As my father drove through the countryside, I sat in the
passenger seat of the car. We were on our way out to my relative’s house for
the holiday of Easter (a holiday that I still refer to it by its pre-Christian
name: Ostara). The holiday was far from being at the center of my thoughts. I
actually hate holidays to a certain degree; if I don’t get gifts or get to be
with the people that I want to be with, the holiday is useless. But, by the
will of my parents, I am forced to interact with the people I want to interact
with the least, if not, not at all.
At any rate,
there was one bit of land that we passed that preoccupied my thoughts for a few
miles. There was a small cemetery and only slightly further up on the hill laid
a small farmhouse. It was such an interesting thing that I grabbed a piece of
paper and wrote down: “That Little Farmer’s Cemetery”. The thought of it
gripped my mind in a weird fashion that I wasn’t used to.
I’m not sure
of why it peaked my interests; all I know is that it did. At some point in the
following day, I reflected on what the plot of land actually meant to me. The
area was not simply just a little bit of land with a few dead people underneath
the grass. To me, it seemed like a significant, but subtle way to convey the brevity
of mortality.
How I saw it,
was that the farmer who lived in the farmhouse was so close to the gravestones
that he managed to contrast death to life. The farmhouse says something about
the state of souls, the way they are.
Our world is
merely a house that we make out of it; and our dead are right behind our back
porch. From time to time, we will look out the back window, pull up a chair to
that same window, and drink a glass of wine and try to laugh at the headstones.
Daniel Helle, Twenty-fourth of April, Two Thousand and
Eleven