THE FIRST QUESTION that came to mind when I stepped into Rüki Galleri to see Eiko Ojala’s new exhibition was: “Is Eiko a woman or a man?” With a name like that, it would probably be a man, but I wasn’t sure. Maybe she was Japanese? Like Miho, Yoko, Eiko. The woman behind the counter told me that Eiko Ojala was a man and an all-around nice guy. “In my opinion, he’s quite friendly,” she added. Her name was Inessa. So, Eiko and Inessa — these were my main characters.
Rüki Galerii was once stored rye flour. The gallery is located behind the new SEB bank on Tartu Street in the heart of Viljandi. The place is wide and spacious, and precisely for that reason ideal for experiencing Eiko’s exhibition “Mind Notes.”
The technique here is pigment print. At first glance, it’s hard to tell what’s going on. It looks as if someone has cut figures out of paper and glued them all together. But that’s not the case. It’s simply a 3D effect. There are various shapes: men, women; some are lying down, some dancing, some running together, some standing under an umbrella. Incidentally, the figures do look Japanese. They have black hair. Pale skin. There is indeed something Japanese about them. Even though Eiko Ojala is an Estonian man.
There are two buckets on the right. One on the left. Seeing them, I asked Inessa if the roof was leaking. Inessa said no. The buckets were part of the exhibition, she explained.
Inessa also tells me that Eiko Ojala is a famous artist: “His pictures have even appeared in The New Yorker.” And not only. The Washington Post. National Geographic. Time. Le Monde. Wired. Politico. It’s a great honor that “Mind Notes” is here, in Rüki, in the quiet small town of Viljandi.
In the corner are information sheets in Estonian and English describing the concept of the exhibition. These images speak about the body: how the body reacts even when consciousness ignores it. Disturbances, fatigue, comfort. The Silicon Valley “live-to-work” mentality is one influence. The fiction of Franz Kafka is another. How authority functions through spaces, processes, and customs, and how a person goes along with it until they no longer perceive that this is how they are behaving.
Ojala’s human figures express this through restless poses. They are strange, admittedly. They bring to mind characters from the film Backrooms, though it’s hard to say why. Also Playmobil toy people. The prices are high. A picture of people standing together under an umbrella costs 1,500 euros. But these are not exactly the kind of pictures you hang on your bathroom wall. At the same time, they are unique and, in that sense, welcome. After all, when you go to an exhibition, you expect something different. Something new.
I think a visitor who comes here will not be disappointed.
Looking at these images — for example, a dancing person — I’m reminded of old drawings of shamans, where someone “flies” together with some spirit. Like in old Tibetan art, where the gods strike different poses. Overall, the exhibition is a haunting, strange place. Inessa says it reminds her of the series Severance, which depicts a gloomy biotechnology company whose employees have undergone a severance procedure that separates a person’s memories between work and personal life. That seems about right.
Later, when I wrote to Eiko, he sent me the text he read at the exhibition opening in August. He adds that this was actually his first solo exhibition and therefore especially personal.
“As the name suggests, ‘Mind Notes’ — these works are connected to our senses and how we notice and interpret the messages they send us,” he wrote. “Especially in situations where we don’t pay attention to ourselves. Or rather, one could ask whether we notice those messages at all. The claim of this exhibition is that, as it were, we don’t.”
And the buckets? They symbolize repetition. At first, the visitor notices that there are three buckets of water. But over time, the water quietly evaporates. They become part of the exhibition’s rhythm.
My main question, of course, was how the author himself feels about his exhibition. In general, Eiko Ojala is satisfied. “Tranquil Viljandi was the perfect place for this,” he answered me. “But no artist can ever be fully satisfied with their art. One must always keep pushing forward.”
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‘Mind Notes’ opened at Rüki on 16 August and will remain through 26 September. An Estonian version of this review first appeared in Edasi. More of Eiko Ojala’s art can be seen here. And Inessa (Saarits) is an artist herself.
BEING AN AMERICAN has never been easy. Even at the start, the idea of independence wasn’t exactly popular. About a third of people in the colonies supported the American Revolution, a third were on the side of the British Empire, and a third didn’t really care one way or the other or were just indifferent. As The Who sang in 1971, “Meet the new boss, same as the old boss.” I fear I might have belonged to this third category. I’d like to say I would have been there with Franklin and Jefferson in Philadelphia.
