Saturday, September 24, 2016

To Be a Hamilton Fangirl

Sense something big happening in New York.

Overhear your young coworkers raving from the other side of the partition.

Watch a clip on Facebook of the slight Latino man free-styling with Mr. Obama in the Rose Garden. Momentarily wonder who the talented rapper is, then spend more energy scorning the sniffy comment on the post, "How unpresidential!"

Pick up the original cast recording double album and slip the first CD into your car stereo.

Enjoy the driving hooks of the first couple of songs then find yourself reaching one-handed to untangle the lyric sheet from the plastic case. Realize these are not your typical Broadway-style melody-driven ballads to croon along with, this shit is DENSE.

Get hooked by the fourth verse of the first song. Be swept up and away in the coordinated syllable avalanche, each and every word perfect in its precision of meaning and meter:

Then a hurricane came, and devastation reigned
Our man saw his future drip, dripping down the drain
Put a pencil to his temple, connected it to his brain
And he wrote his first refrain, a testament to his pain

Shiver at the line, "Half dead, sittin' in their own sick." Widen your eyes at the brutal and perfect fragment, "the scent thick," then hear the whisper, "And Alex got better but his mother went quick" and know here you are. This is an orphan story, another fellow traveler and guide on your own journey. Suspect you're going to learn something important here.

Moved in with a cousin, the cousin committed suicide Left him with nothin’ but ruined pride, something new inside
A voice saying

“Alex, you gotta fend for yourself.”
He started retreatin’ and readin’ every treatise on the shelf 

Jump on the train, here we go, the pace quickening, the words coming faster, the propulsive doubling of "cousin, the cousin" sucking you in.

Play, replay. Play, replay. Check lyrics at stoplights, stay in the car once you've parked in front of the house just to search for that one phrase you missed.

Play, replay, all summer long. Enjoy the perfect jingly joy of "Helpless" for only a few moments before you hear that discordant smear of sound that changes the tone of "Satisfied" and confirm a lurking question you suspected at the first iteration of

Hamilton: Schuyler? 
Angelica: My sister.

Feel nostalgic already for your innocent first hearing of Eliza's love song. Never stop loving Philippa Soo's stratospheric squeal "Hoo!" right before she chortles, "That boy is mine, that boy is mine!" Hear her smile as she sings.

Study, play, repeat. Go slowly, song by song and dread coming to the end. Delay the deadly ending you know must come.

Be grateful for "Wait for It," as you are for every note, word and idea in this big-hearted show. Decide you would rather have the impulsive, fall-on-your-face temperament of Alexander than the guarded elegance and patience of Burr. I'm not willing to wait for my reasons -- I will make them myself.

Death doesn’t discriminate
Between the sinners
And the saints

It takes and it takes and it takes
And we keep living anyway
We rise and we fall
And we break

And we make our mistakes
And if there’s a reason I’m still alive
When everyone who loves me has died
I’m willing to wait for it
I’m willing to wait for it

Wait for it

Kiss your husband when he buys the family New Year's Eve tickets to the Chicago show.

Dive into the book that inspired Miranda to write the show, Ron Chernow's Alexander Hamilton. Buy the companion book Hamilton: The Revolution by Miranda and Jeremy McCarter and thrill to the annotations and essays detailing the design and construction of this astounding machine of a show. Underline sections you don't want to forget. Shout with triumph when Miranda confirms that his ditty "You'll Be Back" was inspired by the John Adams miniseries scene you LOVED where Adams, as the first representative of the new nation, reopens diplomatic relations with his former king.

Adjust your listening to match the passages in Miranda and McCarter's book about each song. Finally confront the inevitable and read the double tragedy story behind "It's Quiet Uptown." Listen to it twice, a third time, sob ugly and hard each time. Decide no more until the actual show. It's too hard and real, as is Hamilton's death soliloquy.

Use Hamilton and its writing imagery as the structuring theme of the final presentation for your Tech I summer class, "Using Web 2.0 Tools to Teach the Writing Process." Quote Eliza: "You built me palaces out of paragraphs. You built cathedrals" and extend the metaphor to an architectural plan for student pre-writing, composing, revision, editing and publishing. Remind your teaching colleagues that drafting is "Work! Work!" Roll your eyes at your own dorkiness yet be unable to stop smiling with pleasure.


