Pissed. Doubly Pissed.


“Man’s capacity for justice makes democracy possible; but man’s inclination to injustice makes democracy necessary.” —Reinhold Niebuhr (1892–1971), American theologian and political ethicist, in The Children of Light and the Children of Darkness (1944).


And I don’t get pissed without explaining why.

Yesterday—Sunday, August 23—Gary and I had planned to visit DC, so that we could attend service at the Washington National Cathedral. Gary’s never been there, but I’ve been there often in years past.

Each time I return, the Washington National Cathedral rises in all its Gothic grandeur—massive towers, flying buttresses, pointed arches, and pale stone reaching heavenward as if gravity were merely a suggestion. Yet for all its majesty, it never feels strange or forbidding. It feels familiar, almost intimate, like coming home.

Once inside, we’d take our seats beneath soaring columns that rise into ribbed vaults seemingly without end, while banners hang overhead and stained glass scatters jeweled light across the stone. Then the organ would sound, the congregation would rise, and our voices would climb together into those vast arches. For this hour, the great Cathedral would be not just a house of God for all people. It would be home for all people, including me and Gary.

And this wouldn’t have been just any Sunday. It was the Sunday when the Rev. Canon Kelly Brown Douglas, Canon Theologian at Washington National Cathedral, would climb into the Canterbury Pulpit—the very reason we had planned this trip. She does not merely deliver a sermon; she lives it—voice rising, hands reaching, intellect and righteous fire filling every corner of that enormous nave. She moves us. She stirs us. We were counting on being in her presence, knowing that she would make the Gospel feel urgent, dangerous, and alive.

But we didn’t get to go.

Not because we changed our minds. Not because our bodies surprised us with illness. Not because the weather pulled a fast one.

Gary discovered while browsing the morning news that a Freedom 250 Grand Prix would effectively commandeer downtown Washington that same weekend. The 1.7-mile race course would close Pennsylvania, Constitution, and Independence Avenues, along with 3rd, 7th, and 9th Streets, while a Level 1 security designation—the highest short of a presidential inauguration—would bring still more restrictions. City officials were already warning drivers to avoid the downtown grid altogether; access to museums and monuments was limited.

Gary and I were shocked by the news. Truthfully, neither of us had even heard of a Freedom 250 Grand Prix. Had it gone under the radar of journalists and pundits, too? Apparently not.

What I found was blistering. Critics saw the Grand Prix as a taxpayer-assisted Trump vanity project wrapped in red, white, and blue—a private motorsports spectacle that closed or restricted large portions of the National Mall, snarled traffic, hurt some nearby businesses, restricted access to museums and monuments, and even halted flights at Reagan National Airport for three hours. Preservationists worried that cars racing past at nearly 200 miles per hour could damage nearby artworks and historic murals, while corporate sponsors, administration officials, and guests paying $5,000 for an “exclusive race weekend experience” gathered in privileged comfort.

The Freedom 250 was hardly a celebration of America. It was a roughly $35 million spectacle, financed largely by Penske Corporation—the company that owns IndyCar—and corporate sponsors but still assisted by taxpayers through publicly funded security and other governmental support.

So how did this travesty come to be? Let me tell you. Hopefully, you’ll be pissed off, too, by such outlandish political shenanigans at the highest levels of our government.

Originally, the organizers wanted the race to circle the Capitol. That route needed congressional authorization—not just to use Capitol grounds, but to get around a long-standing ban on commercial advertising there. Penske Corporation president Bud Denker spent six months and held more than 100 meetings on Capitol Hill chasing that approval. Congress never gave it to him.

That should have ended the matter.

It didn’t.

At Transportation Secretary Sean Duffy’s urging, the organizers measured roads farther from the Capitol. They redrew the course a few blocks west—through and alongside the National Mall, past the National Gallery of Art and several Smithsonian museums, stopping just short of the Capitol complex. A few strokes on a map, and the race slid out of the jurisdiction that required Congress and into territory executive agencies already controlled.

According to Denker, within twenty-four hours of proposing that new route, he had a presidential executive order in his inbox to review.

Read that again. Within twenty-four hours, the president of a private corporation had a proposed executive order waiting for review.

Trump signed it January 30. Executive Order 14381 gave Interior and Transportation fourteen days to designate a route and orders to grant every permit “as expeditiously as possible.” It let the Interior Department wave the race through as a National Mall “special event” and freed Transportation to fund it. The Park Service did the rest, closing off whatever parkland the route required.

Voilà.

