Tragedy, Endurance, and Tracy Youngblom’s Because We Must

Published poet Tracy Youngblom takes a new approach to storytelling with the memoir format in her latest release Because We Must; poetic cadence slips through matter-of-fact prose, making for a reading experience that is equal parts contemplative and stirring.

The book follows Youngblom in an exploration of her grief following a tragic car accident that alters the course of her son, Elias Youngblom’s, life. She divides the story into three parts, although that isn’t to say that its timeline is told chronologically. Instead, the narrative moves back and forth through time, underscoring moments of revelation and truth which emerge as Elias’s condition evolves. Amidst the straightforward narrative, Youngblom interjects a play script that dramatizes her son’s prolonged stay in the hospital, something which is as jarring as it is impactful in its delivery.

Although there are some descriptions of traumatic injury that readers should be aware of, the narration takes care to direct its attention elsewhere. It offers introspection, diving into Youngblom’s thought processes regarding her role in her son’s recovery. Her approach to the tragedy, and to her healing, is contextualized by moments in the past shared with her son—instances, such as teaching him how to ride a bike, take on new meaning in the grand scheme of their lives—and are further developed as Elias recovers, his life post-accident beginning to take shape.

Faith is a recurrent topic of discussion, questioned and evaluated throughout the narrative. It makes the seeming miracles bittersweet, but in the end, it’s Elias who traverses the road to recovery, with Youngblom in tow as one teaches her child to walk, and walk away. She writes not as the victim, but rather, the one who must watch him fight, powerless to his circumstances. In this position, Youngblom describes how she sets her emotional turmoil aside to ensure Elias’s survival.

Youngblom’s memoir reaches out toward the future and insists that life must go on, despite odds that appear insurmountable. She tells her story in a manner that is wholly honest, sharing candidly the ways in which she struggles to cope. She adjusts to their new reality with slow, uneasy steps, and a desperate grasp for a sense of control.

Certainly, and above all else, it is a look into the psyche of a mother “suspended in this sticky substance of love” (Youngblom 104). By unpacking her grief through writing, Youngblom begins to discover herself beneath the trauma which weighs her down; her memoir acts as a testament not only to the competence and emotional intelligence of her writing, but also to a mother’s unconditional, self-sacrificial love. It’s a must-read for anyone reconciling their own grief, or anyone in the market for a good cry.

Iodine Connett is a multi-genre writer from Minneapolis, Minnesota. They are earning their Associate of Arts degree at Anoka-Ramsey Community College.