Glory days at The Cuestonian, early 1970s

I think–but I’m not sure–that this is the old Journalism classroom at Cuesta College, where classes were taught by a gifted instructor, Bob Tomlinson–gifted, most of all, in teaching the ethics of good reporting–and where the campus newspaper, The Cuestonian, was once produced. It was still in the Eleanor Roosevelt green-over-khaki paint scheme back in our days.

“Our days” because The Cuestonian is an old Gregory family tradition. My big brother Bruce, AGUHS ’66, was the editor in 1968-1969 and he developed a crush on one of his reporters. Fifty-two years later, Bruce and Evie are still married.



I, AGHS ’70, was the editor a few years later and we won, for such a little punky junior college operating out of World War II barracks, an embarrassing amount of awards, in statewide competitions, in writing, photography, graphics and page design.

You don’t judge a newspaper by its barracks.

This was the convention where one of the speakers gushed about a hot young television news talent named “Brokaw.


Once you went up the steps, Mr. T’s office was inside the window to the left. He had no more room than a submarine ensign, because most of the office was filled with a monstrous machine called a “Justowriter,” which allowed the keyboard operator to type up the news stories which emerged in a perforated pink ribbon and then, through some alchemy still mysterious to me, the pink ribbon was translated into news columns. (In my imagination, the Justowriter—that’s one of the great beasties below— was steam-powered and drove monstrous pistons, but’s that’s just my imagination.)



The window to the right was my turf and that of the News Editor. We had, at age nineteen or twenty, our own DESKS and so felt immensely important. We filled the room with clackety-clack typewriter noises and immense blue clouds of cigarette smoke–smoking was as fundamental a part of news reporting as were the press passes tucked into the ribbon of your fedora.

Oh, right. We didn’t wear fedoras anymore.

The biggest part of the building was the journalism classroom, edged with banks of tabletops. When it was time to go to press, the desks were cleared away–the process for staging a square-dance in a Victorian one-room schoolhouse was much the same–and the banks of tabletops came alight in the panes of glass that punctuated them.

That’s where you laid out the newspaper, on the glass panes. You’d lay down a big sheet of blue-checkered paper (blue doesn’t pick up in offset photography) and the news stories composed on the Justowriter appeared as long printed columns. They were affixed to the page, guided by the blue lines now transparent in the light, with wax and you rolled them onto the paper with little plastic rollers.When you needed more room, you clipped the end of the story, which is why journalists are trained to get all the good stuff into the lead, or first paragraph, and the ones just following.

Clipping the ends off of stories generated immense emotional anguish from the reporters who’d written them. Me too.

In the back of the building was the darkroom. The reporters did not go into the darkroom. That was the place for more alchemy and photographers (Nikons, Pentaxes, Minoltas)–the ones who used something called “film” that had “speeds,” like Pan X and Plus X–were a justifiably prickly lot.All of them kept the door to the darkroom shut not just out of necessity but because they remembered the story of the great combat photographer Robert Capa, who shot seven rolls of film on Omaha beach on D-Day, was nearly killed seven times, and when the film was shipped back to the darkroom in London, the processor ruined six of them. Even the seventh roll was damaged–it still produced the immortal image below.



So we left the photographers alone, out of respect.

I sometimes wondered if they might not be working out a way to make moonshine out of developer fluid back there.

However, I was the only one who could actually go back there from time to time, because sometimes we had to trim headlines, not just stories, and we had a camera called a strip-printer that generated headlines along a strip of photographic paper one letter at a time–in Bodoni Bold. I got to be the Strip Printer Guy, which, just as Aethelred’s Bar on Monterey Street–the Hippie/Biker place that featured incredible bands- had a forever impact on my hearing, the strip printer did the same for my vision.




Putting the paper to bed–a process that sometimes lasted until the wee hours–meant me taking the assembled pages in a big box to Kent Blankenburg’s house–Kent and his brother, Dick published the Five Cities paper, which I still miss– in Arroyo Grande and pretty much throwing them out of the car onto his front porch.

Then I’d drive back to Madonna Plaza Shopping Center (Our Motto: “The wind doesn’t blow here. It sucks.”) to what I think was a Straw Hat Pizza Parlor where all of us would consume obscene amounts of pizza and a platoon or so of ice-cold pitchers of beer or Coca-Cola.

