Day 244 — My Father’s Son

Posted on November 13, 2020 by Tim Porter

Seven-plus months into the pandemic, most of that time spent at home or nearby, nearly none of it doing the work I am accustomed to be doing, I have two sobering realizations to share:

First, I have trouble defining myself without the work. I am not doing any journalism and precious little photography, so if I am not a journalist and if I am not a photographer, then who am I?

Second, after all the youthful years of tears, after the long era of running from my past and my family, after entanglements with the law and abuse of substances both legal and legal, something very ordinary happened to me: I ended up becoming my father’s son.

Perhaps that’s inevitable. Even a cultural revolution can’t erase the imprinting of nurture and the insistence of genetics. As much as I said to my young self that I would never be like him, I resemble him more now than I do not, especially at this age when we lions lose our fangs.

To be like my father is not a bad thing. He was a good man, a decent man, a hard-working man, loyal to his wife and family, a man who loved music, believed in God and shouldered and soldiered on with whatever befell him in life. And there was much. Of those qualities, I have an assortment, and for those I thank him. All in all, though, he was the better man. He had more to bear. My burdens are few and still I falter.

My father was not perfect, nor am I. We share many of the same imperfections. He was prone to nervousness and anxiety, as am I. He had a temper, as I do. A streak of resentment ran through him, flaring to the surface at times when he felt wronged or stewed about what might have been, as it does in me. He never said so, but I thought he focused more on what he didn’t have than what he did, just as I often do. There was more self-criticism than self-congratulation. In those moments, like many in his family, myself included, he drank too much.

Most of all, he identified himself as a man by his work, as I do as well. Through my juvenile eyes, my father and his job were synonymous. He was a self-taught accountant who worked all the time. For much of the year, he returned to the office after dinner. He never took vacation during the summer when we kids were off school. He worked most Saturdays, either in his office or at home in the living room, where he set up a folding card table and prepared tax returns. He never retired. He kept at it, as much as he could, until his body gave out. He didn’t die on the job, but he would have if he could have.

All I knew about my father as a boy was connected to his work. The stories of co-workers. The promotion he didn’t get. The boozy nights out with the boys, the laughing lunches with the girls. When my mother talked about him, she did so in the context of the job – your dad has to work, your dad is tired because of work, your dad works so much because he loves you.

Years later, when I was married and putting in long hours on a dying newspaper, I wondered why he didn’t retire. The house was paid for, the golf course was nearby, a big stack of books awaited on the bedside table. Now, I am past the age he was when I asked those questions and I know the answer: He didn’t retire because he couldn’t. The work defined him. The job was his oxygen. Retirement would have been suffocation.

Like him, I hated the very concept of retirement. I don’t want to be retired and, officially, I am not, but the corona (and a nagging injury) has thrown me off. I have time, too much of it. Take advantage, friends say. Relax. Do those things you always wanted to do. Good advice, I suppose, for those who didn’t have the opportunity. For me, though, what I most wanted to do was the photography and the journalism and I still do. I never had further ambitions.

I don’t find fulfillment in the idleness. I am not comfortable with comfort. I am not content with contentment. I miss the stress, I miss the need to solve problems, I miss being sought out for what skills I have. I miss the work.

My father would not tolerate such whinging, if that’s what this is (it can be so difficult to separate contemplation from grievance). I can’t tell you what advice he’d give because I don’t recall every receiving any from him. The work was his voice, and he spoke to me through it. Carry on. Do the necessary thing, do the responsible thing. Don’t ever stop because if you do you might not get it back.

My Oaxaca — Intersection

Posted on November 2, 2020 by Tim Porter

Intersect. To meet and cross at a point. To overlap. To share a common space.

Life consists of intersections, of crisscrossing, of bisecting and squeezing into, onto and through the public commons, bound for or coming from our more private lives.

Street corners are theaters of intersection. There is a daily playbill of drama, comedy, and tragedy – not everyone who ventures off a crowded curb navigates intact to the opposite one. In Oaxaca, the troupe of pedestrians performs to a cacophonous score – the guttural grind of diesel, the bleating grievance of car horns, and the incessant blare of amplified advertisements for cheap eyeglasses, miracle herbs, knock-off denim and dozens of other quotidian products.

With each change of the signal light, a fresh queue of citizen actors strides onto the stage. Their props identify them – mothers laden with infants; students encumbered with bloated backpacks; invitees to weddings or graduations or birthday parties juggling floating balloons and shrink-wrapped gifts; vendors carrying candied apples, bottled water, or plastic bags stuffed with slices of fruit drenched in lime and salsa.

Three things never change: the flow of humanity; the asphalt, lampposts and buildings; and me. I wait in my space. For the intersection, for the overlap, for the crossing of our lives.

The Rapids Ahead

Posted on October 27, 2020 by Tim Porter

Circumstances have consequences. Take too many things for granted, lose an election. Turn over the White House to a family of thugs, grant the sycophants, the supremacists and the spineless control of the Congress. Gut the Senate of whatever honor remained in it, and convert the Supreme Court into bulldozer driven by retrograde theocrats determined to plow under the advances we’ve made in recent decades toward equalizing rights in our country – the right to vote, the right to be treated with justice, the right to control the fate of your own body.

These are sad days in the United States. As the virus marches forward, we do an about-face to the repressive days of the Eisenhower era (although even Ike couldn’t get elected as a Republican these days). With more than 226,000 Americans dead, killed as much by incompetency and indifference than by the actual lethality of Covid-19, more than 66 million of us have already voted, a flexing of the democratic muscle that only partly offsets the fear that Trump, with the aid of his newly-packed Court, will steal the victory that every poll declares will belong to Biden and Harris.

As a young man, the tide of protest swept me into movements against the war in Vietnam (which, by the way, killed 58,000 U.S. soldiers, a quarter of the number now dead from Covid) and in support of rights for women, Blacks and gays. I was against the policies of the government, but not the government itself. I believed a new president, a new Congress, a new mayor could provoke change. And it did.

As an adult, a professional, a journalist, I worked in an institution that saw itself as the watchdog of politicians and government. At times we watched with great vigilance; at other times we were unwittingly complicit in supporting traditional perspectives, both governmental and cultural, that oppressed the very groups I had championed as a long-haired rebel two decades earlier.

As whatever I am now, an over-read, under-educated, highly-opinionated, multi-lingual, more-or-less forcibly retired curmudgeon, I confess that for the first time in my life to having lost my faith in government – or are least what government on all levels has morphed into in these United States: a cage match of hate, distrust, greed, cowardice, and self-interest and self-dealing, a putrid buffet of humanity’s ugliest traits that were never more on display than in the last week during the shotgun wedding of Amy “The Crusader” Barrett to the Supremes.

