How to ride a bike . . .

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“The first grip I ever got on things
Was when I learnt the art of pedaling
(By hand) a bike turned upside down, and drove
its back wheel preternaturally fast.”

~ from Wheels within Wheels by SEAMUS HEANEY


It’s Father’s Day—it’s a big deal. In a recent survey,  the National Retail Foundation found that 76 percent of Americans plan to celebrate it. That celebration will look different for all of us. Scrolling through social media, my feed is already lit up with photos of fathers – including my own – all poignant reminders that my daughter has been without her dad for some of the biggest moments of her life, the moments that don’t happen on Father’s Day.  It feels unfair. We can’t dodge it of course. On the one hand, we celebrate my dad, her grandfather—grateful for the fatherly people in our lives. On the other, the day is a keen reminder that my daughter’s father is physically not here.

The list of milestones continues to grow, the stuff of Hallmark greeting cards and scrapbooks and Facebook memories. He has missed so much—her graduations and her first real job and the first time she pored over a ballot and voted in a Presidential election for the candidate that might deliver the kind of America he had dreamed would be hers. He missed meeting her boyfriend, a gentle soul with hair as long as his used to be and a vinyl record collection and who studies archeology—the subject he once told me he would study in his next life.  He missed hearing all about her Senior trip to the Galapagos Islands—the only destination on a bucket-list of places he would have loved to see before he died. He also missed the first time she got behind the wheel of a car, his car. And, she missed him.

It was on our first Christmas Day without him, that my daughter took me for a drive. My father, far from rural Derry, had been teaching her to drive on what he considered the wrong side of the road. Watching from the passenger seat as his only granddaughter drove around the quiet streets of our Phoenix neighborhood, her elegant hands at ten-to-two on the steering wheel, he encouraged her  to “go easy,” to just believe in herself in a way I don’t recall from my driving lessons with him on the Dublin Road in the late 1970s.

Watching from our door as she proceeded west on Montebello Avenue, maintaining a slow and steady 25 mph, I was transported from adolescence remembered into motherhood and widowhood. Unaware and seemingly unafraid behind the wheel, my girl was stoic, reminding me then and today of Seamus Heaney’s symbolic passing of a kite from father to sons in “A Poem for Michael and Christopher

Before the kite plunges down into the wood
and this line goes useless
take in your two hands, boys, and feel
the strumming, rooted, long-tailed pull of grief.
You were born fit for it.
Stand in here in front of me
and take the strain

~ Take the strain. You are fit for it.

We are fit for it.


When I’m in Phoenix these days, she drives me to places I miss—Target, the bookstore, and her favorite antique store. One morning, as she signaled and turned right onto the highway, I was reminded of a milestone morning in our favorite park—the one where she and her dad regularly fed two bad-tempered geese they had christened “Fight and Bite,” the one where he removed the training wheels from the pink bicycle she got for Christmas that year, and let her go for the first time. It was one of the many lessons in love that have stayed with her.

Life is about trust and balance. Riding a bike requires both, without either you can’t ride.

~ Nikki Giovanni


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Cute and cozy in her new aran sweater, she opts for a grin for the camera, having lost both front teeth just in time for Christmas. Santa did well, having delivered a pink bicycle exactly as described in her note to him. For good measure, he even added sparkling streamers. Before I’m taken to task about reinforcing gender stereotypes, pink was her favorite color that year. She had whispered to the mall Santa that if it wasn’t too much trouble he could maybe bring “rosy pink wind chimes to make me feel happy like the sunset’s glow.” By the following Christmas, she had moved on. She wanted only a new bike to ride with daddy, and the color was irrelevant.

The pink bike had training wheels—”stabilizers” as we called them when I was a child. Stabilizers. It was my first big word. Even now, I like saying it and conjuring all it connotes—stability, steadfastness, balance, a firm hold.

