11/7: Re-Confessed

This week I went to confession, after not going for years.

Years? How did that happen?

Because at the Sacrament of Reconciliation, overworked parish priests haven’t had time to sit there and figure out what-all I was rattling on about. Naturally, this must be unnerving for them, and they would try to say something brisk or humorous to snap me out of it. Then I’d come away feeling more despondent and confused than ever. (This is why good confessors and their good counsel have stayed so clear in mind over the years, long after the Church has kept them moving on to parish after parish.)

A few years ago, yet another good confessor was transferred out. By then I didn’t have the heart to start over trying to explain things again to someone new. Weeks and months slipped by as I figured that since priests are such busy souls, I should leave them in peace to minister to the people in really dire straits. Right?

But meanwhile, there’s this ticker tape running in my mind.
It’s like the stock market machine Gomez Addams had in his living room, only the news isn’t good. Mine keeps chattering out decades of mishaps and mistakes that made life turn out, well, despondent and baffled. It even runs in my sleep. Like, one time I dreamed that an abrasive co-worker loaded all my failures on to PowerPoint slides, and treated our entire department to a comical folly show.

The other night the ticker tape woke me up at 1:00 and chattered until dawn. This time the slide show crystallized as the same mistake in one sad story after another. By morning the only straw I could grasp was a phrase from the Slavonic Creed: прежде всех век, or “before all ages.” In the context it meant that Christ looked down at our troubled little planet before all ages, meaning long before I ever started sabotaging my life around, and he decided to make the trip here anyway.

Over the years, people have said to me, “It’s not possible for anybody to be that sad for so long. You must have a grievous unconfessed sin.” It made me wish I could figure out what the sin was, and go resolve it. But after that rough night it dawned on me: Maybe we can have sins that are all confessed & forgiven a bunch of times, but are still really disturbing us.

Next day, one priest’s name came to mind. He had never heard of me and he is a fast-moving over-booked super-competent organizer who ministers to active young adults. I emailed him asking for an appointment. Then right afterwards it occurred to me that before this confession I had better write up a comprehensive inventory of faults from the ticker-tape parade. Before I could email him again and postpone the idea of meeting, he emailed right back: Come in today!

At his office, Father started us off with a prayer. Then I told him the major socially illiterate tectonic fault in my life, and how I’ve confessed it over and over but the memories keep coming back. I braced myself for his questions about magnitudes and motivations and frequency and WHAT Were You Thinking?

But he didn’t ask. Instead he said something like this.

“It’s natural that even sins long forgiven are going to leave vestiges of hurt and guilt. But the issue that I’m hearing is doubt. Doubt in God’s mercy and grace, and doubt about the power of confession and the absolutions that you’ve already received. I believe that you have not experienced the actual healing in this sacrament. Maybe you’ve thought that you really don’t deserve forgiveness. For you, these doubts are a temptation. They’re an attack! And not an attack like black smoke and spinning heads in a movie; it’s a lot more subtle than that.

First, there is a phrase for this that we Christians don’t use often enough. Repeat after me:

Go. To. Hell.

Because hell is where the doubt comes from! Satan hates this sacrament, the very idea of God’s forgiveness and reconciliation.

Second, call on the Blessed Mother. She has incredible power against attacks like this.

Third, have these thoughts kept you away from confession and communion? Yes? Well, don’t let them do that!

Fourth, go to Father N. when he administers holy anointing at the church on Sundays. People don’t always realize it, but that’s a powerful sacrament too.

Fifth, you don’t need to confess this again. Not unless you really need to talk about it. God has already forgiven you!

Sixth, keep in mind that God’s grace brought you here today. You mentioned going to 5:30 Mass tonight. When you get there, offer him a prayer of thanksgiving for bringing you back.”

Then he asked, “Is there anything more that you would like to talk about?”
“One more worry,” I told him. “Do you think this particular misfortune in my life proves that God is punishing me because he’s still angry about –”
“Aha! THAT is another doubt!”
“Oh… Ok.”

Then we prayed over it, and Father gave me absolution. “I wish I could to go that Mass tonight too,” he said, lighting up at the thought. “But I’ve got a football team to go take care of right now.”

It was a complete surprise to walk back out to the street and experience how different my life looked and felt then, and still does now. It’s like when people talk about cataract surgery, how all of a sudden they get colors and lights that they didn’t know they’d lost. I practically ran to Mass that day and the days since, and I mean to go back to confession again soon and to keep going.

But after Mass, walking down the street, a new thought tugged at my sleeve: Hey wait, stop right there! Father gave you absolution ONLY because you didn’t write a proper inventory! He doesn’t know the examples about how bad things got. You made a bad confession, and that’s a serious sin. This sacrament today didn’t count at all!

And at that very moment, all the lights on the street went out. 40,000+ of us in the city had no electricity for the next two hours. (Dear Neighbors: Oops! Sorry!)

But after a few minutes of fluster in the dark I finally remembered to say “Go to Hell!” and then prayed Hail Marys walking all the way to the bus stop in the dark.

Now every time the ticker tape starts up, I tell it “Look, I don’t get to hash this around any more. It’s out of my hands. I’m absolved now.” It’s like a glass safety wall between me and a smoking valley of ashes.

And yes, I can still learn from those times and make amends and be more careful and empathize with people in the same kind of trouble. But absolved is absolved. And that’s it.

“When you stand praying, burdened with many sins and overpowered with despair, begin to pray with hope, with a fervent spirit, and remind yourself that ‘the Spirit Itself maketh intercession for us with groanings, which cannot be uttered”! (Romans viii, 26) When you remember with faith this action of the Spirit of God within us, then tears of emotion will flow from your eyes, you will feel in your soul peace, sweetness, justification, and enjoyment in the Holy Ghost, and you will cry in your heart ‘Abba, Father!'”
— John of Kronstadt, 1829-1908

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Film Review, “I’ll Be Around” (2012) — Я буду рядом

An appealing lovable courageous heroine faces her own mortality.

It’s a grand film tradition in Russia.
It is in America too. “No Sad Songs For Me,” “Love Story,” “Beaches,” “Shadowlands,” “Terms of Endearment” — we still make them, and still watch them. But this film is different. It’s a fresh look at grieving, about supporting a loved one, about reaching out and forging meaningful relationships.

“I’ll Be Around” is the Wiki/Amazon title, though literally and in the context of the film it’s more like “I’ll Be Beside/Next To (You)” It’s not a casual “around” as in hanging out on the front porch with a lemonade. It means being right alongside, a palpable presence of companionship that even death can’t take away. But by any English name, it’s Pavel Ruminov’s Я буду рядом, reviewed here in Kino Kultura. For Russian speakers, here is the link to the whole film. There are Russian subtitles for the few snatches of speech in English.
Целый фильм — 1 час, 35 мин.

The plot is straight-up basic, moments and realizations with no surprises. In fact, I’ll even give away the ending because the viewer will see it coming a mile away. Restaurant manager Inna and her 6-year-old son Mitia have a goofy playful life together until Inna’s visual, dexterity, and memory troubles finally lead to a diagnosis. With her medical news, her life mission becomes finding a new adoptive family for her son. She makes a home movie about Mitia, gives copies to a placement agency, then is matched with couples who want to adopt the boy. We witness a series of privileged spouses parade their own virtues and unwittingly reveal their short-sighted insensitivity. Finally Inna is contacted by Olga and Sergei. They meet her, then Mitia, and begin to interact with cautious hopefulness. Joined in time by hospice nurse Sveta, Inna finds herself with a new voluntary family at last, people who support her through the stages of letting go of her son and of her life.

This hard-working understated little story didn’t make an impression on me at first. There’s no sparkling quotable dialogue. The noisy gaiety and silliness of the heroine and her son put me off, as their treats, toys, and games produce what appears to be a flighty self-centered kid. But over time we watch Mom’s zany laugh-it-off outlook reveal a pure absence of self-pity and self-indulgence. She doesn’t utter a word of complaint about her own life. Instead her constant clownishness fuels an unstoppable devotion and sacrifice for the sake of her only loved one.

After a first viewing the characters kept coming to mind for days, as if they were people I’d met. That called for a second viewing, then a third. That convinced me that what makes this film tick is not only what the director and actors brought in, but the artistic touches that they left out. They had every chance to add conventional signal flags to cue the viewer on how to feel. But every time, the characters and camera added no drama at all. They let the meaning and implications dawn on the viewer, as implications do in everyday life. Moments of silence and stillness speak for themselves, leading to a much more believable story.

The film has a good chance of appealing to an international audience. It doesn’t assume knowledge of shared Russian history or literature or cultural identity. The viewer doesn’t need any familiarity with the culture to follow the details (except for the meaning of one song, described below). The important moments don’t require Russian at all, because the important moments don’t involve speech. The characters don’t tend toward philosophical statements or tightly knit rapid-fire banter anyway; visual action is more important than the dialogue. The movie could have been made in Copenhagen or Chicago or Sydney — the credits don’t say. There’s no sign or mention of the usual movie symbols of government, military, or Orthodox church; no knitting grandmothers, no lavish tables spread with national cuisine, no folksy colloquial phrases and gestures. Even food packages are in English, and Mitia meets his new parents at Starbucks. Perhaps the high-rise Euro-modern look was meant to suggest the heroine’s lack of social roots and support? Certainly the issues (single parenting, medical complications, end-of-life planning and closure) transfer intact from country to country.

How did the director and film team make this work?

1. They use a hand-held camera.
The film looks like a documentary made by a close familiar insider. The domestic feel made a nice frame for the home movie that plays a central role in the action.

2. They leave out the incessant evocative sound track.
Most low-income single parents don’t have string quartets available in the kitchen to orchestrate emotional ambience. It was refreshing to see the film unfold without the auditory clutter. When the music did come in much later, it was moving and effective.

3. They let the heroine look and act about the way any of us do when we’re feeling sick and stressed.
In real life, there can come a time when it’s no longer feasible to wear nice clothes, put on makeup, or look like luminous ethereal film stars pretending to be ill.

4. They pass the Bechdel/Wallace test — the women in this film team up and communicate, and not about men. Inna never mentions romance in her future, or romance in her past. (Her only reference is a joke, teasing the stern restaurant inspector at work that he is only there to ask her on a date.) After all, not every woman has a partner to join her care team, or to meet and fall in love with her when life gets tough. The possibility of finding a man comes up only when a superficial paint-by-number medical provider chimes in that Inna should have an affair for its health-toning benefits, and when the equally superficial adoption agent makes the brilliant suggestion that Inna give Mitia to the boy’s father, as if Inna couldn’t think up that solution herself. (The camera then shows us a flashback of Inna’s sadly brave attempt to visit Mitia’s father for help. Within minutes she and the viewer realize that this is a hopeless cause, and that the boy is better off with total strangers.)

