Let us go From the Fort of Our Love to Paris

Bogumił Pacak-Gamalski

I have been reading again the verses of my very liked American poet Paul Monette. Yes, of course, his “West of Yesterday, East of Summer”_[i]. Thought many times to translate this terrifying and yet so lyrical and beautiful book of poetry. His homage to his lover, his friends, his times. To people, who died of AIDS. As did he.

I asked myself why didn’t I? It was by the end of this modern Black Death when I was a very young man discovering the powerful world of erotica and sex. Of desires and pleasures that shaped human history so much, almost as powerful as hunger for power. Indeed, in many instances, these two forces were intertwined. They still are. It was also a time when gay stable relationships were not seen, maybe not even desirable as a norm or even something to look for. With causal relationships, you avoid the risk of being outed, beaten, maybe murdered, and certainly ostracized. You could easily lose your job for that reason and it was a legally valid reason. Strange times.

On page 10, Monette writes beautifully about Nureyev in his poem

Nureyev doesn’t have AIDS

or so they say but the season’s still off

at least in Paris and all her colonies

as to what to do after dance the gun-

runner Rimbaud is the paradigm post-

art position a little border war

khaki and goat kebabs no mail till the fin

de siècle is safely passed if the feet die

first you must sit out the millennium

(….)

There are so many allusions here to so many things of the gay history in art. Casual readers might not notice the insertion in these lines of a young tragic French poet Arthur Rimbaud – the femme fatale of much older Paul Verlaine.

Four days ago I posted on my Facebook profile a short biography of another American poet, who lived in even earlier times – Richard Bruce Nugent. In 1925 he published a poem “Shadow” in “Opportunity”_[ii]. It is an example of early poetry in the USA with searching for its own homosexual identity. I found it powerful, almost painful in how it evokes and stirs my own youth memories. Memories from much later time (almost three generations later), but still pervasive. Fragment of this poem:

Silhouette

On the face of the moon

Am I.

A dark shadow in the light.

A silhouette am I

On the face of the moon

Lacking color

Or vivid brightness

But defined all the clearer

Because

I am dark,

(….)

Then, suddenly I realized that I was not spared that terrifying moment of losing your Love, your soulmate. A different disease by name and origin, nothing to do with viral infection. But the process of slowly dying month by month, and suddenly a very fast process for the last few weeks that makes you an invalid, depending on others in simple tasks. Losing your air, and oxygen. And you panicking, trying to be a nurse but still a lover, partner. Giving him every minute of your life. Battling, battling every day, not accepting. Still, still not accepting. Refusing to accept the inevitable. To the very last moment, when he dies in your arms. And your soul dies with him.

It was as if Time asked for that price that I didn’t pay during the AIDS pandemic. It waited patiently forty long years and said with terrible glee in its voice: you did not escape, it is time to pay your dues. What a perversity to spare your life just to make you suffer even the worst fate: to take from your arms the one you love the most, more than life itself.

The other night I watched some old Paris songs from years ago. I always wanted to take him to Paris. To show him the magic of Montmartre. The lovers sipping coffee in open cafes, the “Pigalle” of my Edith Piaf, the walkways by the Seine toward Eifel Tower, with Yves Montand serenading of lovers kisses and embraces on rue de Faubourg de Saint-Martin.

And I wrote a song for you. Not really a poem but aptly a song to be sung, not to be read in silence. A song to be screamed to the Fates.

But your eyes –

they won’t go away!

They still let me see,

they look through mine.

Your eyes –

they are still in me.

But your arms –

they won’t go away!

They still touch me,

they embrace my body.

Your arms –

they still feel me.

But your lips –

they won’t go away!

They are warm, they tremble

when they touch mine.

Your lips –

they whisper: we remember.

I am blind without your eyes,

I can’t feel without your arms,

can’t breathe without your lips.

Without you my soul is void,

without you my heart is longing.

(B. Pacak-Gamalski, April 2024)

Yesterday I went to our Fort of Love in Lower East Chezzetcook. Took my folding chair, and my camera and crossed the narrow channel of fast-moving water separating the meager and rocky beach from the very secluded sandy outlet by a point called Miseners Head. Must have been low tide time as the icy cold water didn’t even reach my chest. Even during late summer last year, it was a desolate spot, seldom anyone ventured there. More or less it was my own private beach nestled between the ocean and a deep massive lake called appropriately … Big Lake. As I emerged from the water on the rocky edge of the dunes, two eagles startled by the visitor circled above my head. They must have been scouring the dunes for big crabs, which are plentiful there, or for lonely seabirds.

