I think of February as the Month of Unknowing, because there was still so much I didn’t know and because there was so much that our elected officials did know, but chose to forget or ignore — to un-know. And that “unnocence” has cost thousands of lives and jobs, shattered health and families, and riven our country even further apart. I am trying to be hopeful that with a new administration in the White House and vaccinations in arms, we’ll be able to mend some of these rifts, but I do think we can’t expect politicians to take care of these problems unless we keep our eye on them and do some of the work ourselves. So be nice and play well with others, people.
Meanwhile, back to 2020.
The first of February, 2019, was the day my mother went to the hospital, the day we learned how ill she was, the day we were told she had little time to live. My mother, who had been an actress, had always wanted to play Hamlet; I always thought she should would have been a magnificent Cleopatra. At her funeral service, I quoted from the end of Enobarbus’ speech (the one about the barge) and, on the anniversary of the beginning of the end, my Shakespeare app served up the lines I quoted:
What do I make of this coincidence? Not much. It neither comforts nor upsets me. But I do think coincidences are usually kind of neat.
February also started off with a repeat trip to the Monet exhibit. We were lucky to get to go twice, but I happily would have gone a dozen times. I’d seen a few Monets here and there before, but this exhibition made me understand Monet’s genius and artistry and feel the emotion in his paintings. Suddenly his work wasn’t just another pretty face.
I hadn’t known that Monet had worked as a cartoonist. This drawing reminds me of my grandfather:
Grandpa is the adult in the middle.
Many of the same paintings made me stop and re-contemplate them,
but the second time, others got more of my attention than they did the first time through.
This is a scene of the beach of Trouville, which reminds me of Gigi.
My new plan for our yard (which is a little larger than the frame of this painting):
I was, again, often taken by the details in the paintings.
Some of the paintings reminded me of California.
It was almost impossible to get my camera to catch the colours accurately.
After the exhibit, we stepped out into an evening that was almost as beautiful as the paintings.
We walked over to Civic Center Park. It was one of those evenings when the sky changed measurably from moment to moment and each change was more striking than the last. (The Capitol was lit red for Women’s Heart Health, a good cause, but against the clouds, it did look a little ominous.)
It was the sort of sky that made me think of the word “firmament.”
Civic Center Park has a rather splendid colonnade,
one that was set off by the glorious beauties of that evening’s show.
The evening display ended on a somewhat ominous tone:
There were quiet days: more sunrises,
And then another trip, this one eastward, to Kansas.
No going over misty mountains this time. Those were left behind for the stretching plains of Eastern Colorado and Western Kansas.
There was an odd, event-horizon sort of sunset.
The cardinals were still living in the yard.
There were lambent sunsets.
There was a full moon.
The creek near us tried to catch it.
So did the trees.
The climbing ivy made some of the trees look green.
I did some cooking.
There were more sunsets.
I thought about my parents.
I rambled around at night.
The moon started to wane.
I rambled around during the day.
And then I headed home. The plane took off several hours late. This time the sunset was less event horizon, more nuclear:
And I was back to the view from my front door:
The old moon in the new moon’s arms.
I was still riding the bus, running errands, going to appointments, visiting the book store.
My indoor plants started to sense the coming of Spring.
The sun and moon did more of that rising-and-setting thing they do.
And February was over.