For 100 years, sailors have been racing to Hawaii from Southern California.  Okay, probably ages longer, competitive spirit being what it is, but the 2019 Transpac marks the 50th anniversary of the 2250-mile sailboat race.  

Little did I know, this big race is one of Jeff's lifetime sailing ambitions.

Enter the wizard: Merlin is a 68-foot-long sled designed by Bill Lee. The boat was built in 1977, and promptly set a record** in that year's Transpac that stood for 20 years.  Tampa-based attorney Chip Merlin*** purchased the sweet sloop a year and a half ago and set about updating her and now, just like that! It's showtime.

There's been more than a year's worth of preparation, rebuilding, outfitting, refitting, and organizing logistics. I haven't documented it because –– in a parallel to nie moje malpy, nie moj cyrk –– the fiberglass dust, punch lists, invoices, and files of safety documentation have been a few states away from me.

The intrepid crew includes Chip Merlin, Brian Malone, Kat Malone, Mackenzie Cook, Keahi Ho, Mike Pentecost, James Clappier, Chris Watts, Adrienne Cahalan, variously from Florida, California, Hawaii, and Sydney, Australia.

The Transpac website will be tracking the fleet –– keep in mind, instant-gratification junkies, that the updates appear with a 4-hour lead-time. That is, the updates are NOT in real-time.

Boats are expected to finish in a week or two, depending on weather and what-not. Here's the link to the Transpac race site.

Here's the link to Merlin Racing (find a treasure-trove of videos on YouTube too!). And here's the Merlin Facebook page. 

Crossing fingers and knocking wood, next stop Honolulu. Laki maika'i, all y'all.


*Identify the literary reference, win a prize.
**8 days, 11 hours.
***If your family name is Merlin, I think you are more or less obliged live up to it.

So, okay, maybe the big raptors like Bald Eagles and Snowy Owls are more impressive, and coming eyeball-to-eyeball with a Sandhill Crane is even more alarming, but Great Blue Herons are darned impressive birds. 

In my Shell Island Shuttle days, when we'd rescue birds  –– mostly untangling them from fishing line, but sometimes popping them into a pet carrier and ferrying them over to the local rescue outfit –– the Great Blues were among the most challenging to help.  

They are fierce, even as they are fragile. Those long legs ––!  They aim those impressively big beaks RIGHT for your eye, and they have quite a reach.  

They do not give up after they've been caught.

Magnificent, cranky creatures.

In a book whose heavy style I enjoyed a lot –– though, sadly, after my godfather Dan complained about the many factual errors he'd found, and I did my research, I too, became less enchanted by the novel –– here's a lovely passage including a blue heron: 
​
In his mind, Inman likened the swirling paths of vulture flight to the coffee grounds seeking pattern in his cup. Anyone could be oracle for the random ways thing fall against each other. It was simple enough to tell fortunes if a man dedicated himself to the idea that the future will inevitably be worse than the past and that time is a path leading nowhere but a place of deep and persistent threat. The way Inman saw it, if a thing like Fredericksburg was to be used as a marker of current position, then many years hence, at the rate we’re going, we’ll be eating one another raw.
            And, too, Inman guessed Swimmer’s spells were right in saying a man’s spirit could be torn apart and cease and yet his body keep on living. They could take death blows independently. He was himself a case in point, and perhaps not a rare one, for his spirit, it seemed, had been about burned out of him but he was yet walking. Feeling empty, however, as the core of big black-gum tree. Feeling strange as well, for his recent experience had led him to fear that the mere existence of the Henry repeating rifle or the éprouvette mortar made all talk of spirit immediately antique. His spirit, he feared, had been blasted away so that he had become lonesome and estranged from all around him as a sad old heron standing pointless watch in the mudflats of a pond lacking frogs. It seemed a poor swap to find that that the only way to keep from fearing death was to act numb and set apart as if dead already, with nothing much left of yourself but a hut of bones.

Cold Mountain by Charles Frazier, 1997. Page 16.

PS: I actually prefer Cold Mountain the movie. Exception proves the rule.

