Allowing Journalism To Think

Sunday, January 25, 2026

I’m regularly reading a non-newspaper publication. I follow very few magazines, but these days I always check what’s current in The Atlantic. And I don’t skim its headlines or dip into a single article—I actually read its essays.

The magazine has a tone that feels educated—a better word might be oriented. Its editor in chief, Jeffrey Goldberg, strikes me as intelligent and impressive. He hosts the television roundtable Washington Week in Review, which thoughtfully models observation and discussion without performative outrage. I now try to catch every episode.

I follow a couple of other favorite magazines: The Economist and Foreign Affairs. Both publish serious essays by informed observers and skilled writers.

But The Atlantic, for months, has puzzled me. The magazine has been around for generations. In fact, I read it long ago, then stopped at some point and forgot about it entirely. Several months ago, I picked up an issue someone had left on a table, and was struck by how good it was. Since then, it’s become a favorite again—making me wonder what has changed.

Why did The Atlantic reappear for me? What made me suddenly recognize—again—its excellent writing, capable thinkers, and fine essayists? I might credit taste, talent, and luck. But no dice, because that familiar trio doesn’t explain the continuous, high-quality output I’m seeing.

My questioning has pushed me into social history. It teaches that good writing has always required more than taste, talent, and luck. It has needed patrons. History tells that serious journalism has required both a point of view and money—the two forces that make steadiness, thoughtfulness, and complexity possible.

In earlier eras, aristocrats, universities, and churches underwrote serious thinkers and artists. Today, there are fewer patrons of independence and seriousness. My research—and my renewed relationship with The Atlantic—suggest that point-of-view and money still matter. And today, perhaps, they matter more than ever.

Most contemporary media organizations seem to be running on fumes. They’re dependent on algorithms, advertisers, and relentless speed. Adding political expediency to the mix—consider The Washington Post’s recent loss of subscribers—makes media independence look increasingly fragile.

The Atlantic doesn’t shout or pretend. It’s a magazine that thinks—and thinking costs money. So, I looked for a story behind its resurgence. And, I found it.

In 2017, Laurene Powell Jobs became The Atlantic’s majority owner and fundamentally changed the magazine’s prospects. Jobs did not impose an ideology. Instead, she provided patience and capital. She didn’t demand instant returns, viral hits, or ideological obedience. Her money began funding quality rather than control.

That kind of backing allows writers and editors time—to follow ideas into uncertain or uncomfortable places—and also trusts readers to stay with the writers. Trusting works both ways. Trusting the magazine’s writers has drawn me into The Atlantic’s podcasts and videos as well.

It’s been many years since I felt attached to magazines. Once, there were several that spoke with original voices, and I loved them. Some that still exist feel to me like shadowy reflections of their former selves.

Those of us who love good journalism want to believe it can survive on virtue alone. But that’s unrealistic. Serious work that endures means someone, somewhere, has made a bold, fearless decision that it’s worth protecting.

The Atlantic didn’t become compelling again simply because “it got good.” What keeps its articles relevant, thoughtful, well written, well edited—and alive—is that someone is allowing fine journalism to happen.

For readers who prefer receiving these morning pieces by email, I’m also publishing them on Substack.

— Diana

What The Morning Asks

Thursday, January 22, 2026

This morning feels like a quiet weight. Central Oregon still is hushed beneath a thick inversion layer—and my small world seems held in suspension—deeply still. I almost hear the air breathing as it freezes. I know that heavy fog will erase the Cascade Mountains from the horizon and leave my few acres monochromatic. I know that now the junipers are shadowy sentinels, half-seen and half-imagined.

I’m standing at a window and holding a cup of steaming coffee—and, almost seeing the stubbornly cold air. Frost coats juniper branches and grass blades, and soon, the sun will struggle to rise—pale and ghost-like—trying to burn through the low mist.

Despite this chill, there’s a necessary routine of feeding my horses. In this still darkness, layered in snow pants, a thick sweater, and my heaviest coat, I step outside—into a muffled world. The usual neighborhood sounds are absent; there is only the sharp, rhythmic crunch of frozen earth beneath my boots. I move slowly through this morning’s blurred edges.

The horses are waiting, their whiskers white with ice and their patience thinned by hunger. I hurry through the usual labor—cleaning stalls, filling water buckets, and hauling fresh, sweet hay into the barn. It is work, but offers a few brief, pleasant moments of focus, too. Free of other concerns for the moment, I’m considering this weather inversion, hoping the fog will lift soon and normal clouds return.

