As seen from below. Thanks for looking.

Seattle climate: Pacific Marine. Around late September to early October, the switch flips and the High pressure ridge no longer holds. The sunny, temperate summer (July 4th–September 20th) is gone, Jack. A few bigger storms move in (more wind and relatively more rain). In come the clouds, and the drizzle, and because we’re at 48 degrees north latitude, the darkness.
As for snow, there’s plenty of moisture around, but getting the moisture AND the cold air together is tough. The cold air dams behind the Cascades and up high and in Eastern Washington. Sometimes it drains through the Fraser River valley and spills over Seattle. You might not get any snow for a winter or two, or you might get 1-2 weeks of below freezing temps, and 2-24 inches of snow on the ground before it melts with the next rain. Lots of variability.
Dress in layers with moisture protection. The difference between the rare sun on your skin and walking through a damp, chill fog could be 15-20 degrees. Expect low light, and sunrise as you go to work and sunset before you leave.
Join a club…and get some good exercise. Wait for late April or May to start seeing real sunny days again.

‘Detroit Nocturne‘ found here. Via Mick Hartley.
I’m partial to ‘Joey’s Meatcutter Inn, Bar & Grill 2017‘:
—
Immediately, I think of Edward Hopper: The lonely cityscape at night or the familiar glow of gas station lights cast into the American wilderness. The eye might want to linger among the colors, shapes and clouds even though the mind knows this is pretty much an empty street in a ‘post-industrial’ zone.
Perhaps it has do with another strand of expression: The break into free verse from past forms. The move from American Romanticism to Modernism which occurred this early past century. William Carlos Williams produced many good poems from a process of earnest, scrapbook-style intensity in trying to discover, redefine, and order a new poetic form within a modern ‘urban landscape.’
The individual artist is quite alone in the task he’s set before himself, and like much of modernism, it’s a rather big task.
Pastoral
When I was younger
it was plain to me
I must make something of myself.
Older now
I walk back streets
admiring the houses
of the very poor:
roof out of line with sides
the yards cluttered
with old chicken wire, ashes,
furniture gone wrong;
the fences and outhouses
built of barrel staves
and parts of boxes, all,
if I am fortunate,
smeared a bluish green
that properly weathered
pleases me best of all colors.
No one
will believe this
of vast import to the nation
Do you believe any of that to be of vast import to the nation. Are you no one?
Another one of Jordano’s photos which stuck out was: ‘Church Rectory With Lightning, Eastside, Detroit, 2016

—
Perhaps I’m not wrong in having called Halloween horror still and movie images to mind (it’s my mind, after all, so maybe I’m just thinking of Devil’s Night). I really enjoy the light on the dumpster and the side-front rectory wall. There seems to be a little more mood here, more drama, so maybe Edgar Allan Poe’s ‘psychological intensity,’ surrealism, and terror are more appropriate for comparison.
Poe was a bit mad, after all, despite his fascinatingly untamed and powerful imagination. He achieved a uniqueness and completeness of vision few artists do. Maybe there’s a bit of the sullen, self-aggrandizing earnestness in him of the teenager (J.D. Salinger); the desire to shock, delight and terrify.
The mind is as though a chamber, the horror rising to fever pitch, the lush rhyme matching an increasingly desperate search for truth and beauty in the world (Poe had very much his own Romantically inspired metaphysics).
Alone
From childhood’s hour I have not been
As others were—I have not seen
As others saw—I could not bring
My passions from a common spring—
From the same source I have not taken
My sorrow—I could not awaken
My heart to joy at the same tone—
And all I lov’d—I lov’d alone—
Then—in my childhood—in the dawn
Of a most stormy life—was drawn
From ev’ry depth of good and ill
The mystery which binds me still—
From the torrent, or the fountain—
From the red cliff of the mountain—
From the sun that ’round me roll’d
In its autumn tint of gold—
From the lightning in the sky
As it pass’d me flying by—
From the thunder, and the storm—
And the cloud that took the form
(When the rest of Heaven was blue)
Of a demon in my view—
Nice photos, Dave. Thank you.
As previously posted:
Via Curbed Detroit. (via David Thompson)
70 photos of the abandoned, foreboding Temple. Mysterious symbols and a certain sad grandeur that’s come to represent Detroit these days.
-Photographer Ben Marcin has a series called ‘Last House Standing.’ Solitary row-homes…the only ones left on the block.
From Buzzfeed: ‘Why I Bought A House in Detroit For $500:’
How did Detroit get here? Very comprehensive and easy to navigate.
More from Megan McArdle on the behavior that comes with pension bonuses.Charlie LeDuff, Detroit’s populist, citizen journalist’s youtube channel here. At least he’s sticking around.
Are you looking at beautiful photos and feeling sorry for Detroit, and yourself? See Time Magazine’s photo essay by Yves Marchand and Romain Meffre (less porn-like, more thoughtful).
Hipster hope, artists, collectivists and small business types can’t save it either: A Short Culture Wars Essay-Two Links On Detroit & ‘Ruin Porn’
GM is not a municipality, but good money got put in, probably after bad and it reeks of politics: From The Detroit News: ‘How The Treasury, GM Stock Deal Got Done’
Men At Forty
Men at forty
Learn to close softly
The doors to rooms they will not be
Coming back to.
At rest on a stair landing,
They feel it moving
Beneath them now like the deck of a ship,
Though the swell is gentle.
And deep in mirrors
They rediscover
The face of the boy as he practices tying
His father’s tie there in secret
And the face of the father,
Still warm with the mystery of lather.
They are more fathers than sons themselves now.
Something is filling them, something
That is like the twilight sound
Of the crickets, immense,
Filling the woods at the foot of the slope
Behind their mortgaged houses.

