Learning to See Again

“The real voyage of discovery consists not in seeking new landscapes, but in having new eyes.”

Marcel Proust (1871–1922). French novelist, essayist, and critic, best known for In Search of Lost Time, his monumental meditation on memory, perception, and the passage of time.

In my mind’s eye—somewhere on the outer edge of memory—I can still see the garden in all its pristine beauty, bright but fading at the edges, a photograph rather than the living scene.

What I’m seeing had to be a few years after I bought my cozy weekend cabin—in a clearing in the midst of a forest. The lower yard was little more than red Virginia clay speckled with red ant hills–a blank canvas waiting to come into focus. And I was determined to have some plants that would add a touch or two of civilization.

My neighbor, though, was amused by my vision:

“Only a city-slicker,” he quipped, “would move to the mountain and then decide to tame the wilderness.”

His ridicule didn’t bother me one whit. I kept my sights on turning the lower yard into a garden–something bold enough to make even the wilderness take notice.

I started with Paeonia lactiflora–the common garden peony, ironically crowned the King of the Flowers in eighth century China. It seemed perfect and impervious to ants. I triple dug curved beds in the midst of clay, lightened by little more than hope.

But what I’m seeing in my memory’s eye must be after those peonies that became the garden’s backbone were in place. Maybe, even, after I had incorporated into the landscape a triumphantly angled row of three Norwegian Spruce, their weeping branches cascading to the ground. It seemed to me that my mountain needed evergreens every bit as much as it needed civilization.

While that’s close, what I’m seeing must have been a few years later, still. The weeds and briars are gone, and in the very middle of the garden where an oak once stood is a totally civilized black pine, pruned into a cloud-like form, in Japanese niwaki-style, with a stone wall surrounding its stateliness.

And the entire garden is mulched o’er with crisp and clean pathways connecting mulched beds, edged with stones, suggesting order and intention. Even the trees are well-mannered—young and small and respectful—never daring to cast shade on the glamorous peony blooms below.

That vision was when it was new, and so was I, in more ways than the calendar would show. Helping me fulfill the grand design sketched in my head was Allen—my partner at the time and also an avid gardener. We worked together to turn that wild slope into something neighbors would praise as a “mountain oasis.” We hauled soil, set stones, and dug hole after hopeful hole, seeing nothing but promise in every shovel of dirt and imagining a garden that would last forever. It did. For a while. Allen had an artist’s patience, and, together, we believed we could hold beauty in place—keep it from slipping away.

I guess I believed that if I worked hard enough, beauty would freeze in place. I believed I had carved something permanent out of the slope. Something ideal. Something that would stay.

But here’s the truth. Time has a wicked sense of humor, and nature doesn’t do nostalgia. Its light keeps changing; the old scene grows dim, and new growth blocks the view you thought you’d always see.

As the years slipped by—teaching, conferences, a pandemic, Zoom, and Allen’s unexpected death—I realized that just as the seasons kept on turning, the garden kept going, too. The dogwoods shot skyward, spreading like ballroom skirts. The Weeping Spruce filled out and took up more space: “We live here now,” they said with every widening limb. And the weeds? They formed a governing council. They didn’t just visit. They settled in until the once-clear paths vanished from sight.

Every spring, Ruby and I would gaze down from the deck into the garden, and I’d make the very same promise, always aloud:

This year. This is the year I’ll restore it to my original vision.

Restore—it’s such a loaded word. It assumes the past was correct and the future is suspect.

Each year I’d march into the mess with gloves, tools, and determination, trying to resurrect a moment that existed only in my mind’s eye on the outer edge of yesteryear. But no matter how many briars I hacked back or weeds I shamed into submission, I could not get back there. Because there no longer existed.

Somewhere between one spring and the next, I realized the harder I tried to resurrect the past, the less alive it all seemed. And get this. The garden wasn’t asking to be restored. It had never asked to be restored. Instead, it was begging to be reimagined.

Reimagined. Imagine that.

I thought that insight would vanish by morning, but it didn’t. It lingered, like a seed waiting for rain. And sure enough, a few years later, when time seemed to have stopped, I found myself on the deck no longer alone with just Ruby, but now with Gary. We stood there, staring down at what had once been a garden and now looked suspiciously like wilderness—three slightly bewildered land barons trying to determine where the paths used to be.

I announced, with calm and certain confidence, that maybe the best plan was to clear almost everything except the evergreens that had stood their ground—cut it all back, seed grass, and mow it like a civilized lawn. Ruby, ever hopeful, wagged her approval. Gary nodded, already thinking his way silently through the logistics. We were so certain that grass was our destiny that we went ahead and bought a lawn mower—because when you’re unsure what to do, the obvious step is to buy machinery. And we already had a head start: the area below the old peony bed was grass-ish, though it had only ever known the loving snarl of a weedwhacker. We had already agreed that patch would become a smooth little lawn—with a small croquet court, because if we’re going to reinvent life when we’re 78, we might as well do it with wickets.

The next thing we knew, we were down and dirty, creating a free-form stone island in the middle of it all, moving the peonies there where the sun could find them again. So we grabbed gloves and energy—fall being the perfect time to transplant—and began laying stones without anything resembling a plan. What we did have was a revelation. The garden could never be what it once was. And even if it could, it needed a new vision.

When I stopped staring at the old picture in my mind, the living landscape came back into view. What needed restoring wasn’t the garden—it was my way of seeing.

The more I looked and the more Gary and I talked, the more I realized that my original vision wasn’t wrong. It was perfect for then. Yet what once made the garden beautiful cannot make it beautiful now. The land, like life, grows up and changes.

As soon as I accepted that reality, I began seeing the truth elsewhere in my life.

Take my body, for example—it’s demanding a new vision, too. My Fitbit still dutifully tracks every bell and whistle, but these days I’m more interested in a restorative night’s sleep and a decent HRV score. I once carried a vision of myself as a younger man, more muscle, thinner waist. Now I’m content to watch the numbers on the scale edge downward even a little and not have to suck it in quite so much when I button my pants. I used to set goals to prove something; now I set them simply to be a healthier me. Even the mirror reminds me that the younger man I still hope to see there has already faded from the frame.

And my love life? It needed the power of a new vision, too. For years I thought restoration was the aim—to recreate what once was. Now, I know otherwise. In this new season, Gary is beside me — patient, steady, and speaking with a modest, humble confidence that somehow makes even weed-pulling feel like hope. Together we’re designing a new garden and a new future without trying to photocopy our past lives.

Then there’s faith—perhaps the deepest shift of all. The God of my childhood was one cool dude who loved and accepted everybody, including gay guys, even if others didn’t always see His capacity for love. I’m amazed, though, at how He’s grown up, down through the years. These days, He gardens. He celebrates the wild mountain yeasts that make a potent sourdough starter—proof that transformation still rises from what’s alive. He lets life spill over boundaries. He shows me that when I put doctrines, certainties, and old visions aside, mysteries will magically razzle-dazzle me with their brilliance.

Maybe that’s the real work of life: learning to see with new vision, not old memory. When the past dims, the present comes into focus—and as the old hums behind us, it rides in the backseat—useful for perspective, not direction. What matters is the focus of the lens we hold today. To honor what has endured while daring to imagine what might be next. To let our roots deepen while our dreams stretch further.

This isn’t just about one garden, one man, or one patch of earth. The truth keeps repeating itself—in every life, in every heart still clinging to an old picture. And maybe—quietly, gently—we begin to ask ourselves:

Where in life are we still trying to restore something that has already grown up?

Where do we need to let go of how it was so we can finally see what it could become?

I’m still sitting with those questions, letting them settle like morning light—revealing what I need to see, one truth at a time.

