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.
I WAS SITTING in a brightly lit cafe somewhere in a northern city when Ezra Gold walked in. In a room full of laconic blondes, he was refreshingly Jewish. Dark hair, one of those ancient philosophical faces that always looks like it’s posing a penetrating question, when in reality, he was probably just looking for some decent coffee, maybe a scoop of ice cream. Ezra looked mostly the same. But he had acquired some wealth. He was dressed in some high-end red-pink zoot suit. He had a joyful countenance. He said, “Hey there, buddy. Good to see you!”
He had two daughters with him, both around 10 years old. They held on to his tailored pant legs; he ordered them both some ice cream. Before he left, he invited me to visit him in America. “You should come back to America, man,” said Ezra Gold. And like that, he was gone.
I hadn’t seen Ezra since we had lived on the same floor in college. I had maintained no contact with him. He was a ghost from the past, but a welcome one. I took him up on his offer, and soon I was hiking down a dirt road somewhere along the mid-Atlantic. The roads curved up into the mountains, the foothills of the Appalachians, and there was a rocky peninsula, surrounded by blue water. Here some tired fishermen sat, tossing their lines into the waters, watching them dance. “Do you know where Ezra Gold lives?” I asked one of them. He was a lonely old hobo type with a few gold teeth, and he pointed toward those hills over yonder.
I kept walking into the hills. It was autumn now; delicious golden leaves blanketed the landscape. Dug into the hills, I could see the brick bones of an old factory, its chimneys still intact, its roof and workers long gone. Eventually I came to a small town and found the building I had been searching for, a kind of orange cream-colored tall apartment tower.
This was where Ezra Gold lived.
“Hey, buddy, glad you made it,” he said, welcoming me in. “Can I get you anything?” He went to the kitchenette and made two coffees. I looked around his home. In the other room, I could see his daughters stretched out on a couch, both absorbed in the glow of the internet. There were piles of clothes on the floor, his bed looked as if it hadn’t been made in weeks. A blue-gray light filled the room with melancholy. That’s when I realized that Ezra Gold’s wife had also left him. He had been deserted, marooned, jettisoned, discarded, abandoned. But he set out two cups on the table as if nothing was amiss. “So,” said Ezra. “What have you been up to?”
LINDA AND HER HUSBAND stole Gustav Klimt’s paintings from an exhibition in Helsinki. They decided they would show the Austrian symbolist painter’s artwork to the public, but only at extortionate fees. Just one viewing of one Gustav Klimt painting would cost around €10,000.
“But that’s not fair,” I told Linda. “Gustav Klimt’s work should be freely available to the public. Every man, woman, and child deserves to see The Kiss and Portrait of Adele Bloch-Bauer I for free, if not for a small, but meaningful donation to a museum. It’s the only right thing to do.”
Linda was not listening. “We stole the Klimt paintings to enrich ourselves,” she said. “Besides, they are such masterworks that the public should be willing to pay their entire life savings just to appreciate Klimt’s golden phase for a few moments. If you want gold, you should pay gold.”
I tried to find Linda’s husband, a conductor named Siim, to convince him of this art theft travesty, but he was too busy moving the Klimt paintings from their getaway van into a secret warehouse. They were long past middle age. Wasn’t Linda 60? Her hair was still chestnut, with streaks of gray, and she was in incredible shape. I threatened to report her to the art police.
“You will do no such thing,” she said. Then, with an unbuttoning of a button and the unzipping of a zipper, she became quite persuasive. “You will not turn us over to the police for stealing Gustav Klimt’s paintings,” Linda said while licking me. “And I won’t stop licking you until you change your mind. Oh, you are yummy,” she said, looking up. “Well,” I said. “You might be right.”
SHE CAME TO the grand opening of the spa hotel. This was a glamorous event and many years in the making. It was catered by the finest cafes and confectioners in town, and there were long tables full of food and drink, with local and national politicians elbowing their way to the kool-aid, while the rest of us tried to make sense of the architecture. They said there were 300 rooms in these futuristic cylinders. It was designed to be a convention magnet. One can imagine the various agencies and associations that, after spending years on the same circuit, would warm to the idea of a waterfront getaway in this one-and-only middle of nowhere.
