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redux: gravity, infinity

Note: we are far from the path of totality. And this morning I’ve been thinking about infinity, just as I was 3 years ago.

infinity

When I came up from the garden a few minutes ago, intending to sit in the greenhouse for a few minutes, I found that John got there first. He was in the blue chair by the door, smiling. It’s quite cool here today, though there was sun earlier, nothing like the summery weather last week, and when I went out to open the vent and door after lunch, it was 32 degrees inside the closed greenhouse. A few minutes ago? 22. The fluctuations are so interesting. It’s often 10 first thing in the morning and it’s been as warm as high 40s. The plants are thriving. I have a tub of water in one corner and I like walking around to mist or water the flats of seedlings, the pots of salad greens, the beans.

Anyway, he’d got there first. Why didn’t we build this years ago, he wondered. We’d often talked about a greenhouse but somehow time was consumed by other work. Or travel. Or just the dailiness that was different from the dailiness now. (I think our house was cleaner when we knew people would be coming for meals or to stay for a few days.) Why didn’t we. I thought about it for a minute or two and replied, We didn’t need it then. He looked quizzical. But what I meant was, I at least didn’t need something to devote myself to quite so strenuously. We were seeing our friends regularly, we were flying to Europe for work and/or pleasure (and honestly, the work part was pure pleasure too), to the cities where our children live. We were saying one day, Let’s do a little roadtrip, and a day later we were driving to Lillooet just for the pleasure of the Fraser River at that place, or to the Nicola Valley for its memories and the scent of sage, or to Grand Forks for borscht, taking the Bridesville-Rock Creek crescent this time of year for the wildflowers and yellow-headed blackbirds on a particular pond. There was no fear of this virus or any other one.

This year I felt sort of desperate. After I finished the revisions for Blue Portugal in March, I was sad for all the things I loved and which seemed so remote from me. Even the grandparents I wrote about, long dead, seemed even farther away in time and place. While I was working on the essays, I could look forward every morning to spending time in Ukraine, the Czech Republic, and other places where some of my ancestors lived. I was on and in the rivers I’ve always been drawn to. I was walking with my children in their cities or here. Most days I could remind myself of how lucky I am in the larger scheme of things and I know this, I do. But knowing isn’t always a solace.

Yesterday I had my first vaccination, something I’ve looked forward to for ages, waiting for my age group to be eligible. I wore a dress, tights, all my silver and turquoise bracelets (there are many!), and I took a box of Ferrero Rocher chocolates to give to the woman who injected me. She was surprised and I saw tears briefly well up in her eyes. After I received my shot, I sat in the row of spaced chairs set around the perimeter of the hall where we were asked to wait for 15 minutes to ensure we weren’t going to have a reaction to the vaccine. People were sitting quietly. I was too but inside I was euphoric. It felt like something was actually shifting. I know of course that this isn’t the end of the virus and that we will never return to what we knew as normal. I suspect I will never walk through an airport again without wearing a mask. Will never feel comfortable in a market aisle with other people. But as I sat in the chair, I was elated. It’s the way I feel when I am in my little greenhouse among the plants. There’s hope in vaccinations and hope in green seedlings.

Late morning our Edmonton grandson phoned for a story. His grandfather read him Imagine A Night, the most stunning book about imagination and the kind of magic ordinary life can aspire to. Henry’s response was to talk about gravity and black holes. He’s 4. His father is a mathematician and his mum, a physicist, so perhaps we shouldn’t have been surprised, but it was so lovely to hear him find the words to explain gravity (in response to one of the illustrations) and then to riff on space, black holes, and how his favourite hockey team is the Winnipeg Jets because of their symbol. I don’t think symbol was a word I knew at 4. After lunch, his 5 year old cousin in Ottawa called for a story too. We’ve been reading Iron Hans and so we continued with that and he very adroitly recounted the story so far when I asked him where we’d left off. His grandad asked him what he knew about gravity and wow, he had the whole concept as clear in his mind as anything. And infinity (because his dad had just given him a badge with the infinity symbol on it) — he told us about numbers and lines without beginnings or ends and all about the number googol: a one with a hundred zeros after it, named by the 9 year old nephew of an American mathematician. He was so excited to tell us about this number and how it was almost infinite.

