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Say Say Say

A novel

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Ella is nearing thirty, and not yet living the life she imagined. Her artistic ambitions as a student in Minnesota have given way to an unintended career in caregiving. One spring, Bryn—a retired carpenter—hires her to help him care for Jill, his wife of many years. A car accident caused a brain injury that has left Jill verbally diminished; she moves about the house like a ghost of her former self, often able to utter, like an incantation, only the words that comprise this novel's title.

As Ella is drawn ever deeper into the couple’s household, her presence unwanted but wholly necessary, she is profoundly moved by the tenderness Bryn shows toward the wife he still fiercely loves. Ella is startled by the yearning this awakens in her, one that complicates her feelings for her girlfriend, Alix, and causes her to look at relationships of all kinds—between partners, between employer and employee, and above all between men and women—in new ways.

Tightly woven, humane and insightful, tracing unflinchingly the most intimate reaches of a young woman's heart and mind, Say Say Say is a riveting story about what it means to love, in a world where time is always running out.
 
“Brisk, intimate—traces the complicated interior life of a young woman who works as a caregiver.” —New York Times Book Review, “New and Noteworthy” 
 
“Poetic, elegant. . . . Lila Savage’s novel Say Say Say transport[s] you—and it teaches several valuable lessons: How to be present with grace and dignity. How not to look away. How life goes on. It begins when Ella, a Minnesota-artist-turned caregiver in her 20s is hired by a retired carpenter to take care of his wife, Jill, who suffered a head injury. Ella is well trained in the awkward two-step of gently inserting herself into a family at its most difficult time. Savage follows the opposite arcs of these two women with such kindness (that’s the only word for it), even the most difficult moments of the story feel buffered by grace.” —Elisabeth Egan, San Francisco Chronicle
 
“Vivid; quietly radical—a wise, understated novel exploring the thoughts and feelings of a young carer as she steps into the crucible of other people’s suffering. The work is ‘pink collar’; the labor emotional and well as physical. Say Say Say is an intensely serious and careful book, which grapples with an unfashionable subject: the drive to be a good person, while wittily weighing human fallibility. The novel is particularly interesting about sexual politics and the romantic self: as a woke, young bisexual woman, Ella knows the effects of living in a patriarchy, but doesn’t know how to circumvent the damage. In the novel’s open-eyed, open-hearted curiosity, it illuminates both the intimate dramas usually hidden behind closed doors, and the shifting mysteries of personality and relationship.” —Justine Jordan, The Guardian

“Lyrical, deeply felt but unsentimental. . . . Say Say Say explores the charged dynamic between a paid companion and the couple she serves—a knotty web of emotion and obligation. Ella finds herself at the apex of a triangle of compassion and confusion. Savage’s insight comes through on every page in incisive and beautiful language . . . the narration is intensely reflective and psychologically revelatory. As the assignment draws Ella into Bryn and Jill’s orbit, she has to revise her own notions about duty and love. And in this deceptively simple book, the reader, too, receives an honest and empathetic opportunity to consider loneliness and the people whose labor gets bought to alleviate it.” Kathleen Rooney, Minneapolis Star Tribune 
 
“Quietly wonderful . . . a rare novel. Ella [is] an unforgettable main character. Ms. Savage stages an inquiry into the conundrum of goodness in an age that does so little to reward it, yet needs it desperately. Where, she wonders, do you draw a line between selflessness and servility? The questions deepen in profundity and emotional power. . . . Say Say Say will likely make you cry, but in [this] novel such responses feel clean and ennobling, free from manipulation. It is a book written for the better angels of our nature. ‘Wasn’t there beauty in the practice of love and the roll and sweep of it?’ Ella thinks. Yes yes yes.” Sam Sacks, The Wall Street Journal

Riveting, subversive. . . . Familial tensions feed Ella’s richly articulate consciousness [in this] meditation on work, loss, intimacy, and desire.” —Ottessa Moshfegh, GQ

“Poignant, moving. . . . What distinguishes Say Say Say is the clear-eyed, straight-faced approach Lila Savage takes to material that could be overcooked, mawkish or misdirected. . . . Say Say Say is the antidote to the arch and ironic in literature, to books that hide their emotion behind layers of cynicism. It is not escapism—the place it takes us to is our own collective future—but its humane journey into other lives provides a consolation of its own.” —John Self, The Times (London)

“A visceral story with a philosophical heart: Savage writes from an unusual perspective with clarity and intelligence, giving this novel about a young care worker and the two people she becomes involved with an astute and questioning voice. Ella cares for 60-year-old Jill whilst developing a friendship with Jill’s husband Bryn, once a carpenter but who now labours under years of care and solitude. In Ella’s daily tasks are brutal revulsions, and tender ministrations of love. Bryn and Ella’s relationship examines not only ageing and desire, but loneliness, and all the ways in which we try to alleviate it, through sex, companionship, religion.” —Ruth McKee, Irish Times 

