She writes to him in the hospice,
his widow-in-waiting.  A girl at her care home
brings her envelopes, colourful pens, sheets of paper in
pastel shades, and takes her missives to
Reception to go out with the mail.
She writes to him, keeping her messages short so
the nurses have time to read them to him, and because
he gets tired so quickly now.
She encloses copy photographs for the nurses to
show to him, pictures of their adventures together:
them in hiking boots and toting backpacks atop a
Saxon burial mound; picnicking and almost sunburnt
beside a vast lake reflecting a perfect, bygone blue sky
in its tranquil surface; on a sandy Welsh beach, building a
campfire from smooth, soft-grained, bone-pale driftwood; him
asleep on a train, his head resting on luggage
and hat pulled down over eyes.
In one communiqué she writes:
“I’m sorry you took the mountains with you.”
She means – she explains to the care home girl
who brings her stationery and takes her mail – that
when he moved to the hospice and she to the care home,
all the photos of their mountain holidays – the Vogelsberg,
the Dolomites, Monte Rosa, Chamonix – had been
packed up along with his possessions, and put in storage
by his family.  She sends him copies of
the only photos she has left.
And that is what she means, but not just that.
It’s been a long time since she stomped mud off of
hiking boots, or felt that gorgeous ache in her muscles
from a long, hard climb, or kissed in a cable-car,
or let the wind tan her face as she breathed
rarefied air.  Those summits seem very far away,
and the woman who once scaled them never could have dreamed
that life could become so flattened.

In some quiet room, a nurse shows him the photographs.  
A heart monitor describes
a craggy range of peaks and dips; each elevation, every ascent,
could be a terminal journey.  Soon, one surely will.
The nurse can’t tell if he hears her as she reads to him,
“I’m sorry you took the mountains with you.”