Last month I had lunch with a good friend who years ago had told me that her parents, who immigrated to Canada after the war, were Holocaust survivors. I asked my friend, whose name is Slava, to tell me again about her parents, who had lived in Vilna, the ancient Lituanian city of Europe known for three centuries as the “Jerusalem of the north.”
At home Frank and I are mutually sympathetic to the obligation to face one another and speak loudly; or, when we are away, to supply each other with new batteries when we forget them; but we have no defence against the independent wandering behaviour of our hearing aids. They are always someplace else. I probably have spent one percent of my life, close to a whole year, looking for the damned things.
Who today remembers the man who carried Einstein’s head in a box through the streets of Vancouver? We remember clearly the box (dark wood, varnished, the door on brass hinges: what about the latch?) with Einstein’s head in it, a plaster model (was it plastic, perhaps? modelling clay? plasticine?)
With the approach of her tenth summer, Julia considers the holidays that lie before her: will there be too many things for her to do? Trying to look ahead from school time, with its time-tables and schedules, makes it hard to remember, or to imagine, what summertime will be before summer arrives and the school year ends. In the summer when I was Julia’s age I heard Elvis Presley for the first time, down by the river on the jukebox in the fish-and-chip joint where teenagers went to hold hands and drink ice cream sodas and eat salted french fries drenched in vinegar.
Toward the end of her life I drew close to Althea, the cat who had been with Mary and me for five or maybe six years, ever since her real owner, Mary’s daughter Karen, had to find a home for her when a landlord invoked the no-pets rule, and Mary and I were living mere blocks away, completely petless and, some might say, carefree.
I am down in the cabin and Ross, who is eighty feet up in the fire tower, sees smoke. He tries to report it but his radio isn’t working and nobody can understand him. They phone him back on the cell: does he need the water bombers? He says no, it’s just a spot fire. In that moment a huge gust of wind blasts through the cabin, blows a towel off a rack, slaps it against the valve of the water cooler and turns on the water.
Last summer, during a visit to Vancouver, my nine-year-old son climbed the pediment of a cast-iron traffic-light standard and put his palm on the glowing hand that warns pedestrians to stay put. My mother pointed out afterwards that my photograph of the event contained its own French caption, in the word visible over his shoulder: main.
I met Alejandra Pizarnik in Buenos Aires, in 1967, five years before her death. I had asked her to contribute to an anthology of texts that purported to continue an interrupted story begun in Shakespeare’s The Winter’s Tale: “There was a man dwelt by a churchyard.” She agreed and wrote a haunting piece called “Los muertos y la lluvia,” “The dead and the rain.” The book was never published, but we became friends.
The next performer, Coco, a six-year-old Belgian shepherd, stood on his back legs and hopped alongside a woman wearing white go-go boots who jiggled her hips in time to “ymca.” Coco weaved between her legs, rolled across her feet, lay on his back and kicked his legs in the air. The woman’s brow was furrowed and sweat ran down her face. Coco bounded in front of her, then backed through her legs and sneezed twice. The judges looked at each other and one of them wrote somethingdown.