefields by one-armed children.
I place the stone in the middle of the itinerary and fold the napkin around it; when I go home I will place this in a Guatemalan penny purse and nail it to the wall above my bed.
“We’ll have the time of our lives,” she says. “You won’t regret it.”
I lean back and stretch my arm along the top edge of the couch. Lanterns sway in a breeze under the porch eaves. Her cat Bronte licks a paw and strokes her white cheek.
Then suddenly it comes, encloses around me—a prickly warmth. My palms sweat, and my heart beats fast.
I understand in this moment that death is a steady calculated eclipse, a hot examination of what you once were in the living, and you are dying, and that is death dragging you along a bright fringe of moon.
I lean into the fire.
“Are you okay?” she says.
Is it true a cat can see a ghost? Bronte, is this my ghost you see? Everything, suddenly, is transient. This is the point of entry and exit, a temporal rift. It is impossible to have so little choice, this ushering off.
You never think this day will come.
I will not step into the pond at the top of the island, its pollinated yellow skin and murky insides. Few have entered, maybe the odd hiker exploring beyond the trail. It is a publicity I can’t bear, my body out here, midday, though I am hot and hungover. The others glide across the dark green stretches, silver-skinned and smiling. A woman’s body occupies space proportionate to what surrounds it. She feels smaller in a dressing room perhaps, but in the wilderness she bloats and swells.
“No, I’ll wait out here,” I say.
I have come here with Leigh. His black swim trunks balloon in the water. He floats on his back, eyes closed, muttering something. I want to kiss him, th
e cold wet lips, lay his head in my lap.
After the others leave, I see him more clearly and take comfort in the process of displacement, the clear line of where he once was and where he goes, and what reconvenes around the place just occupied. If he moved through air this way, I would not lose him. I would welcome silence, speak less and sleep naked from time to time. There would be no more questioning of his motives, why he wants to date a younger woman like me. I would enjoy the sunlight upon our hardwood floors, and the prism hanging in the window, refracting rainbows across the rubber tree plant, filtering through my secret longings.
Do you love him, or is it fear? You are almost thirty.
He climbs onto a flat slate under the surface, pulls off his swim trunks exposing the shrivelled cold white penis and shouts an exhilarated whooo as wind meets his body. A thousand little mouths exalt. How quickly he dries. A few rivulets of water spiral down his arms, chest and hard muscular calves, and for a moment I understand the relationship between water and flesh—wanting and indifference at once.
“The others are leaving for Mount Albert Edward,” I say. “Shouldn’t we go?”
Off he dives into the centre of his gravity, splash, deep, into a cliff of light, as the water reconvenes.
My sister runs three red lights, one hand pressed firmly in the centre of my chest as though to ward off further accidents, my heart a magnet for collision. I press my palms on the dashboard. To touch is important. My mind stretches horizontally to cover every uncertainty of this process, to organize the details—stop signs, street lights, cars, the canopy of tree branches and stars over Richmond Road, my sister’s voice. Her words become tangible shapely things I pluck from her lips and keep inside.
But by the time the car slows outside the doors to the emergency room, my pulse has slowed. Only a faint trace of vertigo remains. I remove my hands from the dashboard and begin to feel foolish, fear it has been some slip of the mind, and wish I had arrived with an open sore, a small deep gash in the Achilles.