Trump did not overrule Congress. He did not persuade Congress. He made Congress unnecessary. A race that couldn’t win approval through the front door got moved a few blocks, handed to agencies the president controls, and turned by executive order into a fait accompli.

If that isn’t political sleight of hand, I don’t know what is.

So: doubly pissed. Pissed because this spectacle cost Gary and me our Sunday at the Cathedral. Pissed again because, when Congress would not say yes, Trump just redrew the map and circumvented congressional approval.

The first took a Sunday from the two of us. The second diminished a democratic safeguard for all of us.

We’ll get our Sunday back. Yesterday, as we watched the livestream, the Rev. Canon Kelly Brown Douglas climbed into that pulpit and stressed the urgency of doing good, of being surrounded by good, and of being held accountable to the good. She will climb into it again, and Gary and I will be there in person.

The democratic safeguard, however, won’t recover so easily. It regains its force only if enough of us insist that power still answers to the people—and that when power redraws the map, we draw the line right back.

Longing for the Astonishingly Familiar


“Instructions for living a life:
Pay attention.
Be astonished.
Tell about it.”

—Mary Oliver (1935–2019), Pulitzer Prize–winning American poet.


It is a truth universally known that, for time immemorial, I have done my best to bike with something approaching—but never achieving—religious regularity. A corollary truth is that I do so while listening to gospel music.

One morning a few weeks ago was no exception, but something exceptional happened. I was listening to the Old Time Gospel Hour Quartet Station with all the old songs playing, energizing–nearly electrifying–my indoor pedaling.

“Peace, Be Still.”

“Nothing but the Blood of Jesus.”

“I’ll Fly Away.”

All the hymns I grew up on and still love.

And right about the time I started getting into the rhythm and my heart rate started getting into the vigorous zone, an unfamiliar hymn started playing. I didn’t know the lyrics, and I didn’t recognize the voices.

I was stunned. But instead of allowing myself to be slain by the newness surrounding me, I found myself saying,

“Alexa, next.”

I wanted to get back into my old, familiar comfortable groove.

I can’t even tell you the name of the new song that I skipped. But that’s okay because as I kept on pedaling to all the familiar songs I knew to be true, I started reflecting on what I had just done, and a few Robert Frost lines from Robert Frost’s “The Sound of Trees”:

I wonder about the trees.
Why do we wish to bear
Forever the noise of these
More than another noise
So close to our dwelling place?

The familiar. I like it. I suspect most of us do.

We like our coffee in the same cup, maybe even in the same chair, at roughly the same time every morning. We have our side of the bed. Our place at the table. Our route to the grocery store.

We have our rituals, too. The things we do without ever deciding to do them. We read the same morning news. We reach for the same cereal, the same brand of toothpaste, the same old linen shirt that should have been thrown away years ago but fits us in ways a new one never could.

We love the same sounds, too. A clock ticking in another room. Rain on the roof. The furnace kicking on. A dog sighing at our feet. A voice calling from somewhere else in the house. The opening notes of a song we haven’t heard in twenty years, yet somehow we know exactly what comes next.

There’s comfort in all of that. Real comfort. And who could blame us for wanting to surround ourselves with what we know? Life gives us enough surprises without our going out looking for them.

So we build little islands of familiarity wherever we can. We arrange our days with things we recognize. Things we trust. Things that ask very little of us except that we show up.

Maybe that’s why I said it so quickly that morning.

“Alexa, next.”

I wasn’t rejecting the song. I was reaching for lyrics I already knew. But here’s the thing. The familiar may ground us. It may comfort us, reassure us, even sustain us. I would not want to live without it.

But astonishment? Astonishment usually comes from somewhere else. It comes from the thing we didn’t expect. The road we didn’t plan to take. The book we almost didn’t read. The person we nearly didn’t meet. The idea we were certain wasn’t worth considering. The flower that suddenly appears where we know perfectly well we never planted one.

And then there’s the song I told Alexa to skip. That’s the one I keep coming back to. What if I had listened? Maybe I wouldn’t have liked it. Maybe three minutes later I would have forgotten it anyway. Not everything unfamiliar is waiting to astonish us and change our lives. Sometimes a new song is just a new song.

But sometimes it isn’t.

Sometimes something outside the comfortable boundaries of what we already know slips in and unsettles us just enough. It makes us look again. Listen again. Think again. It gives us something we didn’t know we were missing because, until that moment, we didn’t know it existed.