I could say that we as a nation have lost our way, but it might be more accurate, given that Barrett and her the-Constitution-is-enough-for-me compadres on the court are such strict interpreters of the document’s 4,543 words, to say the nation has found its way back to its beginnings – when women couldn’t vote, when Blacks were not only permitted to be owned but were counted as only 60 percent of a human being, and when the fledgling nation was controlled by an oligarchy of wealthy “patriots” who were so distrustful of the judgment of their lesser countrymen that they created the Electoral College to ensure that a majority of the rabble couldn’t elect a fool or a criminal to the White House.

That worked out well.

To say I am nervous is an understatement. I felt more certain of Gore trouncing Bush II than I am of a Biden win, and we know how that went. I am not alone in my trembling. A Venezuelan fellow I know, an academic who fled his country’s chaos for Madrid, where he now offers $10-an-hour Spanish classes via Skype, says all of his more than 20 American students are popping tranquilizers and speed-chanting mantras trying to stay calm.

I am not a fan of Valium and my chakras are mis-aligned beyond repair. To pacify myself, I think of my short stint as a whitewater river guide. For a couple of summers during the ‘70s, after my profligacies had diminished enough to enable sufficient social functioning, I ferried rafts of people seeking thrills – but not danger – down rivers in Northern California. It was great fun, paid $50 a day and granted me opportunities with the opposite sex I had not previously imagined.

Guiding a fifteen-foot rubber raft through the bumps and waves and drops of medium-rough river is not too tough, but there are a few basic wisdoms that are best adhered to lest you, the guide, and the clients, who want thrills but not danger, find yourselves head down underwater stuck in a whirling, riparian rinse-cycle.

Here is the most important thing:

Just as the raft approaches the lip of the rapid, in the last few feet before the nose tips down into the froth, the water rises behind whatever rocks are the cause of the rapid. The higher water flattens and stills. For a moment, the forward progress of the raft stops. This is when the guide, even while staring at the turbulence ahead, even while anticipating the heart-thumping that is coming, must align the boat with the thin curl of water that slips, first gently and then with unfettered urgency, from the higher water through the barrier of rocks and into the rapid. If the raft is not lined up correctly, it slides into the rapid askew and risks being flipped over by the waves.

As much as I loved rafting, I was scared most of the time – except for one moment: When I poised the boat in the still water above the rapid and pointed its nose toward the slipstream. Once I felt I’d aligned us as best I could, a calm always came to me. And then I slid into the whitewater.

This is where we are now: Atop the rapid. It is a time to be steady, to line ourselves up, to see the turbulence ahead but, more importantly, to concentrate on the chore at hand. Get the boat ready, point the bow forward, put the oars in the water. Be calm. The whitewater is coming.

My Oaxaca — Los Muertos Nos Hablan

Posted on October 23, 2020 by Tim Porter

The dead talk to us. They tell us their stories, the tales they carry from this life to the next, the underworld, the upper-world, whichever imagined destination comforts you in the absence of those who are gone.

These are the stories we want to tell; these are the stories worth the struggle of the telling. But we must retrieve them and bring them back to this side, to the world where we, the not-yet-dead, navigate our time under a sky of dim stars, always hoping for a brighter path to where we are going, to what we will become.

In the los panteones, I walk amid the dead. I listen, I lean in, I strain to hear their voices. I have questions for them: Who were you? How did you live? Why did you die so young? What awaits me when I join you? What I hear in response are the rustle of dry leaves, the murmur of a street cat slinking amid the tombs, the pleadings of someone praying nearby.

I tell the dead: I have come for your stories. Lend them to me and I will share them with those you left behind and those who are yet to arrive. I still myself. I drop into my own silence, erasing every memory of every sound I have ever heard so I can detect the voices of the dead.

Faint but audible, a distant chorus, an eternal echo rewards my patience. The voices answer in unison: “Come closer, come closer and we will tell you everything.”

Returning — The Photography of Time

Posted on October 11, 2020 by Tim Porter

In the early days, when I bought 100-foot-long spools of Kodak film and hand-rolled it into reusable cartridges, when water temperature and strength of developer and acidic pungency were the alchemy of imagery, when the camera clunked and clicked, and when photography seduced me with its promise of capturing, in an instant, the subtle complexities of a baffling world, I walked amid familiar places, hoping to discover the extraordinary amid the ordinary.

Those were lonely days, part of the long hangover from an over-extended adolescence, so I meandered by myself – through the great green swath of Golden Gate Park; up and down the salted ruins of Sutro Baths on the rim of the continent; in the varied neighborhood parks of San Francisco: Dolores, Buena Vista, Alta Plaza, Alamo Square; and inside Fort Point, the stout brick fortress that squats beneath the beams of the Golden Gate bridge.

During my walkabouts, I made photographs. I pointed my second-hand camera with its inexpensive manual lens at trees and rocks and buildings and an occasional human being, trying to create an image that resembled those I found in the library at City College of San Francisco, where I’d washed ashore when the turbulent tide of the Sixties receded. In my mind, I was a young Edward Weston or Minor White or Imogene Cunningham. In reality, I was an immature young man with little sense of what he was doing. What resulted were terrible photographs. But the act of photographing, the moment of the shutter forcing open the curtain, gave me solace, and that was something in short supply in my life, so I continued.

As you know, the years go by. Many things change. Many things don’t. Friends and lovers come and go, families form and then drift apart, bodies deteriorate and perhaps the mind as well. A women of 57 tells me she sees herself as a teenager. My mother, now dead five years, said in her ninth decade she felt like she was 20. Even I, a grown man whose self-identity resembles a walk through the hall of mirrors in a carnival funhouse, do not “feel” my age. The truth is I don’t remember how I felt at 20 or 30 or 40 so I cannot say with any certainty that I feel different now. I’d say I feel like myself, and some days that is OK and other days I’d prefer another option. Press 2 to continue as another person; Press 1 to be yourself.

What has stuck through the decades is the simple contentment of making a photograph. I still walk to the familiar places, framing again and again the same corners, the same angles, the same perspectives. I carry a better camera, a slick German instrument whose polished metal seems molded to the shape of my right hand. It contains an electronic sensor, but the lens attached to it is manual. The measurement of light – the basic ingenious equation of aperture and time – happens mostly in my head, which is how I was taught. Thus equipped, I revisit my beginnings, looking for shape and shadow and shades of black and white: charcoal, crème, ebony, beige, dun, ivory, onyx, bone, licorice.

Black and white. Strip out the color, let the eye decide on its own, without a rainbow of distraction, what has value, what is worth lingering upon and what merits no consideration.