The garden that once blossomed when I was younger has had its day, and what a day it was. But now, it hums with a new rhythm, a new vision—one taking shape right here, right now. It’s rooted in what has endured, but it’s alive with what’s possible: the life Gary, Ruby, and I are growing into, one season, one heartbeat, one sunrise at a time.

The view keeps changing. So do we. And thank heaven for that.

FramilySaid™: For When “Bless Your Heart” Isn’t Enough

Benjamin Franklin had Poor Richard.
TheWiredResearcher now welcomes a guest contributor:
Poor Brentford Lee,
who has agreed to sanctify our troubled times
with a bold mix of satire and sass.

Approved by ole Ben Franklin.
Improved by Poor Brentford Lee

“Forgiveness is divine—but FramilySaid™ is faster and comes in gummable gummies.”

-— Poor Brentford Lee (b. 1947). Unlicensed. Unfiltered. Unapologetically adopted.
Known for saying the quiet part loud, he’s back by popular demand (and at least one cease-and-desist letter). Seasoned expert in nothing but experience. Sourdough connoisseur. Self-declared inventor of emotional supplements. Hangs out somewhere between a heavenly blessing and A HOMEMADE biscuit (preferably sourdough).

Years and years ago, in one of my brilliant moments—you know, the kind that arrive somewhere between misplacing your glasses and finding your purpose—I concocted a miracle elixir. An emotional balm. A psychological salve. A chewable sacrament.

And I’m convinced—when it’s finally patented, mass-produced, and widely distributed—it will relieve the world of all its wounds and arrows of outrageous fortune.

Or, at the very least, it will help you forget them for a little while. And really, isn’t that what the world needs most right now? Not advice. Not enlightenment. Not deep therapy.

All you need is Forgetfulness.

Chances are good that if you’re reading this—and have not forgotten—you’re an Oldie-Goldie who still remembers when love was all you needed, and your hips didn’t pop when you bent over.

But friend, times have changed. Now what the world needs isn’t just love—it’s a little bit of blessed, blissful forgetfulness.

So in the spirit of rock legends and gospel truths, I offer you an updated version of the Beatles’ classic. Hum along. Or gum along. Or just pretend you know the tune and clap on the offbeat:

All You Need Is Forgetfulness (Redux)
(with apologies to Lennon & McCartney—and gratitude, too)

There’s nothing they can say that can’t be un-heard
No shame so deep it can’t be deterred
No burn so old it can’t be un-spurred
You can let it go

All you need is forgetfulness
(Da-da-da-da-da)
All you need is forgetfulness
(Sing it like you mean it)
All you need is forgetfulness, forgetfulness
Forgetfulness is all you need

(Slide whistle optional. Biscuit in hand, sourdough preferred.)

Yep. That’s it. All you need is forgetfulness. Not the kind that sneaks up on you in your golden years, when you can’t remember who you bit when you meant to kiss or where you were going with your pants unzipped or where you’ve been with a bowl of popcorn when you went to get strawberries. No—I’m talking about on-demand forgetfulness. Reliable, immediate, with controlled-release options for holidays, family reunions, and any Sunday when your phone rings before you’ve had time to check your Fitbit to make sure you made it through the night.

That, My Dear Readers, is where FramilySaid™ comes in.

They mean well. They always do—those “bless your heart” people. But sometimes, what your framily says can lodge itself right in the soft tissue of your soul, like a splinter from the communion table.

That’s why I made FramilySaid™—not FDA-approved (yet), but clinically proven (by yours truly) to dull the sting of being emotionally ignored by people who should know better. In gummable form, naturally.

A Quick Word about the Name.

FramilySaid™ is exactly what it sounds like. It’s a mountain prof’s fusion of friends, family, and the things they’ve said—bless ’em.

Because sometimes, it’s the people closest to you (by blood—or, in my case, by adoption—history, or shared casserole) whose words linger just a little too long. Who don’t mean to hurt you but somehow do. Who support you privately … but not publicly. Who say “I love you” but never with the clincher: “just the way you are.”

When they speak and zing you with their petty little barbs? FramilySaid™ can help you. Un-hear it. Un-feel it. Un-bother yourself entirely.

A New Kind of Relief.

I developed this product in a dimly lit, emotionally unstable lab located precisely between my kitchen and a moment of near-epiphany. FramilySaid™ is the first over-the-counter solution specifically designed to help you temporarily forget your people. Not all of them, bless ’em. Just the ones whose “support” lost all its elasticity because you’re doing all the emotional heavy lifting.

Get this. FramilySaid™ is so hip that it comes in gummy form. Flavors include Denial-Drop Cherry and Emotional Support Butterscotch. Easy to chew. Easy to swallow. No dentures? No problem. Just gum it and go.

I just heard a panicked soul (bless their heart) blurt out:

“How can I get me some?”

Well, bless your little heart. It’s so simple. Go online–or use your phone app–and in just a few clicks you’ll be consulting with a doctor named “Jeff” who is definitely certified but not necessarily licensed. Within days or maybe even as soon as yesterday—Poof! A discreet brown package arrives at your door—just like your sex toys arrive, but with more dignity—and fewer batteries.

Anyway, from that point forward, you’ve got protection from friends and family. Take FramilySaid™ when the text message lands wrong. Take it when the smile feels fake. Take it when someone who “loves you no matter what” leaves your partner off the guest list.

Take it. Just take it. Now, that wasn’t so bad, was it.

Now go ahead. Swallow your truth with a buttery sourdough biscuit, included free, one for every FramilySaid™ gummy included in your order. Remember: Cheaper by the Baker’s Dozen.

Now breathe. Breathe again. You’ve got this.

Situations When You Might Need a Gummy.

Situation #1. You call with good news—any kind of news, really—and they respond with:

“Oh, that’s… nice.”

You smile politely. Take a FramilySaid™ gummy. Let the world blur at the edges.

And what would Poor Brentford Lee do? Why, he’d just sigh and say:

“Law me, child…”

And then he’d smile sweetly, fold his napkin with precision, and add demurely:

“Well, bless your little pea-pickin’ heart. Would you pass the sourdough biscuits?”

Situation #2. You share something meaningful—a photo, a milestone, a moment—and get nothing but a thumbs-up emoji.

You chew slowly. Cinnamon apathy floods your tongue.

And what would Poor Brentford Lee do? He’d lean back, fan himself once, and say:

“Why, don’t you worry that pretty little head of yours nary one bit.”

Then, with that same cool smile, he’d add:

“Well, bless your little heart. Would you pass the sourdough biscuits? I need me ‘nuther one”

Situation #3. You confide in someone you thought might be a safe space. Instead, they tilt their head like a golden retriever hearing static and say:

“Well, as long as you’re happy.”

You double your dosage and erase five awkward conversations from memory.

And what would Poor Brentford Lee do? Why, he’d just sigh and say:

“Law me, child… we are officially rationing warmth now.”

And then he’d smile sweetly, fold his napkin precisely, and add demurely:

“Well, bless your little heart. Them sourdough biscuits sure are good. Can I have just one more? Not the whole basket. Thank you kindly.”

Situation #4. Someone finally asks:

“How did you two old geysers meet anyway?”

But get this. Their tone sounds more like a customs agent than a curious soul.

You suddenly feel like a suspect in your own joy. FramilySaid™ softens the interrogation.

And what would Poor Brentford Lee do? He’d lift one eyebrow, cross his silverware, and murmur:

“Law me, child. Love ain’t no interview.”

Then he’d smile–all teeth, all grace–and whisper at his loudest:

“Well, bless your little heart. I think I’ll have another sourdough biscuit—maybe two if you’re feeling generous.”

