31 January, 2007

RIP EHH

...there's no need to be thinner/ let's all have the lobster dinner/it's down to you and it's up to me/ we gotta get back into the DNC....

My hobby uh, fascination uh, obsession uh, research project specialization reaps occasional unexpected bounties.

For instance, in her drawer of junk jewelry, the White Diamond found a promotional charm bracelet that she brought to me on Opening Night. I treasure and wear it on special occasions.

And Wednesday, the day that E. Howard Hunt, former Plumber, died, my neighbor brought to me a DVD: Oliver Stone's Nixon, starring Anthony Hopkins.

Naturally, my life is so over-scheduled that I haven't watched it yet. But I am hopeful.

For those of you who don't remember who E. Howard Hunt was, and can't be bothered to click on a link, a brief recap:


The Hunt recruits (Villo, Franko, Gino and Macho, no lie -ed.)and James W. McCord Jr., security director for the Committee for the Re-election of the President, were arrested at the Watergate, and one of the burglars was found to have Hunt's White House phone number.

Hunt and fellow operative G. Gordon Liddy, along with the five arrested at the Watergate, were indicted on federal charges three months later. Hunt and his recruits pleaded guilty in January 1973, and McCord and Liddy were found guilty.

Hunt eventually spent 33 months in prison on a conspiracy charge, and said he was bitter that he was sent to jail while Nixon was allowed to resign.

"I felt that in true politician's fashion, he'd assumed a degree of responsibility but not the blame," he told The Associated Press in 1992. "It wasn't my idea to go into the Watergate."

Hunt also was involved in organizing an event that foreshadowed Watergate: the burglary of the office of the Beverly Hills psychiatrist treating Daniel Ellsberg, the defense analyst who leaked the Pentagon Papers, published in 1971.

Hunt and Liddy — the so-called White House "plumbers" — broke into the psychiatrist's office to gain information about Ellsberg. The break-in was revealed during the 1973 espionage trial against Ellsberg and co-defendant Anthony Russo, and was one of several incidents that led to the dismissal of the case because of government misconduct.

(And on the flight back to DC bragged to a stewardess- shut up, they were still called stewardesses then- about their big-deal spy-boy antics. -ed.)

Hunt spent his final years in a modest home with his second wife, Laura Martin Hunt, and declined many interview requests from The Associated Press.

He has a memoir coming out next month titled "American Spy: My Secret History in the CIA, Watergate and Beyond."

(I'll wait until I see it in the used bookstore to buy it. I have tried- and failed- to read several of EHH's novels. Either not to my taste, or... well. -ed)

Hunt's first wife, the former Dorothy Wetzel Day Goutiere, died in a plane crash in 1972. Besides his wife, Hunt was survived by six children.


So rest in peace, E. Howard Hunt. Beside Nixon, beside Ziegler. Beside Ehrlichman, Haldeman, Mitchell, Ulacewicz, RoseMary, Martha, Pat, and Dorothy. Soon all of you will be dead, and I can write whatever I want. Note this, Woodward. Bernstein. Dean. Mo. LIDDY. You will all someday die, and gods willing, I WON'T.

Not until I've written litigation-worthy lies, half-truths and flat-out facts about all of you.

Mwahahahahaha.





(I Spy, You Spy; Watergate! the Musical, Pomeroy/Brown)

17 January, 2007

Hot, Cold.

...it's a mystery, wrapped in an enigma, wrapped in bacon...mmmmmmm....

Today, I am wearing eleven items of clothing. Indoors. Counting each of my socks and shoes separately.

And as recently as last week, I was Topless in 60+degree weather with springlike humidity. The daffodils are confused and have made a premature appearance.

Stupid Maryland.

12 January, 2007

Not Quite...

...if a mime speaks in a forest, how does she sound?....

