Introduction

Abel Haggard is an elderly hunchback who haunts the remnants of his family's farm in the encroaching shadow of the Dallas suburbs, adrift in recollections of those he loved and lost long ago. Hundreds of miles to the south, in Austin, Seth Waller is a teenage “Master of Nothingness”-a prime specimen of that gangly breed of adolescent that vanishes in a puff of sarcasm at the slightest threat of human contact. When his mother is diagnosed with a rare disease, Seth sets out on a quest to find her lost relatives and uncover the truth of her genetic history. Though neither knows of the other's existence, Abel and Seth are linked by a dual legacy: the disease that destroys the memories of those they love, and the story of Isidora-a land without memory where nothing is ever possessed, so nothing can be lost. Blending myth, science, and dazzling storytelling, Stefan Merrill Block's extraordinary first novel illuminates the hard-learned truth that only through the loss of what we consider precious can we understand the value of what remains.

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Excerpt

Abel

once, i fell in love with everything

I never found a way to fill all the silence. In the months that followed the great tragedy of my life, I sprang from my bed every morning, donned my five-pound, cork-soled boots and did a high-step from room to room, colliding with whatever I could. The silence meant absence and absence meant remembering, and so I made a racket. The rotting floorboards crying out when roused, the upholstered chairs thudding when upended, the plaster walls cracking when pummeled: small comforts when everywhere, always, the silence waited.

Over time, I learned to divide it into pieces. If, after breakfast, I found myself straining to hear my daughter's voice in the yard, or my brother's hobbled gait scraping down the hall, or Mae fiddling with the radio, I blamed it on the silence that had just collected before me, in my freshly emptied bowl of porridge, and then I chased it away, rattling the bowl's innards with my spoon. Sometimes, from the room that once belonged to my brother and Mae, a particular kind of silence, more profound than the rest, began to seep out under the door, and I had to charge in, fists and feet swinging, to beat it into submission.

I may never have made peace with it, but over the years I began to recognize the possibilities that the silence afforded me. It was absolute. That was its horror but also its blessing. Into itself, the silence promised to absorb whatever I gave it: my delusions, my regrets, even the truth.

But still. Even if the words go straight from my mouth to oblivion, the fundamental truth of my life is so simple, the saying of it makes me feel so foolish I can hardly bear to say it at all:

I was in love with my brother's wife.

But that is far from the story in its entirety. More accurately, I will say:

I once believed I cared more about my brother than any person still living, but I was wrong. I cared even more about the woman he married, the woman that my brother, at times, seemed hardly to care about at all.

Look at me. Still jealous, after all these years. Why should I have to compare who cared the most? Life isn't a competition, is it, with the one who cares the most getting the most? The lethargic and the cynical can live in mansions. And here I've remained, left to silence in this place with walls that barely stand.

Did my brother love Mae? Perhaps, in his way, he loved her; I can't say. She was his wife, and for him that was a simple enough answer. But did I love her? Yes. I loved things of hers that you would think unlovable. For example. I fell in love not only with her feet but also with her toes, misshapen from birth into two rows of adorable zigzags.

And not just that. I also fell in love with the sounds her feet made when they walked. Separately, I fell in love with the sound of her walking on dirt, and on wood, and in mud. These days, there is a young mailman who must have the same leg span as Mae. I know when my monthly issue of National Geographic or the latest offering of the Book-of-the-Month Club is about to drop through the slot because I suddenly find myself deeply, completely in love.

The time came when I knew I had to make a decision, or else I might do something severe. I devoted myself to watching Mae do the things that I thought would be the most repugnant to me. I asked myself, What makes a person most fall out of love? I decided the answer was obviously to see the person you love making love to someone else.

My brother's room, which was once Mama's room, was on the second floor. Outside is still the massive willow tree with long, leafy fingers that creep in and tickle your face if you sleep with the window open. And so, because that night I had fallen in love with something hypothetically impossible, the sound Mae's stomach made when it moaned from too much food, I decided I had to climb that tree and watch the one thing that could make me instantly fall out of love.

Up in that willow, behind the leaves, I sat like a dirty old man, like the man I have perhaps become, waiting for something terrible. But instead, my brother and Mae did not even look at each other. They only crawled into their bed, each as far to either side as possible, and fell asleep. The next night, after I had fallen in love with the way Mae shucks corn, I climbed the tree again. Again, nothing came but sleep. For the next five days I fell in love with so much that I prayed they would finally make love, or else I didn't know what. When Mae would pour my brother's coffee after breakfast, her pouring a thing I had fallen in love with long before, I might suddenly stand from my chair and scream, “I'm in love with the way you pour!”