Situation #5. On one of your hardest days ever in your entire ancient life, you look up at the sky—not metaphorically, but really look—and ask:

“God? Really? After all I’ve done to live with grace, to love deeply, to forgive… and this is still where I land?”

That’s when you reach for the God-level dose. FramilySaid™ won’t answer the prayer. But it will quiet the ache long enough for you to refill your hope.

And what would Poor Brentford Lee do? He’d blink once, breathe deep, and say,

“Law me, child. Even Heaven can ghost you sometimes.”

Then with a reverent nod upward:

“Well, bless your eternal heart. Hand me a biscuit. The everlastin’ kind.”

™ … ™ … ™

Final Notes from the Founder.

Every time you take FramilySaid™, you’ll forget for a spell. You’ll feel better for a spell.
Might smile, hum a tune, maybe even whistle while folding your fitted sheets.

But eventually—inevitably—you’ll sit real still. And your heart will tap you on the shoulder and say:

“This ache? It don’t need numbing. It needs naming.”

And you’ll remember:

“It wasn’t the forgetting that healed you. It was remembering the friendship and kinship you truly deserve.

So go ahead. Declare what you need. Claim your joy. Refill your prescriptions for love, laughter, and a little holy audacity.

And if someone still doesn’t get it?

“Well, bless their little hearts. Just hand ’em one of those perpetual sourdough biscuits and smile like you mean it.”

Coming Soon from the Maker of FramilySaid™.

Because sometimes one generic gummy just isn’t enough, the Maker offers you some specific options:

SisterStrength™ – For passive-aggression that’s been simmering since the day before forever.

CousinClear™ – When you can’t remember which cousin sells snake-oils and which one married his ex’s sister brother’s husband.

UncleMute™ – One dose silences three stories about the Civil Wah he and his kin are still fightin’.

MatriarchMax™ – For that layered guilt, always served hot, always with a side of pie—and a smile.

HolidayProlonged Release™ – Kicks in during grace and peaks after the second round of green bean casserole.

A Final, Final Word from the Maker—Yours and Mine—The Big One Who Always Gets the Last Word.

Forgetting isn’t what you need, child.
Remembering what you’re worth?
Dagnabbit. That’s exactly what you need.
That’s the real prescription.
(Signed, sealed, and delivered by Poor Brentford Lee, totally unlicensed but highly seasoned.)

While you’re remembering, just reach up and hand me a sourdough biscuit, swallow your pride, go ahead and make up with your low-down, no-good Framily. And then? Move it. Move it. Move it—as fast as a tumbleweed in a windstorm.

And don’t forget Poor Brentford Lee, sitting here, there, and everywhere–all smiles–saying to himself for no one else to hear:

“Law me. Won’t you lay one on me? No, no. Not a biscuit—though they are mighty fine. Just a blessing, child. That’s all I ever needed.”

Poor Brentford Says

“Your worth doesn’t need a witness.
Show up for yourself.
That’s the real feast.”

Show Me What You Wrote

“The act of writing is the act of discovering what you believe.”

— David Hare (b. 1947.) British playwright and screenwriter, whose works probe truth, belief, and the human condition.

Sometimes in the hush of evening, when the lamp spills its amber light and the world grows gentle, I watch. His head tilts slightly, caught by the glow, and suddenly, the years loosen their grip. The lines that life has written across his face soften; the jaw loosens, light as breath; the mouth, so often set in quiet thought, curves with the ease of youth. His eyes, clear and steady, seem to brighten from within, carrying a spark that belonged first to a boy and then to a young man. Slowly, the present thins. I see him slipping into his past. Fifty. Thirty. Twenty. And then, for the briefest moment, the man beside me becomes the eighteen-year-old he once was—time erasing each layer, revealing what was always there: the young man, quietly returning.

As I glance elsewhere in the room, I see an artifact from his past—one that has crossed time and threshold to find its place in ours: the grand piano. Massive and unyielding, it took four men to wrestle it off the truck and ease it through the doorway. Yet here it rests, polished wood catching the lamplight, waiting.

At this moment, I still hear the sound as his hands moved across the piano earlier in the day—measured, assured, easy. And I heard “For All We Know” rise into the room, each note carrying a hush that reached backward in time. The melody was not just music; it was memory, and it wrapped itself around him, around me, around the room itself. Ruby retreated to the bed, but not fully at rest. She leaned forward, her body stretched long, her head angled as far as she dared—as though even she knew the swell of sound carried us into places layered and deep. She held herself at the edge, cautious not to tumble into the wandering past, into the chasms of memory, beckoning us toward knowing and truth.

Elsewhere in the room, near the piano, another layer from the past peels back. Hanging on the wall is a sepia-toned etching—Salena Gazebo, number 8 of only 200, signed by the artist Carl Johnson. The lines are delicate, deliberate: the curving path, the quiet trees, the pavilion standing open like an invitation. It feels less like a structure than a memory, as if the paper itself breathed it into being. When I look at it, I sense not just the gazebo, but the moments once lived beneath it—the warmth of gatherings, the hush of twilight, the whispered vows of past lovers who lingered there. Dream and truth blur, as though the etching had captured not a place at all but a pulse of longing and a flicker of knowledge, carrying us softly toward knowing and truth.

In another room, on top of the chest of drawers, rest family photographs. Portraits, a chorus of faces gathered through years, smiling, standing, caught in stillness. They look out across the room with a quiet weight, less about who they are than the collective feel they give: belonging, continuity, the insistence that life moves forward even as it circles back. They do not need names to speak; their presence alone is enough.

Nearby, on a table, sits something smaller, more ordinary yet no less enduring: an iron toast holder. His grandmother’s. On his mother’s side? Or, maybe, his father’s? The lineage matters less than the fact that he kept it, carried it through moves and years, never discarding, never forgetting. The metal holds more than memories of bread he may never have seen toasted. It holds a thread of persistence, a reason to keep even the smallest objects close.

In the dining room, on a side table, another artifact gleams in silver relief: The Last Supper, framed, gifted to his maternal grandparents on their fiftieth wedding anniversary. Sacred and commemorative at once, it shimmers with devotion, not only to faith but also to family. The silver has traveled down through generations, carried into his keeping, held as though letting go would diminish more than memory. It is a marker of continuity, of reverence, of love that lasted long enough to be honored.

And then there is the little boy riding a dog—a keepsake that belonged first to his father when his father was a child, before his life was cut tragically short. A small porcelain figure, a child astride a loyal companion, frozen in time. Yet in that figure is more than innocence; it is a bridge across absence, a way of knowing a father he never met. It survived when the man did not, passed on to him as both wound and inheritance, loss and gift. That little boy on the dog rides still through the years, carrying ache and legacy.

Through these artifacts, I glimpse the man I already know and love, his story unfolding in fragments that matter. In the little boy riding the dog, I see both wound and inheritance, a bridge across absence. In the Last Supper, I see reverence, devotion, love honored and passed along. In the iron toast holder, I see endurance, the instinct to keep and carry even what is small. In the family photographs, I see continuity, lives pressed together across generations. In the drawing of the gazebo, I see invitation and hush—the twilight blur where dreams fade into memory and truth. And in the grand piano, I hear the melody that threads them all together—still rising, still echoing, ever playing in the quiet of his soul.

These artifacts matter to him and, now, to me. I could point to others. But I won’t. Yet one more remains, quiet and insistent, the truest of them all—not carved in silver or pressed into porcelain, but carried in ink and idea. His 1965 high-school graduation essay. He was co-valedictorian. He was eighteen.

