Any book that weaves together allusions to both Julian of Norwich and Biddy Early is worth checking out! Add in a dash of mystery, Celtic romance, and wry Irish humor, and the result is this engaging novel from Lillian Lewis, All Shall Be Well -Carl McColman, author of The Big Book of Christian Mysticism and 366 Celt Morgan Kenny is many things, but she is definitely not a psychic. As she flies across the ocean to Ireland to bury her eccentric Aunt Mary, she has no idea that her last link to the old world is about to lead her straight into an intriguing Irish murder mystery. Even so, as Morgan's plane settles into its cruising altitude, she is overcome with a feeling that her Aunt Mary is attempting to contact her with an important message. After Morgan deplanes, she receives a telegram that informs her that her aunt has already been buried. Perplexed by the strange unfolding of events, Morgan silently wonders who has taken care of the final details, since she is the last remaining relative in the family. As she begins a fruitless search to find her aunt's burial site and the family's ancestral home, Morgan is flooded with memories and voices of the dead who tell her she needs to mine old ways in order to claim her inheritance. Morgan must break the cipher, but not without the help of a teenager, a fourteenth-century English saint, and a handsome archeologist. In this compelling tale rich with history and culture, an American woman embarks on an Irish adventure in which she will learn more about her ancestors and herself than she ever could have imagined.

All Shall Be Well

An Irish InheritanceBy Lillian Lewis

iUniverse, Inc.

Copyright © 2012 Lillian Lewis
All right reserved.
ISBN: 978-1-4759-2025-3

Chapter One

Showings

If Morgan had known just how this Irish wake was going to turn out, she probably never would have come thirty-five hundred miles, economy class, on the last of her vacation money. Then again, the Irish immigrants could not choose their fate either. Could they have known the long loneliness they would endure in separation from the motherland? Perhaps if they had, they never would have embarked on that journey either.

It was a full flight. O'Hare to Shannon usually was, especially as summer approached. Everyone moved quickly, for a Friday night, to store things as the captain announced imminent departure. Morgan's mother used to crash the duty free in Chicago, stuffing her cloth Marshall Field's shopping bag with cigarettes, Frango mints, nylon stockings, and Beefeaters gin. It was always like Christmas when Rose came to County Mayo. Morgan felt like telling her mother that Marshall Field's was sold to some outfit in Minnesota. Everything was changing. For a split second, Morgan forgot there was no one to bring those cigarettes to.

Morgan Kenny was on her way to Ireland to bury an old-maid aunt, a great-aunt on her mother's side, whom she hadn't seen since she was twenty-five years old. Great-Aunt Mary was the last of Morgan's Irish relatives. The last of the Kenny clan, she thought. With Morgan's mother and grandmother gone, old Mary was the end of her link to the old world and the old times. That Irish connection had given her mother and her grandmother Lily a particular Irish-American identity. They were Chicago Irish, Catholic, and Democrat from Mayo. Within those parameters, they belonged.

That was the odd thing: For all the family's "Irish talk," Morgan was not the Irish flag-waving type. She identified herself more as a former Benedictine—even as a sometime Catholic—than as Irish-American, which posed a question: What was compelling her to make this trip to bury an old auntie she barely knew? Sure, she'd kept up a few Hallmark communications each year, more of a duty she felt than an act of affection. "You have to perform the rituals," her grandmother would say. Maybe she had to do that. Do what Rilke said about real mourning. Maybe I should have "ashed my hair" when my mother died, "rent my shirt" when my grandmother died. And perhaps by not doing it, she still carried them all.

A May drizzle beaded the plane window.

"'Tis a soft day, 'tis," Morgan could hear her grandmother say. "Beltane it is. May Day." Rituals. "We had our rituals," the old woman would say. "Of course, we had the Maypole and dances, too. My father, God bless his soul, would take our cows to summer pasture, and me and my sisters would string flowers on them and ourselves. Simple pleasures, lassie. We went through the town with the cattle, and the whole pub watched us, and Shanley's bakery—and often came along."

