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.”

A Reckoning

“Some of us think holding on makes us strong, but sometimes it is letting go.”

Hermann Hesse (1877–1962), German-Swiss novelist and Nobel Prize laureate, best known for Siddhartha, Steppenwolf, and The Glass Bead Game.

Believe it or not, a week or so ago, the past rose up and slapped me across the face. No, it didn’t leave a bruise, but it left behind something I’m still thinking about.

The slap started when I walked into my office. At first glance, it looks impressive. The lamp casts a golden pool across my glass-top computer desk, giving the whole space a glow that almost convinces me I’ve got things under control. The Oriental rug circles wide and bold underfoot, all rich blues and reds that make the room feel grounded, important, and maybe even a little too proud of itself. Books and papers rise in uneven towers, but in that first glance, they seem less like clutter and more like credentials—proof that I’ve been busy living, working, collecting. Even the cows in the painting on the wall keep a calm eye on the scene, as if to say,

“Carry on, Mtn Prof. You’ve got this.”

But as I walk through the door, the illusion collapses. What looked like a tidy study becomes a landscape of leaning towers and stubborn archives. Books crowd tables in uneven stacks, some open, some shut tight, all demanding to be dealt with. Boxes huddle together on the floor, their labels promising order—but their bulging edges betray the lie. Folders spill their contents, paper curling like leaves that refuse to fall from the tree. A shirt slouches over the back of a chair, a plaid witness to resolve slipping into resignation.

Everywhere I turn, something insists on being noticed. Woven baskets perch on top of files, as if even the containers need containers. The desk is less a surface than a staging ground for half-made decisions. Another painting on the back wall gazes out of its pasture, unblinking, as though it’s been watching me circle this mess for years. It has. It’s not chaos exactly—it’s accumulation. Layer upon layer, a sediment of living, each piece waiting for me to finally decide whether it still belongs.

It isn’t permanent chaos. The boxes say as much, their sharp edges and taped seams hinting at better days ahead—days when decisions will be made, order restored, and space reclaimed. For now, it’s not just an office; it’s a staging area where the past collides with the present, where choices will shape the future. Every pile, every stack, every half-forgotten guidebook, and every dog-eared folder is here because I pulled it out of hiding and chose to face it. In that sense, the clutter is not failure but progress. It’s the visible proof that I’m reckoning with the past, one piece at a time.

I’ll continue to reckon, and I’ll keep on making progress. I know I will. But I know, too, that I can’t rid myself of a lifetime of artifacts in one day. Take the CDs, for instance. Three rows deep. Wedged into the lowest shelf of the floor-to-ceiling bookcase at the far end of the office. They’ve been squirreled away there for years. Waiting. Ralph Stanley leans against Sting, Nina Simone keeps company with Mahalia Jackson, and Susan Boyle dreams her dream right next to the Chuck Wagon Gang. It’s less a collection than a timeline—decades of moods, memories, and seasons pressed into plastic cases. But here’s the thing. I don’t have the heart to get rid of them in one fell swoop. And besides, maybe I don’t want to get rid of them all. Maybe I don’t need to get rid of them all. But I can’t hang on just to hang on. Each one becomes a decision. Which will serenade me today? Into the future? Which has already sung its last song?

Other choices are easier. Travel guides, for instance. Like Fodor’s Greece and Frommer’s Greece on $35 a Day. Both hopelessly outdated, their covers promising adventures I never took. They carry missed possibilities but not regret. Into the discard pile they go. Or the box of Library of Congress business cards, embossed with the proud gold seal of my past career. They once carried weight, proof of my role in the world’s premier library. Now? Nothing more than relics of a past identity. They go into the discard pile, too. The work, the years, the meaning, and the memories? They stay.

Other choices are so easy they’re no brainers. My Frost shelf, for instance: concordances, centennial essays, letters, the familiar black-and-green spines that have followed me across decades. They stay. The same goes for my Mary E. Wilkins Freeman books, lined up in their muted blues and browns. They’re not just books; they’re part of my scholarly DNA. No question, no hesitation. They stay.

Then there are some things whose fate I know as soon as my touch awakens forgottenness. My college copy of Hemingway’s The Old Man and the Sea, margins crammed with the notes of an eighteen-year-old who thought he already knew something about struggle. It stays. My copy of Gibran’s The Prophet, inscribed by a fraternity brother—a book I’ve carried long past the days of Greek letters and youthful certainties. It stays.