What American accent do you have?
Your Result: Philadelphia

Your accent is as Philadelphian as a cheesesteak! If you're not from Philadelphia, then you're from someplace near there like south Jersey, Baltimore, or Wilmington. if you've ever journeyed to some far off place where people don't know that Philly has an accent, someone may have thought you talked a little weird even though they didn't have a clue what accent it was they heard.

The Midland
The Northeast
The South
Boston
The Inland North
The West
North Central
What American accent do you have?
Take More Quizzes


Sorry for the prolonged silence. In other news, Tom Sawyer opened last week. I've seen no reviews, but there was a preview piece, that aside from some errors, (including the spelling of my name) was really quite nice.

[Faint praise, I know. See for yourself.]

Preview
Center offers bargain rate for 4 shows
Plays include 'Tom Sawyer,' 'Glass Menagerie'
By Mary Johnson
Special to The Sun
Originally published January 5, 2007
The folks at the Chesapeake Arts Center are starting 2007 with what they describe as "the best theater deal in town": four shows for $38 for center members and $48 for everyone else.

The bargain prices, available through Jan. 21, earn a quick return on investment. The first show, The Adventures of Tom Sawyer, opens tomorrow and closes Jan. 21.



It will be followed in March by Tennessee Williams' The Glass Menagerie, a sophisticated comedy by comedian Steve Martin in June and an original show in August, to be chosen from submissions to the 26th annual Baltimore Playwrights Festival.

Charlotte Chorpenning wrote the adaptation of Mark Twain's classic novel about growing up along the Mississippi in the 1840s.

Tom, who loves skipping school and playing pranks, wins and loses the heart of Becky Thatcher. Then, after witnessing a killing in the graveyard, he and his friend, Huck Finn, run away to Jackson Island to become pirates. Feared dead, they return home to interrupt their funerals and eventually to face the villain, Injun Joe.

Tom Sawyer is directed by Cybelle Pomeroy, who said children could still imagine enjoying such adventures.

"It's been terrific to work on this family-friendly story with a bunch of friendly families," she said. "I can't say enough about the devotion, talent and support of the cast and their families. Every time I turned around someone was offering to do yet another thing for the show. It's a fabulous team effort."

Josh Feist, the arts center's education and membership coordinator, added: "Anyone who is young at heart will certainly love this show. I have never had the pleasure of working with so many bright young actors."

Feist, who plays a supporting role in the production, noted the show is a family affair. The director's son, Garrett Pomeroy, plays Huck Finn. Daniel Swann plays Tom, and his father is in the cast.

Fatima Umanzor plays Becky Thatcher. Sarah Tighe plays Injun Joe, and Chesapeake Arts Center's favorite actress and teacher, C.J. Crowe, is Aunt Polly. Many cast members are former students in arts center drama classes.

Debuting in December 1944, The Glass Menagerie was Williams' first successful play. Told by Tom in flashbacks to the 1930s, the story centers on his aging Southern belle mother, Amanda Wingfield, who lives with her daughter Laura and Tom in a dingy St. Louis apartment.

Amanda works in a department store, Tom in a shoe factory. He spends his free time drinking and going to the movies. Afraid of the outside world, Laura has dropped out of college and retreated into her world of miniature glass animals.

Picasso at the Lapin Agile is a 1993 play written by Steve Martin. The play is set in a bar in Montmartre, Paris, where Albert Einstein and Pablo Picasso discuss genius and art. The year is 1904, when Einstein is a year away from publishing his Relativity: The Special and General Theory, and Picasso is three years from painting Les Demoiselles D'Avignon.

Picasso and Einstein debate the value of genius and talent with a variety of other characters, including one from the future who could be Elvis Presley in blue suede shoes. A colorful cast provides insight and laughs in language that earns a PG-13 rating,

The last show of the season will feature a work chosen from those submitted to the Baltimore Playwrights Festival.

From more than 100 submissions, a limited number of plays are selected and performed at Baltimore area theaters, including the Chesapeake Arts Center. Theatergoers can participate in history and support local artists by attending.


