What Could $40 Million Do—Besides Fund a Parade? A Love Letter to Priorities (with a Side-Eye to A Spectacle)

“Our lives begin to end the day we become silent about things that matter.”

–Dr. Martin Luther King, Jr. (1929–1968). More than a civil rights leader, Dr. King spent his life demanding justice for the marginalized and calling out moral silence wherever it lived. His words still hold us accountable.

We’ve had a lot of rain lately here in the Shenandoah Valley of Virginia, in the shadow of the Nation’s Capitol. And with it, a whole lot of fog—literal and metaphorical.

It’s put me in a reflective mood.

It started one morning when I was scrolling casually through the headlines. I sat up and took notice when I saw:

“Estimated Cost of Trump’s June 14 Parade? $40 Million.”

Not as bad as the $95 million that had been projected.

But still.

Forty. Million. Dollars.

For a parade.

Let’s be clear. My reflections aren’t a swipe at the military or the veterans who’ve served with honor. I respect them deeply. I always have.

What leaves me flummoxed—furious, frankly—is that we dropped forty million dollars on smoke and swagger.

● Not for healthcare.
● Not for housing.
● Not for education.
● Not for the aging.
● Not for the homeless.
● Not for the hungry.
● Not for climate justice?
● Not for Diversity, Equity, and Inclusion.

Not for [inhale, Dear Reader, and name one or two things that you would add to the chance to spend $40 million well and wisely for the benefit of humanity].

Not one penny went to any of those things.

Instead, we spent it on a parade. And not much of one at that.

Mind you, I’m not against a little razzle-dazzle. I’m not even against a lot of razzle dazzle. I love a marching band. And I’ve been known to twirl a dish towel like a drum major when I think no one’s looking. But this wasn’t Macy’s Thanksgiving. This was missile-forward, masculinity-on-wheels, smoke-and-flag showmanship—aimed at impressing whom, exactly?

And all I could think was:

I could do a lot with that.

I started Googling some numbers. These aren’t fantasy figures that I’m about to share. They’re ballpark estimates based on real programs already out there doing the real work.

Education

I spent twenty-three years in the community-college classroom. I know what $40 million could do when it puts on a blazer of determination and joins hands at a table that includes all the diverse stakeholders waiting for their lives to be transformed:

Two years of community college for around 15,000 students. That’s 15,000 young folks trading fear for futures.

Salaries and benefits for 500 new public school teachers. The ones fighting ignorance and inequality every day.

After-school programs for 100,000 children. Imagine safe spaces, hot meals, books, and someone who actually listens.

$20,000 for every public school in Virginia. For libraries. For music. For classrooms without walls.

400 endowed scholarships that would change entire family trees. Can you imagine such a forest of hope?

Or, How’s This? Give It to Me.

That’s right. Just hand it over, every copper penny of that $40 million. I promise to use it wisely—and a little wickedly.

I’d found a rural writers’ residency here in the Shenandoah Valley—where ideas blossom, meals come with flaky sourdough biscuits, and the only uniform required is pajamas and nerve.

I’d start a learning center for older adults who want to tango with AI rather than fear it. There’d be cakes, cakes, and more cakes. And, yes, I’d teach the class. For free.

I’d fund free college courses for anyone over 70. I know firsthand that curiosity doesn’t age—and neither should opportunity.

I’d create a cozy grant for storytellers who need time, space, and soup. You bring the plot twist; I’ll bring the pot and the lentils. And the mic. And the computers with printers and some really good paper. Maybe even some vellum. Everyone has a story to tell. And everyone’s story deserves to be shared.

And yes—I’d upgrade my Wi-Fi. But I’d pay for that perk out of my own pocket. I can’t possibly imagine a future on a buffering screen like mine.

But Let’s Go Bigger. Let’s Go National. Let’s Get Serious.

What else could we buy with $40 million?

HEALTHCARE

13,000 diabetics could get insulin for a year.

8,000 people could have cataract surgeries to restore sight and dignity.

4,000 new therapy slots could be created for those in need of mental health care.

Mobile clinics could motor in to rural Americans who don’t have a doctor, let alone a parade.

HOUSING

800 tiny homes for unhoused veterans.

6,500 rental assistance grants to prevent families from being evicted into the street.

Thousands of critical home repairs for aging Americans clinging to the roof over their heads.

Or simply this: $40 million could give dignity back to the people living in tents and doorways.

People say we have a housing shortage. We don’t. We have a compassion shortage.

FOOD & NUTRITION

Feed 60,000 families of four for a month.

Provide 20 million school lunches.

Stock rural food banks for a year.

CHILDCARE & EARLY LEARNING

1,500 toddlers in full-time childcare for a year.

4,000 Head Start slots—the kind that change lives before kindergarten.

INFRASTRUCTURE & JOBS

20 miles of roads resurfaced.

1,000 community clean-up and green jobs created at $40K/year.

1 million trees planted in urban neighborhoods, providing shade, oxygen, and hope.

ADDICTION & PUBLIC SAFETY

100,000 naloxone kits to reverse opioid overdoses.

500 addiction recovery beds funded for a full year.

And that’s just the start.

$40 million could fund addiction clinics, community gardens, clean drinking water, and elder care.

It could stock classrooms with books, shelters with blankets, neighborhoods with trees, and rural towns with Wi-Fi.

It could buy wheelchairs, job training, clean clothes, bus passes, internet hotspots, warm meals, and cool air in heatwaves.

Forty million dollars could meet people where they are—and remind them they matter.

Instead, $40 million gave us a parade of tanks.

And flyovers.

And swagger.

I suppose there’s a place for showmanship. But if you ask me—when you’ve got $40 million to spend and a nation full of potholes, potholes in minds and hearts and homes—it might be time to fund possibility instead of parades.

You know what else? I’ll bet that if you asked the uniformed troops who were supposedly being honored, they too would vote for funding a world of forever possibilities instead of one day with a parade.

Because the real power? It isn’t missiles or marching.

It’s in meals, and music, and morning classes.

It’s in someone whispering, “I believe in you,” with a scholarship check in hand.

It’s in turning the lights on in places that have lived too long in the dark.

But we didn’t choose any of that.

We chose a spectacle.

We chose to posture for the world—while the world watched a nation that can’t feed its children waste millions playing dress-up with its military.

It wasn’t patriotism.

It was performance.

History saw June 14, 2025, for what it wasa flag-wrapped, reality-show distraction from the real work of freedom.

And history will remember.

My Altar Ego

“I tried so hard to do nothing that I accidentally did everything I needed.”

— Poor Brentford Lee (born 1947 and born again today).

Long, long ago I learned to not complain about the weather. For me, it was not a hard lesson to master. I love weather. I love how it arrives unbothered by plans, how it doesn’t ask permission to shift. Rain seeps, sun scorches, wind whispers or howls—all of it a steady reminder that the world turns whether I make a list or not. Seasons don’t hustle. They don’t perform. They simply become what they are, and in that quiet becoming, I find permission to do the same.

And so it is that I often find myself luxuriating in my bathtub–sunny days, rainy days, snowy days. Any day in any weather will do for a good old-fashioned soak. It’s especially good in a real tub like mine. Cast-iron enamel. Please tell me that no others are manufactured. Or if you tell me that they are, please have my smelling salts handy.

Let’s be clear: my bathtub is not clawfoot elegant, but it’s deep enough to pretend. When I slide in, I tell myself that I’m taking time to be. But I know the truth. I’ve turned soaking into an event that I do.

Usually, it’s not much of an event or a do. It doesn’t need to be since I don’t need much. Water. Hot. Always hot. None of this lukewarm nonsense for me. If I’m going to bother drawing a bath, I want it to steam like a sultry Shenandoah Valley morning, rolling up from the tub like fog curling along the Seven Bends of the Shenandoah.

Getting the water that I need is not as straightforward as you might think. No. It’s not. Even though I live on a mountain, I do not draw it from my well. It’s pumped from my deep well and flows through copper pipes indoors, as befits a mountain man with a porcelain tub. And, of course, mine has proper porcelain turns—white handles, chrome collars, and bold Hot and Cold lettering, like a tub straight out of a 1950s film noir. Hot, thank goodness, does bring hot. Cold brings cold. So far, so good. But to adjust the flow, I have to turn both knobs left. Why? Because my plumber, bless his well-meaning hands, apparently installed them backwards. I think. I always thought I turned the hot water knob counterclockwise to turn on the flow and clockwise to turn off the flow. The cold lever is opposite, clockwise to turn on the flow, and counterclockwise to turn it off. It is something like that. Right? Damned if I know anymore. Apparently, I’ve spent years turning one way, only to be met with the smug silence of a faucet that refuses to gush or blush. In this tub, turning is just plumb wrong.

I guess it’s a small metaphor for life, really. Just when you’re sure you’re doing it correctly—hot water flowing, intentions pure, and everything else on course—you realize the universe wants you to turn the other way.

But before I turn the other way and step into the tub–which is, I must warn you, the stage on which I will be soaking, ruminating, and possibly overdoing it for the rest of this essay—I must direct the stage lights toward something magnificent. Close your eyes for a sec. Okay. Now open, look down, and let your eyes feast upon my

bubble bath.

