Footprints In Time — On Sale This Week

My memoir Footprints In Time is on a Kindle Countdown Deal this week. If you’ve been meaning to grab it, now’s the time — and Kindle Unlimited readers can read it free.

I wanted to share a moment from one of the chapters — a stretch of life that still sits heavy in my memory. It was Biloxi, right after Camille tore through the coast, when everything felt raw and unsettled and we were just trying to keep moving.

“And for us, it was another chapter in that wild, dangerous, beautiful stretch of life with Joannie and the kids — the years when we lived on nerve, instinct, and whatever the universe handed us. Camille didn’t stop us. She just became part of the story.

Camille moved on, but something in the air around us didn’t settle. You can feel it when another storm is forming — not wind, not rain, just that quiet dread that sits behind your ribs. We left Biloxi carrying that feeling west, and it followed us straight into the next trouble waiting under the bright lights.”

follow the link to the book: https://a.co/d/09t0S86m

Leave a Reply

This site uses Akismet to reduce spam. Learn how your comment data is processed.

Arthur Miller

Born Today October 17th October,1915 Arthur Miller

Today marks the birthday of — born in New York City in 1915, raised in the hum and grind of a country already learning how to mythologize itself. Miller didn’t write about heroes; he wrote about the ordinary men who got chewed up by the machinery. Death of a Salesman hit the stage in 1949, dragging Willy Loman — part dreamer, part ghost, part every man who ever believed the pitch — into the harsh light. Willy was loosely modeled on Miller’s uncle, Manny Newman, a man chasing the American Dream long after it stopped running.

Miller followed that with The Crucible in 1952, a story that pretended to be about 1692 Salem but was really about the fevered paranoia of McCarthyism — the communist “witch hunts” that turned neighbors into informants and suspicion into a national pastime. And in one of those perfect American ironies, Miller himself was dragged before the House Un‑American Activities Committee four years later. He refused to name names. They found him in contempt. The country he wrote about so fiercely turned its spotlight on him, demanding he play along. He didn’t.

Years later, in 2000, Miller wrote:

“Poetry may seem an odd word for a witch-hunt, but I saw there was something of the marvelous in the spectacle of a whole village, if not an entire province, whose imagination was captured by a vision of something that wasn’t there… The Crucible… became the awesome evidence of the power of human imagination inflamed, the poetry of suggestion, and the tragedy of heroic resistance to a society possessed to the point of ruin.”

That line hits harder now than it did then. Because from 2016 straight through 2026 — and still counting — we’ve had our own front‑row seat to imagination gone feral. Whole communities whipped into a frenzy over shadows, rumors, and fantasies dressed up as gospel truth. We’ve watched people swear allegiance to things that weren’t there, fight battles no one was waging, and torch friendships, families, and futures over ghosts.

Miller warned us about what happens when a society becomes possessed — when fear becomes fuel, when suspicion becomes scripture, when imagination stops being creative and starts being corrosive. His plays weren’t just stories; they were flare guns fired into the night.

And here we are, still hoping we don’t follow the same path all the way to ruin.

Subscriptions are free.

Leave a Reply

This site uses Akismet to reduce spam. Learn how your comment data is processed.

Fay “Honey” Knopp: Quaker, Abolitionist, Prison Visitor

And She Was My Friend

I still remember the first time Fay “Honey” Knopp walked into the visiting room at Danbury FCI, carrying this strange little bubble of gentleness into a place built to crush it. Visiting rooms in federal joints all smell the same — burnt coffee, disinfectant, old linoleum, and the quiet hum of resignation — but Honey had a way of making the air feel different, like she’d opened a window nobody else could see. She wasn’t dramatic, wasn’t trying to save anybody in some big cinematic way. She just sat down across from me with her notebook and her Quaker calm, and suddenly the place didn’t feel quite so much like a cage.

Those visits mattered. They still do. They were a lifeline tossed across concrete and razor wire, and I grabbed on like a drowning man. And here’s the thing Honey didn’t just visit me. She visited all of us — the war resisters, the conscientious objectors, the ones who refused to pick up a gun and got locked up for it. She made her rounds like a minister of mercy, and she didn’t care if the world thought we were troublemakers or traitors or fools. She showed up anyway.

