RAINY WEATHER POEM

Lay Day

Gray low skies drop
Weekend rain, warmer
Than workday rain for
Construction trades,
Colder for desk trades.
It clings on the fall
To standing rigging,
Stainless cable tautly
Faithful, then rills
Down and down – what
Miniscule, complex
Currents hum in the
Descent along the
Spirals? – to spill
Across adamantine
Bronze and stainless
Fittings, flood the deck,
And exit scuppers,
Homecoming to the
Bay.

Abraxas fidgets at her
Docklines, nudges her
Pig-snout tough
Bumpers, pulls and
Relaxes forgiving
Nylon fibers, doing
Nothing more than
Enduring. Until
Her skipper arrives,
Unable to stay away
Too long, and clambers
Aboard, unbuttons her
Tenderly, enters.
Untouched rain-beaded
Sailcovers, untouched
Shroud still mourning the
Holy wheel and binnacle.
A lay day.

Nautical term: day
Without necessity to
Nose out through chop,
No gray heroics,
Weather-cancelled.
“It’s not dangerous
To sail,” the Prudent
Mariner insists,
“It’s dangerous to
Sail no matter what.”
So the skipper reminds
Himself that he could
Sail. He could. But
Prudence trumps
Possibility. And he
Lights the bulkhead
Stove to hiss and flame
Merrily behind its
Oven-glass firebox
Port, yellow dancing
Of diesel combustion
At a low order of
Utility but filling
The familiar saloon
With grateful warmth.
For projects, chores,
Repetitive, comforting
Checks, new catalogue
Schemes of stowage,
The dream of even
More miraculous
Software. Radar, GPS,
Sounder, chart display
Unawakened.

No sane, no bright,
Will grant kindness
To objects. Only
Romantics observe
That fidgeting has
Become rocking,
Enduring became
Protection, and
Abraxas could. It
Could. If the warmed
And occupied skipper
Breathed, thought,
Deemed an order.

Jan Adkins
6 March 2011
Novato, CA

BRAXINOSO SPEAKS

Himself is grateful to Chris Northcutt for buying a splendid 37' cutter and encouraging him to crew often. It's not the Bay he knows but it's sailing, and Chris is a skillful skipper who questions everything. This questioning fascinates and nourishes an adventure side for Himself. He needs that adventure quotient in his life or he gets stale and cranky.

A DECEMBER POEM

CROWS ON FROST

A murder of crows in black, in black:
They strut and flap and hop, complain
Upon the frost-tipped grass across
The Lane. A field of stubborn growth
In California winter (mild
Beside the Bay), with spiteful ice
And bitter green, the frothy hue
Of spinach creamed, black peppered
With, of course, the crows, who would
Be proud to be coarse ground or even cracked,
To match their rasping voices which,
To me, are welcome more than
Fruity songs on winter days. Prefer
The wise-ass caws of skeptic crows
To birdsong in a season of short
Days and long cold nights; sarcastic
Quips in muttered sotto voce jibes
Have kept a crew alive through hardship
More than lyric songs. Good bos’uns cultivate
A crow caw voice, and reprobate demeanor
As they croak “I seen it all, and this ain’t bad
As it might be so grab your socks and hit the
Deck you sons of bitches.” Crows continue
Day by day to say, to say, this very speech
To one another, rain or shine: it ain’t as bad
As it might be. Sure, watch them fly sometime:
Though masters of the art they joke,
Cut up, play silly buggers in the air,
To say “This flying gig is not so tough
That we can’t screw around. Without
A joke what’s worth a fart?” And this is sound
Advice on frosty mornings.


Jan Adkins, 23 December 2010, Novato, California

BRAXINOSO SPEAKS

Himself has always been fond of crows. They're black, dire, difficult to categorize, hardy and foolish. Of course he has a connection to them. He doesn't write about cute little birdies, probably because he has a tendency to talk tough. Creampuff.

CHICKEN ART

My dear old friend Dean Torges, whom I met when I was about twelve, is a master woodworker, a philosopher, one of the most intelligent and most thoughtful men I've ever met. He's a world-famous bowyer, and (this is a compliment from the era of Theodore Roosevelt) a woodsman and hunter of consummate skill. But presently he's building a chicken house. It's a mobile chicken house. A chicken's need for new vistas is something I simply never considered. Still, Dean knows chickens. He's raised them on his little Ohio farmlet for donkey's years and enjoys his own eggs, broilers, and smoked whole chickens. I suppose he knows chickens better than most and if a mobile chicken house will help his fowl, who am I to quibble? He's even built mobile outbuildings, mesh-covered bomb-shelter frames that roll on old lawnmower wheels to keep his chicks out of hawks' talons. Fowlopolis.

