The Storyteller

Jodi Picoult

• Publisher: Atria/Emily Bestler Books
• Year: 2013
• ISBN:
  9781439149706
• Topic: Literatura
• Subtopic: Mujeres en la ficción

An astonishing novel about redemption and forgiveness from the "amazingly talented writer" ( HuffPost ) and #1 New York Times bestselling author Jodi Picoult. Some stories live forever... Sage Singer is a baker. She works through the night, preparing the day's breads and pastries, trying to escape a reality of loneliness, bad memories, and the shadow of her mother's death. When Josef Weber, an elderly man in Sage's grief support group, begins stopping by the bakery, they strike up an unlikely friendship. Despite their differences, they see in each other the hidden scars that others can't.Everything changes on the day that Josef confesses a long-buried and shame­ful secret and asks Sage for an extraordinary favor. If she says yes, she faces not only moral repercussions, but potentially legal ones as well. With the integrity of the closest friend she's ever had clouded, Sage begins to question the assumptions and expectations she's made about her life and her family. In this searingly honest novel, Jodi Picoult gracefully explores the lengths to which we will go in order to keep the past from dictating the future.

PART I

It is impossible to believe anything in a world that has ceased to regard man as man, that repeatedly proves that one is no longer a man.

—Simon Wiesenthal, The Sunflower

SAGE

On the second Thursday of the month, Mrs. Dombrowski brings her dead husband to our therapy group.

It’s just past 3:00 p.m., and most of us are still filling our paper cups with bad coffee. I’ve brought a plate of baked goods—last week, Stuart told me that the reason he keeps coming to Helping Hands isn’t the grief counseling but my butterscotch pecan muffins—and just as I am setting them down, Mrs. Dombrowski shyly nods toward the urn she is holding. “This,” she tells me, “is Herb. Herbie, meet Sage. She’s the one I told you about, the baker.”

I stand frozen, ducking my head so that my hair covers the left side of my face, like I usually do. I’m sure there’s a protocol for meeting a spouse who’s been cremated, but I’m pretty much at a loss. Am I supposed to say hello? Shake his handle?

“Wow,” I finally say, because although there are few rules to this group, the ones we have are steadfast: be a good listener, don’t judge, and don’t put boundaries on someone else’s grief. I know this better than anyone. After all, I’ve been coming for nearly three years now.

“What did you bring?” Mrs. Dombrowksi asks, and I realize why she’s toting her husband’s urn. At our last meeting, our facilitator—Marge—had suggested that we share a memory of whatever it was we had lost. I see that Shayla is clutching a pair of knit pink booties so tightly her knuckles are white. Ethel is holding a television remote control. Stuart has—again—brought in the bronze death mask of his first wife’s face. It has made an appearance a few times at our group, and it was the creepiest thing I’d ever seen—until now, when Mrs. Dombrowski has brought along Herb.

Before I have to stammer my answer, Marge calls our little group to order. We each pull a folding chair into the circle, close enough to pat someone on the shoulder or reach out a hand in support. In the center sits the box of tissues Marge brings to every session, just in case.

Often Marge starts out with a global question—Where were you when 9/11 happened? It gets people talking about a communal tragedy, and that sometimes makes it easier to talk about a personal one. Even so, there are always people who don’t speak. Sometimes months go by before I even know what a new participant’s voice sounds like.

Today, though, Marge asks right away about the mementos we’ve brought. Ethel raises her hand. “This was Bernard’s,” she says, rubbing the television remote with her thumb. “I didn’t want it to be—God knows I tried to take it away from him a thousand times. I don’t even have the TV this works with, anymore. But I can’t seem to throw it out.”

Ethel’s husband is still alive, but he has Alzheimer’s and has no idea who she is anymore. There are all sorts of losses people suffer—from the small to the large. You can lose your keys, your glasses, your virginity. You can lose your head, you can lose your heart, you can lose your mind. You can relinquish your home to move into assisted living, or have a child move overseas, or see a spouse vanish into dementia. Loss is more than just death, and grief is the gray shape-shifter of emotion.

“My husband hogs the remote,” Shayla says. “He says it’s because women control everything else.”

“Actually, it’s instinct,” Stuart says. “The part of the brain that’s territorial is bigger in men than it is in women. I heard it on John Tesh.”