In the greenhouse there is no virus. There is no danger. In my mind as I moved a tray of peas out to harden off, I was thinking of two small boys held to earth by its own dependable pull, held to us by something as mysterious, and how much I hope they can visit this summer for more discussions about timely subjects, stars, little frogs, the hidden places where the lizards live under the rocks, and how floating in a lake might be the same as, or different from, floating in space.

“all of you bowing to it saying thank you, thank you my lucky stars” (Jorie Graham)

spanish table

Friends came for dinner last night and because they’d been to Granada and we were just home from that beautiful city, I made a Spanish meal. Paella, full of sausage, chicken, swimming scallops, and octopus. (I had several bags of octopus tentacles in the freezer and prepared the contents of one of them, pausing before I skinned the tentacle which I’d just steamed for a hour to tenderize it to marvel at the unexpected spiral.)

tentable

Anyway, I made paella, salad, and a tarte made as one makes tarte tatin but with pears and figs poached in dry sherry and honey. We talked of Spain, we listened to Estrella Morente sing, and after dinner we went to our living room for coffee, at least coffee for those brave enough to drink it in the evening. (John did, and was awake for hours. I continued with Spanish wine…) My friend asked me to tell her the source of the image at the top of my website, this one:

tied stones

She was sitting on the leather couch, the back draped with a quilt. Behind you, I said. And she turned to see this (or at least a completed version of this:

an essay in blue

She was puzzled and so I explained how I’d gathered beach stones at Trail Bay

stones

and tied them in diagonal rows on some coarse white linen. Then I made many immersions in a vat of indigo. Depending on the day, and my mood, I think of the resulting pattern as snow angels or birds. I showed my friend how I’d quilted with spirals and that reminded me of the octopus tentacles we’d just eaten, cut into pieces, sauteed in olive oil, and added to a pan of bomba rice, saffron broth, sofritto of onion, garlic, red pepper, and tomato, seasoned with smoked Spanish paprika, and simmered with chicken, chorizo, and small pink-shelled scallops. I thought of John Muir: “When we try to pick out anything by itself, we find it hitched to everything else in the Universe.” We do. How else would friends in a room on the edge of the Pacific find themselves remembering Granada, paella, the beach at Trail Bay, indigo dye, a blue quilt backed with soft red flannel to make it cosy for winter evenings?

Because she was interested in that particular quilt, I showed her a few others in our living room, more recent creations,

frozen fog

finished

dark path

and what she said couldn’t have pleased me more. You could have a show of these, she said, at the Arts Centre, and when I went to bed after saying goodnight under a starry sky, I felt warm with her praise.

This afternoon, I was waiting for John to finish up at a group he attends and when he came out, he apologized for being late. There’d been a discussion on AI and he was countering the opinions of those who felt it could free us up to be more productive. He said, No, it would be the death of civilization. And he continued, as he related his defence to me on the long drive home. That an algorithm might well create Shakespearean sonnets but they wouldn’t be the work of someone who was both the product of a very interesting period in human history and its interpreter, its eloquent poet. His creations are unique in their genius and their beauty. They have shaped how we think, how we remember (I can still recite the sonnet I learned when I was 16, “When in disgrace with fortune and men’s eyes”, and knowing its formula doesn’t at all diminish its profound meaning) and there is nothing like them. It was a much more complex discussion than this but I thought about it in the context of my quilts, their origins, where they lead me, what they allow me to discover–about colour, about texture, about the beauty of materials, about patience, about impatience, and their relationship to everything else I do.

Here are the opening lines of Jorie Graham’s astonishing poem, “Before”, written in response to Édouard Vuillard’s 1898 painting, Repast in a Garden.

it came, before the turn in the cherished
wind, what we called history, the turn
towards, all of it more and more
towards – what is it that is
coming – must come – unfathomable, unbreakable – you want it so, your
future, no the
future, so
badly – you stand
on the threshold of your century as on a high
parapet, brush in hand, a ladder wrinkling the air as it rises,
a kind of singing,
rung by rung –
all of you bowing to it saying thank you, thank you my lucky stars I am living
now – right now –
of all times this is the one now…

Can you imagine AI writing this? Can you imagine AI creating the painting that was its inspiration? Would you want to read that? Or to look at something with any human enterprise wrung from its pigment, its language, its emotional context? Its history?