​

All happy families are happy in the same way, Tolstoy wrote, but every unhappy one is unique in its misery. Poke around in the high canopy of the family tree, and you see that unique as unhappiness may be –– still, patterns emerge. Familiar patterns even.

Abandonments and early deaths, illness and poverty, and of course, like smoke seeping from under the rafters, scandal.

Joseph and his new bride Rosella exchanged vows in Pennsylvania and then moved to the teeming metropolis of Kansas City.

It's easy to imagine Rosella as the youthful replacement wife, possibly a hussy, and that Joseph was more than a little bit of a creeper, but that's simply too easy a story. No matter how often it happens in real life.

Like they say, when the answer is too obvious, look closer: as I compare birthdates, I see that Cornelia is 12 years Joe's senior. When they first married, he was 22 to her 34. She was a school teacher. Oh lawsie, I wonder if she was his school teacher.

​Turning the tables on who's the creeper, maybe.

The imagination boggles. To divorce in 1880, and then –– a period of seeming quiescence, where Cornelia and Joseph both lived in the same small Nebraska town? Then for him to marry Rosella? 

What truth could match these data points?  Did somebody have a breakdown?  Perhaps Rosella was the original object. Perhaps Joseph just liked the family. Perhaps Cornelia organized the hand-off. Perhaps there was a lengthy epistolary courtship with letters coming in the mail. Perhaps one or the other was merely a marriage of convenience.   

I can see the new couple moving away from Nebraska. After all, Cornelia lived there, as did another older Newton sister, Catherine (and I wonder what she thought about all this), but why Kansas City? 
​​
And, finally, how would a researcher ever know?  Rosella and Joseph had no children (Or did they? Joseph's youngest is named Rose Ellen, born in 1879. Though a dozen documents say otherwise, one outlying reference lists her as the daughter of Rosella, and that she was born in Pennsylvania, not Nebraska). But again, if the children were Cornelia's, the surviving generations necessarily favor Cornelia's side of the drama.

It's possible that there was no drama.  

Except seriously, what happened? ​​

Imagination is like the common cold virus: it's always there, lurking, waiting for the chance to nip in and take the wheel. There's no sure cure, though you can treat the symptoms. Medical advice says let it run its course. 

Today's fiction prompt: a photo I took on a fishing trip to Wyoming.

Rudolph was no fiberglass elk, bugling soundlessly on the street of Thermopolis.
He was neither the victim of a fierce electrical taping nor did he lose an ear during a wrestling match with a drunk guy.
He did not lift his rack of fiberglass antlers into the wide Wyoming sky in an effort to voice his pain.
He did not wear a saddle-pad of twinkling holiday lights. 
He did not sport a compact fluorescent bulb painted red at the distal point of his noggin.

They might have let Rudolph join in any reindeer games, but little matter.
Was he like Bartleby before him, preferring not?
Or like Robert Cratchit, beetling away for the chance of a day's liberty?
Or Balthazar, with the insight to know what lay ahead?
Or maybe, inert as can be, he is like the Yule log, waiting for the dark to yield to light and then celebrate another year beginning.

​Hope your season is bright. 

Life is not the only thing out there imitating art.

​Evidently Nature's in on it too. 

According to Edgar Degas, "Art is not what you see, but what you make others see."  And for that I might as well go ahead and apologize.  

I was thinking about the Alexander Pope quote, which was –– I thought –– Art is but Nature to advantage dressed.  Or, in this case, not dressed. I meant to rift extensively on part about being undressed. Low humor, sure, and possibly dragging in the topic of saggy pants.

But when I checked the quotation (From his Essay on Criticism, which is in strictest truth a poem), Pope actually wrote:
"True wit is Nature to Advantage drest,/What oft was Thought, but ne'er so well Exprest,/Something, whose Truth convince'd at Sight we find,/That gives us back the Image of our Mind."

Oh Alexander Pope, you navel-gazing noodler. 

