A TREE IN THE GARDEN
I sit on a bench in the garden behind the home where my great-grandparents once lived, a notebook and pen in my lap. At the center of the garden is a tree that my great-grandfather planted as a gift for my great-grandmother. Several decades later he passed away, but the tree remains: a tall, beautiful tree that symbolized my great-grandparents' eternal love for one another.
In more than a hundred years the tree has grown from a sapling that would've been about half my height to a tall, beautiful tree reaching high into the sky. Its branches spread across most of the garden, providing shade on hot, sunny days, reminding me of my mother arm's wrapping around me each day when I came home from school.
Most of the year the tree has big, bright green leaves. But each Autumn, its leaves turn red at first and then brown, falling to the ground like slowly spinning butterfly wings. The wind then blows the leaves away, like clearing the table after a meal, so that the tree is ready for new leaves in the Spring.
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One day, back when I was still a little girl, I remember asking my great-grandmother, “Why didn't Great-Grandpa just tell you that he loved you, Great-Grandma?”
“Because he never found it easy to say how he felt,” she said. “It was easier for Pietro to plant the tree and let that do the talking for him.”
“What did you do in return?” I asked.
She smiled. “I hugged him, kissed him, and thanked him for being so kind and thoughtful.” I saw her look out the kitchen window at the garden. “Every time I see the tree, it feels like he's still here.”
“You miss him, Great-Grandma?” I asked.
She nodded. “Every day.”
“I miss him, too,” I said.
“You'll see him again someday,” she said.
“Soon?” I asked hopefully.
“Maybe when you're older,” she said.
“Will you see him again?” I asked.
“Someday,” she said. “But not too soon, I hope.”
“Why not?” I asked.
“Because I like being here, too,” she said and hugged me. “Want to help me make some traditional Italian desserts?”
I smiled and nodded enthusiastically.
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Sitting on the bench all these years later, I record these memories in my notebook, including a poem inspired by one that my great-grandmother wrote to my great-grandfather. The notebook will be a gift to my daughter one day. A gift that, in turn, she can share with her child or children.
I hear laughter. I pause and look up to see children playing in and around the tree. One of the children is my daughter Lucia. She is tall and beautiful like the tree. She runs over to me and gives me a hug and kiss. I feel like I've been given a gift more precious than life itself.
“What are you doing, Mama?” Lucia asks.
“I'm writing about us,” I say. “Mostly about you.”
“Can I read it?” she asks.
“Not yet, Lucia,” I say. “Maybe I'll read from it when you're older.”
She looks disappointed.
“Think of it as a reward for being patient,” I say.
“Promise?” she asks.
I nod. “I promise.”
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A decade later, I watch Lucia walk down the center aisle of the village church, in the same wedding dress that I was married in. At her side is her father, arm-in-arm with her. She smiles at me as they pass my pew. They stop at the altar where a young man in a tuxedo is waiting. Her father gives him her hand, says something, and the young man nods. Then her father rejoins me.
“What did you tell him?” I softly ask.
“To take good care of her,” he softly replies. “She's amazing.”
“Yes, she is,” I agree.
“I can still remember when she was born,” he says.
“So can I,” I say just as softly. “I can also remember her climbing on the tree in the garden and playing near it. It feels like yesterday to me. It's hard to believe that it was ten years ago. Time really does fly.”
“Wish her well,” he says.
“I already have,” I say. “You do it, too. After all, it took both of us to bring her into this world. With God's help.”
He nods. “With God's help. I wish you a long and happy life, Lucia.”
The wedding ceremony commences. Near the end of it, the priest asks the bride and groom a question.
The couple takes turns saying, “I do.”
The priest then says, “By the power vested in me, I now pronounce you husband and wife. You may kiss the bride.”
They kiss and everyone claps. I reach up to wipe the happy tears from my eyes.
“You're crying?” my husband asks me.
I shrug. “Someone's cutting onions.”
He laughs softly. “You never were a good liar.”
