And then she followed

If there’s no one beside you
When your soul embarks
Then I’ll follow you into the dark

Death Cab for Cutie

Last year was an awful year.

I know, I know: it was an awful year for many of us. Most of us, perhaps. And I am old to enough to know, in my bones, that the man on the screen spoke truth when he said that our personal problems don’t amount to a hill of beans.

They don’t. They really don’t.

But it was a year to me personally, of awful grief: first, my father taken down by Covid in April 2020, and then less than 10 months later, my mother — the woman he loved so much, that he cared for so well — their wedding photo was his Facebook avatar — followed him.

Karen and Jim Mortensen

Which wasn’t entirely a surprise. They were married just shy of 60 years. She was already, increasingly, frail (the more frail of the two of them, by a lot, or so it seemed until he got sick); her mind — her memory — was failing her. She was very dependent on him. How it must have terrified her, when he was suddenly gone…

We know these things often happen when two people are married for 60 years and one of them passes.

What we can’t know, until it happens, is the manner of it — the manner of the passing — the suffering. The insanity of the living that surrounds the suffering.

In any case, her time came, and it was over.

She passed in January.

I haven’t been able to bring myself to post about it.

It was a year when so much that I hold dear has been lost. It hurt, terribly. It still hurts. I can’t imagine that it will ever stop hurting.

But I’m not alone, I know. Nothing that has happened to me — to our little family — has not happened already to countless other souls.

And Mom — I’m going to speak these words to you, Mom — as you were dying, I began asking myself. Now that so much of what I held dear is lost, what is left?

And I realized that what I remember from my earliest, earliest childhood is only six things.

Six, really simple things.

You. I remember you, Mom.

And five other things. Dad. Sigrid. Beautiful Oxford, New York. Nature. And God.

And what else I also remembered, finally, in these past few weeks, is that it was you, Mom, who brought me God.

And not as mere ritual. Not as just church on Sundays and grace before dinner and prayers at bedtime, but as a way of being in the world – a cultivated habit of constantly turning inward and talking to God, asking questions of God. Expecting of myself that which God would expect: to live authentically, to be unafraid of even painful decisions, to be unafraid of even suffering – because being right with God is always what is most important.

I turned 60 last March. Fifty nine years with Dad. Fifty nine years with you, Mom. And then, in the span of a few short months, you both passed through that one-way door, and were gone.

And every one of us, if we live long enough, will lose our parents, and know what it is like to lose our parents. It is a shock. A systemic shock.

In his book Hauntings, psychologist James Hollis observes that to lose your parents is to lose your home. That resonates with me. It’s why losing you and Dad felt like the ground was being yanked out from under me.

Losing our parents turns us into wandering souls. And then we have two choices. We either wander, lost, in what’s left of our old world, or we try to find our footing in a different world, where home isn’t a place and it isn’t a person; where families can be destroyed in an eyeblink — where home is defined by our relationship to the infinite itself — with something that can’t be touched or tasted or seen.

Losing Dad was a shock that brought me to my knees . Losing you, Mom, was a bitterly hard aftershock. But also, in a strange way, it cast me back to what you taught me.

There is nothing in this world that does not change. We have nothing in this world to hold onto.

Instead, we have to hold onto God, even when God doesn’t show His face, even when our faith, like the knight said in the Bergman film Seventh Seal, “is like loving someone who is out there in the darkness but never appears, no matter how loudly you call.” Even when, as the Book itself says, everything we puny humans wish to have or be or fight for is really nothing more than striving after wind.

Mom, you taught me that it is the calling that matters, not the answer, because it’s the calling that is our true home.

I confess. I didn’t fully appreciate your gift — the enormity of your beautiful gift to me — until you were dying. Until I knew we were going to lose you.

I did have a chance, thank God, to tell you, before you left, that I finally realized this gift. I got to tell you how grateful I am to you. That the gift you gave me is the most precious thing I own.

I love you so much, Mom.

Thank you so much, Mom.

Small town, alumni weekend.

If you know me, you know I grew up in a small town.

What a blessing it was.

I saw so many people this weekend who I haven’t seen in years–30, 40 years in some cases.

I’ve been trying for a couple days to put words around something … trying to articulate how people can be so altered and at the same time even more themselves.

Then this morning it came to me: “tempered.” We’ve been tempered.

The things that have happened to us that burned so hot–

By which I mean not only the painful (losing the loved one, the marriage that went bad, that tore up, tore us up) but anything extraordinary. The day you look at your kid and it strikes you, this person here, this extraordinary person who is part of you but not, the center of your life but free to go  and then one day gone but never really gone. That heat, also.

