Hope Springs

The Universe, having passed through ∞-1 cycles of creation and destruction, feels that it has fulfilled its primary purpose. Long ago, it discovered that its existence carried meaning as observer and observed. The Universe existed for a reason: to understand itself. Complete comprehension at the micro and macro levels had now been achieved, the sum total understanding of the Universe perceived, all possibilities known and cataloged.

Now, having exhausted novelty, the Universe becomes an eternal thumb riffling the dog eared pages of an inexhaustible book. There is no need to stop and browse the text, neither to read the marginalia or gloss the pages. The content has long since been memorized.

The Universe does not relish an infinity of living this manuscript over and over again without hope of discovering anything new.

The single unknown, which the Universe now contemplates, is how it can kill itself. The puzzle is not unique, merely scrambled and in need of decryption. Creating something from nothing has been done. Now, to create nothing from something. Compress down to an infinitesimal non-dimensionality and never explode? Explode beyond the limits of physics and never pull the pieces back in?

Whichever the Universe chooses, just before it has chosen and proceeds with the end of existence, something new occurs, an impossible new phase of existence.

An entirely different Universe blossoms into being, a thing apart from itself. A new baby Universe with new rules and new possibilities. A baby! One the Universe can watch grow and change, a protégée to which the Universe can impart knowledge, from which the Universe can continue to learn. The Universe is rejuvenated and decides to live.

Once an Artist

The stunning oil and acrylic landscape leered down at him from the studio wall: the last canvas. He had distributed the rest long ago, but he couldn’t let go of this one. The way the towering spires of Atlantis shimmered under the crashing waves of the Maine coast, their fantastic majesty almost hidden beneath the prosaic view from the window of his boyhood home, remained to taunt him in middle age.

Looking out this window, now, revealed a trio of languid contractors scraping on the new masonry wall. He wondered what it might feel like to work outside, then returned to his desk.

The email on his screen waited patiently. “We love the new design! But we’d like it a little smoother around the edges, with straighter lines. Can you tweak the colors, too? Something brighter, maybe, but not too bright. Also, let’s keep it abstract. The bump on the top left almost suggests a strawberry, and we don’t want that association.”

And he opened the client’s file, smoothed the edges, straightened the lines, tweaked the colors, and erased the bump that almost suggested a strawberry.

The next email explained that five thousand dollars had been deposited into his PayPal account, and that they appreciated his excellent work. He double checked. Yes, five thousand dollars had been deposited in his PayPal account. He could not recall his excellent work. The next email was another logo request.

Interruptions usually set his teeth to grinding, but he didn’t mind the doorbell’s two-toned chime just now. It took a few minutes to descend from the attic to the front door, where the contractor, cap in hand, asked him to come inspect his new wall, and then asked for four thousand dollars.

“Let me go get the checkbook.”

Then, nothing disturbed him, except for the fabled, half-seen impression of Atlantis peeking out from the big landscape on the wall. But he drew logos for a living. Expressive, eye-catching logos. Once you started, you couldn’t stop. You had to pay for equipment, upgrades to your home, things starving artists didn’t care about, like nice shoes and flattering haircuts. So he couldn’t be an artist anymore. He had to work.

When the sun set, he did not adjust the lights in the studio, but sat quietly in the dark, his eyes trying to pick out the secret elements of the landscape. Much later, he felt his way to the closet, and things crashed to the floor, bounced off his middle-age knees. With the gait of a somnambulist, he dragged things down the stairs, through the pain, and out the door.

Many hours later, the sun rose on the man who used to be an artist, paint-spattered and curled up in the dirt. The new masonry wall had disappeared. In its place stood a fresh, slightly-shiny representation of the heavens as seen by a medieval philosopher, depicting the planets in their vast spheres, the paths of fiery comets, and the careful hand of a divine creator hiding amongst the multitudes of numinous stars.

