by Madeleine Kando
I am flying back home to Boston, after a two-week stay in the Golden City. The weather is perfect and from my window seat, I watch the scenery roll by. Snow capped mountains make way for desert as far as the eye can see. Dried up river beds meander through hazy valleys and metamorphose into a quilt of fields of every imaginable shade of green.
Then, the landscape is suddenly pockmarked with fracking pads, indiscriminately encroaching on the pristine wilderness, like a giant circuit board. The landscape changes constantly. Now we are flying over a collection of small lakes connected with hair thin filaments that are probably turbulent rivers up close. I can never get enough of flying cross country. The sheer size of this continent boggles the mind, and while my co-passengers prefer to close their window shade to take a nap, I spend these cross-continental flights with my face glued to the glass, cranking my neck until it hurts.
As the distance between me and San Francisco increases, the monotonous drone of the engine slowly washes away the images of this morning's walk from my hotel room on Van Ness to the coffee shop on Polk Street. The early morning sun accentuates the trash, the dirt on the pavement and the leathery skin of a homeless man sitting against the wall. He is not sleeping or begging, just hugging his knees, his head hidden in his folded arms, as if he wants to disappear from the world. On my way back, I look for him and spot him from a distance. As I pass him, I look for a cup, but there is none, so I gently slide my folded dollar bill between his fingers, but he doesn't react. Like a statue, he has become part of the fixture of the city. He knows it doesn't matter, whether he is alive or not, whether he moves or not. He knows nobody cares and neither does he.
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