Author Archives: danielgabriel

Hiking the Mississippi River Road

11 December 2013

Saint Paul is first and foremost a river town. The Mississippi makes a great S curve through the western and southern stretches, isolating the West Side on its bluff and clutching the rest of the city in its sinuous curl. From our house, walking four miles in any of three directions (west, south or east) brings you to the river banks.

Yes, long stretches of those banks are shared with Minneapolis, but the enduring Twin Cities rivalry compels me to thumb my nose in that direction. Thus, for our purposes, the first evidence of civilization along the banks comes in the form of a sign: “SAINT PAUL/the Capital City/Desnoyer Park.” As we cross from Mill City to Capital City, another sign, embedded in a cut limestone wall, reads grandiloquently “Mississippi River Boulevard Parkway, Saint Paul, Minnesota.” To me, it’ll always be East River Road.

I looked back one final time at the bleak landscape behind me—the sterile towers, the fug of grain still clinging to the old mill sites, the sad diminished status of a city that was not the capital (yes, Minneapolis, I’m looking at you)—then turned and strode forward, keeping to the heights above the mighty river. Below was a hidden pathway along the river flats to Meeker Island, but this would end before the Marshall Avenue bridge. My destination lay far beyond.

Away from the river, an imposing string of stone houses—Georgian, Tudor, some Spanish touches—drowsed behind picture windows. Below on the right the river swooped beneath the line of trees that edge the bluff. Stretches of black iron fence outlined a decorative border and wooden benches set away from the path were aimed towards chosen views; home to amiable dalliances and half-dozing reminiscences. A memorial tablet here, a dip under the bridge there, and I was onto a long, rising stretch towards the Victorian mansions of Summit Avenue.

The hiker’s experience depends on weather and time of year. On fine weekends in summer, the path is thick with baby strollers, joggers, bikers and random sun-struck visitors being promenaded by hosts intent on correcting their flyover misconceptions. Pick a weekday at twilight, and the winding stones offer a day’s-end retreat for locals, grabbing an evening stroll before dinner. In December, the trees have been stripped bare, dark against the greying sky, and there’s a whip to the air. Far below the ice-chunked river still moves, but not for long. Only the occasional fresh air fiend or die-hard runner passes, bundled against the wind.

. . . Later, after circumventing the deep ravine west of Cretin Avenue, moving at cross purposes to the silent troops of University of St. Thomas students texting their way to class, I plunged on again, passing a beacon in the shape of a stone cross at the end of Summit Avenue, set on a promontory looking west across the river. I was in full stride now, with the pavement slapping the bottom of my boots, and the line of trees muting the sunlight slanting across my path.

Others had joined my perambulations—dog owners, ancient sun seekers, pairs of power walkers content to flail their arms high and exercise their lungs. Harsh Russian consonants came from an old couple seated on a park bench. Below us on the river, a barge moved downstream.

St. Mary’s Chapel and the St. Paul Seminary buildings fell away on my left. Daylight was fading. My path bent and curved along the bluffs. Over another ravine; past another memorial, this one recalling a drive-by shooting whose impact I remembered sadly: “Just a kid growing up.” South of St. Clair I passed the Temple of Aaron, with silent statues remembering lost loved ones set in the parkland opposite.

The road, the river, the path—all began to wind more and more. At Highland Parkway urban reality imposed itself again, in the form of the misplaced 740 Tower, the Ford Parkway bridge and, just beyond it, the empty remains of the now-shuttered Ford Plant. Not far beyond it is an overlook, and around a deep U-bowl ravine, the first of two access roads down to the legendary Hidden Falls.

Here we shall halt, where hikers face a vital decision: stay along the bluff all the way to Prior, where the second Hidden Falls access road descends opposite the Korean-congregant St. Andrew Kim Catholic Church, or face the fact that it’s the river’s edge one wants, and drop down immediately? That upper stretch has some of the highest bluff views available, and an almost palpable quiet, deep into the far reaches of Highland Park. But if it’s sanctuary one wants, better to descend to the river’s edge and double back north to Hidden Falls, or onwards, south and east past the Marina and into the watery marshes of Crosby Park and its cross-hatched forest trails.

Ah, but what of the rumors of a fort? Another river? Or even a long, bending watery curl that leads on to mighty bridges and landscapes heretofore un-described? Might the marble palace of the Central Library truly be accessed from the river side? It will take another journey to find out. . . .

The High Bridge links the West Side with the rest of St. Paul.

The High Bridge links the West Side with the rest of St. Paul.

Despite repeated attempts, I have never completed a river hike to the end of Saint Paul, though I have reached the end of the blue metal railing that extends east from downtown and stood gazing upon the glowing spires of the water treatment plant below Mounds Park.

