New Hope, Familiar Despair, and an Inspirational Sandwich

When I look back at the past year, I mostly see haze and fog. Which makes the memories that remain gleam like islands of hallucinatory clarity. One of these is of Sarah and I standing in a bar, drinking cold beer and eating a revelatory combination of bread, pork, wine, and garlic known on Madeira as sandwich carne vinho d'alhos. Another is of walking toward Powell's in Portland and seeing my name on the marquee.

That night included an on-stage conversation with the Wild Salmon Center's Ramona DeNies, a question-and-answer session, and many vivid reminders of why I launched the 2018 Baikal Headwaters Expedition in the first place: for the sake of the river.

Although that event went unrecorded, you can listen now to my conversations with Aaron Millar of Armchair Explorer and Tim Harden of The Venturing Angler, with another podcast to come from Chris Mortensen of All Creatures.

Rowing to Baikal was reviewed favorably in Library Journal, Foreword Reviews, Gray's Sporting Journal, Good River Review (by old friend Greg Pape), and Harvard Magazine, among others.

Spurred by alternating bouts of hope and despair emerging from Egypt's COP27, a chapter from an early draft of the book was posted on Rivers without Boundaries.

Another excerpt from the book—with several pages of photos by myself, Lanie Galland, Misha Skopets, and Guido Rahr (now of The Takes)—as well as an interview with Chris Dombrowski, author of The River You Touch, appears in the latest issue of Modern Huntsman.

I returned to the river in June, where the guides and staff of Mongolia River Outfitters continue to work against the threats posed by poaching, habitat degradation, and climate change.

Later in the summer, Sarah and I left Algeria. One of the last things we did there was to visit the cave where the creator of Don Quixote, Miguel de Cervantes, was imprisoned from 1575 to 1577 (though he would not be ransomed until 1580). One of the best things was a close encounter with the Algerian nuthatch, an endemic bird that somehow avoided the attention of European scientists until 1976.

For "What We Talk About When We Talk About Taimen," see issue 37 of In the Loop Magazine. 

For an account of my sojourn on Slovenia's River of Dreams, visit Orvis News.

Rowing to Baikal, the book

I would call myself a slow writer but that feels willfully understated. The 2018 Baikal Headwaters Expedition took place a scant five years ago. My first book, Principles of Navigation, was begun in 1983 and published in 2013. (I’ll trust you to do the math.) My second, The Coconut Crab, originated as a story told to my daughter in 1999—and was released in 2022. Rowing to Baikal ships on December 5. So at least I'm getting faster with age.

Though not really. It still takes a maddeningly long time to scribble out the sentences, identify their weaknesses, fix their faults, cobble their connections.

This one happened more quickly because if I’d waited twenty years to get the paragraphs right, the river might have been gone. And with it, so many things that have sustained me and countless others. Things worth loving. (For the record, 50 percent of the royalties from this book have been allocated to the International Taimen Initiative.)

Elsewhere, you can find my story about the pleasures of friendship in issue 15.1 of The Flyfish Journal, while issue 15.2 will include a brief musing on mayflies—or, in other words, youth and fragility—and the epic of Gilgamesh.

And the most recent issue of Destinations, a publication of Fly Fisherman magazine, features a description of a revelatory moment with the guides of Salvelinus in the foothills of the Pyrenees, arranged by my friends at Orvis Travel—with art by Rob Benigno—while Fly Fisherman’s annual Gear Guide closes with the origin story of my guiding career, which began way back in 1979.

But this year, the book has been the focus of most of my waking hours, even on the river in Mongolia, where I made some pre-dawn edits using my phone and then, thanks to the miracle of LTE, passed them along to the publisher before getting down to the more serious business of catching taimen on the fly. (Thanks to Matt Koerber for the pic.)

Lost and Found

In the Summer 2021 issue of Sport Literate, I wrote about a group of feral dogs in Tangier, Morocco, who had welcomed me as one of their own: “They were not really stray dogs but street dogs. Unrestrained and untended. Of all the pack members, current and former, only I am truly a stray. None of my dog friends actually wandered away from her proper home or lost himself in transit from one place to the next. But I have, over and over and over.”