Went straight to the same spot as last year. The dead tree was still there, but winter storms took all the stones off my sign. Or the ocean covered them with sand brought from the deep bottoms. And it knows now our story. The bottoms of the ocean know the story, a Story of Love, Despair and Loss. The crossing whales sing the story and carry it back to the shores. To desolate inlets, rocky outposts, and small islands. When the sun sets down behind the horizon, the sirens sing the song to the passing wind and the stars, and the stars shoot beam of light across the Celestial Meadows of Space. Story of Love Stronger Than Life.

I see it, I hear it. And I want, I need your eyes, your arms, your lips. Give them to me across the river separating Life and Death. Our Love has overcome the space between the Worlds.

I feel your touch again, I feel the trembling, the impatience.

They are here now, knocking on my doors, on the Gates of Timid and Fearful. Gates of those, who are afraid, nonbelievers. But the Gates will fall, as the Gates of Jericho did. None can withstand the source of the Song of Love. The only Song that binds the separate solitudes.

Come and fill my soul and heart! Come my Lover, I have waited long enough.

Maybe, just maybe, when I leave Nova Scotia, when I say goodbye to our beaches, especially that one secluded, and removed from tourists, wild beach with the Fort of Our Love – maybe then, I will take you to that Paris of Montmarte. Of lovers kisses and embraces. … and I will kiss your trembling lips, and I won’t let go.

This letter will be my last from the series of ‘Rozmowy z Johnem’ or ‘our talks’. I have re-build that fort with much larger stone and rocks, arranged a strong wall of rocks in front of it to protect it from waves. It may last longer than a year. Maybe a lonely visitor will find it pleasant. I wont go there anymore. Now John will walk with me the way we used to – everywhere together. And I will take him one day to Paris, we will go to Montmarte and at dusk I will kiss him.

[i] https://kanadyjskimonitor.blog/2023/10/04/esej-o-milosci-jej-nazwaniu-i-trwaniu/

[ii] Journal of Negro Life, publication of National Urban League in the 1920ties.

Spacer z kamerą drogami wspomnień

Bogumił Pacak-Gamalski

Słoneczny dzień wiosny w Halifaksie w Kanadzie. Czas dobry na spacer down the memory lane … Smutny trochę, bośmy prawie wczoraj razem tymi uliczkami chodzili, a dziś sam. Ale i ciepły właśnie przez to, przez ten szalik wspomnień. Więc chodziłem tymi barwnymi uliczkami uroczych drewnianych domków prowadzących do uniwersyteckiego campusa i dalej do Public Gardens. Tam, gdzieśmy razem lubili zachodzić na spacery, na kawę, czasem na koncert ‘pod chmurką’. Pierwsze krokusy kwitły. Na końcu podjechałem pod budynek ‘Berkley’ – miejsce Twojej pracy i ludzi, mieszkańców i pracowników, którzy tak cię lubili i tak serdecznie pożegnali, gdyś odszedł w swoją gwiezdną drogę. Byli mi w tamtych okrutnych dniach wielką podporą. Więc chodząc po parku, po tych uliczkach – nie chodziłem sam. Byłeś obok mnie. Prawie mogłem cię dotknąć. Z dala od trurystycznego centrum, uliczki i lokalni mieszkańcy mają bardzo sympatyczny zwyczaj kłaniania się sobie, pozdrawiania innych przechodniów. Bardzo to lubię. Te krótkie ‘hay’ z uśmiechem na twarzy lub czasem dłuższe ‘how are you’. Kłaniałem się też ze szczerym uśmiechem i odpowiadałem ‘co za uroczy dzień dziś’. I był uroczy. Kiedyś będzie mi brakować tego sympatycznego witania się z nieznajomymi, jakby wszyscy byli sąsiadami zza ściany. Z tego samego podwórka.

Out of Despair – a story of a wintery trip to a snowy beach

Bogumił Pacak-Gamalski

The story is written in poetic verse, which is perhaps the easiest way to express emotions that are too intense to convey in normal language. I’m going through a difficult time as I prepare to make a monumental move, and I have to discard or abandon a lot of my belongings. Our belongings. This process has forced me to go through them all in detail, it has opened a Pandora’s box of memories. These are not just my memories: these are our memories.

