Empty Mailbox Quotes

The streets are empty. Wind skims the voids keeping neighbors apart, as if grazing the hollow of a cut reed, or say, a plundered mailbox. A familiar note is produced. It's the one Desolation plays to keep its instrument in tune.

The Death of Allegory I am wondering what became of all those tall abstractions that used to pose, robed and statuesque, in paintings and parade about on the pages of the Renaissance displaying their capital letters like license plates. Truth cantering on a powerful horse, Chastity, eyes downcast, fluttering with veils. Each one was marble come to life, a thought in a coat, Courtesy bowing with one hand always extended, Villainy sharpening an instrument behind a wall, Reason with her crown and Constancy alert behind a helm. They are all retired now, consigned to a Florida for tropes. Justice is there standing by an open refrigerator. Valor lies in bed listening to the rain. Even Death has nothing to do but mend his cloak and hood, and all their props are locked away in a warehouse, hourglasses, globes, blindfolds and shackles. Even if you called them back, there are no places left for them to go, no Garden of Mirth or Bower of Bliss. The Valley of Forgiveness is lined with condominiums and chain saws are howling in the Forest of Despair. Here on the table near the window is a vase of peonies and next to it black binoculars and a money clip, exactly the kind of thing we now prefer, objects that sit quietly on a line in lower case, themselves and nothing more, a wheelbarrow, an empty mailbox, a razor blade resting in a glass ashtray. As for the others, the great ideas on horseback and the long-haired virtues in embroidered gowns, it looks as though they have traveled down that road you see on the final page of storybooks, the one that winds up a green hillside and disappears into an unseen valley where everyone must be fast asleep.

Nothing echoes like an empty mailbox.

Just bad sex, just poor relationships, just missed opportunities and flowers someone never gave you. Everybody thinks it’s just spoiled romance that breaks your heart. They never consider the bad days and the kitchen scissors and the way rain looks smashed up against a window pane, the way people mill about in train stations, the way it feels when you walk down to the mailbox and always find it empty.

It’s hard to have a relationship in this world. Other people are not the same from day to day. I might wake up next to a woman three days in a row, or three hundred, but I never know if she’ll be there the next morning, or the next hour, or if the world will change completely while I’m not looking. She might even change into another person altogether. I might recognize something in her eyes, or she might not be a woman at all. She might turn into a man. Or a mailbox. Or a region of empty space. Or a feeling. Or a song. I might only recognize her as one recognizes someone in a dream, as in the way something is actually someone, and that someone is actually someone else.

There is one story about letters. A perpetually cheerful Frog pays a visit to Toad but finds Toad glum, sitting on his front porch. "This is my sad time of day," says Toad, "when I wait for the mail to come." "Why is that?" says Frog. "No one has ever sent me a letter. My mailbox is always empty. That is why waiting for the mail is a sad time for me." Then Frog and Toad sit "on the porch, feeling sad together." Frog rescues the situation by running home, writing a letter to Toad, and sending it literally by snail mail. The little snail brings it four days later. Even though Toad saw Frog every day, he longed for the strangeness, the otherness of a letter, for something to come from out there and address him, "Dear Toad." Is that the thrill I feel finding a letter from you in my box? The address of a friend is made into a physical fact and every letter an artifact of the otherwise invisible communion of friendship.

When she was finished with the mailbox, Lisey trudged back down the driveway with her buckets in the long evening light. Breakfast had been coffee and oatmeal, lunch little more than a scoop of tuna and mayo on a scrap of lettuce, and dead cat or no dead cat, she was starved. She decided to put off her call to Woodbody until she had some food in her belly. The thought of calling the Sheriff's Office—anyone in a blue uniform, for that matter—hadn't yet returned to her. She washed her hands for three minutes, using very hot water and making sure any speck of blood was gone from under her nails. Then she found the Tupperware dish containing the leftover Cheeseburger Pie, scraped it onto a plate, and blasted it in the microwave. While she waited for the chime, she hunted a Pepsi out of the fridge. She remembered thinking she'd never finish the Hamburger Helper stuff once her initial lust for it had been slaked. You could add that to the bottom of the long, long list of Things in Life Lisey Has Been Wrong About, but so what? Big diddly, as Cantata had been fond of saying in her teenage years. "I never claimed to be the brains of the outfit," Lisey told the empty kitchen, and the microwave bleeped as if to second that. The reheated gloop was almost too hot to eat but Lisey gobbled it anyway, cooling her mouth with fizzy mouthfuls of cold Pepsi. As she was finishing the last bite, she remembered the low whispering sound the cat's fur had made against the tin sleeve of the mailbox, and the weird pulling sensation she'd felt as the body began, reluctantly, to come forward. He must have really crammed it in there, she thought, and Dick Powell once more came to mind, black-and-white Dick Powell, this time saying And have some stuffing! She was up and rushing for the sink so fast she knocked her chair over, sure she was going to vomit everything she'd just eaten, she was going to blow her groceries, toss her cookies, throw her heels, donate her lunch. She hung over the sink, eyes closed, mouth open, midsection locked and straining. After a pregnant five-second pause, she produced one monstrous cola-burp that buzzed like a cicada. She leaned there a moment longer, wanting to make absolutely sure that was all. When she was, she rinsed her mouth, spat, and pulled "Zack McCool"'s letter from her jeans pocket. It was time to call Joseph Woodbody.