It rests inside his high-school yearbook, the Bluejay, its cover deep blue and gilt, its pages a mosaic of faces, cheers, and world events already turning into history. And there, slipped carefully between those pages, lies his speech—typed, carried through six decades of moves and seasons. The paper holds its shape, and the words stand sure, preserved as though waiting for their moment to be read again. In its keeping, I see more than memory; I see devotion—the instinct to preserve not only what he did but who he was becoming. It is an artifact, yes, but it is also a testament, held safe in the place that marked his youth and carried forward into the man he is now.

I smiled and whispered:

“Show me what you wrote.”

He lifted the page, holding it in his hands, just as he held it onstage sixty years ago. Soft at first, his voice grew firmer as he returned to the beliefs that had steadied him even then: that learning gives life its shape, that responsibility gives it weight, that hope gives it breath, and that perseverance gives it endurance. Sixty years have passed, yet as he read, I heard not only the boy addressing his classmates but the man beside me—the same convictions intact, the same spirit enduring.

In those moments, as his voice stretched back and returned to me across the decades, I realized that of all his artifacts, this was the richest. My partner, Gary T. Knutson, wrote those words in youth. They carried him into a future he could not yet imagine. And they anchor him still—steadying him in the present, guiding him toward tomorrow. The piano may sing, the photographs may remember, the silver may gleam, the porcelain boy may still ride—but they can only point, only hint. His own words, fragile on paper yet alive in spirit, opened the door wider. They revealed not just what he kept but who he was becoming, and who he still is.

That is the power of words—not just Gary’s words, but all our words. They outlast objects, outshine heirlooms, outlive even memory. In them can be found who we are when all else has been stripped away—values, beliefs, longings, the essence of self, laid bare. And more than that, words do not simply keep; they move. They persuade and console, ignite and endure. They reveal who we were, and they shape who we might yet become. That is their gift, and their power—becoming, in a way, stronger than stone.

Show me what you wrote, and I’ll see who you are—then, now, and still becoming. For words outlast memory and outshine the heirlooms we keep. They carry the essence. They carry the longing. And they proclaim the truths we’ve always held.

Self-Serve

“Talk to yourself like you would to someone you love.”

Brené Brown (b. 1965), American research professor, author, and speaker on vulnerability, courage, and self-worth.

Go ahead! Run reference if you must. You’ll probably confirm what you already suspect. More than once, I’ve asked you to lean in real close and listen as I shout out for all the world to hear something that I think no one in the world should hear. Private should stay private, right? Not always. Here I am about to pull you in and do it all over again.

But this time it’s different. It’s one of those insights I’ve had before—the kind that first comes as a shadow of knowledge, and then, with a turn, reveals itself fully, clad in nothing more than the simplicity that truth always wears.

That’s exactly what happened to me. I was all by myself. My partner Gary—Remember? My Tennessee Gary?—had gone off to Minnesota for his 60th high school reunion and for a family reunion to boot. So it came to be that I dined alone.

I plated my entree with all the attention that might bespeak the 5-star restaurant that I know my kitchen will never be. Yet, I keep right on striving.

The golden-crusted whiting stretched across the plate like a painter’s confident stroke, its edges crisp, its center promising tender flake with the first touch of a fork. Beside it, a tangle of violet cabbage shimmered as though the skillet had coaxed from it not just flavor but light itself—earthy, sweet, and just slightly wild. A sprig of thyme leaned in, whispering green against the purple, while a single blossom, fuchsia and unapologetic, dared to remind me that even supper alone can flirt with beauty.

Then, an hour or so later, I was ready for dessert. Don’t you dare tell anyone—especially Gary—but since I was alone, I decided that a store-bought dessert would do.

It was tiramisu with all the makings of a showstopper—moist sponge, creamy layers, a hint of coffee and chocolate—but there it sat, in its plastic box, reminding me that sometimes dessert doesn’t need fanfare to be enjoyed.

“Fine. I’ll enjoy it straight from the plastic box.”

Just when I was about to grab a fork (but not a plastic one, mind you), I decided that it needed proper plating, too.

It only took a second for me to turn store-bought into five-star. The tiramisu rose in creamy, coffee-kissed layers, draped with curls of chocolate that caught the light just so. Against the deep black plate, a scarlet bloom blazed like a velvet exclamation point, transforming a humble slice into a scene-stealer. Every bite promised richness, every glance was pure seduction on porcelain.

In no time at all, I had done for myself what I do for us all the time. In no time at all, I had done for myself what I would have done for me and Gary if we had been sharing the table that night. I had lifted something ordinary into something memorable. I had taken the plastic box off the table and replaced it with care, intention, beauty. In that small act—so quick, so simple—I realized that I had given myself the very same attention I so easily give to the life we are building together. And I had done it when it mattered just as much—I was alone.

We forget, don’t we? Especially when we are alone. We fall into the trap of thinking that we have to wait for company, for celebration, for some special someone before we let ourselves live five-star. But that’s not so. We don’t have to wait, nor should we. We should use the special napkins every day, especially when we’re alone. We should have flowers on the table every day, especially when we’re alone. We should bring forth all of life’s little graces, especially when we’re alone.

We should always see ourselves as the guest of honor—especially when we are alone, even when the chair across from us is empty.

We should remind ourselves that this kind of self serve isn’t selfish and it’s not uppity. It’s simply a way that we can say “Yes” to ourselves. It’s pulling the good wine from the rack, even on a Tuesday night. It’s plating coleslaw in a little bowl instead of scooping it from the mixing dish. It’s lighting the fireplace in October simply because the first chill makes you want to. It’s cueing up Black Gospel or Acoustic Chill while kneading bread, letting the room swell with music as much as with sourdough. It’s slipping into my favorite blue linen shirt, even if no one but Ruby will see me in it. These are the gestures that matter most—especially when we are alone.

These “alone” moments count. Every single one of them counts. And if we don’t serve ourselves with dignity, who else will?

So, My Dear Readers, let me raise a glass to the hydrangeas cut and arranged, to the figs sliced and drizzled, to the silver chest opened on an ordinary weeknight. Here’s to the quiet supper for one that still deserves a sprig of thyme, and to the tiramisu that—freed from its plastic coffin—reminds me that even the humblest store-bought sweet can rise to the level of celebration.

Because self serve is never second best.
It is the altar we lay with linen and light.
It is the chalice filled, the bread broken, the sweetness offered.
It is the music of a knife against porcelain,
the fragrance of thyme rising like incense,
the candle flame trembling like a prayer.

Let the plate gleam.
Let the glass catch the last gold of evening.
Let the blossom burn bright against the dark.
Let the feast of one be as radiant as the feast of many.

Be the guest of honor. Your own.
Be the blessing at the table. Your own.
Be the flame, the flower, the feast. Your own trinity.

Even when we are alone.
Especially when we are alone.

Let’s never–for even a moment–forget:
We are enough.

Celebrating a Mother, Not My Own

“I do not at all understand the mystery of grace—only that it meets us where we are but does not leave us where it found us.”

Annie Dillard (b. 1945). American essayist whose work reflects the natural world as a mirror for awe and meaning, most memorably in her Pulitzer Prize–winning Pilgrim at Tinker Creek.

What on earth am I doing writing about motherhood in the dog days of summer—the hottest, most humid stretch, when snakes go blind until their molting skin slips over their eyes—especially when I’m celebrating a mother, not my own?

I keep saying to myself:

“This would be perfect for a Mother’s Day post in May.”

But you, my Dear Reader, know that I rarely write to match the calendar—and this post won’t match it, either. That’s not to say I’ve never done it—only that I’ve never done it by design. It’s simply that from time to time an idea collides with an occasion—Mother’s Day or Father’s Day or Thanksgiving or … Hmmmm. Maybe I’ve done it more than I realize.