Ah, youth, when we had the metabolisms of muskrats.

We had some great news stories then. A small plane crashed into the roof of the gym where all of us Cuesta students pulled punch cards to register for classes. There was a Vietnam War protest with pallbearers carrying an empty black coffin and I interviewed one, a helicopter pilot in the war, who was both stricken by his experience and one of the most gentle persons I’ve ever met.

I got to interview a guy who lived on a boat in Morro Bay Harbor, and he was a happy fellow because of it. Moored nearby was the houseboat of two legends, Sandal and his son Paka, reclusive and gentle folks, artists, who took injured seabirds into their care and hand-fed them fish scraps until they were strong enough to fly again.




I got to interview the Black Panther Bobby Seale and the classic film director King Vidor and, during a journalism convention at a hotel in Sacramento–I was within a Frisbee toss of Gov. Ronald Reagan, the guest speaker– I accidentally stepped on state Attorney General Evelle J. Younger’s hand as he came up the stairs that I was descending and he tripped, falling flat on his face.




Evelle J. Younger was the California Attorney General. I didn’t like the way his bodyguards looked at me.

The cafeteria was just behind the journalism building, and the only good thing about the cafeteria was Ginger the Checkout Lady, given to smoking 100-mm cigarettes, wisecracking and referring to you as “Hon.” Ginger was a hoot. The food was not. Then the district somehow, either through divine intervention or Trustee Vard Loomis, one of my heroes, hired a European chef named Maurice who made marvelous lunches.

Swedish Meatball Day meant a throng of nineteen-year-old nouveaux Hippie peacenik students packed at the cafeteria doorway–another surplus Army building–trying to claw each other’s eyeballs out before Maurice ran out of meatballs.




One of my favorite stories was about a slightly mad Canadian artist who took up residence in the Art Department–more barracks, the Art Department was, but augmented by Dali-esque murals–and began building an exquisite wooden replica of a Leonardo da Vinci flying machine. He was going to fly it. He gathered a little coterie of students who believed that he was going to fly it–one volunteered to be the co-pilot– and so they all worked on it merrily together, over there in the Art Department, and I still, to this day, believe it would’ve flown had not the mad artist’s sister driven down from British Columbia to take him, under sedation, back home.

The best part was The Cuestonian staff. I’ve read similar stories about Admiral Nelson’s captains, about the artists and writers who produced the classic Warner Brothers cartoons (Bugs Bunny, Daffy Duck, Elmer Fudd) and, in the book and film “The Right Stuff,” the Mercury astronauts. Gifted people in groups like these last no longer than snowflakes in March, so it remains one of the greatest honors of my life that I got to work with such talented, and now, from the great distance and advantage I have in age, such outrageously young women and men.

Murder and a mother’s love, 1928

I tend to obsess over films. I watched this one, Changeling, again yesterday for probably the fourth time. It’s directed by Clint Eastwood—impressively, the music, including the closing title, is written by him, as well—and, while it’s not the best of his films, I find it absorbing. That’s because it’s set in 1920s L.A., and the first half of the twentieth century in Los Angeles is a time and a place that I find fascinating.

The story, based on real events, is horrific. A little boy named Walter Collins disappears and the LAPD, under Chief Jim Davis, makes a grand show of returning him to his mother, played in the film by Angelina Jolie, an actress whose fit is somehow perfect for the late 1920s.

The problem is that the little boy isn’t her son. The more she protests, the more she threatens the LAPD with the truth, the more mercilessly they behave toward her. She is eventually confined to an insane asylum because she is so vehement in her protests. She knows her little boy, and the one the cops brought home isn’t her son. (Among the “duh” clues the LAPD missed: Walter wasn’t circumcised. The little boy returned to Mrs. Collins was.)

Walter Collins, left, and the “Changeling,” the impostor Arthur C. Hutchins. According to the film, Hutchins wanted to come to Los Angeles to get the chance to meet the cowboy actor Tom Mix and his horse, Tony.


A chance lead forces a child welfare officer—superbly and compassionately played by Michael Kelly, interrogating a runaway in the scene below—to investigate a chicken ranch in Wineville, California. He concludes that Walter is more than likely among twenty boys who have gone missing only to wind up brutally murdered in remote Wineville–today’s Mira Loma. And his discovery eventually confirms Mrs. Collin’s protests. The little boy the LAPD brought home is an impostor.