Bring your girls into the fold. Listen to long passages during an August road trip to Door County. Comply with their request to "Play Hamilton!" every time we get back in the car. Let the girls laugh at your singing only the last words of every line, all that you can remember.

Feel your heart swell when Nora asks about that chaotic moment in "The Room Where It Happens" after Burr sings, "Meanwhile Congress is fighting over where to put the capital," because you can tell her from your research that Miranda told the company members each to yell out a different city name at the same time. Be satisfied when you can answer some of their questions: Hamilton died first, then Angelica and then Eliza, fifty years after her husband.

Laugh as the girls murder Peggy's name in the role call of "The Schuyler Sisters," then laugh again as you realize they have anticipated a silly interwebs meme, then halt your mocking with the news that Peggy died young, after a brief but happy marriage. Realize the poignancy of Eliza and Angelica's reunion in Act II, when they call out each other's names and Alexander sings gently, "the Schuyler sisters," telling us with no more words that this duet is all that is left of the original trio. Remember with a jolt Angelica's "And when you said “Hi,” I forgot my dang name" from "Satisfied" when Alexander in "Take a Break" gives her a breathy "Hi." Think, good god, what a flirt dog.

Go back to work in August and hear the altered lyrics in your head all day: "Why do I feel like I'm running out of time?"

Delight in the news that some of your students sang "My Shot" in eighth grade music. Wish to tell each one she is a diamond in the rough, a shiny piece of coal tryin' to reach her goal.

Freak a little on the 9/11 anniversary at a resurrected photo of the Trinity Church cemetery, where Alexander, Eliza and Angelica rest, covered in the grey dust of the towers. You remember this place as green and serene, as you walked by Hamilton's monument and gave it a moment's attention.

Find out that your old buddy Chris Jones is having "a conversation" with Lin-Manuel Miranda for the Chicago Humanities fest and immediately buy a membership to get the first chance for tickets. Go online at 10:00 a.m. sharp the day of ticket sales and get row FF.

The night of, marvel at the huge screaming crowd. Laugh out loud at your buddy's audaciously bad and brave beat-boxing while Miranda gamely free-styles Chicago themes, bringing down the house. Love his gracious and funny stories. Learn he would love playing Angelica if he could. Be moved by the back story to his composing his Tony acceptance Love is Love is Love is Love is Love is Love is Love is Love sonnet the afternoon after the Orlando shooting.

On your way out, overhear a teenager boy and girl chattering excitedly with their mom (?) about the show. "I can't freestyle as well as he can," says the boy. "No one follows his Twitter feed as closely as me," chimes in the girl. "When he quoted those tweets, I knew exactly which ones he was talking about!" Understand the feeling of being so close to someone you have only met through his art. Love the inspiration and joy he and his co-creators give us. Feel very grateful.

Saturday, August 6, 2016

The Path of Cairns

Sunday, July 3, 2016

Last night, no, it was Friday night after dinner (warm artichoke dip and chips as appreciated appetizers when we arrived back at camp after our hike, then around the long table in the dining tent, hazelnut and kale salad, perfect tiny garlic and rosemary potatoes, grilled salmon with butter, dill and lemon, iced tea and lemonade) there was still evening light everywhere and I couldn't rest, couldn't chill on my tent porch, cute as it was with comfy chair and charming side table and a pretty view of billows of purple wild asters and the south end of the Sinking Ship escarpment.

I left camp, out the dirt road past modern cabins and a couple of house. Scared up a jackrabbit and laughed out loud at the way its long ears stood straight up as it ran.

On the main gravel road across from out unmarked campground entrance was a locked gate bearing a sign AGRICULTURAL WASTE ONLY (what?!) and behind the gate, a steep hill with a washout road.

View east from camp: Asters, rainbow and the Agricultural Waste hill

A mustached man on a moped buzzes toward me, smiles to my smile, his young black lab nimble and fast despite his plastic cone of shame. The dog jumps on me for a pet, then gambols off, his high leaping gait like that of a rising and falling rocking horse.

I do a scramble up the hill, looking for rattlers, half wanting to stir something up.

We've seen ground squirrels, including one on the trail the first day who stood up like a trained circus animal, charming us for treats we did not give him and one on the Calf Creek Falls trail who barked at us from a treetop, making us laugh. Birds too, but not much other wildlife (a mule deer pranced by as I write this in the camp hammock) so rustling up a little snaky thrill would be like that good hot sauce on my cheesy eggs this a.m.

