Friday's Passing Fancy/Poem: Impasse (Love Divided)

Photo by Aleksandar Pasaric on Pexels.com

This is not what was expected,

cascade of words scored by self-will,

hand ups, two-sided like a knife,

snapping silence that throws

a lasso about two hearts,

and despite hope’s desire

a distant warning that marks

a deeper shift in climate.

How to reconcile when before mutual care

remade all things, when now one leaves

with slight backward glance, and

the other allows a firestorm

to erupt inside a starless night,

tears to flood into a dark, unforgiving rain.

And as night grinds into reluctance of day

exhaustion weights four tentative arms:

how can reaching feel this little,

too frayed with muted fears;

how can so human a love

map out with precision and wisdom

the necessary, saving way?

Wednesday's Words/Nonfiction: Who and What Goes There, and How?

.…She came into its possession without knowledge of it, the creek riffling over her feet, about her ankles as she waded out farther to meet her mother. Their baskets swung on their arms and made a good hard sound with their cargo, small rocks clicking together, blushing in the sunlight. The forest gave enough light and cover as they pressed on, backs bent more often than not. Sika dawdled , then lifted her foot enough so her pointed toes spun a watery circle over the darkening bed of stones. And then and there it showed itself.

This paragraph arrived in my consciousness in three pieces over the last three days–as well as names of more characters, not including the mother who remains nameless now, or forever. But I know what Sika found: that was the very first thing, how an image came to me so clearly it was as if I saw it up close, felt its presence on my very skin. It holds strong energy; it has not left me. Last night, late, I scribbled more of the above on a scrap. It may turn into more greater or lesser; it may even fizzle. We shall see.

But how did this all come to me? Does it even matter? Is there a best way to open up that wellspring of creative energies?

I often hear writers and others debate and share how ideas flow. Many ask: from where does “enough” inspiration arise to not only begin but to keep on? How do we keep that drive going? “Creatives” in all mediums seek inspiration as we usher into fullness of being some subject or image or hypothetical situation we find stubbornly interesting, disturbing, surprising, enthralling. We share so many sources and yet bring our individuality to each experience. The process of making something grows with us or without us entirely at the helm, but it must begin. Indeed, we welcome it with a door or more flung open.

And that is the start of it; being wide open, even vulnerable to experiences, ideas, dreams and visions, to people and place. It requires attention. This requires willingness to attend to what is happening all about, as well as to the insides of ourselves and others.

We can hope to know ourselves better and better as time goes on, if we maintain enough steadiness in turbulent times, can be honest and alert to the variables of our days and nights. We have an emotional barometer, and it can be well used not only for well being but for big creative output. I am, like it or not, one who can sit with the darkness, the unknown or difficult, but also be ready and able to turn on the light when the signals I experience require more information, fast action. Meaning, I am ready to be “on”, ready to face fears. I am not passive or, rather, I also perceive the waiting state of mind as receptive, awake to potential moments. I have a lifetime of being aware of activity internally and externally, sometimes out of a need to survive, but mostly out of the desire to be present in this life.

This readiness alone gives me a surplus of ideas and energies with which to work. And I suspect this is a common characteristic of creative persons. We want to know more, are willing to feel a wide spectrum of emotion, we want to seek out possibilities, solutions. And we want to participate somehow in the discovery process, even if it is making possible a basic translation of an experience. We also have an urge to “re-do”–make something more or less or different of it. And, finally, when we determine it is enough for that round, we might hope to reveal what we have made of various fragments gathered together. That basic curiosity and the urgency to engage with material of all sorts (and even other people) underlies much of our creative impulses, like a foundation for a building.

We can know our own personhood with effort and time. But can we truly know others by sheer observation and interaction? We have vivid or hazy glimpses of people and events. There are many ways in which to do this. I have a few.

The senses come first, no doubt, for most: we hear, see, smell, taste, touch. If I sit next to a stranger on a plane, for example, I likely will touch little to none; taste will not enter into the data except for how smell may trigger a subtle taste counterpart. So, then: a man’s bulk or lack of it; an odor of perspiration or cigarettes, booze or mints or cologne; the expression when he took his seat, if he gazed out the window, the focus with which studied his computer or book or did not; his clothing choice and condition; the tone and timbre of voice when speaking to a flight attendant or me, plus any automatic sounds emitted. His posture, the way he moves, gets up and down, if with consideration, stiffness of movement, or a lack of awareness of others’ personal space. And there is mood, which often can be discerned by the above observations. His body turned away from me and others, his coat pulled close about him. Or simply being still until a feeling comes about the person. We all feel some sort of energy of a person and it informs much of what we do or say. Other clues might be what he is reading if it can be glimpsed. Or if he avoids eye contact or sleeps the whole trip and loudly so. If he chats with comfortably–or better yet, shares fascinating info. If I choose to politely ignore the person after a cursory glance (on a plane, often a good idea), that’s fine. But something has registered with me.