“So that makes it an inviolable truth?” Jocelyn rolls her eyes. Like me, she is in her twenties. Unlike me, she has no patience for anyone over the age of forty.

“Thanks for sharing your memento,” Marge says, quickly interceding. “Sage, what did you bring today?”

I feel my cheeks burn as all eyes turn to me. Even though I know everyone in the group, even though we have formed a circle of trust, it is still painful for me to open myself up to their scrutiny. The skin of my scar, a starfish puckered across my left eyelid and cheek, grows even tighter than usual.

I shake my long bangs over my eye and from beneath my tank top, pull out the chain I wear with my mother’s wedding ring.

Of course, I know why—three years after my mom’s death—it still feels like a sword has been run through my ribs every time I think of her. It’s the same reason I am the only person from my original grief group still here. While most people come for therapy, I came for punishment.

Jocelyn raises her hand. “I have a real problem with that.”

I blush even deeper, assuming she’s talking about me, but then I realize that she’s staring at the urn in Mrs. Dombrowski’s lap.

“It’s disgusting!” Jocelyn says. “We weren’t supposed to bring something dead. We were supposed to bring a memory.”

“He’s not a something, he’s a someone,” Mrs. Dombrowski says.

“I don’t want to be cremated,” Stuart muses. “I have nightmares about dying in a fire.”

“News flash: you’re already dead when you’re put into the fire,” Jocelyn says, and Mrs. Dombrowski bursts into tears.

I reach for the box of tissues, and pass it toward her. While Marge reminds Jocelyn about the rules of this group, kindly but firmly, I head for the bathroom down the hall.

I grew up thinking of loss as a positive outcome. My mother used to say it was the reason she met the love of her life. She’d left her purse at a restaurant and a sous-chef found it and tracked her down. When he called her, she wasn’t home and her roommate took the message. A woman answered when my mom called back, and put my father on the phone. When they met so that he could give my mother back her purse, she realized he was everything she’d ever wanted… but she also knew, from her initial phone call, that he lived with a woman.

Who just happened to be his sister.

My dad died of a heart attack when I was nineteen, and the only way I can even make sense of losing my mother three years later is by telling myself now she’s with him again.

In the bathroom, I pull my hair back from my face.

The scar is silver now, ruched, rippling my cheek and my brow like the neck of a silk purse. Except for the fact that my eyelid droops, skin pulled too tight, you might not realize at first glance that there’s something wrong with me—at least that’s what my friend Mary says. But people notice. They’re just too polite to say something, unless they are under the age of four and still brutally honest, pointing and asking their moms what’s wrong with that lady’s face.

Even though the injury has faded, I still see it the way it was right after the accident: raw and red, a jagged lightning bolt splitting the symmetry of my face. In this, I suppose I’m like a girl with an eating disorder, who weighs ninety-eight pounds but sees a fat person staring back at her from the mirror. It isn’t even a scar to me, really. It’s a map of where my life went wrong.

As I leave the bathroom, I nearly mow down an old man. I am tall enough to see the pink of his scalp through the hurricane whorl of his white hair. “I am late again,” he says, his English accented. “I was lost.”

We all are, I suppose. It’s why we come here: to stay tethered to what’s missing.

This man is a new member of the grief group; he’s only been coming for two weeks. He has yet to say a single word during a session. Yet the first time I saw him, I recognized him; I just couldn’t remember why.

Now, I do. The bakery. He comes in often with his dog, a little dachshund, and he orders a fresh roll with butter and a black coffee. He spends hours writing in a little black notebook, while his dog sleeps at his feet.

As we enter the room, Jocelyn is sharing her memento: something that looks like a mangled, twisted femur. “This was Lola’s,” she says, gently turning the rawhide bone over in her hands. “I found it under the couch after we put her down.”

“Why are you even here?” Stuart says. “It was just a damn dog!”

Jocelyn narrows her eyes. “At least I didn’t bronze her.”

They start arguing as the old man and I get settled in the circle. Marge uses this as a distraction. “Mr. Weber,” she says, “welcome. Jocelyn was just telling us how much her pet meant to her. Have you ever had a pet you loved?”

I think of the little dog he brings to the bakery. He shares the roll with her, fifty-fifty.

