some people

Sipping on the better half of a lazily rolled joint. The sour diesel gunning express for my subdued attention. I relax into an almost forceful memory, retelling it’s visceral impact all over my body.

There was Loso. Tall, dark, well built. He moved in such a way that would make a girl’s groin ache. Tattoos littering his taut caramel skin, cascading over subtle muscled architecture, dancing invitingly under his oversized, white kitchen uniform.  Such symmetry framed his unassuming demeanor. With a stained look of lethargy, he was one that seemed to perpetually sigh. The hanged man; exuding total peace, while silence consumes the dangerous caverns of his mind. His presence cast an impenetrable net, swallowing passerbys whole. A prolonged stare or visible drool was not rare in his wake. If one was lucky enough to catch his sea glass gaze, it didn’t last long. He exuded a fatigue towards such unspoken social responsibility. For, after all, he never chose to be so pretty (and privilege is a fickle bastard). They’re to be pitied, people like him. They must move and speak with infinite care, lest adoring eyes make wax kites out of their promises.

Our encounter began one night over the kitchen counter at an all-together overpriced “American” eatery. Smells good, I say in his direction, my eyes diverted to avoid electrocution. A flowery, purple haze perfumed the air around his manly shape. Out in my vast periphery, I see his red-rimmed Boston baseball cap wind upwards in my direction. My chest drums. I look up at his emerald eyes fixed to mine. Lightning. You ciph?  He mouthed, teasing a smile on his lips. I nod. Yoooo.. His mouth moved. My hardon rises. I’ll hook you up he says without a sound. The rest of the kitchen clambered on as I wrapped my racing mind around our electrical interaction. Real time catches up to me and I quickly wipe the drool from my lip.

Later that night, stocking a fridge in a narrow hallway, I smelt the arrival of his fragrance right before his body heat encompassed me quickly. I felt his hand slip into my tight pockets. Big hands, I noted. Yo.. I felt him exhale into my ear. His motions gave way to an almost imperceptible goosebump graze of his endowment against my ass. Fuck. In one dash he continued down the hall. Before escaping down the stairs he shot me the most beautifully choreographed wink over his shoulder. A move perfected, used and abused since his early days no doubt. Just as my knees were about to buckle under my deep throb, I became aware of my pocket’s plastic lump. It happened so quickly that it seemed to have materialized on it’s own. I brought the plastic wrapped bundle to my nose- Purple haze, That sexy fucker.

It didn’t take long to realize Loso was our restaurants’ dealer. Like a miniature pin I suddenly realized everyone had been wearing. A secret society of gaga-eyed drug doers. Loso and I shared shifts hanging on opposite sides of the kitchen counter. What’s your tattoo mean? I blurt out after a long, quiet shift. Which? Some don’t mean anything. I point, ‘Lost Time’? In an imperceptible shift, a catatonic glaze overcame his eyes I lost…some time. If you know what I mean? I was physically frozen, like any sudden movement might scare him away. Shit, I looked down. Ya, he nodded and surveyed the area subtly nine years. Shiiit. Ya. From where I stood, his eyes seemed more opaque than I remembered. Seafoam glass, effervescent, solid earthen rock. Those eyes had seen more than I’ve imagined. And there’s more than one story calcifying behind them I thought to myself. I inhaled sharply, Need a ride?