But I can’t really be sure.
In recent years, American politics have been challenging. It’s hard to recall that Minnesota and Greenland were the main topics earlier this year. In the meantime, there’s been a war in Iran. Or is it a war? Is it still ongoing or is it over? Nobody knows. And nobody can even say if it was a war or some other kind of armed conflict. I feel strangely indifferent to it, but perhaps that reflects the same ambivalent feelings that presented at America’s moment of birth.
For me, America is not about flags, armies, and politics. And it isn’t even “American food.” During these years in which America has been wrestling with its soul, I have rediscovered my own origins. I’m happy to inform you that they do eat well there. Not barbecue, hamburgers, fries, or anything else considered to be typical American food. It’s at times easy to forget that America might be an idea, but it’s also a place, where each region has its culture and cuisine.
I am from the East Coast.
What that means is that our local nature found its way onto our plates and soup bowls. When I think of my childhood foods, there were no potatoes or schnitzels, as they have here in Estonia. There was no blood sausage, and dark rye was essentially unknown. The only real black bread available was at some German restaurant, though you could find pumpernickel in the stores. But it’s not the same thing.
We had lobsters, though, all kinds of crabs, shark and tuna steaks and bags full of clams and mussels. I remember one lovely summer, maybe 1985 or thereabouts, when my father was away on a business trip in England. My mother didn’t feel like making a big dinner that night and decided that our dinner would be a big bowl full of mussels with melted butter. There I sat with my brother on the deck, eating away. I have to admit; it was probably one of the best dinners I’ve ever had.
We lived in a village on the north shore of Long Island. Before the Second World War, this was a summer place, and many of the houses were built as summer cottages at first, before they were outfitted for year-round living. From my window, you could see the sound that separated Long Island from the State of Connecticut. At night, you could see lights glowing on the other side of the water. During the day, white sailboats and ships moved across the water, and sometimes you might hear the honk of a fog horn.
Our food culture was very influenced by New England and in some ways Long Island is a more natural part of that region. The City of New York has a colorful history, where the first Europeans who settled were the Dutch and their heritage lives on in local foods such as koolsla, cole slaw, a cabbage salad with mayonnaise. We did eat this, but more in restaurants or delis.
But my mother did take me to the seafood store regularly, where all kinds of surprises awaited. A usual purchase was soft-shell crabs. These were breaded and fried. I ate every part of them. I don’t even want to know what parts I ate, but there were certainly some unusual tasting parts. Were those the crab brains? Who knows. For me, they were the most nutritious food around.
There were also scallops, which were very welcome for dinner. These came straight from Peconic Bay on the eastern end of Long Island. But you could get these up and down Long Island and across New England and up into Maine, and from there on to Canada, Nova Scotia, New Brunswick. Who knows where the end of the scallop trail is. Scallops were a kind of delicacy, because they were more expensive. Clams were much more common. Truth be told, Justin Petrone’s first meal after breast milk was linguine in white clam sauce.
Just as an Estonian may dream of potato salad, black bread, beer and herring, I dream of shellfish.
In the seafood store, there were also lobsters sleeping in tubs, their claws held shut by colorful rubberbands. We ate lobster quite often. My mother would buy four or five and they would be put in a paperbag. At home, they would await their fate in the cold of the refrigerator until evening. Then they would be put into the boiling water. I remember how I could hear them tapping at the inside of the pot, trying to get out. But at some moment, there was no more tapping. The best parts were the claws, of course, and the rich and meaty tail.
Lobster was something special. They were expensive too and we would eat them at birthdays or some other special occasion. I have a weird memory of my father’s 38th birthday. I was about five years old and I remember how a lobster got up and tried to run across the table, away from my knife and fork. In the end, I did get him. What’s weird is how clear this memory is, even if it was probably a dream. Or was it?
It’s odd to think of how much time I have spent with crustaceans.
Once, in the seafood store, the owner decided to play a trick. He took out the lobster and put it on the floor. It began to move toward me. This was like a scene from a science fiction movie. I can still hear all of those legs tapping on the ceramic tiled floor.
