Master,
Before the 14th day of Sagittarius, romance has not left me even in the dream world. It was depicted in two cards in a movie-like scene, though I’ve meticulously eschewed romance novels, even romantasy. I wanted to revel in more dreamlike scapes that only spoke in philosophical or divinely-inspired symbols for something fun in the morning to puzzle out—not write another love story of which you have too many. The dream world fulfilled that condition and delivered its message as intended nonetheless.
In the first, a man is standing on a stepladder fiddling with a solid-wood, brown grandfather clock. He has several mechanical clocks around his home—one on a white plaster wall, another smaller one on a redwood accent table. At some point, he has neglected to wind them properly, so they all show different times. A lady in a satin evening dress climbs up the stairs, one hand skimming the oak handrail, the other lifting her dress. “Where are you going?” asks the man, barely masking impatience in his tone. “I’m going upstairs to rest. We have more than an hour before we have to leave.”
He picks up the clock he was working on, now showing the actual time, but thinks better of showing it to her, believing she might take it to mean he has set it wrong. So he steps down the ladder and picks up another clock that shows the time as 15 minutes earlier. She has her doubts but agrees to stay simply to avoid arguing with him.
Then we see her sitting in a café in front of a skyscraper, a full-glass façade building that is a private hospital meant to serve affluent clients. Her sports teapot blue convertible is parked nearby. He walks out of the revolving doors in his green scrubs, fresh out of surgery and agitated, as though he wants to turn around and leave. But he sits down and joins her anyway, where they share an awkward time in long periods of silence, avoiding eye contact by staring at something banal that has magically acquired personality. Resolved to reconnect, she asks him questions she would ordinarily ask when they are together, to which he uncharacteristically gives evasive answers. After several minutes, he abruptly stands, the woven chair scraping across the concrete floor, and rushes back into the building.
The woman jumps out of her chair, catches up with him and kisses him vigorously, her hands gripping his scrubs tightly meaning to never let go. He pushes her off a little too forcefully, so that she practically flies off him. Other people gasp exaggeratedly even as they are entertained by the drama—possibly the best action they have seen in a while. He hurries through the revolving door trying to get away, but she follows him in. Once inside, he says, in frustration, “You don’t understand. I would ravish you in front of that ridiculous mirror of yours so you could watch. But I’m running out of time.” One would rightly assume she has a very large mirror at home in front of which she spends a lot of time. The man is dying of a terminal illness.
Through this tragedy, I saw a different kind of love. It was not that he didn’t love her or no longer wanted to be with her. Nor that time has drifted them too far apart. He loves her in spite of all her idiosyncrasies. He could not bear to be around her knowing that she would be broken when he eventually passes—heartbroken because of him—even though it was neither his fault nor his choice. We cannot stand to see the people we love hurt, more so when we are powerless against it, the mind racing constantly to find that one non-existent solution and finding purchase on very little but tenuous hope. Oftentimes, we forget that because of our mortality, all paths lead to grief with the chance of acceptance. I suppose it tells us that we never have as much time as we think we do.
In the next card, a young lady is holding a box of handwritten letters. She appears resolute. She has fallen in love with the man who wrote them, despite the two of them never meeting before. He does not even know that she exists. From the letters, she gathers that he has had a hard life and has now gone recluse because of them. In another country, the man looks old and weary. He wears a grey wool cardigan now too big for his body. He lives as though he only ever receives bad news, so he stays away from everyone to get as little of life as possible.
A nurse comes up to him and tells him he has a visitor. That surprises him because, after all these years of being safely tucked and hidden away in the mountains, no one has come to see him, partly by his own design. He has not been in contact with anyone in years. The nurse steps aside to reveal the young lady in a white coat. She has found him by following clues he left in his letters unwittingly. No one but her could see them, decipher them, and arrange them into meaning, he realises. They eventually fall in love and spend the rest of their lives together in blissful companionship.
The clues could not be properly called as such due to the lack of intentionality. They acted like fragments of his desires, maybe subconscious crumbs of a last-ditch effort, but were really an expression of what little he still treasured and looked forward to in life—seclusion, fresh mountain air, unique bits about the countryside that became his identifying markers. The allegory of the story then is simple. Though his pain and nihilism are shown starkly in his letters, the trail he left betrayed how he truly felt—his deepest desires, which he denied existed and tried to live accordingly. One could not have one’s desires disappear by hiding from them. Deep down, he did want someone to find him. He wants love and to be loved. Or else he would have written nothing that could give his position away; he would have written nothing at all, as though his pen had no more ink to give, because nobody he’d wanted to read the letters, would read them. Instead, he wrote as though he desired very little, and that very same guided the only person who could truly read him straight to where he was.
Even as our sadness overwhelms us and we want to hide away, there is still a part of us that wants to carry on living to the fullest, to desire the same things everyone else does, humanly possible or otherwise. It is not denied to us just because we have had major setbacks in life. Eventually, everything meant for us will find us. The attitude we take in the interim shapes the life we will eventually live. What a waste it would be if all we ever did was live in sadness.
I hope my letter finds you in good spirits, Master. I’ve missed you terribly the last few days.
All my love,
Your eternal soulmate