She was also there with one of her girlfriends. She was visibly with child, though not yet full term, and she told me that I was the father. I quickly accepted my fate, began to talk to her about future plans. She was a shapely young woman with brown hair, common features. I think she worked at Swedbank. “I don’t have much money,” I told her, “But I’m sure we can manage.”
She was grateful, of course, that I intended to play a real role in our child’s life. But as I socialized in the gray light of the spa hotel, something began to bother me. Because as willing as I was to accept responsibility for her child, I couldn’t remember ever being with her. When had that happened? There were so many women. They were half the world, if not more. It was hard to keep track of them all. Surely I might remember a few fleeting seconds of lovemaking.
“Don’t you remember last year,” a friend reminded me at the reception. “When you went on a spree?” Ah, yes, the glorious spree. Truth be told, it had never really ended. Still, how could it be that I was about to become a father, but I couldn’t remember the woman? At the food tables, I saw her again. I said, “I’m terribly sorry, but I am not sure if I am the father of your child. I don’t even know your name or who you are.” “My name is Reet,” she said while rubbing her hands over her protruding belly. “But you are definitely the father. There can be no other.”
“No, I’m not,” I said. That “no, I’m not” didn’t seem to move the needle. If she said I was, maybe I was. I couldn’t remember everything. Not knowing what to do, I went to the upper level, where there was a panoramic view of the sea. It was blue and wide, so close you could almost touch its whitecaps. That great heavy sea, the way it sloshed about, washing time and worry away. I glanced down the coast and could see a young couple walking along the water’s edge, with two or three children. They were all wearing sunglasses and striped t-shirts. I could hear the voices of the children and the pleasing meditative rhythm of the vast sea outside of the glass.
HEADING INTO the Baltic Station Market, I encountered a whole troupe of Krishna devotees. They were milling around outside in tan jackets, smoking clove cigarettes, talking of love and better days. They stood in lines through the doorway, up the stairs, winding around the kiosks, smoothie machines, and pancake huts. Dark mustaches, long hair, sun-kissed women in polka-dot dresses, and what a commotion. Lots of om krishnaya yama and shanti shantishanti.
Fortunately, all of these George Harrison wannabes were not in line for VLND Burger. The way to my dinner was clear. Or was it? Did I have enough time? If I missed the train back to Viljandi, I would have to stay the night in Tallinn. If I stayed the night in Tallinn, I would have to go to her house, beg for a bed, hat in hand, though I had no hat and it was sticky August.
“Welcome to VLND Burger, what can I get you?” came a reticent attempt at American-style customer service. I scanned the menu. Various burgers, doubles, singles, fries in all constellations and denominations. Loaded, unloaded. “Loaded fries?” I whispered, surveying the print. In the back, a fry cook was clanging a basket. More eats were coming off the press.
If I missed my train, I would have to go to her house. Then we would make love and everything would be turned over again. The story would be torn open again, as she had once put it. She’d hug me in the morning, and I’d already have one foot out the door. What was it that made me run? What was I running from? “Excuse me,” I asked the staff. “But do you happen to know what time it is? My phone died and I need to catch the last train south.” A wrist was raised like clockwork, the young woman at the counter said, “It’s 6:42 pm, sir. Would you like to order?”
Then the fry cook intervened. “No, it isn’t,” said he. “It’s half past nine.” “No, it isn’t,” I told the fry cook. “I mean, that’s impossible. When I came into Baltic Station Market, it was 7:30. I was supposed to be on the 8 o’clock train back to Viljandi. Excuse me, madame,” I said, approaching an older woman in a fur coat who was walking a small dog. “But would you happen to know the real time?” “Yes,” she said, looking at a small silver watch. “It’s 3:30 am. On the nose!” She continued along her way. I couldn’t tell if I had missed my train or if the train hadn’t come yet. I ordered some crispy fries anyway, something tasty to munch on, something to pass the time.
