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"It's an old, old story: I had a friend and we shared everything, and then she died and so we shared that, too." So begins this gorgeous memoir by Pulitzer Prize winner Gail Caldwell, a testament to the power of friendship, a story of how an extraordinary bond between two women can illuminate the loneliest, funniest, hardest moments in life, including the final and ultimate challenge. They met over their dogs. Both writers, Gail Caldwell and Caroline Knapp, author of Drinking: A Love Story, became best friends, talking about everything from their shared history of a struggle with alcohol, to their relationships with men and colleagues, to their love of books. They walked the woods of New England and rowed on the Charles River, and the miles they logged on land and water became a measure of the interior ground they covered. From disparate backgrounds but with striking emotional similarities, these two private, fiercely self-reliant women created an attachment more profound than either of them could ever have foreseen. The friendship helped them define the ordinary moments of life as the ones worth cherishing. Then, several years into this remarkable connection, Knapp was diagnosed with terminal lung cancer. With her signature exquisite prose, Caldwell mines the deepest levels of devotion and grief in this moving memoir about treasuring and losing a best friend. Let's Take the Long Way Home is a celebration of life and of the transformations that come from intimate connection-and it affirms, once again, why Gail Caldwell is recognized as one of our bravest and most honest literary voices.

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Gail Caldwell is the former chief book critic for The Boston Globe, where she was a staff writer and critic for more than twenty years. In 2001, she was awarded the Pulitzer Prize for Criticism. She is also the author of A Strong West Wind, a memoir of her native Texas. Caldwell lives in Cambridge, Massachusetts.

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Chapter One

I can still see her standing on the shore, a towel around her neck and a post-workout cigarette in her hand—half Gidget and half splendid splinter, her rower’s arms in defiant contrast to the awful pink bathing suit she’d found somewhere. It was the summer of 1997, and Caroline and I had decided to swap sports: I would give her swimming lessons and she would teach me how to row. This arrangement explained why I was crouched in my closest friend’s needle-thin racing shell, twelve inches across at its widest span, looking less like a rower than a drunken spider. We were on New Hampshire’s Chocorua Lake, a pristine mile-long body of water near the White Mountains, and the only other person there to watch my exploits was our friend Tom, who was with us on vacation.

“Excellent!” Caroline called out to me every time I made the slightest maneuver, however feeble; I was clinging to the oars with a white- knuckled grip. At thirty-seven, Caroline had been rowing for more than a decade; I was nearly nine years older, a lifelong swimmer, and figured I still had the physical wherewithal to grasp the basics of a scull upon the water. But as much as I longed to imitate Caroline, whose stroke had the precision of a metronome, I hadn’t realized that merely sitting in the boat would feel as unstable as balancing on a floating leaf. How had I let her talk me into this?

Novice scullers usually learn in a boat three times the width and weight of Caroline’s Van Dusen; later, she confessed that she couldn’t wait to see me flip. But poised there on water’s edge, hollering instructions, she was all good cheer and steely enthusiasm. And she might as well have been timing my success, fleeting as it was, with a stopwatch. The oars my only leverage, I started listing toward the water and then froze at a precarious sixty-degree angle, held there more by paralysis than by any sense of balance. Tom was belly-laughing from the dock; the farther I tipped, the harder he laughed.

“I’m going in!” I cried.

“No, you’re not,” said Caroline, her face as deadpan as a coach’s in a losing season. “No you’re not. Keep your hands together. Stay still— don’t look at the water, look at your hands. Now look at me.” The voice consoled and instructed long enough for me to straighten into position, and I managed five or six strokes across flat water before I went flying out of the boat and into the lake. By the time I came up, a few seconds later and ten yards out, Caroline was laughing, and I had been given a glimpse of the rapture.

The three of us had gone to Chocorua for the month of August after Tom had placed an ad for a summer rental: “Three writers with dogs seek house near water and hiking trails.” The result of his search was a ramshackle nineteenth-century farmhouse that we would return to for years. Surrounded by rolling meadows, the place had everything we could have wanted: cavernous rooms with old quilts and spinning wheels, a camp kitchen and massive stone fireplace, tall windows that looked out on the White Mountains. The lake was a few hundred yards away. Mornings and some evenings, Caroline and I would leave behind the dogs, watching from the front windows, and walk down to the water, where she rowed the length of the lake and I swam its perimeter. I was the otter and she was the dragonfly, and I’d stop every so often to watch her flight, back and forth for six certain miles. Sometimes she pulled over into the marshes so that she could scrutinize my flip turns in the water. We had been friends for a couple of years by then, and we had the competitive spirit that belongs to sisters, or adolescent girls—each of us wanted whatever prowess the other possessed.

