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Photos: China

1/18/2021

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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.
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Reflections from Workin' On It

1/6/2021

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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:
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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."
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New You

1/1/2021

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Christmas Eve.

I was parked at my layover, inside the bus. What was I reading? I don't remember. Probably Middlemarch. I turned the page and looked up, out at our neon-hued urban night, a rain-slicked reflective darkness scattered with the detritus of nature and decay. A movement caught my eye. Something irregular in the periphery.

Yes, that was it: a man had ridden past on his bicycle, on the sidewalk to my right, before stopping suddenly. Interesting, but only so much. I returned to Ms. Eliot's prose. Books distract me from the loneliness of having to work a holiday, and deepen my appreciation of existence. I was straddling worlds, taking comfort in what only books can offer– no waiting for the screen to load or app to start up, no pause while you anticipate a text; just the gentle rhythms of imagination, and the turning of pages which will never freeze or go dark on you.

That was when he knocked loudly on my driver's side window.

I was standing by my driver's seat, using it as a table of sorts to lean on while reading; I never sit on my breaks. What bus driver would? I looked up. The guy on the bike had come over to my window, and was in the roadway trying to get my attention.

"Hey," I said, by way of greeting and reply to his presence. He spoke loudly now, loudly enough to be heard through the glass:

"Hey! Be sure to have a Merry Christmas!!"

Wow, I thought. I had just barely enough time to respond with heartfelt surprise before he rode away. "You too!" I exclaimed with gratitude, my hands joined in a clasp of thanks.

Would that we could decide which moments we'll hang onto. Which will linger as memories, representing all those in-between exchanges our lives are made of? Sure, you remember the epochal milestones, the documented highlights people will always bring up, but what about the daily substance of it all? Was this any less illuminating of how people can be? 

Let me store it away with words. Let me repeat the truth of it: a person out there in the world paused, turned back and came over to me. They thought about it. That bus driver's working on the holiday. I should say something.

It was important to him, enough to alter the rhythm of his day and direction. I'll never see him again, and he got nothing out of it. But: the gesture. The surging goodwill afterwards. Is there anything, anything at all, after being kind? Isn't that the final estimation of what it means to be human? To coexist?

Let me not merely admire goodness, but follow it. Let me not only receive or imagine, but do.

It's 2021. We know some things we didn't before.

Let's live. 
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Grateful

12/28/2020

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What makes something land?

1. The Meat of It

I really don't know. I think a lot of it is in how the film is handled. Focus and A24 know a lot about presenting a film. Fox Searchlight did too, before it got swallowed by Disney. My means have been limited, but I'm trying (and continuing to try) to get this piece of front of the right eyes. The festivals above are small, but they're still attended by real people, and some of the real people in these various cities have apparently gone for my strange little beast. I do not know why this is. At a hefty 33 minutes it's too long to be a short film (programmers hate long shorts), too short to be a feature, has barely any plot, no villain, no resolution, and is centered around the not-exactly-trendy topics of grief and death. All this, and they're still going for it?

I am grateful.

Not just that they've given my film and especially the people who made it a boost, but more deeply because they must feel, too, what I felt, what compelled me to bend over backwards trying to convey.

What do you do when the world you know ends?

We experience it on different scales as we wander through life: a toy that won't go back together; a partner who loses interest; a family that breaks apart, a livelihood lost, friend or lover killed. It happens, and you pause. What we do in the Pause is critical. How we choose to see, moving forward. It's important to take your time with it. Who ever said they understood an event better while it was happening, as compared to years down the road, assisted by the helpful wisdom of hindsight and softening reflection?

I tried to engineer this film to be as rich with color, sound and life as possible, the better to get around the fact that it's thirty minutes of people talking, but also to elevate the fact that probing into grief and death really means considering life and joy. This is where you quote Sophocles, because he always says things better than we can, doesn't he:

"Many have tried, but in vain, with joy to express the most joyful;
Here at last, in grave sadness, wholly I find it expressed."


I'm kind of glad I didn't happen upon these lines before making the film. I might have felt I didn't need to!

2. Latest Updates

A special thanks to Bucharest– we were in their Long Story Shorts International Film Festival, where we won Best Screenplay, and were also nominated for Best Short Film, Best Actress (Meagan), Best Actor (Ross), and Best Director. 