And when I came out — when I finally walked out of Danbury with that strange mix of relief and disorientation that hits you the moment the gate clanks shut behind you — Honey threw me a coming‑out party at her home. Imagine that. A party. For a guy just out of federal prison. She did it for all of us, every war resister who stepped back into the world blinking like we’d been underwater too long. Her house became this unofficial harbor, a place where you could breathe again, where you weren’t defined by your inmate number, where you could sit at her table and feel human.

Years later, when I learned more about her life, I realized I’d been sitting with a legend and didn’t even know it. Honey Knopp wasn’t just a kind soul with a notebook. She was born in Bridgeport in 1918, valedictorian, art school, New School, UCLA — a whole life of curiosity before she ever set foot in a prison. She found her calling at a Quaker peace demonstration in ’39 and never stopped walking toward the fire: pacifism, civil rights, nuclear disarmament, all stitched together by this stubborn belief that human beings could be better than the systems we built.

By the mid‑50s she was visiting imprisoned conscientious objectors. By ’62 she was in Geneva telling the world to stop poisoning children with nuclear fallout. And in ’68 — the year the country was tearing itself apart — she co‑founded Prisoner Visitation and Support, the very program that eventually brought her to me. She built a national network so people locked away by the government wouldn’t disappear into silence.

Then came the ’70s, and Honey started talking abolition — real abolition — before it was fashionable or even understandable to most folks. She wrote Instead of Prisons, a handbook that basically said: stop building cages, start building communities. Reduce the population. Replace punishment with something that actually heals. She pushed restorative justice before the term had any traction. She worked with sexual offenders, too — not because it was easy or popular, but because she believed you couldn’t help victims if you pretended offenders were monsters instead of broken people who needed treatment.

Honey didn’t flinch from the hard stuff. She walked straight into it with her notebook and her faith and her unshakeable belief that mercy wasn’t weakness — it was the strongest force on earth.

There’s a school named after her now, and the Safer Society Foundation still carries her torch. But for me, her legacy isn’t in the institutions or the programs. It’s in those quiet afternoons in Danbury, and in that coming‑out party at her home — the one where she welcomed me back into the world like I was a long‑lost nephew instead of a guy fresh out of federal custody.

Honey Knopp walked into prisons with nothing but compassion and walked out leaving seeds behind — seeds she planted in people like me. Seeds that still grow. She showed up when the world said we were disposable. She showed up when it mattered.

And I’ll never forget it.

Leave a Reply

This site uses Akismet to reduce spam. Learn how your comment data is processed.

Camille, Biloxi and the Big Blow

Hurricane season’s back on the weather reports again — all those swirling graphics and tight‑lipped meteorologists pointing at the Gulf — and every time I watch them I get pulled straight back to one night in Biloxi. The night Camille came for us, and I realized some storms don’t just hit, they remember you.
When Camille Came Calling — And Found Us in Biloxi
Every coastal town has that storm — the one people still talk about like it happened last night. For Biloxi, Mississippi, that storm was Hurricane Camille, August 1969. A Category 5 buzz‑saw that didn’t just hit the coast — it carved its name into it.

And we were there.

Joanie — yes, that Joanie, the one I zig‑zagged across America with, three kids in the back seat, living on forged prescriptions, stolen returns, and whatever luck we could scrape together — she and I were holed up in a motel in Biloxi when Camille decided to make her entrance.

It wasn’t a fancy place. Just one of those Gulf Coast motels with a flickering neon sign and an air conditioner that rattled like it was trying to escape the window frame. We were just passing through, same as always. A night or two, then back on the road. But storms don’t care about your itinerary.

Camille came in fast — too fast. No slow buildup, no polite warning. Just a sudden shift in the air, a pressure drop you could feel in your teeth, and then the wind started talking in that voice storms use when they mean business.

The kids were restless, Joanie was pacing, and I kept looking out the motel window like I expected the Gulf itself to come walking up the street. The rain hit sideways. The walls shook. You could hear things outside breaking — metal, wood, whatever wasn’t nailed down well enough. Camille didn’t knock. She kicked the damn door in.

