The Art of Losing
This story begins in 2009 on an old winding road in Massachusetts, a road my grandfather travelled thousands of times in the forty years he and my grandmother owned that house on old Quarry Hill. He pulled to the side of the road unable to remember where he was going. What began was a photographic exploration into my grandfather’s dementia diagnosis, focusing on what he was losing as his memory slowly degraded (Part I: Lost in the Dream). In the years that followed leading up to my grandfather’s death, I turned the camera toward my remaining family, examining what they were losing during his slow and inevitable decline in their preparation for a life without him. The work developed into a wider depiction of middle-America, specifically in a small New England town negotiating the aftermath of the post-industrial economy, a mounting opioid crisis, and how those losses altered the social and political landscape (Part II: All That Remains). My grandfather’s passing segued into the final and ongoing exploration of this work, using the camera to explore my own loss as I ventured into the world in search of myself, returning ephemerally each time with a more acute understanding that my concept of home had changed forever (Part III: Homesick Blues). The following photographic essays traverse, in three parts, the ways we cope with loss, both physical and emotional, in community, with our families, and as individuals.
Untitled, 2009 | Uxbridge, Massachusetts
Untitled, 2009 | Uxbridge, Massachusetts
Part I: Lost in the Dream
It was a trip my grandfather had made thousands of times. He followed the long dirt driveway through a tunnel of trees, by the old granite quarry and down the hill to the convenient store for cigarettes and lottery tickets. On that return trip, and on that same street he lived for more than forty years, he pulled to the side of the road unable to recognize where he was going.
Immediately following my grandfather’s dementia diagnosis, my family prepared a twenty-four hour care schedule, relocated his bedroom from the sagging addition supported by tree trunks to a room which required no stairs, and utilized the adjacent room for family who took the night shift. I’d stay over on Wednesday nights, sleeping with one eye open atop an old bare mattress on the floor, Patsy Cline’s voice warming the house until dawn. Bells tied to door knobs in case he snuck out.
I have always known my grandfather to be sentimental, but growing up we never saw much of him. He slept days and stayed up nights for as long as I could remember, tending the wood stoves through the long New England winters. The police scanner popped and hissed in monotonic canticles each night. He was for decades the family documentarian, packing dozens of self-adhesive albums with photos. Photos of the long dirt driveway white with snow, every picture of every flower my grandmother took, hunting trips and hanging deer, the holidays. He scribbled in old cursive the names and dates beside each photo, often inserting comical remarks about who he couldn’t remember or what was happening.
Though his tendency to archive went beyond the familial. He recorded from vinyl and 8-track to cassette hundreds of music albums. He wouldn’t just record them once, he would also label the vinyl sleeve the date which he recorded, and in some cases years later, recorded again. He would report on scraps of paper the winning and losing Red Sox scores in handwriting so small he could fit an entire season's games. Long before I was born he did a stint in jail where he scrawled into a journal the lyrics to every Hank Williams song on the radio.
It was on those Wednesdays that I started to explore through photography how my grandfather's dementia diagnosis affected him and my family. I was interested in the way cognition fails, when memories become reorganized or forgotten altogether and a person has no reference for the recognizable, and fascinated by the extensive records he kept over the years. A familial archive and the thousand scattered fragments that make up the sum of a person's life. Though it wasn’t only my grandfather who was losing, but my family who was losing my grandfather.
There is no preparation for sudden loss, it strikes without warning and we’re often left to seek answers, to work backward until we make sense of a person's life and death. With dementia, my grandfather was the one who worked backward while my family was forced to arrange a future without him. Though his getting lost on the old quarry hill was, in a sense, a sudden loss. A loss which he might have been anticipating for many years. He had arranged himself within a cocoon of artifacts, preparing for the slow degradation and eventual metamorphosis from this mortal plane. Ephemera papered walls floor to ceiling with photographs, tacked newspaper clippings, and notes on calendars. Calendars from ‘49 and ‘77 and one from ‘04 with a scribbled comment on December 13th, “the day I lost my best friend”, referring to my grandmother. Dispatches which assumed not only an artform, but an art he surrounded himself with. The art of losing.
Part II: All That Remains
My family arrived in New England during the Great Migration aboard the Griffin in 1634, a Puritan exodus from England defined Great not by its numbers but by its intention. They cultivated the New World and remained, at least my lineal descent, in New England, first becoming politicians and astronomers and poets and preachers, then farmers and carpenters and hunters and stonemasons. I’ve thought often about what home means, and how for some in my family the notion of leaving never crossed their minds enough to ever set foot on an airplane. Each day seemed to be a recurring version of the previous, its inertia propelled and existed only to maintain itself with limited regard beyond the horizon. A world within a world.
In 2009, and as an exploration into my Grandfather’s progressing dementia, I set out to tell my family story. I was interested in the twisted way cognition fails, when our memories become reorganized or forgotten altogether; when that most intimate space in our mind becomes terra incognita and we suddenly have no reference for the recognizable. Looking back I can see my family’s last attempts to keep my Grandfather alive, his memory alive, the direct connection to their collective we. Who will we become when we lose that bridge to our past? A silhouette of my own life began to emerge, then illuminate. I could begin to chart my own connection and decipher the paradigm of illusions until my presence outweighed my own shadow.
What I had not then realized was that my family had been trying in various capacities to tell versions of their story long before I came along. My Grandfather's meticulous collection of family photo albums, my Aunt’s songwriting and poetry, or the endless tales around a fire--a wood stove which seemed to burn perpetually throughout my childhood. The very mention of that Glenwood stove materializes with immediacy a series of memories so vivid I can still smell the lingering scent of smoke on my clothes. In a letter dated December 18, 2000, my Grandfather wrote to his daughter Annie “If I had my life to live over again, I think I would have left my past behind me, like your mother did, and not told her anything.” He understood the power of storytelling: the stories we tell others, the stories we pass down, and the stories we tell ourselves. In that same letter, he goes on “So when the time comes, after all the tears and grief, just remember we had, along with the rough times, a lot of good times and you and the rest of the family are left with many, many, many fond memories.”
I remember upon my first return to New England one June, after having lived in California, that I could not believe how green and lush the landscape was. As if my eyes had never witnessed such vibrancy before. It was a clarity which could be conjured only after a remove, a shedding of the distant familiar. To leave and to return and to wonder if something was as you had left it impressed in me an immediate longing for a place which might only exist in memory, and for which memory is fallible. It was as if I had known this all along, as if my family had known this all along; as if those long winters and short summer reprieves, the brokenness which seasons bring, had prepared us for the passing of time and instilled an urgency to remember. I can see now with the lucidity of that vibrant June the collected workings of those generations which came before me. Maintain a record, document your story, and one day it may lead you home. I can still hear Pastor’s voice at my Grandfather's funeral “Life is but a drop of dew on a blade of grass.”
Part III: Homesick Blues
I remember the first time I saw the tattoo of a naked woman on my father’s arm. A woman with flowing hair so long it wrapped around her waist. I asked my dad who it was and he said his new girlfriend. He had just gotten out of a relationship and I was nine so I took everything he said literally. It must have been very serious for him to get her tattooed on his arm so quickly into their relationship, I thought. Shortly thereafter I met his new girlfriend, Evelyn. She certainly was beautiful, but where did all her hair go?
More coming soon…