At the time, I’d been living in Morocco for seven years. And now, in the winter of 2022, I find myself on the Portuguese island of Madeira. Though perhaps find is too strong a word. You can read about that transition in issue 14.2 of The FlyFish Journal.

While I was looking for a place to land, a handful of other stories also found their way into print. 

Issue 13.3 of The Flyfish Journal features my story about the most endangered species of trout on the planet: “The Ocean Under the Mountain.”

The spring 2022 issue of Guidefitter Journal offers a look back at my first visit to Mongolia. 

The March 2022 issue of High Country News published my essay, “Hard Lessons from Poker Joe.”

“The Necessity of Success,” in Strung magazine’s spring issue, once again paired my words with the images of artist Frederick Stivers.

Another excerpt from my upcoming book about the 2018 Baikal Expedition appeared in Plants & Poetry Journal. Oddly enough, it is not about a taimen but a porcupine fish. (If you click on this link, be forewarned that it takes a long time to load and you must scroll persistently to find the story.)

And the summer 2022 issue of The Montana Quarterly includes my tribute to the dog who underlies my appreciation of all dogs . . .

Trading a Pair of Oars for Pen and Keyboard

 During the 2018 Baikal Headwaters Expedition, the easiest thing for me to do on any particular morning was to get in the boat. After all, it’s what I want to do on nearly every morning, what I would choose if water, especially new water, was always and everywhere available. The relief I felt on picking up the oars some days was palpable, as if a dark sky had perceptibly brightened or the load on my shoulders had shifted to a more comfortable position.

Since March 2020, however, my opportunities for rowing a boat on a Mongolian river have literally dried up. For consolation, I’ve been telling myself stories, some of which have since found themselves in print.

More than one describes the expedition itself: “Rowing to Baikal” appeared in the fall 2020 issue of The Drake, while “The Messenger from Heaven” was published in Politics/Letters in May 2021.

“The Ocelot and the Caiman,” set on Tsimane Lodge’s Sécure River, appeared in the February–March 2020 issue of Fly Fisherman. 

“On Safari, Fly Rod in Hand” ran in the summer 2020 issue of Strung and describes my stay at African Waters’ Gassa Camp in Cameroon.

Two stories can be found in Volume 12 of The Flyfish Journal: “The Word for ‘Fish’ in Speyside” in Number 2 (Winter 2021), with some fantastic art by Frederick Stivers; and “On the Way to Dragon Island,” set in Morocco’s Dakhla Bay, in Number 4 (Summer 2021). 

Moving closer to home, “Solace of the Pack”—about my friendship with an athletic gang of Tangier’s feral dogs—appears in the most recent issue of Sport Literate. 

And more work is forthcoming before the end of the year, including another story about the expedition in Litro’s nature issue, along with a novel for children and adults from Green Writers Press . . .  

 

 

 

 

Please Help Me Find This Book

Last summer, on a rare visit to our home in Montana, I took pains to investigate each and every one of the dozens of boxes of books stored in our garage. None of these boxes had been opened in a decade. 

I was looking for a paperback with a yellowish cover, published in Great Britain, by a woman whose name escapes me. The book is about a character who travels alone by train, drinking and smoking and pondering the big questions. As far as I can recall, it was bought in London in 1983, from a used bookshop in Marylebone. 

I can remember loving the sentences, feeling like their author had somehow toured the inside of my haphazard brain. But I can’t resuscitate the details necessary to purchase another copy. Note: It is definitely not the late, great Jenny Diski’s Stranger on a Train, which wasn’t published until 2002.

I have thought about this book a lot, even dreamed about it, recalling the feel of the paper between my fingers, the jolt of recognition I experienced with every resonant scene. I have tried to find it by searching key words and phrases online, such as “favorite novel about train travel.” Frustratingly enough, it is easy for my entangled neurons to summon a hazy image of the cover, but the title and author just won’t resolve into clarity.

Illustration by Russell Chatham from Guy de la Valdène’s Making Game (Clark City Press, 1990)

While I was hunting for this maddeningly crucial and yet somehow forgettable book, I set aside some other titles to bring back to Morocco: Richard Nelson’s The Island Within, Jim Harrison’s Just Before Dark, Guy de la Valdène’s Making Game. And Richard Brautigan’s Trout Fishing in America, now 53 years old.  