Had I read MIT engineering professor David Gordon Wilson’s Bicycling Science, I may not have been so adamant about getting a bike with stabilizers for my daughter. Professor Wilson handily dismisses them, pointing out what is now obvious – that they do not teach you how to balance; they teach you how to pedal.

Bicycling is the quintessential balancing act and it makes more sense to follow Wilson’s advice to “adjust the bicycle’s seat low enough for children to plant their feet on the ground and practice by coasting down the grassy slopes.” No wonder we are so afraid when we push off that first time without training wheels – immediately, we have to learn how to balance, just as we are expected to swim if we are thrown in the deep end.

But if we get rid of the training wheels, we also say goodbye to a rite of passage, a milestone.  In our family’s story, it was A Big Moment. The morning began with an Irish breakfast—sausages, butter, and bacon purchased from Pat McCrossan at an Irish gift shop in Phoenix.  A Derry native, he winked at Sophie and  made a joke about how he had given her ma the Protestant discount.

Next on our agenda was the removal of the training wheels. Waiting as her dad fumbled with the wrench that would remove forever the useless stabilizers, our girl was confident that those training wheels had prepared her to ride a bike. Unconvinced, we had brought band-aids along with a video camera to record the moment. You know the one. Her father would run alongside the bike, holding onto the seat, and then let go as she rode into the afternoon sunshine . . .

Naturally, she lost her balance, and she fell. But only once and with only a few tears, and our darling girl kept both nerve and balance when she climbed on again. And then she was doing it—riding a bike. Round and round the park, sunbeams dancing on silver spokes, blue and white streamers flashing from the handlebars, ducks and geese scrambling to get out of her path, and our girl, buoyant in what Heaney calls the “new momentum,” equipped for bicycle riding, for inevitable tumbles and the promise of a blue skies ahead. Just like her mother.

And what is a bicycle? It is trust and balance, and that’s what love is. Love is trust and balance. 

last birthday: june 12, 2018

June 12, 2018

It is her birthday today, and she is dying.  Curled up in a fetal position, in a cloud of morphine, she is not going to recover. On her Facebook page, a string of tender and tentative birthday wishes on social media soften the blow. Distance – virtual and real – helps conceal the truth.

The man I love watches – helpless – as his mother struggles in that space between holding on and letting go, a bewildering space that both tightens and expands without warning.

There is no greeting card section for a birthday like this, no adequate words to mark 79 years that were mostly lived with boldness, with his mother at the helm of her own life. What does he say to her – watching as she watches her life slip from her grasp?

In barely a year, Estelle has lost her husband, her home, her ability to move in her tiny bird-like body, but never her mind. Quick and smart, just two weeks ago, she emerged from that cloud to ask Alexa to play a song. “Neon Moon,” I think it was. Minutes later, spirited and defiant, she announced to those gathered around her that she couldn’t wait to get out of this place, inquiring with all clarity on the pending sale of her home. Or maybe it was The Chair by George Strait. It doesn’t matter. Any song her son sings is her favorite. I find myself recalling a night last year when she watched on Facetime one of his live performances on a rooftop she never could reach. Bedridden yet buoyant, ‘in and out of the beams of a neon moon …’

Gathered around a tiny bed in a beautiful home that is not her home, are her son and daughter and her grandchildren on the verge of what will release her from the brutal bedsores, the litany of indignities of a merciless and unrelenting illness that is killing her slowly.

She’s not quite ready to go. She knows how much he will miss her, but  her indomitable spirit persists. Only she knows the terms of her surrender, and on her birthday, she is taking the lead.

Goodbye, Estelle. You will be missed.

Goodbye is the emptiest yet fullest of all human messages.

memorial day reminder: maya angelou

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“We live in direct relation to the heroes and sheroes we have. The men and women who without knowing our names or recognizing our faces, risked and sometimes gave their lives to support our country and our way of living. We must say thank you.”


… a reminder this Memorial Day to say thank you to the strangers who made so much possible for so many of us.