A simplification in a life of complexity. I am complicated, or so they say. I confess, as I should, because complication often leads to confession and then, if we acquiesce to judgment, apology. Of each of those, I have a substantial inventory. Within the endless array of gray, I find focus. A teacher of yoga once said, with the purpose of us recognizing certain limits: The pose you’re in is your pose. It is as much of a mantra as I have. A concise acceptance of how things are. I return. I go back. I am sticky that way, unable to let go. This is the pose I’m in.

In the fort I find what I’ve come to see: the conical stairwells, the ample hallways, the bounce of the light off the brick, the breezy expanse of the decommissioned rooftop battery, where tourists snap selfies on concrete cannon placements. A uniformed ranger, poised to be helpful, asks through his mask if the visit is my first. I smile beneath my own mask. No, I say, my fiftieth. He is an older man, but younger than I – as so many now are – and I see his eyes twinkle with appreciation. He seems to understand.

I photograph the familiar place. The comfort of being there is almost deeper than any other, that of being wrapped in the entirety of my time. On each return, the images change. I see a shift, a subtle slant of light or shadow due to the hour of the day or the state of the weather. I am more alert – or less. I focus on the photograph, or I allow my gaze to drift to the sea. All of it is just as it should be.

This is the value of returning: to experience the conundrum: everything is different even though it is all the same.

“Rage” — Why Woodward on Trump is Worth Reading

Posted on October 6, 2020 by Tim Porter

Trump has been good for the media, but bad for journalism. The electronic media-sphere reeks of all Trump all the time, from the partisan jousting of the knights of cable, CNN and Fox, to a cornucopia of websites and podcasts leaning left or right, to Trump’s social media lodestone, Twitter.

As always with the interwebs, there is more noise than substance. That is what legacy news organizations like the New York Times and the Washington Post are supposed to provide. And they do. For a hefty meal of hard-core investigative reporting, belly up to the hundreds of column inches filled by the Times just a week ago about Trump’s heretofore hidden tax returns – a high-calorie carbo-load of facts, truths and documents. The challenge for the big-boy newspapers is that Trump doesn’t stand still. He is a Rube Goldberg machine of perpetual news, outrage and scandal. What is Page One today is gone tomorrow (or even this evening). Look how Trump’s current Covid adventure relegated the Times’ blockbuster tax reporting to the morgue.

How then, in this gopher-on-a-wheel news cycle, does a staid, old-school, war-horse of a reporter like Bob Woodward, the inventor of a form of book-length journalism best described as anonymous-sources-meet-my-daily-diary-meet-the-telephone-book-meet-C-SPAN, write a recounting of the Trump presidency that has any currency?

In part, the answer is the short lag time between Woodward’s last conversation with Trump, which was on July 21, the day the manuscript for Rage was due, and date of the book’s publication, which was on September 15, only 59 days.

Much happened in that two-month gap, most importantly another 60,000 Americans died of Covid, so here’s another question that must be asked about Rage: Is the book relevant? Yes, I say, and that makes it worth reading.

First, let’s admit that no one reads a Woodward book – and I’ve read a half-dozen – for the writing. The text accompanying a statin prescription is more compelling. Woodward’s literary style is reminiscent of the joke about the bad restaurant with hefty servings – hey, the food is bad, but there is a lot of it. In Woodward’s defense, at least he keeps his portions small.

What gives Rage value is Woodward’s dedication to persistence (he did 17 lengthy interviews with Trump) and belief in one of journalism’s core practices, a tool often overlooked in these times of tweet reporting – the power of accumulation: adding one fact to the next, following the thread of evidence from interview to interview, and stacking truths next to falsehoods. The result is a powerful condemnation of Trump as president, Trump as a man, and Trump as the enabler of others of his ilk, such as his lamprey-like son-in-law, Jared Kushner.

It is Kushner, somewhat surprisingly because of his just-woken-from-the-tomb appearance, who provides the liveliest quotes in the book. Among them:

He borrows from the Cheshire Cat in Alice in Wonderland to explain Trump’s behavior: “If you don’t know where you’re going, any path will get you there.”

“Controversy elevates message.” Writes Woodward: “This was core understanding of communication strategy in the age of the internet and Trump. A controversy over the economy, Kushner argued – how good it is – only helps Trump because it reminds voters that the economy is good.”

Kushner on Trump and the media: “He’s just able to play the media like a fiddle, and the Democrats too. They run like dogs after a fire truck, chasing whatever he throws out there. … It’s like a buffet where they’ll always eat the worst thing you give them.”

“What I’ve learned in the world of Trump is news cycles don’t last very long.”

Rage opens with a tour of Trump’s earliest days in the White House, guiding the reader through the unease he created among his senior staff by his ignorance of the world and his unconventional, to say the least, manner of decision-making. The misgivings and the fretting of those like James Mattis, Rex Tillerson and Dan Coats (ex-Secretary of Defense, ex-Secretary of State and ex-Director of National Intelligence) have been well-reported, but even though Woodward is late to the tale he tells their stories in such simple, declarative sentences that what is no longer surprising still has the power to shock.

For me, the final third of the book is more compelling. It focuses on the rise of parallel contemporary traumas – the beginnings of the coronavirus pandemic in the U.S. and the elevation to the national consciousness of the Black Lives Matter movement in the wake of the homicide of George Floyd.

Of these two, Trump’s antipathy to wage all-out war against the virus by mandating mask-wearing and other socially beneficial measures is the most reported (especially his early awareness of the danger of the disease and his reluctance to take action for fear of economic ruin). What Woodward adds is perspective on the tension within the White House between the need of the administration to oversee the public health battle and the desire to focus on the upcoming election. Kushner, as kin, holds the upper hand. “The goal” with Trump, Kushner said, “is to get his head from governing to campaigning.

Woodward describes himself as being “incredulous” upon hearing these words: “In the midst of the largest public health crisis in a century, Kushner thought it was time to return to campaigning.”

As craven as Kushner is about the coronavirus, Trump is even more obtuse toward the significance of the police killings of black men and women, and the resulting waves of protests by people of all shades. Woodward asks Trump multiple times in several interviews if he understands the outrage and feels any sense of white privilege, given the circumstances in which he was raised.

“No,” said Trump. “You really drank the Kool-Aid, didn’t you? Just listen to you,” he said, his voice mocking and incredulous. “Wow. No, I don’t feel that at all.”

Trump adds, repeating a common assertion of his, “I’ve don’t more for the Black community than any president in history with the possible exception of Lincoln.”

