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4/21/2011

Bingo


His fishing rod had been broken for months. He squatted, scribbling at the boards of his dock with a carpenter’s pencil. He had renamed himself Bingo Cartwheel when he was fifteen and didn’t tell anyone. He was thirty five now. Fishing was the only way Bingo could make sense of things. Writing about it was like lure fishing (spinners, jigs, cranks, plugs, spoons, buzzbaits, poppers)—which never worked for him—casting something made up out and hoping it came back with something real attached to it.

His limbs were long and didn’t look like they had been made for squatting like he was. His boots looked like a pair of anvils that had been welded to his spoke legs. His belt wasn’t holding up his pants despite the knot he’d tied it in after the buckle broke. He was going back over the letters with the pencil until the ruts of each letter shone with graphite.

In the shallows a little ways up the small river something was coming up to the surface. It was an oval the color of the moon but smooth like an egg. As it came ashore a bellybutton emerged, followed by limbs and a nose. He put down his pencil and walked over, boots sinking a few inches in the mud and making a sucking noise as he picked them up again.

He stood over a floating brown haired boy. Bingo looked at the face in the water. It looked like what happened to the boy hadn’t been so bad—his face didn’t make him look broken, just shut—like a closed book.

When Bingo still had the patience for books, he had read that there were deep sea vents—cracks in the ocean floor where heat and black poison gas from inside the earth escaped from twisted mineral chimneys. These vents were covered in plants and animals that had never seen the sun, and didn’t need it. They thrived on blistering hot, toxic smoke. He liked that, oddly colored, uncouth forms of life at the bottom of everything sucking up exhaust from the earth’s smoldering core. Creatures that would die if brought into the light.

The boy’s lips were purple and his skin looked like fresh, wet mozzarella with blue veins tangled in it. His expression made it look almost natural, as though this was just how he always looked. Bingo pretended that this was a special kind of boy who lived in the river and herded catfish. He pictured the boy standing in the river’s murk, watching catfish sift through the mud, or pulling them to a new pasture by their whiskers.

Bingo’s gaze wandered from the boy and past the shoreline trees and brush on up to the sky, all closed over with clouds the color of dirty snow. Though it wasn’t bright, the upward tilt of his head sent his eyelids closer together, like they were trying to whistle or play a trumpet. After a series of half thoughts that culminated in a slow wind he could feel blowing cold across his eyeballs, Bingo bent down and put his hands on the body’s shoulders and slipped the young shepherd back into the brown river.



4/07/2011

Snake Dance and Mountain Goats



Snake Dance
2010
watercolor, gouache, acrylic ink
15 x 21 inches



Mountain Goats
2010
watercolor, gouache, acrylic ink
15 x 21 inches



3/29/2011

...and Multiply


“He said: ‘Take now thy son, thine only son, whom thou lovest, even Isaac, and get thee into the land of Moriah; and offer him there for a burnt-offering upon one of the mountains which I will tell thee of.’”
-Genesis 22:2

As a father, consider the instruction.
Dream this growth of being, spoken
as castration, as deadened manhood’s
final, unexpected flower, kerosened.

Hear the built trust in the boy’s voice,
the pride he takes in bearing wood.
The smell of wool on his small hand,
of sweat slicking a rope. You know

even before this burning, how smoke
excites the nostrils, how knees need
the Earth to touch them. You know
the crimson of a creature giving life

to a just God, the prayers sung
by fearful throats of man and son.
The knife prepared above his neck
shears each of your boy’s prayers.

Walk down the mountain together,
eyes touching Earth, smoke hanging
in crimson wool, your boy no longer
bent by firewood’s weight. Your boy,

no longer.




3/10/2011

Interstice









2010
paper collage 
12 4 X 4 inch pieces



3/01/2011

Watching The Girls Go By

At the Virginia Beach waterfront along the boardwalk, there is an old, wood bench facing the Atlantic Ocean. Mounted on the center of the backrest is a gold plaque with a dedication and inscription bearing the words “Watching the girls go by.”


I question:
the smooth pine,
a rigor mortis of armrests and backrests,
the ribcage beams forming the seat and legs
bolted into concrete,
watching.

In the neon sundown,
the rings of years and knots in the wood,
the cigarette burns and knife-carved initials,
the worn-down hearts in-between,
ingrained, shallow by wind and sand,
left by watchers and hand-holders,
the smolderers of youth sat
on a seat of rigid pine.