Instead of discussing romance she curls up to crack jokes with fellow single Mom Iolka, strikes up a kindred sympathy with adoptive mother Olga, and forms a bond of profound tenderness with hospice volunteer Sveta. Otherwise, Inna does what plenty of other women do: takes care of the kid first, and does what it takes to get through the day.

5. They follow Inna through all the believable changes, minor and drastic.
We see the first moment when she can’t remember the name of the fruit she bought at the market or the names of her new acquaintances, can’t juggle parcels and juice packs for fixing Mitia’s breakfast, can’t watch Mitia go round and round in a loud brightly lit carnival ride without fainting. When Inna returns from the hospital to find Olga and Sergei caring for a happy Mitia and fixing the first nourishing food that we see in the entire film, Inna lashes out at her son as a way to bolster her dwindling influence as his parent. Her mood swings come across as absolutely natural as the illness runs its course.

6. They let the medical professionals be what they are: overworked people facing overwhelming odds.
At 16:00 minutes in, a neurologist refers Inna for diagnostic imaging. She beams a smile at him, asking “So… what could this be, for example?”
This is where the film got my attention.
The viewer waits for the camera to switch back to the expert, who will give her a polished answer, cautious enough to allow for both a range of possibilities and grounds for optimism.
But the doctor has no answer at all.
For the next nine seconds the camera stays on Inna as her smile wavers from bright and upbeat to questioning to wondering to vulnerable.

Then the harried worn out radiologists share a worktable piled with stacks of films. In silence they stare at views of what is clearly a brain in a great deal of trouble. They exchange a minimal glance and a barely perceptible nod. For the moment, faced with those scans, there are no words they can say.

7. They show the clumsy and human moments of incorporating other people into a life crisis.

Inna, now in a headscarf covering stitches and steel clips, tells Mitia that she is sick because of a car accident. He demands details over and over, acting out the accident with screams of distress and model cars terrorized by monster action figures.

At the restaurant, the staff whoops and cheers at her last brave effort to show up and help out, as she awkwardly jots down an inventory of items in the storeroom. The gruff restaurant inspector delights her with the pronouncement “About money: for surgery, treatment, anything: nooooo problem. When you retire on a pension and need the bucks, you come to me. Meanwhile, get back to work — labor is the cure for an alcoholic.”

When Olga and Sergei enter her life and tell the long story of how they first met, they warm to the topic and enthusiastically interrupt one another, both talking at once. Inna in weariness loses the thread of the conversation and simply sits back to bask in their presence. (The smooth parent transfer is my one reservation about the film. At no point does anybody give Mitia an explanation of what is really going on. I expected the new parents to put Inna’s picture on a commemoration wall with a little flower shelf and her keepsakes for nightly prayer time, or to give Mitia frequent reminders of how much she didn’t want to leave his life but why she had to, or to put her quilt on his bed. Something.)

At an hour in, we see the conversation that sets this movie ahead of the pack. In a break from their usual insular symbolic language of favorite toys and games, Inna finally tries to have a serious talk with Mitia. She sits on the floor and explains that it’s time for her to return to the hospital for more repairs on her car accident injury, and time for him to stay with Olga and Sergei for a while. A Hollywood child would look up with misting eyes and say “I love you, Mommy.” But Mitia, like any kid faced with frightening news, goes right on fidgeting with his action figures and truck/monster sound effects. Inna keeps prompting him to stop playing and to listen and look at her. Finally she becomes angry, thinking that his compulsive playtime indicates casual unconcern. Mitia in turn bursts out that she is only sending him away to sell him for his organs, as some other mother did in a news report on TV. “Don’t scare me!” he insists, and as she grabs him to pull him closer he knocks her aside and flees the room.
But later as she tucks him in, they talk things over. She lets him know that Sergei bought him a bicycle and will teach him to ride. She also promises that even if Mitia can’t see her, “I’ll be beside you.” Then she watches her child sleep, stroking his hair, gazing at the features of his face.

Mitia rides away with Olga and Sergei, giving Inna one of his monsters as a goodbye gift. Inna sits alone in her room surrounded by a mess of bedclothes and games and spilled snacks, holding the monster toy, watering her dying plant, taking off the headscarf at last to reveal her stitches and scars.

The doorbell rings. It’s volunteer Sveta, here to help out.
Inna turns her need for home health care into yet another joke, one that rings like a Zen koan. “Are you Sveta? Are you from Hospice? Are you here for Inna? Oh, she died yesterday. Just kidding!! Come on in.”
The two women sit down together. Sveta is all neat conscientiousness, attempting to ask questions, take notes, be a good caseworker, create order in the overspilling chaos of the little apartment while Inna clowns around.
Their litany of mutual interruptions knits itself into a comfortable rhythm as Sveta catches Inna from falling, and the women hold on to each other in a cautious clasp that finally relaxes as they merge energies and personal space. In a film collage of the next few days the soundtrack slips in music to good effect (a melody line much like Pachelbel’s Canon) as Sveta watches TV with Inna on the double bed, wraps her up for a slow careful walk step by step on the street, shares a long handclasp in closeup, spoon-feeds her bites of soup, and dances with her in the kitchen on New Year’s Eve. Incidental note: the song they sing together is “Моей душе покоя нет (No Rest For My Soul).” Russians would recognize this from a scene in the classic 1977 comedy film Служебный роман, or Office Romance. Inna’s circumstances give the sprightly song a much more wistful tone:

No rest for my soul; all day I wait for someone.
Sleepless, I meet the dawn — and all because of someone.
Someone isn’t here with me. Oh, where to find him!
I can travel the world over, just to find someone….
I swear I’d give up everything under the sun
For someone.

Mitia drops by one last time to fix Inna a battered little sandwich in bed, which she pretends to eat with great gusto. When he leaves she cries. This must be the most convincing gut-wrenching cry in any movie anywhere as Inna gags on her grief, cramming into her mouth a whole desperate fistful of brilliantly colored medications spilling to the floor. Then with her remaining energy she gets herself to the DVD player, and pops in the adoption promotional tape of her son at his most joyful.
She watches him in spellbound wonder, weeping herself into a long siege of belly laughter.

“Inna!” Sveta calls out next morning, letting herself in.
“It’s me. Sveta. You should see what fragrant apples I’ve bought!” She looks around. “Inna? Iiiiin! Iiiiin!” Then she stops calling and in silence searches faster, into the bathroom and out again.
Here again the film passes up a chance at drama to end up with something real. As Sveta halts outside the bathroom and stares at the floor, the camera stops with her as she sinks to her knees. In silence it stays focused on her face in its shock, bewilderment, disbelief, and dawning anguish.

But Mitia is away now, safe in his new life in a beautiful roomy well-lighted clean house with real meals and two calm healthy devoted even-tempered parents. Spring arrives as he sails off happily on his new bicycle. Sergei does just what Inna did until her strength was gone: he runs and runs and runs alongside the bicycle holding on to keep his son safe until the boy picks up speed.

Then he lets him go.

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Commemoration Kutia (Кутья на память)

A dish with sweets for the senses, and the soul:

kutiya

At church last night before Vespers there was a candlelight Moleben, a supplication service. This one was a memorial for a young man in Ukraine. After the chanting and incense and prayers, the young man’s aunt led everyone to the back of the church and gathered them all around. She opened up a big bowl of kutia, and dished it up in paper cups for everyone.

The kutia was unspeakably delicious. It was wheat berries cooked very soft and chewy, served with honey, slivered almonds, all kinds of dried fruits like apricots and cherries and some fragrant tangy citrusy bits, and a sprinkle of diced fresh mint leaves. It was like the best and moistest fruit cake in a cup. The different tastes sparkled together, like the different flavors of sweet sympathy brought by this mix of worshippers. (They gave the leftover kutia to me. I carried it home for three Catholic sisters who came for dinner, and told them this story, and how when we eat this we remember Aunt’s nephew.)

Anyway, we all nestled in together on the benches along the back wall and ate in silence. The summer sunset slanted in on the icons and candles and flowers. Then Aunt talked about her nephew and told us his story, all about what happened. Everybody listened and had something to say for her. Then while they finished eating, they pulled out photos of Mount Athos and huddled close to show them. One of our men just made a pilgrimage and brought back hundreds of beautiful pictures, and he brought prints to church. So they gave her the prints and narrated for her all the different churches and icons on the sunlit mountains and sea.

I savored my sweet, nestled in with Aunt on one side and our pilgrim on the other, listening to memorial stories and looking at these radiant photos of the Holy Mountain. And thinking: with news of a great grief like that, no one would blame her if she stayed in her house and lay down quietly. But no, she got to work and made this wheat pudding. She packed it up in a big bowl and took three buses across town to a mostly unfamiliar church. “This kutia tastes like your good intentions,” I told her. “One can really feel that it came <strong>от чистого сердца</strong> — from a pure heart.”
She said “I had to do <em>some</em>thing for him.”

And the people in the church didn’t look composed and shake hands and say “I’m sorry for your loss” and go about their business. No, instead of turning on the lights and starting Vespers on the minute they gave her kisses and hugs and then piled in with her on little wood benches in the flickering sunset light and passed around her food, and they filled her hands with a <em>change of scene, </em>views of the place on earth that is so cherished by Orthodox people.

Their hospitality to her, and her hospitality to us, was the extra ingredient in this kutia: a dish to get busy and make when life turns bitter, because sweetness is something that we cook and share with other people.

Светлая память = Bright Memory!

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7.14.13 White Peony

It was a clear hot summer day, just before sunrise.

Walking from Winthrop to the Blue Line train at Orient Point, I jogged along through tall blond reeds under the flight path to Logan. Plane after plane loomed sounds and shadow, ignored by bridge fishermen and teetering white egrets. In the last half mile to the station the path was paved, passing along tall chain link fences. The houses were old wood triple-deckers with stacked porches. They had laundry lines and statues of saints and scalloped pink brick garden borders and plastic ducks and spinning pinwheels and lobster pot floats and cement kittens clinging to the shingles.

One yard was cradled safe from prying eyes with a tall hedge shaped in geometric planes, groomed for maximum privacy. At a gap over the narrow gate I duly lowered my eyes but not the corner of them, and so in passing was side-hooked by a peripheral afterimage of light.

In the deep shade of the groomed and geometric yard, where even the dirt looked swept, the light was the first degree of sun. It left the whole plot in shadow to shoot through one white object, a peony the size of a dinner plate on the very verge of fullest bloom. Its pure ivory color, backlit ablaze in every vein with gossamer sparks of rose and gold, stopped me with some sharp breathed cry.

In the shadows a man turned to face me. He looked… my guess was Japanese, though I wasn’t discerning enough to be sure. He had black hair turning to iron gray, a square bronzed face, strong build, resolute shoulders. He was crouching to cut some superfluous leaf from the peony bush, where all flower stalks had been pruned away except the one tall prize. Straightening up with the shears he gave me a sober appraising look.

