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Chapter 32: Closed and Open
That afternoon, Teresa stands outside the Mantecombe post office. She has just sent off the first draft of the memoir to her editor. She feels sad to be finished, but there is also an inner lightness, a sense of relief. It is rather like the euphoria one feels after a bout of the stomach flu, when there is nothing left to purge and the internal fireworks have subsided. Teresa tells herself to enjoy the sensation, since she knows that she’ll be revising great chunks of her writing as soon as Janine has read it.
The work of revision, however, is in the future. Right now she has hours of free time, and a date–well, let’s just call it a dinner– tomorrow with Father Michael. She should get something nice to wear, a swirly skirt, or a bright summer dress. Teresa decides to drive south as far as she can go today, all the way to Land’s End. The tourist towns in Cornwall will surely have some clothing stores. She returns to the Manor, packs an overnight bag, and leaves a note for Miss Micklewhite that she’ll be back tomorrow.
The traffic gets worse the closer Teresa gets to Penzance. While creeping along in a line of cars, Teresa muses over finishing the memoir. She knows the therapeutic value of writing; there are innumerable self-help books that recommend journaling, goal-setting, or some other type of writing to achieve clarity or release. The memoir has freed her of some weighty baggage. In particular, writing about the process of forgiving changed her. She had been inhabiting her past. Now the past is just that, past, and it has lost its grip. A new feeling is tickling the space between her ribs, like a fresh green sprout. She might, just possibly, call it peace.
What if Margaret forgave her father? Teresa wonders. The next thought comes in a flash of surprise: what if I write forgiveness into the story? What would happen to the real ghost if the story I write has a different ending? By the time Teresa finds a hotel and dinner, it is late. She lies awake in her hotel bed, her mind unable to let go of this new intriguing idea. She knows how she would write the scene. She can see it unfold as if on a cinema screen.
It takes place in Margaret’s room at the Manor House. There is a fire crackling in the hearth, giving light and warmth into the darkness of the room. Outside the window, it is still night. George sits slumped in a chair, dozing. Margaret is on the bed, a blanket thrown over her. Her skin is the color of skim milk, her face bruised and swollen. She stirs and opens her eyes. She sees George.
“Da?” she says. “Is that you?”
He snaps awake. “Margaret? Nooo, it can’t be!” He kneels at the bedside.
She lifts her hand, reaching out to him. “Da, where’s Lucas?”
“He’s alive, but he’s hurt some. He’s at a farm nearby, with a woman who’s a healer. She has a babe, too. She’s feeding Lucas.”
“Oh, that’s good.” She lapses into silence from the effort of talking. Then she says, “And Mary?”
“Died of a fever, three winters past.” George begins to weep. “Oh, Maggie, I’ve missed you these years. We treated you poorly, we did. Even Mary said so, before she died.”
Margaret squeezes his fingers. “It’s all right, Da. It’s over and gone. I knew you loved me.”
“Always did, always will, Maggie-pie.” He kisses her hand.
Here the film in Teresa’s imagining fades into blankness. Would it be too corny if Margaret turns to look out the window where dawn is beginning to show its light, and then dies? The camera could pan out the window, over the farm fields and down to the sea, where the wreck of the Maeve lies broken on the rocks. Teresa wrinkles her forehead. I’ll have to work on that part.
Teresa finally falls asleep. She will stay at the Manor to write Margaret’s story. She’ll do more research and see more of Father Michael. And maybe Father Michael will understand how Teresa’s life and Margaret’s life were meant to come together across time. How it had to be Teresa, with her own ghost and bearing the loss of her own child, who would uncover Margaret’s secret. And maybe Father Michael would also understand about the writing. That just like history is rearranged in textbooks to suit the particular slant of the government in power, memories can be rearranged as well. And if Father Michael is really astute, and truly compassionate, he might also understand how Teresa could write her own and Margaret’s way out of anger, into forgiveness and peace of heart. He might be a man like that. If he is, it could be a very good year.
Dear Readers,
I’d love to know your reactions to The Manor House. Please drop me a comment.
Thank you for reading!
Kim