Over at the Bucharest ShortCut Cinefest, we were nominated for Best Actress (Eleanor).

Additionally, we played a shorts program of spiritual and philosophical short films at London's Dreamers of Dreams Int'l Film Festival, where we got nominated for Best Narrative Short. Here's an interview from there between myself and the wonderful Anya Patel (video, 13m).

3. On Boys

I've written and spoken at length about the female roles in this film elsewhere (here, and here and here, among others), and I'm grateful for the attention and accolades those roles have received. Let's talk about the boy role for a moment.

Every major role in MIT getting awards attention so far except Marty's is a little like everybody in The Irishman getting nominated except Robert DeNiro. The film doesn't work without him. Most great films about men, especially masculine men, interrogate or deconstruct masculinity, as they should; but this isn't a film about archetypal men, and I wasn't aiming for that approach with its male character. Our contemporary discourse has been invaluable in further illuminating how men shouldn't behave. Excellent. But what should they do instead, in the negative space which opens up? People like role models. After centuries of being told they're supposed to know everything, fix everything, and own everything, what is modern man supposed to look like?

This question is both harder and easier to answer than it seems. You can only bemoan the John Wayne archetype for so long before realizing the act of moving toward something positive becomes more useful than moving away from something negative. They're not the same thing.

"Let black men be soft," writes contemporary artist
Tatyana Fazlalizadeh, in an appeal to expand and make more sensitive the narrow definitions of manhood which dominate black American culture. Her encouraging of gentler sides hasn't exactly gone over unanimously, but that's precisely the sort of role model I wrote the Ashley character (played by Ross and Marty) in my film to be. As a character, he is an attempt to answer the above question, and the fact that I considered casting a woman in the role is probably telling. But it had to be Marty. He kills it. He positively beams out of every frame he's in.

It's not a political film. I don't get much out of casting generalizations along gender lines. It's a human film, and all this chatter is secondary. I bring it up only by way of emphasizing that sometimes the best qualities live in plain sight. He's doing things with that role which won't be appreciated until later.

Film Threat says of Marty: 


As Ashley, Martyn G. Krouse carries the bulk of the emotional load along with Eleanor Moseley as the older Emma.... Krouse plays it calm and focused, never resorting to an over-the-top ugly cry. I understood precisely the weight of what he was thinking and feeling.

UK Film Review writes: 

Finally, the cast play their parts to the nth degree as well, specifically Krouse and Moseley who are responsible for carrying the film's substantial emotional heft and do so with aplomb, while their younger counterparts also shine in giving the film its welcome sense of hope.

Thank you, actors, for making this film come alive in the way it does. Thank you, crew, for making everything glow. Check out the (updated) trailer below, and I hope to screen at another film festival near you soon!

More on our film here.
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Nathan in Seattle Met

12/23/2020

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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
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It's Complicated

12/14/2020

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"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.
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Full (Redmond) Circle

12/11/2020

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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).
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Milano, as seen by Nathan

12/7/2020

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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.
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Praise Island

11/9/2020

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Let us use the word we, in reference to ourselves. 

Let us recognize the beauty of what has happened and trust in goodness again, as we should have done the whole time, as perhaps we did do. Has the muscle for such faith grown weak, from four years of buckling strain? 

I walk into the world abused and disliked, as you do. But what do we convey to others if we let that determine our outlook?

We do not lead with those things.

We lead with our best selves stepping forward, giving out light. Be strong, light, easy. Trusting. I don't get much out of being suspicious, fearing the worst in people. I believe in goodness. I assume it. Yes, I'm disappointed when I'm wrong, but mainly: I see it more. I experience it more. I think you know how good that feels. Participating in cocreating its birth, over and over again.

---

Now is the time for joy. We lived through this past week as nail-biters, but history will look at the electoral tally and call this a landslide. They will see it as decisive. The country took its country back, and then some. In a world where you can't undo time, we have done the best and most beautiful thing we can: avert further disaster. 

We will discuss the complications and the other elections, but for the World, for History, the primary concentration of attention will be on the gesture. Biden's decisive landslide– the final tally will be historically perceived as numerically sweeping even if it was a nail-biter for those of us who were there– his decisive landslide will be the triumphant and conclusive rejoinder to a man who will now live in the ignominy not only of losing the popular vote twice, but in joining the short list of presidents rejected by the people they led, the first single-term presidency in nearly three decades.

