Somewhere Down the Road

Asian water buffalo of course

Since I’m a child I have wanted to travel the world–I think it was Pippy Longstocking who first turned me on to the idea of exploration and adventure. Certainly Robin Lee Graham and Woody Guthrie and Mark Twain. And I have done just that; more than I imagined. Ironically, for almost thirty years I’ve lived in one house which I built here in the country. My previous homes lasted, from birth, four months, eight years, six years, four years, four years, eight months, three years, three years, three years, two years, two years, and now, well Aerie since my mid-thirties. 

If I had to choose between being always on the go for the rest of my days, or always at home for the same life, I’d choose home. I’d learn to garden and each year expand the crops with more tomatoes and cucumbers, and I’d have a fig farm on the land, perhaps more apple trees, and I’d share the results with neighbors. I’d know the names of the birds, and their migratory dates, and over time I’d have the hummingbird feeder ready for their return every spring. I’d add flowers to the land each year so that the back trail was lined with impatiens and the front with marigolds, and the north side toward the river would have a new trail with hanging baskets of herbs. I’d build by hand and bricks and stone a small guest house, with carvings in the doorframe and a wood-burning stove in the corner on clay tiles I made myself in the kiln I would build in the field. I’d have a dog, some cats of course, and a goat or two. Watermen and farmers would swing by sometimes to chat out front in the gazebo. And I’d walk to the post office to mail my manuscripts; I’d no longer be in a hurry. 

Just as easily I might simply leave, keep going

I’d do the Camino again, perhaps for years, and everyone would come to know the “old American” who is always out there heading toward Santiago. I’d relish the knowledge that no matter what else happens in my life, I have as a foundation to keep going the Way, the pilgrimage trail from France to the west of Spain. I would take Paulo Coelho’s advice and unbecome all the things that I’ve accumulated over the years which were not me at all, until finally I become who I was supposed to be to begin with. 

If I needed a break I’d head up to Connemara in August each year to walk the Sky Road near Clifden. Or I’d head to Prague in May for the music festivals in Old Town and stop and see my friends at the university. I’d have strudel and tell newbies about the time I used to write in the corner of Nerudova 19 when it was a tea room, and I’d write and have a pot of tea and strudel, and I’ll say it is too bad they weren’t around then since now it is an ice cream shop and it isn’t the same. 

Parts of me are already scattered all over the world. Pieces of my twenties are in Mexico and Africa, and large portions of my thirties are in Russia. Some of my forties made it there along with Prague and Amsterdam, and slices of my fifties are sprinkled like diction across this country from St Augustine to Seattle. If I had been able to simply keep moving, I’d have distributed what’s left of me in Spain and Ireland, with a small sampling saved for a state park on Long Island’s Great South Bay where most of the elements in my being come from to begin with. 

Still, I like the idea of spending my life in a small town where I’ve always known everyone, and I leave the doors unlocked, and I have a running tab at a local shack of a pub. Equally I like the notion of having friends all over the world, writers in cities throughout Europe to call up and spend time with on my way through again. I like knowing other cities in other countries as well as I know the trails here at Aerie. 

I wrote a book once about a guy who traveled the world until he settled in a small town and meets a woman who knows everyone and is from there, and they fall in love and the idea of staying grows on him, but she, by meeting him, understands she isn’t stuck in a small town after all and there is a world out there to see and experience, so she leaves. He decides the small town life isn’t the same without someone to share it with, so he leaves too, ironically also traveling the world, always wondering where she went, looking for her in crowds and metro stations, but he never finds her. It was a great idea and a decent manuscript, called An Innocent Season, but I could never figure out how it should end. That and I suck at writing fiction.

Life has a way, doesn’t it?

