Sunday afternoons, she rolled off her stockings to cross beams girding my grandfather’s barn. She was fifteen and longed for something in the dark leafy boughs she couldn’t quite reach. Balancing on a hand-hewn rafter was nothing more than stepping out on a limb and the humid hour held its breath, the twittering sparrows fell silent. Dust shivered suspended as she passed through shafts of light austere as a coronation. This was before she coiled her braids under a covering and took her place in a kitchen with its slick checkered floor and the tick of a clock she had to rewind. For one immortal summer, girders hung taut as strings her steady feet could strum.
Evelyn Waugh’s marvelous novel Brideshead Revisited begins as a coming-of-age story. At Oxford in the 1920s Charles Ryder crosses paths with the disarming, childlike aristocrat Sebastian Flyte; they become inseparable friends, and Charles is taken up by Sebastian’s family.
Are these Christian tattooists in the paper any stranger—Simon Stylites spent a life standing on a stone pillar, sixty feet up— did not come down for cramps or winter rain.
Could I survive the Sacred Heart with “Hail, Mary, Full of Grace” across my arm, or the crucifixion in three colors against my sternum between my breasts. Needles to skin over soft tissue is less painful, but flesh is grass and sags— art lasts best close to bone.
No stranger than hair shirts, hundreds of needles for hours, for days, even years, to get the complete St. Michael on my shoulder to the writhing, twisting dragon down my leg. Or my whole life to get the Last Supper with Stations of the Cross, and the proper text— Jesus’ words in red— covering every inch of skin, eyelids, lips, nose, between fingers and toes, while invisible capillaries under the skin carry the images molecule by molecule into the living catacombs of bone.
The name Roman Polanski conjures up different responses. To many film buffs he is the Polish wunderkind who rocketed out of the Lodz film school in Poland to direct the dark and mysterious Knife in the Water (1962), a tale of fear and betrayal on the high seas heralded for its thematic complexity and perfect camera placement.
Mark Bustos, a stylist at an upscale salon in Manhattan, gives free haircuts to homeless people every Sunday, his only day off from work. He started the practice during a trip two years ago to the Philippines. The response was so enthusiastic that he decided to make the same offer in New York. Many of the people whose hair he cuts are very thankful. He especially remembers the man who, after seeing what he looked like with his new haircut, asked, “Do you know anyone that’s hiring?” (The Week, August 29).