Travel

The Temple

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My idea of a “fancy night out” wasn’t entirely determined by period movies. A good chunk was my parents.

Growing up, my parents would occasionally fancy themselves up for special occasions and go out. My older sister was left in charge, $60 was left in the foyer for Dinos (or Michelli’s if we want pizza that night instead of subs) and my parents would head out. My father actually owned a tuxedo and one of my clearest memories of those times was my dad in a matching cummerbund and bowtie, with a chained ribbon around his neck and a smaller version on my mom’s.

As I got older and I ingested more media, visions of what one actually did in a tux and pearls clarified beyond “go off and leave me with my sisters.” Images of Thomas and Martha Wayne getting dolled up for the movies seemed old fashioned because that’s common and casual these days. Going to a concert also didn’t feel appropriate because I’d been to or seen rock and folk concerts. If there was a tuxedo in that crowd, it had to have been either a prank or a prop.

The opera or symphony, however… THAT felt like the kind of thing you dressed up for. The period pieces were definitely old-timey, but the buildings still exist and walking into one makes you feel like you ought to dress the part.

A photo of a music hall, taken looking down at the stage from the very back, highest row.
The Arlene Schnitzer Concert Hall
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Between the Mountain and the Sea

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“A man would know the end he goes to, but he cannot know it if he does not turn, and return to his beginning, and hold that beginning in his being. If he would not be a stick whirled and whelmed in the stream, he must be the stream itself, all of it, from its spring to its sinking in the sea.”

Ursula K. Le Guin, A Wizard of Earthsea

“And Slid said: “I am the Lord of gliding waters and of foaming waters and of still. I am the Lord of all the waters in the world and all that long streams garner in the hills; but the soul of Slid is in the Sea. Thither goes all that glides upon Earth, and the end of all the rivers is the Sea.”

Excerpt From The Gods of Pegana,
Lord Dunsany

It’s a windy and cold morning on the shore. I’m out walking the beach down by the water, where the tide turns the sand from soft tan to slate gray and my boots leave footprints. It’s easier-going for older people who are out with their dogs. The dogs, for their part, don’t seem to mind the going or the feel of the cold sand; they’re high as kites on all the smells and feeling carried on salt air and the ability to run.

In a few hours, I’ll be on a plane back to Oregon. Back to my wife and cat, our basement apartment up a mountain, and eventually a kitchen that’s felt more like a psych ward the last few months than the serene kind of chaos I want to believe I work in.

Those LeGuin and Dunsany quotes slide through my mind along with “A Pirate Looks at 40.” It feels silly and dramatic and florid, but I don’t really care. Finding a bench on the pier where my grand-uncle once tried to teach me to fish, I could almost cry.

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The Uncanny Valley by the Sea

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I still try to work out when I travel. It’s a reliable routine, and forces a little structure even on to my time off- a “whatever else goes on, I need to do this” task. In the case of my trip home, that means it joins a lot of food-centric tasks:

  • Hit up a Wawa
  • Hit up Dinos- get a Dino’s Special Italian, send pictures back west for instructional material to those who would put mayonnaise on such a sandwich.
  • Smuggle Yeungling beer and Tastykake pie back in a suitcase.

Priorities are important, all.

I’m staying near my old hometown, and the easiest gym to get into is the Jewish Community Center that my parents are still members of. It’s where I went to summer day camp as a kid, and where we went to enjoy the pool in summer. My dad handed me his access card and said, “When you get in there, report back and tell me where everything is. I haven’t been in there in a bit, and they’ve moved stuff around.”

“All things change and we change with them,” but that change is not always radical. It can be slow, in bits and pieces. When it’s a place that you remember being the whole world to you when you were young, what’s changed and what’s remained don’t always mesh in your brain.

IYKYK
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Home Brew

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It’s perfectly understandable to me how haunted houses can exist. We have the idea of “ghosts in the machine,” “Artistic DNA,” and omnipresent-but-unspecific “vibes”- why not “ghosts in the interior design?” Ghosts that can follow a person or people from place to place, creating the sense of where they’ve been before, and writing an intangible living atlas in the frontal lobes of Those Who Know.

The house where I was raised is a minimum hour drive away and five-plus years back in time from being swiftly and silently bulldozed. My parents now live in an ivory tower of an apartment, nineteen floors above center city Philadelphia. They brought some of their favorite decor from their old house was well as my Bubba’s similarly-leveled house, and have moved into an apartment roughly a twentieth the size of where we used to all live together.

Ghosts in the decor, then, is the only way I can explain spending a few days in the cluttered but cozy guest room and walking out the door in the morning expecting a staircase to the right. It’s the only way I feel like the living room of the Philadelphia high-rise has a piano and fireplace in it that I can feel but not see in their decor of wood, white, cream, gray, and Judaica.

Everything about our old house is there, tucked under the carpet or back in a closet, felt but not seen until you cross the threshold out to the hall. Then I am most certainly in Philadelphia.

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An Object Lesson in What Matters

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I was sitting in the break room at the winery, having just finished my lunch. It was a chilly, sunny day, and the break room has a really nice window that looks out on the terrace, the waterfall feature on the grounds, and beyond that over the valley.

I was debating how to best pull off the rest of the week, crank out a new bread recipe for my chef’s latest special, and what kind of desserts I should do for the seasonal menu change. I was grateful for the distraction. The toxicity of social media around the Israel-Hamas War was still trickling through despite me pulling back. When that many lives and that much culture is on the line and the generational trauma of two entire peoples is simultaneously triggered, there’s too much at stake for it to be managed through TikTok videos, memes, and idiotic flame wars- but here we are.

It made my heart hurt, and my mental health required me backing off, so I’d resolved to do what I’d always done when feeling pained and powerless- feed people, and put good things into the world that weren’t there before.

Then my phone rang. It was my wife, nearly in tears. Life was about to provide an object lesson in Pain, Powerlessness, what we do in the face of it, and the things that mean more than posting “the right things” on social media.

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