Gripping my hands to my face in amazement, on first reflex I put my palms together and bowed.

He bowed back before walking away into the shadows again. But first he held my gaze a long moment, clipped the stalk base of his treasure, and passed it in both hands over the gate to me.

The Blue Line charged past the shrine to Our Lady Queen of the Universe, past the race track, and down under the Aquarium. In a corner away from the door I sat shielding the white peony and its long stem, rapt in its color and structure and scent, blocking out the racket of wheels and stop announcements and crisscross talking of the Saturday riders. But a different tone sifted in to my hearing and raised my head. It was a tone of confidential sympathy between two people resting in the full assurance that their every murmur, and even the whole notes of rest between the words, would be instantly understood and savored.

I caught a quick glance at the companions across the aisle. They were two good looking young men. One was in a reclining wheelchair; he enunciated each syllable with intention and determination. I didn’t wish to listen in; but once the pattern of his consonants clicked into meaning, it was clear that their conversation sparkled with intelligence and good humor. His friend leaned in closer with an arm on the wheelchair to catch the end of a sentence, and slapped his friend’s knee with an appreciative laugh.

As we pulled into Government Center they noticed the flower in my arms and nodded their appreciation at me. Stepping off the train I passed it in both hands over the wheelchair arm to them. Through the closing glass door they beamed surprise and delight at one another.

Where did the white peony travel next?

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6/15: Anybody’s Kitchen

I was carrying bathwater to the porch when the phone rang.

“It’s a case for Mary!” said Cashier Robin, calling from the Food Coop. “A family here needs a cooking teacher for their new diet. No sugar, dairy, wheat, nightshades, citrus, peanuts, or chocolate. They’d like to pay you for a private lesson. Handing over the phone, Babe; you’re on the air.”

Jay and Grania, with their young thirdsome Chad, were endearing people with health issues — eczema, hay fever, indigestion, fatigue, headaches, melancholy, on and on. They took a macrobiotic class or two, bought the textbooks, soldiered on with their boiled millet and aduki beans and kale. “But it’s so overwhelming,” Jay explained. “Meal time used to be fun. Now we look at our plates and say ‘Is that supposed to taste like this?’ Most of all, we miss desserts. Can you make us some healthy desserts with recipes, enough to take some home?”

So we set up a dessert tasting party for the next day, Tuesday evening, at my house. Jay and Grania insisted on the generous rate of $25 apiece for our little expo. Meanwhile, Cashier Robin spotted Chef Roth walking in. Chef actually knew his saffron from his truffle oil, restored an abandoned greenhouse in his downtime leisure to raise herbs for restaurants, and in his high school was probably voted most likely to eat a blowfish. I’d be afraid to invite Chef. But when Cashier Robin got through with him he said “What a hoot! Sign me up.”

To my luck, this was a free day because I’d just turned in a proofreading job. (Sidebar: You know all about that proofreading job if you’ve already read this snippet here.) I poured the bathwater over the porch rail on to my daikon radish patch. Then I curled up on my sleeping bag with a clipboard and recipe books, and in my best printing wrote out detailed class notes for beginners, and recipes like these:

Quinoa cooked in apple juice with dried apricots and almond butter, then patted in a pan to cool and slice into squares.

Baked spaghetti squash with maple sauce

Vanilla soymilk pudding

Oatmeal cooked with raisins and roasted sesame seeds, then formed into nuggets and baked on a little dab of sesame oil like cookies

Trail mix with walnuts, pumpkin seeds, and sunflower seeds roasted with a dash of wheat-free tamari, tossed with dried currants and snips of nori seaweed

Writing those out with instructions took a couple of hours. The morning was shimmering with heat, so I tied a dishrag on my hand to keep sweat from blurring the pages. Then I stopped to brush away a shiny black caraway seed that fell on the paper. Before my hand reached it, the caraway seed disappeared and  reappeared at the same time, a foot away. I brushed at it again, but the seed was too fast for me. Then there were two seeds, both of them shooed away by the sheer magnetic force of my hand. Interesting. Perhaps the hot muggy weather had built up static electricity in the air? Well, this was no time for amateur science games. I biked my class handouts to the copy center, copied the recipes, and went to buy ingredients.

At the Food Coop I bought a spaghetti squash, four quarts of soymilk, and grains and nuts and dried fruit in paper bags from the bulk bins.
“That’s some lively music,” I said at the register. “New cassette?”
“Yes, it’s Pianosaurus,” said Cashier Robin.
“They sound a little clinky,” I said.
“Yup,” said Cashier Vern. “Rock band that plays only musical instruments made for children.”
Vern and Robin figured that if Pianosaurus could be famous with just toy instruments, then why not set up tofu buckets near the register so customers could play percussion while waiting in line. So people got in a few drum riffs while we waited.

“How about some French green clay while you’re here?” Robin suggested. “Should be just the thing.”
“For… what, a facial?”
“For those flea bites on your ankles.”
“Fleas? I don’t have a dog.”
“Right. That’s why they’re biting you.”
“I’ve never seen a flea in my…” Hey now. “Do they look like caraway seeds??”

So for my bike ride home in the noonday sun, with the other purchases I wedged in some green clay powder and a pump bottle of non-toxic flea soap. If that family had allergy and health issues, then I couldn’t take chances on having any of them getting bitten.

The bottle lost its cap on the way. At home I slipped off the knapsack. Foam came spuming out and overflowing from the now empty pump bottle. The recipe copies were soaked through. So were the paper bags of food. It took about an hour to clean everything up. I drank some kukicha twig tea, took a bowl bath, poured the water on the daikon patch, rinsed my clothes and hung them in the sun, took a half hour nap on the floor, slopped green clay paste all over my ankles, then went back to the Coop.

Manager Kurt rang up all my replacement bulk bin items while Robin and Vern finished unloading a truck delivery. Then, the two of them modeled new summer fashions improvised from their aprons and washrags (turban, bib, jaunty sash, mini-sarong), with the loading ramp as runway while the customers applauded and whistled. For my caraway seed issues, Kurt talked me into a bag of diatomaceous earth.

[Safety Warning! You must not, not, breathe diatomaceous earth. I didn’t know this then, but it’s a silicon abrasive and is a danger to lungs. Safe handling requires a special ventilator mask — and not the paper disposable mask people wear when they catch a cold. Don’t just schlepp it all over the floor the way I did.]

At home I unloaded the bulk bin items. I swiped diatomaceous powder around the wood floor and kitchen and bath. Then I packed up the sleeping bag and bedding and clothes and towels in a big rope bundle, and walked it on my bicycle to the laundromat and washed everything. During the washing and the drying cycles I biked home and scrubbed the floors. Then I carted home the laundry, put it away, made up the sleeping bag, drank some tea, took my dry clothes off the line, took a bowl bath, poured the water on the daikon patch, changed, rinsed the other clothes and hung them up, ate some oatmeal, crashed to a dead sleep on the clean sleeping bag, and woke up at 6:00.

The quinoa cake recipe sounded better than it tasted. With the nut butter and fruits it just tasted gummy and cloying. It wasn’t the thing for a family retuning their health. I put it in the fridge and rewrote the recipes, substituting a plain kanten gel with apple juice, agar, and tahini.

Then I made the vanilla soymilk pudding with kudzu powder and vanilla and rice syrup. When it cooled I hunkered down with a comforting bowlful.

The pudding was terrible; it tasted spoiled already. But how did that happen? I tasted each ingredient, re-enacted every step of that recipe, thought and thought. Finally I fished a carton out of the garbage and shook the last drop on my tongue. Yup, spoiled. The use-by date was… six months ago.

I took the four cartons and receipt back to the coop, stopping off to make copies of the kanten gel recipe.
Kurt was very apologetic, gave me four new cartons, and pulled all the expired cartons off the shelf. Vern rang up my agar and tahini and gallon of unfiltered apple juice.

By then the sun was lower in the sky. To take advantage of the cooler temperatures I made all four quarts of pudding (it tasted fine) and packed it in Mason jars in the fridge for next day. I tipped over into bed and was asleep in no time.

Some time after midnight there was a breeze, so to crawl into the sleeping bag I shook myself awake and sat up.

There were two glowing eyes in the room.

Now, if you pored over the Reader’s Digest as a kid, you too might have been scared up the wall by that story about the 1970s suburban family who wake up one night and find that they’re trapped in their electrified house. A downed power line and rain and a crossfire of positive or negative charges were flying all about. They try to flee but the electricity drags them down and flips them around, and only the dog figures out how to tiptoe from safe point to safe point and that’s how they escape. The first clue they had of trouble was the eerie eyes floating in the air on the staircase, formed by glowing water droplets. Or something.

After waking up with an unearthed literary memory like that, when the brain is overheated from toting groceries and flea products, seeing eyes by the bed feels like T.J. Eckleburg followed you home. It took half a minute of pulse crashing in my ears for me to puzzle out that they were two fireflies courting and sparking on my wall. How did they get in here?

While I wondered that, something rustled under the little wood frame that held up my sleeping bag. Not good. Not in a town where my friend woke up one day and found the living room full of wee rattlesnake hatchlings. I backed away from the bed, and out popped Velveteen Kitty. Kitty was a feral cat who shied away from humans and indoor living; the landlord left him bowls of cat chow and water outside. He was about 19 years old, a formerly black cat faded to a washed-out rusty color, with a staggering walk and velcro voice and frequent brief little spells where he would fall on the ground with his tongue out. Now he and a younger outdoor cat beelined across my room to the ceiling-to-floor window, swiped open a little hole in the screen that I didn’t know was there, and hopped outside as if they did this every day (which, as it turned out, they did). Outside before bolting into the brush they paused to scratch themselves all over. By then I was scratching too, so I slopped some more clay on my ankles, briefly fretted about the chores for the next day (1. Fix screen…), but soon tipped over and went back to sleep.

When the sun rose I fixed the screen with needle and thread. After a bowl bath (there was no shower; did I mention that? And the old bathtub was so large it would take far too much water to fill it for a decent bath) I changed and bundled up the sleeping bag and clothes for another trip to the laundromat. I spread around the rest of the diatomaceous earth, washed the floors, and put the laundry away. I picked up a new proofreading job at the press. I made pretty folders for the recipe copies, and arranged them on the desk with a glass of wild daisies.

Velveteen Kitty appeared at the window, clawing at the screen. Then he fell over with his tongue out. I hollered upstairs to Glen, who worked nights and rested by day, to come running with the Healing Hankie.