As I rose up the hill, the town of Tropic, Utah comes into view and I'm back there now, in present tense. I'm looking for a point high enough for a view of both massive Powell's Point to the east and the red cliffs of Bryce Canyon to the west.

Moped Man's buzzing echos below and I can hear him yell a greeting to someone. He's turned onto the main gravel road that I crossed to get here and his route is now laid out before me in a triangle. The dog is a happy little dash of movement.

No camera with me to capture the moment, no pack with water or snack, I just crawled up here on my hands and and feet for some heart pounding and gulps of air.

I sit on the gravel slope at the top of my hill facing north towards town, watching the twilight sky and thinking again in those old patterns.

Dad, did you have enough time to get some perspective before you left?

He had four kids, a wife to celebrate ten years with, a successful family business, a Montessori school he had founded with a group of friends, former adventures in the Air Force overseas. And flight. I know he kept flying after his time with the Reserves because he loved it.

Cele says to her husband, “Tell her the story about how Ron would come over to our house at night.  Your dad when he’d go flying?  He had to talk to people.”

Chuck turns to me.  “He’d fly at night a lot.  He always wanted me to go with him.  Our next-door neighbor, Al Crump, was a pilot for United and Al said to me one day he would never get in a small plane.  This guy flies a stretch, to California, Hawaii.  And that stuck in my head, don’t do it.  So I kept telling Ron, I’m not going, I’m not going.  But he’d go and he’d fly around and after he’d fly he was on a big high and he’d come ring our doorbell.  He always wore a raincoat and it’d be flapping behind him as he walks around . . .”

“Yeah, with the belt undone,” remembers Weezie.

Chuck continues, “I’d make him a drink after he was flying, you know, before he’d go home.  And one night Cele and I are in bed, the kids are asleep and we’re talking and ding-dong!  And Cele said, ‘Oh that’s Ron.’  I got up, and I didn’t answer the door, I went in the kitchen and I mixed a drink.  I opened the door, put the drink out, he grabbed it and he’s walking around the house, and he’s telling me how beautiful it is and how he saw the Loop and all this.  He finished the drink and handed me the empty glass and out the door and I close the door and go up to bed.”  

Why did he keep flying? Was it this, this thing I find on mountains, this change from the cramped limitations of sea level, this expanded, God's eye view of the world?

Did you get a chance to put it all together, Dad, on one of your late night flights over the city? Your life and what it meant? Did you have a moment to feel both satisfied and hungry at the same time?

But since they are unanswerable questions, I push my mind away. Not feeling inspired on this hill. The view is great, our hikes were spectacular today but I don't have the connecting third point of the triangle.

Uninspired is okay, though. There are lots of other things I am feeling: protected, loved and liked and well-fed. Content.

I'm ready to slide down on my butt, but (ha ha) I explore the hilltop a little more and just past the mass of red yarn (?!) I find tangled in the roots of a pinyon tree like some kind of art installation, I find a gently curving road down the back side of the hill. Richard Dreyfuss finds the way up Devil's Tower in Close Encounters and tells his companions who painted the mountain in 2-D, "next time, try sculpture."

I come back to the campfire, to new friends and warm brownies and ice cream and laughs into the night.


It took the next night's post-dinner solo sunset trek to find what I was looking for.

Our campsite had two piles of stones at its edge, cairns, and just beyond, a break in the fence that separated our site from the national park.

I followed the gentle path into the low scrubby piney wood, manzanita, creosote, prickly pear cacti, juniper everywhere. Deep breaths of clean air. To the west is a rocky dry wash, an empty river bed. I find the skeleton of a large deer, the bones gone clean but for thin pieces of shin and fetlock above the hoof, still carrying ragged dun skin.

I lost the path and paused, struck. I could wander, follow the riverbed, keep the setting sun to my left, no big whup. But tonight I wanted that path. Last night was my time to make my way without my father, not tonight.

I looked around at the beautiful Mojave desert forest and with a shift and a sigh, I saw the pile of stones and understood. One here and one a few paces beyond, making my way and leading me on. Like Cold Mountain's Inman suddenly seeing the familiar in the landscape as he returns to his home, everything changed.