I’m just aiming to increase the average photo I’m taking. Maybe during this process you get a sense of the place.
Thanks for stopping by.
***One day a few photos might be ‘wall-worthy.’ You’re in line at a restaurant (aspiring chain) bathroom and your eyes focus for 3-5 seconds on one of the photos framed in front of you.
Immortality!


Large Bad Picture
Remembering the Strait of Belle Isle or
some northerly harbor of Labrador,
before he became a schoolteacher
a great-uncle painted a big picture.
Receding for miles on either side
into a flushed, still sky
are overhanging pale blue cliffs
hundreds of feet high,
their bases fretted by little arches,
the entrances to caves
running in along the level of a bay
masked by perfect waves.
On the middle of that quiet floor
sits a fleet of small black ships,
square-rigged, sails furled, motionless,
their spars like burnt match-sticks.
And high above them, over the tall cliffs’
semi-translucent ranks,
are scribbled hundreds of fine black birds
hanging in n’s in banks.
One can hear their crying, crying,
the only sound there is
except for occasional sizhine
as a large aquatic animal breathes.
In the pink light
the small red sun goes rolling, rolling,
round and round and round at the same height
in perpetual sunset, comprehensive, consoling,
while the ships consider it.
Apparently they have reached their destination.
It would be hard to say what brought them there,
commerce or contemplation.
Sailing After Lunch
It is the word pejorative that hurts.
My old boat goes round on a crutch
And doesn’t get under way.
It’s the time of the year
And the time of the day.
Perhaps it’s the lunch that we had
Or the lunch that we should have had.
But I am, in any case,
A most inappropriate man
In a most unpropitious place.
Mon Dieu, hear the poet’s prayer.
The romantic should be here.
The romantic should be there.
It ought to be everywhere.
But the romantic must never remain,
Mon Dieu, and must never again return.
This heavy historical sail
Through the mustiest blue of the lake
In a really vertiginous boat
Is wholly the vapidest fake. . . .
It is least what one ever sees.
It is only the way one feels, to say
Where my spirit is I am,
To say the light wind worries the sail,
To say the water is swift today,
To expunge all people and be a pupil
Of the gorgeous wheel and so to give
That slight transcendence to the dirty sail,
By light, the way one feels, sharp white,
And then rush brightly through the summer air.
Behold, the Wallace Stevens/Ernest Hemingway dustup down in Key West. I don’t know what it means.
Out-of-focus boats in the bay.

‘ I was going to swim … the breadth of Greasy Lake and hide myself. ‘

Beauty, ugliness, youth, strength, and decay: Via Mick Hartley Bruce Davidson at Magnum’s ‘Subway‘.
Many of the images in Subway are sensual, dangerous and raw, but then again, so was the NYC subway in about 1979 or 1980. Davidson plays with different exposures, techniques and settings, eventually deciding on using color to depict what he saw. He also reportedly toned-up physically, geared-up, and mentally prepared himself to get off and on those subway cars during the project. He had some undercover city cops with him a few times.
Imagine how conspicuous a new Nikon/Canon DSLR and a flash would make you in one of those cars at night (he, in fact, had one camera stolen).
Come for the raw, dangerous subject matter and the vicarious risk (oh yeah, it can happen again…just stay tuned). Stay for Davidson’s compositions, subtle use of light and color, and the genuine humanity he found within his larger vision.
Is a certain dangerous, glamorous adventure beneath you?
What about in your prime?
—
It’s not like these problems haven’t been with us for a while. Without police protection, you’ll probably get worse outcomes and more retributive violence. A reader sends a link to The Confessions Of Bernhard Goetz, subway vigilante:
There’s a lot here: Genuine threat (thugs), fear, real victimization (previous muggings and a likely soon-to-be mugging), but also serious ignorance and over-reaction.
I imagine Goetz was a bit like a feral animal fleeing out of that subway car, up the station stairs and into the night.
From min 33:40:
The question to be litigated was whether the community would make a judgment about his (Goetz) own good faith belief….are we in a position to condemn him for over-reacting?
—
From The Warriors to Dirty Harry to Death Wish, a certain gritty, pulpy style was born. One of the main desires of men, especially, is to quash injustice and heroically protect that which falls under their honor. When the authorities can’t combat crime in public transport, or choose to enforce the law selectively, then the desire for vengeance, punishment and order finds outlets.