The Adventures of Tom Sawyer runs at 7:30 p.m. Fridays and Saturdays and at 2:30 p.m. Sundays at the center, 194 Hammonds Lane in Brooklyn Park. Subscription tickets may be ordered in advance or at the box office. Individual tickets cost $12 for arts center members, seniors and children and $15 for nonmembers. Information: 410-636-6597.


The price of tickets and show times were misstated when this article was published in the print edition. The Sun regrets the errors.


So, a little busy lately. I'll write about the holidays in satirc detail when I've got a minute, but this post is just slap-and-dash, with apologies. In OTHER other news, I was offered the role of Amanda in The Glass Menagerie. I've always wanted to do Tennessee Williams, and I've never had a lead. I might just take it.

20 December, 2006

Mysterious Conversations

...every time we think about the bacon and the beans/we'll think about the fun we had way down in New Orleans.....

"It used to be when we had fewer beautiful nice things to do that we used to put that one on you and that one on me and that one on you and that one on me and yata data yata data yata data tch tch tch." She grins at me. I am helpless to do anything but grin back.

I'll be back tomorrow, pussycat. Dinner looks nice.

She shoves aside the box of beads she's brought with her to the dining room so that her hands are free to slap the table in a familiar, and formerly terrifying, noisy gesture. "Sit down!" she shouts. Her eyes are filled with fear and frustrations she can no longer name. I sit.

We'll go on her time. Her grasp of 'tomorrow' is slipping. There is only Now.

Aunt D. accepts my tardiness, and seems even pleased that Grandmother cared enough for my presence to have a tantrum at my leaving.

We are back to playing with her shiny things, doing what Daisy calls "being busy". She goes through each drawers, marveling at the contents of each. Sometimes she takes out her hats, which she has filled with her shiny Mardi-Gras beads. She rearranges the beads, fiddles with buttons and mismatched earrings, and puts things back again. Checks another drawer, moves things around, shows me a picture again, and goes back to the drawer with the shiny things.

"I love this drawer," she tells me. "Sometimes, I play in here fore hours." Behind her, Daisy nods affirmation. I go to the bathroom while she is playing. She misses me.

God. I felt better when I thought she would forget me the instant I was out of her sight.

"I'm leaving it on because you don't know if it's not on if it's not on. And then they've got to there there there there there and there."

I have brought a tiny notebook. On each page, I draw one picture and write its name, using colored pencils that Gran has artfully arranged in the toothbrush holder in the bathroom. (Objects have ceased to have purpose. She either likes them or she doesn't. She keeps shoving the phone under things in a drawer she doesn't favor, or stuffs it in the back of the closet- not because she doesn't wish to be disturbed, but because the object itself holds no appeal for her.)Slowly, Grandmother flips through the pages on the book she's watched me create, reaches the end, turns the book over and begins again. I've drawn a heart and the message "I love you" on the first page and the last page. She goes through it several times before putting it away in the top drawer of her dresser.

When she's not looking, I move it to the middle drawer, where her 'treasures' are, hoping she will rediscover it sometime when I am gone.

"I got the rest and if they don't get 'em, they don't get 'em. It can stay there, there's nothing wrong with him."

I must leave. It is time. Aunt D. waiting to go to dinner. The last time I left my grandmother, my heart broke and I cried for myself, for my loss, for being torn. When I am with her, I want to stay with her always. Daisy catches me in unexpected tears with both of her warm arms.

"I here for you grandmama," she says. "I take care of her. You don't worry." She finds a tissue for me. "I got to go get a drink for her, because she miss you in a minute."

The last time I left, I cried because I was afraid I'd never see my grandmother again.

How nice to be wrong; how hard to be right.


(The Battle of New Orleans; Jimmy Driftwood)

22 November, 2006

Gut Strings

...one foot on the platform/and one foot on the train/ I'm going back to New Orleans...


