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Albino (part one)

I began writing Albino two million years ago. I had an editor then, who lived a few blocks away. We would meet for breakfast on Avenue A, quietly forking into home fries as we discussed the structure of the story - the economy of objects. A dollar bill was not just a dollar bill in this story, it was connected to thought and action, to music and transformation. This was the story that told me there was a whole book to dig into, mining for diamonds in the backwaters of America, turning over the ugliest rocks to better understand relationships between fathers and sons.

Last week, I stumbled across a call for submissions - not for a journal, but for a podcast where the work of new writers was read aloud. I thought back to a reading I had done of just the first few pages of Albino - a messy hero's journey,  a young man and a guitar, a man with loss and regret, a man that still had something to lose. That reading went well, enough that I felt a strange elation stepping off the stage i…

Let's see (a photo by E)

There is a little voice that surfaced a few years ago. I am a born headbanger. Wall, head, grindstone, nose. Rinse, repeat. I don't know the origin of this voice, or the exact moment it appeared, just that I listened. It told me to let go. Instead of wrestling, take a step back and marvel at the way things can work out all by themselves. Sometimes the right action is to do nothing. It was a tough lesson to learn, as I am used to conflict being resolved with sweat and tears and sleepless nights. 

In E's bedroom, a guitar stands. I remember buying it together, her perched on a little stool trying one after another until this Spanish one felt best. It was expensive, but she was studying in a great program. That ended some time ago, and the guitar remains, like those props in 80's films. Every teenager with an unused guitar in the corner 

She still does not play it, but she teaches herself piano almost every day. She plays for hours, with a blanket curled around her feet, face locked in concentration. I tell her dinner is ready 15 times before she hears me. I did nothing but let her borrow one of my keyboards, and showed her how to work it. I did not take her to lessons, just told her she could use it any time and if I needed it back, I would tell her. I find it fascinating, how she chose it, how she takes such pleasure from it. She never said "can I play this for you on guitar". It was always practicing and memorizing, and preparing for the next recital, nothing more. 


She borrowed one of my old cameras in the same way, until we bought her a new one for her birthday a year ago. E keeps it on a little tripod, ready for a certain blue sky, or snow falling, or rain. She loves to photograph rain. But this also lingers for weeks and months, unused. Sometimes she goes out with me, when I am shooting and then she does sling the camera around her neck, stopping to look, mouth twisted in thought. But most of the time, she ignores the camera.

Last week, she told me she had started to make self-portraits with it. She was looking for my reaction, quite possibly my approval. I looked at it, and had the combined joy of a parent and of an artist, sometimes a teacher. I told her to do more like this, more, more, more. I told her what was working with the composition, what was working with the colors, and most of all, the undertone, the story. Then, I told her to forget everything I said because all that matters is what she thinks of it.

I asked her permission to show it, to write about it. A little smile, a shrug of the shoulders.

"Let's see."




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