Digging
Between my finger and my thumb
The squat pen rests; snug as a gun.
Under my window, a clean rasping sound
When the spade sinks into gravelly ground:
My father, digging. I look down
Till his straining rump among the flowerbeds
Bends low, comes up twenty years away
Stooping in rhythm through potato drills
Where he was digging.
The coarse boot nestled on the lug, the shaft
Against the inside knee was levered firmly.
He rooted out tall tops, buried the bright edge deep
To scatter new potatoes that we picked,
Loving their cool hardness in our hands.
By God, the old man could handle a spade.
Just like his old man.
My grandfather cut more turf in a day
Than any other man on Toner’s bog.
Once I carried him milk in a bottle
Corked sloppily with paper. He straightened up
To drink it, then fell to right away
Nicking and slicing neatly, heaving sods
Over his shoulder, going down and down
For the good turf. Digging.
The cold smell of potato mould, the squelch and slap
Of soggy peat, the curt cuts of an edge
Through living roots awaken in my head.
But I’ve no spade to follow men like them.
Between my finger and my thumb
The squat pen rests.
I’ll dig with it.
Dan Robinson was the guy heading south, then rapidly east, in the hopes of staying on a parallel northward track to the May 31st, 2013 El Reno, Oklahoma tornado. I can appreciate a man driving towards such a thing.
In his words:
‘I was not trying to get close. I knew from how the tornado first appeared that it would be very large, violent and dangerous. My goal was simply to remain in a good position for photography and video, which I felt would be best with the tornado backlit by the bright skies to the southwest. I wanted to be just close enough to have a high-contrast view. ‘
It turns out that particular evening, many of the variables leading to supercell formation, and even EF5 tornado formation, were in place. So many were in place, in fact, that this became one of the most violent and dangerous tornadoes ever recorded.
It changed directions suddenly. It slowed down to 5 mph and sped up to nearly 50 mph. 2.6 miles wide at one point? 300 mph wind?
Eight people died.
The guy in a Toyota Yaris, slipping on a wet, gravely Oklahoma road unable to disable traction control doesn’t exactly come off a hero. The guy suddenly racing for his life, enveloped in the outer wind-field, is easily criticized. Bigger balls than many? Maybe. Stupid enough to get killed? Possibly.
Thanks, Dan, for chasing on your own dime, sharing your information, and respecting the wishes of the families of those in the car behind you. That was the last anyone saw of them.
It is what it is.
From the Weather Service video below: A small percentage of the world’s surface supports the kinds of extreme clashing air masses found on the U.S. plains. Very few thunderstorms become supercells, and very few of those supercells form tornadoes. Even fewer tornadoes become violent F4 and F5 monsters which spawn sub-vortices and anti-cyclones.
The El Reno, Oklahoma tornado from 2013 took the lives of eight people, including experienced stormchasers known for their judgment and contributions to the rest of us.
A sad day.
Night Shadows by Edward Hopper.
The black and white was made in 1924, and is probably most evocative of noir.
I think Raymond Chandler’s High Window is the best of the detective novel.
Here are some quotations of his, if you’re interested.
“Los Angeles was just a big dry sunny place with ugly homes and no style, but good-hearted and peaceful. It had the climate they yap about now. People used to sleep out on porches. Little groups who thought they were intellectual used to call it the Athens of America.”
Here is the link. It’s been a long time since they just reviewed the book and not the author.
The poem that most came to mind:
Acquainted with the Night
I have been one acquainted with the night.
I have walked out in rain—and back in rain.
I have outwalked the furthest city light.
I have looked down the saddest city lane.
I have passed by the watchman on his beat
And dropped my eyes, unwilling to explain.
I have stood still and stopped the sound of feet
When far away an interrupted cry
Came over houses from another street,
But not to call me back or say good-bye;
And further still at an unearthly height,
One luminary clock against the sky
Proclaimed the time was neither wrong nor right.
I have been one acquainted with the night.
—
As posted:
‘Detroit Nocturne‘ found here. Via Mick Hartley.
I’m partial to ‘Joey’s Meatcutter Inn, Bar & Grill 2017‘:
The lonely cityscape at night or the familiar glow of gas station lights cast into the American wilderness. The eye might want to linger among the colors, shapes and clouds even though the mind knows this is pretty much an empty street in a ‘post-industrial’ zone.
Here’s my postmodern blurb (probably not preposterous enough):
‘The use of language and symbols is a potentially unique feature of human beings. Embedded within our perceptual apparatus are modes of engagement, in constant interface with the Natural World, informing our actions towards both knowable and unknowable (E)nds.’