Woodward pursues the question several times, asking Trump if he understands what the protestors want and how he sees his role in responding to their demands, their fear and their pain. Trump answers in talking points and self-serving platitudes. As I said, not a single thing Trump says is surprising, but the cumulative impact of Woodward’s reporting is overwhelming. Normally, we see Trump in short-takes, yelling at reporters in soundbites or blurting out tweets. Rage is a full-length feature and like during the first (and maybe the last) Trump-Biden debate we see a long exposure of all of Trump’s ugliness – his hubris and insensitivity, his inability of see beyond himself, and, most of all, his profound ignorance.

Many times throughout the book, Trump tells Woodward he hopes the book will be positive, and just as many times says he doubts it will be. “I hope you treat me better than Bush,” he says at one point, “because you made him look like a stupid moron, which he was.”

Trump did not get his wish. Rage is a vivisection, a dismembering of Trump while he still breaths his foul breath on our nation. The book opens with an anecdote, told about the onset of the pandemic, that for the president there could be dynamite behind any door. Anything could explode. As he finishes the book, Woodward writes about Trump:

“I’ve come to the conclusion that the ‘dynamite behind the door’ was in plain sight. It was Trump himself. The oversized personality. The failure to organize. The lack of discipline. The lack of trust in others he had picked, in experts. The undermining or the attempted undermining of so many American institutions. The failure to be a calming, healing voice. The unwillingness to acknowledge error. The failure to do his homework. To extend the olive branch. To listen carefully to others. To craft a plan.”

Woodward, the one-man journalistic judge and jury of American presidents since the days when he and Carl Bernstein drove another petty, criminally-mind man from the Oval Office, interviewed the witnesses, examined the evidence, cross-examined the accused and reached a verdict about Donald J. Trump, the 45^th president of our republic: Guilty. Guilty. Guilty. Guilty on all counts.

My Oaxaca — Shade

Posted on September 15, 2020 by Tim Porter

A hot day. A long walk on a dusty road. A sliver of shade cast by a concrete pole. A man carries a camera and a folding chair. At this moment only one of these objects is of use. He sits.

San Juan Bautista Cuicatlán. From Oaxaca to the north. Over a high ridge. Through a forest of pine, then another of tall cactus. Down from the mountain air into the oven of the valley. Across a glimmering river, around the clusters of mango groves, to the house of the couple who care for lost children.

The husband is good man. A working man. A man of faith. He is building a round church at the stub end of the valley to honor what he believes. An invitation to see the church. A walk in the heat. A footbridge suspended over a creek burbling with freshness. Into the water. Clothes and all. Salvation. Not biblical, not eternal, but soul-saving nonetheless.

The family bakes bread and sells it in town. The pesos pay for the children and the church. On the way home, we stop to collect a makeshift street stand and take home what didn’t sell that day. Two boxes of bread, a small table, a folding chair. I pick up the chair. A good choice.

Photo — Lori Barra

My Oaxaca — Se Busca

Posted on September 14, 2020 by Tim Porter

Gone missing is the current expression. A terrible phrase. Bland, imprecise and deceptive. It doesn’t mouth the truth: someone has disappeared, someone was kidnapped, enslaved, or is dead. They are not “gone missing.” They are on the run, they have been taken, or they have been killed.

Se busca. Wanted. Wanted to be found. The headline of a thousand posters pasted onto walls and stapled onto utility poles all over Mexico. Mostly women, mostly daughters and sisters and wives and nieces and cousins and friends. Runaways some, but more likely victims of femicides. Young men, too, are missing, often caught in the crossfire between poverty and crime. Plomo o plata, güey.

Se busca. Last seen wearing jeans, a white blouse and black boots. When she laughs dimples form in her cheeks. Her hair is tinted red.

Se busca. So many are wanted that the nation’s public TV channel shows several posters of the missing each day, some dating back a decade. Wanted for ten years or more. Loss and hope travel together through time.

Se busca Evelyn García Macías. Se buscan Montserrat, Cielo, Caterin, Isis, Eduardo, Misael, Cecilia, Ingrid, Haydee and Verónica. Ayúdanos localizarlos. Mexico, your children are missing. Help us find them.

My Oaxaca — A Bus Named London

Posted on September 13, 2020 by Tim Porter

Three faces caught in a moment, each frozen in falling strands of sunlight, a random assortment of movement, expression and emotion, life sliced thin, but not so much as to be transparent.

A woman on foot, her hair tousled by the labors of the day, wearing a sweatshirt dotted with symbols of a northern animal not found in Mexico, looking for safe crossing at a chaotic corner. There is more to her, given away by the furrowed brow. The distress of her life lasts longer than this instant.

A teenage boy framed in an open window, his gaze lowered, his thoughts kept to himself, a silent presentation of self, enduring the ride that connects two corners of his existence.

A young man posed with nonchalance in the doorway, a working stance, calling out the route at every stop, hustling up eight-peso passengers, being paid near nothing, but enough to style himself in fresh sneakers.

They are nameless to me. The bus, though, introduces itself in red letters: Londres – London.

Our Times

Posted on September 12, 2020 by Tim Porter

The air is clearer this morning, but still infused with enough particulate to qualify as unhealthy on the air-quality index. Someone quipped last night on social media how perverse it felt to celebrate the improvement of the air from very unhealthy to simply unhealthy.

These are our times. It is not the End Time or the End of Days, the apocalyptic doomsday foreseen by many religions, but it is the end of an epoch for humankind, the last steps of a long march across the planet during which we Homo sapiens appropriated all the planet offered for own comfort and aggrandizement and left in our wake a swath of vanished species, wastelands of depleted resources, and teeming warrens where millions of our fellow humans live in scarcity, poverty and oppression because the most powerful among us care next to nothing for the least of us.

This is our legacy – a ravaged planet, species-cide, and obdurate indifference.

Clearly, I am not feeling great today. If you indulge me a moment of complaint, I will tell you of the foul, gray, chalky air that encompasses my cabin on the hill and how my body bemoans the necessity to inhale this sludge 15 times a minute. The eyes water and itch. The nose fills. The head aches behind the eyes.

I recognize the weakness of these grievances. Annoyances, really, compared to the afflictions and sufferings of so many others. My house stands, not reduced to ash, as hundreds have been up and down the coast. The Covid has not claimed me, as it has 200,000 of my countrymen. There is food on the table, and more in the freezer. I have resources that many other don’t. Yet, my whinges are also warnings, flags flying ahead of the coming storm. I said the other day that what is happening in California (and now Oregon) is a harbinger. Listen to the canaries in our coal mine. What do you hear?

Another era is ending as well – my own. The state of affairs in which I find myself is evidence we are not the drivers of our own destinies. The times choose us, not the reverse. Life is random. At best we hold the reins as the years gallop onward, guiding the steeds in one direction or another but never managing to break their stride. Some of us are born in war and poverty, others into peace and prosperity. The circumstances of our birth contribute almost everything to the consequences of our lives.