From Tomorrow to Yesterday The tree trunks move in time with the rhythm of her rubber soles on the wet path, where the air is still cool after the night rain. The woodland floor is white with anemones; in one place, growing close to the roots of an ancient tree, they make her think of an old, wrinkled hand. She could go on and on without getting tired, without meeting anyone or thinking of anything in particular, and without coming to the edge of the woods. As if the town did not begin just behind the trees, the leafy suburb with its peaceful roads and its houses hidden behind close-trimmed hedges. She doesn't want to think about anything, and almost succeeds; her body is no more than a porous, pulsating machine. The sun breaks through the clouds as she runs back, its light diffused on the gravel drive and the magnolia in front of the kitchen window. His car is no longer parked beside hers, he must have left while she was in the woods. He hadn't stirred when she rose, and she'd already been in bed when he came home late last night. She lay with her back turned, eyes closed, as he undressed, taking care not to wake her. She leans against one of the pillars of the garage and stretches, before emptying the mailbox and letting herself into the house. She puts the mail on the kitchen table. The little light on the coffeemaker is on; she switches it off. Not so long ago, she would have felt a stab of irritation or a touch of tenderness, depending on her mood. He always forgets to turn off that machine. She puts the kettle on, sprinkles tea leaves into the pot, and goes over to the kitchen window. She observes the magnolia blossoms, already starting to open. They'll have to talk about it, of course, but neither of them seems able to find the right words, the right moment. She pauses on her way through the sitting room. She stands amid her furniture looking out over the lawn and the pond at the end of the garden. The canopies of the trees are dimly reflected in the shining water. She goes into the bathroom. The shower door is still spotted with little drops. As time went on they have come to make contact during the day only briefly, like passing strangers. But that's the way it has been since the children left home, nothing unusual in that. She takes off her clothes and stands in front of the mirror where a little while ago he stood shaving. She greets her reflection with a wry smile. She has never been able to view herself in a mirror without this moue, as if demonstrating a certain guardedness about what she sees. The dark green eyes and wavy black hair, the angularity of her features. She dyes her hair exactly the color it would have been if she hadn't begun to go gray in her thirties, but that's her only protest against age.

But the actual mail was delivered to the little brick post office on the main drag and distributed to the keyed, ornate boxes inside. My family had one of the lower numbers because we’d inherited our box as it was passed down through the Shepherd line. “So your family is Levan royalty, then?” Moses had teased. “Yes. We Shepherds rule this town,” I replied. “Who has PO Box number 1?” he inquired immediately. “God,” I said, not missing a beat. “And box number 2?” He was laughing as he asked. “Pam Jackman.” “From down the street?” “Yes. She’s like one of the Kennedys.” “She drives the bus, right?” he asked. “Yes. Bus driver is a highly lauded position in our community.” I didn’t even crack a smile. “So boxes 3 and 4?” “They are empty now. They are waiting for the heirs to come of age before they inherit their mailboxes. My son will someday inherit PO Box #5. It will be a proud day for all Shepherds.” “Your son? What if you have a daughter?” His eyes got that flinty look that made my stomach feel swishy. Talking about having children made me think about making babies. With Moses. “She’s going to be the first female bull-rider who wins the national title. She won’t be living in Levan most of the time. Her brothers will have to look after the family name and the Shepherd line . . . and our post office box,” I said, trying not to think about how much I would enjoy making little bull-riders with Moses.

I’m alone,” she wrote, “and I want to share something with somebody.”4 Loneliness. It’s a cry. A moan, a wail. It’s a gasp whose origin is the recesses of our souls. Can you hear it? The abandoned child. The divorcée. The quiet home. The empty mailbox. The long days. The longer nights. A one-night stand. A forgotten birthday. A silent phone. Cries of loneliness. Listen again. Tune out the traffic and turn down the TV. The cry is there. Our cities are full of Judy Bucknells. You can hear their cries. You can hear them in the convalescent home among the sighs and the shuffling feet. You can hear them in the prisons among the moans of shame and the calls for mercy. You can hear them if you walk the manicured streets of suburban America, among the aborted ambitions and aging homecoming queens. Listen for it in the halls of our high schools where peer pressure weeds out the “have-nots” from the “haves.” This moan in a minor key knows all spectrums of society. From the top to the bottom. From the failures to the famous. From the poor to the rich. From the married to the single. Judy Bucknell was not alone.

Their condominium complex even has a name, Palm Desert Flower Estates—four words that she puts in a different wrong order every time—and it’s made of blindingly white stucco and has smooth, even sidewalks, streetlights, and mailboxes in a respectable row, with names all uniformly typed out by a little label machine. There’s even an office, with a manager and a full-time, smiling secretary, and a glittering turquoise pool in the back, with white plastic lounge chairs, always empty.

There is one story about letters. A perpetually cheerful Frog pays a visit to Toad but finds Toad glum, sitting on his front porch. "This is my sad time of day," says Toad, "when I wait for the mail to come." "Why is that?" says Frog. "No one has ever sent me a letter. My mailbox is always empty. That is why waiting for the mail is a sad time for me." Then Frog and Toad sit "on the porch, feeling sad together." Frog rescues the situation by running home, writing a letter to Toad, and sending it literally by snail mail. The little snail brings it four days later. Even though Toad saw Frog every day, he longed for the strangeness, the otherness of a letter, for something to come from out there and address him, "Dear Toad." Is that the thrill I feel finding a letter from you in my box? The address of a friend is made into a physical fact and every letter an artifact of the otherwise invisible communion of friendship.