life as understood

Some days, it's almost unbearable not to be in Siberia. Lately, that's been happening even more than usual. Yesterday, in public, I had a daydream about stepping out of a plane and onto an icy tarmac and I almost wept with joy, like a pansy.

Two weeks in, my new job at the Russian Center, where I'm surrounded daily by books and words and photos, neither satisfies my longing for the sleeping land, nor makes it worse. The commute to and from work, however, does both. It brings me closer, possibly, than anything has in the five years since I left. And now after two short weeks, I'm addicted.

The morning commute opens with a 15-minute bike ride to the train station. This leg of the journey qualifies on the merit of its smells -- cigarette smoke and exhaust and laundry left on balconies. Rotting furniture, uneven sidewalks, and weedy vacant lots add to the effect. It's not an upscale neighborhood.

The train, of course, is really where it's at. The methodical, metallic whirr, the whistle, the way the upper body bobs around on a fixed seat like one of those inflatable boxing opponents that's weighted at the bottom so it swings right back up. For some reason, I never get motion-sick on trains.

There's one spot on the commute where pine trees line up next to a wooden house at just the right distance from the tracks. Other than that, most of the sights from the window bear little resemblance to Siberia. The magic, though, isn't in the objects, but rather in how the train passes them by -- in three-second panoramic snapshots of lives. They're tragically static shots, though. Even when the back side of a house sits only a few yards from the tracks, it might as well be a world away, since the train doesn't stop. Getting there could take hours. The railroad offers only the illusion of intimacy, vivid though it is.

My run on the train only takes seven minutes -- no more than a frustrating teaser. According to the Siberian scale of time and distance, such journeys should last hours and days. After seven minutes, a bus takes me the rest of the way to work.

Lately, when I've been on my bike in the evening, on the way home, the sun has been in roughly the same position that it was on my first night in Siberia, when I ventured out of my new apartment and internalized just how far away I was. I suspect that memory will own that particular time slot each day for as long as I'll live. On my ride, the aromas dance more now than they do in the stale mornings. It's not the specific smells so much as the sheer number of them fighting for space.

Smelling Russia in America is humbling. This is where the epiphany comes in. I am condemned when I consider how I blamed the Russians for so much, as if it was a nationality that made the sky there so gray. In Siberia, I was a sheltered small-city boy who had never seen anything but trimmed lawns back home. My America was far from a complete picture. Had I smelled low-income Northern California on an early evening, I might have been more empathetic than I was. So much of what I initially passed off as "ghetto Russian," as it turns out, is really just "working class" and "human." That's not to say our nations are one and the same. There are no trimmed lawns in Russia. Not that I ever saw, anyway.

The Russians came eastward 9000 miles from St. Petersburg to reach California in 1812. That's a longer commute.Three weeks ago, I had the surreal experience of approaching Super Siberia's southeasternmost outpost, Fort Ross, from the southeast. And the pine trees and the dirt there smelled familiar, as they must have to the explorers. Maybe that's what heightened my senses.

I'm grateful for the unexpected daily glimpse that is my commute. The real territory is too vast to see in ten vacations, so even when I do make it back, I know it'll never be adequate. So for now, I'll hurry and get my fix before the commute stops reminding me of Siberia, and starts reminding me that I have to go to work. And then I'll have to get my fix somewhere else.

Everything echoes in the Asian wing of the Cantor Arts Center. Even with mountainous canvases lining the walls, all vocalizations bounce. Tsune has a hard time communicating over the phone in English, and I have to assume whispering will be similarly hard, but there's no other way.

He points out how the left gargoyle's mouth is open, unlike the one on the right. The slight asymmetry is immediately noticeable and almost jarring to the Western eye, but Tsune explains how the faces represent two separate but simultaneous invocations for the people entering the building. He can't remember what exactly--something like justice and mercy. Though I can't catch every word from his still, small voice, the article on wabi-sabi he printed off provides enough context for me to fill in the gaps. The intentional asymmetry demonstrates the Japanese man's healthy acceptance of his inability to reach perfection. It's in the pottery too. Obviously, I'm the one being tutored.

Another hour, and we've only seen a small fraction of the museum, so we agree to come back later in the week. Then, we'll traverse the Western wings and I'll do the explaining. As that day approaches, I'm apprehensive. I'm not an art historian. Tsune isn't either, of course--he's a visiting scholar in the computer science department. But he comes from a nation with a consistent, influential, and overall "rich" culture, and he has no trouble discussing it definitively, even in English. All I'm taught about my own people is that we're money hungry and fat. Innovative, maybe, but generally only at others' expense, and intolerant. When American and Western ways are spoken of, it's almost always derisively, as an impediment to human progress. What could I ever hope to teach a Japanese man about culture?

Two days later, torsos greet me at the entrance to the first European wing--perfect, granite male and female torsos on ionic pedestals, straight from ancient Greece. To one side, a portrait of a lower English nobleman, a medieval diptych of two saints, and a breathtaking painting of a fantastical palace with imaginative architecture, and lighting and perspective so perfect, it could be an extension of the museum. Tsune is speechless. I realize I can explain almost all of it, and without the help of any specialized knowledge. I teach him about classical influences, Renaissance humanism, and Catholic patronage, and the Bible. And it hits me that I am part of a unique tradition--the Western world is unique, even if it's huge--I've just never seen the forest for the trees.

In the Native American gallery, I don't have as much to say, but Tsune correctly surmises that the drawings, masks, and artifacts are closely tied with the belief systems of each specific people. There, under the brightly colored totem pole-arch, I am shocked by another silent, almost spiritual realization--that I belong also to far more unique and tight-knit subsets of Western culture by virtue of my specific geographic and religious backgrounds. We even have our own art. Most of it may not be museum-worthy, but an outsider could learn a few things about me from studying it. It's good to contextualize once in a while.

After a short time, I'm forced to take leave of Tsune and the museum, but he decides to linger. I walk out less alone than ever.