Perhaps the problem is that my memory storage device is even more of a museum piece than that . . . .

Pretty in Print

Two recent publications that can’t be read online: the first in Gray’s Sporting Journal’s fortieth anniversary issue, the next in Songs of Ourselves, from Blue Heron Book Works.

If you can’t get to a newsstand, here’s what the opening spread of the Gray’s story looks like on an iPad.

 

The painting is by Alberto Rey and—in case you were hoping to add it to your collection—is already owned by the University of Virginia.

The story itself is set in Mexico and Montana. Although it’s absolutely fiction, the narrative roughly chronicles the puzzlement I feel both when stalking bonefish on the flats and trying to understand the so-called new economy. (Remember Touch America?)

My contribution to Songs of Ourselves, on the other hand, feels like a big departure from my usual work. Subtitled America’s Interior Landscape, the book wants to identify an idea that I’ve been searching for from Morocco to Mongolia: “the thing that makes us American.” As I was telling my sister today, my bit—which I called “The Journal of Infectious Diseases”—is “basically a memoir in the form of a collage.”

According to the Journal of Infectious Diseases, the most common reason for travel among tourists who contract cholera is—you guessed it—a visit with the relatives.

Why I Haven't Quit My Day Job

Whenever I’m away from my desk, it seems that the world is determined to show me strange and beautiful things. An albino sea turtle, for one, gleaming like white gold beneath the blue water. And a brown booby, who nabbed a flying fish off a wave-crest as I watched from the kayak.

When a juvenile frigate bird tried to steal the booby’s fish away, I paddled over to offer support. The frigate fled, and then the booby enjoyed its meal, as well as (apparently) my company, eventually settling on this buoy to pose and preen.

A few days later, doubting my vision of the gilded turtle in the middle of copyediting a book about J. Alden Weir, the American Impressionist, I took the time for a quick search online (our family calls it, “consulting the oracle”). As it turns out, albino turtles, while uncommon, are not unheard of, although it’s more likely that the one I saw was leucistic. That’s one of my favorite things about the Web: what you might, in some less enlightened age, have been tempted to call hallucination can now be labeled as probable sighting.

Another of the fun things about the Web is that it brings nonstop news of success: the glad tidings of friends and acquaintances, as well as the exploits of impossibly lucky or talented humans who you will never meet.

On the other hand, if you are one of the untold millions striving to find a voice (and a paycheck), the continuous awareness of other folks’ book deals and movie options might leave you feeling like a chronic underachiever. At those moments, it can help to remember that the mere attempt to create carries its own rewards (sometimes long deferred, sometimes completely unfathomable).

Though it’s scant consolation, I try to remind myself that each rejection letter means that I now have one more reader than I did a minute ago. Not a satisfied reader, but hey, you can’t please everybody. The important thing—for my own sense of being a person among other people—is to keep plugging away. I don’t insist on becoming Meb Keflezighi every time I set out on a morning run, so why feel unhappy about not being Jim Harrison whenever I sit down at the keyboard?

The fact is that only a rare few get paid to play. The rest of us, as Gillian Welch sings, “do it anyway.”  Here are links for a handful of stories that found publication this spring, none of them in print, and none for pay . . .

• a few thoughts on aspirational flyfishing photography at Tail magazine

• tips for making the most of a trip to Mongolia at On the Fly magazine

• an update on our conservation work in Orvis News

• humor for proofreaders or mathematicians (your choice) at the Science Creative Quarterly

• and a brief meditation on zen and the art of nonrefundable airfares at We Said Go Travel.

Cheers from the past: A visit to Qingdao

In “The End of History Illusion,” Jordi Quoidbach, Daniel T. Gilbert, and Timothy D. Wilson measured the “personalities, values, and preferences” of nearly 20,000 people from the ages of 18 to 68. All “believed they had changed a lot in the past but would change relatively little in the future.” Try as I might, I suspect that I likewise would’ve fallen neatly into this sample.

Ten years ago, I had never been to Mongolia or Aruba and couldn’t have imagined my current relationship to these two places. In fact, I spent most of my time editing math books and pitching travel articles! This post was originally sold to Rezoom, a relatively short-lived site designed for aging baby boomers . . . 

