eiko ojala’s mind notes

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.

mill:liminal by murmer

*Into the mill. Mill:liminal is the audio accompaniment to the 2018 film The Mill, recorded at the Räpina Paper Factory in Estonia.*

MILL:LIMINAL IS NOT AN EASY RECORD to peg, but that doesn’t mean it isn’t interesting or enjoyable. In fact, it’s among the more haunting, thought-provoking, and meditative recordings I have heard in some time. Released this year by Murmer, the handle of sound artist Patrick Tubin McGinley, it is the sonic accompaniment to a 35-minute film made with Daniel Edward Allen in 2018 called The Mill. To record The Mill, McGinley and Allen descended on the Räpina Paberivabrik, a paper mill in southeast Estonia that has been producing paper continuously since the 1730s. Here, the old mill’s creaks, whirs, rattles and hums are arranged into drone-like compositions distilled into seven, hypnotic tracks. McGinley reports that he was inspired to record the mill after having been a customer. Räpina produced the packaging for earlier releases, and he was drawn in by its mesmeric sounds.

McGinley’s approach to recording is very cinema verite. His sound recorders are the shaky hand holding the camera, giving you a first-person look — or in this case, listen — at what’s happening. The sounds for mill:liminal were recorded mostly with a Sennheisier MKH 30/40 boomed microphone rig connected to an SD744T hard disc portable field recorder. Additional sounds were recorded with self-constructed contact microphones and some with DPA 4060 miniature omnidirectional microphones. So what can sound like sound captured raw is actually the product of some serious technological sophistication and deep processing.

The result is unsettling, for mill:liminal sounds like consciousness melting off the slate of time. In some moments, the low and steady growl of the paper mill machinery takes on monastic tones, as if a monastery of Tibetan monks were assembled for prayer in the mountains.

It’s not hard to find parallels in McGinley’s work, but it does lead one to unexpected places. Is a man in a plaid shirt with a microphone in hand, poised to capture sounds in the field, not unlike Alan Lomax, with his field recordings of world music? McGinley does agree with that.

“I have long-standing thoughts about the world of field recording and experimental music being considered as folk music,” he says. “It’s music that has grown out of a community outside of academic circles, a sort of voice of a population.” Interestingly, he has noted that the mill, in its own way, is a living entity, as people play limited roles in maintaining its processes.

There are also sonic links to the experiments of minimalist composer La Monte Young and his Dream Syndicate. One can see how the hum of a paper mill aligns with Young’s tunings that matched the environmental sounds around him, most famously his reliance on a refrigerator’s 60-cycle electrical hum, which he considered as a foundational drone for his music. Young called the 60-cycle hum the “drone of Western civilization,” but as mill:liminal reminds us, these folk songs of machinery are all around us. If listened to, they can be a thing of beauty.

mill:liminal is available now as a digital download and will be available soon as a cd packaged in paper from the Räpina Paberivabrik. In addition to undertaking field recordings of creepy paper mills, Murmer also produces a regular weekly radio show called Framework Radio. Other recordings are available on Bandcamp.

stowaway

ON THE WAY HOME, I wound up as a stowaway, riding in the back of an old-fashioned mail bus. It had been recently refurbished, and the interior smelled of fresh pine. Crates of letters were stacked up on both sides of the coach. I knew that if I followed the north coast road, I would eventually make it home, but at some point, the road changed. It was generic and unfamiliar, and the forest here was so dense and green that I lost my bearings entirely.

There was also water on both sides of the road now, which made no sense. The south coast was a good 20 miles away. The mail bus rolled to a stop, and a wooden ladder descended mechanically from the back. Into the storage area walked the postman, wearing a striped jacket and a straw hat, as if he had just stepped out of 1910. “Another stowaway, huh?” he said.

The postman wasn’t angry. He fetched a few envelopes and went to stuff some mailboxes. “But where are we?” I asked him. “I thought this was Long Island.” The postman’s eyes narrowed. “You, good sir, are in the most exclusive part of Long Island. Pristine, undeveloped, inhabited by only the oldest, wealthiest families. It’s so off limits that it’s never appeared on any map.”

The postman went on. “See that, over there? That’s Fresh Pond. Most people think that’s the north shore. But out here, there’s this strip of unspoiled land, a grant to the settlers of these parts by His Majesty Charles II.” I stuck my head out of the mail bus and looked around. I saw no homes anywhere, just old-growth forest teeming with wildlife. The air here was so fresh it hurt just to breathe it. How could it be that there was a part of the island I had never seen?

