Letter To A Just Married Couple

Snow Hill

In 1998 I flew from Panama to Pennsylvania, rented a car and drove to a rural wedding of my friend Jim Murphy and his bride to be Jackie. I had met Jim in Peace Corps in Malawi and he had visited me in England after he returned from doing field work in Africa. After the wedding he and his wife were going to Tanzania for nine months as part of his research for a PhD.  I wrote this letter to them after the wedding while I was still in Pennsylvania. I have not altered a word. Because I have no photos from the wedding, I’ve included a picture of James (the groom) from Malawi, as well as photos from Panama and a photo of an art gallery.

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Jim Murphy in Malawi

The images are still clear; the memories distinct. Time to catch them.

Ten p.m. at Ludwig’s restaurant–the Murphy brothers seated and sipping as though in an Irish pub; Jim’s enthusiasm, Jack’s wit, Jackie’s warmth. Three thirty a.m. in a cramped hotel room talking philosophy, gulping Yinling brews and twiddling the AM dial on a cheap radio; sunrise golfers up and sipping bloody Mary’s. Noontime wedding day: lounging by the poolside while other guests roll in.

Big ceremony in a small church. Boxed pews, quick prayers and a row of bridesmaids clutching crimson bouquets. Prayers for victims of East African embassy bombings. A tangerine wedding program with wise words of land stewardship by Wendell Berry. A line drawing on the back cover: “The earth laughs in flowers.”

The wedding reception: huge strawberries beside a vat of chocolate sauce; Neil takes the microphone. Closing down Eagle Tavern. Rene foregoes sleep to be the designated driver. A two a.m. climb over rails for a cold dip in the pool. The manky morning after taste of Havana cigars.

Late, late breakfast at the Black Horse. Hugs and handshakes to strangers forged into friends and departed from within 48 hours. Too much, too good, too fast. I return to the Hampton Inn and find a hallway without breakfast chatter. No more familiar faces by the poolside. Maids make beds where friends no longer sleep. They tuck in sheets. They tuck away the past. Guests have gone. They have flown and driven east and west. I am alone. Pennsylvania. One day and a half left. In room 210, I drop a phone on the couch and dial numbers. Disappointment. Friends I once knew no longer live in Rhode Island or Glen, New Hampshire. I phone family in Albuquerque and Denver. There is no reply. It is midday on Sunday. The sound of the wedding reception band, the squeal of Molly the baby in room 211 and the poolside splash of familiar faces–gone.

Alone.

What to do?

Kwani Dup Island, Panama

A memory: morning hallway talk with eager Mr. Murphy. The region, he explains, is rich with possibility. With cash and car and free hours, there is much to do. He recommends Brandywine River Museum.

A second memory: breakfast in the Black Horse. Shoveling down scrambled eggs and forkfuls of scrapple and blueberry coffee cake into sleepy guts. For only a moment, Erin, Darcy and Ellen are quiet. Becky, suggesting a place to visit, lowers her coffee mug, looks up with huge liquid eyes, then cracks the silence:

Brandywine.

So I go. Into the Budget rental compact, crank up the air conditioning and leave the memory of a hotel where friends no longer stay. I drive south. Past the exits of Exton and King of Prussia. While moving, an overwhelming certainty arrives. It covers me like paint. My skin glows, as it does when this feeling come perhaps every other year. Something huge awaits. The intuitive certainty is enormous. This sensation rarely lies. At fifty miles an hour I turn onto a side road and pass hay bales and tilted green hills and veer over the impeccable asphalt of one more beautiful American highway. Finally, the museum is ahead.

Photograph of rice workers

Wyeth. Mr. Murphy said Wyeth. Who is Wyeth? He is a painter. Renowned. Of Chadds Ford, Pennsylvania, and of Maine. The counter attendant says his work is on the third floor. Waiting for the elevator takes too long. I skip up wide concrete steps two at a time, head reeling from late nights, and step into a carefully lit gallery. Paintings on a far wall fix attention. I walk that way.

Months ago–when I first arrived in Panama City–an Argentinian engineer named Marcello described his first visit to the canal. For hours, he watched ships raised and lowered and tugged through locks. He looked with awe as cargo tubs passed through the Gaillard Cut single file, like ants over a narrow path. He told how the sight of the work–a marvel of engineering–had been for him an intensely emotional experience. In contrast, I felt no emotion about the canal. Nothing. It looked fascinating, certainly. Intriguing, yes. But something to get emotional about? Come on. What was he talking about?

Panama Canal, Panama

The answer came on the third floor of Brandywine museum. The art, though simple, is shocking. Looking at paintings hanging on the wall untied inner knots of anxiety. It was as though I had been starving–without knowing it–for this sort of imagery. Emotions quietly exploded inside. For minutes, I stood without moving before N.C. Wyeth’s painting In the Crystal Depths, and before Weymouth’s canvas August. River water reflections besides an Indian’s canoe; strands of blue and yellow straw laid out on a sloping field. The canvases satisfied a thirst for detail.