In some moments, she is any old person, sucking on the stumps of her worn-away teeth. At others, in her arched eyebrow or the imperious wave of her hand, when she laughs out loud and kisses me, I catch a glimpse of my grandmother.

The Suzuki kids have come here to rehearse for their holiday show. It is An Event. Like schul this morning, where one unfortunate collapsed, and the rest were wheeled into the hall to await their turn to be pushed back to the ward; wheelchairs of docile elderly flesh, lined in a row against a wall, an effective but slow-motion evacuation. Where was I? Ah, the children. The elderly long for glimpses of rounded cheeks and silky hair. Chairs are brought to the atrium, and patients are wheeled in and parked. Grandmother refuses to be associated with this infirm, and sits in a chair that is (clearly- to me, anyway) onstage. This affords her a close view of the little darlings, and a tolerant nine-year old permits a strange old lady to smooth a strand of her hair behind her ear. This is my grandmother's gesture, the one she practiced on me countless times when I was young. I envy the nine-year old, briefly consider cutting my hair back to the length it was when I was a child. My slippery locks must have been strange to her, as both her daughters were curly-headed. I wonder if somewhere in her mind, remnants of the little girl I was echo faintly.

The music is pleasant, if occasionally wrenching. (Four-year-olds sawing away at violas and violins with low degrees of accuracy beats badly-tuned bagpipes for audible excruciation, to my ear at least.) Grandmother takes it into her head to move from her chair. Daisy and I chase her, me last with Grandmother's wheelchair, trying to dodge the parade of youngsters as they walk around the immobile and incoherant.

Now she leans on an arched window opening, watching the children put their instruments away. She says one of her nonsense sentences, and I respond by leaning against her and saying, I love you.

She says, "I love you too." A moment later, like Dorothy, she says, "I know YOU."

"See, she know you," says Daisy, unfolding the wheelchair. "And I know YOU!" says Grandmother to Daisy. And we all laugh. Has seeing these children somehow created a resonance with my grandmother that allows her to connect with me? For a moment, she knows me.

Maybe. Maybe it is enough that she loves me. Maybe it is enough that I love her.

Here in New Orleans, time is measured not before the war and after, or before nine-eleven and after, but Before the Blow and Since the Blow. That blow destroyed homes and businesses with water, wind and ransacking. But the move from New Orleans to Houston- eleven hours by bus- and Houston to somewhere else- eight more hours- a prolognded stay in unfamiliar surroundings, a hip-breaking fall, and subsequent pneumonia, destroyed my grandmother.

She cannot be rebuilt.


(House of the Rising Sun; The Doors)

20 November, 2006

Unknown Sojourner

...take a stroll down to Basin street/Listen to the music with that dixieland beat/Well the magnolia blossems fill the air/You aint been to heaven till you been down there....

I am up early, but not earlier than Aunt D., whom I suspect did not sleep at all. She makes an egg and turkey bacon for me, padding barefoot in her dressing gown, duckwalking a bit from her bout with polio six decades ago.

It is quite, quite warm. 70 * by day's end, in fact. Fortunately, I did pack some warm weather clothing. It is odd to have packed both a bikini and a hat, not sure which you'll wear. As it turns out, I'll wear neither. I slide open the sunroof on the PT Cruiser and grin as I drive in daylight through this still-lovely city. Traffic is light. I noticed last night that the streets were deserted, but put it down to the late hour. It was not the late hour. A great deal of the city is empty.

The bridge offers me a lovely view, and I grin at the gilttering slate-grey river that snakes through the city. I choose the right road, but go the wrong way, and am soon in the ghetto, which these days is more of a barrio.

I enter the locked ward, nervous of what I'll find. My grandmother is in the doorway of her room. I meet for the first time Daisy, who attends her.

"Loooook, Meez Jackie, who come to see you! It’s Jackie dotter! It’s you grandotter. Tell her you name, sweetheart."