I know which I prefer. And when I am working on an essay, when I am hanging shells from driftwood to catch the air in an unearthly music, when I am stitching spirals in linen I’ve tied and immersed in a dye-bath and let settle in my mind until I see how to use it, when I am wrapped in its comfort, reading sonnets by the son of a glove maker living in the late 16th/early 17th century, I am hitched to everything else in the Universe. And grateful for it.

redux: you are here

Note: this was April, 2021. Some days I find it difficult to shake off the fears and apprehensions the pandemic made habitual. And this, in the middle of those bad days…

you are here

1.

Look, he said, showing you his phone. This is where we were 5 years ago today. Five years ago today we were in Edmonton, our granddaughter was not yet 2, her brother unborn, one cousin living in Ottawa and a second cousin years in the future. You were here. She was wearing a pink tutu and an flame-coloured parka and the hat you made her when she was born. Last night she asked for The Seven Silly Eaters and you read that to her and her brother, along with a Curious George, and you sat on the deck with the books while the tiny screen on your phone shared their faces, the little toys and toothbrushes and strawberry-flavoured toothpaste the dentist had given them after their check-up. They showed you their teeth. You showed them the herbs you’d repotted, the iron frog in one of the pots, the clay robin in another. You are here. Just for the moment you are here.

2.

Your friend tells you she has tomato plants for you so you stop by after your swim. She is there, her husband too, and another friend. You haven’t seen them for months. They are just up the road but it hasn’t seemed safe to see them though now that better weather is here, you think that might change. There are 16 plants, 9 different cultivars, and you find a place for them in your new greenhouse. When it’s time to plant them out, you will remember your friend at her greenhouse door, handing her husband the box to put in your car. You are here, you are in a familiar place, the scent of tomato plants green and heady, and maybe by summer you will eat together again, sit under the stars, share the goodness of your gardens.

3.

When you wake in the night, you are in a panic. Yesterday’s infection numbers were too high, you couldn’t sleep, and then you could, but when you woke at 3 a.m. you couldn’t stop your heart from racing. So you turned on your reading light while you husband dreamed next to you, you picked up your book, Gabriel Byrne’s stunning Walking with Ghosts, and you read for two hours while the only sound in the house was you turning pages. Turn the page. You are more than half-way through the story. You are here.

4.

You are home. Your husband has just put another log on the fire against April’s capricious cold. There is new snow high on the mountain. You are safe here where no one comes. Coffee in the pot, ginger cookies in the old pottery crock. And Sam Lee singing:

Oh starlight, oh starlight
I’m walking through the starlight
Lay this body down
I see moonlight
I’m walking through the moonlight
Lay this body down*

You are here. A little stack of books for when the children call for a story. The scent of daffodils. Walking with Ghosts half-finished. Too much has happened. You are here.

*”Lay This Body Down“, from Old Wow.

redux: hanging a door

Note: I’m about to head out to plant some anemones in bowls in the greenhouse and I found myself wondering if this was its third year or fourth year. And here’s my answer, a post from late March, 2021.

wecome in

On Monday, John finished constructing the door to the greenhouse and we ceremoniously fit it into its hinges. It opens and closes! The roof vent does the same! Yesterday was a shopping day down the Coast so we didn’t do any work on it but bolts were purchased to finish off the base (we were short a few) and I bought a thermometer for the wall. When we came up the driveway after our swim this morning, I saw the greenhouse standing in its place, looking exactly as I’d hoped it would look. I have to confess there were moments when I doubted we’d get to this point. We didn’t mean to put it together ourselves, though our younger selves would certainly have rolled up their sleeves and got to work, not on a kit (which is what we bought) but on something built from wood and old windows and funky as anything. Given our present circumstances—one of us with a post-surgical injury; the other one more of a helper than a builder—we ordered the kit because someone we know said he’d come to help us with it. But then he wasn’t available. The kit sat in the carport and I remember I said, Oh, come on. We can do it. There’s no rush. We’ll do it slowly. It’s not that we can’t do this stuff. It’s more that it’s difficult for John to move around on uneven ground because of balance (that foot!) but once he’s in place, with a chair handy, he’s fine. He has good spatial sense and can decipher plans and instructions. I’m sort of hopeless at that but I’m strong.

