Small Pleasures

“The concept is to make your world more real. You apply a tiny stain to one place, or add a smudge of grease, or even use a fine brush to paint graffiti.”

The model railroader was showing a visitor his layout.

“Look at these boxcars. They look exactly like miniature versions of the real thing. You can’t make your objects too dirty.

“See that train coming across the bridge? I aged the locomotive with a mild acid solution, then I carefully added soot, dust and exhaust. I used acrylic paint to blacken the grills and create rust.

“Over here, I weathered the train station with sandpaper and deliberately broke one of the steps leading to the side door. I even put some mold in the waiting room. But to see that you have to peer through this little window.”

The model railroader laughed. “I’ve spent hundreds of hours trying to make this layout as realistic as possible. Look at the steel bridge and the forested mountain, the city park and city streets. Look closely at the sidewalks, the litter, the shop windows and busy people.

“But you know what makes this world really convincing?

“Trouble.

“See that railroad crossing gate? I made it drop down on top of a car.

“A driver has jumped out of another car in the traffic jam and is waving their fist.

“A delivery truck has suddenly veered to avoid an accident, and a load of barrels has tumbled out.

“One barrel is still rolling three blocks away.

“The ladder of the arriving fire engine is swinging out of control. It knocked over a pretzel stand. And here come dozens of stray dogs.

“Frightened by stampeding dogs, two lovers in the park have jumped up onto a bench.

“A police officer has climbed a tree.

“The pilot of a hot air balloon, watching the chaos below, has become tangled on a church steeple.

“Down every little street, around every corner, trouble percolates and spreads like ripples on a pond. It’s a world made farcical by trouble. And not a single little person has the ability to escape. They remain where I glued them.”

The model railroader waved an arm proudly above his meticulously constructed world.

“When you look down and find unbounded chaos, you know it’s real.”

The visitor gazed at small pleasures and laughed.

The Good of People

Midnight passed.

I found myself beneath the city, riding home on the subway with the homeless, the aimless, the guilty, the silent. Beyond the windows rushed darkness. Cold light filled the car. Eyes avoided eyes.

Secretly, without betraying my curiosity, I studied the late night passengers who rode with me.

Several feet away in a wheelchair sat an extremely old man. He wore a tattered bathrobe. His head had fallen to his chest. He was tipping forward. I thought he might spill onto the floor at any moment.

Across from the old man, two riders sat with lowered eyes.

One had long peroxide hair, blue fingernails, hollow eyes and gaunt cheeks–a prostitute. She appeared to be twenty going on fifty. Hands trembling. A meth addict.

The other was a man whose hardened face and shaved head were covered with crude tattoos. Etched in prison, I surmised.

I was careful that neither noticed me.

The prostitute wore a tiny skirt and heavy winter jacket. Both of her legs were scarred. I wondered how she received those scars and how she might have smiled when she began down her path. Through what turns had she come to be seated there? Did she ever think about her future?

The man with the tattoos wore an angry expression that seemed permanent. I tried to imagine the crimes he might have committed. His mask of tattoos contained a clown, a skull and a gun, and painful words that would never be erased.

I lifted my gaze a fraction to observe others who rode after midnight. I found more of the same: eyes aimed nowhere.

Where were these people going? To what end did their lives lead?

As I looked on critically, I realized these late night riders of the subway were no different than anyone else. Moving through time hoping to find a place where they might be whole.

These lives had been reduced to futile existence. Drifting through a black tunnel unseen. Riding forward, station after station after station after station, never arriving.

How many in this world ride with no destination? I wondered.

What is the good of people?

The old man drooping in the wheelchair suddenly toppled onto the floor.

Two passengers jumped up.

The young prostitute leaned over and reached toward the old man with her trembling hand.

“Are you okay, bro?” asked the man with the tattoos, as he helped the old man back up into the wheelchair.

I did nothing.

The Recovered Artifact

Do you remember those storms we had fifteen or twenty years ago? When dozens of houses were destroyed by mudslides? And the highway south of town was closed for a week?

I still remember how, exhausted from shoveling the mud on our driveway, I collapsed and sat on a slimy spot of curb gazing down the street. Several houses near the dead end were buried.

After a weeks of pouring rain the mud flows had become unstoppable. It seemed the hills around our neighborhood had been whipped by a gigantic blender and the earth reduced to brown rivers. I realize people overuse the word surreal, but the world I saw was surreal. The familiar street had been smothered by a relentless plain of mud. Ruthless mud that was primordial. And the earth was without form, and void; and darkness was upon the face of the deep.