Despite hearing my name, Grandmother does not know me. She seems pleased to see me, but she doesn't know me. We sit in the common room with Becky, who is training to be a music therapist. She sings to each patient individually, then encourages them to sing songs with her and her accoustic guitar. Gran is tolerant but uninterested.

"Do you have a special visitor today?" Becky asks her.

"Not really," responds my gran.

Afterwards, we take a little stroll/wheel around the lake outside- she walks with her feet while sitting in her chair. I walk behind, and she forgets about me, muttering to herself in a disjointed monologue. When we return to her ward, it is lunchtime. The attendants have arranged a lunch for me. Cornbreaded catfish, hush puppies and stewed okra? A little bland, but really not bad for institutional food.

We go back to her room, at her insistence. She shows me her beads. They are shiny Mardi Gras beads that have never made it onto a parade float. She has handfulls of them. They're in a turned-over hat. "Don’t touch them! Just leave them there. They’re fine just like they are. That one’s gorgeous. Look at that. It’s blue, and this one’s black, and that’s blue, and that, and that, and that, that one’s gorgeous."

And now Gran is ready for a nap. She climbs into her bed. "Bye, bye," she dismisses me.

I’ll see you later.

I tell Daisy that I'll be back in a couple of hours, and head to the Quarter. I find a garage near Hove Parfumerie on Rue Royale and relinquish my borrowed car. Where’s Cafe du Monde from here? The garage man grins at me. He walks me outside the entrance of the garage and, twisting me by the shoulders, points me toward the river. The green and white awning beckons. "Enjoy your cafe," he says.

And shopping. I came here specifically to spend some money.

"And we thank you very much for that. You have a good time, doll."

Off I stroll to Jackson Square, where I remove my shoes.

A fortuneteller beckons me over. "You're not from around here?" No. And neither are you. No honey drips from your voice, and your face is hard and cool as a day-old pancake.

"I'd put on my shoes. People pee on the floor here." She indicates the flagstone walk in front of the Cathedral. I know it. Like any tourist spot, the panhandlers gravitate here. Bums sit and spit and drunks stagger and heave and loonies gibber and drool here. But the superstition is, if you are barefoot in the Quarter, you'll be back.

Still, I wash my feet when I return to my room. And wipe my shoes out, too.

After cafe-au-lait and begneits (my crumb-phobia has for many years deprived me of the delicious taste of begneit dipped in strong coffee- and yet,it's nice to find that life holds a surprise or two) and visits to my favorite shops, I return to the nursing home and to Grandmother.

Daisy tells me Grandmother didn't stay in the bed any longer than it took me to leave the building, and I'm sorry that I missed three hours with her. And yet. A change in routine is unsettling for an Altzheimer's patient, even a pleasant change. She may have needed time to regroup.

Grandmother opens drawers and discovers her belongings. The bottom drawer of her nightstand contains only a skirt.

"Nothting here but this," and she pulls it out. "Look, that’s nothing, nothing, nothing at all. It’s beautiful, look at it. It’s not mine, but it’s beautiful."

We sift through her jewelry boxes, which contain buttons, unmatched earrings, pendants without chains, a special jeweled belt, and more Mardi Gras beads. It is these she likes best. Outshining the halfhearted glitter of rhinestones on antiquated ear-bobs, the plastic metallic gleam and silky smoothness of stranded ovals clicking together as she piles them up or slides them onto her arm appeals to three of her senses.

She pulls out playing cards, a large stack of several different decks blended all together.

"How many will you have?" she asks.

Seven?

She hands me a stack of probably twenty.

How many will you have?

"This many." She takes a stack of thirty or more. I fan the cards in my hands, waiting to follow her lead.

"Well, we don't need this one, and he can just stay right here, and we don’t care much about THAT." She puts a four down, face up.

I have this. I put a three next to the four.

“That’s good, that’s good.”

Do you have a two?