“A bright spot in the maelstrom: a book called Say Say Say. It’s a smooth and assured portrait of a character’s interior world, as well as a meditation on our assumptions about care work, and heterosexual relationships.” —Emily Gould, author of Friendship 

“Inspiring, truly memorable—beautifully drawn; intellectually and emotionally gripping. . . . Savage brings insight. One of the many wonders of this novel is her anatomy of how caregivers respond to the issues they face and how they cope. Incidents form a kind of river of episodes and commentary that carries readers forward on a flow of vivid and entrancing prose. . . . Say Say Say is perceptive in its commentary, and edifying in its humanity.” —Claire Hopley, The Washington Times

“An emotional masterpiece. . . . Bryn, a retired carpenter, hires Ella, an artist in her late 20s, to take care of his wife. In their house, Ella witnesses a level of love and passion she’s been bereft of in her day-to-day life. Say Say Say is a heartbreaking book [told in] bracingly honest, unflinching prose. . . . It meditates on empathy and finding human connection even in the worst of circumstances.” —Liz Moody, Mind Body Green

“A gem of a book. A lyrical, tender, and profoundly insightful dive into the act of caregiving and its highly charged nexus of love, duty, and longing. Lila Savage is an enormous talent; Say Say Say is a mesmerizing tour de force.” —Abraham Verghese, author of Cutting for Stone

Say Say Say is something quite special, unlike anything else I’ve ever read. Lila Savage’s voice is distinctive, perhaps the timbre of a new generation—its deadpan; its fascination with randomness and accident; its lack of interest in making rounded meaning. I love the way Ella’s intense thoughts and feelings on one page are contradicted by different intense thoughts and feelings (and certainties) a few pages later. Which is like life. Yet there’s no show of anomie or alienation, no effort to shock (even though the material is shocking). Lila Savage’s imagination is warm and generous. Her novel is haunting, original, intelligent.” —Tessa Hadley, author of The Past

“Caregivers occupy a unique role during life’s most fraught times. Despite being strangers, they quickly become central within a family, working to temper a patient’s illness and debility while affirming her dignity. Lila Savage, through the experience of the caregiver Ella, vividly illuminates what sustains us when facing suffering and loss: relationships based on trust, honesty, humility and, most of all, the tenacity of love. Say Say Say stirs the reader’s mind and heart, and resonates long after the book is closed.” —Jerome Groopman, MD, author The Anatomy of Hope 

“I cannot think when I last read a novel which moved me so deeply. Savage is almost supernaturally alert to the little gestures and transactions we all make as we negotiate our place in the world, and our relations to each other. Her approach is both unflinching and extraordinarily tender, so that I came away feeling I had undergone an examination which was somehow both painful and kind. I loved it, and it has remained with me in a way few other books have ever done.” —Sarah Perry, author of The Essex Serpent

“Powerful, thought-provoking—an impressive and affecting debut that had me reflecting on compassion, gender roles—and what it means to love.” —Claire Fuller, author of Swimming Lessons

“Brilliant, compelling—an extraordinarily good book, one that allows you deep into someone else’s world. I loved that it’s about a relationship that wasn’t a partner or lover relationship, but one that is nevertheless very intimate. Say Say Say is a joy to read.” —Philippa Perry, author of How to Stay Sane
 
“Luminous. . . . A startling, tender debut. [As] Ella, a young caregiver, finds herself gradually immersed in Bryn and Jill’s lives, her role as Jill’s companion evolves into something more intimate and complex. . . . What Ella witnesses between [the couple] challenges her ideas of love, spirituality, and empathy. Quietly forceful, Say Say Say will stay with readers long after the final page.” —Publishers Weekly (starred review)
 
“I was hungry for this novel before I knew it existed. Here is a book that does not chase hot-button issues of our day, yet feels timely and crucial—a book not held hostage to plot, but whose drama involves the highest stakes. The moment Ella steps into [Jill and Bryn’s] house, she is swept into a world of extraordinary intimacies. Say Say Say gives us a close-up look at the work of caregiving, and how physically caring for another human being can be simultaneously monotonous and momentous. In the process, it also explores societal stratification—particularly of gender and class—but resists easy commentary. Instead, the novel is full of complexity, and page after page of piercing insights. . . . A gorgeous book.” —Chia-Chia Lin, Electric Literature
 
“A breakthrough in women’s fiction. . . . What Lila Savage has created is extremely rare in contemporary fiction: a millennial woman narrator whose mind is not broken. Women with psychologies bent out of shape are the rage right now, delivering nihilism through pursed lips. In contrast, Ella is a young woman, knocking on thirty, who spends months taking care of Jill—a task that could not be more unglamorous, self-effacing, and heartfelt. Savage weaves a second story, about Ella’s complicated, quasi-romantic relationship with Jill’s husband. Savage takes ordinary human suffering as her subject, told by a pretty woman who does not hate herself. She gazes intently at Ella’s labor, both emotional and literal; slowly, we learn how this dense, difficult work has illuminated corners of Ella’s soul—the place where love touches hate, where language has broken down and only feeling remains. Savage creates new configurations of women’s self-love, based on human connection.” —Jo Livingstone, The New Republic
1