Last week I pet a water buffalo. This was near Neunen in the Netherlands. He was quite cute, still relatively small, and I scratched his neck and rubbed his face between his eyes, and he kept nudging me to continue, licking my shoes and pushing my hand. Luckily he was an Asian water buffalo who are kind, unlike the mean African ones. We stood at the fence and I pet him and we had just bought water buffalo yogurt and cheese but passed on the water buffalo ice cream. This little guy was loving on my shoes and my hand but I had stepped back and he came closer and his nose hit the electric fence, and we could hear the “zap!” and a small spark shot out and that little guy backtracked to his mother near a muddy area across the pen. He just stared at me with scared eyes as if to say, “Why?!” It wasn’t anger; no sense of “you bastard” in his face. Just a questioning “why did you hurt me like that?” and it made me a bit sad. I ate the yogurt anyway, though, with raspberry jam and some nuts. 

But we do that, we get close and then our perception is thrown off. Something zaps us and we associate that pain with those close to us when they might have had nothing to do with it; it was more than likely just circumstance, timing, the time of day. I wonder now how long will the little guy remember the pain. Will it make him leery to get close to the next guy with Hokas on and a hand stretched out? Or will he just keep getting hurt because the pleasure is worth all the pain? 

I would. In fact, I have more than a few times. Emily Saliers wrote we must “take part in the pain of this passion play” if we must love. The worst pain of course is departure, leaving again, and one comes to realize that eventually you’re best off either to just keep going, following whatever Camino you find yourself on, or agree to stick around awhile and simply accept that the pain is part of it all. 

So we ate the yogurt and gave away the cheese and went back to Amsterdam and flew home. Three days later my beautiful mother passed away. I’ve been thinking about my youth, and mostly I remember laughing. My childhood included every emotion possible, but what comes to mind first and strongest is the laughter. I remember going to the supermarket as a kid and pushing the cart and getting a treat. I remember her making food for my class in elementary school and not minding when my friend Eddie and I dragged in mud from the state park. I remember her making lemon meringue pie because I liked it, and I recall perfectly her listening to me attempt to play the guitar for the first time as I butchered John Denver’s “Sunshine on my Shoulders.” I am sure I was zapped more than a few times back then by her voice when I inevitably did something wrong, but I can’t pull those memories up right now; only the good things. Like all the laughter and the music; these two things I inherited from my Irish-Italian mother–laughter and music. 

That and to keep going. Perhaps the finest lesson of all; just keep going.

The Laughter Never Stopped

neither did I

Best Cheese I Ever Had

So here’s one I wrote and let it go. It’s partially told in a piece in my short collection Howl at the Moon (Cuty Wren Press). It came to mind this morning because I’m leaving in a few days for Amsterdam, and I’m sure there will be cheese involved.

I was in the Netherlands about twenty years ago, maybe twenty-five. I lectured at the University of Amsterdam and talked about art and Van Gogh and death. Normal stuff. In class one day, which was open to visitors and in which everyone was required to speak English, an older woman whose late husband was an artist sat in for the lecture, and afterwards she gave me an etching her husband did of a local cathedral. When she learned I was going to find a way up to the Zuider-zee, she offered me her son’s motorcycle for the day. Students gathered to talk about Van Gogh and about America and more. While the woman and I spoke, they talked amongst each other. One guy asked another if she was working that night and she said no, but the next night she was. He told her he’d come by. Another said it hurt to speak in English, and the young woman said it’s good for him to learn, that she wants to learn as many languages as she can. They all talked about van Gogh’s art.

That night on my way back to the hotel, I walked through the Red Light district to use a computer at a Brown Café to tell my officemate about how it was going so far. The windows of the district display scantily clad women, select lingerie on the floor, a couch, maby velvet, sensual surroundings and lighting. They move about tenderly like flesh and bone mannequins, and when a prospect passes, they urge him to pause, consider coming in for a quick turn. They whisper to them in Dutch, in English, French, German. There’s a back room for the business end of the exchange. I kept walking.

The next morning was one of those movie-set days with a perfect temperature, ideal soft breeze, postcard tulips and windmills, dikes running roadside holding back calm waters. I rode out to a Volendam café on the docks where som sailor just back from the states finished washing down his ketch, and we talked about his Atlantic crossing, about the Chesapeake Bay where he had been, and about the cheese he had on deck which he shared with me. We went in the café for a beer and the waitress offered some Gouda and bread with eel and herring. She said the cheese was from a small factory just a few miles away and that I should go, so I did.

