There are many things to say about 2018. It was weird and piecemeal and full of ragtag moments like most years are; nothing makes much sense while we’re living it. But as I’ve spent some time looking back, shining lights begin to emerge. 2018 had its fair share of dark moments but it’s the illuminating ones that shed a soft, pleasant glow and give me some hope for next year. Two stars that stand out boldly in my 2018 are a writer and a place– Eileen Chang and New Orleans. Both were entirely new to me until I read and visited them this year and both gave back to me pieces of myself, pieces that wandered lonely and at odds until I met one in text and the other one in person.
I’ll start with 張愛玲 — Eileen Chang. Born in Shanghai in 1920, Chang rose to prominence in in China during the 1940’s. She wrote primarily about life in Shanghai and Japanese-occupied Hong Kong in her essays, short stories, novels, and screenplays. She was an extremely popular writer and it’s not hard to see why– her prose carries the reader away. It is beautiful within itself; it creates romance and sensuality and somehow this sharpens the cruelty of her characters.
I began reading her writing this summer, starting with Love in a Fallen City (trans. Karen Kingsbury), a book of her collected short stories. The first story is entitled “Aloeswood Incense” and in it, we meet Ge Weilong, a girl who wishes to stay in Hong Kong and keep up on her studies. Her family is moving to Shanghai and so she appeals to her estranged aunt Madame Liang for help. Liang considers.
One of Madame Liang’s delicate hands held the banana-leaf fan by the stem. As she twirled it around, thin rays of light shone through the slits in the leaf, spinning across her face.
“Miss,’ she said, ‘it seems you’ve thought of everything except my own position in this matter. Even if I wanted to help you, I couldn’t. If your father finds out, he’ll say I’ve seduced a girl from a good family and stolen her away. What am I to your family? A willful degenerate who ruined the family honor—refused the man chosen by my brothers, went to Liang as his concubine instead, lost face for a family that already on the way down. Bah! These declining old families, they’re like out-house bricks, pure petrified stink. You were born too late—you missed all the fuss, and didn’t get to hear what your father said to me then!’‘
“Father’s got that stuffy old bookish way of thinking, and he won’t change for anyone. He doesn’t know how to moderate his speech—no wonder Aunt is angry. But it’s been so many years, and you’re a generous, fair-minded person—would you bear this grudge against the younger generation?”
“Yes, I would! I like to chew on this rotten little memory! I won’t forget what he said to me then!’ She waved the fan, and the yellow rays of sunlight filtered through it onto her face, like tiger whiskers quivering around her mouth.
Her fiction is full of rich, revealing dialogue and wonderful touches of details like the above “tiger whiskers quivering around her mouth.” Such writing translates well to screen: she wrote ten scripts and eight were made into movies.
With her splendid, icy prose that cuts like a hot, tempered blade (and since this is a translation, I wonder what reading her in the original Chinese must be like), Chang is an author that I’ve been searching for a very long time. There are times in her writing that her magnificent intelligence vaults above and beyond itself and enters into that other strange, wonderful world that is genius. The excerpt below is from her short story “Jasmine Tea” which centers on a lonely and abused young man, Nie Chuanqing.
He left his hands where they were, pinched by the lid of the trunk. His head drooped, as if he’d broken his neck. His gown of lined blue silk had a stiff standing collar, and the strong, hot sun shone down inside it, warming the back of his neck. He had a strange feeling, though, that the sky would soon be dark…that already it was dark. As he waited all alone by the window, his heart darkened along with the sky. An unspeakable, dusky anguish… Just as in a dream, that person waiting by the window was at first himself, and then in an instant he could see, very clearly, that it was his mother. Her long bangs swept down in front of her bowed head, and the pointed lower half of her face was a vague white shadow. Her eyes and eyebrows, so clouded and dim, were like black shadows in moonlight. But he knew for a certainty that it was his dead mother, Feng Biluo.
He hadn’t had a mother since he was four years old, but he recognized her from her photograph. There was only one photo that showed her before her marriage, and in it she wore an old-style satin jacket embroidered with the faint shapes of tiny bats. The figure in the window was growing clearer now, and he could see the bats on the autumn-colored silk of her jacket. She was waiting for someone, waiting for news. She knew that the news wouldn’t come. In her heart the sky was slowly darkening—Chuanqing flinched in pain. He couldn’t tell whether it was really his mother, or himself.
