1. Kate Kate leans in the doorway of the living room, arms crossed, the sleeves of a cotton sweater shoved to her elbows. Her forearms are sinewy-brown, dry-skinned, thorn-scratched. She wears two silver bracelets and a thick gold wedding band. Some women, she realizes, remove their rings. In the corner is a stack of nine antique hatboxes. She has not touched them since they were set down a week ago, delivered by her sister, who drove them up from Hartford. They are oval or round, some tied with string, some decorated with maroon-and-silver stripes, others printed with gothic landscapes - willows, mountains, ruined castles. Their smell has begun to permeate the room even though the windows are open. It is the smell of her grandparents' attic, a smell she has not forgotten but thought had vanished, like the past itself. That it has not and is still here, this aroma of horsehair and leather, of apples and musty quilts, of old dresses and satin ribbons - that this smell still exists here in this Canadian river valley, six hundred miles north of her grandparents' house, is disquieting. It awakens a feeling in Kate that she remembers from childhood, composed of odd emotional strands: love, sorrow, pain, contentment. The arrival of the hatboxes is untimely, since dispossession, like grief, is an act of which Kate has had her fill since Tom's death a year and three months ago, from a heart attack at age fifty-two. She's hauled garbage bags of clothes, like lumpy corpses, down to the washing machine, unable to give away anything that might bear his painty, sawdusty smell. Sorting through the clothes, she was relieved whenever she came across T-shirts like Swiss cheese or underpants held by threads to waistbands no longer elastic. Choices made easy: Okay, throw this away . No one in her family has wanted to face making such decisions about the papers in these hatboxes. They have been lugged from place to place, from barn to basement to closet, ever since the big house in whose attic they'd accumulated for five generations was sold. She goes into the living room and squats by the boxes. Their papered cardboard is dry as old plaster. How strange, she thinks, that they are here, now. And she finds herself wishing they could have remained forever under the attic's cobwebbed window, their contents spilled, letters stuffed by children's hands back into envelopes embroidered by the teeth of mice. Like leaves in a mulch pile. Forgotten, skeletal, slowly reverting to dirt. So it might have been if the house had not been sold, if time had not stalked on relentless legs, like a heron, and bent its long neck. She slides her fingers over a lid, remembering the excitement she and her cousins had felt about these boxes and the disappointment of finding only papers whose half-read sentences were like windborne music or distant surf, faint hints of a larger sound. The box is so desiccated that its lid is loose and lifts easily, releasing the concentrated mustiness within, so familiar that tears spring to Kate's eyes. It takes her to the closets, bedrooms, pantries and cupboards of her grandparents' enormous, white-clapboarded house on the tree-lined street of the village where Kate grew up. She and her sister could leave their own home, walk past the tiny general store, with its wooden porch and post office, past the library and the church, and be on Shepton's lawn in ten minutes. Shepton House had been named by her great-grandmother for the English town where some branch of the family originated. Shepton , they called the place after awhile, dropping the pretentious "House." The word, spoken and accompanied by memory, is what a spell might be to a shaman: an evocation, a tumult of associations. She stirs the papers. Like the snow-flattened leaves of early spring, they are brown and soft, overlapping, their corners fanned. Some are in bundles, tied with faded cotton string. Most lie in a dismaying confusion. Kate pauses, looks out the window. River light quivers in trees at the bottom of her lawn. She is still squatting, irresolute. Why did I agree to take on this responsibility? Now - of all times . She slips into a sitting position, crosses her legs. The house is so quiet. No one will be coming to visit until Thanksgiving. Her daughter, Christy, is in Halifax, her son, Liam, in Ireland. She listens to the sound of an empty house, thinking, Am I still a wife? She sees her future not the way it is now but the way it was supposed to be; this, unlike the bald fact of Tom's death, is a loss she can't share, a grief she can't reveal. She is allowed to mourn the past, Tom as he was, the sound of his voice, the body that once cradled hers; but the future that was theirs - its loss has become like a new death, the death of someone no one else knows. A hidden corpse. It ebbs away, her memory of how it felt to slide her hand into the back pocket of Tom's shorts, to relate a rambling dream and not care whether he listened, to casually wipe mustard from his chin. This loss of intimacy is the hardest, for with it goes her sense of self. She cannot bear to be with long-married couples: she's watched a husband lift a strand of windblown hair from his wife's mouth, has seen a wife peel a hard-boiled egg and hand it to her husband. It is dangerous, as well, to be in places - dinner parties, picnics - where conversational lures may attract memories, or feelings. She feels stripped of some sleek texture, as if she has lost her favourite silk scarf, orange-pink and luminous as sun-filled tulips, that carried in its folds the wife she once was, the wife she would still be. She leans forward and rummages in the hatbox, knowing that she is being hooked by its sweet smell. She tips reading glasses from her head, settles them on her nose, unfolds a paper and presses it to her face. She breathes deeply. What is it? Lately she finds herself in a peculiar state, slowed, as if floating without impulsion, in which she examines her own feelings. There's a familiar, disturbing stab in her heart that she remembers from when, as a child, she laid her head on Shepton's prickly pillows, or lifted the lids of stoneware crocks or opened the games cupboard under the stairs. It's a small ache, a presage of grief, evoked by the distilled smell of age. It's a reminder, she thinks, of joy's sorrow-edge. Of how every moment tilts on the brink of its own decline. There's something else, though. Responsibility to the past. And flight from its demands. The feelings she's come to recognize, holding in her hand, say, a small pin that Tom was once given at a ceremony in Ottawa "for service to the arts." How, she chastises herself, during her process of dispossession, could she think of parting with this piece of silver? Doesn't she have the responsibility of memorializing Tom? Excerpted from The Hatbox Letters by Beth Powning All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.