This was in the Before, as I call it now, when we thought nothing of hugging, handshaking, bumping and all the rest. I was part of PLU's Visiting Writers Series and gave a day-long series of lectures, talks and class visits last Spring. It was magical, particularly in hindsight: a crowded, joyous public event involved infinities and excitements about the future which would very soon cease to exist as such. Wendy Call, the professor who facilitated the event, would later tell me it felt like that last significant memory at the University before the world shut down. On February 27, 2020, the bubble hadn't popped yet, and everything was still real in the ways we were taught to expect.

But let's keep in mind– we thought the world had gone crazy even then. People always have, and we will continue to do so. Who looks best, in the hindsight of history's long gaze? What ages most creditably? Not despair, since things look better when you have some perspective; not cynicism, for that requires pretending you know everything, and pretense always ages poorly; not pessimism that masquerades as realism; not capitulating to the mores of the times when your heart knows better; and– interestingly– not even believing things have gotten worse, because the long view reveals there's always been suffering, often of greater magnitude. No, none of these.

What ages best is tolerance. Acceptance. Of the people around you, of the hard yet easy freedom that is being kind, of the passion in goodness and helping others. That will always read well. For some of us that means fighting the good fight. For others it means having a twinkle in your eye that lets those around you know they're loved. I don't see a value difference between these ends of the spectrum. You have been wronged, yes. You have things you're bitter about. But you still give out joy? Bring light, and share it around as best you can? Think about the person next to you? That will age well, I promise you.

We used to live in between history. Now we live in it. Our actions count doubly these days, even the indifferent everyday nothings which shape the character of our souls. Especially those. I don't remember the names of the students pictured above, or much of what we talked about, but I remember very distinctly their kindness. The feel of sharing their space; their generosity in coming to my event, staying after to talk, in together building joy and belief. The small moments matter.

The story of how I came to be the last Visiting Writer person at PLU before the whole thing collapsed is itself a small avalanche of such small moments. I detail that story here.

Click here for a nice chunky interview with yours truly, covering some of the above and a lot more, as conducted by the student editors of Saxifrage, PLU's literary journal.

Above photo by Wendy Call.

My book will be launching nationally on April 6, which is why there's a preorder link on Amazon here.

But for us Seattlelites (and anyone else with access to the internet! Ha!), the book is currently still selling out at Elliott Bay, Third Place, Phinney Books, and others; if you're having trouble getting copies at Elliott Bay or Third Place (where we continue to run out of stock– thanks you guys for continuing to buy this puppy!), you can now consistently find it direct from the publisher, downtown at our very own Pike Place Market.

Chin Music Press now distributes the book, and you can pick up a (SIGNED) copy of the latest printing there anytime you wish! I recently signed all their stock, as well as Elliott Bay's. The Chin music showroom is at 1501 Pike Place #329, which is the lower lower level inside Pike Place.

If you need the book, whether singly or in bulk, reach out to Bruce at Chin Music Press using this email.

Thanks for reading!

There's something formidable about the place. It surpasses the American understandings of boundaries and size, sidesteps our notions of fealty and social constructs. Remember the childhood feeling, overwhelmed with the realization that the world is more than you know? Travel often does that for adults, and China does that for those who travel a lot.

Shenzhen, where these (film!) images were made, is a port city connecting the mainland to Hong Kong. In 2012, when I was there, it had the indefinable adventurous grit port cities have, the fractal conflations that slip and slide against each other in a concentrated space without borders. The city was burping upwards in fits and starts, a somber sort of puberty evinced by skyscrapers and levelled villages; no corner of communist China reeks more heavily of late-stage capitalist strife than Shenzhen. But that isn't what grabbed me. What grabbed me was the mystery of a stillness no amount of speed, sound and fury could overtake.

Photos and more here.

So this piece first appeared on Seattle and LA shelves in Hart Boyd and Daphne Hsu's wonderful 2018 Zine, Workin' On It. As Boyd explains on his site and in this Medium.com interview, the zine "explores creative development through relationships between an individual’s childhood expressive efforts and their current practices/productions... through work samples from both past and present and a short piece of writing detailing their connections."

