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
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

Gallery Of Modern Art

Man smoking a cigarette walks past the Gallery Of Modern Art in Glasgow

Like most art galleries, museums, and historic sites in the UK, Glasgow’s Gallery Of Modern Art, GOMA, is free. When you walk through the front door to use the gallery’s washroom, you pass a statue of Arthur Wellesley, the first Duke of Wellington, on horseback and wearing a traffic cone on his head. When the Italian artist, Carlo Marochetti, completed the sculpture in 1844, it didn’t include a traffic cone. Someone added that later and it has become an essential feature. Inspired by the quality of whimsy that GOMA fosters, I found art in the plastic chairs and folded tables on the sidewalk outside. A man in a hoodie and smoking a cigarette completed the image.

Night time in front of the Gallery of Modern Art, Glasgow
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
Public Art

The Harpy Celaeno

The Harpy Celaeno, marble sculpture by Mary Pownall

The Harpy Celaeno (1902) is a marble sculpture by Mary Pownall that stands in the Kelvingrove Art Gallery & Museum. You can read a full description of the work on the ArtUK web site. In mythology, harpies were half human half birds who personified storm winds. Mary Pownall served as the model for her own work.

Each time I visit, I make a point of viewing the sculpture from the second floor gallery because, in the manner of a true street photographer, I look for chance encounters. Sometimes, if I’m lucky, I can get a shot that looks as if the harpy is pouncing on a passerby. To date, I haven’t got a shot that satisfies me, but I’m working on it.

Marble Sculpture by Mary Pownall
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.