“ALGÚN DÍA” by Chilean singer songwriter Tomás del Realis easily one of his most accessible and enjoyable songs. Instantly satisfying, the lead single off his forthcoming album Jakobsoni, is three-and-a-half minutes long and finds del Real expressing all his strengths: gentle, playful melodies, deft guitar work, and that almost half-whispered conversational singing style of his, as if he was confiding in you his most important feelings and thoughts on a walk at night.
The image of the typewriter in the video for the single evokes the literary tradition in pop music and is apt. Think of stories about Bob Dylan and The Band’s The Basement Tapes, where the lyrics were composed line by line on a typewriter in the house they shared, or even The Beatles’ “Paperback Writer” or “Eleanor Rigby.” While sounding almost nothing like McCartney, it could be said that del Real has similar sentiments, a fondness for novelistic writing, atmospherics that make a song glow at its edges, finding inspiration in the everyday.
Though the song glides along as easily as a ghost, del Real said that it even challenged him to play it. “It has this very complex fingerpicking that I heard in my head at first, but couldn’t figure out,” he says. “It took months for it to become natural.” The lyrics also emerged over time and the whole composition came together during a week of self-imposed exile in Berlin.
“I was able to take a break and finish up four of the songs on the new album,” del Real recalls.
“Algún día” reflects on existential themes of life and death, the temporary and timeless.
Algún día de erosión / Nuestras almas se evaporarán / Al encontrar otra forma en vez de despertar / Quizá, me han de contar
Which translates in English to something like
One day, through erosion / Our souls will evaporate / Finding another way instead of waking / Perhaps, they will tell me.
Finding another way instead of waking;
“I think time and the ephemerality of things is a topic that’s on my mind quite often,” he says. “I was searching for the most vulnerable aspects of myself while writing this song, the real spots, for something valuable.”
The single was recorded in Viljandi, Estonia, where del Real has lived for the past few years and produced with Javier Barría, who added the synths and other instrumentation. “Algún día” was mixed and mastered by del Real’s long-time collaborator Jorge Fortune in Chile. It is available on all streaming platforms, including Spotify, as of 31 July. The new album Jakobsoni will follow soon. It will be the fourth record del Real has put out in Estonia, following 2022’s collaboration with Lee Taul Don’t Chase the Lizard, 2023’s Principios de Declaración and 2024’s Notas Rotas. Despite this prolific output, del Real says that he battles writer’s block all the time, even with “Algún día”.
“This one has been like cold brew,” he says. “Drip by drip. It took a while, but it came out right.”
IN THOSE OLD STORIES of postwar golden age New York, much of the intelligentsia was same-sex oriented, and it was not unknown for up-and-coming writers to submit to the advances of a powerful editor or publisher, so long as they got a book deal in the end. This was not playing out in my mind as I was invited to spend the night at Nelson’s house uptown, but it became evident that evening when, after showing me to my room, the friendly publisher decided to invite himself into bed with me. “Aha,” he said, “Now we can get down to business.” The sensation of a sinewy male monkey body brought on states of revulsion, gloom, despair.
I ran away, naturally. In my pajamas. Can you imagine me, fleeing like that on West 81st Street?
I wandered for some time like that, through the city. I wandered through other cities. I admired the commotion, the jackhammers, the cranes. Glass doors that sensed your presence and opened before you. Sandy depressions that were becoming parking garages. Eventually I fell in love again, this time with my friend’s wife, who had long sumptuous red hair. It was a lion’s mane of crimson. You should have seen how it spread across the white linen sheets, how the red of her hair flowed into the texture of a red blanket. She was a 1930s pre-Code Venus.
But I could never tell her I loved her. I could only say something like, “My favorite color is red.”
“My favorite color is red.” It wasn’t really. But I would whisper it in her ear, beneath her thick hair, at any number of dull dinner parties in Tallinn’s Old Town, while her husband was getting a refilled martini or gin and tonic. He worked at SEB and liked to talk about mortgages and interest rates. She was neurotic and dangerous enough to keep me interested. I was hooked.