And slowly it was. There was the base to consider. The place we had in mind is on a slope behind our house. We’d need to work out a way to build up three sides against the top one. Rock! And lots of it. I can lift 50 or 60 pounds reasonably easily and the biggest rocks were not easy to lift. I’d trundle 4 of them at a time up in the wheelbarrow (up!) and we’d fit them into the frame we’d built of 4×4 (again, that had to be lugged up to the site and it was waterlogged so very heavy; we needed to square that frame and level it and then wait a day and level it again) on posts set on concrete pavers. So rock, then smaller rock to wedge into the gaps between the bigger ones.  Once that was done, then we had to fill the inner part with sand. Luckily we also needed to have work done on our driveway so the guy who came to do that brought sand and used his small excavator to carry buckets of it to dump in the base. Then pavers. There’s a space of 9″ along one side and end and the idea was to fill that space with beach stones. Yesterday I gathered some bags of those at Trail Bay and put a few down last night, just to see. Today I’ll do the rest.

beach

That 2″x2″ wooden brace you see in the top photograph (there’s one on the long wall too) will come off and permanent corner braces will keep the post and beam solid. John will build proper steps to the door, wide ones, with room for a potted tree or two. I intend to bring one of my big Chinese pots to sit on the ground by the steps, with water in it for frogs. And a waterbarrel at the other corner to take rain from the little gutters (you can’t really see them but they’re there) for watering inside.

But right now? We have some planks under the house, wild-edge cedar from a tree that came down many years ago and that we had milled (there’s a passage about it in Mnemonic), using some of the lumber for various projects. I’ll drag them out.  John’s going to make a bench for one of the long walls, to put seedling trays on, and we have some other shelving units to find room for. Maybe by the weekend I’ll be bringing out my little olive trees and other slightly tender plants for their new home. Last night I put some tubs of greens I’d begun elsewhere—arugula and mesclun—and they looked very happy this morning.

The news is terrible. New variants, coups, the worst of human nature coming to the surface in ways I’d thought we’d left behind. I think of Du Fu:

The country is broken, though hills and rivers remain,
In the city in spring, grass and trees are thick.
Moved by the moment, a flower’s splashed with tears,
Mourning parting, a bird startles the heart.
The beacon fires have joined for three months now,
Family letters are worth ten thousand pieces.
I scratch my head, its white hairs growing thinner,
And barely able now to hold a hairpin.*

The country may be broken, though hopefully not irreparably so. I’ll grow greens and lay beach stones in sand to cobble together new possibilities here at home.

*translation by David Hinton

“Relish the Monday and the Tuesday” (Virginia Woolf)

the square

I’ve written about Virginia Woolf a fair bit on this site. She was one of the first writers I came to as a girl, not even really a young woman, not yet, and recognized in her something of a kindred spirit. I loved her use of language, of structure, of attention. Would she have recognized any of these things in me? Not then. Probably not even now. But for more than 50 years I’ve read her regularly, I keep her A Writer’s Diary on my desk and use it almost as a form of divination. What was she thinking around this time of year in 1930 when she was writing The Waves?

How to end, save by a tremendous discussion, in which every life shall have its voice–a mosaic–I do not know. The difficulty is that it is all at high pressure. I have not yet mastered the speaking voice. Yet I think something is there; and I propose to go on pegging it down, arduously, and then re-write, reading much of it aloud, like poetry. It will bear expansion.

What was she thinking in 1940, the war filling the airwaves? (She thought about it a lot. But she also tried to preserve her own sanity.)