Yes. I do use bubble bath. Lord knows it’s not for the scent—though I admit, I have a weakness for sandalwood. And lavender. But let the record show: I allow lavender only in the tub. Nowhere else. A mountain man like me has standards and has to stand by them.

I tell myself that it’s not for the fragrance. It’s for the foam. Even though I reveal to you, My Dear Readers, far more than I should, I want to assure you that I do have a modicum of modesty. A bubble here, a bubble there—tastefully arranged to preserve an illusion of decency. Let’s just say the bubbles know where to gather.

Yep. That’s about all I need for one of my regular soaks. A tub. Hot water. Bubble bath.

But let’s face it. Every once in a blue moon, a mountain man needs a little spice. I’m no exception, even though I confess to being more than a little exceptional.

It’s on those blue-moon occasions that I line up a full production. Then, believe you me. I don’t just take a bath. I stage a bath.

I arrange things just so on my Broadway altar: mug of chamomile tea (because sometimes wine in a stemmed and fluted Baccarat feels like too much doing), one candle (the fancy one that I don’t even own, but begrudgingly burn anyway), and three colognes that I don’t own yet, each vying for my American Express card that I do own. Imagine. Three bottles lined up like contestants on The Bachelor: Mountain-Man Bathroom Edition. It’s far more than cologne drama. It’s downright Shakespearean. It’s The Mountain meets The Globe.

It opens with a cologne smackdown.

Baie 19: (sniffily) “Let’s not pretend I’m not the one Poor Brentford truly wants. I’m rainfall and memory. I’m the whisper of longing on damp skin. I’m practically poetry in a bottle.”

Oud Wood: (with velvet growl) “Poetry’s lovely, dear, but I’m seduction that lingers. I’m cashmere confidence. I’m what Tennessee Gary leans in to smell twice.”

Patchouli Absolu: (swaggering) “Children, please. I’m the heartbeat of the forest and the soul of a vinyl jazz LP. I’m Poor Brentford in full earthy glory. He doesn’t wear me, he becomes me.”

Baie 19: “You smell like a commune.”

Oud Wood: “You smell like wet pebbles.”

Patchouli Absolu: “And you both smell like insecurity.”

ME (overwhelmed on one of my rare occasions when I know how it feels to feel overwhelmed, which is not overwhelmingly often): “You’re all exhausting. No one’s coming over. I’m about to confess my sins to the lefty-tighty, righty loosey faucet and cry into the loofah that I neither have nor want.”

They fall silent. I choose. None. Scentless, I splash around in the tub like a mountain man who moonlights in musicals.

Then what do I do? I lean back, all the way back, and I start confessing. The bubbles gather ’round in all the right places like gossiping parishioners. The faucet stares. Ruby settles nearby with the look of a creature who’s seen this show before, seen it all before, all too often.

I speak.

“Forgive me, tub, for I have over-functioned.”

Drip.

“I said I was going to be. Just be. Instead, look at what I’ve done. I’ve curated a still-life. I folded the towel just so. I fluffed my own ego like it was company. I …”

Drip. Drip.

“… I checked my smartphone. Three times. I told myself I wouldn’t, but what if he texted? What if he sensed my aching soul? Oh, do not ask me, “Who?” You tease. Please be still. Surely, you know exactly who. Surely, you do. You do, don’t you?”

Ruby raises one eye and promptly closes it again. Even she doesn’t buy my shameless shenanigans.

“And yes,” I whisper, “I lit the special candle that I don’t have. The one I said I was saving. For what? For when? Who knows. I guess I was saving it for this moment of low-grade thirst.”

Replies? None. Not one. No, not one single solitary reply. I suspect judgment. Is that what exfoliating looks like? Is that how it feels? Judgment?

I confess one more thing. Doing this being thingy that I’m supposed to be doing ain’t easy. But what’s a mountain man to do when he be soakin’ in a tub?

The very question made some of the less bashful bubbles pop, just as I brought on stage everything that I’ll need to play out my after-the-rain weather act—the one I fully plan on doing.

I’ll harness my weedwhacker around me like medieval armor and march into the yard. Oh. Don’t get alarmed. I’ll don all my clothes so that the scorching sun will not be led into temptation. No doubt the overgrowth in the lower yard and along the rutted road will wave at me and thrash about, like green adversaries, defiant and smug.

And I, in true Don Quixote theatrics at their finest, will tilt my weedwhacker and tackle it all, tackle it all already, as I have tackled it all already so often already in the past.

And I will be noble.

And I will be productive.

And I will be heroic.

And I will let the rains come and the winds blow. Ruby, smarter than I, will bolt for shelter. But I will stay. Drenched. Steaming. And—without even trying—I will finally be. Just… be.

Wet. Ridiculous. Peaceful. Winded. My trusty weedwhacker by my side. But I will have achieved being.

That is the theme, isn’t it, of whatever it is that I’ve got goin’ on in this here tub? Right? The daily tug-of-war between doing and being.

I want to be at peace, but now I’ve done gone and plotted out all the steps and ruined it.

I want to be still, but now I’ve done gone and ended up writing about the stillness.

I want to be the mountain man who soaks in sandalwood and lavender in a porcelain tub with porcelain faucets that can’t figure out which way to turn.

But I also want to be the mountain man who hosts, cooks, flirts, loves, writes books, directs theatrical Broadway tub shows, and maybe gets a text from someone–in Tennessee?–who says, “You smell good—even when you don’t wear cologne, especially when you don’t wear cologne.”

And here, my dear Readers, is the moment when the lights begin to dim ever so faintly, the audience leans in more spellbound than before, and Poor Brentford steps on stage–front and center, fully wrapped in his towel (or is he fully wrapt?)–for his soliloquy that he never dreamt of speaking, let alone rehearsing:

“I tried so hard to do nothing that I accidentally did everything I needed.

“I made peace with three colognes I dreamt about, one candle that I don’t own but burn at both ends anyway, a tub with faulty faucets, and me– myself, just as I am.

“I let the bubbles baptize my busy mind.

“And when I stepped out—wrinkled, radiant, ridiculoos—I realized:

“‘I be fabulous.’

“I also realized: ‘You be fabulous, too.’

“So. Listen up. Go now. Take a soak, with or without bubble bath.

It’s where becoming begins.”

In Honor of Fathers Everywhere | What My Father Saw

With Father’s Day weekend upon us, I’m republishing “What My Father Saw” as a gentle reminder of the quiet ways fathers shape our lives—through their labor, their vision, and the legacy they leave behind.

“A house is made with walls and beams; a home is built with love and dreams.”

–Attributed to Ralph Waldo Emerson (1803-1882). American essayist, lecturer, philosopher, and poet who led the transcendentalist movement of the mid-19th century.

Houses come. Houses go. Some we remember. Some we don’t. Usually, though, the house that we remember the most is the one that we call home. For me, it was the house that I lived in from the age of ten (when I started the fifth grade) until the age of seventeen (when I graduated from high school, left home, and started college). We moved there in the summer of 1957.

It wasn’t much of a house. White clapboard siding. Front porch with wooden columns. Living room. Kitchen. Two bedrooms. Screened back porch. Unfinished basement. Outhouse. The woods on one side were so close that the trees seemed to brush against the windowpanes even in the gentlest breeze.

It wasn’t much of a move, either, maybe a mile south of where we had been renting. That fall, I went to the same grade school that I had attended since we moved to Shady Spring. I remember standing in the school yard with Mr. Pack, my English teacher. I pointed to the house, calling his attention to the side stairs that led up to the screened-in back porch.

But this house was different from the others. This house was our home. Well, it would be one day if my parents could stay on top of the mortgage payments. It didn’t have a white picket fence, and it needed lots of “fixin’ up.” But it was our slice of the American Dream.

Fixin’ up was right up my father’s alley. Even though he was a coal miner, he was, in many ways, a visionary. When we moved in, my father saw many things that he could do that would turn what had been a tucked-away summer place into our year-round home.

I remember lots of his improvements because I was his helper. Straightaway, he and I started clearing the adjacent lot. Our home was still in the woods but no longer against the trees. I helped him take the back porch and turn it into a dining room opening into the kitchen. The two of us mixed cement in a wheelbarrow and poured a floor in the large unfinished basement, where my father framed out two bedrooms, a downstairs kitchen, and a bathroom. We tilled the field across the road and turned the thin layer of soil on top of the rock shelf into a garden, perfect for sturdy stalks of corn rising up like sentinels with delicate tendrils of green beans gracefully twining around them. The dry, clay soil seemed ideal for sunflowers, too. Somewhere, I have a polaroid of me kneeling –sun-bleached hair, radiant smile–holding a sunflower so large that it covered my chest.

Looking back at the initial hard work and the eventual improvements, I see my father’s unwavering determination. He saw potential where others saw obstacles, teaching me the importance of perseverance and the transformative power of a dream fueled by love. This house was more than a structure. It was a testament to his resilience and dedication to our family’s future.

But more than any of those memories is the memory of my father at the dinner table. I was the youngest child, the last one at home eating with my parents.

