Friday, March 15, 2013

Matters of Tense

I write in present tense.  I’ve tried to write in past tense, but by the second or third paragraph, I migrate back into present.  Writing in past tense feels “dead” to me.

Now before you jump to defend all your own or others’ past-tense novels, let me clarify that this only refers to my writing tense.  As a reader, I hardly notice tense.  I will enjoy a good past tense novel just as much as a good present tense novel. 

But as a writer, I’m discovering my story, and it’s unfolding right in front of my eyes as the words fill the page.  To write in past tense is to write as if these events have already occurred, that the events I will write are a foregone conclusion, and that the end is historical fact.  But how can that be when they don’t exist yet?

Writing in present tense makes me feel like anything can still happen.  Often, my characters prove this to be true as they make their own decisions and take the story in an entirely unexpected direction.

Writing in present tense makes me feel like part of the action.  I become my characters in those moments, seeing their world through their eyes. 

And it’s all happening.  Right.  Now.

Friday, March 1, 2013

A First Chapter

It's been nearly a year since I posted here, so perhaps it's time to start up again.  I was trying to blog once a week, and that got overwhelming, so I just gave up.  One or two posts a month will be my goal for now.

So here's the first chapter of something I'm working on.  My working title for this is Everborn.


The sound of the downpour drowns out all other noise as Raine tucks the squirming newborn under his cloak and sprints through the streets. I chose this place, this desert, to be safe. Why would it rain tonight of all nights? As Raine pushes past pedestrians seeking shelter, electricity snaps in the air, a minion gathering power from the moisture. Instinctively, Raine looks back. He finds the minion in the light streaming from an inn window, yet it somehow remains in shadow and barely discernible. Raine can only make it out because the drops do not touch it.

            Raine races through muddy puddles and sodden horse manure, his beautiful new boots forever ruined. All this for a bloody girl, he thinks. I should just leave her to the minion. Thalen will reincarnate in nine months as a proper boy. But centuries of protecting this soul will not allow Raine to leave Thalen to the minion. He cannot allow its master, the numaelon Oren, to win yet again.

            With another look behind him, Raine sees the shadowy figure melt away, leaving in its place a distraught peasant woman. Raine knows this trick. The minion, in the guise of an innocent victim, will gain support from the local law enforcement to slow Raine down. In this sense, the storm is on Raine’s side. It will take Vastaria’s knights longer to rally in response to whatever story the minion tells them.

            Best be safe, Raine thinks, conjuring a cloaking spell to make the baby girl appear as a basket of fruit. He shivers as the magic draws warmth from his body. In this weather, with precious little heat to draw from, he can’t change his own appearance, as well, or he’ll freeze.

            Raine keeps moving, going for speed and distance rather than stealth, since the minion can see well in the shadows and moves with a speed Raine hasn’t seen in two hundred years. Water is the numaelon’s element, giving him and his puppet the advantage in this desert kingdom which usually favors Raine’s heat-based magic. As he runs, Raine wonders if the numaelon’s power has increased so much. Could Oren have created this storm? Could he draw enough power to control more than one minion?

            The basket of fruit cries out. Raine holds it tightly to him, cradling it against his chest. A tiny lemon paws at him as an apple roots around attempting to nurse. The poor child, barely minutes from her mother’s womb, might never know the satisfaction of her first meal.

            Raine stops under an awning to catch his breath. Sustaining the cloaking spell on the child has sapped his body heat, and he feels his joints stiffening. No amount of training can prepare him to run far and fast with frozen muscles, so he lessens the spell, the top of the infant’s head now visible, along with ten tiny fingers.

            In front of him, a second minion steps out of the gale. This storm has indeed made the numaelon a powerful master, allowing Oren to control two of his marked souls. Raine sees through the creature’s human disguise, recognizing the tell-tale bluish hue of the woman’s face. She lunges for the fruit basket, covering the few yards in two long steps. Raine pulls away and runs, his boots and cloak soaked, his icy leg muscles brittle. The minion woman gathers the raindrops around her, and thrusts a swarming wave at Raine. He stumbles at it hits him in the back, but adrenaline keeps him upright. He can’t lose this soul again.

