Writing feels rusty today. I plow deliberately through the blank mental soil to find a blade of substance in a week of tragedy and cultural chaos. In conversations with men and women about our fractured culture.
” It was never like this when I was growing up,” that is from a fifty-year-old,
” I won’t get on a plane, no way?” from a forty-year-old.
” I don’t talk about my views with anyone at work or out of work, except my family and friends.”
I replied, “Yes, we have to talk niceties, bland boring conversation. “
When I was growing up, there was more joking, laughter, and confessional conversation. I was thinking about my high school years; we talked a lot about emotions, our parents, our dreams, and our fears. I don’t recall restraining what was on my mind. Perhaps that is why the majority of the younger generation prefers social media friends, as they can be easily deleted or blocked. On my FB page and feed, not one follower or friend reveals their political views, including myself. Isn’t that so contrary to humanity? And political violence, I keep hearing we won’t tolerate that on the news, but we are tolerating it. Do we all need drones over our homes for security? An optimist would say, We can do better, and we will; a pessimist might say, I think it’s going to get worse, and a nihilist would say, Life isn’t worth fixing; it’s just worthless.
I’m still dusting off the pleasantness of the past with the polemic present.
I’ve written in the genre of Creative Nonfiction, integrating the events through dialogue, journal entries, and a third-person narrative. Within three locations, Santa Fe, New Mexico, Los Angeles, California, and Saratoga Springs, NY. Greta (me) exposes the mutilation gaslighting abuse inflicts on her emotions, psychology, mental and physical health, and her finances.
ED CARAEFF PHOTOGRAPHER- He came out for the opening, a really nice guy. We played Hendrix every day for 6 months.
PHILIP TOWNSEND AT HIS EXHIBITION IN SANTA FE, NM. A PRINCE OF A MAN. WE SOLD ALL HIS STONES, BUT 4 THAT I KEPT.
JIM MARSHALL-Only he could get Dylan to smile. Jim, the legend rocked the gallery, the most eccentric man I ever met.
JIM MARSHALL.
BARON WOLMAN. The man who ignited Gallery Loulou with his introductions and faith in my passion.
LEFT TO RIGHT. MAN, unknown, my pal Blair Sabol, Jim Marshall, Ali McGraw. I get chills looking at this adventure. OPENING NIGHT IN TAOS, NM.2007
JERRY SCHATZBERG, ICONIC PHOTOGRAPHER AND FILM MAKER WHO DID MORE THAN PUSH THE ENVELOPE. HE PUNCHED IT. I JUST SPOKE WITH HIM, 99 YEARS OLD, CLEVER, HUMOROUS, ALL THERE.He exhibited in the gallery and we became confidants.
AND OF COURSE FAYE. WHOM HE ADORED AND TOOK HER TO HIS CAMERA.
I’ve written in the genre of Creative Nonfiction, integrating the events through dialogue, journal entries, and a third-person narrative. Within three locations, Santa Fe, New Mexico, Los Angeles, California, and Saratoga Springs, NY. Greta (me) exposes the mutilation gaslighting abuse inflicts on her emotions, psychology, mental and physical health, and her finances.
White Wolf introduced himself to me when he worked Valet at La Posada Resort. He was the kool one with enough style and manners to attract attention. I learned he also provided private airport transportation and luxury limo service. A trip to Albany, New York was on my schedule, so I asked White Wolf if he’d drive me to the Albuquerque Airport. When I told him my flight left at 6:30 AM, he didn’t flinch, ‘I’ll be at your house at 4:00 AM with Starbucks-what’s your drink?’
He showed up, loaded the car, asked me to select my own music, and off we went. I felt like I was riding with James Bond; smooth shifts, minor breaks, all the time engaging me in conversation. The combination relieved my pre-boarding stress and woke me up. From then on, I chose White Wolf’sairport service. When he picked me up from Albuquerque, he had Fiji water, Travel & Leisure Magazine, chewing gum, and he played Vic Damone. ‘Chill, sit back, tell me all about the trip.’
At my kitchen counter, on a twenty-below morning, White Wolf leaned back against a bar stool too petite for a swarthy 6’ 4” man. His Johnson & Johnson silky blond hair is swept back, and I want to touch it, but we don’t play with physical affections. White Wolf’s forty, looks thirty, and thinks like he served an attitude and values apprenticeship under a wise guru. He’s on a break; from plowing snow at Albertsons, the Yoga Center, and private homes. This is before he reports for work at Geronimo Restaurant, where he not only parks the cars, but walks the ladies indoors, keeps the Zapata’s outdoors, and directs traffic on Canyon Road until midnight. He’s wearing a sheet white Polo turtleneck and black slacks, his day look, and I’m about to serve pesto, prosciutto and feta cheese frittata for late breakfast.