As my tired eyes searched for the vanished street, or anything that might be recognizable, I wondered if our neighborhood could ever return to normal. That’s when I noticed a small object lying on the mud several feet from where I sat. I got up. I trudged over to pick the thing up.

It was a cast iron horse, about two inches in length.

Imagine my surprise.

I stared into my hand at the unexpected thing.

Buried in the hills of our neighborhood are centuries of history. From time to time bits of that history surface: an arrowhead, a shard of broken pottery, a disintegrating coin.

I wondered if this was an artifact from an age long past unburied by the rains and revealed again to living eyes. I turned the tiny cast iron horse over in my hand, removing the mud, and examined it closely. It was a very simple thing. Neither the head nor mane showed much detail. The legs were galloping. It had probably been a plaything of a child.

The more I stared at this mysterious artifact, and the more I wondered where it might have originated, the more primitive it appeared.

Archaeology has always fascinated me. To such an extent that I’ve taken several college courses.

I’ve seen galloping horses on the coins of Carthage and Ancient Corinth. I’ve seen the Bronze Running Horse from a 2nd century tomb in China. I have marveled at those friezes of Greek horses charging into battle with arching heads and curling manes, or taking flight on Pegasus wings. To my mind, this small horse appeared even more ancient. It seemed to have flown from a stone age cave painting directly into my hand.

The simple shape of the cast iron horse was timeless. The bounding figure possessed a carefree quality that spoke of unbreakable freedom. In that small thing I saw a symbol of life’s adamant tenacity. It was a thing that devouring forces could not destroy.

As I stood in the mud admiring a mysterious artifact that had emerged from the Earth, I became aware someone was standing near me.

“You found my horsey!” a child suddenly cried, hurrying forward, hands outstretched.

All Things Will Speak

When tongues are silent the stones will speak. As will the trees and the rivers and the rainbows and the stars.

When tongues cease, all things will speak gladly, freely.

The stones will speak of crumbling and the crucible.

The trees will speak of their unquenchable thirst and deep roots and seasons.

The rivers will speak of the ocean, and the rainbows will speak of the sun.

The stars will speak their infinite wisdom in a twinkling whisper.

Eyes Unmoving

I’m old.

I find myself in an ordinary city park sitting quietly.

I see the sun fragmented by branches of trees; shadows flat on grass.

I see birds rising together like a curtain opening. The falling of leaves. The sun’s light touching faces that pass right and left.

I see a young man stepping smartly down the path in front of me. His confident eyes are forward. The day has begun. There is much to win. The young man steps around a boy playing with a ball and turns to hurry over the grass in a short cut. He does not see his own shadow among the fallen leaves.

I see a man who has come to middle age. Wearing a striped suit, he plods forward down the straight path. This man has created success and created failure, and he suffers a slight limp due to trouble with one knee. His forward eyes are fixed like stones. He still has much to do, but is uncertain why.

I see an older man creeping painfully, inch by inch down the path. This man’s back is bent. It seems he has been crushed by the burden of many weights. I cannot see his eyes. His head is gray. He moves through the ordinary park with eyes down.

I see beautiful roses in a far corner.

I sit on a bench with my eyes unmoving and feel the soft caress of the sun.

I’m old.

Gears Begin To Turn

Gears begin to turn, pinwheels start, dizzy skirts whirl, do-si-do.

Circulate, clap, do-si-do.

The summer fans hum, feet step and turn, roses in the sun, do-si-do.

Slide through, clap, do-si-do.

Windmills grind, arms bridge and rise, bowing eyes, do-si-do.

Swing through, clap, do-si-do.

Beaters making dough, banners in a sky, hands pirouetting, do-si-do.

Face right, clap, do-si-do.

A gradual smile, stumbling move, furtive glance, do-si-do.

Face left, clap, do-si-do.

Aviary Observations

The captive birds in the walk-through aviary had nowhere to go, so they perched on branches and observed the humans.

“These creatures are very selfish,” commented the purple honeycreeper. “Watch them as they crowd outside our enclosure. Every human is anxious to get in here first, but they don’t want to appear like ordinary animals. They measure distances from the corners of their eyes, then shift and shuffle and angle. For an intelligent species they are very squirrelly.”

“But why are all these humans in such a big hurry to get in here?” asked the blue-necked tanager.

“Because they want to exult in the little things they have caged. Then they want to feel relief when they step out of the cage.”

“If they want to feel relief, why do they hesitate to leave?”

“Because it turns out we are beautiful.”

“But if they prefer to be free, why won’t they let us be free?”

“Because our beauty would escape them.”