            In the town square, he sees the lights. Covered torches. Fire, heat, power. He runs toward them, but thinks better of it. The torches’ meager heat will not be enough.

            He turns again, down a dark alley that will lead him into the canyon where he has a chance to disappear. If he can hide long enough, wait out the storm, the desert heat will return, bringing with it his power and his advantage. He must only endure the night.

            Raine hurries through the alley, a river of a road. Rats leap from his path as his boots propel the sheet of water covering the dirt street, the packed soil too dry to absorb it. Raine sees the edge of the canyon in the distance through the alley’s end, and hope soars in his chest. He can escape with Thalen.

            A wall of water rises up, filling the alley and blocking his way. Around Raine’s ankles, the puddles swirl, gather, and envelop his legs. He turns, his only option to retrace his steps and head back toward town, but his path is blocked that way, as well, by a small, unimposing man.

            But Raine knows Oren, the numaelon, in any guise.

            He’s come here? Himself? To kill an infant? A girl? Oren has always sent minions after the children, only involving himself when Thalen’s current body managed to reach adolescence and became a true threat. Why is he here now?

            The water freezes around Raine’s legs, stopping him, and the liquid wall behind him swirls, encasing him in a flood. An eerie underwater silence surrounds him, and his cloak and long hair rise with the weightlessness of submersion. Raine can’t die, but the child he holds will certainly drown. He thrusts the fruit basket beyond his wet cage and into the open air, holding it at arm’s length, and releases the spell. The wailing fruit melts away, revealing the crying child.

            Oren strides forward and plucks the girl from Raine’s outstretched arms. He won’t kill her. Not yet. Oren will need time to prepare the enchantments that mask Thalen’s reincarnation from Raine, to hinder his ability to find and protect his friend’s latest form. That requires water, more than a storm. Oren can win this battle, but Raine will still have time to save the girl.

            Raine fights the urge to breathe within his prison. Even though he doesn’t necessarily need air, he’s never shaken the habit of breathing during his centuries as an immortal, and his body is accustomed to a steady flow of oxygen. At this moment, his panicking mind hits him with a thought. Thalen has never occupied a female body before. There is something about a girl that threatens Oren enough for him to come and destroy her himself.

            Raine draws on what little body heat he has left, weakening the ice binding his legs. If he can just break through his frozen chains, he can push through the water cell with physical strength alone.

            He breaks one leg free and focuses his attention on the other. The top of his boot is frozen to his trouser leg, and he strains as he pries them apart. Finally, he’s able to pull his foot out of the boot, leaving it frozen to the street, and falls, exhausted, out into the open air. Splashing onto his hands and knees, Raine can’t help sucking in breath, the sounds of the storm assaulting his ears once more. He forces himself to stand and uses the side of a building to push his stiff body forward. Between his staggering and his one bare foot, he looks drunk, but he doesn’t care. He won’t let Oren get away with the child, with his friend’s soul. Raine will end this now.

            Emerging from the alley, he sees Oren striding toward the east gate of the city wall, a knight blocking his path several feet ahead. Not a knight, a Queensman, as indicated by his silver sword belt, trained to defend the kingdom from the supernatural. Stance wide, hand near his sword, the Queensman intends to fight. Raine considers shouting, warning the fool to stand aside, but killing the Queensman will slow Oren down and allow Raine a chance to recover the child. It’s the knight’s duty to die for the realm, isn’t it? And this child could be the key to ridding the realm, and the world, of Oren forever. Raine can allow that sacrifice, but it will be in vain if Oren escapes with Thalen.

            The stone arch of the gate protects four burning torches. They flicker in the wind, but it’s fire, heat. It’s not enough, but Raine must try. He calls on every muscle to burst into action. Lunging forward, he forces his legs to move, every agonizing step a victory, toward Oren, toward Thalen, toward fire.