Relish the Monday and the Tuesday, and don’t take on the guilt of selfishness feeling: for in God’s name I’ve done my share, with pen and talk, for the human race. I mean young writers can stand on their own feet. Yes, I deserve a spring…

What was she thinking, just before her suicide by drowning, by forcing a large stone into her coat pocket and walking into the River Ouse 83 years ago today, what was she thinking 20 days earlier, when her life must have felt like something she could leave behind with a letter (“You’re in your body like a plant is solid in the ground,/Yet you’re the wind. You’re the diver’s clothes/lying empty on the beach.” –Rumi).

I intend no introspection. I mark Henry James’ sentence: observe perpetually. Observe the oncome of age. Observe greed. Observe my own despondency. By that means it becomes serviceable. Or so I hope. I insist upon spending this time to the best advantage.

In London in late February, I walked over to Mecklenburgh Square where Virginia and Leonard lived briefly and ran the Hogarth Press before German bombs destroyed the house. A few years ago I read Francesca Wade’s Square Haunting, a history of the square and five women who called it home: Dorothy Sayers, the poet HD, Eileen Power, classicist Jane Harrison, and Virginia Woolf. It was a wet day and I could only peer through a hedge at the garden in the middle of the square, locked to the public. I’d left John in St. George’s Garden, among the newly flowering trees and birdsong. I thought of how traces are left, and not left, houses are bombed, and how we are both remembered and forgotten. The world hasn’t improved. At least Virginia Woolf was spared what was to come. We on the other hand are both burdened and spared.

This morning, after my swim, I was sitting on a bench outside, waiting for John and all around me the robins were singing. I waited all winter for this song, the long syllabic whistles over in the maples near the creek. On dark days in January, I thought of it, the way it almost drowns out every other bird in the area, except for the piercing note of the varied thrush. I even checked to see what Woolf was thinking in the months before her death.

It’s the cold hour, this: before the lights go up. A few snowdrops in the garden. Yes, I was thinking: we live without a future. That’s what’s queer: with our noses pressed to a closed door.

Or our ears longing, near an open window.

Note: the passages of VW are from A Writer’s Diary: Being Extracts from the Diary (Persephone Books, 2017). The passage of Rumi was translated by Coleman Barks.

redux: “There is a trick to how/this bed was made.”

wisteria wood

All winter we’ve been reading Emily Wilson’s translation of the Odyssey, sitting by our fire, passing the book back and forth. I’ve written here before of my love for Robert Fitzgerald’s translation. I read it first as an undergraduate and I still have my copy from those days, with the price stamp — $2.04 — from the University of Victoria’s bookstore. I’d like to say that Peter Smith introduced me to this translation but it was an earlier (and less vivid) professor in what was then the Classics department. But Peter talked to me later about it, the long muscular lines of the poem and how the rhythm of those lines was part of what it made it so memorable. Its tradition after all was an oral one. In those years we read Milman Parry whose scholarship focused on the formulaic structures of epic poetry, the devices and strategies integral to the performance of the work. In an interview, Fitzgerald said something about Homer that rings so true:

His art was comparable to the art of the great musical virtuoso who can improvise, who can sit at the piano and by his mastery, both of the performing technique and of the musical background, can make music.

It seems to me that this newer translation is a different kind of work. Wilson doesn’t attempt the 6-footed lines, the dactylic hexameters that were the measure of ancient Greek narrative poetry. Her Homer sings in iambic pentameter. I pretend to no expertise in Greek prosody or English for that matter and my Greek is very small indeed. This Odyssey reads wonderfully but it’s not performative. It’s intimate, perfect for two people reading aloud on a winter evening.

We’re not quite finished. We’re reading Book 23 (of 24 books), “The Olive Tree Bed”. It’s always been my favourite part of the poem and now, 40 years married, I sort of understand why. It’s about loyalty, marital codes, caution. It’s anchored in the most perfect domestic object: a bed. After Odysseus has killed the suitors and the insolent slave girls who consorted with them, after he has walked through his rooms, naked, fumigating them with smoke and sulfur, he is bathed and dressed and is seated before his wife, who has not yet decided if he is the man who left 20 years earlier and whose homecoming she has longed for. She wants this to be him but is he truly her husband? He asks his old nurse Eurycleia, for a bed so he can rest. Penelope directs her to move their bed outside their room and to make it up with blankets and quilts. Odysseus responds in anger.

