Last April, after a grief-filled winter, and a previous fall that was more difficult than I could possibly describe, Nancy and I went to Italy for three weeks — a long-delayed trip that had once been intended as a celebration of our 60th birthdays, both of which were more than a year past by then.
While in Italy, we spent four lovely days in the ridiculously picturesque city of Venice, and while there, we took a day to visit Murano, a portion of the city that is renowned for its glass factories. It is, if you are not familiar with the history of glass-making in Venice, home to the Murano Glassworks, one of the most renowned glass producers in the world. It is also a gorgeous part of the city. We had a great time there, walking around, looking in shops, getting some food, enjoying the play of color and light on the waterways and old buildings. We watched a glass-blowing exhibition at the Murano factory and bought many gifts for friends and family back home, as well as for Nancy.
While walking around, searching for a small souvenir of my own, I stopped in at a modest shop on a square, and found, among other things, several small squares of glass in which were embedded finely-wrought images of bare trees. I was captivated and started up a halting conversation with the shop’s owner, who spoke only a bit more English than I did Italian. We managed to communicate, though, and had a very nice exchange. The works in question, it turned out, had been done by the man’s father. He shaped the trees out of strands of steel wool and then placed them in small molds which he filled with melted glass. Each image came out slightly differently. All of them were delicate and beautiful and utterly unlike anything else I had seen in Venice (or anywhere else, for that matter).
I bought the one you see in the photo here. It is small — only 2 1/2 inches by 2 inches — and it is signed — etched, actually — by the artist. I don’t recall what I paid for it. Honestly, I don’t care. I love it. The man wrapped it up in tissue paper, took my payment, and I left his shop, likely never to see him again.
I kept it wrapped up even after we returned to the States. My plan was to open it once we were in our new house, which is what I did. It now sits in my office window, catching the late afternoon sun. And it reminds me of so much. That trip to Italy, which marked the beginning of my personal recovery from the trauma of losing Alex. That day in Venice, which was gloriously fun. The conversation with the kind shopkeeper, whose love for and pride in his father was palpable throughout our exchange. More, that little glass piece is an image of winter, and it sparkles like a gem when the sun hits it. It reminds me that even after a long cold winter, a time of grief and pain, there is always new life and the joy of a new spring.
A cliché, to be sure. But as with so many clichés, it’s rooted in truth.
That little tree — the simplicity of steel wool preserved in glass — brings me joy and comfort all out of proportion to its size and cost. I think Alex would love it, too.
When we were getting ready to move, Nancy and I unloaded a lot of stuff. We talked often of the joy we derived from “lightening our lives,” culling from our belongings items we no longer needed or wanted. And I am so glad to have done that work. But I will admit that I still get great pleasure out of many of the things we kept, including little tchotchkes (Yiddish for “trinkets” or “little nothings”) like this one.
Wishing you a wonderful week.
What else have I got? Several years back, while attending a World Fantasy Convention, I bought signed prints of
We have a few nice pieces of art that once belonged to my parents. We have photos we purchased just outside of Zion National Park — photos of the park taken by photographer
Of course, we have tons of smaller photos all around the house, of our darling daughters, of our parents and siblings, of friends, of our wedding.
We woke this morning to a snow squall, something that happened with ever-decreasing frequency during our years in Tennessee, as climate change made the warm South even warmer. Here in New York, during the winter months, snow is still the default when there’s precipitation, and I love that. I have missed snow and don’t mind paying the plow guy or dealing with snow on the walkways and driveway. The beauty of an early morning snowfall more than makes up for the inconveniences.





This [see the photo above] will soon be our new home. It is in New York’s Hudson Valley, near Albany, on six-plus acres of beautiful land, complete with gardens, fruit trees, and a small pond. More important, it is maybe twenty minutes from my brother and sister-in-law, is equally close to one of my dearest friends and his partner, and is within easy drives of many other friends and family.

Our girls LOVED Sewanee Fourth of July when they were young. We would give them a bit of cash, help them meet up with friends, and then pretty much say goodbye to them for the day. It’s a small, safe, friendly town, and we never worried about them. They always found us eventually, sunburned and sweaty, their faces covered in face-paint, their pockets stuffed with candy that was thrown to kids by the parade participants. We’d go home, have a nap and some dinner, not that any of us was very hungry, and then, after covering ourselves with bug spray, would make our way to the fireworks venue.
Somewhere along the way, as her battle went on, Alex decided she wanted to have the image of those blooms tattooed on her arm. She turned to a friend from NYU who had become an accomplished tattoo artist. This friend, Ally Zhou, specializes in fine line work, and was the ideal person to render the precise details of the dried bouquet. The result was a gorgeous tattoo that Alex bore proudly for the rest of her too-short life.
I know there are many of you reading this for whom a small tattoo is no big deal. You have sleeves or extensive back pieces or whatever. I think that’s great. But as I say, this was something Nancy and I had never intended to do. It felt momentous, like a ritual of sorts, a way of alchemizing our grief into something physical and shared and public, something that links us to one another and to Alex. I love my new tattoo, for what it means as well as for how it looks.