Later, looking back, Ella would be hard pressed to remember any details that had set this interview apart. It was sad, but then it was always sad, or Ella wouldn’t be needed. She had been working as a compan­ion for elderly people for six years, and somewhere along the way, sadness had lost its power to shock Ella the way it once had. It still reached her, but it was like recognizing a flavor, like eating a jelly bean without looking first to see what color it was. Oh this, she might think, I know this taste. This is incremental loss. This is trying to remember. This is regret. This is forgetting, forgotten, gone. This flavor is grief.

Jill was different from most of Ella’s other clients: she was young, only sixty, the victim of an accident rather than the mental and physical crush of age. The tragedy of such premature loss was unfamiliar to Ella, but she stepped up to it dutifully, felt for its contours, pressed the tip of her tongue to its bitterness, and, ultimately, shouldered its weight. What was her burden compared to Jill’s? Compared to those who loved her?

She had liked them, immediately and more than usual. She felt they might have been friends, ordinary friends, were the circumstances ordinary, which, of course, they weren’t. Nick, Jill’s son, was only a few years older than Ella, and he had an endearing sincerity to him, not ear­nestness but an unusual frankness, as though he couldn’t be bothered to dilute his humor or irritation or sadness into the tepid, circumspect conversation of most people. His father, Bryn, had an easy charm about him, and only his increasing talkativeness as he warmed up to Ella betrayed how isolating his circumstances must be. They had been dealing with the aftermath of Jill’s car accident and head injury for more than a decade now. Jill had seemed mostly herself for a while, but then came the cry­ing, and the tantrums that seemed out of all proportion, and now she was sometimes like an advanced Alzheimer’s patient, mumbling semi-coherently, wandering around, requiring near-constant supervision. Bryn had retired three years earlier to care for her, and her needs had only grown since then. Nick helped as much as he could, usu­ally on weekends, but he and his wife lived up in Hinck­ley and couldn’t realistically drive into Minneapolis more than once a week.

They had gathered in the living room for the interview, with Ella a lonely figure on the puffy leather couch and the two men standing, as though resting might betray how weary they truly were.

“I hope this doesn’t sound creepy,” Nick said, “but once I learned your full name I checked to see if we have any Facebook friends in common. You know Trent Olson?” She nodded and he smiled with real friendliness, although there was a restlessness to his bearing that had probably read as hyperactivity when he was a child and, now that he was in his thirties, looked more like athleticism, maybe. But though his was the kind of masculinity that held little appeal for Ella, she watched for cues he might be flirting with her.

Nick excused himself to go check on Jill, leaving Bryn and Ella to themselves. Bryn seemed pleased that he would have more time to explore interests outside of caregiving, and also pleased that he had someone to discuss it with.

“We’re too deep into spring to do everything I want in the garden,” Bryn said, “but soon there will be tons of green beans to pick, and raspberries, and zucchini, and then we’ll really get into tomato season. Jill used to be able to help with the harvesting but not anymore. I could occupy her for nearly an hour at a time picking raspber­ries on a nice day, until eventually she began to see it as a chore, and then she could no longer do it anyway.” He relayed these stages of decline with what seemed an easy candor.

“Do you grow any rhubarb?” Ella asked.

“Not really on purpose, but there’s some that keeps stubbornly coming up on the side of the house.”

“I like to make chilled sweet rhubarb soup, it’s so sum­mery. But I live in an apartment now so I can’t grow my own and it seems wrong to buy rhubarb in a grocery store.”

“I know what you mean. When Nick was small, he would take a juice glass of sugar out to the rhubarb patch and break stems off to dip and eat. It’s not a grocery-store kind of food.”

Again Ella checked to see how this nostalgia registered on Bryn’s face and found that his eyes were smiling with an uncomplicated cheerfulness that matched his grin.

“I’d like to sign up for a Community Ed class or two also,” Bryn said. “Since I retired to take care of Jill, I haven’t kept pace with the latest technology for carpentry.”