He's endured a large ration of kidding about the time he's spent with his elaborate, over-built, fanciful main chicken house. It's a wonder, the Colossus For Rhode Island Reds. I admit to being part of the ridicule: I designed an elaborate windvane for a mythical cupola, as a joke. The cupola is in place and he's cutting the windvane out of sheet-copper presently.

After all the jokes and fun, I find that Dean's chicken house approaches the sublime. I would enjoy sitting on his porch and simply watching his busy Fowlopolis. As an antidote to the ribbing he's getting, I sent him this post:

Dean:

There are burghers and builders who would criticize and even ridicule you for occupying weeks of work with this project. Your project would delight them as an opportunity to prove their superiority in the only game they know: appropriate response. Your response is impractical, disproportionate, questionable because it could be done so much simpler and with less expense. Buy a Home Depot shed, have it delivered, cut some holes, you're done. All this farting around with special shingles and overbuilt framing … who needs it? Get 'er done! Don't sweat the small stuff, and don't try for some high-falutin perfect solution because chickens is chickens and they just don't matter that much. And do the chickens care? Hell, no. This Torges guy is just showing off, making a mountain out of a molehill.

I, for one, admire any wizard who can make a mountain out of a molehill. It's not just a great trick, it's Art. Let's admit right up front that the Sistine Ceiling could have been done with rollers and a nice Benjamin Moore bone white in a sliver of the time it took that greaseball to tart up the place. Who looks at ceilings, anyway? They keep the rain off and there's an end to it.

Some folks would call your chicken house as a quixotic task, but that would be a misuse of the word's original sense. What our jolly wild-and-crazy-guy era doesn't recall is that Don Quixote was a psychopath. He was mad, delusionary, senile. The beauty of the Don was that, even in his madness, he saw goodness and beauty around him. The heroes of that story were Sancho Panza, for sticking with the old fellah and caring for him, about him, and the son-in-law, for going to such lengths to bring the old guy home. You're not mad, Dean. You don't hear the chickens talking to you. (Is there something you're not telling me?) You're not creating a portal in time or constructing an elaborate reliquary. You're building something just-so. My hero, Mr. Rogers, reassured his audience of children that it was fine to "take your time and do it the way you want to." You're expressing the essence of art, Dean: choices beyond practicality that address larger, subtler, sometimes indefinable issues. Your chicken house is not practical but, damn, it will be interesting and in its inimitable way, beautiful.

You know I don't have much truck with organized religions but recently I've been reviewing my peevish, self-obsessed elitism about the church. Like the burghers and builders criticizing your chicken house, I've using bits and bobs of religion to prove my own superiority: I pretend that I'm the logical thinker, the spiritually practical guy, and God loves me more because I don't bullshit Him. But the (broad, many-factioned) church has cherished our myths and stories, has maintained our spiritual culture, and for all its pedophiles and anti-intellectual Bible-thumpers and derelict Popes, it's kept our cultural heritage of love and forgiveness as ideals alive. These aren't practical values. They don't get 'er done when we're assailed by bad guys. They're dangerously impractical ideals. At a glance we might say they've been ignored more often than practiced. They've been subverted thousands of times, marginalized, and redefined to suit. Even so, they're still with us. Not even Dirty Harry could blow them away. The church has, probably unwittingly, been a culturally integrating force.

Now that I have Max and Luc to consider, I wonder how I can frame a set of ideals and values so they can carry them early and make them part of their character later. One oversimplified, gross solution is to say that God wants them to be good, and this is what we think is good. Why? Because God told us. Honestly, one can't sell love and forgiveness on practical grounds. They're like your chicken house: who would buy them? They're too costly and too quirky and they don't fit the observed data. The only way to sell them might be magic thinking, which I avoid. "Why?" Because God said so, that's why.

It's a beginning. And it's a continuum. "We hold these truths to be self-evident …" Do we? Is truth self-evident? Was independence self-evident as anything more than personal convenience for our Founding Fathers? It's an article of faith with us that truth is simple and understandable but this isn't always a workable assumption. I suppose that's the catch with ideals: they often confute practicality.