My piece (with new thoughts) is below, and concerns these two photos I took: one as a preteen youngster, and the other deep into my art career. You can probably tell which is which:

Here we have the text which accompanied these images:

At least twenty years separate the images, possibly more; but what of substance has truly changed? Yes, the first is a childhood snapshot, at first blush more a document than a creation. The second, still using the same 35mm format and still avoiding all digital manipulation, as is my wont, represents a progression of technique. The colors are richer because of the decision to process the now-extinct Kodak E100vs slide film in a chemical bath designed for negative film, thus deepening contrast and blowing out the color spectrum. There is an awareness of the rule of thirds, of the painting practice my photography is now rooted in, of a need to use photography not to record, but to create.

But isn't all that just window dressing? We are left, finally, with two images of the same emotion: the plaintive and deep-seated wonder at the manyness of things, a mixture of confusion and admiration adding up to a quiet wonder. In all societies light has been a metaphor for truth, and we look upward when we want to know more. There was something about those floating trees, objects seen against the sky, and that silent swirling being overhead. I was feeling lonely in Redmond, Washington; two decades later I would call it pensive, alone overlooking San Fernando Valley.

"Only the most naïve questions are truly serious," Milan Kundera wrote. "They are the questions with no answers." There is no difference between the questions I ask now from those I asked then; I know only that as a child, it was easier to be happy.

---

As I post this today, I realize I would write the final sentence differently. What is happiness? Is it peace? Excitement? Or deeper down, is it synergy between expectations and outcome? You're thinking it has something to do with freedom, and satisfaction of needs. Makes sense. But Tolstoy writes in War and Peace that "a superfluity of the comforts of life destroys all joy in satisfying one's needs" (emphasis mine); that "all unhappiness arises not from privation but from superfluity." Basically, if you have everything, you fall into a stasis. I'm reminded of coming across the graphs of income versus happiness; people get happier the more money they make, until the two lines peak together somewhere between $60-75,000 a year– after which things level off, with happiness decreasing after $105,000. Mo' money, mo' problems, indeed.

We humans are searchers. We need to be incomplete, on our way somewhere. Clawing our way up walls of challenge, as Tennessee Williams famously wrote in his 1947 essay The Catastrophe of Success (about how he found himself mysteriously miserable and uncreative after becoming rich). In her landmark 1971 essay "Why Have There Been No Great Women Artists," Nochlin notes that artists almost never come from aristocratic backgrounds. There's a clarity of sight that comes from a certain amount of struggle, alongside the loneliness we humans feel simply from existing as individuals. My own struggles as a working-class artist have been less financial than emotional, psychological, existential. Was I happier as a child? I'm actually not sure, on further reflection. People forget how frustrating growing up can be.

What I do know is I've honed the muscle of choosing happiness, of deciding what to see, to a level I definitely never had as a youngster. No job is better suited for it than mine: a neutral deluge of the best and worst of humanity, dumped in your lap by the Universe, as if it's saying: "Here's a riddle for you."

The trick is not trying to answer it. The trick is looking for the light. By looking for goodness, you manifest it in yourself and by extension in others.

I wouldn't trade that skill for anything.

Further reading:
Linda Nochlin: a primer on her essay, and the essay itself.
Nature: Human Behavior. "Happiness, income satiation and turning points around the world."
Moneyish. "The dark reasons so many rich people are miserable human beings."
CNBC. "From the ‘perfect’ salary to keeping up with the Joneses, here’s how money really affects your happiness."

Click here for Seattle Met's short but thoughtful writeup– and a big thank you to Nicole Martinson, who did a ton of legwork getting this going over the Summer, and Benjamiin Cassidy for wrapping the whole thing with a bow!

If I could add anything to the article it would be to underline that I continue to love this job. The joy I experience while taking people up the street, talking to them, hearing them, being with them, serving, helping, and thriving alongside... continues unabated. It blossoms. Driving during the pandemic has been, if more risk-aware, very enjoyable (and almost ludicrously easy), but I don't feel it's representative of the greater bliss I get out of interacting with people on the street. Joy outclasses Ease most every time for me. I look forward to the day when we can see each other smiling again. That missing bit of information conveys multitudes, and interacting with strangers isn't the same without it. Also, won't it be so nice to be able to hear each other as we once did??