A three-by-five oil painting of the covered bridge in Philippi, West Virginia? It’s no masterpiece, but it hardly needs to be. I crossed those boards more times than I remember during my years at Alderson-Broaddus College, each passage a kind of bridge between my coal camp past and the life I was building in the present. The brushstrokes may be clumsy, the colors a bit too bright, but none of that matters. It stays.

A small stack of cassettes holds my mother’s voice on magnetic ribbon. One, dated 11/12/81, is labeled I Take a Stroll and Cause Worry among the Worry Warts. The cassettes may be obsolete, but her voice? Never. Alongside them rests the Bible she gave me when I left for college, her handwriting in the front marking it as mine, though I’ve always known it was hers first.

And the kettle bottom resting heavy on my desk—a flat, round stone that once fell from mine roofs where my father worked fifty years. In those seams, a kettle bottom was a miner’s dread, dropping without warning, too often killing the man beneath it. This one didn’t. My father walked away again and again, spared by chance or grace. These pieces stay—not for their weight, but for his, for hers, and for mine.

Tucked nearly into oblivion is a small 4-H patch from fourth grade, meant to be sewn onto a jacket I didn’t have. But I never needed the jacket to know the four H’s—head, heart, hands, health embroidered in me long before I understood mottos or mission statements. They shaped how I worked, how I cared, and how I learned to give myself to something larger. That patch will never leave me. Some things you don’t outgrow; they simply grow with you.

The things in my office are only the visible part of the past. The rest doesn’t sit on shelves—it lives in memory, in relationships, in faith, in regret, in longing. Those pieces weigh just as much, sometimes more. They, too, must be faced, not in sweeping generalizations, but one by one, moment by moment, decision by decision.

Because that’s how the past works. Even though we can’t erase it, we can’t carry all of it forward either. We have to make hard choices, keeping only what steadies us and letting go of the rest. That’s the only way we’ll have room for life to keep unfolding. Room for the present to breathe. Room for the future to arrive. Room to move forward without being smothered by what came before.

I’m glad the past slapped me across the face. It taught me what we all eventually learn: the only way to live fully in the present, and prepare for the future, is to reckon with the past—seen and unseen, tangible and intangible—piece by piece, choice by choice. The past, the present, and the future are never separate. They are one continuum of time. One long sorting. One steady choosing. One true becoming.

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.



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.

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.

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.

What If I’m Not Who You Think I Am?

“Today you are You, that is truer than true.
There is no one alive who is Youer than You.”

–Dr. Seuss (1904–1991; American Children’s author and illustrator who used humor and rhyme to convey timeless lessons on individuality, kindness, and resilience; the quote is from his 1959 book Happy Birthday to You!)

How totally presumptuous of me to assume that you think you know who I am. But if you’re one of my faithful followers–or if you’re just an occasional reader–you probably know more about me than you care to know or than I care for you to know. Be that as it may, whatever you’ve read in my posts is all true, even if exaggerated occasionally, hoping to make you think or laugh. And, yes, sometimes I tell the truth slant so that I don’t razzle dazzle you with reality:

Tell all the truth but tell it slant —
Success in Circuit lies
Too bright for our infirm Delight
The Truth’s superb surprise
As Lightning to the Children eased
With explanation kind
The Truth must dazzle gradually
Or every man be blind — (Emily Dickinson)

The reality is this: I know who I am. But growing up as a kid, my siblings tried to teasingly convince me otherwise by telling me that I was adopted.

“You don’t look like us.”

“You don’t act like us.”

“You don’t talk like us.”

“You don’t walk like us.”

“Yep. You’re adopted. Brentford Lee Murdock.”

Imagine that. Making me doubt my own genetics. The nerve! How dare they tell me that I was adopted in one breath, and then without batting an eye, tell me in the next breath what they insisted was my real surname: Murdock! Well, their teasing never bothered me one bit, not one slightest chromosome. The way they walked, the way they talked, the way they acted, and the way they looked, I was glad to know that they were no kin of mine. None. Not one gene whatsoever. OMG! Did I just say that? How utterly nasty of me, if not downright, vicious. Well. They teased me then. I tease them now. Touché.

Candidly, I think they were just downright jealous because I was not only the youngest, but I was also the only one born in a hospital, one named after a Saint, no less. They were born in a coal-camp house. Not me. I was fancy-schmancy from birth, and, unlike theirs, my birth certificate is fancy, too. My goodness. I pulled it out just a few minutes ago. It’s gorgeous, gloatingly so. 8 inches x 12 inches. Parchment. Real, feel-good parchment. Enclosed in a smooth, velvety envelope. It even has my cute little newborn footprints on the back, labeled Left and Right. Beside my left footprint is my mother’s left thumb print. Beside my right footprint is my mother’s right thumbprint.