What good accrued to the Samaritan who comforted the waylaid traveler in the parable? Nothing practical. He lost money on the deal and went on his way. The Samaritan's ideals – impractical chicken houses of the heart – obliged him to act in an unexpected, illogical, impractical manner. Qui bono? The waylaid traveler. The Samaritan received, we hope, some thanks but not even bragging rights.

Bless your ridiculous chicken house, Dean. It's impractical and a massive waste of time. But it's just so. It's a work of art like one of those kinetic sculptures at Boston's Logan Airport: they endlessly lift tennis balls to a height and let them follow a rolling random course down a mechanically changeable path. What does it do? Nuthin'. It beguiles. Those sculptures have given me hours of pleasure and contemplation. Bless you and the kinetic sculpture guy and your chicken house and all who sail in her.

BRAXINOSO SPEAKS

I worry when Himself waxes poetic about impracticality. It's like an habitual gambler extolling the graphic and mathematical beauty of poker or craps. His connection to the practical world is already too tenuous. Would I recommend that he tilt at even more windmills with the mad Don? I think not.

MY BOYO

Today is my grandson's birthday: Max is three years old, a remarkable human being.

Any grampa would say the same thing. Perhaps we'd all be right. But I hold that Maxwell Ulysses Burger is, on his third birthday, an astonishingly well-spoken and thoughtful person, the beginnings of a citizen and a raconteuer. He has phrase and grace in his speech and he plays with language. He displays an enjoyment with saying something just so, the way he wants it. He reminds me of the cautionary definition of my own profession from the Irish: "A writer is a failed conversationalist."

His early gifts were mechanical. Things in my daughter's household were retro-engineered by Max.

The kid was and is preternaturally diagnostic. He takes stuff apart. Most often, he puts them back together as well.

He sat on my lap when he was just turned two and plucked a ballpoint pen out of my pocket. He looked at it solemnly and set to work. He took it apart, disassembled it into its component parts – barrel, cap, spring, refill laid out on the counter in front of us – then reassembled it. Once he’d screwed it together, he tested it to make sure it worked, click, click, click, click, then put it back into my pocket.

One morning Sally noticed that while she was cooking something he pushed his little kitchen dining table to a cabinet, climbed onto his chair, thence to the table top, thence to the counter top beside the refrigerator. He stood on the toaster oven and retrieved the sack of coffee beans from the refrigerator top. He dumped some beans into the grinder, fumbled the top on, ground some beans (more or less), pulled the top and dumped the ground beans into the filter of the coffee machine, which he carefully fit into its place. He turned it on (no water) and climbed down to his table. Arriving at floor level, he announced brew’s up casually, “Coffee!”

I asked Sally, “You didn’t stop him?”

“No, I was too fascinated. He watches Patrick make coffee every morning and he remembered the steps. For Max it was no big deal, but it floored me.”

Something that floored me was his cognizance of batteries. Nothing in the remote control line works in Max's house. Batteries gone, You can only detect the absence by the weight, since he generally replaces the battery cover. If you want to use the remote, you get Maxwell’s attention: “Max. Can you find the batteries for this remote control for me, please?” Immediate locomotion toward a chair or couch, a disruption of cushions and/or pillows, Max returns with the correct batteries without comment as if to say, “Here, dufous, why didn’t you get them yourself?”

When I was young there was a kind of string-tension toy. It was a dog or cat or horse made of hollow wooden beads (they probably don’t allow them today; choking hazard) strung together and attached to a spring-loaded base. When the string was tensioned, the animal stood upright, if a little silly. If you pushed the big button under the base, the string went slack and the creature fell into a pile of bead-parts. It was a great little toy because the animal stood there one moment, then fell into a pile.

I mention this because it’s the only way I can describe Max’s Terrible Two tantrums: a space of loud whining, no, no, no, he wants it the OTHER way, he doesn’t want THAT, he won’t eat (wear, carry, wash, drink) THAT, mommy, no, no, give me the OTHER, I want the OTHER. The Other is refused. Time Out is threatened. The count to five begins. “Max, I’m counting. One, two, three, four, five . . . Okay then, Time Out.”