"Back then"—it was always "back then"—"the Irish had a saying for everything," Grandma Lily contended. Morgan's father would counter with "Irish malarkey thinking," as the Kennys sang and wept their interminable melancholy for the "Other Side." "Happy on neither," he maintained.

But on this trip, Morgan seemed to be carrying all those from the "Other Side" with her. All those who had told her magic-filled "Irish malarkey" stories and had raged the rages with the spirits—they all were dead. All the intense ones, the peppery about-to-explode aunts who laughed and swore softly and danced on Christmas morning with cigarettes blazing and cups filled with elderberry wine—all were gone. The old-time people who used to sit in her auntie's kitchen with a glass of amber liquid on Easter morning and told your fortune with a wink or pressed a "fin" into your palm and said, "Quick, spend it, before the devil knows you've got it." Aunt Mary was the last of that Dancing at Lughnasa breed. Yeats may have written of Lady Gregory and Maude Gonne, a highbrow bunch, the Irish literati; but Morgan's Mayo peasant stock were no less "beautiful lofty people never to be seen again." Morgan's thick, single braid had become undone, and her wheat-colored hair fell over her eyes. No, I don't suppose I will ever see their likes again.

The plane was taking altitude now, and the passenger next to her smiled in the silence and took a swig from his flask, sighing into the plane's lift. At thirty-five thousand feet, that brief moment before dark, the setting sun spread the entire sky gold vermilion.

Golden images lifted into Morgan's imagination as well. Pages from the family scrapbook, you could say. Aunt Mary and Aunt Aran standing in front of their thatched roof cottage with Grandma Lily, a tiny cross window on either side of the green door.

The "veil" must be thin now because of Aunt Mary's passing—or maybe because of Beltane? Morgan thought of the Celtic calendar. "Sure, it's easier to see and hear those who've gone before at these special times," her grandmother told a neighbor.

"When the veil is thin, one can cross to the 'Other Side.' The transportation's absolutely free!" Morgan had heard Grandmother Lily say this so many times. Morgan's mother, Rose, enjoyed the Irish malarkey, too. When Morgan was a child, she believed as a child. She knew the "veil" was thin on Christmas, Easter, weddings, First Communions, and other times of drink. Many spirits live in the bottle and yearn to be set free, she knew. And Morgan herself became acquainted with Queen Mab, like all the others in her family. It was a curse, and a sign of Irish prodigality.

The rattle of the beverage cart dragged Morgan back to this side. She had respect for the Irish curse. She had to decide each time and each place.

"Coffee, please."

At times, she seemed satisfied enough with her father's dismissal of the Irish as a race of "charming superstitionists."

"Don't let those 'bead rattlers' fool you—they're pagans, heath dwellers. Just look at your aunt Mary." Rose would chuckle agreement with her husband. It was true. Aunt Mary never went to church—but then again, she was not comfortable in Castlebar's department stores, either. You could say the same for banks, offices, or anywhere with secretaries and their clipboard questionnaires.

"She's simply a hermit exhilarated by God's creation," her mother would say. (In the United States, that read "a little queer.") Aunt Mary was a wild woman, living "on the back forty," still living in the ancient spirit of the god of the grove. But her praise for divine abundance was more in the line of wonder at a hank of onions or a clutch of eggs or a dripping chunk of honeycomb, than at the Holy Trinity. Still, she never questioned her God's judgment about her life of precariousness. And when she swore, she invoked the Holy Family.

Grandma Lily defended Aunt Mary's oddness from those who questioned her Catholicity by saying she did not need the rebuke of the Church to live a moral life. Nor did she need a Lenten rule for self-denial or fasting. She certainly didn't need that virtue, since she had already cultivated essentiality just by being Irish in those times before the Celtic Tiger.

In spite of Papa's warnings, the Kennys were all casual believers in the "Irish malarkey" supernatural—whether it was the intervention of lost-and-found saints or the Holy Ghost's urgings or just the veritas that comes in pints. But there were simple everyday malarkey things, too, like Ma's keeping a tattered Irish pound note in her handkerchiefs "so I'll never go broke." Or Grandma Lily always scooping up the bubbles in her tea and quickly drinking them, for they were signs of money—"Coin comin' for ye, if only ye can catch it!" They all caught that malarkey bug.