 

FLASHBACK: “Sometimes”

Past and present lie trapped between the walls of Carcassonne.

Past and present lie trapped between the walls of Carcassonne.

6 November 2013

SOMETIMES

Sometimes he thought about the old days.

Sometimes, especially when he was walking along the river late in the day, with the afternoon sun splashed over the trees on the western bank, the light would change and capture something—a gold green glow reflected off the surface of the water—and suddenly it would be the Canal du Midi on a late summer day. A picnic on the banks. The boys skipping rocks and chasing each other along the tow path. His wife laid back in the deep grass that rose in waves up from the banks. A soft ripening round of Camembert and the broken crusts of baguettes with all the time in the world to be eaten. The boys found a dead otter, or maybe it was a river rat, but something suitably rank, fly-buzzed in the reeds. A barge moved past in the distance, wash flapping on a line and a pig standing on the deck.

Why had that moment frozen, and not some other?

Then he remembered the tramp. The man had emerged from under the line of beech trees between the tow path and the upper road, limping steadily south and east, as the Canal bent in its journey down to the Mediterranean. His face had been lined, a week’s growth of beard, eyes that looked everywhere and nowhere. A lumpy bit of pack on his back. He’d said nothing to the boys, just moved along steadily, limp, walk, limp, but the boys had stopped their inspection of the water rat to study his back as he passed.

As he approached the adults they could see the bulges in his pockets, the tatter to his coat. “Je viens a la mer,” he said as he passed. “Toujours la mer. Mais pourquois? C’est tout la meme chose.

And then he trudged on. The boys wandered back, waving sticks and making faces over the smell of the dead rat. In the trees, a slight wind rustled leaves and then ran on across the far fields.

The light still held. But the moment slid on, and as they gathered up the remains of the picnic lunch, and his wife began to talk of Carcassonne and the evening ahead, he held himself apart, just the littlest bit, thinking of the tramp . . . Going to the sea, always the sea. But why? It was always the same thing.

A moment here. A moment there. What did it matter? Why not a full flow of events? It wasn’t that he couldn’t remember. If anything, he remembered too much. That night in Carcassonne, for example.

The boys had discovered a tiny television up on the wall of their room in the pension and, after the long day on the road and in the sun, wanted nothing more than to lie on their bed and watch a movie, even if it was in French. A round of croque monsieurs and a liter of Citron had been obtained, along with instructions on how to find Madam Girard should anything untoward occur.

And then the two of them had set out for the lights of the castle down the road . . . Carcassonne, the vast and imaginatively reconstructed bastion that brooded over all the countryside around. Yet it wasn’t the night inside the walls that slid into his memory banks—the crowds along the lanes, the unexpected conviviality of the cafe where they’d sat out in the square along with a mixed international host, the empty moat between the inner and outer walls where they’d walked, later, in near isolation—but rather the moment of returning to the pension. It was long into the night. They’d worried mildly about how the boys were coping. Then, as they stepped out of the car, she had inexplicably stood too close to her door as she went to close it, and managed to slam it straight into her forehead, eliciting a shriek and a curse, and the sudden scurrying of two sets of small feet onto the balcony outside their room. The boys, at least, were all right.

When they’d gotten her inside, there was a gash across her forehead and a line of blood dripping into her eye. Already the swelling had started. The worst of it was that an air of uncertainty seemed to hang over the event, as if he had been responsible for the accident; caused it even, or somehow provoked her into injury. They’d had a fine enough time in the soft city night, but now the end result was pain, and a bad memory of the brief moments snatched for themselves, as if they should feel guilty for momentarily abandoning the boys.

 

Sometimes, when he thought back hard enough, he wondered if that was the day it all went wrong. Or started to, anyway. Could you really single out a day? A moment? Was there a tipped point beyond which there was no going back?

Or was it just the memory of the tramp that sparked the connection?

He stood up then and shouldered his pack. The rest house was still several kilometers onward and he’d need his strength to start the climb through the Pyrenees tomorrow.

After that, the choice was his. Or so he liked to believe.

He wondered if the boys remembered that day along the Canal. He wondered if they still thought of him, at least from time to time. Then he moved off into the distance. Slow but steady. A la mer, he thought. Toujours a la mer.

Originally published in Pearl 46, Fall 2012

The Power of the WORD

23 Oct 2013

This "Lion of Juda" [sic] cart patrols the market in Port Antonio, Jamaica. "Jah Live," yes indeed.

This “Lion of Juda” [sic] higgler’s cart patrols the market in Port Antonio, Jamaica. “Jah Live,” yes, indeed.