I waited until my car was parked in the dark evening shadows of the church parking lot. The air full and dewy for February, suspicious of greater catastrophe on its way. I let the windows slide down. An incredible silence swelled under our breaths while I fiddled with a king sized raw and that sweet purple grass. Then, as if picking up mid-telepathic conversation, Loso penetrated the air- I was in a gang. Silence. oh,  as I lit the end of the joint. I kinda thought it was cool, he chuckled gently at his adolescence. What was? - Bein’ ‘thug’. He stared out the windscreen at whatever series of memories followed that train of thought. His images were invisible to me, although I still found myself squinting to find his projection. The silence that followed told me that Loso had seen his fair share of unimaginables. How’d- I stopped myself, unsure of how to ask, I passed the joint in lieu of continuing. Our middle fingers brushed and I felt my entire arm catch wildfire....’how’d’?  he prompted. Uh, how’d you- I sheepishly pointed at his tattoo. A smile caught on his mouth and he exhaled a laugh onto his branded wrist. I didn’t kill anyone! I couldn’t help my silence. Yo, I’m a good kid now. But, shit, I was a baaad boy...I felt pulled by a fear of the infinite things he may or may not have done, and simultaneously melting into the hemp haze as I felt my legs separate involuntarily. ...I stole. A lot. From banks, drug dealers. Yo, I prolly couldn’t explain the things I seen. I noticed a deadness in what he said.Were you ever in solitary?Ya. - What was that like? It’s, like, an insanely inhumane practice. Which you probably know.. - Dude, you have no idea. Once, I was in there six months. - No fucking way. - Ya dude! It was torture. - Did you start hearing stuff? How’d you stay sane? - You don’t even know what time it is mostly. I tried to keep routine- workout, read a lot, you get one free hour a day to do whatever, shower, rec, phone call.. - Wow. - Nah but dude I got off easy. I knew this guy who was in there fifteen years- - Years?! - Mhm. Man, sometimes I see people I knew inside and it’s like something's missing. They fried or somethin. Bein inside messes with you. - You seem, well. I mean, like, in spite of your experiences. I mean, what do I know- - Ya. thanks. I guess. I just decided I wanted to be better. I saw his breath deepen. A certain quietness became him. He let the smoke slip easily out of his nostrils as his emeralds shot up at me. A mystery man, a suitcase packed tightly. In that air between us I wanted him to unpack his unmentionables all over me. He leaned back against the passenger door, upper body facing me. There was a coy, menacing permeation of our magnetic tension that hung off the sides of his eyes, tilting his head in playful dominance. You. are so tragically sexy.  I exhaled a deep drag. Duuude, his eyes shifted upwards as his fist covered his mouth. You. are fine as all hell. Our faces levitated closer. When I felt the heat of his breath hovering my mouth, I traced his lips with mine and whispered:

How...does one get out of a gang…

He exhaled that purple magic into my mouth.

They don’t.

What The 'Generation Wealth'

What came first, power or money? Greenfield describes her most recent doc as an exploration of her expansive archive that examines the culture of wealth in America. The breadth of the conversation cannot physically be resolved in 2 hours. At a dense 2 hour mark, audiences heads will be spinning. From the housing market crash, to the porn industry to Kim Kardashian’s middle school class and all the way back into Greenfield’s personal life, in the end there's only one question worth asking: where do we go from here?

Cut to: 1950's America. Our automobile industry was booming. World War II wiped out Germany and Japan's economy which put America on top. As Michael Moore says on the matter, "no competition, no problem!" The upper class paid a tax rate of 90% (yeah) that the country used for secure infrastructure, schools, hospitals etc.. The white working class thrived on one household income and debt was at an all time low (And of course not everything was equal,  poverty and oppression still thrived in communities of color). President Jimmy 'Debbie Downer' Carter came at the country Bernie Sanders style, attempting to breathe reality back into the self indulgent ether. Carter pleaded, "human identity is no longer defined by what one does, but by what one owns (...) this is a warning." But how did the country respond? By electing former B-list film star and corporate sponsor, Ronald Reagan. Wall street found their blue-eyed puppet. Don Regan, chairman of Merrill Lynch turn Treasury Secretary (with oh-so-wholesome motives), was the master of Reagan's strings. From 1980's onward, America would be run like a corporation. Money turned into the strongest form of political power. As New York Times journalist, Chris Hedges, chillingly articulates, "societies accrue their greatest wealth at the moment they face death." Lauren Greenfield's new documentary, Generation Wealth, depicts the harsh reality of our elitist culture. If a "free market" means that anyone can acquire power by competition, Greenfield's doc explains the lengths people will go to get on top in a free-for-all.