My mother, who always said grace, sat at the head of the table, looking toward the wall at the other end, with a large oil painting of the Last Supper. My father sat to her left, gazing through his bifocals out of the large picture window in the dining room that he had built. I sat to his left, looking toward the window as well, with a golden candle sconce on each side, their glass shades gently casting a warm glow on holidays or when we had company.

I turned toward my father and my mother a lot, usually talking with my mother. My father was, by nature, a reserved man, and after talking about his day’s work in the mines and about his strategy for loading more cars of coal the next day, he didn’t have much to say other than to praise what my mother had prepared for dinner or to respond to something that my mother or I said that required his response. I didn’t think anything about his silence then. I don’t think anything about his silence now. It was as natural to my father as being talkative was to me and my mother.

But as I watched him looking out our dining room picture window, I wondered then–and I wonder now–what my father saw.

No doubt he saw the present.

He had a multitude of snapshot possibilities. In his immediate line of vision would have been our lower terraced yard concealing an elaborate and fully provisioned underground bomb shelter that my father built. Further down the sloped yard was the meandering creek. My father planted an apple tree next to it that still bears fruit. Across the creek, another small garden. One summer, my father erected six or so towering structures, made from large sapling poles. He planted his favorite Kentucky Wonder beans around them. Somewhere, I have a polaroid of him standing inside one of the green-bean teepees. Long, smooth beans hanging down met his calloused, coal-sooted hands, reaching up.

Beyond that snapshot would have been the homes of three neighbors on Rt. 3. We always called it the Hinton Road because it connected our town to Hinton and the world beyond. More important than those neighbors’ homes, though, was the immense towering oak. My father stood beneath it, waiting for his ride to the mines, day after day after day, stretching out to the final day of his fifty-year career as a coal miner, never missing a day’s work.

Looking back, I see my father surveying the tangible results of his hard work and vision. Each tree planted, each structure built or improved, was a testament to his ability to transform dreams into reality. His daily routines, anchored by resilience and a relentless work ethic, spoke to the value of dedication. Even in the most ordinary moments, my father’s presence embodied commitment to our family and our future. His view from the window wasn’t just of our present home. It was of a legacy he was building, one that would endure long after he was gone.

No doubt he saw his past.

His mind likely wandered to his most recent past, the bankruptcy that bottomed out his short-lived dream of being a prosperous coal-mining operator on par with the company-store owner. It prompted our move from Ashland to Shady Spring.

Perhaps he saw his early coal mining years in the late nineteen teens and the 1920s. He was an activist for the United Mine Workers of America and a staunch supporter of its president, John L. Lewis. Somewhere, I have my father’s first UMWA membership card.

Perhaps he saw even further back to Patrick Springs, Virginia, where his farming family had Colonial American roots and where he was born in 1902. Perhaps he saw the day when, as a teenager, he left home and boarded the Danville and Western Railroad. He made his way to Cherokee, WV, to make a life in the booming coal heartland of America.

Looking back at my father’s journey from a farmer’s son to a coal miner to an advocate for workers’ rights, I see a man who never let his circumstances define him. His past was marked by hard work, sacrifice, and an unyielding spirit. These experiences shaped his character, instilling in him a relentless drive to provide and care for his family, despite the hardships he faced. His past was not just a series of events, but a foundation of strength and resilience that he built upon every day.

No doubt he saw his future.

Perhaps my father saw the day when I would go to college, leaving him and my mother to explore their new roles as empty nesters. They always waited for me and my five siblings to come back home for visits.

Perhaps he envisioned some of his many innovative ideas coming to fruition in the marketplace. He made copper jewelry, believing that it provided therapeutic benefits for arthritis sufferers. (My father’s idea was not far-fetched: copper jewelry began to be marketed in the early 1970s.)

He also had a vision for extension ladders with adjustable legs, designed for painting homes built on sloped yards like ours, and he even built a prototype. (Again, my father’s idea was ahead of its time: extension ladders with adjustable legs for working on slopes began appearing on the market around the early 2000s.)

One of his more futuristic ideas involved cars moving along highways, advancing magnetically to specific destinations designated by the driver at the start of the journey. (This concept, while far-fetched in its time, became reality with the marketing of self-driving cars in the mid-2010s.)

Perhaps my father saw into his final years. I wonder whether his body was telling him early on what his doctors told him later. Black Lung. Third Stage Silicosis. I wonder whether his heart saw a 1982 Golden Wedding Anniversary. I wonder whether his soul foresaw a calm and peaceful passage heavenward a year later.

Looking back at my father gazing out the window, envisioning the future, I realize that he saw possibilities that others didn’t. His innovative ideas and forward-thinking mindset were a testament to his enduring hope and determination. Even in the face of illness and the unknown, he remained focused on what could be, leaving a legacy of optimism and ingenuity. His ability to dream beyond the present instilled in me the same fervor and faith in the future.

Whatever my father saw–whether his present, his past, or his future–I have not a doubt in the world that he was looking through the same metaphorical lens that he held up to my eyes when he taught me as a young boy how to use a push plow to lay out a perfectly straight row in the field.

“Don’t look down. Keep your eyes fixed on something in the distance where you want the row to end.”

He was teaching me far more than how to plow a straight row. He was teaching me how to live my life in a way that mirrored his. Maintain a clear vision. Stay focused on long-term objectives. Persevere through challenges with resilience and determination.

That’s what my father saw.

What I Hear When I Stop Talking

“Silence is not the absence of something but the presence of everything.”

–Gordon Hempton (b. 1952), acoustic ecologist and advocate for the power of natural silence.

My Mother told the world, especially anyone who would listen, that I was born smiling. I can just hear her now–well, obviously I can’t, and certainly I don’t remember it from when I was a baby, but you know what I mean:

“Oh, look. Mama’s Little Mr. Sunshine is lighting up the Coal Camp already.”

Her regular reinforcement, of course, kept me smiling, smiling, and smiling. I never stopped. I guess I don’t know how, even though people are always wondering what no-good nonsense I’m up to or what I know that they wish they did.

What my Mother didn’t tell folks is that I was born talking. All right. Fine. Have it your way. Maybe I wasn’t born talking out loud. But I am certain that I was born talking quietly to myself. And when the time came–and I am fairly certain that it came precociously sooner rather than belatedly later–and I heard words roll off my tongue like orchestral notes at the New York Philharmonic, I vowed to keep right on talking, talking, and talking. I never stopped. I guess I don’t know how, even though people sometimes give me looks that seem to say:

“Shut up. Won’t you please shut up. You’re exhaustive and exhausting.”

Like I said, sometimes they give me that look, but luckily, they never come right and say so. If they do, I don’t hear them. I guess people need to learn to speak up, especially if they expect to be heard while I’m talking.

I guess you might say that I’m one of those extroverts who make it a challenge for people who value quiet to be around. Of course, I’m just guessing. But every now and then, I seem to catch a glimpse of someone giving me a look that seems to be a plea for silence. But I don’t know. Looks are just looks. And the more that I think about it, I don’t think any of those people who suffer my loquaciousness in silence–even the many who have suffered sufficiently to be worthy of sainthood–have ever come right out and asked me to be quiet.

Recently, though, I might have been closer than close to that “Please-be-quiet” threshold. But then again, I might not have been. Who knows? Maybe. I’m not really sure. I’m just guessing.

If I really was close to crossing that threshold, Gary was polite enough and gentlemanly enough not to say anything. I’m not talking about my neighbor, Gary. I’m talking about my Gary from Tennessee. It’s not that he’s the quiet type. Actually, he’s quite the talker, and when he gets going, I’ll swear that he could talk out the entire book of Genesis without leaving out any of the beseeches and begats. Of course, he doesn’t talk in Old Testamentese like that, but when he talks, what he says is rich and robust and layered with details known to Adam and Eve and all of their descendants since the Garden of Eden, including me.

At the same time, I know fully well that Gary appreciates quiet. So far, though, that has not stopped me from talking. When he’s here and he’s doing his thing and I’m doing my thing, little dramas might unfold thusly:

Gary: Weeding. Not looking up. Not saying a word.

Brent: “Just ignore me. I’m just going to the compost heap. What you’re doing looks great. What do you think?”

Or, later in the day or perhaps earlier in the morning.

Gary: Reading on the deck. Looking right at his book. Not saying a word.

Brent: “Isn’t this quiet great? So peaceful. So relaxing. The only sound you can hear is the quiet song of a bird singing from time to time. Oh. Listen. Hear that one? Robin? Cardinal? OMG! Now listen. It’s the crow that lives in the pine tree midway up the mountain. See? I can just barely see it. Can you?”

I don’t think my chatter bothered Gary. It must not have. If it had, he would have said something. But he didn’t say anything. Not one word.

Still, I imagine that when he got in his Mazda, drove down the rutted mountain road, and headed back to Tennessee, he sighed a sigh of relief, verily saying aloud to himself:

“Peace. Quiet. Thank God.”

I’m sure, though, that it was a short sigh because it didn’t take too long before he sent me a text message. Or did I send one to him?

Who sent what to whom and when doesn’t really matter, does it? Either way, texting is talking. Right?

