Much of Hamlet is about the precise kind of slippage the mourner experiences: the difference between being and seeming, the uncertainty about how the inner translates into the outer, the sense that one is expected to perform grief palatably. (If you don’t seem sad, people worry; but if you are grief-stricken, people flinch away from your pain.)

One word I had throughout the first year and a half of my mother's death was 'unmoored.' I felt that I had no anchor, that I had no home in the world.

I was not raised with religion, and I had no faith before my mother died. On the other hand, when she died, I did not immediately feel she was "gone." I don't believe she is in something like heaven, but I also feel that we don't understand much about the nature of the universe. So I hold on to that uncertainty, at times.

Relationships take up energy; letting go of them, psychiatrists theorize, entails mental work. When you lose someone you were close to, you have to reassess your picture of the world and your place in it. The more your identity was wrapped up with the deceased, the more difficult the loss.

When my mother was sick, I found myself needing to put down in my journals all sorts of things - to try to understand them, and, I think, to try to remember them.

It's a blessing not to be alone in your grief but it's also painful to see your parents and siblings in pain.

Yet the story of Orpheus, it occurs to me, is not just about the desire of the living to resuscitate the dead but about the ways in which the dead drag us along into their shadowy realm because we cannot let them go. So we follow them into the Underworld, descending, descending, until one day we turn and make our way back.