The doc picks up at the housing crash of 08'. Florian Homm (former hedge fund manager (who bought his son a prostitute for his 16th birthday), now quarantined in Germany with pending investment fraud indictments) explains the housing bubble: after selling unstable investments, the country's financial sector majorly miscalculated the correlation between supply and demand. When supply goes up and demand stagnates, the bubble bursts. When the bubble bursts and big banks go belly up, the tax payers bail them out (which the white house puppeteers probably knew all along, making the recession an act, not of ignorance, but of deeply rooted evil).

Generation Wealth is best summed up by the story of aspiring actress and former porn star Kacey Jordan. Her hunger for wealth, worth and power chased her straight down the lens of the porn industry. One particular film, in which she received 56 mens' ejaculation and contracted salmonella, shot her straight into the spotlight. Whatever it takes, right?

A sobering and startling take on the virus that has been plaguing America for generations. A culmination of 25 years worth of photography, interviews and vignettes. Greenfield is best known for Queen of Versailles, a doc about timeshare king and queen; David and Jackie Siegel, as they set out to build their new home modeled after the Palace of Versailles. The Siegel's, among other exuberantly wealthy and existentially lost people, make up the narrative in Generation Wealth. Unlike Greenfield's classic non narrative style, she invites her upbringing into this story. Through this device she curbs, what could have been, a holier than thou portrayal of today's greed. Although the Greenfield's live a modest (lavish to most) lifestyle, the personal narrative takes the audience slightly off track. Because the sea of over-the-top stories are so unbelievable, Greenfield's workaholic-ism seems less relevant. If the story seeks to debunk the unnatural, i.e., money, sex and politics, it does so loosely. After opening Pandora's box; the unequal financial system, we bulldoze through twenty-five years worth of stories. The content is dense, impressive and ultimately dizzying. Is Greenfield looking to overwhelm? Like a metaphor for the excess epidemic at hand? At almost two hours, the audience is brought to the highest peak with no safe way down.

Whether the lack of resolution is intentional or the copious narratives simply cave in on one another is unclear. Greenfield's research begins in the 1990's, dropping in on the lives of dynamically wealthy youth (Kate Hudson and Kim Kardashian middle school realness). In a longitudinal structure, Greenfield circles back to these subjects with a wildly rewarding ‘where are they now’-esque full circle. Some of her subjects she shows ravaged by the life of high class, highlighting their wrinkled empty eyes. Others have since ditched the life of excess, finding solid ground with a modest lifestyle.

If there’s one thing we can all agree, it’s that Greenfield knows how to capture people. In the face of a long overdue conversation, Greenfield gives you the pill, but you still have to take it.

Sorry I'm Not 'Sorry To Bother You'

TLDR:

This movie is important.

The Long Version:

The new film by Boots Riley, Sorry to Bother You, is a sharp-witted metaphor for today’s prison-industrial empire. Lakeith Stanfield and Tessa Thompson lead the diverse and fiercely talented cast in this summer’s dark comedy blockbuster. This film is a cold, Dr. Seussian perspective on the suspicious systems that make the elite so comfortable.

With corporate malevolence and racial politics at the forefront, Sorry to Bother You highlights the pseudobulbar affect; that which makes us laugh in discomfort. Riley’s use of outrageous magical realism is not so other-wordly, in a dystopian Oakland, billboards everywhere portray a prison/work program offering “housing, food, employment and lifetime salary..” called ‘WorryFree.’ Corporate CEO, played by Armie Hammer, promises “freedom” ad nauseum, deep cut to the Aushwitz slogan, “arbeit macht frei,” “work sets you free.” The uncanny marketing strategies beckoning previously middle-class families into corporate for-profit prison system is spine chillingly relevant.

