Winter has returned to Rochester. Now the forecast is snow every day, following a freakish few weeks of midwinter springtime—positive temperatures, no snow on the ground—that was sufficiently prolonged and sufficiently mild to have people actually talking about being scared. "If this gift horse might have global warming up its throat," I think Rob quipped, "Then it's worth looking." I was moved to ponder what Rachel Carson's book would have been titled had it been about global warming. It's wrong extrapolate from such short term anomalies, but still—it was bizarre and it was wonderful.
Though I favor the snow and even the winter coziness—in place of the garish, vital vulgarity of summertime—I do feel its hold, the way it instills pangs of desperation, the way its omnipresense pulls us into a struggle to find things to do, to keep things interesting. Objectively it's beautiful, but psychologically it's sapping. Last week ironically I worried that I'd missed Winter with the hot tub; this week it's savagely frustrating owning but not posessing the thing, navigating the hoops of getting it transported and installed. Hot tub. Our best hope.
Last night Bree grew restless and we went out for a walk, first driving to the Eastman House, where on the front lawn are planted more than a dozen huge prints of Malibu sunrises. You'd think the juxtaposition novel. California sunrise, over ocean. Planted in snow, night time. But at midnight the prints were illuminated by the sickly glow of the sodium vapor lamps over the highway, and frost behind the plastic obscurred the images. And, as a photographer with similar work in Berkeley quipped, as if to absolve himself of the indictment: What self-respecting photographer photographs the sunset? We moved on.
The other day I was guided to the most amazing place, and we went there this time—an old warehouse overlooking a railroad switching yard, an old warehouse now filled with everything you can imagine. Students and artists rent out the spaces. There seems to be all manner of things there. Glass casting, metal working, print shop, and other installations more mysterious. Best of all you can climb up to the roof and spend the hours gazing out over the urban expanse of the city, from a bunker watching the secret lives of locomotives as they assemble trains.
Though I favor the snow and even the winter coziness—in place of the garish, vital vulgarity of summertime—I do feel its hold, the way it instills pangs of desperation, the way its omnipresense pulls us into a struggle to find things to do, to keep things interesting. Objectively it's beautiful, but psychologically it's sapping. Last week ironically I worried that I'd missed Winter with the hot tub; this week it's savagely frustrating owning but not posessing the thing, navigating the hoops of getting it transported and installed. Hot tub. Our best hope.
Last night Bree grew restless and we went out for a walk, first driving to the Eastman House, where on the front lawn are planted more than a dozen huge prints of Malibu sunrises. You'd think the juxtaposition novel. California sunrise, over ocean. Planted in snow, night time. But at midnight the prints were illuminated by the sickly glow of the sodium vapor lamps over the highway, and frost behind the plastic obscurred the images. And, as a photographer with similar work in Berkeley quipped, as if to absolve himself of the indictment: What self-respecting photographer photographs the sunset? We moved on.
The other day I was guided to the most amazing place, and we went there this time—an old warehouse overlooking a railroad switching yard, an old warehouse now filled with everything you can imagine. Students and artists rent out the spaces. There seems to be all manner of things there. Glass casting, metal working, print shop, and other installations more mysterious. Best of all you can climb up to the roof and spend the hours gazing out over the urban expanse of the city, from a bunker watching the secret lives of locomotives as they assemble trains.