I first encountered  Maya Angelou’s writing as a young teacher in America. In the English textbook provided to me by the school district was an excerpt from “I know Why the Caged Bird Sings,” and even though it was the story of a Black woman’s childhood in the South during the 1930s and 1940s, it resonated with me, then a young woman from another generation and from a tiny country on the other side of the world. The humanity in Angelou’s story reaches out into the universe where it will take up permanent residence in millions of hearts.

I remember reading aloud to teenagers from affluent white families, Angelou’s lyrical and clear-eyed account of a harrowing world in which she had been abused, raped as a child by her mother’s boyfriend, abandoned by her parents, left homeless, poor, and, for almost five years, unable to speak. But in this tumultuous life, she also fell in love with William Shakespeare and Dickens, with the written and spoken word.  We are all the better for that, and I suppose the lesson for my students and for me was, as Anne Frank wrote in her diary,

I don’t think of all the misery, but of the beauty that still remains.

Such beauty. At 86, the indomitable Maya Angelou was active on Twitter, sending out to almost half a million followers, soul-stirring messages in 140 characters or less. Miniature poems. The day before she died, she took to social media again:

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Over the years, I have collected bits and pieces of wisdom and encouragement that I turn to when the going gets tough, as it invariably does. Growing up, I was often told, “show me who your friends are, and I’ll show you who you are.” I was unconvinced of that,  but with age comes experience and discernment and a willingness to listen again to advice I may not always have heeded:

people know themselves much better than you do. That’s why it’s important to stop expecting them to be something other than who they are.

As my daughter made her way into to adulthood, I hoped she would  learn that the very first time a person lies to her or about her would be the first of all the other times; that the very first time someone wounds her with indifference or arrogance, manipulation or meanness, acts merely as precedent. The same might be said for integrity and loyalty which I suppose is why betrayal hurts so much, or as Arthur Miller once put it, why it is “the only truth that sticks.”

When people show you who they are, believe them.

Believe them – the first time, not the millionth time, so you know sooner rather than later, whether to walk this road with them or without them, dignity intact either way.

And for that perspective, Maya Angelou, I am forever in your debt.

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Something is happening here … Happy Birthday Bob Dylan

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Bob Dylan has always been almost as old as my parents. He has also always been forever young, staring up at me from the cover of  the book that has graced my coffee table for decades.

When was it that a Bob Dylan song first mattered to me? I cant remember. Nor can I remember a time when it didn’t, a time when I wasn’t tangled up in blue.

Maybe it was in the Spring of 1979, when my high school English teacher let me borrow his Street Legal LP, an album that was crucified by a handful of critics considered more qualified than the rest of us to measure the success of a Dylan song. Pioneer of Dylan studies, Michael Gray, was not among them, writing that Street Legal is “one of Dylan’s most important and cohesive albums . . . of astonishing complexity and confidence delivered in one of Dylan’s most authoritative voices.” Granted, he points out that it was badly produced, but that doesn’t matter to me.  What matters to me and anyone else who has ever missed someone – or something – is “Where Are You Tonight?” It remains a staple in the soundtrack of my life. Everybody has one. We all have one.

But without you it just doesn’t seem right.
Oh, where are you tonight?

“Hey, hey, HEY, hey.”

Where are you tonight? 

Picturing the picture on the cover of the Street Legal album, it occurs to me that this was the first time I considered Bob Dylan in color. Until then my idea of him was monochromatic, an iteration of the Dylan we know from the “Subterranean Homesick Bluesvideo – forever flippant, flipping over cue cards, dropping them in the alley. Deadpan.

Laid Off. Bad Cough. Paid Off. And, finally – naturally – What?? 

What??

Always on the road, heading for another joint.

That’s what.

That’s why. 