Today, there have been multiple cases as well as confessions made by active law enforcement officers that affirm discrimination towards poorer communities. While the Black community in America makes up only 13% of the population, it makes up a whopping 60% of prison population. It is important to note the incentive to incarcerate pays enormous profits. When huge corporations sponsor such correctional facilities, prison owners get huge payoffs when cells are full, meaning there are more inmates to churn out products that we buy for as cheap as possible. Making this system a modern day plantation, i.e. institutional slavery. Companies like Whole Food, Aramark, B.P., Victoria’s Secret, McDonalds, AT&T, etc., receive outstanding payoffs from skimping disgustingly on prison wages. Due to LFOs (legal financial obligations) former inmates can actually finish their sentence with outstanding debt, starting the dangerous cycle again and tethering them to the system for life.

Lakeith’s character Cassius, nicknamed not-so-ironically, “Cash” Green gets a job as a telemarketer and quickly realizes, through coworker (played by Danny Glover), that he could quickly rise through the corporate ladder by using his ‘white voice’. Once Lakeith gets promoted to the ever-vague and dazzling ‘upstairs’ he’s told that he can now only use his white voice, like an identity castration. It’s important to note that ‘upstairs’ seems exempt from all laws governing drug use, where cocaine seems to flow freely. This spectral device of dubbing white people’s voices over characters of color and the juxtaposition between minimum wage and higher status jobs pays homage to the beginnings of modern day racism.

During Nixon’s infamous 1969 War on Drugs, Angela Davis wisely states, “it’s during this time that ‘drug’ began to stand for ‘race’,” because one cannot wage war on a drug, the P.O.C. community became the scapegoat. John Ehrlichman, one of Nixon’s advisors, was caught confessing:

“the Nixon campaign had two enemies: the antiwar left and black people. You understand what I’m saying? We knew we couldn’t make it illegal to be either against the war or black, but by getting the public to associate the hippies with marijuana and blacks with heroin, and then criminalizing both heavily, we could disrupt those communities…Did we know we were lying about the drugs? Of course we did.”

Politicians like Nixon persuaded poor and working class white people to back his campaign by antagonizing people of color. These communities become the excuse for bigger institutional deficiencies such as corporate racism fueled by greed and pharmaceutical corruption. The rise of narcotics such as crack cocaine began to display outright disparities in the law. White people were policed much less (if at all) for their increasing use of powder cocaine, while the black community was increasingly institutionalized for their use of crack cocaine. Both the same drug, administered differently, began to shed light on deeply rooted institutional racism.

Once Lakeith’s character receives ‘power caller’ status and promoted to the glamorous ‘upstairs,’ he realizes quickly that instead of selling vague investments, upstairs he is selling people; prison labor.

As long as insidious organizations are lining the pockets of wealthy white America, the exploitation of unpaid labor will remain burning in the underbelly of our country, and over time this fire will end up burning us all.

Ever since the onset of the civil rights movement, white American power and credibility has been questioned- when power is threatened, the need to oppress or validate one’s superiority is heightened. As this fear grows, ignorance is passed down through generations. Today, our divided nation stands against conditioned discrimination based on stereotypes made and perpetuated by our predominantly white media and politicians.

Riley creates a world that looks and sounds a lot like ours, but through his lens the inconsistencies or rather consistencies of today’s barren job market are illuminated. This film is another sobering extension of Jordan Peele’s Get Out, putting a mirror up to the white communities that were shocked by Trump’s election. Hopefully we won’t need another film or social atrocity to wake the voting power of the left.  Sorry to Bother You gives you the pill, but you still have to take it.

 

 

  • Jealous, B. T. (2011, Summer). Criminal justice system. The Crisis, 118, 40. Retrieved from http://ezproxy.ithaca.edu:2048/login?url=http://search.proquest.com.ezproxy.ithaca.edu:2048/docview/1291062038?accountid=11644

  • Chiou, J., & Pan, L. (2008). The impact of social darwinism perception, status anxiety, perceived trust of people, and cultural orientation on consumer ethical beliefs. Journal of Business Ethics, 78(4), 487-502. doi:http://dx.doi.org.ezproxy.ithaca.edu:2048/10.1007/s10551-007-9364-x

  • Jealous, Benjamin Todd, and Roslyn M. Brock. “Misplaced Priorities.” Misplaced Priorities, Over Incarcerate Under Educate (2011): 9+. Web.

