As children, we would speak to the giants through the pipe that snaked up the mountain and blossomed into an ear trumpet miles above us. We never really had anything to say, so we resorted to niceties. How’s the weather up there? Seen any good birds recently? The blueberries are lovely this year.
I could never understand why we bothered doing it, why we leaned our heads into the massive, rusty pipe at the foot of the mountain and hollered sentences, just to hear them echo against the craggy peaks above. Our mother told us we did it because it was good manners. She’d take us by the scruffs of our necks as little ones and yell up into the pipe. She’d yell her baking tips, and her thoughts about chickens, and her opinions of our neighbors. Then she’d make us say something too, about nice rocks we found, about something we learned, about ourselves. We’d rest our little heads in the waiting crescent of the sun-warmed pipe, years later, we still had silver scars ringing the bottom of our chins.
The giants never replied, or at least, not in words we’d understand. My mother said they replied in other ways, in storms, in avalanches, in blessings. When her stomach billowed for a fourth time, she said it was thanks to the giants. When it collapsed back in on itself, she didn’t say anything at all. I stopped listening to what she told the giants after that. I told myself I was too old for pretending, but truth was, I was angry with the giants, and I was angry with my mother for forgiving them after what they did to her.
Our mother died on the longest day of the year, and sent the three of us back to the foot of the mountain to a grieving father and an open grave. The mountain had never left us. The three of us had tried to plant ourselves in willing soil, convincing ourselves we were just saplings waiting to grow. We would never grow, I thought, running dust through my palms, because we had never been alive, just stones our mother carved from the mountain. Our breath was nothing more than the heat of day slowly surrendering itself to the dark sky.
We buried our mother in the shade of the mountain. My siblings left the next day, claiming they had things waiting in places where the sky spread unchallenged. I stayed. I stayed and sat in the yard between the chickens, loss ballooning in my chest and pressing against my ribcage. My father came out to the yard as well. He had no hand in making us, I realized, and he did not know what to do with our shards. He looked to the top of the mountain, to the pipe snaking its way through the side. Someone, he said, raising his eyebrows, has got to tell the giants.
I went alone the next morning. I walked up to the waiting pipe, and then I continued, taking the winding trail that followed the pipe up the mountain. I walked until the sun was low in the sky, and only when it began to set did I reach the part where the pipe curled into a rusty flower. I looked around the mountaintop. It was empty, just like I knew it would be. There were no giants here, nobody to inform of my terrible loss. I tiptoed towards the ear trumpet. Looking down, our house seemed years away, not hours. I leaned against the ear trumpet and closed my eyes. On a mountaintop devoid of giants I heard the wind whistling in the pipe. I imagined it was my mother’s words crawling out of her mouth, slithering up the rocks, not for the giants but for her stone children, the ones she knew would day climb up the mountain that overlooked their childhood and try to remember all they had once ignored.
‘Stones My Mother Carved From The Mountain’ was originally published in Okay Donkey Magazine, August, 2020.
FEATURED IMAGE: Blake Randall “Grizzly’s Fang” (2019) Photograph – Location: Tombstone Range, Yukon, Canada.
Photography Awards: 3rd Place in the 2019 ‘Landscape Photographer of the Year’. Silver in 2020 Pano Awards open division.
Blake Randall photography https://www.blakerandallphotography.com/ Instagram: blakerandall81 Facebook: Blake Randall photography
Noa Covo’s work has appeared in or is forthcoming from Jellyfish Review, Passages North and Waxwing. Her micro-chapbook, Bouquet of Fears, was published by Nightingale and Sparrow Press. She lives in Tel Aviv, Israel.