THE FIRST QUESTION that came to mind when I stepped into Rüki Galleri to see Eiko Ojala’s new exhibition was: “Is Eiko a woman or a man?” With a name like that, it would probably be a man, but I wasn’t sure. Maybe she was Japanese? Like Miho, Yoko, Eiko. The woman behind the counter told me that Eiko Ojala was a man and an all-around nice guy. “In my opinion, he’s quite friendly,” she added. Her name was Inessa. So, Eiko and Inessa — these were my main characters.
Rüki Galerii was once stored rye flour. The gallery is located behind the new SEB bank on Tartu Street in the heart of Viljandi. The place is wide and spacious, and precisely for that reason ideal for experiencing Eiko’s exhibition “Mind Notes.”
The technique here is pigment print. At first glance, it’s hard to tell what’s going on. It looks as if someone has cut figures out of paper and glued them all together. But that’s not the case. It’s simply a 3D effect. There are various shapes: men, women; some are lying down, some dancing, some running together, some standing under an umbrella. Incidentally, the figures do look Japanese. They have black hair. Pale skin. There is indeed something Japanese about them. Even though Eiko Ojala is an Estonian man.
There are two buckets on the right. One on the left. Seeing them, I asked Inessa if the roof was leaking. Inessa said no. The buckets were part of the exhibition, she explained.
Inessa also tells me that Eiko Ojala is a famous artist: “His pictures have even appeared in The New Yorker.” And not only. The Washington Post. National Geographic. Time. Le Monde. Wired. Politico. It’s a great honor that “Mind Notes” is here, in Rüki, in the quiet small town of Viljandi.
In the corner are information sheets in Estonian and English describing the concept of the exhibition. These images speak about the body: how the body reacts even when consciousness ignores it. Disturbances, fatigue, comfort. The Silicon Valley “live-to-work” mentality is one influence. The fiction of Franz Kafka is another. How authority functions through spaces, processes, and customs, and how a person goes along with it until they no longer perceive that this is how they are behaving.
Ojala’s human figures express this through restless poses. They are strange, admittedly. They bring to mind characters from the film Backrooms, though it’s hard to say why. Also Playmobil toy people. The prices are high. A picture of people standing together under an umbrella costs 1,500 euros. But these are not exactly the kind of pictures you hang on your bathroom wall. At the same time, they are unique and, in that sense, welcome. After all, when you go to an exhibition, you expect something different. Something new.
I think a visitor who comes here will not be disappointed.
Looking at these images — for example, a dancing person — I’m reminded of old drawings of shamans, where someone “flies” together with some spirit. Like in old Tibetan art, where the gods strike different poses. Overall, the exhibition is a haunting, strange place. Inessa says it reminds her of the series Severance, which depicts a gloomy biotechnology company whose employees have undergone a severance procedure that separates a person’s memories between work and personal life. That seems about right.
Later, when I wrote to Eiko, he sent me the text he read at the exhibition opening in August. He adds that this was actually his first solo exhibition and therefore especially personal.
“As the name suggests, ‘Mind Notes’ — these works are connected to our senses and how we notice and interpret the messages they send us,” he wrote. “Especially in situations where we don’t pay attention to ourselves. Or rather, one could ask whether we notice those messages at all. The claim of this exhibition is that, as it were, we don’t.”
And the buckets? They symbolize repetition. At first, the visitor notices that there are three buckets of water. But over time, the water quietly evaporates. They become part of the exhibition’s rhythm.
My main question, of course, was how the author himself feels about his exhibition. In general, Eiko Ojala is satisfied. “Tranquil Viljandi was the perfect place for this,” he answered me. “But no artist can ever be fully satisfied with their art. One must always keep pushing forward.”
*
‘Mind Notes’ opened at Rüki on 16 August and will remain through 26 September. An Estonian version of this review first appeared in Edasi. More of Eiko Ojala’s art can be seen here. And Inessa (Saarits) is an artist herself.
BEING AN AMERICAN has never been easy. Even at the start, the idea of independence wasn’t exactly popular. About a third of people in the colonies supported the American Revolution, a third were on the side of the British Empire, and a third didn’t really care one way or the other or were just indifferent. As The Who sang in 1971, “Meet the new boss, same as the old boss.” I fear I might have belonged to this third category. I’d like to say I would have been there with Franklin and Jefferson in Philadelphia.
But I can’t really be sure.
In recent years, American politics have been challenging. It’s hard to recall that Minnesota and Greenland were the main topics earlier this year. In the meantime, there’s been a war in Iran. Or is it a war? Is it still ongoing or is it over? Nobody knows. And nobody can even say if it was a war or some other kind of armed conflict. I feel strangely indifferent to it, but perhaps that reflects the same ambivalent feelings that presented at America’s moment of birth.
For me, America is not about flags, armies, and politics. And it isn’t even “American food.” During these years in which America has been wrestling with its soul, I have rediscovered my own origins. I’m happy to inform you that they do eat well there. Not barbecue, hamburgers, fries, or anything else considered to be typical American food. It’s at times easy to forget that America might be an idea, but it’s also a place, where each region has its culture and cuisine.
I am from the East Coast.
What that means is that our local nature found its way onto our plates and soup bowls. When I think of my childhood foods, there were no potatoes or schnitzels, as they have here in Estonia. There was no blood sausage, and dark rye was essentially unknown. The only real black bread available was at some German restaurant, though you could find pumpernickel in the stores. But it’s not the same thing.
We had lobsters, though, all kinds of crabs, shark and tuna steaks and bags full of clams and mussels. I remember one lovely summer, maybe 1985 or thereabouts, when my father was away on a business trip in England. My mother didn’t feel like making a big dinner that night and decided that our dinner would be a big bowl full of mussels with melted butter. There I sat with my brother on the deck, eating away. I have to admit; it was probably one of the best dinners I’ve ever had.
We lived in a village on the north shore of Long Island. Before the Second World War, this was a summer place, and many of the houses were built as summer cottages at first, before they were outfitted for year-round living. From my window, you could see the sound that separated Long Island from the State of Connecticut. At night, you could see lights glowing on the other side of the water. During the day, white sailboats and ships moved across the water, and sometimes you might hear the honk of a fog horn.
Our food culture was very influenced by New England and in some ways Long Island is a more natural part of that region. The City of New York has a colorful history, where the first Europeans who settled were the Dutch and their heritage lives on in local foods such as koolsla, cole slaw, a cabbage salad with mayonnaise. We did eat this, but more in restaurants or delis.
But my mother did take me to the seafood store regularly, where all kinds of surprises awaited. A usual purchase was soft-shell crabs. These were breaded and fried. I ate every part of them. I don’t even want to know what parts I ate, but there were certainly some unusual tasting parts. Were those the crab brains? Who knows. For me, they were the most nutritious food around.
There were also scallops, which were very welcome for dinner. These came straight from Peconic Bay on the eastern end of Long Island. But you could get these up and down Long Island and across New England and up into Maine, and from there on to Canada, Nova Scotia, New Brunswick. Who knows where the end of the scallop trail is. Scallops were a kind of delicacy, because they were more expensive. Clams were much more common. Truth be told, Justin Petrone’s first meal after breast milk was linguine in white clam sauce.
Just as an Estonian may dream of potato salad, black bread, beer and herring, I dream of shellfish.
In the seafood store, there were also lobsters sleeping in tubs, their claws held shut by colorful rubberbands. We ate lobster quite often. My mother would buy four or five and they would be put in a paperbag. At home, they would await their fate in the cold of the refrigerator until evening. Then they would be put into the boiling water. I remember how I could hear them tapping at the inside of the pot, trying to get out. But at some moment, there was no more tapping. The best parts were the claws, of course, and the rich and meaty tail.
Lobster was something special. They were expensive too and we would eat them at birthdays or some other special occasion. I have a weird memory of my father’s 38th birthday. I was about five years old and I remember how a lobster got up and tried to run across the table, away from my knife and fork. In the end, I did get him. What’s weird is how clear this memory is, even if it was probably a dream. Or was it?
It’s odd to think of how much time I have spent with crustaceans.
Once, in the seafood store, the owner decided to play a trick. He took out the lobster and put it on the floor. It began to move toward me. This was like a scene from a science fiction movie. I can still hear all of those legs tapping on the ceramic tiled floor.
It’s interesting that even McDonalds offers lobster rolls in New England. All you have to do is order your lobster roll and drive up to the next window. And there it is, in your hand. In New York, this is less common, so it was always a fun part of traveling north.
Just one ferry ride and the lobster roll is yours.
What a weird combination — a fast-food delicacy.
I haven’t even got to the soup. Our chowders are interesting. As a child, I knew two kinds. There was New England clam chowder and then Manhattan clam chowder. New England clam chowder is cream based and filling, Manhattan is tomato based and a bit spicier. I should acknowledge that when I was a kid, the waters around Manhattan were not the cleanest. So, I would wonder, peering into my soup, what kind of stuff was in the Manhattan clam chowder. Was there hospital waste in there? Dead bodies? That’s what I imagined was floating in it.
Everybody knew the mafia dumped their hits in the waters around New York.
If you head out farther east, or travel by ship to Martha’s Vineyard and Nantucket, you’ll encounter quahog chowder. Quahog is an Algonquain word, it refers to a kind of clam with a very tough kind of meat. This is very everyday food. One summer when I was spending time at my friend’s grandparents’ house on the eastern end of Long Island, we spent the day collecting clams and made soup at night. So, if someone asks me about American food, this is what comes to mind. What we actually ate.
It’s nice to think and write about soup. It’s like getting your country back with every spoonful.