White Wolf is sipping a sixteen-once Chai and unwinding his broad shoulders in a circular motion as he considers current consciousness of Santa Fe.
“It’s a different kind of materialism. You really want it but you can’t have it. The most simple things; a toaster, a new phone, pinion wood–cause we’re cold–it’s so cold! The guy in front of the Homeless Shelter was near frozen when I drove by to drop off a bundle of clothes. Why is it so cold? Even the valet has to wear BMW beanies. These are some funny times.”
“What’s so funny about not having money?” I smirked.
White Wolf breaks into a full-body laughing recess. His sailor-blue eyes are just slightly turned up when he laughs. This transmits his effortless, humorous pitch on life.
“It’s different,” I said. ” I mean everything feels unfamiliar.”
“Yeah, it’s okay to feel,” White Wolf said. “Things are rattling around. That’s why the Gorge Bridge felt so stable the day I drove up to Taos. I think it’s the most stable thing in my life right now! Hah.”
I had placed the frittata in front of White Wolf, but he hadn’t touched it yet. Even when he’s starved; he lets the food sit there and cool off. I’ve never seen a man not eat when food is placed in front of him. I was already biting into the frittata; relishing a real meal.
I found a momentary silent inlet and asked him if the food was cool enough. White Wolf looked down, touched it with his index finger, and then his appetite fired off. After a few pensive moments, as if he were saying grace, he took a proper bite. He takes the food seriously, intensely. He’ll make a remarkable husband for some woman. He talks a lot about marriage, and the songs he’ll sing to his bride’s mother the day of the wedding. He confides in me uninhibitedly, as if we were two teenagers, cutting class. I feel youthful when he’s in the house; the absence of masks, emotional camouflage, and exaggeration is how I remember adolescence.
“What’d you say Wednesday was–on your new schedule?” he asked.
“Wednesday… I forgot since you showed up. I know! It’s Gallery LouLou marketing.”
“We have to give out two cards a week. I want you to pass out two every day.”
I nodded my head, ” I will, 2013 is just not the year to buy art in a vacation rental during the winter.”
“Geronimo has been slow, no A-list celebrity types, no mothers and daughters; cause the daughters don’t want to come here anymore.”
“Neither do single men, I interrupted. And if they do, they’re from Los Alamos. Can you see me with a scientist or an engineer? I’d make them crazy.”
“Listen–someone asks you out for an Ecco latte, don’t be a bitch. Just do it! You reverse sweat it. If he’s a jerk, Deebo him.” Deebo is the guy who shows up late, and should have been on time. His quip is unabashed, and he handles himself like Sean Penn; smoking and all smiles while he reverses blame.
“Can we change the subject?” I said.
“No! I want to know why you’re not even trying to hook up?”
“Because I’m convinced the man I want isn’t in Santa Fe. The ones I’ve met are looking for a caretaker, a fly-fishing partner, or a biker. Look, there are two types of men: one loves a woman because she’s not a man, and the other one seeks a mother who he can bash around.”
“I want to rat those guys out–like the ones that pinch and don’t tip. Give a name to that.”
“ Listen to this; the newly coined slogan for New Mexico is Truth.” I said.
“ Truth. About what?”
“ Exactly! What truth are they referring to? How bout’ the naked truth? Picture a Native American woman out in the arroyo in a leather crop top, her black hair elevated in strands by the wind, dust on her cheekbones. New Mexico is naked, isn’t it?” I asked.
“It’s isolated. If you can afford to come to Santa Fe and not blow your brains out, or go broke, you deserve to be here. Right?” He is smiling. Even the painful truths, are reformed as tests of endurance rather than complaints. He developed his own poetic rap dialogue that I suppose comes from growing up in two cultures: one in the hood, and the other in the wealthiest homes in Santa Fe.
“ Then it’s a good place for you. Like your friend that takes her poodle to Hospice. I really respect her for that. That’s what she’s doing with Santa Fe.” He said.
“What do you do with Santa Fe?” I asked.
“I’m the union organizer for luxury limo drivers. Like, iron your shirt and shine your shoes, have CD’s in the car, and water. You know–like this is New Mexico but we can spell Burberry. On the weekends I’m the ladies traffic controller!”
“ What is that?”