See, Glen had a catalogue of 500 Free Things that you can send for by mail order. One free goodie in his extensive collection was a healing cloth from a very famous television evangelist. Apparently the minister was eating lunch in a restaurant, when someone rushed in with news that a patient far away was gravely ill and needed laying on of hands for healing. The evangelist couldn’t go to the bedside, so he took a napkin, traced his handprint on it (like we did in school to make turkeys — those Thanksgiving cards for Mom’s fridge magnet), signed his name, and sent the messenger in the name of Jesus to lay the proxy napkin on the sick person. (Flash! St. Paul was  “a man whose handkerchief healed people. They used to snitch his handkerchief, and it would heal people.” Mother Angelica says so at 4:33. So that might be where this evangelist got the idea.) Anyway, after the miraculous long-distance healing broadcast from that restaurant, requests poured in for personal handprint copies. Soon the evangelist was making these napkins available upon request. Did those words of blessing really work? To prove that, we would need two double-blind control groups, one treated with a handprint from just anybody, the other with the real thing; preferably our human subjects should be people who never heard of the evangelist, or at least never heard of Jesus. All we know is, whenever Glen laid it on the cat’s little head, Kitty would snap right out of it and go on with his day.

While Glen took care of Kitty and got him to his water bowl in the shade, I baked the oat cookies and set them on the table on towels to cool. For the trail mix I picked through and sorted the pumpkin and sunflower seeds. I roasted them and the walnuts separately over a very low flame, stirring constantly with a shake of wheat-free tamari. It cooled in a big cast-iron skillet on the stove.

Next I heated up the apple juice and melted in the agar and the tahini, and poured it in a Pyrex dish. When it stopped steaming I popped it in the fridge.

The fridge light was out. Huh. The food felt warm. How long was it off? I opened the freezer to put the kanten in there; that would melt off some of the ice for the weekly defrosting. But the freezer and the food in there were warm too, leaking water on the floor and under the stove. To blot it up I batted under there with dishrags bundled on a broomstick.

Our landlord lived right in the next apartment. “Sure, Mary. Probably just a fuse in the basement; everybody’s running their fans today. I’ve got to run up to campus and teach now, but I’ll be back by 6:00 and rummage around down there.”

My class was at 6:00, so there was no point baking the squash until then; it would just spoil in this heat. Meanwhile I took the kanten out of the freezer and put it in the fridge. The quinoa was already spoiled, so I had to throw that away. Wait, how about the soymilk? Was the pudding still ok?

The pudding was not ok. It was spoiled and souring. The power must have been off for a while. I threw it out, washed the dishrags, hung them on the line, and headed for the Coop for some ice and four more quarts of soymilk.

Robin and Vern were on break, practicing fancy synchronized shopping carts for the Coop’s annual role of honor in the town’s summer parade. They were very good too, with Rockette kicks and spins and stunts on two wheels. I gave them a big round of applause and went inside for four quarts of soymilk and a bag of ice. I put the ice in a wooden apple crate from the trash, one with pretty orchard pictures on the sides, lined with fruit wrappers on the bottom. It looked like a good box for the family to carry home their leftovers.

A handsome man ahead of me was a red-haired long distance cyclist from Scotland. We got to talking, and I told him about my cooking class.
“At this point in the trip, I could certainly use some home cooking,” he laughed. “Could you take on another customer?”
“Hey Mary,” said Kurt. “Back again? How is your flea problem at home? Are they still biting your ankles?”
The cyclist gave a nervous look at my feet of clay, picked up his packages, and left.

“That ice is too much for you to carry,” Kurt said. “Put your bike in my truck. Let’s go.”
Kurt drove me and the box home.
I put the kanten on the table to gel in an ice bath, and opened the fruit crate.

A mouse burst out of the fruit wrappers. He raced along the edge of the kanten pan, charged through the cookies, off the table, and under the refrigerator.

I walked out of the kitchen and lay down on my sleeping bag.
It was time to face facts. This was no way to entertain a couple and child with health issues or a real Chef with a spotless certified kitchen, not here at the Ark of Vermin.

Glen was getting in his car when he saw me at the dumpster, throwing away the cookies and crate and half the food in the fridge.
“You look beleaguered,” he said. “When I get home I’ll get you the Hankie.”

I took a bowl bath, watered the daikon, changed, and called the family.
“How about if we meet at your house?” I asked. “My fridge stopped working, and the kitchen is too hot for comfort.”
“Here?” Jay sounded baffled. “At our house?”
“Would you mind?? Otherwise I won’t be able to manage here; the desserts won’t really set properly.”
“Like, make a house call? Would you? You’d deliver the desserts over here? Why we’d love it! Say, Honey — Mary is offering to come right here!”
They sounded delighted. So I called Chef Roth and asked him for a ride.

“Sure,” he said. “That way we’ll get to chat. I need to pick up some things at the Coop after work; let’s meet there and hit the open road!”

I went out and pulled up six daikon radishes with their greens, washed them off, and packed them in paper. I packed the squash and trail mix, and carried it all over to the Coop.

This time I bought ready-to-eat stuff: a loaf of wheat-free sprouted bread, apple butter, brown rice cakes, soy mozzarella cheese, unsweetened carob chips, and two kinds of candy (umeboshi plum sourballs, and brown rice syrup taffies). Also a mouse trap, and some more French green clay.

Robin rang me up and looked outside. “Holy smoke.”
Everybody ran to the windows. The overcast sky was darker, with a quilted patchwork look. The individual quilt squares were sagging. One sagged lower and slowly began to turn in a circle.
“Funnel cloud approaching. Cellar, folks!” Kurt ran in and locked the cash register.
We all sat downstairs with the bulk bins, listening to hail ticking at the little basement window until Kurt checked and sounded the all clear.

“You look worn out,” Robin said to me.
“My fault. Maybe God is annoyed,” I told her. “For this cooking class, I wasn’t driven by the pure motive of helping people. Instead, I was driven by money. It was that $75; that’s more than I ever earned cooking, and it just felt so crucial to meet people’s expectations, and deliver the best goods and services for the money.”
“Don’t look now,” she said. “But for two days we’ve watched your selfish money-grubbing ambition. And Sweetheart –”
“You kinda forgot to factor in parts & labor,” Kurt chimed in, patting my back as we trooped upstairs.

Roth and I drove up the country road to the family house. In a lighted window there was a small pale boy with a wistful anxious look. But when he spotted the car we could see his little face light up as he yelled for his parents and waved at us. My heart just melted. I hoped so much that somehow this would all work out.

Jay and Grania rushed outside and ushered us in. The three of them just about broke the sound barrier trying to make us feel honored and welcome.

Their farmhouse kitchen was small but cozy and clean, and stocked with everything we needed. The only thing missing was the recipe handouts, still in folders on my desk at home.
“We don’t need recipes now,” Chad piped up. “Because our cooking teacher makes house calls and lets us try all by ourselves!”
“This is great,” Grania said. “See, the cooking classes were in these perfect kitchens with all these nice gadgets, and then we’d come home and try to duplicate it all and just can’t. What works for us is somebody to just come spend time with us, showing us what we can make right here together.”

We baked and cut the spaghetti squash, and Chad had fun combing it into strings. Then we added coconut oil and cinnamon and maple syrup, and after a taste I tried something risky and mixed in a little white miso broth and ginger. Jay’s kanten gelled like a dream. Grania’s soymilk pudding set perfectly. Chef Roth could not have been kinder, skating around whipping up oatmeal carob chip cookies. Chad did a little of everything. With a team of five we soared through the chores and had a blast. Then we couldn’t believe how delicious everything tasted. It was a mystery, compounded from this family’s enormous love for one another, their faith that somehow their lives just had to get better, and their profound gratitude to their two guests.

Sitting at the table, we heard the family beagles whimper outside the screen door.
“They love company,” Grania laughed, “but we can’t let them in now, the poor little guys. They track in fleas. We’re so bit up already; doesn’t mean our guests have to be scratchin’ too.”
So I took out my green clay, and we mixed some up as ankle daub for everybody and face paint for Chad.

Roth and I drove back to town through cornfields under the stars.
“Look at that moon,” I said, reaching in one of the bags for an oat cookie.
“Perfect ending,” Roth said, “for a perfect evening.”
“They are lovely people. Really appreciative.”
“They are, and your spontaneous cooking class was great. You literally brought it all home. You made it all look effortless. It lets people know,” he knocked his knuckles on my knee, “that what happens in your kitchen can happen in anybody’s kitchen.”

I thought about the things that happen in my kitchen.

“What are you laughing about?” he asked, laughing himself. “C’mon: gimme a cookie and tell me about it.”
“Well… Yesterday I was carrying some bathwater to the porch…”

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4/22: God Willing: one small urban garden

a kindred neighborhood, 4.22.13

The neighbors in my new town are kindred spirits. Chard, 4.22.13

The neighbors were oh so not amused.

They’d held down this Irish Catholic turf for three generations, on a street of houses with three floors plus attic and an asphalt driveway with a car or two. Each had a little mown yard with a chain link fence, and a plaster Blessed Virgin in a concrete pod, a devotional known as a Mary-on-the-Half-Shell.

Our house looked like theirs, but instead of owners ours held five renters who would come and go from year to year. The house was lively with arrivals, departures, some horn honking, and messages hollered down from the second and third floors. But the roommates were clean & sober and friendly as it gets. On summer nights they liked to pile in the Volkswagen for a day at the beach, then hang their bathing suits over the balcony rail and grill tofu pups with “Tears for Fears” playing on a stereo speaker hooked up outside the window.

And the neighbors were still not amused. Not amused by the guitar player who sang about the Vietnam War. Not amused by the roommate who volunteered at a women’s health clinic, and had impassioned pro-choice things to say about it with a “Never Again” coat hanger bumper sticker on her Volkswagen. Not amused by the hunky software engineer from Puerto Rico, whose hunky engineer boyfriend would tootle the car horn and call for Miss Thing to come out and play. Not amused at all when the crew held a balcony Christmas pageant, with the youngest house member playing Baby Jesus with an orange Frisbee halo taped to his head. By the time I replaced Miss Thing, the neighbors had had enough.

After moving in I hung a dustcloth on the balcony, and within minutes the landlord telephoned to tell me to take it inside. I baked a friendship apple pie for the girls downstairs, and when I knocked on their door with pie and baking mitts one of them took a look out through the chain lock, curled her lip, and said “We already ate.” The family matriarch next door had many opinions to deliver about us during her first morning cigarette, smoked in her front doorway and observing us. Very early one Sunday her voice shook us all from a sound sleep as she shooed away birds with the protest, “So help me, that better not be those pigeons from Next Door.” My roommates christened her “So Help Me” from then on; our guitarist became so good at imitating her voice that soon we had two of them — a loud one outside, and a quiet version sitting at our table dreaming up snappy retorts.

To improve a tense situation I made a resolution to pray and keep silence for 30 days. During every waking minute, I was going to “See Peace instead of this” and not speak at all except to contribute sweet conciliatory statements. As you may have noticed, people determined to exude peace tend to be nervous wrecks who are trying to get everybody else to calm the heck down. Within three days one very elderly lady neighbor passed me on the sidewalk while I aimed peace at her, and sent me home in shock by calling me a “!@#$%^&* Witch.” Next the roommates demanded to know why I was floating around in a trance, and that was the end of that.

