


Heralding spring, a new flower arrangement (above) in Bread Alone. Little news, all proceeding predictably, teaching by week, recovering by weekend, as the snow has gradually withdrawn to reveal an universal carpet of cigarette butts and/or dog poop (the latter, in our case, in the yard). Some inspiring music in the subway – not just percussion but some of the most astonishing music sounds I’ve ever heard, accompanying the drums. And above ground a glimpse of… well, Mephisto carrying the tune? (My tune?) Meanwhile Jimmy and I have reached the final day or so of our joyous composing; musical now ready for a reading/singing. Otherwise, as I say, little or no news: no book sales to speak of; classes as usual, students quiet, maybe bored, with a few exceptions, by Chekhov, Beckett and Faulkner. My mind increasingly on my sabbatical, approaching fast now.

Birthday girl

With Randy and well-wisher

Dave Tate
Finally an event: my childhood nanny Ann’s 102nd birthday party this weekend at the ‘Historic Bethlehem Hotel’ in Bethlehem PA (named, I think, for the Moravian community who founded the town), where I attended her 100th in 2013. This one was even better. Fabulous food and same warm welcome, all thanks to Mary Rowse and the Baker boys, lifelong neighbors of Ann’s. The afternoon featured Ann’s 86-year-old companion, Dave – I’ve known both of them since I was 5 years old, so for 66 years now – and the wonderful Randy who keeps a very close eye on their welfare. Enough to make one wish (maybe) to reach 102.



My forthcoming novel, ‘Dog’s Mercury,’ features a cover image drawn from the same huge painting – by the great Manuel Zardaìn – that has provided covers for the two preceding novels, as it will provide them for the remainder of the sequence, which was completed in one year. This week I took a few photos of various corners of the painting, looking for the covers yet to come. When the books are all published, the last one should perhaps contain, in the endpapers, an image of the entire painting, with each of the covers identified in a rectangle to show their relation to the whole. Just as for me the sequence is a litter, the painting has come to symbolize the litter’s unity-in-diversity (or more exactly vice versa).


















