A Happy Funeral
Tuesday, 29 August 2006, Finn McCool's on Banks Street. Jonathan, Lauren, Emma, Keith, Marina, Marie, and I'm in there somewhere, at our usual table by the wall under the Killian's mirror, next to the cigarette machine. A time capsule is circulating the bar, a three-foot length of PVC pipe, everyone signs their name in blue Sharpie and writes down their toxic thoughts of the past year on little scraps of paper to be sealed inside forever.
I am still reacting to the past year every single morning.
We all shuffle outside, this queer family. The owner of the pub, a heavy-set, raven-haired Irish woman, she delivers a little eulogy and a message of hope and courage and it has the potential to be sappier than pinebark but she keeps it short and it somehow resonates. She lays the capsule down inside the hole dug next to the pub beside the side door.
I ask Lauren and Jonathan, "When are they going to dig it up?"
"Never," Jonathan begins.
"That's the whole point, to just give it all up," Lauren continues.
"Oh, so it's not really a time capsule," I say, half-inquiringly, "It's a grave."
The Irish woman, who has a shining, gorgeous accent when she speaks, throws the first handful of dirt into the hole and, silently, with a wave of her hands, invites all of us to do likewise. The guy in the kilt starts up "Amazing Grace" on the bagpipes, and the drone of the pipes and the buzz of the pints put me in a trance.
Flashback, also a year ago this week, my grandmother's funeral. Of course they played "Amazing Grace" and of course we all lost it. Funny about certain songs, no matter how many times you've heard them.
I watch eveyone throw in their handfuls. They each proceed solemnly to cover their fears and nightmares, encapsulated in a whitewashed, plastic sepulchre, with a mixture of topsoil and broken asphalt.
The old couple in blue jean shorts, the man in a Hawaiian shirt, his ponytail tumbling out of the back of his denim baseball cap, the woman's hair cut short, old-lady style. The corners of their mouths are quivering.
A girl in a pink tanktop, crying hard. I cynically assume she is being maudlin, but after really paying attention to her face, I perceive she is genuine. Then I am ashamed and wonder what she might have lived through, too.
Old, young, women, men, one infant, and a couple of mongrels.
When the burial is done, and "Amazing Grace" ended, the bagpipes break into "When the Saints Go Marching In" and a wide grin breaks across every face. All of these people begin to dance and sing and drink and toast outside the pub, a drunken, Irish, bagpipe, jazz funeral. One man toasts the pub.
"To Finn McCool's, which kept our heads above water and our minds in the air. Hip, hip, hooray!"
Mexican workmen walk by on the street with their cervezas in hand, puzzled looks on their faces.
We eventually wander back into the pub, and I light up a cigarette. I put a twenty in Jonathan's hand and say, "Go get us a couple pints. We need one after all that."
I am still reacting to the past year every single morning.
We all shuffle outside, this queer family. The owner of the pub, a heavy-set, raven-haired Irish woman, she delivers a little eulogy and a message of hope and courage and it has the potential to be sappier than pinebark but she keeps it short and it somehow resonates. She lays the capsule down inside the hole dug next to the pub beside the side door.
I ask Lauren and Jonathan, "When are they going to dig it up?"
"Never," Jonathan begins.
"That's the whole point, to just give it all up," Lauren continues.
"Oh, so it's not really a time capsule," I say, half-inquiringly, "It's a grave."
The Irish woman, who has a shining, gorgeous accent when she speaks, throws the first handful of dirt into the hole and, silently, with a wave of her hands, invites all of us to do likewise. The guy in the kilt starts up "Amazing Grace" on the bagpipes, and the drone of the pipes and the buzz of the pints put me in a trance.
Flashback, also a year ago this week, my grandmother's funeral. Of course they played "Amazing Grace" and of course we all lost it. Funny about certain songs, no matter how many times you've heard them.
I watch eveyone throw in their handfuls. They each proceed solemnly to cover their fears and nightmares, encapsulated in a whitewashed, plastic sepulchre, with a mixture of topsoil and broken asphalt.
The old couple in blue jean shorts, the man in a Hawaiian shirt, his ponytail tumbling out of the back of his denim baseball cap, the woman's hair cut short, old-lady style. The corners of their mouths are quivering.
A girl in a pink tanktop, crying hard. I cynically assume she is being maudlin, but after really paying attention to her face, I perceive she is genuine. Then I am ashamed and wonder what she might have lived through, too.
Old, young, women, men, one infant, and a couple of mongrels.
When the burial is done, and "Amazing Grace" ended, the bagpipes break into "When the Saints Go Marching In" and a wide grin breaks across every face. All of these people begin to dance and sing and drink and toast outside the pub, a drunken, Irish, bagpipe, jazz funeral. One man toasts the pub.
"To Finn McCool's, which kept our heads above water and our minds in the air. Hip, hip, hooray!"
Mexican workmen walk by on the street with their cervezas in hand, puzzled looks on their faces.
We eventually wander back into the pub, and I light up a cigarette. I put a twenty in Jonathan's hand and say, "Go get us a couple pints. We need one after all that."