Last summer and autumn, I often escaped to the beaches for days at a time to get away from reality. But now, with the sorting of our things, that heavy feeling of despair has returned. Despite the cold wind, light snow, and rain I had to return to the beaches. I had to try to find you again for a moment, if for a moment only. It seemed that by doing that I wanted to overcome the feeling of drowning. On this trip I kept imagining a theater stage and Shakespeare’s Richard III. Richard III with his desperate plea for a horse, his bargain with the Fates.

The phantoms of despair are everywhere.

Six, I think that I slayed. But not the one I needed.

A horse, a horse! My kingdom for a horse! I yelled, I begged!

as in a story said by English bard long time ago,

per chance, of dying Plantagenet with a blow to his head.

My kingdom for a horse! I yelled in powerless furry

at the ice-cold waves of roaring sea on Eastern shores.

I screamed, I raised my fists, and stomped my feet.

And words were taken by a wind

and silenced by another wall of deep.

I cried out in pain falling to my knees,

beaten down, with no sword, no horse.

and no shield – ‘just once’ – I whispered

with no sound leaving my lips – ‘for a moment

let me see his face again, let me tell him

without words that I do and always will’.

And then, resigned I turned away from the sea

and saw in front, in a fair distance,

on the crest of the sand dunes – human shape,

familiar form, protected by warm, thick cape.

I wanted to run toward him – but couldn’t move;

wanted to scream – but no sound left my lips.

And yet – I heard his words as clear as daylight:

I know you do and I do love you, too.

I have no kingdom and no need for a horse anymore.

No need for heavy swords and glory in the battles.

That chilly day on a windy and snowy beach,

with cold stabbing your bones as battleaxes –

that instance becomes as warm as paradise.

I went back home with a smile and a head held high.

_{(by B. Pacak-Gamalski)}

Niezakończone rozmowy z Tobą – Our Talks non-ending

Bogumil Pacak-Gamalski

the text is both:in English and Polish. But it is not a translation – both texts are different and independent of each other part of one story. It is often that I write my ‘talks with John’ in either of languages: Enlish or Polish. Sometime in one story, as it is this case. And I don’t want to translate either parts. It just has to be as it is.

Pojechałem dziś do ciebie. Nie wiem nawet, nie pamiętam czy pierwszy raz w tym roku? Kartki z kalendarza pogubiłem już dawno. Nie wiem nawet gdzie, czy na plaży jakiejś, do których uciekałem cały rok szukając cię? Może w tym forcie w Lower East Chezzetcook, forcie który z uporem budowałem odgradzając go kamieniami od fal i odgrodzonym małą zatoką z silnymi prądami wody od głównej plaży. Nikt tam prawie nie docierał nigdy, bo przypływ nagły mógł powrót uczynić bardzo karkołomnym. Więc była to jakby moja pustelnia, moje królestwo, gdzie spędzałem godziny. Czasem mogłem wrócić idąc, czasem musiałem wracać płynąc, jedną ręką trzymając w górze plecak z kamerą i zeszytem w którym spisywałem nasze rozmowy.

Straciłem dom, straciłem przystań, zgubiłem kotwicę. Moja łódź błąka się rzucana w różne strony świata falami dwóch oceanów: Wielkiego, zwanego ironicznie ‘Spokojnym’ i zimnego Północnego Atlantyku. Szukam wyspy, którą mógłbym nazwać ‘Nasza’. Nasza Wyspa nie jest wielka, raczej mała. Jak ta z przygód Robinsona Cruzoe i Piętaszka ma tylko dwóch mieszkańców. Wieczorami spotykam cię siedzącego na skałach ze wzrokiem zanurzonym w głębinach oceanu. Podchodzę i kładę rękę na twoim ramieniu. Odwracasz powoli swoją twarz ku mojej. Masz w oczach i na ustach spokojny, słodki uśmiech zadowolenia. Podaje ci rękę i pomagam zejść z kamieni. Kładziemy się na ciepłym piasku dzikiej plaży i patrzymy w niebo. Leżymy tak długo, aż nadejdzie noc i niebo zapala nad nami lampy gwiazd. Wskazujesz palcem najjaśniejszą i pytasz: Widzisz? To nasz gwiazda. Nazywa się Miłość. I zawsze będzie nam świecić, do końca wszystkich dni, do czasu gdy wyparujemy atomami kosmicznego pyłu i popędzimy obracać się po jej orbicie. Czy to nie piękne?

