Pegasus

My mother never liked television, preferring to read mystery novels in her spare time. When, at the age of 77, she began to suffer dementia, she kept track of a book’s characters by writing their names on sticky tabs and affixing them to the pages on which they appeared. Her paperbacks bristled with scores of these brave little yellow flags. Then she surrendered, and started watching TV.

When I drove to Massachusetts on weekends to pay her bills, scout out needed repairs, and consult with her day-time aides, I would spend part of every day sitting on the couch with her in front of the tube. She still couldn’t stand broadcast or cable, she wanted to see only a handful of movies and series that she owned on DVD: Miracle of the White Stallions, National Velvet, a boxed set of three TV movies based on Dick Francis mysteries, The New Adventures of Black Beauty, The Saddle Club, and several equestrian documentaries. I saw all of these movies, episodes, and specials many times. Now and then, hoping for a little variety, I would suggest Babe, which I had bought for her, but she rarely agreed—the part of the horse in that movie was too small.

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The road to Heaven is drawn in pen and ink

In eighth-grade art class, when our teacher told us we were going to “do a unit” on pen and ink drawing, I envisioned a farmhouse under a spreading tree, with a rail fence and a country lane receding into the background over the brow of a hill. But our teacher wanted us to work from a photograph, and I didn’t live in a farmhouse, or on a lane, I lived in a three-bedroom Dutch Colonial in a well-tended suburb. My parents didn’t go in much for taking photos, but we did have one of our front porch, and since the banisters and newels repeated simple patterns that I could use as a crutch, I chose that. I hatched here, cross-hatched there. There was a curved element somewhere that I spent a lot of time on, hatching and cross-hatching, trying to get it to look three-dimensional. It wasn’t very good, but nothing I did in art class was very good.

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Tomorrow, and tomorrow, and tomorrow

The first time I saw the City of Tomorrow I was five years old. It was 1965. I had been taken by my parents to the New York World’s Fair. I sat next to my mother in a plastic molded chair on a conveyor belt in GM’s Futurama and watched the City float by like a dream. Its projected date was 2024. It was everything I wanted, but I didn’t know why.

The second time I saw the City of Tomorrow I was ten years old. I must have chattered—I was always a chatterer—to my parents about my hazy five-year-old memories, because for Christmas that year they gave me The World of Tomorrow, by Kenneth K. Goldstein. This 1969 volume in McGraw-Hill’s “International Library” for young readers borrows heavily from GM’s Futurama installation for its photographs and illustrations.

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Driving Matchbox cars responsibly

In 1965, when I was six, my parents started giving me Matchbox cars. I would get two or three on each birthday and another two or three at Christmas. I began to save my fifteen-cent-a-week allowance for them. One car cost fifty cents at the Woolworth’s, a ten-minute walk from my house. For my eighth birthday I got an Official Matchbox Collector’s Case that could hold 48 cars. Two years later I got an Official Deluxe Collector’s Case that could hold 72 cars.

I did the usual things: I drove them down the lanes of the pine floor boards in my bedroom; I lifted and dropped a blanket on my bed to create humps and folds that became hills and hill roads; I combined them with an HO train set and HO scale model houses I’d built from kits, turning left and right on notional streets, crossing the tracks safely after the train went by. I never caused them to crash down the stairs, and I always put them away in the two cases when I was done. Continue reading “Driving Matchbox cars responsibly”