Jeff the Zombie

Jeff the Zombie

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Book Review: Axis by Robert Charles Wilson

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Robert Charles Wilson’s Spin was an exhilarating novel, perhaps one of the best science fiction novels of recent years. It combined big ideas with a sweeping story and rich, engaging characters. The only other recent novel in the genre I’ve liked more is Neal Stephenson’s Ananthem, and that’s saying quite a bit. There have been a lot of undeserving Hugo winners over the years, but Spin was not one of them.

Axis is the sequel to Spin, and although it continues the story Wilson started in the original, it lacks its predecessor’s scope and does very little to answer the questions it posed. The cast is largely new, and we only get to know them superficially compared to the well-rendered cast from Spin.

Set on the alien world Equatoria introduced at the end of Spin, Axis opens with a woman named Lise who is trying to solve the mystery of her father’s disappearance some years earlier. Sadly, this thread more or less gets dropped as a group of radical Fourths comes into play. Their plan, as well as a new development in the exobiology of the Hypotheticals, serve as the lynch pin of the plot and is only tangentially related to Lise’s long quest.

Despite a strong opening, the book gradually loses focus and plot momentum — even Wilson’s excellent use of language doesn’t do much to offset the narrative inertia of the later chapters. The revelations at the end are neither surprising or game-changing, and we’re left with an unsatisfying ending that leads into the final volume of the series.

I’m still on board to see where things go, but I have to admit that I was very disappointed with Axis. Here’s hoping that Vortex takes the series out properly.

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Blu-Ray Review: Tetro by Francis Ford Coppola

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For many years, director Francis Ford Coppola has been threatening a return to what he calls “personal film making,” a style of film he hasn’t worked in since 1974′s The Conversation. At long last, Coppola returns to personal cinema with Tetro, an intriguing examination of the relationship between fathers and sons.

Shot in stunning black-and-white, Tetro centers around a young man named Benny (Alden Ehrenreich), who has arrived in Buenos Aires, Argentina, in search of his older brother, Angelo (Vincent Gallo). Angelo left the family some years prior and now goes by the name “Tetro,” taken from the clan’s surname. Benny and Angelo’s meeting prompts an exhumation of family secrets which leads both brothers to re-evaluate their identities. Looming over the proceedings is their father, a world-famous conductor, whose ego, success and fame has had a disastrous impact on his sons.

Though sometimes indulgent, there is much to admire about Tetro. It is no secret that Coppola is a once-great director who went on to make a string of weak films in the 1990′s that overshadowed the seminal films he directed in the 1970′s. He could have quite easily continued his retirement from film making and focused on his vineyard and other business ventures, but Coppola remained true to himself as an artist and decided to begin making the personal films that he wants to make.  Because of this, Tetro is made without any commercial considerations — it quite literally is Coppola’s vision. As a result, it is one of the most unique films I’ve seen in quite some time.

Influenced strongly by The Red Shoes (which makes an appearance as a film within the film during a brief flashback sequence), Coppola uses surreal dance and opera sequences to underscore the emotions of the film. This, coupled with the vivid color flashback sequences, gives Tetro a dream-like quality that is both compelling and unsettling at the same time.

The Blu-Ray transfer is stunning and clear, though since the movie appears to have been shot in HD rather than film, it does look a bit too clean for my tastes. I very much miss film grain, which would have added texture to the presentation. The feaurettes provide a lot of background information on the film, but I was less than impressed by the commentary track, which I didn’t find very informative as the featurettes.

Overall, Tetro is an exciting return from one of the world’s greatest living filmmakers and well worth the time of any fan of Francis Ford Coppola, or independent film. The film may not always be perfect, but it’s always interesting and engaging.

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Blu-Ray Review: America Lost and Found: The BBS Story

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It goes without saying that few studios would have the courage to produce a blu-ray and dvd boxed set featuring seven films representing the full creative output of a single production company. But the Criterion Collection is committed to film scholarship and preservation, so we have the ambitious release of America Lost and Found: The BBS Story, a seven-film collection featuring some well-remembered classics (Easy Rider, Five Easy Pieces and The Last Picture Show), some forgotten films of the New Hollywood period (Drive, He Said, A Safe Place and The King of Marvin Gardens), and The Monkees sole big-screen outing (Head), all produced by the team behind BBS Productions. Yet as America Lost and Found makes the case, the creative explosion in American cinema that occurred in the late 1960′s and early 1970′s would not have happened if not for the contributions of Bob Rafelson and Bert Schneider, who parlayed their financial success with The Monkees television show into seminal film production company BBS. And as disparate as some of the films in this set are, they are all critical in understanding the success and ultimate demise of BBS.