There is an impression made, formed by all of it, and quite quickly. We make note right off, may observe more later. People offer strong impressions for me, and I take with me those I want or need to keep to consider further. Overheard conversations are like gold, as well. A writer keeps a mental catalog of emotional nuances, behaviors, speech and appearance on file. These can bring to the fore ideas for fictional renderings. But it is never boring to observe others. It might seem nosy. It is perhaps aligned with detective work, but we don’t realize we’re doing it.

Because I am a quite visual person–I think in pictures, generally; I am drawn to form, color, design, smallest details; my memory is stuffed with scenes or “movies” as I well recall what I saw (or best I can)–I gather clues and cues about life this way. I am happy with camera in hand, gravitating to this angle or that snippet of view or the thing that kid is doing with her hands or face as she walks by. These photographic slices of life are squirreled away in mind, as well. Many a visual clue leads to a short or long story, often a poem. Just one photo can do it, even a minor shot, and when I see it again, I begin to wonder. Many posts on WordPress start this way, and in workshops if I am given a picture or an object, I am off and running with an unfolding story line almost immediately.

Music can be a great trigger for language to flow meaningfully, though music reaches me at a level beyond language. It finds my soul, and I associate that intertwining less with language and more with experiences that cannot be described easily. Still, music impacts mood or clarifies thinking. It also may provide a neutral background “canvas” upon which a exchange of form and colors, scene and ambiance unfold via heart, mind and language; it can both settle and open things up. I tend to write for hours in silence but if I play any music it is classical or jazz, and quietly. No lyrics–no, not words. I supply words needed and cannot afford to be sidetracked by another person’s story when I work.

Walking and hiking are great release agents of creative flow. I have written countless poems while walking or climbing and tend to record them on my phone as I go. Perhaps it is the rhythm of legs and arms in motion. The heart pumps, purposeful feet push off the earth while also noting its vagaries, oxygen enters the blood stream differently than when sitting. I feel more alive in the wide open–even if it is city’s open spaces I traverse. I do prefer woods, mountains, rivers and ocean. It is the deep breaths of fresh air, the variety of scenes. A stirring sense of unity with all life expands and intensifies with dopamine and serotonin levels rising. And words and images come and go in my head as I move at a fast clip–or pause to observe more closely the fine, symmetrical veins of a curling leaf, the flicking plume of scurrying squirrel’s tail. I embrace God’s presence even better outdoors. I feel my humbling insignificance, but am more free. These are good things to experience for me as a writer. I would rather be a conduit for language, for story than a holding tank for my more tedious or redundant thoughts.

And yet. There is abundance right inside us. What we create comes from the reservoir of our history as well as current mode of living. We can conclude that the vast interior of our beings includes billions (depending on one’s age) of bits of information that can meld sufficiently to birth more words, images, ideas and feelings. A sentence, an idea, a paragraph or picture; a conglomeration of particles of stuff that construe a whole work, an entire story. We bring ourselves to every moment we create, within a context of countless other lives and a humongous variety of experiences. It is a treasure trove, the sprawl of humanity. All we have to do is pluck what we desire to use as it bubbles upward into our conscious view. Perhaps we may forget where the essence of that useful moment originated. Or we recall only too well. It matters less than what can be done with it anew.

Have you ever been inside a prison, talked with inmates about life, like I have? Use it. Have you ever seen hundreds of tundra swans in a muddy winter field, as I did? Use that. Have you been up most of the night crying and watched your windowpanes change from claustrophobic black to radiant silvery light and felt relief again? Use it, too. Have you loved so hard that, despite knowing it might be an error, you gave over to it, suddenly afire? Use this. Have you passed by a street youth smudged with dirt and despair, slouched on a doorstep, then quietly gave every dollar in your pocket– even though you didn’t know what the money could do? Use this. Or have you sat in the top of an old maple tree as a child and wished with every fiber you could fly beyond the houses, beyond the city, beyond ordinary times and into the universe? Into one extraordinary moment–and there it came like magic, just like that for you, inside you? That is imagination. It needs you to use it to stay alive and well.

