The doors open on the sixth floor and directly across from me is another elevator, it’s doors opening to reveal just one person, too. We look at one another, this woman about my age and I. The plot device that launched a thousand Romcoms. A moment so random yet particular, that it doesn’t feel random at all. We know this. It’s the invisible line connecting us. We’re probably a little amused by it, but maybe a little saddened, too. Each of us in our 50’s– me with my oxygen, she with her IV pole. I wave over at her. A small, rueful wave. She smiles, looks down and away, waves back. Our losses connect for just a moment, and then the doors close, and we vanish, ghosts falling away to the past.

It’s movement a kind of flight. Jones watches this impossible thing, it’s long, thin tail passing above like an airplane. The jellyfish are pink clouds that pulse mysteriously, belonging more to outer or inner space than this world we imagine we inhabit. Jones’ face against the aquarium window, his little finger prints visible as he watches a shark move indifferently past. The face is impassive, the blank eyes heartless and never in doubt. It moves through the water a kind of God.

Dear Michael:

I think you know just how much Caleb and I love you. We think you’re one of the most unique, misunderstood people that we have ever met, which is why this is so terribly awkward and difficult for us, but we are sorry to say that we can no longer host you at our wedding on April 13th. We thought carefully about it, and after you wrote in, “ A St**k sure would be nice!” when asked if you would rather have ‘Tofu Banh Mi Sliders’ or ‘Vegan Cauliflower Tacos with Chipolte Cream’ for your meal at our fully vegan wedding, Caleb and I realized we simply could not host murderers on our sacred day. There is nothing funny about killing, and we cannot start our official life together by compromising our ethics. We simply will not do it.

In it, I am wearing a costume that is clearly racist and offensive.

This picture was taken from a Christmas Assembly at Lisgar Collegiate in Ottawa, Ontario, and I was performing a rap as an “urban Santa.” Although I was not in black face as some have asserted, my family and I had just returned from a vacation in Hawaii and I had a very uncharacteristic tan. I am deeply apologetic for that triggering tan, the privilege that implies, and for my blatant cultural appropriation.

It is also true that I wrote, “I HAVE ALWAYS HAD A CRAZY CRUSH ON YOU!! in Marie-Therese Vitzhum’s yearbook in 1983. I am deeply embarrassed by my insensitivity to my brothers and sisters who struggle with mental illness. After finishing in the bottom third of the standings in a fantasy hockey league two years ago, I, too, fell into a depression, so I need you to know you have an ally in Michael Murray, not an enemy.

I love you.
I hear you.
And I am listening.

These past behaviours of mine are not in keeping with who I am today or the values I have fought for throughout my career as Commissioner of the Dirty Pigeon Fantasy Hockey League. I want to offer my sincerest apology, and to state my absolute commitment to living up to the expectations the Dirty Pigeon Fantasy Hockey Community set for me when you elected me Commissioner. I understand why your faith in me has been shaken, and I recognize that it will take time and serious effort to heal the damage this conduct has caused.

I am ready to do that important work.

Humbled and grateful for this teachable moment.

Your fantasy hockey Commissioner,

Michael Murray

One in red scrubs, the other in black.

These women, they are attractive. Around thirty, they look like they’re used to getting hit on in bars, to knowing what it feels like to have a man watching carefully as she leans over the pool table to take a shot. Neither woman makes eye contact or acknowledges anyone else in the elevator. There is an unspoken hierarchy. We all know it.

The elderly husband is in a wheelchair being pushed through the hospital by his elderly wife. They’ve probably been married for 60 years, but he’s presently vanishing before her eyes. No longer the man she met chasing a dog down a street so many years ago. Now he’s frail and stooped, his shoulders curling forward as if some magnet within his body was  compelling them together. But in spite of this, in spite of his immobility, the hospital slippers, IV bag and bruises crawling up his legs, he’s trying to be cheerful, trying to make the best of things. He says something to his wife, but his voice is a whisper and she can’t hear him. He tries again and it’s the same result. And then he stops trying to talk, and the two of them, so bound, move in silence toward whatever comes next.

A crowded patio at night.

The man has sturdy legs and broad shoulders. He’s handsome and looks comfortable in his own skin, like he’s very good at whatever it is he does for a living and is used to moving fluidly through the world. Behind him, holding his one hand with her two, is a blind woman. She is stunning in her beauty, radiant, even. Looking at her it feels possible that a mountain stream had assumed the form and flesh of a woman and appeared amidst us like a miracle. Those of us who are watching her have no conscious choice in the matter. There is something that pure and commanding about her beauty.

She’s blinking awkwardly into the lights above the bar as the man explains the topography of the patio she is trying to navigate through.

“There’s some uneven ground here, and then a slight step up. You okay?”

She nods wordlessly.

As they pass through the thicket of tables and chairs and people, every set of eyes are upon her. Conversations are falling silent, heads are turning and imaginations are sparking. Everybody is watching, trying to enter into the mystery of her life, trying to understand the uncanny sense of relief– of hope, even– we all felt in seeing a person so unable to apprehend her own powerful beauty, a person so unsullied. She moves through us like a saint through fire, and maybe she feels our eyes upon her, feels the hunger and predation that haunt a bar like this, but maybe, perfect in her own wilderness, she feels nothing. She moves closer to the man as the level of spatial complexity increases, dropping one hand from his and letting it idle in the back pocket of his jeans.

And just beyond them a red traffic light sways above the intersection while a bat swoops down through the night and across the clear, crisp moon. Each person there wanting to tell her about the moon, the beautiful moon, and how hopefully we’d throw ourselves into that unknowable night, just to touch it’s face.

The film Mahogany was released in 1975.

