I’ve been watching the Qasr al Hosn. Watching it since I arrived in August. The boarded-up block below my office window withholds this oldest structure in Abu Dhabi—the whitewashed fort—and the arch-studded building of the Cultural Foundation. The block has so much potential, but for months, nothing’s happened. Or, I’ll see a kick up of dust and realize it was the wind.
This is an excerpt from a narrative about the last seventy-four days in the life of Vincent van Gogh. It begins in Paris on the morning of Saturday, May 17, 1890, when Vincent first met his sister-in-law Jo, the wife of his younger brother Theo. It ends in Auvers, northwest of Paris, at one-thirty in the morning of Tuesday, July 29, 1890, when Vincent died after wounding himself in the chest with a pistol.
The airport lights flicker below, and Sig and I part in silence. I creep towards the women’s cabin. Orange and pink bleed into my view of Juneau; the July sun has been setting since we snuck away from camp two hours ago. Sunset will run into the 3 a.m. sunrise; camp will wake promptly at 7:30. I undress in the semi-dark, climb the damp wood rungs to my bunk and listen for my seven sleeping colleagues. We are all geology majors, Class of ’03, in sight of college graduation.
Seen on a topographic map, the town of Port Jervis, New York, appears to be guaranteed some drama. It is situated at the point where New York, New Jersey, and Pennsylvania come together at the banks of the Delaware River, where the riverbed takes a radical turn to the southwest (as if it had suddenly decided to avoid New Jersey), deepens to eighty feet, and begins to take on the grandeur that will come to it fully in the Water Gap some ten miles farther south. But whatever Port Jervis once was—a railroad and logging hub, a transport center for the produce from local farms—it no longer is. The town center seems exhausted and weakened to such a point that no expectation or promise could safely settle on it again.
Almost every child takes an object of particular affection—a stuffed animal or a blanket that they sleep with and drag around behind them in a state of increasing filth and dissolution, the way Christopher Robin drags Pooh. I’ve always wondered about the fates of other people’s beloved creatures: surely nobody is heartless enough to throw them away? When something—someone!—has been so loved, how can you ever stop loving them entirely? I’ve always had a tendency to anthropomorphize things—houses, cars, teddy bears—and retain a sentimental compassion for others who do so.