I think so, and the message–whether coming in from Gary or going out from me–found me sitting on my deck, listening to the birds, and thinking to myself:

“How incredibly quiet. I can’t believe how peacefully quiet it is, sitting here, me, myself, sipping on my coffee. Sipping. Sipping. Sipping.”

In that nanosecond, Kay Ryan’s “Shark’s Teeth” talked its poetic way into my quiet:

Everything contains some
silence. Noise gets
its zest from the
small shark’s-tooth
shaped fragments
of rest angled
in it. An hour
of city holds maybe
a minute of these
remnants of a time
when silence reigned,
compact and dangerous
as a shark. Sometimes
a bit of a tail
or fin can still
be sensed in parks.

And I sat there, sipping my coffee, cup held high in mid-air—my morning salutation to quiet, my morning celebration of quiet, my morning realization that much of life is framed by quiet.

In art, it’s the white that lets the red pop. The space the eye travels through to find what matters. The breath between brushstrokes. Without it, everything would shout. And nothing would be seen.

In music, it’s the rest that gives the chord its ache. The pause before the resolution. The silence that says, wait. And because you waited, you feel more.

And in me?
Despite the smile.
Despite the gab.
Even I need the quiet that I so often deny others.

Not just to appreciate it—
but to let it hold me,
steady me,
remind me
that I belong to the silence, too.

The kind that doesn’t ask for attention.
The kind that lets the world be.
The kind that lets me be, too.

A crow calling far off.
A weed pulled in rhythm.
A breath drawn but not spoken over.
A book opened without comment.

Gary nearby, not needing to say a word.
And I? Nearby as well. Listening.
Savoring quiet in silence.

The Humourist Nears the Light

“To publish is to make knowledge public, to assert its value, and to offer it up to the judgment of the world.”

–—Robert Darnton (b. 1939), American cultural historian of the Enlightenment and former Director of the Harvard University Library; renowned for his work on the history of the book and 18th-century France, including The Literary Underground of the Old Regime and The Case for Books.

Surely, you’ll remember the groundbreaking work I finished earlier this year on one of the greatest literary mysteries in early American history.

The Humourist—a sharp-witted, enigmatic essayist whose satirical columns lit up the front page of The South-Carolina Gazette in 1753 and 1754—had been lost to time, his identity buried beneath centuries of silence.

Through meticulous research—poring over newspapers, historical records, forgotten manuscripts, and overlooked clues—I solved the mystery, unmasking the man behind the essays: Alexander Gordon. His identity, his world, and the forces that led to his disappearance are now fully revealed.

I shared that discovery through this blog, but solving the mystery was only the beginning. The real work—the restoration—was still to come.

Now, after years of refining that research, the book I’ve long envisioned is finally becoming a reality.

Yesterday, I received the first proof of the book’s interior pages. Looking at them is more than a thrill—it is validation. These pages mark the first step toward publication and the return of a long-silenced voice.

Unmasking The Humourist: Alexander Gordon’s Lost Essays of Colonial Charleston, South Carolina is not just a rediscovery. It is a scholarly edition that restores one of the most significant—but overlooked—literary voices of colonial America. The essays appear in full, meticulously annotated and contextualized, accompanied by a critical introduction that explores Gordon’s identity, influences, and legacy.

Why This Book Matters

This is more than the story of a forgotten writer. It’s about:

● The literary landscape of colonial America and its deep connections to the English essay tradition.
● The power of satire to shape public discourse—even in a bustling port city like Charleston.
● The intimate intersection of literature, politics, and history, as seen through the eyes of a writer who was both observer and insider.

For the first time, The Humourist’s essays will step out of the yellowed pages of The South-Carolina Gazette and into the full light of historical and literary analysis.

The Book Will Arrive This Fall

This carefully curated edition will include:

● All of The Humourist’s essays, fully annotated.
● A critical introduction grounded in original scholarship.
● Historical and literary commentary that situates Gordon in both local and transatlantic traditions.
● A call for further scholarly attention to this long-overlooked voice.

Stay Tuned

In the coming months, I’ll be sharing exclusive glimpses into the publication journey, from typesetting to launch. The return of The Humourist is well underway.

The mystery was solved long ago. But this fall, the voice that once stirred Charleston will speak again—with clarity, context, and a proper name.

Truths Half-Told. Letters Half-Burned. A Legacy Waiting to Be Fully Heard. | Mary E. Wilkins Freeman: The Biographer’s Challenge

“It is the job of the biographer to capture not just the facts, but the person—to recreate a life that breathes.”

–Richard Holmes (b. 1945. British biographer and literary historian, best known for revolutionizing the art of biography by blending rigorous research with narrative grace. Holmes treats biography as “a pursuit”—a physical and emotional journey that mirrors the subject’s life and traces the biographer’s own evolving understanding.)

Last week, I had the honor of speaking to the Mary E. Wilkins Freeman Society—an international gathering of scholars and fellow literary sleuths—about a woman who has occupied both my imagination and my file drawers for over fifty years. The event was titled An Hour with Mary E. Wilkins Freeman and Brent L. Kendrick, though truth be told, Freeman took up more than her share of the hour—quite the feat for someone 95 years late to the party.

My talk focused on the biographer’s challenge—specifically, the one I’ve taken on in my newest work-in-progress: Dolly: Life and Letters of Mary E. Wilkins Freeman, a two-volume biography that attempts not just to recount her life but also to reckon with it. And as I spoke, I realized: you, my Dear Readers, might want to know the thrust of those challenges too.

Besides, if the rocks on the mountain above me ever come tumbling down around my head—and let’s be honest, erosion is undefeated—I’d like to think I’ve left behind notes coherent enough for some poor soul to pick up the thread and carry on. Consider this a digital trail of sourdough breadcrumbs. Or a literary will. Or maybe just a slightly compulsive footnote to posterity.

Let’s began with where I began my conversation with the Society! To my surprise–well, not really–I departed from my prepared PowerPoint presentation and shared with everyone some of my recent finds. Not all. Just a few. Like some first editions of her books that survive with dust jackets intact: Doc Gordon (1906) and An Alabaster Box, co-authored with Florence Morse Kingsley (1917).

Then I had to share a copy of her Pembroke with an 1894 letter tipped in, expressing her surprise to learn of a Pembroke, New Hampshire and insisting that the Pembroke in her novel was an imaginary town.

I could have gone on and on, but I had to get started with my prepared PowerPoint. Even so, I was dying to share one of my most treasured finds in recent years: an association copy of her Jane Field (1892) from the library of Thomas Hardy, no less. It even has his book plate! And get this! Tipped into the book is a letter from Freeman to Hardy, written in 1894 when she was still Mary E. Wilkins.

I had to share those items because discoveries like that make research truly enjoyable.

After that gem, I decided to begin my formal presentation, so I started with silence. No. No. Not her Silence and Other Stories (1898) that I had included in my show-and-tell of her books with dust jackets.

And I wasn’t talking about the peaceful kind of silence. I had in mind the charged, maddening kind that suggests everything while saying nothing. My work on Freeman’s is a study in absences. No children. No will. No literary executor. No neat stack of labeled folders tucked away in a special collections box. Just scattered letters—some stiff and formal, others intimate and tender, many conspicuously missing. A few were destroyed by well-meaning friends who, bless them, thought privacy more valuable than posterity. That’s loyalty with scissors.

And yet, what’s missing speaks volumes. Silence, when it’s deliberate, isn’t absence—it’s presence with its mouth closed. It points to pain, privacy, or power. It challenges the biographer to resist the urge to fill in gaps with imagination. Biography isn’t fiction. And Freeman, who lived within boundaries, both imposed and self-constructed, deserves to have her story told with respect for what she chose not to share.

I used to think my job was to uncover. But every time I held her letters—some brittle, some bold, many barely surviving—I understood something deeper. My job was to listen. Not for revelations, but for nuance. I hoped the silences might eventually yield confessions. What I found instead was the eloquence of restraint.

And that restraint continues through the patchwork of what remains. What I’m working with wasn’t curated; it was cobbled together from libraries, estates, eBay listings, obscure auctions, and—on more than one occasion—serendipity. A letter here. A scribbled marginal note there. A donation from someone who thought, “This might be of interest.” And indeed, it was.

From this mosaic, one truth stood out: Freeman was no literary waif wandering the fields of New England and New Jersey with a bonnet full of feelings. She was sharp. Strategic. A woman who tracked her payments, negotiated contracts, and protected her work with steely precision. She didn’t just write to be heard—she wrote to be paid. And she succeeded.

But there were ways in which she was silenced, or at least reframed. Take her first collection of stories for adults, for example. The world knows it as A Humble Romance, but that was not her title. She wanted Green Mountain Stories. One editorial misstep reshaped her critical reception for generations. In an attempt to set the record straight, I published the collection in 2023 under the title she originally intended. It wasn’t just an act of publishing—it was an act of restoration. A reclamation. A literary correction served warm.