The suspected child killer, Gordon Northcott, a Canadian psychopath who’d relocated to the chicken ranch east of Los Angeles where he carried out the murders—the “chicken coop murders,” after the place where the little boys were confined— is eventually arrested. The actor who plays the 23-year-old Northcott, Jason Butler Harmer, is terrifying, given to leers and bursts of laughter, eager, after his arrest, to be the center of attention.

Northcott fired his attorneys and represented himself at his trial. A mistake, just as it was here, in San Luis Obispo County recently, where a serial child molester—sadly, a former student of ours—insisted on representing himself because he knew, as Northcott did, that he was smarter than everyone else. That person was sentenced to 280 years in prison. Northcott was hanged at San Quentin, where it took him eleven minutes to die.


Christine Collins spent the rest of her life looking for Walter. In the film’s closing scene, a little boy who had escaped from Northcott has been found and returned to his parents. Jolie, as Mrs. Collins, tearfully watches the reunion at a police precinct and afterward says goodbye to Kelly’s officer. Here, Eastwood’s score is melancholy and lovely, and the computer-generated background, down to the Red Car, is evocative.

This will never be among the greatest of films, but it’s extraordinary nonetheless because it transported me so convincingly to a Los Angeles I know and yet don’t know.

Another film, one of the finest of its generation, would likewise take me to the Los Angeles of another time—a decade after the events in Changeling—in Polanski’s Chinatown.

The two films, neo-noir summonings of an old Los Angeles—the Los Angeles of Double Indemnity and The Big Sleep— brought the city back to life, and have so arrested me that I can’t let them go.






For Ormie, who never married.

Mary Ormonde “Ormie” Paulding. From the Bennett-Loomis Archives.

She was born in 1883. As a nearly seventy-year-old who loves his sons but who’s bereft of daughters, I would have adopted her, given the chance. And had I a time machine able to go back to her time at about her age–perhaps twelve–I would’ve had a monstrous crush on her. The combination of overalls and pigtails would’ve been enough to reduce me to silly putty.

She grew up in a little farm town, Arroyo Grande, nourished by a beautiful creek which housed, in season, steelhead fighting upstream to spawn and, in another season, floods that once, in 1911, carried away a fourteen-year-old boy named Sam to his death.

She had the comfort of intelligence–a dubious comfort, admittedly. Both her father and her uncle were medical doctors (another uncle was a pharmacist) the sons of missionaries, born in Syria, whose homes, if her uncle Dr. Ed’s is any indication, were filled with artifacts from the Neolithic Holy Land and Chumash California; homes dense with books, homes full of creative energy inside. Her uncle’s, outside, was bounded by an enormous garden—in dirt her Uncle Dr. Ed found joy— to the point where her Aunt Clara added a bathroom that made it impossible for her husband to re-enter the house without a bathtub stop first. It was only the second bathtub in Arroyo Grande. Sometimes Aunt Clara would hear a soft knock at the door. The folks on the porch asked politely if they could come in and see Ed and Clara’s bathtub.

Ormie’s Aunt Clara, as the saying goes, was a piece of work. She was Arroyo Grande’s foremost schoolteacher; she arrived here in the 1880s and began a career that lasted forty years. She was the descendant of the Puritan divine Jonathan Edwards, but she was an agnostic who just loved going to church. Ormie’s father was the medical director of Santa Barbara County who, in 1918, had the audacity to shut down the bars to stop the spread of the killer flu. He was not beloved.


Ormie’s cousin, Ruth was very much beloved. She became such a transformative teacher, of languages, at the Arroyo Grande Union High School (where her commute, atop Crown Hill, consisted of walking across the street) that they would decide to name a middle school after her. That’s baby Ruth, the little blonde. Possibly that’s her cousin Ormie, on the right. The group is posed in the yard of the Paulding home, one that still stands today.

The scene is idyllic, but life, in the 1890s, wasn’t always. Ormie had another cousin, a little boy, the one who was to be first-born, but he was stillborn instead. Her uncle, Dr. Ed, buried him in the garden where he would be close to his parents. Ed planted flowers that gave life to the son who was robbed of the chance to live his.

From the Bennett-Loomis Archives

Ormie would move away from Arroyo Grande—but not very far, only twenty minutes or so today, by car—south to Santa Maria, where she would become a Santa Maria High School Saint, and then, years later, the high school’s librarian and then, after that, she worked for the Post Office.