People talk about the storm surge — 24, 25 feet of water rolling in like a moving wall — but what I remember most is the sound. A freight train mixed with a scream. A kind of roaring that makes you understand, deep down, that nature doesn’t give a damn about you or your motel room or your borrowed life.

And here’s the part that matters:
We survived because that motel sat on a hill — just enough elevation, just far enough inland, to keep the surge from swallowing us whole.
If we’d been a quarter‑mile closer to the water, or down on flat ground, this story might’ve ended differently. But luck — or fate, or whatever you want to call it — put us in a place that stayed above the worst of Camille’s rage.

When the sun finally crawled up, Biloxi looked scraped clean. Boats in places boats shouldn’t be. Houses shifted off foundations. Debris everywhere. Camille had come through like she owned the place.

Later storms would come — Katrina being the big one — but for a long time, Camille was the yardstick. The one everyone measured fear against.

And for us, it was another chapter in that wild, dangerous, beautiful stretch of life with Joanie and the kids — the years when we lived on nerve, instinct, and whatever the universe handed us. Camille didn’t stop us. She just became part of the story.

Subscriptions are free

Leave a Reply

This site uses Akismet to reduce spam. Learn how your comment data is processed.

October 7th, 1955: Allen Ginsberg Howl‑ed

HOWL didn’t debut in some polished marble hall. It broke loose in a raw little San Francisco room — the Six Gallery — on an October night in ’55, a place so new it still smelled like paint and half‑formed dreams.

Kenneth Rexroth — older, sharp‑eyed, already a force in San Francisco’s underground — was the one who pulled the whole night into shape. He wasn’t a Beat, not by generation or temperament, but he had the instincts of a man who knew when something dangerous and alive was about to happen. Rexroth organized the Six Gallery reading, gathered the oddballs and live wires: Gary Snyder, Allen Ginsberg, and Jack Kerouac drifting in like a man who’d already seen tomorrow and wasn’t sure it would treat him kindly.

And the poem Ginsberg brought — Howl — wasn’t some polite little verse. It was a long, lung‑bursting cry from the underside of America: madness, jazz, sex, sorrow, angels, broken streets, and the machinery of the country grinding people down. It was Ginsberg grabbing the world by the collar and saying: look at what’s happening to us. The lines were huge, meant to be taken in one breath, like a wave hitting a seawall. Raw, unfiltered, dangerous enough that the room tightened before he even started reading.

Nobody in that cramped, smoky room knew they were about to witness the birth of the Beats — not the myth, not the bumper‑sticker version, but the real thing: young men with too much fire in their chests and no interest in slowing down.

Ginsberg was 29, had never done a reading, and probably felt his heartbeat in his teeth. He started quiet, almost cautious, like he wasn’t sure the words would stay upright. Then he found that long, rolling breath — the Whitman lung, the jazz lung — pulling in air like he meant to swallow the whole West Coast and spit it back out in lines that didn’t ask permission.

Kerouac sat cross‑legged on the floor, chanting “Go… go… go…” like some beat‑up guardian angel trying to shove a friend through the door of destiny. And the crowd — half drunk, half holy — felt the room tilt. Something was happening. Something big. Something that didn’t give a damn about polite America or its tidy fences.

By the time Ginsberg finished Howl, the place was electric. Not applause — something wilder. The kind of noise people make when they realize the world just shifted under their feet.

Leave a Reply

This site uses Akismet to reduce spam. Learn how your comment data is processed.

Just a Reminder

Book cover of 'Footprints in Time' by Dan Sanders, featuring a photo of the author and an illustration of a cat near footprints in the sand.

My book is now available on Amazon in both paperback and digital formats. Even if you don’t use a Kindle, Amazon lets you read free sample pages right on the site so you can get a feel for it before deciding. And for folks who do read digitally, Amazon also has a free lending feature that lets someone who owns the book loan it to a friend for a short time. Below is a short excerpt from one of the chapters — just a small piece of the larger journey.

From The Book

“What I never told Joannie was that the FBI was looking for me. There was something in her I didn’t trust — the pills, the fog, the way she drifted in and out of herself. I was always afraid that in some stupor she’d let something slip, tell the wrong person the wrong thing. Until I landed in prison, I’m sure she had no idea who I really was or what I’d done before she met me.