Place shaped her profoundly. Born in Massachusetts, forged in Vermont, and, by her own reluctant admission, tethered to New Jersey. Who claims her? Each state might try, but perhaps none can fully. Those Vermont years were transformative—not just scenic. She didn’t merely write about place; she grew into herself there. Critics, of course, pinned her as “local color,” as though geography were quaint decoration instead of animating force.

At one point, I thought I could simply revise my earlier book, The Infant Sphinx. Dust off a few facts, plug in a few letters, call it an update. My Dear Readers, I could not. With over 587 pages already in print and decades of new discoveries, it became clear: this wasn’t a renovation. This was a whole new house.

I decided to start from the ground up. Volume I: The New England Years (1852–1901) tracks her ascent—her voice, her control, her deliberate rise. Volume II: The New Jersey Years (1902–1930) explores unraveling and resilience. Her husband’s alcoholism, his institutionalization, his escape, his death, and his final legacy: disinheriting her in favor of his chauffeur. But those years also brought triumph. Freeman became the first recipient of the William Dean Howells Gold Medal. She was elected to the National Institute of Arts and Letters. She endured—and she flourished.

As I worked, she shifted in my mind from “The Infant Sphinx” to something more intimate. Her friends called her “Dolly.” So do I. Because what emerged wasn’t a mask, but a woman: shrewd, vulnerable, funny, driven. Someone who resisted easy summary. Someone who might have written my biography better than I’ll ever write hers.

Of course, none of this would’ve been possible in 1985. Back then, research meant microfilm, train stations, and airports. Now, it means auction alerts, digital archives, and collectors who drop treasures into my inbox. I’ve found letters in university databases, estate catalogs, and the odd footnote in a forgotten article. The crowd, the cloud, and the collector—they’ve all joined the project. I don’t always have to go to the archive anymore. Sometimes, the archive comes to me.

In some ways, I’ve spent my whole career waiting for this moment. Waiting for the tools to catch up to the mystery. Waiting for the materials to surface. Waiting for my own understanding to mature.

That’s why Dolly had to happen now.

And apparently, I’m not the only one who thinks so. What began as a one-time Zoom talk has unexpectedly grown legs—and possibly a handbag. To my surprise and delight, the talk was a hit. I’ve been invited to give it again on June 27, and word keeps trickling in. Emails from those who missed it have arrived, each bearing some variation of “Please tell me it was recorded.”

Hannah Champion, President of the Freeman Society and Assistant Professor of Nineteenth-Century American Literature at Université Bordeaux Montaigne, has asked me to do a formal recording for the Society’s blog. Apparently, I’m more popular than I realized—or perhaps Mary is, and I’m just her current mouthpiece with a sometimes-decent Wi-Fi signal and a fondness for dust-jacket ephemera.

However that may be, one thing is certain: Mary E. Wilkins Freeman isn’t just a name on a title page or a portrait in an outdated textbook. She’s a presence. One I’ve come to know. One I hope you’ll come to know, too.

And if the mountain above me holds steady a while longer, I’ll finish her story—not as I once imagined it, but exactly as Dolly now insists on having it told.

A Week Back to the Future

“Sometimes the smallest things take up the most room in your heart.”

A. A. Milne (1882–1956), English author best known for creating Winnie-the-Pooh and stories that continue to shape how we remember childhood, love, and the quiet power of small things.

It was a portable Remington Rand typewriter in a gray box lined with green felt. In 1956, my parents went to Lilly Office Supply and bought it for my sister Arlene, who was taking high school typing. After graduation, she “went away”—not far, but far enough to feel exotic to my boyhood mind—to become a medical technologist in a residential hospital program.

She returned home often, always bringing—unbeknownst to her and to me—pieces of my future.

One of the first that impressed my ten-year-old spirit was her interest in tropical fish, no fancier than fan-tail guppies but fancy enough to ignite in me a lifelong love. My one-hundred-gallon tropical aquarium speaks to a piece of my future that settled in and endured.

I’m not sure, but next up might have been some of the exotic recipes she cooked when she came back on visits. I remember one dish in particular. Arlene called it pepper steak, but it wasn’t French au poivre or Chinese stir-fry. This was hers—flank steak pounded thin, rolled up tight, and packed with cracked black pepper. Lots and lots of pepper. She baked it low and slow until the whole kitchen smelled like heat and adventure.

I was hell-bent on loving it. It was different, and Arlene made it. That alone made it holy. My mother, no stranger to bold flavors from coal camp kitchens, loved it too. She said Arlene had a touch. That dish lit a fuse. It was the first truly “foreign” flavor I fell for—and from that bite forward, I was hungry for worldwide cuisine. It was a piece of my future that still lingers on my adventuresome culinary palate.

What else? Once, Arlene brought home one of her Mahalia Jackson albums—a 12-inch LP—titled In the Upper Room. I remember the cover, but even more, I remember the sound: Mahalia’s voice rising from the vinyl like a sermon on wings, wide-mouthed and full-throated, her vowels rich and trembling with conviction. That mouth—large, commanding, joyful—seemed to carry an entire congregation inside it. You didn’t just hear her sing. You stood up straighter, somewhere deep in your bones. Her singing resonated naturally with me. I had fallen in love with Black Gospel in my early coal camp years, and even though we had moved away, now I could enjoy Black Gospel on my own record player. Notes and chords from that piece of my future still rattle my rafters every morning as my soul feeds on Black Gospel fire while I bike indoors or garden in the sun.

Arlene brought many other pieces of my future back home when she visited, all held tightly together by my realization that she was living the good life, maybe because she had “gone away” but definitely because her education had opened doors. As a medical technologist, she could go anywhere in the world. Bluefield (WV) was nearby yet far away. Richlands (VA)–just across a mountain or two–was ever further away. Richmond, which in my young mind was further than the stretch of my imagination, was clean across Virginia.

When she came back home, she arrived in style.

How well I remember her 1959 BMW 507 Roadster, white as a wedding glove, low-slung and impossibly sleek. The chrome trim shimmered like polished silverware, and the twin kidney grilles gave it a kind of sly, knowing smile. With its long, sculpted hood and tucked-in waistline, it didn’t sit on the dirt road in front of our home—it posed. And yet—for all its glamour—it was so feather-light, I once watched my brother Stanley and my brother-in-law Lemuel lift it off the road and set it gently in the yard, as if it were a city toy that had wandered into a grown-up mountain world by mistake.

Sometimes, instead of driving home, Arlene would fly. I can still see her coming down the steps of the plane, with a look on her face fiercely defying the engine’s turbulence to disturb her sculpted bouffant—a chin-length hairstyle with smooth volume at the crown, gently curled ends, and a sleek, side-swept part. It was polished but not overdone, and it framed her face with effortless elegance, just as it did her heroine Jackie Kennedy, who made the hairstyle fashionable.

Arlene had exquisite taste in clothing, too—expensive, yes, but timeless. She didn’t follow fashion; she curated it. Her closet was a study in fine fabrics: tailored wool skirts, cashmere sweaters so soft they seemed to hold their own breath, and coats that whispered elegance with every movement. She favored deep, dramatic colors—navy, charcoal, forest green, black—tones my mother thought too somber for a woman her young age.

But Arlene wore them with such composure that you’d never question it. Even in our modest home, she had the poise of someone just back from Paris or somewhere so far away it sounded like it should be whispered.

In my young mind, she had arrived, not only with all the quiet showings of her success but also with the equally quiet sharing of her largesse. She was religious in sending money to my parents—especially as my dad began his retirement from the coal mines—and later to me when I started college.

In all of those ways, I saw in her life pieces of my own future.

But when Arlene “went away,” she left behind one piece that might have had an impact on me—equal to if not greater than—the other pieces of my future that she brought back home with every visit.

Her Remington Rand typewriter in a gray box lined with green felt.

My sister Judy used it when she took typing. And if you guessed that it was passed on to me, you guessed right. Starting with my typing classes and stretching far into the future, Arlene’s Remington Rand began a remarkable journey—one that may be unmatched in the annals of typewriter chronicles.

When I went to Alderson-Broaddus University in 1965, it went with me. I typed all of my papers, including my Honors Thesis, on that Remington.

When I graduated in 1969, it went with me to Washington, DC, where I started my career at the Library of Congress. I typed a proposal for a concordance to Robert Frost’s poetry on that Remington.

Three years later, when I started my doctoral program at the University of South Carolina (USC), it went with me to Columbia, where I wrote all of my graduate papers on that Remington.

One was more important than any of the others. In preparing it, I found myself in Richmond for a week, staying with Arlene and her husband Clyde, a police officer. She was surprised that I still had her Remington and that I was using it even in graduate school.

I put it to phenomenal use that week. Looking back, I wonder what trajectory my life might’ve taken had it not been for that turning-point.

Lean in a little closer and let me explain.

It was my first semester at USC, and I was taking a survey course in 19th-century American Literature. One of the stories that we read was Mary E. Wilkins Freeman’s “A Humble Romance.” I had never heard of the writer before, but I was so smitten by her story that I read another one and then another one and many, many more. Aside from thinking that they were extraordinary stories, I was captivated by a pattern of strong-willed women who inevitably never married. I was equally captivated when I discovered that Freeman herself did not marry until she was nearly fifty.