And isn’t that where so much of life’s beauty comes from? Not always from the trees whose sounds we have heard forever. Sometimes from that other noise. The one close by. The one we almost didn’t hear.

Maybe that’s all the challenge needs to be.

Not to abandon the familiar. Not to stop loving the songs we know by heart or the rituals that give our days their shape. Not to go wandering off in search of astonishment every waking minute.

Just to leave a little room for it. To take a different road now and then. To order something we’ve never tasted. To pick up the book we ordinarily would pass by. To talk with someone whose life has followed a path nothing like our own. To entertain an idea long enough to understand it before deciding what we think of it. To listen when another noise comes close to our dwelling place.

I wish I could tell you that the next morning I found that unfamiliar hymn and listened to every note. I didn’t. I don’t even know what it was.

Maybe that makes the lesson better. Some opportunities circle back. Some don’t. And sometimes we never know what beauty, surprise, or possibility was waiting inside the thing we were too quick to skip.

So I’m going to keep my old songs. Every one of them. I’m going to sing along when they play, pedal a little harder when the spirit moves me, and take all the comfort they have to give.

But the next time an unfamiliar song starts playing? I think I’ll listen, at least for a little while.

“Alexa, don’t skip.”

Robber Hicks


“Still finding hope in every email.”
–Brent L. Kendrick (b. 1947). Author and Inbox Optimist.


Pinching. Myself. Yep. That’s what I’m doing. Pinching myself. And I’ve been doing it for days. I’m in total shock. No. Total. Disbelief. Out of the blue, with no advance warning, it appeared. In. My. Email. Inbox.

What grabbed me was this. It was right there, all quiet and unobtrusive, with all the other emails from—The New Yorker, Publishers Weekly, Parade, The Paris Review, NPR, WordPress, Amazon, Facebook, and the steady stream of replies to my Mary E. Wilkins Freeman research queries. I know those senders. I know what they want before I open them.

This one was different.

The sender’s name meant nothing to me. Roberthicks. Was it Robert Hicks? Was it Robber Hicks? Either way. It didn’t matter. The subject line had captured me. No. Raptured me.

Netflix Adaptation Strategy / Unmasking The Humourist: Alexander Gordon’s Lost Essays of Colonial Charleston, South Carolina

Oh. My. God. I was not ready. Netflix Adaptation. I nearly suffered a myocardial infarction.

Netflix? My book?

I reread the subject line.

Then I read it again.

This wasn’t entirely out of nowhere. Unmasking The Humourist had found generous readers. One reviewer wrote, “Your book does something rare. It restores a lost voice to history.” Another told me, “The Humourist deserves a wider audience.”

I mustered up enough courage to read the first paragraph.

“I am reaching out from StoryReel Studios regarding a major strategic development. Our studio has recently established a partnership with Netflix aimed at evaluating and positioning standout literary works for potential streaming adaptation.”

“All right,” I thought. “So far, so good.”

I continued with the second paragraph:

“While conducting the market research, I selected Unmasking The Humourist: Alexander Gordon’s Lost Essays of Colonial Charleston, South Carolina due to its strong visual narrative and clear cinematic potential.”

Cinematic potential!

“Of course,” I thought. “I set the book up that way and even used cinematic staging. Now, someone’s noticing it.”

My own chapters flickered past, unbidden:

● The Curtain Closes: The Humourist Exits the Page

● Turning the Pages: The Clues in Plain Sight

● Favored in High Places: Gordon’s Royal and Aristocratic Ties

● Staging Power: Gordon, Glen, and the Slow March to South Carolina

At last, I had been discovered. I continued reading the email:

“To ensure each project receives dedicated production resources and executive attention, we cap our active roster at strictly four authors per month. We are finalizing our launch group privately before opening our public intake to avoid an unmanageable volume of requests.”

My heart sank.

● Cap our active roster at strictly four authors per month.

● Four authors.

● Per month.

I had read those words before.

I had read them all.

Email after email after email promising visibility, broadcast spotlights, reviews, awards, Hollywood bestseller status, and literary fame. Each one assuming my hope would outrun my judgment.

Somehow, for a fleeting moment, I thought this one was different.

It wasn’t.

I sat there.

I deleted the email.

I did not delete the hope.

A Rope Around the Bed


“A rope will not stop a snake. It will, however, give a frightened man something to hold on to.”
–Poor Brentford (b. 1947). Acclaimed folklorist and voice of reason in the Wilderness.


Something was afoot, and I knew it. I had just finished making my rounds upstairs shining my Eveready along every wall and under every piece of furniture in every room. In that moment, I heard Poor Brentford downstairs.