Take out the tools of language–or art of any sort. Put them to work in the faith that something will come of the exercise.

But back to kinds of wellsprings. What to make of the times I hear a word clearly in my head and it won’t let loose? Or a heretofore unknown character walks across the stage of my mind and starts to “speak” as though in a play already made and I am the audience? What of the entire sentence or paragraph that comes to me like it floated up from the depths, as if down a long river and then it got off its little boat to visit me? Here, it says, is a small bundle of words for a bloom of a poem, a scene for a story; now take it and poke around, turn it inside out or about for a few good ways to use it. Let the language live and breathe, move and sing, unlock and awaken.

That is the Muse. That is the wonder of being possessed of the passion to create. I can be dogged by these ideas and scenes until I sit down to write. I can dream of them night and day, then find they are already transforming, often long before I put the letters to wide, white space for a landscape in the making.

But I also can sit with one hand resting on the keyboard, mind simmering with too much or mind wan and blank as the other hand pushes hair out of my eyes. And then I write something. Anything that seems an okay way to start. Then I write another few words that connect to become a sentence. I can manage this because I have done it for well over sixty years. It is the fruit of hard-won discipline as well as tremendous energy of love for Story.

So where did that first paragraph at the start of this come from, one that may be a new story? It might come from thinking of or seeing rocks my husband seeks for their uniqueness, that my son hunts for their hidden crystalline beauty and my sister roots around for, for their capacity to become animals she creates by painting them. It might come from the love for my mother and daughters. And the powers of nature at hand any time we pay heed. A wonder I feel, for living life deeply with appreciation and determination. Joy, and a willingness to see what arrives next.

What did this unknown character who claims the odd name Sika Standalone find–or what has found her? I know something, but I don’t yet know what it can mean to her greater story or to the shadowy characters nearby–Aubra Tinnert, “Mischief” Mannerlin– or to Sika’s mother, quietly bent over the darkly gleaming rocks under creek water. Why is she gathering all these? Do they need them for trade, for protection, for entry into somewhere, for an offering to–what? My curiosity will lead me on.

I don’t really write fantasy. I don’t know what this is about. But the words will take me there. Or somewhere else altogether. I know enough to trust that much. And I am compelled to stay with it, shape the rawness into something definable. I keep at it despite not making money from my efforts over decades, nor publishing a great deal. I am just a writer and thus, in cahoots with language so as to write.

Lucky me, I must add. How terribly fortunate to be possessed of such a passion as this.

Monday's Meander: Elliott Bay & Pike Place Market

What strikes me today in the groupings of recent Seattle “captures” is the long walk by the bay, our destination being the popular Pike Place Market. I will let the pictures speak for me as we enter the heart of the city on a chilly evening. Marc and I walked at least dozen blocks to and from the area, into dusky night, into the streets’ liveliness. It all buoyed me as cold wet wind stung our faces. I found myself thinking once more: happy to live three decades in the Pacific Northwest–winter rain and all. (Perks: majestic beauty, green growing things all year, and a vibrant independent spirit.)

Alexander Calder’s “Eagle”, an interpretation of the above real eagle….
Plenty of young people and tourists–and beer joints!
Our pick of restaurants that night was Tankard & Tun-excellent fresh halibut and salmon. There is another restaurant below us and other shops all around the street level entry/walkway. Picture below is looking down into second restaurant area.

On the way back to the hotel (after an expensive stop at Elliott Bay Book Company) I snapped a few more. A tree waiting for the closet once more; a South American fare eatery, as I love tapas; an interesting pub with a name I love, Lost Lake– a Michigan lake of my childhood.

Another lovely day “run and done”, high time to dry out and cozy up again.

Friday’s Passing Fancy/Poem: We All Die of Something

Ruby red, small fisted, dauntless royal heart,

heart that has born me up, loaned me a life.

This heart that runs of its own accord,

with daily rescues, with my will as cohort.

How it keeps thumping, pushing,

sweet talking despite time or errors, passions

wearing out me out, the cumulative years

like sand falling, driven against stone,

and wind gnarling the once green tree.