I question:
if sitting
on the worn surface of a wooden bench,
torn skin fused into scars on elbows and kneecaps,
the burns on the sides of palms,
the blemish of acne scars worn down by the sun,
the tattoo needle to the ribcage,
if I’ll have sat there,
beachfront,
anywhere,
watching the girls go by—
watching, in stillness,
sitting, in sea salt,
aging, pocket-knifed, impermanent, a
biding of
time,

I question:
if there’s any difference
between that and death—
if the sitter and the seat
become one on the boardwalk
under the neon night
that makes it so hard
to distinguish
the lurid outlines
of with’ring flesh, bolted pine,
when all the girls stop going by
and the waves pull driftwood out to sea.



2/17/2011

No Nerves





collage with paper and paint



2/10/2011

Introductions


When I meet a voice carving
masks I forbid that voice to leave
this book. When I meet my voice dressed
up for a disappointing night
when a mite crawls
into a forgotten megaphone, listening.
When I meet speaking out
of turn a voice who breathes best
by match-light. When I meet a measured
silence my voice peels daylight
from beneath her fingernails.

When I meet my voice I listen
to someone else's.

When I meet my voice,
a lost dog.

When I bark.

When I plead
from the knees
of a whale.

When I rummage
through the bones
of a star.

When I meet my voice at a funeral
I did not attend.

My voice who plucks out
three
tongues,
voice who returns to another's
prison, voice who resents the eye
of the undertaker, voice who does not speak
to me, if I un-strangle you
who
will breathe with me?



2/08/2011

Red Horse



click to enlarge

2010
watercolor, gouache, acrylic ink
15 x 21 inches


2/03/2011

Two Men and Millions of Mirrors


‘How can I be like Michael Jackson, I can’t sing or dance!’ Kanye West recently exclaimed in an interview. This comment refers to the rumors that West crowned himself the new King of Pop after Jackson’s death in June 2009. This simply is not true; the publication Scrape (in the same vein as The Onion) created this quote, riffing on Kanye’s large mouth and super-sized ego. However, Kanye has made a number of comments that accomplish the same task, of putting he and Jackson in the same conversation.

He has compared the proliferation of his ‘Kanye Glasses’ to Jackson’s cultural presence. He told The Fader in ’08, ‘It's little pieces of what he had, his level of influence. And it's like that's either the one-off or it's the beginning of a lot of it.’ He references him in his music: ‘Got a light skinned friend, look like Michael Jackson, Got a dark skinned friend, look like Michael Jackson.’ And most recently, in his Thriller-esque experimental short film/music video Runaway, Jackson is the figurehead, literally, of a procession that includes a marching band, a black and red clad Klu Klux Klan gang, and a five-story blow up of Michael’s head circa Dangerous. Yeezy explained to MTV, ‘in relation to the Michael Jackson thing is not the KKK but the concept of cult.’ If you keep putting two words next to each other, over time they start to connect, to share meaning. Reverence becomes more comparison and less homage.

Essentially, Kanye is putting their names in the same sentence and then decrying his horror at having their names put in the same sentence. Self-promoter extraordinaire, he maintains the humility by denying the comparison, then reaps the benefits both ways: as the humble disciple, but one with shrewd eyes on the throne. And either way, it’s great press. Anyone’s name next to Michael Jackson looks good. After the fake story was published, and then reposted on numerous sites, West responded on his blog, ‘IT MAKES ME FEEL BAD THAT OBVIOUSLY I MADE PEOPLE FEEL THAT I WOULD BE CORNY ENOUGH TO SAY SOMETHING SO WHACK AFTER THE PASSING OF AN IDOL, A LEGEND AND MORE THAN THAT A HUMAN BEING WITH FEELINGS AND FAMILY’ (caps his). Other artists mention Jackson -- they can’t not, his legend looms so large in pop culture -- but Kanye does so more deliberately somehow, and cynically. Clearly, whatever Kanye is doing, or not doing, or doing by claiming he’s not doing though we know he’s really doing, is working.