“And I hope I never will be one,” I say.
My husband and I watch the newly married couple walk down the aisle, arm-in-arm. As they're about to pass our pew, I hand Lucia the notebook. She smiles, gives me a hug, and then gives her father a hug. After that, she and her husband continue to the front door of the church. The heavy wooden doors are opened and sunlight fills the church's interior.
The congregation follows the bride and groom outside. We cheer as rice is thrown into the air above their heads. I've never seen Lucia look so happy. Her husband looks like he's the luckiest man in the world.
An old white Fiat Topolino is parked near the bottom of the church steps. Rain isn't expected; the car's dark cloth roof has been rolled back all the way. The car has already been decorated for the wedded couple. Large white lettering on the rear windshield reads, “Newly Married”. There are even empty aluminum cans on strings tied to the car's rear bumper.
The Fiat used to belong to my grandparents. From now on, it will belong to Lucia and her husband.
They get in the car and I watch them stand up in the roof's opening. They wave to the congregation. Lucia waves the notebook at me. I smile and nod. Then they kiss each other. More cheering from the congregation. Lucia turns away and tosses her bridal bouquet into the air. I'm pleasantly surprised to see it land in my hands. I hold the bouquet carefully: one last gift from Lucia before she starts her new life. She and her husband sit back down inside the car and drive away, the aluminum cans rattling as they tumble and bounce along the road. It doesn't take long for the sound to fade away.
Once the car is out of sight, the priest re-enters the church and the rest of us head back to our homes.
As we walk home, I hope that Lucia won't forget her parents. Or the tree in the garden. The notebook should help her remember. Maybe she'll read it to her children, reminding them of their grandparents and great-great-great-grandparents.
This is the price of being a parent. You raise your child or children as best you can. You watch them grow up. You watch them meet the person they eventually marry. You watch them get married and leave the church. You might even help them move to their new home. Afterward, there might be the feeling of an empty nest where the parents still live. But it isn't empty. It's filled with years and years of experiences and memories.
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Then one day, several years later, there's a knock on the front door. I open it and there is Lucia. A little older, but still happy. Her husband is at her side and between them their first child, a son.
“Pietro, this is your grandmother,” Lucia tells the boy and then speaks to me. “Mama, this is Pietro. We decided to name him after your great-grandfather.”
I smile. “Thank you.”
“Where is Papa?” she asks.
“He had to go to work today,” I say.
“On a Saturday?” Lucia asks.
I nod. “But he'll be so happy to see you when he gets home. We've both missed you so much.”
“We would've visited sooner, but – well, life – you know – things get busy and – time passed so quickly,” she says apologetically. “I'm sorry.”
“No need to apologize,” I say. “You're here. You, your husband, and your son. That's what matters to me.”
Pietro runs ahead of us as we walk to the garden. We sit down on a bench and watch him play.
“Are you staying for the night, or is this just a day trip?” I ask.
“I was hoping that we could stay for longer than that,” Lucia says. “If you don't mind.”
“I don't mind in the least,” I say.
At first, Pietro sits on the ground, giggling as he throws piles of leaves into the air. Next, he tries to climb up onto anything within reach. Sometimes he falls, but it doesn't seem to hurt him much. He just stands up and dusts himself off. Then he runs to the tree in the center of the garden. He isn't big enough to climb it yet, so he satisfies himself with shaking its lower branches, making some of the leaves fall.
“He's so happy here,” Lucia says.
“He isn't the only one,” I say.
“Thank you for your notebook, Mama,” she says. “Especially the poem you wrote in it. Were I to ask Papa, I think he would just say that he agrees with you. It's always been easier for you to express yourself than it is for him.”
I smile. “Just like my great-grandparents.”
“Did they ever write poems to each other?” Lucia asks.
“My great-grandmother did,” I said. “I borrowed a little from hers when I wrote your poem.”
“I've read it,” she says. “But I'd love to hear you recite it.”