Adopted? Right. I could have extracted that certificate in a moment’s notice, proving my identity to my teasing sibs, because I knew exactly where my parents kept it. I never bothered. Some things just aren’t worth the bother, you know. When you know who you are, you know who you are. And believe me: I am who I am, and I have always known who I am, and I’m sticking with it. Besides, time was on my side and proved it for me without my having to do one single, solitary thing. As I got older and older, and balder and balder, I started to look more and more like my father. Today, I could nearly pass for his twin when he was my age. But so be it. I still don’t act like them. I still don’t talk like them. So you can rest assured: whenever it’s convenient for me to do so–in times of family disputes and in times of family disagreements–I simply look at them ever so innocently and I remind them, ever so teasingly:

“You are not going to drag me into your petty little family battles.

“I’ll have absolutely no part of it whatsoever. No part whatsoever.

“Have you forgotten? I haven’t. I’m adopted. I’m a Murdock.”

Without a doubt, I’ve always known how to use being adopted to my advantage.

However, it always struck me as rather unusual that I exhibit the exact same physical traits as my adoptive parents and my adoptive siblings.

My mother always boasted of her English ancestry, and when she really wanted to appear hoity-toity, she chronicled her French Huguenot ancestry. A close examination shows all of us–the whole family, including me as the adoptee–having fair complexion, blue eyes, and brown hair, consistent with my mother’s lineage as well as my father’s since he was also English mixed with German and Dutch. His father was exceedingly tall–6′ 4″–which he attributed to his being part German. His mother, on the other hand, was exceedingly short–4′ 8″–which he attributed to her being Dutch. Say whaaat? Unless I’m mistaken, the Neanderthals Netherlands boasts some of the tallest people in the world. Be that as it may, two of my sisters are short, and I’m certain that they blame their Grandma Kendrick.

Personally, as an outsider, I’m not certain that I give any more credence to all that malarkey than I do their ridiculous claim that I’m adopted. Besides, it doesn’t matter. They’re no kin of mine whatsoever. But with their mixed lineage–oh, I forgot to factor in Irish on one side or the other or both–they could have given me any number of surnames since 75-80% of Americans around the time that I was born came from the same stock. Aside from Murdock, my last name could just as easily have been Butterworth, McGinnis, LaFleur, or Freitag. Or maybe even Vanderpoop. I’ll have to try those on, one by one, with Brentford Lee affixed to the front, before I decide whether any one of them sounds better or affords more advantages than Brentford Lee Murdock.

This is all such fun that maybe I’ll stick with being adopted and be done with my identity once and forever.

But first I have to tell you what I’ve gone and done to celebrate my 77th birthday on November 20. I can’t believe I did it, but I did! And I can’t believe that I’m telling you what I did, but I am. I trust you. I know that you won’t tell another living soul. I decided that once and for all, I would prove to the clan that I got stuck with that I AM adopted. I’ll show them that they need to be careful about what they say because what’s spoken becomes reality.

Anyway, I ordered myself one of those highfalutin DNA tests to prove who I am! It shipped out from Salt Lake City. Then, it stopped in Bridgeport, NJ. I know all the details because I felt compelled to track its journey since, in a way, its journey will be tracking mine. Tracking is part of the fun of ordering anything online, including a kit that might tell me who I am. I confess, though. Waiting for it to arrive in Edinburg made me so antsy that I felt like my pants were on fire!

At last, it arrived, and I opened it ever so carefully. I followed the detailed directions ever so precisely. I wanted to make sure that someone somewhere had enough saliva from my swabbed cheeks so that they could sequence every strand and map every marker of my identity.

I am pleased to say that I swabbed the good swab, I sent my whoever-I-am-DNA back to Salt Lake City, and I have been notified that it’s better than good! My sample met the “high standards” required for DNA testing. Oh. My. I love being validated in high places.

The next steps are fantabulous:

Extract the genetic information from my sample. Ouch! I hope that doesn’t hurt.

Isolate, purify, and copy my DNA. Please say it ain’t so. Please say it ain’t so. One Brentford Lee Mudock at a time is quite enough for this world.

Transform my DNA into a blueprint for discovery. Go for it! Find my bluebloods and make them come out of their closets, even if they don’t want to come out.

Dig deep into my ancestral roots that span across continents. My God! I thought I was done with weeding.

Weave a family tree. Woo hoo! While they’re at it, maybe they’ll weave me a hairpiece, too.

Update me as my landscape unfolds. Hmmm. I guess these DNA folks like gardening as much as I do.