  • Weitzer, Ronald. “Racial Discrimination in the Criminal Justice System: Findings and Problems in the Literature.” Journal of Criminal Justice 24.4 (1996): 309-22. Web.

  • Petrie, M. “Mad or Bad? Race, Class, Gender, and Mental Disorder in the Criminal Justice System By Melissa Thompson LFB Scholarly Publishing LLC, 2010, 197 Pages. Paperback.” Social Forces 93.1 (2012): n. pag. Web.

  • Racism: A History. BBC. London, United Kingdom, n.d. Television.

  • Vorenberg, Michael. “Final Freedom.” The Civil War, the Abolition of Slavery, and the Thirteenth Amendment (2002): n. pag. Web.

  • Haley, Sarah. ““Like I Was a Man”: Chain Gangs, Gender, and the Domestic Carceral Sphere in Jim Crow Georgia.” Signs: Journal of Women in Culture and Society 39.1 (2013): 53-77. Web.

  • Infoplease. Infoplease, n.d. Web. 06 Dec. 2016.

  • Initiative, Prison Policy. “Mass Incarceration: The Whole Pie 2016   Tweet !function(d,s,id){var Js,fjs=d.getElementsByTagName(s)[0];if(!d.getElementById(id)){js=d.createElement(s);js.id=id;js.src=”//platform.twitter.com/widgets.js”;fjs.parentNode.insertBefore(js,fjs);}}(document,”script”,”twitter-wjs”);.” Mass Incarceration: The Whole Pie 2016 | Prison Policy Initiative. N.p., n.d. Web. 06 Dec. 2016.

  • Facebook.com/kelley.tenille.7. “These 7 Household Names Make a Killing Off Prison-Industrial Complex.” U.S. Uncut. N.p., 2015. Web. 06 Dec. 2016.

  • Lantigua-Williams, Juleyka. “How Prison Debt Ensnares Offenders.” The Atlantic, Atlantic Media Company, 2 June 2016, http://www.theatlantic.com/politics/archive/2016/06/how-prison-debt-ensnares-offenders/484826/.

Why We Need Wife Swap Now More Than Ever

Does anyone out there remember reality TV gold, ABC’s Wife Swap? Narrated by John Schwab, each episode focused around a two week period where two mothers/wives swap lives with the other. In the first week, the new wife must abide by the manual of the original household while the second week they are free to implement their household rules in a new manual and ‘change of rules ceremony’ to which the new family must concede.

Sounds like the perfect cocktail for classic family capital-D Drama, am I right?

Well, yes and no. If we’ve learned anything about television in the last decade ( dare I mention the national heartbreak from MTV’s finale of The Hills ), we know that drama needs a little studio light and producers’ nudge to break the charts. So for full disclosure, let’s discuss the rumors debunking WifeSwap‘s dramatic integrity:

  • The TV show’s producers would allegedly ask the children of the respective families to play certain ‘roles.’ For instance, in season 3 episode 17, the infamous child dubbed himself ‘King Curtis,’ manifesting the performance of an overly spoiled and entitled boy. Show runners were also cited asking the same question over and over until the child exhibited desired negative behavior. Exploiting the energy of young children is one way the show’s producers skyrocketed their following.

  • The manuals from the original household and the ‘change of rules ceremony’ are supposed  to be written by the wives but are allegedly written by the show’s producers. By exaggerating minor character traits from each household, and then sending the manuals to the opposite house weeks before filming, the families develop biases toward the new mother even before they meet. Stereotyping people based on microscopic characteristics invalidates the meaning of reality, does it not..?

  • The show’s two week period was supposedly altered or shortened. Using studio lights, producers would manipulate time of day and would shoot what appeared to be ‘multiple days’ in only a few hours. The device of staging real life scenarios takes away a lot of the show’s timeline credibility ( but also really cool that show runners can dupe us that easily! ).

