in the perfect moment of sun, the perfect angle of ray, the perfect covering of cloud, the perfect surface of shadow, two became one.
i took a second look before i pointed it out to him. i wanted to be sure i didn’t miss the bird, maybe tucked into the shadow of fern. it wasn’t there. it had immersed itself into the shadow of the other.
i knew, upon gazing at this, i would not likely witness this again. it was that kind of moment.
when david proposed on knee at gate F8 at o’hare airport, he presented – from inside a tiny box inside a tiny satin bag – two silver rings, almost identical, like the almost-identical-wrought-iron-green-eyed birds. after a magically vehement and funny proposal, he explained he saw us as two individuals, coming together, yet, with great love and respect, remaining individual, bringing to each other all in each our circles. one ring was etched and one was smooth.
we spend pretty much 24/7 with each other. it’s been that way since the beginning. he has supported me in any work i am doing and, likewise, i have supported him. with rare exception, we have traveled, always, together. we chore together and explore together. we cook meals and scheme happy hours and pop-up dinners together. we love on the dog and pine for our babycat together. we cry listening to lowen and navarro’s last concert together and laugh at the same lines over-and-over while watching my big fat greek wedding together. we walk and hike and exercise and spat together. we lift each other up. we grow older together. david’s office is upstairs so during work hours he is merely a flight of steps away. we, as artists, create together, writing every morning, daydreaming aloud about studios on the side of a mountain. saturday we spent hours – with new ridiculously-liberating paint pens – painting rocks together and walking in the dusky edges of day along the lake.
both rings are almost all smooth now. i imagine one of these days they will be the same.
and, though there will always be two – two silver rings, two iron birds – the sun will shine down on us, day after day, shadows of two green-eyed artists on the sidewalk, in the leaves on the trail, on the sand of the shore, on our new fence.
and then, one day, maybe – with all perfects (and imperfects) aligned – that sun may cast a miraculous shadow of one. we might miss it, but we already know it’s there. mingling with the ferns.
we wake up early anyway. there’s no alarm clock on saturday morning. yet, before the sun is barely above the horizon we are awake. we both lay and listen quietly to the quiet. birds, chipmunks, the pond out back, maybe the waves on the lakeshore if it’s windy. for just a little while, before the lawnmowers start or cars drive by or people empty their recyclables into the new big blue waste containers, if we close our eyes we can picture being wherever we want to be.
my big brother has now been on a different plane of existence for thirty years. 30. as of yesterday. it is shocking that so much time has passed by. for the longest time i had a hard time understanding how the world could go on, when he could no longer feel it. and yet, it did. those of us left behind had broken hearts and missed the sound of his laughter, the details of his stories, his giant bowls of coffee ice cream. we are left wondering how he is present with us, what he can see, what, if anything, he feels. it was a friday.
“this life is not a dress rehearsal.”
the magic of friday night seems ubiquitous. for those in a traditional workweek, the weekend stretches out in front of you, friday night’s yawns delicious and lingered in. there are two glorious days to follow, days of errands or adventures or catch-up or sleep or just simply nothing. two of them. days to declutter your brain a little and sink into a little less routine.
and then, suddenly, sunday.
and, too fast, monday.
and we find ourselves wishing for friday.
yet, there is something about mondays that we should probably lean into. another day. here.
i stand here, in the kitchen in the world in all its complexities and all its flaws, and the dog gives me a kiss before he starts his breakfast and i bring david freshly-brewed coffee in a favorite mug. he smiles as i approach his pillow and the dog pounces on the bed. the sounds of early-early monday morning are like the sounds of saturday, like the sounds of friday. the certainty of monday is no less or more certain than the certainty of saturday or friday.
i imagine my brother took with him the sounds of morning, the sounds of his beloveds, the sweet taste of first java and ice cream in a late-night bowl. i don’t imagine he reached out to grab things as he floated; there were certainly no trappings as dear as the party he had on thursday-the-day-before just being near those he loved. his hologram remains with each of us, his humor and brilliant mind within our grasp as we speak of him. he made – and makes – a difference in this world for us.
we can choose to shut down the party on sunday. last call before midnight, enough time to sleep for the new week. or i guess we can recognize it can keep going. to be standing here, now, in this spot – with all its chaos and all its bounty – is party enough.