Next, I came home and found on our telephone recording tape a very angry message from the police department, demanding that we open the door! Now! In a panic, I ran to the precinct house up the street with hands raised and turned myself in. The highly annoyed desk sergeant was in no mood to untangle my story, but finally figured out that we were persons of interest for leaving an abandoned car several blocks away. Apparently the neighbors there spotted the car and decided it must be, so help us, those ragamuffins in the rented house. Sarge was satisfied with my protestations of innocence, and sent me on my way.

I tried improving the house karma by tackling the basement.
It was stuffed with unclaimed debris from past renters and owners. For two weeks I sorted stuff into piles. Some I washed and carried to the Food Coop giveaway box. The bottles, cans, and newspapers went to the Coop recycle bins. Mounds of trash went out to the curb on collection days. At the bottom of it all I turned up a stash of gardening supplies: sacks of compost, mulch, sand, and manure; stakes and fence sections; old-fashioned garden tools. The landlord confirmed that the original house owners were an elderly couple who had to sell when one died and the other needed a nursing home. Their pride and joy had been tending the yard and filling it with flowering plants, to the delight of the neighbors.

Well. How sad that couple must have been, to see that garden go to ruin. The neighbors must have been sad too, to see their friends replaced by renting students who came and went every year. It was time to turn around that karma.

The soil was gritty baked hardpan. It took a lot of jumping up and down on the shovel to break it up. But I kept at it, chopping out broken concrete and glass, and finally cleared a patch 3 feet wide and 20 feet long along the side of the front yard. I hauled discarded planks out of the basement, and half-buried them on their sides to form a raised bed wall. I opened the sacks of sand and manure and compost and mulch, and carried bucketfuls outside and mixed them in with minced celery leaves and other kitchen greenery.

Before Ash Wednesday, a new suitor left my life after delivering a searching and fearless moral inventory of me and all my character defects, letting me know I would never succeed in landing a boyfriend. My Al-Anon sponsor didn’t even try to sound sympathetic about my broken romance. In fact, she made the sassy comment that with all the free time I saved by being single, I could finally come with her to lead meetings for the men at the local house of corrections. I sassed her back that this was not going to solve my boyfriend problem. She said No, but maybe I’d pick up some recovery along the way. Instead of going with her I curled up on the sofa in fetal position and sobbed until my roommate Pasha found me. He threw me over his shoulder, carried me upstairs to his room, cranked up “Why” by Annie Lennox, and hand-fed me CHEETOS® and Coke to restore electrolytes and coherence. Then he took me to the Food Coop to buy pea seeds and put them up to soak overnight.

On the first Sunday of Great Lent, several pre-kindergarten girls were playing outside my bedroom window in flowery dress/sash ensembles, all ready for church. Being no doubt instructed to play and not get dirty, the little ones were instead acting out a certain popular film starring Sir Anthony Hopkins and Jodie Foster. Apparently the Irish Catholic parents who warned the children away from our house thought it was fine to bring that movie into the home. I stood at my bedroom window amid my rescued trash-plant geraniums, watering can in hand, listening to the children parrot scene after scene from this film.

Clearly, our little world had lost its collective mind.

Something had to be done.
I marched outside and started planting peas in a freezing rain.
Immediately, a door flew open. Next door, our neighbor’s piercing voice rang out in the rising wind. “Y’ain’t nevah gonna grow nothin’ they-uh.”
Bent double in a cold nor’easter, trying to do some farming, I suddenly realized: the Neighbors might loathe us, but they really had no more clue than we did on how to lead a good meaningful life. Who knows how much disillusionment lay behind this lady’s gloomy prediction? Was she actually trying to be helpful and save me from disappointment?

I counted to ten, brushed the pinging sleet off my face, and turned to Mrs. So-Help-Me. “Well, you know — maybe some peas will come up after all, God Willing.”
She thought that over and closed the door.
I planted peas all along the side yard and then all across the front fence.

Two Sundays later, we were startled from our beds by a high-decibel bulletin from next door.
“Her peas are growing! Her peas are growing!” Mrs. S.-H.-M. shouted to the house across the street. “She said ‘God Willing,’ and God answered her prayer!”
Our jazz drummer trudged to the kitchen to start the coffee. “Clearly definitive proof of the existence of God,” he sighed to himself. “Clearly it had nothing to do with Mary busting along for weeks digging up that crummy yard, hauling mulch, lugging buckets of dishwater down two floors of stairs, planting peas in freezing rain. Call it a miracle of God, ya hollerin’ Cluck.”

The peas took off.
They ran amok all along the front and side, covering the chain link fence with a carpet of tender sprouts and white flowers, and then a truly Erewhonian harvest of sweet pods. My six salvaged geraniums in hanging baskets were all in bloom; so I hung them on either side of the front gate. The result was sheer magic. Our chain link fence looked like the portal to a European villa. I loved coming home in the spring evenings to that fence of peas and flowers. Meanwhile my bedroom was full of peat flats with seedlings — greens, cabbage, cucumber vines, cherry tomatoes. At night I’d wake up and sit with them, just feeling their green energy. Pasha filled the balcony railings with marigolds and nasturtiums. Our Volkswagen driver sowed a whole can of flowers around the sides of the house, and soon we had a carpet of them waving in the breeze. I got a book on edible weeds, and started transplanting in chickweed, purslane, lamb’s quarters, and more. That garden fed me all summer. What happiness to run downstairs on a dewy morning and pick weeds, flowers, and vegetables for the day, then to work in the garden all evening.

And that’s not all.
After the Prayed Peas showed their faces, so did the neighbors. Mrs. So-Help-Me was the first to stop by for a look. Now every day she sang out praises up and down the street, announcing every new sign of growth to one and all. The neighbors would send the kids outside to play, saying “Run over to Gahden Lady. Go see what she’s planting today.” The little girls stopped acting out heinous movies; instead they’d say “Here, we got you this pink rock at the beach,” or “We found a woim on the sidewalk. We putted him in ya gahden.” When the haughty coeds downstairs first found me squatting in muck, one of them curled her lip and said “‘Dja lose a bet??”; but soon they were all smiles, congratulating us on coaxing some life out of the yard.

One moonlit midsummer night, the seedlings around my bed woke me up. They wanted to be planted right then, at 2:00 a.m. Pasha found me heading outdoors, and said “Oh no you don’t, Missy. Not without me.” He took a kitchen chair and quart of Coke and sat guard while I planted peas. That night when the Irish pub shut down, a group of burly men came weaving down the street. But they stopped their rough banter and stood leaning over the fence. “That’s the way they did back home,” one sang out to me. “Gran did the planting at night, she said things came up better then.” The men looked over the garden, nodding and murmuring with reverence, then saluted and moved on. Early one Sunday, an elderly man came and saw me planting basil all around a large granite boulder. “That’s right, that’s the way,” he called. “Most people don’t take care of their graves they way they used ta.” On Sundays at the prison with my Al-Anon sponsor, the men loved asking about the garden. One night I had a beautiful dream about the men in their orange prison jumpsuits and shaved heads visiting our house just to stand in the moonlight and bow their heads in admiring silence.

Then the guitar player’s old college friend paid a visit. He drove up and honked the horn, and dropped off some concert tickets.
When he headed back to the car, Mrs. S. came outside. “Don’t you know it’s Sunday morning? What are you honking for? And you drove much too fast; there are children on this street you know.”
The college friend knew nothing about the long and hard-won web of relationships on our street. He was not at all used to being confronted by strangers on a street, especially one as forthright as Mrs. So-Help-Me. He let her know in terse terms that her opinion was unwanted, and drove off.

I heard the whole exchange from my room, and had the sinking feeling that our stay in this house was over. As it turned out, perhaps someone on the street really had enough. They either pressured the landlord or paid a visit themselves to our yard. Either way, when I came home from work a few days later the place was mowed out and the garden was gone; no geraniums, no pea vines, no vegetables, no wildflowers, no boards. Nothing The landlord gave notice that their relative was going to buy the house. So I rented a little studio and carried my stuff over one trip at a time, and the group of five went our separate ways for good.

But at that moment, standing upstairs, hearing the college friend roar off in his car, I also heard Mrs. S. cry out in amazement and genuine pain. It broke my heart to picture her out there with her cigarette, the proud senior-citizen alpha of the parish trying to defend her street, dismissed in front of everyone. I rushed outside to the garden with our very nicest serving bowl, rushed back upstairs, and washed and arranged the best of all our vegetables and flowers. Then for the first time I went to the house next door and rang the bell.
The door opened.
Our very agitated neighbor stared out at me, cigarette on lip. I tried to apologize. But I was so tongue-tied that I only thrust the bowl at her and started to cry.

It remains unclear how I ended up in the thin but strong arms of Mrs. So-Help-Me, or how she ended up with a weepy armful of me plus plant life. Formidable battle ax that she was, she said “But Honey, you din’t do nothin’ wrong,” patting my head with one hand and rocking me with the other while nasturtium petals fell all around us.

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4/13: Bowed Psaltery

The bowed psaltery had her first music gig today. My volunteer organization invited her to come entertain at the registration table for our annual meeting.

First, the flyers. Flyers are good because when people ask “What’cha got there?” it’s nice to give them something they can take home and read. Here’s a condensed version of mine.

Thank you for asking!
This is a Bowed Psaltery, from “Psalter,” or Book of Psalms. (In some Bibles you can still find the musical directions for instruments such as the psaltery.) This model was made by Master Works in Oklahoma; for a demo and tips on holding the bow, see You Tube, “Master Works Mahogany Bowed Psaltery.” This one sold new for $250.

I gave up the Irish whistle because of arthritis, and looked for years for another instrument to play. This has no fingering or frets, and so is ideal for someone without full use of their fingers. The right side strings are equal to the white keys on the piano; the left side strings have all the sharps and flats, your black piano keys. It’s about as simple playing a blender. I didn’t need a teacher to learn this; in fact, schools should start children with psaltery before handing them a violin! The only drawback is that tuning all the little pins takes a while; always wear glasses or goggles in case a string snaps. And stringing them is tricky too; I brought mine back to the music store and they taught me how.
$250 isn’t much for an attractive simple instrument with a calm gentle sound. The psaltery deserves more of a name, especially for those of us with dexterity issues who thought that our music making days were over.

For one week before the event I’d worked on a set list of songs. Then in the set list I added navigation notes: “No sharps or flats needed.” Or “One A# at the ‘Gloria’ part.” But after writing the list and the notes over and over, last night it was woefully clear that

1. even with the notes I was getting fumbled and making mistakes,
2. even with the same songs I still had to keep remembering the various tricks to each song each time,
3. the set list might not be long enough to cover the full hour, and
4. the people who invited me had no idea that I’d never played a gig before.