First, it’s worth noting that nearly every film in this collection gets the full Criterion treatment — supplemental extras, commentary tracks and a first-class transfer to HD. Although Drive, He Said and A Safe Place are put together on a single disk, they are treated better than some of more bare bones titles Criterion has released over the past twenty years. The packaging is flawless, with each volume in the set receiving a cover based on the film’s original movie poster. In addition, a thick book provides essays on BBS and the films included in the collection. If you are at all interested in graphic design, this set is a real showpiece, especially when compared with so many dull studio blu-ray and dvd releases. At $70 (on Amazon), you’re getting each film for $10 — as most Criterion releases retail for $25- 30, this is an incredible bargain. Even with the weaker films in the set, it’s hard not to feel like you’re getting more than your money’s worth.

The set opens up with Head, which is overly indulgent and almost unwatchable. Suffice it to say, Criterion gives it a richer treatment than it deserves, including a stellar HD transfer and a full suite of supplements. Although Head is interesting in terms of its style and cinematography, it is presented as sort of an acid trip version of The Monkees television show, with the band members leaping from disconnected episode to disconnected episode. Except each episode is something akin to a nightmare someone had about the tv series. This description probably sounds cooler than the movie really is. However, the extras are very illuminating, particularly the documentary featuring director Bob Rafelson, who is unapologetic about his less than promising debut film. Of course, he has a right to be unapologetic, because he would go on to make Five Easy Pieces, one of the most important American films of the 1970′s.

Dennis Hopper’s Easy Rider is a film I grew up very aware of, but never actually sat through in its entirety. My father was a fan and even taped it off of HBO in the 1980′s, which I always took as a reason to stay away. This was a mistake, as Easy Rider is a phenomenal film, worthy of the “classic” status it has held since its release. The plot is simple enough — two hippies, Wyatt (Peter Fonda) and Billy (Hopper), make a huge amount of money on a cocaine deal, stow the cash and head across the country to retire in Florida. This brings the two across the southwest and the south, where they stay at a commune, pick up a Texan ACLU attorney played by Jack Nicholson, go to Mardi Gras in New Orleans and meet two groups of hippie-hating hillbillies. What could have been a glorious celebration of sixties era counterculture is instead a more somber examination of the counterculture’s failure to achieve the immediate cultural transformation they longed for. The supplemental materials do an excellent job of illuminating the creation of the film, and also allow us to see the creative and personal strains between Dennis Hopper, Peter Fonda and co-writer Terry Southern.  Laszlo Kovacs’ cinematography (arguably the first film to intentionally use lens flairs and other “dirty” camera techniques four decades before J.J. Abrams made them a cliche) looks especially amazing in the HD transfer.

The third film in the set is another I hadn’t seen before — Bob Rafelson’s Five Easy Pieces.  In it, Jack Nicholson stars as Bobby Dupea, a childhood piano prodigy disillusioned with his life and his family.  The film opens with Dupea working in a Texas oil field and living with his girlfriend, waitress Rayette, played by Karen Black. Bobby is incredibly unhappy with his life and holds Rayette in great contempt, but when he learns about his father’s recent illness, he and Rayette head to the Dupea’s family homestead on an island in Washington State.  The film is stark and bleak, really investigating Bobby’s disillusionment and inability to find happiness.  In many ways, Five Easy Pieces sets the tone for almost all American independent cinema to come, featuring an alienated loner trying to make sense of it all. The supplements offer a look at the many collaborations between Jack Nicholson and Bob Rafelson, and really put Rafelson into context as one of the seminal filmmakers in the American New Wave.

The fourth disc includes both Drive, He Said and A Safe Place. The pair are probably the weakest in the package and the least notable, mostly because they stand as artifacts of their era. Serving as Jack Nicholson’s directorial debut, Drive, He Said focuses primarily on the campus counterculture and a star basketball player, while A Safe Place is a largely incomprehensible and overambitious film about the psyche of Tuesday Weld. Neither are worth watching, although it should be noted that both transfers are as exceptional as the rest in the set.