It’s interesting that even McDonalds offers lobster rolls in New England. All you have to do is order your lobster roll and drive up to the next window. And there it is, in your hand. In New York, this is less common, so it was always a fun part of traveling north.
Just one ferry ride and the lobster roll is yours.
What a weird combination — a fast-food delicacy.
I haven’t even got to the soup. Our chowders are interesting. As a child, I knew two kinds. There was New England clam chowder and then Manhattan clam chowder. New England clam chowder is cream based and filling, Manhattan is tomato based and a bit spicier. I should acknowledge that when I was a kid, the waters around Manhattan were not the cleanest. So, I would wonder, peering into my soup, what kind of stuff was in the Manhattan clam chowder. Was there hospital waste in there? Dead bodies? That’s what I imagined was floating in it.
Everybody knew the mafia dumped their hits in the waters around New York.
If you head out farther east, or travel by ship to Martha’s Vineyard and Nantucket, you’ll encounter quahog chowder. Quahog is an Algonquain word, it refers to a kind of clam with a very tough kind of meat. This is very everyday food. One summer when I was spending time at my friend’s grandparents’ house on the eastern end of Long Island, we spent the day collecting clams and made soup at night. So, if someone asks me about American food, this is what comes to mind. What we actually ate.
It’s nice to think and write about soup. It’s like getting your country back with every spoonful.
Long Island’s north shore looks out on Long Island Sound, its east will lead you to Europe, eventually, and its south shore opens up to the Atlantic. These are deep waters and so we often had swordfish, tuna, and mako shark steaks on our table. My father never really made dinner, that was mom’s specialty, but the grill was his domain. He would grill up some shark.
We ate Jaws with baby potatoes.
The indigenous people along the east coast were mainly Algonquians and they subsisted on maize, beans, and squash. In Tallinn, the Three Sisters refers to three old houses, but for indigenous people, the three sisters were just these three staple crops. In school I learned that there was often a big pot at the center of their homes into which they tossed all three, plus some venison or fish. If you were hungry, you just grabbed a bowl and helped yourself.
We never ate that way, exactly, but we did have the sweetest corn in the US, or so we told ourselves, and we knew that the corn we ate at the end of summer would be even sweeter. I had my own strategy for eating corn. Some just chomp away, with corn flying every which way, but I take my time. I do it systematically, so that every piece is properly eaten. Husking the corn was my favorite thing to do before dinner (or do you really want to put out the plates? I don’t.)
So there I would sit. But how many did we usually buy? Sixteen?
Even as suburbia was growing all around us, there were still some functional farms in existence. We would buy our corn from there.
For us, summer meant seafood, corn, and potatoes.
The potatoes were also cultivated on the local farms.
My grandmother wasn’t from the place where we lived. She came from down south. Her father was from North Carolina, and her mother was from Virginia. They had a different food culture. The climate there is warmer, the people are closer to the land. They had smoked hams, fried chicken. Lots of peanuts. Some farmers only grew peanuts. But corn had a special place of honor. My grandma would make me cornbread all the time. Every time I went to visit her, where she had her Elvis Presley Christmas album, she sent me home with bags full of cornbread.
The word for maize comes from an indigenous language — the Taino word mahiz. So I think there’s nothing more American than corn or maize. It’s probably one of the things that define it.
It’s interesting to think of American food today, a rainy morning in some Estonian cafe. Sometimes I even forget that I am from there, but then something odd happens, like I see a bunch of shipping pallets and think, for a moment, that they are lobster traps. Or I start to talk about lobsters and people look at me like I’m weird.
What kind of person talks about lobsters?
Once I had to find the Estonian word for spout, when I was writing about whales. People had no idea what it was. “You know, that spurt that comes out when the whale surfaces to breathe?” Then I realized that I was just from somewhere else. A place where people talk about whales and lobsters all the time. A place where your homeland comes with a hot bowl full of quahog chowder.
America is, after all, named after some Italian explorer named Amerigo. But maize and quahog? Those are real American words, if you ask me.
An Estonian version of this article appeared in the magazine GO Reisiajakiri earlier this year.
Into the mill. Mill:liminal is the audio accompaniment to the 2018 film The Mill, recorded at the Räpina Paper Factory in Estonia.