One day we were driving away from a boutique hotel. Miss Red was at the wheel. It was a cool, autumn day, the leaves were turning orange and purple. A group of kindergartners began crossing the street, but she was so tormented by the fact that she had again betrayed her husband, that she almost ran the kids over. Before she mowed down the children, I grabbed the wheel, took control of the vehicle, pressed on her leg to slow the car. I reached out of the window, waved a frightened boy across the street. The little boy gave a stunned and shocked look. He was wearing a sweater and bowtie. The boy’s look said it all. “The adults are maniacs.”
IT WASN’T THAT I didn’t have a ticket. It was that I had the wrong ticket, or a ticket that had been purchased for a different journey. It was a ticket north. But I was lost somewhere in the city. This is how I found myself a scofflaw in the Stockholm T-bana, the underground metro, hiding out from the dreaded Storstockholms Lokaltrafik inspectors, in their blue uniforms. On the run from the law, on the lam so to speak. I hid out in a cave in the metro that was inhabited by other scofflaws and dissident thinkers. Difficult characters who had never purchased a metro ticket in their lives. But a matronly inspector found me and dragged me out by my feet.
“You have to pay the fine!” she said. “But I had a ticket,” I yelped. “It was just the wrong ticket.”
The wrong ticket. During the dragging, one of my upper teeth came loose. I could see it fall out and plink on the train platform, like a 5 kronor coin. I retrieved my tooth, tried to fit it back into place, and slipped past the SL ticket inspector to make an escape. But the tooth was still crooked. It would never settle on its own, it would never look like a legitimate tooth.
I had to find a Swedish dentist, one who could properly reinstall it, as it were. I found one in Södermalm, a pleasant, middle-aged blonde dentist in a pastel blue shirt, who said she could do it and it would be subsidized by the state. It would all be covered by the Allmänt tandvårdsbidrag. But first I would have to take off my clothes. “Is that because you don’t want to soil my clothes with spurting blood?” I asked. “No,” said the dentist. “Now, strip for me!”
I’m not sure where those hands of hers went during the dental surgery. Maybe I enjoyed it? Not long after that, I arrived back in Tallinn. I was walking up Niguliste Street on a cool summer evening. The Green House Cafe had opened up a new location there, and the windows were all open. Inside, the bustle of a warm kitchen, shadowy figures in aprons carried trays, the metallic clanging of the espresso machine. Ingredients were arrayed along the window, including a bowl of sweet almonds soaking in warm milk, likely destined for a pastry.
“Oh, it’s so nice to have all your teeth,” I said to myself. I took a sweet almond from the milk bowl. It dissolved on my tongue. When I looked up again, Mai was there. She was wearing her apron and peering at me with those huge eyes of hers. She climbed through the cafe window and soon we were kissing below the church. It felt good to feel the loving heft of Mai in her black shirt. “Are you really sure you want to do this?” I asked her. Mai looked back at me with that colorful baker’s hat on her head and said, “But I’m crawling on top of you. Of course I do.”
THESE WERE planter beds and they were also single beds. Each measured 90 by 200 centimeters. The frames were made of white wood. They were arranged head to foot in a row, like sarcophagi in an ancient Egyptian tomb. Indeed, the room could have been discovered in the Valley of the Kings. All was dark, an impenetrable blackness that seemed painted on.
But it was night, and we were tired. We had missed the afternoon ship from Kasepää and we had no place else to stay. The beds were at a friend’s house. He had turned these single beds into small, productive gardens. Green plants sprouted from the rich, black soil. If you pulled back the earth, though, like a blanket, a perfectly fine bed could be discovered within. Crisp, linen sheets. Two fluffy pillows. All you had to do is pull back the topsoil and slide right in.
My friend Madis had experience with such beds. He was already tucked in, wearing one of those old-fashioned nightcaps. It was green, with a dangling pom-pom. He looked like Ebenezer Scrooge in A Christmas Carol, only a younger, sleepier, happier one. When I climbed into my planter bed, some of the plants fell onto the floor. The floor was as black as the room around it. “Don’t worry about that,” said Madis, yawning from his planter box bed. “I don’t think our old friend Holbrooke cares so much about the soil or plants. Let’s all just get some sleep.”