During one of my first summers in the United States, an American cousin took me to Buffalo to see The Grateful Dead open for Tom Petty and Bob Dylan.  In color. Previously, I had seen Dylan perform at Slane Castle in Ireland in the summer of 1984 –  a mighty performance with Santana and  Van Morrison. But this was different. This was as American as the idea could be. Deadheads. Tie-dye. Weed. The Wave. This was the Fourth of July.  “It doesn’t rain on the Fourth of July!” Bob Weir told the crowd, and like poetry,  the heavens opened.

This was Positively 4th Street (What??) and I loved it.

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As a going away present, my cousin later gave me the coffee table book. Published in 1967, it is a collection of black and white photographs by Daniel Kramer, indelible images taken over a period of two years, revealing a young man Kramer characterized as someone “who set his own marks and did not allow himself to be manipulated.”

Gentlemen, he said
I don’t need your organization, I’ve shined your shoes

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For Kramer, Dylan was “someone worth photographing,” someone worth seeing from different perspectives. For me, Dylan is someone who forces you – without telling you – to shift a little in order to see better.  Thus we find him perched on a branch in a tree or in an alleyway in London or Stuck Inside of Mobile. Or in the falling shadows.

Photography is just light, of course, and the good photographer will always find the right light. It is writing with light. As Amyn Nasser describes there is a kind of magic in this

. . . ability to stir the soul with light and shape and color. To create grand visual moments out of small and simple things, and to infuse big and complicated subjects with unpretentious elegance. [The photographer] respects classic disciplines, while at the same time insists on being fast, modern and wild.

Like a welder … seeing things in front of us and into the empty spaces between them. The self proclaimed song and dance man makes gates out of vintage iron and scrap metal items, spanners, chains, car parts, and axes. Some include reminders that he is also a musician – a treble clef or a guitar. Born and raised in iron ore country in Hibbling, Minnesota, Dylan writes in Chronicles, that he has always worked with iron in one way or another. Paul Green, the president of the Halcyon Gallery in London – which first showcased Dylan’s iron works explains, “He’s drawing from an industrial past, a working man’s past . . . It’s partly about looking back but it’s also about resurrecting these items and the physical act of putting these objects together.”

Why do gates hold such appeal to Dylan? He says it’s “because of the negative space they allow. They can be closed but at the same time they allow the seasons and breezes to enter and flow. They can shut you out or shut you in. And in some ways there is no difference.”

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What??

Because something is happening here
But you don’t know what it is
Do you, Mr. Jones?

Something is happening here, and Nobel Prize winner, Bob Dylan, doesn’t have the answers either.

His Never Ending Tour began in 1988 and continued for more than 3,000 shows until COVID-19 changed plans. During his time away from the road, , he stayed busy, releasing three original songs from a new album,  Rough and Rowdy Ways. Murder Most Foul,” a 17 minute rumination on the assassination of President Kennedy and America and music,  arrived unexpectedly one midnight  with a Tweet from Dylan: Greetings to my fans and followers with gratitude for all your support and loyalty over the years. This is an unreleased song we recorded a while back that you might find interesting. Stay safe, stay observant, and may God be with you.” Two years later, The Rough and Rowdy Ways tour began. It continues in Portgual next week.

Why does he keep touring?

I keep touring because: it is a perfect way to stay anonymous and still be a member of the social order,” he said. “You’re the master of your fate. But it’s not an easy path to take, not fun and games.

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Happy Birthday, Bob. I find myself remembering you on a hot monsoonal night in the summer of 1988. You were playing at the amphitheater in Mesa, Arizona. Lightning struck during “Mr Tambourine Man.” Of course it did. At the time, a recent immigrant to the United States, those were days of wonder for me, days before we worried about what waited around the corner – before we were observant, before we knew better.

As easy it was to tell black from white
It was all that easy to tell wrong from right
And our choices were few and the thought never hit
That the one road we traveled would ever shatter and split

On your birthday – and every day, Bob Dylan – may you stay safe, stay observant, and may God be with you.