Children
A death that was also a birth
As a midwife, I've spent the last 30 years taking care of women in pregnancy. But nothing prepared me for this
(Credit: Clara via Shutterstock) The call came early in the morning. The 3-month-old granddaughter of my neighbor had finally succumbed to the illness she was born with. I am a midwife, but this call wasn’t about a birth. This time the call was from the mortuary.
I have spent the last 30 years taking care of women in pregnancy, birth and beyond. I use my hands to help bring life into this world. Over the past few years, however, I found myself using those very same hands in the performance of a Taharah, a Jewish ritual that prepares a dead woman for burial. Birth, life, joy, beginnings vs. death, decay, finality. Such a contrast! What could be more different? And yet, somewhere in my consciousness, there was a commonality. Caring for a woman in her life, preparing a woman for birth had a parallel in preparing a woman for burial. The act of helping a woman and her baby through their many transitions seemed analogous to helping the soul transition from this plane of existence to the next.
“Taharah” means “to purify.” Particular prayers are said and simple hand-sewn white linen garments dress the body. All this is identical for everyone, no matter how old, how young, how rich, how poor. During a Taharah, all are treated the same.
I performed my first Taharah, and it was more than I expected – more silence, more depth, more sensitivity. The concern of being with and touching a dead body left as soon as I entered the room. The midwife in me took over. The four members of our team worked quietly, with tenderness. The peace in the room was tangible and present, and our lady seemed to reflect that. Her entire body, as well as her face, seemed to relax as we completed the ritual, intoning the prayers. And the energy, amazingly, felt the same as at a birth — a feeling of completion, a palpable sense of the soul transitioning and a humble appreciation of the privilege of being there.
To perform the Taharah when a woman has lived out her life, has seen her children grow and have their own children, seems part of the natural logic of life. The first Taharahs I took part in were just that. This next Taharah, however, involved someone who had not lived a long life, had not lived to see her children grow, and this time, I was to be alone.
The call stunned me. I knew she was sick, but this wasn’t expected. Now the mortuary was asking, could I be the one to take care of her? I had never before performed a Taharah on a baby. My experiences with babies were of life, not of death. There was always joy, a new beginning. Here was unimaginable sadness, an ending.
As I looked at the tiny garments, it became real, and I worried about how I would react. My mind remembered my nursing training, when we were doing a rotation in the NICU and how I just couldn’t bear to be with sick babies. All I could think about were my own babies and I had cried to my instructor, “Just get me out of here!” Now I was going to be with this fragile body, with this baby who was no longer sick, but was actually gone.
I entered the room alone. I washed my hands in the correct ritual way, pouring water first over my right hand, then my left, right, left, right, left. I retrieved her body. She was so small, so light, wrapped in a clean sheet. It was time for the first prayer. “Master of the world! Take pity upon the present deceased for she is the daughter of Sarah, Rivkah, Rachel and Leah. May her soul rest among the righteous women.” I didn’t know what to expect as I began the unwrapping. She had been so sick, she had had so many invasive procedures and devices. What would she look like? I uncovered her slight form, and she simply looked as if she was sleeping. Did I detect the barest hint of a smile on her face?
I removed the IVs, the bandages and washed her carefully, talking softly to her and caressing her the whole time. I worried about her delicate, almost transparent skin. And then it was time for the ritual immersion. I would submerge her in the pool of water known as the mikvah, a symbolic act of purification, representing the body’s return to the womb, to the bath of the amniotic fluid, and the soul’s return to the original waters of Creation. I cradled her body, continuing my dialogue and immersed her in the ritual bath. Tears streamed down my face, falling into the water, as I repeated the prescribed words, “Tahorah he, tahorah he, tahorah he” … “She is pure, she is pure, she is pure.” The silence was piercing; time seemed irrelevant.
Finally the dressing. These garments, though they were the smallest ones, overwhelmed her tininess. I continued the ritual, placing her in the casket, then covering it. I ended with the ceremonial asking of forgiveness from her, just in the event that anything done was humiliating or disrespectful to her or had deviated from the tradition. I left the room and her.
Driving home in silence, my mind spun with the images of this Taharah. At the same moment I parked in front of my home, her grandfather pulled up across the street. Most of the time, the mourners don’t know who performed the Taharah and unless they ask, nothing is said. But as I looked at him, at the visible unspeakable grief on his face, I knew that I had to tell him. “I took care of her,” I said. His face and body seemed to dissolve. Recovering, he asked me to come across the street to his home, to talk with his wife and daughter. They needed my reassurance, he said.
The baby’s mother, his daughter, only wanted to know if her baby looked frightened. I told her how peaceful she looked, with that almost-smile I thought I had seen. That seemed to comfort her. Then there were a few more questions, many tears, and expressions of gratitude. It was clear that it was time for me to leave. They needed to do their mourning without me.
So why had I been drawn to participate in this ritual? Death carries with it such pain, and whether the death is that of a young person or an elderly one, there is great sadness. However, having watched women in birth, it’s so clear that pain is transitory. There is so much more than just the pain. And with death I believe that there is more than sadness. The process of the Taharah is perhaps a metaphor for what is left — the dignity and integrity of the person, the love that she experienced during her life and leaves as an inheritance to the ones close to her.