I happily do so:
Live well, live long, live happily.
You are the joy of our lives.
You are the tree in our garden.
Like the tree, you reach up to the sky,
You breathe in the fresh air, soaking up
The sunshine and rain, growing strong,
Tall and beautiful. You are the
Happy product of the love that
Your father and I share with each other
Each and every day. We would not
Have you be any other way than
As you are. We're so proud of you, Lucia.
Love, Mama and Papa
“Thank you, Mama,” she says, hugging me.
“You're more than welcome, Lucia,” I say.
Moments later, Pietro runs over to us and jumps into his mother's lap. He hugs her and kisses her on the cheek. Then he leans over and does the same to me. As he does so, he puts something into my hands.
Looking down, I see one of the leaves from the tree.
(This short story was adapted from a poem I wrote in March 2017.)
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Heard that this was tough to adapt into a short story; I can only imagine. Not to mention how long ago the original poem was written.
Even still, I thought you did a great job with maintaining the elements in the poem yet adding more detail to change it into a short story. You should be proud of this one.
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I wanted to find a way to expand on the poem without ruining what made the poem good in the first place. I honestly didn't think I could improve on it. But when I sat down and decided to try, I looked for places in the poem that looked like they could be embellished without hurting the overall story. I even moved something later in the poem to make that the beginning of the story, because it seemed to work better that way. And finally, when the word count reached about twice that of the poem (even though I could've added up to 1100 more words if I could've found a way to do it), I decided maybe that was enough adapting and adding, and submitted it.
Also, with a four-year gap since the poem was written, I was worried that I couldn't find my way back to the mood/atmosphere that I was in when I wrote the poem. It's kind of like recalling a really good dream four years after having it and hoping that you managed to record most of it. Sometimes I can get back there, sometimes I can't. There are poems that make me scratch my head and wonder what in the world I was thinking and feeling when I wrote them. But when it comes down to it, I'd really rather write something new than to adapt something I've already written. That way I can still be surprised because I'm not traveling down a familiar path. I'm finding my way to a new place instead. Even if that means it's harder than adapting an existing poem or story would've been.
Considering how reluctant I initially was with Asha Pillay's suggestion of adapting the poem, "happy with how it turned out" fits better than "proud" does.
Trivia: If you're wondering where the Italian village is, I sort of borrowed from two Italian TV series that I used to watch a lot of on MHz: "Don Matteo" and "Detective Montalbano". The former takes place in the real town of Gubbio in central Italy; the latter takes place in a fictional coastal town in Sicily. The Fiat Topolino ("Mouse" in English) is also called the Fiat Cinquecento ("500" in English). I prefer the older Fiat 500s which were rear-engined, not the modern front-engined version.
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It must've been intimidating to adapt the poem into a story. Like you said, the poem was excellent as it was in the first place and by adding more it might change it for the worse.
Taking the more familiar path can also be more challenging since you have that voice in the back of your head telling you that you need to top you're previous journey. I'm hoping that if I ever publish any of my books, they'll be stand-alones. When you start writing a series, it's frustrating to think that you'll have to continue to engage the reader with nearly the same details in your previous book. Then you're stuck in a loop thinking that you'll never be able to top your first book in the series.
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I've tried to adapt a prose poem before ("The Portrait") and it just didn't seem happy being anything but a prose poem. I figured the same thing would happen with "A Tree in the Garden", but for the most part, it didn't.
Btw, I don't know if anyone else has noticed, but the poem/story's title sounds rather similar to a book I once read, "A Tree Grows in Brooklyn" (about a girl growing up in Brooklyn (one of the boroughs of New York City)). It didn't occur to me until recently, but maybe it was in my subconscious four years ago.
Adapting something from one format to another is kind of like having a sculpture that you thought was already finished and having to make changes to it. When you add or remove, you just hope that you're improving it more than making it worse (if it was just a matter of "polishing", I probably would just adapt like I edit). At least I wasn't adapting a book into a movie script, because you can't have as much material in a movie as you have in a book. Rachel MacAdams described a movie as a short story, and I think that's a good of describing it. You can't have everything in it, so what you *do* have in it had better be absolutely what's needed, no more, no less.
