Lamentations | FROUSA Media

Illustrations by Holly Stapleton

It was March when I received the news that Harold had died in one of his caves. I hadn’t expected him to still be doing fieldwork himself; having watched him make a nest of his laurels, I admit that I saw him as one of those shrewd birds that thieves other’s eggs. The last time we’d met was three years before, in Paris. He’d come from a conference in Lyon and was driving a rented Mini that made a caricature of the stately form he’d acquired in his late years—at any moment, the toy car looked like it would break into pieces, the doors falling off and the bottom dropping out, leaving Harold clutching the steering wheel in open air. He was wearing a woolen overcoat and a fur hat in the Russian style; I believe they call it a shapka. He claimed it had been a gift, but it was so apt that it was hard not to believe he had gone out and bought it for himself. I could imagine him walking down the street somewhere and catching sight of it in a shop window, and the uncanny feeling it must have produced in him, like seeing one’s hands on another person. Obviously he had to buy it. When I saw him in that hat, I had a feeling of déjà vu. For a minute, I couldn’t grasp what he reminded me of, until suddenly it hit me that he looked like a Holbein portrait. I saw that glossy animal skin atop his head and the spreading shoulders below, and in a flash something was revealed to me—or so I told myself—about his authorship. One always has the sense of how gloomy it is to be a Holbein, despite their regal bearing. How utterly unfortunate to live so far north, to be constantly suffering drafts, to be given such jowls, to have to go along with the Reformation. They make no bones about their misery, the Holbein people. They’re dressed in those hugely impressive clothes, and yet under the radar of the great master, they somehow manage to smuggle a secret message to us about what a difficult fate it is to be one of them. There was something of that in Harold, I thought: Here was the great ambassadorial gravity of his presence, buttressed on all sides by the bulk of his convictions, and it was all so uniform, so convincing, until, looking closely, you happened to catch a tiny flicker in his small, gray eyes, a little sign of doubt that threatened to throw the entire enormous project of being Harold into question.

Great Job Felicia Ray Owens & the Team @ FROUSA Media Source link for sharing this story.

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Great Job Felicia Ray Owens & the Team @ Felicia Ray Owens Source link for sharing this story.

#FROUSA #HillCountryNews #NewBraunfels #ComalCounty #LocalVoices #IndependentMedia

Felicia Ray Owens
Felicia Ray Owenshttps://feliciarayowens.com
Felicia Ray Owens is a media founder, cultural strategist, and civic advocate who creates platforms where power meets lived truth. As the voice behind C4: Coffee. Cocktails. Culture. Conversation and the founder of FROUSA Media, she uses storytelling, public dialogue, and organizing to spotlight the issues that matter most—locally and nationally. A longtime advocate for community wellness and political engagement, Felicia brings experience as a former Precinct Chair and former Chief Communications Officer of Indivisible Hill Country. Her work bridges culture, activism, and healing through curated spaces designed to inspire real change. Learn more at FROUSA.org

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