As he described the dimensional capabilities of com­puter programs for woodworking, Ella decided they would become friends. A more sentimental or less experienced caregiver might have assumed that this didn’t require deciding, but Ella had done some version of this many times with others, and had learned early on the benefits of some degree of detachment. Ella usually found cli­ents through her Craigslist ad, and sometimes through word of mouth, because an agency would take too large a cut and would require her to have a car. Her first cli­ent had been her friend Jake’s grandmother, whom she had known and cared about before the fog descended; Ella had been job hunting after dropping out of gradu­ate school when Jake’s mom had asked, “Could you visit my mother a few days a week?” At first Ella had been shocked that she could earn even a meager living this way (fifteen dollars an hour to start, twenty after the first year), just listening to Betty’s meandering stories, making sandwiches, playing checkers, feeding the ducks. With Betty, Ella had remained wide open; as the weeks and months progressed, the air between the two women had become charged like metal or water conducting electric­ity, the pangs of loss and death intermittent but shocking. If Betty didn’t answer the door of her senior apartment, Ella would feel panic swell in her throat; her body would prepare itself for impact as she scurried to find some staff member with a master key. Each time, Betty would have been napping, or getting her hair done in the basement of the building, or using the bathroom, and Ella would cry with relief, shaken and grateful, like the mother of a child who has stopped one step away from the path of a speeding bus. This was not a sustainable response, not for all the workdays in a week, all the weeks in a year, six years, half a dozen clients and counting.

And so Ella had learned to step in and out of grief, to sample it on demand. She didn’t seek to block it out entirely because the poignancy was among the few rewards of the job. It was a strange way to make a liv­ing: the slow creep of hours, the tedium of domesticity and isolation, morning talk shows bleeding into drowsy afternoon soaps, all pierced with looming mortality and surreal delusions. She would succumb to the boredom and drift, as though submerged in a lake. The cool water would tug her gently; sounds were muffled, it was tran­quil, and then something would compel her to burst through the surface and confront the frailty and sorrow and humiliation of decline. For a moment, she would be fully present in this sadness, porous in her empathy. It was almost unbearable, but at the same time, it seemed like a gift, to feel so much. She began to feel, rather than know, that the promise of death infused the adrenaline of living, and she was grateful to have this lesson at so little personal cost, because the tragedy belonged to someone who’d begun as a stranger.

Ella alternated between certainty that her true talents were wasted in this unskilled service work and another kind of certainty, that each action she took mattered, whether it was changing a soiled disposable brief with kindness and tact or listening to a tedious reminiscence for the thousandth time, so that someone whose self was slipping from them might clutch it for a moment longer. The truth contained both of these elements but was far more complicated. Ella had other talents, though perhaps none were greater than these; what were her elaborate meals or mediocre paintings to anyone but her? And if this caregiving, this tact and empathy, represented the best she had to offer, then it was also true that she offered these gifts as infrequently as she wrote her occasional poem. More often than not, she browsed through a maga­zine, she microwaved a hot dog, she did laundry just for an excuse to leave the room, she drifted in her mental lake as her client dozed—it all hinged upon her whim. And then there was this other nagging concern: the way her role often felt uncomfortably voyeuristic—she could hold it all at arm’s length, even if only for a while.

Nick came back into the room and said, with a laugh but also a degree of the derision grown sons are inclined to display toward their fathers, “Dad, stop boring Ella. I’m sure she has places to be.” It wasn’t that Bryn was being inappropriate; it was more like Nick saw the tang of his father’s loneliness as a reflection on him. Although Bryn remained smiling, his voice took on an edge as he responded to Nick. “We’re just getting acquainted,” he said.

“Oh, before you go, would you like to meet my mom?” Nick asked, turning toward Ella in a way that seemed to subtly exclude Bryn.

“Of course,” Ella said, making eye contact with Bryn as though it were his question she was answering. The three of them followed the sound of a television down a dim hallway and into a small den. Ella expected Jill to be sitting, but she stood with her back partially turned away from the television and a naked plastic baby doll in her hands. Jill looked so much younger than Ella expected that it startled her, momentarily, out of her detached pro­fessionalism. Jill was slim, and there was no gray in her curly red hair. Her freckled face was nearly unlined except for the deepening channels that ran from the sides of her nose to the corners of her mouth, and the reading glasses perched on her delicately pointed nose suggested that she had perhaps just set down an interesting magazine article to perform her role as hostess.

“Hello,” Ella said. “So nice to meet you. What a pleas­ant room.” She turned as though admiring it, took in the windows illuminated by afternoon sun and the old, dark-stained built-in bookshelf. Eventually she would come to have each title and trinket it contained memorized, but today she turned back to Jill to see how her greeting was being received. Jill seemed agitated, although it was dif­ficult to tell if this was in response to the newly crowded room. She muttered something beneath her breath; Ella couldn’t tell if it was addressed to her or to the doll. Bryn stepped closer to Jill and put an arm around her, squeez­ing her into a brief side hug. Ella observed that they seemed at once just like a long-married couple in that moment of casual affection and entirely unlike one in the clear disparity between their capacities.

“Say say say,” Jill said, and then she crooned lovingly to the doll, ran a dirty-nailed finger down the doll’s plump cheek.
© Michelle L. Morby
Lila Savage is originally from Minneapolis. Prior to writing fiction, she spent nearly a decade working as a caregiver. Her work has appeared in The Threepenny Review. She is the recipient of a Wallace Stegner fellowship and graduated from the Iowa Writers' Workshop in 2018. She lives in San Francisco. View titles by Lila Savage

About

Ella is nearing thirty, and not yet living the life she imagined. Her artistic ambitions as a student in Minnesota have given way to an unintended career in caregiving. One spring, Bryn—a retired carpenter—hires her to help him care for Jill, his wife of many years. A car accident caused a brain injury that has left Jill verbally diminished; she moves about the house like a ghost of her former self, often able to utter, like an incantation, only the words that comprise this novel's title.