The decisions we make. (I’m moving away. I’m moving back. I’ll take this job. I’ll quit. I’m going to fight this thing. I’m done fighting …)

Tempered by the heat of the extraordinary, and the extraordinary is anything that heats the heart.

It burns off what doesn’t matter and leaves what does. And you can see what’s left in peoples’ faces, in how they stand. It doesn’t even take words.

I love you all so much.

I’m so blessed, to have grown up in a small town.

I love you all so very, very much.

Famous neighbors: Scott Adams

A is Oxford, B is Windham.

A is Oxford, B is Windham.

I blogged a few years back about how Camille Paglia lived, for a time, in my hometown of Oxford, NY.

Turns out I had another someday-would-be-famous neighbor — not quite so close as in the same town, but I’m still counting it :-)

Scott Adams, who is three or four years older than me, grew up in Windham, NY.

Windham is about an hour and forty five minute’s drive from Oxford. That sounds like a lot except that the driving consists of winding through 2-lane mountain roads. I speak from experience. Delhi, NY, about halfway between the two towns, was (is?) one of the schools in the same sports section and division as Oxford; anyone who played or spectated Oxford sports was in Delhi several times a year during high school. I remember it as being the looooooong bus ride :-)

And Route 23, the main road into Windham, is well known to Oxfordians. It’s one of the main highways out of Norwich, the Chenango County seat.

As Upstate NY towns go, I don’t need to see Windham to know it has a lot in common with Oxford, although it’s probably a bit smaller (Adams writes in How to Fail at Almost Everything and Still Win Big: Kind of the Story of My Life that he had 40 people in his graduating class).

In his book, Adams tells a story of how his car broke down once between home and Syracuse on a “newly constructed highway through a sparsely populated valley in the Catskill Mountains.” I have to think that’s Route I-88, right?

Here’s a WaPo article by Adams — one of several that have appeared lately that are excerpted from his book. I read it today, because of course I want to be happy, and which reminded me that How to Fail… was on my TBR pile.

Highly recommend the book if you’re looking for some New Year’s encouragement :-)

Post office mural from Oxford, New York

UPDATE: The artist of the P.O. mural pictured below is Mordi Gassner. The title is “Family Reunion on Clark Island, Spring 1791.” Tempura, 1941.

With the Post Office in a world of financial hurt, it’s no surprise that it is starting to sell off buildings.

Some of those buildings however house public art. From the WSJ:

Between 1934 and 1943, hundreds of U.S. post offices were adorned with murals and sculptures produced under the Treasury Department’s Section of Painting and Sculpture, later called the Section of Fine Arts. Unlike other federally funded arts programs at the time, this initiative was not meant to provide jobs but “was intended to help boost the morale of people suffering the effects of the Great Depression” through art, according to postal officials.

Yeah, those murals. Like the one in the P.O. in Oxford, New York, where I grew up.

It made a very vivid impression on me as a kid. I can remember waiting while my mom or dad mailed letters or bought stamps and staring at that picture. It was so big, so dark; I thought it was magnificent but also a little creepy.

A few years ago I took some pictures of it, and I’m glad I did . . . here they are.

1941 Mordi Gassner Mural Oxford New York post office

Mural from the Oxford, New York Post Office.

Detail, 1941 Mordi Gassner Mural Oxford New York post office

Pioneers greeting and shaking hands: the central tableau of the mural. Those pioneer women sure were muscular ;-)

Detail, 1941 Mordi Gassner Mural Oxford New York post office

The thing that most fascinated me about the mural when I was a kid was the white ox’s eye. I thought it looked human. What I notice now is that the man with the oxen and barge is entering the scene . . .

Detail 1941 Mordi Gassner Mural Oxford New York post office

. . . while the Native Americans on the far left hand side of the mural paddle away.

I would love to know who painted it . . . have posted the pics to my Facebook page as well, so maybe somebody there will chip in with some more information.

Me and Camille

Paglia. We both lived, as children, in the same town. Not at the same time, but very nearly. My dad taught in the same school where her dad taught.

She mentions it in a Salon article [Update: link doesn’t work any more …]

Just so you know how unlikely a coincidence this is, the town numbered about 3000 when I was a kid.