Once I have settled the horses, I pause awhile. I listen. Few sounds are as satisfying as the steady, rhythmic grinding of horses chewing—watching them, wholly relishing their meal, is fun, too.

It’s time to turn back toward the house. I crunch across the frozen ground. My dogs, cat, and birds are waiting for their breakfast. Only after caring for them will I prepare for my part-time job.

This is how most of my days begin—as dependably as our January freezes—and regardless of any other weather conditions.

— Diana

Seeing Isn’t Always Seeing

Tuesday, January 20, 2025

At first glance, I was certain I knew what I was seeing.

Two pale strands hung straight down from the branches of a juniper, each coated in frost. They were white, linear, and unmistakably rope-like. Our minds are quick that way. They reach for the nearest familiar explanation and settle in. We just go with it.

Like me, then—not questioning whether the frosty objects were rope, only wondering how they had gotten there. I reached up to pull one strand free from its branch, and in that instant, the scale shifted.

In my fingers, what had looked sturdy immediately shrank into something improbably delicate. I expected resistance. Instead, frost slipped away, and I found myself trying to grip emptiness. I paused and looked more closely.

You’ll never guess what I discovered. The “rope” I was trying to hold was a single hair from one of my horses’ tails. Looking up again, I noticed several similar strands—long, pale, impossibly fine—each thickened by frost and hanging, rope-like, from the branches.

The experience startled me. These fine hairs had likely been carried aloft by nest-building birds, caught by chance in the tree, and layered again and again with ice. The moment felt slightly dramatic and, at the same time, utterly ordinary. I had misread the evidence—and it had been astonishingly easy to do so.

I’ve been thinking about deciding and misassuming. These happen more often than we realize. We believe we’re seeing what’s there, when instead we’re seeing what our experience tells us ought to be there. Our brains—efficient and decisive—are always working to help us make sense of things quickly.

But efficiency may also be a kind of blindness. When we label something too fast and move on—without lingering long enough to reconsider—we miss the chance to see it differently.

The object I mistook for rope wasn’t merely a variation of what I expected; it belonged to an entirely different category of reality. It was something once living—shed, carried, and repurposed by chance.

Only later did my mind begin to imagine a quiet collaboration among animals, weather, and time—a whole story I had nearly missed before I paused, looked again, and wondered.

This experience reinforces something I’ve been learning: that deciding well often requires more than one look. Not because first looks are careless, but because they are incomplete. The longer I live, the more I understand wisdom as less about sharp eyesight and more about patience. Wisdom is staying a little longer with what we think we understand, allowing ourselves to be surprised by what else might be there.

Here’s today’s small example. A single strand of horse tail hair is usually barely visible. Yet here were several, transformed—fluffed with frost and suspended in front of me. I mistook them for rope. I tried to pull one down. Instead, I learned again that what appears solid may, upon re-examination, be lighter, finer, and less obvious than we first believed.

Seeing—really seeing—asks us to pause, reconsider, and sometimes admit that our first understanding was wrong. That lesson, offered by a few horse hairs, humbled me. And because of what it taught, it was also comforting.

If something as slight as a single horse tail hair can—against all odds—hold its place in the world, suspended and briefly transformed, then perhaps our own uncertainties deserve a little more time in the light as well.

Taking more time means looking again. Reflecting longer. It’s a practice that can help move our perceptions closer to what actually may be there.

— Diana

Feathers & Footsteps

Friday, January 16, 2026

The other afternoon, Peaches and I went for a walk. The day was lovely and warm; I didn’t even need a jacket. He perched on my shoulder—a heavenly lookout post—greeting anyone nearby with “Hello, hello!” or “Goodbye, goodbye!” Or he simply screamed, unrestrained and joyous, resisting every attempt I made to quiet him. (If your ears had ever been on the receiving end of his screams, you’d understand.)

Peaches, my Cockatoo, loves going on walks, and on this one he was especially delighted. I’d been promising him an outing for a long time. But I’ve been busy—winterizing the house and barn, and, rather suddenly, starting a new part-time job. Short winter days haven’t helped either, with daylight disappearing before it ought to.

But now, no more promises. We’re finally out and about.

Peaches is quite an attention-getter. People, seeing him for the first time, doubt their eyes: a large, white, very alive bird on someone’s shoulder (or arm, or head—if the wind isn’t too strong—or essentially anywhere he decides to perch). Walkers stop to ask about him. Drivers roll down their windows. Everyone wants to hear him talk. And does he, when they ask? Of course not—he waits until they’re out of earshot, and then he suddenly won’t shut up.

