Letter Writing

Writing a letter (or including one in your poem or novel) is a wonderful device to capture real motives that are not seen on the surface. If a letter is intercepted, for example, a new world of options happens within a plot. A letter can depict a stream of consciousness happening in real time. The author can move from one emotion to another. A letter that begins with anger, for example, can change by the vehicle of writing and considering the impact of the words on the page for the recipient. To get a feel for how this happens ... read these two letters.

#1 by Lydia Davis

**Letter to a Funeral Parlor**

Dear Sir,

I am writing to you to object to the word “cremains,” which was used by your representative when he met with my mother and me two days after my father’s death.

We had no objection to your representative, personally, who was respectful and friendly and dealt with us in a sensitive way. He did not try to sell us an expensive urn, for instance.

What startled and disturbed us was the word “cremains.” You in the business must have invented this word and you are used to it. We the public do not hear it very often. We don’t lose a close friend or family member very many times in our life, and years pass in between, if we are lucky. Even less often do we have to discuss what is to be done with a family member or close friend after their death.

We noticed that before the death of my father you and your representative used the words “loved one” to refer to him. That was comfortable for us, even if the ways in which we loved him were complicated.

Then we were sitting there in our chairs in the living room trying not to weep in front of your representative, who was opposite us on the sofa, and we were very tired first from sitting up with my father, and then from worrying about whether he was comfortable as he was dying, and then from worrying about where he might be now that he was dead, and your representative referred to him as “the cremains.”

At first we did not even know what he meant. Then, when we realized, we were frankly upset. “Cremains” sounds like something invented as a milk substitute in coffee, like Cremora, or Coffee-mate. Or it sounds like some kind of a chipped beef dish.

As one who works with words for a living, I must say that any invented word, like “Porta Potti” or “pooper-scooper,” has a cheerful or even jovial ring to it that I don’t think you really intended when you invented the word “cremains.” In fact, my father himself, who was a professor of English and is now being called the “cremains,” would have pointed out to you the alliteration in “Porta Potti” and the rhyme in “pooper-scooper.” Then he would have told you that “cremains” falls into the same category as “brunch” and is known as a portmanteau word.

There is nothing wrong with inventing words, especially in a business. But a grieving family is not prepared for this one. We are not even used to our loved one being gone. You could very well continue to employ the term “ashes.” We are used to it from the Bible, and are even comforted by it. We would not misunderstand. We would know that these ashes are not like the ashes in a fireplace.

Yours sincerely.

Lydia

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**Oblivion: Letter Home**

Thanks for the cucumber lotion and coupons you cut out of the Sunday paper though I had to bury them in an old thermos or sink them with bricks and twine so nobody killed me. Reading the obituary for Mr. Kondrackie was sad though he once beat me with his walker for guessing wrong. We all have our faults, I think. Dad used to tell me that before locking the door to the basement. He’d spend weeks down there with his electric putting range and German films. Did you ever figure out what he ate? I think about that when the glow of major cities burning is strangely beautiful. Almost comforting. I’ve been fixing up an old culvert cannibals once used for a stop-over latrine. It takes a lot of imagination but I think you’d be proud of the flow from one end to the other. It’s been raining here all week. And according to the woman who pitied me during the night and wanted nothing for her time or the shadow of her body near the fire, three years have gone by, all of them marked by endless rain. It seems hard to believe. The people here are nice. The ones capable of more than savagery or tandem autoerotic asphyxiation, at least. The food is bad and you wouldn’t care for it in that it barely exists. But it’s been good for me. When I laid the rags I wore beside the woman who had been cold when I found her, I wasn’t afraid. I never once thought of you.

Write back soon. Tell everyone I’m not dead.

Paul Guest is the author of *The Resurrection of the Body and the Ruin of the World.*