Of minor importance: "late swing" is my terminology. If 'swing shift' is generally understood as referring to working 14h00-22h00, I prefer running my pieces a couple or few hours later than that. My shift isn't in fact the last shift of Metro's 36-hour day; that would be the Night Owl, the overnight runs which deal with challenges I'm quite simply not up for (such as, among other matters, going home when the sun is starting to rise, and sleeping when it's beautiful out!). Those operators possess a fortitude I lack. Now's as good a time as any to appreciate my colleagues, who I'm honoured to work alongside– check out the two posts below!

• The Swagger I Love: Thoughts on My Fellow Operators
  
• Bus Driver Appreciation Day: Coronavirus Style

"We don't want RapidRide," Marcus told me one night. I'd been telling him stops would be eliminated, and how the 49 would be separated from the 7. "We never asked for it, and we don't want it!"

I said, "It's amazing how much they don't get that, huh?"
"No it ain't. They never asked us. Oh they did they lil' outreach thing, and they think they asked us. But they didn't. We fine as it is."

And how.

1. A Few Facts

The 7 already runs at RapidRide service levels, with the same frequencies or better than all existing Rapid lines. It has RapidRide stop spacing, as many routes do: once every five blocks, rather than the old once every two. It has two Night Owls, not the normal one. It has numerous infrastructure investments in place from over the years– bus bulbs, signal priority, lane rechannelization, sidewalk expansion. It's in great shape.

And yet, you'll hear lamenting among transit enthusiast circles these days, about how the Rainier RapidRide has been indefinitely postponed. You'll notice those circles are overwhelmingly white, overwhelmingly above a certain income bracket, and most importantly, overwhelmingly not users of the 7.

I've had variations of above conversation at least a hundred times (not an exaggeration). The dominant, prevailing sentiment among working-class people in Rainier Valley is that they prefer the 7 to its RapidRide alternate, for concrete and sound reasons which make sense. They like that the 7:
• Serves the Lake Washington Apartment complex, a large and significant facility on Seward Park Avenue (where a number of my coworkers and innumerable passengers reside).
• Serves the businesses and residents in the vicinity of Seward Park Ave, 57th, and Rainier, a triangle of sorts clustered with restaurants, hair salons, bars, mini-marts, and gyms. This is the densest and most commercial part of Rainier Beach.
• Serves the Prentice loop.
• They especially like that it thru-routes with the 49 at night for direct service to and from Broadway. Many of the dishwashers and servers in your favorite Capitol Hill restaurants, the bouncers and janitors at your clubs of choice– live along the Rainier, MLK, and Delridge corridors (you knew that; who can afford Cap Hill anymore?). They would prefer if it linked more often (a la the old Aloha St turnback for Broadway-only 7s), but nighttime is when it most matters, because that's when you least want to transfer buses, especially downtown.

The Rainier RapidRide would do none of these things.

2. Vis-a-vis Light Rail, BRT, and the 7X

Most people hopefully by now know Link is not a 7 alternative; not only are buses and trains entirely different types of coverage, Rainier and MLK are different corridors. But for the one spot where they meet, the 7 remains the preferred alternative. Why?

It's either faster or equivalent in travel time than transferring at Mt Baker, and of course more convenient. After hours, only out-of-towners or non-residents transfer at Mt Baker to continue downtown– this is especially true during off-peak hours– and sometimes we help them out, telling them that by the time they've expended the 10 minutes it takes to cross the street and walk up to the platform and waited for the next train (another 15– or nowadays, 30 minutes at night), we'll already be downtown. When I used to drive the 7 in rush-hour mornings, sometimes– if we got stuck in enough traffic on Rainier at I-90– we'd take long enough to get to 5th & Jackson that we'd be able to see the passengers who'd left us for Link walking up out of International District station.

Whatever floats their boat, I guess.

In the southbound direction, there's a woman who boards in the U-District in the evenings and departs at Capitol Hill Link station– only to always reappear when I arrive at southbound Mount Baker station, where she reboards to continue her journey home. She always walks by me too quickly, or I'd tell her she could be riding one vehicle home instead of waiting for three(!); I'm literally the same bus she chases through town by transferring to Link.

In other words, speed isn't a concern on the 7. At best bus lanes between Walker and Charles would be appreciated during rush hour; and the only reason the 7 Express was underused was because it was mishandled. With as few trips as it had at the end, of course no one used it. The trick is to make service attractive, and they'll come. Make it more than an opportunity trip while waiting for the local 7. Run it frequently during peak and intermittently all day, like the 9 (this has been proposed to me over a dozen times by passengers over the year), and make it truly an express: five or maybe six stops total, all south of Walker.

