And today, some 40 years later, Jones and I are walking on the sidewalk between snowbanks on our way to daycare. But Jones is an adventurer, he needs more life than that, so I help him up to the mountains. We’re holding hands as he balances on the changing topography, and he could not be happier. “I’m taller than you, daddy!”, he shouts. The sun is behind us, our long shadows cast before us like a path. Jones the long one, mine the short. He looks at me, smiling, “Daddy, are you happy?” A question of such unexpected beauty. My radiant beast, so vividly alive, caring whether his father is happy or not. I tell him that I am very happy, that I could not be happier, in fact, and Jones says, “I’m happy, too!” And so we continue, both stronger now. The sunlight bouncing off the thin membranes of ice covering the branches in the trees above us. Everything imperishable.

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 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.

I used to spend an awful lot of time in taverns.

Typically, I’d take my place amidst a stretch of solitary men drinking at a long bar. The conversation was a slow background rumbling, almost like distant thunder, and it lasted all night.

Sports.

The weather.

Women.

TV.

The past.

Strangers who had no expectation of seeing one another again, with little in common beyond the drink in front of them, making a conscious effort not to be alone, to try in some way, to connect. These conversations were beautiful to me, and I’ve come to miss them.

As a substitute, I’ve taken to listening to Sports Talk radio at night. The other day was a call-in show out of Toronto. Lacey from Oshawa had a few things to say about the Blue Jays. She was stubbornly defending third baseman Josh Donaldson:

“ Josh is far and away the greatest Blue Jay, and just because he’s injured the team shouldn’t quit on him! He’s given them everything, and now they just want to abandon him? That’s just so crappy. You can’t treat people like that. It’s wrong.”

The voice was familiar, and as I listened I realized that I knew her. Lacey from Oshawa was part of a group of patients I did pulmonary reahb with at a facility in Toronto. She was so thin then, and so angry, and every single day she wore a Blue Jays jersey with Josh Donaldson’s name on the back.

Her path had been difficult, and the heavy veil of sadness and pain that shrouded her was rarely lifted. Maybe at Bingo, if she got a line, she might allow herself a thin, bitter smile, but that was about it. She simply could not bring herself to socialize, and what we found out about her was through observation and hearsay, all of which reduced to this: when she fell ill and became incapacitated her husband left with their young son. That was how her life had worked out.

As I listened to her on the radio, hearing her speak more than I had in the two months we shared at rehab, I heard a stronger, braver voice. She was– with this phone call decrying a lack of loyalty to somebody doing their best in the face of physical limitations– making a conscious effort not to be alone. She was reaching out, and it felt like a miracle that I got to witness this, that I got to imagine her recovered and at home, fully herself now, and fighting for somebody she loved.

Do you remember them?

Jerry Lewis and whatever semblance of celebrity he could cobble together, would entertain the hell out of you for 24 hours straight, and in return you would pledge money to help fight MD.

The shows always took place on Labour Day weekend– when absolutely nothing else happened– and since it was the only thing on TV we watched it like it was a seasonal tradition. Staying up with Jerry was a both a dare and a way to extend the summer. Still, the telethons felt like artifacts from another era, something that was owned by a generation previous to mine.

The Academy Awards have this feel, too, and I watch them mostly for the comforting, predictable sense of nostalgia they always conjure, but I found this year’s edition to be, well, confused. Was it a self-congratulatory ad for a dying industry, or was it stationed at the forefront of a social revolution? Was it about fashion and beauty or was it about it not being about fashion and beauty?

It proved complicated to decipher.

Host Jimmy Kimmel made an opening #MeToo friendly joke about the absurd irony of Mel Gibson starring in a movie called What Women Want.

It was a safe joke, one that picked a target everybody could agree upon, and it got what was almost relieved laughter. It might be hard to imagine now, but Mel Gibson was once a beautiful dream of potential.

Now he is an unredeemable laughing stock.

What was ironic was that in 2000, the year What Women Want came out and made tons of money, Jimmy Kimmel was co-hosting The Man Show. At the time, the slim and woke Oscar host was less slim and less woke, and The Man Show was all about tits. It was about grabbing them by the pussy. It was a white boy frat party.

https://www.youtube.com/watch?v=Cl3wioLmNNY

And yet there was Jimmy Kimmel on Oscar night making jokes about Mel Gibson’s pernicious attitude toward woman while a bejeweled and admiring audience laughed their approval before him.

These moments of dissonance happened throughout the broadcast, the most vivid occurring when Wes Studi, a Cherokee actor you probably recognize but could never name, introduced a montage of military movies.

