Categories
City Life

Flash Fiction: Why I’m Still Repaying my Student Loans

On the morning of his 18th birthday, Jonas disappeared. His mother found him hiding in the loft above the garage. They had to leave in two hours if they were going to make it on time for the ceremony and Jonas wasn’t even cleaned or dressed yet. She pleaded with her son to climb down the ladder and get himself ready.

Jonas told his mother she was nuts if she thought he was going to the ceremony. It was cruel. It was barbaric. It was something stupid from their primitive prehistory. They lived in the modern world now. And whatever meaning the ceremony had in the past, that meaning had vanished with the invention of things like cars and airplanes and the internet and Twitter.

His mother called up to him from the foot of the ladder. We’ve been through all this before. I thought we agreed: your reluctance is just a product of anticipatory anxiety. You’re afraid of the pain. And yes, there is an initial pain, but beyond that is a much deeper reward. Look to that reward.

If, on the day of his birth, he could have chosen his parents, Jonas would have asked for a mother who was anything but a clinical psychologist. She was always ruining her parental talks with psychologist buzzwords. Jonas couldn’t give a shit about anticipatory anxiety. All he knew was: the thought of taking part in the ceremony made him want to hurl.

The last time he’d been to one of these things, it was for his brother, Simon. That was almost enough to make Jonas tear off to the north country and live in the bush. He remembered how they made Simon disrobe in front of everybody, then lay his genitals on the ceremonial block of wood known in the old tongue as the ptarchuck. He remembered how they isolated Simon’s left testicle with the metal casing called the sinistrabölle then flipped the lever that sliced through the flesh. It was so sudden, Simon didn’t even know it had happened, but when they applied the boiling tar to cauterize the wound, he screamed and doubled over. Two hooded acolytes dragged him off the platform to make room for the next boy waiting for the rite of passage.

Jonas. Honey. This is a beautiful thing. It makes you a full participant in our community. But more than that, it gives you a sense of connection to your ancestors. Our young men have been doing this for as long as anyone can remember.

The boy’s father appeared in the doorway while he was complaining that he liked having two balls and didn’t see why he had to give one up for some stupid superstition.

Where the mother was soft and looked to persuasion, the father was hard and just as apt to speak with a leather belt as with his tongue. He had no patience for the boy and demanded he come down this instant.

It’s not the pain. It just makes no sense to me.

Who cares what you think? It’s about being a part of something bigger than you. I did it when I was your age, and my father before me. We’ve always done it this way and we’re none the worse for it. I’ll be damned if I let you float through life without knowing the suffering I’ve had to suffer. You think you’re better than me? Is that it? You think you deserve to have a pain-free life while I suffer to put food on your table and see to your education? Is that it?

As you might expect, Jonas relented and went to the ceremony. Backed by a massive social machinery, the force of his father’s words seemed unassailable. Privately, he promised himself he’d never end up like his father, that when his sons came of age, he’d give them his blessing to challenge the system. But we know how that goes. If you give up a nut when you’re 18, then you’ve pretty much set the pattern for your whole life.

Categories
City Life Public Art

When your eyeballs explode in the vacuum of space

My son attacked me with a baseball bat the other day. Obviously I’m fine. Even so, it’s left me on edge.

My relationship with my son changed the minute he discovered that I’ve played bit roles in action flicks. When the robbers storm the bank, I’m the first guy they shoot in the head. When the platoon takes the hill, I’m the private who steps on a live grenade. And when the aliens attack the spaceship, I’m the astronaut whose eyeballs explode after he gets sucked into space without a helmet. Each time, I’m gone in the first big scene and the movie goes on without me for another hundred minutes.

Josh thinks it’s the coolest thing to watch his old man get destroyed a hundred different ways. So the other day he invites all his school friends over because they don’t believe him when he brags that his dad is indestructible. I walk in on a roomful of nine year olds and all they want to know is if I’m made of rubber or maybe titanium wrapped in latex, like in that movie, you know—what’s it called?—Sperminator? And they giggle.