“Each is given a bag of tools,

A shapeless mask, and a book of rules”

— The Heptones, “Book of Rules”

When the Heptones slice through the glittery facade of those “clown-addled capers in sawdust rings” that so draw our attention, what they find are the core elements with which each human is equipped: the tools, the mask . . . and that book of rules.

Forget the surface exoticism of Jamaica’s Rastafarians, or the frenzied allure of the island’s traveling sound system Dance Hall slackness. The Heptones are pointing straight at the Bible: the Book of Rules. They may view its pronouncements from a different vantage point than you or me, but there is no question of its power or centrality to the works of Jah. And the power they’re calling forth is the power of the Word.

Check it: “Wordsound is Power,” say the Rastas. “In the beginning was the Word,” starts the Gospel of John, “and the Word was with God. And the Word was God.” Sam Brown, the Rasta poet, says, “To me poetry is the inner voice of God speaking.”

Along Jamaica's North Coast, near Cooper's Pen, this stall holder proclaims "It is not I live, it is Christ by me," as well as "Jah is love."

Along Jamaica’s North Coast, near Cooper’s Pen, this stall holder proclaims “I am save. It’s not I live, it’s Christ by me,” as well as the ubiquitous “Jah is love.”

At the heart of language—and by extension, all communication—is something very powerful. It is the making of worlds; the calling forth of deity; the shaping of the experience of life itself. Words are our access to each other.

Likewise, poverty of language means poverty of imagination and, ultimately, poverty of spirit. Jorge Luis Borges (the Argentine poet, essayist and fabulist), in “The Library of Babel,” describes a world in which there is nothing new to write, in which all that needs to be known has already been catalogued. He says, “the certitude that everything has been written negates us or turns us into phantoms.” It is our knowledge that not everything has been written that keeps us from that fate.

And so the Rastas rework the language: “Oppressor” becomes “downpresser.” (More apt, right?) “System” becomes “shitstem.” The late Peter Tosh called Island Records label head Chris Blackwell “Chris Whitewell,” implying his lack of bona fides. Language is both malleable and meaningful.

In my novel Twice a False Messiah I attempted to transform language in much the same way. Section III (“In the Tombs of the Nobles”) begins with a straight quote from John 1:1-3: “In the beginning was the Word. And the Word was with God. And the Word was God. That’s what they told us the night in Vienna . . .” The core search throughout the book is for a specific word—the sounding of the True Name of God. Can it be found? And if so, what happens to its power when spoken aloud?

The Psalmist speaks, on Port Antonio's Titchfield Peninsula, set along Jamaica's East Coast.

The Psalmist speaks, on Port Antonio’s Titchfield Peninsula, overlooking Jamaica’s East Coast.

Make no mistake. The power of the Word is not limited to the page, or to the volume of the human voice. Hebrews 4:12 says it well: “For the Word of God is alive and active. It cuts more keenly than any two-edged sword, piercing as far as the place where life and spirit, joints and marrow, divide. It sifts the purposes and thoughts of the heart.”

In concert with my Rasta bredren I can say: Jah live. Jah love protect us.

Exit Sandman: Mariano Rivera Departs

2 October 2013

October baseball is in the air—but the Yankees are nowhere to be found. Worse yet, we’ll never see Andy Pettitte or Mariano Rivera on the mound again. Half of the legendary Core Four has just ridden off into the sunset, carrying a generation of memories and a few trophy cases worth of World Series hardware.

Rivera walks off the mound at Yankee Stadium for the last time, given the hook by fellow Yankee icons Andy Pettitte and Derek Jeter.Losing Pettitte (one of the most clutch pitchers of his era, and the all-time leader in post-season wins) is bad enough. Losing the Greatest Closer Ever means even more. For nearly two decades, Yankee fans have been able to sit back in the late innings and let their stomachs settle when Rivera came out of the bullpen to the strains of “Enter Sandman.” That was the first tune in the set, followed by the slicing hum of his cutter and the sounds of splintering bats. Then the encore—Sinatra singing “New York, New York” as the team gathered around Mo, slapping hands over another victory.

Recalcitrant Red Sox fans might consider the above paragraph hyperbole, but Mo’s entire career reads like fiction. Can anybody really have done all this:

Buster Olney’s research suggests that Rivera broken about 800 bats in the course of his career. (His best retirement gift was the “chair of broken dreams”—made completely of broken bats—given to him by the Minnesota Twins.)

Over 900 times in the regular season, the Yanks turned the lead over to Mo. A full 95% of the time, he held it. 95%! The team’s record in post-season play—filled with pressure, facing the best of the best, spotlight shining bright—when giving the lead to Mariano? 64-4.