As Ella is drawn ever deeper into the couple’s household, her presence unwanted but wholly necessary, she is profoundly moved by the tenderness Bryn shows toward the wife he still fiercely loves. Ella is startled by the yearning this awakens in her, one that complicates her feelings for her girlfriend, Alix, and causes her to look at relationships of all kinds—between partners, between employer and employee, and above all between men and women—in new ways.

Tightly woven, humane and insightful, tracing unflinchingly the most intimate reaches of a young woman's heart and mind, Say Say Say is a riveting story about what it means to love, in a world where time is always running out.
 
“Brisk, intimate—traces the complicated interior life of a young woman who works as a caregiver.” —New York Times Book Review, “New and Noteworthy” 
 
“Poetic, elegant. . . . Lila Savage’s novel Say Say Say transport[s] you—and it teaches several valuable lessons: How to be present with grace and dignity. How not to look away. How life goes on. It begins when Ella, a Minnesota-artist-turned caregiver in her 20s is hired by a retired carpenter to take care of his wife, Jill, who suffered a head injury. Ella is well trained in the awkward two-step of gently inserting herself into a family at its most difficult time. Savage follows the opposite arcs of these two women with such kindness (that’s the only word for it), even the most difficult moments of the story feel buffered by grace.” —Elisabeth Egan, San Francisco Chronicle
 
“Vivid; quietly radical—a wise, understated novel exploring the thoughts and feelings of a young carer as she steps into the crucible of other people’s suffering. The work is ‘pink collar’; the labor emotional and well as physical. Say Say Say is an intensely serious and careful book, which grapples with an unfashionable subject: the drive to be a good person, while wittily weighing human fallibility. The novel is particularly interesting about sexual politics and the romantic self: as a woke, young bisexual woman, Ella knows the effects of living in a patriarchy, but doesn’t know how to circumvent the damage. In the novel’s open-eyed, open-hearted curiosity, it illuminates both the intimate dramas usually hidden behind closed doors, and the shifting mysteries of personality and relationship.” —Justine Jordan, The Guardian

“Lyrical, deeply felt but unsentimental. . . . Say Say Say explores the charged dynamic between a paid companion and the couple she serves—a knotty web of emotion and obligation. Ella finds herself at the apex of a triangle of compassion and confusion. Savage’s insight comes through on every page in incisive and beautiful language . . . the narration is intensely reflective and psychologically revelatory. As the assignment draws Ella into Bryn and Jill’s orbit, she has to revise her own notions about duty and love. And in this deceptively simple book, the reader, too, receives an honest and empathetic opportunity to consider loneliness and the people whose labor gets bought to alleviate it.” Kathleen Rooney, Minneapolis Star Tribune 
 
“Quietly wonderful . . . a rare novel. Ella [is] an unforgettable main character. Ms. Savage stages an inquiry into the conundrum of goodness in an age that does so little to reward it, yet needs it desperately. Where, she wonders, do you draw a line between selflessness and servility? The questions deepen in profundity and emotional power. . . . Say Say Say will likely make you cry, but in [this] novel such responses feel clean and ennobling, free from manipulation. It is a book written for the better angels of our nature. ‘Wasn’t there beauty in the practice of love and the roll and sweep of it?’ Ella thinks. Yes yes yes.” Sam Sacks, The Wall Street Journal

Riveting, subversive. . . . Familial tensions feed Ella’s richly articulate consciousness [in this] meditation on work, loss, intimacy, and desire.” —Ottessa Moshfegh, GQ

“Poignant, moving. . . . What distinguishes Say Say Say is the clear-eyed, straight-faced approach Lila Savage takes to material that could be overcooked, mawkish or misdirected. . . . Say Say Say is the antidote to the arch and ironic in literature, to books that hide their emotion behind layers of cynicism. It is not escapism—the place it takes us to is our own collective future—but its humane journey into other lives provides a consolation of its own.” —John Self, The Times (London)

“A visceral story with a philosophical heart: Savage writes from an unusual perspective with clarity and intelligence, giving this novel about a young care worker and the two people she becomes involved with an astute and questioning voice. Ella cares for 60-year-old Jill whilst developing a friendship with Jill’s husband Bryn, once a carpenter but who now labours under years of care and solitude. In Ella’s daily tasks are brutal revulsions, and tender ministrations of love. Bryn and Ella’s relationship examines not only ageing and desire, but loneliness, and all the ways in which we try to alleviate it, through sex, companionship, religion.” —Ruth McKee, Irish Times 