But the nameless anguish pressing down on him? He knew now that was love, a hopeless love some twenty years in the past. A knife will rust after twenty years, but it’s still a knife. The knife in his mother’s heart now twisted in his.
With an enormous effort, Chuanqing lifted his head. The entire illusion rapidly melted away. He had felt, for a moment, like an old-time portrait photographer, his head thrust into a tunnel of black cloth: there in the lens he’d caught a glimpse of his mother. He pulled his hands out from under the lid of the trunk; pressing them to his lips, he sucked fearfully at the red marks.
Chuanqing knew very little about his mother, but he did know that she had never loved his father. And so his father hated her. After she had died, he turned his fury against her child; otherwise, even with the stepmother egging him on, Chuanqing’s father wouldn’t have become so vicious towards him.
After finishing Love in a Fallen City, I went to Written on Water, her book of essays. There’s a warmth in her essays, a friendly voice compared to those in her short stories and I was delighted to read her takes on apartment living in the city, her views on fashion, culture, film, and art. She takes essay writing to a new level and I’m still working to understand how she used the essay form to her own ends and gave it such satisfying endings. Below is an excerpt from “Note on Apartment Life.”
I like to listen to city sounds. People more poetic than I listen from their pillows to the sound of rustling pines or the roar of ocean waves, while I can’t fall asleep until I hear the sound of streetcars. On the hills in Hong Kong, it was only in the winter when the north wind blew all night long through the evergreens that I was reminded of the charming cadence of a streetcar. People who have lived their entire lives amid the bustle of the city do not realize what exactly they cannot do without until they have left. The thoughts of city people unfold across a striped curtain. The pale white stripes are streetcars in motion, moving neatly in parallel, their streams of sound flowing continuously into subconscious strata.
There is something exceedingly special about Eileen Chang. To read her stories is to be drawn into a special place that is both beautiful, terrifying, and completely intoxicating. I cannot recommend her highly enough.
Cover Image: a Polaroid taken of a screenshot with downloaded image of Eileen Chang’s photograph– a sort of copy of a copy that mirrors the reading of a translated work.
I love being alone in the park along the river. As soon as I step out of my car, I tell that I’m alone by the unusual silence stretching out in all directions. It’s a special sort of hush because instead of human voices dominating the space, it’s the gentle call of birds, animals, wind, and water that fill the air. These are much more gentle and quiet for they represent a continuation of a certain life on this planet, a life much older than humans.
I glow inwardly as I walk the park alone and for the first time in days, I smile to myself. Some Buddha statues wear slight smiles, the internal smile to the eternal world and as the memory of the statues comes back to me, the pleasure of connection causes me to relax even more.
When alone outdoors, I can relate to myself most fully and watch and listen with more mindfulness. I hear the birds first—the chickadees scolding one another and sounding like sweet, soft toy horns and then the cardinals, chirruping and checking up on one another. The sparrows hop and cheep in barren branches, never to be overlooked and always numerous.
Then comes the sound of water, lapping along the riverbank, rolling itself under the bridge.
The wind follows, shifting a blanket of leaves across my path and swaying tree branches overhead. The evergreens branches issue a soft shirrrrr-ing sound as the wind passes through. They retain a green elegance while everything else is brown, stripped down bare.
After I have heard the squirrels cracking walnuts and rustling through the dried weeds, and after I have seen the wind ruffling the river’s top, then finally, I can hear myself. That sound is very low and deep and it takes me a little while to hear it, after the delight of hearing everything else. But it is there and it inevitably opens up what I need to know that day whether it be comfort, direction, an answer, a question, or all of it. It has taken my whole life to hear myself and I have paid a great price for it but I would do it again in a heartbeat. For when a woman has herself, the nightmares slip away back into the inky, black darkness and living life is hers.
And so the wind moves through the evergreens, it plays along the water, and dives between the feathers of the birds. It touches my face and we walk together, two entities atop this impossible blue planet.
Japanese anemone flowers open blush pink petals in the park. Their tall, delicate stems hold up the tender flowers, and in the centers glow tiny pistil-laden suns. Furry carpenter bees buzz in a frenzy, adoring the tiny suns. Like all true worshipers, they circle round and round the yellow centers, smearing themselves in joy and pollen.