Jayson Stark tells us that Rivera has 11 seasons with an ERA under 2.00 and at least 20 saves. No other closer in history has more than 4 such seasons.

Mo’s 652 regular season saves stand as the all-time record. That alone makes him one of the greats. But one of the key features of his career which sets him apart is his work in the post-season, where he towers over everybody else. He pitched over 140 innings (the equivalent of two seasons’ work for a closer) and notched a full 42 saves, with a microscopic 0.70 ERA.

Yes, I can still see him in Game 7 of the 2001 World Series, turning and throwing a double play ball into the outfield, which meant ruin for the Yankees, but that was an ultra-rare stumble. Consider: Rivera appeared in 32 post-season series, and faced 527 hitters. He gave up a total of 2 HR, the last in the year 2000. (Fellow closer Byung-Hyun Kim gave up 3 HRs in 24 hours; it can happen fast.) And get this: more men have walked on the moon (12) than scored on Mariano in the post-season (11).

None of this (and we’ve barely scratched the surface of discussing his place in hitters’ memories) is even the most impressive thing about the man, at least to me. Rather it is his composure, his dignity, his empathy for others; all of which translates into his deep and abiding Christian faith. Like Andy Pettitte (the Yankee pitchers are two of the most dedicated Christians in the Show), Mariano lives his spirituality away from the spotlight. It’s there, as an essential part of him, but with no fanfare or glib pronouncements. Just deep, rock-solid faith.

Playing stickball in the streets of Panama, Rivera is a shining beacon for the youth of his country.

Playing stickball in the streets of Panama, Rivera is a shining beacon for the youth of his country.

If you’re a Hall of Fame acolyte, book your Cooperstown lodging now for the summer of 2019. Mariano Rivera will be standing at the podium thanking his teammates—and I predict he’ll be the first player ever to be chosen unanimously.

One of the most memorable moments in Yankee history. Exit Sandman.

One of the most memorable moments in Yankee history. Exit Sandman.

FLASHBACK: more from “City at the End of Time”

11 Sept 2013

CITY AT THE END OF TIME

In the Corridors of the KGB

From the sunlit square in the center of Vilnius, it looks like any of the other massive, ornate facades that dot the city as government buildings. Lithuania may be newly independent, but there are still plenty of reminders of its medieval glory days as one of the largest countries in Europe. There is nothing glorious, however, about this building. For fifty years it was the headquarters of the KGB and the even more dreaded Stalinist NKVD.

The enormous Lenin statue has been toppled and removed from the plinth outside. Now on the sidewalk stand a pile of heaped stones, littered with tiny crosses, amulets, bits of paper and once-lit candles. A memorial to those who had been taken inside the building . . . and never brought out.

The flowers will linger, but not nearly as long as the memories. Every Lithuanian family lost a member to the hidden torture chambers on this square.

The flowers will linger, but not nearly as long as the memories. Every Lithuanian family lost a member to the hidden torture chambers under this square.

 

My sons and I go past the memorial, down through a tree-lined courtyard, and around to a side entrance. The sign reads (in Lithuanian) “The Museum of the Genocide of the Lithuanian People.” I had thought it would be an instructive moment for the boys; a chance to see first hand the heavy clamp of secret police on an oppressed populace. They hope for displays on the workings of the KGB: miniature hidden cameras, details of past escapades, clever killing devices.

Inside the building a hallway leads us through photographs of labor camps in Siberia and of stiff, unsmiling families gathered somewhere in the woods. A silent man sells us tickets and points us down a set of stairs. . . .

At first I’m disappointed. We’ve come out in a shabby, ill-lit hallway with a series of iron green doors propped open and two shuffling old men poking in and out. Where is the drama, I wonder? The boys edge doubtfully forward, seeking evidence of James Bond-ian villains and looking past the drabness.

Imagine 12 hours in here, with only worse to come.

Evan and Alex Gabriel imagine 12 hours in here, with only worse to come.

We start at a tiny holding cell with a pinhole for guard viewing. Alex, the older boy, locks young Evan inside—just for a moment; to feel the darkness and the confinement—and when he comes back out I read the sign to them. This had been a prisoner’s first stop, and often took up to twelve hours. We move on past guard rooms, a shower and toilet area with buckets in the corners, cells built for two—which had housed as many as twenty— and on into the gloom.

The two old men ahead of us are mumbling to each other in monosyllables and I wonder how intimately they are acquainted with this place. It is said that every family in Lithuania lost somebody to this corridor, though for many it was only a first stop before other destinations.

Here is a room piled with burlap sacks stuffed with paper. At the end, when the Soviet Union collapsed with surprising quickness, KGB officials were found filling the bags with documents in a vain attempt to spirit them out of the country. Now they stand in the comer, still unread, but mute witness nonetheless.