I've never published any creative writing, so I'm not sure if I'd still want to write sequels if I was being paid to write. Since I'm doing these stories (and the poems) for free, it probably gives me more freedom than an editor, publisher, or literary agent would give me.
I don't try to top what I've written before. I just try to do the best I can each time.
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"The Portrait" was my favorite prose poem of yours. Some things are left better in their original form, but I'm glad "A Tree in the Garden" worked in a short story format.
I've read "A Tree Grows In Brooklyn," too. It was an amazing book but bittersweet. Now that I think about, I can see some similarities between the two. That's actually one of the books I have with me in my *library,* if you'd call it that. It's just a small shelf full of books that I've collected since moving.
Have you watched the adaption of "Pride and Prejudice" that stars Keira Knightley as Elizabeth Bennet? They did a great job with converting the book into a movie. I was surprised how much I enjoyed watching it.
One of my greatest fears as a writer is publishing a book (I hope I can even get that far) and then become stuck in a writing drought, as you'd call it. I thought that was a great way to put it.
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The artist in "The Portrait" is far too humble about his abilities, I think. He can create a "living" painting of the model when they were younger. That's why I left the description of the painting until nearly the end and didn't explain (even if I could) how it was done. The only things closest to it that I know of are the Gallifreyan timelord paintings (what they call "frozen moments") in the "Doctor Who" TV series or the "wizard paintings" in the Harry Potter books and movies. Maybe the artist in my prose poem is a wizard and just doesn't want to admit it?
I've only read "A Tree Grows in Brooklyn" once (about 35 years ago, back when I was still in high school), but I've seen the Bugs Bunny cartoon adaptation of it at least several times.
Glad you have at least a shelf-full of books. Whenever I've had to move, the only thing that came close (in size) to the furniture and clothing was the book collection (even the CD and DVD collections weren't that big). My dream is to be able to live somewhere where I can have half of a house for me and half of a house for the library, or (better yet) one entire house for me and one entire house for the library. And the money to buy all the hardbacks and paperbacks that I want.
I haven't seen any of the adaptations of Jane Austen's novels except "Northanger Abbey" and the one with Edmund in it. I've tried reading her novels and for the most part I can't get interested in them. I'd rather read Lucy Maud Montgomery's books instead (she was the author of the "Anne of Green Gables" series of books along with other books and short story collections). At least those are fun and interesting to me.
I don't know how else to describe a period of creative nothingness, except maybe the "doldrums" (as sailors call it; it's when the wind barely moves and the lines and shrouds and rattle, making a horrible noise; you just want to be out of it and back where the trade winds blow).
I've made two attempts at book-length stories, but only in rough draft form: one back when I was 15 (in hindsight, it was probably pretty poor) and another last year. The more recent one was supposed to be like a radio-drama-like sequel to "Good Omens: Lockdown" (I think it's still on YouTube), which itself was a sequel to the book "Good Omens" and its six-part TV miniseries adaptation. I wrote it in about three weeks (no joke), an average of 8 hours/day. It took over my life so completely that I just wanted to finish the draft and get away from it. I even tried to write a sequel to it, but that fell apart. It's on the Archive of Our Own website in the "Good Omens" section (I used my real name as the author's name). I'm not sure if it's even readable because it really needs to be edited and I've had almost no desire to do that. I'm still worried that even editing it will take over my life and I can't do anything but edit, eat, and sleep. No thanks. Once was quite enough, thank you.
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Heya Philip!
Let's get the grammar and stuff out of the way first :) Once again, take what you will with a grain of salt!
1) "Several decades later he passed away, but the tree remains: a tall, beautiful tree that symbolized my great-grandparents' eternal love for one another." (Technically, you don't need the colon there but I can see why you did put it there!)