Peter Bogdanovich’s classic The Last Picture Show fills the fourth disc in the set. As interesting as many of the included films are, this one is easily the best, surpassing both Five Easy Pieces and Easy Rider. Bogdanovich would go on to make many films after, but his career would never again see a film like The Last Picture Show. Following a group of kids stuck in a dusty west Texas town, The Last Picture Show applies a European cinematic aesthetic to a classic American coming of age story. The transfer is phenomenal — the black and white cinematography has made the leap to 1080p with nary a blemish to report. It appears that most of the extras are from previous editions, but if you want this film on Blu-Ray, this is probably the best way to get it.

The final disc is dedicated to Robert Rafelson’s The King of Marvin Gardens, a character piece focused on two brothers played by Jack Nicholson and Bruce Dern. Despite some stunning cinematography from Lazlo Kovacs, King of Marvin Gardens is not a particularly successful film. David (Nicholson), a Philadelphia-based late-night radio host finds himself pulled back into the orbit of his charismatic huckster older brother Jason (Dern). Jason has set himself up in Atlantic City and is working a Hawaiian land deal, where he hopes to open a resort. With him are two women — one middle aged, the other in her twenties — who both appear to be Jason’s girlfriends. He tries to entice David into joining his scam, but ultimately finds himself careening towards a tragedy of his own invention. The King of Marvin Gardens is definitely in the same mold as Drive, He Said and A Safe Place — two films that, while visually interesting, are not exactly comprehensible or engaging from a story perspective. Like the other discs in the set, The King of Marvin Gardens features a phenomenal transfer, though the extras are somewhat light — two brief featurettes about the making of the film, and a scene-specific commentary from Rafelson.

All and all, one could easily call America Lost and Found: The BBS Story “70′s Film School in a Box.” Not all the films included in the set are particularly compelling or worth owning on their own, but together they comprise an important archive that gives the viewer a much clearer picture of a critical turning point in American cinema, making a strong case  for the influence of Robert Rafelson on the creation of New Hollywood cinema. Unlike Copolla’s failed American Zoetrope project (yes, I know all of his films were produced under that moniker — but the original idea of a San Francisco-based studio failed after THX1138), Rafelson and his associates actually succeeded in producing seven films and one documentary outside of the American studio system. Though not always successful, they were incredibly influential and would provide the template for the independent cinema revival of the 1990′s. Anyone interested in the fertile 1970′s should take a look at this excellent collection.

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Book Review: A Visit From the Goon Squad by Jennifer Egan

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Perhaps it’s a result of when I read it, just following the death of my mother, but Jennifer Egan’s A Visit From the Goon Squad had a profound effect on me.  Few books I’ve read have encapsulated my hopes and thoughts quite so much as this one.  A Visit From the Goon Squad is about middle age, about growing up and remembering the past — realizing how fleeting youth is, and how with age you lose track of the scope of time, and the past and present begin to coexist in the same space. It’s also about the web of associations we build in life, the influence of people we’ve never met on people we have met — and therefore, feel the influence of those connected strangers on our own lives. That if you follow the chain of relationships back everyone is connected with everyone else. Our mentors had mentors who are our mentors, too.  And we just might be the mentors of their children.

The book opens on Sasha, a woman working in the New York City music industry who goes on a date with a man she met on an online dating site. From there, the novel spins out, bouncing from character to character as it spreads through a web of associations that begins and ends with Sasha. It crosses space and time, and loops back to that date and in the end you get an incredible sense of lives lived and lost, and the little things that connect us all together. Goon Squad celebrates a generation of young people coming of age in the latter half of the twentieth century — myself included, back when I was young — to whom music was everything, the very definition of cool and identity. It puts in perspective the fleeting moments of our lives when we went to shows, did drugs, drank and saw the future as limitless and full of possibility, only to wake up and realize our time as parents of small children greatly eclipsed our oh-so-brief time as punks.

In addition, the book is a scathing literary and cultural satire — at once hilarious and tragic, and un-ironically postmodern, ultimately terminating somewhere in the suburbs of a post-science fiction city built by William Gibson. You’ve no doubt read about the chapter written as Powerpoint slides — and as much of a gimmick as it might seem, it works brilliantly in presenting the anxieties of a young girl and her family. Egan closes on  a future where social media alone can create a star, where the connections between people aren’t inherent and subtle, but are open and clearly graphed out on the Internet for everyone to see.

A variety of editions, including an iOS version, have been released, but don’t let the hype fool you — this is a really great book enhanced, not hindered by the marketing and well-deserving of winning the Pulitzer Prize. Of all the novels I’ve reviewed in the past two years, this is undoubtedly my favorite.  I am so sad that I’ve finished it, but can’t wait to plunge back in to re-examine the associations I’ve missed.