I also circle a center, but the object of my adoration is the park itself. As the path guides me around and around, my body, full of the usual tensions and distresses, takes the cue, finds the beat and the measure and walks to it.
The English Romantic Poets of the early 19th century were great walkers and believed that walking was essential to writing to poetry. With the body busy, the mind can walk freely, investing in its visions and tunneling down into what were previously subterranean thoughts.
This small park is my open field, my verdure, my ramble through hill and dale. My feet move on, sometimes slowing to a near pause, other times hurrying, suddenly propelled by a new and vivid notion.
About the fifth time around, a sort of mesmerism occurs and I fall under the trance of the day. The circle becomes a mantra uttered by my feet—knees, hips, shoulders, and arms follow along and we head down the path. I must walk, I must keep walking, I must continue to walk and the resolution becomes a reassurance as a cool breeze fills my lungs; I am alive and refreshed.
I pass under the oaks and dodge their falling acorns. Sometimes I entertain the notion that squirrels are hurling them, but when I catch sight of their small triangular faces they look as startled as me. It is the oaks themselves that are throwing the acorns down. I momentarily consider bringing an umbrella, opening it when I walk under the oaks, but this an old consideration that I’ve been contemplating for years of autumns and I’ve never acted on it. Instead, I dodge and the squirrels stare hard.
Finally I have to go but the revolutions and bees in the park stay with me even after I leave, continuing with their wheeling. They pass through the days and nights, rapturous and serene, monotonous some days and a miracle on others, and on most days both. They exist in the circle that is sometimes opened, sometimes closed. Within the circle, everything changes and nothing changes each time we pass through.
There are small moments that must be filled. They open and expand while waiting in doctors’ and dentists’ offices; in long, slow moving grocery check-out lines; or in those few, empty moments before leaving the house or office for another destination. Staring into space is my favorite pastime and generally fills up all the minutes given (and much more), but there are other waiting times when my spirit needs a gentle pick-me-up without doing much conscious work.
That’s when I open the Photo Album on my phone and start scrolling. I discovered this delight quite by accident while lounging in my therapist’s waiting room one afternoon. I was feeling flattened by living with PTSD and other health issues, and I wanted muster up a little hope before I went into my session. So in a despondent, weary way, I opened up the photo album app. To my surprise, I was greeted by pictures of flowers, landscapes and book excerpts that I had busily taken days ago and had already forgotten. I scrolled back farther and it was much the same, mixed with pictures of friends, family, pets, and friendly dogs I had met on my walks.
I discovered my photo diary which had been my pocket all this time. “I never travel without my diary,” Oscar Wilde wrote. “One should always have something sensational to read in the train.” It still holds true; nothing is so interesting as what we took notice of days ago, weeks and months ago, be it written in a journal or snapped with a viewfinder.
As days spin into weeks, months, and years, it is hard to catch hold of any kind of underlining rhythm or purpose. A photo diary offers a kind of consolation. There’s nothing sublime there, it simply marks changing seasons, interests, travels, and friendship. But perhaps on the difficult days where everything is too much including our own thoughts, a photo diary is a moment of gentle release. The lightness of ephemerality eases the heavy load of living.
“But life itself is short, and so you are terribly agitated by everything that is eternal.”
–Eileen Chang, On Music
A favorite film of mine, The Taste of Tea, centers on an eccentric family living in the Japanese countryside. They spend a great deal of time sitting outside, sipping tea and staring into space. They sit as a family, alone, or in a small group and no one talks. They just stare out into the deep green that is the summer. And then they get up and go on walks or go off to work.
The first time I watched The Taste of Tea, I was shaken and delighted that the film gave space and respect to one of my favorite pastimes: sipping tea and staring into space.
When spring grew warm enough, I was inspired by the film to sit outside and stare into my backyard in the early morning. The Taste of Tea had given me a sort of permission to leave stress behind and take this time for one of my deepest desires: to enjoy and contemplate nature while sipping tea.
I named my new practice “Sipping Tea and Watching the Grass Grow.” I felt ridiculous whenever I mentioned it to anyone but that hardly mattered. I was doing what I loved so much, watching plants grow, watching the birds and small animals moving through it all, and sky glowing blue and serene over us all.
