Vincent van Gogh. Patch of Grass, April-June 1887. Oil on canvas, 31.5 x 40.5 cm. Kröller-Müller Museum, Otterlo.

Excuse me this Easter morning for mixing Vincent van Gogh with the Sermon on the Mount but one thing leads to another.

For starters, I got text messages from friends Tom and Tim at 7:30 am. Old guys rise early, I’ve learned, maybe the spiritual ones especially. This sent me first for coffee rather than the Bible but, again, one thing leads to another.

I spotted “Patch of Grass,” on Facebook. The Gospel of Matthew, the Beatitudes and “Blessed are the peacemakers” came to mind as my Easter morning thoughts lined out.

A cloud passed over when I read Donald Trump’s Easter Sunday threat to bomb Iran into the Stone Age, saying in a Truth Social post, quoted in both The Washington Post and the New York Times, “Open the Fuckin’ Strait, you crazy bastards, or you’ll be living in Hell — JUST WATCH! “

“The profane threat … landed Easter morning a few hours after Pope Leo XIV issued a call for nations to choose peace …” The Washington Post said.

History comes fast these days but it has taken a long time getting here. Human wisdom is a fairly small, familiar island, perennially wracked by storms of fearful parishioners and bad leaders.

I went back to my original research, finding that the “Gospel Triangle” where Jesus and disciple Matthew lived and worked around Capernaum in what now is Israel was slightly smaller than the incorporated area of Placitas, New Mexico, where I live today. The size of their village was 13 to 15 acres. The historic San Antonio de Las Huertas Land Grant near me is about 924 acres.

Twenty square miles on the north shore of the Galilee for Jesus and Matthew, 29 square miles for me in Sandoval County. The 1st Century population of Matthew’s hometown was smaller, too, around 1,200 people then, compared to the nearly 5,000 people around 21st Century Placitas.

All so close. I heard echos of social media in my neck of the woods this morning. The Capernaum folks could have heard Jesus.

Matthew on papyrus. Tom and Tim in digital text. The Iranians’ Persian ancestors had a culture 500 or 600 years before Jesus, even controlling that north shore of the Galilee 300 years or so before his birth. Trump’s threat to bomb the Iranians “back to the stone ages” refers, I guess, to whatever Persian culture existed several thousand years before Christ, even before the Iron Age, let alone the provocative, enriched uranium-nuclear weapons age of Iran today.

Along came the Gospel of Matthew in AD 50 to AD 85. Along came the Quran about the 7th Century. Along came Iran from Persia in 1935. Before that, the world’s “first Historical People” were Elamites, Kassites, Guitars, Urartians, Mannaeans. Along came the Iranian Revolution in 1979.

Along came World War II in 1939. Along came Israel from Palestine in 1948. Before that, Ottoman Empire, Canaan, Judea. Along came October 7 in 2023.

Two thousand years between Matthew and Trump. Two thousand five hundred years from the Persian Empire to today. Iran — “widely regarded as one of the world’s oldest and most enduring civilizations,” according to AI.

I was living in Turkey during the Six-Day War in 1967, reading in the international edition of Time about the courthouse raid in Tierra Amarilla, New Mexico, that June. Turkey, a republic since 1923, seemed pretty stable while the rest of the world was chaotic, including what I thought of as my home back in northern New Mexico. Of course, 300 miles up the coast from me, after a drive through what once was Troy, site of the legendary Trojan War, lay Constantinople or Istanbul, historically one of the busiest geopolitical centers of the world. It had been besieged 36 times in its 2,600-year history — meaning someone was often trying to take it over for its strategic location and wealth — and controlled by four different empires or states.

In spring, we watch the grass return and grow, rise up. We watch one thing lead to another. What do we learn? I don’t know. I think van Gogh’s painting is about color and the vibrancy of spring, but one thing leading to another, it makes me wonder.

As a very young man in the late 1960s, I went at least a couple of times to this North Beach restaurant on Green Street in San Francisco and imagined myself on a romantic date. The booths had curtains, which probably did not help to announce my availability.

This obviously is an earlier photograph but the atmosphere did not suffer over the years. The food possibly. But it was a good thing I went when I could because my next food memories are quickly disappearing batches of brown rice and broccoli with other impoverished sorts in Berkeley, 11-cent cans of tomato soup from the Berkeley Co-Op and someone surreptitiously taking a bite out of my prized hunk of baloney and restoring it re-wrapped in its butcher paper to the communal refrigerator at the Nash Hotel on University Avenue. I can still see the teeth marks.

Trailer Home, 1992 (color lithograph) by contemporary painter Delmas Howe is part of Rooted Strong: Visions of America from New Mexico opening April 4 at New Mexico Museum of Art.
Addison Doty/New Mexico Museum of Art

I feel foolish but not old.

I started writing here, trying to lay out my morning thoughts, but poems by Theodore Roethke emerged.