“A bright spot in the maelstrom: a book called Say Say Say. It’s a smooth and assured portrait of a character’s interior world, as well as a meditation on our assumptions about care work, and heterosexual relationships.” —Emily Gould, author of Friendship 

“Inspiring, truly memorable—beautifully drawn; intellectually and emotionally gripping. . . . Savage brings insight. One of the many wonders of this novel is her anatomy of how caregivers respond to the issues they face and how they cope. Incidents form a kind of river of episodes and commentary that carries readers forward on a flow of vivid and entrancing prose. . . . Say Say Say is perceptive in its commentary, and edifying in its humanity.” —Claire Hopley, The Washington Times

“An emotional masterpiece. . . . Bryn, a retired carpenter, hires Ella, an artist in her late 20s, to take care of his wife. In their house, Ella witnesses a level of love and passion she’s been bereft of in her day-to-day life. Say Say Say is a heartbreaking book [told in] bracingly honest, unflinching prose. . . . It meditates on empathy and finding human connection even in the worst of circumstances.” —Liz Moody, Mind Body Green

“A gem of a book. A lyrical, tender, and profoundly insightful dive into the act of caregiving and its highly charged nexus of love, duty, and longing. Lila Savage is an enormous talent; Say Say Say is a mesmerizing tour de force.” —Abraham Verghese, author of Cutting for Stone

Say Say Say is something quite special, unlike anything else I’ve ever read. Lila Savage’s voice is distinctive, perhaps the timbre of a new generation—its deadpan; its fascination with randomness and accident; its lack of interest in making rounded meaning. I love the way Ella’s intense thoughts and feelings on one page are contradicted by different intense thoughts and feelings (and certainties) a few pages later. Which is like life. Yet there’s no show of anomie or alienation, no effort to shock (even though the material is shocking). Lila Savage’s imagination is warm and generous. Her novel is haunting, original, intelligent.” —Tessa Hadley, author of The Past

“Caregivers occupy a unique role during life’s most fraught times. Despite being strangers, they quickly become central within a family, working to temper a patient’s illness and debility while affirming her dignity. Lila Savage, through the experience of the caregiver Ella, vividly illuminates what sustains us when facing suffering and loss: relationships based on trust, honesty, humility and, most of all, the tenacity of love. Say Say Say stirs the reader’s mind and heart, and resonates long after the book is closed.” —Jerome Groopman, MD, author The Anatomy of Hope 

“I cannot think when I last read a novel which moved me so deeply. Savage is almost supernaturally alert to the little gestures and transactions we all make as we negotiate our place in the world, and our relations to each other. Her approach is both unflinching and extraordinarily tender, so that I came away feeling I had undergone an examination which was somehow both painful and kind. I loved it, and it has remained with me in a way few other books have ever done.” —Sarah Perry, author of The Essex Serpent

“Powerful, thought-provoking—an impressive and affecting debut that had me reflecting on compassion, gender roles—and what it means to love.” —Claire Fuller, author of Swimming Lessons

“Brilliant, compelling—an extraordinarily good book, one that allows you deep into someone else’s world. I loved that it’s about a relationship that wasn’t a partner or lover relationship, but one that is nevertheless very intimate. Say Say Say is a joy to read.” —Philippa Perry, author of How to Stay Sane
 
“Luminous. . . . A startling, tender debut. [As] Ella, a young caregiver, finds herself gradually immersed in Bryn and Jill’s lives, her role as Jill’s companion evolves into something more intimate and complex. . . . What Ella witnesses between [the couple] challenges her ideas of love, spirituality, and empathy. Quietly forceful, Say Say Say will stay with readers long after the final page.” —Publishers Weekly (starred review)
 
“I was hungry for this novel before I knew it existed. Here is a book that does not chase hot-button issues of our day, yet feels timely and crucial—a book not held hostage to plot, but whose drama involves the highest stakes. The moment Ella steps into [Jill and Bryn’s] house, she is swept into a world of extraordinary intimacies. Say Say Say gives us a close-up look at the work of caregiving, and how physically caring for another human being can be simultaneously monotonous and momentous. In the process, it also explores societal stratification—particularly of gender and class—but resists easy commentary. Instead, the novel is full of complexity, and page after page of piercing insights. . . . A gorgeous book.” —Chia-Chia Lin, Electric Literature
 
“A breakthrough in women’s fiction. . . . What Lila Savage has created is extremely rare in contemporary fiction: a millennial woman narrator whose mind is not broken. Women with psychologies bent out of shape are the rage right now, delivering nihilism through pursed lips. In contrast, Ella is a young woman, knocking on thirty, who spends months taking care of Jill—a task that could not be more unglamorous, self-effacing, and heartfelt. Savage weaves a second story, about Ella’s complicated, quasi-romantic relationship with Jill’s husband. Savage takes ordinary human suffering as her subject, told by a pretty woman who does not hate herself. She gazes intently at Ella’s labor, both emotional and literal; slowly, we learn how this dense, difficult work has illuminated corners of Ella’s soul—the place where love touches hate, where language has broken down and only feeling remains. Savage creates new configurations of women’s self-love, based on human connection.” —Jo Livingstone, The New Republic