MILL:LIMINAL IS NOT AN EASY RECORD to peg, but that doesn’t mean it isn’t interesting or enjoyable. In fact, it’s among the more haunting, thought-provoking, and meditative recordings I have heard in some time. Released this year by Murmer, the handle of sound artist Patrick Tubin McGinley, it is the sonic accompaniment to a 35-minute film made with Daniel Edward Allen in 2018 called The Mill. To record The Mill, McGinley and Allen descended on the Räpina Paberivabrik, a paper mill in southeast Estonia that has been producing paper continuously since the 1730s. Here, the old mill’s creaks, whirs, rattles and hums are arranged into drone-like compositions distilled into seven, hypnotic tracks. McGinley reports that he was inspired to record the mill after having been a customer. Räpina produced the packaging for earlier releases, and he was drawn in by its mesmeric sounds.
McGinley’s approach to recording is very cinema verite. His sound recorders are the shaky hand holding the camera, giving you a first-person look — or in this case, listen — at what’s happening. The sounds for mill:liminal were recorded mostly with a Sennheisier MKH 30/40 boomed microphone rig connected to an SD744T hard disc portable field recorder. Additional sounds were recorded with self-constructed contact microphones and some with DPA 4060 miniature omnidirectional microphones. So what can sound like sound captured raw is actually the product of some serious technological sophistication and deep processing.
The result is unsettling, for mill:liminal sounds like consciousness melting off the slate of time. In some moments, the low and steady growl of the paper mill machinery takes on monastic tones, as if a monastery of Tibetan monks were assembled for prayer in the mountains.
It’s not hard to find parallels in McGinley’s work, but it does lead one to unexpected places. Is a man in a plaid shirt with a microphone in hand, poised to capture sounds in the field, not unlike Alan Lomax, with his field recordings of world music? McGinley does agree with that.
“I have long-standing thoughts about the world of field recording and experimental music being considered as folk music,” he says. “It’s music that has grown out of a community outside of academic circles, a sort of voice of a population.” Interestingly, he has noted that the mill, in its own way, is a living entity, as people play limited roles in maintaining its processes.
There are also sonic links to the experiments of minimalist composer La Monte Young and his Dream Syndicate. One can see how the hum of a paper mill aligns with Young’s tunings that matched the environmental sounds around him, most famously his reliance on a refrigerator’s 60-cycle electrical hum, which he considered as a foundational drone for his music. Young called the 60-cycle hum the “drone of Western civilization,” but as mill:liminal reminds us, these folk songs of machinery are all around us. If listened to, they can be a thing of beauty.
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mill:liminal is available now as a digital download and will be available soon as a cd packaged in paper from the Räpina Paberivabrik. In addition to undertaking field recordings of creepy paper mills, Murmer also produces a regular weekly radio show called Framework Radio. Other recordings are available on Bandcamp.
ON THE WAY HOME, I wound up as a stowaway, riding in the back of an old-fashioned mail bus. It had been recently refurbished, and the interior smelled of fresh pine. Crates of letters were stacked up on both sides of the coach. I knew that if I followed the north coast road, I would eventually make it home, but at some point, the road changed. It was generic and unfamiliar, and the forest here was so dense and green that I lost my bearings entirely.
There was also water on both sides of the road now, which made no sense. The south coast was a good 20 miles away. The mail bus rolled to a stop, and a wooden ladder descended mechanically from the back. Into the storage area walked the postman, wearing a striped jacket and a straw hat, as if he had just stepped out of 1910. “Another stowaway, huh?” he said.
The postman wasn’t angry. He fetched a few envelopes and went to stuff some mailboxes. “But where are we?” I asked him. “I thought this was Long Island.” The postman’s eyes narrowed. “You, good sir, are in the most exclusive part of Long Island. Pristine, undeveloped, inhabited by only the oldest, wealthiest families. It’s so off limits that it’s never appeared on any map.”
The postman went on. “See that, over there? That’s Fresh Pond. Most people think that’s the north shore. But out here, there’s this strip of unspoiled land, a grant to the settlers of these parts by His Majesty Charles II.” I stuck my head out of the mail bus and looked around. I saw no homes anywhere, just old-growth forest teeming with wildlife. The air here was so fresh it hurt just to breathe it. How could it be that there was a part of the island I had never seen?