His political career began as a joke. We didn't take seriously that he might win. For a man who so desperately wants to be liked, he now ends that career in a deeper hole of ridicule than he ever could have imagined; a man who ran himself into the ground unable to close his mouth after throwing a four-year tantrum. No popular figure in recent memory has more thoroughly steeped themselves as a pariah, at least for those with eyes to see. The meltdown we are about to witness in the coming days will define the term sore loser as it has never been before. 

---

But I don't wish to gloat. No need to emphasize his poor qualities; he'll do that just fine on his own. Let us instead breathe in the joy. Let us take to the streets– not against something, but for something. Let us smile, as I did in 2008, driving the 545 at 7 A.M., when an African-American man got on the crowded bus and sat next to me. 

We were the only people of color on the bus, and I was the only young person, but I don't know if any of that mattered, because he looked at my face and he knew. Like minds. He knew I got it. We were screaming with joy in our silence, beaming at each other like the sun's first rays over frost, very soon unable to keep from spilling out in conversation with each other. Shaking our heads in jubilation. 

America. 

What is born must be reborn, and it is born again. We have just rebirthed our country. 
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What's In a Number

10/29/2020

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Trump's lasting legacy will be a numerical figure.

People are generally remembered for one thing, and it tends either to be the biggest thing they do, the worst thing they do, or the last thing they do. Heaven help if you're a popular figure with an action in your life that manages to be all three. You're doomed. It's a foregone conclusion that'll be your only act which publicly outlasts you.

Trump's legacy will be a number. 
It will be the number of dead women, men and children who could have lived if he had acted on the coronavirus.

After enough time, most of the other acts will be forgotten. This won't be. People remember numbers. Sometimes men do unforgivable things they are later forgiven for, perhaps because they earnestly try to improve themselves, and the people around them believe humans can grow and change.

There will be no such understanding here.

The number dooms him. It is large enough it can't go away, but that isn't everything: it is also small enough that people can wrap their head around it. These are the ways in which fame becomes ignominy. 

---

I listened to a man on the bus one night, musing to a friend of his. The speaker was a spry, wiry sixty-something, holding a skateboard and sporting silver dreads with a jean jacket and turtleneck, both of sensible size; he was a touch scruffy, a man both educated and earthy, from a multiracial somewhere. He'd talk about fishing. Or skateboarding. But he always had a book under his arm too.

On this night– years ago– he spoke a thought which seemed to come from nowhere. It was a musing unrelated to their conversation, the sort of thing you build up to in your mind, but which to the listener comes as a surprise.

He said, "Man, I'd rather have no money at all, and be respected, than be the richest man in the world and have everybody hate me."

Mr. Trump did not think about that when he entered the public stage. He lacks this man's reflective abilities. Becoming a pariah is one tough rock to climb out from under. You need commitment, charisma, and an ocean of goodwill. He lacks all three.

---

Years from now, a high school student is going to read about our time period in his history book. He'll be sitting in Social Studies thinking about girls, mildly bored, alternating between looking out the window and idly tapping his pencil eraser on the desk. These will be the days before he settles into himself, those fraught and restless days of youth, when your own problems bounded ahead of you, taking up most of the view. But something will distract him out of his reverie. It'll be the chapter about us.

Way back in the early twenty-first century, they elected a tyrant whose infantile rage and abuses of power recalled ancient Rome, the worst of the monarchies, and mid-1900s Europe and Asia. Despite having a democratic system designed from the start to prevent precisely such occurrences– all that stuff about checks and balances we had to study last month– he will learn that no action was taken. A flawed voting system resulted in a despot taking over and abusing others exactly as he was predicted to do, and worse. Much worse.


Then they voted him into office again.

When he reads that he'll pause. They also didn't fix the election system that got him there in the first place? His earlier reverie is forgotten. He is now very interested. Riveted, actually. And confused.

"Wow," he'll think. "They must have been complete morons."

He will be right.

Vote.

We aren't given a lot of chances to actually do something about world affairs. I know it's discouraging. I tend to focus on what I can do for other people on an individual level; there you can do a lot. More than you think. But we do get one chance to make a difference on the larger stage, and this is that chance. Don't not vote, and then walk in marches later. You want to be qualified to complain, right?