This year, Peaches turns twenty. All wonderful, except for the fact that a healthy parrot can live to be seventy. I’ve always known that someday he’ll need another home. Finding the right one for him weighs on me. Deciding to keep a parrot means making a long-term commitment to a bird who is no shrinking violet.

What makes it easier is that parrots are fun, companionable creatures. My Peaches sings, dances, and talks. He loves music—the louder and more rockabilly, the better. He makes me laugh. What surprises me most is how easily I fall into lively conversations with him. I’m often caught off guard by his inquisitive, animated, and lovable qualities. He’s not “just a bird.” Peaches is a person-bird. And yes, we have discussions.

An earlier sweet Cockatoo in my life, named Crackers, and now Peaches, too, have convinced me of the high intelligence of birds. All birds—wild and domestic—are smart, but some species are famously so: members of the Corvid family (Crows, Ravens, Jays, Magpies) and the so-called “intelligent parrots,” like African Greys.

Corvids and parrots demonstrate their intelligence through tool-use, problem-solving, and complex communication. Cockatoos are among these bright ones—so smart, these birds. (And because I can’t help myself, here’s my extra two cents: over the years, my chickens—and especially my turkeys—have proved themselves far smarter than people typically give them credit for.)

Today’s header photo shows the road ahead on our walk. To complete the loop, here’s another look at that same road—the section we’ve just left behind.

— Diana

Enduring Lights & Shadows

Tuesday, January 12, 2025

The ancient volcano in today’s header photo is Broken Top—my favorite among the Cascade Mountain profiles—and easily visible from my house. I love the whole range, but Broken Top feels extra special. I think that’s well deserved. Its peaks practically explode with personality. And many times, I’ve ridden horseback there. Broken Top is an old friend, even if it’s a mountain.

It’s also a teacher.

Broken Top is an ancient, spent volcano—its fire was gone long before any of us arrived. And yet, on a clear winter day like this, it feels alive to me, especially for the precision of its contrasts.

I’m fascinated by how the mountain holds light and dark at once. Snow burns bright along its slopes, while shattered rock catches shadows in every crevice and angle. The contrasts don’t compete—they belong to each other. One reveals the other. Without shadows, Broken Top’s lights would flatten; without lights, its darks would disappear.

Seeing Broken Top—whether in person or in my photographs—always pulls at something in me.

Maybe because I’m noticing similar interplays inside my own days. Aging has brightnesses—clarity, spaciousness. I’m surprised to find myself more patient, more observant, more willing to look twice. But aging also brings shadows—losses, changes, old urgencies cooling, and quiet reckonings with time.

Like Broken Top, I’m a terrain. And like that mountain, I’m shaped by experience.

It feels natural to accept vivid contrasts on a mountain. Yet I’m struck by how reluctant I am to accept unexpected contrasts within myself. Maybe because early in life, we’re taught to sort our experiences into clean categories: “good years” and “hard years,” “growing seasons” and “declining seasons.”

In contrast, Broken Top does no such sorting. On the mountain, erosion lives beside endurance. Sharp ridges beside soft snow. Light beside dark. Everything adds up to the shape of the thing.

From where I stand, Broken Top’s contrasts feel honest—less dramatic than simply true. They reflect what happens when something stops trying to be anything other than what time has made of it.

Staring at the mountain, I can catch meaning. It adds up to a life that, viewed from far enough away, doesn’t need smoothing. Its irregularities—fallen rocks, jagged silhouettes, deep cuts—are precisely what’s letting the light in.

Looking longer increasingly matters to me. My first look gathers an outline—giving certainty. My second, longer look gathers depth. It shows me light gathering on one slope while darkness settles on another. Staying with the view lets its “true story” come through. And I’m touched by a mountain long past its fire and entirely at peace with that.

Broken Top never tries to impress. It simply stands there—weathered and luminous—letting the day draw its shadows where it will.

And in its very quiet way, Broken Top reassures that: we don’t lose our shape as we age; we reveal it.

— Diana

Hearing A Presence

Friday, December 19, 2025

Tomorrow is the winter solstice of 2025—the day our planet offers its fewest hours of light and quietly turns back toward longer days. The semi-annual solstices are about timing. And that has this one reawakening me to a listening experience I’ve somehow overlooked.

While I’ve reflected on—and written about—voices that enter a room and change its atmosphere, I’ve left one essential vocal artist standing quietly at the doorway:

Peggy Lee.