And to be honest, I was enjoying the adventure. The kid whose biggest wish was that his life not be boring was getting his wish.”

Leave a Reply

This site uses Akismet to reduce spam. Learn how your comment data is processed.

Falls Moodiness, Nostalgia Overload, Ramble

Thornton Wilder was born in Madison, Wisconsin — a place with wide skies and long horizons. But his best line, the one about enjoying the ice cream while it’s on your plate, hits even harder when you’re standing somewhere a little less poetic. Somewhere like Mass Ave as it empties into Cambridge, right where the city exhales and the old bars used to be.

There was a time when that stretch was its own kind of chapel — neon lights humming, doors swinging open, music leaking into the night air. Places where people fell in and out of love, made promises they meant for at least an hour, and told stories that got better every time they were retold. Most of those bars are gone now, replaced by whatever the future thinks we need. Still, if you pay attention, the ghosts walk beside you, connecting past to present.

And that’s where Wilder’s line lands:

“My advice to you is not to inquire why or whither but just enjoy your ice cream while it’s on your plate.”

You hear that on a street like Mass Ave, and it stops being a clever quote. It becomes a truth you can feel in your chest. Because that whole stretch — the old bars, the new storefronts, the people drifting toward the river or the Red Line — it’s all a reminder that nothing stays the way it was. Not the places, not the people, not the nights you thought would last forever.

But the moment you’re in?

That’s still yours.

Maybe it’s the way the late light hits the pavement.

Maybe it’s the memory of a bar that isn’t there anymore.

Maybe it’s just the simple fact that you’re alive enough to notice any of it.

That’s the ice cream.

That’s the sweetness he meant.

I’ve spent decades trying to decode the “why” of things — why this turn, why that loss, why the road bent instead of straightening. But walking Mass Ave toward Cambridge, you realize the road doesn’t owe you an explanation. It just asks you to keep moving, to keep noticing, to keep tasting whatever small sweetness is still on your plate.

Not asking why.

Not asking whither.

Just letting the moment be what it is — fleeting, imperfect, and somehow beautiful because it won’t come again.

Mass Ave in my memory.

Cambridge in my heart.

And the two of them — the street I haven’t seen in years and the city that still knows my name — they slide together and become part of the ice cream on my plate.

Because even if they’re yesterday’s places, they still melt into today — a little sweet, a little sad, the kind of taste you don’t forget.

And that’s enough to carry me forward, even from here.

And for this day, that’s enough.

Leave a Reply

This site uses Akismet to reduce spam. Learn how your comment data is processed.

Peanuts

Peanuts first hit the papers 65 years ago today, back in 1950, when a quiet kid from Minneapolis named Charles Schulz finally got his shot. He’d been “Sparky” once — the smallest kid in every room, skipped ahead so fast he never quite caught up, the kind of kid other kids pick on because they can. His kindergarten teacher told him he’d be an artist someday, and Sparky, being Sparky, took it seriously. By first grade he was drawing Popeye like he’d been born with ink in his veins, and he figured, well, that’s it then — cartoonist or bust.

School didn’t do him any favors. Shy, timid, failing something every year, he gave up on college before college could give up on him. He signed up for a correspondence art course — the kind where you mail your dreams in an envelope and hope someone mails them back improved.

Then 1950 rolls around and Sparky walks into a big syndicate office with his best work under his arm. Eight papers pick him up. Eight. Not exactly the stuff of legend — until it was. Peanuts goes from those eight little papers to more than 2,600 in 75 countries. Charlie Brown, Snoopy, Linus, Lucy — suddenly they’re everywhere, like old friends you didn’t know you had.

Schulz worked like a man who didn’t trust luck. Every morning started with a jelly doughnut, then he’d sit there waiting for an idea to show up — sometimes in minutes, sometimes after a long, lonely stretch. He did everything himself: script, art, lettering. Wouldn’t hire an inker. Said it’d be like a golfer hiring someone to make his putts. And he meant it. In fifty years he took one vacation — five weeks for his 75th birthday. That’s not dedication; that’s devotion.