“If it’s so exclusive, how do I get anywhere from here?” I asked. “I don’t think my parents know how to get here.” “Where are you going?” he asked. I told him the name of the town. “No worries,” he said, returning to the front of the bus. “I’ll drop you at the old post office. You’ll have to find your way home from there. And you can never tell anyone that you saw this place.”

manhattan

TO BE AT THE TOP of a shiny skyscraper, enclosed in metal and glass, is to experience a kind of disorientation. Maybe you are on the 11th or the 26th floor, but really, you are standing on air, walking on air, surrounded by a concrete box of walled-in oxygen. There was a party for all the program members in this Manhattan honeycomb, it took place in a modern room with a single long table. There was champagne, and champagne glasses, and Dr. Henry Kissinger was there. His bush of gray-black hair looked fine enough. He kept trying to talk to me about China. “Strange,” I told Dr. Kissinger. “I thought you were dead.” He said, in his thick accent, “Did you really think I was capable of death?”

There were a lot of beauties from the program there, in extravagant dresses. One woman stood on stage, handing out awards. A guitar appeared on the table; I was surprised I hadn’t seen it there before. It was a Fender Nocaster model, encased in silver trim. I picked up the guitar and began to pluck out a tune on its metallic strings, but when I did, it slipped from my hands and fell on the floor. When I picked it up, I noticed the headstock was gone, and foam was emerging from the top. Kissinger was there at once. He held the glass to the broken neck, and soon it was full of bubbly. “Didn’t you know that all guitars are full of champagne?” he said.

More people kept coming to the party and it was getting late, so I decided to leave. I took the elevator down. I knew I would have to make the last Long Island Railroad train to Port Jefferson. Or would my father really have to come and pick me up in Ronkonkoma? I tried to open up the schedule on my phone, but the page wouldn’t refresh. To make matters worse, when I got downstairs, I realized I had left my shoes at the party. I exited the elevator, looked over at the doorman, and asked him if I could go back up. “Do you have a pass?” he said. “Any form of identification?” “I just came out of the damn elevator,” I said. “Obviously, I’m allowed to be in the building!” The doorman looked puzzled. He knew not what to do. But procedure!

“Fine, sir,” he grumbled, “but only this one time.”

When I retrieved my shoes, I saw that Dr. Kissinger was still inside, charming young women. Then I rode the elevator down again. Outside, the Manhattan sky was a smoggy white. How odd that there were white nights in New York too? And at such a late hour. The streets were full of people in dark coats. Cars honked their way down the avenue. But when was the last train home now? Or was there a Port Authority LuxExpress to Tartu? Impossible. My phone said the next train was at 3:28 am. That was a long time to wait. I decided to call my daughter, to see if I could stay there. “But dad,” she said, “we don’t have any place for you to sleep. We’d have to pile up clothes on the floor to make you a mattress.” “That sounds fine to me,” I told her. The only problem was that I had no idea where she lived in this urban jungle. Then my phone died.

There I stood, in the streets of New York, surrounded by strangers. I considered for a moment that if there was anyone who could help me, it was Dr. Kissinger. He was older than time. He was undead. I began walking back to the building. Certainly, Dr. Kissinger would still be there. Did he ever miss a party?

drummer

I HAD BEEN SEEING Mai for a few weeks when she abruptly left me for a drummer. And not just any drummer, but Giorgio Marrakesh, the rhythm provider for one of New York’s most enduring indie rock ensembles. Mai was my kind of woman: a few years older, self-accomplished, intoxicatingly neurotic, a spicy summer cocktail of the dangerous and ridiculous, well shaken. She had her own TV show, which was called The Mai Show. She would emerge onto the stage of The Mai Show in her lovely pink tablecloth-looking dress as spellbound fans from everywhere applauded furiously. She would spin and settle onto one hip.

We had met at the Strand Bookstore downtown on a Wednesday afternoon. I had been paging through reproductions of 17th-century Swedish imperial maps; she had been reading a feature article about herself from 1994. She had just finished filming the day’s episode. She was sipping from a coffee cup. She wore those big glasses that famous people wear, to both draw attention to themselves and to avoid being seen. But those pink lips gave her away. It was all going swimmingly and summerly until Giorgio re-entered the picture. She went back to him at once. “He’s a drummer,” she said and shrugged. She related the end in a careless and wonderful way.

A drummer. Drummers sat in the back, surveying all before them. Drummers were steady, reliable. Drummers kept the beat. Drummers had their own philosophy. “But he’s just a drummer,” I wrote Mai. I sent telegrams to her apartment every hour on the hour, relayed by real messenger boys. “He’s just a drummer,” I continued. “He knows about cymbals, he knows about snares and tom-toms, he knows if it’s 4/4 or 6/8. Would a drummer write you a haiku?”