Movie Trailer of the Day: TWIXT by Francis Ford Coppola

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As far as I can tell, there have been three periods in Francis Ford Coppola’s long career as a filmmaker. Part 1: the brilliant commercial and independent features he directed in the 1960′s and 1970′s; the commercial period of the 1980′s and 1990′s, and finally the experimental period he’s currently in.

His latest run of movies, which began with 2007′s Youth Without Youth, continues with TWIXT, a surreal horror film that the director is taking on the road to 30 cities and editing on the fly for the audience. I’m definitely intrigued.

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Blu-Ray Review: Yojimbo & Sanjuro: The Criterion Collection

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Akira Kurosawa is a director that anyone seriously interested in film has heard of, but not a filmmaker whose works I am particularly familiar with. As I have spent the past year purchasing new release Criterion blu-rays, I decided to take a chance on a collection of two of Kurosawa’s best known films — Yojimbo and Sanjuro. Suffice it to say, I am not the least bit disappointed.

Yojimbo is without a doubt the rosetta stone for a single archetype — the antihero. In this case, masterless samurai (or ronin), Sanjuro played by the charismatic actor Toshiro Mifune. As a fan of comics, science fiction, fantasy and action films, I have seen variations of Sanjuro throughout my life, but never realized that so many characters began with the protagonist of Kurosawa’s Yojimbo. Most notably, Clint Eastwood’s “Man With No Name” in Sergeio Leonne’s remake of Yojimbo (re: rip-off), A Fist Full of Dollars. And it’s a testament to Kurosawa’s skill as a director that with so many derivative descendants, Yojimbo is still an incredibly compelling film, surprisingly modern in its sensibilities and most importantly, funny and entertaining.

Yojimbo is set in a town beset by two rival factions of Yakuza. Sanjuro, an aging wandering samurai, arrives in the town and decides to set both sides against each other for nothing more than his own personal amusement. What follows is a dark comedy as Sanjuro acts as an agent of chaos, shattering the delicate balance of power in the town.

Created as a quick follow up to capitalize on the popularity of Yojimbo, Sanjuro is a very different story and casts Sanjuro in a slightly different role. Nine young samurai discover corruption within their local clan. As they begin to align against the suspected source of the corruption, they stumble upon Sanjuro, who quickly realizes that they have the situation entirely wrong. Unlike Yojimbo, where Sanjuro acts alone, here he serves a mentor figure and leader to the nine samurai. In addition, Sanjuro is portrayed as more of a traditional hero, motivated by altruism rather than boredom and money, though still shabby and uncouth. Sanjuro is an entertaining film, but not the classic that Yojimbo is.

The transfers on the two blu-rays are top notch — there’s a little flicker here and there, but overall Kurosawa’s black and white compositions look phenomenal. Extras are sparse for a Criterion edition, but include segments from a Japanese documentary on Kurosawa’s career, as well as commentary tracks from Kurosawa scholar Stephen Prince. Although dry at times, Prince’s commentaries are illuminating, providing important context for both the historical period in which the two films are set, as well as for the production of the films.

All in all, the Yojimbo & Sanjuro two-pack is well worth your money — and at $50 on Amazon, is also an incredible bargain.

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Review: A Dance with Dragons by George R.R. Martin

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Do I even need to say how long it’s been? A Feast for Crows was a placeholder, a holding action intended to keep the story going just a little during the decade-long creative struggle George R.R. Martin faced at the end of A Storm of Swords. It would be easy enough to set aside any objective criticism and instantly adore the book. But that’s not how I am as a reader, and as grateful as I am for A Dance with Dragons, it’s not as satisfying as A Storm of Swords, A Game of Thrones, or A Clash of Kings. This is not to say that it’s a bad book — anything but. It is at turns thrilling and terrifying — a big complicated behemoth of a book full of unexpected surprises and deftly paid-off moments of plot. But there is trouble at the heart of it — the fabled “Meereenese Knot” that Martin grappled with for so long.

Before I continue, I want to note that I am going to avoid spoilers and speak in generalities. I understand that those generalities may be considered spoilers — so read on at your own peril. But please be aware that I will not spoil specific plot twists, character reveals, etc.