Cheers from Qingdao

Because we were never properly introduced, I called him “The Screamer.” Nobody else paid any attention to the guy, who stood facing the Yellow Sea, bellowing a full-throated challenge to the dawn. With his mouth closed, he would have been just another member of the early-morning crowd—the women in one-piece tank suits and bathing caps, the men in nylon briefs—most of them over 50 years old and exhibiting no concern with either the chilly October temperatures or the American obsession with body image. They fished, swam, jogged, played volleyball, practiced gymnastic routines. While he screamed. I’m sure there was a reason for all the shouting, but I couldn’t muster enough Mandarin to ask.

I hadn’t learned much beyond the basics before this trip, just the traveler’s bare minimum of nihao (hello), xiexie (thank you), and yingwen maidan (English menu). That’s probably insufficient for a visit to some of China’s so-called “second-tier” cities, but it seemed to work in Qingdao, the cheerful home of what might be China’s most widely recognized foreign export: Tsingtao Beer. Despite the current difference in spelling, the name of the city and the brand are the same. Literally translated, Qingdao signifies “green island,” although it also sounds suspiciously like a word meaning “to pour.” Fortunately for vacationers, both definitions apply.

 

Although Shanghai and Beijing capture most of China’s first-time visitors, a smaller city like Qingdao can provide a less overwhelming introduction to the mainland. Its history mirrors that of the other former concessions in China: colonized by Europeans (in this case, Germans), invaded by Japanese (twice), liberated first by Nationalists, then by Communists, and most recently, by Capitalists. There are no tourist destinations on the order of Tiananmen Square or the Bund, but the city does have a lively pedestrian market, a regional cuisine based on fresh seafood, a fine old temple that’s been converted into a museum of folk customs—and much better air. Our well-traveled, sometimes finicky family of four, including a 9-year-old girl and 13-year-old boy, was never bored.

The most-quoted description of Qingdao goes something like this: “red roofs, green trees, blue sea, azure sky.” Not your typical jingle for an industrial city of 7 million, but stroll along Lu Xun Park’s seaside paths or hike to the top of Signal Hill and you will immediately recognize the aptness of this expression. 

There are still crowds, of course, but the density during our visit rarely surged past an entertaining level. I like watching people enjoy themselves—especially in China, where the faces are astonishingly varied and various: newlyweds posing for a photographer, formally attired in flawless white (except for the tennis shoes); grandmothers and grandsons, trousers rolled to the knee, netting crabs in tidepools; decorous old men airing their caged birds in a neighborhood square. As for the Screamer, who knows? Maybe he was really a cheerleader, practicing for 2008, when Qingdao hosted the sailing events for China’s first Olympic Games.

We stayed at the Huiquan Dynasty Hotel, for its strategic location—across the street from the No. 1 Beach. (From west to east, the city’s beaches are designated 6, 1, 2, and 3, in that order. The relatively quiet No. 2 became our family favorite.) We started each day with breakfast in the revolving restaurant on the 25th floor, then returned in the evening for foot massages, a few games of shuffleboard, or a bucket of balls at the indoor driving range.

Hotel restaurants in China can occasionally surprise you with good value and high quality. The Japanese restaurant at the Huiquan Dynasty served reasonably tasty sashimi, udon, and yakitori. Its Chinese counterpart, however, provided the sort of memories that will be forever accompanied by a rueful chuckle. The waitstaff alternated between staring and inattention. The dish we can’t forget was called “Laoshan vegetable,” after the famous nearby mountain. Intrigued by its spongy, almost fungal, texture, I made several inquiries regarding its source and preparation. All were in vain.

We enjoyed a much more satisfying feed at Chun He Lou (Spring Peace House), 146 Zhongshan Road. Although a plaque declared this “A Designated Unit for Foreign Tourists,” we noticed only one other obvious foreigner in the crowded, second-floor dining rooms. The house specialties included crispy chicken, crab with ginger and scallions, three-flavored dumplings, and chrysanthemum leaves with garlic.