Anyway, if you browse through my posts, you’ll see the pattern of how I write. When something grabs hold of me and won’t let go, I know I’ve been called to share it—maybe for the greater good, even if it’s just one person who feels the same tug while reading that I felt while writing.

That’s exactly what happened with this post. Memories washed over me from long ago and far away. They had surfaced before, but only as ghostly apparitions drifting in a paused wave. This time, though, I was nearly pulled under by the current.

It began when I uncovered a hand-painted pillow I hadn’t used in years. Bold crimson flowers and curling green leaves still popped against a soft beige background. The piping had faded, and the stuffing had settled into the easy comfort of something well-loved. It was a little worn, and it was a little wistful, but it was still a bright relic from when I was just beginning to find my way.

As soon as I saw the pillow, I started remembering my neighbor who made it. She was an older woman, maybe a few years older than my Mother, but not many. She dressed neatly, always in small-print floral dresses, and, when at home, she always topped her dresses with matching aprons. Ringlets of white hair framed a face that seemed stern at first, but softened the moment she spoke. She had the bearing of someone who kept things in order—herself, her home, her garden, and her place in the community. No one ever doubted that she would follow through on whatever she took on.

Her name was Nell. Nell Barker Harris, but I never called her by her first name. My Mother taught me better. She was always Mrs. Harris to me, though I swear I had the hardest time making Mrs. sound like MIZ-iz. It always rolled off my tongue as MIZ.

My memories of her stretch back to 1958, when my parents bought our home in the subdivision that bore her last name. I had just turned eleven, and I loved exploring the uncharted woods surrounding our home and beyond.

Mrs. Harris and my Mother were good friends, sharing interests in church, cooking and canning, and working the polls on election days.

My Mother thought the world of her, and, looking back, most of what I came to know about her came from my Mother:

MIZ Harris this …” and “MIZ Harris that …” was a constant refrain, especially during summer and fall harvests.

Many were the days my Mother sent me to the Harrises—Nell and her husband Worthy—with fresh vegetables from our garden, or to fetch canning jars—the old timey blue ones with zinc lids—or to swap a recipe.

The Harrises lived close, but their house lay just out of sight from ours. All I had to do was cut across the garden, slip past the barbed-wire fence, run down a slope, and dash up a knoll to reach their faux-stone cottage. It was one of the finer ones in our small town, with more than a hint of upper-middle-class comfort. I’d climb the steps straight to the door, where Mrs. Harris usually met me, fulfilling the errand right there on the stoop.

From those errands and my Mother’s comments, I came to know Mrs. Harris well enough that one December, I went boldly to her house on my own. My sister Judy and I had decided to put up a Christmas tree while our Mother was shopping. I had long had my eyes set on a beautiful white pine—not for Christmas, but for love—growing in the Harris’s woods where I roamed. Off I went to ask if we could cut it down. She agreed, and though the tree seemed to shrink with every drag homeward, Judy and I had it lighted and decorated by the time our Mother returned. She knew exactly how to celebrate the surprise as a tribute to childhood ingenuity.

Another time, my parents sent me over with an idea that I’d dreamt up—again involving white pines. A dead-end dirt road ran between our home and the Harris’s land that we gardened, and we thought it would be beautiful to line its 200-foot stretch with pines. I asked Mrs. Harris if we could dig saplings from her woods. She agreed, though she thought fall would be a wiser planting time.

My parents insisted amongst ourselves that proper planting and deep watering would see them through. They were hardly more than spindly stems with a few scraggly needles, more like Charlie Brown’s Christmas tree than the giants we imagined. Pitiful as they were, they survived the July heat and, in time, grew straight and tall, rising with quiet majesty, as if they had always belonged there.

Later—June 1972, a few years out of college and working at the Library of Congress—I wanted more than the skyward-pointing pines. I wanted the land itself. I found myself in Mrs. Harris’s home, asking if she would sell me the very garden lots my parents and I had tended from pre-teen through early manhood.

I still remember sitting in their parlor that day—dress pants, crisp shirt, and a tie, as if I’d been summoned to defend my undergraduate honor’s thesis. I sat in an overstuffed chair in the corner, its armrests rising up to hold me accountable. The room itself seemed to echo their seriousness and my intent. Mahogany gleamed in the soft light. A large china cabinet dominated one wall, its shelves lined with Blue Willow dishes like the ones my oldest sister Audrey collected. Everything about the space spoke of order and permanence—qualities my Mother had always extolled in Mrs. Harris herself.

Across from me sat Nell and Worthy Harris, steady and composed, firing their questions in quick succession:

Why do you want the land?

Do you plan to build a house there one day?

How will you pay for it?

A bank loan? Do you understand that you’ll need a co-signer?

They had far more questions than I had answers. But a few days later, I rode with the Harrises in their blue-and-white Chevrolet to Raleigh County National Bank, a solemn drive dressed up in chrome and vinyl. I had made the appointment myself, though the banker’s name and face have faded. What remains is the setting: a huge walnut desk topped with thick glass, its surface spread with legal documents that seemed to weigh more than the paper they were printed on.

I signed, and Mrs. Harris co-signed—the literal and the metaphorical deed, both done and dated June 9. She was, after all, the owner of the land. The gleam on my face that day couldn’t have equaled hers, steady and satisfied, as though she had not only sold me a parcel of ground but had also planted me there, rooting me firmly to the very soil where those skyward pines had begun.

But the pillow dragged up one last memory of Mrs. Harris—a dim and shifting one, like an undertow I didn’t see coming.

One year—1965, just a month before graduating from high school—I nominated Mrs. Harris for “Mother of the Year.” She certainly was worthy of the recognition, although she never seemed like my Mother, not even like a mother figure, really. And now, looking back, I wonder whether it was my Mother herself who suggested the nomination. Or maybe it was my oldest sister Audrey. Both of them admired her immensely as one of the pillars of our community and the church that the three of them attended.

Whatever the springboard, I picture myself typing the letter—hunting and pecking as solemnly as if drafting a constitution—and then, with all the earnestness of seventeen, listing her many accomplishments.

I don’t remember a single sentence I wrote in that nomination, only that it won her the recognition we all thought she deserved. What I do remember is the aftermath: her picture in the newspaper, and maybe even a spot on a live radio interview, sharing her reaction:

“I’m just flabbergasted.”

Down through the years, I often found myself wondering how my Mother felt about my nominating Mrs. Harris instead of her. If she carried even a flicker of disappointment, she never showed it. And why would she? For all I know, she may have planted the idea in my head in the first place, speaking of Mrs. Harris with admiration the way she always did.

Years later, my parents came to live with me in DC after my dad suffered a stroke and needed more care than my Mother could manage alone. Audrey and I worked out a plan: summers in their own home, with her nearby to help; winters with me in DC. It was during those ten years that I found myself with a chance to do what I hadn’t done back in high school–nominate my own Mother for recognition as the remarkable woman she was.

The details of my Mother’s nomination are as vague in my memory as Mrs. Harris’s. I am fairly certain it was 1982—the year my parents celebrated their 50th wedding anniversary—and that DC’s “beautiful music station,” WGAY (99.5), sponsored the “Mother-of-the-Month” recognition. I nominated her by focusing on her long marriage to my dad, their six children, and the challenges she faced as an aging woman caring for her invalid husband, ten years her senior. Even though they lived with me, she was the caregiver during the day, and she carried the worry with her to bed at night. That, I believed, made her worthy of being honored.

I had been notified the day before that she had won, and that the radio host would call her live between 7:15 and 7:30 the next morning. I delayed leaving for work until the call came, turning on the radio to listen. The host told her about the award, and she responded in her plain, honest way:

“I am just flabbergasted.”