She died in 1955. Here is Ormie’s tombstone:


Death be not proud. The Arrogant Male in me regrets that she lived her life as a “Miss,” but this is what she did with her life: She served young people, who, if you haven’t noticed, are sometimes insufferable, and maybe introduced one, thanks to the school library, to The Arabian Knights or Willa Cather’s My Antonia or—on the chance that the Santa Maria High School Library even had it on their shelves–The Autobiography of Frederick Douglass. The power of school librarians is immense and compassionate, which is why the Far Right hates them so much.

And then she worked at the Post Office. Her obituary hints that even this seemingly mundane career gave her the chance to light up other lives. Post office patrons, it suggests, looked forward to buying a book of stamps from Miss Paulding. I think she had the power to reflect a person’s life back at him, in the instant of her look. You saw yourself welcomed in Miss Paulding’s eyes and so you were validated. I’ve known people like that. A friend who met the South African bishop, Desmond Tutu, a small man shaped, in his vestments, like a church bell, told me that he had that power.

In fact, her cousin, fragile and wheelchair-bound when I knew her, had the same kind of power, too. When I received communion at St. Barnabas, the Arroyo Grande Episcopal church, as a teenager, I would glance at the aged and fragile Miss Ruth Paulding as I returned to my pew. A smile from MIss Ruth carried the same freight as a priest’s blessing.

When World War II came, Ormie added a task not on her Post Office job description: She wrote hundreds of letters to servicemen overseas.

Hundreds.

The effort and the generosity of spirit implied in that task is a little overwhelming to me, living in a country where we observe a day—January 6—when patriotism and generosity were so debased.

Ormie’s generosity was boundless.

She loved animals. She was a charter member and a driving force in the Santa Maria Humane Society, and the lives she couldn’t save with letters, lives of young men lost in combat, she saved in the lives of the dogs and cats carelessly put aside. I can see her framing an abandoned mongrel’s face in her hands and looking into his eyes: the dog understands and looks back in the way dogs do, in absolute and unconditional adoration.

Hers was the same look that Ormie’s Post Office patrons saw.

And so she died a spinster—a terrible word—and I was born far too late to propose marriage to her, which I would have done, on the spot, when I was twelve. She didn’t need me. Women don’t need men to live lives that are graced by love, and filled by it, too. I think Ormie’s life was like that.

The life represented in that image, the little girl in overalls and pigtails, turned out to be more than a little miraculous. Women don’t need children any more than they need husbands. But without her knowing it—because I believe that kindness has the power to cross generations and so inform even unborn lives—we are, in a way, Ormie’s children.




For Paris, where there will be no fireworks. With love.

Featured

It sounds so pretentious–for an Arroyo Grande boy, raised with heifers and chickens—a little boy so sheltered that he was almost overcome by the velvet-suited Santa on the mezzanine of Riley’s Department Store in San Luis Obispo, California–but I miss Paris.

I didn’t get it the first time I took my students to the great city. I think I was overwhelmed. The second time, with my literature teaching partner, Amber Derbidge, and our wonderful Breton tour guide, Freddy, I got it.

It helped, I think, that we’d came south from Anne Frank’s Amsterdam, then through the Ardennes, and finally across Northern France–a stretch of the trip that had begun at Metz, where we saw trout feeding, describing ringlets on the surface of the Moselle, just like the ones I’d tried so hard to catch in the Arroyo Grande Creek when I was little.

At Verdun, a museum guide took me aside and whispered “Your students are so respectful,” which might just be one of the greatest compliments I’ve ever received, because she confirmed to me that they’d learned, in our classroom, what I’d taught them about Verdun.

Some of my students at Douaumont. 100,000 French and German soldiers
were killed or wounded in the struggle to capture this fort.


We were greeted, in fact, with immense kindness. At Reims—I’d used, early in our school year, both Bernard Shaw’s St. Joan and Shakespeare’s Henry V to teach my students the meaning of nationalism —a local woman, delighted to meet young Americans, insisted on giving us a tour of the cathedral, one that wasn’t on our schedule.

We didn’t mind because she was so happy and she made us happy, too. It was Rockefeller Foundation money that was helping to repair shell damage to the cathedral facade from the Great War, and even though none of us could be mistaken for a Rockefeller, the important part, for this lovely woman, was that we were Americans.

