“When I go to visit I always find her out in her walled garden with her hands sunk into the mulch, kneading the roots of her camellias. If she isn’t home, I walk down to the end of the historic cobbled street and find her standing on the sea wall in her raincoat and no shoes, glaring at the ocean. Orleanna and Africa at a standoff. The kids flying by on bicycles steer clear of this barefoot old woman in her plastic babushka, but I can tell you she is not deranged. My mother’s sanest position is to wear only the necessary parts of the outfit and leave off the rest. Shoes would interfere with her conversation, for she constantly addresses the ground under her feet. Asking forgiveness. Owning, disowning, recanting, recharting a hateful course of events to make sense of her complicity. We all are, I suppose. Trying to invent our version of the story. All human odes are essentially one: ‘My life: what I stole from history, and how I live with it.’
….
“How can I explain that my two unmatched halves used to add up to more than one whole? … And how can I invent my version of the story, without my crooked vision? How is it right to slip free of an old skin and walk away from the scene of the crime? We came, we saw, we took away and we left behind, we must be allowed our anguish and our regrets….”
The Poisonwood Bible by Barbara Kingsolver from “Exodus: What We Carried Out”