 

I call out to it even as it labors,

don’t let me down, dance me just so,

grow old at home behind the light armor

of ribs with a proprietary peace.

And still it heeds my pleas.

I carry it into the ruins of the world,

into dangers of ordinary living,

and tentative runs with silver hair flying, on walks

with legs that push until my breath shortens,

squeezes me to a stop. I count the seconds,

eyes widely watering, back to passersby

until we can go on, panting,

dash through tender or cutting rains,

under sun’s umbrella, in moonlight’s whisper

and the trees, who know everything.

You feel with me as they wave, rivers flash,

and other creatures call.

You feel because I feel. Or is it

the other way around, my friend?

 

The rest we manage, too, madcap

mysteries and random muttering spiked

with bolts of anger and deep weeping wells,

sorts of things few might admit but we cannot deny.

We are comrades, more than this,

confessor and confessed,

body and soul.

 

So today when the one (who 20 years ago

salvaged us) intones with smile and handshake

doing well once more, keep up the great work,

stop worrying because you know

we all die of something-

I lift you, my heart, out into the world

feeling more brave and sturdy but this, too:

five more years, ten more years. Please.

When all that exists for us is this moment,

old heart, so let us know the glory of it.

the golden romance of another reprieve.

Good heart, it only comes to this, 

that we shall live and live and pass as one

 

Wednesday's Words/Fiction: The Meaning of Frankincense

Image by S. Hermann & F. Richter from Pixabay

Hugo Fontaine snugged his violin and then his viola into their purple satin-lined cases, called out farewells to his bluegrass band’s other members and headed out the back way of the music building. It had been a good rehearsal for an upcoming wedding gig.

Though he loped along, all 6’3″ of him loose and lithe, his shoulders ached and by the end of the session, the strain got to him. He’d already spent all day at his small but rising gallery, working on an exhibition. The ceramic sculptures were heavy and pedestals had to be moved several times. Of course he might have directed his assistant, Gage, to labor for him but this was a winning show of an old friend’s work. It had to be fresh, right. Marie and he went way back to childhood. They sometimes had thought they should be together but any spark felt at 15 had long ago cooled. They trusted each other; that was a lot. At 38, he had gotten comfortable with his life. She was facing marriage number two.

He needed food but coffee aroma on the breeze struck his nostrils and he crossed the street to Duchamp’s Sip and Dip. It was one of the few places in New York where people could be found to speak French, the owner being French-born, but oddly Hugo seldom did. He had worked a long time to develop a passable American accent. This possibility had disturbed his father when Hugo left Montreal at 22 to complete his Masters degree at NYU, but it had only further propelled him to leave his past behind.

He pushed open the door and found himself enveloped in sharp and sweet odors, voices amiably swirling about as people sipped drinks and dipped biscotti and other baked treats in the mugs. It was warm shelter within a megalopolis rife with traffic, smog, people and many fascinating options. he relaxed.

“Mon ami! Monsieur Fontaine!” The barista, busy steaming milk, bathed him in a brilliant smile him.

He nodded at her and smiled politely. She always was thrilled to see him, and knew he spoke French fluently so tried to engage him. Much too young, flirtatious and deferential, Hugo appreciated that she was a good barista and liked his music (she had been at an event they’d played) but kept his distance. Okay, he knew he was good looking–this had been hammered into him since childhood–but he was shy by nature, not self-impressed.

Hugo’s order given, he moved to a corner near the entrance and waited. His ears were filled with nearby French conversations and he let them come and go in his mind, not interested in eavesdropping then. The violins pulled at his shoulders so he set them on an tiny empty table and sat on chair’s edge, anxious to go home. His hands pressed lightly on closed eyes; his breathing calmed. The opening was soon, the wedding performance was shortly after, and he was supposed to go to Montreal for his mother’s 68th birthday in about a week. He tallied up his tasks and slumped back into the chair, vision unfocused on the black and white tile floor.

And then it hit him: frankincense. He’d know it anywhere. Nose lifted, his body almost rose, too, as eyes searched. That spicy, woody, lemony, amber-toned ,smokey scent, those layers of tantalizing notes–they always got to him but seldom was found this pure. It reminded him of a specific, expensive perfume his father’s parfumerie carried–what was its name? He was instantly back in the store his family had owned for three generations. He had left; his sister had taken his place by their father. But he still respected and loved the art and science of making perfume, and sharing its beauty. Frankincense had become a favorite scent, mysterious, luxuriant, primal while spiritual: powerful scent of sap of the Boswellia sacra had been important for centuries, and still used in a myriad of ways.