Excerpt

1

Later, looking back, Ella would be hard pressed to remember any details that had set this interview apart. It was sad, but then it was always sad, or Ella wouldn’t be needed. She had been working as a compan­ion for elderly people for six years, and somewhere along the way, sadness had lost its power to shock Ella the way it once had. It still reached her, but it was like recognizing a flavor, like eating a jelly bean without looking first to see what color it was. Oh this, she might think, I know this taste. This is incremental loss. This is trying to remember. This is regret. This is forgetting, forgotten, gone. This flavor is grief.

Jill was different from most of Ella’s other clients: she was young, only sixty, the victim of an accident rather than the mental and physical crush of age. The tragedy of such premature loss was unfamiliar to Ella, but she stepped up to it dutifully, felt for its contours, pressed the tip of her tongue to its bitterness, and, ultimately, shouldered its weight. What was her burden compared to Jill’s? Compared to those who loved her?

She had liked them, immediately and more than usual. She felt they might have been friends, ordinary friends, were the circumstances ordinary, which, of course, they weren’t. Nick, Jill’s son, was only a few years older than Ella, and he had an endearing sincerity to him, not ear­nestness but an unusual frankness, as though he couldn’t be bothered to dilute his humor or irritation or sadness into the tepid, circumspect conversation of most people. His father, Bryn, had an easy charm about him, and only his increasing talkativeness as he warmed up to Ella betrayed how isolating his circumstances must be. They had been dealing with the aftermath of Jill’s car accident and head injury for more than a decade now. Jill had seemed mostly herself for a while, but then came the cry­ing, and the tantrums that seemed out of all proportion, and now she was sometimes like an advanced Alzheimer’s patient, mumbling semi-coherently, wandering around, requiring near-constant supervision. Bryn had retired three years earlier to care for her, and her needs had only grown since then. Nick helped as much as he could, usu­ally on weekends, but he and his wife lived up in Hinck­ley and couldn’t realistically drive into Minneapolis more than once a week.

They had gathered in the living room for the interview, with Ella a lonely figure on the puffy leather couch and the two men standing, as though resting might betray how weary they truly were.

“I hope this doesn’t sound creepy,” Nick said, “but once I learned your full name I checked to see if we have any Facebook friends in common. You know Trent Olson?” She nodded and he smiled with real friendliness, although there was a restlessness to his bearing that had probably read as hyperactivity when he was a child and, now that he was in his thirties, looked more like athleticism, maybe. But though his was the kind of masculinity that held little appeal for Ella, she watched for cues he might be flirting with her.

Nick excused himself to go check on Jill, leaving Bryn and Ella to themselves. Bryn seemed pleased that he would have more time to explore interests outside of caregiving, and also pleased that he had someone to discuss it with.

“We’re too deep into spring to do everything I want in the garden,” Bryn said, “but soon there will be tons of green beans to pick, and raspberries, and zucchini, and then we’ll really get into tomato season. Jill used to be able to help with the harvesting but not anymore. I could occupy her for nearly an hour at a time picking raspber­ries on a nice day, until eventually she began to see it as a chore, and then she could no longer do it anyway.” He relayed these stages of decline with what seemed an easy candor.

“Do you grow any rhubarb?” Ella asked.

“Not really on purpose, but there’s some that keeps stubbornly coming up on the side of the house.”

“I like to make chilled sweet rhubarb soup, it’s so sum­mery. But I live in an apartment now so I can’t grow my own and it seems wrong to buy rhubarb in a grocery store.”

“I know what you mean. When Nick was small, he would take a juice glass of sugar out to the rhubarb patch and break stems off to dip and eat. It’s not a grocery-store kind of food.”

Again Ella checked to see how this nostalgia registered on Bryn’s face and found that his eyes were smiling with an uncomplicated cheerfulness that matched his grin.

“I’d like to sign up for a Community Ed class or two also,” Bryn said. “Since I retired to take care of Jill, I haven’t kept pace with the latest technology for carpentry.”