On February 12th, 2000, Schulz died quietly at home. The next morning, the final Peanuts strip ran. Snoopy on top of his red doghouse, typewriter in front of him, reading a farewell letter from the man who’d drawn him into existence. Schulz wrote that he’d been fortunate — almost fifty years with Charlie Brown and the gang — but he couldn’t keep up the daily grind anymore. And he said something simple and perfect: his family didn’t want Peanuts continued by anyone else.

How could he ever forget them, he wrote.

And you know what? None of us ever did.

Leave a Reply

This site uses Akismet to reduce spam. Learn how your comment data is processed.

Subscriptions are always free:

My Book is Now Out

Hello to my readers, subscribers, and followers — and I wanted you to know, and with a big heart felt thank you for riding along with me.

“I was sixteen when the world damn near blew itself off the map. October 1962 — the Cuban Missile Crisis — and every kid I knew suddenly had to grow up overnight. I didn’t know a damn thing about geopolitics, but I knew enough to understand that if the wrong guy sneezed in Washington or Moscow, Staten Island might end up a smoking hole. One minute I was dreaming about football season; the next I was lying in bed wondering if morning would even show up.

Childhood doesn’t end with birthdays — it ends the moment you realize the adults running the world might not know what the hell they’re doing.”

That is the first two paragraphs of my book, now titled Footprints in Time. If you bought the first edition, then you can check and see this is a very different beginning. Same truths, a different approach. NOW on Amazon.

“reshttps://a.co/d/02M1wqND

Leave a Reply

This site uses Akismet to reduce spam. Learn how your comment data is processed.

← Back

Thank you for your response. ✨

Ken Kesey

Ken Kesey’s birthday rolls around today — kid came squalling into the world out in La Junta, Colorado back in ’35, but he really grew up wild in Oregon, the real Oregon, not the brochure. Him and his brother Chuck tearing down the Willamette River like they were trying to outrun the sun. Swimming, fishing, wrestling the rapids, wrestling each other, wrestling life itself. The guy was built like somebody who didn’t mind getting punched in the face if it meant a good story later.

In high school they tagged him “most likely to succeed,” which is funny, because Kesey’s idea of success was never the one the guidance counselor had taped to the wall. He goes off to Stanford to study creative writing — sure, fine — but then he ends up at the VA hospital in Menlo Park making seventy‑five bucks a day letting doctors pump him full of LSD and whatever other alphabet‑soup chemicals they were cooking up. Seventy‑five bucks in the early ’60s! That’s rent, groceries, and a couple nights of trouble.

He stuck around afterward as a night attendant in the psych ward, wandering those fluorescent hallways while the world slept. That’s where One Flew Over the Cuckoo’s Nest came from — not theory, not academia, but the real deal: human beings cracked open, stitched together, trying to make sense of the noise in their heads. The title came from an old kids’ rhyme: “One flew east, one flew west, one flew over the cuckoo’s nest.” Simple, spooky, perfect.

Pauline Kael said the book had the whole damn era packed inside it — Vietnam, campus revolts, drugs, the counterculture — all before the country even realized it was about to blow its gasket. Kesey wasn’t predicting the future; he was already living in it.

And somewhere in the middle of all that chaos, he fell in with a little San Francisco band called the Grateful Dead. They weren’t legends yet — just a bunch of long‑haired kids with amps that hummed like beehives and a drummer who looked like he’d been born in a thunderstorm. Kesey and the Merry Pranksters pulled the Dead into the Acid Tests, those wild, neon‑soaked nights where music wasn’t just played, it was summoned. The Dead became the house band for the psychedelic revolution, and Kesey was the ringmaster, the guy stirring the punch bowl and the consciousness of everyone in the room. Garcia once said Kesey didn’t just open doors — he kicked them off the hinges. And Kesey loved the Dead because they weren’t trying to be stars; they were trying to be free. It was a friendship built on noise, color, and the belief that life could be bigger than the box it came in.

