by Ann Bogle
Francis would have liked an orderly biography; Lucy did not want one. She was still alive when I started to write the story of her life, called Lucy's Story, about her recovery from catnip, but it was not the real story. In the fake story, she took the subway to A.A. In reality, she lost interest in the catnip, because it had gotten stale—one day she turned her nose up at it and walked away. She lived a remarkable life, for a cat—even if she had not been a cat—in a series of wonderful apartment buildings and in five cities. About this book of her life, she sat in my lap and pointed her ears back while I typed, not flat back, but enough back so that I could tell she wasn't a fan of histories of herself, even though hers is a good one, with few details too embarrassing to mention, or, if embarrassing in someone else—not in her—and for us instructive. In fact, Lucy preferred art, and before she died, she had learned to sculpt using her favorite red yarn—favorite since early cathood—in large cursive letters: G, L, J, and the symbol for pi. Lucy Rain Cat, I called her, and Lucy Bourgeoise.
Animals, part 1
Francis was a good, gray, wool cat whose father was likely Himalayan, which accounts for the way he strutted the barriers of the yard, walking on fences and edges, as if he had read the deed. Fran died at the age of nearly sixteen. We still miss him and end up lavishing too much motherly attention on his successor, Walter (Wally), whom we picked at the Humane Society.
Animals, part 2
When Francis died, he died twice. He had lost half his body weight—thirteen pounds down to seven pounds—and he had lost the hair on the sides of his body due to renal failure. He had made a trip to the hospital just a few weeks before that and had regained half a pound after feline dialysis. He weighed ten pounds again within a few days back at home, then boom, his weight plummeted and his hair fell out. On his final day, he ate, drank water, visited the litter box and even went outdoors.
Fran was an outdoorsman cat and used to hunt each day as if he were on pest patrol; he headed out each morning like a fireman. The last day was no exception, even though his walking was weak and impaired. We were very fortunate in Francis that he was never attacked outdoors or hit by a car, even though he shared the woods with deer, raccoons, foxes, owls, hawks, and later a coyote. He survived a scare with neighbor dogs once in Houston, and that is the lesson that taught him to stay in his own territory and not stray. He led an adventurous life without injury.
On his last day, we lay in bed together looking into each other's eyes, something we liked to do anyway, and suddenly his eyes glazed over, and he wasn't there anymore, even though he was still breathing. I got up, called the vet, and we made an immediate appointment to bring him in. Emergency resuscitation would keep him alive over the weekend, she said when I got there. She estimated he could live one month more with constant dialysis. Since I wasn't paying the vet bill myself, I estimated what it might cost. The weekend alone would cost $750. I asked the vet about euthanasia. We began to discuss it. She asked whether I was satisfied with the time I had spent with him until recently.
Yes, I said.
Since Fran had chronic rather than acute renal failure, we had managed to have a lot of quality time together, to the point of literally falling in love with each other after Lucy had died in 2001, also of chronic renal failure, a common condition in older cats. I reluctantly agreed to have what was left of Francis put to sleep, as much as I wished he might die naturally on his own as Lucy had with agony and grace. His body was still too strong otherwise, and he might go on breathing, his heart beating, but never return to consciousness.
Animals, part 3
The vet put an IV in Fran's arm and injected him with a lethal dose of barbiturate. Fran's head folded over his paws, and he slept.
Because he died twice, once at home and once at the vet, his eyes and mind first, his body second, there were a series of visions after that. He appeared to me in dreams as a ghost, growing ever woollier and wilder, until he looked in the passage like a wolverine.
In the winter Francis had sat in the utility room downstairs, in the corner of the room called the sump area, a dugout rough and rusty looking, where the pipes all meet in vertical poles. His winter hunting was limited mostly to indoors, since he disliked snow on his feet and left the outdoor animals alone during the cold months. He captured about three mice indoors per year by staking out the sump area of the utility room. This hunting of his reminded me of ice fishing. He sat there in the dark in the middle of the night, concentrating steadily. I would come upon him doing his night ritual if I went into the utility room to do something—throw away something in the large wastebasket or get a hammer or screwdriver or change the litter box. There he might be, staring straight ahead, prepared to kill mice, or mice in theory. The number of times he managed to do that—catch mice indoors—reminds me of publishing, the number of times writers manage to do that, though they hunt indoors and fish for it.
The day after he died a mouse ran at me, where I stood in the middle of the office; I was in fact trying to think of a beginning of a life without Fran, without Lucy. The mouse ran directly down the center of the hallway, veered into the office, and charged almost at my feet then turned away and ran to the utility room. Aghast, I thought we might be infested now with mice. Fortunately, that is not what happened. There was one mouse only, and when it died of starvation in the utility room, it smelled.
Immediately following upon Fran's death, rabbits, among his favorites for hunting, gathered in the back yard under the birdfeeder and stood there. They were not hopping, not running, and not hiding; they were standing about and lingering, loitering. I had never seen rabbits loiter before, regarding their cousins.
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Published at Altered Scale (2012):
Appeared in four parts at Ana Verse in 2006-2007:
CLARITY OR ENOUGH is my second unpublished volume of short stories. "Animals in Reverse" is included there.
In honor of Carol Novack through the medium of our cats.
This story has no tags.
what a piece. most inspiring, enchanting even. the ending, the loitering rabbits, the cat that exhausts its lives, the slow motion in bed. lovely.
Thanks, Marcus. Of all the content that went up at Ana Verse, including pic's of me in my bra & unders, these entries about the deaths of my cats garnered approval, agreement, and accord among, especially, literary avant-gardists. Why?