In about eight weeks, I’ll get a report with all of that information and more. Voila! My jeans genes will be transparent for all to see.

Here’s where it starts to get funny. Chances are beyond good that I will never explore my DNA report when it arrives.

It’s not that I’m afraid of what I might find out. I’m not. And I really don’t think that the results would change anything anyway. All right. Perhaps it might validate the outlandish claim that one of my no-kin-of-mine-whatsoever relatives made about being descended from John the Baptist. For all I know about them, they might be descended from Queen Elizabeth I, Brian Boru, Rembrandt, or even John Calvin himself! La-di-da. But why would I care? Like they’ve always reminded me, “You’re’ adopted.” And like I’ve always retorted with all the civility they don’t deserve, “You’re no kin of mine. Not one chromo, Bro.”

Besides. I know who I am, and I am anchored strong to my identity.

I’m a vital part of the universe, rooted in Nature and connected to Her. I draw lessons from everything in Nature, seeing the world around me as resilient metaphors for growth, transformation, and stability in life. Nothing can ever take that away.

I’m dedicated to personal growth and to declaring and maintaining my authenticity. I have always been the real thing, and I will continue to be. I embrace self-examination and transformation, and I am open to change. Nothing can take that away.

I’m creative in all that I do, whether it’s in writing, cooking, or gardening. I bring a thoughtful, personal touch to all that I do, and I like to think that I can weave philosophical insights into anything and see truths in everything. Nothing can take that away.

I’m comfortable with both tradition and innovation. I value the old and the new, and I am committed to learning from the past while seeing potential in the future. Nothing can take that away.

I’m strengthened by community and my connections with others. Although I am introspective, I cherish my relationships. I celebrate ideas, value honesty, empathy, and the bonds that tie me to all others. Nothing can take that away.

I’m passionate about intellectual curiosity and lifelong learning. I believe that education transforms lives, and I believe that an education is the best investment that anyone can ever make in themselves or in others. Nothing can take that away.

I’m anchored to the world around me. While I am at home right here on my mountaintop sanctuary in the Shenandoah Valley of Virginia, I am confident that my appreciation of place would make me feel equally at home anywhere in the world. What I find, I’ll make mine. Nothing can take that away.

I’m an integral part of a spiritual tradition that is open and deep, that is inclusive, that respects universal truths, and that leads me to see my interconnectedness with all living things. I kneel before the wisdom of the ages. Nothing can take that away.

Above all else, I’m a man of heart—generous in spirit, passionate in purpose, compassionate by nature, and unwaveringly true to who I am, with just enough mischief to keep life, and those around me, delightfully off-balance. Nothing can take that away.

Nothing–absolutely nothing–that I know now or that I might come to know in the future–can ever undo my identity anchors. That’s why my DNA report will remain sealed, as far as I know right now.

It does occur to me, however, that one thing might push me over the edge enough to make me want to know my genetic past.

The next time that I have a sibling spat, I might open the report so that I can prove to them–and them only–that I am none other than the illustrious and inimitable Brentford Lee McGinnis LaFleur Kendrick Freitag Murdock Vanderpoop.

Sister’s Hands

“The best way to find yourself is to lose yourself in the service of others.”

Mahatma Gandhi (1869–1948; a leader in India’s fight for independence and a global icon of nonviolent resistance, inspiring movements for civil rights and freedom worldwide.)

Every family has its own revered storytellers. For mine, it was my mother. All the way up until her death at 98, she could tell family stories with a full appreciation of place, with a natural understanding of hooking listeners with an inciting incident, and then of building suspense until the story was powerfully brought to its climax and to a resolution that more often than not uplifted and shone a bright light even on the dourest of plots.

Since my mother’s death, my sister Audrey has continued the storytelling tradition. It’s natural that she would. As the oldest daughter in the family, she lived the stories that she tells us about. What’s amazing to me is her incredible ability to recall how things looked, tasted, and smelled. As she tells our family stories, her voice carries me back in time, weaving memories as vivid as the scents and sounds she describes. Like my mother, she has a natural sense for drawing in listeners with something exciting, even if it’s minor, for building suspense masterfully and for guiding her story to a powerful ending. Her resolutions often uplift, always casting a bright light even on the hardest of hard coal mining times in Southern West Virginia where we grew up and where she still lives.

Since Audrey is my oldest sister, in characteristic Southern fashion, we’ve always called her Sister. On the rare occasion when I call her by her given name, just to remind myself of how it sounds and to see how she will react, she’s convinced that I’m upbraiding her about something or other, as if I, the baby brother in the story, would ever fault an older sibling.

