Part 4 of 4. It’s finally over. If you want, here’s the rest: part 1, part 2, and, of course, part 3. I don’t much like how this ends but so it goes.
He has written a note and left it on the table. The window, now closed and locked, is doing its time-weary best to stand against a wind that creeps disregardfully through the cracks and gaps and spaces, frosting the eight frames’ edges and inadvertently softening the view of a bitter, fuliginous gray sky hanging over leafless brown-black branches, if anyone were there to see.
The oxalis is long-dead but its empty pot remains on the sill, pointless and inert. The curtains have been removed, the tablecloth is gone, and the chairs are tucked in, left behind as if to commemorate shared comforts, and also loss. The photograph is gone but a faint rectangle of long-shaded paint remains on the wall in its place, and the only sounds in the house are the occasional wintry creak and groan of tired timber and the wind’s solemn, discordant breaths. The note sits on bare maple nicked and scratched.
I love the you I’m sure you’ve become even though I’m not there to know and see, he wrote.
And spring returns, and the house remains. The trees, the hills, the sky, the night, the day—they all remain with time, ever changing, ever the same.
Originally published on Hijacked Amygdala here.