A Dance with Dragons is centered around three major story-lines — Dany’s rule in Meereen, as well as the many people trying to reach her; Jon’s tenure as Lord Commander of the Knight’s Watch on the Wall; and the north under the stewardship of the Boltons. Other characters and settings are addressed, including a few lingering threads spun out of A Feast for Crows, but Dany and Jon are by far the most critical characters in the book.

The problem is that the “Meereenese Knot” isn’t so much a knot, as it is a cul-de-sac. For five books now we’ve watched Dany develop as a queen, waiting for her to arrive on the shores of Westeros with her dragons and her army. And yet at the close of A Storm of Swords, Dany decided to stay in newly-conquered Meereen on the shores of Slaver’s Bay to learn how to rule. Her arc is concerned mostly with that — as well as the unexpected consequences of her decisions. The early chapters in the arc are some of the least interesting in the entire book, but Dany’s arc begins to pick up steam in the last third of A Dance with Dragons, driven in large part by a compelling new POV character. Yet, as the book closes, I’m not sure that I’d say the knot is any looser than where it began. Only Martin knows for sure, but with so much time devoted to Dany, I’m not sure very much progress has been made.

Jon’s arc on the Wall also deals with the complications of rule — the compromises leaders must make for the greater good. And as Jon makes some very difficult decisions, it’s easy to wonder if he has some of his Ned Stark’s weaknesses, or if he will rise above his father’s mistakes. One could also say that Jon’s arc has certain … Shakespearean overtones.

The Boltons are, I believe, the only true “villains” in the series — characters so vile and evil that they are irredeemable. Yet, they are believable villains — a family of sociopaths who pass on their predatory approach from father to son. Their story is told from a surprising POV character who I would rather not name, and I found the Bolton chapters to be especially compelling, as well as disturbing.

The remaining characters and arcs in the story are probably best left unmentioned — although they often eclipse the three major plot movements of the book and lay important pieces for books to come. I will say that I have gone from being lukewarm about Victarion Greyjoy to wanting to hop aboard a longship and follow him across the world — the guy is an incomparable badass, reckless and bold, a true pirate lord. My old favorite Davos Seaworth is on hand for a few chapters and remains one of the most humble and truly brave and heroic characters in A Song of Ice and Fire. But my favorite POV chapters come from a completely new character — one who shepherds in a whole series of changes into the series.

Although A Dance with Dragons is a much more satisfying book than A Feast for Crows, I believe many readers will find that it shares many of the unsatisfying elements that plagued its immediate predecessor. Playing pieces are shuffled into position (or out of position), but very little is resolved. This is not surprising for a series as big and ambitious as A Song of Ice and Fire, but with such a long gap between books, it can be disappointing. Unlike earlier volumes in the series, A Dance with Dragons does not tell a complete story — it is more complete than A Feast for Crows, but only just so.

Here’s hoping for a shorter wait before the release of Winds of Winter.

Eulogy for Belva Lee Hoffman Barrus

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My mother is dead. She died two weeks ago in her sleep, just days after spending the week with my daughters. She was sixty-two years old. By her doctor’s estimate, she probably fell victim to cardiomyopathy, a disease I have been living with for the past three years, but one which my mother did not know she had.

How does a person not know they have a terminal illness? My mother’s description of her heart ailments was rudimentary at best. I always suspected she had it, but whenever I asked her she assured me she did not. Now she is gone, and yet all the signs and symptoms were there for me to see. The swelling, the exhaustion. Her medication regimen was wrong for cardiomyopathy, and she was unaware of the requirement for a low sodium diet. An ICD might have kept her alive in the event of sudden cardiac arrest, but one was never implanted. To my knowledge, it was never even suggested to her.

I am so angry about this, because I have seen it time and again with older patients. A sense among doctors that the patient is not capable of grasping the medical condition that will take their life, an acceptance that death cannot be prevented, so they don’t bother to educate them on what they need to know to keep going.

“It was probably the cardiomyopathy,” the doctor said.

And I will wonder forever whether her death could have been forestalled a few more years.

What follows is the eulogy I wrote for my mother and delivered on Friday, July 15, 2011:

Thank you all for coming — I know my mom would be grateful to see so many friends and family present here tonight.

Three weeks ago, I drove up from my home in Washington, D.C. to spend the night at my mother’s. My cousin Jennifer and her family were coming down to visit, and she needed her air mattress back so Jennifer’s sons would have somewhere comfortable to sleep. As usual, I got there much later than I’d planned.

