It was an act of nature. Or God. Or fate. Perhaps all three. What everyone did know was that the tree had crashed onto the roof of one house and tipped up the foundations of the other. It had stood between those two homes for just over sixty years and with the disregard that nature has for walls-as-boundaries had sunk its roots deep into the ground of one property and curved itself over the gables of the other. The two houses had been locked in a no-speaking spell for almost thirty years. A slight had passed between the oldest man of each house - who had said what had been lost somewhere in the dim decades of the argument, but the cudgels of the fight had been taken up with great enthusiasm by the next generation (and the next). A promising friendship between the youngest daughters of each family broke off, the sons began ignoring each other when they backed out of the driveway, the children obeyed the cement line between the two properties as though it were an electric fence.

Fary was very, very moving. Her voice was soft, like the lapping of the river against fishermen’s canoes on quiet mornings. Fary’s smile was the dawn, her ass round as dunes in the Lompoul desert. Fary had eyes that were both doe and lioness. At times an earth-shattering tornado, at others an ocean of tranquility. God’s truth, I would have lost Mademba’s friendship to win Fary’s love. Luckily, Fary chose me over Mademba. Luckily, my morethan-brother deferred to me. It was because Fary chose me in front of everyone that Mademba stepped aside.

She waits, holding her breath, but he says nothing more. All this time Bird’s gaze hasn’t left the city below, the dense milling swarm of it. One hand still rests half raised, as if he’s propping himself up on air, or trying to grasp the edge of the skyline. She waits, lets the moment breathe and drift, trusting it to find its own way to land.

Why did you leave, he says at last.

It is easier to ask these things up here, somehow, where everything except them is small and far away.

She spreads her arms wide, as if to dive, tips her head back, closes her eyes. The moonlight catches in her hair, frosting it with silvery glints. For a moment, frozen there, she looks like the figurehead of a ship, sailing boldly forward into strange new waters. Then her hands drop to her sides, and she turns back again.

I’ll tell you, she says. I’ll tell you everything. If you promise to listen.

And he understands, then, how it’s going to go. How he’ll find her again. What he’s going to do next, alongside everything else his life will bring. Somewhere out there are people who still know her poems, who’ve hidden scraps of them away in the folds of their minds before setting match to the papers in their hands. He will find them, he will ask them what they remember, he will piece together their recollections, fragmentary and incomplete though they may be, mapping the holes of one against the solid patches of another, and in this way, piece by piece, he will set her back down on paper again.

Yes, please, he says. I would like that, very much.

This was the story I wanted to tell without sentiment or cynicism; the one I thought justified speaking hard truths. The flash of insight I’d had—that I could not leave my mother because I’d become my mother—was my wisdom: a tale of psychological embroilment I wanted badly to trace out.

To tell that tale, I soon discovered, I had to find the right tone of voice; the one I habitually lived with wouldn’t do at all: it whined, it grated, it accused; above all, it accused. Then there was the matter of syntax: my own ordinary, everyday sentence—fragmented, interjecting, overriding—also wouldn’t do; it had to be altered, modified, brought under control. And then I could see, this as soon as I began writing, that I needed to pull back—way back—from these people and these events to find the place where the story could draw a deep breath and take its own measure.