“If it’s so exclusive, how do I get anywhere from here?” I asked. “I don’t think my parents know how to get here.” “Where are you going?” he asked. I told him the name of the town. “No worries,” he said, returning to the front of the bus. “I’ll drop you at the old post office. You’ll have to find your way home from there. And you can never tell anyone that you saw this place.”
I WAS SITTING in a brightly lit cafe somewhere in a northern city when Ezra Gold walked in. In a room full of laconic blondes, he was refreshingly Jewish. Dark hair, one of those ancient philosophical faces that always looks like it’s posing a penetrating question, when in reality, he was probably just looking for some decent coffee, maybe a scoop of ice cream. Ezra looked mostly the same. But he had acquired some wealth. He was dressed in some high-end red-pink zoot suit. He had a joyful countenance. He said, “Hey there, buddy. Good to see you!”
He had two daughters with him, both around 10 years old. They held on to his tailored pant legs; he ordered them both some ice cream. Before he left, he invited me to visit him in America. “You should come back to America, man,” said Ezra Gold. And like that, he was gone.
I hadn’t seen Ezra since we had lived on the same floor in college. I had maintained no contact with him. He was a ghost from the past, but a welcome one. I took him up on his offer, and soon I was hiking down a dirt road somewhere along the mid-Atlantic. The roads curved up into the mountains, the foothills of the Appalachians, and there was a rocky peninsula, surrounded by blue water. Here some tired fishermen sat, tossing their lines into the waters, watching them dance. “Do you know where Ezra Gold lives?” I asked one of them. He was a lonely old hobo type with a few gold teeth, and he pointed toward those hills over yonder.
I kept walking into the hills. It was autumn now; delicious golden leaves blanketed the landscape. Dug into the hills, I could see the brick bones of an old factory, its chimneys still intact, its roof and workers long gone. Eventually I came to a small town and found the building I had been searching for, a kind of orange cream-colored tall apartment tower.
This was where Ezra Gold lived.
“Hey, buddy, glad you made it,” he said, welcoming me in. “Can I get you anything?” He went to the kitchenette and made two coffees. I looked around his home. In the other room, I could see his daughters stretched out on a couch, both absorbed in the glow of the internet. There were piles of clothes on the floor, his bed looked as if it hadn’t been made in weeks. A blue-gray light filled the room with melancholy. That’s when I realized that Ezra Gold’s wife had also left him. He had been deserted, marooned, jettisoned, discarded, abandoned. But he set out two cups on the table as if nothing was amiss. “So,” said Ezra. “What have you been up to?”
LINDA AND HER HUSBAND stole Gustav Klimt’s paintings from an exhibition in Helsinki. They decided they would show the Austrian symbolist painter’s artwork to the public, but only at extortionate fees. Just one viewing of one Gustav Klimt painting would cost around €10,000.
“But that’s not fair,” I told Linda. “Gustav Klimt’s work should be freely available to the public. Every man, woman, and child deserves to see The Kiss and Portrait of Adele Bloch-Bauer I for free, if not for a small, but meaningful donation to a museum. It’s the only right thing to do.”
Linda was not listening. “We stole the Klimt paintings to enrich ourselves,” she said. “Besides, they are such masterworks that the public should be willing to pay their entire life savings just to appreciate Klimt’s golden phase for a few moments. If you want gold, you should pay gold.”
I tried to find Linda’s husband, a conductor named Siim, to convince him of this art theft travesty, but he was too busy moving the Klimt paintings from their getaway van into a secret warehouse. They were long past middle age. Wasn’t Linda 60? Her hair was still chestnut, with streaks of gray, and she was in incredible shape. I threatened to report her to the art police.
“You will do no such thing,” she said. Then, with an unbuttoning of a button and the unzipping of a zipper, she became quite persuasive. “You will not turn us over to the police for stealing Gustav Klimt’s paintings,” Linda said while licking me. “And I won’t stop licking you until you change your mind. Oh, you are yummy,” she said, looking up. “Well,” I said. “You might be right.”