2)"A gift that, in turn, she can share with her own child or children." (own is redundant)
3)"Her father gives him her hand, says something and the young man nods." (Comma after something)
4)"She smiles, gives me a hug, and then gives her father a hug." (Kind of wordy and I got a little lost. I would rewrite 'gives me a hug' to 'hugs me' and 'gives her father a hug' to 'hugs her father')
5) "Maybe she'll read it to her own children, reminding them of their grandparents and great-great-great-grandparents." (Once again, I feel that own is redundant)
6) "Love, Mama and Papa" (comma after mama)
Alright, now to the actual story. I think this is one of my favorites :) I really REALLY enjoyed this, and the tree just made everything seem cohesive and in retrospect to the rest of the story, just made the plot flow even smoother. Amazing job, once again, and can't wait for that *possible* sequel :)
N
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(sarcasm) *grumble grumble grumble* *yell, scream, shriek, complain loudly* *heavy sigh* Okay. I'm ready now.
1) I still prefer the colon. It reads better to me with it than without it.
2) See #5. (I agreed with you here, as you'll see.)
3) Ah. I agree with you on this one. I should've caught that missing punctuation error. Fixing the offline version now (and I'll fix it in the online version once I complete this response message and hit the REPLY button).
4) Again, I agree. Maybe say: "She smiles and gives me a hug. Then she gave her father a hug."?
5) Again, I agree. You were right both times (here and in #2). I deleted "own" before "child or children" both times.
6) Here I'll disagree. Years ago, before my birth parents got divorced, when I received birthday cards from them, the card would be signed, "Love, Mama and Daddy" (I didn't call my late father "Papa"). As if the birthday message had come from both of them, though, really, it had been written by only one of them. I hope that makes sense.
I tried to explain to Asha Pillay that it wasn't easy adapting the original prose poem into a short story. Since the original poem was written a little over four years ago, it was hard trying to get back into the mood and atmosphere I was in when I wrote it. Kind of like having a dream and trying to remember it four years later when you decide to write it down, hoping that you remembered everything. Also, it's like adding flesh-and-blood and clothing to a skeleton. There are parts that still feel skeleton-like to me, but I didn't want to add unnecessary text just to flesh those parts out. I wanted it to flow as naturally as possible. As if it had originally been written as a short story, not adapted from a prose poem. I did restructure the story's beginning paragraphs compared to the poem's beginning paragraphs. If you've read the original poem, you'll notice the structural differences between it and the story, as well as the added text. If you haven't read the original poem, I'll copy/paste it below, so that you can compare the poem with the story:
A TREE IN THE GARDEN
There's a tree in the garden,
A tall, beautiful tree,
Its leaves are big and bright green
Most of the year and then
In the Fall its leaves turn red
And fall, like butterfly wings,
Only to turn brown and the wind
Blows them away, “clearing the table”
So that the tree is ready for
New leaves in Springtime.
This tree was planted by my
Great-grandfather, a gift to my
Great-grandmother, a way to tell
Her that he loved her, when he
Usually found it difficult to say it,
I heard that it made her smile
And she hugged and kissed him,
Thanking him for being so kind
And thoughtful, especially during those
Times when life was difficult for them.
This tree is more than fifty years old
By the time I'm writing these words,
Sitting on the bench across the garden
From the tree. I can see children playing
In and around the tree, and one
Of them is my daughter, Lucia.
Tall and beautiful like the tree,
I watch her run over to me,
She gives me a hug and a kiss,
And I feel like I've been given
A gift more precious than life itself.
“What are you doing, Mama?” Lucia asks.
“I'm writing about us,” I say. “Mostly about you.”
“Can I read it?” she asks.
“Not yet,” I say. “Maybe when you're older.”
Years later, I watch her walk down the aisle
In the village church, arm-in-arm with her
Father; she smiles at me as they pass my pew;
They head up to the altar where a young man
Is waiting; her father gives him Lucia's hand,
Says something, and the young man nods;
Her father walks back to my pew, joining me.