the day starts in quiet. the sun is barely over the horizon. the birds are singing, chipmunks chirp. i can smell the coffee brewing. i am here. i don’t know how the world goes on once i can’t feel it anymore. but for now, i can.
we have all done something like this. did we lock the door? did we close the windows? did we leave the iron on? (who irons these days, anyway?)
my sweet momma’s sign on her mirror – “old age is not for wimps” – was prophetic. it’s not just the aches and pains that seem to grab your hand one day and skip along with you, all jolly-like. it’s the yiiiikes moments. those moments when you wrack your brain to try and remember if you did something. and your silly ole brain won’t let you get there. i mean, what IS that?
these are the moments that we can talk about while sitting around with the up-north gang or at friday potluck dinner. these are not moments you wanna mention to the kids. as it is, our stories are less than captivating to them now. add to it a level of aging-hazard and we’ll soon be the proud owners of whatever gizmo will help us be less feeble.
goodness! my momma was right to put that sign on her mirror. it’s not for wimps, these, err, challenges. good thing we are all doin’ it together.
described as “too vigorous”, creeping bellflower, gorgeous purple flowers and all, is considered noxious and invasive. i know people like that.
as a matter of fact, the other day while we were strolling along the lakefront, we passed someone i know who is quite bellflowerish. without hesitation, i immediately began an animated conversation with david, complete with hand gestures and enthusiastic arm movements, my face intent on his as i told him the non-story and he stared at me, knowingly.
there are just some people who are best avoided.
had we stopped, even to exchange pleasantries, the conversation would have shifted to mining. this person mines for details, details, details, for gossip, for information. too vigorous, noxious and invasive, masked by curiosity and feigned intense interest, this person has always been a miner. avoidance is best, just like creeping bellflower. it looks lovely and inviting, beautiful purple flowers standing tall, but it will reseed – your newsy news – and spread it all out in gardens near and far, your personal story strewn all over, regardless of soil, aggressively spread like a weed.
the most robust plant can produce up to 15,000 seeds annually and self-sow in the wind. bellflower can overwhelm other, less aggressive, plants as they strive to co-exist. they are tough to eradicate in a gentle garden.
beware. creeping bellflowers will run over you and your garden.
we cleaned the garage. now, this is not my favorite chore. there are spiders in the garage. lots of them. and they peer out at me, lurking, waiting for me to walk by, so that they can drop down a line and swing right in front of my face. their decibel-tolerance for closed-mouthed-screams must be vast, for they elicit many of these from me as they plot and scheme, surprising me.
regardless, we cleaned the garage.
david went in first, broom held in front of him, sweeping as he stepped. in a gallant move, he tried to clear the way for me. his heroics helped; there were fewer surprises as we worked.
our garage is old – like our house – and nails are pounded into the exposed 2x4s to hold bagchairs and hoses and the bike pump and various gardening tools. in one of my best organizing-learnings about a decade back, there is an old tall plastic garbage can in the corner which holds things like shovels and rakes and a fence-post-hole-digger and a metal thing i can’t identify but which seems important. there are two bikes hanging from the ceiling. and up above on wood laying across the rafters, like a mini attic, there is a red tricycle (pause for an “awww”), an old red wagon (repeat), a few old doors and a rooftop turtle that has a big dent in it from when – a few decades ago – we drove into a parking garage late at night forgetting it was up there on top of the bronco. oopsies.
like anything else i do, it was a time of revisiting stories.
the best thing in the garage is the volkswagen. our 1971 super beetle is tucked in, while littlebabyscion and big red suffer the elements. tenure counts here.
we finished cleaning, triumphantly and without any horror, and sat on the deck with a gorgeous saturday afternoon stretching out in front of us. i poured two glasses of white wine and brought out a snack, some brown paper bags, scissors, a few rocks and some paint. time to have some fun.
because we have been the grateful recipients of gift-rocks-on-the-trail we decided to leave some of our own. story of our lives, come to find out there are better tools for this than the ones we had. we had dollar store paint and brushes. those didn’t work. we moved on to david’s good acrylic paints from his studio and the dollar store brushes. these worked better, but didn’t yield precise lines. we found out later that there are real live paint pens – ones you can paint rocks with. they draw precise lines and tiny little scenes. (well, you draw them, they just make it all a possibility.) we’re going to get us some of those, i say.