TO BE AT THE TOP of a shiny skyscraper, enclosed in metal and glass, is to experience a kind of disorientation. Maybe you are on the 11th or the 26th floor, but really, you are standing on air, walking on air, surrounded by a concrete box of walled-in oxygen. There was a party for all the program members in this Manhattan honeycomb, it took place in a modern room with a single long table. There was champagne, and champagne glasses, and Dr. Henry Kissinger was there. His bush of gray-black hair looked fine enough. He kept trying to talk to me about China. “Strange,” I told Dr. Kissinger. “I thought you were dead.” He said, in his thick accent, “Did you really think I was capable of death?”
There were a lot of beauties from the program there, in extravagant dresses. One woman stood on stage, handing out awards. A guitar appeared on the table; I was surprised I hadn’t seen it there before. It was a Fender Nocaster model, encased in silver trim. I picked up the guitar and began to pluck out a tune on its metallic strings, but when I did, it slipped from my hands and fell on the floor. When I picked it up, I noticed the headstock was gone, and foam was emerging from the top. Kissinger was there at once. He held the glass to the broken neck, and soon it was full of bubbly. “Didn’t you know that all guitars are full of champagne?” he said.
More people kept coming to the party and it was getting late, so I decided to leave. I took the elevator down. I knew I would have to make the last Long Island Railroad train to Port Jefferson. Or would my father really have to come and pick me up in Ronkonkoma? I tried to open up the schedule on my phone, but the page wouldn’t refresh. To make matters worse, when I got downstairs, I realized I had left my shoes at the party. I exited the elevator, looked over at the doorman, and asked him if I could go back up. “Do you have a pass?” he said. “Any form of identification?” “I just came out of the damn elevator,” I said. “Obviously, I’m allowed to be in the building!” The doorman looked puzzled. He knew not what to do. But procedure!
“Fine, sir,” he grumbled, “but only this one time.”
When I retrieved my shoes, I saw that Dr. Kissinger was still inside, charming young women. Then I rode the elevator down again. Outside, the Manhattan sky was a smoggy white. How odd that there were white nights in New York too? And at such a late hour. The streets were full of people in dark coats. Cars honked their way down the avenue. But when was the last train home now? Or was there a Port Authority LuxExpress to Tartu? Impossible. My phone said the next train was at 3:28 am. That was a long time to wait. I decided to call my daughter, to see if I could stay there. “But dad,” she said, “we don’t have any place for you to sleep. We’d have to pile up clothes on the floor to make you a mattress.” “That sounds fine to me,” I told her. The only problem was that I had no idea where she lived in this urban jungle. Then my phone died.
There I stood, in the streets of New York, surrounded by strangers. I considered for a moment that if there was anyone who could help me, it was Dr. Kissinger. He was older than time. He was undead. I began walking back to the building. Certainly, Dr. Kissinger would still be there. Did he ever miss a party?
ONE DAY, KAROLA told me the following story. When she was 19 years old, she became pregnant. The father was a jobu, in her words, a jerk, and a university mentor who was 25 years her senior. He had received various accolades, orders, and stars, and had seeded the earth with his progeny. He disappeared when he learned of Karola’s pregnancy and never returned her calls. She carried the baby to term but, not knowing what to do with it or herself, one night she suffocated the child with a pillow. An act of desperation. She sobbed while she did it.
“But it was such a beautiful child, you should have seen him, so pink and lovely,” she told me. Karola couldn’t part with her dead child. So she kept him hidden away in the closet, so that nobody but her could see him. She would take him out sometimes and hold him. He still looked quite the same, like a little baby doll. She had never told anyone about the child before. She shared with me her darkest, most disturbing secret.
The beautiful pink dead child. She let me hold him in my arms. It was then that I told her that the child deserved a proper Christian burial. “You can’t just keep him locked up in the closet for all eternity,” I told Karola. We put the baby in a box, buried him at the foot of a tall pine tree. Karola wore white. I read some psalms I had selected for the occasion. Then it was done. The baby was returned to the earth. Soon it would mulch. There wouldn’t be a trace of him.