Woman! Your words have cut my heart! Who moved
my bed? It would be difficult for even
a master craftsman—though a god could do it
with ease. No man, however young and strong,
could pry it out. There is a trick to how
this bed was made. I made it, no one else.
Inside the court there grew an olive tree
with delicate long leaves, full-grown and green,
as sturdy as a pillar, and I built
the room around it. I packed stones together,
and fixed a roof and fitted doors. At last
I trimmed the olive tree and used my bronze
to cut the branches off my root to tip
and planed it down and skillfully transformed
the trunk into a bedpost. With a drill,
I bored right through it. This was my first bedpost,
and then I made the other three, inlaid
with gold and silver and with ivory.

I love this moment in the poem. The bed is as symbolic of their marriage as any ring or vow and this is when Penelope’s reticence dissolves.

As well as reading the Odyssey, we’re working on a shared project, a memoir of building our house. John’s writing upstairs and I am here, at my desk, thinking and remembering my way back to those years. I’m writing about the domestic details for the most part—caring for an infant in between hammering and lifting walls, making meals on a Coleman stove and a fire within a ring of stones with an old oven rack on top for a grill. John is writing about the rafters over our kitchen and how they were fitted onto the top plates of the walls. In a way it’s one of the secrets of our particular house, our marriage. Are you really my husband? Then tell me how did you discover the simple way to cut a birdsmouth joint? Which footing has our initials in it, drawn in damp concrete by finger? Where exactly is the cobbled stone path I made to the outhouse, now long grown over?

We’ve been reading at night but I’ve also begun to suggest that we read whenever I feel rising anxiety, often just after the Prime Minister’s daily update. To sit and read this old story filled with storms, murderous creatures, sorceresses, unexpected kindnesses, abiding love and deep purpose is one thing we can do in our house on the edge of the continent during this time of crisis.

“What happens in the heart simply happens.”

house in Portugal

All week I’ve been gathering my thoughts and ideas about the time we spent in Portugal and Spain earlier in the month. We spent a week in London too but somehow I don’t need to think deeply about those days. We saw some plays, a textiles exhibit, we took the train out to Verulamium to look an ancient mosaics and eat venision bourguignon at the 6 Bells pub in St. Albans, we walked the Regents Canal from Little Venice to Camden and saw a young swan preening by a pub door, and we had a drink at the Lamb Pub, draw in by a chalkboard on the sidewalk with a quote from Ted Hughes: What happens in the heart simply happens. Maybe that’s how I feel about London. I lived there for a few months when I was 21, working in Wimbledon, and it felt familiar then–the buildings and boroughs out of novels I’d loved forever–; it still feels familiar, even if the line-up to the British Museum was two blocks long this time so I abandoned my plan to visit the caryatid there and even had a booked time for my visit. But my favourite church, St. George’s Bloomsbury, was where it always is, tucked in between more modern buildings, and if the building supply shop on Marchmont Street has gone out of business, well, I guess that’s progress, though not the sort I’m comfortable with.

I’ve been gathering my thoughts. They’re a little unwieldy and I don’t know what will come of this. It was Portugal, in 2015, where I first encountered a phrase that entered my heart with such precision, in the Museu Nacional de Arquelogia in the Lisbon neighbourhood of Belem. We’d gone by train to see the exhibition, O Tempo Resgatado Ao Mar (Time Salvaged from the Sea), and it was truly magnificent. Standing before a case of artefacts from sunken ships, I read the display card:

As a society closed in on itself during the crossing, a ship represents an architectural structure that is destined to travel, equipped for the survival of her inhabitants who are isolated at sea for weeks or months on end.
     The internal distribution of this human microcosm, confined by wooden planks, iron, the clouds and saltwater, reflects, in its own particular way, the organization and hierarchy of a society on land that drove this community to its fate.
     During the crossing, for hundreds of men and, in this case, some woman and children, stern and bow, deck, poop deck, topsail or hold became opposite poles of a small world saturated with divisions between social classes and geographical loneliness.

