Thank you!
Your support is sustaining the future of local news in our communities.

California: Take the keys away

California has always been the end of the world, just before the dropoff into the Pacific. That old encouragement to finding destiny in the new frontier, “Go west, young man,� seems, like lemmings arriving at the cliff before the plunge, to have morphed into a slogan for every excess, every extreme for every belief system, faith, politics, work ethic and skill before the barrier of the Pacific impedes further expansion.

(I would add that some friends in Japan and Korea would argue that somehow American culture canoes have unfortunately reached their shores.)

It is almost as if the lemmings, faced with the oblivion of the leap from the cliff, said to one another, “Oh, heck. Let’s pretend we meant to arrive and stay here. Let’s see what we can get up to since there is nowhere else to go.�

And get up to things Californians do. Like all humans there is good and bad, excellence and mediocrity, faith and disbelief. The problem is, perhaps, that the lemmings had been on a mission (go west) and like all good missionaries, they believe they are always right, on the righteous path. That faith in oneself when coupled with diminishing standards borne of population density and ease of living in a benign climate lead, often, to a level of ineptitude that borders on the frightening.

I’ve been driving in the Los Angeles area. Oh, my god.

If you have never endured driving in LA, I have a piece of advice: Don’t. Lane changing on highways at 65 mph? No problem, don’t bother to indicate or check mirrors. Pass on the inside? No problem, it is legal. Fast lane? Pick one. Any one. Don’t worry, it’ll change and re-change every few minutes.

All cars moving, all six lanes, at 65 mph? Expect a stop-and-go every 10 minutes simply because there is an empty intersection ahead and someone panics that there may be cars merging, causing him or her to apply the full braking power of their SUV, swerve two lanes in anticipation of the possible merge lane a half-mile ahead. Think I’m kidding? You really need to take my word for this, or experience it for yourself and risk imminent death.

Speaking of death, in two days, perhaps 10 hours of driving out here, I have seen a car split in two, three bodies splayed out on the grass verge (the sprinklers were watering them nicely), maybe 30 cops milling about measuring, the SUV driver that smacked into the compact being attended to by medics.

I have seen an 18-wheeler bump-and-go a service truck belonging to the Highway Patrol.

I have been in 10 mph traffic jams for 35 minutes with no discernable reason for the slowdown, all the while, inches from my car door, motorcycles pass on the inside at 70 mph and the carpool lane on my left is speeding along at a steady 75 mph, one car every minute or so.

I have seen drivers applying makeup, reading the paper, texting (eyes down; everyone seems to do that), talking to themselves (eyes fixed, free hand waving, sometimes both hands), watching a small video screen, iPad, iPhone, whatever, riding the brake while accelerating, indicating left when turning right, changing lanes and then changing their mind and, oops, changing it again and again (one car was indicating, left, right, left, right again like Christmas lights).

Oh, and they have a new lane for the rich. For $4.10 you can drive in the carpool lane and get to work on time. I called the LA DOT and was told their revenues are up 200 percent in the last year! Well, heck yes, let me see, pay extra money to keep moving or sit in a traffic jam. Tough decision? Nope.

They pimp their cars on the outside so that, stuck in traffic, fellow lemmings have something to look at through the fumes. Dense smog, really throat-biting. And these lemmings do it every day, hour after hour.

Would someone please show them a good cliff?

Peter Riva, formerly of Amenia Union, lives in New Mexico.

Latest News

‘So Little to Do,’ so much to discover at James Barron Art

Curator Deborah Goodman Davis reads the Emily Dickinson poem “The Grass So Little Has to Do.” Spencer Finch’s “Following Three Bees (Zinnias)” buzzes in the background.

Photo by Natalia Zukerman

“The Grass Has So Little to Do,” on view at James Barron Art in Kent, takes its title from Emily Dickinson’s poem “The Grass So Little Has to Do,” written in 1862:

“The Grass so little has to do—
A Sphere of simple Green—
With only Butterflies to brood
And Bees to entertain—”

Keep ReadingShow less

Marina Kotchoubey is not a woodworker

Marina Kotchoubey is not a woodworker

Marina Kotchoubey at the Ian Ingersoll Cabinetmakers showroom in West Cornwall.