Rarefied majesty of a scent, a natural perfection alone yet a greatly flexible note when blended with others, his father always said. And Hugo, often at odds with him (more so since choosing his own path), agreed on that.

He didn’t have to look far to find the carrier of the scent. She was a few feet away, shifting from one foot to another as she studied the hand painted menu board of offerings. Her dark hair was pulled into a sleek long ponytail so that her pale, prominent features and high forehead were exposed. A beige woolen cape encased her sturdy frame and she held red gloves in one hand. He inhaled deeply, then closed his eyes. His cares began to melt away. But his name was called and he stood.

Was the woman speaking French? No, it was the barista again, clumsily working over the language with another victim in line. The frankincense lady was heading toward back of the shop. Hugo slung one violin case with a shoulder strap over his shoulder, took his coffee in its “to-go” cup, then hesitated. He wanted to ask her what it was she wore. But one doesn’t just saunter up to a strange woman and speak what sounds like a very lame come-on line. Did he dare do it? His pointed awareness of her perfume might seem odd. He took a few steps when she appeared to look his way, and their eyes then met.

She smiled a brief lopsided smile and looked at her cell phone, then glanced up again as he stood, uncertain. He closed the gap and found himself before her.

“Forgive me–but my family owns a parfumerie. I know that fragrance but can’t name it.”

She frowned as she bit her lower lip and he felt it best to go so turned around.

“Black Tourmaline.”

She said it quietly, as if reluctant to reveal it. Hugo turned back around. It was a cloud he stood within, invisible yet dense, light and dark, rich and deep. He was beginning to feel better by the moment, if awkward. But that wasn’t it, not the perfume he thought he knew but since she had answered, he reciprocated.

“Ah. So many perfumes! It is hard to identify them, even with strong notes as this. This is not one I recall. But then, I don’t pay attention usually, it’s just frankincense, it is so distinctive, of course….very nice…”

He felt heat in his cheeks as he fumbled for a more specific response. Had he forgotten everything his father taught him, then? The perfume he once knew so well had evaporated from his memory, in any case. This was ridiculous, it was only fragrance, what else could he say? He gripped the handle on his instrument case, shifted the other violin case, prepared to go.

The woman nibbled on her biscotti and stared at his hands. “Two violins? You are ambidextrous to the extreme?”

He was baffled by her words, then exhaled in a nervous laugh, relieved to move on. Which he needed to do now. He bent to extend his hand; he was not an oaf, he knew how to be courteous if nothing else and better now than not at all.

“Hugo Fontaine. Yes, a violinist–and violist–more bluegrass than classical.”

“Gina Corelli.”

“You’re kidding–Corelli? As in Arcangelo Corelli, Italian violinist and Baroque composer?”

“Right. Not kidding. No relation that I know, but I have never researched my genealogy. I am not that interested, it might set up expectations!” She laughed, too, but softly, and indicated a chair. “Have a seat, Hugo?”

“Well, I need to get back to my gallery. There’s a big show coming up, but–” She was wearing frankincense, she knew something of music, perhaps, there was an empty seat. An invitation. He looked at his watch and sat.

Seated, he could see crinkling blue eyes and that dark mane of hair– it had a startling effect. She might pass him by any time and he wouldn’t notice her–the quietness of her bearing, bland paleness. A sort of gentle yet strong kind of loveliness that melded into anywhere, anytime…. He lifted his coffee and drank deeply as she eyes scanned his face. Bold despite her calm energy, he thought, but he could not stop looking at her, either. He inhaled her perfume without ceremony, fell under its spell. Perhaps she was used to this, men asking to speak with her, men following her down the street and her waving them off or more. It was her fragrance…or was it her?

As if reading his thoughts, she said, “Most people can’t always place the frankincense; they don’t always like it. It has a headiness, right? But more. I’ve worn it a couple of years and nothing else feels right somehow. It has a soothing effect though it perks up my senses. Maybe that is logical since it is your family’s business…In New York?”

“Montreal. But I live here, have since university. Yes, I get that.”

“Born and raised here, myself. That must have been interesting, perfume and Montreal.”

He shrugged. It sounded exotic but it was just his growing up life, as hers was New York, which seemed better to him. Freer, more cosmopolitan, energizing.