in the meanwhile, our rough-hewn works of rock-art will have to do.
the next day, we hid the first round of rocks the first time we walked the loop on our trail. by the second time around, some of them were gone. i guess rough-hewn was acceptable.
in junior high i wrote a piece which i titled “old age is not a disease”. i was the child of older parents; most of my friends’ parents were at least ten years younger than mine, some fifteen. many of my parent’s friends were also their age and my grandparents were significantly older, so i was surrounded by elders.
i’m not quite sure what compelled me to write this piece, but it was written with fervor and i was passionate about my assertion. though i’m certain it’s somewhere in a bin downstairs, i’ll rely on my tenuous memory when i say i backed it up with facts and a great deal of emotion. always thready and emotional. from the beginning, i suspect.
so i guess it should come as no surprise that i am drawn to things waning. i find the flower on trail past its prime, bowing to the forest floor, petals wrinkling. i find the fallen tree, nurselog to a little community of new trees, striving. i find the dried grasses, glowing in late autumn. my photo library is full of these older-agers.
i keep the daisies until it no longer makes sense. but it seems that is way past when others would keep them. their curling petals no longer crisply open, instead shrinking and closing. they are beautiful. all stages.
daisies are kind of important to us. i was holding a daisy when i met david in baggage claim nine years ago. the second time i met him with a whole armful of daisies. and then, daisies walked with us down the aisle. i suspect they will be with us all along.
so, like us, i recognize their allure in every stage. even in waning.
this past weekend the father of my beloved children, my first husband, turned 65. i wished him a happy birthday and texted that i was astonished that we are the ages we are.
the time between back then and now has flown by and, were i to be defined as a daisy, i am grateful the petals and that yellow center of joy are still present, though a little crumply and a spectrum of many flaxen shades.
i know i don’t look like the daisy of yore. but every stage of a daisy counts.
“may the light of your soul mind you,
may all your worry and anxiousness about becoming old be transfigured,
may you be given a wisdom with the eye of your soul, to see this beautiful time of harvesting.
may you have the commitment to harvest your life, to heal what has hurt you, to allow it to come closer to you and become one with you.
may you have great dignity, may you have a sense of how free you are,
and above all may you be given the wonderful gift of meeting the eternal light and beauty that is within you.
may you be blessed, and may you find a wonderful love in yourself for yourself.”
(john o’donohue – “a blessing for old age” from anam cara)
i read it on a thread. someone commented to an author i follow. “never be shy about your work,” she encouraged. i took a screenshot.
never be shy about your work.
humility is a virtue, we are taught. desiderata reminds us, “if you compare yourself with others, you may become vain or bitter, for always there will be greater and lesser persons than yourself.” always.
but somewhere in there – in the spectrum between meekness and arrogance – is the space to be proud of what you do, to stand in it, to share it.
“what do you do?” people ask. many people can answer that in a word. as artists, it often takes a paragraph, all run-on sentences with no breath so as not to get that lost-in-space glazed look on the asker’s face.
when i broke both of my wrists, the medical staff wrapped up both of them, casting and explaining the possible ramifications of the breaks “at my age”. when i fell the second time on a wet floor and re-injured my right wrist to the point of it having a frighteningly small amount of range of motion, the specialists asked questions and each politely said, “i heard you play the piano” as if i sat around noodling, surrounded by porcelain figurines and teacups, playing chopin-light or maybe little easy-piano-pop-hits. i was literally hesitant (!) to speak and qualified my statement-to-come by saying, “i’m not saying this to be self-aggrandizing, but….” and then i continued, “but because it’s a fact that i have 15 albums out in the world and piano is my major instrument and this could change my life work.”
those specialists had no qualms about saying they were specialists. none. i wondered why i hesitated, why i was apologetic.
never be shy about your work.
i have worked hard in my area of specialty. i have struggled like any artist, have written on scraps of paper and flimsy napkins, have squeezed out time in-between everything else that takes time, have stood in the rain playing and singing on flatbeds, have lugged boxes and boxes and boxes of cds. i have also sold thousands and thousands of albums and have millions of streams. it doesn’t equate to any kind of riches except the kind that is the deep satisfaction of doing something you love.