Our father started reading Roethke to me and my brother Pat in the early 1950s, before we were in school. Dad was studying at the Writer’s Workshop at the University of Iowa. We listened in our bunk beds in a corrugated metal Quonset hut, set aside for married student housing at Iowa after World War II. He started with children’s stuff — I think “Dirty Dinky” and “The Serpent,” though there seems to be a question of when “Dirty Dinky” was first published — but I’ve read Roethke and heard my father’s cadence through all of the succeeding 70-plus years.

I spent the morning reviewing family history, reasons for war against Iran, Russian thinking about Ukraine, controversy over a noisy pickle ball court in the formerly rural Tano Road area, outside of Santa Fe. I have been watching “Foyle’s War”from PBS at night and reviewing discussions with friends about Vietnam, morality and personal decisions. Before bed last night, I thought I should reread Remarque’s All Quiet on the Western Front and Thoreau’s essay “Civil Disobedience.”

I recognize my own shortfalls of discipline, though I still wonder what the amazingly creative British writer Anthony Horowitz, creator of “Foyle’s War,” has that I haven’t got. Was Shakespeare just trying to make a living and golden beams from heaven struck him at the same time? Musician Mark Knopfler, who I listened to and looked up last night, is only four days older than I am but he obviously got beamed, too. Or did they just work especially hard?

I slog on.

It’s taking me a lifetime to figure things out and then there are still more questions. Still, I don’t want to see my remaining years as a race of time against body.

I don’t begrudge Horowitz. I respect him. My humility, probably always lacking, seems to be accelerating with age. I’m glad, though feeling infinitely smaller under the stars.

I hate to think of Roethke as an unsettled soul, especially since he brings such joy to me. So, I say don’t take his poems as all dark. I see light there too.

In A Dark Time

by Theodore Roethke

    In a dark time, the eye begins to see, 
    I meet my shadow in the deepening shade;
    I hear my echo in the echoing wood—
    A lord of nature weeping to a tree.
    I live between the heron and the wren,
    Beasts of the hill and serpents of the den.
    What’s madness but nobility of soul
    At odds with circumstance? The day’s on fire!
    I know the purity of pure despair,
    My shadow pinned against a sweating wall.
    That place among the rocks—is it a cave,
    Or a winding path? The edge is what I have.

    A steady storm of correspondences!
    A night flowing with birds, a ragged moon,
    And in broad day the midnight come again!
    A man goes far to find out what he is—
    Death of the self in a long, tearless night,
    All natural shapes blazing unnatural light.

    Dark, dark my light, and darker my desire.
    My soul, like some heat-maddened summer fly,
    Keeps buzzing at the sill. Which I is I?
    A fallen man, I climb out of my fear.
    The mind enters itself, and God the mind,
    And one is One, free in the tearing wind.





The Waking

BY THEODORE ROETHKE

by Theodore Roethke

I wake to sleep, and take my waking slow.   

I feel my fate in what I cannot fear.   

I learn by going where I have to go.

We think by feeling. What is there to know?   

I hear my being dance from ear to ear.   

I wake to sleep, and take my waking slow.

Of those so close beside me, which are you?   

God bless the Ground!   I shall walk softly there,   

And learn by going where I have to go.

Light takes the Tree; but who can tell us how?   

The lowly worm climbs up a winding stair;   

I wake to sleep, and take my waking slow.

Great Nature has another thing to do   

To you and me; so take the lively air,   

And, lovely, learn by going where to go.

This shaking keeps me steady. I should know.   

What falls away is always. And is near.   

I wake to sleep, and take my waking slow.   

I learn by going where I have to go.


I slog on under the stars, one foot in front of the other, shaky as I might be.

Whether or not he said these exact words, Maureen Dowd has found some filmmakers turning Mark Twain sarcasm on its head …

From her March 14, 2026 column in the New York Times, “The Lost Horizon of John and Carolyn,” about a 2026 TV series called, “Love Story” …

“Daryl Hannah, the actress who dated J.F.K. Jr. before Carolyn, with a bit of overlap, wrote a trenchant guest essay in Times Opinion, claiming that the show turns her into a cocaine-snorting “obstacle” to the love story, a narrative device that is not “remotely accurate.” She said she’s never done cocaine.

“Nina Jacobson, a “Love Story” producer, admitted, “Given how much we’re rooting for John and Carolyn, Daryl Hannah occupies a space where she’s an adversary to what you want narratively in the story.” The producers did not consult with Hannah or the Kennedys. Connor Hines, the showrunner, told Variety that “it allows you to be a lot more objective.” Besides, he added inanely and selfishly, “it’s an incredibly large family as well. So if you were to talk about consulting them, where would you even begin?”

One good thing about falling asleep on the couch is waking up on the couch. Also, I discovered that the snow field in my copy of William Victor Higgins’s “Winter Funeral,” left, printed on metal, takes on an interesting glow when backlit by moon light and, well, the lights of Albuquerque.

”Winter Funeral” day view.