Grass grows slowly, imperceptibly but after each rain, it leaps up by inches. The violets came in May and they lasted for weeks. After that the dandelions bloomed and I lost a little bit of my heart to them. The wind picked up their seeds and sent the white fluffs floating into the air in sweet, downy clouds. After that, small wild strawberries, glowing like fierce red gems, appeared in the lawn. Now at the end of June, a luxurious, emerald green covers nearly everything. It reaches up from the ground, covering fences and stones or it high overhead, green leaves moving in tall, imperceptible breezes.
The heat has settled in so now even in the mornings, I pour sweat while drinking my tea. On some mornings the birds are noisy and busy and on other days they are not. Sometimes a great big bumblebee comes tumbling along, droning in that low, hazy buzz as it investigates every surface and flower. And then sometimes it does not come. Some days the clouds are like fluffs of cotton, other days there isn’t a cloud in sight. Each day brings a new configuration, nature is never still. I watch it all and at other times, I close my eyes and listen to my breathing. I’m not alone, never alone, a part of a whole.
I walk past a window on my way to get a glass of water and note the snow falling outside. As I fill my glass at the sink, my thoughts have already turned back to my work on the computer. I’m wrestling with the household budget, when I’ll fit some reading in, how to get on with my writing work, when I’ll exercise, when I’ll catch up with email correspondence and the list goes on and on.
Anytime I stop my work and look up, past the chatter in my mind, the snow catches me off guard as if it’s the first time I’m seeing it. I debate whether I can put off the grocery store to avoid driving in the snow.
This is the world of the everyday. It’s full of a thousand petty cares, some essential to living, others not as much but all in a lump group, tugging us along.
But there are times my mind needs something more refreshing, and it’s time to take a break. And that’s where music comes in—as powerful as Circe creating a circle of magic with her staff. I pick out music without words (or words I don’t understand). Today is Rimsky-Korsakov, tomorrow might be the film Phantom Thread’s soundtrack, or a piece of jazz played by Lucky Thompson.
As Rimsky-Korsakov’s The Snow Maiden starts, the circle opens. I come out of the everyday world and enter somewhere extraordinary, where beauty converges with life and cares and worries exit for a time. And all it takes is a little music, a little snow, and entering the moment that is now.
I watch the snow falling, noting the wind direction as the snow blows southeast and then drops and then exhales again southwards. I note the density of the snow, how it’s light and sparkling and then downy, heavy, and wet. My thoughts finally still and I turn off the music. A heavy relief passes over my body and mind and I am still, watching the beauty of the world.
This winter has frozen and thawed. And then frozen and thawed once again. With the most recent exhale of cold, fog rises up from the melting ground and wraps my town in a trance.
It softens the ragged tops of trees and transforms the dead yellowed grass into a carpet spreading out into unseen lands. With foggy foreshortened vision, the world becomes finite and in the smallness, my wonder grows. Trees become gloomy gods, bushes hunch over like mysterious beings with secrets hidden in twiggy souls. The sky blurs out and the land rises up to meet it and everything is reformed or brought down to its most basic form. It is easy to become lost and confused.
I walk the perimeter of my neighborhood park. We become redone together. The playground becomes enchanted, strangely unknowable as the slides and swings soften and distort.
The ballpark’s high chain link fence however, becomes more sure. The metal darkens and braces and holds against the diffused white light. I stare at it through my camera lens, delighted by its ferocity while everything else around it wavers and melts.
A train passes over the hill and I can see nothing, it has been whitened out, but I can hear the busy clack of the iron wheels running on steel rails.
Geese fly overhead for a minute and then vanish.
I press on and the mist parts as I walk and so we walk together, softened, softening with the night closing in behind our steps. The night takes everything behind us, rebuilds it like it wishes and then I step into my home and close the door.
Rain falls a few hours later and the fog mounts up, gently pressing at the windows but by morning, it is all gone and only little bits of ice remain on the walkway.
There are moments in time where the past overlaps with the present. Sometimes referred to as “thinning of the veil,” they are strange, illusionary moment when one season passes into another, when the silvery full moon shines its brightest, and when firelight flickers warmly in the cold night.
Right now in the Northern Hemisphere, the darkness is overtaking the days of light. Icy winter is just beginning to finger the edges of autumn’s beauty. The first frost came a few days ago and over the weekend, I awoke early in the morning and was greeted by the sight of downy snowflakes falling weighted from a heavy sky.