Long Island’s north shore looks out on Long Island Sound, its east will lead you to Europe, eventually, and its south shore opens up to the Atlantic. These are deep waters and so we often had swordfish, tuna, and mako shark steaks on our table. My father never really made dinner, that was mom’s specialty, but the grill was his domain. He would grill up some shark.
We ate Jaws with baby potatoes.
The indigenous people along the east coast were mainly Algonquians and they subsisted on maize, beans, and squash. In Tallinn, the Three Sisters refers to three old houses, but for indigenous people, the three sisters were just these three staple crops. In school I learned that there was often a big pot at the center of their homes into which they tossed all three, plus some venison or fish. If you were hungry, you just grabbed a bowl and helped yourself.
We never ate that way, exactly, but we did have the sweetest corn in the US, or so we told ourselves, and we knew that the corn we ate at the end of summer would be even sweeter. I had my own strategy for eating corn. Some just chomp away, with corn flying every which way, but I take my time. I do it systematically, so that every piece is properly eaten. Husking the corn was my favorite thing to do before dinner (or do you really want to put out the plates? I don’t.)
So there I would sit. But how many did we usually buy? Sixteen?
Even as suburbia was growing all around us, there were still some functional farms in existence. We would buy our corn from there.
For us, summer meant seafood, corn, and potatoes.
The potatoes were also cultivated on the local farms.
My grandmother wasn’t from the place where we lived. She came from down south. Her father was from North Carolina, and her mother was from Virginia. They had a different food culture. The climate there is warmer, the people are closer to the land. They had smoked hams, fried chicken. Lots of peanuts. Some farmers only grew peanuts. But corn had a special place of honor. My grandma would make me cornbread all the time. Every time I went to visit her, where she had her Elvis Presley Christmas album, she sent me home with bags full of cornbread.
The word for maize comes from an indigenous language — the Taino word mahiz. So I think there’s nothing more American than corn or maize. It’s probably one of the things that define it.
It’s interesting to think of American food today, a rainy morning in some Estonian cafe. Sometimes I even forget that I am from there, but then something odd happens, like I see a bunch of shipping pallets and think, for a moment, that they are lobster traps. Or I start to talk about lobsters and people look at me like I’m weird.
What kind of person talks about lobsters?
Once I had to find the Estonian word for spout, when I was writing about whales. People had no idea what it was. “You know, that spurt that comes out when the whale surfaces to breathe?” Then I realized that I was just from somewhere else. A place where people talk about whales and lobsters all the time. A place where your homeland comes with a hot bowl full of quahog chowder.
America is, after all, named after some Italian explorer named Amerigo. But maize and quahog? Those are real American words, if you ask me.
An Estonian version of this article appeared in the magazine GO Reisiajakiri earlier this year.
IT SEEMS TOO OFTEN these days that we default to minimalism. We want subdued tones, empty spaces, love expressed with silence, tears that flow only in private. Less is always more, we are told. But in the art of Karl Pärsimägi (1902-1942), I have found the opposite to be true. This is a colorful world. In Pärsimägi’s world, less is never more. More is just more. His exhibition at the Tartu Art Museum, Sinu Kunst on Pikk! (“Your art is long!”) (23 May – 25 October) is worth a visit. A modernist from Võrumaa with a south Estonian sensibility, Pärsimägi was prolific and well traveled. The exhibition hall can barely contain his output (a 350-page book has just been published devoted to it). Pärsimägi was famous for painting nude models, but his most beautiful paintings are of women doing everyday things. Reading a book in Reader. Stuck in a blissful moment in 1936’s A Portrait of a Woman with Pearls. My own favorite is 1935’s Young Woman in Blue with a Red Tie. It’s the reason I visited the exhibition. I wouldn’t call Pärsimägi or anyone a genius, as I am not an expert art critic, nor do I ever want to be. But I can say that I came away from the exhibition feeling happier and freer than I had in a long time, and inspired to do, as Pärsimägi did, more! Alas, Pärsimägi’s time ran out. He was arrested in Paris and shot by the Nazis in Auschwitz, some say on account of his sexuality. He was remembered as a reclusive, eccentric character, who liked to visit his siblings in Viljandi and Võru. In his self portraits, he reminds me of Pink Floyd’s Syd Barrett after his LSD-fueled mental collapse. An interesting character for sure, one who made memorable art. And also, I think, one worth building on. I see his work as just a start. There is more to be done.
An Estonian version of this review appears online in Edasi magazine.
BUT IN NARVA, I AM NEXT. I’m next here in line in the lobby of Hotell Inger, where I am met by a young woman named Valeria who has obvious Slavic features, as if she was Gorbachev’s granddaughter.
She has dark hair, a pale complexion. It’s hard to say what makes her stand out. Is it the lips? The eyes? The whole road to Narva I’ve been nervous because I don’t know a lick of the Russian language. It reminds me of when I was in Beijing and I had to order food. Of course, I know some phrases, but these aren’t the most polite ones, so better not to use them. But somehow I have to communicate. To my surprise, my questions in Estonian are met with Estonian responses. With an accent, naturally, but I also have an accent. How is it possible? I think. This is the most Russified city in Estonia. Almost everyone who lives here is a Russian speaker. But in my hotel, Estonian is just fine. I’m given a key, a room, and the right to swim for free at the Narva Ujula.
My room is on the fifth floor on the left. Clean, standard, comfortable. From the window, you can see the old town hall or raekoda of Narva, and the Hermann Fortress as well as some streets, where a few Narvans are visible strolling about at night. And there, just beyond, lies notorious Russia. The Russia we all fear. Russia is sleeping now and Narva is going to sleep behind it, as is the rest of Estonia. So I too fall off to sleep. It was a long trip to get to Narva. By bus from Viljandi to Tartu, from Tartu through Mustvee and Jõhvi. Even when you leave the Sillamäe Bus Station, Narva still feels far away, always in the distance.
The area around Narva is dotted with birch trees, hay fields, and swamps. The landscape is empty, only a few houses catch one’s eye. Maybe that’s why I have only visited this border city two times in the last 20 years. This is my second time in Narva and the first time that I will spend the night here beneath a warm blanket, my head resting on a soft pillow. Why is traveling by bus so tiring? But whatever. Good night, gorod Narva. I’ll see you in the morning.
WHEN THE SUN RISES, the mornings in Narva are lovely. The sun appears from the east over the town and is visible behind the tower of the raekoda. It feels as if the light has arrived directly from Japan. I sit on the first floor of the hotel in its restaurant and listen to the conversations of the other guests — Estonian businessmen, a Spanish couple, and maybe some Chinese? There are even a few Americans here, someone is saying something about Indianapolis. I don’t feel like introducing myself to them. God knows why they have traveled out here to Narva. I have my own suspicions that any foreigner who winds up in Narva simply must be a spy.
The hotel is located on Pushkin Street and faces a gray apartment building, the kind known as a khrushchevka, because it was built when Nikita Khrushchev was the Soviet premier. In front of this building walks a young Narva boy on his way to school. I take a sip of coffee. Why did I even come to this place? That’s a good question. In January, when the status of Greenland was in the news, I had a dream that a summit was held at the Hermann Fortress and Marco Rubio, JD Vance, Kaja Kallas, and Lars Løkke Rasmussen were in attendance to discuss Greenland’s future. In the dream, I was also dispatched to cover the summit, but before I was about to enter the fortress, I encountered the Estonian poetess Kristiina Ehin in a blue dress, who invited me to sit with her and read the poetry of Lydia Koidula. And so we did.
After this vision, I decided that I had to go to Narva. Narva was waiting for me. It was speaking to me in my dreams. Immediately, I wrote to the Narva Collehge, which in turn invited me to attend a conference in honor of the national writer, Anton Hansen Tammsaare. Naturally, I accepted the offer.
But that was just one reason for visiting Narva. The other was that I needed to get away from it all, to take a little vacation from myself, so to speak. In Viljandi, where I live, I feel like a hamster caught in a wheel at times. The same feelings, memories, thoughts. The same streets, people, problems. The same old stories haunting me. Not like Narva was like some place from the novel Eat, Pray, Love, a city where one could find himself, but I had a feeling that it would be a good idea to travel as far as I could while still remaining in Estonia. Narva seemed at that moment the ideal destination.
Estonians have a weird relationship with Narva. In some ways, Estonians consider it to be a part of their homeland. At the same time, nobody really wants to come here. Maybe to some conference, or to a concert, or just to have a look at the castle and take a few photos and then drive back. As far as I understand it, the Estonian version of Narva’s history goes something like this. Once upon a time, Narva was an Estonian city. There lived mostly Estonians, who sang national songs, danced national dances, and ate fried Baltic herring. Everything was fine. But then came the war and the Russians bombed Narva’s beautiful Old Town into dust and Estonians were not allowed to resettle there. The Russians built atop the rubble some ugly apartment blocks and moved in. Now there’s not much to do or see there.
“There’s nothing there,” I was warned ahead of my travels. “Everything was destroyed in the war.”
After doing my own research though, I have come to understand that it was exactly so. The statistics reveal, for example that in 1897, about half of Narva’s inhabitants were Estonians and half of them were Russians. In 1934, about 65 percent were Estonians and 30 percent were Russians. Had I come to visit Narva in 1926 instead of 2026, I would have had a similar linguistic experience.
The Soviet Union did bomb the city in its war against Nazi Germany. Actually, both sides destroyed the city, but the coup de grace was the Soviet bombing in March 1944 which took place the same week that I happen to be here, drinking coffee. The Soviet Union did not value old architecture. When given the choice to save what was left or just bulldoze it, the Soviets chose to toss the old Narva into the dust bin. The same thing happened in Tallinn, by the way, where the Soviets razed the ancient cemetery in Kalamaja in 1964. The Soviets wanted to build a red future, where smiling Gagarins would fly through the cosmos, sharing the joys of Communism with the aliens.