i used to be much more aggressive – and assertive – about “getting the word out” about my music. though i recognize that vocal styles come and go, instrumental piano is not irrelevant…it has no shelf life. it’s just as peaceful and evocative today as the days i composed it, the days i recorded it. so that would mean that 14 of these 15 albums still have some sales merit, not just the $.000079 cent so “generously” royaltied by online streaming.
never be shy about your work.
in the last church position i held, i was in a meeting with two of the leaders. they were streaming the services and i was commenting on the level of professionalism we needed to try to achieve. i wasn’t willing to link my personal and professional social media to this online streaming until the sound quality (in particular) was indeed much better. one of the leaders stared at me, clear disdain on his face, and told me he had no idea why i would say such a thing or hold such a stance. i explained that i am a yamaha artist and that only PART of my work in the world was the job (which he deliberately pointed out was part-time) i had at that place. for the umbrella of my life i was an artist and that i have always strived to bring the best quality to my work. i told him that it was important to me to make sure that nothing i did musically in the public arena was schlocky (including at that place) and that, as a yamaha artist with fifteen albums, i would hold to my position of not-sharing until there was something more professional to share. i would not undermine my own artistry because mediocrity was ok with him.
never be shy about your work.
he – eventually – found a way to fire me. in the deep dark cloak of covid. with no one really knowing why, including me. well, except, maybe, for retaliation. que sera.
never be shy about your work.
i am proud of the albums that will eventually find their way into antique stores around the country. i see them on resale sites now.
but i also know that – from time to time – someone writes to me. and in their writing they tell me that my music has meant something to them. my music has helped them, given them a sense of serenity, made them think, made them dance.
and that is what counts.
so before the vintage-store-influx i guess it’s my job now to not be shy.
i am a composer. i am a pianist. i am a singer-songwriter and recording artist. i am a writer. i love being on stage, telling stories, playing music. i love the feel of wood under my feet, a boom mic in front of me. i have fifteen albums and a few singles. i’m researching how to get more out of pandora and itunes and all the streaming devices out there. i’m 63 but i’m thinking i might still be relevant. i may need your help because no one gets anywhere in a tiny bubble; no one walks this path alone.
elephant or bear. i’m trying to decide which i’d rather be called. both momma elephants and momma bears defend their young, protect their clans. i’ve decided to go with elephant (obviously, sans political statement), for it is said, “female elephants continuously protect each other from predators in the wild, providing one another a sense of security.” and i’m less grizzly-bear-growly than wrap-my-tail-around-them-draw-them-close. hmm. well, maybe i’m a little of both. either way, i’m not going to forget if you are mean to my children. i’m not going to forget if you are mean to my family. and, in this case, i’m not going to forget if you are mean to my spouse.
people can pretty much think anything they want. we artists are pretty much used to that. questions like “what do you reeeeeally do for a living?” have peppered us our whole lives. people stare and furrow their brows when we answer. and i’m guessing that it’s not just what we say. we must … look … and act … a little artsy… or something.
sidewalks are generally pretty black and white. concrete. stamped or not stamped. seamed between squares. jointer-tool-etched or not. dyed or not. though my sweet father-in-law would have happily described all the varieties of concrete possibilities to me, i am having trouble getting through on the heaven-line so i will have to linger in my narrower spectrum of understanding.
we have concrete. in our front walk by the street, in our driveway and in our walk to the front door. all of that concrete is permanent now – post-lead-water-line-replacement-the-story-that-would-never-end – except for one square (which i hasten to point out is actually a rectangle, though far be it from me to get stuck on a detail.)
this one square, er, rectangle, is up by our front door. temporary concrete lays cracked in the spot waiting for the real concrete, contraction line between it and the old sidewalk that has welcomed visitors for about, well, 94 years, i guess.
and it continues to wait.
because it’s a “weird little job” – not worthy of attention – uh, hello? every size audience counts. just sayin’. – and because the sub-sub-contractor is “afraid the guy won’t be happy because the color and curve won’t match the sidewalk that’s already there.” uh, hello? we are intelligent beings who can grok that different ages look different. letmetellyou, we can grok that. even in sidewalks. – and because he also said, “and he seems a little different.”
wait! what?!?