Then Hollywood got its hands on Cuckoo’s Nest in ’75, and boom — six Oscars. Jack Nicholson grinning like the devil in a denim jacket. Kesey didn’t love the movie, but that’s another story for another windy day. He wrote Sometimes a Great Notion — big, wet, logging‑town epic — and later Sailor Song, which reads like Alaska got drunk and decided to tell you its secrets.

Kesey was one of those American originals — the kind you don’t get anymore. Half cowboy, half mystic, half troublemaker. Yeah, that’s three halves, but Kesey never fit in the math anyway.

And then there’s the interview — the one I watched again this morning. Not Merv Griffin. Not some slick 1960s talk‑show host with a shiny desk and a band in the corner. No — this was Charlie Rose, 1992. Rose in his suit, leaning forward like he’s about to ask the meaning of life. Kesey sitting across from him, older now, beard gone,hair gray at the edges, wearing a simple dark shirt, no blazer, no tie‑dye, just Kesey as he was — a man who’d lived through the noise and come out the other side with a grin that said he still knew a few secrets the rest of us hadn’t caught up to yet.

It’s a collision of worlds — Rose’s studio polish against Kesey’s Oregon mud. Rose wants to talk literature; Kesey wants to talk life. LSD, rivers, kids, stories, the whole messy American experiment. You can see Rose trying to keep it tidy, but Kesey keeps slipping out of the frame, like a fish that refuses to be caught.

That’s the beauty of it — two men, one chasing understanding, the other chasing freedom. Kesey’s grin says he’s still riding the rapids, still hearing the music under the noise. And somewhere in that studio, between the questions and the laughter, you can feel the ghost of the Willamette River rolling through the lights.

The link to that interview https://youtu.be/BJjNIoODO2k

Leave a Reply

This site uses Akismet to reduce spam. Learn how your comment data is processed.

Mother Knows for Better Clothes — And I Hated Every Damn Minute of It

Mother knows for better clothes… it’s back to Robert Hall again.
That jingle was the soundtrack of doom every August of my childhood. You couldn’t escape it. Radio, TV, store speakers — like they were trying to brainwash us into being happy about summer ending. I wasn’t fooled. I hated it. Hated the jingle, hated the reminder, hated the whole back‑to‑school circus.

Summer was freedom. Bare feet, scraped knees, long days that didn’t care what time it was. Then suddenly some cheery voice on TV starts singing about “better clothes,” like that was supposed to make me excited to go sit in a classroom again. Better clothes? Who cared. I wasn’t trying to impress anybody. I just wanted one more week of sun, one more night of staying out too late, one more morning where I didn’t have to drag myself out of bed.

I remember telling a good friend of mine once — I said, “I hated going back to school. I hated summer ending.”
She looked at me like I’d confessed to a crime.
“But I thought you were a good student?”
And I told her the truth: “I was a good student. I still hated it.”

People think being good at something means you enjoy it. Not true. I was good at school the way some people are good at shoveling snow — you do it because you have to, not because you love it. I could read, write, answer questions, get the grades. Fine. But the whole ritual of “back to school” felt like being marched back into captivity.

And that damn jingle didn’t help.
It was like a warning siren: Fun’s over, kid. Get your notebooks.
Even now, decades later, I can hear it clear as day. The bright, chirpy voices. The fake cheer. The promise of “better clothes” like that was supposed to make everything okay.

It never did.

Summer always ended too fast, and school always started too soon. And Robert Hall — with their bargain pants and their relentless advertising — made sure you knew exactly when your freedom was about to be taken away again.

So yeah. I hated hearing it.
I hated going back to school.
I hated summer ending.
And I still think that jingle was one of the most effective pieces of psychological warfare ever unleashed on American children.

Leave a Reply

This site uses Akismet to reduce spam. Learn how your comment data is processed.

    Eleven Days in September

    A few thoughts here are hard for me to write, because they force me to relive some of the worst days of my life. I’m sharing them because maybe it helps the healing, and because it’s more than Mother Nature and her climatological shenanigans that make me hate September. I’ve never been a fan of the month anyway. And I know I’m not the only person who has been — or is — going through tough times. When you mix difficult life issues with a chemical imbalance called SAD (Seasonal Affective Disorder), life can become a Ulyssean train wreck of emotions, senses, and befuddled thinking.