            The Queensman unsheathes his iron knife rather than his sword. The man recognizes Oren as a creature of darkness, but he can’t know his opponent’s true nature. This Queensman might deal often with minions, but his iron will do little more than scratch Oren. Still, each second the Queensman occupies the numaelon’s attention is another second Raine has to reach the child.

            Only yards away now, Raine hurls himself forward as the Queensman swipes the blade at Oren, who merely laughs at the antics of a man no more threatening than a monkey with a spoon. But this knight proves a brave and experienced warrior. When Oren dodges the blade, his chest is open to attack. The Queensman takes advantage, stepping back and throwing his knife, imbedding it impressively in Oren’s chest. Raine watches helplessly as the infant splashes to the ground. A horrifying, silent second passes before the baby howls. She’s still alive, but she can drown in that inch of water.

            The Queensman flings himself over the child, protecting her as Oren pulls the blade from his chest. In the same instant, Raine finally feels the torches’ warmth. Their light fails as Raine draws heat from the flames, heat from his body, heat from the Queensman, but not the child. The man he can sacrifice. He pushes the spell, and all the heat he’s gathered, straight at Oren.

            Vulnerable from the Queensman’s blade, Oren succumbs to Raine’s banishing spell, dissolving into the storm. Raine has no idea where he’s sent Oren, but the minions will pose no more threat. For now.

Cold, exhaustion, and relief overtake Raine. He falls to the ground and drags himself toward the wailing baby, keeping his face above the shallow flood. The child lies face up, the Queensman’s frozen arm slung over her.

            Raine doesn’t have much time to prevent the infant from drowning before losing consciousness. He pulls the knight’s arm off of her, hearing the Queensman groan. He’s not dead. Yet. Raine can’t help but be impressed as he pulls the baby out of the water and rolls onto his back, laying the child on his chest and covering her with his cloak. He can only hope someone finds them before she freezes against his cold body.

*****

            Raine feels the baby’s weight lifted off him and strong arms grasping his limbs. Has it been seconds? Hours? He can’t wake, can’t protest, but he keeps hold of his connection with Thalen. As Raine feels himself tucked into soft blankets, he knows Thalen is safe.

            Daylight assaults his eyes when Raine opens them. He turns toward a noise, startling a round serving girl who runs from the room. Raine tries to call after her, but his voice comes out a croak.

            Raine is naked under the heavy pile of blankets. Heat radiates from hot water bottles against his skin. He can tell by the servant, the linens, and his medical care that he occupies a room in a rich house. The high windows and intricately carved furniture confirm his assumption.

            Closing his eyes, Raine searches for Thalen’s presence and finds it nearby and in no danger. Satisfied, he nestles into the bed and enjoys the warmth, drawing just enough to heal his more annoying body aches and relieve the wooziness in his head. He could sleep for days here, and now that Thalen is safe, Raine hopes he can. All too soon he’ll have to take Thalen, in his baby girl form, and find the answers to last night’s questions before Oren comes after Thalen again. What about a female child threatens Oren? And how can Raine and Thalen use that knowledge to defeat him for good? Raine would rather not take the baby with him, though, and wonders what price would convince the master of this house to take her as a ward.

            The door opens and two knights enter, followed by an auburn-haired woman in a tight-fitting gown of rich green silk. Raine pulls his eyes away from her amply displayed cleavage, as she is clearly as important as she is attractive. He looks again at the knights, their woolen tunics emblazoned with a serpent coiled around her eggs. The ironic insignia of Nystra, Vastaria’s barren queen.

            “Your Majesty,” Raine stutters, sitting upright. He’s seen her once before. She’d been only five at the time, and has since grown into a graceful woman with a dangerously beautiful face.

            “Remain in bed,” Nystra says. “I know you’re not dressed.”

            Raine stays sitting, but pulls a blanket up to cover his chest.

            “How did you survive?” Nystra demands. “Your limbs were frozen through.”

            Raine has heard about the queen’s detached manner, but her bluntness still surprises him. It’s more difficult to distract such a personality from a straight answer, but Raine has to try, since he doesn’t have a decent explanation for his survival other than the truth. “Does my recovery anger you?”