My mother was on the phone when I arrived, but she still ushered me into the kitchen where she made me a lollipop. If you’re not from Hagerstown, and even if you are, you’re probably thinking it’s a kind of candy on a stick — but not so. A lollipop, as my mother explained to me, is a snow cone with ice cream. In this case, it was a strawberry snow cone, made from a strawberry syrup my mom made herself. She was very proud that she had done it, as it was not an easy process. She said she’d bought the snow cone maker so she could make snow cones for my daughters, but I could tell by the twinkle in her eye that she also bought it for herself. She loved to cook, and more importantly, she also loved her own cooking.

After she got off the phone, she went into great detail about how she had extracted the syrup from fresh strawberries — a process that would have made a chemist proud. Although I am a competent cook in my own right, I got lost halfway through the story. But the truth was there, my mother had done it in her own kitchen. It was amazing.

We went on to spend the rest of the evening together chatting in the living room, both of us reclining in our chairs. It was a wonderful night, cheerful, hopeful. We talked about my daughters, about family and the future. We talked a little about my dad. Then we went to bed. As always, my mom came into my bedroom before retiring to make sure I had everything I needed.

In the morning, we said our goodbyes and I headed for home. As always, my mom saw me out to the driveway, and I honked at her as I drove off. It occurred to me as I headed down Independence Road that this was the first night we’d spent alone together in eighteen years. And although I didn’t know it then, it would also be the last.

When I got the call that my mother had died, I thought back to that night — it was hard to believe that it had really happened. It was the kind of thing that people write about in books, a little closure before a major character passes on. But I had spent the evening with my mom, sat at her table and ate her wonderful snow cone with ice cream. It was real.

I know this because my Aunt Linda reminded me a few nights ago that she was the one on the phone with her when I came in. And so I have confirmation, there was a witness — my mind isn’t playing tricks on me. I did get to say goodbye to my mom. I feel so fortunate, many people don’t get the chance. But I did, and I will always be thankful for that night for the rest of my life.

Many people here knew Belva Barrus in different ways — as a friend, a sister, a mentor, a mother-in-law, a grandmother. As her son, my perspective is different. I know more of the story, but with my mom, only she knew her entire story. But I’ll try to share what I can with you.

My mom was born in 1949 in Fort Pierce, Florida, to her parents, Carl and Ruth Hoffman. She was the second of five siblings — three sisters: Betty, Donna and Carla and a brother: Craig. She grew up in the town of Okeechobee, which, if you look at the map, is next to the big lake in the center of the state.

Her childhood, by all accounts, was happy. She spoke often of her parents, her sisters and her little brother. She remembered those early years in stunning detail, and spent many hours sharing stories of her childhood with my daughters, who enjoyed retelling them to Tina and me.

When she came of age in 1967, my mother left Okeechobee for the United States Air Force. She spent four years in the service, with a long stint at Misawa Air Base in Japan, where she met and fell in love with a charismatic young man from Grand Island, New York named Grant Barrus. They married in Sapporo, Japan in 1971.

After leaving the Air Force, my parents moved to Hagerstown, MD to be close to my dad’s parents. And after three years of trying, they finally had a son — me, Grant Jeffrey Barrus — in 1974.

Growing up, my mom was my constant companion — the two of us walked to the library every few days and came home with stacks of books. We spent long summer days together as my father worked, and my mom eventually got a part-time job as a lunchtime aide at Bester Elementary, where I went to school.

In 1985, that job turned into a instructional assistant position at Winter Street Elementary School. For the rest of her life, my mother worked for the Board of Education, as a paraprofessional, serving stints at schools around the county, including Robinwood Early Childhood Center and Clear Spring High School.

For most of her career, my mother worked with young children, so when she was transferred to Clear Spring High School, she was nervous. Working with teenagers was new to her, but it didn’t take long before she found it just as rewarding. She spoke often of her colleagues at school and the students she met. Her job was such a rich part of her life, and it meant a great deal to her.

When my father passed away in 1993, it was a difficult time for my mom. She had sat at his side as he died of cancer and losing him was devastating. But my mom was an incredibly strong person — she picked herself up and built a new life for herself. She had always been independent, had always done things for herself. But this time in her life showed her the kind of strength she really had — she was capable of almost anything she committed herself to. And that was a lot.