He wasn’t talking.

He wasn’t praying.

He was chanting.

Now mind you, this wasn’t some halfhearted mumbling under his breath. No. This was a serious incantation. I looked downstairs and there he stood in broad daylight. With all the solemnity of a monk, he began:

“May the highly renowned Sage Astika, born to Jaratkaru and steadfast in truth, protect me from all serpents.”

He had hardly finished that one when he drew a deep breath and released a long, resonant “Ommmmmmmm.”

Without missing a beat, he launched into another invocation, this one delivered in a decidedly Appalachian twang:

“May all the Nagas be pleased with me, the ones who inhabit on the earth’s surface … residing in the rays of sunlight …”

I listened for a moment. His invocation droned on and on as he wandered through the earth, the heavens, rivers, ponds, and places I had never heard of. When he reached the River Saraswati, I quietly cleared my throat.

“Brentford. what on earth is going on down there?”

“Going on? Have you lost your mind. There’s a blacksnake in the house.”

“I know. So?”

“So? We have to get it out of here.”

Poor Brentford was visibly shaken: “Ommmmmmmm.”

“I get it,” I replied. “You think you’re some kind of mountaintop St. Patrick chasing snakes down into the Shenandoah River.”

“Well, at least that’s a far cry better than the blanket, broom, and bucket you plopped down on the floor down here.”

“Cute, Brentford. Real cute. Unlike you, I’m being sensible. I don’t have a doubt in the world that the snake will coil up on the towel. Then I’ll coax it into the bucket with a broom and carry him safely back outdoors.”

“Safely?”

“Of course. Safely. I don’t want to hurt it.”

“Hmpfff. I’m here to tell you exactly what that snake’s gonna do. It’s gonna slither up your leg, kwile itself around your waist, and squeeze every last bit of air out of you.”

“Whatever. Have it your way. I have work to do.”

Poor Brentford did too with his fierce determination to rid the house of the snake before dark set in. He started singing something that hardly had a tune. He had unmercifully cobbled together all the snake lore of all the ages into the most pitiful lyrics imaginable.

“Hang the garlic, spread the clove,
Sweep the lemon where you rove.
Splash the vinegar, bless the floor,
You don’t live here anymore.

“Cinnamon upon the sill,
Take your leave beyond the hill.
May your journey safe now be,
Just… don’t spend the night with me.”

And so it was. Poor Brentford carried on his shenanigans all afternoon.

Throughout it all, the blacksnake remained mysteriously hidden, no doubt frightened by the quiet that was no more.

Gary seemed unfazed by it all. Yet when it was time for dinner, he thought it best that I should go downstairs and select our bottle of wine.

I was glad to do so, but I swear. I am certain–well, I think I am–that I caught a glimpse of a black tail beneath wine cooler pulling itself out of sight. All right. Fine. I did. I scooted the cooler back a little, real gentle like, and sure enough, there was the blacksnake, all three feet or so, stretched out along the wall. By the time I got back with my bucket, he was long gone.

I decided that it might be a good thing to leave all the lights on down there. After all, he was a stranger in a strange place and dark was coming on.

As I made my way back upstairs, I kept reminding myself of something I read somewhere–I think I did–that each of us is connected to a powerful spirit animal, guardians believed to watch over us, based on when we were born. And get this. I’m Scorpio, so the snake is my protective spirit.

Gary and I decided to watch TV in the loft instead of downstairs the way we usually do. I don’t think we’ve ever watched it in the loft before. But I enjoyed it immensely, because it gave a fresh perspective on things, and Poor Brentford left us alone for a while at least.


Poor Brentford, the rope, the bed, and Ruby, awaiting her own circle. The blacksnake was unavailable for comment.

But by the time we came down for bed, he was right there, as agitated as ever.

He was just inside our bedroom, holding two pieces of rope–one much longer than the other.

“Ropes in the bedroom?” Gary raised an eyebrow, looking quizzically at me and then the bed.

Poor Brentford looked at Gary as though the answer should have been obvious.

“Well, duh. You have to put a rope in a circle around the bed, and once Ruby hops up, put a circle around her, too.”

He started laying the rope on the floor, encircling the bed.

“Trust me. A snake will not crawl over a piece of rope”

Enough was enough.

“Get out, Brentford Lee, right now. And close the door behind you.”

I read somewhere that a snake will not crawl under a closed door. I think I did. I’m almost certain I did. Somewhere. National Geographic?