            “To be honest, it complicates matters.” She ignores Raine’s confused look and continues, “Sir Roderick says you fought a minion alongside him to protect an infant. Who is the child?”

            Raine allows her to believe Oren was a minion. “The child is my daughter,” he lies. “Is she safe?”

            “She’s bumped and bruised, but keeping her wet nurse busy, so we’re confident she’ll be fine. Yet, you can’t be more than sixteen. A father? Are you married?”

            Raine feigns a shamed expression. “No, Your Grace. Felice and I wanted to marry, but her father wouldn’t allow it. We decided to wait until the baby came, then run away as a family.”

            “And how did you come to be involved with a minion?”

            “Felice’s father summoned it. We ran, but it found us while she labored.” Raine conjures tears for this woman he didn’t know, a pregnant widow whom he’d directed Thalen’s essence into and watched from afar. He now veers his story toward the truth. “She had twins. The minion killed my son and Felice, but the midwife cut my daughter out while I fought the creature. I grabbed my baby and ran.”

            One of the knights answers a knock at the door, and a woman carries in a bundle of blankets. Silver-blond hair peeks out the top. Thalen. The woman looks longingly at the baby as she hands her to Raine.

            “You do not intend to raise this baby, do you?” Nystra asks.

            Though an abrupt question, Raine hopes the queen will suggest fostering the child. Yet, Raine must play a distraught father and grieving lover. “She’s my daughter.” He bounces her in his arms. “All I have left of her mother. Of course I intend to raise her.”

            “What is your livelihood?” Nystra asks. “How will you provide for a child when you’re a child yourself?”

            “I’ll do my best, Majesty. That’s all I can do.”

            “I have a proposition, although I cannot offer it tastefully. This is my sister Lesene.” Nystra gestures to the woman. “She’s serving as your daughter’s wet nurse. Lesene has milk because she gave birth to a daughter one week ago, but Inara arrived too early and sadly passed away the night before last. But now we have a baby girl, practically orphaned, to take her place.”

            Raine conceals a smile. In fourteen or fifteen years, he’ll have to regain access to the palace, but he couldn’t have asked for a better arrangement. He puts on a shocked expression.  “Are you suggesting…” He fills his eyes with tears. “I couldn’t. She’s all I have.”

            “You’re all she has, but you’re not enough. She could be raised here, a princess, heir to the Vastarian throne. Only a select few know about the death of my niece and adopted heir. Your daughter would slip right into her place.”

            Raine stares at Nystra, legitimately surprised. The heir? That complicates his plans. A ward he can steal away again, but a princess? He pulls the baby’s blanket away to reveal Thalen’s silver-blond hair, which appears in all his incarnations. “No one will believe she’s Vastarian.”

            “We’ll say the princess’s hair is a sign from the Great One.”

            Raine recalls one of Thalen’s previous lives when that didn’t work out well at all. Even so, Nystra’s proposition mostly suits Raine’s purposes.

            The queen continues, “Vastaria is in need of both inspiration and an heir. Last night’s storm swept away countless homes, claimed countless lives. As my people rebuild, this sign will raise their spirits.”

            “She’ll be a princess?” Raine asks.

            “She’ll be my own niece,” Nystra sits on the bed, placing a hand on the soft swaddling blanket. “Lesene will raise her here in the palace. She will be loved, educated, and provided for.

            Raine cradles the baby. He looks conflicted as he thinks. He can’t stay here, and hopes the queen won’t insist. After about three years, people notice he doesn’t age. Plus, he has to figure out what has Oren so scared. He must have prepared that attack for a century, storing up power. To spend it here, now. Raine can’t ignore the significance.

            “I hate to leave her,” he says, “but she’d be better off. I don’t think I can stay, though. It would be too painful.”

“It’s for the best that she stay and you go,” Nystra says to Raine’s relief. “But if you try to reveal this deception, you’ll both be executed.”

Raine nods his assent. “Her name is Felice,” he insists.

“Inara Felice.” Nystra takes the baby and kisses her head. “Princess and heir.”

And Oren’s bane, Raine thinks.