“he seems a little different.”???
i’m a-wonderin’ “whatintheheck?!” while i am reading this email that was forwarded to me from the sub-contractor-to-the-city, one step above the sub-sub in the project ladder.
“he seems a little different.”
funny. david had walked in from visiting with the sub-sub when he came to take-a-gander at our “small, weird project” and had said – about the sub-sub, “wow. he seems like a really nice guy. really knowledgeable and pleasant.”
i guess the sub-sub was a good actor.
because really nice guys don’t report – even sub-sub to sub – that the client, the customer, the resident – seems “different”. that’s just kind of mean.
i don’t know what i am supposed to glean from the forwarded-email-with-no-additional-message, but the elephant in me (or was it the grizzly bear?) did write back that, though tempted to ask for clarification on what precisely was meant by “he seems a little different”, i was not going to belabor the rudeness of such a statement. what does that have to do with anything here?
it begs the question: does this mean that the sidewalk won’t be done because “he seems a little different”??
the point is the sidewalk. finishing the job. the one that started last november. really nothing else. not david’s artistic look or his intelligent conversation. not how he seems. the point is the sidewalk. not his “seeming different”.
lusting over brochures is kind of my thing. there is nothing quite like the dreamy four-color-magazine-quality-glossy-coated-silk-card-stock intrigue that beckons me, inviting imaginative adventure and exploring. a good brochure will take you there, place you there, let you sink in and never want to leave. i am clearly the targeted recipient of their magic. and i am – ahem – a collector.
like my relationship with catalogs, i can immerse in the story of the place, the action…it’s deeply satisfying.
sometimes we stop at the welcome center and i load up with all the possibilities of our destination, never to crack them open. it’s like having a treasure chest, knowing you have the treasure chest, not-knowing what’s in the treasure chest but knowing it’s enough you have it. a back pocket full of shiny coins, should you need them.
and sometimes we stop at the welcome center and i find something in a brochure that will not let go. i wonder and ponder and strategize and scheme how to get there, how to experience it, how to afford it. i’m a little overwhelmed by the draw of whatever the thing/place/action is, but i know the likelihood of it is relatively dim.
we clicked on an article on the-island-phone the other day. like shiny card stock, it beautifully featured a resort in utah: amangiri. there was nothing about this resort that wasn’t stunning.
i’ve never stayed in a resort, nonetheless one where your pillow-piled-down-comfortered-bed was out under the stars in the desert, your space open to remote canyonlands of red rock. my breathing got more rapid as i showed david. i clicked on “make a reservation”.
$12,000 a night.
deeper reservation diving revealed a range of pricing, verbose reviews, glamorous indeed, this place.
$12,000/night.
a little fancy.
clearly we won’t be staying there.
but, in the way that catalogs and brochures also function for me, i saved it and looked at it a few more times. i’ll probably glance a time or two more at this wildly expensive place to stay. and then i’ll delete it. because, by then, i’ll be satisfied.
and besides, the tiny blue airbnb house on one of the side streets in the mountain town in north carolina is also magical. it will afford us a chance to unplug, to hike unfamiliar trails, to cook and eat out on the front porch watching traffic go by, to immerse in a new place, a getaway.
it’s easy to recognize that we have germinated, that we have early growth with initial leaves. we send down a taproot, stabilizing just a bit. we are nurtured and we learn self-care, both. changes during the vegetative stage are a little easier to see as we grow upward and outward, green and healthy.
flowering and early fruiting…these are easy to discern in the striding of early decades of life. rushing to accomplish, to get up the mountain and down, to run without ceasing, to move without pause.
the presence of ethylene – a gaseous hormone – triggers the fruit to ripen. i suppose i would like to think this is much like the graying of my hair, the wrinkles on my brow, laughlines evident, jowls mysteriously appearing. coming to maturity. ripening.
early season varieties require 50-60 days to mature. mid-season require 60-80. late season varieties require more than 80 days to reach full maturity. and later, senescence, a natural progression.
i wonder how that all translates to human years.
the fruit of determinate tomatoes ripens all at once. indeterminate tomatoes ripen fruit throughout the growing season, extending the crop harvest…longer and longer.
we can all wager our own guess; i’m thinking late season variety. this still-learning thing makes that abundantly clear.
and i’m hoping for indeterminate. never quite done.
reverse threading 