How ironic: Something very "malarkey" was happening to Morgan right now, in this plane.

As the plane settled into its cruising altitude and magazines and computers came out, Morgan felt a closed-chest sadness about her aunt's passing. It was the feeling of something unanswered or undone. What is it that I am meant to remember? Morgan mused. What would be the question for Mary? That's what this feeling is all about.

"Death is never the end of the story." She heard that quite distinctly.

Is that you, Mary? I'm not sure; I believe you are trying to contact me.

The old house came into view.

The thatched roof on the Kenny cottage came flying off—blown away, as it were, by a big wind. It was small, small as a dollhouse. The whole thing lifted like Dorothy's house did in Kansas. Morgan was high above it—but there was no dollhouse furniture in it.

Plane turbulence. The overhead light flickered on. Morgan closed her eyes. Instantly, she saw Aunt Mary—not as the pathetic old woman she had last visited, but young, as she appeared in the photo Grandma Lily kept at her bedside. Papa said the photo reminded him of Vermeer's Girl with a Pearl Earring. "Aunt Mary never seems to age," he would say. And indeed he, young enough to be her son, died a decade before her. She wore the innocent puella countenance all her life, even when she was eighty—she was the servant girl, obedient and secretive. Enormous blue-gray eyes, work bandanna 'round her hair, a model for Vermeer.

The eyes in the snapshot were speaking to Morgan now.

"All shall be well, and all manner of thing shall be well." Morgan strained to recognize those words, but forgot them the instant the eyes winked at her. The eyes sang, "When Irish eyes are smiling, sure they steal your heart away."

Morgan forced her eyes open, but her mind's eye kept the Girl with a Pearl Earring before her.

"Mary, Mary, I'm so sorry I didn't get to know you," Morgan whispered to the image. "No one seemed to know you. We all took you for granted."

Finally, the tears from years of ancestor-hunger, stored up in her heart, overflowed. Truly weeping, Morgan continued on in a prayerlike mode, "Hail Mary, Aunt Mary, you were probably full of grace. I'm sure the Lord is with thee."

Morgan surprised herself. She had not expected this much emotion—or sanctimony. It wasn't guilt, but a desire to know her aunt—and it brought her more loss. She felt that those Vermeer eyes wanted to tell her something more. Wanted her to know.

"What do you want me to know, Mary?"

At that moment, the right wing of the plane lowered. The passengers' gasps coincided with the voice of the captain warning to buckle up, for more turbulence was coming. Always a white-knuckle flier, Morgan stared with her eyes tightly shut into the eyes of the "Girl" who had just died. Mary spoke softly to Morgan again, who seemed to reassure her of something. "All shall be well"—but there was something more.

Entering a liminal space seems to be easier for the Irish, Morgan thought. Maybe they're just spacier than most.

The plane began correcting its position. Everyone was silent. A little child began a wailing cry. Everyone inhaled, again. The eyes were smiling. "When Irish eyes are smiling, sure the world seems bright and gay ..." Was this wobbly sensation Aer Lingus at thirty-five thousand feet, or was it all these old family feelings and people flooding back for a purpose?

The whole plane sighed as the captain announced that Shannon was in sight. Approach imminent.

"Hey, you don't have to believe in the 'Irish malarkey' thing for it to happen to you, musha," her mother used to say. God, how I miss her, nagging and all. Morgan's mother, Rose, was born in Chicago, but she told the stories the exact way they were given to her by her mother, Lily, Mayo brogue and all. Morgan didn't have that gift. No gift of gab was hers.

Morgan felt like telling her mother she had seen her dead Aunt Mary—really seen her. There was some humor in this, because Rose was dead, too. But perhaps Rose was the only one to have believed in the family genius. All of which was quite normal in the ancient Celtic world—though rather eccentric in this one. Still, no one had identified Morgan's special gift.

