By SCOTT GEIGER
In two sequential hurricane seasons, the Earth has mounted two solid runs at (re)producing the plot of Nathaniel Rich’s Odds Against Tomorrow. It’s good Rich’s second novel found print this spring. After Irene and Sandy, there’s this spooky feeling that it’s only a matter of time before greater disaster strikes.
The police commander of Quinindé showed up dead in the province of Manabí yesterday, pounds of cocaine and money littering his car. He died, slumped over the steering wheel, his body blistered with bullets. There is the menace of drugs, poverty, and gangs that looms over this city where the two rivers meet. Lately, anonymous flyers have appeared threatening vigilante justice—threatening to take back the town. “We know who you are thieves, murders, gang members,” it says. “And we will bring you a taste of your own poison.”
Today, I am setting boots to snow. In my hands I hold a pair of shiny new binoculars. They’re my first new pair since the very first I bought, at age 12, with my $100 of babysitting money. For twenty years I carried those, and the trusty little things never failed me. These new ones cost a little more, yet even with their bright lenses, I’m thwarted by a golden-crowned kinglet. The tiny bird nips from one branch to the next, too quick to view for more than an instant as it seeks some minuscule source of nourishment among the needles.
This month’s poetry feature showcases work from new books by our contributors.
Usually 4 p.m. glares on my windshield as I head to the Hollywood Hills Forest Lawn Memorial Park. I am 75 miles per hour on the 134, maybe more. Others fly by me, impatient. The temptation to catch up to them is strong, as always. But I stay below the eighties, as though the seventies are the right glide, on Lenny Kravitz tunes. At the exit, flower vendors on foot wave roses and chrysanthemums. Their nearest competition is the flower shop at the gate, less than a mile away. You’d think they’d sell for bargain. But I buy a bunch or two anyway. It beats walking to the shop, and ringing for someone to come out when you’re ready to pay.
Marc swiped his finger across a shelf and gamely stuck his finger in his mouth. “Yep, salt,” he said.
After moving my mother to an assisted living, I was packing up the remaining possessions in her apartment, including my parents’ African art collection.
I’d first noticed the salt in a closet where the overflow of masks, statues, carved wooden utensils, and other objects were kept. They had bought them in Côte d’Ivoire and surrounding countries in the late 1960s, when we lived in Abidjan, then the capital. My father, a Foreign Service officer, was posted there. It wasn’t hard to guess who had done the sprinkling. The ladies who looked after my mother were all from West and Central Africa. To someone, these objects, which my parents collected for their beauty or cultural interest, must have had a spiritual significance.
Artist: TRAVIS MEINOLF
Curated by ELIZABETH ESSNER
Travis Meinolf, Fabric panels made for with Kai Althoff, Whitney Biennial, 2012
If you need a blanket, Travis Meinolf, the self-appointed Action Weaver, will give you one. For free. And it won’t be a common fleece or wool number. It will look like folk art. It could be made by the artist or by many hands, and perhaps strung together from woven cloths of varying stripes, colors, and sizes. These free hand-woven blankets are a component of the artist’s ongoing project Blanket Offer, part of the artist’s grand mission to bring weaving to the masses.
By JAYNE MORGAN
I grew up in graveyards. We had one at the bottom of our farm drive and on weekdays I would walk through it to catch the bus to school and then back again on the way home. On Saturdays I would be sent on a mission to rake through the piles of recently discarded wreaths to retrieve the plastic ribbons. Anyone receiving a wrapped gift from our family could, if they looked carefully, have spotted the faint marks from the rusted wires and the creases from previously tied bows.
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