Biorę w swoją dłoń twoją i całuję ją długo. Odpowiadam: tak, to jest piękne. I odpływam w sen czekając na ten moment. Moment odlotu z Naszej Wyspy do Naszej Gwiazdy. Do domu.

Comes the day next. It is almost as if it was yesterday, yesteryear, forever. Our stars, our Cosmos came home to the dancing light of the sun in the waters of our ocean, right at the doorway of our home. And I walk to My Rocks on the shores and see them: the light of the dark sky of night, and the stars diving to the bottom of the sea with the dawn of day.

Seating on Our Rocks, on the edge of the water, I can see them sending shots of light from the dark bottom to the surface. They are there, singing our song with the sirens. They are tending to the Gardens of Coral, of swarms of dancing little fish, of translucent figurines of ancient sea creatures: the squids, the funny shrimps, and seahorses. All following the long pathway of Eurydice and Orpheus.

Our star, our island is there, too. The sky and the ocean are the same: the stardust of nebulas.

And suddenly I know it all. I’m certain that if I get up from My Rocks now and go home – you will be there as always: sitting on the sofa. You will look at me opening the door and you will say: finally you are back from your silly stars and ocean’s bottom. Sit here, next to me, and I will make us a cup of good coffee. We will watch that movie you wanted us to see.

I’m sure that’s what will happen when I go back home. I’m certain of it but also frozen in fear that I might be wrong. That you might not be there. But I will. I will go, open the door, sit on the sofa, and wait for the cup of good coffee. No one makes such a perfect cup of coffee, as you do.

Walk with my Eurydice

Bogumił Pacak-Gamalski

Every day starts with waking, and getting up from bed. Doesn’t matter if it is noon or 5 in the morning. Time is a very subjective thing. On days I don’t have to go to work (most of the time, since I officially stopped working for any company more than six years ago) and don’t have any appointments – I don’t look at watches or clocks. I do things when it is time to do these things, without assigning any number to that time.

Besides, time has stopped for me in November 2022. On the first night (was it night?) I fell asleep after You were gone. I wish I had not woken up. Waking up after that very first sleep is a daily routine of terror. The few seconds before you are certain that it is reality, that you are awake. When I am forced again to know that You are gone. Not to the kitchen to make us a fresh morning coffee, which you did every morning religiously for more than three decades. No – You are GONE. I have to go through that terror every single day while getting up. For 467 days, as of today.

Sometimes, just before I finally drift off to sleep, I wish, I pray, that it is the last time. That I don’t have to wake up again.

When I sleep I often meet You and talk to You. I think, sometimes I make love to You. That we are watching TV or go for a drive in the countryside.

You are my Eurydice, for whom I went to Hades to plead, to argue with the God of the Underworld, that he made a mistake. I beg him, I threaten him. I offer him love and hatred, devotion and disdain. To no avail – he is unmoved. In my dream, I write a poem to You in Italian. When I get up from my sleep I remember that poem and copy it, surprised that I retained more of my old Italian than I thought.

Dove sei, Euridice?

Dove sei, Amore mio?

Mostrati e parlami d’amore.

Ricordare! Non fermata

e non guardare indietro.

Ricorda, mio caro …

ricorda, ricor… , ri…

e piango, perché so

che ti volterai.

Ogni volta.

Today I stopped in a little park De Volf in Bedford. We used to go there many times and both liked it. It is a small park but there is something sweet and romantic about it. It offers a nice view of Halifax, our bridges, and Dartmouth. Next to it is a big building of the company that you worked for – The Berkeley. You didn’t even have that much time to work for them, yet You did leave a special mark on the senior residents of that building and all the staff. Your innate goodness emanated from you as everywhere you worked before. I will never forget and still am moved to tears how they organized a special memory meeting for the residents and staff in their main hall. It was full of people. Wonderful people, who came to share their memories, and their sorrow and offer their support to me and Your siblings, who came for Your final journey.

It was a cold but amazingly sunny day. I really enjoyed the walk and reminiscing about our strolls there. For a short while You – my Eurydice – walked with me. You didn’t turn back, didn’t look back. You walked with me. Maybe I even felt Your hand in my hand.

