It was too early when I went in to wake my five-year-old daughter for school this morning. It is always too early when I wake her, even more so for me than for her. There is, nevertheless, something comforting about the familiar mundanity of being tired on a weekday morning, as unpleasant as it usually feels.
When I stepped through her bedroom door she was sitting in the middle of her bed, blinking heavily against the light from the lamp I’d turned on a few minutes before as I stumbled down the hall. She was frowning, her brows bunched in consternation, perhaps even resentment for a moment before she brushed her hair from her eyes and looked up at me, and smiled. Something about this scene brought an image to my mind, a picture from her even-younger days, but it took me a second or two to realize that I was remembering a photograph.
Photographers are often drawn to obsessing about time and memory—though, in that I suppose we are not so terribly different from other artists. From other people in general, really. It makes sense, of course. Photography is something most of us understand as a form of documentation, a way of physicalizing memory, of stretching the infinitesimal into something like permanence. Does it actually do this? Well, no, but it feels like it does, and in some ways that feeling may be more important and true than the literal facts.
Still, seeing some hint of complexity in the interaction between memory and photos, we can’t help ourselves; we just have to wrestle with it. There’s a chapter in Sally Mann’s memoir, Hold Still, in which she laments that her clearest memory of how her father looks comes not from life, but rather from a photograph. She recalls every details of the image, from the gesture of his hands to the color of his belt, but finds herself unable to move beyond the stillness of the picture to the full sensory detail of life experience. There’s no real arguing with this—once you make a photograph, or even spend any appreciable amount of time looking at one, that is what your brain will latch onto.
Nevertheless, I find myself resistant to the now-commonplace cry, “Put down your camera and live!” Perhaps this is merely another expression of the contrarian streak that so aggravated my parents when I was a child. When I poke at the edges of my capacity to remember, though, I find myself dismayed by the brain’s fallibility.
When I was young—fourth grade, perhaps? third?—one of the people I loved most in life was a young man who worked at the day care center where I went after school. I remember that love, the admiration I felt for his creativity, the joy I felt when he would invent stories on the spot. I remember looking up to him, and looking forward to every afternoon I got to spend in his presence. And I remember the deep sadness I felt, the pain and confusion we all felt the day we found out he’d killed himself. His wasn’t the first funeral I’d attended, but it was the first I cried at.
I have no photographs of that boy, and I find that now, some thirty years later, when I search my memory for an image of him, I find only a few indistinct impressions. Dark, curly hair, long in the back in the way so many boys’ hair was in the late 80’s. A bulging Adam’s apple, a cracking voice, a wispy shadow of a moustache that he never got old enough to see become proper stubble. But the color of his eyes, the shape of his nose or chin, his posture or the way he held his hands—all of that is gone now, and it will never return. What would I give to be able to remember even a facsimile, a reflection, a ghost of his smile?
After my friend died, we planted a tree to remember him, beside the fence that separated the school playground from the day care’s yard. Many years later, when I came back to my home town to shoot a photographic series about nostalgia, I stopped to visit the tree, finding that I couldn’t remember exactly which tree it was anymore. I made my best guess, and stood there trying to fix the moment in my mind. I remember now the coolness of the air, the sound of some young mothers talking while their kids ran through the play structure, the roughness of the new bark that showed through where the outer layer peeled off. But mostly I remember the photograph I took.
This morning when I carried my daughter from her bed to the living room, she wrapped her arms around my neck, and I squeezed her gently back. I gave her a little kiss on the top of her head, and her hair tickled my lips, and I thought about the photograph I’d remembered a few moments before. As I so often find myself doing, I found myself paying close attention to the sensations of the moment, the feel of the grooves in the wood floor beneath my feet, the dimness of the house in that moment before the sun was fully up, the weight of my daughter’s small body in my arms. “Remember this,” I silently told myself. “Remember exactly this.” But even as the thought finished, I felt the moment starting to slip away. It’s seven hours later as I write this. I can’t even remember which picture I thought of when I woke her up.
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Getting the chance to have conversations with creative people is one of my favorite things, which is why I started my podcast, Keep the Channel Open, over a year ago. If you don't mind, I'd like to share a few recent episodes with you:
- On March 1, I released my conversation with poet Hanif Willis-Abdurraqib, whom I talked to about his book The Crown Ain't Worth Much, his music writing for MTV, and his love of the Columbus Blue Jackets.
- The March 15 episode was with photographer Paul Turounet. We talked about his photographic work on the US-Mexico border, as well as the concept of artistic commitment.
- The March 29 episode was with writer and documentary filmmaker Barbarella Fokos. We talked about Barbarella's work making artist documentaries with The Artist Odyssey, her perspective on San Diego's art scene, and the difference between art and craft.
Finally, our latest episode, on April 12, was with photographer Jonas Yip. We discussed several of his photographic series, including his collaboration with his father to make his "Paris: Dialogue" book, and then for the second segment we talked about the idea of the Internet as archive.
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Thanks for giving me a little bit of your time. I hope that this weekend you're able to share some time with someone you love, even if that time is spent long-distance, or even if that person is just yourself.