The same is true of the end game. How and when we leave the planet is as arbitrary as how and when we arrived. Chance is the great master of fate. An unfortunate few drop dead early, victims of genetics, violence or simply actuarial realities. The rest of us ride own, falling off at increasing rates to tumors, expired organs, overworked hearts, underworked muscles and, more and more, worn out brains.

I’ve reached an age where my past throws a long shadow. I am well and I am as fit as a man of my decades could be, yet I am dying – as I have been since Day 1. Our first breath is also the initial step toward the last. The infernal pandemic and the California infernos raise my awareness of the tick-tock of the biological clock. It is the tinnitus of our time, the sound of the passing of days whose primary purpose is to get through them.

Someone commented on one of these scribblings that I don’t seem like myself, and she urged me in so many words to break free of the funk she saw me in and find the version of myself she thought I’ve lost. She misread what I said. I am neither sad nor depressed. I am chastened. Six months mostly in the house, a month of lightning, fire, and smoke. A rearrangement by chance, by random interference of circumstances and consequences, of everything I spent a lifetime arranging. No, I am not sad or angry or disillusioned – at least for myself. I have not gone missing. In fact, in the last six months I have found more of myself than I knew I had.

Red Dawn

Posted on September 9, 2020 by Tim Porter

The party’s done. The bacchanalia that was California, the orgy of consumption, the decades-long bender of natural exploitation and the wanton disregard for the consequence of our excesses is over. Don’t point your fingers at us, because what happens in California never stays here. We export our culture, our technology and our food. Coming soon to you will be our apocalypse.

The hangover is painful.

The day dawned red today. Where there was supposed to be the waning blacks of the night, there was red. Where there was supposed to be the wash of the morning grays, there was red. Where tones of blue and gold once tinted the sky, there were shades of red. A red dawn so dense, so foreboding that even now, an hour past sunrise, the streetlights remain lit, reminders of the darkness we have brought to our land.

We partied like there was no tomorrow. There was, though, and it is today. The fires to the north, the east, the south and, even, as improbable as it sounds because I live twenty minutes from the beach, to the west; the post-A-Bomb-ish pryocumulus towers rising six miles in the sky; the homes turned to charcoal; the animals, wild and domestic, murdered by our greed; the dystopic scenes of backpackers, jet skiers and campers airlifted by twin-rotored Chinooks. This is the tomorrow we thought would never come.

Red in the morning, sailor’s warning. So goes the mariner’s adage, an alert of rough seas to come. The addition of a vowel changes the admonition: Red is the mourning.

Human beings, by nature, are deniers of the negative (as are all creatures). This is how we get through the day. Most of us don’t greet the morning worrying about eventual illness or certain death or improbable tragedies.. We plan to finish our days as we start them – at home, amid our comforts and our companions. As such, we have denied, either from convenience, neglect or simple stubborn adherence to a belief that tomorrow is somebody else’s problem, that we have damaged the planet to the point where its instinctive revenge is to kill us and drive us from its terrains. Fires, drought, storms from the sea, rising waters. This is the tomorrow we created. This is nature’s planetary payback.

I am as guilty as anyone. My car, my home, my travels consume fossil fuels. I assuage my concerns by recycling milk cartons, buying kale from local farmers and not turning on the heat so early in the winter. If I am not Nero fiddling amid the embers of Rome, then I am the man who tuned his violin. Together, we are an orchestra of shame. I don’t know how we stop. I don’t know if we can.

Catching Up, Keeping Up

Posted on September 4, 2020 by Tim Porter

Down the street from me is a house in disrepair. Sections of the fence fronting the road lie on the ground, and a disheveled assemblage of vines and bramble cover what remains standing. Mold advances boldly across the wood of the garage. Scrap lumber and shards of shelving block the pathway to the front door. Most notably, a small blue car, German in make and of recent vintage, sits abandoned in the driveway, parked sideways so as to not just into the road. Four flat tires anchor it to the ground. A sunroof left ajar allows rain and pine needles and spiders to enter. No one has moved the car for several years.

It is not unusual, even in my over-priced neighborhood, to see a house gone to seed. Some people are just that way, not at all interested in gardening or maintenance or upkeep. The car, though, seemingly discarded and wedged into the driveway, was a mystery. Even the most negligent of homeowners tend to keep their vehicles running. I thought the owner might be dead – or dying – and his or her children cared little about their parents or their possessions. One day, I thought, I will walk by and the car will be gone. But there it sits still.

Not long ago, some of the mystery resolved itself. I saw an old woman, unsteady on her feet, sweeping handfuls of dirt and pine needles from the driveway into a plastic dustpan. Given the amount she was picking up she might as well have been emptying a beach of its sand with a teaspoon. I was driving and I didn’t stop to say hello. I should have because I have questions I would like answered.

I have walked past the house many times since and not seen her again. Then, just the other day it came to me. I knew what was happening. The lady, who I suspect has lived on our woodsy hill for a long time, just can’t keep up any longer. Not that she doesn’t want to. She does. The dustpan and the broom are evidence of that. She just can’t. It’s too much. The house, the garden, the repairs, the car, her health, whatever emotional amusement park ride she is on with her family – or by herself – all of it is just too much. She can’t keep up, so everything gradually falls apart.

Age does this to us. The world moves forward, and we fall further and further behind. The fence rots, the pines drop needles, the blackberry bramble roots into everything. A spouse dies, an organ fails, a family stops visiting. Onward and onward, a timeless parade of every imaginable attraction and horror of life, and our place in it inevitably and inexorably retreats toward the back until one day we find ourselves standing alone in the road, inhaling the dust of the parade as it advances into its endless tomorrows without us.

Being old is about keeping up, an ironic fact because being young is about catching up. We drop out of the chute and a doctor or a nurse practitioner or a midwife whacks us into consciousness, and we immediately begin screaming for what everyone else who arrived before us already has: food, fun, education, career, comfort, maybe even satisfaction over the long arc. We strive throughout youth to be capable of self-sustenance, however meekly or grandly each of us defines that state. We study, we work, we take risks, we fail, we love, we marry, we procreate, we divorce, we celebrate, and we suffer – all to have what we didn’t have at birth. Even as adults, many of us continue. We lust for fancier cars, bigger houses (or second ones or third ones), loftier titles. Others, less material but no less ambitious, reach for personal or social pinnacles. We are working on ourselves, we like to say. If I could just …

We do all that until we can’t. At that moment, we shift from catching up to keeping up.

