The older I’ve gotten (and I do attribute it to age), the more I’m prone to seeing people as they might look years from now. It’s like I create those time-altering “Have you seen me?” photos in my head — the photos on the back of junk mail postcards sent to help rescue missing children. […]
I took this while waiting for my mom to roll in. We walked to the Metro and saw the Van Gogh exhibit at the Phillips. At eighty-six, my mom’s steely as ever. When Metro’s machine spat her fully-paid fare card back at her, she simply climbed over the turnstile.
On my first visit home after William died, a storm shook brittle branches and brown needles from my parents’ longleaf pines for my father to pick up and rake. My father’s ’68 Continental, no longer subject to falling branches thanks to a tree removal he had ordered, was still in the driveway with one side of its black convertible top still sagging. But the feeling about the large, old subdivision lot was different, and after the storm I walked the place to look closer. Songbirds chirped with impunity and thought nothing of hopping on the grass. My shoes sank into the sandy, Tidewater soil beneath the lawn, now undermined by moles. And, for the first time in sixteen years (as far back as my memory served), there were cats.
Bethany’s fall semester ended in late January, and her spring semester begins in early April. She’s been traveling around Japan in the two-month interim, staying in hostels and meeting up with friends.
Now she’s working on an organic farm in Nagano, which a lot of us older Westerners may remember as the home of the 1998 winter Olympics. She’s neither farming nor skiing, though. She’s earning her room and board by doing odd chores and helping her host with her seamstress business. Bethany loves crafts, so it’s a good match that way.
Last month at Kenyon’s Gund Gallery, Victoria and I moved among Bethany’s hundred-and-forty-odd, glowing and pulsing sculptures. As our eyes adjusted to the dark, we found that we were becoming part of the installation. It was ourselves, and not the sculptures, that we began to see and understand.
This secret knowledge hid us from later visitors, at least from those who didn’t stay long enough to discover that the sculptures’ lights weren’t static. The lights pulsed neither in unison nor in disregard for one another. I sat under them to see how they got along, much as I spent long stretches on beds of pine needles as a kid wondering how the trees got along.