Not because she demands attention—but because she never does. With Peggy Lee, less is always more.

Listening to her becomes an exercise in recalibration. Lee doesn’t lean forward into the listener; she lets the listener come to her. In doing so, she alters the very terms of engagement. You don’t consume a Peggy Lee song. You lean in. You adjust your breathing. You become careful.

Where Louis Armstrong carries weight—joy braided with sorrow—and Ella Fitzgerald moves with brilliance and lift, Peggy Lee works in a narrower register. A deliberate narrowness. A choice. And within it, something quietly commands—and happens.

Peggy Lee’s timing is everything.

She doesn’t rush toward a lyric; she places it. Sometimes she arrives a fraction late. Sometimes she lets a word trail off, as if deciding—mid-phrase—how much truth to reveal. Silence, for her, isn’t an absence but a tool: a held breath, a raised eyebrow—one you can hear.

In songs like “Fever,” the drama isn’t in volume or flourish; it’s in restraint. Lee barely raises her voice. She doesn’t sell the song; she assumes it. Her confidence isn’t showy. It’s settled. Adult. World-aware.

Listening to her, I’m struck by how much authority can live inside softness.

Peggy Lee’s presence feels personal without being confessional. She doesn’t invite us into her interior life so much as let us sit nearby. She doesn’t ask us to identify with her pain or her triumphs; she asks simply that we notice—and pay attention.

Perhaps that is why Peggy Lee’s singing still feels so modern.

In an era when performance often leans toward maximal expression, she reminds us that meaning can reside in what is withheld—that intimacy can be created less by exposure than by precision. She teaches us that timing—true timing—isn’t just musical, but emotional.

Listening to Peggy Lee, I don’t feel dazzled. I feel addressed. She seems to change the room not by rearranging the furniture, but by lowering the lights.

Today, finding her again, I’m not merely listening to the music. I’m listening for something within it—a presence that doesn’t announce itself, but waits. Patiently and unmistakably, for anyone who slows down enough to hear it.

— Diana

Letting Go, Mending, Learning

Tuesday, December 09, 2025

Several weeks ago, after leaving my sales job in a large retail department store, I turned my attention back to a long list of needs waiting at home. I contracted for a new roof, got long-overdue electrical repairs done, and—perhaps in the biggest emotional task of all—helped my beloved donkey, Pimmy, transition to her new home.

Fortunately, that new home is nearby and I visit often, which softens the bittersweetness. Pimmy is a “special needs” pet, living with Cushing’s disease and Type II diabetes. Over the past year, I carefully managed her diet, and she lost nearly 200 pounds. She now looks bright, alert, and almost youthful again.

Her “new person” is a retired nurse—gentle, steady, and knowledgeable—who understands Pimmy’s conditions and is both vigilant and deeply caring. Pimmy now wears a grazing mask and spends her days roaming a generous pasture with her new buddy, an aging Arab gelding. The regular movement is doing wonders: she’s walking more freely, her energy has lifted, and her coat is turning fluffier and shinier, as if she’s growing into a chapter all her own.

Meanwhile, life with my two horses has kept me just as busy. With Pimmy settled, I turned to repairing fencing, cleaning the barn, and making a few improvements to the horses’ living space—projects that had been quietly waiting for months. Horses have a way of creating their own to-do lists, and mine certainly did.

Rosie, who is sturdy but sometimes finds trouble, managed to develop a hoof abscess. It needed soaking, wrapping, and all the fussing Rosie insists on not enjoying. And Sunny—sweet, distractible Sunny—somehow scraped a surprising patch of fur off her face. No dramatic story, just the everyday mysteries of horse life. Between meds, bandages, and gentle reassurance, they’ve needed both hands-on treatment and the simple comfort of my presence.

All this work has kept me grounded, but I’ve also become aware of another familiar pattern: the slow return to isolation whenever I stay home long enough. It’s not that I don’t love being here—keeping the property in shape, caring for the animals, tending to the endless little realities of country life. I do. Yet after a while, I begin to miss the hums of human life. Conversations. Laughter. The ordinary noises people make while going about their day.

So, I decided to rebalance things. For this Christmas season, I’m taking a part-time job at a fast-moving retail discount store. A few short shifts each week will give me a little of the outside world again—energy, chatter, and a constantly changing flow of faces. And, for reasons I can’t entirely explain, I have a growing curiosity about retail as an industry. Now that I’ve learned how a traditional department store operates, I’ve also wanted to understand how the bulk discount retailers run their show. My new seasonal role will give me a chance to find out.