Inside the cheese factory—a small barn-type building—a young man and woman stirred a vat of vlaskaas cheese which was sharp, and they told a half dozen of us how gouda is made and molded into wheels and how we shouldn’t refrigerate it, and how healthy it really is, being a hard cheese, including aged, smoked, and toasted. I bought two wheels for fresh gouda and stacked them in my pack and walked outside where a few other travelers from a bus sat at a picnic table.

A Dutch girl about twenty-five eating cheese and drinking white wine asked me to sit with her, and when I told her she looked familiar she said she had been at my lecture, and she swept her blond hair behind her ear and that’s how I knew her—she did that the entire reading, it kept falling forward and she kept sweeping it back and I thought Geeze just tie it back already. I told her simply I recognized her.

She offered me a glass of wine and retrieved a plastic cup from inside, and I shared her cheese. Her name was Abby and she came up to get a few wheels for her family and one for her. After about thirty minutes and a glass of white, the bus driver called for them to go so she left and said she’d hoped to see me again, and I walked toward the bike to leave. The cheese was heavy but I was glad to have it, and the perfect day made me not care so much.

That night I packed for my trip home the next day and decided to head back to the Brown Café to write again to my officemate back home to tell him about the ride out to the North Sea and the sailor and the hair-sweeping blond. I did so on the upper level of the first café I came to where the open door swept the smoke from the hash up to the internet café section so that by the end of my email I couldn’t spell anything correctly.

I left the café and strolled around the district where people drank espresso and the aroma of various smoke filled the narrow streets and top-shelf women worked the windows, and if you can see this coming you must believe me that I certainly didn’t see it coming at the time: I turned a corner and glanced at a blond in a prime-site window, and it was her, Abby, the hair girl with the cheese, and she motioned to me like I was just another passerby, but then recognized me and sat up more from where she had been prone on some pillows and her white lingerie lingered just a bit behind, and she pulled her strap back on not trying too hard to do so, and she pressed against the glass and urged me to come inside, motioning toward the door on the left. I thought about just walking by but that thought didn’t hold so I went in just to say hello. She cut me a slice of the cheese she had bought that day and she pointed that out, that it was the same wheel of cheese that we shared earlier, and that thought seemed to connect us closer than I cared, but it hung there between us. I had one slice of the vlaskaas on the table and said I didn’t want her to lose business on account of me, and that I really had no intention of patronizing her profession, and she smiled and said she understood. I left, and on the way out I passed the guy from class who had asked her if she was working that night. He glanced at me and I laughed. This is not like the colleges at home, I thought.  

On the way home I walked by the Van Gogh museum one more time. It was quite in that part of town, and I stood in the cool night air, the sweet aroma of flowers everywhere, and remembered Vincent’s words about Sien, a prostitute who lived with him for a while with her young daughter. About her he wrote to his brother, “I believe there is nothing more artistic than to love people.”

Next week I’ll be there, at the museum, at the village where he lived a while with his parents, and along the canals. Just look at how everything in our lives moves on, grows and changes and, eventually dies. We age and hold out hope that some of who we used to be remains, knowing, of course, that is true only for a little while. Since I walked those streets last, friends and loved ones have died and my world has changed time and time again, but this week I’ll walk along that avenue and the hallways of the van Gogh museum where his work remains on permanent display, and I’ll think about the man who was nothing more than a peasant who lived with a prostitute, didn’t make any money in his last ten yers, lived off of his brother, was disliked and consdiered a leech and a failure by everyone including the best artists of the day who for the most part said his work had no hope. And I’ll think about that as I pass people sleeping on benches in the park and wonder which ones are artists and which ones of us merely pass judgement.