These inconsistencies are mild compared to what the WifeSwap internet rabbit hole churns up. However, the idea of show runners taking advantage of young children and stirring the pot for the sake if ratings is kinda gross ( not as gross as LC driving off of a six season finale into a sound stage BUT I digress ). Then again, that’s show biz baby. If we can look past the puppet strings ( broken marriages, lost jobs, indictments, jail sentences and ‘balloon boy’ hoaxes ) we may see the very genuine premise for a show about finding middle ground.

Which brings us to why we need WifeSwap now more than ever. It’s important to note that the producers do deliberately take wives from polar opposite lifestyles, whether that’s for ratings or for the benefit of the family being exposed to alternate mindsets is for you to decide ( it’s for the ratings ).

Let’s take season 6 episode 5, the Beauvais / Clayton swap ( to watch: https://www.youtube.com/watch?v=e7eJJLlVD8o ).  Here, you’re introduced to the Clayton family; blue collar, lost main income to the recession, living in a trailer park, relying on soup kitchens for their meals, unmotivated by a ‘healthy’ diet. And the Beauvais family; wealthy, upper crust “inventors” ( selling ‘self care’ books and investments to uneducated investors, clearly making a buck off the recession ) who eat organically and practice daily affirmations to manifest their goals into reality. Like water and vinegar, we can already smell the trouble that this pairing will bring. Dina Beauvais ( whose makeup is tattooed on, and last name low key sounds made up and suspiciously similar to Jackie Kennedy’s maiden name, Bouvier ), when swapped brings the good word of positive thinking, exercise, clean eating and self respect. While Sherrie Clayton ( who claims to have insufficient funds when it comes to fruit and vegetables but seems to have plenty of money for making buttercream icing from scratch ), when swapped aims to ground the privileged family by showing them life on the other side of the tracks.

Besides the inevitable cat fight, what makes this concept worth watching? And with everything on television or in the cinemas, why now? Why this show? Well, class is the most universal thread throughout all current films these days; i.e. Bo Burnham’s Eighth Grade, Lauren Greenfield’s Generation Wealth, Boots Riley’s Sorry to Bother You, Greta Gerwig’s Lady Bird, Netflix Trump: An American Dream, John M. Chu’s Crazy Rich Asians, Gerard McMurray’s The First Purge, etc.. Turn on NPR, local public radio or any podcast and you’re sure to hear bank sponsorship to a sickening degree. Having a business tycoon representing our country as we attempt to clean up ( more like staring at, talking about, grieving – no action ) the financial crash of 2008/2009, has us oddly fixated on wealth. Why do we stand for our leader hugging a WHITE SUPREMACIST on the white house lawn? Because power is money. We may reject everything Mr. Donald stands for, but we all want and work tirelessly for what he has; cash ( and power, but mostly cash).

Besides the lights and effects, WifeSwap shows you how two social classes can find their common ground. Dina Beauvais, for example, was first shocked ( low key/high key disgusted ) at the Clayton’s lifestyle. Over time though ( whether it was two weeks or one hour under studio lights ) she recognizes the need to teach the Clayton’s, as she does her own fam-dam, self-care, pride and passion to rise above poverty; Dina gave the family haircuts, spent time understanding each the Clayton’s passions by inventing products, and taught them the importance of cleaning your space. While, Sherrie Clayton was at first horrified by the Beauvais’ wealth and excess and how it kept the family apart. Throughout the episode, she found her personalized strategy for portraying the positive side to having less material wealth; since the Beauvais’ father worked from home, Sherrie put an ‘Out Of Business’ sign on his office door and refused to let him work, demonstrating the shocking reality of unemployment, she blocked off 90% of the house to centralize the family and force compromise and bonding, and finally she staged a workshop in giving less of a shit as she showed the family how to destroy their clothes (pouring condiments all over themselves (great content)).

Whether these episodes are lessons in network puppetry or an national conversation about our oneness, the underlying themes of willingness and compromise that culminates in a (sometimes) civil conversation, is what America needs.

 

March 2018 CMT bought the rights to WifeSwap. R.I.P.