Kanye’s sly allusions are factually inaccurate and morally reprehensible. To say that celebrity is a form of religion is not a new concept. There are faces, personas that are revered, recognized the world over. Marilyn Monroe, Michael Jordan, Madonna (and those are just the M’s) are omnipresent, known to toddlers, to those who have seen the images and heard the names even if they do not know who they are. Michael Jackson has one of the most recognizable names and faces on the planet, ever, and is the most famous entertainer of all time. 99% of people on the planet know who he is, have known for over thirty years. His best selling album, Thriller, has sold 110 million copies, nearly three times ACDC’s Back in Black, a distant second place. For these reasons alone, it is silly of Kanye to back-handedly draw the comparison. Jackson is a pop star come religious icon, if ever there was one. The idolatry that started with Elvis, then The Beatles culminated with Jackson’s celebrity, from his rapturous reception worldwide, including in developing nations, to his all-too-public private life. Sadly, it is this personal life that elevated him to a mythic and ultimately tragic status, and should prohibit offhand references such as Kanye’s.

Not to blaspheme, but on paper, a parallel can be drawn between the life of Michael Jackson and that of Jesus Christ. Both had demanding fathers. Michael’s father Joe Jackson infamously physically and verbally abused him. The issue of Immaculate Conception surrounded both of their lives: in an interview in 1993 with Oprah, at age 35, Jackson refused to admit if he was a virgin or not, because he was a ‘gentleman’. (Imagine another adult celebrity, ever, anywhere, making a similar claim.) He now has three kids and the issue of their conception has widely been debated. Also, there is an aspect of chosen-ness to Jackson’s career; thrust into it far too young by a controlling father, with a talent that he could not deny the world, despite his own personal best interest. But most crucially, both died for our sins.

No celebrity has been more scrutinized, more battered, has suffered for his fame, like Jackson. No celebrity (read: person), ever. From age eight, there was no private life, no ‘life’ in the way the average person understands the term; Jackson’s only existence was a public one, a performative one. And he was too fragile for it. He repeatedly said that he was most comfortable when performing. It was the part of life he knew the best, could do the best. His performative nature and understanding of his place in the world also defined his personal relationships, chiefly his romantic ones. They seemed public, for show. Jackson’s disposition was too delicate, too open to successfully have an adult personal life while being a superstar. He sacrificed himself so that he could give the world his body of work. Other celebrities, like Kanye, relish the attention, revel in it.

Kanye too thrives publicly but his tone is exhibitionistic, narcissistic. Where Michael came across as someone who was sharing a gift, Kanye appears to grab at all the cultural real estate available. Where Michael gave, Kanye takes. He thrives on attention, can’t live without a mirror of millions looking back at him. He performs, gladly, each minute of his waking life. This is why blogging and Twitter are so essential to his over-sharing, overblown, over-everything public persona. Kanye savors any opportunity to be the center of attention, and revolts when he isn’t (the 2006 and 2009 VMAs are textbook examples). He uses Twitter to proselytize his every word, to share his every thought with his fans. This is not unique, but the language he uses and the tone he employs is that of the oracle, of the chosen one. But a chosen-ness, unlike Michael’s, that is self-imposed.

After his recent Today Show interview with Matt Lauer concerning his George Bush comment in the wake of Katrina, Kanye went on one of his now expected Twitter rants which include, though are not limited to, the following comments: ‘I don’t trust anyone but myself! Everyone has an agenda. I don’t do press anymore. I can’t be everything to everybody anymore.’ ‘Maybe Mike could have explained how the media tried to set him up! It’s all a f-ing set up!’ and ‘I can’t be everybody’s hero and villain savior and sinner Christian and anti Christ!’ The first comment is a mere lie; the comment itself is press. The second statement is coyly confessional. He seeks advice from the departed Michael when looking at any aspect of his life is answer enough—it’s merely name-dropping. And the final comment has Kanye’s rapper narcissism shine through, his true colors as self-promoter. The opposite of Anti-Christ isn’t Christian…

Kanye is a self-anointed anointed one. He believes he is shouldering a burden, fame, that ‘everyone will see and understand one day’ (also from Twitter). But, really, he’s just working the game, and expertly so. No one is using the various forms of press better than Kanye. He is everywhere, extending to all the entrepreneurial outlets offered to rap stars, and now he’s directing films. Runaway is ambitious, an orgiastic symphony of every idea, image and feeling he can conjure, has ever conjured. It’s spectacular, but only because it’s laden with spectacle. He’s trying to out-Thriller Jackson, but while Thriller is entertainment at its purest, a landmark of not only music videos but of television, Runaway is pretentious, a series of half-baked thoughts infused with alleged High Seriousness.

