An Irish Legend

Most of his stories are based in small towns and villages of 1950s Ireland. He writes about the underdog: small men and hard-done-by women. He has a deep concern for sexual exiles. His writing is true to that time in history because he normalizes silence, evasion and ambiguity. His fiction reads like truth. It reminds me of the time we lived in Northern Ireland. Almost every day I was flummoxed by the response I got on asking a colleague, how they were.

“Not too bad.”

I was never sure what that meant. Were they well? Or not as well as before? Or not as unwell as before? Not as well as they could be? Bad, but not too bad? I soon came to accept that as normal. In time I came to understand it as a safe answer – not giving away too much. It was historical.

William Trevor was a genius at talking about the unknown known, of knowing and not knowing at the same time. A cognitive disjunction. A common social ailment.

Yes. Mary Louise is in a loveless marriage to an older man and everyone in their small town knows but they pretend like they don’t.

Yes. Everyone knows that Elmer is becoming an alcoholic, but they act like they don’t.

I lately read ‘Two Lives: Reading Turgenev & My House in Umbria’ – a book with two artful novellas by Trevor. Reading Turgenev was shortlisted for the Booker Prize in its time. My House in Umbria was made into a film in 2003, available on YouTube. I haven’t watched it but apparently Maggie Smith is brilliant and the end has been changed for Hollywood.

For me, the protagonists of both these stories exemplify how hidden and unacknowledged grief can escort one to the thin red line between sanity and insanity. Both women are poorly understood even by people who claim to love them, their coping labelled as unacceptable, erratic and bonkers. Judged, condemned and outcast for simply managing their losses. Punished for somehow managing their loss. And finally, put away.

Love endures.

As you walk through the intense fire that follows the death of your child, your heart burns for those walking behind you. You turn around and look at their tear-drenched faces – parents whose child just died . Despite the unbearable heat of your own loss, you can’t help but reach out to them. Their predicament as unbearable to you as your own. In trying to ease their pain, you believe you diminish your own.

This poem is offered by one of the CORe members for those carrying the heavy load of love and loss. It deeply respects the brokenness while also tracing the quiet light that remains, reminding us that even in grief’s shadow, love whispers through.

I feel your grieving, heart laid bare,
pieces scattered, our lot unfair.
Yet each fragment, though fragile, shines,
resilience stitched by love’s designs.

Your angel child, though gone from sight,
does dwell in memory, a quiet light.
In laughter caught, in whispers faint,
in all the love your heart can paint.

Each tear a bridge, each sigh a thread,
connecting worlds where you are led.
The joins of grief, so tender, true,
are etched with courage in all you do.

Though nights are long and shadows deep,
their presence lingers—it does not sleep.
In dreams, in stars, in softest air,
your dearest whispers: “I am there.”

Your love endures beyond the pain,
a sacred flame that shall remain.
Though broken, your heart bears a light,
turning grief’s darkness into sight.

So let each memory softly bloom,
a garden bright within the gloom.
Even in sorrow, love will find
its way to warm the grieving mind.

Now fragments found, arranged anew,

Love, hope, and courage form the glue.

Your heart, though changed, beats strong and true,

A living flame that carries you.

Whispered Reflection:

Each fracture, each delicate seam, carries a quiet, hidden light. Through love, courage, and the passing of time, these pieces are held together, forming a heart that is not the same as before—but more radiant for all it has endured. The very places of repair shine with their own gentle beauty, a reminder that even in loss, love endures and is able to recreate beauty.

Forty pine cones and the story of a name.

(Courtesy: Mary Kennedy, my friend.)

S A A G A R.

In Delhi, it was simple and sweet.
In Belfast, it was a problem. It had to be spoken out slowly with exaggerated lip movements and spelt out clearly. Still, it was uttered in all kinds of ways – Segaar, Sega, Saaga, Sags, Sagsy-wagsy. “As long as you call him with love, you can say his name in any way.” I would say with a smile. But of course, it was his name. Not mine.

At the age of seven, one day he came home from school and said, “Can’t you change my name to Aran or something?” I felt for him but laughed. What else could I do? I asked him if something happened at school that day, if someone said something hurtful and he just picked up his soft stuffed grey elephant and cuddled it.