After the war, a great number of people moved to Narva from all over the Soviet Union. In addition to Russians, there were many other nations. By 1989, more than 80,000 people lived here. At the moment, there’s just 50,000, and many of these are 50 plus. Where do people go when they leave Narva behind? To Tallinn, I am told, but also Helsinki, London, and Paris.
This might be one positive thing about the city. In Narva, I feel like a kid. Later, when I step into Lidl to buy some toothpaste, I noticed that I am surrounded by pensioners who are looking for the best deals. Peanuts just €1.8. Don’t you want some cheap shampoo? They whisper to their friends and relatives in their phones. Harasho? (“Good?”) Harasho! (“Good!”). In Viljandi, the site of the Culture Academy, as well as in Tartu, with its universities, I feel like a real dinosaur who was born in the wrong century. I don’t even dare tell people there that I was born in the Seventies. Sometimes I lie, but more often, I just declined to give my age. But here in Narva, I feel like I’m still a boy.
Narva’s Lidl supermarket is like something from another universe. As if a spaceship has landed here in town. Long escalators, everything made of metal and glass. When I walk toward the river, I can see that the city hasn’t completely recovered from the war. Eighty years later and the scars are around every corner. Vast empty spaces between buildings. Into one of them has been constructed a new playground, where young Narvans are busy playing. My first morning in Narva is cold and brisk, and everyone is still wearing winter coats. They all seem so happy though that I have to pause and take a photo of them. No matter how hard it tries, war can never really snuff out people’s souls. I watch the young Narvans and they give me hope.
LATER I STAND BESIDE the Hermann Fortress and watch the Estonian flag dance against a blue sky. At the same time I am listening to the soundtrack from the film From Russia with Love. Narva seems so ideal for espionage, the perfect spot for swapping secrets. In the old Cold War movies, I would meet my contact here to obtain some stolen microfiche. Unfortunately, no one from MI5 is here to meet me today, and it seems Kristiina Ehin didn’t show up either.
Buts o what. I like being here, I like the way the sun shines and how powerfully the river flows by. I am aware that being on the border is serious stuff and that Russia is so dangerously close, but I just can’t take it too seriously. The people on the other side of the river at least look somewhat normal. Someone is fishing in Ivangorod today. I stare at the Ivangorod fortifications and can’t say exactly where I am, culturally. Old ladies greet me with Privet (“Hello”) but there’s some kind of Scandinavian flavor to the place thanks to this castle. Nearby there is also the famed “Swedish Lion” memorial to the victims of the Great Northern War. I keep walking along the river until I reach Kreenholm. I have always wanted to see this old factory complex with my own eyes.
How many Europeans know that Ursula von der Leyen’s ancestor, Ludwig Knoop, founded the Kreenholm Manufacturing Company in 1857? odd to think that Kaja Kallas and Von der Leyen are colleagues these days, so that Estonians and Baltic Germans are running the European Union. These old friends are at it again. “Let’s do it like we used to do it, Kaja!” This old abandoned factory is part of the story. Europe starts right there. I have heard through the international press, echoing (successful) Russian talking points, that “Narva is next.” Originally, this meant his next target, but the Estonians have repurposed it to make it sound like it will become the latest, trendiest place. A better slogan would be just this, “Europe starts here.” Maybe someone is already using it?
When Von der Leyen visited Narva, she also came to Kreenholm. There are photos of her taken on that day. She looks like a little girl standing in front of the factory. “All of my childhood stories started here,” she said. Nearby brick buildings, that once belonged to the factory complex, remind me of Glasgow though. Later, I am told that Knoop was inspired by British architecture. Where even is this place? Russia? Estonia? Denmark? Scotland?
Nearby, I discover some more extraterrestrial Soviet architecture. At least that’s how I refer to it. There are great white columns, a collapsed roof. What even is this thing? The Vassili Gerassimov Palace of Culture? I look it up. Gerassimov was a worker at Kreenholm who led a strike in 1872. Here stands his palace, although he never dwelled in his palace, because he died in Yakutsk.
There, across from the palace, a young Estonian woman is pushing a baby carriage, with the tot tucked safely within, sound asleep. The weather has changed, and now a moisty, freezing wind is blowing against us and toying with the woman’s hair. She’s dressed all in black and her skin is very white. It’s strange to hear Estonian spoken in Narva. She must be a local. Who else would take a baby for a walk here on such a day? There are about 1,500 Estonians living in Estonia these days. One of them is still an infant.
Later at the Rimi supermarket, I encounter another Estonian woman with a child. They are buying food and the child is complaining that he wants more candy. Classic. The woman looks like an Estonian, she’s obviously an introvert. With that sweater and those jeans, she might as well be from Rakvere. People coexist here peacefully. The Russians are not arrogant at all, at least the ones I interact with in the store. And when I have a problem, the Rimi cashier comes and helps me right away and says Aitäh (“Thanks”) and Palun (“Please”) to me. She even smiles. Rimi feels like a real oasis in this gray, post-Soviet soup. The whole city center is so gray. But in Rimi you can buy colorful Estonian brands and here a radio advertisement that begins, “Greetings. I’m Koit Toome.” It’s somehow a relief to hear good old Koit’s voice all the way out here in Narva.
THE NEXT MORNING in Narva, I decide to head in the other direction, to the north. According to the map, there’s both a German and a Jewish cemetery there, and these seem like good destinations. At the top of the hill, one finds the Narva Gümnaasium, a modern and new high school. There used to be a woman in my life who attended school here, but she’s long gone, like most of the others. Such are the women of my life, wild adventurers who come and go with the wind. I think about writing to her for a moment, but then I decide against it. Why does she need to see a photo of Narva Gümnaasium. I know exactly what she will say too. “I know all too well what it looks like, thanks.”
From the high school, one can see apartment blocks in the distance that remind one of Sarajevo. On the other side, there is a low-lying neighborhood with an Orthodox church at its center. The church offers the only color, with its gold-yellow tones, because the weather is so cold and gray again. What did it feel like to grow up here like her? I wonder. Especially as an Estonian, a minority in your own country? For a moment, it’s as if I can almost hear her voice.
On my way to the cemetery, I decided to turn to the right. I want to see the river again, to have a look at Russia. Everyone is afraid of Russia. Even my father sent me a message before I left that, “Whatever you do, don’t get too close to Russia!” This here is the last street in Estonia and the European Union. Or at least one of them. The houses are in disrepair, the fences too, and I see more dark windows than I do people. I do start to feel afraid. I’m reminded of the Eston Kohver affair. At the same time, I don’t believe I would be very useful to the Russian regime. I’m not so important. I turn around and a van is waiting for me, from which leap two men, border guards. Light-haired, bearded young Estonian guys. They want to know who I am and what I am doing here. It’s kind of funny to be a writer from Viljandi who just likes to wander aimlessly. Did I forget to mention that I’m actually from New York?
“What are you doing in Estonia?” “Well, I once met a girl from Karksi-Nuia and here I am.” Understood. These young Estonian guys do their jobs well. It must be uncomfortable to work on the border, and with every step west, I feel freer. I am reminded of John Reed, the American Communist, who is buried in the Kremlin but also of Lee Harvey Oswald, who traveled by train from Helsinki to Moscow in the fall of 1959. Upon arriving to the Soviet capital, he promptly informed the authorities of his desire to become a Soviet citizen. Even the KGB thought he was crazy. We Americans are a restless people. I once read a John McCain quote where he said something like, “wherever Americans go, they start problems.” And here I am on the border of the European Union and the Russian Federation taking photos. This same morning when I am walking around Narva, my homeland is bombing Iran.
When I finally make it to the German cemetery, I am greeted by a sign that says that I am not particularly welcome, because some renovation work is underway. The snowy field is full of graves. Standing there, I can read one stone. Beneath it are buried three men. One of them was only 18 years old when he died in 1944. So a young man from Germany was sent here, to Narva, to die. Because the Germans needed more space? Or did they just want to destroy Bolshevism? However you frame it, it’s a stupid story. There are about 10,000 Germans buried here. Across the road, there is a spot that according to the map should be a Jewish cemetery. After looking around, I find there’s no cemetery in sight, just a path into the woods. After the border guard incident, I don’t really feel like getting lost in the forests around Narva. Everything here is just too quiet and covered in snow. An old lady then emerges from the forest, just at that moment. She is wearing a black coat and hat and she doesn’t seem to notice me there. Something about this place is just too eerie. I turn around and head back into town.
I HAVE ALL KINDS of experiences here in Narva. I find some safe spots for myself right away. One of these is certainly the Muna Kohvik at the Narva College. You can get a decent cappuccino there and they play sweet jazz on the speakers. The atmosphere is spacious and light and every visitor can find a corner.
There are students from the Tallinn University of Technology here who recline and socialize in the beanbag chairs in the atrium. They happen to be having a conference here this week and there are international visitors too, as I hear plenty of English spoken. There are ties and jackets. Coffee breaks. On the wall, there’s a poster for the Station Narva festival to be held in September. Triphop godfather Tricky and the Icelandic band Gusgus will headline. Everything is so modern, Scandinavian, and open here. I could be in Uppsala or Aarhus. The ambiance is friendly, lively. People meet and speak in the café, gesturing over its tables. Maybe they have meetings or are just catching up over lunch. How can it be that those war cemeteries are so close by, those crumbling buildings, those serious border guards? Everything here is so nice and light.
On the wall, a slogan is painted in blue that reads, “Estonia’s home in Narva.” Muna Kohvik is my Estonian home here.