As the days grow shorter, I catch glimpses of color and movement out of the corner of my eye. I can’t say what I’m seeing exactly—perhaps it is the corners of autumn on the wane, the earth shedding its summer glory before it falls still. Perhaps I’m seeing the fast flicker of days as they shorten, when sunset comes around 5PM instead of later hours.
Whatever it is, I feel the shift and though it’s a cycle I’ve witnessed my whole life, there is something unearthly about the shift, as if something strange is lurking in the off edges of the exchanging cycles. There are tiny spaces in the exchange, little windows that open up into another world and as the darkness lengthens, perhaps it is the past that grows a little clearer, a little nearer.
Earlier sunsets and later sunrises means more darkness and with the dark and external stillness arises memories and with memories, the dead rise up. The dead is our own past, old and gone versions of people and ourselves which are still living. What people have been to us, what they have done to us, what we ourselves once were, lives in the murky shadows of memory and as the seasons change, one foot treading precariously before another, time slides a little and anything is possible.
There are many stories that deal with these strange moments in-between worlds and time.
One of my favorites is Still She Wished for Company by Margaret Irwin, first published in 1924. It deals with the lives with two women, Jan in the 20th century and Juliana in the 18th. The two women never fully see each other, despite their ability to see the past and future, but it is Juliana’s brother, Lucian, that travels through time between them. Jan first encounters him on a stormy afternoon on Hill Street, London. She takes shelter under the doorway of an old, preserved 18th century house and as the rain pours down, he appears near her side. The book follows and explores their strange relationships.
Another book about curious women existing in that magical land in-between words is The Brontes Went to Woolsworths by Rachel Ferguson. The three Carne sisters live in pre-war London. One is a journalist, one a young actress and the last is still under the care of a governess. They make up stories as they have done since they were very young, one particularly long lasting imagery saga about a real life judge they read regularly about in the papers. When they meet the judge’s very real wife, problems ensue and during a dark night, two of the Bronte sisters appear on their doorstep. Take a guess which two.
And of course, any list about the stories that deal with past impinging on the present would be incomplete with The Turn of the Screw. One of Henry James’ most popular short stories, The Turn of the Screw is narrated by a very young and sweet governess who isn’t entirely sure what she is seeing or what is going on with the two children she looks after. The three (including a housekeeper and a few servants that are rarely mentioned) live in a great empty house but after a short while there, the governess begins to see lone figures in what should be empty spaces—the top of a turret, in front of a drawing room window overlooking the lawn, by the side of a still pond. She is never able to catch and speak to them for they always disappear and slowly, she gathers that these figures are not quite human nor, is the rumor, were they that human when they were alive neither. What follows is questions of belief, what is real and what is not, and the end plays out the consequences of her decisions.
Earlier than James’ spine tingling story is The Christmas Carol, a ghost story that largely takes place at night by the master of Victorian ghost stories, Charles Dickens. His lesser known Ghost Stories are a delight. The characters in his haunted tales travel through dreams, moonlight, firelight and meet all sorts of ghosts and other sorts of beings. My favorite “The Queer Chair” occurs when man dozing at night realizes that an old, quaint chair in his room has come to life and they have a long discussion about the future near the warmth of the fireside.
Another of my favorites is “The Ghosts of a Mail.” A drunk man on his way home decides to take a comfy snooze on the top of a wall overlooking a yard of wrecked and decrepit coaches. He wakes under a full moon only to discover that the coaches are being used once more and goes on to have a wild ride with a beautiful lady trying to escape her pursuers.
Dickens favors the moments between sleeping and waking for his ghosts to appear (his most famous ghost of all Marley can’t resist making his appearance during the ungodly hours) and it is small wonder.
Some of my own most fantastic nightmares, more real than the day, occur when I’ve been dozing off or are just beginning to fall asleep. My mind is in-between places here, not fully in one state nor the other. I’ve seen ghostly sad boys standing by my bed. For decades, my bedroom walls were covered in elegant cursive every morning as I slowly awoke.
M.R. James is another writer that uses the moments in-between sleeping and waking as some of his most terrifying moments. One such story is “Oh, Whistle, and I’ll Come to You, My Lad.” A professor comes across a strange bone whistle on his walk along the English coast and inscribed on it in Latin are the words, “Who is it who is coming?” As he makes his way back from his walk, he blows the whistle a few times. Nothing happens. But that night his bedclothes rise in the form of a blind man and attempt to strangle him.