Now we are deep into the hallway. On our left is a room with only a cement floor and a tiny pedestal the size of a dinner plate that projects upwards a couple of feet above the floor. The water torture room. Here the prisoner stood naked on the plate, or sat in the water (bone chilling cold in the winter) and attempted to avoid falling asleep. Nobody hauled you out when you fell. Three or four days was the longest anybody lasted. Beyond this is a tiny room with dirty grey padding on the walls and against the far wall a black cloth spread out like a misshapen spider trying to climb to freedom. This is a straightjacket, unfurled before binding and, despite my best attempts, my imagination puts me in it. Just for a moment; then we move on.

Even archbishops weren't safe from the KGB. In an intensely Catholic country like Lithuania, this was sacrilege.

Even archbishops weren’t safe from the KGB. In an intensely Catholic country like Lithuania, this was sacrilege.

More cells, mug shots of captured archbishops, another guard room. The boys have gone quiet and no longer peer quickly into whatever comes next.

“I think we should go,” says Evan. “I don’t think we should be here.”

“In a minute,” I say. “Here’s a place to step outside.”

Into a courtyard littered with broken glass, with a rusted wire fence and high walls surrounding it. A flight of rickety steps takes us up to a narrow walkway and a tiny hut. Here the guard sat, with wire mesh on either side of the walkway, and peered down at the captives taking their ten minutes daily “exercise” on the cement. Were these the moments of hope? Or confirmation of despair—that even outside there was only the grim, grey hand of the state police?

Guard site from above the mesh of outdoor cages.

Guard site from above the mesh of outdoor cages.

We go back inside.

“Maybe we should go.” Alex this time.

“Let’s just finish the hallway. There’s some photos down here.”

My mistake. Photos there are, of the fallen Lithuanian “forest fighters” who waged a nine year guerrilla war against Stalinist Russia. I had never heard of this war, or indeed of the forest fighters. (Does history’s ignorance make their cause even more tragic or pointless beyond belief?) But I’ll never forget them now. The photo montage is of death masks, fallen comrades in the woods, eyes eaten out by flies, bullet holes in foreheads, shabbily dressed young men and women clutching awkward rifles and the real objects of these photographs never even seen—the power of the state . . . the camera holders beyond the frame . . . shapers of the images of history . . . but never, the Lithuanians would say, of the hearts and minds of the people.

Originally published in Imago (Australia), Vol. 13, No. 3, 2001

On the Death of Elmore Leonard

28 August 2013

Unlike most of his characters, may Elmore Leonard RIP

RIP Elmore Leonard

“The sky is cryin’ . . .”

—Elmore James

Like his blues-howling namesake, Elmore Leonard could conjure dark doings, and stretch your heart with worry about the survival of some lost soul on the underside. He was also one of my favorite all-time writers, but if you’re after a grand summation of his life and work, you’d better look elsewhere.  (” . . . one of America’s greatest crime novelists and one of Hollywood’s favorite storytellers” . . . “a seemingly inexhaustible cast of sleaze-balls, scam artists and out-and-out psychopaths.”)

I first encountered his work at a friend’s garage sale in the mid-80s. There was nothing of interest on offer, so just to be polite I grabbed a foxed paperback of Glitz. Little did I know the seedy, convoluted worlds of intrigue into which I was about to tumble. Forty books later (I think I’ve read everything Leonard published except for Escape From Five Shadows), the man was still turning over rocks to see what might crawl out.

Leonard always kept it short, sweet and to the point. As he famously said, “I leave out the parts that people skip.” He moved scene to scene, inventing as he went, so that his books never had the feel of being “plotted.” His ability to characterize meant that in a single page he’d have you feeling you knew deep motivations and festering hurts and couldn’t wait to see what some clown would do when pushed to the edge—particularly when pushed to the edge by competing factions all chasing the same McGuffin.

It never took long to tumble into the story either. Dig the opening sentence of another 80s novel, Bandits: “Every time they got a call from the leper hospital to pick up a body Jack Delaney would feel himself coming down with the flu or something.” How can you not keep reading?

An ex-nun, an ex-con, and an ex-cop stumble on a cache of money on its way to the Nicaraguan Contras. They're going to make out like bandits.

In New Orleans, an ex-nun, an ex-con, and an ex-cop stumble on a cache of money on its way to the Nicaraguan Contras. They’re going to make out like bandits.