It’s a shame, really. With a little less bravado (what would rap be without it?), a little more thoughtfulness, Kanye could be the figure he claims he is. My Beautiful Dark Twisted Family is SO GOOD (caps mine). His artistry and talent—his music—are more than enough. He doesn’t have to be Michael. He’s Kanye.

One of Michael Jackson’s defining traits was his selflessness; of course in his charity work though even his music was about others and otherness. If they were ever about himself, they described how his personal struggles could be applied to his listeners. He always sang from the inside out. Kanye is all outside in. He takes the world, internalizes it, is offended by it, and then sounds off bitterly, noisily. Michael Jackson did not feel scorn; he always forgave the press, his father, the world. The other figure Kanye constantly calls on was similar. He could learn a thing or two.


2/01/2011

Untitled


click to enlarge

2010
oil
30 x 24 inches



1/27/2011

INRI


A name is something
     you can’t crawl out
from under.

It binds you
     to yourself.

Is that what
     Christ felt
in the garden?

Did his cup
     say this
Is your blood?


“I am
     what you say
I am.”

That was his
     moment of Truth.

A name is something
     you can’t crawl out
from under.

It is nailed above you
     until someone
lets you down.



1/25/2011

Untitled



click to enlarge

2010
oil on canvas
24 x 18 inches


1/21/2011

General Electric


Lately, the rattle of my fridge has been keeping me awake.

Where I live I have to bring my own fridge
or rent one. You know
the kind with a microwave attached.
I have a tube TV.

I was prepared for a year of warm beer,
for doggie bags with early expiration dates.
“Sell by twenty-four hours after the meal.”
But Aaron, he lent me his fridge.

For two weeks I slept soundly
before it reared its ugly head. Bad vibrations.
Did I put it in the wrong spot?
Did I stick it with the wrong magnet?

I've removed, from its top, everything:
The clock radio, the plastic containers.
The clock radio still goes off.
The cold cuts still are cold.

The fridge rattles.
I put it at the foot of my bed.
In the middle of the night
I give it a kick.
Sometimes that does the job.


1/19/2011

1923


he sits on a piece of wood
cracked as toenails
protruding, yellow glances of the Depression still in his cup,
which reeked of cranberries and vodka.
when I woke on Monday morning
his hands were copper and full
with grapefruits and melons he bought from his friend the domino player
and the Oldsmobile would ride proudly, coughing,
to school with me pressed and clad in blue polyester.
the hand wave sneaking through the car window
said so much about the brown in my eyes
and the sunflowers that grew in his garden.



1/07/2011

How to Make Mistakes


Don't do it the way you did
the last time. Inspect each bone
holding you upright. Remove
the most shapely one. Notice
its absence from your body
as you dance. Don't do what
you did before you were born.
No number of warm assurances
will protect you from sharp joy
or its precursor, a shadow
whose touch tints your cheeks
scarlet. Don't do it the way
you were told more than once.
Trust in your oracular organs,
so often silenced by facts.
Don't do it as these words
instruct. They are the silt
of a lived river, unheard
proverbs worn hollow by use,
a careful composition sung
in entirely the wrong key.



1/05/2011

HEAVY CLEANER



collage with paper and paint


12/28/2010

Tulips




Download - Tulips

untitled, 2009
I’m thinking of ways to dismantle my brain
and I’m thinking I might just puke on your grave.



12/21/2010

Chrisp Breatt


2010
Mixed medium collage (wasa crisp bread wrapper, 
scotch tape, 1990 topps baseball cards, acryllic)
8 x 8.5 inches




12/14/2010

First Response


My girlfriend has a copper hook inside her.
It is a tiny, T-shaped thing. Perfect to hold a writhing worm,
an inch of flesh pieced by metal. This thing would bob in Lake Oswego,
shining, glittering, ready to be nibbled by fish that sparkle with rainbow skin.

But my girlfriend does not use her copper hook to catch me
or any other scaled swimmer. Her small tool sits afloat in her belly, sends repellent,
a radar of warning. Her copper hook is a fence around the lake.
My bloated fish are not allowed to swim there.