Sunday, March 11, 2012

"Sisters and brothers...how many may you be?"

The poem I want to talk about next specifically targets the death of a sibling.  It used to be a simple question, “How many kids are in your family?”  Then, after losing a sibling, the present tense in are becomes problematic. 

Before losing Josh I always answered that question with “five.”  Jeremy, me, Ashley, Jeff, and Josh.  Then, after Josh’s death, answering that question became awkward.  If I say “five” now, is it misleading?  If I say “four,” then I’m doing Josh a disservice.  He’s still a part of the family, right—even if he isn’t physically here?  Or maybe I should be totally upfront and say, “I have three surviving siblings, and one who passed away.”  But then again, a lot of times that’s too much information, and bringing up the death of a sibling tends to make a polite conversation turn awkward.

That’s why I was so glad to have this poem to turn to.  I read it for the first time before Josh’s death, and I thought it was sweet.  It wasn’t until confronted with that now-awkward question of sibling statistics that the poem took on true meaning for me.

This poem is called “We Are Seven,” and was written by William Wordsworth in 1798.  In it, an adult and a child disagree over how many siblings the young girl has in her family.

--------A SIMPLE Child,
          That lightly draws its breath,
          And feels its life in every limb,
          What should it know of death?

          I met a little cottage Girl:
          She was eight years old, she said;
          Her hair was thick with many a curl
          That clustered round her head.

          She had a rustic, woodland air,
          And she was wildly clad:                                    10
          Her eyes were fair, and very fair;
          --Her beauty made me glad.

          "Sisters and brothers, little Maid,
          How many may you be?"
          "How many? Seven in all," she said
          And wondering looked at me.

          "And where are they? I pray you tell."
          She answered, "Seven are we;
          And two of us at Conway dwell,
          And two are gone to sea.                                    20

          "Two of us in the church-yard lie,
          My sister and my brother;
          And, in the church-yard cottage, I
          Dwell near them with my mother."

          "You say that two at Conway dwell,
          And two are gone to sea,
          Yet ye are seven!--I pray you tell,
          Sweet Maid, how this may be."

          Then did the little Maid reply,
          "Seven boys and girls are we;                               30
          Two of us in the church-yard lie,
          Beneath the church-yard tree."

          "You run about, my little Maid,
          Your limbs they are alive;
          If two are in the church-yard laid,
          Then ye are only five."

          "Their graves are green, they may be seen,"
          The little Maid replied,
          "Twelve steps or more from my mother's door,
          And they are side by side.                                  40

          "My stockings there I often knit,
          My kerchief there I hem;
          And there upon the ground I sit,
          And sing a song to them.

          "And often after sunset, Sir,
          When it is light and fair,
          I take my little porringer,
          And eat my supper there.

          "The first that died was sister Jane;
          In bed she moaning lay,                                     50
          Till God released her of her pain;
          And then she went away.

          "So in the church-yard she was laid;
          And, when the grass was dry,
          Together round her grave we played,
          My brother John and I.

          "And when the ground was white with snow,
          And I could run and slide,
          My brother John was forced to go,
          And he lies by her side."                                   60

          "How many are you, then," said I,
          "If they two are in heaven?"
          Quick was the little Maid's reply,
          "O Master! we are seven."

          "But they are dead; those two are dead!
          Their spirits are in heaven!"
          'Twas throwing words away; for still
          The little Maid would have her will,
          And said, "Nay, we are seven!"

I was surprised to learn that at the time Wordsworth wrote this poem, he had not experienced the loss of a sibling.  It wasn’t until 1805 that he would have a first-hand experience with this awkward question.  I wondered how Wordsworth had hit the emotions so spot-on, and then I recognized that childhood deaths were, sadly, rather common at the time.  Wordsworth fathered six children in his lifetime, and he lost two of them in 1812.  Catherine was a few months shy of her fourth birthday, and Thomas was six.  Wordsworth, even as the 28-year-old bachelor poet of 1798, must have been surrounded and touched by such loss.