And the dialogue! So crisp, so real. Look how much we learn about these two guys’ attitudes in this uninterrupted slice of repartee (also from Bandits):

“. . . the guy has the desk lamp on and he’s taking stuff out of the lady’s briefcase and putting it in this flight bag he has with him. So, I started to sneak up behind him.”
“No shit.”
“He was about your size. What’re you, five six?”
“Five seven and a quarter.”
“He wasn’t too big. Maybe a hundred and thirty pounds.”
“I go one sixty-two,” Mario said.
“So I don’t see a problem unless he’s got a gun.”
“Yeah, did he?”
“Just then he turns around and we’re looking right at each other. The guy says, very calmly, ‘I bet I have the wrong room. This isn’t 1515, is it?’ I said, ‘You aren’t even close.’ . . .”

And one more time. With Leonard, you share a random ride with an ex-nun, and before long you’re embroiled in Sandinista blood vendettas. They’re not long in the car together, still killing time, but getting intrigued (again from Bandits):

     “You’re a nurse?”

“Not exactly. What I did was practice medicine without a license. Toward the end we didn’t have a staff physician. Our two Nicaraguan doctors were disappeared, one right after the other. It was only a matter of time. We weren’t for either side, but we knew who we were against.”
     Were disappeared.
He’d save that one for later. “And now you’re back home for a while?”
She took several moments to say, “I’m not sure.” Then glanced at him. “How about you, Jack, are you still a jewel thief?”
He liked the easy way she said his name. “No, I gave it up for another line of work. I got into agriculture.”
“Really? You were a farmer?”
“More of a field hand. At the Louisiana State Penitentiary. Angola.”

Man, that’s good. I got to keep trying . . .

RIP Elmore Leonard.

 

Montevideo Moods

21 August 2013

To get to Montevideo I take the bus from the former Portuguese smuggling port of Colonia del Sacramento on Uruguay’s southwestern coast, on through cattle country and tidy villages with Alpine names. After leaving my bag at Tres Cruces Terminal—an airy, clean shopping area as well as bus terminal; Greyhound could learn a lot here—I wander the embassy district and the huge Parque Batlle. Everywhere is green. Horses nibble at the long grass. In the distance a pair of lovers huddles on a stone bench, sharing each other’s warmth. The park has an under-wraps fun fair, impressive sculptures, a velodrome, and the Estadio Centenario, the site of the first World Cup in 1930. That Cup was won by Uruguay and there are still bronze plaques honoring the team, as well as foreign stars from the event. Outside the stadium, a local team is running drills on a practice pitch and two workmen in coveralls hose down the cement arrival area.

Uruguay not only hosted the very first World Cup, they won it. Thanks for Forlan and Suarez, they nearly one the last one too . . .

Uruguay not only hosted the very first World Cup, they won it. Thanks to Forlan and Suarez, they nearly won the last one too . . .

I spend my time in Montevideo walking, walking, walking. I eat in little workingman cafes; have breakfasts at Oro del Rhein, a 75 year-old classic German bakery/cafe, and watch the clusters of mate drinkers form and dissolve. I walk cobbled streets past flower vendors, and dip in for cappuccino whenever my energy flags. There are remnants of 19th century French and Spanish colonial architecture everywhere, especially above the ground floor. Long-haired artisans display their creations on streetside blankets. Vendors of herbs and oddments set up little tables and bargain with the passersby. The clopping of horses’ hooves from the garbage carts is constant throughout the day, and adds to the air of shabby gentility that seems to hang over the city. 

I dawdle in the plazas, which feel like the city’s barrio heartbeats: Plaza del Entrevero the flower-strewn link to the city center; Plaza Independencia the nation’s pride, with the neo-classical Teatro Solis, the overwhelming bulk of Palacio Silva (once the tallest building in South America), and the last remaining remnant of the old Spanish city gates; Plaza Zabala a spot to doze in the sun and dream of colonial days. My favorite is Plaza de la Constitucion, which is encircled by Iglesia Matriz, the oldest church in the country (1799) and the Cabildo, or old colonial town hall, which holds a museum of local artifacts.

Just off Plaza de la Constitucion, students let loose.

Just off Plaza de la Constitucion, students let loose.

All along Montevideo’s peninsula setting are Las Ramblas, recalling for me the famous Ramblas in Barcelona. But where in Catalonia these walking streets bisect the center of the old city, here they ring it, working around the edges like a fishing net scooping up the crumbling art nouveau buildings from the grey rush of the river estuary. Further east, Montevideo sports a string of fine beaches, exceptional in such urban surroundings, and the Ramblas form a handsome esplanade with palm trees and apartment blocks, but here, embracing the Ciudad Vieja (the Old City) the meandering stone walkways are windswept and tatty. Lone fishermen work the undersides of jetties; in the lee of statues are remnants of last night’s furtive parties, and cats glide in silence from outcropping to outcropping. The wind is loud in my ears.