My mom was a born problem solver. I was reminded of this last week when, as I sat with my father-in-law as he changed my oil, he found a plastic flap under my car that someone had tied up meticulously with a tie. I then remembered a few months ago when my mother noticed that flap dragging under the car and insisted that she tie it up. Whenever she found a problem, she fixed it.

As I grew into an adult and married, my mother insisted that I have a child. This was a fight that went on for several years, as I was not certain I was ready. But my mother wanted her granddaughter. So I took no small pleasure in shocking her when I called to inform her told that the doctors said there would be not one, but two children. She couldn’t believe it — she refused to believe. “There must be some mistake?” she said. “Twins?”

There was no mistake. When Rachel and Anya were born, my mother was there to help. And during that difficult first year full of pneumonia and asthma and long hospital stays, my mom was always there to pull us through. She taught us nearly everything we needed to know about parenting — from changing diapers, to mixing formula, to bathing the girls. Tina and I were so scared, but my mom gave us the confidence that we could do it as well as she could.

Throughout their lives, my mother was my daughters’ best friend. They believed, as I did, that she could do anything. They loved their Nana so much — she always made sure they had everything they needed. She was always hunting through yard sales for clothes and toys and anything they might need. And she sewed dresses for them and their dolls.

When Rachel had a special teddy bear named Robin and Anya had no similar toy, my mother gave her Tracker the basset hound.

But most importantly, my mother shared her life with them. She told them stories of her childhood in Okeechobee, of her days in Japan, and stories of what their father was like when he was a little boy. These are stories that either I didn’t know or didn’t remember, stories that live on inside my girls as they remember them.

The week before my mother died was spent with my girls. Together, they did many of the things my mom did with me when I was a boy — they went to the library, they went swimming, they flew kites and read stories. Every day, Tina and I heard reports of the adventures they shared together. It was a happy week for them, and also bittersweet knowing now that my mother would pass away just a few days after. But the blow of what happened is blunted somewhat by the knowledge that her last week on earth was spent with the two people she loved most — and that so few of us will get to leave this life with our days filled with love. My mother was so fortunate.

Who was Belva Barrus? She was a grandmother, mother and wife. She was a sister and a friend. She organized her clothes by color, and loved blue and lavender. She loved to read, and sad stories always made her cry. She loved to laugh and to cook and to pick out clothes for her granddaughters. She kept a book of birds and checked off a bird every time she was lucky enough to spot them. My fathers old hunting binoculars were never too far away. She took her camera with her everywhere, so if she saw a beautiful stand of flowers she could stop her car and photograph them.

And most of all, she was happy with her life — she felt lucky for what she had. She had no complaints, no regrets. She did not feel bitterly about the way things turned out like so many of us do, but fortunate that things turned out so well.

When I close my eyes, I can vividly see my mother’s face. She is smiling, her eyes glowing, laughing. This is how I remember her, and I’m not capable of remembering her any other way. I am so sad to have lost her, but I feel so fortunate to have been her son.

It was not until just after she died, that I realized something. All my life, I believed that my sense of honor and right and wrong came from other people. From my father, from men in my life. But the truth is, that my mother was who taught me tobe honorable — it was her who taught me that the right thing is often the hard thing, and that other people’s feelings are more important than my own. She lived up to a strict code of conduct — a belief in right and wrong, in always doing good, in helping other people whenever they needed it, regardless of the cost to herself.

This is not something I was able to acknowledge when she was alive, but I acknowledge it here, now. My mother was the best, most honest, most decent person I have ever known. And the world is a little darker now for not having her in it.

My favorite songwriter is a folk singer named John Darnielle. A few years ago, he recorded an album called “The Life of the World to Come,” where each song was based on a different biblical verse. My favorite song on that record is called “Matthew 25:21,” which is about a mother who died too young. I’ve been going back to it a lot since I first learned about my mom.

He writes:

“You were a presence full of light upon this earth
And I am a witness to your life and to it’s worth”

Goodbye, mom. I love you. I will always miss you.

Song of the Day: “Tubthumping” by They Might Be Giants

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I really really love music, and sometimes I love bad music. And sometimes bad music can be super great, as is the case for They Might Be Giants’ incredible cover of Chumbawamba’s “Tubthumping.”


They Might Be Giants covers Chumbawamba

Song of the Day: “Hot as Day” by Wye Oak

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When did Wye Oak become my favorite band? They kind of just crept up on me, until they took over my iPod’s “most played” playlist. Here’s Jenn performing one of my favorite songs off of the album “The Knot” solo on a balcony in Amsterdam:

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