West of Lu Xun Park, open-air seafood restaurants lined the road to the Navy Museum and Xiaoqingdao (Little Green Island). The day’s offerings were displayed curbside in rows of aerated tubs. You made your selections from this living, splashing menu, then chose the style of cooking. The best meal of the trip featured tender clams seasoned with small red chilies, scallops steamed in the shell, hairy crabs trussed with palm fibers, and several tall bottles of cold Tsingtao beer. All of that, plus a fine view of Huiquan Bay.

The Tsingtao Beer Museum traces the history of malt beverages from the ancient Sumerians forward to the contemporary Clydesdales. Between encounters with traditional fermentation vats and the “mystic yeast,” you could also pick up a few tips on beer appreciation, such as “serious swirling might easily be thought pretentious.” The 50 yuan admission fee included a souvenir glass, a taste of unfiltered brew, and a pitcher of draft. As the saying goes, “History is centuries old, but Tsingtao Beer will be fresh forever.”

In Good Company: 2014 New Rivers Press Books

Am very proud (and not a little relieved) to report that the New Rivers Press Electronic Book Series did not perish under my influence. In fact, the number of titles has now tripled.

This year’s winners include Click, a novel by Rebecca Cook, and Up the Hill, a collection of stories by James Calvin Schaap. The opening of Click propels you into the story at astonishingly lyrical speed, with great lines like “a face just to the left of lovely.” Schaap’s stories, by contrast, proceed with the measured grace of a voice from beyond the veil. As one narrator notes, “we're fluid up here.”

 

What to Read When You're Absolutely Buried

Sometimes you feel like two vast and trunkless legs of stone standing in the desert, even if you actually make your home on a tropical island. In that state of mind, the thought of opening a full-length novel can seem like an invitation to despair.

Rather than submit to such hopelessness, I've been reading short books. On the nightstand for the past few months: The Invention of Morel by Adolfo Bioy Casares, John Steinbeck's The Red Pony, and The Guest Cat by Takashi Hiraide.

The Invention of Morel was first published in 1940, with a prologue by Jorge Luis Borges. Though Borges called it "perfect," I think that description misses part of the book's great charm. It's science fiction in the same sense that Kafka's "The Metamorphosis" is science fiction, and has inspired adaptations for screen or stage by many notables, from Alain Resnais and Alain Robbe-Grillet to Richard Colton and Jared Green.

One of my favorite passages occurs as the fugitive-narrator contemplates the possibility of an afterlife: "this island," he thinks, "may be the purgatory or the heaven . . . (the possibility of several heavens has already been suggested; if only one existed, and if everyone went there and found a happy marriage and literary meetings on Wednesdays, many of us would have stopped dying)."

The 2003 edition from New York Review Books includes the original illustrations by Borges' sister Norah.

The four so-called chapters in The Red Pony were written from 1933 to 1937 but did not surface in print together until 1945. Understanding this fact up front might help you to negotiate the expectations created by the title story. I was unaware of the book's publishing history and read it with a combination of awe and wonder: in awe of its power, and wondering how in the world it would end. In a line like "Jody liked the things he had to do as long as they weren't routine things," Steinbeck reveals great sympathy for human frailty but offers scant comfort.

The Guest Cat by Takashi Hiraide first appeared in 2001, although readers of English had to wait for New Directions to publish a translation in 2014. The book's rise to bestsellerdom has been attributed to a review by NPR's Juan Vidal, which might be true. On the surface, it's the story of a copy editor and his wife, living in the suburbs of Tokyo, hunting for a new apartment, making friends with a neighbor's cat. Perhaps I found it so affecting because all of those details once applied to me, personally, but the more likely source of its success are sentences like these: "They were the color of topaz, and several iridescent violet streaks ran down their backs. If you poured boiling water over them, the purple streaks turned to bronze." Or: "I'd read in a book that the male of the species is solitary and tends to stake out a fairly extensive territory, and prefers being near water."

Days Gone By

My favorite new book, Richard Wilbur's Anterooms, was a gift from my niece, who works at the Yankee Book Shop in Woodstock, Vermont. In the title poem, this stanza nicely captures the feeling I have right now:

Still, it strains belief
How an instant can dilate,
Or long years be brief.