“I can remember when she was born,” he says.
“Me too,” I say. “And I can remember her
Climbing in and playing near that tree
In the garden. It feels like yesterday.
Hard to believe that it was ten years ago.”
“Wish her well,” he says.
“I already have,” I say. “You do it too.
“After all, it took both of us to bring
Her into this world. With God's help.”
He nods. “With God's help.”
The couple says “I do” and the priest
Declares them husband and wife.
They kiss and everyone claps, even me.
Arm-in-arm, they walk down the aisle.
As they're about to pass our pew, I hand
Lucia a sheet of paper with writing on it.
She smiles and gives me a big hug, and
Then gives her father an equally big hug.
After that, she and her husband continue
Their walk to the front door of the church.
Rice is thrown into the air above their heads
And the crowd cheers. I've never seen
Lucia so happy. Her husband looks like he's
The luckiest man in the whole world.
An old white Fiat rolls up, decorated
For the wedded couple. It used to belong
To my parents, and now it will belong
To Lucia and her husband. I watch as
They wave to the crowd and kiss each
Other again. Lucia turns away and
Tosses her bridal bouquet into the air.
I'm pleasantly surprised to see it land
In my hands. I hold it carefully. One last
Gift from Lucia before she starts her new life.
I hope that she won't forget us. Or the tree
In the garden. The poem that I wrote and
Gave her a copy of should help her remember.
Maybe she'll read it to her own children,
Reminding them of their grandparents.
This is the price of being a parent. You raise
Your child or children as best you can.
You watch them grow up. You watch them
Meet the person they eventually marry.
You watch them move to their new home.
There might be a slightly empty nest
Where my husband and I still live.
But it's definitely full of years and years
And plenty of memories. Until there's
A knock on the door, and there's Lucia,
A little older, but still happy, her husband
Next to her, and their first child, a son,
Standing between them. They named
Him after my great-grandfather.
His mother and I watch him play in the garden.
“He's so happy here,” Lucia says.
“He loves both his parents and the tree,” I say.
She nods. “Thank you for your poem,
Even if the thoughts and feelings are
Really mostly your own. Were I to
Ask Papa, I think he would say
That he agrees with you. You just
Find it easier to say them than he does.”
“Just like my great-grandparents,” I say.
“Did they ever write poems to each other?” she asks.
I nod. “I borrowed a little from theirs.”
“Let me hear yours, please,” Lucia says.
I happily do so.
Live well, live long, live happily.
You are the joy of my life.
You are the tree in the garden.
Reach up to the sky, breathe in
Fresh air, soak up the sun and rain.
Grow strong, tall, and beautiful.
You are the happy product
Of the love that your father and
I share each and every day.
We would not have you be
Any other way than as you are.
We're so proud of you, Lucia.
Love, Mama and Papa.
“Thank you,” she says, hugging me.
“You're welcome,” I say.
Soon after, her son runs over and jumps
Into her lap. He hugs her and kisses her.
Then leans over and does the same to me.
As he does so, he puts something into my hands:
It's one of the leaves from the tree.
(written 3-11-2017)
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wow - ok :) I loved that poem! It was amazing and I can see where you got the inspiration from!
And no problem, by giving you what I saw - I wanted to give you an opportunity to take that idea and make it your own!
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Please thank Asha Pillay for suggesting that I adapt that poem into a short story. It was her idea, not mine. I was reluctant at first, but then decided maybe adapting it would work after all.
Who knows? Maybe some of the other poems might be adaptable someday if I can find a prompt to fit them.
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:) it did work!
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Wow! Such a beautiful story. I read your poem and immensely liked it, and happy that it inspired you to write this lovely story.
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As in my email to you: Glad that you liked it so much. It wasn't an easy adaptation, but I thought it was worth attempting after all. It still feels in places more like a skeleton than a flesh-and-blood body, but I fleshed it out as best I could.
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