"(Inman) took a wide stance on the rock and stood and pinched down his eyes to sharpen the view across the vast prospect to one far mountain. It stood apart from the sky only as the stroke of a poorly inked pen, a line thin and quick and gestural. But the shape slowly grew plain and unmistakable. It was to Cold Mountain he looked. He had achieved a vista of what for him was homeland....

"He rocked his head from side to side and it felt balanced anew on his neck stem. He entertained the notion the he stood familiarly plumb to the horizon. For a moment it seemed thinkable that he might not always feel cored out. Surely off in that knotty country there was room for a man to vanish. He could walk and the wind would blow the yellow leaves across his footsteps and he would be hid and safe from the wolfish gaze of the world at large."

The moment I found my way. Sinking Ship in the background. Do you see the pile of stones?

Here is what I need, here before me, left behind by those who did this stone work for me, for us, for all path-seekers, out of love.

I can walk on now, follow the stones, follow the path, search and find what I need. I bolt on, through shade and then warm sun, delighted with the puzzle I follow through the woods, happy to find the clues but happier that they were laid here on purpose to help me.

A pair of nights and let's complete the binary/duality theme and call this my mother's night. Because everything I learn about her confirms her love. They built the school for us, their children. It was built for me, I realize, fifty-one years later, with a simultaneously breaking and rehealing heart. Even greater, it still stands and nurtures children and their children and their teachers.

She taught us to line up our shoes in the closet with a piece of tape on the floor, Aunt Ruth remembers. She holds me in the Super 8 film frame I keep on the bookshelf next to my desk, smiles at me while I wave to the camera. In the home movies she holds toddler Nancy's hand and gently helps her to walk, my mother's face filled with a smile of joy and pride. Swimming with us, dressing us for Easter Mass, picking Nancy up to sit in the off-season ski lift bench between her brothers Christopher and Ron on some hill in Wisconsin.

But greater than the individual acts of love I know of, there is the confirmation as sure as anything I have ever known, as hard as stone and as true as gravity, I am her daughter still. Joy and love, her love, flow in me. I feel them, I know them, they are familiar and right to me, my homeland. Joy and love the only way to look at and live in this hard world.

And I can say it now: Thanks, Dad, you're in there, in me, too. Risk taker, introvert, lover of time alone, tinkerer, lover of fine and pretty things. If he sold jewelry and I would rather eschew possessions, I still appreciate the bling.

They are the ancestors who laid the way for me, and so back I go again to Mary Oliver's poem, "Members of the Tribe." She writes about poets and artists, Yeats and Keats and Van Gogh, who died too young but left her their gifts.

Ahead of me they were lighting their fires in the dark forests of death.

I forgive them their unhappiness, I forgive them for walking out of the world.

I was, of course, all that time coming along behind them, and listening for advice.

I make my way alone and also I make my way with them, dear ancestors.

Thank you

The entire landscape came awake with metaphor and possibility. I hiked on and on, down to the dry river, then back eastward toward Powell's Point. I said good bye and thank you to the cairns, bushwacked on through sweet sagebrush toward a higher point, up toward the light still on the hilltops. Found another opportune break in the fence and it felt like another gift.

Thank you!

Got that mountain madness again. Totally high. Scrambled up another rocky hill and took shots of Powell in the setting sun.

Climbed up that... get a better look at this! Powell's Point

Came down off the mountain to the campfire, sweet dessert, songs and astounding stars when the light finally left us. I'd never seen the Milky Way before.

The next day, huffing and puffing up the steep 900 foot climb of the Peek-a-Boo trail, my trailmate John from St. Louis, a lawyer and expert in ultralight backpacking, says, "Breathe in through your nose. Try breathing out longer breaths. It brings more air into the bottom of your lungs."

I reply, "Say that again," and then after he repeats it, "Easier said than done," because thinking is hard in the very struggle up the hill and then I tried it, pushing out more and more of my air, pushing my core against myself to squish out the old oxygen.

In flows the pine smell, the freshness of monsoon rain season, of soft sun-baked sand trail and tall trees pumping out their oxygen for us.

Thank you, thank you, thank you, my guides, living and dead. Thank you, ancestors.

Sunday, July 31, 2016


"Take my picture."