She looks, finds a two, puts it next to the three. "Do you have an ace?"

I do. I put it next to the two. How about a five?

She has a five. She asks me for a six. I put one down. Then she puts down another six. We put down three sixes before moving on to seven. Then, eight nine ten just fast like that, and then she scoops them all together and turns them face down, passing them to me.

"We're all done with that, it won't bother us anymore."

We play again. If she notices that I play a card from the set we just completed, she does not object. We play three or four rounds of this, sometimes going all the way up through the face cards.

Daisy brings dinner to Grandmother in her room. Grandmother picks at her food. I agree that the stewed spinach is less than appetizing. Daisy brings an Ensure drink. Grandmother likes it, but keeps asking if it is mine or hers.

We play with the things in her jewelry boxes for awhile longer. When she climbs into her bed and recedes into the television. I kiss her forehead and promise to return tomorrow.

"Leave me a note," she requests. I find paper and tape to post the note on her mirror.

‘My darling pussycat,’
it reads, for the word ‘Grandmother’ has no meaning for her anymore.
‘I will come back to see you again tomorrow, which is Saturday. I love you.
xox Missy Belle’.
Missy Belle is what she used to call me when she knew me.

"She know you," Daisy insists. Possibly Daisy knows my grandmother better than I do at this point. I don’t care if Grandmother knows me or not. I want to enjoy her, and make her feel loved and entertained. The other residents sit, nearly catatonic, not conversational or animated. My grandmother may not make sense, but she is talkative.

Is she enjoying me? Is this a good day?

"This a verrrrry good day. She like you, can’t you tell?"

She does?

"Oh, yesssss. She like you, like you ver’much. Doan you know, she never let noooo body touch her card. But she, she play wit you. She like you so, so much."

I leave, feeling somewhat better, and arrive at the apartment to find Aunt D. still in her dressing gown. I have a feeling she napped a lot. I hope she did, anyway.

"You're too late to order dinner, lover. They used to close at six, but since The Big Blow, they close up at five, I guess."

She’ll cook something, she says. I resolve to leave earlier tomorrow, to avoid Aunt D. cooking. She does it, but I know she doesn’t like it.

"Don't you tell your mama I served you raw food," Aunt D. admonishes as we cut into buffalo burgers that are dark on each side and cool in the center.

Why would I do a thing like that?

"Because I did. Look at that thing."

Well, if it doesn’t moo or bleed when I cut it, I don’t mind.

No need to tell her I'm not a meat-eater. We're in the South, and I will be Southern.

It's only for a little while.


(New Orleans; The Blues Brothers)

16 November, 2006

In Transit

...good mornin', America, how are you?/don't you know me? I'm your native son!/I'm the train they call the City of New Orleans/I'll be gone five hundred miles when the day is done....

Takeoff:

BWI Airport is so clean. And so familiar. Well, except for the name, which is now Baltimore Washington Thurgood Marshall International or some such unwieldy monniker. I check in, once at the curbside, and again at the gate, and then go for a seven-dollar Guinness Stout at the bar. I knock it back fast, and feel unapprehensive within minutes.

Fearful of confiscation, I've left my knitting needles home. "Compromise, and take a crochet hook," my mother advises. "No one can construe that as a weapon."

Not until I shove it up your nose and yank your brains out with it, because I am a ninja.

Refusing to compromise, and perhaps practicing a bit of civil disobedience, I've brought a set of chopsticks, an emery board and two Band-Aids. While the plane waits for takeoff clearance, I file the tips of the chopsticks into points and wrap the bandages around the opposite ends. I cast on fifteen stitches and have knit three rows by takeoff.

Yes, in fact, my middle name IS MacGyver.


Landing:

We approach Miami airport. I have never basked on white Miami beaches nor frolicked in the turquoise Miami sea. I allow myself to wax rhapsodic for a few moments- but what's this? What are these fake oval islands covered with mansions and strung together by a bridge like a chain of obscene man-made jewels?