Someone in a neighboring yard has eviscerated a swine or a panther: one hears a siren-loud screech. Max is creating a noise louder than any creature smaller than a city bus is capable of producing. It’s an unsettling howl, the noise of a desert djinn or a hurtling bomb. At this instant the boy we know as Max ceases to exist as a cohesive unit and falls into a pile of trunk, head and limbs in a liquid rush to the floor. This sudden dissolution is entertainingly like that string-toy, a complete collapse. The awful noise continues. Tantrum. Off to the Time Out Place of Penitence and Reflection: the stair landing, a place more barren and uninteresting than Devil’s Island or even Bayonne, New Jersey, the very seat of horrors. The bone-bag that was Max is poured onto the Chair of Correction and a timer is set for two, three, or even (life sentence) five minutes depending on the gravity of the offense.

Mutters and two-year-old curses (“Poopie, bad, booger, poopie!”), a diminishing wail, sobbing, cries for forgiveness, vows of being a good boy, now. Accusations of mommy’s impaired judgment, her mean and even wicked nature (“Bad mommy!”). Then a silence. Occasionally this is accompanied by inexpert creeping away scuffs and creaks but largely the time runs out and the timer bell rings.

“I’m done, mommy!” Reconciliation. Obligatory apologies, “I’m sorry that I _________,” fill in the blank. Order restored, authority maintained, chaos and the encroaching jungle held back another day.

Except that Max’s Time Outs were sometimes suspiciously short. Of course. The boyo was mechanically subverting justice. He’d determined the nature of the timer, climbed up onto the Dread Chair of Detention, retrieved the timer, and reset it to something under a minute. Ding! “I’m done, mommy!”

As the parent of a little person, you must be firm but open to friendly compromise. But remember: they’re all sea-lawyers. They’ll argue until hell freezes over, doggedly and energetically. Anyone who thinks that kids have no attention span has never argued with a two-year-old. Avoid negotiation. You always lose, one way or another, today or down the road.

But time off for good behavior – for inventive re-engineering, is only fair, yes?

BRAXINOSO SPEAKS

Being close to Himself, I see how deeply and enthusiastically he loves Max and his little brother, Luc. He has a bushel of surrogate grandchildren in the Bay Area whom he loves – Hannah Rose, the Dread Pirate Davis, Julianna, Kent, Ainsley, Elizabeth, et als. But if he has learned anything from these surrogates and his joy at being close to them, it is that he needs family. He loves this place, this topography, this particular micro-climate. He loves his friends here. But it's become apparent to him that being a part of Max's and Luc's lives is essential to his heart. Being a part of his daughter's life is much more important than she acknowledges. The time has come for Himself to make a move away from Mt. Burdell and Indian Valley Road and the Pacific. How he'll relocate to Gainesville, Florida, is logistically nightmarish, especially for a man with a definite phobia about moving. It's a painful time, professionally and personally, for the Old Guy.

NIGHT STUFF

My naps are precious to me: gourmet sleep. Yesterday I had one of my best naps. This flu cycles on and on like World War I, control ebbing and flowing between my macrophages and the viri, so I’m mostly tired. Having completed a piece for WoodenBoat I took my little fleece blanket and walked into the Big House backyard. I rolled into the rope hammock at the far end of the yard, tucked the blanket up under my head, covered my eyes with my battered Panama hat, and slept for an hour in the gently swinging hammock. The air was like wine, the temperature perfect, and breeze light, and the sun was filtered through leaves. God smiled on me and I slept as peacefully as a boy.

This morning I was awakened by the hardest working piece of local equipment I know of – a little John Deere six-wheeled, motorized utility cart owned by Maragus Stables across the road. The Hispanic ostler is up and working before sunrise. I heard him this morning at 0530h and put on my glasses to watch the lights of the cart scuttle around the paddocks. I opened the window by the bed to hear the ragged purring of its engine. He was giving the horses their morning flakes of green-flecked alfalfa hay.

Sometimes they wake at night in their standing sleep and kick the backs of their stalls or ring the galvanized pipe fencing with their iron shoes, peevish for some equine reason. Humph, “reason” isn’t a quality I associate with horses; they’re not intelligent animals like a dog or a dolphin but herd creatures bound by strict codes of behavior. A few of them have been trained against their herd instincts to be useful in ways, and any riding horse has had its natural balance (usually on the forefeet) readjusted to carry weight on four legs. They can be domesticated but not brought into real communication. So I don’t attribute high-jinks in horses to cleverness or spite but merely to herd protocol reasserting itself in some obscure way.