I wonder if it rusts, her copper hook jewelry.
Will it turn that aquamarine green? I wonder, does it pollute?
Will it stain her insides? Will that color seep through her skin?
I would like to have a blue girlfriend.



12/02/2010

Low Loft Reading




12/01/2010

Notes From the B Train: Part 4


View: Part 1, Part 2, Part 3

XI.
I spend the spring working with a new gentleman, Vanya, who appears to be about fifteen but is actually my age. The fact that he has no years on me does not stop him from dispensing all kinds of advice. “Listen,” he starts one day, apropos of nothing in particular. “All I’m saying is that a person’s education is never over – and I’m not talking about school.” And with all the wisdom garnered in his twenty-two lengthy years: “Every problem in life can be solved with math except for women.” I can’t really fathom what he means by this, and math is not exactly my strong suit, but I nod in agreement. Upon finding out I am newly single, he decides to share his courtship experience with me. “I finished my rapid dating phase early,” he lectures. “By nineteen I was just ready to settle down.” Vanya spends a lot of his day acquiring and consuming beverages, among them Mighty Leaf tea, peppermint mochas and the occasional glass of microwaved plum wine; at night, he reminds me, he prefers cognac with the occasional glass of Jack Daniels. “Jack and Coke – that’s the family drink,” he tells me proudly, like this family of Ukrainian émigrés that I have come to know through his screaming phone conversations with his mother thrice daily actually invented it.

Vanya introduces music to our office, which is initially an improvement upon the hums of our servers and the habitually shrieking cashiers. Unfortunately, Vanya has a European’s taste in American music. There is a lot of techno - the booming kind that makes you feel like you’re in a cavernous club where the lights flash epileptically. For some time after that, we spend our days tuned to an Internet radio station called Chill FM. Just happy to be listening to something with words, I express my enjoyment of an Air song. “Just wait,” he says excitedly, inviting me to turn and face his monitor. While I watch over my shoulder, he logs into his Deviant Art account to show me a photograph he took inspired by the song “Playground Love.” It actually depicts a playground, the one just across the street by Restaurant Tatiana. But compositionally I am surprised to find I like it a lot.

Over the course of our months together, several things happen to Vanya. The first is that he falls in love around the same time I fall out of it. “Girl,” he tells his beloved Sasha over the phone, “You want me to bring a bottle of champagne tonight? Tell you what: I’ll bring two.” I type out an email to a friend with more force than is truly necessary: “Fuck love and everybody in it.” Then it turns warm and I fall into a relationship just as Vanya falls out of his. “All these Brighton girls,” he complains, “They just wanna get married.” I have headphones on listening to “Hold Yuh;” I am feeling positive for the first time in a while. In April, Vanya goes to Coachella and returns having discovered marijuana and Burning Man. He seriously considers the idea of growing dreadlocks. This combination of revelations puts him in touch with his long-touted but somewhat latent musical side and he starts seeking my help in writing song lyrics. “Lusya,” he inquires. “What rhymes with ‘inspiration?’” Having concluded that my marketable skill is not so much Russian as it is English, he begins consulting me as his personal spell-check. “How do you spell ‘lingerie’?” he asks. “And ‘stewardess?’ I need this for a really important Facebook post.”

XII.
There are a lot of things I find to be vaguely morally challenging about this job. Aside from translating copy for revisionist pro-Stalin histories – what would my anarchist Russian ancestors think? – I translate promotional articles stating that all girls are born wanting to be moms and wives someday, swallow hard during the racist and sexist jokes, yell at angry babushkas on the telephone and take part in a lexicon of phrases like, “I am watching you” and, “You will be held responsible for your mistakes.” (Everyone seems to have learned their English by watching The Godfather or playing World of Warcraft.) There are days when I think I should get paid twice as much for working in two languages, and other days when I appreciate that I am perhaps only truly required to be half-good at either one.

In June, when I decide it is time to move on, to leave New York and translating behind for a while, I learn that Russians have certain traits that are terribly hard to walk away from: their tradition of buying food for everyone else on one’s own birthday, occasional champagne afternoons, and heated discussions of UFOs and Greek myths. Mostly, though, it is their total laxness hiding behind a veneer of dictatorship; their genuine concern and crazy commitment - even for a girl who wears thrift store sweatshirts - concealed by the stern looks or the constant yelling and shoes so pointy they’d pierce your shins.