I know that the terror of getting up will come back tomorrow. Then again, and again for the rest of my days. But the walk today was good. Thank You, Babcycake. Gracie, mia Euridice.

Anguish, the price of Love

Bogumil Pacak-Gamalski

_{The first panel of marble triptych by Hildreth Meiere representing The Pillars of Herakles (Centre for Hellenic Studies in Washington, DC)}

Love is a strange thing, and the price you pay for it is enormous. But you pay. For a dream that is priceless. The higher is the heaven, the bliss of it – the higher is the cost. Have you known – would you have asked for it?

Let me tell you a story. There was a young man, who wandered the world from the high peaks to the deep valleys, and even deeper than the valleys. He went to the abyss of the underworld, the dark caves full of desires, hunger, and thirst. Long hands and longing eyes followed him there in the caves. The caves were like a labyrinth, one leading to the other. There, he saw a silhouette of a boy crying for love not found, for a dream not fulfilled yet. That silhouette, the shadow was – he knew it instantly – his own dream. A dream that did not want to be a dream anymore. It wanted to be born. To live. The young man heard the plea of this boy and the plea of his dream. He ran after the boy, grabbed his arm, and didn’t let go. It is a long story re-told many a time. It was said that they lived happily ever after for a long time.

Like any long story, sometimes they are too long. People heard of the ending from others and never bothered to read it to the end themselves. But re-told stories change, and people soon forget where or from whom they heard it. They stopped reading it altogether, relying on the version they had heard from others. As the others relied on those, who told them. Over time the story changed, becoming a different one.

No one truly knew what happened to the young man, when he was not young anymore or what happened to the boy rescued from the cave.

I will tell you the story of the old man, who used to be that young man.

He doesn’t go to the caves, deep valleys, or mountaintops anymore.

The boy became his. He has answered his dream and the dream of the boy. They built a house on a treetop and watched the mountains weaving long shawls of rainbows flowing slowly to the valleys. Sometimes they would climb down from the treehouse and wander in the meadows below, drinking from streams, and singing with birds.

One day, after many years of happiness, the boy went further exploring the valley. The man followed him. They came upon a place where the stream enters a big river. The boy – a man by now himself – said: I will go for a swim in this river and jumped into it. He disappeared under the water and was not coming back to the surface. The man – an old man by now – jumped after him. He has found him ensnared in the long roots of the nenufars. He frantically ripped the snarls and brought the lifeless body to the surface. He tried for a very long time to push the boy’s life back into his lungs, and he screamed to the birds to help him. They came and tried with their wings and beaks to revive the boy. But, as the old man, they couldn’t. The boy was no longer.

From then on, the old man left the valley and wandered for eternity the earth. Looking for the boy, hoping that he appears somewhere. If, by miracle, he has found himself in the caves, why wouldn’t it be possible that he will find him again? His anguish was unbearable. Even the birds couldn’t sing when they flew by him. He came to the Edge of the World and asked the Big Water: why? The Big Water thought for a while and answered him with its own question: your sorrow has moved me, old man. I am Everything, the Past, and the Future. The Present has engulfed you in anguish beyond your strength. If the price of your past is too high to carry, I can grant you a gift seldom given to anyone.

The old man raised his eyes and trembling with timid hope, asked: O, Big Water, would you return my boy to me?

The Big Water answered: there is no return from not being. But I can change the Past, I can change the event that led you to the meeting of the boy. Ever. Thus the cause of the anguish will be gone. You can’t grieve something you have never had or known. That is the price.

The old man looked in horror and screamed at the Big Water: Would you, Everything, ever accept a deal to become Nothing? Your price is too high to pay. I will keep my sorrow and will walk with it till the end of my journey.

I saw the old man when he turned away from Everything and started walking along the shores of The Edge of The World. With time he slowed down, yet he kept going. At a certain junction, the Edge of The World separated from the Big Water and became the Edge of Non-ending Abyss. There, the cliffs of the Edge were vertical like the Pillars of Heracles. He knew that he reached the end of his journey. The old man sat and rested a bit looking down the massive cliffs where below a thick cover of white clouds was the invisible Abyss. His arms raised a bit with a sight and he slowly got up making a step toward the Edge. Then he froze for a moment, turned his head, and looked. He saw, far from the Edge, mountain peaks towering above deep green valleys and a forest with tall trees. He thought that he could hear the song of birds flying in the forest. A happy tear rolled down his cheek and a broad smile appeared on his face. And the old man was sure that for a moment he saw a boy waving toward him from one of the tree tops. The boy was singing the song of the birds and smiling at him. He called to the old man: don’t be afraid, come to me, I’ll wait for you!

