Beyond the bridge of Highway 91, beyond the levee and the last line of houses at the outskirts of town, civilization goes to rural scenes. First you pass a patch of low trees; then a small paddock and barn where two horses live; and then you come to the cornfields — wide, flat, golden and stubbly by the riparian woodland of the Connecticut River. I’ve always wanted to come to these fields to see the stars, but the landscape is lonely, and I would be afraid to come alone at night.
Backlit Harbor (Pt. 2)
Sampling Thoreau
Part 2: Where I Live and What I live For
Inspired by rereading Thoreau’s Walden for the first time in 30 years, I am writing a series of essays—an attempt to sample Thoreau, and swing the rhythm. I want to honor the young idealist with echoes of his aphoristic style and, at the same time, challenge his lofty ideals with the experience of an older woman. Click here to read Part 1.
In the early years of our marriage, Andy and I used to rent a house for two weeks in the summer in Lubec, Maine, as far Down East as you can go and still be in the U.S. It was a canning town—sardines. We thought of it as a paradise that was our secret. We could ride our bicycles out to lighthouses in two different directions, walk through a bog full of the carnivorous sundew and pitcher plants and cross the bridge to Campobello Island, New Brunswick, where, sitting on the cliffs, we see could see Finback whales spouting and diving on the horizon. When we started going there, only one canning plant was still in operation. The last year we visited, that too was closed. On our walks through town, we found that nearly every other house was for sale; but when it came down to it, we couldn’t buy one. We’d always be from “away,” but we’d lose our status as strangers. And, there were the seven hours of highway between me and my sisters.
Review: Collected Body
Book by VALZHINA MORT
Reviewed by
In the long prose poem “Aunt Anna” at the heart of Collected Body, the speaker muses, “so evasive is Aunt Anna’s body, it is impossible to hold a thought of it longer than an instant.” Throughout Valzhyna Mort’s first book of poems written in English, rather than translated by the poet and others from Belarusia as in earlier work, the reader finds that sense of commitment to recapture history, and thus the speaker’s own life.
Often, the point of departure on a journey into the past is the physical body. Gardens of an ancestral village “shrink by perspective into a single bush, as if it were the pubes of a woman, lying flat on her back, naked.” When Aunt Anna later in life walks from Siberia back to a childhood village, the speaker states, “This time she walked there for no man, for no village girl’s dream of the neighboring village; this time she walked for the memory of that pubes, for what it concealed – the source that her mouth was hungry to embrace.” More than only a springboard, a sensuous physiology becomes also the destination and the vehicle that carries Mort, and with her the reader, along on that journey.
The Hours
A Not-so-Failure in 2 Parts

excerpt from the ongoing Failures Diary
i go to pick up my kid
at his crèche
that’s a fancy european word
for daycare
Dreaming of a Writing Room
When I flew from Johannesburg to Cape Town and drove to Misty Cliffs, which Google described as a little village that lies on the mountain and on the beach, divided only by Main Road, between Kommetjie and Scarborough, roughly an hour from Cape Town, I had no idea what lay ahead. I was insulated in pain from a break up. Ten days of the sea, walking, and writing healed me. This mountaintop lounge, where I wrote “Sad whale-speak at Misty Cliffs” to keep this dream of a place alive, has been my best writing room, so far.
The Common and Electra Street Bring Lauren Groff to Abu Dhabi

Annals of Mobility: Walking Places
1.
In an early episode of MAD MEN, Betty Draper and her friend Francine are gossiping in Betty’s kitchen about their new neighbor, the scandalous Helen Bishop, divorcee and single mother.
Francine: Have you seen her walking, up there on tree ridge? Where the hell is she walking to?
Betty: (shakes her head as she smears cream cheese onto a celery stick) I don’t know.
Later, when all the ladies have gathered in the same kitchen for Sally Draper’s birthday party, they go around and share their honeymoon stories. Helen tells them she went to Paris.
Celebrating Dispatches
DC Arteries
Artists
Curated by Elizabeth Hamby and Jessie Henson
443 Eye Street, NW, Washington, D.C., 2012. (Lely Constantinople)
“DC Arteries,” a collaboration between photographers Kate MacDonnell and Lely Constantinople, traces the subtle shifts of character and form that mark the landscape along the roads of Washington, DC. They capture the graffiti, the store signs, and the faded paint that make up the urban still-life passed along the way from one place to the next. These fragmented elements capture a fleeting sense of place in a dynamic city.