    SAD is a mood disorder tied to seasonal changes, usually showing up as depression beginning in the fall and lasting through winter. It’s caused by a disturbance in the body’s circadian system. My condition is minor compared to what some people I know experience. I once worked with a woman who could cry at a funny joke — and she wasn’t pretending. And then there are the doubters who say things like: get over it; it’s not real; don’t let things get you down. This piece is for anyone who’s heard that too many times. I often think of James Joyce’s line: “Your battles inspired me — not the obvious material battles but those that were fought and won behind your forehead.”

    In June of 1997, summer — the season of good times and hope — shattered into a million heart‑piercing fragments. After a misdiagnosis that let her cancer grow unchecked, my wife finally learned the truth. By then, the prognosis was treatable but not curable. It would one day take her life.

    So we began living six months at a time. From one blood test and body scan to the next, we held our breath, never knowing if this time would be the last. We did that every six months for fourteen years.

    Jennifer began thirty radiation treatments in a row. The burns were third‑degree. She would lie curled on the floor outside the treatment room, in pain from the day before, waiting for the next round. I was always with her — holding her as tightly as I could, sometimes curled beside her on that cold hallway floor, trying desperately to absorb even a sliver of her agony.

    After radiation came two weeks of intensive chemotherapy. And then, almost a year later, as her body began to heal, she developed severe panic attacks. She couldn’t leave the house or be left alone. Once, I was gone for no more than fifteen minutes. When I returned, she was clinging to her chair, sweating, crying, begging me never to leave again.

    Jennifer was not a coward. She was strong. Brave. But the disease was killing her in ways no scan could measure. I had already quit my job in broadcasting. There would be other jobs — or not. I wanted to be home so she would never feel alone.

    By the end of 1997, we had at least put cancer in remission. With good doctors, counseling, and Jennifer’s relentless determination, she resumed what passed — at least to the outside world — as everyday life. Inside our home, we cocooned, believing that if we locked the world out, nothing could get in to harm us. The two of us were enough. And that’s how we lived — six months at a time, always together.

    I had my own ways of coping — music and writing. I learned to live not just one day at a time, but sometimes one minute at a time. I didn’t yet realize how deeply life was carving its marks into me.

    By the summer of 2009, traditional chemotherapy stopped working. Our six‑month reprieves ended with the doctor’s quiet words: “There is no more we can do to beat cancer back; it is spreading rapidly now.” I cried that day. But the worst day was still ahead. Suddenly, six months felt like a long time.

    One last treatment was available: a Phase 1 clinical trial. Jennifer agreed to try it. She said she knew the drugs probably wouldn’t save her life, but maybe someday they would save someone else. She joked that lab rats had better lives than she did.

    Jennifer had always been grateful that chemo hadn’t taken her long, beautiful blond hair. But these new drugs were brutal. Her hair came out in clumps on her pillow. I watched her body change from the vibrant ocean swimmer she had been to someone frail and barely recognizable. The woman who could outwalk and outswim me now needed help to move from one room to the next. The end was closing in. This would be our last summer together.

    And this is where a question began — one I still carry today: What did Jennifer suffer quietly, never telling me?

    I know she hid things. Not because she didn’t trust me, but because she loved me. She curled her pain inward so I wouldn’t have to carry all of it with her. I think about the fears she must have swallowed whole. Not the obvious ones — not the fear of cancer or dying or treatments that burned her skin and hollowed her bones. Those she faced openly. Those she let me see.

    It’s the quieter fears I wonder about — the ones behind her eyes.

    Maybe she feared becoming a burden. Maybe she feared watching me watch her suffer. Maybe she feared losing herself long before she lost her life — the swimmer, the walker, the strong woman who once outpaced me on any beach. Maybe she feared the shrinking of her world, the panic that made the front door feel like a cliff’s edge. And maybe — though she never said it — she feared leaving me alone in a house that once echoed with two voices.

    There was pain she hid too. The physical pain, yes — the burns, the nausea, the exhaustion that made her bones feel hollow. But also the humiliation of losing independence, of needing help to move from one room to the next. She tried to stand straighter when I entered the room. She tried to smile when she was breaking.