Rose had not cultivated her own gift with Morgan, the gift of moving between the worlds like a shaman. She may never have considered Morgan a candidate because from the time she was a wee child, Morgan wanted to become a nun. She entered the convent at eighteen, immediately after high school. That seemed to be the end of expectations as far as her parents were concerned. But whether Morgan Kenny had the gift of "sight" or not, she'd continued to see her Aunt Mary for several days thereafter. It would remain to be seen if the gift maintained.

Everyone said Grandma Lily had the gift of gab, and there was no question she had her carpetbag of tales as full as the tailor's. She handed them down to Rose, who "inherited" but never handed them down to Morgan. Timing changed things. Morgan entered the nunnery; and without grandchildren, Rose lost the impetus to hand on the stories. So with her, most of them were buried.

Morgan loved to hear the homemade tales and burnished family gossip, but what she did receive she got from her grandmother. She did not disappoint Lily, and Lily did not disappoint her. Though her grandmother's memories were golden, the realities of her childhood in Castlebar, County Mayo, had been harsh. Grandma Lily's mother and stepmother were born in famine times, the 1840s. She and her sisters were little more than ragamuffins, living on a cattle farm and consuming tons of turnips, drinking seaweed tea, "without a penny to cross themselves." Soul memory softens the bellyache and swollen feet.

Morgan had been a frequent visitor to Ireland with her mother until Rose died, five years ago. The Ireland Morgan knew was a romantic version she had absorbed from her grandmother's memories: Irish poems recited on feast days, step-dancing classes, the old fifties movie The Quiet Man with John Wayne and Maureen O'Hara, and the old forties film with Victor McLaughlin, The Informer.

Perhaps Morgan had escaped this world, and the obvious mistake of the convent, by making a country three thousand miles away her avocation and home. She even did her graduate paper on the ninth-century Kerry madwoman from Slieve Mish, on the Dingle Peninsula. She'd been drawn to the subject because of Aunt Mary's oddness. Aunt Mary could have been called "the wild woman of Mayo." She was every bit as dotty, disheveled, and disorganized as Morgan's fantasy of a wild hermit, but she also was a wonderful mix of brogue, malarkey, and hospitality.

Aunt Mary was the youngest of the three Kenny sisters.

Morgan's grandmother, Lily, was the oldest. Lily's mother had been wife number one. Little was known of her, because the father allowed little mourning before the second wife was taken.

This time, Anthony Kenny married a girl so poor she looked to the marriage as a hedge against being sent to the poorhouse. Some said she was a white witch or that she sang magic chants. Americans would just have called her "intuitive" or "a psychic." She was the mother of Aunt Aran and Aunt Mary. She also died young, exhausted by pregnancies and early-life hunger.

Little Mary knew adversity from childhood on. She was a motherless child. In truth, she was an orphan with a gentle soul. She never went to school beyond those first years with a neighbor woman, Mrs. Naughton. She never married. Always the servant. A simple, uneventful life, most would say. Morgan's heart went out to her.

But maybe it wasn't so uneventful? Morgan's inner voice threw her an interesting exception: What about the visionary Julian of Norwich? Chaucer remarked that she'd never made a journey, even to Canterbury. She never left her cell, but she "saw the whole of creation in a hazelnut." Could that have been possible with Aunt Mary, who'd never left Mayo? Morgan hoped so.

The question remained: What was it that brought Morgan all this way for an aunt she hardly knew?

Sure, there are some things to settle in Castlebar. Little is left. The house and land. I almost forgot the Lady's Well.

How was it that Aunt Mary was lodged in a corner of her soul? Maybe there was something more for her to know of her aunt—and herself. No matter. Something, internally, was helping Morgan to take steps into uncharted territory. Something was changing. Obviously, there was the dying—but something else was emerging, too.

As she edged toward her fortieth year, she knew a new leg of her journey had silently begun. The life maps she had relied on for years were out-of-date. Maybe Mary's death was the occasion to search for new ones. It was time.

(Continues...)

Excerpted from All Shall Be Wellby Lillian Lewis Copyright © 2012 by Lillian Lewis. Excerpted by permission of iUniverse, Inc.. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
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