Friday, September 4, 2026

Sky Blue, Canary Yellow

It was the July, after my father died in our front hall. He was smothered by his own heart. He died in April and I imagine it was one of those beautiful days in California’s ephemeral spring. I imagine that because he always had a gift for wasting a perfectly lovely day. I had taken a trip to Oregon and before I left he told me “you’re going to die up there”. I didn’t get an explanation for that comment, but maybe he made it because he thought of Oregon as never hot. He often complained to me when in warm or hot weather that “you can only take off so many clothes”, so he would migrate to a local bar. He never complained about cold, but his discomfort became obvious when he once again migrated to a local bar, returning only to light a fire of green wood, which provided no heat and only a bit of smoke. When I asked why he didn’t use firewood that could provide actual flames, he would say “it burns too fast”.

Someone discovered charred remains of a burrito still cooking in the oven when my sister found him two days later, his face blue and mouth agape from cor pulmonale. If you don’t know what that is, take my father’s forever advice: look it up. His doctor, I guess I should say our doctor, the family doctor, told me he (the doctor) had encouraged my father to quit smoking, quit drinking, and get more exercise. After relating that lost advice, the doctor shook his head while saying in a simple tone of wasted effort, “…your father…”, neatly trimmed of pity, contempt, and disgust. He had tried and failed to help along with many others. Afterward, I told anyone who would listen that progress toward my father’s death was a race between alcohol and cigarettes, and cigarettes won. His strange death, in its horror movie pose, was ten years after my mother’s suicide in the kitchen. That day wasn’t particularly cold even though it was winter.


Originally, my mother demanded ,and got my father and maybe a neighbor, to paint the kitchen in a kind of brick red everywhere except around the window trim; that was white. Later, perhaps she realized how unnerving that red was, and changed the color to a canary yellow ceiling, and bright wallpaper whose dominant color was canary yellow, and she hated unpainted wood, so the cabinets were painted canary yellow as well. The window trim remained resolutely glossy, brilliant, white. 


My mother chose another one of the days I was away, with a friend. He and I toured a community college in Redding one day and the next morning sat discussing a vague plan about sharing an apartment when his phone rang and answering, he looked a little startled, then held out the phone to me saying, “It’s for you.” I was very startled, because I hadn’t given his number to anyone. In those days before mobile phones, and while my parents were still alive, I specifically hadn’t given out a number where I could be found. I didn’t want to be found, especially by my family. However it was done, my brother found me and said in an almost puzzled tone, “can you get here pretty quickly?” When I told him it was a three to four hour drive, then asked why, he got incredibly vague. I didn’t get much else except a sense that something bad had happened. I told my friend we might have to change our plans. I think I knew somehow what had happened, and that might be important as I continue this.


As I said, it was July, and one of those mid-July mornings when the temperature is already near one hundred degrees Fahrenheit. I had just finished some dishes and was thinking about the next chore when I felt a sudden sonic pressure release as the refrigerator stopped humming. The silence invaded my brain as well giving it a rare respite from my usual clatter of thought. I felt nerves and muscles relax as the moment wrapped itself around me. Unthinking, I stared at the spot where my mother’s body had dropped when that precious silence was invaded by a buzzing and click of a large fly landing on the outside of the kitchen window, a large double sash affair, framed in its glossy white trim, looking out on trees both wild and semi-domestic, and above them, a frame of sky blue. 


The large fly kept buzzing and landing against the outside of a particular window pane, occasionally doing that gesture flies so often do, of rubbing their front legs together like they’re planning mischief. I watched it fly away from the glass a few inches and then return, clicking against the glass each time it landed. I may even have had a moment of pity, wondering if it were trying to escape the heat outside. On it’s penultimate landing, it did some mischief planning, then buzzed a little without taking off. Then it buzzed again, then once again. Once again, it took off briefly for the final time then returned to the same pane. For a second, it’s stillness complemented the universe. Then, as I watched, it’s wings began to buzz against the glass, and in what clearly was a violation of the laws of physics, the fly was on the inside of the window pane and after giving itself a moment of rest, flew through the kitchen and into the dining room. 


My only thought was, if they can do that, what is the point of having windows?




Wednesday, July 1, 2026

June Gloom, Pelicans, A Party and Antonioni

I pretend to understand what a dog means when it is howling, they sound like they’re calling for some kind of response, and it is the same with birds. Humans, they talk to themselves. I do. I feel myself mouthing words in Antonioni’s La Notte, those Italian syllables bubbling against a white noise of rain falling, the rain in the film; here there is a marine layer hanging over a June Pacific, pretending to be rain. 