It was a minor aha moment. I had a perfect research paper topic: “Single Women and Gender Identity in Selected Stories by Mary E. Wilkins Freeman.” My professor approved, suggesting that I explore Freeman’s letters for supporting biographical evidence.

To my initial horror, I discovered that Freeman’s letters had never been published. But to my immediate delight, I discovered that Clifton Waller Barrett Library at the University of Virginia had a small collection of her letters. In a flash, I had an action plan. I would stay with Arlene and Clyde in Richmond, make the daily one-hour drive to Charlottesville, spend the day in Barrett Library, and return at the end of each day.

The typewriter went with me on those daily research trips, and during that week, I prepared a transcript of the Freeman letters at the Barrett Library, systematically and methodically using that Remington.

I returned to Columbia the next week and continued working on my Freeman paper and on papers in my other courses, all typed on that Remington.

By semester’s end, I had an epiphany. For my doctoral dissertation, I could locate and edit Freeman’s letters. My advisor loved the idea, as did my committee, but knowing more fully than I the rigor involved in such a project, they urged me to limit my scope to selected letters. I prevailed with my initial proposal. Ten years of research later–with trips to more than fifty libraries across the country, always armed with Arlene’s Remington Rand–I finished my dissertation and was awarded my Ph.D. In 1985, the fruit of my scholarly labors was published: The Infant Sphinx: Collected Letters of Mary E. Wilkins Freeman. It remains, as The Journal of Modern Literature noted in its review, “the most complete record to date of Freeman’s life as writer and woman.”

But wait, wait. Don’t go. I need to share a few more details so that you’ll understand even more fully how Arlene’s Remington Rand typewriter and her quiet support during that week in her home all came together, and a life of research dedicated to Freeman found its rhythm—click by click, page by page.

The five decades since have witnessed me not only digging up the past in all the towns where Freeman lived, wrote, and made the rest of the world sit up and take notice but also returning there as frequent keynote speaker, sharing with the towns’ citizens all of my findings, never before shared. Those same towns helped launch the publication of my landmark The Infant Sphinx as well as my watershed edition of Freeman’s Green Mountain Stories (2023), the intended title of her first collection of adult stories, A Humble Romance and Other Stories (1887).

These days, I’m working on Dolly: Life and Letters of Mary E. Wilkins Freeman. Vol I: The New England Years (1852-1901). Vol. II: The New Jersey Years (1902-1930). I have no doubt that three towns will welcome me back when Dolly is published. Randolph (MA), where she was born. Brattleboro (VT), where she launched her literary career. Metuchen (NJ), where she died.

But let’s move past all that Freeman stuff.

For now, let’s keep the spotlight on the woman who went away when I was a boy, returning home with a passion for tropical fish and gospel records, pepper steak and black wool coats, fast cars and high-flying planes, and all the other things that the good life had to offer–giving me something far more. The dreams. The belief. The typewriter.

For now, let’s keep the spotlight on my sister Arlene, who always brought home—unbeknownst to her and to me—pieces of my enduring future.

A Reader’s Compendium to Intimacy

“Maybe the next new old way to intimacy is right here. Voice. Breath. Story.”

—-TheWiredResearcher, b. 1947. Author of A Reader’s Compendium to Intimacy, guaranteed to make you explore all the rooms in your home.

Whiplash!

If I were a betting man, I’d wager the title gave you a little jolt. You paused on Compendium—“Wait, does that mean what I think it means?”—and then BAM! You hit Intimacy, and it was like you got rear-ended at a stoplight. Neck snap. Mind swirl. Whiplash.

Let me double down. The moment you saw Intimacy, your head unzipped at least one of these:

● “Sex.”
● “Emotional stuff… here we go.”
● “Being seen. Fully. Yikes.”
● “Something I want—and fear.”
● “Crying in front of someone.”
● “Letting someone in—too far in.”
● “When it’s good, it’s everything.”
● “That’s what I’m missing.”
● “It never lasts.”
● “Real connection. No filter.”
● “The kind of thing that leaves you wordless—and maybe a little wrecked.”

Aha! Caught you! If you hadn’t blushed, I wouldn’t have known. But don’t worry. You’re okay. I’m okay. And talking about intimacy? Trust me. It’s more than okay. Try it. You’ll be surprised by your discoveries.

Let me also assure you of something else. If sex is what you thought of first, you’re still fine. I’ll prove it to you. I wanted to sprinkle some hard data into this essay, like the suggestive power of scattering rose petals on bedroom sheets, so I googled:

“How many times a day do people think about intimacy?”

What popped up first? Guess. Every hit focused on some aspect of sex, and since I’ve already gone down that rabbit hole, let me share what I found. Men think about sex 19 times a day; women, 10.

But sex is just one slice of intimacy. So if something else popped up as your first thought, you’re in good company. As a matter of fact, many studies don’t even include physical closeness in defining intimacy.

Instead, they zero in on what intimacy requires before it even begins: establishing trust, cultivating closeness, and voicing truth aloud.

Some experts get really specific and focus on what they call the 5 As of intimacy:

Attention to the present moment–observing, listening, and noticing all the feelings at play in the relationships.
Acceptance of ourselves and others just as we are.
Appreciation of all our gifts, our limits, and our longings as human beings.
Affection shown through holding and touching.
Allowing life and love to be just as they are, with all their ecstasy and ache, without trying to take control.

Other experts focus on the 5 Cs of intimacy:

Communication–talking openly, honestly, and respectfully.
Compatibility–sharing core values and goals.
Commitment–showing up and working through challenges together.
Care–expressing love through empathy, support, and small gestures.
Compromise–meeting in the middle to make sure both people feel heard, valued, and respected.

Also, the experts have recommendations for keeping intimacy alive and well in the bedroom. Well. Good grief. Somebody needs to tell the experts that houses have more rooms than the bedroom. Joking aside, most of the tips circle back to sex. So let me share one that doesn’t. I stumbled on it the other day. It’s the 2-2-2 rule that goes like this. Committed couples should go on a date once every two weeks, spend a weekend away every two months, and take a week-long vacation every two years.

I’m fascinated by that rule, but just to be transparent: I’d need more dates, more getaways, and more week-long vacays. Preferably soon. Preferably with someone special who knows how to linger over dessert and pillow talk and other sweet nuthins that mean everything.

Lately, though, something softer has been curling around the edges of my mind. It’s something that doesn’t require a plane ticket or a fancy reservation. All it needs is a dedicated space, a good voice, and the willingness to listen.

Are you ready? It’s so incredibly simple.

Reading aloud to someone.

Can you imagine?

Actually, I can. I don’t know about you, but I love reading aloud. I always have. As an educator, reading literary selections aloud to my students is one of my greatest joys. Time after time after time, they respond:

“Professor Kendrick, when I read this story, I didn’t get it. But hearing you read helped me understand. Now, I get it.”

I think I know why. Reading aloud requires understanding not just the meaning strung out in words but also the heart and soul that live in the spaces surrounding those words, sometimes haunting those spaces, and sometimes hoping and longing for release that comes only when the words hear themselves spoken, knowing that they’ve been set free through sharing. Author. Reader. Listener. Intertwined. Joined. One. It’s one of the most intimate moments ever, even if fleeting.

Occasionally, that moment becomes even more intimate when words catch the reader off guard and nuanced meanings surface as the words roll off the tongue, releasing a sudden floodgate of tears, falling unexpectedly but without need of apology or explanation.

It’s happened to me more than once, but I most remember what happened when I taught Thomas Wolfe’s “The Lost Boy” for the first time. I loved the story from the start, and I was confident of my ability to lead a general class discussion built around the question:

“Who is the lost boy in the novella?

“Eugene? Grover? How do you know. Where’s the textual evidence to support your claim?”

Just as we were ending our lively and spirited class conversation, I decided to read the last paragraph.

“And out of the enchanted wood, that thicket of man’s memory, Eugene knew that the dark eye and the quiet face of his friend and brother—poor child, life’s stranger, and life’s exile, lost like all of us, a cipher in blind mazes, long ago—the lost boy was gone forever, and would not return.”

With quivering voice and with tears moistening my cheeks, I made it through the final words, realizing as I had never realized before, the existential pain that comes with knowing how lost we all are on life’s journey.

There I stood in all my vulnerability. There my students sat, seeing me in that moment. And then, we all understood simply because I had read aloud.

The intensity of that intimate moment remains unforgettable.

I’ve never tried reading aloud in a relationship, but I’d love to try it. I’m thinking that it would be slow burn. I’m thinking that it would be like foreplay for the soul.

I’ll take credit for the sultriness that I just brought to the notion of reading aloud to someone. But when it comes to the idea itself, I’ll have to give credit to a neighbor. We were enjoying a cocktail, and somewhere between Gin-and-Tonic sips, Gary started telling me about the reading ritual he and his late wife practiced daily:

● Same time.
● Same place.
● Different books, usually.
● Breaking the silence, whenever desired, to share a passage aloud.

As he kept talking, I watched and listened, spellbound. He was transported if only for a few fleeting moments to a lifetime of fleeting moments when he and Jody read together in a ritual so profound that it transcended the physical and found home in heart and soul.