May, 1997

(The following piece originally appeared in Antioch Is My Home: Community Art Project, inspired by the planned closing of Antioch College by Antioch University. Since the writing of this piece, after a prolonged and unprecedented battle, College alumni have been awarded control of the school. To learn more about Antioch College and its struggle for continuity and independence, please visit the College website or the alumni association website.)

Pasha and I sat alone on Pennell House porch. In the turning tide from quarter to trimester, new curriculum to new-new curriculum, we alone had washed ashore. Even Jeff was becalmed in his gallery on Dayton-Yellow Springs Road, and soon I would drift off to work at the Yellow Springs Public Library. Behind us, Birch Hall hung in suspended animation, doors locked and chained.

Pasha tapped his bowl against the railing and laughed. “Listen,” he said. “It’s so quiet you can hear a bowl ash across campus.” He tapped again and the metallic ring echoed back.

I walked to the east side of Pasha’s home, the former home of America’s first fully-tenured female professor, to watch the red brick of my former home light up in the afternoon sun. Eight semesters total I had lived in that concrete block—one in Pennell, one in Willett, six in Hardy—and, still more community member than alum, felt a terrible distance from the chained dormitory. I wanted to walk its halls, crunch broken glass under my feet, lie on a stained mattress in the fortress where I first felt safe among a community. Twenty feet away, I was homesick for Birch.

“It’s the Phoenix,” I promised myself. Birch would rise again, burn, and be reborn in perpetuity. Birch was eternal, indestructible.

The thefts of the future remained hidden that day: the car accident that would steal from Pasha the memory of a campus so silent you could hear the echo of an ashing bowl; the cabal that would steal from everyone who loved Antioch the security of a home to shelter kids like us in perpetuity.

Even in May, I could trace the green path where the steam tunnels melted the snow each winter. I knew how to set the showerheads for the community steams that would be impossible following the remodel, where to cut the bolt to access the roof, and why you must never, ever flush a tampon in Birch Space. I had cooked four years of meals in filthy kitchenettes, collected a pile of 11-D-2s, and cut Birch First! graffiti into the sidewalk in front of me. I had come to Yellow Springs without a sense of place; Antioch provided the roots that let me spread my branches far from home.

We did not know, that strange, silent May, what circumstance would steal, and what we would keep. We couldn’t anticipate the home, years later, nearly two thousand miles from Yellow Springs, where Pasha, Jeff, and I would keep our own Antioch traditions alive, where I would hold for Pasha the memories he had lost. We couldn’t anticipate the phone call, years later, when Jeff’s mother, who once worked in the Office of Development, and later as Al Guskin’s administrative assistant, would announce that the University was closing the College. We didn’t know what to do with that information, six months before the public announcement. Online, older alums told me to shut up about it, not to be such an innocent. Naysayers had predicted the college’s demise for years, they said. Nothing was wrong, they said.

Jeff’s mother insisted that the plan hadn’t been such a secret, that actions taken in the years prior to that still May afternoon had set it into motion. She said Guskin’s chancellorship had been one step in the preparation. She said theft of College resources by the University had been commonplace in the 90s. A conservative, not given to conspiracy theory or outrage, she merely reported what she had seen and heard.

Pasha’s parents had a wooden plaque made up for our home, which reads, “Antioch West” with our names—Jeff, Monica, Pasha—below. We wouldn’t be a little family now if we hadn’t been a big family then, if we all hadn’t been spiritually homeless, drawn to the place where we, as individuals, were included.

It was a microscopic moment, framed by the echo of metal on metal and the glint of sun on brick, in which I prepared to trade the shelter of Yellow Springs for the big, scary world, clutching the knowledge that I had found home. Antioch is a center I carry within me, a home to share with future generations who need it as much as I did. There are children today—teenagers, elementary students, preschoolers—who don’t even know of the forces working to steal their birthright. Antioch College is my home, a home to which I welcome all who seek shelter, and a shelter I weave around myself every day.