I told him the story of his name. I was 24 when I got married. My in-laws lived In Chennai. We visited them a few months after the wedding and one evening we all visited a place called Besant Nagar beach. That was the first time my eyes fell upon the expansive ocean. On the map this water body had the boring label, Bay of Bengal. The vision of a dark blue shimmer below meeting a pale blue glow above in a clean, delicate, straight line made everything else disappear. Its calm, its rhythm, its enormity, its subtle dance, its grace and openness pulled me in. All conversation faded away and there I was, completely soaked in the bliss of the ocean. My soul soothed. My body relaxed. My eyes quenched. My heart happy. I was in love. In that moment, I knew that if we ever had a son, he would be called, ‘Ocean’: Saagar. I reminded him that his name was Saagar because his heart was as expansive and as beautiful as the ocean. He smiled and wrapped his soft cuddly arms around my neck.

As he grew older, he came to own his name. He came to live it. The waters of this ocean ran deep. On the surface, it appeared playful but strong currents ran underneath. All I saw was the steady flow of gentle waves, rhythmically lapping against the shore, through all the seasons. It oscillated with the moon but the high tide was never too high and the low tide was never too low, until many years later it was.

In October 2000 we went shopping to the Abbey Centre, around Halloween. Saagar was six years old. He loved riding the miniature cars left dancing on thick metal springs atop short sturdy plinths, strategically placed outside women’s clothes stores. I planted him in a blue car, instructed him not to move and stepped into the shop for no more than a few seconds to take a closer look at a long black dress in the window. I felt the texture of the fabric between my right thumb and forefinger, looked at the label for the price and size and rushed back out of the store. He was not to be seen.
Just like that, we lost each other. He must be so scared. I was petrified! Gosh. The stories you hear… No. No. He’s got to be nearby. ‘Saagar! Saagar!’, I called out, trying not to yell, desperately hiding my panic, my eyes hunting, hurting from the assault of his sudden disappearance from the blue mini-car.
What felt like absolute eternity must’ve been no more than five minutes. An announcement sang out of the PA system. He was walking down the corridor accompanied by a big uniformed man. My son, in his blue jeans and dark blue jacket ran into my arms. Phew! I cried with relief. Thank God!!! I got down on my knees and held him tight. All colour had left his face. His eyes were wide and blank. “It’s okay beta. It’s okay. We’re fine.”
Later that day we went out to collect pine cones from the thick green grass underneath the trees within the premises of Whiteabbey Hospital. I wanted to nest with my baby. I wanted to keep him close to me in small, cozy places where he wouldn’t get out of my sight and I, out of his. We collected forty pine cones in a basket. We talking. The cones half-filled a wide spherical glass jar which took a place of pride in all of our many homes. It followed us everywhere as a reminder of the day we made the promise to never ever lose each other again.

Vincent and James.

2017 – 16. Male. RIP.

2024 – 19. Male. RIP.

Brothers. Second generation Chinese immigrants in USA. Their mother, a writer who lost both of them to suicide.

Where Reasons End (2019) by Yiyun Li, after Vincent’s death.

I read this book when it was first published. An imagined conversation between her and her older son, Vincent who lived ‘feelingly’. Sixteen chapters, one for each year of his life. It has a witty and mischievous tone. Nicholai, a name he gave himself, chides his mother’s new embrace of cliches and adjectives. “If you’re protesting by becoming a bad writer, I would say it’s highly unnecessary,” he says. (“Dying is highly unnecessary too,” she shoots back.)

Things In Nature Merely Grow – Pulitzer Prize Finalist 2025, by Yiyun Li, a memoir. She wrote it within two months of her younger son, James’ death. I feel deeply for her and with her but I am not sure I want to read that book right now. A few lines from it sing true:

“I am in an abyss. If an abyss is where I shall be for the rest of my life, the abyss is my habitat.”

“My children were not my burden. My sadness is not my burden.”

“I am very realistic in that I would always acknowledge that I am limited as their mother. I was limited, and I am still limited as a mother, so I can only do my best.”

When people hold an expectation that her grief must have an end date, she retorts, “How lonely the dead would feel, if the living were to stand up from death’s shadow, clap their hands, dust their pants, and say to themselves and to the world, I am done with my grieving; from this point on its life as usual, business as usual.”

“This is a very sad fact of our lives, they took their own lives knowing we would accept and respect their decision.”

Could I accept and respect Saagar’s decision one hundred percent? I believe it was not his decision. It was his utter helplessness and desperation in the face of his illness, his unsuitable antidepressants, lack of medical care, his isolation, his inability to recommence his education, our inability to talk about it and so much more. He was driven to it. It was not by choice. Anyone who knew him, knows that. I do understand though.

I understand, my darling.

References:

https://www.theguardian.com/books/2019/feb/05/where-reasons-end-yiyun-li-review#

https://www.theguardian.com/books/2025/may/17/author-yiyun-li-on-the-suicide-of-both-her-sons