I had sworn to Mama long ago that I would never lose my mind when it came to love. But losing my mind was precisely what I was doing.

Five days passed, and still my brother and Mae had yet to use the bed for anything but its dullest purpose. On the sixth, I did something I knew to be unforgivable. But I thought that I could accomplish the act stealthily, that the shame of the thing would be mine alone. Or maybe I wasn't really thinking at all. As I watched Mae sleep, her face to the window, me falling in love with the way the arch of her nose pressed into her pillow, I began to rub myself in that tree.

The next day, I walked the three miles into town, through some excuse, and when I came back I brought a dirty magazine, filled with detailed images of men and women wrapped up in each other, for my brother to look at. For inspiration. I claimed it was for me, which seemed natural since it had been so long since anyone had seen me with a woman. I left it in obvious places where I knew he would see it. For a time the fish didn't bite; I knew that I would soon have no choice but to take drastic action. Just before dinner one night, after fifteen nights straight on which they had not made love, I saw that the magazine had disappeared from the little shelf near the door of the barn, which made me hopeful. But then, minutes later, I saw my brother sneak it back when he thought no one was watching. He had taken it with him to the outhouse, and so I knew my plan had backfired.

What else of Mae's could I possibly find repulsive? But I had already tried everything. Once, when she had gone to the outhouse, I had peeked through a knot in the wood, watching her do her business, hoping that the most base things her body could produce would repel me. Instead, I only fell in love with the sounds she made and the way her tiny, elegant hands wiped. I was hopeless. I imagined awful things. I imagined ways to kill my brother that would look like accidents but would not be. I imagined kidnapping Mae in the middle of the night and then explaining why I had to do what I did. I imagined simply asking her if she had also fallen in love with anything of mine, and if so, maybe we could escape together.

But, then I would remember, it was hopeless. Who did I think I was? I wasn't about to become the kind of person who can commit fratricide. And I certainly was no kidnapper. Then I thought, What do I really know Mae thinks of me?

Sitting one afternoon in the expansive stretch of our wheat field, where it seemed possible to convince yourself that all human problems were imaginary, that the whole of the earth was nothing more than a shaggy, endless khaki, I nevertheless found myself attempting to conjure potential evidence of Mae's true feelings.

Years before, Paul had traveled to Dallas for great spans, sometimes entire weeks. Eventually, these trips came to an end when he returned, one evening, with Mae. That first night she sat next to me at supper. Trying to flatter Paul, every time she took a mouthful she would say “Mmmm,” her breath rushing from her nose and breezing the hairs of my arm. Three times, our knees touched. Once, for minutes.

I chided myself: What does that even mean? Sure. Perhaps, sometimes, as she rests a plate of food at the table, she leans heavily against my back, lingering. Perhaps, sometimes, she smiles at me in the conspiratorial way of a shared secret. Perhaps, sometimes, when we're reading in the evening, she lies on the couch just so, kneading her toes into my thigh. But, no. To her I am just the pathetic, lonely brother. I am the lonesome, clinging third in what would otherwise be a normal marriage of two. I am the one person too many. And if I simply didn't exist, everything would be easier. I am the person she perhaps has seen rubbing himself while watching her sleep. And, of course, my body still remains as it always has been. Still, I am the deformed hunchback, the way my right shoulder and my spine lock bones. Still, I am only cause for disgust.

Maybe I was exaggerating. Exaggerating in the way that a single, frustrated need can compress a life's complexities and convolutions into a wildly simplified story, written in self-pity, of one's own insufficiencies in a world populated by the sufficient. But I couldn't help myself. I couldn't help but trace the history of my sad lot back to its origin. I began to think of when Paul and I were still boys. We were twins. For a time there was no distinction between that which was the both of us and that which was uniquely me: the purest form of love either of us would perhaps ever know, a form to which my brother would one day return.

Sometime near our fifth birthday, my brother and I stepped together into a bath Mama had drawn. Suddenly, the earth rumbled, a great fissure cracked open, and my brother was separated from me for the rest of time. I had gazed at his body. And as I had done so, I had also begun to scrutinize my own. I had, for the first time, begun to take note of that which marked us as different. Most notably, of course, my hump. At some point, as my brother's scapulae had parted with admirable, unfailing symmetry, mine had grown askew, a bony snarl, snaring my right arm like the dead limb of a trapped wolf, to be chewed away for the sake of freedom. My hump. A part of me was in unfortunate excess, perched there upon my shoulder, an excess that telegraphed my future paucity, the women and jobs and love and family that would be forever withheld from me. It wasn't that I ever resented Paul. In ways, it was just the opposite. As the girls of High Plains flocked to Paul at the end of each school day, as Paul's talents for baseball and sprinting grew into legend, as Paul's sturdy, superior frame accomplished work on the farm with startling efficiency (tilling vast fields in a matter of days, bucking chicken feed by the ton, bearing fifteen gallons of milk, from the barn to the house, all at once), Paul was proof of what I would have been, if not for my shoulder blade's poor sense of direction. A notion both heartening and tragic: all that stood between the seemingly boundless possibilities available to my brother and my own lonely lot was a two- pound obstruction of sinew and bone. A part of me was in excess; I tried to accept it, but secretly never stopped believing it a harbinger of a hidden talent to be revealed to me in the future, of a secret capability to possess at last something Paul could not, something that would be mine alone. Is the truth as dark and covetous as that? Is that why the only love of my life had to be my brother's wife? Is it possible that my love for Mae was, in part, something other than love? Perhaps. But at the time, it was enough to say, I was in love.