Last night I threw away the set list and in the dark on the balcony played one song. Then by listening to that one song it was possible to catch little echoes and reminders of other songs with interlapping melodic lines right in the same key. So if you start with one Russian Orthodox or Gregorian chant, then soon that flows into other chants, into Celtic whistle airs, into folk music, into very pretty flourishes used in rock music. Soon an hour passed and there was the solution: start with something clear and grounded and traditional, send that out and see what tunes call back. So that was the answer.

They had a nice chair set up near the registration table. I brought flyers to hand out and then settled down to play. A couple of mistakes dropped in, but even the mistakes darted off the path to new ideas. Then people stopped by to ask about the instrument and to tell me their own music stories, and then sharing their stories became part of their whole experience of the event. It was a good day.

Our local hospital has a neighborhood house for children. Kids (and their families) can stay there when the children come to the hospital for intensive medical treatment. Maybe they’d like to have someone sit outside on the bench and play there too. Hm…

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3.18: Lent (Великий Пост)

A very small story, in honor of the first day of Orthodox Lent.

In the year 1907 at Optina Pustyna Monastery, two twenty-year-old Sisters came to a cell deep in the forest to confess to Father Varsonofii, their spiritual elder. After a long evening of spiritual counsel, the two young women say goodbye and set out for the walk back through the dark forest of fir trees.
Question: What’s the big drama in that? a modern reader might ask. What can two girls in a midnight Russian forest possibly encounter that can frighten them?
Answer: Anything; anything.

(Русский текст следует ниже — The Russian original follows, below.)

“Our conversation is over. Night has long wrapped the cell, the forest, the little path that we must travel back. Father [Varsonofii] stands from his armchair and prays, prays for us. Then he gives a blessing for our sleep.
It’s late.
Father is visibly tired, but for each of us he finds some little word of affection: Are we dressed warmly? Not chilled, are we? Not frightened of the walk back?

We’re sorry to leave this gracious cell. Quietly, one at a time, we step out to the wing. Father comes out after us. He raises his head to behold the starry sky, the sleeping forest… “Peace and salvation,” he bows to us.
The door closes behind him. We stand and wait for the sound of the latch, and for Father’s candle to disappear in the window.

But the light doesn’t go out. His silhouette appears in the window. He holds the little candle high. Brightly it illuminates the forest path.
We bow to him. He makes a sign of the cross over us once more.
We set out into the woods, turning back for another look at the light.

And so it was, all our lives after: Father holding high the little flame, and we his powerless children wandering the path of worldly life. But when we turn back, when we catch sight of that flame — then life is not so terrible, so frightening. Not when you know that somewhere the flame still burns.

But it flickers out at last; our Father’s gone to rest.
So it is with our lives now: frightening indeed, in this forest, making our way. Now that the flame in the window is gone.

O Lord, help us!”

— Novice Elena Shamonina, “Recollections of Father.”
Blessed Optina: Pilgrim’s Recollections about the Monastery and its Elders [Russian]
Otchii dom, Moscow, 1998?
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“Кончена беседа. Ночь уже давно окутала скит, лес, дорожку, по которой нам надо идти.

Батюшка (Варсонофий) встает со своего кресла и молится, за всех нас молится. Потом благословляет нас, на сон грядущий.

Поздно. Отец видимо устал, но всем находится у него ласковое словечко: тепло ли одеты? Не простудились бы, не боимся ли идти?

Жалко уходить из этой благодатной келлии, и тихо, одна за другой, выбираемся мы на крылечко, и батюшка вышел за нами, поднял голову, любуясь звездным небом, спящим лесом… “Мир вам и спасение,” — кланяется нам, и дверь захлопывается, а мы стоим и ждем, когда щелкнет крючок, и огонек свечи, с которой провожал нас батюшка, исчезнет в окне.

А свет-то не уходит: фигура батюшки появляется за окном. Высоко держит он свою свечечку, и она ярко освещает лесную дорожку, по которой мы должны идти. Поклонимся мы батюшке, он перекрестит нас еще раз, и пойдем по дорожке, оглядываясь на огонек в окне.

Ведь, собственно говоря, и вся жизнь-то наша так шла: батюшка стоял с огоньком в руке, а мы, немощные дети, ковыляли по дорогам и распутьям мира, — и нет-нет, да оглянемся на огонек — и не так страшно станет жить, когда знаешь, что где-то горит этот огонек. Страшно идти лесом, когда не светится окошко его домика. Вот и теперь: ушел наш батюшка на отдых, и огонек погас в окне, — страшно идти нам лесом!

Господи, помоги нам!”

— Послушница Елена Шамонина, “Воспоминания о батюшке,” 1907
Благословенная Оптина: Воспоминания паломников об обители и ее старцах. Издательство “Отчий дом,” Москва (1998?)

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The White Ship (Белый пароход /Ак кеме) Film Review

The White Ship (Белый пароход — Kyrgyzstan, 1975, Dir. Bolotbek Shamshirev) is based on the novel by Chinghiz Aitmatov.

This heart-wringing little movie gem works a similar palette as The Color of Paradise (رنگ خدا) from Iran — Nature, trees, birdsong, meaningful legends, sad end, and grownups too miserable to behold the fragile radiant children who flash into their lives and glimmer out again.

This scene by scene summary will give away the ending, in case there are teachers who want to show the film in class. The plot and dialogue are simple, but the visual narrative is appealing and deserves to be better known. The link given above leads to an online version that is mostly dubbed in Russian, so I am guessing at these bits of dialogue.

Nurgazy is a lovable little boy living on a remote game preserve with a small immediate family, their household animals, trees, some symbolically important inanimate objects, and the family’s perceptions of influential spiritual entities in various dimensions of space and time. Nurgazy is preparing to start school, a time to take his social skills learned at home and applying them with new people in The City. The theme is the tension between home traditions and modern ways. But as the story progresses, there are sharper tensions within both sides; some traditional ways are balanced, while others are harmful, and some modern notions are enlightened while others are simply heedless and greedy. Every member of the family needs to balance the energies within themselves, and find a place in the social network. Along the way, some but not others manage to also find the enchantment of everyday life when it knocks at the heart in revelations small and great.

Nurgazy is a catalyst for everyone’s personality, drawing out the best or worst in each of them. Their responses to him reminded me of a mousetrap game from my childhood, where a shiny steel marble starts out at one corner of a maze. The player has to tilt, shake, rattle and roll the marble home through obstacles of spirals and chutes and slides. Here the bright marble is Nurgazy, setting out radiant and excited on a week of adventures while his family mousetraps his actions, words, voice, and dreams. Childhood derailed is nothing new; it’s a sadly familiar theme in any culture. What adorns this film is the child’s insatiable appetite for bonding, and ability to draw on beautiful traditions from Kyrgyzstan which bear him up and save his spirit if not his life.
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Part 1: The Amazing Brand-New Briefcase

The film opens with Grandfather Momun and Grandson Nurgazy sitting in the grass.
In the background an elderly man is chanting, probably in Kyrgyz but with repetitions of Allah ar Rahman ar Rahim — Allah the Entirely Merciful, the Especially Merciful. A wall photograph of an elderly woman, a building which appears to be a shrine, and Nurgazy’s mention of a grave tell us that this is a memorial service.

After the service, the chanting mourner thanks Grandfather for joining him. “Goodbye, Momun. Thank you for traveling here, to remember my old woman with a good word. Her soul is grateful to you.”
“What else could I do?” Momun replies. “It’s my obligation.”

The point of the ceremony is lost on Nurgazy.
His attention span is short-circuited at first glimpse of all things white-flashed and moving. In this case it’s a view of The White Ship, a graceful serene vessel which forges its distant way to and fro all day long on the shores of Lake Issyk-Kul. Next Nurgazy’s gaze is caught by a white butterfly. He pursues the butterfly through the shrine of tombs, but stops short in amazement at one adorned with colorful paintings. The film slips in to a child’s eye view, where the painted lion and eagle are frighteningly fierce and real, like the painted Kyrgyz hunter aiming a gun at a painted deer. But the deer in its beauty and grace leaves him gasping in admiration. He rushes back to Momun, wanting to know all about the deer, and why the shrines are topped with antlers.
“Because we are People of the Deer,” Momun tells him, with great pride.

The two head home on horseback.
Nurgazy pleads for Momun to take him out to the White Ship to visit Papa. The child’s father abandoned the family years ago, and Nurgazy is convinced that his missing parent must be a sailor on the Ship. Momun humors him, saying their horse can’t swim that far today and besides, Papa is too busy now to stop his work and visit with them.
Stopping by a peddlar’s caravan, Momun buys a little briefcase for the boy’s first day of school. Camera time slows to a silenced crawl as the briefcase floats down to the child’s hands, and his expression changes from frowning fear of the peddlar stranger to boundless joy at having a briefcase of his very own.

Back at home, the child runs shrieking with glad tidings to every member of his family one after the other, showing them all his amazing new possession.
Grandma Karyz snaps “Stop howling — a man’s trying to rest.”
The resting man is Uncle Orozkul in a mid-day hangover, too oblivious to notice the child at all.
Young Aunt Girdzhamal hushes Nurgazy and drives him away, frightened that he’ll wake up Orozkul.
Uncle Seidakhmat is playing his electrified guitar (thanks to his clever wire tapping from an overhead power line); he laughs at the briefcase, teasing that Momun was crazy to waste money on the cheap little trifle.

Nurgazy is crushed by Seidakhmat’s ridicule of Grandfather. Running away he apologizes to his new treasure: “Don’t listen to him, Briefcase; Seidakhmat is not telling the truth. My Grandfather is good and kind.” He takes Briefcase for a walk, stopping to admire and pet some white flowers. At last he finds his sympathetic listener in white Sun, dressed in a white cloud; he shouts the story of his new gift at the sky before curling up for a nap.
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Part 2: The Higher Plane

Grandma is fuming about the briefcase (“I could have sewn him a school sack.”) and its 5 ruble price. The thought of money reminds her to fling at Momun the rebuke that their daughter never sends money home; the girl fled to the city, abandoning her son Nurgazy to be raised by the family. Momun attempts to defend their daughter, but withdraws in defeat as Grandma rales that Nurgazy costs them money to feed and clothe even without the expense of his new school accessory.
She calls Nurgazy home, takes his briefcase away from him, and orders him to stay put at the house and guard the white calf, keeping it out of mischief.