Clearly the depiction of violent masculinity in this particular climate was considered iffy, and as if to soften that potential for controversy and loss of market share, the production team got a member of an under represented community to introduce this unpopular, but tactically necessary segment. It was calculated, and when Studi opened by saying he was a proud veteran of the Vietnam War, the crowd’s confusion at how to respond was palpable. They no longer knew whether Studi stood for something good or bad, they could not interpret the symbol they were being shown. After the montage ended, and Studi uttered a dose of Cherokee– which at the time could have been either a blessing or curse– the audience opted for a shallow, incoherent applause.

You could also see the once unassailable Meryl Streep– who many believe did not do enough to stop Harvey Weinstein—giving way to the meme-friendly Francis McDormand as moral force and American exemplar. When once beloved comic Dave Chappelle came on stage to a spattering of applause, he found that the comedic power he held as an oppressed minority had been overshadowed by his criticism of #MeToo. The omnipresent and eager Ryan Seacrest, who somehow manages to emit a vibe that simultaneously suggests a Bro and a gay man, found himself snubbed on the red carpet by all the stars in response to an accusation of sexual misconduct levied against him. They were only too eager to nourish themselves on his fawning, promotional interviews before, but now?

And when Annabella Sciorra, Ashley Judd and Salma Hayek took the stage, glittering and beautiful and gazed upon from so many different points of view, it was hard to interpret all the mixed messages that were being sent out into the world.

Were these women brave activists or part of an exploitive one percent? Were they complicit in creating unrealistic expectations for women by  opting for cosmetic surgery, or were they victims of an industry that demanded it from them as if it was a tax for being a woman? Could everything be true at once?

The Jerry Lewis Telethon ended just a few years ago. Over the course of it’s lifetime it raised over 2.5 billion for those fighting MD, but it also did so in an often self-serving and patronizing, if not wholly lurid manner.

In the end, were all those telethons a good released into this world or an evil?

It’s impossible to know, I guess, but it strikes me that nobody is all good or all bad. Each one of us is a riot of contradictions, often engaged in actions that elude our articulation or even understanding. Our lives and character are much more circumstantial and precarious than most of us would care to admit, and we would all be well served to save a little empathetic space in our hearts for those we don’t necessarily understand or agree with.

Everything, really, depends on that.

On Sunday Rachelle and I took our son to his swimming class in Kensington Market.

Walking down the stairs to the pool there’s the heavy, nostalgic smell of chlorine drifting up to meet you, and when it does, something takes place that moves you from one point in time to many others.

Every pool you ever knew is conjured, and you remember feeling a little vulnerable and excited as your bare feet padded toward the pool. You remember diving boards and lifesavers, games and races, unknowably beautiful lifeguards perched above like trophies, and the light catching the water as it swells and dips, glinting.

Everything refracted, everything reframed.

But on this day there were about six parents– each one with their tiny, precious child– forming a semi-circle around the instructor. So comfortable and confident in the water, she was like some mythical sea creature who spoke only in a song.

“Three blind mice, three blind mice, splash your hands, splash your hands,” she encouraged, and all the children kicked and splashed– and that, the water leaping up, became the physical manifestation of their joy. To witness this could have been the instructor’s great passion, the love to which she had given her life over.

And Jones was so happy. Excited, he shouted along to all the nursery rhyme instructions. He was game for anything. Even Torpedo Time, when the toddlers are submerged under water and then pushed through a hoop by a parent only to explode out of the water like the radiant beasts they are. Rachelle, who was smiling so broadly her face could have split in two, swung Jones through the water and then lifted him as strong and high as she could, before swinging him back down and then throwing him up in the air. And Jones, now soaring, was above it all, glowing in a weightless paradise for a moment, before falling back to us and into his mother’s arms.

The other day I was in a cab heading east on Bloor Street.

It was a beautiful, sunny day in autumn, a lucky day, even, but I was preoccupied by petty grievance. The driver was a smoker, and in order to air out his car before he picked me up he’d opened all the windows. You’d think I’d appreciate this, but I couldn’t get past the heavy, permanent smell of smoke, and the open windows were just serving as conduits, breaches through which all my seasonal allergies might stream. Somewhat unkindly, I asked him to close the windows, which he did, and with that it was like a wall went up between us.

As we approached Varsity Stadium he reopened a couple of the windows I had asked him to close, but before I could protest, music thumped into the car. A marching band–glittering in red and undulating like a flag– was in the stands performing the Battle Hymn of the Republic while a football game unfolded beneath.

Somehow this ignited a million unanticipated things at once, and we drove through the music with our heads out the window, as if it was weather we thirsted for.

On the field U of T was playing Queens and the crowd sounded like a tiny ocean. The athletes, all perfect, all aimed from birth to this moment in time, stood about like gold and blue statues. And one of them was going to make the best catch of his life, something he would return to again and again over the course of his life. Somebody else was going to get injured and never be quite the same. And in that crowd another person would see a beautiful young woman smile and feel nourished. A woman in a wheelchair felt the sun, and parents from small cities and towns, drove in to see their now grown children– now so terribly missed, now just beyond their protective reach.