The golden hues of the place and the easy days it offered—river walks and wildflowers and rhubarb pie—were far loftier than what Caroline had anticipated: She considered most vacations forced marches out of town. I was only slightly more adventurous, wishing I could parachute into summer trips without having to fret about the dog or shop for forty pounds of produce. Both writers who lived alone, Caroline and I shared a general intractability at disrupting our routines: the daily walks in Cambridge, Massachusetts, the exercise regimens we shared or compared, the meals and phone calls and hours of solitary work that we referred to as “our little lives.” “Paris is overrated,” Caroline liked to claim, partly to make me laugh; when she met a friend of mine one evening who was familiar with her books, he asked if she spent a lot of time in New York. “Are you kidding?” she said. “I hardly even get to Somerville.” Wedded to the sanctity of the familiar, we made ourselves leave town just to check the vacation off the list, then return to the joys and terrors of ordinary life.

I have a photograph from one of those summers at Chocorua, framing the backs of my dog and Caroline’s, Clementine and Lucille, who are silhouetted in the window seat and looking outside. It is the classic dog photo, capturing vigilance and loyalty: two tails resting side by side, two animals glued to their post. What I didn’t realize for years is that in the middle distance of the picture, through the window and out to the fields beyond, you can make out the smallest of figures—an outline of Caroline and me walking down the hill. We must have been on our way to the lake, and the dogs, by now familiar with our routine, had assumed their positions. Caroline’s boyfriend Morelli, a photographer, had seen the beauty of the shot and grabbed his camera.

I discovered this image the year after she died, and it has always seemed like a clue in a painting—a secret garden revealed only after it is gone. Chocorua itself has taken on an idyllic glow: I remember the night Caroline nearly beat Tom at arm wrestling; the mouse that sent me onto the dining room table while she howled with laughter; the Best Camper awards we instituted (and that she always won). I have glossed over the mosquitoes, the day Caroline got angry when I left her in a slower-moving kayak and rowed off into the fog alone. Like most memories tinged with the final chapter, mine carry a physical weight of sadness. What they never tell you about grief is that missing someone is the simple part.

The two of us rowed, together and in tandem, for five years after that first summer. We both lived near the Charles River, a labyrinthine body of water that winds its way through Greater Boston for nine miles, from upper Newton through Cambridge and into Boston Harbor, with enough curves and consistently flat water to be a mecca for rowers. Because Caroline was small in stature and could body-press more than her own weight, I got to calling her Brutita, or “little brute.” The boathouses we rowed out of were a couple of miles apart, and I could recognize Caroline’s stroke from a hundred yards away—I’d be there waiting for her near the Eliot Bridge or the Weeks Footbridge by Harvard, ready to ply her with questions about form and speed and where to position one’s thumbs. When she went out hours ahead of me, she fired off unpunctuated e-mails as soon as she got home: “hurry up the water is flat.” We logged hundreds of miles, together and solo, from April to November; she endured my calls, in those first couple of summers, to discuss the mechanics of rowing: “I want to talk about thrust,” I would say, with insane intensity, or, “Did you know the human head weighs thirteen pounds?” “Ummmm-hmmmm?” she’d answer, and soon I would hear a soft click-click in the background—evidence that she had begun a game of computer solitaire, her equivalent of a telephonic yawn. At the end of the day, when we walked the dogs, we compared hand and finger calluses (the battle scars of good rowing) the way teenage girls used to compare tans or charm bracelets; because she was and always would be the better rower, I accepted her continual smugness and vowed to get even in the pool. One year for Christmas I gave her a photograph from the 1940s of two women rowers in a double at Oxford, England. She hung it on a wall near her bed, above a framed banner that read zeal is a useful fire.