And here I am, decades later, unsettled by the blur of my memories of the honors given my Mother and Mrs. Harris. I wanted the details to come alive again here, to loom as large now as they did then. So, I went looking for the scoops that might have been reported in the newspapers.

I looked and looked again, but I found no newspaper coverage of my Mother being honored as “Mother of the Month.” That’s fine. My Mother doesn’t need to live in print—she lives on in me. Besides, I know the details by heart. I listened as she heard the radio broadcaster announce her status for all the listening world to hear. The radio station hosted a dinner for her. I pinned their orchid corsage to her dress, drove the two of us to the restaurant, and sat across the table from her.

We dined at The Monocle, seated at one of its linen-draped tables where the Capitol dome seemed near enough to touch. The restaurant buzzed with the voices of staffers and senators, but none of that mattered to me. What mattered was not the food or the setting, but the way she sat taller than usual, radiant with the glow of being truly seen.

I don’t remember the menu. I don’t remember what we ate or drank. What I do remember is my Mother spotlighted there, savoring a moment that was hers alone. She wasn’t the caregiver or the dutiful wife and mother that night. She was the honored radio station guest, my celebrated Mother, and I was lucky enough to be her escort.

I fared better in my search for Mrs. Harris’s recognition. I landed on the newspaper article itself, published in the Beckley Post-Herald on April 15, 1965. I was mistaken about nominating her for Mother of the Year, yet the headline showed I wasn’t far off:

“Shady Spring Woman Is ‘Mrs. Homemaker’”

“Mrs. Homemaker of 1964 and 1965 is the title which was bestowed on Mrs. Worthy Harris of Shady Spring on Saturday afternoon at the annual Home and Sport Show sponsored by Beckley Jaycees.”

It’s a long, long article, taking up nearly a quarter of a page and featuring a full-length photograph of Mrs. Harris holding a silver platter, one of her many gifts, along with a litany of her many talents that left me nodding in remembrance:

“An active member of White Oak Baptist Church, Mrs. Harris teaches crafts such as quilting, copper and leather tooling, refinishing furniture, cooking, canning, silk screening, lamp making, teaches home demonstration club classes, judges community fairs, and does upholstering as a hobby.”

As I continued reading, I realized that I was wrong about something else, too, so wrong that I was beyond flabbergasted:

“In her letter Mrs. [Audrey] Bateman stated, ‘Variety is the spice of life, and truly Mrs. Harris can attribute her zest to living to her many activities which center around her home and community. Her most admirable quality is that she always has time for God, her family, and friends.’”

I read the paragraph three times. Even then, I could only mutter to myself:

“Impossible!”

Surely, I was the one who wrote the nomination—I’d always been the family wordsmith, and the memory still lingers.

It was then that I called Audrey. Surely, she would know. She recalled Mrs. Harris’ recognition, but she was adamant that she had not written that letter, echoing the same sentiment that I had worried about down through the years:

“I wouldn’t dare have written that letter and slighted my own mother.”

Who knows. Maybe I wrote it for her to sign.

The truth lies somewhere in the mix—me, Audrey, and my Mother. All the careful lines blur, all the edges soften, until what’s left is simply presence—fluid, unguarded, and enough.

But now, sixty years after Mrs. Harris’s well-deserved recognition, I suspect it was my Mother herself who lined things up. I’m sure she never dreamt that one day I’d be celebrating her grace—while also celebrating a mother, not my own.





Every. Single. Thing. I Made It All Up.

won’t you celebrate with me
what i have shaped into
a kind of life? i had no model.
born in babylon
both nonwhite and woman
what did i see to be except myself?
i made it up
here on this bridge between
starshine and clay,
my one hand holding tight
my other hand; come celebrate
with me that everyday
something has tried to kill me
and has failed.

Lucille Clifton (1936–2010), award-winning American poet and former Poet Laureate of Maryland, celebrated for her spare, powerful verse that gave voice to Black womanhood, resilience, and self-invention.

It hangs there—dripping in crystal like it’s late for a curtain call at the Kennedy Center. A blazing burst of light and glamour. A chandelier so decadently faceted it might’ve been smuggled out of a Versailles estate sale or rescued from a Broadway set mid-strike. And yet, here it is: mounted proudly on a ceiling so low you could toast it with your coffee mug.

Where?

Why, right here on my mountaintop, in my rustic foyer wrapped in pine-paneled nostalgia, with a Shenandoah Valley pie safe, stoically anchoring one side and a polished silver chest on the other. An antique Asian vase—graceful and aloof—presides atop the chest like it’s seen empires rise and fall. Beneath it all, an Oriental runner unspools like a red carpet nobody asked for, but everybody deserves.

And then—just beyond the shimmer—a French door opens into another room, as if the whole scene is a prelude to a slow reveal.

It shouldn’t work. I know that fully well. A chandelier like this belongs somewhere fancy and regal. But guess what? Somehow, its sparkle doesn’t clash with the country charm, at least in my mind. In fact, it crowns it. And you can rest assured. It isn’t a mistake. It’s my way of declaring that my home isn’t just a home. It’s a story–actually, it’s lots of stories–told in light and shadow. And at the center of it all? My refusal to decorate according to rules. I couldn’t even if I wanted to because I have no idea what the rules are.

But a week or so ago, my Tennessee Gary stood smackdab beneath the chandelier—looking right at me, poised (I was certain) on the cusp of praise or profundity. But the next thing I knew, he spoke six words, which made me a tad uncertain about my certainty.

“I’m not sure it belongs there.”

“What?”

“The chandelier.”

“Well, I think it’s perfect. I wasn’t about to leave it in my Capitol Hill home when I moved here. It cost me a small fortune, and besides—I like it.”

That ended it. For then.

But a few days later, Gary brought it up again.

“Actually,” he said, studying the ceiling with a fresh softness, “the chandelier grows on you. It looks quite good there.”

If that’s not a kiss-and-make-amends moment, then lay one on me.

I grinned and agreed.

And let me tell you—that right there? That’s the moment that stuck. Not the first comment, but the second. The way Gary circled back. The way he didn’t double down, but opened up. That takes grace. That takes someone who sees with more than just their eyes.

He didn’t just help me see the chandelier differently. He helped me see the whole house—and maybe even myself—with a little more curiosity. A little more clarity. And that’s when I started walking through the rooms again—not to judge or justify, but to really look. Through his eyes. Through my eyes. Through the eyes of everyone who’s ever stepped inside and wondered how on earth all of this could possibly make sense.

And yet—to me—all of this makes perfectly good sense. Placed with memory, not trend. Positioned not for symmetry but sentiment. A lifetime’s worth of objects tucked wherever I could fit them, arranged with a kind of chaotic confidence that, somehow, glows.

But, still, I heard echoes rumbling around in my memory’s storehouse:

“It’s so homey.”

“I feel so comfortable here.”

“Wow! It’s like walking through a museum.”

In the midst of those echoes, I figured out how to find comfort: find someone else who decorates the way I do! It didn’t take me long at all before I remembered someone who had lived—and decorated—with the same truth: Mary E. Wilkins Freeman.

As soon as I had that recall moment, I scooched up beside her so close that I could peek over her shoulder as she penned a letter to Kate Upson Clark. And Lord have Mercy Jesus! You can’t imagine my joy when I realized that folks said the same sort of things about her home decor as they say about my mine:

“I light this room with candles in old brass candlesticks. I have dull blue-and-gilt paper on the walls, and a striped Madagascar rug over a door, and a fur rug before the hearth. It is one of the queerest looking places you ever saw, I expect. You ought to see the Randolph folks when they come in. They look doubtful in the front room, but they say it is ‘pretty.’ When they get out into the back room, they say it ‘looks just like me’. I don’t know when I shall ever find out if that is a compliment.” (Letter 46, August 12, 1889. The Infant Sphinx: Collected Letters of Mary E. Wilkins Freeman. Edited with Biographical/Critical Introductions and Annotations by Brent L. Kendrick. Scarecrow, 1985)

I was thrilled to know that I was “keeping house,” if you will, in style with Freeman herself, especially since she and Mark Twain were America’s most beloved late-nineteenth-century writers. It didn’t really matter that I’m as much in the dark as she was when it comes to figuring out whether folks’ comments about my home-decorating talents are compliments or not.