The cart made its dark rounds, and it’s making it day rounds in the full sunlight now, the day-guy picking up horseapples with his plastic mucking rake and tossing the rich, hardly processed dung in the cart’s tipping back. He’ll run it 150 yards up Wildwood Lane and vector off to the north side of the Lane where at least a hundred tons of horse manure – what must be an obscure fortune in nutrient – age. The Maragus property is a long slice from the road to the edge of the woods where the manure heaps are, just where the hills begin mounting abruptly to the ridge behind us, in our southwest. That’s the ridge that separates Novato from Lucas Valley; George Lucas’ Skywalker Ranch is just over the long, descending spine stepping down to 101.

The time before sunrise, before that magical time the Prudent Mariner knows as “nautical twilight,” is dangerous territory for reflection. For a person like me with odd sleep habits – and maybe old guys’ sleep habits are always odd – seeing the lights of any job activity actually underscores the alienation of night dwellers like me. It often backs me into acknowledging just how far outside the mainstream of life I am, how little I share with my fellow citizens. If anyone at the bank or the grocery could see my life written on my forehead I suppose they’d be mildly shocked that I’m not one of them. I don’t have a job, per se, but a self-marketing profession with remarkably little paperwork. Much less, I’m sure, than the bank and the IRS would advise. I have digital trails of iteration and reiteration of my designs and my texts as progressive digital files. There’s a big cardboard folder of original pencil drawings that have been scanned as working files to be wrangled with PhotoShop and Illustrator into products. Much of the production work has been done long past the bedtime of sensible citizens who prepare themselves for sleep an hour or two before midnight.

Occasionally at the end of a late session I walk outside and look at the stars. I’ve turned the movement-activated light outside my door off so I’m not greeted with a nasty flash, and I know how far I can walk up or down the side-drive before the backyard lights or the garage front lights see my heat signature and flash on. For some reason I can almost always see Orion in the celestial lane above the black line of roof to my northeast and the ragged line of poplars to my southwest. I’d go farther and even walk down the road but I’m fenced in like the horses by the danger of a disappointing, intrusive, rude glare of suspicion from the who-are-you front lights.

It’s dangerous to feel so alien and hemmed in and uncollegial. I should live in a village where the grocer and hardware clerk know me and anchor me to life with small talk. I think I’d enjoy having a payroll clerk deduct taxes from my paycheck, and have folks tell me what we were doing. I believe I’d look forward to lunches with various people and to jokes and to family news.

The time before nautical twilight reminds me that at my age, at my level of skill, in my profession/s, I’m unemployable in any practical sense. My collegial time is used up. I’ve become a troll keeping odd hours and wondering about other alienated souls in the dark.

My friend Pat Gavin, the cop, habitually preferred solitary night shifts. His view of humanity was a bit jaundiced: he said that after one in the morning a cop seldom meets anyone who isn’t drunk. In DC I often saw him going on shift or coming off. When I hugged him – he was a very dear friend and one of the best men I’ve known – I’d feel the stiffness of his Kevlar bulletproof vest under his uniform shirt. He’d been shot before, almost fatally, and you could expect that Kevlar as part of his hug.

It would be useful to have some “on-line now” notice on e-mail or some social web program, to know how many of one’s friends – cops, painters, writers, designers – were up and about, someone who might enjoy a chat or even a cuppa.

Carl Sandburg captured night people very well in one of my favorite poems, “Psalm Of Those Who Go Forth Before Daylight.”

THE POLICEMAN buys shoes slow and careful;
the teamster buys gloves slow and careful;
they take care of their feet and hands;
they live on their feet and hands.

The milkman never argues;
he works alone and no one speaks to him;
the city is asleep when he is on the job;
he puts a bottle on six hundred porches and calls it a day’s work;
he climbs two hundred wooden stairways;
two horses are company for him;
he never argues.

The rolling-mill men and the sheet-steel men are brothers of cinders;
they empty cinders out of their shoes after the day’s work;
they ask their wives to fix burnt holes in the knees of their trousers;
their necks and ears are covered with a smut;
they scour their necks and ears;
they are brothers of cinders.

CARL SANDBURG, Cornhuskers, 1918

BRAXINOSO SPEAKS

Himself is several kinds of fool, as soft-hearted and well-meaning as he is. He should get to bed and get his life into synchronus with life and people. He should get out and avoid reflections on alienation. We're all alone on our own iceberg. It does little good to emphasize that fate.

