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the long way around

The living room is a forest of mic stands and cables. A cup of coffee, a large glass of water and a shallow shot of whiskey sit on the tiny white table. I alternate between them, making sure the guitar is in tune, trying to understand if the chair will creak when I lean my head back on the second chorus.  There is a hush in the room. I can hear my own heartbeat. The lyrics are printed out on a fresh piece of paper, large and thick so I can read them easily even though I sing with my eyes closed and will surely forget a handful of words no matter what I do.

The guitar sounds dry, perfect - even honest. I can play a simple D chord with a long strum, or the side of my thumb and it sounds so different. I record a few takes, barefoot in the bright room. I am going too fast in some parts, and my fingers are already sore from the chord changes.

And then all at once, I am thinking of a show I played in an old factory in Brooklyn, way back when I had just started writing songs almost twenty y…

almost


Things are slipping though my fingers. I can see them, just out of reach as they twirl in the dark. Almost, an almost. And yet at the same time, a full life, days crammed with blessings and laughter. Nights dancing in the kitchen, the baby rocking wildly in her chair, E with her big eyes in mid-thought, N with her Mona Lisa smile. A bottle of wine cracked open, special glasses on the table. There is no way to complain about anything. Impossible.

The life of the reluctant expat is a series of lessons. The opportunities are distant and slim. You have to carve them out with your bare hands if you want something to happen. At the same time, there are no distractions here. The work is that of a hermit, of messages in bottles floating inside a bubble on the other side of the moon. The unheard story, the whispered idea.










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