And believe me. My home is filled with things far-more out of place than anything in Freeman’s or even the chandelier in my foyer.

If you need more proof, just walk around the corner and take a gander at my kitchen.

Who, in their wildest imagination, would expect to see an antique, cast-iron corn sheller anchoring a kitchen wall painted a rather dull gold. There it stands—bold, barn-red wood frame worn just enough to whisper stories, and a great black flywheel so theatrical it looks like it could power Mark Twain’s steamboat. Its jagged steel teeth peer out from one side like a warning or a dare. And yes, that’s a Buddha head poised gracefully on top. And a crystal vase of dried hydrangeas beside that. And behind it all, a painting of apples that, frankly, looks like it might have been pilfered from a still-life museum.

The whole wall, absurd as it may sound, radiates a kind of balance. It shouldn’t work. But neither should a chandelier in a pine-paneled foyer—yet here we are.

Even Ruby’s dog bowls sit below it like they were placed by a set designer with a sense of humor or a flair for the unexpected. And maybe they were. After all, this isn’t just décor. It’s a declaration. I live here. I made this up.

I did. I made it all up. And if these examples of how I decorate aren’t duncified enough, walk with me to the master bedroom where you’ll witness equally outlandish shenanigans.

I mean when you walk through the door you see a full wall of glass rising two stories high, flanked in clean wood trim like a frame around nature’s own oil painting, dappled with sunlight or clouds or rain or snow depending on the season. It’s modern, no question—open, architectural, and bright. The trees outside don’t just peek in—they wave, as I peek out and wave back.

Yet, in the midst of that modernity, you see a primitive wardrobe planted firmly against the Narragansett Green wall like it wandered in from a barn and decided to stay. It doesn’t whisper for attention—it claims it, with its wide plank doors, turned feet, and a latch that looks like it could keep out winter or wolves or well-meaning minimalists. It stands there like a wooden exclamation mark at the end of a free verse stanza.

And on top? Oh, mercy. You won’t believe it.

A faux flow-blue cachepot stuffed full of peacock feathers–a riot of iridescence exploding upward. Liberace himself would approve. And to its right is a clay figure with a gaze both weary and wise, like she’s been through it all and chose to dress up anyway.

This is not a design decision. This is pageantry. This is poetry. This is proof. If you’re bold enough to mix the primitive with the peacock, you might just get something startlingly close to the divine.

I could take you through the whole house—room by room—and you’d see the same thing.

A treasure here. A treasure there. (Yes. Sometimes another person’s trash became my treasure.) And for each, I can tell you when and where I bought it, along with what I paid. But here’s the thing. I never made one single solitary purchase with an eye toward resale. I never made one single solitary purchase with an eye toward decorating. I bought each and every treasure simply because I liked it. And when I brought it home, I put it wherever I had a spot on the floor or a space on the wall.

Now, don’t go jumping to the wrong conclusion. My decorating is not as haphazard as it might sound. I do have a few notions about “where things belong” and “what goes with what.” And when I visit other folks’ homes, I never hesitate to step back and declare:

“Oh. My. God. Look at that painting. I love the way it pops on that wall.”

Well, hello. Of course, it pops. With all that negative space around it, it would have to.

Let me add this, too. I love it when I see that kind of plain, simple, and powerful artistry at play–in other people’s homes.

And who knows. Perhaps, moving forward, there might even be a snowball’s chance in hell that, with some subtle, indirect and loving guidance, I could learn to value and appreciate negative space here on the mountain, too.

But for now, my goodness! I don’t have any negative space. Everywhere you look, you see a glorious mishmash. Sentiment over symmetry. Memory over minimalism.

I know. I know. It’s homey. It’s so comfortable. It’s a museum. Also, I know it’s not for everyone. But as I look around, I realize something majorly important.

I’ve decorated my house the way I’ve lived my life.

I had no blueprint. I had no Pinterest board. I didn’t consult trends. I didn’t ask for permission. I placed things where they felt right. I trusted instinct, not instruction. I listened to heart, not head.

And I’ve done the same with the living of my days.

I didn’t wait for others to validate the things that mattered to me—my work, my relationships, my choices, or my way of making a way in a world that hadn’t made a way for gay guys like me. I’ve been both the curator and the interpreter of it all. I’ve decided what stays, what goes, what gets the spotlight, and what quietly holds meaning just for me.

And maybe—just maybe—there’s something to be said for that kind of decorating. For that kind of living. One made up along the way. One that, in the end, fits and feels just right.

Who knows what kind of unruly hodgepodge I’ll have gathered by the time I reach the end. Or what I’ll do with it when I arrive—wherever it is that I’m headed—that place none of us is exactly rushing to, despite tantalizing rumors of eternal rest and better acoustics.

But this much I do know.

If I take a notion, I might just take the chandelier with me. Not for the lighting. Not for the resale value. But as glowing, glittering, slightly-too-low-hanging proof that I never followed the map—I just kept decorating the journey. With memory. With mischief. With mismatched joy. And with the quiet grace of learning to see things through someone else’s eyes—sometimes anew.

And when I show up at whatever comes next—the pearly gates, some velvet ropes, or a reincarnation waiting room—I want folks to look at that chandelier, then look at me, and say with raised eyebrows and holy disbelief:

“I’m not sure it belongs here.”

To which I’ll smile as wide as I’m smiling right now and reply,

“Well, I wasn’t about to leave it behind. Besides, I have it on good authority—it’ll grow on you.”

And that’s the truth. It’ll grow on you. I should know because I made it all up, all along my way.

Every. Single. Thing.



Learning to Love in New Ways

“To be fully seen by somebody, then, and be loved anyhow—this is a human offering that can border on miraculous.”

—Elizabeth Gilbert, b. 1969. Author of Eat, Pray, Love (2006),
A modern meditation on love, loss, and the sacredness of being seen.

YOU—MY DEAR READER (WHEREVER YOU ARE)
What Age Can Finally Teach You About Love

You’ve heard it over and over again, so often that no one wants to hear it anymore. But here I go, tossing it out into a yawning world once more:

You can’t teach an old dog new tricks.

To which I reply—

Balderdash!
Phooey!

You’re not a dog. And you’re not old. Well—not in your mind, at least. You may be 77–just like me–but in your head, you’re somewhere between way back when and right here and now—and on most days–just like me–your way-back-when wins.

All right. Fine. I confess. I’m into time travel. Say what? You are, too? Excellent! You might also be a lifelong learner who loves staying on top of things—especially new things, just like me. I have been learning forever, but I won’t bore you with details about my past adventures. I don’t have time to rehash the past, and even if I did, I wouldn’t want to.

These days, I’m too excited about something new that I’m learning. I’m sharing it with you right here, right now, hoping that it will help you learn something new, too. It’s quiet, but it’s rad. Really rad.

I’m learning to love in new ways.

Here’s what I’ve come to believe so far. You can’t really learn these lessons when you’re young. You have to reach a certain kind of readiness—the kind that comes with age, with experience, and with edges—softened with heartache and suffering. Only then can you flip the old cliché on its head:

You can teach an old dog new tricks.