I decided I had only two choices. The first was that I would kill myself, but I quickly understood that I couldn't do it. As it turned out, I still wanted to live. I couldn't even come up with a reasonable plan for suicide. The second, which was really the only choice I had, was to leave. To leave for any place but there.

It was the night before I would go. I had packed the things I would take and had explained to my brother and the woman I couldn't bear to love as much as I did that I had to make my own life and stop being an intruder on theirs. This was as good a reason as any because it was also the truth. That night, with my last bit of hope, I climbed the willow one more time and watched my brother and Mae go about their sad, silent routine. Climbing into bed, turning their backs to each other, then falling asleep. As I unbuckled my pants and watched Mae's face, I tried to imagine riding away in trains and buses and cars, being in big cities that looked nothing like where I was then. But instead what I imagined was that the thing that was in my hand was instead inside of Mae.

Eventually, I sighed and let go of myself. The thing slouched away like a miserable, malnourished creature all its own. I closed my eyes. I opened my eyes. I looked into the window. And then. Everything changed.

Mae stood from her bed, my brother still sleeping behind her. She came to the window, and at first I prayed that if I remained incredibly still she would not see me behind all those leaves. But she stared right at me. Would I have done something different if I hadn't been leaving the next day? Perhaps. But I did what I did. I stared back.

Then, through the window, I watched her turn and leave, falling in love with the way she walked on her tiptoes. She crept out to the tree. I scrambled to buckle my pants back together. Then she was climbing, and I was falling in love with the way she climbed. I did not move. I was as still as the branches. And then. She was in front of me. There were so many words to say to her then, about all the things of hers that I loved. I couldn't say anything. But Mae could.

“Abel,” Mae said. “Don't leave.”

And then. She touched me, and I thought, Maybe I am not the one person too many after all. view abbreviated excerpt only...

Discussion Questions

1. The last words of The Story of Forgetting are “whatever she needed she had only to imagine.” Why do you think the author chose to end the book this way? In what ways is imagination essential
for the book's main characters?
2. What is the relationship between the fables of Isidora and the rest of the book? How are situations, characters, and feelings from the lives of the Haggard family transformed in these fables? What
is the importance of this storytelling tradition to the Haggard family?
3. What traditions do you keep that help maintain your own family's identity? How do your traditions relate to your family's history?
4. In one of the Isidora fables, a group of elders wonders, “To remember nothing . . . what more could one possibly ask of eternity?” (p. 201) Despite the horrors of Alzheimer's disease, are there ways in which its most well-known symptom, memory loss, is liberating for some of the characters in this book? In certain instances, might it be better to forget?
5. By the end of The Story of Forgetting, Jamie appears desperate to return to her childhood home. Do you think she would have still felt this need if she hadn't developed Alzheimer's disease? Was it
only after she had forgotten the reasons she had left, and her guilt over abandoning Abel, that she could return? Or do you think that she would have tried to return eventually, even if her memory had
not failed?
6. n the section titled “Genetic History, Part 4,” the author, describing Paul's unceasing love for Jamie Whitman, asks if love is “strong enough to gird Memory, at least for a time, against Chance's inevitable progression” (p. 243). How is love stronger than memory loss in this book? How is it not?
7. Have you ever known anyone with Alzheimer's disease? If so, how does the characterization of the disease in this book relate to your own experiences? How does this characterization relate to depictions you've come across in other books or films?
8. Before Seth and Abel know of each other's existence, they are already linked by their family's two legacies: the stories of Isidora and the devastation that the EOA-23 gene has wrought upon their loved ones. What else do Seth and Abel have in common?
9. The Story of Forgetting is written in a number of voices, genres, and time periods. Why do you think that the author chose to tell the story this way? How does this style of writing relate to the themes of memory, storytelling, family, and the quest for understanding?
10. Reflecting upon his decision to tell his daughter the truth about his affair with Mae, Abel understands that “out of the possibility of my wrongness in that single moment, I would serve a lifetime of penitence, loneliness, and regret” (p. 264). Do you think that it is strictly guilt that compels Abel to spend twenty years as a recluse? Do you think he really believed, twenty years after the fact, that his daughter would ever come back to him?
11. If you were in Jamie's position, would you tell your child the truth of his family's genetic legacy, of the 50 percent chance that he has also inherited a devastating terminal disease? Might it be better for the child not to know the truth? If you were in Seth's position, aware of the possibility that you had inherited the gene, would you get tested for it?
12. How does the genetic history of the EOA-23 variant illuminate the story that takes place in the present tense? How do the scientific details in these genetic-history chapters change your understanding of the book's characters and their conditions?
13. Near the end of Seth's “empirical investigation,” Taylor Shafer asks Seth what it is that he is “hoping to find out” (p. 252). Seth realizes then that his delusions have kept him from “understanding the ridiculously simple answer to this ridiculously simple question” (p. 253). What is the “ridiculously simple answer”? Does Seth find what he is looking for?
14. Describing his mother's death by Alzheimer's disease, Abel says, “Her old soul had not so much vanished as eroded, worn away by a million rubs. I stopped praying” (p. 182). How does Alzheimer's disease complicate or obscure the concepts of death and selfhood?