(You're wondering why a Rapid line would need to replace the 7 at all. In other cities, Bus Rapid Transit (BRT) is overlaid onto existing service, so it can be truly 'rapid,' making only a few stops while the local route, or 'shadow,' covers the in-between stops; in King County, BRT is used to replace existing routes, which is why they need to make so many stops. Converting a route to Rapid format is a cost savings for Metro, because RapidRide is in large part federally funded. With a limitless budget you'd just keep the 7 and run the R Line on top of it, and everyone would be happy.)

There are other concerns: Link doesn't run late enough (last trips on Sundays are around 11:30), and unless you have the incredible fortune of having both endpoints of your commute right outside rail stations, Link always requires a transfer. My dishwashing friends don't want to change buses on their way home. If they work in kitchens near Broadway and Pike or Broadway and Mercer, they'd rather walk a block to a bus that'll take them clear to Rainier and Holden, as the 49/7 does, than face the inconvenience of using rail. That's doubly a concern now that Link runs less frequently, and the 49 has been reduced to thirty-minute service(!) at night.

3. The Gentry

There needs to be a strategic shift away from a transfer-based network during this time when service is infrequent. I must also add my enormous preference for front-door boarding for safety concerns: greeting each incoming passenger with respect and acknowledgment allows me more control over the space, a better read of the room, a sense of community, and a safer environment. This is huge. On a route like the 7, respect and community are what will get you and your passengers through the night. I cannot achieve that with RapidRide's all-door boarding. I cannot assert community, positive atmosphere, acknowledgment or safety with all-door boarding. This is why I don’t drive the E Line very much, even though I was all over the 358 for years. I had tools for making it work back then that I no longer have.

Gentrification is when change happens in a neighborhood without that neighborhood's consent. I have the ability to speak for the community because I'm there every evening. I've been there every evening for years. I rode the 7 regularly as a child and have driven it off and on since 2009, drove it five nights a week for four years straight, and remain on it as my route of choice with as few as three exceptions in eight years (let me take a break every now and again!). Basically, I've been out there, and I've taken the time to get to know the people.

They are the least liked, least heard, and most disrespected people in the city, and I am proud to be their friend. I choose them because they are kinder to me. They say hello to me. They value respect.

Yes, gentrification is unstoppable. Capitalism is a beast with a lifespan, and it is aging. As more money becomes held by fewer, larger amounts of people lose access to resources. We've watched as the new buildings have sprouted up. We've felt the folks from the north and east encroaching in. We've looked about in unspoken mutual reflection as the first white faces stayed on the bus south of Genesee, then Edmunds, then Orcas. Orcas! When did that ever happen?

Back during the heyday of blogs, there was a blog called "Stuff White People Like." In a delightfully amusing and now-deleted post, it once noted that one of the Stuffs White People like is public transit– as long as it's not buses. Isn't it funny how that's true? Planes, trains and all the rest, sure– but you don't see Lego making a city bus. There's a stigma, and it's stuck. Fixed-route service is somehow sometimes able to transcend that stigma, and RapidRide has thusly ascended. Something about all the stations and priorities and– well, the just plain specialness associated with Rapid transit. I have friends I cherish in every rung of the class ladder, and for whatever reason my affluent confidants have no allergy to RapidRide.

That is one reason why the Rainier RapidRide counts as gentrification. But the biggest reason is that the neighborhood doesn't give concrete feedback easily (Metro has sure tried, believe me. No organization is more equity-oriented). You just have to be out there, feeling the pulse of the place, how it shifts and speaks in years. Can those who’ve suffered at the hands of authority be expected to give their honest feedback to authorities on command, on terms not set by them?

4. Silent Relief

I write all this because you will have read elsewhere that it's a calamity that the Rainier Rapid is significantly postponed. Don't you worry, reader. Take it from me. We scoff at that lament the way we scoff when a certain publication once actually proposed terminating the 7 at Othello St and not even serving Rainier Beach. We know a wrongheaded idea when we see one, and usually we just tolerate it.

The R Line wouldn't have been as good as the 7 (mostly because: no service to Seward Park residential and business areas, Prentice, and no night service to Broadway), but it would've still been good service. We would've put up with it, as we put up with so many other things.