He’s just a drummer / Always playing with his sticks / Can’t write a haiku

A drummer, she was with a drummer, not a writer. But what is a writer? A writer is always writing. A writer is found in bookstores. A writer runs his fingers along old paperbacks by Salinger and Vonnegut, wishing he had written them, but secretly feeling superior to both.

“But can a writer also be worthy of your love?” I penned Mai. She read the letter while she was lounging around in her loft apartment, eating macaroni and cheese and talking to her agent. She never wrote back.

cotton

A COTTON DRESS, red with golden flower patterns, like the kinds they sell in the spice markets and bazaars of Hyderabad. She was wearing this dress when she called in, but I was on a bus traveling between the interior and the coast. We were somewhere near Soomaa and I had forgotten all about the interview. I didn’t even know what time of day it was. In July, it’s so light that any time could be any time. Through the window I could see the trees, a white sky.

“I can’t talk now,” I told her. “Let’s try,” she said. “Let’s reschedule,” I said. “That won’t be necessary,” she replied. “Let’s give it a try.” When I answered, I saw her sitting there, Indian style, wearing that red Hyderabad dress. The dress was loose and open at the top. The woman had straw hair, blue eyes, freckles all over. She had a childish, playful quality; a toothy smile.

Her teeth were a little crooked. I liked that.

“Maybe we should start with the directive,” I began. “No,” she responded. She reached to her shoulders. “I just want to do this.” Slowly the red cotton dress was lowered, descending like the clouds at dusk. From within them emerged softness, smoothness. She was backlit by a warm morning light, but I didn’t really know where she was. Brussels? “Do you like what you see, sir?” she asked. “Yes,” I whispered. My cheeks were red hot. “I do.” “Good,” was all she said.

When we reached Pärnu, I ambled off toward Malmö Street. Why did these things keep happening? I was certain I knew that special representative from somewhere. But where? Then I remembered a Croatian girl we had gone to school with. Or was she Czech? What was her name? She had worn white pants to school in sixth grade on the day she got her period. This turned into a bit of elementary school scandal, but later, when I had confided the story in a friend, she had remarked, “Lovely. That’s nothing to be ashamed of.” That had inverted everything about that day. Was it her? Did she work at the Commission now? It was warm and there were people out, drinking coffees. But I was stuck in the fibers of that red cotton dress.

public sauna

MY GIRLFRIEND SAID she found a new place for us to live, somewhere deep in the southeast, some place far away from everything, a place where she said the outside world would never find, touch, or disturb us. She scrolled and trawled real estate listings until she found her dream house. This turned out to be a single story cinderblock bungalow in the middle of town.

“But it has potential,” she said, clutching her fingers together. The interior of the building looked like it hadn’t been touched since about 1978. There was even an old bar in the corner that had no doubt served the likes of rockers Jaak Tingimata and Urho Guidopalu at some forgotten booze-guzzling soiree deep in the Soviet time. There were still empty bottles lying around. By its single window, there was a dusty divan, upon which my girlfriend plopped herself, happy as a bee, enthralled by the opportunities presented by this ancient wreck.

“Just look,” she said, tugging at a torn curtain. “We get good light in here. It has a wonderful view.” Behind the curtain, I saw a series of plastic recycling bins. The graywhite light of winter streamed through the window and I knew not what to think. It seemed that she was sold on the place and if she was sold on the place, I doubted I would be able to unpick her reasoning.

She was quite endearing though and attractive and wore a black skirt with girlish stockings. Some part of her was forever 18, even if she was forty-something now. Her hair had been cut à la Aniston and she danced exuberantly around the dreary interior of the cement bungalow.

“Take a good look at that couch,” she said. “We’ll be making love on it for weeks! You are never going to get off of that old couch.” She began to pull up her blouse when, just at that moment, there came a knock at the door. I went and opened it, only to come face to face with about a dozen men, all wearing towels, sauna hats, and toting wooden ladles in their giant hands. Beyond them, I only saw the white of winter, frozen over parking lots, frosty stone facades.

One of them was especially fierce. He said to me, “This is a public sauna!” “No, it isn’t,” I said. I peered back into the building and noticed there were two plumbers at work on what had once been the showers. Since the building had not been heated, the shower area was covered in mottled patches of ice. Icicles hung suspended from the ceiling of the sauna showers like in an Arctic cave. One of the plumbers said to the other, “It will take forever to fix up this old place.”