We reached the coast and the D-Day beaches and the American Cemetery above Colleville-sur-Mer, where we found a local farmworker, Domingo Martinez, a Mexican-American, a member of the 79th Infantry Division, who was killed by fragments from a German .88 shell near Le Bot in July 1944.

At Private Martinez’s grave.


Then, after the cruelty of the battlefields, we ended this trip in Paris. This time I realized how alive Paris is. I got it. I was as enchanted as a Nebraska farm boy—not that far a remove from my actual childhood near the farm fields that border the coast of central California—and when I briefly got lost in the Latin Quarter, I was unafraid. There was far too much for me to explore. I would get back to my students. Eventually.

In the classroom, I used to share the video below with my students to introduce them to my favorite unit—Nineteenth Century urban history, or La Belle Epoque—and they, and I, needed the sustenance we got here, in this chapter, if we were to survive the heartbreak of the First World War.

This year, another heartbreak—another disaster, this time in Covid—has forced the cancellation of the Eiffel Tower’s spectacular fireworks show.

So this blog post is a very little attempt to make up for what we’ll miss this New Year’s Eve. It’s one of several love letters I’ve written to Paris, where my father, an American GI—he spent two years away from my Irish-American Mom, seen here with my big sister—was a tourist in the late fall of 1944.


To teach what I feel to my students, I made this video for them. It’s oddly matched to an oddly beautiful song, “Bittersweet Symphony,” by The Verve, a song that in its own way, is a kind of masterpiece.

Joyeux Noel, my friends.

For Emily, who continues to amaze me

As you probably know, I have two nieces who are extraordinary. Rebecca, the younger sister, is a poet who chains words together, in meticulous lines, that seemingly don’t belong together (something I love to do), but in the strength of her writing—novel, original, but unpretentious—you suddenly, intuitively, delightfully, understand. Then the poem shimmers on the page.

Emily is a writer, too, but she’s taken the path of acting—in New York City, of all places—and while Becky’s poetry makes me sing little songs inside, with her providing the lyrics, I don’t get to see Emmy’s craft because she’s so far away.

Until I found a sample of it online in this video excerpt. I hope Emily forgives me, but I found bit of monologue so stunning—so oddly and happily humbling— that I wanted to set it down so I would never lose it.

And what I will never lose, either, in the immense pride I feel in my nieces, is the presence of my mother, whom I see in them, down to their naturally curly hair. Even more, and even more happily, I see the presence of my sister Sally. She was the last of the four of us, born when my Mom was 41, so she was kind of miraculous to us.

Her daughters, Emily and Rebecca, have only confirmed the miracle. They are Sally’s gift, and her husband, Rick’s, gift to us.

They are a reminder that the integrity of our family, in generations I’ve traced to the 11th Century, to churchyards in London and County Wicklow and Baden-Wurttemberg, has been made safe by a long line of remarkable mothers. Not a one was perfect. They were remarkable instead. They would instantly recognize Sally as one of their own. I can somehow see them gathering around her, some of them wrapped in warm Celtic tweed, all of them waiting happily for the chance to embrace the remarkable woman who was once upon a time my baby sister.

Bonnie.

Preview in new tab

Bonnie (center)

Bonnie was in my ninth-grade art class on Crown Hill at Arroyo Grande High School in 1966. She was so lovely and so kind that I was immediately entranced by her. Not in the way you think. She was another guy’s girl. What I felt for her was more in the line of admiration rather than romance.

Of course, that previous sentence was a baldfaced lie, but there’s more to Bonnie than that.

Some people have the gift of reflecting your own worth back at you. I was never convinced, growing up, of my worth, but Bonnie saw it and communicated it without words. Sketching beside her on big sheets of newsprint bequeathed the most immense sense of belonging, at fourteen, that I’d ever felt.

She came to art class one day fighting tears because she was just a freshman and was therefore barred from going to the Christmas Formal with her boyfriend, an upperclassman.

And then some time in the spring, Bonnie didn’t come to class anymore. She vanished.

I found out later that she vanished because she was pregnant. Other than the whispers, which lasted just a short time, Bonnie was never heard from again.

I missed her so much that twenty years later, as a history teacher, I talked about her, when teaching American cultural history, to my students. They were appalled by the way she’d been treated, which, in their disgust at cruelty and hypocrisy, is yet another one of the dozens of reasons for why I love teenagers.