As he described the dimensional capabilities of com­puter programs for woodworking, Ella decided they would become friends. A more sentimental or less experienced caregiver might have assumed that this didn’t require deciding, but Ella had done some version of this many times with others, and had learned early on the benefits of some degree of detachment. Ella usually found cli­ents through her Craigslist ad, and sometimes through word of mouth, because an agency would take too large a cut and would require her to have a car. Her first cli­ent had been her friend Jake’s grandmother, whom she had known and cared about before the fog descended; Ella had been job hunting after dropping out of gradu­ate school when Jake’s mom had asked, “Could you visit my mother a few days a week?” At first Ella had been shocked that she could earn even a meager living this way (fifteen dollars an hour to start, twenty after the first year), just listening to Betty’s meandering stories, making sandwiches, playing checkers, feeding the ducks. With Betty, Ella had remained wide open; as the weeks and months progressed, the air between the two women had become charged like metal or water conducting electric­ity, the pangs of loss and death intermittent but shocking. If Betty didn’t answer the door of her senior apartment, Ella would feel panic swell in her throat; her body would prepare itself for impact as she scurried to find some staff member with a master key. Each time, Betty would have been napping, or getting her hair done in the basement of the building, or using the bathroom, and Ella would cry with relief, shaken and grateful, like the mother of a child who has stopped one step away from the path of a speeding bus. This was not a sustainable response, not for all the workdays in a week, all the weeks in a year, six years, half a dozen clients and counting.

And so Ella had learned to step in and out of grief, to sample it on demand. She didn’t seek to block it out entirely because the poignancy was among the few rewards of the job. It was a strange way to make a liv­ing: the slow creep of hours, the tedium of domesticity and isolation, morning talk shows bleeding into drowsy afternoon soaps, all pierced with looming mortality and surreal delusions. She would succumb to the boredom and drift, as though submerged in a lake. The cool water would tug her gently; sounds were muffled, it was tran­quil, and then something would compel her to burst through the surface and confront the frailty and sorrow and humiliation of decline. For a moment, she would be fully present in this sadness, porous in her empathy. It was almost unbearable, but at the same time, it seemed like a gift, to feel so much. She began to feel, rather than know, that the promise of death infused the adrenaline of living, and she was grateful to have this lesson at so little personal cost, because the tragedy belonged to someone who’d begun as a stranger.

Ella alternated between certainty that her true talents were wasted in this unskilled service work and another kind of certainty, that each action she took mattered, whether it was changing a soiled disposable brief with kindness and tact or listening to a tedious reminiscence for the thousandth time, so that someone whose self was slipping from them might clutch it for a moment longer. The truth contained both of these elements but was far more complicated. Ella had other talents, though perhaps none were greater than these; what were her elaborate meals or mediocre paintings to anyone but her? And if this caregiving, this tact and empathy, represented the best she had to offer, then it was also true that she offered these gifts as infrequently as she wrote her occasional poem. More often than not, she browsed through a maga­zine, she microwaved a hot dog, she did laundry just for an excuse to leave the room, she drifted in her mental lake as her client dozed—it all hinged upon her whim. And then there was this other nagging concern: the way her role often felt uncomfortably voyeuristic—she could hold it all at arm’s length, even if only for a while.

Nick came back into the room and said, with a laugh but also a degree of the derision grown sons are inclined to display toward their fathers, “Dad, stop boring Ella. I’m sure she has places to be.” It wasn’t that Bryn was being inappropriate; it was more like Nick saw the tang of his father’s loneliness as a reflection on him. Although Bryn remained smiling, his voice took on an edge as he responded to Nick. “We’re just getting acquainted,” he said.

“Oh, before you go, would you like to meet my mom?” Nick asked, turning toward Ella in a way that seemed to subtly exclude Bryn.

“Of course,” Ella said, making eye contact with Bryn as though it were his question she was answering. The three of them followed the sound of a television down a dim hallway and into a small den. Ella expected Jill to be sitting, but she stood with her back partially turned away from the television and a naked plastic baby doll in her hands. Jill looked so much younger than Ella expected that it startled her, momentarily, out of her detached pro­fessionalism. Jill was slim, and there was no gray in her curly red hair. Her freckled face was nearly unlined except for the deepening channels that ran from the sides of her nose to the corners of her mouth, and the reading glasses perched on her delicately pointed nose suggested that she had perhaps just set down an interesting magazine article to perform her role as hostess.

“Hello,” Ella said. “So nice to meet you. What a pleas­ant room.” She turned as though admiring it, took in the windows illuminated by afternoon sun and the old, dark-stained built-in bookshelf. Eventually she would come to have each title and trinket it contained memorized, but today she turned back to Jill to see how her greeting was being received. Jill seemed agitated, although it was dif­ficult to tell if this was in response to the newly crowded room. She muttered something beneath her breath; Ella couldn’t tell if it was addressed to her or to the doll. Bryn stepped closer to Jill and put an arm around her, squeez­ing her into a brief side hug. Ella observed that they seemed at once just like a long-married couple in that moment of casual affection and entirely unlike one in the clear disparity between their capacities.

“Say say say,” Jill said, and then she crooned lovingly to the doll, ran a dirty-nailed finger down the doll’s plump cheek.

Author

© Michelle L. Morby
Lila Savage is originally from Minneapolis. Prior to writing fiction, she spent nearly a decade working as a caregiver. Her work has appeared in The Threepenny Review. She is the recipient of a Wallace Stegner fellowship and graduated from the Iowa Writers' Workshop in 2018. She lives in San Francisco. View titles by Lila Savage

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