I try to explain to them how the studio applies CG effects in post production, but their eyes wander and they start to squirm. They want to watch more clips of me getting my arms blown off. I try to explain that when I have that look on my face, it’s because I’m acting, not because a bullet is actually going into my head. I go: you know how you can send photos of yourself and the messaging app puts cat ears on your head? They all nod. Well it’s like that, only instead of cat ears, it’s high res blood. I hear the creak of gears turning inside their tiny little heads, but the gears don’t turn fast enough to make the connection between cat ears and exploding eyeballs.

I tell them I’ll go make some popcorn. Josh says he’ll put on the next scene. As I’m walking to the kitchen, I hear the familiar dialogue from a motion cap scene I did for GTA. I’m a loser who gets rear ended driving a Ford Pinto. I get out before the car blows up, but the thugs come at me with a baseball bat anyways. It occurs to me then that the kids are too young to be watching this scene, what with all the gratuitous violence and swearing. I’m sure I’ll get a call from somebody’s parent.

I come back to the TV room with a bowl of popcorn and Josh comes at me with a baseball bat.

He shouts: He’s made of rubber and I’ll prove it!

It’s amazing what happens to time when the adrenaline kicks in. I’ve noticed the same thing on movie sets. It’s like the frame rate jumps to ten thousand so you can slow things down and still keep your movements smooth and seamless. In that instant, I see how Josh’s face is contorted, not with malevolence, but simply with effort. Popcorn explodes like there’s a tiny grenade planted inside the bowl and the kernels seems to hang suspended in mid-air. A roomful of nine year old jaws gape in wonder as the rubber man executes a sideways twisting move and avoids the baseball bat.

I snatch the baseball bat from Josh’s hands and order him to his room. Then I tell the kids the party is over. Call your parents and have them pick you up. Nobody whines because they’re too busy going on about how Josh’s dad really is made of rubber. Did you see how he moved? Next time I come over, I’m bringing my dad’s gun; I bet Josh’s dad can dodge bullets.

Categories
City Life

To the Museum or Bust!

Further to yesterday’s museum post, I note that museum exhibits serve as an obvious reminder about the fleeting nature of life. We who are gaze at those who were but are no more. Dinosaur fossils. Mummified remains. Roman busts.

Whenever I visit the local museum, the Royal Ontario Museum, I pay a visit to the gallery of classical busts. I like to pretend I’m schmoozing with people from the past. Afternoon drinks with old (really old) friends. Selfies to post on the ancient Roman social media site, VoltusLiber. Unfortunately, after a few drinks, their eyes start to glaze over.

Sculptors have always had difficulty with the eyes. They look blank and eerie. In fact, Roman sculptors working in marble had no trouble at all with eyes because they painted them in. They had no scruples about painting their work to make it as lifelike as possible. But in the intervening years, the elements have worn away the paint. It was the sculptors who came later—Renaissance and Neo-Classical artists—who complained about the eyes because it never occurred to them that classical artists had painted their marble. Even where they did suspect that their predecessors were more relaxed, conventions had become so entrenched that later artists couldn’t persuade their patrons to try new things. And so blank and eerie eyes gaze back at us across the centuries.

To my way of thinking, blank and eerie eyes may be more realistic than carefully painted irises and pupils. They say eyes are the window of the soul. It’s impossible to say who the first “they” is, but people have been saying this since at least the days of Cicero who, ironically, is the subject of many blank-eyed sculptures. The problem is that no matter how precisely we represent a person’s eyes, the sense of an essential personality conveyed by that representation is illusory. Maybe our belief about eyes has something to do with empathy. Humans are keyed to feel something when they look into another’s eyes.

However, personal experience (and rational thought) contradict this belief. People with visual impairments give the lie to the “window to the soul” conceit. When I gaze into a person’s injured or unseeing eyes, their eyes tell me nothing about them as a whole person. Conversely, the fact that they cannot gaze into my eyes in no way hinders them from perceiving me as a whole person. Whatever mysterious alchemy constitutes the self does not depend on eyes. Similarly, the belief that we can learn something about ancient cultures by gazing into representations of ancient eyes is silly. In fact, ancient sculptors may have done us a service by leaving us with blank and eerie eyes; they force us to seek out more credible sources for our convictions about what our predecessors were like.