Both pictures hang in my bedroom now, next to the photograph of the dogs. Caroline died in early June of 2002, when she was forty-two, seven weeks after she was diagnosed with stage-four lung cancer. In the first few weeks in the hospital, when she was trying to write a will, she told me she wanted me to have her boat, the old Van Dusen in which I’d learned to row and that she had cared for over the years as though it were a beloved horse. I was sitting on her hospital bed when she said it, during one of those early death talks when you know what is coming and are trying to muscle your way through. So I told her I’d take the boat only if I could follow rowing tradition and have her name painted on the bow: It would be the Caroline Knapp. No way, she said, the same light in her eyes as the day she had taught me to row. You have to call it Brutita.

...

Before one enters this spectrum of sorrow, which changes even the color of trees, there is a blind and daringly wrong assumption that probably allows us to blunder through the days. There is a way one thinks that the show will never end—or that loss, when it comes, will be toward the end of the road, not in its middle. I was fifty-one when Caroline died, and by that point in life you should have gone to enough funerals to be able to quote the verses from Ecclesiastes by heart. But the day we found out that Caroline was ill—the day the doctors used those dreaded words “We can make her more comfortable”—I remember walking down the street, a bright April street glimmering with life, and saying aloud to myself, with a sort of shocked innocence, “You really thought you were going to get away with it, didn’t you?”

By which I meant that I might somehow sidestep the cruelty of an intolerable loss, one rendered without the willful or natural exit signs of drug overdose, suicide, or old age. These I had encountered, and there had been the common theme of tragic agency (if only he’d taken the lithium; if only he hadn’t tried to smuggle the cocaine) or rueful acceptance (she had a good long life). But no one I had loved— no one I counted among the necessary pillars of life—had died suddenly, too young, full of determination not to go. No one had gotten the bad lab report, lost the hair, been told to get her affairs in order. More important, not Caroline. Not the best friend, the kid sister, the one who had joked for years that she would bring me soup decades down the line, when I was too aged and frail to cook.

From the beginning there was something intangible and even spooky between us that could make strangers mistake us as sisters or lovers, and that sometimes had friends refer to us by each other’s name: A year after Caroline’s death, a mutual friend called out to me at Fresh Pond, the reservoir where we had walked, “Caroline!”, then burst into tears at her mistake. The friendship must have announced its depth by its obvious affection, but also by our similarities, muted or apparent. That our life stories had wound their way toward each other on corresponding paths was part of the early connection. Finding Caroline was like placing a personal ad for an imaginary friend, then having her show up at your door funnier and better than you had conceived. Apart, we had each been frightened drunks and aspiring writers and dog lovers; together, we became a small corporation.

We had a lot of dreams, some of them silly, all part of the private code shared by people who plan to be around for the luxuries of time. One was the tatting center we thought we’d open in western Massachusetts, populated by Border collies and corgis, because we’d be too old to have dogs that were big or unruly. The Border collies would train the corgis, we declared, and the corgis would be what we fondly called the purse dogs. The tatting notion came about during one of our endless conversations about whether we were living our lives correctly— an ongoing dialogue that ranged from the serious (writing, solitude, loneliness) to the mundane (wasted time, the idiocies of urban life, trash TV). “Oh, don’t worry,” I’d said to Caroline one day when she asked if I thought she spent too much time with Law and Order reruns. “Just think—if we were living two hundred years ago, we’d be playing whist, or tatting, instead of watching television, and we’d be worrying about that.” There was a long pause. “What is tatting?” she had asked shyly, as though the old lace-making craft were something of great importance, and so that too became part of the private lexicon —“tatting” was the code word for the time wasters we, and probably everyone else, engaged in.

These were the sort of rag-and-bone markers that came flying back to me, in a high wind of anguish, when she was dying: I remember trying to explain the tatting center to someone who knew us, then realizing how absurd it sounded, and breaking down. Of course no one would understand the tatting center; like most codes of intimacy, it resisted translation. Part of what made it funny was that it was ours alone.

One of the things we loved about rowing was its near mystical beauty— the strokes cresting across the water, the shimmering quiet of the row itself. Days after her death, I dreamed that the two of us were standing together in a dark boathouse, its only light source a line of incandescent blue sculls that hung above us like a wash of constellations. In the dream I knew she was dead, and I reached out for her and said, “But you’re coming back, right?” She smiled but shook her head; her face was a well of sadness.

From the Hardcover edition.

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Let's Take the Long Way Home

Let's Take the Long Way Home

0812979117

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