After several overcast days, the sun peeks through and the city is suddenly filled with street life. Flower vendors blossom on every corner. The shoeshine men step sprightly and snap their cloths with a crisper touch. Schoolkids in uniform shriek past and make for the nearest park.

Now the plazas are filled with old men arguing the results of the upcoming elections and mate drinkers sitting placidly as fountains play behind them. I can’t recall seeing a single rich person, nor anyone exceptionally poor. Birds flutter and chirp in the trees. Two little girls in red walk past, giggling as their ice cream dribbles onto their shirts.

As dusk tinges the streets around Plaza del Entrevero to deeper grey I stroll out of the park and past a shy pre-school girl sharing a hug with a crouching, gap-toothed old man on the pavement. I drop down quickly to their level, hoping to catch a telephoto shot of the moment, but the old man sees me, encourages the shot, and then asks if I can send him a copy of the photo. “Sure,” I say. “Write down your address.” Surprisingly, he has no address, only a name: Andres. But at the corner kiosk he gets the magazine vendor to list his shop’s address, where Andres can pick up the photo when I send it. We part with big smiles and a firm handshake.

Andres and his new young friend.

Andres and his new young friend.

On my last day in town I catch a creaking bus down the length of the old city cobbles, disembarking on one of the slowly crumbling side streets, where the working class clings to the traditional ways, knowing that while gentrification might mean fresh tourist pesos, it would inevitably end their pattern of life. The stevedore jobs are gone. The life of the port seems to retreat like the tide, further and further away from their doorsteps. But there’s no sense of surrender. Not yet.

Ahead of me the massive customs office—an exemplar of socialist realist architecture—leads through to a stretch of road and the gleaming hydrofoil to Buenos Aires. It’s like riding a spacious aircraft, but with extra decks and a working cafeteria. I settle in alongside a window, watching Montevideo’s first raison d’etre—the hill of El Cerro; still with a lighthouse flashing from its peak—and then we rumble out of the bay and slide westwards towards the all-consuming hub of Argentina.

 

Young Authors Conference Delights

24 July 2013

The last word in the title of this post can be read as either a noun or a verb. What is not a matter for debate is the joy I receive each year from teaching at this conference. I’ve been doing it steadily since YAC’s inception in 1990. Each day hundreds of 4th-8th graders from around the Twin Cities metro area pour into the halls of Bethel University to discover the wonders of working with professional writers. There are a couple dozen of us each year, covering the waterfront of genres and styles. Some years I do “Creating Characters.” Other times it’s “Doing Dialogue,” or “Starting Stories.” (And, no, there’s no requirement that session titles consist of two alliterative words.)

Whatever the title, the point of the sessions is to give eager young writers some fresh tools for their tool box, and to inspire them to keep digging deep inside themselves for expression and insight. As I tell the students, “We’re not all on the same road; we’re not all heading in the same direction. But wherever you are and wherever you’re going, it’s my job to move you further down the road of writing.” And then we take off, going a mile a minute and bouncing back and forth with bits and pieces of text, questions, story slices, and the like. For some of these kids, this is the first time they’ve ever been in a room filled with other dedicated young readers and writers. No longer are they the oddball who actually enjoys cracking a book. Now they’re trading favorite authors and offering up exceptions to every rule proposed. (As I say, “This is creative writing. Every rule can be broken—but before you do, you better know what the rules are, or there’ll be no creativity in the breakage.”)

Not actually from YAC, but this photo shows the author in action during a COMPAS Summer Writing Workshop in 1987.

Not actually from YAC, but this photo shows the author in action during a COMPAS Summer Writing Workshop in 1987.

The conference is run by the wise and energetic souls at Success Beyond the Classroom (particularly Gina Jacobson), and after the conference ends they send out examples of student feedback. I treasure these lists. Who wouldn’t? Here are some comments from the past two years from participants in my sessions:

“We got to do things for ourselves and learned new things versus reviewing the old ones.”

“He didn’t lecture on, and we switched off between talking and having us do stuff. He was funny.”

“I learned a ton in this class and got a chance to write, revise, and write more.”

“Because he really gave me a lot of good ways I should start my story and make good things happen so the reader can get hooked on it.”

“I enjoyed this session the most because dialogue is something I desperately need to work on and it improved my writing already.”

“I enjoyed this session because it was fun, the class kept moving forward, new techniques were taught, and I really enjoyed his thoughts.”

“I learned that when using dialogue I can show it in many different ways. Finding new ways of doing that was great.”

“I didn’t want to stop writing in this session!”

“I got to write an amazing story with a great beginning.”

There’s plenty more where those came from, but the point of listing them is to show that these young folks are serious about their work. A surprising number come up to me each year and say they’re writing a book already, or have a series of stories underway. I’m looking forward to seeing some of those names on the spines of books at my local library.