We started the Devil's Garden trail at 6:30 perhaps –– the sun was up, but the shadows were long when we left the paved trail at Landscape Arch. 
​
​Bonus travel tip:  Even in the busiest and most popular national parks, we found that by hiking a few hundred yards down nearly any trail*, we could leave most of the seething mass of vacationing humanity behind.

Sad truth: few tourists do more than meander to overlook, snap a photo, and then roar off in an air-conditioned car.

Edward Abbey was right: "What can I tell them? Sealed in their metallic shells like molluscs on wheels, how can I pry the people free? The auto as tin can, the park ranger as opener."
​Desert Solitaire p 290.

*Exception to the trail rule? The Narrows at Zion. It was kind of the only game in town after the landslides of 2018  (aside from scaling bare rock faces). That hike –– a wet, awe-inspiring meander up the slot canyon –– did fill up considerably come lunchtime. Early morning or off-season recommended.

So, back to the dusty devilly trail.  

Devil's Garden trail is nearly 8 miles there-and-back again. A good scramble up red sandstone rocks, along ledges, through dusty piñon pine groves.  We ran into families of deer –– the females showing ribs and the fawns leggy and curious –– a couple of parties of human hikers, lizards of various stripe, intriguing tracks in the sand, and the odd path marker.

​Some markers odder than others. To a certain sort of thinker, this is an ambiguous sign:

I read it first as a series of nouns: road + leaf + laundry.

Clearly wrong.

A series of verbs: follows + goes + cleans.

Er, nope. Because, you know, why? But interesting. Return to this thought later, I told myself, tucking the camera back into my pocket.

I stopped for a sip of water a hundred or two hundreds yards later. The words transposed themselves: Trail Wash Leaves.

That seemed nearly probable: maybe the trail had a new name. The National Park people seem to engineer their signage so that visitors can have a more genuine park experience, complete with navigational anxiety and an understanding that maps are imperfect representations of the truth.

Maybe. But probably not.

The pieces fitted together a half mile or more later: Alert, hikers: your trail, which has followed the path of this dried stream-bed –– known locally as a wash or a gulch –– is about to diverge from the stream-bed.

Oh. That. 

Huh.

For the rest of the walk, series of words started presenting themselves. Triangular structures, each side a simple word that goes both ways: One can trail one's hand on the trail. One can leave the leaves behind, one can wash the wash.

Stone Ride Ice.
Rein Plant Saddle
Mount Slide Hollow.
Chant Riddle Stop.

Then we arrived back at the start of the trail.

And in the blink of an eye, we were addressing ourselves to pizza and cold beverages and a bookstore on the funky little main drag of Moab.

A tall glass of iced lemonade beaded with condensation.

A pillow-lined nook on the porch overlooking open water or a garden.

The warm breeze carrying the scent of seaweed, or pine, or fresh-cut grass clippings. 

And some books.

I had the enviable job for a while of reviewing new books for the erstwhile Tampa Tribune. I'd go into my editor's office with a big empty LL Bean tote and then stagger out like a bookwormy donkey. I'd review books that I liked and ditch the ones I didn't.  
 
As a job, it didn't pay very well, but I did get to keep the books.
 
These days, I don't gobble up piles of reading material. Even with the bounty of the public library easily within reach, good books seem thin on the ground.  When I do find one, I wish I were still writing reviews. Word of mouth only goes so far.
 
And hence, a couple of summer reading recommendations.

If you are a fan of Stephen King's apocalyptic masterpiece The Stand, let me humbly suggest Joe Hill's The Fireman.

The parallels –– each a brick-sized opus with a New England setting, a fatal plague devastating the country, a pregnant heroine –– are entertaining but not distracting. Both books take place in the near future and tackle deceptively complicated moral dilemmas –– as is the wont in apocalyptic fiction.

The disruption of society in Stephen King's The Stand sets the stage for a showdown with capital-letter Evil in the form of Randall Flagg. In The Fireman, the enemy is less showy (not a Big Bad, as Buffy would say), which gives Hill's suspense an edge: what does victory look like when the evil is not separate?
 