Vote. Let the future see that you tried.

---
​
  • Here's what I wrote the morning after the 2016 election.

And my thoughts on:
  • Understanding where differently minded voters are coming from.
  • The flawed voting system clouds a positive fact: there is actually no numerical majority supporting Trump's views.
  • A local government rock star successfully taking action.
  • A love letter to an earlier time. ​
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    Nathan

    -You can find me on the Great 7/49, in the evenings.

    What is this blog? Check out the explanatory first post, or read the  front-page Seattle Times writeup here!  

    Here's a one-page crash course with links and highlights: Nathan Vass 101

    My Book is Finally Easy to Purchase!

    -For New Bus Drivers: Thoughts, Tips, and Stories
    -How to Drive the 7: The Complete Care Package

    Popular posts:

    Only have time for one story? Try these. 
    -The Day The Earth Stood Still
    -Le Park de Cal Anderson
    -
    21st Century Man
    -One Last Story (Video)
    ​
    -Everything You Ever Wanted to Know About the Great & Terrible 358
    -I'M A LIGHT-SKINNED BLACK WOMAN!
    -The Final Flurry: Index
    ​
    -Scroll down on this sidebar to "On the Street," below, for more highlights~

    Personal:
    -International Examiner Interview (Plus a word to my fellow Hapas!)
    -Surviving the Social Desert: Nathan on High School
    -With What Time We Have
    -My Seattle
    -On Second Acts
    -Yves Klein, Color of the Heavens
    ​
    ​-Popular Posts from 2018, with Commentary
    -Nathan Vass, 2019 Washington State Book Award Finalist
    -Nathan on the Elliott Bay event: Parts I, II, and III
    -Seattle Magazine / Third & Cherry
    -Pretty Sure I Don't Deserve This
    -How I Live Now
    -Escaping the Overlords: Nathan on Comcast
    ​
    -I Am Now Ten Years Old
    -Confession
    -Flowers in a Pool of Blood: Thoughts From an American in Paris
    -Paris, One Year Later: A Personal Perspective
    -The Transgender Ban
    -Nathan on the Las Vegas shootings: On Terror & Other Things
    ​
    -The Birthday That Almost Never Happened
    ​
    -Nathan Takes a Day Off:
    Part 1 (See Nathan Run);
    Part 2 (Nathan Gets Excited); 
    Part 3 (Nathan Sounds Like Morgan Freeman)
    -Rad(iation) City
    -La La Land & What Los Angeles Means
    -Reparations
    -Names Nathan gets called! A list in three parts: 1, 2, 3
    -Where and How it All Began
    -How I Write the Posts, and Why
    -Chaleur Humaine
    -A Story
    -What Not to Say​
    -In Praise of Silver Hair
    -You're Been a Good Friend of Mine
    -...And a Splendid New Year!
    -Nathan Converses With His Colleagues: Parts 1, 2, 3, 4, 5, 6, 7, 8... and 65

    Political:
    -What's In a Number (Trump's legacy)
    -Praise Island (Biden's win)
    -The United States of Floyd
    -The Great Male Detoxification Project
    -The Day the Music Died
    -Kindness In the Days of After
    -Understanding Love & Hate During Trump Nation
    -More than Health, More than Money
    -Seattle, Center of the Modern Universe
    ​
    ​-What We Did, Today
    -This Story Has Nothing to do With Donald Trump
    -Don't Be Scared of My Friends, Part I
    -Don't Be Scared of My Friends, Part II
    -The Music Isn't Dead (Yet)
    -Nathan Actually Talks Politics, Pt III: Keeping the Music Alive
    -Pulling Our Weight, Part II: Addressing the Homeless Laziness Question
    -Getting Some Diversity Off My Chest
    ​
    -The Veterans
    -Islamofriendia
    -Be at Peace, Mr. Garner. We Will Love the World For You
    -The Streets Regard Ferguson
    -How do You Change the World? Thoughts on Violence
    -Cowboys of the New Age: Status & Respect in the American Ghetto
    -A Boy Named Hamza: Thoughts on Hate in Three Parts 
    -It Used to Sound Like This