Ireland, Revisited

12/29/16

12/30/16

12/31/16
All three dates are entirely possible, my phone has been dead since the day we arrived. Not that a conversion cord would matter, there’s no service in the mountains anyway. An odd knowing accompanies a purge from technology. Reticent scribbles echo as my thoughts configure. Our short hermitage in my Dad’s hometown; Dingle, Ireland, has us lost in silence. My old man and I relax into the solitude of his cliffside abode, breaking up the hours with cups of tea and existential musings. A little boredom can go a long way.

When we make errands in town, the aging villagers, who’ve known me before I knew myself, call me “yankee doodle.” Dipping in and out of Gaelic, they speak threaded deeply with rich brogues, quick enough to make your head spin. Scatting about tragedy, unemployment, rising prices and dwindling population. Then turning to me with warm, hopeful jealousy, as though they see in me all they took for granted.  Like a fraud, I shrink into myself. “What do ye do, love?” Uh. “I majored in, uh, *cough* acting *cough* communications..?” Stop looking at me like I’m fucking Victoria Beckham. Can’t they tell I’m drowning in student debt? Or notice the fractures in my fragile self reliance?As an acting major, I steer clear from this inquiry. Four years tuition for art school is not a privilege one could imagine in such an impoverished community. I feel my dad look downward, shameful of such unwarranted excess. Maybe the do know, maybe they do see my adolescent problems. Their warmth sends a chill through me. What if the things I’m anxious about now, never resolve? Their smiles tell me that the missing puzzle pieces never show up when you need them, these problems merely transform to fit the time and circumstance. Clouds, like those that cling to Slea Head, will always linger, it’s a matter of finding peace in the introspection they offer. “Sure ye’ve got yer whole life ahead of ye, please God.” Gratitude doesn’t care if you show up or not. Gratitude is fleeting, like the clouds. I smile, as though I deserve their affection. Something I was never good at receiving. 

The way the Irish recount thirty years is in similar scale to how I recall last weekend. So little time has passed, and yet their entire life lays like ancient paths forged on the Cliffs of Moher.

On the crooked village roads they replay recent deaths in the village with:

‘…aw fer thuh luhv uh Gawd..’s

And ‘ …der poor mudder..’s

Here, like the fog off the cold, white Atlantic, death looms.

It seems every visit is framed by multiple deaths of mutual friends, neighbors and extended family.

One can’t help but wonder when will the shadow move closer, perhaps that anticipation is what makes the Irish laugh so fully. Perhaps it’s the reason time moves less oppressively in this corner of the world. And, too, how they accept the inevitable with such grace. Any tear shed is quick, as if one’s eye merely watered, no choke in their voice, only moments of silence and warm connection.

For fourteen consecutive days of our trip, the church bells have rung their death knell. Large, black gatherings form in the street. Wet eyes and big smiles. Belly laughs and extended embraces.

These tragedies seem to occur so often, there’s a rehearsed desensitization. For instance, I heard a story today about an old farmer who shared a room with my grandfather in Dingle Hospital. An early 19th century building so worn, it seemed to be aging itself. The farmer would wake every morning and ask “am I dead yet?” Not only anticipating but nearly inviting the holy day to dawn.

The Irish catholicism manifests in Dingle’s selfless and unassuming disposition. Their sheer lack of vanity would make headlines in the U.S.. Smiles, off white and crooked. Faces, elegantly naked and proud. Joints, calcified with arthritic swelling. Clothes, sensible  above all else, and if tomorrow’s weather is the same as today’s, why change outfits at all?

The collective lack of self involvement is what comprises their world-renown charm. Their quiet welcome of age translates with no fear of the unavoidable. Their community is built on their commonalities. There isn’t a trace of anxiety towards Sir Reeper. No one running to the plastic surgeon to hide from time, let alone their primary physicians, they simply “couldn’t be bothered. And who’d milk de cows?”

Instead, they recount their thirty-odd years with immense pride. Over cups of tea with neighbors and old friends. As they see in me what they remember in themselves-

Youth.

Freedom.

Time.

Through their gratitude, I’ve concluded that time is better spent making mistakes, because then at least we’ll have something to laugh about later.