HOPSCOTCH REMEMBERED

THE SUN CAME OUT this morning, so Laura and Hannah were out in the driveway. Hannah was drawing on the concrete with big chalk. I walked down and was drawn into the chalk drawing. Hannah lay down so I could trace her outline. This was so fine that Laura lay down and had hers done. I laid down but rather than flat-on-back, arms-outspread, I tried a lying-on-side profile. When I drew a cross for my eyes, the driveway became a crime scene. Naturally Laura insisted on her own crime-scene profile, which she got. I did two cross-eyes for this but it disturbed Laura considerably and she tried to wash out the "dead eyes" because, she said, "this is beginning to look sick."

She took the kabosh off our crime scene by drawing a familiar figure farther out in the driveway: a hopscotch matrix – one, two, three, double, six, double, nine, heaven. We showed Hannah how it was done. She refused to get into the racket but demanded that we continue.

I returned to my studio (proclaiming my intention to "use the potty," since Hannah is in the midst of intense potty training, big girl pants, &c) and looked down at the hopscotch matrix. What a familiar figure and how evocative! It was probably a game played when Gilgamesh was king. Of course it was a girls' game. I can't remember the play or the scoring and refused myself the time for Googling "hopscotch." It made me consider the flow of time, yet again this week.

When I began seriously fooling around with computers the industrial design studio with which I worked in Providence, RI, had a memory hard drive with a 2 GB capacity, a larger drive than I'd ever seen. We thought this amount of 0's and 1's was extraordinary, amazing, who could use so much? Sitting next to my keyboard presently is a SanDisk thumb-drive as big as a French fry with a memory storage capacity of 4 GB. I bought a pack of three at CostCo for under $30. Things change.

My first commercial flight was aboard a DC-4. The service of the “stewardess” was attentive and pleasant. We walked out onto the tarmac to board via a rolling set of steps. Our friends came to see us off (we were flying from Pittsburgh, Pennsylvania, to Tampa, Florida, by way of Atlanta, because Wheeling had no commercial airport). A 5’ chain-link fence separated the onlookers from the runway. In the air I got ear-popping gum as a matter of course. Later a meal was served handsomely with airline-monogrammed silverware. Each diner had tiny salt and pepper shakers. I was invited to look at the cockpit. It was more impressive than contemporary cockpits because radial engines need more complex monitoring than jets, require a "flight engineer" and have close to a hundred dials. The cockpit door was open most of the time. No one had highjacked an airplane. What a crazy idea. They'd know where you were going, right? You couldn't get away with it. What kind of a nut would highjack an airplane?

I'm proud to say that I received Flying Wings as a bona fide flight passenger when we reached Tampa.

I flew the week after 9-11 (I had lost a friend, Anne Judge, in the Pentagon crash that day) but haven’t flown since exploding underwear came into vogue, so I don’t know the drill of not covering one’s lap, drinking liquids or humming “The Battle Hymn of the Republic” during the last half hour of flight. One crazed Islamicist attempts to light his sneakers and millions of Americans take off their shoes. One supposes that next year we’ll be flying naked with a mood probe up our ass.

I’m one of those people who remembers early-childhood experiences, like the texture of the cast-iron crib at my grandparent’s summer place in the West Virginia mountains, or the sound of cars passing on the dirt road directly in front of that cottage, or the smell of the green, slightly translucent wallpaper cleaning dough my mother used at our house on Wheeling Island, or the smell of the pineapple-flavored rum my gramma and grampa brought back from Cuba. I remember the gritty feel and stony smell of Lava soap, always beside the sink because my grandfather, father and uncles worked in the shop. I liked the smell of Jergen’s Lotion, Lifebuoy soap, and my father’s green Mennen’s Aftershave. That was his smell. I loved spaghetti, partly because (in our Wonder Bread world) it was so exotic.

We sometimes took road trips with my Uncle Charlie and Aunt Mary. One of the trips brought us to Washington, DC. The Smithsonian was wonderful. I put my nose into the tiny porthole of the Explorer II high altitude gondola, a black and white sphere sent manned into the actual stratosphere by the National Geographic Society. The old, uncirculated air smelled musty and dry. There were two sets of drinking fountains; it was disappointing that the fountains under the “COLORED” sign offered plain, uncolored water. At the National Zoo the keeper at the primate house showed us that the monkeys ate well, breaking off a dense, sweet cornbread made with honey, bran, seeds and vitamins, fed to the chimps. When he took a bite my mother, who was definitely a delicate creature, almost fainted. When I took a bite from the keeper before she could stop me, she was forced to sit down and recover. It was delicious. I wish I had a piece right now.