Hill's take on the calamity is not a super-flu but a fungal plague that sets its victims on fire. His descriptions are vivid, his pacing brisk (hold on!), and the characters reveal themselves with a nice, writerly economy.  

The Fireman requires a chunk of time; and if you haven't budgeted some hours on the porch, you may have to forego sleep to finish the book. 

But isn't that what you're looking for in a summer read?

It's not fiction at all but the memoir of the author's friendship with Lucy Grealy. Grealy, of course, wrote the Autobiography of a Face about her lifelong struggle with facial cancer, facial reconstructive surgery, and a longing to be more than her own appearance. Patchett is the award-winning novelist who wrote Bel Canto, The Year of Wonders, and Commonwealth.

One of my favorite nephews was helping me shuffle boxes of stuff from one place to the other recently. With that mix of patience and impatience native to the under-20 crowd, he did not express the slightest flicker of curiosity.

Still, his doubtful expression as he slid the carton (Marked "A-16") into the back of the Honda made me want to explain a little.

"I haven't unpacked that box since before your Uncle Jeff and I got married," I ventured. Which would make it the equivalent to the Jazz Age to him. 
"Toss it!" he said, then, reluctantly, "Why?"
"Because there was space?" I said. "Because I never got around to it?"
"Huh," he said. "Welp, that's the last of the pile. Anything else?"

There wasn't, except my continuing impulse to explain.  And of course my own curiosity.

​I hadn't unpacked the box -- or possibly even peeked into it –– for a very long time.

​Under a layer of yellowed St. Petersburg Times packing paper, an old acquaintance gazed back at me.

So it's not a book that is going to have a revival, like Beryl Markham's West with the Night*. It's not a book I'm going to read again, ever. But I don't want to forget it. And so it has waited in a cardboard box lo these many years.

Wide Wide World essentially fired up the country's book publishing industry. The novel was huge. It outsold David Copperfield in England.

But Susan Warner did NOT make a fortune from it.  She and her sister started writing after their father lost all the family money in the panic of 1837. The girls were poor and writing was their best option to keep body and soul together. They managed, but they did not enjoy the life of bestselling authors. Susan went on to publish a book a year until her death at age 66. The Warner sisters have been mostly forgotten.

Mostly: they did manage to pass along their family property, Constitution Island, to the US Military Academy at West Point.  The island is part of the campus, although their house (Warner House, natch) is presently in a state of disrepair.  

​Sic transit gloria mundi. 

Resources:

*A quick essay about West with the Night.

What Katy Read: Feminst re-readings of "classic" stories for girls, by Shirley Foster and Judy Simons, University of Iowa Press, 1995.

Child brides in present-day US

Goodreads page for Wide Wide World

https://www.enotes.com/topics/wide-wide-world-susan-warner

"Loving The Wide Wide World: a novel, its fans, and their fictions" essay by Jennifer L. Brady, Harvard.

Margaret Atwood on "Women's Novels."

http://www.inspirationalarchive.com/1730/the-history-of-jesus-loves-me-this-i-know-song/

Visible Women: New Essays on American Activism, edited by Nancy A. Hewitt, Susanne Lebsock. University of Illinois Press, 1993.

Nineteenth-Century American Women's Novels: Interpretative Strategies by Susan K. Harris, Cambridge University Press, 1990

"Panics, Gifts, and Faith in Susan Warner's Wide Wide World" in From Gift to Commodity: Capitalism and Sacrifice in Nineteenth-century American Fiction, by Hildegard Hoeller, University of New Hampshire Press, 2012.

Susan Warner and "The Wide Wide World" by Mabel F. Sltstetter, The Elementary English Review, Vol 14, No 5 (MAY 1937), pp115-167.

When asked, many of the manly American men writers of their day used to claim that writing is easy.  You just open a vein.

(Versions of the quote come from sportswriter Red Smith, sportswriter and novelist Paul Gallico, wordy novelist Thomas Wolfe, and his High-T Manliness Himself –– Ernest Hemingway. Thanks Garson O'Toole for this blog all about it.)