    I wonder what thoughts she kept from me in those last months. Did she count her remaining days? Did she lie awake listening to her own breathing? Did she realize before I did that we would not grow old together?

    I will never know. Her silence wasn’t distance — it was devotion. She protected me from the full weight of her fear, even when she was too weak to lift her head. That was her last act of love.

    Sometimes I wish she hadn’t. Not because I needed to know, but because she shouldn’t have had to carry any of it alone. I would have held every fear, every pain, every trembling thought. I would have carried it all if she had let me.

    But she didn’t. She was always like that — even at the end. Protecting me quietly, suffering quietly, loving quietly.

    And so the question remains — the one I will carry for the rest of my life: What did she endure in silence so I wouldn’t have to?

    I’ll never know. And maybe that’s the shape love sometimes takes — the part that remains unknowable.

    On September 14th, 2011, the hospice nurse who visited us daily said, “Maybe it’s time for inpatient hospice care.” She tried to soften it with “it’s not always a one‑way trip,” but I knew it would be. And so did Jennifer. Sometimes I wake up at night trembling, tears flowing down my cheeks as I follow the red taillights of the ambulance taking her on her last road trip. I have traveled every mile of that trip in my mind, and always will.

    I spent the next eleven days in hospice, sleeping with my arms around my dying wife, waking to the sound of her breathing or gently pressing my lips to hers to check for air. And sometimes, I heard the sound that still echoes in my head at night — the death rattle.

    On the morning of September 25th at 7:28, I didn’t have to check. Something felt different. The room felt hollow. Jennifer’s soul was gone. She had quietly slipped away sometime in the night. I wondered if she whispered goodbye and I didn’t hear. Knowing her, she probably didn’t want to wake me. Seminary never taught me this: the human soul is real. And hers had left the room.

    The first three years after her death are a blur. I drank — sometimes fine scotch, sometimes whatever I could afford. I wrote poems deep into the night and listened to music until morning. A neighbor joked that I was channeling Edgar Allan Poe. Maybe I was. My doctor prescribed tranquilizers, antidepressants, and sleeping pills. A shrink told me I had PTSD. I snapped: “You’re nuts. PTSD? I haven’t been in a war.” They explained that I had been in a fourteen‑year battle against an enemy I couldn’t see — and that I lost the one person I couldn’t bear to lose.

    I stopped the pills nine years ago. I stopped drinking ten years ago this December. I understand now: the dreams and flashbacks are part of a condition I’ll likely carry for life. And September will always be the hardest.

    My first major break — the first time I truly lost my grip — was when a little white cat named Chloe died. The cat Jennifer had loved so much. The last living, touchable thing I had of her. The day I lost Chloe, I melted down. I nearly wrecked the exam room. Two friends explained to the staff what was happening, and they kindly said, “Let him go. We’ll clean up later.” Chloe’s body became Jennifer’s. Just like that morning in hospice when I had to be pulled away from my wife.

    The most recent time was a few years ago, when Jennifer’s sister Gayle died. No one knows how important Gayle was to me. But in short: if there had never been a Gayle, there would have never been a Jennifer.

    Every day, I try to be happy. I made a poster I look at each morning: “The dream lives; you were her dream; be happy.” I was loved. Deeply. Fiercely. And she would want me to be happy. I try. I really do. But then September comes, and the battle intensifies.

    Still, I try to be as brave as she was — the woman who curled up on a hospital floor and still found the strength to fight. The woman who joined Phase 1 trials not only for herself, but for someone she’d never meet. She wanted us to grow old together. She wanted me to be happy.

    But damn you, September. Your fall beauty hides your cruelty — the short days, long shadows, lonely nights, and memories that never fade.

    I’ve survived fifteen Septembers without her. I will survive this one. And the next. Because carrying the weight of those years means I’m still carrying her.

    And I know I’m not the only one who has traveled this road. Grief has a thousand faces, and none of them walk alone. I hope that by writing this — by laying out the bumps, the breaks, the nights that nearly swallowed me — it might help someone else get over their own rough patches and keep on keeping on.

    I know if I can, they can.

    Leave a Reply

    This site uses Akismet to reduce spam. Learn how your comment data is processed.