“Riding high and above the waves on extemporaneous notions of an afterlife, Michael brought one foot forward and let it dangle over the roof’s edge. He knew that he did not have much time before the other would follow. Some patients below could see the figure atop the building from
the courtyard. They started to rile with anticipation, their irate murmurings incomprehensible. A
groundskeeper looked up to see what justified the commotion. Michael could hear the shouts
from below. He almost toppled when the wind picked up again, but recovered and kept one foot
dangling with the other anchored to the roof. The hoots came louder now, almost calling him
toward them like sirens guiding ships in the night. From below it was impossible to make out the
face of the balancing figurine now poised in suspended descent. Another gust came. He closed
his eyes, felt the levity manifesting, and felt the complete freedom inside. He could feel himself
gliding down like the sail of a weightless craft, forever plunging into the great beyond, below
where mermaids sing and summon their lovers home, further down into the depths of some
complacent serenity, further down where thoughts float away and never return and the lightness
is so grand that there is no other worldly place imaginable, for there is no world left to be
considered. There is only the soul, free from the prison of the body, and it is released to travel
another millennium through time, carrying with it the progress and industry gathered from the
mind previously occupied. The time it spans inconceivable. He let his other foot go from the roof
and felt himself completely let go.”
―
Matthew Chase Stroud,
Paths of Young Men