    ​On film & art:
    -On Laura's Book
    -Nathan on Seattle's Waterfront: Before and After
    ​-Nathan's Films of 2019: Top 2 Plus 23 Runners Up (photos, trailers, analysis & more)
    -Once Upon a Time... in Dreams: On Tarantino, Violence, and Transcendence
    -On Finishing Men I Trust
    -The Lie & How to See It: On Hate, Despair & Hope in Contemporary Film
    -
    Notre Thoughts
    -Addressing Despair: Nathan on First Reformed
    -How Evergreen Became Irrelevant
    -October 2018 show breakdown: all the deets 
    -On Color Darkrooms
    -The Non-Bailers: Thank You to the Cast & Crew of Men I Trust, Pt I
    -People I Trust: Thanks to My Cast and Crew, Pt 2
    -Nathan's Overlooked Films of 2016: Trailers, photos, analyses
    -A Bus Driver Reviews the New Bus Driver Movie! 
    -My Films
    -Song to Song and Malick: The Cutting Edge
    ​
    -Nathan on Wet Lab Prints
    -Kehinde Wiley: The Morning After
    -Nathan the Friendly Hermit, Part I: Nathan Gets Pasty
    -
    Nathan the Friendly Hermit, Part II: Pastier and Pastier
    -Birdman, (a) Film of the Decade
    -
    Gone Girl: Fidelity & Subjectivity
    -On Gravity and Identity
    ​-Primary Colors with Music: Andrea Arnold's American Honey
    -Sicario: Why Visuals Matter
    -The Martian: On Intelligence in Pop Culture
    -About Elly
    -Best films of 2015: Trailers, photos, analyses
    -Selected writings on films released in 2014, 2013, and 2012. 

    On the Street:
    -Jessica Lee
    -Ah, Volume
    -Eulogy for the Damned
    -King Travis
    ​-The Great and Terrible Fifth & Jackson: An Ethnography
    The Veterinarian: A Story on Grief in 4 Parts
    -The Glow
    -Decent Street: Kendrick, Gender, Lingo, & the Good Man Problem
    -The Shake'N'Bake: Parts 1, 2, & 3
    -
    Pulling Our Weight, Part I
    -Pulling Our Weight, Part II: Addressing the Homeless Laziness Question
    -I've Been Sainted
    -Dominique The Mystique
    ​
    -Deserve, the Concept and the Song
    ​-Gangsta Phone Strategy, Deep Breaths & Kindness Rising
    -The Joy of Bus Driving
    -The Knife's Edge Dance
    ​
    -The Soulful Stench
    -"Everybody Need to Quit Acting Hard and S**t"
    -The Mother's Day Apocalypse
    -Ode to the 358
    -"I BET YOU APPROVE UH GAY MARRIAGE"
    -The Question
    -By Himself
    -Appreciation
    -Banter in the Nighttime
    -The Nathan Train
    -The Benevolent Roar
    -Truthfulness, the Final Currency
    -Love is in the Air
    -Surfing the Sparkling Wave
    ​-Saddest Music in the World​
    -Rainier & Henderson, Baby!
    -Sheeeeeeyyiitt: Strategies for Day or Night
    ​-AngryNice I (Love Through Frustration)
    AngryNice II: Tran Chimes In
    AngryNice III (We've All Felt It)
    -Love (Hurting From a Lack Thereof)
    -Hip to be Joyful
    -Future, Present, Past
    ​-Changing Awful
    -Harsh
    ​-The Nameless Heroes
    -The Break-Up
    -Tropic Of
    -Figuring it All Out in the Bullpen
    -Leaving Small Talk Behind
    ​-She Did It On a Monday
    ​-One Day, My Friend
    -I Am Now Two Years Old
    ​-The Harder Thing
    -Poker Face Practice
    -The Great Freeze

    For Bus Drivers!
    --How to Drive the 7: The Complete Care Package
    -
    -It's Called Working
    -
    -Bus Driver Appreciation Day: Coronavirus Style
    -The Swagger I Love: Thoughts on My Fellow Operators
    ​-A Love Letter for My Colleagues: Exercises and Stretches for Operators
    -What I've Learned From Other Bus Drivers
    -Rest in Peace, Breda Monster
    -I Don't Know What a Trolley is, Part I
    -I Don't Know What a Trolley is, Part II
    -Verbal

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