Van Gogh Drawing of Sien Peeling Potatoes

Vincent van Gogh

Vincent van Gogh was born on March 30, 1852, and died at birth. His parents buried him in the entrance to the graveyard in the church where his father was an Episcopalian minister. Exactly one year later to the day, the couple gave birth to another boy and named him after his dead older brother. Vincent van Gogh was born March 30, 1853, and spent his youth seeing his name and birth date on a headstone when he went to the church.

He tried working in a bookshop, as a tutor, an art dealer, and a preacher in the mines of Belgium. He spoke multiple languages, read Hugo in French and Dickens in English. He fell in love with his cousin and lived for some time with a prostitute and her daughter. For the last ten years of his life he lived entirely off of his brother, sold only a painting and a scattering of drawings, fought with every artist he knew and rarely paid his bills. He was belligerent and sick with syphilis, manic-depression, and epilepsy. He was considered a bum by every contact he made, and only two art critics thought he showed any promise at all. At thirty-seven he shot and killed himself.

That was 135 years ago this July. We’re still talking about him.

By today’s standards, he would be outcast and dismissed as a man who wasted his life pursuing a passion with no hope of even making a living at it, let alone gaining any success. He would be quickly forgotten.

A few years after his suicide, Vincent began to be recognized for his innovations in art, his vision as an expressionist, and his deeply-moving letters to his brother about life, love, God, hope, art, and death. Today he is considered one of the most influential artists in history.

I’m going to the Van Gogh Museum in Amsterdam next week followed by a reading I’ll be doing at the Van Gogh Library in Neunen, Netherlands.

It started when I was a freshman in college, and a dear friend, the late artist James Cole Young, gave me a three volume set of letters Van Gogh wrote to his brother and other artists. I mostly ignored it for a few years, until in Massachusetts when I went home after work each night and read them several times, intrigued by two seeming contradictions: One, he wrote extensively about his inability to gain any attention at all in the art world and other artists’ bad opinion of his work, yet he became one of the greatest artists of all time; and two, he stated often his thrill for being alive, for life itself, for everyone, and he wrote of the insane idea of taking one’s own life, yet he did just that. So I looked further. As a graduate student, I wrote a one man play as one part of my Masters in Arts and Humanities at Penn State and performed it at the Olmstead Theatre in Pennsylvania, under the direction of the late playwright Eton Churchill. Eventually, my work Blessed Twilight: The Life of Vincent van Gogh was released in 2018. It is all first person from Vincent’s letters.

In just over a week I get to hang out where he lived and wander aimlessly down the same streets of Neunen. Perhaps I’ll even drink some absinth

Most people love Vincent’s art. But I like his writing.

Like this:

In a painter’s life, death perhaps is not the hardest thing there is. 

The earth has been thought to be flat. It was true, and is today, that between Paris and Arles, it is. But science has proven the world is round and nobody contradicts that nowadays. But notwithstanding all of this people persist in believing that life is flat and runs from birth to death. However, life too is probably round and very superior in expanse and capacity to the hemisphere we know at present. For my part, I know nothing of it. But to look at the stars always makes me dream as simply as I dream over the black dots of a map representing towns and villages. Why, I ask myself, should the shining dots of the sky not be as accessible as the black dots on a map of France? If we take a train to get to Rouen, we take death to reach a star. One thing undoubtably true in this reasoning is this: that while we are alive, we cannot get to a star any more than while we are dead we can take the train. So it seems to me possible that cholera and cancer are the celestial means of locomotion just as steamboats and railways are the terrestrial means.

To die quietly of old age would be to go there on foot. 

I feel more and more that we must not judge God on the basis of this world; it is a study that didn’t come off. What can you do in a study that has gone wrong if you are fond of the artist? You do not find much to criticize; you hold your tongue. But you have a right to ask for something better. It is only a master that can make such a muddle as this, since then we have a right to hope that we’ll see the same creative hand get even with itself. And this life of ours, so much criticized and for such good and exalted reasons—we must not take it for anything more than what it is and go on hoping that in some other life we’ll see a better thing than this.  

–Vincent van Gogh