it is hard for me to pass by something this beautiful – this wispy milkweed pod – without stopping. i am fortunate to hike with someone who understands this. we stop and i study the milkweed; i take several shots.
it is not the first time i have taken photographs of milkweed in the winter. i’m pretty sure it won’t be the last. each time i see milkweed – even in the winter – even in its fallow – i feel like it is different – its slant in the meadow, the curve of the pod, the way sunlight plays on it.
this is how i will get through it all, i think. zeroing in on intense beauty, tiny nuances, millisecond moments. i realize that this is the power that is available to me. this is the distraction.
the invitations are numerous from the side of the trail, from the side of life. they beckon to each of us and it is up to us whether to accept those invitations.
i am kind of a detail person…so the invitations are somewhat evident to me, hard to miss. they blur out everything else, if you intend to really take notice.
and, in just that way, we are intending new practices – more intentional meditation, more exercise, more outside. and each time – despite any same-ness, there is the possibility of new. each time we may stop and study or gaze and admire.
“things will not be the same, because we will not be the same.” (anon)
it may be difficult to avoid focusing on the way things will be in these fraught times. nevertheless, we will try to focus elsewhere. to lean into the beautiful and leave the rest of it blurred.
we were wandering slowly through the orchid show at chicago botanic gardens, drinking in the colors, the fragile blooms, the deliciousness of being-out-somewhere-doing-something. in the hallway between two larger spaces, there he was. waiting. wearing the imperial margarine crown, large bulbous nose, really long kind-of-jay-leno-chin and a crooked smile, his eyes squeezed a little shut in an engaging invitation, he was waiting.
i stood there staring at him, laughing. he was sitting in front of an old piano painted in bluebird-sky-blue-peely-paint and he winked at me. all the other orchids didn’t have to do anything to get our attention, and, truthfully, neither did he – they were all stunning and refreshing hopeful harbingers of maybe-spring-will-come – but he tried extra hard anyway.
i see him as toothless. but i have no judgements about that at all. i suspect most orchids are toothless, well, except for the one that made me do the “duh-chomp, chomp, chomp—what’s up doc?” bugs bunny imitation in the middle of a room full of people. that one most certainly had teeth. two buck teeth just screaming for us to notice. nevertheless, this guy – the imperial margarine guy – did not have teeth. his jimmy durante schnozzola was all he needed. and those eyes. and that crooked smile. sheesh! what charm!
when we left the botanic garden we felt a rush of fresh air. this wasn’t just the difference between a heightened-warm greenhouse and the cold chicago air. it was a sense of newness. a refreshing, though albeit tiny, touch of “normal”, a reminder of beauty. it was sheer magic. it was diving into a rainbow and immersing, coming out the other side dripping with colors we hadn’t seen in a long time.
it was admiring blossoms of solid colors and stripes and polka-dots and marveling over shapes and sizes and textures. it was reading of orchid seeds sailing over oceans and great expanses of land, steadfastly enduring. it was laughing with orchids which had personality, confidence and humility, joie de vivre.
they reminded us of life, in the middle of a neverending pandemic, in a period of time that would mark the beginning days that ukraine was invaded by russia, the world shocked by the wickedness of it all. the country-of-sunflowers was under siege and the orchids were blooming. all existing at the same time, on the same plane, in the same world. a gentle prod – yet again – to appreciate every last little thing.
maybe that’s what his crooked smile was all about.
every day i hold my breath and touch it. i slowly open the closet, bend down and approach it. i nudge the tiny trap door over to allow space for my hand. the coupling has no idea it wields such power, such angst. but it does. it is disconcerting what 1/2″ pvc pipe can do to your psyche. and so… i reach out and grasp the connection. i daresay i even close my eyes. and every time it is dry i thank our lucky stars. a search of great proportion, text messages and voicemails from our “village” and treks to every plumbing supply house in the area later, we seem to (knock wood!) have solved the problem with a 99¢ rubber gasket and a little repositioning of the pipe. and so we attempt to move on. the ptsd of waterinthebasement demands i test it often; i am trying to release some of this and move from every day to maybe every other day. suffice it to say, the big black plastic bin remains – and will remain – in its spot directly below the offending coupling for some time to come.
this little adventure has set us on a course in the basement. the havoc created a ripe invitation to sort, to clean, to reminisce, to give away. a task undeniably time-consuming and cumbersome, but gratifying nonetheless. the leak itself was smack in the middle of david’s studio, but fortunately had not affected any canvasses. now, at last, as he puts his studio back into place, he will dance with the black bin and his patina-rich easel.
we love patina. perhaps it is because we have patina ourselves. at 60 (whatever) you have no choice but to own it, this “gloss or sheen on a surface resulting from age or polishing”. i never thought of it as “polishing” before. age, yes. polish, no. it seems the opposite. it seems that one removes patina with the act of polishing, an action misguided and not recommended by antique collectors everywhere. which does make me think about all the work we do in this country, in particular, to avoid ‘looking our age’, to eliminate wrinkles and age spots and the bumps and lumps of time-spent-on-earth. seems contrary to the upholding of patina, the celebration of the worn, the shabby-chic, the tattered, the threadbare, the velveteen-rabbit-ness. let’s just call it all wizened-beauty.
much of the basement is dedicated to glorifying wizened-beauty as this is an old house, 93 years worth. in the section of the basement where it is studio, all the pipes and walls are painted bright white. there are spotlight tracks in each area. it does not feel old-basement-ish. instead, it feels to us simply a cozy space, inviting our presence. the studio that holds david’s standing easel, the space that holds paintings-waiting-for-homes, the storage that holds boxes of my cds, all analog in a digital world. that studio also holds two rocking chairs, both with treasured history. one from spaces-of-painting past and one from the nursery upstairs that only exists in memory now. how often we have each rocked in those respective chairs. how much time has gone by. not fancy and definitely sans polish, they hold steadfast. they are there for the times of muse and the times-in-between the muse. and times like now.
the studio in the basement waits, just as my studio where my piano waits. raw opportunity, beckoning each of us as we rearrange, store away, go through, readjust and re-enter.
the gasket, up above and comfy in the coupling, looks down and smiles at what it started.
reverse threading 