The past lengthens and the future shortens. A new twenty-year roof on the house seems unreasonable when the sell-by date on the body is five years off – or less. Physical aches increase, as do emotional ones. Old wounds once thought healed reopen, reminders that the past is inescapable. People go missing, either gone for good or absent because they simply can no longer feign interest in being with us. What once was sensible, even essential – repairing a fence, sweeping the walk, starting the car – fades into an indulgence remaindered for days when energy is high and spirits are strong, moments that lessen as the calendar advances. What matters a flat tire when there is a tumor to be dealt with? Who cares about a messy front yard when there is soul that needs mending? Why do today what you can put off until a tomorrow that might not come?

I saw the woman with the broom one more time, again as I drove by. She swept in small motions with short strokes, the bristle moving only a few inches. She is never going to clean that driveway or move that car or fix that fence. She is just trying to keep up.

A Sense of Being

Posted on August 30, 2020 by Tim Porter

Then, I lived in a big world. Far-away places. People of all tones. Tongue-twisting languages. Strolls through parks and museums and galleries. Picnics along the river, dinners aside the canal, dessert in the plaza at midnight. Overnight flights. Long holds in airports known by their initials – MEX, FRA, JFK, HND. So many miles, so many smiles.

Now, I walk in a small world. From my house to the park and back again. I move geometrically in squares and rectangles. Around the block and the next one and the next. I leave in the fading dark of the night and return in the grayness of the rising morning. Fog hugs the ground, smoke seasons the air.

I move among my sleeping neighbors in silence. A light shines here and there. Was it left on all night? Some people are not comfortable in the deep. Or is someone up early, as I am? They have somewhere to be, maybe, or they sleep poorly, wakened by age or illness or the most common of nocturnal visitors, anxiety. Do they glance up from their duties in the bathroom to see my shape, ambiguous in the dawn, slip by their home?

The streets are all but empty. Me. A teenage cyclist pumping up the hill I walk down. A dogwalker wearing a black mask that matches the fur of her tiny pet. A woman in a small SUV throwing the local paper, folded and wrapped in a red plastic bag, onto driveways, tossing, with admirable accuracy, the morning news out windows on both sides of the car. Low-tech evidence of the difficulty of the last mile.

In the park, I stop on the far side of the great lawn, where a gang of Canadian geese feasts on whatever it is they grub up out of the wet dirt, and look up the hill for my house. I can’t see it. I never can. Too many trees. Not a good angle. But every time, I look. I want to say: I live there, even though there is no one to tell that to. Proof of existence, that’s all. Since it can’t be found, I settle for circumstantial evidence. I walk, therefore I am. The goose hisses at me for interrupting its breakfast, therefore I am here.

In my small world, I see small things. A tennis ball, faded to gray and bearing the marks of canine teeth, next to a fence, where it has been for weeks. I try to imagine how I will feel when the ball is no longer there. Relieved? Curious? Deprived? A white push pin stuck into the papyrus-like bark of a crepe myrtle tree, a pointed (ahem) reminder of a lost cat or a garage sale. Two beige-colored plastic birds, parakeets, attached to a planter. Three bags of outdated trade books – how to program Java – left on the sidewalk, a lazy solution to household clutter. A blue surgical mask lying on the green grass of the lawn. A white mask hanging from a tree branch. Yet another draped over the rear-view mirror of a rugged-looking car whose license plate reads: FLUVIAL.

The feet of the geese, dampened by the grass, leave webbed imprints when they cross the asphalt path that meanders through the park. Leave nothing but footprints, we said in the bigger world. I turn around. On the street behind me there is no sign of my passing. What I wanted to see was proof of existence. Another phrase comes to mind: a sense of being.

The simplicity of the walk fascinates me. Self-propulsion seems almost miraculous. If the legs held, if the spirit didn’t flag, if the body agreed, the walk could be eternal. There are so many small things to see. Just now I think of the apple tree, laden with pale green fruit, that drapes over the wooden stick fence, and the plum tree at the corner house that young couple bought last year after the death of the old lady who had gardened the land for decades, and the four towering willows whose regal drapery dresses up the block below my house.

Coming and going, coming and going. But rarely being. That is how I lived. By choice. With volition. And certainly not without great discovery, much enjoyment and more than occasional satisfaction. No regret (about that; there are other things). No complaint. No need for a do-over.

On the final uphill turn to the house, the sun yearns to burn through the bank of fog. So powerful in the solar system. Life literally revolves around it. Such an ego the sun must have. Yet, the fog, with its pillowly passivity, thwarts the star’s aggression and it retreats once more behind the gray curtain. From home to park and back again. The house is as still as I left it. I bend for the morning papers, a tradition, no longer a necessity. I open the redwood gate. Twenty-four steps below is the house hidden from me in the park. In late summer, the big buckeye sullies the red brick of the patio with its debris. As I step toward the front door, I hear the crunch of my footfall on the fallen leaves. Proof of existence. A sense of being.

The Fire Among Us

Posted on August 20, 2020 by Tim Porter

California is burning again, pockmarked with infernos sparked by lightning or fallen power lines or acts of human stupidity, and fed by the hills of golden grasses and groves of oak and the wood-framed houses of humans who wanted to live in the community of nature but never sought nature’s permission, and blown across glens and canyons and dry arroyos and even six-lane slabs of freeway by winds that descend from high deserts carrying the breath of the devil.

We knew it was going to happen, as it did last year and the decade before that and the century before that. Each year now, though, seems worse. There is less winter rain to green the land, the temperatures rise sooner and higher than what was once considered normal, and the flames sprout earlier.

Fingers point everywhere.

Climate change holds back the rain, flings heat at California and parks truculent high pressure systems over the coast, hovering on meteorological maps like the massive inter-stellar ships of alien invaders.

Government shares the blame for allowing suburbs to be built on lands where wildfires burn with regularity, for permitting builders to enrich themselves and families to mortgage their futures while ignoring one of the few certainties in California: What burned once will burn again.

Then there are the utility companies – PG&E most guilty among them – that opted for shareholder return over investment in maintenance, a choice that guaranteed transformers and towers and thousands upon thousands of miles of high-voltage lines that could not withstand the fierce vagaries of Western weather. A line drops, a transformer pops, a fire starts. If I maintained my home as PG&E protected the power grid, its roof and walls would have collapsed.

Finally, there is us, we Californians, who want to live in our version of paradise, gladly shelling out $1.5 million for a three-bedroom rancher in a leafy suburb, but flinch when confronted with the reality caused by our occupation of a terrain so arid, so temperamental and so inhospitable to human life that before we paved it over, put in the plumbing and pumped Freon into our homes that the Spanish found hardly anyone to murder and enslave when they arrived. Now there are just shy of 40 million us. We’ve overrun the place. There’s not enough water to quench our thirst, not enough power to keep our lights on, not enough space for us to grow unless we further push into Mama Nature’s diminishing territory.