It was a melodrama of it’s time, a rags to riches story in which Diana Ross fought to become a great fashion icon before giving it all up for love.

https://www.youtube.com/watch?v=ra71dvxOVX8

It was not a critical darling. It was a one-and-a-half stars kind of movie, an enterprise that revealed that although Diana Ross was a great diva, she was not destined to become a great actress, and ever since, the movie’s been slowly dissolving into the past. I bring this up just to say that if you missed it, there is little reason to want to go and find it.

Nevertheless, when a pair of friends asked if I’d like to see it with them last week, I jumped at the chance. I’ve known both these movie-going women for over thirty years now and the sheer improbability of that– that we would travel such great and impossible distances through time– and still be connected, was a kind of miracle to me and I would have gone anywhere they asked.

It feels important to note that when the movie was made the three of us were all just children. Not one of us would have yet reached the age of ten, and the worlds we inhabited then were as small, beautiful and mysterious as marbles lost in a forest. The movie, regardless of it’s failings or virtues, was an extraordinary time capsule that opened up all around us in the popcorn dark of the theatre. It was impossible not to see ghost-images of your own life as the frames passed by. Perhaps a snatch of music would summon my childhood cat, or the shape of a car would remind me of a family trip, a dress, a friend of my sister…And to be called back to those lost spaces and allowed to just float there for a few hours, to drift along this underground river free from the obstacles, complications and mortal apprehensions of the adult world, was a glowing, holy thing.

And then the movie was over. We chatted for a moment on the street, and then the three of us headed back into our current lives, each one likely marvelling at the forces that charted our days and brought us together again, compressing time on this autumn night so far from where we started.

Since last we spoke many have fallen and I have come to understand numbers.

I have learned that I can take a punch, if it’s a glancing blow. My punctuation comes and goes, since last we spoke. I have forgotten lyrics and come to believe in angels. Received dangerous information of a sexual nature. Realized the only ones I really like are the kids. I don’t want them to work. I want them to stay as they are, perfect things, almost perfect, running and happy. The light is always moving within them. Since last we spoke there has been chanting and a kind bus driver with flowing grey hair. Music and fires, and an Elvis impersonator, but no UFO’s, although I hungered for them.

Since last we spoke, black cats and the possibility of ghosts. Vitamins dissolved into water and planes crashing all over the world. Into Jungles. Into Oceans. Into Mountains and corn fields and unknowable bodies of water. The weather, so much weather has happened since last we spoke. The hurricanes! Like buzz saws they cut across the oceans. Memories. Memories were forged and lost. Driving easy through the streets, late, windows rolled down. That’s The Way I Like It by KC and the Sunshine Band blaring. Head out the window like a dog, hopeful that more of the world might pour within. I lingered over you, since last we spoke. I wanted to be nude with you, under a dirty sheet in a borrowed house. I wanted to climb a tree and become all of the leaves. Since last we spoke I remembered your eyes, the way they changed and became lonely. The way they stayed lonely. I have eaten too much bread, since last we spoke, and walked impossible fields that lay like green blankets before deep water. I have used the Instant Pot and ridden my bicycle with no hands, but I have not changed my mind about Dolly Parton, since last we spoke.

My parents have taken Rachelle, Jones and I, as well as my sister and her boyfriend, on a vacation to Prince Edward Island, and on Tuesday night we went to a Ceilidh at the Brackley Community Centre.

The structure was small and inside there were about ten rows of chairs spread before a modest stage. The girl who sold me the ticket at the entrance also worked the canteen, which sold water, ice cream sandwiches and chips, and played guitar on stage. It was just that kind of enterprise— a simple, family affair with everyone pitching in to help out.

And it was proably that, more than anything, even the promise of the music, that the audience really wanted to be a part of.

That feeling.

That call to home, wherever that might mean.

Regardless, the show started with just the keyboardist on stage. He was the one professional musician in the grouping and he wore his alt-country style shirt with a certain pride of accomplishment. His patter was goofy, corny and likeable. And as he asked the audience, virtually person by person, where they were from, what at first felt like obligatory shtick became something more than that. There was a sincerity and curiosity present that was undeniable, and it became truly interesting, even magical, to discover where all the people assembled had journeyed from in order to find themselves in this little community centre on a small island in eastern Canada.

The members of the band, who might occasionally rise from chatting with you in the crowd to take up an instrument on stage, were indistinguishable from the audience itself. Not only did they look like normal people, but they acted like normal people, too, and each song came with a specific story that was given as much attention as the performance of the song itself. It wasn’t fussy art where performers hid behind persona, but something spirited and fun and kind. It was their lives they were sharing.

At one point the grandfather was called up on stage. He was missing three fingers from a carpentry accident, and although he couldn’t play guitar like he used to, he strummed it while his grandson worked the fretboard for him. And sweet Jesus, that man had a beautiful voice. Lived-in and true, his voice was a timeless, and there was something in it that everybody understood in their bones. It knit things together, if that make any sense, and you could feel it’s gravity making us all one whole thing.

As the show came to the end, the keyboardist was again alone on stage. The song that inspired him to become a musician was Music Box Dancer by Frank Mills, he told us, and then he began to play it.

It was a huge hit at the time, but I hadn’t thought of it in 30 years. However, hearing it brought my life from that time back into acute focus. Both of my parents still immortal and in their primes, my sister and I watching TV while my mother hummed along to the song as it played on the radio…And that memory, and all the others that informed and shaped it, collapsed into the present where beside me I saw my mother swaying and keeping time to the music and my father smiling—all of us so much older now, but lucky, lucky and happy to be for a moment in this unexpected and beautiful place that took us a lifetime to find.