You’d think the family might know by now that paying attention is not Nurgazy’s main talent.
Within his first two seconds on guard duty, the child is distracted by the white hijab of Aunt Girdzhamal at the river. He leaps up to see what she is up to, and finds her scrubbing a pot with sand.
Nurgazy jumps in the water, then tells young Auntie Girdzhamal his secret plan: he is going to practice diving, turn himself into a fish, then swim far out into the Lake to be caught by Papa’s net. “The sailors will say ‘Look — it’s a Fish-Boy!’ but really it’s ME! it’s ME!”
Girdzhamal laughs. Since the grownups aren’t teaching this boy any manageable goals anyway, she laughs at his life plan. “Oh? And what are you going to say to your Papa then?”
Nurgazy hasn’t thought this far ahead; how would he know what sons say to their fathers? “Then I’ll say to Papa… I’ll say… ‘Papa, why don’t you come to see me? I miss you so badly…'” Nurgazy bursts into tears.

Girdzhamal, anxious to distract him, agrees to leave her work and come play. In a charming scene she pulls off her white head veil and becomes child-like herself, running up the mountain with her nephew. And because they’ve noticed Orozkul leaving for town on horseback, Nurgazy brings along Orozkul’s binoculars for the two of them to share.

But their play date is over all too soon. Through the lenses he sees that the white calf is eating Grandma’s laundry! Because the farmyard through the glasses looks close enough to touch, Nurgazy assumes that therefore the family dog can hear the boy shouting at him to go and drive away the calf. Too late! Grandma beats the calf with a stick, then screams at the hills cursing Nurgazy and Girdzhamal, who creep home again in fear of what will happen next.
___________________________________
Part 3: Who can I blame now?
Here comes Uncle Orozkul, home from his social calls, in a festive red shirt in sharp contrast to the whites and greens worn by the other characters.
Nurgazy begs his pardon for borrowing the binoculars, but Orozkul is too intoxicated to figure out what his nephew wants. Uncle can only look at the child and say “Am I worse than other people? Why can’t that boy be my own son coming to greet me?”
At dinner, the family has no opportunity to start eating their meal. Orozkul continues his lament at the table, one they probably know by heart:
1. My wife Bekei still hasn’t given me a son.
2. When I die, my name dies with me.
3. No one will even give me a proper and fitting burial.
4. If only I did have a son, I would raise him to be a true dzhigit (originally from Turkish, “young man”; in connotation, one with superb horsemanship and sword technique). Unlike me, he would not rot in this forsaken boondock with loser people like these. No! He would live in town! He would be respected and honored and feared by all! People would grovel and crawl to him begging favors!
5. Oh, this life this life.

Momun’s face lights up with a bright idea. “Listen to me, my son,” he tells Orozkul. “Why not pray to our Mother Antlered Doe to bring you a son of your very own?”
But Grandma snaps at her husband to stop raving about Mother Deer, and suggests instead (if I understood this right) that Orozkul bring Bekei to the holy city of Suleiman (?) to have her prayed over properly.
Orozkul meanwhile cycles through seven or so mood swings, from grief to sentimentality to hilarity to rage, and then throws the relatives out and begins beating his quiet tearful wife.
Nurgazy in horror turns to Grandfather to intervene. Momun tries to enter the house, begging and pleading “Beat me instead!” but Orozkul simply throws the old man back out the door.
Grandma takes out her upset on Nurgazy, ordering him to bed and forcefully grabbing away his friend Briefcase.

Nurgazy misses Briefcase. So he imagines his ethereal body as a pale transparent ghost, floating out of bed and tiptoeing invisibly past Grandma at her needlework. In a camera double exposure, Ghost Nurgazy sits with Briefcase to keep him company, afraid that his new friend will feel lonely.
“Don’t be upset that I’m not with you, Briefcase,” he apologizes. “Grandma is cursing me, and Uncle Orozkul has insulted Grandfather and beaten Aunt again. If only Mother Antlered Doe would come back! Ah, but you, Briefcase, don’t even know that Mother Doe is the protector of our nation!” With great pleasure, Nurgazy settles down to tell Briefcase the whole beautiful legend, just as he heard it told to him by Grandfather Momun over and over again….
______________________________
Part 4: The Legend
In a dramatic lyrical scene, we see the family’s ancestors living on the River Enisei.
After burying their leader at an ornate funeral, the tribe is attacked and killed by a rival tribe. Everyone perishes, all except one infant rushed to the water’s edge by his dying mother. The baby’s cradle of furs floats away on the water.
A passing wise woman on shore watches the cradle with the crying infant.
Suddenly, a snow white Maral (European Red Deer) appears, and with its antlers tows the cradle gently to shore.
The wise woman warns the antlered doe that this child is a human being, that it will grow up and hunt the doe’s children.
“I could do nothing else,” says Mother Antlered Doe. “The child will grow up with my own; surely he could never kill one of his own brothers. I believe in the noble power of my milk, and my love, the love of a mother.” She takes the child away to a place with no evil people at all — the land of Issyk-Kul. There the child grows up, and takes a bride. And Mother Antlered Doe herself brings the pair a child, carrying the cradle on her own head.
This is why the Deer People pray to Mother to bring them children of their own.

But Nurgazy knows that all the maral deer have fled from the surrounding forest, because the human children grew up and became hunters, frightening Mother and all the deer away. He can only hope that some day, Mother will venture back again.
_________________________
Part 5: Trucks!
In the morning Nurgazy rockets out of bed, armed with Briefcase, hat, bare feet, little shorts, and a sleeveless undershirt.
“And where are you going, Boss?” Grandma asks him. “That briefcase is not your toy. It cost money.” She takes it away again.
Nurgazy is upset at losing Briefcase again, and leaves weeping.

Then, he is distracted by a convoy of work trucks approaching over the field. Wildly excited, he runs to meet them.
In an appealing camera shot, we hear his tiny hollers of gladness as he jiggles along, a dancing dot of white in a great expanse of open land.
The drivers lean out with greetings:
“Hey, dzhigit!
“Hello, old man!”
“Good health, Little One!”
One young driver in a striped Navy shirt calls “How’s life, Little Brother?”
This salutation, or perhaps the driver’s sailor shirt, convinces Nurgazy that this is his long-lost father. He screams after the truck, begging it to stop. “Papa, don’t go, it’s ME! it’s ME!”
Failing to catch up, he finally flees for home in wild despair.
The driver, taken aback at being mistaken for the child’s father, circles back to talk to him.
Nurgazy is so distraught that the driver feels obliged to think fast of some way to console him. Realizing that this is Grandfather Momun’s grandson, he comes up with a creative solution. “Why, my father served with your Grandfather on the Front! That makes us BROTHERS! Give him greetings from Kulubek.”
Nurgazy is thrilled, and begs Nurgazy to come visit the family soon.
_________________________
Part 6. Orozkul
Girdzhamal is playing with Nurgazy again.
To amuse him, she weaves him a crown of flowers, then offers to “show him a film.” She sings a lovely folk song, waving her white hijab overhead in a veil dance. Nurgazy grabs two sticks for antlers and chases her over the hills.
Uncle Orozkul appears on his horse. Stunned at the charm of Girdzhamal’s dance, Orozkul says “Now that’s the idea! To give everything for that is to give too little.” In wild and tipsy laughter he bursts out of the woods and grabs her, crying out “My golden one, I didn’t value you before, forgive me!” He starts singing and dancing a song himself with his horse whip swinging from his wrist, as Girdzhamal cringes and flees.

Back at home in his red shirt, Orozkul lectures everyone on the necessity of living in a cultured manner like people in town. He laments the old days, when in their woods before conservation laws there was plenty of forestry work felling trees. Now he is a lowly game warden ordered to protect the forest and its resources, but back then he was the boss of the work crews. He enjoys describing how before people would grovel and crawl to him begging for favors. To mark his past status he demands that the frightened women drink a toast with him.
______________________________
Part 7. Kulubek
In a heavy rainstorm, Kulubek brakes his blue truck at sight of an elaborately painted white shrine built and inscribed for “OROZKUL, 1925- ”
Nurgazy comes screaming through the rain to greet Uncle Kulubek.
Kulubek grabs the child and rushes him to the shelter of the truck.
“Did Orozkul die?” he asks Nurgazy.
“No, he’s alive. But he says that since he has no son to do it, he’s prepared that tomb all for himself.”
Kulubek shakes his head at Orozkul’s level of pride, drives the child home, and gets permission from Grandfather and Grandmother to take Nurgazy out to a movie.

In town the sky clears, and the soundtrack music changes to an upbeat cosmopolitan tune. We see multi-story concrete buildings, women in short dresses or bell-bottom trouser suits with no head scarves. Happy Young Pioneer children on summer holiday salute as they sail past in a long convoy of buses with the poignant slogan warning drivers “Careful — Children.”
Nurgazy admires the wonderful sights of the city, then boasts to Kulubek that his Papa is a sailor on the White Ship.
“Oh yes, I’ve heard about your father,” Kulubek assures him, turning away to hide a very troubled look out to the water.
____________________________
Part 8. Grandma Makes a Deal
Back at home, Orozkul has forced Girdzhamal into the bedroom and is trying to get her to smile at him.
Girdzhamal escapes when Grandma walks in.
Grandma sits down and laments to Orozkul that she has no one to bury her properly.
“You can depend on me,” Orozkul promises. “I’ll bury you to the envy of everyone.”
But Grandma points out that this may be difficult for him, as he himself does not have a strong family to depend on.
Orozkul reminds her bitterly, in case she has forgotten, that this is because he has no children.
“Do you want a new young wife?” Grandma offers. “My father had 2 or 3 wives, and no one said a bad word about it.” She suggests a discreet “marriage without documents,” and takes Bekei aside to let her know about the new arrangement.
Orozkul is pleased by this idea. “Maybe it is too soon to bury me,” he decides. “Orozkul will show them yet!”
But then a tremendous mountain thunderstorm terrifies the family.
Grandma begs God to forgive her sins, and Bekei blames the storm on Grandma and her scheming.
________________________
Part 9: School
Nurgazy misses Kulubek and wonders why he doesn’t come to visit.
Momun reprimands the boy sharply for getting his hopes up. Grandfather insists that Kulubek will never come back, and that’s the end of it.
Interesting; Grandfather is content to humor the boy’s constant wish to see Papa on the ship, or Mother Deer in the woods, while forbidding him to wish for a sensible young man who is in fact far more likely to return than either of Nurgazy’s parents. Perhaps Momun is simply reluctant to allow any more sources of potential heartache in the boy’s life. Or perhaps Kulubek’s consideration and good manners are a painful contrast to the family’s inept indifference.

On the first day of school Momun and Nurgazy are setting out for the schoolhouse on horseback.
But Orozkul makes plans to cut down and sell some trees (safe from the interference of the Game Warden, since he is the Warden himself). He wants help with the heavy labor of dragging the lumber. He is enraged that jolly Seidakhmat and his guitar are gallivanting in town, and that Momun has dared to leave the property just to take Nurgazy off to his first day of school.

