A close up of psilocybin mushrooms.

Memento mori

A close up of psilocybin mushrooms.
Photo by Nick Fewings

The timing of Evan’s tragic death, mid-October, forces Siobhan to face memento moris at every turn. But skeletons in blood-spattered windows are less poignant reminders than the signs of natural decay she finds in her daily walks in the woods. Rotting apples on blankets of brittle leaves. Voracious, implausibly shaped toadstools decomposing dead wood. Everything ends, the faded Michaelmas daisies seem to declare, smiling down upon the stripped strands of once verdant, cloying cleavers.

We’re sorry for your loss, she hears, and her eyes catch a cluster of magic mushrooms sprouting in a clearing. The sight reminds her to ring her therapist friend, Jim, who has been touting the benefits of psychedelics to guide the bereaved even before he heard about Evan.

We’re sorry for your loss. Less than a week later, under the influence of the psilocybin Jim has managed to source, she hears this same condolence. Are the shrooms she has just consumed the very ones she spotted on her woodland walk? She is guided not to dwell upon the referent of the first-person plural pronoun. Instead she follows a winding, bewildering pathway of the linguistics of loss: back-formation of the past participle (lost) of lose, from Old English losian, almost always used intransitively to mean perish, or to be lost or missing. 

The psylocibin-induced etymology unwinds her. She too is perishing, is missing, where is she

You are here, the shrooms reassure her. But what is you? The loss is a loss of language—language losian, language loosing, language losing, she chants until it is revealed: It is not just she who is here, or you, or him, it’s all of it, all the pronouns for all the people, all the misguided verb inflections for all the persons and all the tenses—here, here, here, until there is no not here and nothing is ever lost.


Would you like to know more about this story? I discuss it in Episode 114 of Structured Visions. You can also sign up to the Grammar for Dreamers newsletter to get monthly updates on the ideas that inspire my work.

A hand writing the word 'ENGLISH' on a green chalkboard.

Modal auxiliaries

The life that passes before Ada Hasselback’s eyes in the moments before her death is less flash and more slow motion—at least for one scene too commonplace, she thinks, to merit such an effect. She’s standing, defeated, at the front of a classroom, looking out at a sea of bored teenage Spanish faces. From the chalked words on the dusty board behind her it is clear she’s teaching them English modals.

can
coul
d
shall
should
will
would
may
might
must

The students talk amongst themselves, oblivious to her inept attempts to interest them. At 22, with no prospects beyond this year-long post, she is already a failure. Her college boyfriend dumped her soon after she moved to Barcelona. She’ll return to Tallahassee with nothing to show for herself but the scars of self-pity.

A face through the window of the door at the back of the classroom. It brightens to recognise her. She brightens, too. It’s Adam, her fellow language assistant, from Dublin. He moves a hand to his lips, mimes going for drinks.

The film speeds up through the next few passionate weeks. She begs the divine director to linger over those blissful afternoon organisms in Adam’s mouldy studio in the Eixample—recalls how for many years after the smell of damp will stir her. But alas, what remains on the chalkboard of her dying mind are those persistent modal auxiliaries—can, could, shall, should. The vertigo of what might be, the devastation of what could have been.


Would you like to know more about modal auxiliaries, or other aspects of grammar? Check out my courses on jodieclark.com.

Death of a grammarian

Close up photo of maple leaf in autumn with shallow depth of field
Image by Matt

As my language deteriorates, a steadier syntax is revealed. A tree dropping leaves of wisdom in my life’s autumn.

The verbs that remain are release, surrender, let go. The first person–that once grasping branch–now sets its objects free. They spiral skyward, earthward, held safe within some other grammar, invisible as air.


Would you like to know more about this story? I discuss it in Episode 92 of Structured Visions.