I'm a huge fan. Wonderful piece. Really like the form, Ann. Great writing. Outstanding imagery here.
Rabbits as mourners. I see their little black Greek scarves tied under their chins and their feet tucked into practical shoes as they wait in silence beneath the feeder for the viewing and the food. I loved this, Ann.*
Thanks, Sam and Joani.
There is something beautiful in this story in that it is a story of being known. Animals are a mystery to me and I feel I learned about them here. I love the tone of the story, the observations of the writer. The ending says so much! *
did someone say bra & undies? or was that the exhaust from car talk in harvard square?
Bobbi, you have solved the nature of the mystery of this set of vignettes. Your idea that it is a story about being known seems right! Thanks very much.
[Gary, it was a day at AV rated PG (6/6/06), and there was a day rated X (9/5/07), a post that happened to coincide with the release of the UH newsletter with my blog address in it, so all who went there saw it, including my mother who heard about it but didn't see it, stored now in the cache at Picasa, marked private.
[I brought it to the surface again, as narrative, in Ecriture de la chatte, as a response to Pokrass' The Serious Writer and Her Pussy that replied to Speh's The Serious Writer and His Penis. I'm beginning a novel about it now, despite the good arguments favoring that.]
This set at 1,152 words leaves out details, such as time of cremation. Does it raise questions that need answers?
A line I found, for some reason, intriguing reads,"There he might be, staring straight ahead, prepared to kill mice, or mice in theory." Perhaps it raises the interesting question about those " others," like, What are they thinking? Is there a theoretical mouse in the brain, looking for its match in reality? Or is the waiting of some other order?
Anyway I liked the piece a lot.
This is a beautiful tribute to cats and how hard it is to lose an animal. And I love the rabbit wake at the end. Loitering and lingering!!! Nice!!! ***
Thanks, David and Meg. Joani and Meg see the rabbits as mourners. I love that idea! Their king, the not benevolent despot, is dead.
David, my hired gun, an editor I put to this ms., spotted that line as well. He suggested changing it to "prepared to kill mice, in theory if not in practice." I think I'll leave it as it is, though, and I like your question.
this one grabs me more than the other ones i've seen by you, too and i'm totally avant garde.
my sense is that this thrills at the same time as bringing readers to some of the most profound and difficult experiences of their past.
And it also subverts the plot, the need for a conflict to get worse and worse and bad, and instead, in yours, it was relatively OK. It has the sense of being true, too, which can be doubly compelling.
i don't remember anyone writing or even talking to me about looking the animals in the eyes like that. i've brought it up often, and while people were enthusiastic, it doesn't seem common. so i don't know if it brings up memories, or something else on another level.
to me, that takes this story to something that i could call spiritual. we read once in awhile about the spiritual nature of love with people, in highly popular poems by rumi, kabir, etc. at the very least. but with animals? not often in literary fiction. it turns more into fabulism, eccentric humor.
yours hits the core of our deepest loves. so the subject matter is ready for sensitive readers who are more introspective, outsiders, thinking differently in the corner reading, with their cats while the popular kids go to the prom.
the title drew me in immediately and made me very ready to like it. and it began with interesting concepts, intellectual challenges. You immediately start off with delicious ideas for the avant- garde mind. It's exquisite in its meta-fiction and quantum in-determinism.
You hook us and then you take it into the fabulism from there, where our minds want to go after the scintillating twists and turns of a deepening concept we're curious about. And after the wonderful apartments reference, we're ready to let our minds expand into a dreamy world outside reality's harshness of normalicy.
Such a cool story, amazing. It transported me.
*
Tantra, what a wonderful gesture to write how you perceive this story, partly in response to my question about why avant-garde. I wrote it feeling "Charlotte's Web" about it, "Charlotte's Web" without the narrative arc. Thanks very much for your comment and *.
Susan, thanks for reading and fav'ing this one.
Great title. Fluid and simple narrative flow.
Thank you, Jonathan.
I like this a lot. *
Thanks, Beate.
A fine remembrance of other fine cats, these cats better appreciate it, too. Excellent springboard, provocative.
(Remembrance provokes reverie: If physicists are earnestly looking for matter in its most pristine density, they need to examine space at the tips of cats' claws. Cats' claws can clearly function in part to hold certain cosmic dualities together, cats' claws serving as sutures over fabrics of time and space: but don't ask the cats. Consult Cousin Ambrose: "Cargo of Cat" if the cats pose disagreement. Another tangle: the faces of cats appear on the walls of the Chauvet Caves, but the feet and claws of cats are not shown anywhere I can distinctly recall. Teeth aren't displayed prominently, either, nor can I recall now even a curly tail.)
Some of you [readers] may have realized before I did that this story, posted almost two weeks ago, comes in preparation for Carol's dying. It is for her/about her through the medium of our cats.
Utterly beautiful, not a word out of place. Thank you.
Jeff, thanks much. stannikov, your comment reminds me that there is much to say about the pussies' lives, about their tails and claws, front and back, about the tail's concentric rings.
I believed at one time (either this was entirely fanciful or there was truth to it) that Lucy had made it to the cover of the New Yorker. I had sent them a short story in which she figures, and they had kept it under consideration for six months. It was at last a turn down, but the very next week or month, a cover appeared that seemed to depict the end of the story if the end were rewritten as a happy one. I noticed that the orange cat in the illustration (who is riding the laps of a couple who are riding a chair past bookshelves to the night sky) has a plain tail without perfect white rings on it, as Lucy's had. Lucy was still alive.