My other home is the Narva Ujula, which is located within the Estonian Academic of Security Sciences on Kerese Street. I go swimming in the evenings to get a little exercise in. Even if I haven’t found myself in Narva just yet, I can at least start a new hobby. In this same pool, the women of Narva undertake their evening water aerobics classes. Everything is clean here, everything is new, and I have absolutely no language issues with the people at the front desk. But in the changing room, it’s another story. This is where I take in all kinds of interesting Russian-language discussions. Or rather, these take place around me, and I just pretend like I understand. One night in the changing room, one man even seems to give a speech. I have no idea if he is talking to me or someone else. I watch him as warily as he British adventurer John Smith did the Indians in Virginia when he met Pocahontas. I nod along and smile. When he finishes I say, “Yes. I mean, да.”
One of the other characters in the changing room looks like Khrushchev. White hair, big teeth. He smiles his Khruschev smile and laughs along with the others. He seems like a friendly fellow, this Khrushchev.
DURING THE DAY, I take part in a conference where people only speak of the Estonian writer Anton Hansen Tammsaare. Tammsaare is connected to Narva because he took his school exams at Narva Gümnaasium in 1903. But how did young Anton even get here? Probably not by LuxExpress bus. Maybe he took the train? I am present when a memorial plaque is unveiled to Tammsaare on the old high school. The people gather and speak. Someone plays violin first, and then there’s a group of karmoška players. I should mention that Anton Hansen Tammsaare is my children’s relative. The whole family is so proud of Anton, that he belongs to their tribe.
I hear plenty of Tammsaare’s work at the conference too. I like his prose, it’s musical, playful. When he visited Narva in 1903, it was also a border city in a way, but one with a community of artists. People painted here, wrote, played chess. This is a place that feels like the edge of the world. Strange then that I don’t feel out of place here. If Danes, Swedes, Russians, Germans, and Estonians have all called this place home, then why couldn’t I? If there were just a few more comfortable cafes, some restaurants, new houses, a nice bakery, this would be the perfect retreat. I would return to Narva, just to write. I think others would come here too. It’s no longer possible to save the old Narva, but it is possible to build something new on its foundations. The same vibration is always at play here, and I think it would be possible to restore the soul of Narva, if given a chance.
The Narva River does work its magic, it’s nice just to stand beside it and hear it. The river water is as dark and rich as kali. Each time there’s a break at the conference, I return to the river’s edge, just to stand below the bridge. Young families pose for photos here, their children smoking. Tourists smoke and await spring. People march back and forth over the bridge. Bags, shadows. From one country to another. I understand that borders can be annoying. But I suppose some things in this life just have to be annoying.
On my last day in Narva, when it’s time to leave, I discover that I’m a little sad and I don’t want to go. I’ve adapted quickly here. I understand now that I am just this kind of person who likes to wander around, scribbling in his journal. I guess I have always been something of an observer, even before I met that girl from Karksi-Nuia who became the mother of my children.
Some friends have already written to me, concerned about my whereabouts. Have I moved to Narva? Not yet. But I do like that river. I like those shadows, the fresh air. This place does have value. I can’t say if I have found myself here, but I do feel a little different now. Something new is pulsating away inside of me.
I do feel some relief about going back. I’ve become used to the Estonians’ pace of life, the way they communicate. But where is Narva then? Is it also a part of Estonia? Sure it is, I decide. These kinds of border towns exist everywhere. In northern Italy, you can find towns where people speak German mostly. Narva is like Estonia’s Bolzano, I think as I wait in line for the bus. Our own little Bolzano, something exotic on our side of the border. A place with a kind spirit and plenty of potential. That’s my Narva. Will I be back? In a word, Короче, ühesõnaga. Yes.
An Estonian-language version of this piece was published last month in Edasi magazine.
SOMEHOW KULA SHAKER‘s new record Wormslayercrossed my desk. I was skeptical. I’ve never known what to think of this band. I was a fan in their heyday, the so-called classic period, way back at the end of the 1990s. It was good background music, driving music, with memorable melodies and interesting lyrics. But then they sort of faded away. There were new albums, but they just didn’t find their way into my heart. The original organ player Jay Darlington left the band and it felt like their best days were behind them. But a few years ago he returned and so Kula Shaker has been reborn. Wormslayer is the second album the reassembled outfit has put out and it sure is tasty and entertaining. Badly needed groove music, especially in such unstable days, psychedelia joined with elements of Indian classical music, English folk, Britpop, and even a little Manchester baggy (just listen to “Good Money“).
As I understand it, it was singer and guitarist Crispian Mills’ aim to bring more positive energy into the world with this album. Lost son Darlington helps him to achieve this noble goal, along with bassist Alonza Bevan and drummer Paul Winter-Hart. My favorite track is “Charge of the Light Brigade.” The production is thick, dense, yet shimmering, lively. The sound comes up at you from every angle. The drums are tight, the bass is flawless, and the organ holds everything together in a warm glow. Mills is also an underappreciated guitarist. According to Mills, it’s the best sound the band has ever achieved on record. Here I have to nod along and say, I agree.
THE TEMPERATURE has remained below freezing this winter, but artist and illustrator Kristi Kangilaski has brought some warm tropical colors to Viljandi with her new exhibition, “However It Feels.” The exhibition opened on 15 January at the Rüki Gallery on Tartu Street and will last until the end of February.
Kangilaski was born in 1982, the same year that Brezhnev died, though before his death which means that, in all likelihood, she is not the reincarnation of Leonid Brezhnev. In fact, it’s the opposite: our Kangilaski is no fat, hairy Communist. Rather, she’s a tall, charming woman who at some point tattooed the words “left” and “right” on her wrists so that she wouldn’t forget which was which. With her hat and long dark coat, this Estonian Academy of Arts-educated artist resembles Mary Poppins from a distance. Her well-marked, magical hands never rest.
When she is not at work as the Viljandi city artist, Kangilaski has created a whole exhibition-full of acrylic paintings. She works at home, somewhere between the bedroom and kitchen, and her warehouse is a corner in her daughter’s room. She uses acrylic paints because she likes to work quickly and acrylic paints dry quickly. “I’m an impatient, restless person,” she says. The paintings emerged according to how she happened to feel. She had no certain plans or preconceptions. Slowly, the collection assembled itself. Almost all of the paintings were undertaken in 2025 — one of them was even finished this January.
At the opening, wine and grapes were served.
At the exhibition, a visitor encounters images of people, horses, elephants, black cats, crocodiles, birds, and bears. In part, the atmosphere is playful and childlike. When I arrived to the gallery the second time to view the exhibition, an entire art school class was there and some little boys even hid themselves beneath the gallery couch and still wouldn’t come out, even when I tried to join them there.
Yet, as another viewer remarked to me, there are also more serious themes. The painting “Black Cat” depicts a mother’s difficult daily life, and “Crocodile” shows a woman seated at a table, with a man’s shadow in back, and that fearsome creature behind them. There is also “Fire Heads,” two red heads in opposition, which brings to mind an argument.
The style is interesting. I was reminded of Picasso and Modigliano’s primitivism as well as Viljandi’s own Paul Kondas, the godfather of naïve art. But Kangilaski herself can’t say exactly what style it is or what inspired it. “I’m especially inspired by different arrangements or compositions that happen appear before me,” she says. “And I have always loved colors,” she adds. “Inspiration is drawn from everything around me.”
Kangilaski agrees that the current colorful exhibition does leave one feeling as if they’re in the jungle. And in the jungle, one can experience all kinds of emotions. The artist has even considered bringing some palm trees to the gallery next time she has an exhibition and I have agreed in principle to help her move them. When she is not out looking for palm trees in Estonia, Kangilaski paints on. As an illustrator, she is just about to begin a new book project.
An Estonian version of this review appears this month in the Estonian magazine Edasi.
ON OUDEZIJDS ACHTERBURGWAL, a street and canal at the center of De Wallen, Amsterdam’s Red Light District, a woman sits in a window on a Friday morning staring into an overcast late November day. She is dressed only in her bra and panties and her hair hangs loosely about her shoulders. She is a voluptuous, pale character with doll-like features and pink lips and her face reveals a mixture of morning grogginess and utter resignation. This is the face of a woman who has seen everything and done everything, and everyone, and she seems bored by the world.
Upon seeing her from across the canal, I give her a friendly wave and she waves back to me. For a moment, it feels like we are old school chums. There is a sense of camaraderie there. Though I am a writer and not a prostitute, I suppose we are in the same kind of business. We give pieces of ourselves away for financial rewards. My soul is written with words onto paper. Her soul is pressed into flesh. She is someone’s daughter, someone’s sister, maybe a mother.
But this has been her fate, to sit here tiredly selling herself, while my fate is to head off to Rotterdam, to give a talk about what it’s like to be a writer who writes in cafes. I feel disgusted, of course, for myself, for the woman, for the world. I feel disgusted as a man, too. But then I wonder why as people we are so often disgusted with ourselves and with our day-to-day lives. As the weekend crowds line the canals of the Red Light District and the sinister laughter of throngs of British men (and women) echoes up and down the alleys, one can only feel disgust.
This is the heart of the decadent West, a West that we have convinced ourselves is dying every day. The official capital of the European Union is in Brussels, but its spiritual heart might be right here by these old canals with their erotic boutiques, 5D pornographic theatres, and sex workers.
Our revulsion and gloom about our future is only compounded by the migrant crisis and climate change. I recently read an article in The Guardian where it said that only one in five female scientists planned to have children, to spare their would-be offspring this shame of being born. No one else should have to contend with the endless famines, wars, hurricanes and droughts.
