In a long, low building with a tin roof, people from this village turn clamshells into buttons. Beyond the broken windows lie middens of clamshells, punctuated with precise and uniform holes. The gravel mixes with broken shells and thick, pale unfinished buttons.
In Greece, people visit islands. There are a lot of islands to visit. They head for beaches, coastline, the sea, to lie on the shore and look out at the water. But to find an island, you should really look inland. The island is the thing behind you. Turn around.
On a small Cycladic island, a second home for me by marriage, I swelter by the beach. Idyllic, busy, and anonymous. A limited sense of context: a watery horizon; sand; shops, bars and restaurants. At 40°C in the shade, it’s all swimming costumes and ice cream and plastic toys.
By HOLLIE HARDY
First you have to have hair. This trend toward baldness negates the problem.
Once you have grown a luscious mane, gather images on your lion tongue: ripe peaches, sizzle of bacon, crisp campfire scent of an almost winter night, handful of rain or feathers or marbles, the details of sunset, and and fast cars. Weave your materials carefully. Remember that birds like shiny things. The colors and flavors you choose may affect the type of bird you lure into your hair-nest.
I grew up in a suburb. Sub-: substitute, subservient, suboptimal, subordinate, substandard. Suburb: aesthetically, morally, culturally beneath the urb. Suburb: lesser than, not quite, almost, near but far. Suburb: the middle sibling of American municipalities, the generic neighborhood, where sidewalks and landscaped parks abound, where street widths reflect the dimensions of the average minivan, where children wander through barometrically-controlled environments, ogling the mass-produced outfits from The Limited and The Gap, concocting fantasies about their future, properly-attired selves, when they will no longer dwell in such a substandard place, but will graduate to the real life, the unsubordinate life: the life of the city, the life of the urb.
By ROLF POTTS
By the time I arrived at the Guacara Taina nightclub, it was just short of midnight. The club was mostly empty, though this is a relative term when the disco in question sits in a huge underground cave that can comfortably fit 2,000 revelers. The subterranean climate proved a cool respite from the smothering June humidity of Santo Domingo, and there was a certain charm in the occasional flutter of bats while waiting in line for the toilet, or the ever-present danger of stumbling over stalagmites while fetching beers. I had been in the Dominican Republic taking dance lessons for just over two weeks, but this was the first time I’d ventured out to try my new skills in public.
I bend to earth. My fingers trace woodworm tracks along a beach log. I hold a frog in my hands and see patterns of mottled green. I’m looking for patterns. My Southeast Alaska landscape is woven on spruce baskets. On my walks, I’m like the ancient weaver who noticed a tree’s shadow reflecting on water. She moved her hands as if she weaved air. Later, with spruce roots between her fingers, she weaved the-shadow-of-a-little-tree on her basket. In her ancient Tlingit belief, the shadow of a tree is evidence of the spirit inhabiting the tree. The spirit is woven in shadow pattern, which becomes the “spirit of the basket.” The Lingít word aas daayí means tree bark, yet also describes the physical shell of a human being—aas daayí. In the Tlingit worldview, personhood is connected to the spirit of the trees, that is, people and trees share the same skin.
Five miles north of the town of White Heath, Illinois, some houses have clustered close enough together to be called a neighborhood. Each is set on no less than two acres; most have five or more. Blacktop roads dip and curve through the land, bubbling with tar in the summer, buckling into washboards after the breaking cold of winter. Here, twenty-five miles west of Champaign, a few shallow hills wrinkle the land, which stretches out flat on every side in one-mile grids of corn and soybeans.
For two hours we watched storm clouds gather as our speedboat cut through coffee-colored waves on the Içana River. We beached at the base of a sandy cliff called Paitsidzapani in the Baniwa language, named for a kind of edible frog. Brazilian Portuguese has no word for such herpetological minutiae, so the Baniwa also call the place Serra do Desafio da Vida, or “Challenge of Life Hill.” Baniwa Indians stop here to partake of its dual enchantments: some stay at the base to gather coal shards endowed with a miraculous capacity to promulgate the eponymous (and by all accounts delectable) frogs. The brave, however, look towards the top, fix their eyes on dry twigs lining the precipice, and climb the steep embankment.
On the third morning of our vacation in Barjac, a small Southern French town, a car pulling a trailer bearing a plastic tiger, gorilla, and elephant drove around the square announcing a circus via megaphone. Delighted to see the French tradition of traveling circuses was resisting extinction, I dragged Zoë and Gabriel from the computer and my husband from his French horn. A blue plastic tent was set up in a field below the village. A llama, goat, and minuscule pony with a ground-sweeping mane grazed between the caravans.
The year is 1972, and as you’re driving along the highway in Rifle, Colorado, a giant orange curtain appears, looming vibrantly over a distant valley. Or, maybe it’s 1997 and you’re in Switzerland. You’ve decided it’s a nice day for a walk in Berrower Park when you notice there’s something different about the trees—namely that they’re covered in gargantuan sheets of polyester fabric.
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