Categories
Public Art

Larry Sefton Memorial

Larry Sefton Memorial, by Jerome Markson

Typically, I avoid shooting a work of public art if all I’m doing is documenting its existence. That feels parasitic. I should leave the work alone to do whatever it’s supposed to do, whether that means interact with its environment or with the people who encounter it. But there are times when I feel drawn into conversation with a work, as I did when I approached this arrangement of girders by the architect Jerome Markson. There was something about the falling snow and the red wall behind it that lent it a something more. I met it in a fleeting moment that would vanish when the snow melted and the sun came out to cast shadows across the scene. There was a surplus in this moment.

Categories
Public Art

Glasgow Botanic Gardens

Marble sculpture titled Eve, by Scipione Tadolini, in the Kibble Palace, Glasgow Botanic Gardens

The marble sculpture shown above is titled Eve, created by Scipione Tadolini in the 1870’s, and displayed beneath the glass roof of the Kibble Palace in Glasgow’s Botanic Gardens. Like all good Victorian nudes, this woman’s nether regions are discreetly hidden by greenery. Had Tadolini created this sculpture in the age of Instagram, he would have blotted out her nipples, too. Ah, we live in such times!

There is something sad today in art that aspires to realistic representation. In the case of Eve, that realism is not evident in her pose, but in her anatomy. I feel the same sadness in my photography when I try, sometimes obsessively, to capture the world as it is. This desperate documentation. I feel it, too, in the glass dome of the botanical gardens whose purpose is to cultivate interesting, rare, even endangered plant species. Botanists document plant life. Expand its taxonomy. Rush to produce a complete catalogue before it’s all gone.

I imagine an alien ship touching down on the grounds of the Glasgow Botanic Gardens in a post-human world. Maybe the lawn is scorched. They step inside the Kibble Palace, panes of glass shattered here and there. All that remains of the plants are woody stalks. The leaves have fallen to the floor and are turned to dust. In the middle of the desolation sits a white marble form with unseeing eyes and unfeeling skin. This is all that remains of the human species. That and a few photos.

The Kibble Palace at Glasgow Botanic Gardens
Categories
City Life

Return to Sender at the Kelvingrove

Return to Sender, mixed media sculpture by Sean Read

“Return to Sender” is a mixed media sculpture by Sean Read on display at the Kelvingrove Art Gallery & Museum. It’s cheesy, catholic, pomo. Kind of like Cop26.

Skinny legs. Fat paunch. This is late Elvis. The Elvis of drugs and bad food and self-loathing. And yet Sean Read has given him a neon halo. We want to say things like: “it shows how redemption is possible even for someone as far gone as him.” But that’s not how grace works, is it? Redemption is possible especially for someone as far gone as him.

I wonder what the janitor does at the end of the day when everyone has left and the Kelvingrove has fallen silent. Does he flip the switch to the halo and walk away like it’s nothing? Or does he pause for a second, like someone caught in a liturgical moment, and genuflect. Maybe he swishes his hips, or contort his lips. Maybe he gives thanks to the king. Tibi ago gratias.

Categories
City Life

Grasett Park, Toronto

View through the "cheese cloth" installation at Grasett Park on Adelaide Street West, Toronto.

This is a view of Adelaide Street through one of the glass panels of Grasett Park, created by the Canada Ireland Foundation and opened on July 16th 2021 to commemorate the many Irish refugees who died of typhus on their journey to Toronto in 1847, and to celebrate the medical staff, like Dr. George Robert Grasett, who succumbed while treating them. It is a timely monument to mark the contributions of front line medical workers. During the typhus epidemic, Toronto’s original General Hospital was overwhelmed and so they built fever sheds where dying patients lay on cots between sheets of cheesecloth intended to keep away the flies. The memorial’s glass panels are embedded with a lacey design which evokes the cheesecloth partitions of the earlier epidemic.