February 24, 2019
“Old Friends” Garrison Keillor, Christine DiGiallonardo, Richard Dworsky reunite at Crooners. Shows at 5 p.m. and 8 p.m.
Fergus Falls, MN
February 23, 2019
“Old Friends” Garrison Keillor, Christine DiGiallonardo, Richard Dworsky reunite at A Center for the Arts. 7:30 p.m.
Detroit Lakes, MN
February 22, 2019
“Old Friends” Garrison Keillor, Christine DiGiallonardo, Richard Dworsky reunite at Historic Holmes Theatre. 7:30 p.m.
St. Cloud, MN
February 21, 2019
“Old Friends” Garrison Keillor, Christine DiGiallonardo, Richard Dworsky reunite at Pioneer Place on Fifth. 7:30 p.m.
February 20, 2019
“Old Friends” Garrison Keillor, Christine DiGiallonardo, Richard Dworsky reunite at Paradise Center for the Arts. 7:30 p.m.
It’s a father’s duty to take at least one long trip with each of his children, the two of you, nobody else along, and now that my daughter and I have traveled by rail, the old 20th Century Limited route from Chicago to New York, the trip Cary Grant took with Eva Marie Saint in North By Northwest, we are ready to take another. Nineteen hours from Chicago’s magnificent Union Station to Manhattan’s wretched Penn Station, including a fast run along the Mohawk and Hudson rivers, and the bond between young woman and her old man is sealed solid.
Highly recommended, especially for us newspaper readers constantly fussed-up over national crises — from a train, you see the solidity of the country, its infrastructure, factories, warehouses, everything working remarkably well.
And now I return to business, which is to move from a big house to a small apartment. I have a habit of taking off my glasses and setting them down and wandering away and forgetting where I set them, which means spending time roaming around searching for them, so we’re moving to a modest apartment to reduce the search area.
The house is in St. Paul, built in 1919 by a prosperous lumbering family (by which I mean a family that was in the lumber business, not a family of heavyset persons who clomp around awkwardly). We bought it because it was sunny and looked out at the Mississippi and now, ten years later, too busy to throw the big raucous parties that the house deserves, a band playing on the terrace, people doing the Lindy Hop and jumping into the fountain, the gin flowing, we’re looking for a buyer. Our friends don’t jump into fountains; they sit around and discuss the crisis in public education.
Meanwhile, I look back at hundreds of hours wasted looking for glasses: a crisis for a man of 76, though, being a writer, I am no stranger to wasted time: wastage comes with the territory. You sit down with a brilliant idea and a few weeks later you have fifty-five pages of mishmash and goulash. It happens to every writer. If physicians worked as effectively as we, their waiting rooms would be littered with dead bodies.
My one success last week was a sonnet, written at 5 a.m. on the day I realized was our wedding anniversary, an original sonnet written out in a clear cursive hand and set on the breakfast table for my wife to find. I heard her sigh with pleasure and she came into my workroom and threw her arms around me. One poem, one reader, one tight protracted embrace: success. The New York Review of Each Other’s Books will not give it a grudging review (“Marriage Sonnet somehow lacks the dark edge of Mr. Keillor’s work at its best”). It represents an hour of work well spent.
This is why a man takes up writing as a profession rather than plumbing or serving in Congress. What can a Congressperson offer his or her lover? A souvenir calendar? Your name on a rest stop on an interstate?
A writer’s situation is so ordinary — it’s like going to a big family dinner and you are seated next to an in-law you’ve never met and you must somehow make conversation. Where to start? She is nicely dressed, fiftyish, glasses, and you want to ask, “What do you do?” but it’s too blunt. So you say, “This morning I spent half an hour looking for my glasses. I need to get a chain to hold them but I hate how they look.”
Either we’ll have a conversation or she will find an excuse to go in the kitchen and pretend to be helpful. Either one is preferable to silence.
It was easy, talking to my daughter on the train. I talked about her childhood to see how far her memory stretches back. She was a joyful child. She was slow to talk, still monosyllabic when other children were speaking in sentences and using the subjunctive mood, but she got vast pleasure from the company of others. She was a hugger and snuggler. She still is.
Writers don’t hug. We try to get close to people by writing to them. Or we get on a train at night and we talk as the lights of cities flash past. Fort Wayne, Cleveland, Toledo. “I love you, Dad,” she says, apropos of nothing and everything. I love you, too, sweetheart.