They want to save the world and so they choke off its future, as if they were solely responsible for all its sins and misfortunes. As demographers forecast our societies will only shrink more, people turn to animals for companionship. There are social media sites for cat and dog owners where their pets can confirm they’re going to meetups at the park, or share photos in a group chat. I suppose the dogs can wish each other a happy birthday. Because animals are innocent and people are guilty. This is how we have learned to think about ourselves. This is the future we are building for ourselves, an indulgent childless future of pet social media.
But hasn’t it always been like this? This is what I think that morning as I wave to my newfound Dutch friend over the canal. She is certainly not the first woman to live this life or have this fate. There are many others. I pass by them as they prepare for the day. Then I turn the corner.
ON THE NEXT MORNING in the Red Light District, the municipal workers sweep up broken glass and soggy french fries and the ravenous seagulls attack piles of trash. This is how yesterday is replaced by today, but the bakeries and cheese vendors are already open, their shops glowing with warm, inviting lights. Life tumbles sleepily forward in Amsterdam, like an old man fumbling for his keys. At night, the city is a hubbub, a bazaar. Whatever you want to eat, you can find it. Whatever you want to see, you can see it. Whatever you want to do, you can probably do it. The Dutch are a tolerant people and that tolerance has become a foundational element of what we call European or Western values. We measure our Westernness according to the number of rainbow-colored Pride flags that hang outside of bars, or by the casual way we smoke cannabis.
We unbutton our top button and walk down Oudezijds Achterburgwal, waving at the women.
We are a free people, we tell ourselves, free people who can do whatever they want and listen to whatever they want. We can spend part of the night in a record shop, as I did, digging through the record bins, engulfed in green marijuana smoke, unearthing treasures by Jamaican and Zydeco bands.
The Western life can be a comfortable life, one where the main existential question is, “How should I spend my Friday night?” Or, “What concert should I go to?” One can just while away the days, in pursuit of personal satisfaction, pleasure, what some call happiness. In corners of the world like Amsterdam’s De Wallen, there are almost no children at all and you can imagine if you close your eyes that they don’t even exist. For many of my friends they don’t. There is an invisible divide between us, I think, those of us who have had children and those who haven’t, and I think we both feel pressured in different ways. When my third child was born, a colleague asked me why I had decided to have one more. “You will never be able to support them on a journalist’s salary,” he said. He was right, but in my mind, that was somehow irrelevant. I took the whole thing to be a kind of godsend or the fulfilment of a prophecy. “Did you expect me to weigh the pros and cons, make an Excel file, and budget for it?” I asked him. “Yes,” he said. “Of course!”
He’s never had any children and so the world of having children was still abstract for him. As it has been for other childless friends, who seem to see kids as something like larger pets, that you can leave at home with a bowl of water for a day or two while you head off to some soiree. Children are an impediment to having fun, a thick wall that walls off happiness. “Every guy I see with a kid is walking down the street, shaking his head and talking to himself,” another friend told me. He hasn’t had children either.
The world for parents among childless friends can be a cold one. “Aren’t you coming to the party?” someone might ask. And then they are disappointed when you can’t, because your daughter is vomiting. They understand that such are the pitfalls of reproduction. They can’t see why someone would voluntarily do it to themselves. Where’s the benefit? Truth be told, it makes no sense. Because if I was to weigh the pros and cons, it would never be the right time to have children. The forces of Western society seem aligned against it. They make it hard in every way.
The West’s days are over, it seems. There’s nothing to do but close up shop, turn out the lights.
But if the ship of the West is sinking into the sea, why not just get our kicks before it slips below the surface?
ON MY LAST NIGHT in Amsterdam, I take a walk to see an old friend. She lives all the way at the end of Vondelpark, which is where my hippie father spent a night sleeping on a bench in 1973. I think about my father as I walk the avenue beyond Leidseplein, which is lined on both sides by restaurants and homes where childless couples watch Netflix while the West slowly dies. In one of these apartments lives an my friend from New York who, like me, attended college in Washington, DC, and later settled in Europe. She has married a Dutchman and has made two Dutch children who are now awaiting Sinterklaas.
Their building is a brutalist masterpiece. Its balconies face an internal courtyard. Outside the doors to the apartments, some boots and toys can be seen. Families have started to move in here, replacing the first generation of inhabitants who had lived in it since it was built in 1961.
That was the year the Berlin Wall went up brick by brick. The next summer, the Cuban Missile Crisis happened. Life must have seemed just as impossibly damned then as it does now. Yet people continued to marry and have children. In 1961, the Netherlands experienced the highest birth rate in recent history, with 3.2 children per woman. But just like in Estonia, the Netherlands are expected to lose people over the next decades. In this massive post-war edifice, young families huddle. They are demographic survivors.
My friend’s family gathers around a table and eats soup and pasta. The little boy, aged three, is dressed in pajamas that resemble a cat. The girl, aged six, is eager to put out her shoe for Sinterklaas, who will reward her with snoep, or candy. My friend’s Dutch life is very different from my Estonian life. She lives in the busiest corner of Europe. I live in the frozen wastes. But we both know the joy of setting out a shoe or slipper for a Christmastime visitor who brings candy.
The family tonight is being visited by a neighbor, a 34-year-old Dutch designer who looks like a woman from a Johannes Vermeer painting. She has red hair and is milky white and once lived in a black neighborhood in Bedford-Stuyvesant in Brooklyn where her neighbor was in a gang. In Amsterdam, she has taken up with a Russian software engineer from Saint Petersburg, and they are expecting their second child. “I only have a few months left,” she says, patting her belly.
This is how new Europeans come into this world.
Later, when I ask my friend about why she decided to have children when so many of our classmates didn’t, she gives a bunch of different reasons. But she also notes that it hasn’t been easy being a mother, that her career has suffered and that academia, even in the progressive Netherlands, is still quite male dominated, and that the women who have secured the best positions for themselves tend to not have children. But she does love her children and she wouldn’t have it any other way, she says. Her main reason for having children appears to have been that she had an awesome amount of love to give and just wanted to give it to someone.
Which, to me, seems like the best reason that a person can have.
EVEN LATER THAT NIGHT, I head back to the Red Light District. Something fascinates me about its stark grotesqueness. I lean up against the Oude Kerk, which has stood since the 13th century, writing in my journal with the hope that the walls of the church will imbue me with more marvellous writing powers. Down the way, some young men negotiate a price with a sex worker. Then I go looking for the woman I saw on the first morning in Amsterdam, the lady in the window. I just want to see her one more time, to wave goodbye to her, to make us both feel like we are human, for just one precious moment. The West may be rotten to its core and in decline. We may all peer out at our futures with that same haggard look of resignation, but I do feel compassion for her as she plies her trade. We are, after all, in the same kind of business.
RECENTLY, AN ICELANDIC SINGER by the name of Björk Guðmundsdóttir turned 60. Her birthday is the day after mine, which is why I know. We’re similar in that way, although she is 14 years older than I am. When I appeared in this world, she was already out in the streets of Reykjavik partying with other young Icelandic punks. When I turned 14, she released her debut solo album, which was named … Debut.
I’ve always felt that we were from the same generation, only that she is from the older part of it and I am from its last dregs. Which means that anything that happens to her will eventually find its way to me.
If Björk can turn 60, I might be headed for the same kind of fate.
There are plenty who have recently surpassed 60. Keanu Reeves is already 61. Brad Pitt is still, as of my writing this, 61. Johnny Depp just turned 62. How can it be? I think. Johnny Depp could retire soon? But he didn’t he used to be youthfulness itself?
For my generation, the stars of the golden sixties have always been old. They always belonged to another time. Mick Jagger has always been old. Even if he is a bit timeless, whether he’s 46 or 82 (this summer, Jagger will turn 83). He better be older than me, because I just turned 46!
It’s as if those stars of the sixties were born when dinosaurs still roamed the earth. A time before man had arrived to the cosmos. When rock and roll was something completely new, even in America. For my generation, their youth always seemed abstract. They didn’t even have black-and-white television when they were born!
I once met with the Icelandic scientist Kari Stefansson, who reminded me that when he was born in 1949, there were still houses in Reykjavik that had sod roofs. Maybe it was something like my generation’s internet-free childhood. It’s hard to describe it to the teenagers of today. They understand, theoretically, that once upon a time, there was was no internet, but it’s still hard for them to fully imagine how it could be possible.
But yesterday’s youths are now turning 60. Björk, Keanu, Brad, Johnny. For those of us getting closer to 50, like myself, it’s somehow refreshing. Because today’s 60 year olds are so active. They are planning new movies and putting out new albums that are full of new and fresh ideas.
I recently watched the Netflix series Ancient Apocalypse, which tells of various theories of history. And there he was, Keanu Reeves, a special guest. He’s not some slouching old geezer. Quite the opposite, he appears to be in excellent shape. I thought, “I would like to be like that when I turn 61. Alive, in good shape, open to the world. Curious, smart, creative. And hopefully still not bald.”
According to the Cult of Youth, youth is the sweetest part of a person’s life. When we get old, we’re supposed to sit around a table and talk about our youths. And nothing else interesting happens to us. But from our cultural idols like Keanu, Björk, and Brad, I have learned that age doesn’t actually mean very much. They just keep busy, no matter what year it is or how old they happen to be.
I’ve started to feel the same way. I don’t want to carry too much weight on my shoulders. I want to move forward. I have also seen how some people get to a certain level in life and then just stay there. They don’t move an inch forward. They sit there, watching TV or scrolling on their phones. And nothing changes. Time stands still. It’s as if their lives are already over, even if they still have to sit there, peacefully, for another 10 or 30 years.
Because of that, I am grateful to the current cadre, the ones born in the golden sixties, who are showing me and others the way forward, so that we also don’t get tangled up in the years.