Two days ago, I arrived in Pennsylvania without a wedding present. You both have enough books to study. I don’t know anything about furniture (though Jack briefed me on the merits of a La-Z-Boy on the way back from Eagle Tavern). So I will send you a copy of the print August–the month when you were wed. The details and light, at least to this untrained eye, are riveting. Another museum in Brandywine contained a copy of Life magazine from May, 1965. In an interview, Andrew Wyeth said something that definitely applies to Weymouth’s painting August:

“My God, when you really begin to peer into something, a simple object, and realize the profound meaning of that thing–if you have any emotions about it, there’s no end.”

No end.

Satisfied with the company of these paintings, I moved through the hallway. More surprise was still to come. The painting Snow Hill hangs from a curtain wall inside the entrance to one room. The image stopped me cold. It left both eyes staring. It caused a shock, a punch of laughter. I felt high. It grabbed drowsy senses and shook emotions and finally left me in a state of calm.

Snow Hill is a wide panorama. It shows a clutch of individuals, including a soldier, a girl, and a man with a hook for a hand, dancing below a maypole in a trampled circle of snow. The image is wide and open and free: limbs elastic, hair flailing and carefree motion captured on a broad canvas. Dance. Celebration. Colored maypole stringers atop a low hill with a barn–a farmhouse?–down a valley and to the left. Perhaps it was the caffeine. Perhaps the sleepless nights. Regardless, the painting blasted me with a sense of hope, of triumph.

Myself in Panama

I then realized that these bubbling emotions were the same caused by your wedding a day earlier. The minister warned you both about difficult times ahead. She cautioned you to resolve these together. This would take work and dedicated effort. Recalling her words, I looked at the soldier on the hill. He was dancing. Life was festive. But there were other times, it was clear, when he would also have to fight.

When entering the museum, part of me was starved for images, for a larger perspective on ordinary scenes. Snow Hill is more than a depiction of dancers. The image also projects a larger, more abstract theme–that of hope. An injured man and a weary soldier dance hand in hand with an innocent girl wearing ancient clothing. For that moment, the weight of their duties, battles, and injuries from the past, are all gone. The painting is larger than just an image.

On the night of the wedding I learned that Ashley was upset. I had convinced (convinced?!) Jack to stay up late drinking beers–caring little about the consequences to his family–Ashley and five month old Molly. But we hadn’t seen each other in six years. Since then, Jack had grown up. He had married and had a family and responsibility. Yet I was the same. I came to your wedding with a narrow perspective and canned expectations. I saw Jack as Jack as he was six years ago. When the weekend ended I also saw him as a man for whom late night cigar smoking shindigs with the boys had hidden repercussions. Although Jack looked the same, the picture of his life, and the people inside of it, had expanded. My ability to recognize that had not.

This reminded me of Jim’s poolside comment on the afternoon of the wedding day. You said that a serious commitment to another person forces you to change your selfish thinking. You suddenly have to consider another person’s needs and desires. As though the commitment to be married forces you to live, and to act, within a larger canvas.

Art gallery (actually – located in Cape Town, South Africa)

I keep roaming the world–Bangkok, Dubai, Luanda, Panama, and across the golden sands of Namibia to a place named Werld’s End. Nine years on the trail. At each new home I unpack an atlas and a dictionary and clutch onto the security of selfish goals: just one more continent to work on, one more project to complete, another skill to tack onto a resume, another language to learn, another acre to buy, or check to deposit into a mutual fund savings account. For years, this wanderlust has satisfied an itching for sights, for novel images. But lately, the joy is missing. Now, when I consider these actions in light of Ashley’s disapproval and Jim’s poolside words, I see myself high on that snowy New England hilltop, whipped by wind and circling a sturdy maypole–but all alone.

Your wedding, your swapping of vows, recitation of prayers, exchange of golden bands (and cutting of cake), has forced at least one person to reconsider selfish pursuits. It has provided a larger perspective on that which is important to life: the people you care for and the relationships developed with them.

The wedding is over. Your journey has begun. It’s now late on Sunday afternoon. I sit on a green bench below a maple tree beside a rural Pennsylvanian highway. Nissan Patrols and Harleys thunder back to Philadelphia after a weekend away. Alone, I recall the wedding and the weekend, the long nights and full days and the champagne toasts. I also recall standing in shorts and sandals before these paintings. Something huge, and unexpected, happened today and yesterday. I do not understand why or how and will not guess at reasons, but the picture of what is important to life has expanded. And your wedding–like the image of dancers on Snow Hill–has given me a huge and renewed sense of hope. About everything.

Congratulations.