I am continually intrigued by movies, especially those of Fellini and Antonioni. Signore Antonioni created  artful tension, that if it ever existed in life, has since been tortured to death by the chaotic fingers of internet massage. Personally, I am as easily distracted by pelicans soaring in formation, and ships like blocks of wood floating on the horizon toward Oakland, but the internet with those endless videos and photos and words and AI generated … well, it’s called information, yet there isn’t much information included … that content, for me has more in common with pollution. Maybe movies are just more pollution..


So I sit … listening to Italian punctuating the whoosh of the heating system blowing through vents in the floor, then I stand and wander into the thin mist outside trying to see if people at the party next door are having fun; I can’t tell. In every glance I take between staring at the ocean, they seem so deadly serious. The mom told me a few weeks ago her son was getting married, so today she decorated her fence with brightly colored ribbons and tassels, tagging her house as the destination. 


After all my furtive glances across the street I return to La Notte’s gray scale distances. Distances between men and women, distances between a presence and lack of presence, how money increases distance between bourgeoisie and proletariat, after all, it’s 1961, the economic miracle is still in bloom, a time filled with “vile and anti-philosophical” content without intention, where the only purpose of democracy is to remind humanity that it lacks courage to say what is of value and what is not, the only guidance is to take things as they come. Thank you, Signore Antonioni. 


As I drift between drifting after watching my neighbors drift through their living room, and consuming La Notte like a fine, however melancholy, dinner, I catch a strange affectation in the subtitles when Jeanne Moreau asks Monica Vitti, in a rather entitled and world weary and envious tone, how old she is, and Monica Vitti responds with an aplomb born of too much experience for such a short life. The Italian is “eighteen and many, many months”, which I think is a great line. The subtitle says “twenty-two”. In my current mood, similar to Monica Vitti’s character, such a translation is a lie and makes me wonder how many translations are just as faulty, in so much the same way, I convert my thoughts into speech, sound, occasionally I invent a bon mot of my own, often I misquote others, all of those tainted with the dull indifference of habit. Thank you again, Michele. You never stop giving. I continually am urged to keep moving forward … they, my adoring friends who want to be helpful, also say I am the only person who can know what forward means to me. 


I may be moving myself in circles. Or my perspective is coming from such a distance, movies seem solid. In this moment La Notte is solid, dimensional, compared to this room, or the furniture, this chair where I sit, the books, the art, the piles of objects, even myself. I slump forward when I notice my keys for the post box and house splayed out next to electronic remotes and a hard faux leather case for my reading glasses. Reluctantly I put them on and pick up a remote to pause La Notte and Jeanne Moreau and Monica Vitti halt in mid-gesture, still, yet my reality is vague compared to the image still caught on the screen in Antonioni’s chiaroscuro.


I feel something not happening, a pause, as if the planet wasn’t turning as it had a moment ago. The light bouncing through the mist is the wrong color and it has no future, it landed without a story worth telling, its present unmemorable and so unredeemable. This summer dusk has no memory.  I touch the play button and Monica Vitti says with finality, “You two have really worn me out tonight,” she touches a switch with her foot, and is transformed into a silhouette backlit by a gray dawn. Is it the same gray light seeping into this room?  An image, a thought untranslated or subtitled tells me I want to watch L’Eclisse. Do I need an eclipse? 


Without a graceful interlude, my fancy technology takes me directly into Antonioni’s L’Eclisse. L’Eclisse has no subtitles and I feel a sense of relief; even when I do not understand, its lies belong to a fiction being presented as truth. This room I inhabit pulls darkness into its curves and corners, with an old-fashioned floor lamp lit to fight off my personal shades and an ocean of black outside. Monica Vitti has pulled aside a curtain admitting me into another gray, unwilling morning. Her curtains lost their defence against daylight after this terrible night, my lamp and the film’s house lights insignificant against that spreading sun. As she leaves, we are both soundless except for the click of her heels. Is she looking for connection? I am. 


Now it is overwhelming day in a chaotic Rome stock exchange where Alain Delon tells us why there is a minute of silence, we accept it as the briefest of memories for someone soon forgotten when chaos erupts again, we still have no idea who that man might have been. 


I feel I will be remembered like that, perhaps a moment of silence enveloped by chaos. Tempi morti. My existence a silence defined by a louder, more dramatic story surrounding its all too porous borders, the moon, bloodied by a shadow. 