But the man is silent. He bows his head, as if he is being pressed down in his seat. I recognize that stance, that wish to disappear.

“You can love a pet more than you love some people,” I say suddenly, surprising even myself. Everyone turns, because unlike the others, I hardly ever draw attention to myself by volunteering information. “It doesn’t matter what it is that leaves a hole inside you. It just matters that it’s there.”

The old man slowly glances up. I can feel the heat of his gaze through the curtain of my hair.

“Mr. Weber,” Marge says, noticing. “Maybe you brought a memento to share with us today…?”

He shakes his head, his blue eyes flat and without expression.

Marge lets his silence stand; an offering on a pedestal. I know this is because some people come here to talk, while others come to just listen. But the lack of sound pounds like a heartbeat. It’s deafening.

That’s the paradox of loss: How can something that’s gone weigh us down so much?

At the end of the hour, Marge thanks us for participating and we fold up the chairs and recycle our paper plates and napkins. I pack up the remaining muffins and give them to Stuart. Bringing them back to the bakery would be like carting a bucket of water to Niagara Falls. Then I walk outside to head back to work.

If you’ve lived in New Hampshire your whole life, like I have, you can smell the change in the weather. It’s oppressively hot, but there’s a thunderstorm written across the sky in invisible ink.

“Excuse me.”

I turn at the sound of Mr. Weber’s voice. He stands with his back to the Episcopal church where we hold our meetings. Although it’s at least eighty-five degrees out, he is wearing a long-sleeved shirt that is buttoned to the throat, with a narrow tie.

“That was a nice thing you did, sticking up for that girl.”

The way he pronounces the word thing, it sounds like think.

I look away. “Thanks.”

“You are Sage?”

Well, isn’t that the sixty-four-thousand-dollar question? Yes, it’s my name, but the double entendre—that I’m full of wisdom—has never really applied. There have been too many moments in my life when I’ve nearly gone off the rails, more overwhelmed by emotion than tempered by reason.

“Yes,” I say.

The awkward silence grows between us like yeasted dough. “This group. You have been coming a long time.”

I don’t know whether I should be defensive. “Yes.”

“So you find it helpful?”

If it were helpful, I wouldn’t still be coming. “They’re all nice people, really. They each just sometimes think their grief is bigger than anyone else’s.”

“You don’t say much,” Mr. Weber muses. “But when you do… you are a poet.”

I shake my head. “I’m a baker.”

“Can a person not be two things at once?” he asks, and slowly, he walks away.

---

I run into the bakery, breathless and flushed, to find my boss hanging from the ceiling. “Sorry I’m late,” I say. “The shrine is packed and some moron in an Escalade took my spot.”

Mary’s rigged up a Michelangelo-style dolly so that she can lie on her back and paint the ceiling of the bakery. “That moron would be the bishop,” she replies. “He stopped in on his way up the hill. Said your olive loaf is heavenly, which is pretty high praise, coming from him.”

In her previous life, Mary DeAngelis was Sister Mary Robert. She had a green thumb and was well known for maintaining the gardens in her Maryland cloister. One Easter, when she heard the priest say He is risen, she found herself standing up from the pew and walking out the cathedral door. She left the order, dyed her hair pink, and hiked the Appalachian Trail. It was somewhere on the Presidential Range that Jesus appeared to her in a vision, and told her there were many souls to feed.

Six months later, Mary opened Our Daily Bread at the foothills of the Our Lady of Mercy Shrine in Westerbrook, New Hampshire. The shrine covers sixteen acres with a meditation grotto, a peace angel, Stations of the Cross, and holy stairs. There is also a store filled with crosses, crucifixes, books on Catholicism and theology, Christian music CDs, saints’ medals, and Fontanini crèche sets. But visitors usually come to see the 750-foot rosary made of New Hampshire granite boulders, linked together with chains.

It was a fair-weather shrine; business dropped off dramatically during New England winters. Which was Mary’s selling point: What could be more secular than freshly baked bread? Why not boost the revenue of the shrine by adding a bakery that would attract believers and nonbelievers alike?

The only catch was that she had no idea how to bake.

That’s where I come in.

I started baking when I was nineteen years old and my father died unexpectedly. I was at c...