In the quiet exhibition room, that last phrase — geographical loneliness — spoke so clearly to me. Find out about your grandmother and her voyage, it asked of me. Her voyage in 1913 from Antwerp to Saint John with 5 small children, travelling below deck, sleeping on mattresses filled with straw or seaweed, and then her journey from Saint John to Drumheller to join her first husband, not on the homestead she believed she was coming to but rather a shack in a squatters camp on the Red Deer River. It was this moment, reading the card, that led me to write about her, to research my family history in more depth than I’d done before, a quest that shows no sign of ending, and I can only say, What happens in the heart simply happens.

I’m gathering my thoughts and ideas. Our story is ongoing, changing, developing, and small pieces of information arrive still. A letter found in a tin box from my mother’s biological mother to her biological father, neither of whom my mother knew, the great-great-grandchild of my grandmother’s brother who followed her a month later from Antwerp to Drumheller and who died in the Spanish flu epidemic in 1918 (he was living a shelter dug out of the river bank) and whose family in Moravia had no idea of what happened to him. (Their loneliness, my own, this distance between us.) I’m gathering my thoughts. Last night I dreamed of our room in Granada, its view of the Alhambra through a window, shutters open to sunlight and moonlight, I dreamed of the little bird that came to the sill and plucked the hair I’d just removed from my brush to take away for its nest. In some cities, tossing a coin to a fountain ensures your return. My hair woven into a nest for this year’s hatchings? What does that mean? When the dancer was leaving the floor in the Sacromonte cave, she met my eyes. She held my gaze. Does that mean return? Will she be the one to teach the steps of the ancient dance, her hands over mine, our heels clicking, geographical loneliness temporarily assuaged?

Note: the quoted passage is from the guide to O Tempo Resgatado Ao Mar/Time Salvaged from the Sea, published by the Museu Nacional de Arqueologia, Lisboa, 2014.

“you might catch a glimpse of the future too: driftwood windchimes turning in the air, a garden latch, a woodshed, a tiny dead saw-whet owl on a stack of dry fir.”

trio

This is the earliest spring equinox in 128 years. Yesterday I pruned the greenhouse olives and when I opened the door, the temperature was 24 inside. (Probably 16 outside.) It felt like early May, bees flying by in their purposeful way, the air clean and warm. Inspired by the shapely olive trees in Spain, I tried to give mine a little more form. And because I hate waste, I made 10 cuttings of the pruned branches, dipped them in rooting hormone, and put them into soil. What happens, happens.

While I worked outside, I thought about something I want to make. In London, we went to Unravel: The Power and Politics of Textile Art at the Barbican Centre. I wrote about this briefly the day after and I remember I mentioned that I was inspired to do something I’ve thought about for years but had no visual or actual language for, not the whole experience of it. I was inspired by Tau Lewis’s The Coral Reef Preservation Society for a whole lot of reasons — the upcycling of denim, the embedded objects in the work — but it was really a tiny moment in the piece that has led me into the planning process for a project, half-textile, half-writing.

at the barbican

In the lower middle of this stunning work, just above a clump of coral, you can see the upended pocket from a pair of jeans. Well, the outer part of the pocket has been removed so you can see the contrast between the faded jeans and the brighter inner part of the pocket. When I looked at the textile, which is huge, my eye was immediately drawn to this small portal. I remember tears came to my eyes. But why? It was because I was remembering the months we lived in a blue tent here on the 8.39 acres we’d bought the year before, in 1980. We had the idea we’d build a small cabin where we’d spend time away from the city. But the more we thought about it, the more we realized we wanted to live here. We couldn’t afford to have someone build us a house so we decided to do it ourselves. And on the Easter weekend of 1981, with our two-week old baby and his diapers, his little sweaters and sleepers, a big tin bowl for both salad and bathing the baby, we came to our property and set up our tent on a plywood platform, stretched an orange tarp over it to keep us dry, and began the work of building a house. I’ve written about this in the context of essays and so on. But in the textile work I am planning, I’ll use tents made from old jeans pockets and fill them with emblems of the house-building years, the child-raising years, the years that have gathered themselves into baskets of saved blue fabrics, canning jars, scribbled notes about garden plans and recipes for desserts using the first rhubarb,