“You play something, also?” He suspected she might, knowing about violins and ambidexterity. Corelli.

She shrugged as if it was irrelevant. “I have. Oboe. Flute. I’m in the publishing business now. Educational materials publishing. Not so wonderful as an art gallery owner.” She took another drink and nibble. “What sort of art?”

His phone rang with a Mark O’Connor Band song, “Coming Home”. He was about to ignore it when he saw it was from Gage.

“I’m sorry, Gina, I have to get this. Maybe we’ll run into each other again sometime?”

“Sure, maybe!”

Her gaze followed him as he wove through the tables and lines. Then she pulled a slim book from her leather bag, opened it, smoothed the pages, at once lost in the tender words. “If when you rise in the blue and green mists of woods at dawn, go farther, seek the meadows and willows by running waters, forego the spell of sleep, of cares…”

He got up and took off with his instruments. But as he hailed a taxi, then arrived at the gallery and started back to work, the few facts he had accompanied him like a vapor, hanging on into night and the next days: Gina, frankincense, flute, blue eyes, dark hair, beige cape, good energy.

And then it got busier and he tied to push such nonsense aside.

******

“What are you doing with that?” Marie asked an hour before the opening of her show. “I thought it was to be in the center of the room!”

It was a mammoth piece, a curvaceous, green-glazed form, one Hugo privately thought of a part octopus, part sea siren. He may have been right but they rarely discussed what her work meant or might represent. Every artists had their own intentions but it was up to the viewers to ascribe meaning. He loved it, but he liked the smaller trio of pieces in the center better and so had moved it without consent.

He put a hand on her shoulder. “But see how these complement the space and lighting so well?A sort of relief after the opening genius of the big piece.”

“Oh, really Hugo, the lighting can be altered, the space is so large and it isn’t what we decided.” She looked at it all, crossed her arms, tapped her foot.

“It’s now stationed by the window, near the door, a draw for passersby and a very good spot overall.”

“It’s the draw of people off the street you think best, really!” She walked around the room and inspected once again.

“Not a bad thing,” Gage said under his breath. “The piece looks wonderful there. She might sell it….”

“Oh, well, opening night nerves,” Hugo reminded.

The food and table with colorful candles set into her ceramic holders were being readied by the caterer. They were all dressed and ready. Hugo poured wine for each; they drank quite indelicately. It wasn’t easy, running a gallery, supporting artists’ desires and hoping for a good profit. Marie knew all that. Her work was selling well now, in fact. It was as much for his Fontaine Contemporary Arts that she was showing there. Though he was rising closer to the top of the list, himself, the last five years.

Gina, frankincense, flute. He shook his head and drank again. He had manged to shut off the repetitive musings, mostly, the past few days, but it was like a song repeating ad infinitum.

“Hugo? Did you hear me? The pedestal on the east side needs adjusting, can you help me?”

Gage snapped his fingers near his right ear and Hugo came back to the present, growling a bit at his assistant.

“Stop that.”

“What is it with you lately?”

“I have wondered the same, maybe you need time off, head to the Bahamas of something,” Marie said and dusted her sculptures lightly with a batik napkin taken from the table.

“Or Montreal…” Gage suggested, bravely. He well knew that Hugo did not want to go to his hometown next week. Not only was he busy with more shows coming up but his father wasn’t lately well and his mother was feeling anxious. His sister seemed more in charge. She had demanded he come.

Hugo shot him a warning look. He did not want to think of all that, though he did suspect there’d be good moments to share, as well as stressful times with his father. There usually were, even with his mother’s constant refrain: why was he insisting on staying single? Now he had to worry about their aging.

The time came to unlock the doors and begin the formal opening of Marie Werther’s show. People began to fill the doorway; they were keen to see her imaginative ceramic works and he hoped, too, they wanted to own some. It was fine art but it was business, after all.

Outside, glancing in the window as she slowly passed was a woman in a voluminous cape, dark hair flying about her face, hands snugly gloved in red leather. She paused to get a closer look at the work, then searched the crowd, palms pressed against the glass a moment. There. Hugo stood among admirers, goblet in hand, chatting away. His eyes swept over the large gallery spaces and afraid he might see her, she hurried on. She could not go in. That was too close to a sort of stalking, wasn’t it? Yet, she had looked him up and found out about Fontaine Contemporary Arts. She had wondered about him enough that she felt she had to see if it was all real– the person, the place. Now she knew more. His family had long been perfumers, Hugo was from Montreal.