Things change. My G-4 Mac computer is now, ahem, "old." The notion of air travel as an elegant way to go is antique. Presently it's a feedlot experience. I’m an old guy now. Thank God for stents, Zoloft and Viagra. And also, thank God for the beautiful sun that burned through the rain and fog at last. Maybe I'll Google "hopscotch" tomorrow.

BRAXINOSO SPEAKS

Childhood memories are odd artifacts. One wonders if they're honest. Things Adkins' grandson Max has said seem to reflect the long labor of his birth as a memory of his mother "trying and trying to get me out." Still, I must be aware that Himself can grow morose with too many memories. Looking back too earnestly ensures a stumble in the present.

CLOTHESLINE

HOMEOWNERS ASSOCIATIONS are fierce guardians of design morality, yard upkeep, and homogeneous property values. They've politely mentioned to a friend that her clothesline is not an approved landscaping feature. Of course they're polite. Bigotry and reminding folks that they have stepped outside accepted standards is always begun politely.

Her homeowners association is cowering before the persistence of image. When they see her clothes fluttering in the breeze, they don’t see a farm wife in the prairie wind but the stigma of the tenements, all those clotheslines hung between buildings, in air shafts, on tar roofs.

As a journalist, I should greet the association’s wet-jammie jitters as a compliment, since it stems in some part from one of the earliest and most powerful landmarks of photojournalism, Jacob Riis’ How the Other Half Lives: Studies Among the Tenements In New York, 1890. This photo essay made an indelible impression on middle and upper class consciousness and persists to this day. It revealed the “shame of the squalid tenements.” A few efforts were made toward improving conditions but it was clear that the shame resided with the tenement dwellers, and there was obvious pique that the poor had embarrassed the rich.

But there’s something odd in the tenement clothesline prejudice. The period in which we welcomed so many immigrants and enriched our national gene pool with so much genius and drive was one of America's golden times. Yet our central icon of America, also from that time, is the cowboy. In reality the cattle drover we celebrate as the Marlboro Man was another indigent, socially abhorrent member on the lowest rung of society. The literacy rate in the tenements was sky-high compared to the readin’ and writin’ of the cattlemen. The cowboy’s heyday was brief: the “Texas cattle for Yankee dollars” era of driving big herds from the Southwest to the railheads in Kansas and Missouri spanned only about fifteen years. In that heyday the drover was seen by most of society as a pariah, filthy and uncivilized, ignorant and rowdy. To be fair, this perception was probably spot-on.

But out of our tenements in New York, Philadelphia, Boston, Chicago, Cincinnatti, Pittsburgh, Albany, Hartford and other urban centers we saw invention, enterprise, social reform, striving, artistic expression, and a new national spirit of diversity and respect. Granted, it took a hundred years for that spirit to gather power and legitimacy, but our national conscience began in the tenements with all those fluttering, clean clothes strung between buildings.

What social upheavals did the cowboys offer? The spirit of independence and self-reliance? No historic evidence of that. Most cowboys were hired on as part of a local cattlemen’s associations or a big-business rancher’s outfit, often with eastern or British money behind them. They were mounted troops at the beginning of the undeclared "War of Western Consolidation" that squeezed out "small-holders" and established big-money agribusiness.

That war saw a prairie suspension of habeus corpus, death squad "regulators," lynchings and corporate terrorism. But it's not a war you found in your textbooks. Billy the Kid was one champion of the small-holders in the Lincoln County War. The Mussel Shoals War was a bloodier conflict waged in California, involving Leland Stanford and his robber baron colleagues. Mussel Shoals was followed with obsessive interest in the class struggle it represented by a writer and theorist in London, Karl Marx.

So why the cowboy and not the immigrant striver? It was probably the hat. Even today a good Stetson attracts attention. It surely wasn't the horse. In that pre-automobile era everyone knew horses, every streetcorner layabout presented himself as an expert on horseflesh. But the hat, now there was the key to romance.