But my mother saw us from the window. “What were you doing with that strange girl in the forest that day?” she wanted to know. “Tell me what was in the box.” It was such a terrible feeling, that I had to pretend it had all been a dream. “You were dreaming,” I told her. “There is no girl and there is no box.” Of course, there had been. I kept staring at that tree, wondering about Karola’s baby. I felt like an accessory, but I hadn’t killed him. I arranged a proper funeral. I hoped he was sleeping well there in the ground.
WHAT BECAME of the furniture in my grandparents’ house? The little German table in the living room, the shining Buddha beside the couch, the little chair from my grandmother’s home in Virginia? It was here that I awoke in my bed, just as I had gone to sleep in Estonia, on the other side of the ocean. The Atlantic washed against the Netherlands and Denmark, and seeped through the straits, until it caressed the Baltic, which tugged it north to Estonia. Here I was back in the Long Island living room. Everything was a shade of drab brown or drab green.
“I need to make a cup of coffee.” This was my core impulse. Something to smack me over the head and wake me from my deep slumber. A small kitchenette had been installed right here in the corner, where the stereo used to be. I began to empty the contents of the espresso maker. As I did, the black coffee grounds flew into the air. As they landed, they glowed with fire. There were fiery ghost strands burning away all around the room. Each nestled in its own blaze. How could it be that none of these small fires started to spread? They all remained there, in place.
There might be some other explanation for the flickering fires in the living room. In the back, I could see the bedroom where my grandfather died. Or didn’t he die in the bathroom? It was quite dark in there; I could see the furniture in the shadows. But he wasn’t here anymore. He was gone, and grandma was in the kitchen, making cornbread again, all dressed in white. In the kitchen, there was an old metal scale that hung suspended across from the telephone. As I entered the kitchen, the scale began to dance about. “Don’t mind that,” my grandma said. “It’s just the ghosts. They like to play with it.” I also liked to play with it when I was young. How strange to be back in the old house. It was as if it was suspended in time. Nothing had changed. It could have been any year, but my grandma’s hair would always be white. There was nothing to be afraid of, though. The kitchen ghosts were playful. The fires didn’t catch.
SHE CAME TO the grand opening of the spa hotel. This was a glamorous event and many years in the making. It was catered by the finest cafes and confectioners in town, and there were long tables full of food and drink, with local and national politicians elbowing their way to the kool-aid, while the rest of us tried to make sense of the architecture. They said there were 300 rooms in these futuristic cylinders. It was designed to be a convention magnet. One can imagine the various agencies and associations that, after spending years on the same circuit, would warm to the idea of a waterfront getaway in this one-and-only middle of nowhere.
She was also there with one of her girlfriends. She was visibly with child, though not yet full term, and she told me that I was the father. I quickly accepted my fate, began to talk to her about future plans. She was a shapely young woman with brown hair, common features. I think she worked at Swedbank. “I don’t have much money,” I told her, “But I’m sure we can manage.”
She was grateful, of course, that I intended to play a real role in our child’s life. But as I socialized in the gray light of the spa hotel, something began to bother me. Because as willing as I was to accept responsibility for her child, I couldn’t remember ever being with her. When had that happened? There were so many women. They were half the world, if not more. It was hard to keep track of them all. Surely I might remember a few fleeting seconds of lovemaking.
“Don’t you remember last year,” a friend reminded me at the reception. “When you went on a spree?” Ah, yes, the glorious spree. Truth be told, it had never really ended. Still, how could it be that I was about to become a father, but I couldn’t remember the woman? At the food tables, I saw her again. I said, “I’m terribly sorry, but I am not sure if I am the father of your child. I don’t even know your name or who you are.” “My name is Reet,” she said while rubbing her hands over her protruding belly. “But you are definitely the father. There can be no other.”
“No, I’m not,” I said. That “no, I’m not” didn’t seem to move the needle. If she said I was, maybe I was. I couldn’t remember everything. Not knowing what to do, I went to the upper level, where there was a panoramic view of the sea. It was blue and wide, so close you could almost touch its whitecaps. That great heavy sea, the way it sloshed about, washing time and worry away. I glanced down the coast and could see a young couple walking along the water’s edge, with two or three children. They were all wearing sunglasses and striped t-shirts. I could hear the voices of the children and the pleasing meditative rhythm of the vast sea outside of the glass.