48. Open Sesame
And you. Do you remember how we sat on a balcony—was it in Gythion?—and I asked you what it was you wanted to do; we’d been traveling for weeks already and I was beginning to miss the studio, amazed that you could spend so much time doing nothing. What do you want to do with your life? And you, who had always been hesitant to lay claim to anything, to wrap your fingers around it and close your fist over it and say It’s mine, who had been vacillating for too many years already, accustomed now to indecision, to squandering time, said you wanted to play the piano. The speed and certainty with which you delivered your response startled me. Good, I said, then we’ll move your piano to the studio when we get back to Berlin, and when we did, it was so huge and heavy I thought the sagging floorboards in the rickety old factory building might cave in, but they didn’t. And then you began to play, and that’s what you’ve been doing ever since: all you ever needed was permission, someone to say إفتح يا سمسم, Open Sesame, though it wasn’t the treasure of forty thieves locked inside the cave that you sought, but your own.
We spent years piecing through our family histories. We were looking for the black box, the irreducible core of things, telling each other story after story until we narrowed it down to an essential repertoire, one for you and one for me, the Story of A. and the Story of C., and these became the stories we told each other, over and over again, trying to make sense of them; wondering if we were numbing ourselves to their effects as the groove we dug grew deeper and deeper. And where are we now? Our exchange orbits around a child into whom half of you has flowed, and half of me, whatever it is we carriers of genetic information might be, living libraries. We’re no longer children, but once we were like two orphans who’d left behind a trail of breadcrumbs, and then we woke up and found they were gone and there was no way to retrace our steps or to begin again. And so I took one path, and you took another, and it’s the love for a child we have in common now; the worry. Appendicitis on my side of the family, Goodpasture’s Disease on yours; diabetes on mine, cancer on yours. Schizophrenia on mine, schizophrenia on yours—but your piano is still in my studio, and it always will be.