The first time I read this poem was in a college British literature class.  The discussion surrounding it involved catering to childhood innocence.  The man needs to just let the little girl live in her innocent fantasies because the world and all its realities will crash down on her soon enough.  One day, she’ll figure out that the real answer to the question involves only living siblings.  Since I was a student who needed credit and had about 700 pages of reading per week, I dutifully took notes, regurgitated the information on the test, and only spent a few minutes (maybe not even that long) thinking about my true opinion on the issue.

That all changed when I found myself in the shoes of the little girl.  There I was, confronted with the friendly get-to-know-you question of family basics.  “How many brothers and sisters do you have?”  If I counted Josh and answered “four,” was I delusional like the little girl?  Should I face reality like the man in the poem wants and only count the siblings who are physically present? 

I had to side with the little girl.  If I only counted living siblings, I wasn’t facing reality, I was rewriting it.  Siblings aren’t possessions that you can have and lose.  They’re not gone when they’re gone.  They shape us, help create us, and become a big part of who we are.  That lasts forever.

If I could take that test over, I would not answer with the rote recitation of the teacher’s analysis.  I would point to the famous fairy tale of “The Emperor’s New Clothes.”  Sometimes, it’s the adults who live in their fantasies and the small children who see the truth.

We are five.

Sunday, March 4, 2012

Dealing with Death in the Wizarding World of Harry Potter


Dealing with grief is a surreal experience.  It makes us feel very separate from the world, but at the same time, it brings us together in one of the most profound ways a human can experience.  JK Rowling honestly and poignantly shows both effects in Harry Potter and the Order of the Phoenix.

If you haven’t read the fifth Harry Potter book yet, shame on you.  I’m also going to ruin it for you.  Sirius dies.  This is difficult for Harry, who has grown up without a significant father figure and had started looking to Sirius, his newly discovered godfather, as a protector and role model.  Harry finally has the promise of familial happiness—away from his wretched aunt, uncle, and cousin—when it all gets torn away.

Sirius’s death is a bit strange, so it requires some explanation.  During a battle with the Death Eaters, Sirius gets hit by one of Belatrix’s spells, and he falls through a veiled archway in the middle of the room.  As readers, we later come to understand that this is a doorway between the living and the dead.  The unique thing about this scene is that we’re not sure what’s going on.  Sirius just fell through a curtain.  He could be okay.  He’s right through that doorway, after all, and not too long ago, we heard voices back behind that veil. 

Rowling successfully gets the reader feeling that confused sensation that our loved one is just an arm’s reach away, when really they’re in a place we can’t get to just yet.  In doing so, she also beautifully ties in the belief that death is not the end, and does so without getting religious, preachy, or even overly generic.  Although she received some criticism for this, I appreciate her way of handling it.  One thing that every major religion has in common is the belief that death is not final, whether it be the Judeo-Christian belief in heaven and hell, the eastern belief in rebirth and nirvana, or one of the many other explanations found in the world’s religions.  Most people in the world believe that something comes next, so it’s easy for any reader to plug her own beliefs into the wizarding world discussions on the same subject.

I also appreciate that even in Rowling’s magical world, there are still some Muggle rules that the wizards have to play by.  One of them is that death is permanent.  Magic can do so much in her world: dishes wash themselves, travel is instantaneous, and a potion can heal a traumatic injury in a few hours.  The kids can blow up the attic, and a wave of a magic wand puts it all together again before dinner.  How easy would it have been to wave that same magic wand and bring back the dead?  This magical death-cure loophole is one of my biggest pet peeves with fantasy writing (for example, in the Dragonlance series, whenever a major character dies, Goldmoon shows up with her magic stick and resurrects him).  I am grateful to JK Rowling for staying honest about death while writing within a world with a lot ways to bend the rules. 