rhubarb

the apples from the orchard we lovingly tended and then abandoned (if you are interested in this particular subject, I wrote about it in the title essay of my book, Euclid’s Orchard and Other Essays), the storms, the windchimes, the dogs who barked at the elk and who are buried in the woods, the owls. I’m so excited to begin this. First things first: finding enough old jeans for their pockets and the usable portions of their legs. A trip to the Egmont Thrift Shop is in order.

I’ve had a strange year, re: my so-called literary life. I wrote something I thought was worth publishing and have encountered only silence when I’ve queried publishers. Oh, well, I thought: I guess I’ve aged out. Maybe I have. In a culture where identity is increasingly in the forefront, mine has felt irrelevant. But in Granada last week, John and I gave a presentation of our work to a room of students and faculty and the reception was so gratifying. Afterwards instructors came to tell me they’d like to include my books on course reading lists and one man cried and I realized that my quiet writing has a relevance to those who are willing to listen. And even if it doesn’t, I need to do it. Last night I was up for awhile, thinking about arrangements of pockets, of portals, of tent flaps open and closed, and what you might see if you untie the little strings holding them in place. You might see a sleeping baby in a yellow sleeper with a blue tuque on his soft head, you might see workclothes piled in a corner, a bag of worn cloth diapers, a woman dazed with miracles and worry, and if I can do this properly, you might catch a glimpse of the future too: driftwood windchimes turning in the air, a garden latch, a woodshed, a tiny dead saw-whet owl on a stack of dry fir.

a morning in Alcazaba

alhambra bowl

This morning I am back in Granada, I am walking among orange trees on the Alhambra, water both seen and unseen, the sound of it everywhere, the scent of lemon blossom and old stone. I am listening to Estrella Morente sing of the palace and fortress of Alcazaba, her voice an embodiment of deep song, the flamenco we heard and loved in a cave at Sacromonte last week. I am back in Granada in a small room with wooden shutters, the pomegranate trees filled with small birds, sunlight on the cypresses, I am listening to Estrella Morente, I am awake but dreaming, the music filling the room, which is this one, and that one. This afternoon I will fill the little bowl from Granada with olives, remembering the silver leaves on every hillside.

too good to be true

This was the best trip, filled with good food, plays in London, flamenco in Granada, fado in Lisbon, exploring Porto with my older son and his family. The best trip, walking through the Alhambra with the sound of water everywhere, seen and unseen, orange trees hung with fruit. The best trip, until it wasn’t, precipitated by a British Airways gate person in Lisbon this morning who decided we couldn’t bring our carry-on cases onto the plane because “there wouldn’t be room with a full flight”. Her younger colleague demurred–the cases are small, light, and we’ve brought them as carry-on many times. But no. The woman insisted, even though the flight wasn’t full and there were empty overhead bins. So on the cases went to Vancouver, if indeed they made the connecting flight. Because we didn’t. Instead, we have been booked into a Heathrow-adjacent hotel with courtesy t-shirts from British Airways to wear to bed, dinner vouchers, and a new flight to Vancouver tomorrow, via Calgary. It could be worse. But it could also be better. Last night we went to hear fado in a tiny Alfama tasca and it was wonderful. Our hosts, Luis and Bela, brought course after course to our table — dishes of roasted peppers, olives, chorizo, followed by soup, baccalau, veal stew with fresh coriander rice. Endless wine. Chocolate cake and a caramel mousse, all of this presented with courtesy and kindness, so the rude attendant’s actions seemed unnecessarily cruel in contrast. Luis and Bela sent us out into the night with warm handshakes and farewells. Luis insisted on taking our photograph.

The other morning I finally found my way through the garden at the Carmen de la Victoria without getting lost. Tonight, in my British Airways t-shirt and no fresh clothes to wear tomorrow for the long flights home, I wonder why we just didn’t stay in Granada or Lisbon or Porto forever.