"Okay, but you have to set up the shot," because I want her to recognize the difference between too much headroom and just enough and the importance of faces rather than bodies but she needs to find her own way, figure out just how much slant to put on the horizon if you can't get it just so and the proportions of figure to background, all that visual literacy that is only partially taught and like all art, rather felt. But I think she has a good eye and an open heart and a willing ear to listen. Sometimes. And even if it is strange to me, all these selfies and silly Vines that make her and her neighbor friend scream with laughter then howl with embarrassment days later and frantically delete, delete the girl she was a few moments ago, I know it is the making of girl-woman-child hybrid that changes daily, the toughest job she's had yet, to figure out who she is at the same time that the "is" can't stop transforming. I'm just along for the ride, to take the picture and keep giving her slightly more challenging tasks and say "Yes," as often as I can and invite her to ride bikes with me and understand or at least try that she needs to pull away even while she still clings to me at bedtime and kisses me goodnight.

Tuesday, June 21, 2016

Summer Solstice

The longest days of the year and we're near enough to the solstice to feel the light again, to feel the energy that floods me this time of year, wakes me curious and ready at dawn, makes everything easier, spurs me to make plans, returns my equilibrium, has me considering the beautiful name April, May and June for my next three children, ha ha!

I've missed you, Dear Reader. Forgive my absence; it was a long and busy winter. I really wanted to tell you all about working with the freshman and our February Girl Scout troop trip to Wisconsin and my solo trip to Philadelphia to care for my dear little grand-niece Caroline, but there was so so much to read to keep up with the freshmen and their Lit Circles and many many (almost too many) scout leader fires to put out emails to compose and you just know how life gets away from you when you have two jobs and two Scout troops and two girls to raise.

But I must tell you this: When we arrived at Camp Juniper Knoll, the snow was still thick and untouched under the pine trees. Back home in Wilmette we had only a few patches left, but East Troy, Wisconsin gave us plenty of the white stuff to paint with colored water from spray bottles and if some of those spray bottle were held at crotch level and if Nora some girl wanted to laugh like crazy as she sprayed her name in the snow, then we'll just leave it at that. The air was a balmy 30 degrees, all the girls were dressed for the weather and we were off to a fun start.

"You might need to slide down the hill on your butts" said the camp director as she sent us down to the shore of Pleasant Lake.  No "might" about it; the steep path was solid ice and walking upright was impossible. We sat on our snow pants and slid, whee, like a band of inverted penguins on our butts, twelve girls and two leaders, through the woods  and down, down to the rocky lakefront.

The lake was frozen solid. Ice fisherman had built huts and parked trucks off in the distance. The camp managers had set up a propane cooking stove and melted sweetly scented wax in two aluminum pots. We stepped gingerly onto the lake and ooed and ahed at the layers we could see in the ice, 18 inches thick. The camp directors took turns bravely (so bravely!) holding a piece of sharp pointed metal, a railroad spike? as the girls hammered it into the ice with a mallet. No smooshed fingers, amazingly. The girls found sticks on the shore and wrapped thick pieces of string around them with twelve inches of string left hanging which they suspended over the holes as the directors poured the wax. Have you guessed yet? YES, ice candles! We watched in fascination as the steamy popping wax turned quickly opaque, first at the edges, then slowly to the center. Some girls had found tiny shells on the beach or evergreen needles to toss in the hole with the wax and if the results were not so much uniform columns as lumpy shallow cones, we were still thrilled and enchanted to pull them up out of the ice.

Thursday, December 31, 2015

Winter Solstice

Four o'clock in the morning, December 22, I woke moments before the alarm. Dressed in the dark, soft-footed past Randy sleeping and past the girls' closed bedroom doors. Drove to Katy's in the dark and told her about my dream: I overslept until eleven, woke to sunshine and complained to Randy, "Why didn't you wake me!"

Cool air, wet streets, fuzzy orange streetlights punched through the slate gray of the morning. Links Hall Constellation faces the viaduct on Western Avenue. I saw a House production of Peter Pan here years ago. We piled our blankets and pillows on the white floor. Virginia joined us; this is her fourteenth or so solstice celebration with Hamid Drake and Michael Zerang. Hushed whispers and yawns. White votive candles flickering. Two drum sets, scattered djembe and other hand drums. Hamid and Michael entered, sat before us and at first there was silence. Then, with a flickering of fingers on the taut surface of drum skin, the bath of sound began.