“At the clubs. Some of the guys are okay, all suited up, hoping for a dance, but some are like, I’ll buy you acocktail if I can follow you home. Someone has to protect them. Ladies can’t drive home cause they’ve cocktailed all night, or they can’t find their car keys, or they want to impress their friends with the Viking chauffeur. It’s chill; they’re good girls during the day.”
The morning turned into afternoon, and I was cleaning dishes, and watching the birds from the kitchen window. Every hour or so I stop responding to White Wolf, and let him talk. I can feel the rush of his life; how he sprints from limo driver, to Geronimo valet, then to Albuquerque, the gym, and his family. People who live intensely engaged in a variety of relationships; stir their surroundings like a human wind. Every time White Wolf leaves, I’m bouncing through the living room and dancing.
When I tuned into the conversation he was recounting his day in ardent animation. His laughter echoes, almost like he’s singing a song, and it lasts a long time.
“I don’t mind giving back to our greedy city tax roll. I feed the meters at the Lensic; that quarter made a difference. Huh?”… more laughter and he repeats, ‘we’re down to quarters.’
“Those meter guys were writing tickets like, here take that, and then on to the next car. Don’t bother coming back to Santa Fe, and it’s the weekend! That’s the barometer of my city—-hurry hurry write that ticket. Once it’s done it’s done.” Suddenly he stands, positioning his legs a few feet apart, he leans over, picks up his keys, and his phone.
“Come on let’s go for a quick creep.”
“A what?”
“Cruise the plaza, get you outdoors, come on it’ll make you feel better.”
“I’m not dressed for outdoors..”
“Put on a pair of low brow boots, and a jacket. Not fashioning this afternoon. You won’t even get out of the car. Come on.”
I listened because White Wolf is definitive in decisions. He doesn’t waver back and forth or want to argue. I rushed upstairs, zipped up my boots and grabbed a down jacket. He was standing by the window.
“We have twenty-minutes.” He said pointing to his watch.
We hopped into his silver VW GTI and he told me to pick a CD. I shuffled through the stack, while he backed out. Just then I noticed a car pull out across Palace Avenue.
“Wolf! Watch out!”
“I got it.” He leaned back, shot eyeball calmness to me and asked what CD I wanted to hear. He didn’t scold me for my alarm and doubt. After that I knew my caution was unnecessary. You learn a lot about a man by his driving. It’s a graph of his responsiveness, confidence, and how he handles sudden movement. White Wolf cruised over the icy asphalt and into the empty Plaza, all white and brown like a two envelopes sitting side by side. He was now slouching back, one hand on the wheel, messing with something in the open compartment, and driving 15 mph. There weren’t a lot of cars, but I had the feeling White Wolf didn’t care if there was someone behind us. We drove past Santa Fe Dry Goods, and he stopped, “Empty– that’s sad. No one buying fuzzy boots or hats.”
He drove by every shop and looked in, as if he was monitoring shopping trends. His eyes swept the streets, the alleyways, and I mimicked him, because I knew this was for me. We went slow as a couple of tired horses, so the eyes could bring in the unknown: a homeless man on a corner, the Indian woman selling jewelry, the Mideastern jewelers smoking cigarettes, and a few locals trotting back to work from a break. I looked up to the sky and found a patch of blue, and pointed it out to White Wolf,” and he turned to me and said, “I’m happy you noticed.”
“It’s two o’clock already,” I said.
“How’d it get to be two o’clock?” White Wolf kept the engine at crawl speed all the way back to the house. “You have to go to Santa Fe Spa–at least go see people! And go after six.” I nodded my head as I got out of the car, went inside, turned on the Rolling Stones, and danced.
Gallery Hendrix film concert in the garage for his exhibition.
I’ve written in the genre of Creative Nonfiction, integrating the events through dialogue, journal entries, and a third-person narrative. Within three locations, Santa Fe, New Mexico, Los Angeles, California, and Saratoga Springs, NY. Greta (me) exposes the mutilation gaslighting abuse inflicts on her emotions, psychology, mental and physical health, and her finances.
SILHOUETTE of a Taos night out in 2006. It begins with the sunset—a bubble-gum pink sash that swirls like taffy just above the distant hillside. The transcending forms and colors in the sky distract me; they silence me, keeping me from turning on the television or answering the phone.