“You heard the plumbers,” I told the sauna men. “There will be no sauna today.” “Honey,” my girlfriend called out to me. “Come back to bed.” “Just a minute.” The sauna men were unmoved. A pushing match ensued, and one man couldn’t hold them all back. Soon they overwhelmed me and charged into the dingy space, their ladles held aloft, chanting, “Sauna, sauna, sauna!” “Maybe this isn’t the place for us,” I told my girlfriend. “Maybe we could find some place that isn’t a public sauna?” “Nonsense,” she said and yawned, stretching out. “I think it’s just perfect.”

linnéa and peeter

HALFWAY THROUGH THE NIGHT the hallway closet dissolved. This was more like a built-in storage space, with hooks for hanging coats and some shelving above and below. There had been too many old jackets there and too many old boots, but these had been replaced by a glowing substance, part gauze, part spiderweb, part marshmallow. Cotton candy, if you will.

Through the cotton candy door, I could see Linnéa in her bedroom.

She was trying on different dresses, standing there before a mirror. A yellow polka dot dress, a purple dress. She smoothed out the fabric, turned from side to side, singing gently to herself as she went, lyrics to songs I had never heard of, or whispering comforting phrases. Yes, the blue dress! This was the one! Her hair was a brilliant yellow. Her lashes were plump and long.

Then she noticed me watching her and climbed through the doorway. “We have to talk,” she announced, taking me by the arm. “It’s time that I told you everything.” She hoisted herself up onto my white, queen-sized bed, and stretched out as if she was doing the backstroke. She was a sight. Her long bluestockinged legs stretched out before me like soothing Atlantic horizons. “It’s been too long, it’s been too long since I told you everything,” Linnéa said.

But soon her boyfriend Peeter would be back. Linnéa was now in a serious relationship and I was expected to blend like all other men into a dim gray background, to melt into the anonymous crowds. Such bedside confessionals were strictly verboten. Peeter then entered through the cotton candy door. He was youthful and had a princely moustache. Peeter was wearing a fur vest and had white war paint across his cheeks. He said, “Hello, I am Peeter.”

“I know,” I told him. “And who are you?” He asked. “I am who I am,” I told him. We stood there looking at each other for a while. I was waiting for him to put the hatchet into me. But Prince Peeter did no such thing. Instead his eyes softened a bit. “It’s good of you, it’s good of you to be a friend to Linnéa,” he said. Then he began to talk of more trivial things, like his job, and politics and trade policy, and other things in which I had no real interest. But there was no revenge and there was no heartbreak and Linnéa had selected the exactly right-colored dress.

princess

I DON’T REMEMBER how I met the Princess. I do remember that I was in Italy, just outside of Corigliano, on my way to the Sila, when I stopped into a gas station and was nearly seduced by another woman, whose nerves I calmed in Italian. After that, I stole a candy bar from the gas station and was on my way. Later, I heard a lot about the candy bar, but at the time, I was just trying to outdo my scofflaw friends, who had never bought a train ticket in their lives. When I calmed the Italian woman, I told her she was beautiful, of course, that most men were in love with her, but for various reasons why I could not accompany her on the next part of her trip.

Then I went back to the apartment we had rented on the coast and I think that’s where I met the Princess and her entourage. She was undoubtedly the Princess of Wales, but not that Princess of Wales. She looked almost identical to Annikki, except she spoke the Queen’s, or King’s English, and had incredible, royal posture. Her hair was golden and almost alien to the touch, her skin was milky colored, smooth and flawless. The group captain assigned to protect her carried out a very thorough interview with me. This was a younger lad who could have been an ex-quidditch player. Somehow I passed the test. The night was spent watching romantic comedies on a fine couch and sharing bites of cookies. I think the Princess liked me.

And then she was off again, with her dresses and entourage, to complete her tour. Eventually, when I returned home, I heard about two things. One was the deep shame my family felt upon hearing about the candy bar stolen from a gas station in Italy (“And you know, they have it all on video! The owner is so disappointed in you, a fellow Italian stealing!”) but also the elation that their son had finally met a new woman and that she happened to be the Princess of Wales.