What’s the result? Mama’s mad, folks. It’s payback time.

The sun rose deep red today, angry, it seems, by the effort it needed to pierce the smoke in the air. In my small cabin on the hill, the windows are open so cool morning air can flush out the heat from last night. The fresh air comes with a price: the smell of smoke and flecks of gray ash.

We pack several bags, an evacuation kit – documents, passports (almost useless these days), some cameras for me, a laptop, medicine. The bags sit by the back door, an unwelcome reminder of what we’ve become: fugitives from the world we created.

My Oaxaca — Separation

Posted on August 15, 2020 by Tim Porter

There is an unpleasant sense of slipping away, an inevitable loosening of what I once held firmly, like a grasped hand sliding from my grip against my will.

Five months have passed in the house, nearly six since I’ve been in Oaxaca, where for the last seven years I poured out all the passion and compassion of which I’m capable (and even that was never enough). A pandemic doesn’t freeze lives, it only alters them. Life continues for the families I’ve photographed. A child returns to the United States. A mother and her children move to a new apartment. A teenage boy lives alone while his mother works. Another teenager leaves home to live with an uncle, driven out by disputes with his mother and her boyfriend. Yet another teenager, a girl, runs away from her mother. The same mother has no work and tells me she is eating air. A wedding is canceled. A quinceañera is celebrated, as are several birthdays.

I am there for none of it. I always missed a lot, but I was also present for many things, for birthdays and births and graduations, for fights with the landlady and night-time moves to new apartments, for visits to gynecologists, neurologists and optometrists, for the killing of chickens and pigs and, once, a bull, for the laughter and the tears, so much more of the former than the latter although the tears dug the biggest hole in me, and for the many goodbyes, said on dirt roads, at bus stops and in doorways, and sealed with hugs and smiles and promises to return, never thinking at the moment that any one of those farewells might be the last, but never escaping the foreboding eventuality of that coming day.

What remains are memories, feelings and photographs. The mental images and emotions are incomplete, as they are by nature. The mind and the heart are unreliable witnesses to our lives. They would never survive voir dire. The digital files portray with accuracy what the camera recorded but they seem to me, in my absence from their origin, sterile inadequacies. They testify to my presence at the time, but they do not assuage my absence at the moment.

In a lifetime, six months is not much (although, to do the math, it is one one-hundredth-fifty-sixth of the average lifespan of an American male), so I can’t validate this sense that Oaxaca is now caught irrevocably in an outgoing tide. If I return next summer, the children I know will be changed. The mothers I photographed will be more worn down. The city and I will need to become reacquainted, like former lovers finding the boundaries of a post-breakup relationship.

The thing that most clamors for telling is the most difficult to relate.

I feel empty. Oaxaca and the children and the mothers demanded so much of me, not in a negative way, not in asking for things or seeking my help, but in an all-engaging, three-hundred-sixty-degree emotional way. I needed to be present every moment I was with them. They opened themselves to me, and I felt obligated to return the trust. I tried to show them the best of myself and to do so I had to demand more of myself than I do at home, where the routine comforts of my American life indulge my tendency to disengage.

It is hard to say what I fear most: losing Oaxaca or losing myself. There are so many people in my life there: hard-working fathers with forearms as thick as tree trunks; mothers who work from dark to dark cleaning houses, cooking meals, and washing clothes; grandmothers who suffer the abuse of drunken grandfathers; cousins that know how to kill a pig with kindness (cradle its massive head in your arms as you slit its throat); aunts who work as seamstresses, cooks, and hair-dressers; uncles who drink, uncles who live in the United States, and uncles who care for their nephews when they run away from home; lovers who lock their women in rooms, lovers who have other families, and lovers who leave teenage girls pregnant. So much intensity and immediacy. So much relentless necessity. So much life. So much more than I ever imagined.

What all of this occupied with me is now vacant.

Oaxaca realized dreams I walked away from. The children became those I never had. The families became the one I lost. The tears and the laughter and the sorrows and the celebrations disinterred what I thought I had buried in myself forever. I have never been able to succinctly explain how I became so involved in Oaxaca nor answer adequately when people ask what I am doing there, but more than anything the photography and the families and all the engagement required to make the pictures and to be with the people gave me what I felt I’ve long been lacking: a purpose.

This is what I fear – losing that purpose. Is that such a selfish thought? I suppose it is. Shouldn’t I be thinking of the mothers and of the children? Yes, and, truthfully, I do think of them – every day. The separation mandated by the pandemic, though, has forced me to see a truth I had ignored or denied until this point: I cannot save them as I once thought I could. The persistence of the poverty, the crappy schools, the dysfunctional government, and a culture of low expectations that neither encourages nor sustains efforts to rise above one’s station of birth will smother their fragile hopes. I saw signs of the suffocation even before the time of the virus, the mothers confronting futures filled with nothing more than the economic instability that defines them now, and the children realizing that the small world in which they live values more the work than can be done today than the rewards more education can deliver tomorrow. I have no control over any of that, almost no influence over their destinies. I can provide short-term relief, but I cannot fulfill long-term promise. I can only save myself, and even that is a fifty-fifty proposition at best given my track record.

Julian Barnes, in his wonderful book, The Sense of an Ending, talks about the revelations that come to us as the years advance, once of which is awareness of the gap between what we expect at that time of life and what realities in fact arrive with it. For example:

“Later on in life, you expect a bit of rest, don’t you? You think you deserve it. I did, anyway. But then you begin to understand that the reward of merit is not life’s business.”

Echoing his words, I say: the encounter of purpose is not life’s business. Simple passage through the labyrinth of time guarantees nothing, much less satisfaction with the journey. The purpose of life is to live. Nothing more. And we cannot live the lives of others. Those who try are destined for disappointment.

Oaxaca gave me more than I ever expected, and in the thrall of that discovery I embraced the delusion of permanence. Revived by the innocence Oaxaca resurrected in me, I grasped at the notion that the families and I and our flush of shared experiences would last forever.

That is what is slipping away.

Day 148: Persistence & Fragility

Posted on August 8, 2020 by Tim Porter

In order to give the knee a workout and to award myself a change of scenery, I drove to Fort Baker in Sausalito yesterday afternoon. The sun was low when I arrived but still high enough to surmount the western ridges of the coast. Its light spilled softly into the remains of a Monterey pine forest planted by the military garrison that once occupied these last slopes of land before the Golden Gate. I walked among the trees, carrying my little Leica and looking for formations of light and shadow. Now and then I knelt to take a picture and, when I did, a thick, spongy cushion of dried pine needles greeted my knees. I followed a deer path through the trees until the last of the pines yielded to a row of white, two-story buildings that were once the quarters of Army officers and today house well-heeled hotel patrons in $700-a-night suites.