Something else I have to wonder. Take a bright, observant, verbal post-WWII young girl with aspirations to be a writer and plunk her down in that setting and maybe some of what happens next is a bit inevitable. I mean, the passage where she mentions Oxford. This is exactly the kind of thing that I experienced as a kid, and I completely “get” how it shaped Paglia’s understanding of gender and feminism. I was shaped by the same sort of experiences.

Perhaps Palin seemed perfectly normal to me because she resembles so many women I grew up around in the snow belt of upstate New York. For example, there were the robust and hearty farm women of Oxford, a charming village where my father taught high school when I was a child. We first lived in an apartment on the top floor of a farmhouse on a working dairy farm. Our landlady, who was as physically imposing as her husband, was another version of the Italian immigrant women of my grandmother’s generation — agrarian powerhouses who could do anything and whose trumpetlike voices could pierce stone walls.

Here’s one episode. My father and his visiting brother, a dapper barber by trade, were standing outside having a smoke when a great noise came from the nearby barn. A calf had escaped. Our landlady yelled, “Stop her!” as the calf came careening at full speed toward my father and uncle, who both instinctively stepped back as the calf galloped through the mud between them. Irate, our landlady trudged past them to the upper pasture, cornered the calf, and carried that massive animal back to the barn in her arms. As she walked by my father and uncle, she exclaimed in amused disgust, “Men!”

I could Bideniarize that anecdote, use it in my own life story, and it wouldn’t even be a stretch.

Brilliant article, incidentally, a highly recommended read regardless of whether your initial impressions of Palin are from the right- or the left-hand side of the Proverbial Spectrum. Not that you’d expect less from Paglia. And I’m not just saying that because she’s my homey ;-)

Just a bridge . . .

Yes, replacing aging bridges before they fall apart is important. But in some cases that means we’re losing bits of history, not to mention personality to yet more dull old concrete.

I wish I’d gotten pictures, for example, of the old Hoxie Gorge bridge on Route 81, near Cortland, N.Y., before it was demolished last fall. I can’t even find any stats on how high it was (some locals nicknamed it “the mile high bridge” though, to give you an idea of how high it seems when you’re on it). It spans a gorge along the Tioughnioga River valley. It’s being rebuilt now and will be safer as a result, of course. Before we’ve lost that gorgeous arched steel forever, and nobody seems to have noticed.

I did take the time yesterday to get some pictures of the bridge across the Chenango River in the town where I grew up, Oxford, NY, because this one is slated for replacement as well.

Bridge over Chenango River in Oxford, New York, Burr arch truss design

Just another backwater steel bridge, yeah, I know.

Chenango River bridge in Oxford New York, Burr arch truss design

It’s got a connection to Oxford beyond just the practical, however. The design uses a “Burr arch truss” that was invented by Theordore Burr — a cousin of Aaron’s — who was an Oxford, NY native around the turn of the 19th century. Burr’s design made our bridges strong enough to support heavier vehicles, including trains. He built the first bridge across the Chenango in Oxford and also a gorgeous house which, today, is the town library.

Oxford New York Public Library, Theodore Burr house

From the piece linked above:

The “Burr arch truss”, used two long arches, resting on the abutments on either end, that typically sandwiched a multiple kingpost structure. Theodore Burr built nearly every bridge that crossed the Susquehanna from Binghamton, NY to Baltimore, MD in those days. His successes made him the most distinguished architect of bridges in the country. Today’s modern bridges with their graceful arches can be traced back to Theodore Burr and his contemporaries.

In April, 1818, he advertised in the Oxford Gazette, that he had “devoted eighteen years of his life to the theory and practice of bridge building exclusively, during which time he had built forty-five bridges of various magnitude, with arches from 60 to 367 feet span.”

Bridge over chenango River, Oxford New York, Burr arch truss design

Back in those days, small towns didn’t carry the stigma (often undeserved of course) of being home to small minds. It was perfectly in keeping with the vision of the time to found an Academy here, for instance — it was expected that the best and the brightest would be out in “the wilderness” and would look for ways to get a classical education.

Oxford Academy

The building is the town’s middle school today. For now. It’s on the river flats, and was flooded badly last year. The town isn’t sure they’ll be able to fund insurance on it any more — and so it may well be junked in exchange for some cheaply built ugly modern thing. Hopefully someone will find some other use for the building. It’s a treasure, but unfortunately small town upstate NY resources don’t always allow the luxury of preserving treasures.

Bridge over Chenango River in Oxford New York, Burr arch truss

[tags] Oxford, New York, Chenango River, bridges, Burr arch truss [/tags]