I watch toy buildings speed by, trying to get a feel for a city I will not see, and the wing flaps go up and the pilot has suddenly set us down in the sweetest, softest landing, tender as a first kiss.

I only realize later that moment is the best part of my stay in Miami.

It turns out that I hate the Miami airport. The smoking courtyard, open to the sky, offers a glimpse of sunset. As little as I smoke, how is it possible that no fewer than three disposable lighters are confiscated from my personal luggage? Old fireating habits die hard, I suppose. I bum a light from a Limey, watch the sunset in a stifling three-story room with no roof. And then begin my trek to the opposite end of the airport, which takes fourty minutes.

I am chilled enough waiting at my gate- a three hour layover- to put on my leather jacket, the nicer one that I don't wear much (which is why it's nicer, obviously) thinking I should have thought to bring gloves, just in case. And then I check my pockets.

It's kind of lovely to discover a pair of gloves in your pocket, particularly nice ones that you'd forgotten your mother-in-law gave you last Christmas.

The eight-dollar sandwich I buy is lousy. The second seven-dollar beer costs me also my cellphone. It falls out sometime after I phone Aunt D. and before I board the plane, while I'm scurrying to buy and drink a beer before takeoff. I discover it missing when I try to make an "I'm on the plane now" call to my family. I am permitted to unboard to look for it at the gate, and an airline employee calls it, but gets my voice mail. Someone has picked it up and turned it off. Dammit. I get back on the plane.

Takeoff:


I resign myself to the lost phone. My seatmates, from Edmondton, Alberta, are lovely people, and we enjoy ourselves. Jared reaches across Autumn to pat my hand and say what he thinks are comforting things during my white-knuckled transitional period. I give him lotion to soothe his sunburn. The flight attendant, unable to help finding my cellphone, and unable to provide any pain reliever to Autumn, sets us up instead with tiny bottles of Baccardi. "Oops," she says."Look what fell off the cart. Lucky you! Need mixers?"

Landing:

The landing is engagingly lumpy, like a ride at a carnival, with extra whoosh factor.

At Hertz, I pick up the car I reserved. Or rather, I don't. I first ask directions to a Walgreen's (I saw some neon as we taxied in), thinking that surely they will have disposable cellphones. She gives me directions and a map, and then asks, "How would you like to drive a PT Cruiser?" Would I! Well, this IS nice.

I drive away confident that everything will go smoothly now.

The woman at Walgreen's allows me to use the pharmacy phone, once I've agreed to purchase a Tracfone and a card with ninety minutes.

Do you know, on television, a drug dealer walks into a convenience store and walks out, talking on his newly-purchased untraceable phone? Do you know, it doesn't work like that in real life AT ALL? The phone has to be charged, and then you spend sixty-leven hours on a land-line to register the blasted thing.

I lose myself hopelessly going from the Walgreen's to Aunt D.'s house. So hopelessly that the maps given me by the kind, calm man at Triple A cannot help me. The road I want is closed down. The Detour signs lead to nowhere. I fear I am in Slidel, the place my mother specifically instructed me to not go. I stop behind a police car. The officer gives me directions that are helpful, if not entirely accurate. Once I finally find St. Charles Avenue, I spend a silly length of fruitless time looking in the 3700 block- I've transposed addresses. My gran's nursing home is in the 3700 block. Aunt D. is at 1750 St. Charles Avenue, a gated apartment complex where the guard has been alerted to my arrival, and evidently pestered. Because my untraceable cellphone is useless. Because there are no payphones. Because I'd be uneasy about getting out of the car to use a payphone. Frustrated? Doesn't even cover it.

By the time I arrive, Aunt D has worried herself into a frazzle.

"Don't nevous me like that, darlin'! My old bones caint stand it!"

Cuppa tea, lover? It's a Band-Aid, but it'll have to do.

(The City of New Orleans; Arlo Guthrie)