The night Trump was elected in 2016, I noticed both halves of my route were in mourning, but the Broadway half was more distraught than the Rainier half. I was confused by this, because although Trump's policies would hurt all of us, the Rainier crowd would be more disproportionately damaged. I asked Will about it, phrasing the question as delicately as I could. He was only too happy to reply.

"Nathan, you gotta understand. We're the black man in America. We're used to getting shat on. Now these white folks out here are experiencing what that feels like for many of them probably the first time. But for us it's a way of life. And what we do, is we get on with it. We keep our head down and keep goin'. Survive. Hell, Nathan, you're a person of color. You know what I'm talkin' about. We survive, baby! 'S what we're good at!"

And that's what the folks would've done with the Rainier RapidRide. But in a challenging time, the indefinite postponement of the R Line is, for the significant portion of working-class people I know in the Rainier Valley community, a cause célèbre. Even if it's only temporary this is an enormous win for underserved communities in the Valley. On this particular issue, we couldn't be happier.

I know I don't speak for the whole community; of course that's ridiculous. I don't even speak for the whole 7-riding community. But I at least have the ability to speak for some of the 7-riding community, not abstractly, not from behind an armchair, and not with well-intentioned groundlessness like certain outlets I won't name, but rather from years-long interpersonal primary experience. My word is not definitive, and I know folks will disagree with me; when they do you can bet they won't quote this paragraph. Listen to them. Consider their views. But I say also listen to the people who are actually affected, the gestures of other cultures, voices on the late-night streets.

5. No Blame

I will also reiterate what I've said above and multiple times on record earlier: Metro has bent over backwards trying to get feedback over this. I do not point my finger at them. These neighborhoods are tricky. I don't just have good friends up in the King Street offices, but on the R Line planning committee itself. Their work is tough, and I loved the community-based approach they were taking. My biggest hope is that they'd be able to prove wrong every anxiety I list here, and in reviewing their plans I must share a healthy optimism. They heard my concerns and even spent time on my route, and their RapidRide Art Plan is the best, most inclusive, insightful, community-engaged and people-oriented civic proposal I've ever read (and I don't just say that because I'm in it!).

I'm not interested in assigning blame here. I'm just highlighting voices who may not have been heard in the outreach. Metro’s gotten some good feedback, and I’m merely adding to it. I hear these voices often, have noted the passion with which they speak, and have noted that they don't feel heard. Maybe a lesson can be learned from the recent 106 restructure, which was met with nigh-unanimous and continuing enthusiastic street-level approval.

This postponement's win is that gentrification, even if can't be stopped, can be delayed. Maybe this delay is leading to the bigger win we all need, in that it gives us the time to think critically about how to move forward, and reconfigure what some see as gentrification as something else entirely. If the R Line were given the leeway to happen exactly as described in that internal 2020 Art Plan, which had a lot to say about community and social geography, the Valley would be in good hands.

One can hope.

It’s become a tradition of mine to write a rapturous thank-you post following any big event of mine. You know, where I just can't help myself and have to praise the high heavens that any of it happened.

Why do I do this? It isn't even only with my own stuff (see below for an index). I write about the Biden win here, Bob Ferguson here, and the 2017 Women's March here, to cite just a few examples, in similar terms. I look in the eyes of the people who come to my events, and I just have to raise my hands to the sky. How does any of it happen?

I wasn't raised to expect any of this.

Forgive me if I'm overcome with gratitude, or wishing to divulge more details about this or that event. The great composers wrote devotional music with an analogous fervor, the ancients wrote their psalms, and before that gods were praised and stories told around open fires.

We feel better when we're thankful.

In this 2017 story, Shoeshiner Tim tells me, "the world don't owe you nothin'." I write in the post about how and why those words so liberated to me. Tim has since passed on, but I carry his words in my pocket. Thankfulness is how I stay sane and how I stay happy. I have to keep front and center what's more important than any accolade; I know I don't deserve the goodwill that's been thrown my way. But I do my best to earn it.

So without further ado, let's talk about the four events I just gave at the Redmond Library!

---

You may recall my book, The Lines that Make Us, was Redmond Library's, Microsoft's, and the City of Redmond's choice for their 2020 Summer Reading Program. I'm touched particularly because I worked as a page at Redmond Library for six years, and never for one second imagined my book would even be in their system, let alone a well-above-average 36 copies, nor certainly their choice for the single Summer Book. They usually choose a few titles per summer. This all ended a month ago, and I'm still blushing.