Of course, I do look back now and then. Not with nostalgia, but to understand how we all got here. I recently wrote a novel, which still has not been published, which takes place in part in the summer of 1965 in Estonia, Finland, and Sweden. When I started writing it, I thought it would be easy. I would just have to remember my childhood from around the year 1985 and subtract 20 years. But soon I learned how different things really were. You had to wait in line at payphones, the television only showed a few channels. I thought how strange that world looked from the vantage point of today. And I didn’t really understand how things worked.
I discussed it with esteemed writer Jaak Jõerüüt. He finally got tired of my questions and advised me not to even try. “Imagine that you’ve never seen water, and then I take you to the bottom of the ocean in a submarine,” said Jaak. “Then you might understand what it would be like for you to step back into Soviet Estonia in the summer of 1965.” Jaak should know. He was 17. “You should write it as you imagine it was,” Jaak continued. “That would be far more genuine.”
You can still explore the material world of that time at the Vabamu museum in Tallinn or in leafing through old newspapers. To be honest, when I first stepped foot in Estonia in 2003, there were plenty of places that hadn’t been renovated since the 1960s. Imagining the inner worlds of people is something else. What was on their minds? What were their hopes?
I understood during the project that the young generation of 1965, those who were 25 that summer, had seen the Second World War as children. They had lived through the deportations of 1941 and 1949. They remembered the death of Stalin. They had seen so much in those first 25 years of life, that it’s hard to compare their youths with another generation. The generation of Estonian stars like Ada Lundver or Eve Kivi was very different in terms of values and outlook.
I think the 1960s are remembered as being golden today because of what had happened before the 1960s, which was so terrible, severe, and ugly. It seems to me that the breath of relief that was first exhaled by the youth of the 1960s is still blowing around the world to this day.
Unfortunately, there are fewer of those young 25 year olds from the summer of ’65 each day. If a few of them could stay a while longer, that would be nice. Then we could hear more of their stories. How the poet Paul-Eerik Rummo was once a young superstar, or how before ETV there was something called TTS, or Tallinna Televisioonistuudio. Which I only know from writing my book. That was a time when everything was different, way back when in the golden sixties.
Who is Justin Petrone?
Justin Petrone (46) has lived in Estonia for a long time. He was born in New York and studied journalism and European politics in Washington and Copenhagen. He came to Tallinn in the summer of 2002, when he was still just 22. He was married to the writer Epp Saluveer from 2003 until 2016 and they have three daughters Marta (born in 2003), Anna (born in 2007), and Maria (born in 2011). He has written, at last count, 11 books and his stories have appeared in the publications, Edasi, Eesti Ekspress, Postimees Arter, Anne ja Stiil, Tervis Pluss, Hingele Pai. He works as a journalist and plays bass guitar in different groups. He has lived in Viljandi, the city of cafes, since spring 2017 and is writing there now as you read this.
An Estonian language version of this article appeared in the January 2026 edition of the magazine 60+, which is intended for older readers.
THE ROAD INTO VÕRU is hypnotizingly long. It just keeps going and going, and even when you pass the turn off to Kanepi, it rolls on longer. Time stands still or vanishes all together out here. There are forests and more forests, with farms and old churches tucked in between. You become disoriented, forget where you are. Jaan Kaplinski used to live out here. I suppose it’s a weird Kaplinski kind of place. Just outside of Võru, there is even a settlement called Magari, which means something like, “if only,” or “I wish,” in Italian. That’s right, I think when I pass it. Magari! I do wish! If only!
If only I wasn’t driving to Võru again. What if I was down there in the Mississippi Delta, or maybe in a jeep on the yellow plains of Tanzania? Maybe if I squinted at that horizon toward Lake Tamula long enough, I might see the neck of a giraffe emerge or hear a lion roar? Every place is this mix of what it is and what you make of it. But there are no giraffes in Võru and the only lion is my daughter’s dog, who is named Lõvi*. Võru is, on its surface, a tidy provincial town. It has a nice central square and decent shops and cafes. There’s some funky street art on the facades. The lake promenade is well cared for and it’s enjoyable to walk over that bridge to Roosisaare. At night you can walk over the bridge and see the lights of Võru from across the water. It almost looks like a real city. It’s hard to imagine that this pretty town is the last outpost of Western civilization. Some outsiders who have moved in have warned me never to relocate. They say the old ladies are very nosy and that they use strange words like määne, sääne, and õkva.
This last word is the giveaway that you are dealing with a võrokas. There’s a nice old lady who lives in the same apartment as my daughter and she is always telling me to go õkva somewhere. Legend has it she is one of the original inhabitants of this Khrushchev-era house. Estonians call these kinds of apartment buildings with small kitchens and bathrooms Khrushchevkas. But the houses that were built in the days of Brezhnev are not called Brezhnevkas and nobody has ever boasted of living in a grand Gorbachevka. There are all of these incongruous pieces that fit together so snuggly in their minds but that make no sense to me. Of course, there’s no such thing as a Gorbachevka! Stupidest thing I’ve ever heard! But a Khruschevka? That’s different.
I like that old lady who tells me to go õkva though. She has a lovely wrinkled face and seems curious about this stranger from a faraway land who arrives sometimes and takes the lion dog for a walk. She is industrious, always busy. In the winter, she shovels snow. In the fall, she rakes leaves. Now she is tending to the flowers. Whatever you do, don’t step on those flowers.
***
I CANNOT SAY that Võru and the county that surrounds it are another country per se, but they do feel different from other parts of Estonia, or at least the ones I am more familiar with. For the people there, Võru is the capital of their own imaginary universe. Tartu is for school and shopping and Tallinn is for concerts and careers, but Võru is the real sun in their solar system. Even my daughter, who has now lived there for some time, said to me in New York one day, “But we have the same kinds of shops in Kagukeskus!” In the mornings, gas stations with ominous names like Coffee Terminal are busy with worker bees in overalls getting their first caffeine fix, in the evenings, those with a taste for finer things gather together and sip wine in NAMM Resto. Võru is also a destination for unsung musical heroes. Jethro Tull may never play Võru. But Jethro Tull guitarist Martin Barre played a sold out concert at a venue called Kannel.
It was at Kannel some time ago that I gathered with this rough-hewn tribe of Võru town folk and frontier woodsmen and watched one of the Apteeker Melchior films with my daughter. I felt like I was in a Roald Dahl book. I’m not sure which one, but those scheming farmers from The Fantastic Mr. Fox did come to mind. I should also note though that the Võru women are striking. On many occasions, your dedicated correspondent has found himself standing in line at the supermarket among local ladies who appear to be buxom, straw-haired angels, but have hardened, disillusioned country interiors. The Võru women and their gruff camouflaged husbands, who wear green either out of style or because they’ve been out hunting, seem impenetrable. If you were to ask them a question, the only word they’d reply is mida?! What?! It’s better to stay quiet.
Võru can seem both modern and ancient, and it has the Soviet period as a kind of mystery filling. In Võru, you can walk past the Kreutzwald Museum and feel as if Elias Lönnrot himself was in there having tea at noon, and then visit the Võru Huub Youth Innovation Center. At the Kubija Spa on the edge of town one can in the mornings enjoy a discounted spa package and socialize with old-timers in the sauna. Võru grandfathers discuss the Soviet era here as if it just ended a few weeks ago. “Do you remember, we had full employment? Everybody had work! You didn’t have to look,” I heard one of these men say to another. “It wasn’t like today.”
“But we were all stealing!” the other grandfather shot back. “Don’t you remember how we used to steal food at the cafeteria? We’d take those bags with us and just load up with food. And my friend, he used to work at the milk factory. All of his friends got free milk. All we did was steal!”
“Maybe you’re right, maybe you’re right,” the first Võru grandfather said. Then, turning his attention to the stranger in their midst, he instructed me to toss some water on the kerris.
***
THERE ARE MULTIPLE WAYS out of Võru and one is the southern route to Valga that skirts the boundary with the Republic of Latvia. Here there are new yellow signs that read Nursi, as if Nursi was an up-and-coming residential development, or maybe a business park, like Ülemiste City. But Nursi is a military training ground. This is clear not only because of all of the military traffic on the road, but because of the unfamiliar sound of helicopters floating over the highway. A few summers ago, I was driving near Sänna on a hot and dusty day only to see several tanks cross a bridge beneath which several Võrumaa girls were swimming in a stream.
This military presence is supposed to make us feel safer, but I can only think of movies about the Second World War. “That summer was the last summer of peace,” some narrator says from somewhere against this pastoral backdrop with a stirring orchestral piece playing. “Everything changed after that.” I saw tanks practicing in the fields as I drove toward Antsla. What am I to make of all this? The saga of the Nursipalu base expansion has touched me in various ways. Once in a south Estonian café, I encountered a stressed folk singer named Mari Kalkun studying a notebook as she worked with residents of the expansion zone to save their family farms. Mari is a musician and a usually cheerful one at that. To see her blue eyes moist with concern unsettled me. My friend’s house, perched in a forest along the Mustjõgi will be possessed. He’ll get good money for it, but who knows what will become of this modest estate where he raised his children or scattered his mother’s ashes. Maybe someone will drop a bomb on it. Just last week I stopped by the place, gave it a lookover and admired its stillness in the spring rain. When I am out in the Võrumaa wilds these days, I am reminded only more of Apocalypse Now. I’m waiting for Marlon Brando’s Colonel Kurtz to emerge from behind the sauna with a bundle of birch branches in his hands.
At night, the road to Valga is deserted. Maybe you might see two other cars pass you the entire way. When I am out there alone on those dark roads around Hargla, I am just waiting to see a UFO land and perhaps be abducted. Don’t most UFO abductions take place on roads like these? “I saw a bright light glowing in the forest. Then a strange pale man stopped my car.”
