and though I couldnât make much of it out at the time, one line from one poem has always stuck with me. âI did not recognize the shape of my own name.â
I pondered that, lying awake in my bedroomâthe once and future bedroom that Iâm writing this from now, that I slept in then, that I awoke in when I was a young child, frightened by a storm. The rest of that poem made little sense to me, a series of images that were threaded together by a string of line breaks.
But I know about names, and hearing the one thatâs been given to you, and not recognizing it. I was trying to stammer this out to Dara one night, after sheâd read that poem to me. And she asked, plain as could be, âWhat would you rather be called instead?â
I thought about how I used to introduce myself after the heroes of the TV shows my father and I watched: Doc and George and Charlie. It had been a silly game, sure, but thereâd been something more serious underneath it. Iâd recognized something in the shape of those names, something I wanted for myself.
âI dunno. A boyâs name,â I said. âLike George in The Famous Five.â
âWell, why do you want to be called by a boyâs name?â Dara asked gently.
In the corner, where youâd been playing solitaire, you paused while laying down a card. Dara noticed too, and we both looked over at you. I cringed, wondering what you were about to say; you hated that I didnât like my name, took it as a personal insult somehow.
But you said nothing, just resumed playing, slapping the cards down a little more heavily than before.
*Â Â Â *Â Â Â *
I forgive you for drugging me to take me back to 1963. I know I screamed at you after we arrived and the drugs wore off, but I was also a little relieved. It was a sneaking sort of relief, and didnât do much to counterbalance the feelings of betrayal and rage, but I know I would have panicked the second you shoved me into one of those capsules.
Youâd taken me to the future, after all. Iâd seen the relative wonders of 1981: VHS tapes, the Flash Gordon movie, the Columbia space shuttle. I would have forgiven you so much for that tiny glimpse.
I donât forgive you for leaving me, though. I donât forgive you for the morning after, when I woke up in my old familiar bedroom and padded downstairs for a bowl of cereal, and found, instead, a note that bore two words in your handwriting: Iâm sorry.
The note rested atop the gilt-edged book that Grandma Emmeline had started as a diary, and that Uncle Dante had turned into both a record and a set of instructions for future generations: the names, birth dates, and the locations for all the traveling members of our family; who lived in the house and when; and sometimes, how and when a person died. The book stays with the house; you must have kept it hidden in the attic.
I flipped through it until I found your name: Miriam Guthrie (née Stone): born November 21, 1977, Harrisburg, IL. Next to it, you penciled in the following.
Jumped forward to June 22, 2321 CE, and will die in exile beyond reach of the anachronopede.
Two small words could never encompass everything you have to apologize for.
*Â Â Â *Â Â Â *
I wonder if you ever looked up Dadâs obituary. I wonder if you were even able to, if the record for one small manâs death even lasts that long.
When you left, you took my fatherâs future with you. Did you realize that? He was stuck in the slow lane of linear time, and to Dad, the future heâd dreamed of must have receded into the distance, something heâd never be able to reach.
He lost his job in the fall of 1966, as the White County oil wells ran dry, and hanged himself in the garage six months later. Dara cut him down and called the ambulance; her visits became more regular after you left us, and she must have known the day he would die.
(I canât bring myself to