It takes two full months to quit my job. I start large by announcing I am moving to Asia. “What are you going to do?” my boss asks me quizzically when I inform him of this. “Learn Chinese?” As if this is actually an insane thing to do, as if he doesn’t read the news, as if learning Russian makes more sense than learning a language spoken by a sixth of the world. Soon he dismisses the idea entirely. “So you’re going to Israel,” he informs me with a bemused grin, because, to him, this is the only country that allows Jews. “And when will you come back?” I tell him I’m gone for good. He smiles merrily and gives me a look of the kind people give during the early stages of relationships, when they’re skirting genuine feeling. “We’ll see,” the look said.

One day in the beginning of July, when I give my final month’s notice, I type this on my phone on the train home: “When I lived in Russia I appreciated most my lack of responsibility for anything except, essentially, staying alive. Even failing classes seemed like it might not have the consequences it would in the States. All my relationships were far away, fourteen hours away, and while this was hard at times, it was also incredibly easy. When I go to work every day, I am distancing myself from all the things that are familiar to me. It has become its own alternate reality, my little Working Vacation on the Beach. I won’t miss the unpredictability of the office clamp-downs, or finding myself locked out of my office because some men need to catch a mouse with their bare hands – “Lusya, step back, there will be blood,” they say, totally serious. But I’ll never work somewhere like this again – at least on many days I hope I never do.”

New York is unbearable, like it is every summer, and my usually peaceful commute gets rowdy as the B train fills up with high school kids on their way to the beach. I tell myself I can’t wait to get out of here. But as the end date approaches, I find myself on a tipsy humid night telling a boy I wish someone could say “Lusya” the way the Russians do. He tries valiantly but I shake my head; it’s in that softest of spaces between the “s” and “ya.” I wake up some weekend mornings with Vanya’s favorite Pink Floyd song in my head, thinking of the way we both confidently sing along to the line, “Hanging on in quiet desperation is the English way,” as though we have any knowledge of English ways at all. I start asking with genuine interest how his artistic endeavors are going, concede that this one abstract photo does, in fact, look a little like Kandinsky if you squint your eyes just right. My boss announces abruptly one day during my second to last week that I am “the best,” and I consider that boyfriends saying it never sounds as good as when he does, his “the” sounding more like “they” and the intonation of the second word rising out of his mouth like smoke. I try to imagine a life where Misha doesn’t sit down next to me at 2 PM every day to eat a banana. If not Marya, who will sneak up from behind and scare me? Who could come up with more diminutive variations for my two-syllable name than Natasha? Probably not the Chinese.

XIII.
I have by now collectively spent days of my life waiting for the B train: in lots of rain and some shine, among beach girls in rompers and aging Russian men in gold chains. I have gotten unreasonably indignant when asked for directions in Russian – this is New York! – but answered in Russian just the same without thinking. I have tried to listen for waves from the elevated platform and seen sunsets over Soviet-style high rises taken straight out of the exurbs of Vladivostok. I have sent text messages in Cyrillic by accident. I have quaked in my Keds dreading to ask for vacation in a language I didn’t feel I understood. I have smiled when I had to concede the Russians were so much more generous than I’d anticipated, in almost every way imaginable.

The trains in Brighton Beach swing toward you around a sharp bend. The B trains are the older kind with orange seats and graffiti and out-of-date ads, and their approach reminds me of the Cyclone roller coaster at Coney Island, just down the boardwalk from my office. There’s the sound of rickety wood and a whoosh of air and the moment when the angle allows you to see both the conductor in the front car and the tail end of the last one simultaneously. It’s not often that you see the start and end of trains, or anything else really, all at once. I remember my first day of work, the start of the period that one day months from now, I’ll call My Slow Descent Into Fluency. I don’t remember the last day, because it turns out it never happens: Two weeks after my last day in the office -- “Will you come back to us a ninja, Lusenka? A spy?” they ask over champagne toasts -- I get a call from Misha. I am back in my hometown for a while before leaving the States. I ignore his call, as I have always done with the Russians, and wait to listen to the message. “Lusya,” he says, not as sheepishly as I would like but still somehow sweet in his resigned tone. “We were wondering. Can you work for us from home?” And I say yes, because I always have said yes to the Russians eventually, because I am not ready, it seems, to say no, to say goodbye for real.