Did the old man jump the cliffs, you asked? I do not know. But he anguished no more.

The Woods – how You led me out of them

Bogumil Pacak-Gamalski

There are bad days. They come. I didn’t know that my emotional construction was still so fragile. Someone said something or wrote something to me, possibly in good intention – and everything fell down as a house of old rocks tumbling down in a cloud of dust. Cloud of dust and insecurities, despair. Everything I tried so hard to put together on my ocean beaches last summer – was taken away by a wave that came and washed it to the bottom of that ocean.

One of the very first lines I wrote after You were gone, after I tried to find traces of You, of us, on some trail we used to walk together – and I couldn’t find You anymore – felt like that exactly: insecurity, lost. Maybe even angry – why am I here if you are not?

I have simply called these short lines: ‘Woods’. The woods I ventured in and got lost. Couldn’t find my way back. Last night and today it felt like that – to be back in these woods.

The Woods

I’m in the woods, surrounded by trees. The sun filters through the leaves, creating a dance of light and shadow. The breeze caresses the branches, making them sway gently. The air is fresh and warm, but not too hot. It’s a perfect day for a walk.

But I’m not here to enjoy the scenery. I’m here to find you. You ran away from me, and I don’t know why. You didn’t say a word, just took off into the forest. I followed you as fast as I could, but you were always ahead of me. I called your name, but you didn’t answer. You didn’t even look back.

The terrain is rough and uneven. The ground is covered with dead wood, roots, and rocks. I’m not as agile as I used to be. I’m not a young buck anymore, confident in my strength and speed. I stumble and fall, scraping my hands and knees. I get up and keep going, hoping to catch a glimpse of you.

But you are nowhere to be seen. You are hiding from me, or you have already gone too far. You are out of my sight and out of my reach. I don’t know where you are, or if you are safe. I don’t know what you are thinking, or what you are feeling. I don’t know if you still love me, or if you ever did.

Maybe it wasn’t even an actual walk in the woods? Can’t remember anymore. Maybe it was a written record of one of my many nightmares, being half awake and half-asleep? Don’t know – there are days from these early times that are gone from my memory altogether, weeks like that. I know that they were, that I was there, too. Remember every detail, every second of You collapsing in my arms, the ambulances rushing to our home, every day and night in the hospital – and not much more after that. Just pieces of existence like a broken string of pearls rolling on the floor.

That’s that dark place I crumbled to last night and this morning. And You were not lost and gone, not hiding from me. You were right here and You guided me to a memory. The memory of a trip we took in 2016 to Alberta, our last trip to Alberta (apart from the huge trip across the continent to the shores of the Atlantic). We took a different route, a longer one, the one leading up North toward Valemount and through Highway 16 toward Jasper. But first, before reaching Jasper, one has to drive with the view of the massive, majestic Mount Robson. The highest mountain in the Canadian Rockies. Many, many years earlier I did a little climbing on this giant. Never reached the top, nor did I attempt to. Just wanted to do a bit of climbing on it and remember reaching some shelf-ledge on its steep wall, sitting on that ledge, and be amazed by the panoramic view in front. In 2016 we reversed the roles, we were the ones at the bottom in some valley, and the huge giant was looking at us from high above. It was amazing, the day was sunny, and practically there was no traffic. Remember embracing John and we both just admired the view. It felt good. We both liked going back on many visits to Alberta, especially John. After all, it was his home, where he grew up, where he went to school, his adolescence … and us at the end. We met there, and fell in love. That memory of that trip lifted me from that awful pit I fell into again.

The seed of grief is love

Bogumił Pacak-Gamalski

I have watched two movies recently. Very different and very powerful on a very personal level. Stirring emotions, and memories. The Spanish “Society of the Snow” produced by Netflix and directed by J. A. Bayona, and the Canadian production of “Good Grief” directed, produced, and written by Dan Levy. Dan Levy also played the main character, Marc.