Wednesday, April 22, 2026

Beyond the Blank Wall

I sit comfortable 

as our conversation 

rambles on global politics, 

food, thoughts on climate, 

sitting in brilliant sun, 

my eyes hidden behind 

darkened glass, 

my face shaded 

from burn, annointed 

with lotions to prevent 

me from that myth 

of flying close to the sun, 

but fly I do 

on my fragile wings. 


Maybe I’ll wait for 

a perfect moment 

to swing my sword 

hammered from nouns 

and verbs into a casual 

implement of vengance, 

or maybe I own 

a sensitive memory 

to a missing history, 

or a forgetfulness 

to consequence brought 

on by delight in summer heat, 

but wax holding feather 

to wing has begun to melt 

and watching that first 

feather detach itself 

makes me laugh, 

the second, not so much, 

as it brings a chill 

when I begin to see 

my framework exposed. 


So far above mountains 

and fruited plains am I, 

descent is ecstatic. So 

fascinated in my freedom, 

I imagine paradise, so 

when will I recall 

that wag who quipped, 

“it’s not the fall that kills; 

it’s the sudden stop 

at the bottom.”

Tuesday, March 24, 2026

What Is Known

What I, not so secretly, want to do is say I told you so,

Especially after those decades of hearing,


You’’re crazy, that never happened, that’s not true,

That’s not how it was, your memory is wrong,


Now I see documents, authority, the authority 

You said you didn’t care about, who cares


What those books, or papers, or forms say, they

Are wrong wrong wrong wrong wrong.


Well, maybe everything that was ever printed 

Is crazy or mistaken or wrong or couldn’t


Have happened, especially not in any of those

Ways that are written down by idiots


Who didn’t know any better because who are

They to question the words of a hero?


But now, seeing names and dates and places

And times in well remembered cursives


Of George and Helena, for their golden boy James,

declaring on penalty of perjury their reality, 


We the undersigned do solemnly swear this minor

child of ours into the protective care


Of the United States Marine Corps where he

will become a man of god and honour,


but who, despite each promise wanted 

his momemt in the tropical sun,


which wish came true as he spent the entire

duration achieving a Hawai’ian tan.


A calm, like a warm south Pacific wave rolls 

Over me without the fog of battles past.

Wednesday, March 18, 2026

Golden Key

I know which figs to reach for 

It’s a simple matter finding the sweetest


And just so

life could be as sweet


But it is not


I am stunted

Nipped at the bud

By my own hand


And blame the world for making shears 


For fear of bearing rotten fruit


I hang tightly to precious

Perfect 

little blossoms


a cage of straining limbs

leaves curled in anger


The way out

Carved

into a key


Thrown away


But i am always mindful 

Of the glint

From where it landed

Monday, March 2, 2026

37 Calle Vela Blanca

July 2017, 

37 Calle Vela Blanca,

San Jose,

España, 

street view,


A young couple


with old connections,

breaking, repaired,

frustrated, in pain,

pieced together,


wrapped in summer 

on Calle Vela Blanca,

White Candle Street,

Spanish heat 


burnt sentiment

dessicated tears

blistered hearts

and dry vacant lots


near that house, 

with its pergola draped 

in bougainvilla

inside its garden wall,

outside a small white gate,

that red 50 gallon drum

and stunted cypresses


down from 

Calle Cala Higuera,

Fig Cove Street with

its green garbage skip,

a century plant, 

where above

the final bloom


balanced on 

power lines,

and sitting atop 

a power pole

that pair of doves

gazing  quietly,

at the mystery


of a long embrace,

after

he said she said

after

his helping hand

assisted her, 

in rising from


her grief,

where, she sat

head in hands


after

he stood

outside her

comfort zone,

gesturing


as he and she

give startled looks

to the singular parade

of google’s passing,

that white, red, green,

yellow, blue, clown car,

with its black robot camera

silently recording


a passion play,


and over there,

yards away, up

on Calle Cala Higuera,

a man wearing 

his green shirt

and red shorts, offers

momentary glances, 

not caring,

what he sees


the dejected pose,

the frustrated gestures,


well staged

for Google’s camera, 

backward forward,


a final separation,

a reconciliation,


a vulnerable moment,


a most

vulnerable moment, 


on Google earth,

for an entire planet.


a virtual corner 

turned, up

from C. Notario, 

or down 

from C. Cala Higuera,


but take a last look,

July 2017 is gone,

it’s October 2018,


or 2020


that couple, gone,

those doves gone, 

a century plant gone, 

that ephemera

gone, a summer,

gone.