October 5, 2019 | Dear Eric, There's a place I go to work. It's way out in the desert - almost two-hundred miles from my current home by the sea. It's a bridge over a flash-flood channel along Route 66 near the ruins of a railroad water-stop called Siberia. I found this place for reasons other than work, by way of adventure, never intending necessarily to return, let alone find work in such a place. Yet, find work I did. Work of a very good and useful sort. Work sifting and sorting thoughts and words and sentences and paragraphs. It's interesting how such a place is an aid to such endeavor; being both a retreat for a focused mind and a catalyst for improved perception and resolve. I find thoughts there below the bridge that might not come to me anywhere else. There's a subtle necessity and resolve there below the road, down in the shadows, in the thick heat of summer and the biting cold of winter, and the halcyon days in-between; a resolve which awakens something akin to necessity and an urgent need to create while there's still time. Time may be the key out there, where it's clear to me we have so little.

Made it to the bridge

Very nice below

Like coming in from a storm

Now I can get to work...

I always come to the bridge in the same way; first at night, and then again by day. This is because I always arrive at Siberia at, or very near, sundown. And I use the waning hour of nightfall to set up camp and get situated ahead of the dark. I arrive on my motorcycle from the west, riding along Route 66 from Ludlow and always arriving just around 8:00 PM. In the summer, there's still half an hour of sunshine left above the horizon, and I watch the burning solar face dip slowly towards, and then into, the Bouillon Mountains while I pound in my tent stakes, eager for the coming respite from the heat which only nighttime or the deep shadows beneath the bridge can provide. Nighttime or shadow are my only shields and escape from the roasting summer oven at Siberia. Such intensity! Darkness, please come now. Sunlight, please go beyond the hills and give up, for a few hours, your murderous oppression of life. I cannot survive very long exposed in the summer desert. I need the darkness of night or the shadow of the bridge to stay alive. Perhaps this is the reason the writing goes so well then—in the shadow or after dark? Maybe it's the fact and reminder of my quite immediate mortality that causes me to choose my words very carefully after the sun is gone, and fosters the muse that might otherwise never speak. Perhaps this is the reason my muse lives there under that bridge... My grasping, lonesome sanctuary from what is truly real. My front-row seat to the awful spectacle of what is true. My face-to-face encounter with the fact of eternal death. The summer writing at Siberia and under the bridge is borne of the close proximity of death and made buoyant of my own animated will to live. My writing under that bridge at Siberia in summer is the perspective of a delirium of life against a backdrop of the sobriety of death. Summer is a very good season for writing at Siberia, though the heat does perhaps madden my mind and bring out words only a wounded and hiding thing might be driven to think.

I also write under the bridge during the in-between months of October and November, and April and May. These are the periods when summer and winter are in transition. And when life is given some chance to rest and come out and live even for a while in the light. The sun is always just passed when I arrive on my motorcycle at these times. And I hear crickets and see the first stars appear and the moon come up all brilliant and cold sometimes over the black volcano to the east. This is a good time. A restful time. A time to remember and love life. A time maybe even to forget about death which is otherwise the desert's perpetual theme and subject of study. I go then to the bridge after dark, and then again during the...