There were jazzy patterns and back and forth playfulness, Hamid and Michael improvising and experimenting with their riffs on the bells and drum sets. It helped to be able to sit crossed leg, yoga style with a strong straight back, or be able to lie down, ears covered, and sink into the muffled waves of sound. The best part was early on, beats on the soft hand drums, a pattern clicked in and the two drummers sustained it, unafraid to repeat and repeat the chanting groove and I swayed and rocked within it, part of the music.

Shimmering cymbals ebbed and flowed from the beats of soft mallets, hand-held by the drummers to vibrate in mid-air, then dampened against their knees. As the last gleam of sound faded away, I opened my eyes to the glow of a gray dawn from the windows behind us.

A burst of diesel exhaust greeted us through the morning air as we left Constellation for hot chocolate and apple handpies from a food truck waiting outside. "That smell reminds me of morning in Europe," said Katie. "Berlin and it's my semester abroad and I'm going to meet friends at a bar. No worries in all the world. I was happy."

I could remember that feeling -- not the one she had in Berlin, but the one she was enjoying now: nostalgia tinged with joy instead of sadness, recognition of a beautiful connection to a beloved memory. I remember, but in this dim season, my emotions are muted.

It's been a challenge, taking on a full time job at the same time that I volunteered to lead both Mia and Nora's scout troops and also manage the leaders of the five towns in our district. You know I love a challenge, though, and I'm constantly lifted knowing the work I do teaching and leading young girls and boys is grounded in good.

I'm patient with myself now because I know this low mood will pass, I know I'll revive in the spring, I know great things are ahead. Even though the news is often atrocious, the Republican mind spins seemingly without logic or compassion and my phone rang with a sad message from my brother the day after Christmas, I know that relief is waiting up ahead.

Here's what Joanna Newsom tells me:  

The moment of your greatest joy sustains: 
not ax nor hammer, 
tumor, tremor, 
can take it away, and it remains. 
It remains.

Nora is practicing this week for a performance of The Little Mermaid; she works on a Jamaican accent for her role as Sebastian the Crab with a voice somewhere between Russia and New Orleans. Mia is preparing for her social dance class with some trepidation lessened by the thrill of new dresses that make her look at herself in the mirror in a new way. I will fly to Philadelphia over my spring break to take care of my beautiful grand-niece. The girls will go with their father to someplace warm on their week that doesn't coincide with mine. I'll miss them but I'm also happy for them and Randy has promised to take them someplace I have already seen. With his kindnesses and my persistent belief in light (it's a kind of faith, isn't it?) and our daughters' constant delightfulness, with the hope of our first woman president (!!) and a restoration of sanity in the national conversation, I move on, wishing you and yours a happy new year.

Sunday, November 29, 2015

"Divers," from the album of the same name

Words, music, vocals, harp, piano, mellotron, guitaret by Joanna Newsom; video directed by Paul Thomas Anderson; artwork by Kim Keever

A diver is my love
(and I am his, if I am not deceived),
who takes one breath above, for every hour below the sea;
who gave to me a jewel
worth twice this woman's life (but would cost her less
than laying at low tide,
to see her true love phosphoresce).

And in an infinite regress:
Tell me, why is the pain of birth
lighter borne than the pain of death?
I ain't saying that I loved you first,
but I loved you best.

I know we must abide
each by the rules that bind us here:
the divers, and the sailors, and the women on the pier.
But how do you choose your form?
How do you choose your name? How do you choose your life?
How do you choose the time you must exhale,
and kick, and rise?

And in an infinite capsize:
Like a bull tearing down the coast,
double hulls bearing double masts—
I don't know if you loved me most, but you loved me last.

Recall the word you gave:
to count your way across the depths of this arid world,
where you would yoke the waves,
and lay a bed of shining pearls!
I dream it every night:
the ringing of the pail,
the motes of sand dislodged,
the shucking, quick and bright;
the twinned and cast-off shells reveal a single heart of white.

And in an infinite backslide:
Ancient border, sink past the West,
like a sword at the bearer's fall.
I can't claim that I knew you best,
but did you know me at all?

A woman is alive!
A woman is alive;
you do not take her for a sign in nacre on a stone,
alone, unfaceted and fine.
And never will I wed.
I'll hunt the pearl of death to the bottom of my life,
and ever hold my breath,
till I may be the diver's wife.

See how the infinite divides:
and the divers are not to blame
for the rift, spanning distant shores.
You don't know my name,
but I know yours.