Sleeping is dangerous time, indeed. The mind lives in another realm while the body lies prone. And now as the dark and heavy hours approach, we turn on lights and stay indoors. But those strange corners still remain and in-between our waking hours, we sometimes see them.
I look across the river and catch sight of the willows, lost in their own world. They have no regard for me. They are speaking to each other in whispers so I hear nothing clearly but I see their long golden-yellow chains wavering over the water. It reflects their light.
There are presences in this world that are not human but sometimes, a human being comes across one of these presences and this is when poetry happens—when we interact with the strange divinity that moves through the world.
I caught sight of the willows and so complete were they within themselves, so beautiful to behold, that my mind stopped dead in its tracks and my heart eased. In the presence of an Other, human commotion becomes impossibly silly and pointless. The past and future converge into the present and there is only now.
I exhale the stress I’ve held this morning as I watch them. The willows, their long hair hanging over their faces, disregard me totally and completely and talk in their slow tree way, something to do with the air, water, and earth. I cannot hear much but what I do hear makes me recall there were other beings on this earth other than myself, older than myself. They exist in this time, in many times, living, dying, always reappearing. The willows hang their hair over the water as they have done for centuries, listening to the currents and moving with the breezes and eddies of the wind.
With a gratefully diminished self, I thank the universe for the ancient poetry that is the willow tree and move forward, reborn, into the bright day.
the tea smoke
and the willow
(Trans. David G. Lanoue)
The thick green groves of cup-plants (silphium perfoliatumare) stand eight feet tall and are in their late summer glory. I look up at their bright yellow ray flowers and shield my eyes, the bright flowers sway so high and run so close to the sun. When I squint, the flowers darken into forms without color like the outline of the sun beating through closed eyelids.
I take a step nearer and peer into the leaves. Tiny pools of still water collect where the thick cup leaves meet the stems. It has not rained in the last few weeks and I’m surprised there is any water here at all. For leaves that are not broken or rotted, thimblefuls of water weigh without movement, rimmed with the detritus of summer: a fly’s wing, a wad of spider web, bits of dead grass and portions of pollen.
These tiny pools are water for goldfinches, tiny birds that flash by like rays of light. It hasn’t rained for weeks and this is left, tiny pools of water full of dirty summer. I consider drinking it. With one quick gulp, I’d drink the essence of a passing summer, imbibe what August means, and taste the bitter part of the growing season. This is living but rotting part that underlines all our lives but that no one likes to see, much less taste.
I shift my weight from foot to foot. The sun beats heavily down. The yellow flowers tumble in overhead breezes and the goldfinches live nearby, finding water where they can as the dry weeks pass. My hands drop to my sides and I pass back through the grass, ready for the shade. Perhaps when it rains and all the cup plants are full, I’ll take my drink along with the many others.
Outdoor living is coming in fits and starts now that it’s June. Last week it was in the 90’s (30C) and today it is gentle and cool with thunderstorms passing by north and south, bringing coolness in the wake of their stormy skirts. The sun shines but the thunder rumbles nearby and my cats retreat farther indoors to snooze on chairs instead of near windows.
It is tempting to join them. The heat break means that deep good sleep is possible again. Even with air conditioning, I sleep poorly when it’s hot. I sleep best when it rains.
And it has been raining at night but in great torrid thunderstorms where the house shakes and the windows rattle. Sometimes I lie in bed as the thunderstorms march by and wonder at the fate of all the creatures and people living outside.
It is summer and I have no arguments with it. It’s too hard to argue with the seasons. On the beautiful days, I sip my breakfast tea outdoors and watch the birds and squirrels to start my day. There’s always a drama playing out in the backyard. My favorite is the cardinal who walks along the deck rail, casting his bright black eye here and there and then breaks into song until a robin kicks him out. When the coast is clear, he returns and does the same thing all over again. Despite my nearness, he doesn’t mind me at all and I adore his bright red plumage and courageous laughing heart. His song cheers my soul and I’ve come to recognize his particular song. It falls under the same lines as all cardinals but it has a bit of improvised trill at the end. I think he’s been hanging out with song sparrows and got Ideas.
He’s a hard individual to photograph (all flash and movement) but I’ve shared a photo of a cardinal from National Geographic so you can get the idea. He’s hard to ignore and is a permanent on the robins’ blacklist. I aspire to such a level of happy insouciance.