What I'm talking about: again from 1987 Summer Writing Workshop, the girl on the left is Vaddey Rattner, author of IN THE SHADOW OF THE BANYAN

What I’m talking about: from 1989 Summer Writing Workshop, the girl on the left is Vaddey Ratner, author of IN THE SHADOW OF THE BANYAN

Each year, when the conference is over, I drive away with fragments of conversations still bouncing around my head as I return to my own work with a renewed sense of vigor and enthusiasm.

FLASHBACK: from “City at the End of Time”

17 July 2013

CITY AT THE END OF TIME

How the Mighty Have Fallen

In a weed-filled yard on the edge of Vilnius, Lithuania, Alex & Evan Gabriel give Josef Stalin what-for.

In a weed-filled yard on the edge of Vilnius, Lithuania, Alex & Evan Gabriel give Josef Stalin what-for.

A decade ago their statues loomed over the city, dominators from beyond the grave. Their word had been law, had been life or death to millions. Across the globe, in revolutionary cells and colonnaded universities and musty, cubicled buildings, the sources of their power and thought were studied like holy writ. First names not necessary: Lenin. Stalin. Larger than life.

Larger than life, too, were those looming statues. In Vilnius—capital of the dear departed Lithuanian Soviet Socialist Republic—thirty iron feet of Comrade Lenin sat in the central square on Gediminas Street, just across from the massive, haunted KGB building. . . .

Then came the Chain of Freedom . . . the fall of the Berlin Wall . . . the martyrs of the tank attacks on the Vilnius TV tower . . . and with a shudder that shook the world, the Soviet Union was gone. Neighbors banded together to pull down the statues. Lenin, resisting to the end, broke off at the knees. Stalin—whose statues had been removed as long ago as the late fifties on some cases—went more easily, more completely. But everywhere, the symbols began to disappear.

Where are they now?

We take the #1 bus out along a bumpy road from the center of the city towards the airport. A crowd of Gypsies rides behind us and when we ask the driver to pull over and let us out at a massive, faceless ironcasting factory, the entire population of the bus stares us off.

The tip we’ve gotten says to look in the fields outside the factory, but we haven’t reckoned on the size of the building, or the overgrowth of the surrounding fields. Chain fences everywhere, weeds and garbage, dusty bushes as high as my head. There is nothing to be seen. It’s Sunday, and the factory is closed, so my plan to “ask inside” goes nowhere. We wander around one end and then back across the front, around to a side street. The chain fence goes on for half a block and then, lying in the weeds near a gravel entrance, our boys spot fallen figures.

Up close we can see a cast-iron soldier, some unidentifiable figures, and what looks to be the trademark handlebar moustache of the biggest killer in history. “Can we climb the fence, Dad?”

Suddenly, an officious watchman scuttles out of a nearby office. Uh-oh, trouble, we think. But, wordless, he intuits our need and hustles us through a narrow walkway past his office—his wife sharing the Sunday silence from inside—and beckons us to enter. . . . when we come to Stalin in his greatcoat and marshall’s hat and dead, staring eyes we focus, as we must, on the atrocities. The Ukraine famine, the extermination of the Kulaks, the NKVD terror that led to the KGB, the gulags . . . and the boys, grim-faced and shocked, turn and spit down on the empty eyes. For once, we do not stop them. They kick at his head, shouting denunciations; perhaps much as his henchmen treated dissidents.

But . . . where is Lenin? We ask the watchman. He seems to expect the question. . . . At last, jammed behind a broken-down tractor and garbage cart, we see a rusted chain-link cage. Inside the cage, broken off at the knees, looms the oversized head of Vladimir Illytch Lein, architect of revolution and, in his later years, instigator of state terror.

He’s leaning on his side, head bowed, as if in sorrow at this, his final fate. Caged, broken, all but forgotten . . . and there, just beneath him, a second statue of Josef Stalin faces upwards. The two old dictators stare at each other, sightless, powerless, dead for all time at the end of what was to be their century. “Where did we go wrong, comrade?” they seem to be saying. “What will become of us now?”

Lenin and Stalin ponder the fate of Bolshevism and the reality of the afterlife.

Lenin and Stalin ponder the fate of Bolshevism and the reality of the afterlife.

What indeed. Will the Lithuanians remelt these statues and forge new ones? Will they create some sort of museum of the damned? Will these gates be closed to future visitors? We don’t know the answer, but we can feel the tug of history in the empty faces lying here, caged, behind the dusty back wall of a factory on the edge of an embittered city.

originally published in Imago (Australia), Vol. 13, No. 3, 2001