The sunset has settled into my routine. I watch it from the roof garden over our Adobe Home and Gallery every night. In the midst of dressing to attend an art auction at the Millicent Rogers Museum, the sun has vanished. The sky turns Taos blue; a luminous oil pigment canvas blue that appears like an endless tunnel you can walk through. As I descend the staircase and cross over the ménage of piles shoved in a corner to allow SC to paint, I think, “This is going to be my home. I’m still here” Adventures in Livingness
In the courtyard where new flagstone has been laid, and a mud ditch blocks the exit, Rudy hitches me on his back and carries me out the side entrance through Tony Abeyta’s yard. Tony’s yard is piled with sand from our flagstone project, and my high-heeled black suede shoes are not at all practical for crossing New Mexican dunes. This is how the evening begins. Out in the parking lot, we circle around once and stop in Robert’s gallery. He has offered me his turquoise squash seed necklace to wear at the auction. The necklace is from Turkey, and sells for $1,800. Millicent Rogers events always attract women with extravagant jewelry, and Robert knows I have no such possessions. He hands me the necklace and says, have fun.
At times like this, I can forget the faces and routines I lived in Solana Beach and feel swept into a labyrinth of unfamiliar vignettes. There are two police cars in the rear of the parking lot, the church looms like a fortress of wet mud, and SC is listening to The Band CD we picked up in Santa Fe. I slide into the car, ensuring my shoes don’t fill with gravel.
There is very little street light along the desert road, and cars approach you at disarming speeds. For newcomers, the pale yellow line that separates oncoming traffic, roaming animals, hitchhikers, leather-clad bikers, and abandoned pets is of no comfort or value. Boundaries and civilities between people are vague, and sometimes, conversations elope into poetry.
At the Millicent Rogers Museum, the director, Jill, who is there to welcome each guest, greets us at the carved wooden doors. This museum was once a home, like most museums in Taos.Each room is an envelope of Native American jewelry, ceramics, paintings, weaving, textiles, and metalwork sealed with Millicent Rogers’s ethereal presence. By coming to Taos and bridging her New York chic with southwestern individuality, she set global trends in fashion, art, and living. he museum collection includes some of her designs that evolved from her residency in the desert. She moved here in 1947 and died here in 1953. Although she could have chosen anywhere in the world to live, she settled in the unaltered, surreal lunar beauty of Taos.
I wandered through the tightly packed rooms, alternately viewing the guest’s attire and jewelry. The woven wraps, belts, and hats worn by men and women form a collage of individual expression. Almost everyone seems to attract attention by the texture and color of his or her attire. It is a festive traditional look, with southwestern accessories paired with jeans or silk dresses. If you come to Taos, look for a belt buckle, one piece of Native American jewelry, and one piece of art.
When the auction was announced, I admired the same etching as the woman next to me. She remarked that the artist was also the teacher of one of her children. I learned that Ellen had six children and 11 grandchildren. She was petite with curly blonde hair, and I liked her instantly. I told her I was a writer.
“So am I,” she answered.
Rather than talk about her work, she began talking about her daughter, who is also a writer.
“I’m so lucky–all my children and grandchildren are creative and artistic.”
It was obvious that her life was a garden of earthly delights and that she had raised many roses. When the auction began, she vanished, and I quickly viewed the art before returning to the two etchings. They were both sold.
As I was walking out, I bumped into Ellen. She was clutching the etchings.
“So, you bought them,” I said.
“Oh, yes, I had to have them.”
She left me with a beaming smile and a closing remark I often hear: “Welcome to Taos.”
I love hearing that so much I don’t want to stop saying, I just moved here. After the auction, we stopped in Marco’s Downtown Bistro, where we joined an improvisational party. It started when Marco introduced us to his friends, Pablo and Joan, who were visiting from Santa Fe.
The dim, glowing melon adobe walls of the bistro, Marco hugging everyone, Joan’s melodious, high-pitched laughter, Pablo telling jokes, Rudy laughing, and then Philip arriving to tell stories crossed over from strangers in a bistro to a fast-rolling film. The conversation and laughter surfed breathlessly from one person to another.
Joan remarked, “My fifteen minutes. This is the best for me. The first time you meet someone, you’re both talking without effort. It’s so perfect.”
We closed the bistro past midnight. Marco had gone home. Joan decided to stay at a friend’s house. Philip agreed to drive to Santa Fe the next day, and we took Tylenol before bed.
Not every night out in Taos is like Joan’s fifteen minutes, but chances are you will have something to write home about. The beginning of Gallery LouLou Taos, NM
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I’ve written in the genre of Creative Nonfiction, integrating the events through dialogue, journal entries, and a third-person narrative. Within three locations, Santa Fe, New Mexico, Los Angeles, California, and Saratoga Springs, NY. Greta (me) exposes the mutilation gaslighting abuse inflicts on her emotions, psychology, mental and physical health, and her finances.
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