いさむ

The textured, rough boulders expertly littered around the Noguchi Museum are inherently weatherproof. Aside from smooth ridges carved into their surfaces, rows and ovals and geometric designs in sharp contrast to their eroded and ancient medium, the complacent stones are indistinguishable from those in a granite quarry, or in a canyon below steep dry mountains. The concrete floor of the open-air exhibit has puddles from the just-finished downpour; the courtyard pebbles are damp and tinted with moisture. 

Once the train crosses the river it rises above ground. That's when we notice the rain. It falls from the sky in dense, loud sheets. The distant towers poke through storm clouds as we move north, and the water runs off miles of hard impervious surface in torrents, matching the aggression of the land it drenches. 

We wait for the deluge to pass under overhanging metal. Throngs join us standing outside the station. Everyone has a place to be. For only some is their purpose vital enough to sacrifice the comfort of dryness. My friend sees the rain as a cleansing force, a refresh. A place like this, trodded upon by countless soles, a living whirlpool, needs that every so often. 

One of my favorite sculptures at the Museum is Sun at Midnight: a polished, hypnotic black ring for Goliath. Circles, pure and endless, are of divine nature to me. I couldn't tell you the first thing about the artwork's technical nuance, but I can feel the turning of existence when I see it. "Faith is believing that the future holds good things," whispers in my ear. Whether it is spoken or imagined I know not. 

We return to the island amidst ambassadors and devotees. Its lights flicker on as the sun bows out, pulsating radiance drawing in masses like a mile-high magnet. So much is raised above the ground, floating high in the mash of raindrops sliding towards the center of the Earth. Defiance, that original human sin, embodied and maintained by the sparks of millions. We look over the countless concrete tubes peckering the moonlit sky, each stacked with precious cubes holding entire sagas. 

This time is different than before. My senses are heightened, I suppose. I feel I better understand what is happening. A scholar plays the piano, a melancholy tune I can hear but not remember, and I see myself decades into the future, a man in the world that I know but have not yet met. I snap back into the present and am not afraid. 

40 Hours in Montreal

The drive up was longer than expected. Traffic out of Boston, a clogged border crossing in Vermont. The scenery was pretty; lush green mountains, and the sun was out for long. Once in Quebec the land quickly turned into farms, the signs into French, the distances into kilometers. We saw the buildings of Montreal before a purple sunset over the St. Lawrence River an hour or two after entering the province. 

The St. Lawrence Iroquois were the first people to inhabit this geography. Part of the sprawling Iroquois Confederacy, or the Haudenosaunee (people of the longhouse), this nation farmed and fished and, after Jacques Cartier arrived in 1535, sold the fur of forest mammals to Europeans for their sanguinary coats and hats. The Iroquois fought the French and other First Nations through the 17th century until ceeding Detroit and economic/military dominance in the 1701 Great Peace of Montreal. 

When the English took control in 1760, an oft-tense sometimes-violent intermingling now 2+ centuries in the making began, a contentious cocktail of Francophilia and Anglophone, Canadian and American, a uniquely Quebecois spirit.  

The layered culture seemed to phase-shift into physical manifestations across the town. Plateau Mont Royal (the city's namesake hill) is dense and dotted with popping murals on the edges of three-storied rowhouses. Each facade has its own distinct outdoor stairwell to the higher floors. The water features, the train stations, the parks with stylish urbanites strolling under leafy pathways, all layers stacked upon each other like soil strata. 

Character and energy overflowed onto the streets in the July sunshine. Modern art galleries opened in the old city's cobblestone alleys. People swirled across Saint Helen's Island and the waterfront. The Olympic Stadium towered over the pedestrian-only streets. Cyclists were everywhere; some intersections were quiet sans their rolling chains and the footsteps of those walking by. The populous is diverse, bilingual (many in immigrant communities speak more than two), and pretty physically fit from young to old. 

Even in the bobo areas Montreal has some grime to appreciate. The social justice graffiti and Palestinian colors signal a prominent antiestablishment hipness. Many residents don tottoos and punk hair. The defiance is political too, with Quebec flags far outnumbering the Maple Leaf. My friend compared the region's nationalist/separatist movement to Texan pride, though I think Texas is less standalone and beligerent. Which is saying something. 

Before leaving we looked out over downtown from the east slope of Mont Royal. The terrace is level with the tops of the skyline, and the visitors can see far across the wide river deep into the deciduous forest and flat plains. It's hard to imagine what the place looks like in the dead of winter after weeks below zero. Summer in a cold place has a special aura. The people are cognizant, wholeheartedly enjoying the season. We packed in a universe of experience in our limited time there. I, too, am grateful for the day.