Camping on Mongolia's Delger River, August 2013

An Anthology of Bourbon Poetry

Way back when road trips, ice fishing, and an early morning drink were functional parts of my vocabulary, I also tried to write poems. These attempts were mostly unsuccessful, but one outlier has found its way into an anthology titled Small Batch, just out from Kentucky's Two of Cups Press.

My favorite poem in the book (so far) is "Day One" by Mitchell Douglas. It begins like this:

Day one,

I sip the shoulders
off a bottle of oak--
. . .

Where You'll Find Me

Look for "When You Must Go" in the May/June 2013 issue of Gray's Sporting Journal, and "A Different Sort of Ghost" in March/April, both available for the iPad.

"When You Must Go" is mostly set in Montana, but the first draft was written in Shanghai. "A Different Sort of Ghost" takes place in the Maldives, after the tsunami, and first found paper in Vermont.

On PhoneFiction,  you can locate "An Angel in the Juvenile Phase" and "Homesick." The stories on this site can be read on any device, even a phone (hence the name), and no apps are required. The catalog is organized by time commitment alone.

I wrote "Angel" while living in Missoula but thinking about the Keys, and "Homesick" while living in Missoula and remembering Los Angeles.

If there's a theme here, I'm blind to it. Maybe I just need a little distance . . .

A First Novel after Fifty . . .

I've spent the past few decades proving that I'm no prodigy, with some success. My first short story did not appear in print until I was thirty-one, and that first article in the New York Times did not arrive until I reached forty.

John McPhee, by contrast, published at least fifteen books before age fifty. Very good books, written at what he considers a painstakingly slow pace.

Such comparisons are silly, of course, but if you read a lot, and spend many hours in bookstores, it's hard not to wonder at one's own insufficiencies.

Now that I've been lucky enough to pass fifty—and see my first novel available on Amazon—I discover that no less an authority than the BBC has declared that "fifty is the perfect age to write a novel."

It's a questionable pronouncement, based on this lone statistic: "the average age of writers who topped the hardback fiction section of the New York Times Bestseller List from 1955–2004 was 50.5 years." Which means, by my calculations, that the actual writing must have occurred when the author's average age was quite a bit less than fifty.

But the reason I bring all this up boils down to one word: hope. Anyone who knows me well will attest to the fact that I am easily distracted. This is not to say that I don't work very hard, only that my mind is quick to focus on the next item of interest, which is equally likely to be a poem or a paragraph, a bird or a fish.

So if I can do it, you can too . . .


 

In Praise of Small Triumphs (and Small Presses)

Like anyone who has suffered a passing acquaintance with rejection,  I enjoy stories of victory over long odds, tales of perseverance and pig-headedness that prove the value of a previously unknown or unloved work.

An early novel by one of my favorite contemporary authors, James Lee Burke, was rejected 111 times over nine years of submissions. When finally published by Louisiana State University Press, The Lost Get-Back Boogie was nominated for the Pulitzer Prize. Norman Maclean's A River Runs Through It also endured multiple rejections, including its famous mistreatment at Alfred A. Knopf, which prompted one of the great revenge letters of all time. Maclean's novella was eventually released by the University of Chicago Press and also received a Pulitzer nomination.

I don't mean to compare myself with these writers, except in our shared familiarity with rejection. In 1999, when my family was living in Tokyo, I finished a draft of a novel set in the Florida Keys, where I'd survived the Reagan years by working as a dockmaster, fishing guide, and tropical fish collector. (See my story about going back to the Keys in Fly Fisherman's Seasonable Angler anthology.)

Over the next decade, the manuscript was rejected by many, many agents and publishing houses, although there were a few tantalizingly close calls. During that time I revised the manuscript from beginning to end and found homes for some of my short stories in both literary magazines and outdoor publications, such as Gray's Sporting Journal.

By 2011, I'd given up on the Keys project and started a new novel, set in Shanghai. And then, on a whim, I submitted it to the 2012 New Rivers Press Electronic Book Series Competition. Yesterday, editor Ryan Christiansen e-mailed that it had won.