When Momun returns, Orozkul forces him to push the trees on their chain while Orozkul rides ahead to drag them. “Because if I die working alone, who else will ever take your barren daughter?”
Orozkul refuses to let Momun leave to pick up Nurgazy at school. Momun works until he is dizzy and breathless, heartsick that when the school closes Nurgazy will be very frightened all alone in town.
Orozkul’s negligence and rage nearly get them both killed, and Momun muses that this poaching will end badly. Only the wonderful appearance of some maral deer consoles Momun. Orozkul curses the deer, beats the horse, and hits the old man. Only Momun’s dexterity and wisdom saves them all before he quits the job and heads for the school.

In town with its jolly soundtrack, heartbroken Nurgazy is sobbing outside the school. Having little or no experience with reliable adults who return to him, he assumes that Grandfather has abandoned him too. His pretty teacher tries in vain to console him and to get him back inside to wait.

Just then Kulubek, driving a truck full of singing workers, pulls over. Kulubek and the jolly workers sweep Nurgazy away to their working camp. Soon in Kulubek’s hut Nurgazy is safe and comfortable, and Kulubek plies him with two hearty sandwiches, one for each hand (the only moment in the film when an adult thinks to hand this child some food). Kulubek apologizes that his work schedule did not allow any visits to the house: “I thought of you and wanted to come see you. But I couldn’t come, though I prepared you a present.” He gives Nurgazy a new toy tank.
Nurgazy is stunned by this new toy, and only tentatively puts down a sandwich to begin engaging with it.
Then Grandfather Momun walks in. He coldly refuses Kulubek’s hospitality. Clearly suffering from loss of face at Kulubek’s assistance, he takes back his grandson and marches out without a word of thanks. Momun can bear beatings and threats himself at home, and can take his grandson back to watch and learn more of the same; but he finds the younger man’s intervention unbearable.

Kulubek is left alone, baffled and concerned, holding Nurgazy’s forgotten tank.
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Part 10. Ending

When the two arrive home, both Orozkul and Grandma curse them both for taking time away from logging.

Nurgazy throws himself down weeping at the edge of the water.
Suddenly, three splendid maral appear to him.
Nurgazy is enthralled. He walks closer and closer, not noticing the cold water as it washes up over his ankles. He watches to his heart’s content until the deer finally walk away.

Nurgazy runs home in his wet clothes, shouting the good news about the deer to the family.
But Momun sits frightened by Orozkul’s threats, and Grandma fiercely tells the child that no one cares about his deer right now.
Nurgazy ends up in bed, shivering with a fever. He calls and calls for Momun, but the old man is off weeping in despair.

Next day Nurgazy is very ill, and can’t go to school.
An old friend of Orozkul’s comes to pick up the lumber, and notices the maral deer. “They’re not afraid of people. And look how fat they are.” Hm…

Kulubek stops by the school. The teacher tells him that Nurgazy’s family didn’t bring him that day. Kulubek turns away, deliberating on what to do.

Nurgazy in bed hears gunshots. He slips outside.
Momun is sitting in shock, staring at a cauldron of boiling water. He tries to rush the child back into the house. But Nurgazy sees Orozkul come carrying the antlered head of a maral.
“This is for your grandfather,” Orozkul boasts to the boy. “I’ll put these antlers up over his grave.” Orozkul slams an ax into the deer’s skull. To the child in his delirium, it appears that Orozkul is also chopping the cradle of their ancestor baby.

As night falls Nurgazy is left in bed alone; in his sleep he cries out for Kulubek to come in his truck and avenge the slaughter and desecration of Mother Antlered Doe.
Meanwhile, Orozkul force-feeds the family poached deer and alcohol. He roars with laughter at how comical it was, watching Momun groveling and begging him to spare the deer’s life. As a joke, Orozkul forced the old man to kill the deer instead, or else be driven from the house.
Nurgazy overhears him, and understands only that it was Momun who fired the shots that killed Mother. At this, Nurgazy struggles out of bed sobbing and wanders outside. Burning with fever he staggers down to the cool river. In the dark he falls under the water and lies there, dreaming of the white sun over Lake Issyk-Kul, and that Papa nets his Fish-Son and reels him in at last.

Naturalist John Muir wrote about his early life in The Story of My Boyhood and Youth. The boy makes the best of hard labor and privation with an unsympathetic father, and finally leaves home with a satchel of homemade thermometers and alarm clocks. His workmanship delights everyone who sees him, winning him a booth at the World’s Fair and entrance to University despite his parent’s dire predictions that he will fail:

[Father] tried to assure me that when I was fairly out in the wicked world making my own way I would soon learn that although I might have thought him a hard taskmaster at times, strangers were far harder.
On the contrary, I found no lack of kindness and sympathy.

Not all deprived young people make the leap of leaving family opinions behind and seeing themselves through the eyes of sensible sympathetic mentors. Nurgazy is too small to leave home, and has no practical tools but legends, magical thinking, and an empty briefcase that no one has thought to fill with books or lunch. Sinking underwater, he doesn’t see the approaching headlights or hear the truck engine as Kulubek comes speeding over the mountain to find him.

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2/9 Still Life: Arlington National Cemetery

Is that the bugle?

I sit up and listen. Sure enough! I throw off the blankets and leap off the couch, running to the balcony to hear it.

What a view! There’s the Washington Monument on the misty rose horizon.
My local host, also my old college friend, appears from his bedroom and heads for the kitchen.
“‘Reveille’!” I sing out. “Like the trumpeter on F Troop!”
“Who, Dobbs?” He shakes his head and laughs. “Nah. This one’s a recording.”
“Oh.” Even recorded, it’s a trailing plaintive sound. On this vacation it’s also a daily reminder that Fort Myer and the Cemetery are practically at the doorstep waiting to be explored. “I’d like to hike around there today.”
“Ok.” He pours the coffee and loads some files in his briefcase. “Take along that green moss you grew in my refrigerator.”
“My mung sprouts! Yes, I’ll bring those along for lunch. May I take a couple of your leftover baked yams too?”
“Knock yourself out. Call the office if you need anything.” He grabs his car keys and heads for the elevator.

Water jar. Yams, sprouts, bananas, almonds, Whole Foods rye bread. Out the door.
Here’s the clean orderly Metro with the waffley acoustic ceiling to cut down noise, and the flashing sign telling us how many seconds left until the train is due.
On the Blue Line train outbound, lots of commuters are in military uniform.
One commuter isn’t, but acts as if he were; he’s my seat neighbor, a craggy fit-looking man with a silver crewcut and upright posture and stern face. He snaps an order at me. “Young woman! I want to know the exact meaning of that symbol you are wearing!”
“Here you are, Sir.” I give him a smile and hand him my necklace. “This is called a Tree of Life. It’s the symbol for The Living Bank, the national organ donor registry. Any medical rescue professional seeing this will know I’m a registered donor, and they can turn the medal over to call the toll-free number on the back and tell them there are organs on the way.”
The man stares at the medal, both sides. His eyes fill with tears. “Thank you, Young Lady. I believe you: you LOOK like an organ donor.”

Here’s the stop.
The boulevard leading in is so grand and clean, you’d think it led to the Kingdom in the Book of Revelations. Over 20 burials a day, says the sign; 290,000 graves. [Note: It’s 400,000 now, on 624 acres.]
Early Monday morning, not a tourist or car in sight. At the Visitor Center I view some photographs and pick up a map, and set out for the morning’s walk.

The winter day is beautiful, dry and clear. It’s so calm, not a leaf rustles on the great oak trees. There’s not a soul around, no sound of humans but a distant jet. Not even a bird or a squirrel.

A little flame is burning for the Kennedys and two children, Patrick and Daughter.
A little holly bush marks a memorial for Major Glenn Miller, missing in action since he led his band for the troops in 1944.

After three hours I take off my sweatshirt for a cushion, and settle down for a tasty lunch.
That concludes our adventure; it’s time to go back to the house. The map here points to lots of prominent landmarks; but where are they around me? I walk a long way, checking the map every hundred paces or so, but nothing matches up. So I strike out crosswise for another quarter hour, still checking the map, but the signs in view aren’t written down on the paper. Then I curve around and try a new direction. Still no go.

An hour’s gone by. Huh. Where were the Kennedys again?
That monument all the way over there looks important. It must be on the map. So I head that way on a little path across a long valley of white headstones.
Left, right, left, right.
The sun is getting hot and makes my eyes ache.
White marble. Black wrought iron. Fawn oaks. Blue blue sky.
The valley is longer than it looked. That monument isn’t getting any closer, but these identical grave markers are marching in neat rows, converging toward me.

Now there are horse hooves echoing in the sky. Hooves! Not cowboy movie hooves gallumping in threes, but trimmed hooves clicking along in step.
Horses are interesting animals, but hooves by themselves are a little eerie when nothing is moving for as far as eye can see.
Then all the hooves stop at once.
Silence, stillness.
Where am I?
White, black, fawn, blue.
White, black, fawn, blue.
White, black, fawn, blue.
290,000 people. What if life turned out the other way; what if the wars ended and they all came home, and could be here today with me? Young guys joking and throwing acorns, old ones hanging out in sunshine telling brave stories?
(Note: Arlington National Cemetery is for all kinds of military personnel including retired ones, and their families too. Plenty of people here really have enjoyed long peaceful lives. But that occurred to me only later, safely back in bed on my host’s couch.) Off the trail with the sun beating directly on my head, surrounded by all these headstones in their sheer numbers and marbleness, weighed down undersky, I feel small and soft and light-headed. I put down my sweatshirt and sit on the ground.

A blue jay lands beside me.
He wears all four colors of this landscape on his back. It does me good to see a moving creature here. Jays are wary birds, but this one isn’t scared of me at all. We sit a while, a Still Life with bird and organ donor.
Opening my pack I show him some mung sprouts and leave them on the grass for him to eat.

That cheers me up enough to get me moving.
I strike out for a little grove of trees to rest my eyes in coolness, blunder on in among the evergreens, and freeze.
Seven white horses with carriage are standing at attention, bright beings in dark shade.
Twenty steps away there are several young men in uniform, conferring very quietly.
I keep my distance, looking on; they must be on parade display so often, it would be wrong to interrupt their rest.
Then all at once in a flash they’re on the move to a funeral. The men mount up. One hums a little rhyme to the horses so they’ll strike out in step.
On the Cemetery’s website you can find their picture, the Caisson Platoon. But the photos don’t tell you their names, or what they like to eat, or what breed of horse they are, or how the men tell them apart. Pictures don’t show you how perfect white horses coming from dark trees look like a dream, flowing overground, manes and tails in shades of cream and pearl, to guide another soul along the road to Revelation Kingdom.
They disappear. World and map click back together. I’m found again.

11:00 p.m. My host calls from the bedroom: “Taps!”
So I leap off the couch to the balcony and city lights.
“Day is done,” the Cemetery bugle says. “Gone the sun. From the lake, from the hills, from the sky. All is well, safely rest. God is nigh.” Playing tranquility to 290,000 and one.

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