Um, okay, boys. Not for nothing, but bleeding is a lot easier.  

Which opens the door to the real the question: why write at all.  Why not just not write?  Get the other things on my list done. Retire or whatnot. 

I would, actually, if I could.

So far I have failed to give it up.  I've alluded to The Rime of the Ancient Mariner a time or two; it's  that poem with the old guy pestering people at a wedding, insisting that he tell them HIS story –– that's a pretty good illustration of what goes on over here. 

And yet, despite characters shouting and raising their hands frantically in the back of my skull-duggery room and a good playlist cued up, I am dipping into Reynold Price's wonderful Learning a Trade: A Craftsman's Notebooks 1955-1997. It's an annotated journal that gives me hope: in it, Price writes about his process. He dithers and wonders about his characters' motivations and choices. He revisits and re-considers his own moral position based on the things his characters do –– or what they must do, whether he wants them to do or not.

Price was a young man at start of these notebooks studying and writing in Oxford and then back in North Carolina, before he wrote A Long and Happy Life, his first novel. By the end, he's had a has successful career, including Kate Vaiden, and a dozen other novels, as well as screenplays and short stories, books with a biblical bent, and volumes of memoir. 

Here's a sample from page 77 of Learning a Trade. 

20 January 1957 LONDON
But look, isn't this story in danger of ending with a kind of cheat, that is with no resolution? What is the end going to imply?: simply that she leaves home for Norfolk or wherever? Maybe Wesley had better make some kind of gesture, however small. 

And page 129:
27 August 1960, DURHAM 
Rosacoke has told Wesley her pregnancy. His only reaction has been silence –– then question: has she known anyone else? Then simply telling her to come on, they must practice. Her own feeling through the revelation is chiefly numbness, tiredness –– though Wesley notices on her face the same look that was there on the November night (which was described then as hate). 


I haven't read the story in question, and may never do so. Can't say I am want to know about Wesley and Rosacoke.  What's interesting –– and heartening –– is that Price clearly spent a good portion of his waking life playing with his paper dolls, too, imagining an inner life for these imaginary friends, worrying about their actions and what it all means.  

Misery is not the only thing that loves company. 

Hands down:

Meg Rosoff"s The Bride's Farewell.

Maybe the best book of my reading year.

So many stories start off with a interesting set-up, but then turn in to the same-old same-old:

An under-appreciated gal finds love and a glamorous makeover.
The unreliable narrator turns out to be hiding a truth worse than you think at first.
Square-jawed hero will decode the ages-old secret before the collapse of civilization.
Freakishly clever serial killer will do awful things and then get caught, except he will escape in the last paragraph.

Don't get me wrong, these books can be delightful.

​But we like surprises, we people do. Which might be why I have enjoyed this book so much.

The Bride's Farewell starts with a girl running away from home the morning she's to wed. It's 1850-something, and Pell takes some food, the coins meant as her dowry, her beloved horse and, then, as she starts off, finds that her silent little brother, Bean, refuses to be left behind.

Like many another character before her, Pell is different from her dirt-poor family, from other girls, from what society expects.

It's not just her unwillingness to settle down and marry the local boy she's known her whole life. It's not just her fear of ending up like her mother, exhausted and wrung-out from endless childbearing and grinding disappointment.

No, Pell is good with horses –– really good –– and she hopes to use this skill to make her own way through the world. But she does not quite reckon on the difficulties she'll face with people.

The Bride's Farewell is full of surprises and twists that make perfect sense in hindsight (like all the best fiction). Pell's insight into the thoughts of animals (matched by her lack of insight into the thoughts of humans) is utterly convincing and thought-provoking.  

At 214 pages, it's easy to down in a single sitting, but Rosoff's stylistic strengths (the writing is vivid and restrained, with only the best details filled in) bear re-reading. Now go to your local and read it.


"Chapter 2
The open road. What a trio of words. What a vision of blue sky and untouched hills and narrow trails heading God knew where and being free––free and hungry, free and cold, free and wet, free and lost. Who could mourn such conditions, faced with the alternative?"