Of Taimen and the River

Fly Rod and Reel’s Adventure issue (March 2009) includes my feature on Mongolia with photos from that country’s first taimen sanctuary. The piece hasn’t been posted to the magazine’s website yet, so look for a copy on the newsstand. Here’s how it opens:

If you’ve seen the pictures, then you might already be lost. The angler kneeling in bewildered devotion, smiling with an awkward joy, behind a fish so impossibly large that two hands provide an insufficient cradle. Because as soon as you can imagine it, the dream begins. Your boots in that unfettered river, your eyes blinking in the boreal sun, your hands reaching into cool water, your arms bearing that implausible weight. It’s a wonderful dream, infused with just the right blend of beauty and impracticality, and alternately enhanced and encumbered by facts. Because like Paris in the spring, a taimen’s heart-rending strike exists in a specific time and a far-off place, a location so remote that the experience requires (for most people) a week’s leave and a month’s salary.

Still Burning Bright

I am partial to stories of people who triumph over long odds, writers who succeed after decades of rejection, no matter how small the triumph, how secret the success. Then, of course, there are the grand tales of genius unrecognized.

According to one authoritative website, the poet and engraver William Blake worked so hard that, for one two-year interval, he left his home only to "fetch his beer."


Whirlwind of Lovers (Illustration to Dante's Inferno) 
Birmingham Art Gallery

Blake’s work will repay your consideration many times over. Few clear memories remain of my visit to London in 1982, but I do remember reading these words on a page in the British Museum:

“Some say that happiness is not good for mortals, & they ought to be answered that sorrow is not fit for immortals & is utterly useless to any one; a blight never does good to a tree, & if a blight kill not a tree but it still bear fruit, let none say that the fruit was in consequence of the blight.”

Gone fishing

For the next five weeks, I’ll be working in the headwaters of the Amur River in northern Mongolia. If you’re curious about this odd interval of good luck, visit the website of Mongolia River Outfitters.

“Anyone would think I was Tolstoy, the value I put on writing, but it hasn’t amounted to much.” –Philip Larkin

Yellowstone yet again

As artist-in-residence, I curated an exhibit at the Madison Museum: letters from three eras of Yellowstone visitors (on foot, by horse-drawn carriage, and by automobile), a range of writing implements from the quill pen to the laptop computer, and a display of photographs by Mode Wineman, taken while he was a member of Calvin Coolidge’s party, in 1927.

I also wrote letters every day, to family and friends, and hung a different one on the wall each morning alongside the historical artifacts. It was fun to watch tourists come across the new letter amidst the old ones, then glance around guiltily as they realized that the personal details they were reading corresponded with a person who was living in the same moment as themselves. Twice my own letters were stolen from the museum, which I considered a gratifying critical response.

Here’s the most important sentence from the first recorded letter mentioning the Yellowstone region, from trapper Daniel Potts to his brother in Philadelphia, July 8, 1827 (courtesy Yellowstone National Park Archives):

“Write me immediately on the receipt of this . . . giving me the price of Beaver.”

In Olde Shanghai

On Sunday, I followed freelance photographer Gangfeng Wang on a tour of the Shanghai neighborhood where he grew up. The aging blocks of shikumen housing are slated for demolition by the end of 2007. He introduced us to several residents, and also took us inside a grand building that I’ll describe below.

The central staircase, as wide as the lane outside, winds upward to the former ballroom. Above our heads, the day’s laundry dries on bamboo poles slotted between the balusters. On the second-floor landing, the judge’s widow is frying her lunch: a platter of small headless fish, each no longer than a teaspoon.

Eleven judges once shared this dwelling, a mansion that its Concession-era owner intended to house a single family. But the Party liberated it for the judges—and now the survivors and descendants of judges, three of whom stand side by side at their stoves at this very moment, each tending a single burner.

Their collective spirit came to a halt with the advent of utility bills. Each resident has designated gas, electric, and water meters, with separate switches and taps. Although for the first 50 years, they all took turns in the lone bathtub and toilet.

The judge’s widow has lived in this place since she was 25 and that’s what she wants us to know. Last year, she and her housemates were finally rewarded with private bathrooms.

Steam rises from the widow’s wok and I follow its path upward, to a decorated plaster ceiling, once pink and gold and perhaps green, but now the tactile brown of five decades of cooking grease. One resident tried to paint it white, the widow says, but we think it looks better this way.


P.S. This entry emerged from a brief exercise with the writing group that I am now (sadly) leaving. Thanks to all of you for your stories and your friendship.