I’ve veered off on a tangent, so let’s come back to the dual feelings of isolation and togetherness, starting with isolation.  At the end of chapter 37, Harry is in Dumbledore’s office.  Here is an excerpt:

Somewhere far beyond the office walls, Harry could hear the sound of voices, students heading down to the Great Hall for breakfast, perhaps.  It seemed impossible that there could be people in the world who still desired food, who laughed, who neither knew nor cared that Sirius Black was gone forever.  Sirius seemed a million miles away already, even if a part of Harry still believed that if he had only pulled back that veil, he would have found Sirius looking back at him, greeting him, perhaps, with his laugh like a bark….

In the early stages of loss, it feels like the world stops for us, yet we can still see people going about their daily lives, oblivious.  I felt that after losing Josh, and others have described a similar feeling dealing with their own losses.  I think this is one of those universal experiences.  We look around and remember how carefree we were not so long ago, but now nothing seems normal.  How can everyone carry on as if nothing has changed when so much has changed for us?  Will we ever feel like that again?  In a single paragraph, Rowling captures that feeling of isolation.

She also does a great job showing how experiencing loss can bring us together in amazing ways.  At the very beginning of The Order of the Phoenix, Harry sees thestrals for the first time.  They’ve always been there, but he’s never seen them.  He learns that only those who have seen death can see a thestral, and until the end of book four, Harry had yet to experience loss.  This is a powerful symbol of how there are certain things that can only be comprehended by those who’ve been down the path of loss. 

At the end of the book, shortly after his conversation with Dumbledore, Harry meets up with Luna.  Luna has been hovering as a strong secondary character for a while, but this is the moment where she unexpectedly joins the leading cast.  She’s not a likely person for Harry to befriend because they are so different, yet their similar losses bring them together in an intimate understanding and form the foundation of friendship. 

Here is an excerpt from chapter 38.  The final feast is going on, and Harry finds Luna in the hallway as she looks for the things her fellow students have taken and hidden from her.  Harry offers to help, but she assures him that they’ll turn up in time.  She then asks Harry why he isn’t at the feast.

                Harry shrugged.  “Just didn’t feel like it.”

“No,” said Luna, observing him with those oddly misty, protuberant eyes.  “I don’t suppose you do.  That man the Death Eaters killed was your Godfather, wasn’t he?  Ginny told me.

Harry nodded curtly, but found that for some reason he did not mind Luna talking about Sirius.  He had just remembered that she too could see thestrals.

                “Have you…” he began.  “I mean, who…has anyone you’ve known ever died?”

“Yes,” said Luna simply, “my mother.  She was quite an extraordinary witch, you know, but she did like to experiment and one of her spells went rather badly wrong one day.  I was nine.”

                “I’m sorry,” Harry mumbled.

“Yes, it was rather horrible,” said Luna conversationally.  “I still feel very sad about it sometimes.  But I’ve still got Dad.  And anyway, it’s not as though I’ll never see Mum again, is it?”

                “Er—isn’t it?” said Harry uncertainly.

She shook her head in disbelief.  “Oh, come on.  You heard them, just behind the veil, didn’t you?”

                “You mean…”

                “In that room with the archway.  They were just lurking out of sight, that’s all.  You heard them.”

They looked at each other.  Luna was smiling slightly.  Harry did not know what to say, or to think.  Luna believed so many extraordinary things…yet he had been sure he had heard voices behind the veil too….

After a little small talk, Luna wishes Harry a good holiday and walks away.

…as he watched her go, he found that the terrible weight in his stomach seemed to have lessened slightly.

This is a great example of how we come together through separate, yet shared experiences.  Both of these young people have lost in a similar manner.  These shared experiences bring them together.  It’s also very comforting to Harry to see Luna, who has been through her grief and come to a sort of peace about it.  Although she can speak “simply” and “conversationally” about her loss now that years have passed, she hasn’t forgotten her mother and still feels sadness for this loss.  Harry sees all of this, as well as her hopefulness, and finds comfort in this honest conversation.

I admire JK Rowling for a lot of things, but the way she handles death and loss in her books is one the biggest.  I can tell by her writing that she’s been there.  She doesn’t sugar-coat, and she doesn’t lie, yet she still manages to be hopeful and comforting.  I’m sure she’s helped many readers—young and old—who identify with Harry’s experiences.  I know she made an impression on me.