Hugo took a break from chatting. He could have sworn he saw her. Gina. She was a shadowy figure passing by, beyond his bright windows, so he rushed to the front and peered into dark of night. Snow was starting to drift down, glistening in streetlamp and headlights light, and people hurried on their way. He stepped into the fall of soft flakes, and almost believed her perfume settled about him, warming him in the icy air. He took in a long breath of tingling air. But she was not there, just–surprisingly, strangely–stuck in the depths of mind.

Somewhere in that city she was living a whole life. And he was not in it.

******

The wedding reception was generously festooned with blue and white flowers, a pair of doves in one gilded cage and bluebirds in another (Hugo worried they’d be let out, he didn’t care for birds swooping onto his head), hangings of silvery tulle and white satin (he was told), and tons of food, fried chicken being a primary choice. The guests were festive, the bride and groom were well on their way to married bliss after several rounds of drinks. It was a pretentious-leaning yet earthy affair and the band, Down Home Times, was playing hot and happy. He could play these tunes with little thought, and yet he appreciated every crowd’s dancing and cheering. It paid okay, but it was his main outlet for fun. He’d veered onto a different musical road as a teen when leaving classical training, but this gave him a different– more satisfying–thrill. And it was with relief that his parents liked it when they’d heard his first set on stage at 18.

At a break between his current sets, he and the guys usually went outside, some for a smoke, some for the relief of open air. Hugo was the last one to the door when he heard a voice behind him.

“Hello.”

He stopped to look over his shoulder, expecting a bluegrass admirer but there: the frankincense, spicy-citrus-amber-smokey-woods suffusing his nostrils, altering his state of mind, bringing him to a full stop.

Gina.

She stood before him with a tentative smile, bright eyes. “I know the bride, but her cousin much better so I tagged along for the night. I did not know it was going to be you up there, I swear. A shock, I have to say.”

“No way.” He offered his hand and she took it a moment, warmth against warmth.

“I knew of your bluegrass interest, and it was on your gallery site. Yes, I found that. I looked up a bit more. But I didn’t know you were playing here until I arrived.”

“Well, then.” He ruffled his sweaty hair and looked away. “Too much. In New York, this is a wedding you just came to, out of nowhere–too weird.”

“I know…kind of different, I agree.”

“Wait, you are here with out an escort?”

“Male? No, no date!” She chortled. “Just the bride’s cousin.”

“Do you want a drink?”

“No, I’m not such a drinker. I just wanted to say hello once more. “

“I’m getting water, I need hydration right now. Coming?”

So they got his water and talked a bit, her about work, how she needed a vacation, it had bogged her down all that fine print, boring statistics. She did not plan on taking his time up when he asked if she wanted to come by the gallery on her lunch hour sometime.

“I’ve been.”

He wanted to be cool, but his mouth fell open a bit. “It was you, then, during the opening of Marie’s exhibit–you walked by the gallery and I went outdoors to find you.”

“Yes. You did that? I didn’t expect you to see me, that wasn’t the plan. I was trying to slip by.” She put her hand on his forearm. They sat with her fingers firm but careful on his shirt sleeve, skin under the fabric tingling where those fingertips lay.

He shook his head. “None of this was the plan. But I keep thinking about you, anyway.”

“Yes. Me, too–you.”

His bandmates were jogging up the stage steps. Hugo jumped up to join them.

“Don’t move too far. Please.”

“Not likely, this has gotten interesting!”

And she laughed, head tilted so that he could see the silver of a filling and her hair bounce and gleam. He thought how wonderful it was to see her, to smell her, to talk a bit with her, and then he took a giant leap. He was embedded with her presence already and so far there was no serious resistance. He was going with it.

“Want to go to Montreal with me next week-end, by any chance? My mother turns 68 and I must attend the family party.” He made a mock-sad face and then left her there.

Hugo picked up his violin and put bow to strings, tapped his foot with the stand up bass rhythm line, dove right into the music. After a few bars the intoxicating Gina Corelli moved up to the stage and raised both arms, gave him two thumbs up. He sure hoped one of those was for a madcap trip to his hometown. He thought it likely. With frankincense in the mix, anything seemed possible to him, as it had for people all through time.