The “Society of the snow” – let me take you on a journey in time. At the time of the catastrophe, I was 14 years old. A year later a book by British writer Clay Blair “Survive” appeared. A well-known Polish writer or essayist wrote in a Polish literary weekly “Literatura” a piece about it. It might have been Jerzy Andrzejewski, an excellent writer whose weekly column I have always read – but truly I can’t recall now. Yet the story and especially the dilemma of cannibalism versus survival made me write a short piece about it. By that, I was fifteen and of course, as any fifteen-year-old ‘writer’ had a lot to say about the issues of life and death. I sent it off to the editorial desk of Jerzy Putrament, a Polish writer, who was the editor-in-chief of the weekly ‘Literatura”, a major literary and art publication. And he published it. As it was my second publication in a major Polish magazine (the first one was in “Perspektywy”) it cemented my ‘fame and prestige’ among my teachers in my school, but not as much among my classmates, LOL.

I don’t recall if I have read the book by Clay Blair. Not sure if it was translated into Polish. Most likely I never did. But I have seen years later the first movie about it based on that novel. And I wasn’t impressed. Yet the Spanish “Society of the Snow” impressed me very much. The screen-writers (Bayona, Vilaplana, and Marques), the director, and the actors were superb in their austerity of dramatization. Everything was left to the minimum: air, food, movement, and words. Years later, while visiting Mendoza in Patagonia (the ill-fated plane took off from Mendoza on its last tragic leg of the flight to Chile), I took a special bus tour to the Andes and was able to do some hiking at the base of Aconcagua (almost 7000 meters, one of the titans of the world). The outmost desolation of that place there is amazing and overpowering. As far as you can see is a frozen horizon of white peaks and valleys. Can’t imagine surviving there with hardly any provisions for longer than a few days. I felt that the movie captured that feeling very well.

“Good Grief” by Dan Levy. Who doesn’t remember and didn’t love that sweet, funny, and almost useless in practical skills young gay guy in the now iconic CBC series “Schitt’s Creek”, with his father, great Canadian actor Eugene Levy, and fantastic Catherine O’Hara? But Dan Levy playing a grief-strickened, middle-age man in serious drama, tragedy actually? Can he carry it? He did.

I shouldn’t have watch it. But I did. I had to. As I watched his grief, as I travelled with him in his yearly journey of that grief of losing the love of his life – I went through mine. Every silent moment. Every object in his and mine apartment, photographs, furniture. At times I didn’t know if it was Dan Levy or me on that screen. If it was a movie or my memories of last year. No, I didn’t go to Paris and there was no surprise in finding ‘the other lover’. But these are just details, unimportant almost didaskalia of the drama. The differences between the lives of me and John and that of Mark and Luke are just a different shade of the same colour.

As I watched that movie sitting on my (on our) sofa I felt John taking my hand into his and squeezing it gently. I heard him saying I’m sorry, and I wanted to grab his hand, to cover it with kisses. But I didn’t, I knew the hand, his voice would dissipate into the air. So I just sat quietly, didn’t even turn my head, and continued watching the movie. With him undisturbed sitting next to me. As he always did. It felt good. Sad but good. The next morning I went for a drive to a little town called Fall River. I took him there in 2019 to a little Provincial Park, with a forest, by a long, wonderful lake. This time it was wintertime, windy and cold. The gate to the park was closed for the season. I left my car and walked the long trail on foot. The sky was splendid with clouds and sun in crispy air. It was my trip ‘to Paris’. Thank you, Dan Levy, for letting me submerge myself in that grief again. Grief is hard, is sad. But it also is beautiful, because the seed of grief is love.

After

I couldn’t sleep.   

Didn’t know how to

console You.

How to tell You –

it’s all right, Babycake.

I have survived.

No, it wasn’t Your

fault.

You tried,

You tried so hard.



Do I lie, when I say:

‘it’s all right’?

Yes, I do.

It was

so fucking hard.

I knew it would be

if and when,

but had no clue 

how hard it is.

Didn’t know 

that grief

could be like 

hot lead 

slowly injected 

into your veins.

Like the disappearing

bubbles of air

you have tried 

to squeeze into your lungs

nailed to the heavy

cross of impossibility.

As I watched with terror.

So what was

really the weight

of my grief

compared to that?

How do you compare

the pain of life

to pain of death?

How do you?

What’s the balance ratio

of life in grief

in one hand,

and no life

in the other?

Does a man know?

Does God?