Nothing of consequence has ever happened to me in Valga, and its traffic flow was designed to disorient and fluster outsiders. Not only is it hard to get out of the town, but one hill even leads up into Latvia, where people speak Latvian and everything is different. This is some mapmaker’s idea of a practical joke. Sepa tänav becomes Semināri ielā. Sõpruse, or Friendship Street, ends abruptly without ever having reached the Latvian border. It’s a metaphor for the aloof Estonian-Latvian relationship, I think. Once I did see some Latvian kids at a gas station in Valga ordering french fries at about midnight in the Estonian language though. There was something endearing about hearing their goofy Latvian-Estonian accents. “Frikartulit, palun.” Beyond that gas station, the road leads northward toward a cozy town called Tõrva, which is where the singer Hedvig Hanson is from, and Helme, where my friend is waiting for me at the Helme pansionaat.
***
IT’S HARD TO THINK of a more unusual fate for an English journalist. Some get blown up by rockets, others are on planes that get shot out of the sky by paramilitaries. But here lies my old friend T. in the last room on the left at the pansionaat, stretched out in bed. He looks thinner, the gray hair around his bald pate is as gray as ever. His blue eyes are still lively. He’s been here since the winter. The windowsill is a shrine of bowls of peanuts and other snacks his Estonian children have brought him. He became aware that he was having a stroke when he got out of bed one morning, he says. T. lives alone, or lived alone, and was only able to alert his neighbors to his predicament by knocking on the floor. His mind is as fresh as it has always been, but his left leg and left arm are still out of commission. “I will recover,” he tells me. “You shall see!”
T.’s roommate is an older Estonian man in his pajamas. The roommate has fluffy tufts of messy white hair and a dreamy look to him. He spends most of his days watching TV and talking to business contacts.
After T. had his stroke, there was some discussion within the Viljandi hospital system as to where he should go to recover. And so he was sent here, to the Helme pansionaat. A modest white building on the edge of nowhere. The nurses come in and position T. into his wheelchair and we sit in the small recreation room beneath a giant screen where Hannes Rumm is interviewing Marju Lauristin. One of the nurses slides a bowl of seljanka in front of him, along with a single slice of wholewheat bread or sepik. He observes the broth with some curiosity. “What do we have here?” he asks. “It looks like seljanka,” I answer. “Hmm,” he says, puts a spoonful in his mouth and swallows. T. doesn’t know Estonian very well, and in the background Rumm and Lauristin are still talking and talking. It’s indeed a strange fate to be a foreigner.
Outside the windows, Helme youths busy themselves playing football between the small apartment houses, oblivious to the struggles of these older neighbors. I brought T. some genoa salami, pecorino romano, artichokes, olives, a loaf of ciabatta, and Saaremaa salted butter. He looks at the food as if it’s a cache of treasure.
“This must have cost you a fortune,” he says. “Where did you get it? Do you usually eat this?” “It only cost me about 15 euros,” I told him. “See,” I tell him. “It pays to have an Italian friend.”
There is hope for T. In a week, he will start rehabilitation at Viljandi Hospital. And this is a man who used to work across the desk from Bill Bryson in London in the ’80s. “If Bryson could only see you now,” I say. “Bryson?” he perks up. “That old chap? Is he still alive?”
Beside the pansionaat are the castle ruins and adjacent to these ruins is a series of sandstone caves. Peasants once hid themselves in these cool dark caves to escape marauding armies, or so they say. Down the hill, there is the so-called Doctor’s Spring, which is said to heal many ailments. Here on its banks I stand for a moment and watch a single small green frog swim across its surface. Other than the bubbling of the water, there is no other sound. If I could bring T. down here, I think, maybe he could be healed. If you just repeat a few phrases and douse yourself in the spring, all can be restored. You need to say the right words the right way.
***
THERE ARE A LOT of stories in the south. Some are pleasant, some are sadder. People down here are living out their lives, passing the time, almost invisible to those in the larger cities and in the north. They are here imagining giraffes drinking from the pristine waters of Lake Tamula or UFO abductions outside of Hargla. They are here eating seljanka in the Helme pansionaat. Once I went to a festival at Õisu Manor, not far from Helme, where there was a dixie jazz band playing. You would have thought we were in New Orleans. Imagine traveling into the Estonian wilds, only to wind up on Bourbon Street. I have a friend who lives in Kalamaja, Tallinn’s premier neighborhood, where lumberjack-looking men with beards push baby strollers to playgrounds with sea views, and where women scurry off to startups in Telliskivi, just like factory workers did a century ago. For them, these tales of the south seem far off, and after a train ride through the forests of the north, they also can feel a world away.
But just the other day I was walking near the beach in Võru when a red-headed young woman came running after me down the street saying, “What are you doing here!” She was wearing a marvelous coat and had on such interesting sunglasses, that it took some time to realize that I knew her from any number of run-ins at Viljandi events. “But what are you doing in Võru?” The red-headed woman said it as if we both happened to be cosmonauts who had crash-landed on the same cold moon. “I’m here often,” I told her. “My daughter lives here.” “Oh, oh,” she said, looking around. “But you know, I have lived my whole life in Estonia and this is the first time I’ve been here,” she said. “The very first time! It’s wonderful,” she paused to wonder at her surroundings. “Here down south, there’s just plenty of excitement and melancholy.”
Quite a few Estonian words appear in this piece. Lõvi is the Estonian word for Lion. Määne, sääne, and õkva are Võru dialect words that mean “which,” “such,” and “straight.” A pansionaat is what Americans would call a nursing home and the British a care home.
MY FIRST IMPRESSION is one of disorientation. I see faces emerging from the crowd, legs, arms, red lips. There are white headscarves, blue and red caps folded down on one side, the black-brimmed hats of the men’s costumes and all kinds of expressions, from the moody and pouting looks of the teenage girls in their traditional regalia to the yellow crooked-toothed grins of old men who need assistance walking. There are lines everywhere here. Lines of ladies moving like migratory birds in unison toward some far-off goal, be it an assembly point or a staging area. Some of them are in line for the toilets, hundreds maybe, others are in line for ice cream. Lines line the stadium steps, take their positions on the fields, and then form ornate and intricate shapes that one can only appreciate by watching the enormous stadium screen.
This is Kalevi Central Stadium in Tallinn, Estonia, on a brisk and windy Thursday evening in early July. Built in 1955, the stadium is said to accommodate 12,000 people, but looking in every direction, I have no way of determining how many people are really here at the Iseoma Song and Dance Festival. I try to do some quick calculations — I count about 100 people, and then trying to guess how many people might be here all together, but then I abandon this task completely. All I can say is that there are a lot of people here, many people. At one end of the stadium, beyond a grove of trees, I find myself inside a tent city of dancers. A man in a black robe, the kuub of the southern Estonian Mulks, is helping a young blonde woman get into her dress beside a tree. Her arms are up in the air and he’s tugging away on her belt. The woman doesn’t look comfortable, but I suppose that such sacrifices are necessary for the nation.
The wind flows over the crowds, chasing away any remaining heat and humidity. Near the podium at the front of the stadium, guitarist Andre Maaker is pacing anxiously with a guitar. I try to make a joke about all the nuns at the event, nodding to the white headscarves, but Maaker is in no mood for jokes. Singer Kelly Vask is standing nearby in a traditional dress waiting. A moment later, I see why, as they take the stage to perform the national anthem.
For me, Maaker’s compositions will turn out to be the most memorable of the dance festival. First there is one called “Lööme Loojanguni Lokku” (composed with Laura Võigemast) and then “Iseoma” which he helped Jaan Pehk arrange. The melodies of these songs are so sweet and so soft that they stick to me like sugar. There are no bold crescendos to them. There is no drama. Everything is just so nice and so tore. Thisis the Estonian word. Yes, everything is so tore that I almost start crying and I don’t know why. All night long, as I try to sleep off the first night of the festival in a friend’s Mustamäe apartment, I hear the verses of “Lööme Loojanguni Lokku” and feel a profound shift is underway, as if the stars have reached down and pulled me up into the euphoria of the cosmos. I think most people feel like this at the song and dance festival.
A world of delicate music
IN THE MORNING, I take the Number 84 bus back into the city center, sharing the ride with a group of dancers in Seto costume who have been sleeping 10 or 20 to a room in the Tallinna Saksa Gümnaasium. Once, when I was staying at the Sai Baba ashram in India, I happened to spend a few nights in an all-male dormitory that consisted of hundreds of bunk beds arranged in a gym. These beds were filled with Sai Baba devotees from all over the world, in whom I took an almost anthropological interest. One of them, an older Italian man, had discovered his guru through a leaflet, which claimed Sai Baba was the embodiment of god. “If he claims to be god, who am I to argue?” the old Italian told me. Another devotee, a comedian from New Jersey, carried miniature figurines of Hanuman and Ganesha and would worship them every morning. He was counting on these gods to help him with his career in show business. At night, the Indian dormitory was a curious place. Hungarian devotees would have nightmares and start screaming in Hungarian. While watching the dancers in Seto costumes on the bus, I can’t help but wonder if their experiences have been similar. Do the Seto men start yelling in Seto in their sleep? Have there been intriguing conversations about Peko, the thunder god?
