1.The sound of her keys
If you knew my mother, you knew the sound of her keys in the door before you saw her face. That sound meant dinner would somehow appear and somebody in the house would feel less alone than they had a minute earlier. I want to talk about the woman behind that sound.
Margaret Ellen Doyle was born in a two-bedroom house on Carver Street and never left the neighbourhood, which she'd tell you was a choice and not a failure of imagination. She worked thirty-one years at the county records office. She could find a birth certificate from 1952 faster than the computer could, and she was proud of that in the way she was proud of very few things about herself.
Home was where she was somebody else. Home, she was the person who kept a second coffee pot going for the night shift, because my father worked nights for a decade and she'd decided nobody should come home at dawn to a dark kitchen. Home, she was the person who remembered every cousin's birthday, including the cousins the rest of us had lost track of, and sent cards that said things like "Thinking of you, and also please call your mother."
She wasn't soft. If you came through her door tired, she handed you a plate before she asked what was wrong, and then she asked, and you told her, because there was no way not to. She gave advice you didn't request and were usually better for. She had one rule for arguments in her house, which was that nobody left the table angry, and I can tell you from long experience that this rule produced some very long dinners.
I have a memory I keep coming back to this week. I was nineteen and had failed at something I'd told everyone I would succeed at. I drove home without calling. She was on the porch when I pulled in, though she had no reason to be, and she didn't ask a single question. She said, "There's soup." There was always soup. We ate it and she talked about the neighbour's roof, and somewhere in the roof conversation I stopped feeling like the worst person alive. She never mentioned it again. That was her method. Feed you and talk about the roof. Leave your dignity where it was.
In her last months, the keys got slower. The night-shift coffee pot stopped. What didn't stop was the asking. Right up until the end, when we visited, the first thing she said was never about herself. It was, "How's work? Are you eating?" My mother spent her whole life making sure other people were all right, and she managed it from a hospital bed.
So here's what I'll carry. When someone comes through my door tired, they'll get a plate before a question. The light stays on for whoever's late. As for the roof conversation, I'll try to make it last exactly as long as it needs to, though I'll never manage it as well as she did.
Mom, the keys are on the hook. The soup's on. We'll be all right, because you made sure of it.
Why this one works
- The keys in the door open and close the eulogy. One ordinary sound stands in for a whole person.
- It admits she wasn't soft. A eulogy that only praises is less believable than one that describes.
- The soup story is told in full because it shows her method, and the method is what the speaker chooses to carry forward.
- The ending speaks to her directly, in the present tense, which lets the room say goodbye with the speaker.