Anagrams

I do not understand. I cannot tell who is real, or who is imagined. I tell myself that it does not matter, but it does. I tell him that the book is strange, but I cannot say why; I tell her I will write to her about it, but I cannot begin. I am restless when the book ends, my right leg is shaking in the way that my aunt hates, and I am chewing on my lower lip because I want to say something, but do not know what.

So I pick on lines, and metaphors, on Lorrie Moore’s sentences that throw images at me before leaving them there and carrying on, unconcerned. They are hanging and unconnected to the larger story that should be more important, but it really isn’t. I have grown accustomed to the importance of this larger story, to focus on all that happens, and how people there react; I have grown accustomed, and forgotten to look beyond.

I both am and am not the Benna that Moore creates; it is easy for me to forget that her daughter, Georgianne, exists only in her head, that she is just differently real. I think of all the people I have made up, none with so much detail or feeling, I do not know what they look like, or sound like, or what they are wearing. In our conversations, I am saying the smart, witty, sensible things I would not have said otherwise, and these people disappear when our conversations grow old. But for Benna, her daughter is real—she hugs her, shows her the wisdom tooth she has had removed, finds her a baby sitter, and takes care of her when she is ill. “I made up a real daughter,” “I don’t go around making up imaginary daughters,” she tells Gerard. There is Benna’s real, my real, and the reals we have created.

There is a moment when Benna sees Georgianne standing at the top of a staircase. In that moment I wondered what she saw, but it is only a moment for me; Benna does not stop to think that her daughter is not really there, and her story moves on. I wonder what Benna is actually doing when she is with daughter—sitting, standing, teaching, or in a café—like the times she meets her friend Eleanor, who is as real as Georgianne. They meet at cafés and over dinner and talk about everything—poetry, Middlemarch, men—important things that matter, even if you do not want them to.  Eleanor and Georgianne are like the characters you want to create when you write, the characters that grow beyond your control, and take your stories where they want to go.

“Meaning, if it existed at all, was unstable and could not survive the slightest reshuffling of letters,” Benna says, as she talks about language and words. It is this reshuffling that she is always doing—in her metaphors, in the people in her life-both real and differently real, in the images that she creates, and the stories that she tells and retells. Benna’s story is a pack of cards shuffled perfectly for a game; hers is also more than one story. Then what is meaning?

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