I spend most of the day in the warm sun of the rahvamuusikapidu, or the National Music Festival, on Freedom Square, pondering such things while being serenaded by youths playing the violin, kannel, bagpipe, and karmoška. Again, the music is so soft and so sweet that I feel that familiar stirring sensation. Watching the young women strum their kannels, I wonder about their inner worlds too. I wonder what they dream about. How do they feel? What are the desires that they have hidden away behind this pleasant music? This is the only world that they have ever known, a world of EU-subsidized highways, of bountiful supermarkets, a world of choirs, ensembles, and festivals. Their lives are lived from event to event, from rehearsal to rehearsal. There’s no time for worry or existential questions in this world. Theirs is a world of delicate music, where there are no loud voices, no shouting, no despair, no angst, no ennui. The life of the lovely kannel player seems gentle, patient, even kind.
In the evening, I am back at the Kalevi stadium for the final performance of the dance festival. One of my friends is a dance enthusiast and has been vigorously documenting her dance group on social media. But trying to find her or anyone at the dance festival is impossible. Every woman has blonde hair done up in braids just like she does. They are all wearing those kinds of tights and those colored skirts that she wears. They all look like the Estonian dolls they sell in the airport souvenir shops, though I would never tell her she looks like that. Then, out of the corner of my eye, I see her flit by, with a big, beautiful smile on her face. She looks happy, happier than I’ve seen her in months. I worry it’s a happiness that can’t be sustained.
On the stage, there is a closing ceremony, and women and men in traditional garb ascend a steep staircase to be recognized for their contributions to the festival. The air is brisk, cool, calming. The sun is just peaking through the clouds over the distant skyline of the city. Behind the stage, there are stacks of what I think are evergreen Christmas wreaths, but these turn out to be made of oak leaves! Each person recognized has the oak wreath or tammepärg placed around his or her neck, so that soon it starts to look as if a whole forest of oaks is up on stage.
“But why do you use oak leaves?” I ask a woman behind the stage. “Because the oak is a very powerful tree,” she says, with an almost mystical glint in her eyes. I wonder about who creates the oak wreaths, where the branches are cut from and what becomes of them. Maybe someone mounts them on the wall of their sauna, to be revered for all time, or maybe they just wind up where everything else winds up in Estonia, as kindling for a fire in the furnace?
Soon our guitarist friend Maaker is also on stage with a wreath of oak leaves around his neck. When I ask him about the experience, he confirms that it was most pleasant. “Those oak wreaths just smell wonderful,” Maaker says. “And everyone at the dance festival was smiling.”
A rainy parade
I SPEND THE SECOND NIGHT of the festival in another friend’s apartment downtown. He’s just moved in and there is no furniture there, so my bed is a camping mattress, a sleeping bag, and a weak pillow. In the middle of the night, I hear people yelling and imagine that my friend is fighting with the police in the next room. I wait for the Estonian police to wake me up and interrogate me, but when I am at last roused from my sleep by the sound of a trumpet player somewhere nearby playing the national anthem at daybreak, I realize everything must have been taking place in the parking lot instead. My friend has in the meantime made a pot of coffee and when I ask him about the police, he says that he has no idea what I’m on about. “That’s just what life is like in Tallinn,” he says. “There are always people yelling at night.”
Tallinn life is a little bit different during the festival. My friend’s apartment is across from the Tallinna 21. Kool. At 10 am, there is a group of men in traditional black hats or kaabud and knickers seated around in front, like extras from the 2019 film Truth and Justice. I walk between these austere characters and enter the school to have a look around. In its atrium, about a hundred children are sitting and standing and sipping from juice boxes. On the second floor, the suitcases are piled up by the windows. Down the hall, I am greeted by a woman in a red headdress or tanu from Pärnumaa. Their group comes from Audru, she says, which isn’t too far from where my children’s grandmother was born. I have a complicated relationship with the Estonians. I am not one of them, nor do I wish to be, but my children are them. So we are relatives of a kind. Inside a classroom, I ask the dancers what it’s like to sleep in a school.
But you can forget any stories about loud nightmares. These people are tightknit and are used to each other’s company. They only respond with, “Noh, täitsa tore oli.” “Well, it was nice.”
The rongkäik or parade is tore, too, but it’s a challenge. One needs stamina, strength to march in this parade. Sheets of rain fall on us all along the route. The poncho I have brought along is quickly soaked, as are my pants. My hair is a wet mess, my skin is cold and damp. My journals are wet, the ink runs in places. My friend and I take refuge in Viru Keskus where I order a hot plate of Uzbek plov. My friend is not the kind of person who cries easily, or expresses any emotion without a joke or healthy skepticism. When you have lived as much as we have, those gentle, peaceful, fluttering kannel-music like moments are few and fleeting. But he admits that he can’t get through a rongkäik without shedding at least some tears. We’ve both been in Estonia for what feels like forever and talk about when Swedbank was Hansapank and when there was no Viru Keskus. Most changes are welcome, but we’re also worried that the Song and Dance Festival will eventually become a cultural attraction, where tourists buy up all the tickets and Estonians are only able to watch it at home. He considers that businesses might start sponsoring these events, so that one day there will be a Prisma, Rimi, or A. Le Coq Choir.
We agree that the festivals are an occasion for social renewal. All societies are made up of such tiny, bite-sized building blocks, like village choirs or dance groups, and of these smaller pieces, more elaborate superstructures are created. The festivals are necessary for society to function. They bond people together and the bonds created must last until the next festival. We hope that Tallinn never becomes another Venice or Barcelona, overrun by Jezz Bezos and other mindless tourists. It’s true that neither of us is Estonian. But we do have Estonian kids. We do worry for them.
The main event
IT’S A LONG MISTY WALK through Kadriorg to get to the song festival on Saturday. I take the Number 1 tram and then cross bridges and climb steps, eventually passing the Japanese Garden and exiting through a parking lot across from the Song Festival Grounds. When a person is caught up in those dense crowds, it becomes hard to construct a timeline of what happens. Even my journals become a mess of discombobulated, half-written entries, jotted down in spare moments and out of order. One thing I do see is a blonde, middle-aged woman running through the food area crying out, “Police! Police! Does anyone know where the police are?” Having seen some guards nearby, I point her in their direction. In chatting with some officers later, I find out that the number one issue they have to contend with is lost children. There’s even a pickup point where as many as 10 children might sit waiting for a parent to retrieve them. One wonders what life is like for the children in this makeshift “kindergarten.”
The police also have to deal with the occasional unruly attendee who has decided to “pregame” for the festival and either gotten drunk at home or hidden a flask of vodka in his underpants. (There is no alcohol on sale at the event). “It’s a shame,” one of the police tells me. “There are some who do not see this festival as a holy event, but as an opportunity to drink.”
The singing is here, but the singing and the songs are only a part of the experience. Yes, we have all come to hear these songs, to sing along, but the festival is also about the circus city that springs up around the stage, or the troupes of children in wet ponchos stumbling across the wet grass, following the instructions of some stern teacher who has commanded them here to participate in this grand event, or the meandering conversations in the press tent where French and Finnish journalists rub elbows and munch on free ice cream. There’s a lot to this thing, much more than any agile camera work or grinning selfie can ever do justice to.
After being drenched by rain for a day and a half, the appearance of the sun toward the end of the concert on Sunday does seem like a small miracle. Then come the best-known songs, “Tuljak,” which is conducted by choirmaster Triin Koch, and “Ta Lendab Mesipuu Poole,” which is conducted by composer Hirvo Surva. These musical personalities are treated with such reverence that every one of their moves is observed with an awesome curiosity. It’s almost like watching Wimbledon. Every flick of the wrist, every nod of the head is somehow meaningful. The conductors look as if they are holding back a mighty wave with the power of their hands.
What is it like to stand up there? I wonder. And how does one feel at the end? Neeme Järvi, the grand old conductor, now aged 88, knows this feeling well. His movements are tight, precise, controlled, but at the end, in a moment of triumph, Neeme Järvi topples over. From the back of the Song Festival Grounds, the Üldala, or general area, no one knows if he has just slipped or if really, being so caught up in the music, Järvi decided that this was his final day and he was going to go out with a cymbal crash. Throughout the entirety of the festival area, there is only silence and concern. This was obviously not planned. Is he alive? Has he died? What kind of festival even is this? But then we see that Neeme Järvi is alive and well and he jokes to the crowd as they chant, “Elagu! Elagu! Elagu!” Which means something like, “Long may you live!”
It is the final festival miracle.
The morning after
AND NOW IT’S THE MORNING of the day after. But when did this day even begin? When the light of the day is nearly seamless and the last people go home after the summer light returns, isn’t it hard to find a line between the two? After the festival, I have trouble sleeping. I awake at three and then five and then eight. I can hear the cries of the gulls and the muddle of downtown life at dawn. Like life, the trams creak back to work, back to normality. Even though my arms and legs are sore from standing for days, and my mouth is dry, my hair is greasy, there’s goop in my eyes, and I’m still wearing yesterday’s shirt, my other clothes piled up on the floor, my socks kicked across the room, the light of the new day is unrelenting. Even when I can’t bring myself to get up, and the euphoria of the festival is still pulsing in my blood, I get back on my feet, because the sunlight won’t leave me alone and life does move onward. Just as I do as I make my way to the Must Puudel cafe in the Old Town where I order a coffee and breakfast, first thing. Hungry city birds are perched, ready to peck at any discarded crumb.
After breakfast I go for a walk to stretch my legs, muddle through this new, post-festival reality that I have awakened to. Some tired singers are lounging in the sun of the Town Hall Square. Who knows when, or if, they ever went to sleep. On nearby Lai Street, I find a lillepärg or crown of flowers lying on the ground. Someone must have left it here in the early morning. I wonder who the woman was who left this flower crown here. I wonder what this crown has seen. By tomorrow, all of its petals will be dry, I think. By tomorrow, the festival will just be a memory.
An Estonian-language version of this piece was published online on 13 July 2025 in the magazine Edasi.
north! 