1. The last words of The Story of Forgetting are “whatever she needed she had only to imagine.” Why do you think the author chose to end the book this way? In what ways is imagination essential
for the book's main characters?
2. What is the relationship between the fables of Isidora and the rest of the book? How are situations, characters, and feelings from the lives of the Haggard family transformed in these fables? What
is the importance of this storytelling tradition to the Haggard family?
3. What traditions do you keep that help maintain your own family's identity? How do your traditions relate to your family's history?
4. In one of the Isidora fables, a group of elders wonders, “To remember nothing . . . what more could one possibly ask of eternity?” (p. 201) Despite the horrors of Alzheimer's disease, are there ways in which its most well-known symptom, memory loss, is liberating for some of the characters in this book? In certain instances, might it be better to forget?
5. By the end of The Story of Forgetting, Jamie appears desperate to return to her childhood home. Do you think she would have still felt this need if she hadn't developed Alzheimer's disease? Was it
only after she had forgotten the reasons she had left, and her guilt over abandoning Abel, that she could return? Or do you think that she would have tried to return eventually, even if her memory had
not failed?
6. n the section titled “Genetic History, Part 4,” the author, describing Paul's unceasing love for Jamie Whitman, asks if love is “strong enough to gird Memory, at least for a time, against Chance's inevitable progression” (p. 243). How is love stronger than memory loss in this book? How is it not?
7. Have you ever known anyone with Alzheimer's disease? If so, how does the characterization of the disease in this book relate to your own experiences? How does this characterization relate to depictions you've come across in other books or films?
8. Before Seth and Abel know of each other's existence, they are already linked by their family's two legacies: the stories of Isidora and the devastation that the EOA-23 gene has wrought upon their loved ones. What else do Seth and Abel have in common?
9. The Story of Forgetting is written in a number of voices, genres, and time periods. Why do you think that the author chose to tell the story this way? How does this style of writing relate to the themes of memory, storytelling, family, and the quest for understanding?
10. Reflecting upon his decision to tell his daughter the truth about his affair with Mae, Abel understands that “out of the possibility of my wrongness in that single moment, I would serve a lifetime of penitence, loneliness, and regret” (p. 264). Do you think that it is strictly guilt that compels Abel to spend twenty years as a recluse? Do you think he really believed, twenty years after the fact, that his daughter would ever come back to him?
11. If you were in Jamie's position, would you tell your child the truth of his family's genetic legacy, of the 50 percent chance that he has also inherited a devastating terminal disease? Might it be better for the child not to know the truth? If you were in Seth's position, aware of the possibility that you had inherited the gene, would you get tested for it?
12. How does the genetic history of the EOA-23 variant illuminate the story that takes place in the present tense? How do the scientific details in these genetic-history chapters change your understanding of the book's characters and their conditions?
13. Near the end of Seth's “empirical investigation,” Taylor Shafer asks Seth what it is that he is “hoping to find out” (p. 252). Seth realizes then that his delusions have kept him from “understanding the ridiculously simple answer to this ridiculously simple question” (p. 253). What is the “ridiculously simple answer”? Does Seth find what he is looking for?
14. Describing his mother's death by Alzheimer's disease, Abel says, “Her old soul had not so much vanished as eroded, worn away by a million rubs. I stopped praying” (p. 182). How does Alzheimer's disease complicate or obscure the concepts of death and selfhood?

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