I find myself grateful to be part of a tradition that recognizes this and expresses our connection to the Creator, which treats everyone, even in death, with respect and caring. I feel privileged that I am able to participate in this final act for a woman, that I can be midwife to her spirit.
Tova Hinda Siegel is a writer who lives in Los Angeles. More Tova Hinda Siegel.
“Why won’t you answer me?”
Kids' questions may be annoying -- but they're more crucial to learning than we've ever thought. An expert explains
(Credit: Bonita R. Cheshier via Shutterstock) Children can ask a lot of very annoying questions. Starting at about 2 years of age, they begin barraging their parents with endless queries, from “Are we there yet?” to “Why is the moon round?” — questions that often seem more like desperate ploys for parental attention than anything else. And, to make things worse, cooperative parents are often treated to a relentless barrage of follow-up questions, many of which involve one word: “Why?” Is this process infuriating? Yes. But is it crucial to their development? Far more than most of us think. And furthermore, the frequency and form of those questions can tell us a lot, not only about how children learn but also about cultural and class differences in America.
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Thomas Rogers is Salon's Arts Editor. More Thomas Rogers.
Child acting’s new golden age
From Chloe Grace Moretz to "Shameless," kids aren't just getting more roles -- they're actually good. What changed?
Chloë Moretz in "Hick" “Never work with children or animals” is an old W.C. Fields chestnut that, for a while in the ’90s and ’00s, everyone outside of children’s entertainment seemed to be holding sacred. Child actors were off on their own in a parallel entertainment universe created by Disney and Nickelodeon, while adults held down the fort in dramas and reality shows. There were some notable exceptions, like Haley Joel Osment and Christina Ricci, but by and large, children were almost entirely absent from grown-up entertainment.
Continue Reading CloseMichael Barthel is a PhD candidate in the communication department at the University of Washington. He has written about pop music for the Awl, Idolator, and the Village Voice. More Michael Barthel.
My dad’s 30-year coming out
I thought my father kept secrets because he was gay. Turns out all parents have a walled-off life -- and that's OK
Gideon Lewis-Kraus (Credit: Rose Lichter Marck) I must’ve been eight or nine the one time my dad took me along to meet Bart. This was somewhere near Tompkins Square Park. What I recalled was a shaggy shock of blue hair, and feelings of both elation and terror: On the one hand thrilled to be old enough to be taken along one night to the city to meet a guy with blue hair, and on the other frightened of the jagged dark in the Alphabet City of the late ’80s. In my memory Bart looked like Warhol, but maybe that was just part of the dream pedigree I had for my dad, the one that looked to White and Genet and not “Will & Grace.” But I did think that my dad once said he’d gone with Bart to sell drugs to Allen Ginsberg, so maybe in this case my retrospective fantasy — that if he’d had a secret life, it could at least have been an exciting one, something worth escaping his surface life for — was accurate. I remembered hearing for the first time about AIDS, and I remembered my dad walking around for some months, maybe years, as though accompanied by ghosts. It was selfish and obscene for me to look back and want his secrets, the secrets I’d come here to try to clear up, to have hidden amazing things: It meant I have at best ignored and at worst aestheticized the fact of what must have been unimaginable pain. Like any gay man of his age, he’d watched a great number of his close friends die of AIDS, but unlike many of those men, he was not able to talk about it to the people closest to him, the people he lived with. Maybe the reason he liked “Will & Grace” and not so much White and Genet — though, now that I think of it, I did give him “The Married Man” once and he told me it was the best novel he’d ever read — was that all he wants now is to be normal and happy. He wanted to marry Brett and drink boxed wine and take Yoshi out for walks and watch “Mamma Mia!” until their DVD player caught fire. I myself had never been less than loathsome on the subject of “Mamma Mia!” and I felt terrible about it, but I didn’t want to digress into overemphatic apology, and I would stand by my derision of “Mamma Mia!”
Continue Reading CloseGideon Lewis-Kraus is the author of "A Sense of Direction: Pilgrimage for the Restless and Hopeless." He has written for Harper's, the Believer, McSweeney's, Bookforum and other publications. More Gideon Lewis-Kraus.
When your child is gay
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Mary Elizabeth Williams is a staff writer for Salon and the author of "Gimme Shelter: My Three Years Searching for the American Dream." Follow her on Twitter: @embeedub. More Mary Elizabeth Williams.
Interview With My Bully: When I confronted my bully about racism
In seventh grade, Mary's "ching-a-ling" routine scarred me. But years later, she was the one who cried victim
(Credit: Salon) Judy Blume, my mentor and friend, told me not to engage with my bully. “Forget her, she isn’t worth it,” she told me. But I had a strange curiosity over what happened to the woman — I’ll call her Mary — who had once been my tormentor. Over the years I’d developed a secret theory of bullies, that they were the ultimate softies, the ones who have to build a fearsome spiked carapace over some sad, sad hurt. It’s that kind of empathy, perhaps, that made me a novelist. And Mary certainly gave me a story to tell.
Continue Reading CloseMarie Myung-Ok Lee’s essays have appeared in The New York Times, The Atlantic, The Guardian, The Washington Post, and she is regular contributor to Slate. She is the author of the novel Somebody’s Daughter and teaches creative writing at Brown University. Find her on Twitter @MarieMyungOkLee and on Facebook. More Marie Myung-Ok Lee.
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