Actually, neither Gary nor Jody can claim the ritual as theirs. Couples have been doing it forever.

Step back in American history to Thomas and Martha Jefferson. They were known to spend evenings at Monticello reading novels and poetry to each other, their voices soft against the candlelight of a Virginia evening. It was one of the few quiet pleasures in a life that was otherwise noisy with politics.

Several presidencies later, John and Abigail Adams read political theory, plays, and moral philosophy aloud to each other—sometimes in the same room, sometimes through the pages of their legendary letters. Shared reading was one way they kept their minds, and their marriage, sharp.

Hop to the other side of the Pond and fast forward to the next century and we’ll find Queen Victoria and Prince Albert often reading poetry aloud in the evenings—sometimes in English, sometimes in German. Victoria later wrote in her journals that Albert’s voice brought her calm. Their reading wasn’t just education. It was connection.

Reading aloud to each other isn’t just a thing of the past either.

Fast forward to the present. Everyone knows that Jimmy and Rosalynn Carter—married for 77 years—read the Bible aloud to one another every single night, even when they were apart. When travel or illness intervened, they kept the tradition alive by phone. It wasn’t about religion so much as rhythm. A ritual. A bond.

Another presidential couple, Barack and Michelle Obama, often speak about sharing books with each other—discussing what they’re reading, trading pages, sometimes reading passages aloud. For them, books are not only a window into each other’s minds but also a way to stay close while being in the public eye.

Even acting duos like Michael McKean and Annette O’Toole read books aloud to each other. They’ve done so for decades, weaving stories into the fabric of their relationship like a shared language.

Now that I’ve got my rhythm going, let me share with you something that I’ve known all along. Literature is filled with couples who share books, poems, and whispered lines by firelight.

I’m thinking about Hazel & Augustus in John Green’s The Fault in Our Stars. They read An Imperial Affliction aloud to each other, sharing lines that feel like lifelines. It’s tender, flirty, and heartbreaking.

Or what about Anne Shirley and Gilbert Blythe in L. M. Montgomery’s Anne’s House of Dreams? As their relationship deepens, they read poetry and essays together, sometimes aloud. It’s subtle, romantic, and tied to their shared love of words and growth.

I guess I should mention The Guernsey Literary and Potato Peel Pie Society, a novel by Mary Ann Shaffer and Annie Barrows. Several characters read aloud to each other throughout wartime, showing that community forms through books and shared voices and that reading as intimacy outlasts chaos.

But I’m not going to talk about any of those literary works. They’re all lovely, earnest, and romantic. But I want something different. I want something quieter. I want to talk about Charlotte Brontë’s Jane Eyre. After fire and blindness and the long stretch of absence, it’s Jane who reads aloud to Mr. Rochester. She does it not to dazzle, not to perform, but simply to be there. Her voice becomes his window to the world—and maybe even back to himself. It’s not just love—it’s restoration, offered one word at a time.

And that’s the kind of reading aloud that I’m moving toward at this point in my life. I want it to be not just a ritual of sharing aloud but also a ritual of staying in place.

It’s a ritual that I’ve never practiced in a relationship. But I’m ready to give it a try, just to see. Maybe start with poetry or essays.

I’m ready to say, “Pick something you love–or wrote. Maybe a poem. I’ll pick something I love–or wrote. Maybe an essay. Let’s read when we feel like it. Share when we want to. Listen, when we can.”

I’m ready for a voice I know to wrap itself around ideas I don’t.

I’m ready for the quiet thrill of saying, “Listen to this,” and meaning everything.

Who knows. Maybe that’s the next new old way to explore intimacy—not with technique or timing or strategy, but with voice, breath, and story.

There. Now you have it. A Reader’s Compendium to Intimacy. Now you know.

Go. Do it. No rose petals. No script.

Just this. Read. Together. Aloud, sometimes. And when your love reads back to you?

Remember: That’s not just a voice.

Remember: That’s a heart unfolding, anew.

The Nearness of Faraway Places: How Our Roots and Our Dreams Keep Tugging at Each Other

“We shall not cease from exploration, and the end of all our exploring will be to arrive where we started and know the place for the first time.”

—T. S. Eliot (1888–1965), Nobel Prize-winning poet and one of the most influential literary figures of the twentieth century. His major works explore spiritual desolation, renewal, and the search for meaning.

Once upon a time, in a previous life long, long ago, I started a side hustle. It lasted several years and could have lasted longer. But here’s the thing. It did so well that I had to choose between it and my federal career. It was impossible to live in both worlds. I had to choose one or the other. I chose my federal career.

But linger with me for a second, and let me tell you about something I learned when Potomac Research Organization (PRO) was my hustle. Simply put, I did research, mainly using the Library of Congress and the National Archives. One area that brought lots of clients my way, sometimes high-paying ones, was finding people.

I had a solid track record for locating lost heirs, sometimes in cemetery plots. But that was okay: I still found them and took pride in knowing that my sleuthing had paid off even though previous efforts by others–often licensed private investigators–had failed. I attributed my success then–and even now, looking back–to something anecdotal perhaps, but it always proved true. Most people never go too far away from home. Most people stay near their roots, usually within 300 miles or so.

Over and over again, I’d say:

“Tell me where the person was born, and I’ll find the heirs.”

I always did.

Once, I found someone far closer: within a half mile of where my search began. My client was a DC businessman who was adopted at birth. He was looking for his mother. I do not need to bore you with all the details, nor would I even if I could remember them all. Jack–not his real name, but he has to have one–didn’t have a lot of information, but he had enough that I decided to take his case.

Date of Birth: August 1943.
Place of Birth: DC.
Mother’s Maiden Name: Jones (fictitious, just like my client’s first name).
Mother’s Place of Birth: Iowa.

I started by exploring published cemetery records across the entire state of Iowa. I lucked out. I found one with lots of people who had the same last name as Jack’s mother. Then, I consulted telephone directories and found a possible relative.

I passed the number along to Jack. When he called, he discovered that the woman who answered the phone was his aunt. She put him in touch with his mother, who was living in DC, less than a half mile from where Jack had lived his entire life. You don’t need the subsequent details, but you do need to know that the story had a happy ending. Jack and his mother reconnected, and the last I heard, they were still having clandestine monthly lunches. I always wondered whether Jack eventually found a place in the new life and new family that his mother had carved for herself after he was born. Realistically, I doubt it. Geographically, he and his mother were never more than half a mile apart. Spiritually, however, he had one leg in his familiar adoptive world and the other in his newly discovered birth world. I suppose, though, that Jack was at home, as much as he could ever be, as much as any of us can ever be.

Jack’s truth is true for all of us. The homing instinct is a strong one, and most people, in one way or another, end up going back home. Some people, though, return to their roots only to discover they’re no longer at the place they once knew as home. I’m thinking about people whose education (or social mobility) lifts them into a new world but leaves them hanging between two realities–their roots on one side and their new opportunities on the other. They don’t feel fully at home in either place.

In fact, there’s even a bit of academic writing about it, especially around first-generation college students, upward social mobility, and immigrant experiences.
Sociologists and memoirists alike talk about the tension:

● Feeling “too educated” or “different” when they go back home.

● Feeling “not polished enough” or “out of step” among the educated elite.

● Constantly negotiating a kind of invisible gap between the two.

Not too surprisingly, there’s a term for people like me: straddlers. I had never heard the term until a student in one of my Creative Writing classes did her book report on Alfred Lubrano’s Limbo: Blue-Collar Roots, White-Collar Dreams (2005). Lubrano shows how chasing the American Dream can leave you straddling two worlds—where you’re too educated to go back home, but you never feel quite refined enough for the boardroom. Through his own story and others, he reminds us that success doesn’t always come with a map or a welcome mat.

My student–an Ohio straddler–grew teary-eyed as she gave her report, leaving me teary-eyed, too–a West Virginia straddler, the first in my family to go to college. I could relate. Being a straddler is like living in a kind of cultural no-man’s-land—never entirely belonging again to the old world that spurred you on and never quite accepted by the new world where you landed. It’s a lonely, often bittersweet place.

Ironically, the straddlers I know–mostly community college professors like me–don’t talk about the dilemma that much unless we’re part of a panel or symposium exploring the challenges of first-generation college students. Even then, we focus on the power of education to transform.

In fact, it just occurred to me that until this post, I’ve never talked much about being a straddler either. Even now, it snuck up on me and took me by surprise.

But for writers, being somewhere between two worlds and not feeling really at home in either is perfect material.

One comes to mind immediately: American writer Mary E. Wilkins Freeman. She grew up as the daughter of a dry goods merchant/housewright and then became an overnight literary success equal in popularity to Mark Twain. Yet despite her literary status, while living in Randolph, Massachusetts–the boot factory town where she was born–she wrote to a friend:

“I have survived another Boston luncheon. I’m not literary enough for Boston, but I’m awfully afraid I’ve got to go to a dinner there.” (Kate Upson Clark, before August 1892, Letter 105, The Infant Sphinx: Collected Letters of Mary E. Wilkins Freeman, Edited with Biographical and Critical Introductions by Brent L. Kendrick, 1985)

Or what about F. Scott Fitzgerald’s short story, “Winter Dreams”? It’s a perfect case study of what it’s like being a straddler. Dexter Green earns the success he dreamed of, but the world he craves still sees him as an outsider. Some doors open, but never all the way.