“Is it true that she really likes you?” my mother asked. “Yeah, we get on great,” I said. I somehow wasn’t quite sure what all the fuss was about. She was just a princess. “You know,” my father said after a turn. He was standing there dressed in sober black, my consigliere. “This could be good for you. Have you thought about asking her for a royal appointment?” I shook my head vehemently. “You know, I knew you were going to do this,” I said. My father stepped back, as if struck by a dart. “Do what? All I am saying is, she happens to be a princess, you happen to need a job. She likes you. She happens to be in a place where she could get you a gig with a high-paying salary.” “I might have met the new love of my life and all you can think about is how I can benefit financially from it?” I said. “No, no, just listen a minute,” he said. “Don’t forget, you were so desperate you stole a candy bar!” “Oh, I’ll send Mario a whole box of goddamn candy bars!” I shot back. “Same old shit,” I said. “Same old snaky manipulative shit!”

After I left the room, I could hear them argue about who had done what wrong. My mother blamed my father. My father said he was only trying to help. My brother was there in the corridor with a package, wrapped up in plain brown paper and tied with a ribbon. He was standing there patiently in a jacket and tie, like the doorman at a Manhattan hotel. “I thought I’d get you this for your birthday,” he said, then gesturing with his head, “Don’t listen to them. They don’t know anything about princesses.”

I removed the paper and saw what it was, a new Jack Kerouac book. Discovered in the vault of an old mobster, published for the very first time. There were pictures of Jack on the cover seated at a typewriter, or standing somewhere in the desert beside a cactus. The cover and the paper were smooth to the touch and they aroused a kind of tingling curiosity within me. Good old Jack. “I knew you’d like it,” my brother said. “Thanks,” I said. “Now this is a good gift.”

landlord

I MUST HAVE RENTED an apartment from a middle-aged Estonian man. He was maybe a decade older, dark tufts of hair, graying at the temples, tawny complexion. He might have been Spanish or Jewish in a previous life. He worked in some dusty corner of the financial services universe and was always dressed smart casual, with a jacket, shirt open at the collar, khakis.

His wife had recently left him, or they had separated or taken a time out. So they said. She took the rest of the children off to the Canary Islands, where she had become a poolside yoga teacher and worshipper of the Hindu love gods. The eldest daughter stayed behind to finish her studies. She was disarmingly beautiful. He was certain the girl had caught my eye. She had.

At night, her father would kick off his loafers after a long day spent shilling for the bank and watch the news on an enormous screen he had got a great deal on during the pandemic. When he saw me entering my apartment through the big glass windows on the first floor, and most of the house was made of metal and glass, he would shake his head a little and purse his lips and then nurse another sip from a bottle of beer. The apartment itself was a tranquil single room, wide and spacious, all painted white, with high, echoey ceilings, and a small kitchenette.

It had three windows and through them I would watch the eldest daughter arrive and depart on her way to or from her semiotics classes. The bob of a golden brain in the late winter sun. The lyrical cadence of a youthful, ever optimistic voice heard through the glass, concerned for her joyless, dead-hearted father. There was something to her, a kind of music so faint you could only hear it if you strained your very ears. But it was also so removed from my waking conscience that I could barely grasp at it, even if I tried. This sparkle might have found its way into a magazine article I wrote, one with sultry allusions to such inappropriate relationships.

And then one day, my landlord was there before me, clutching a rolled up copy of the magazine’s latest edition in his hand, ready to strike. I could see my face above the column, which was printed neatly in black and white “You,” he said, “are a sick pervert! I have already initiated legal proceedings, a kohtuprotsess!” I stepped back and he whacked me with my own words. I tried to defend myself. “But it was all fictionalized!” I cried. “All of it was fiction!” “Lies,” he shouted and struck. “Of course, some of it was based on reality.” “Jail!” he growled. “Jail!”

In my apartment, I let down the white blinds. Outside I could hear him howling, banging. I grabbed my things, crawled out the back window like a character in a Willie Nelson song. Then I was down the forest path, on my way, almost free at last when his wife appeared like mirage. I tumbled and there were orange leaves everywhere, so many leaves I began to swim. The enlightened landlord’s wife looked down out me, her head wrapped in a bandana. Stars flooded the sky and began circling her like little birds. They arranged themselves into a crown. She reached down and pulled me free from my leafy oceans. At long last, I had been rescued.

The landlord’s wife was a fine looking woman, very smooth features, a kind of gray-brown hair just visible beneath her turban, and she had very clear blue eyes that were skies unto themselves. She did not fear my love of her daughter, for as she saw it, all daughters needed to be loved. “Would you like honey too?” She poured me some tea on the terrace later. I mixed in the honey, watched it dissolve in the peppermint, and drank deep from the warm ceramic cup. I was still kind of shaken up and could see her husband through the windows. He was filming the whole thing. Evidence to be used at trial. He gave me the middle finger. Then he motioned to his throat and made a slashing gesture. He mouthed the words: “Pervert, pervert. Jail, jail.”