The driver, whom I had forgotten about for a moment, startled me by speaking.

“I am not from here, so none of this is familiar to me,” He gestured toward the football stadium. “But still, when I hear that music and see all the people, it calls me in my bones. It is a kind of nostalgia, but for what I do not know.”

I don’t much like the food here at Pulmonary Rehab.

The hatred of hospital food is pretty much a universal, and so I imagined that all the other residents would share my point of view. But no, I was dead wrong. The people I spoke with liked the food, even the simulated pork thing that had been pressed to make it look like ribs.

The reasons for this are simple enough. Many of the people here– by virtue of their condition– are unable to work and have little money. Many of them are older and live alone, lacking the will, funds or ability to attentively feed themselves, and are thus entirely grateful when a meal is delivered to them three times a day. This food, regardless of its quality and regardless of whether it’s “Instagrammable” or not, is a good thing.

Its presence is a relief, a daily stress crossed-out.

People enter into this program eroded and depressed, little more than shadows of who they once were. On Fridays we’re allowed to go home for the weekend, but not everybody does. Some people are too sick or live too far away, but others stay because they have nothing they want to return to.

One man, heavy with sad eyes, said to me as he settled in before the TV, “Why would I want to go home and just sit there, staring at my four walls? I like it better here.”

Sometimes people forget just how breakingly lonely illness can be.

But soon enough, people are reanimated. Men who wouldn’t make eye contact when they entered are shortly cracking wise, singing along to the oldies while working out, and women who hadn’t played cards in years are laughing together over Euchre.

Collected from disparate lives and thrown together in common cause, we get to know one another gradually, through the honesty of proximity rather than the spin of words. You see the pain first, because you know the pain, too. But gradually, that’s chipped away to reveal the person lost inside, the person capable of joy and wonder. It’s a gift, this, and all of us here gathered beneath the mortal cloud of our illness become family, and will linger as family long after each one of us has stepped out the door and receded back into the mysterious worlds from which we came.

The woman who mops the floor of my room is so fair and blonde as to be practically transparent. I am somehow embarrassed whenever she comes in and has to clean around me, and I hope to compensate for this weird power imbalance by being excessively friendly, and she’s kind enough to indulge my need for small talk. She has a thick eastern European accent and far away, sad eyes hidden behind blocky glasses. As she wipes down the plastic casings of the rails on my bed, she says, “Look, you see?” I don’t, and have to look closer. “My superior leaves little marks with a pen so she knows if I have cleaned properly or not. You see it now?” I nod as she wipes it away and say something I think is funny and disparaging about her superior. “No, it is her job, the cleaning must get completed and she must make sure it is so. We all must do our jobs.”

I feel like a child in the face of those words. This middle-aged woman who used to be a professor of accounting in the former Yugoslavia, now in a scratchy blue uniform cleaning floors in a hospital a million miles from all that she had known and loved and earned. My heart could break for her– her country vanished, her life now so improbable and alien. And she looks at me. She knows what I’m thinking, or at least she thinks she might know. She pauses for a moment, “It is true that life is hard, but we must live it, no? We must live it,” she says, as if we had both been forced to leave our native land.

He has a piece of gauze over his left eye and sits there wordlessly, his face giving nothing away. His mother looks so warm and concerned, so ready to help. She keeps looking over at him, searching for ways to make him feel better, but he offers no clues as to what she might be able to do. There is such yearning in her eyes–she wants to climb into him and fill him with strength, she wants to absorb all of his pain, she wants to take him to that lake he loved as a child and watch him return to being her limitless and beautiful boy.

Everybody in the waiting room appears weary and drained of confidence on this day. A man of about 60, somebody who looked like he had lived well and confidently in his body for decades, groans when he shifts his weight and tries to cross his legs. As if avoiding one another, even ourselves, all eyes drift to the TV set where a news station, crammed with all manner of banners and crawls, is on. So much news, so many things of the world competing for our attention. And along the bottom of the screen, as random as a dream fragment, “ Prince Harry regrets not talking more to Prince William about his mother’s death.” And suddenly I’m traveling in time and back on Elgin Street in Ottawa 20 years ago. There were perhaps ten of us, huddled together on the sidewalk watching a TV through a window, all staring at a shot of a crumpled, black car in the middle of a tunnel.

Some people were crying, and I remember thinking that was a display of sentiment, and that we couldn’t possibly feel sincere emotion for celebrities who had been so one-dimensionally assembled for our consumption.

And I was wrong in the ways that only a young, single man could be, I was so very, very wrong.