Then there's the Friends of the Redmond Library financing this whole thing, and the exquisite turnout across four events. People who came more than once. Faces who beamed at me through the screens, their essence cutting through the pixels like so much chaff in the breeze. Dozens upon dozens, from teens to ninety-year olds, all with a kind word. It's more than I could ever dream of for an online event.

What particularly strikes me about this event (or four events, rather; they'll go online eventually) is the full-circle nature they engender within me. It goes beyond the fact that I once worked there. It was my first job. I was lonely as a child, and at 14 I began volunteering, coming in with a degree of frequency that quickly led to a hire. The staff, a delightful gaggle of mid-aged women and younger, kindly associates, pages and librarians, took me under their wing with kindness and loving warmth. Kindness and loving warmth? Who finds such things in junior high school? There are many moments from across those six years I best remember now not as events but emotions, gentle nudges from a loving past. The words have names and faces: Bev, Kim, Lynn, Joe, Shuja, Carol, Andy, Malinda, Margaret, Angela, Heather, Sue, Darcy, and many more (I’m not leaving your names out, you others! Blame it on the word count!)… and Dan. Most of these people have drifted out of my life, but Dan has remained a presence.

Very few people have known me for more than several years, let alone twenty. Did any part of me know he and I would collaborate two decades later on a project as important to him or I as this? Dan moved mountains of the most personal nature to make this happen. Many other lovelies were involved (here’s looking at you, Dori and Mary), but for much of the process and because of our history, I felt a certain uniquely collegiate affinity working for Dan. The echoes of years past infused our happy dealings now.  A lost memory of walking by him on a weekend afternoon, or me shelving CDs while listening to him help customers the nearby reference desk; a tall fellow, gentle, measured in movement and reflective in speech. Do you know the kind of person whose chuckle you can always trust as truthful?

It was a haven, the Redmond Library. I felt a sense of belonging in that space, with those people, which I’m convinced played a role in who I am today. In this book and its outlook existing in the first place. For many years the blog was called “The View From Nathan’s Bus;” I still think of it as that, even if it’s now just titled “Blog” in the navigation bar above, for space reasons. It’s about a certain choice of perspective, less mine than the one I’ve absorbed by such kind souls as Dan and the others. Getting to do this series felt like a completion of the promise those early teen years held, returning something to the folks who helped me find my footing. My view. The book contains echoes of their generosity, as filtered through by me, by time, and by the folks on the street.

How many great things exist because someone took a youngster under their wing, made them feel loved?

Thanks, you wonderful people.

---

More Nathan thank-tastic gratitude explosions:
here (one of my first– Seattle Art Museum),
here (on co-hosting with the great Susanna Ryan),
here (an epic 3-parter about Elliot Bay),
here (on the book launch plus last color darkroom show),
here (Seattle Channel),
here (Seattle's 35 Most Influential),
here (Wall of Fame),
here (winning best film at Amsterdam),
here (WA State book awards),
here (MOHAI lecture),
here (PLU author lectures),
here (Top 10 bestseller status), and
here (MOHAI again, clarifying an issue that concerned me).

I think of photography as being more like painting. I want to drape the space with my gaze, let its textures whisper and drift about. The earliest attacks on the validity of photography as an art form were that it captured existence with such replicatory exactness that it couldn't possibly be art; it quite simply looked too much like life.

But you can do so much more than duplicate external appearances. The intense subjectivity of photography has been discussed by better minds than I, especially with regard to choosing what's in and not within the frame; but there's more than that too. There is the matter of how you let colors streak across the scene and with what intensity. How rich you let the blacks bleed, and what you do to make the moment sing with the vibrant, heady, and contemplative rush with which I often find myself seeing life.

I feel connected to that full-bodiedness when I affect these manipulations by hand, through analogue means, in keeping with the tactile language of lived existence. There is no HDR here, no late-night tinkering or showcasing of dexterous software. These are not rows of pixels but pictures of light burned onto silver crystals, my attempts to conduct the ephemeral, to try to add myself to that impossibly alluring dance between light and emulsion. I hope you enjoy.

Click here for the images and an essay of what I was seeing, or trying to see, in Milan.

Click here for photography in other cities, essays on those locations, and more.