A well-established French cinematic tradition is to spin out a story that seems to be about very little—until you get a peek beneath the surface and can see it is about a dizzying number of things. Then the themes and symbols rain down, forcing you to watch and listen carefully lest you miss one of the clues that helps explain, perhaps even solve, the tale.
I’ve seen the Kathmandu corpses, garlanded with marigolds, burned to a crisp, holy smoke sifting across the river, censing the air for the tourists. In Annapurna’s narrow lap this valley, chock full of bones, is too cramped for burials. Instead, the dead are loaded onto burn piles stacked with logs from the foothills, now naked and eroding, pillaged for ceremony, death gathering to itself more death up the slow gradient of necessity. Mourners chant. Mortality teaches our ears, eyes, noses as the little boats of skeletal ash and charcoal are launched, freed from the funeral ghats, to drift downstream.
Urged now to weigh the manner of my final dispersal, I’m not averse to incineration. But I confess this foolish comfort: to lie beside my husband in our grave—a double bed we chose together— the full, aged remnant of the body he loved, knowing heaven can pull together from earth or urn, from bones or ashes, whatever is needed for what’s next.
The bag I drag is solid as earth, clods I couldn’t shake off roots reeking of rocks and blackness, the kind of dirt they’ll use to bury us. As in Iraq, where the body count climbed so fast mortuaries posted Help Wanted beside the highway.
And let me mention my own complicity with darkness, buying a jade jacket sewn by a hungry child in Singapore. And the way I say darkness, a skin tone not my own. Even the calibrations of a poem, tricky, the justice of lines, evil wrestling with good in the miniature Madison Square Garden of a page.
As I weed, I listen to the sweet cacophony of neighbor kids on scooters, the argument of work, its ache in my arms.
When the lawn bag rips, dandelions tumble out, eager to spread their seed. You know how gullible evil is, sure of itself, always believing the worst. Are dandelions weeds or flowers? Maybe I’ll tear the bag, send seeds flying, encourage a suspicious universe to bloom.
It’d been a long winter, rags of snow hanging on; then, at the end of April, an icy nor’easter, powerful as a hurricane. But now I’ve landed on the coast of Maine, visiting a friend who lives two blocks from the ocean, and I can’t believe my luck, out this mild morning, race-walking along the strand. Every dog within fifty miles is off-leash, running for the sheer dopey joy of it. No one’s in the water, but walkers and shellers leave their tracks on the hardpack. The flat sand shines as if varnished in a painting. Underfoot, strewn, are broken bits and pieces, deep indigo mussels, whorls of whelk, chips of purple and white wampum, hinges of quahog, fragments of flat gray sand dollars. Nothing whole, everything broken, washed up here, stranded. Light pours down, a rinse of lemon on a cold plate of oysters. All of us, broken, some way or other. All of us dazzling in the brilliant slanting light.
A tiny figure of Martin Luther has become the fastest-selling Playmobil toy of all time. The initial supply of 34,000 sold out in 72 hours. The figure was produced for the German and Nuremberg tourist boards in anticipation of the 500th anniversary of the Protestant Reformation in 2017. A German official attributes the popularity of the toy, 95 percent of which were sold in Germany, to parents wanting their children to know history. It took three years to sell 80,000 figures of Albrecht Dürer, a German painter of the Renaissance era (Newsweek, February 12).