SSRJ #3: Peter Meinke, The Cranes

The rare beauty of the end of a loving relationship is symbolized by whooping cranes in Peter Meinke’s short story, The Cranes.  The poetic style of the writing paints a picture of two lovers nearing the end of life together.  Terse dialog forms the basis of the painting, and brief glimpses of the natural setting provide a backdrop for the couple to reminisce about the life together.  Filled with humor, slight regrets and deep love, the couple confronts tinges of fear as they head off together into the sunset.  I was reminded of the feelings of separation that I’ve experienced at key moments in life: leaving my friends at summer camp when I was young, my friends from college when we graduated, and of course the bittersweet family reunions that happen at funerals.

We are introduced to the central literary and classical symbol of the whooping cranes in the very first sentence of the story.  The birds are described positively from the start as “tall and stately” (1) while their actions mirror the mood of the couple, “staring motionless toward the Gulf.”   The uniqueness of the cranes is called out both in how they compare against the other birds, they “towered above the bobbing egrets and scurrying plovers,” (1) and in the man’s remark about their rarity.  I viewed this as symbolic of the uniqueness of the couple’s relationship, filled with love and lasting not only for the duration of their lives, but on into the sunset past their death.  They are able to maintain humor and love despite the vicissitudes of life.  Even though he “can’t smoke, can’t drink martinis, no coffee, no candy,” (8) and she feels that she is “just a lot of trouble to everybody,” (14) they still laugh together at their memories, support each other, and marvel at the beauty of nature: a truly rare and unique relationship.

The cranes are a classical symbol of life, bringing babies to hopeful couples.  But here, in a story clearly about death, they represent the new life together that begins when a satisfied life together ends.  There are few direct statements about death, but the feeling pervades the story.  Early on, she asks, “maybe this is the wrong thing?”  (8)  We wonder, what is she referring to? Slowly, more details are given when he “picked up an object wrapped in a plaid towel” and gives the toast “here’s looking at you kid.”  Although not directly stated, the implication is that they drank something.  Again indirectly, but toward the end we see the symbolic cranes “stepping delicately away from the commotion,” mirroring the couple’s separation from their life.  After they kiss, their eyes close, and the cranes fly away into the sun.  The implication, though never direct, is that our couple decided to end their lives together.

I’ve read the story a number of times, but still find it difficult to put together some of the smaller elements.  Meinke is so stingy with words that each one clearly is there for a reason.  If so, why mention the “shower curtain spread over the front seat?” (3)  Does it somehow relate to their joint suicide?  I’m also unclear on the meaning of the comment, “did you bring something for your ears?”  Obviously this was well prepared, but without direct comments it is hard to know for certain.  Perhaps my interpretation of the joint suicide via poison is incorrect?