Sister was twelve when I was born. She remembers that she and Brother argued about whose turn it was to rock me. (Yes, that’s what we called him since he was the oldest son. We never called him John.) They became rocking rivals:

“It’s my turn to rock Brentford Lee tonight.”

“No, it’s not. You rocked him last night.”

Sister reminds me often that I was rocked a lot.

I’ll have to take Sister’s word for it. I don’t remember.

My earliest vivid memory of Sister was when I was six or so, around 1953. Looking back and recalling a studio portrait of her from around that time, I think she looked just like acclaimed Hollywood star Rita Hayworth—elegant, with soft waves of hair framing a radiant face. She had a quiet beauty, captivating yet unassuming.

Aside from being a looker, Sister was an impeccable dresser. I especially remember her soft cashmere sweaters and her perfume, probably Chanel No. 5 or Arpège by Lanvin or Youth Dew by Estee Lauder. The next time we talk, I’ll ask her. She’ll remember it and all the other fragrances that she thought about wearing but didn’t. To give her fragrance story an added scent, she’ll explain all the details behind her perfumed choices. Then I’ll be able to smell her perfume again, just as I did when I was a kid, and I will know.

I remember two other things about Sister from my early years. It was then that she started her tradition of gifting our Mother heart-shaped boxes of Whitman’s Samplers every Valentine’s Day. They were magnificent, with tufted velvet tops and satin ribbons lending a touch of elegance to our coal camp home. Inside, layers of chocolates offered a variety of flavors like caramels, truffles, and fruit creams. The lavish packaging, combined with the rich selection of chocolates, made opening a Whitman’s Sampler a special Valentine’s Day event for my Mother.

Also, around that time, Sister patiently taught me how to embroider on pillowcases. I was immediately captivated by the array of colored threads—so vibrant and alive in my small hands. The soft yarn felt like magic as I pulled it through the fabric, creating tiny, neat stitches that transformed the plain cloth into something beautiful. Each new stitch felt like a secret unfolding. I marveled at how these simple threads could bring flowers, shapes, and patterns to life. The rhythmic motion of needle and thread became a calming, almost meditative ritual, sparking a lifelong appreciation for craftsmanship.

I remember other things about Sister as well, but this story isn’t about the things that most women born in 1935 lived their lives doing. I could say that this story isn’t about endless labor, both inside and outside the home. I could say that this story isn’t about scrubbing laundry on washboards, hanging clothes on backyard lines to dry in summer sun and winter freeze. I could say that this story isn’t about mending torn seams by hand or pressing starched clothes with a heavy iron heated on a stove. I could say that this story isn’t about cooking tonight’s meal and wondering about where provisions for the next night’s meal would come from. I could say that this story isn’t about waitressing for decades on less than minimum wage while hoping for just a little more than the nickels or dimes or quarters left behind as afterthought tips. I could say that this is not a story about hands carrying out daily chores with unwavering strength and care.

In reality, Sister did all of those things. But she did one thing more, and it matters most in this story.

For five decades, Sister’s hands served others whose hands were not strong enough to take care of themselves in their final years.

For them, Sister’s hands were a source of comfort and strength in the hardest times. Her hands were the ones that soothed fevered brows and prepared meals that nourished more than just the body. They carefully arranged pillows, tucked in blankets, and held on during the darkest moments. They brushed away tears and wiped the sweat from a forehead when words weren’t enough.

Her hands folded laundry, served meals, and held on when strength was needed the most. Whether it was a gentle touch in passing or the firm grip during a time of fear, her hands were always there, ready to offer love and care. Sister’s hands held those who needed it, day after day, year after year, never asking for anything in return.

Sister’s hands offered all of those comforts to our father in his final days, and to Brother’s
wife, caring for her with tenderness. They lovingly attended to our mother until
the very end, and they held her fiancé as their shared future faded away. Lastly,
they cared for Brother—our parents’ firstborn and her first playmate—offering
him unwavering love and support as he faced his final days.

On this special day, as Sister turns 89, her hands still carry the same love and strength they’ve always given.

When the time comes for Sister to cross the Great Divide, her hands will be clapping jubilantly, knowing that on the other side will be those she loved so much and served so selflessly. They’ll be there waiting to greet her once more, to applaud her decades of selfless love, compassion, and service, and to gently wipe away the tears of reunion and celebration.

This is the story of Sister’s hands.

What My Father Saw

“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 there 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.

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John Saunders Kendrick (April 8, 1902–September 21, 1983)