Even the characters we celebrate—and the writers who created them—know what it means to stand on a shifting patch of ground. You might have a seat at the table, but you can still feel the worn wood of your own kitchen chair in your bones. You might build your fortune and earn your degrees, but somewhere deep down, you remember being the boy who was the caddy at the golf course.

Poets know that truth, too. Robert Frost hints at this quiet but universal dislocation in “The Star-Splitter.” In the poem, Brad McLaughlin grows weary of hugger-mugger farming, burns his house down, and takes the insurance proceeds to buy himself a telescope so that he can explore our place in the universe. Brad spends the rest of his life as a straddler, one leg on his rocky farm and the other somewhere out there between and betwixt the stars:

We’ve looked and looked, but after all where are we?
Do we know any better where we are,
And how it stands between the night tonight
And a man with a smoky lantern chimney?
How different from the way it ever stood?

We search, we climb, and we study the stars, but we never completely leave the farm fields where we took our first steps.

Maybe it comes down to nothing more than this. Being human means learning to live with one foot planted deep in the soil of home, and the other reaching, straining, yearning toward something larger—something luminous—just out of reach.

The tension that I’m writing about here and that we all experience whenever we stretch across two worlds—literal or metaphorical—is not a modern invention. It has ancient roots, reaching deep into the earliest reflections on what it means to be human. Across cultures and centuries, writers and thinkers have wrestled with the same essential dilemma that’s central to human existence—the inherent conflict between the flesh and the spirit. Are we ruled by appetite or guided by aspiration? Are we creatures of earth or beings reaching for the divine?

Even an ancient Egyptian text, The Dispute Between a Man and His Ba (c. 2000 BCE), captures the longing to escape the burdens of mortal life. A weary speaker pleads for release, saying:

“Death is to me today like the smell of myrrh.”

Centuries later, the Greek philosopher Plato echoed a similar weariness with bodily existence. In Phaedo (360 BCE), he writes:

“The body is a source of endless trouble to us … it fills us with loves, desires, fears, all sorts of fancies and a great deal of nonsense.”

This longing was not confined to Egyptian prayers or Greek philosophy. In early Christian thought, the tension was just as fierce. The Apostle Paul, in his Letter to the Galatians, draws the battle lines plainly:

“For the desires of the flesh are against the Spirit, and the desires of the Spirit are against the flesh, for these are opposed to each other.” (5:17-21)

Clearly, across time and tradition, the yearning to transcend the physical and grasp something eternal has been a defining part of the human story.

Maybe, at the end of the day, it comes down to nothing more than this. It’s not about the Apostle Paul or Plato or the Egyptians. It’s not about Brad or Dexter or Freeman. It’s not about my student or me. It’s not even about Jack.

Maybe, at the end of the day, it’s about all of us.

Maybe we’re all travelers looking for a place to call home, a place to land, sighing a sigh of relief as we say, “I made it.”

Maybe we’re all straddlers caught between two worlds, peering back over our shoulders even as we gaze toward the stars.

For Mothers Everywhere: Glimpses of My Mother’s Hands

Originally published last year, this remains my most-read—and most-shared—essay. I’m honored to bring it back this Mother’s Day weekend, just as I first wrote it—a quiet tribute to the hands that shaped us all, guiding, giving, and leaving their imprint long after they’re gone.

“Mothers hold their children’s hands for a short while, but their hearts forever.”

–Unknown

On top of my bedroom chest of drawers is a pair of studio portraits of my father and my mother. They’re hand-colored originals, each measuring 3 inches by 4 inches, taken a year or so after my parents’ 1932 marriage. The portraits are in hinged gold frames. My father is on the left. My mother is on the right. A lamp behind illuminates both.

Right now, as I lie in bed, I’m focusing on my mother. Even though her portrait is five feet or so away, she is as clear to my sight as if she were right beside my bed. I’m glimpsing into a distant past, where memories of her linger like whispers.

She’s seated on a bench, wooden, perhaps. The artistic backdrop transports me outdoors. Trees frame the scene, a tall one behind her, their branches reaching skyward, and shorter ones in the background, on the bank of a calm body of water, perhaps a serene river.

She’s wearing a dark dress with short sleeves and a deep-cut neckline, accentuated by a glistening leaf-shaped brooch.

Her finger-waved hair, parted in the middle, falls softly just below her ears. Her eyes are dark and intense, with a gaze that seems to pierce through the image. They are surrounded by her soft, light skin tone, which provides a striking contrast. Their depth and intensity draw me in and make me wonder. What secrets lie hidden behind them? What stories and dreams do they hold? Are they looking into the depths of the world, seeking answers and understanding? Are they inviting me to join in their quest for knowledge?

Her features captivate and mesmerize me, regardless of how often I look at her portrait. Somehow, though, I seem to see my mother’s hands the most. Their contours are soft and graceful, and the fingers curve delicately, one hand gently clasping the other hand.

I see my mother’s hands the most because I know her hands the best.

My mother’s hands are engaging hands. Her hands held mine when I was but a child, and we scurried down the path behind our home where two boulders stood sentinel on either side as colored snow fell down in green and pink and blue flakes, making me believe in magic. Her hands held mine when I was a few years older, and she led me outdoors when our world was covered in snow and showed me how to lie down in stillness, moving arms and legs left and right to create angel wings, making me believe in flight. Her hands held mine a few years later when our world was green with summer and led me to lie down in warm grass, eyes skyward, discovering cloud figures, pointing out the details to one another so vividly that each could see brand new worlds of our own imaginings, making me believe in sharing visions so that others might see.

My mother’s hands are cooking hands. Her hands could transform pinto beans, onions, cornbread, buttermilk, and sweet potato cobbler into a feast, making me want it weekly. Her hands could turn a 25-pound turkey into a bronzed Thanksgiving dinner that rivaled Norman Rockwell’s iconic oil painting Freedom from Want, making art come alive in our own coal camp kitchen. Her hands could measure out with perfection all the ingredients for any dish from any cuisine that she had tasted with no need for recipe and with no need for measurements, teaching me to trust my senses.

My mother’s hands are versatile hands. Her hands could make our clothing without pattern, simply by taking our measure with her hands, making me aware that some things are more felt than seen. Her hands could cut my hair using scissors, comb, and the soft stretch of her fingers, reinforcing in my mind the marriage of expertise and craftsmanship. Her hands could take a pastry brush and turn a greased baking sheet or cake pan into a perfect likeness of Christ, making me see Holiness in the everyday.

My mother’s hands are industrious hands. Her hands could transform a grassy field into a kaleidoscope of gladiolas or dahlias, bursting with vibrant hues, teaching me to see potential in the ordinary. Her hands could hold her side of a wooden pole stretched through handles of a galvanized tub, carrying water to the garden, making me realize that many hands can carry heavy loads. Her hands could hang wallpaper with finesse, demonstrating how effort can elevate even the smallest task to art.

My mother’s hands are inclusive hands. Her hands always opened wide the door, welcoming everyone as guests into our home, making me value open-heartedness and acceptance of others, regardless of differences. Her hands always set a place for them at our modest table, making me understand that meager becomes abundance when shared with others. Her hands always held theirs in loving celebration and thanksgiving, making me a witness to the genuine communion of mankind.

My mother’s hands are nurturing hands. Her hands cared for her father and her mother in times when they could not take care of themselves, impressing on me the importance of helping others. Her hands cared for my dad and me and all my siblings, even when our hands might well have lessened the weight that she carried in hers, showing me that strength comes with sacrifice. Her hands took pine rosin to hold tight and heal the gash in my foot, the scar on my sole still a reminder of what she had learned from her mother’s hands, helping me appreciate generational know-how and wisdom.

My mother’s hands are writing hands. Her hands penned sermons when she pastored a church, making me realize that the intellect can lead the heart to be slain by the Holy Spirit. Her hands sent letters out into the world to those she knew well and to those she hardly knew at all, making me see that the power of words reaches beyond the pulpit. Her hands discovered typewriter keys late in life, determined that hand tremors would not tame her self-expression, making me realize the strength of determination.

My mother’s hands are spiritual hands. Her hands joined the hands of other warriors, praying over me as a child with polio, making me–one of the lucky, uncrippled survivors–a believer in the power of prayer. Her hands walked their way through her Bible and her commentary books–from cover to cover–more than thirty times in her lifetime, making me know the richness to be gained through close readings and research. Her hands clapped, sending thunderous applause into the Heavens to show her thankfulness and gratitude, making me know the joy of praise.

My mother’s hands are clasped hands. As she lay in her casket after her funeral, I removed her rings, took her hands and clasped one gently on top of the other, leaned in for a farewell kiss, and, then, closed the lid.

After her burial, my hands–strong from the strength of hers–released from their cage three white doves, flying upward toward the celestial realm, perhaps at that same mysterious moment when my mother found her way back home and celebrated her arrival with outstretched hands.