Ann-Marie MacDonald - Fall on Your Knees

This is a breech birth; the child is stuck feet first. Someone will not get out of this room alive. There was a choice to be made. It has been made. Or at least the choice has been allowed to occur. Everything disappears from sound for Kathleen: her mother’s voice — by now perhaps speaking in tongues or at least the mother tongue — the pounding of her father’s fists on the door — he’ll break it down in a moment. She levitates in a profound and complete relief, peace, floating absence of pain. It’s all over for her now, anyone can see that.

Materia sees it. Has been expecting it, accepts it, unlike James on the other side of the door. She gently closes her daughter’s eyes, then takes a pair of scissors — the old kitchen scissors, freshly sharp and sterilized to cut the cord — and plunges the pointier blade into Kathleen’s abdomen just above the topography of buried head. She makes a horizontal incision and reaches in; there’s not much time, the infant will suffocate in a moment, in a moment James will be through the door, one cut is not enough. Materia sculpts panic into a slow march, reining it in, now and at the hour of our — she makes another cut, a vertical one bisecting the first. She prayer-dives both hands through the centre of the cross-cut into the warm swamp slippery with life, past mysterious ferns and swaying fibres, searching for a handhold on sunken treasure, there an ankle, there an arm, the living treasure caught in a net of fingers. With a series of precise and dire yanks the catch is dragged from where it lay lodged halfway down the canal that locked despite the battering of the seismic tides that were set off by those first gravitational yearnings. The bundle of tiny limbs and vestigial gills and unique fingerprints is hauled towards the torn surface of its small swollen sea. Its four eyes are scorched by the sudden light that jags in through the flapping entrance to the outside world, and in an instant it is borne up and through the wound in Kathleen’s belly.

The air splashes and spumes against it, threatening to drown it — them — for there are two but they have yet to be cut in half, they are still one creature, really, male and female segments joined at the belly by a common root system. It-they is a blood breather and could drown in this fatal spray of oxygen, will drown if they remain silent much longer, will become bright blue fishes in a moment. But the cords are cut, snip-snap , and tied just in time, and in an instant the shocking air is gulped and strafed into the lungs. They become babies just in time; slick, bloody, new, wailing, squinting, furious, two.

One of them, the male child, bleeds a little from a cut on his ankle. His feet were nestled next to his sister’s head when the scissors descended. He was all set to arrive head first like a good mammal. Technically, therefore, the female twin is responsible for the death of the mother, for it is she who was breech. But this was pure roulette. The pair had been revolving counter-clockwise in the chamber for weeks before their birth was triggered.

Kathleen is an abandoned mine. A bootleg mine, plundered, flooded; a ruined and dangerous shaft, stripped of fuel, of coal, of fossil ferns and sea anemones and bones, of creatures half plant, half animal, and any chance that any of it might end up a diamond.

James has supposedly seen worse. He was in the war after all. Now he finally sees something from which he will not recover. Beyond shell-shock. Beyond No Man’s Land.

In a cavern in a canyon,

excavating for a mine,

dwelt a miner, forty-niner,

and his daughter Clementine.

Light she was and like a fairy,

and her shoes were number nine,

herring boxes without topses,

shoes they were for Clementine.

Oh m’darlin, oh m’darlin, oh m’darlin Clementine;

you are lost and gone forever,

dreadful sorry, Clementine.

Here’s what Kathleen saw just before the moment of respite. Between agony and release, she saw — framed by the door which is thumping like a heart attack — Pete. With his head off Hello little girl . This time he’s not behind her in the mirror. He is out in the open. It’s safe for him now. And after all, he just wants to get a look at her, just one good look Hello there . His no face tucked beneath his arm Hello .

And when he has looked his fill, he politely nods his stump of neck and leaves. She whimpers briefly. There is the blissful release from pain. Nothing has ever been better than this moment. It is enough. And then all we can do is see her through her mother’s eyes, because her own are extinguished.

Materia’s dilemma was this: Do I let the mother live by removing the infants limb by limb, finally crushing the heads to allow for complete expulsion from the mother’s body? It is hard to imagine a worse sin for a Catholic. The sin resides not in the gory details of the operation, because the details of doing the right thing are equally gory. The sin resides in preferring the life of the mother to those of the children. For this you are eternally damned. Materia does the right thing by allowing the mother to die and the children to live.

So why does Materia die a few days later of a guilty conscience? Because she did the right thing for the wrong reason. For a reason which was itself a mortal sin. For two days she wrestles with her conscience. But God is everywhere. It takes Materia forty-eight hours to face that what she did, although correct in the eyes of the Church, was murder in His all-seeing eyes: the real reason I let my daughter die is because I knew she was better off that way. I didn’t know her well, but I knew she didn’t want to live any more. She preferred to die and I allowed her to do so.

Looked at from this angle, Materia has not saved two babies, she has mercy-killed one young woman, and therein lies the mortal sin. For Materia cannot swear that, had her daughter been clamouring for life, she might not have used the scissors to dismember the infants rather than open the sky for them. In her heart of hearts she suspects this might have been so. And in this suspicion Materia discovers the chill comfort that, in the end, she managed to love her daughter after all.

God sees an opening and rushes in. He makes himself comfortable in the back of Materia’s mind for a couple of days, during which time she cleans obsessively.

On the third day she cleans the oven, first turning on the gas to soften up the grit inside, it’ll only take a moment. She is so tired. She hasn’t slept in three nights, not so much as a tiny zizz, and she has never worked harder. She kneels in front of the oven, peering in, waiting for the gas to do its work, her arms folded on the rack. It’ll only take a moment — she rests her head upon her arms. She is so tired. She will start scrubbing in just a moment, just one more moment….

For the umpteenth time that week James has to improvise a criminal mind, for he doesn’t naturally have one. He turns off the gas, hauls his late wife upstairs and onto their bed, scrunches her rosary into her hands, then calls the doctor and the priest. This allows Materia to be buried next to Kathleen in the churchyard instead of in an unsanctified field somewhere — in the type of place where soldiers and suicides and unbaptized babies sit out eternity, some unholy No Man’s Land.

May Jesus have mercy on the Soul of

Mrs James (Materia) Piper (née Mahmoud)

Died June 23, 1919

Age 33

“We have loved her in life. Let us not abandon her, until we have conducted her by our prayers into the house of the Lord.” ST. AMBROSE