Photo by D.H. Callahan

After 40-something years navigating the world of custom fine furniture, Ian Ingersoll was getting ready to retire. Starting off with a little dovetail stool that he sold at a shop in West Cornwall in the 1970s, he’d grown his skill and his business into something he — and the whole town — could be proud of. Shutting down that business was not an option.

Ingersoll built Ian Ingersoll Cabinetmakers, which produced mainly classical Shaker furniture, on passion: the passion he had to make a living through creative challenges and the passion of his employees, who all seem deeply in love with their craft.

Keep ReadingShow less
A legacy of giving at Norfolk Chamber Music Festival

One hundred and twenty years ago, Carl and Ellen Stoeckel commissioned New York architect E.K. Rossiter to design The Music Shed in Norfolk, Connecticut. After nearly a decade of entertaining their friends and neighbors with the finest music of the day, they built a permanent home for their beloved Litchfield County Choral Union.

The commission and full funding of the construction was not unheard of in an era when great fortunes led to public enrichment. Railroad tycoon John D. Rockefeller was instrumental in funding institutes of higher education. Steel baron Andrew Carnegie was building libraries all over the country, and famously said that a man who dies rich is a disgrace, challenging his peers to give their fortunes back to the people.

Keep ReadingShow less
google preferred source

Want more of our stories on Google? Click here to make us a Preferred Source.

Two unique exhibitions at Geary Gallery

Henry Klimowicz with his sculpture, “Partial Pillar 1”

Photo by D.H. Callahan

On Saturday, Aug. 1, Geary Gallery opened its doors in Salisbury for two unique shows in its first- and second-floor gallery spaces. Art lovers flooded both floors over the course of the afternoon, giving the events a vibrant feeling that enhanced the importance of the art.

On the first floor is a show by Chicago-born, Colorado-based photographer Summers Moore, titled “Lobitos: Pueblo Fantasma,” or “Lobitos: Ghost Town.” The work centers around her daughter’s current hometown in Peru. Moore herself found a home away from home in Colorado in the mid-1980s and encouraged her children to seek out new places outside of their comfort zones.

Keep ReadingShow less

Writer’s retreat in the woods

Writer’s retreat in the woods

Participants in a 2024 Great Mountain Forest Woodland Academy workshop at Yale Camp.

Photo by Mike Zarfos

Great Mountain Forest (GMF) will host its first Nature Writing Retreat at the historic Yale Camp in Falls Village from Aug. 7-9, 2026. Writers of all levels are invited to draw inspiration from one of New England’s most notable forest landscapes. GMF envisions the retreat becoming an annual event celebrating writing, conservation and the relationship between people and forests.

This immersive three-day retreat reflects on the legacy of Hal Borland, the American writer and New York Times nature columnist whose work was deeply connected to this landscape. The retreat explores how wilderness shapes language, strengthens close observation and fosters environmental consciousness.

Keep ReadingShow less
From Cornwall to Rome, Adam Van Doren at Berkshire Botanical Garden

Artist Adam Van Doren and curator Donna Hassler talk to a group of visitors at the Berkshire Botanical Garden. A Stephen Proctor vessel sits to their left.

Photo by Natalia Zukerman

This summer, the Berkshire Botanical Garden in Stockbridge has hosted “Grounded in Nature: Paintings by Adam Van Doren,” an exhibition exploring the intimate relationship between architecture and the natural world.

On view for only a few more weeks in the Leonhardt Galleries, the exhibition features more than 35 watercolor and oil paintings by the New York-based artist, architect, author and Yale professor, curated by art historian Donna Hassler, director emerita of Chesterwood. The works span three distinct places that have shaped Van Doren’s artistic practice: New York City, Cornwall, Connecticut, and his travels throughout Europe.

Keep ReadingShow less
google preferred source

Want more of our stories on Google? Click here to make us a Preferred Source.

google preferred source

Want more of our stories on Google? Click here to make us a Preferred Source.