The former parade ground of the garrison remains sown with grass. It is an expansive space that slopes lazily toward a cove of still water huddling in the lee of the Golden Gate Bridge, far enough away from the capricious currents and muscular tides of the strait for yachtsmen to store their vessels in a marina and for adventurous paddlers to launch themselves toward the Pacific aboard outrigged canoes that resemble bisected arachnids. For a day as nice as yesterday was, sunny and awash with a precocious onshore breeze, the great lawn was surprisingly empty. A group of masked tourists, perhaps guests in the hotel, posed with one another for selfies. A middle-aged man, rotund and bald, lay on his side, propped up on his left elbow, reading a book in the shade of a stand of short trees. A young couple, tall and strong of stride, walked with their dog. And me, an aging man, bearded and unkempt with a half-year’s hair growth splaying from the edges of his ballcap, limped toward the sea.

At the speed of a tortoise, but with the heart of a hare, I crossed the parking area next to the Discovery Museum, normally a destination of exploration and learning for children but now an empty shell wrapped in caution tape and studded with signs prohibiting access to its outdoor playgrounds, a reminder of how far from normal we are. Seeing the shuttered buildings deflated the already tremulous exhilaration I felt at striding freely, albeit tentatively, under the open sky after months of household hibernation.

With the knee’s permission, I summited a knoll that supports the hulking concrete of Battery Yates, a stout line of bunkers constructed by the U.S. Army in 1903 that was once equipped with cannons but is now a decommissioned relic. It is a favorite place of mine and over the years I have taken many pictures there, most of them terrible. Still, I like the symmetry of the emplacements and the brutishness of the concrete. I made a few frames yesterday, as I always do, one of them less terrible than the others.

By the time I returned to my car near the Coast Guard station on the edge of Horseshoe Cove, the knee was talking to me in unpleasant tones. It is such a crank. I pleaded for a few more steps and hobbled to the fishing pier that juts into San Francisco Bay across from the jetty. A half-dozen crabbers hung over the rusted railings, tossing their nets into the water and reeling them up, hoping to find a crustacean or two of legal size and species. An equal number of fishermen reclined in unfolded camp chairs with their rods propped against the railings waiting for signs of a strike by perch, jacksmelt or even a leopard shark.

The sun had dropped and, as the far end of the pier fell into shade, the wind became more intent on chilling those in its path. I first came to this place a half-century ago and stood on this very spot, having reached the end of the continent, the last terminal in a flight from all I had known – family, home, the city where I was born and where, en route to coming of age, I lost track of who I was. Unable to go farther, I stayed and here I still am, marveling at how little all of it seems to have changed, taking in the persistence of the bay and the bridge and the breezes, how they continue just as they were when I first saw them, and how their endurance masks the one thing in this scene that has changed irrevocably: me.

What always astounds me about this durable miracle of life is how easily it allows us to forget our own fragility.

My Oaxaca — Leaving Betzi

Posted on August 2, 2020 by Tim Porter

The last time I saw Betzi I expected to see her again soon. I never imagined how mistaken I could be.

The day was hot and the dust from the road was rising despite being a couple of weeks short of spring. Tensions were high between Betzi and her mom. Normal teenage stuff – school, friends, the cell phone. I was flying home the next day and had come to say goodbye. I always hated leaving because I never knew what awaited me when I returned. This day was the worst. Amid the heat, the familial stress and a growing global pandemic, I felt something slipping away – a tenuous grip on an education, on a chance for Betzi to be more. More of what exactly didn’t matter. Just more than what she was born into.

Betzi was abloom with adolescence, a wildflower of a chica, all legs, attitude and desire for independence. I wanted to fence her in, to protect her against the predatory poverty that destroys such precocious blossoms. A suffocating heaviness befell me, the realization of my powerlessness over her fate.

When a cab to the city came, I hugged Betzi and said: “Don’t worry. I’ll be here with you. See you in July.” I didn’t return then, nor for a long time. Every day while I was gone I wondered if the Betzi I said goodbye to, the girl with the best grades, the rapid wit, and the smile that touches your soul, was still there.

My Oaxaca — The Guardian of the Past

Posted on July 30, 2020 by Tim Porter

Don’t live in the past. Everyone says that. Some things – and some people – are gone, though, and all that remains of them is the past. What are we to do with what is gone?

The dog stands vigilant in the late hour, a black shape in the darker night, watching who comes and who goes, a guardian of that moment in time.

He, un perro callejero, and I, un extranjero perdido, share a blink of an instant. He ignores the camera, trusts me to betray him well in his duties. During the brevity of the open shutter, the dog makes a promise: Keep this image, hold tight this memory, and you will find what was lost.

Sagacity arrives from unexpected sources, even from the salivating maw of a street dog.

What was lost was love. What was lost was promise. What was lost was renewal and transformation.

A dog is what remains. A black shape in the darker night.

My Oaxaca – Unrooted

Posted on July 24, 2020 by Tim Porter

A teenage boy should approach adulthood like a stout sapling bound to become a tree – upright, solid in the core, branches on the spread, leaves yearning for the light from above.

Some boys, though, bend as they verge on manhood, maybe for having been planted in poor soil or having lacked clear light or good air. Their gazes curve downward to dirt rather than arc upward to the sky. Their roots are weak, their branches withered, their leaves sparse. They grow alone, absent the communal instruction of a mature forest, and therefore never understand what it is to be a tree. They see themselves as lesser, a bush or, worse, a weed.

This boy sweeps an empty room, a place where his mother transplanted him. It was yet one more relocation in his life. Before he could gain footing, before he could adapt to the dark of the room and the dank of the air, she uprooted him once more.

Now he stands alone, unplanted, untended, unsure of who or what he is, looking for a place to grow.

My Oaxaca — A Chair

Posted on July 21, 2020 by Tim Porter

What is a chair for? Occupied, of course, it supports us in repose. Unoccupied, it serves as a reminder, a mute prompt of home and comfort or, perhaps, of those who are not present, like the unclaimed seat at a family dinner.

A solitary chair in an otherwise empty room. Missing all the expected accompaniments. No table for a meal, no light by which to read, no other chair to provide companionship.

I sat in this chair once and photographed a mother across a plastic table. The legs of the chair were unsteady and moved in the opposite direction of my weight, that is to say when I leaned forward, the chair retreated aback.

One day, the mother decided to move on, exchanging one dark apartment for another, leaving the chair for last. As she stood on its wooden seat, balancing herself against the concrete wall, in order to retrieve something from the tin ceiling, I made pictures of her. I feared becoming witness to the chair’s collapse.

The chair endured, though, just as the mother does, sufficient to its need, but ever precarious in its use.

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