When I was growing up, a three-times-a-year treat for my family was driving from Arroyo Grande to Morro Bay for fish and chips at Bob’s on the Embarcadero. My goodness, you could still get abalone and chips at Bob’s. It took up a full Sunday, and, for somebody who grew up amid the cabbage fields of the Upper Arroyo Grande Valley, Morro Bay was exotic and enchanting. Abalone steak dipped in Tartar sauce–we drove out to the Rock to eat our lunches and to watch the fishing boats surge over the breakwater–was sublime.

So was the smell of the sea. Morro Bay was doubly enchanting when local farmers had just added a generous layer of turkey fertilizer to the row crops of the Upper Arroyo Grande Valley.

It had to be than twenty years gone before I went back to Bob’s for fish and chips—the abalone, of course, was gone, but the calamari was wonderful—and this time it was with Elizabeth, my wife. I guess we’d gone there a couple of times before but the third time, I recognized the waitress immediately.

It was Bonnie, and it was twenty years later, when I had the audacity to use her as a Primary Source in my classroom, and there she was with her short waitress skirt and order pad and pen. I could’ve easily been appalled, as was a brilliant friend of mine, a classmate, now a lawyer, when she found me working as a liquor-store clerk in the years when I was recovering from the end of a career and the end of a relationship. Most of my recovery was not recovery at all; my life lay instead in the consistent and generous anesthetization that the liquor store’s stock supplied

So my friend, the lawyer, stared blankly for a moment at me, ashamed, behind the counter. “Oh, Jim.” was all she said.

I never saw her again.

But when Elizabeth and I saw Bonnie, she was radiant. She blushed, as I had in the presence of my lawyer friend, for just moment, but the weekend rescued her. It was Poly’s graduation and the child that had been inside her in ninth grade was later that day to graduate with an engineering degree.

She was just as beautiful as I remembered and I saw in her eyes the validation I’d remembered in ninth grade. She was proud of me and proud of us, of Elizabeth and me, as a couple.

I don’t remember, of course, the rest of the meal at Bob’s.

It would be many years later when I learned that Bonnie had died. The news hurt doubly, because I learned that she’d taken her own life, and we teacher types frequently confuse ourselves with Jesus. Surely, I thought, there could’ve been something I could have said or done. Or something I could have done without saying anything at all: Didn’t she see, in the moment before she took our order that day at Bob’s, how immensely proud I was of her?

When we got to the 1960s in my U.S. History classes in the years after that day, I told my Bonnie story again, but I added Graduation Day as the ending I’d never had before. A good teacher can sense when he or she has touched the students in their care; Bonnie touched mine. She inspired them.

As much as teenagers hate cruelty and hypocrisy, they love righteousness. Teaching history, after all, is really about teaching the future, and Bonnie’s story resonated because it gave them the hope that the future in their care would be righteous.

Bonnie resonates to me, too, because she died the same way my mother did. I spent many years in therapy after I lost my Mom until I quit it when the psychiatrist opined that my mother, in taking her own life, was a selfish person.

That’s the last word I would use to describe either my mother or my friend Bonnie. Nobody can understand the immense power of clinical depression and the seductiveness that self-destruction promises when it’s the only reasonable, rational way left for you to fight back.

A high-school administrator—my boss— once smugly confided to me that she could never imagine taking her own life. She was taken instead by cancer. I doubt that she could ever have imagined that, either. But clinical depression and Stage Five cancer are coequals when it comes to conferring death.

I keep a photo of my mother, holding my big sister when she was a baby, atop our mantle. She is breath-taking. So was Bonnie, in her white embroidered apron and red waitress mini-skirt and scuffed white tennis shoes, on the day that Poly graduated her daughter. I don’t know that there is a Heaven–I guess I’ll have to find that out on my own–but if there is, I want to hold my Mom very close. And then I want to ask directions.

My mother and big sister, 1942.


Where is Bonnie?

And then, given God’s grace, I will hold her very close, and tell her, in a private voice just above a whisper, how much her life has meant to me. And then, given God’s grace, we will get the chance to sketch again, holding soft-lead pencils that drift noiselessly across the paper of big newsprint pads, We’re close together, sitting on high stools. Every once in awhile, Bonnie might look at my sketchpad, then look at me, and smile.