So why isn’t our national romance grounded in the tenements? Bad hats? Mebbe. In large part the influx of intelligence and talent the United States received between the beginning of the Civil War and the beginning of the First World War is what made this country great. Immigrants, a sound and balanced Constitution, size and fortunate geography. There you have America.

The homeowners association should bugger off and read their history books a little more closely, damnit.

BRAXINOSO SPEAKS

Himself exhibits a dash of unaccustomed passion in this rant, but he makes sense. Surely we could afford more diversity in our heroes. We recall the Pecos Bill archetype in our pantheon but we seem to have largely dismissed Paul Bunyan, Mike Fink, Davy Crockett and Joe Magarak. Dirty Harry should be turned away as a national model, of course, but he's the obvious product of Duke Wayne's legacy.

MINE CANARIES

CREATIVE PEOPLE have always lived in the thin ends of the bell curve, out on the fringe, scuttling about and picking at the table scraps of big money. The exhibits I've had a hand in designing, the books I've created, the articles I've written, the films with which I've worked – they've all been secondary fruits of "loose money" freed up for social projects by embarrassingly large profits. When profits dip, artists are the mine canaries of capital flow: we fall dead off our perches before the big guys can feel the pinch. Looking around me I see a lot of empty perches. And there's a bit of a rasp in my throat, as well.

What follows is part of a reply to the director of the Bay Area Discovery Museum, a lovely place for little guys. I proposed we collaborate on some exhibits and he, graciously and reluctantly, confessed that the BADM didn't have the funding to pursue anything new in this crunch. I replied:

Yes, the economy is harsh, but I can’t imagine any other result from our global adventuring. As Shackleton said, “Adventure is a sign of incompetence.” We don’t seem to manufacture anything in the hardware store, now. Many of our best young men and women are scattered across the world fighting and dying for folks who don’t want us there. We’re fouling our nest but can’t seem to stop. The rolling juggernaut of corporate America more or less ignores all our objections and cries. Yet we DO live in a favored land, and our culture IS strong, has a work ethic, and has good roots. The problem could be that our leaders don’t demand much of us, or much more than merely spending. The children you and I try to encourage will reap the whirlwind, and that right soon.


My current book project is Black Bonfire, about the end of cheap oil. It’s inevitable, calamitous, and much, much closer than I imagined when I began the book. The book is directed at young adults, giving them an overview of energy as they enter adulthood, as they become citizens. When you want to do an exhibit on just how deeply oil has become the warp and woof of life, give a shout. If you’re sitting inside, everything you see – from wood paneling to steel shelves to plastic pens – is or was put together by oil. Oil that we won’t have.


So how do we, as creative workers, survive the present economy? Dunno. We’ve always been on the fringe, depending on an upstream flow from the largesse of wealthy patrons, not too far removed from Cosimo de Medici. I suppose we can hope that the wealthy will always be wealthy. I’m not sure that will be borne out in the cultural upheaval. I don’t want to sound apocalyptic but major institutions will change. The hoary dictum, “What good for USSteel is good for the country” isn’t quite so true.


Perhaps we’ll survive like that marvelous soul William Kamkwamba, who built a windmill in his yard from junk and electrified his African village. What do we need with the Incredible Hulk and Batman when we have Kamkwamba? Perhaps we’ll build our exhibits out of local junk, building from the midden pile of Marin society. Our work could come to resemble the ancient trade of the storytellers who traveled from village to village, sitting under trees and eaves to spin out tales that amazed and informed.


[Jon Steward interviews Kamkwamba at http://www.thedailyshow.com/watch/wed-october-7-2009/william-kamkwamba]

Artists. We're all canaries trying to survive this oppressive atmosphere, clinging to our wobbly little perches with our feeble claws, and still singing brightly. How many friends do you have who are paralyzed by dread and frustration? On the other side, how many artists do you know who are doing jes' fine? If it weren't for Zoloft, we'd have a mass suicide of artists (something like M. Night Shyamalian's The Happening) and the balance of the population would say, "Whatinhell have they got to complain about? All they do is sing and swing."

BRAXINOSO SPEAKS


What Himself neglects to acknowledge is that living on the fringes is a choice, not a profession. I could be demonizing the victim by bracing him thusly, but living on the fringes is inherently dangerous and unstable. The deep, strong current is where the action is, not the back eddies in the reeds. It's artistic hubris to assume the world will pull you triumphant from the edges and proclaim you its darling. Himself has a task: get into the mainstream or perish. This is harsh advice but so is the economy.