When you’re younger, love often begins with the fall—swept up, headlong, into fire and passion. But as you age, as you lean into love again, falling isn’t enough. In the falling, there must also be learning. Sustained, steady learning—about how to love differently.

You discover that love doesn’t always arrive with trumpets and roses. Sometimes, it just quietly walks in—a dimpled smile, a vase of flowers, a gardening trowel, a hammer, a grocery list, a notepad, or even a look of disbelief. No violins, no swelling strings. Just shirts ironed with care. Meals admired with gratitude. The gentle act of sharing space.

You begin to understand that silence isn’t absence—it’s a kind of presence. Two people in the same house, moving at different tempos—one resting, one reorganizing the basement—and somehow, the house hums with harmony.

You no longer expect to always be engaged in the same thing at the same time. You lean into your different skills, your different interests—knowing that when the day ends, you’ll have twice as much accomplished and twice as much worth celebrating.

And when your talents converge on the same plane—when brilliance meets brilliance—you might pull back just enough to let the other person shine a little brighter.

Sometimes, you step back—not to disappear, but to admire. You let the other person lead the dance for a while. And it feels good.

You make room—not just in your heart, but in your home. You move your wardrobe somewhere else to make space for someone else’s dresser. You swap out your kitchen table not because it’s broken but because someone else’s table carries stories too. And now, you’ve got one together.

You learn that your footsteps don’t need to land on top of one another. They can move side by side, on parallel paths, converging when it matters—and that’s most of the time and that’s more than enough.

You watch your partner do something in a way you wouldn’t—folding the towels, arranging the chairs—and instead of correcting, you smile. You let it be. Love grows well in the soil of gentle restraint.

When you notice a difference—how to load the dishwasher, how to water the plants—you ask yourself, Does this matter? Most times, it doesn’t. But the grace in letting it go? That always matters.

And when you catch yourself about to suggest doing something just slightly differently than the perfectly good way your partner is already doing it, you pull back from the familiar impulse to course-correct. You resist the urge to say:

I wonder what would happen if…
Have you considered…
Somewhere or other I saw…

Because you know—truly know—that your partner has likely already been there and done that, maybe even better than you could have imagined. And even if not, you realize: kingdoms and principalities will neither rise nor fall because of how this one thing gets done. But love? Love will continue to grow richly in the kind of soil that lets what wants to rise, rise.

So you build the cake you’re building. And you let your partner put on the proverbial frosting.

And get this—I’m betting you’ll let out a humongous sigh of relief. You no longer have to rely on the old lines:

Honey, I’ve got a headache. Not tonight.

Why not? Chances are good that you both already know whether tonight is the night. There’s no posturing. No pretending. You listen to your body. You honor the rhythm. You know—Yay or Nay—affection is still there.

So take that old cultural script—the one that said you always had to be “on,” always seductive, always dazzling–and toss it. If tonight’s not the night, it’s not the night. No drama. No guilt. The love doesn’t vanish. It simply waits.

This kind of love doesn’t need fireworks. It needs kindling. It’s not performance—it’s patience. It’s not the honeymoon suite—it’s two mugs on the counter beside the coffee maker. A light or three left on for the night even when far too many lights are burning already. A dinner napkin placed next to yours. A drawer cleared to hold the socks and underwear folded far better than you ever knew how to fold them.

Over time, you start to realize—sometimes slowly, sometimes with the clarity of a lightning bolt—that love at this stage of life teaches different lessons than the ones you were handed in your youth.

It’s not about falling anymore, not really. It’s about forming. Shaping. Inviting.

It’s less about being swept off your feet, and more about standing firmly beside—presence over drama, steadiness over spectacle.

And if you’re lucky, you’re still learning—every single day—that love, like anything worth tending, changes its shape over time.

So, no. You’re not old. You’re ripening.

And if that’s not a new trick worth learning, I don’t know what is.

ME

My Learning Notes for a Work-in-Progress

I can never be civilized—
but I can be reminded that the Romaine probably wasn’t prewashed.
I can be inspired to put things where they belong
the first time.
And I can be organized a little better.

I’m discovering that little by little,
bit by bit,
I might find my way to
An OHIO state of mind.

I’m discovering that when the day ends, and we’re both tired,
and I hear,

“Ruby and I walked down your garden path with the steps that go nowhere,”

I don’t need to explain where the steps once led.
Instead, I can talk about
where they might one day lead.

I’m discovering that falling in love happens faster now—
not because the fire is hotter,
but because the walls are lower,
the noise is quieter,
and I no longer mistake caution for wisdom.

I’m discovering it doesn’t matter what we call it—
Sex.
Making love.
We both know the truth:
if there’s no heart, no heat,
and no brushing teeth first,
it’s not happening.

I’m discovering the contours of a body—
no longer shaped by youth’s smooth muscle,
but by time,
by tenderness,
by all the sharpened, weathered lines
of a well-lived life,
and a well-bloomed love.

I’m discovering that what’s heart-healthy for one
is heart-healthy for the other —
in food, in movement,
and especially in tenderness.

I’m discovering that love, at this stage,
isn’t about recapturing youth or chasing fireworks.
It’s about something quieter.
Stronger.
Truer.
A love that folds laundry and picks out flooring—
but also whispers stay
when the silence gets long.

I’m discovering that a kneeler
protects my knees just as well
in the garden
as it does while tending the soul.

I’m discovering that Ruby’s not the only one who snores.
We do, too, even if we think we don’t.
But when it’s the three of us?
It’s just another rhythm to fall asleep to.

I’m discovering that I only need to be shown some things once.
Like how to fold a grocery store plastic bag into a teeny-weeny triangle for storage.
I nailed it. Once might have been enough.
(“Wait. Wait. Let me do one more, my Love. This is almost like meditation.”)

I’m discovering that the Henkel-Harris bed really does look better
with the bedding tucked inside the side rails.
Gracious me—how could I have lived threescore-and-seventeen years without that life-saver of a bedroom tip?

I’m discovering, anew,
that sharing is 99% of the joy.
The story, the supper, the last bite of dessert—for Ruby, of course.
Even the silence tastes better when it’s passed between two.

I’m discovering—more than anything else—that together isn’t just better.
It’s braver.
It’s kinder.
It’s more us.
More alive.


WE

Our Lessons

Clearly, you can teach old dogs new tricks, especially if they’re Tennessee Gary and me. We aren’t just any old dogs. We’re two clever ones, willing to learn together. And in case you’re wondering how people react when we tell them what we’re up to, most folks seem happy. Some, wishful. Others, wistful. Sometimes, some look twice. They blink. They tilt their heads. They ask—sometimes aloud, sometimes with raised eyebrows—

Aren’t you too old for shenanigans like this?

To which we say:

Balderdash!

Phooey!

We are not too old for love.
We are not too late for wonder.
We are not past the season for becoming.

Because when the day is done—
the goodnight kiss planted,
the I-love-you dreamily reaffirmed—we’re not winding down.
We’re bedding down.

And come morning, we rise again—
not just from sleep,
but into this shared, surprising, still-unfolding life.

What keeps us going isn’t mystery or magic.
It’s the anchors that hold love through storms and stillness:

Trust. Fidelity. Respect.
Communication. Collaboration. Compromise.
Intentional love. Intimacy. Empathy.
Acceptance.
And perhaps most vital of all:
Forgiveness.

So, dare we clue you in on what two old dogs are learning about love—maybe better than most, certainly better than our younger selves ever did?

Do you really want to know the bottom line?

Are you sure?

You do? You really do?

Alrighteez, tighty-whities. If you insist…

Lean in and listen carefully.

We’ll tell you once and once only:

Love at our age isn’t the final act.
It’s the encore.

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.

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.