What I’ll ultimately do with my expanding retail knowledge is anybody’s guess—mine included. Maybe it will simply satisfy my curiosity. Maybe it will help me better understand the rhythms of modern commerce. Or perhaps it’s just another way of staying engaged with a world that keeps shifting under our feet.

For now, it’s enough that this will get me out among people again—listening, learning, and feeling connected—while still allowing me to come home to the animals and land that make up the heart of my days.

— Diana

Pimmy’s New Beginning

Sunday, November 30, 2025

My middle-aged donkey, Pimmy, may soon be living in a new home. It’s bittersweet to even write that, because the past year with her has been so intense, so emotional, and so full of learning.

Pimmy’s health crisis last year took me completely by surprise. I was unfamiliar with Cushing’s disease in equines, let alone equine Type II diabetes. By the time I understood how sick she truly was, she needed to be hospitalized in an equine ICU—days of specialized care, IVs, monitoring, and the kind of worry that settles in your bones.

When she finally came home, it was with lifelong medical needs: daily medication, careful feeding, and the responsibility of helping her lose nearly 100 pounds. At first her treatment routine was twice a day, and eventually it shifted to once daily, but the vigilance and devotion never lessened.

Through it all, Pimmy remained sweet and willing—devoted to “her horses,” Rosie and Sunny, even when I had to separate her from them so she wouldn’t overeat. They stayed close, calling to each other over the fence, a small reminder of their bond. I became unexpectedly proficient at mixing medications and administering them to a donkey who had her own opinions about anything that didn’t involve hay. And each time I walked toward the barn, she greeted me with hopeful, hungry brays—touching, funny, and a bit heartbreaking.

But she adapted, and so did I. Over the year, Pimmy lost the weight she needed to lose. She looks wonderful—bright-eyed, balanced, and healthy. Somewhere along the way, this stubborn little donkey transformed into “my big puppy,” easy to handle, affectionate, and smart as all get-out.

Through her recovery, my biggest worry remained her future. Donkeys, when well cared for, can live forty years or more. At my age, I know I won’t be here for the whole arc of her life. Rehoming her has weighed heavily on me. Anyone responsible for Pimmy would need to understand the realities of a “special-needs” donkey—the monitoring, the daily medication, the vigilance around weight. Not everyone can take that on. But for the right person, the reward would be immense. Pimmy, in my fully biased opinion, is one of the sweetest donkeys on the planet.

And then, early in Thanksgiving week, something unexpected happened.

A nearby neighbor, Alison—someone I only vaguely knew, though I knew she was a horseperson—texted me out of the blue asking if she and her husband could come talk. After so many years living near each other, I had no idea what she might want.

They arrived and told me their old horse had recently died, leaving their remaining elderly gelding lonely and unsettled. Softly, and very respectfully, they asked whether they might “borrow” my donkey for a few weeks as a companion until they found another horse.

Because they’re experienced with horses, they already understood the essentials of Pimmy’s care. They played with her, scratched her in all her favorite places, and fell for her immediately. And without much hesitation, we made an agreement: Pimmy would go to their place as a companion. If they loved her—and if they could manage her medical needs—she could stay permanently.

A remarkable part of this is that Alison, besides being a lifelong horsewoman, is a recently retired nurse. She understands chronic conditions; she’s comfortable with medications and observant about details. She asked the right questions, noticed everything, and handled Pimmy with a calm confidence that reassured me instantly.

Yesterday, Alison returned with several friends who were excited to meet Pimmy.

We all escorted Pimmy, who wore a grazing muzzle, as we had to walk across a pasture, to meet the elderly gelding. Those two hit it off right away. And, everyone adored Pimmy—her sweetness, her curiosity, her gentleness. I watched her step into this new circle of people and animals and felt the full bittersweetness of those moments.

Letting go of a beloved companion is never easy. She has been part of my daily rhythm, part of my barnyard family. But alongside the ache, I could feel something else—relief, gratitude, and a genuine joy. I could see clearly that Pimmy was stepping into a home where she would be appreciated, understood, and deeply cared for.

It felt like the universe whispering, Here. This is the right place. This is the right time.

That it’s Thanksgiving season, too, has me feeling a special mixture of gratitude and humility. Gratitude that Pimmy is healthy and happy, that the right people appeared at precisely the right moment, and that she will be cherished in her new home. And, humility in realizing that letting go—when it’s done with love—is also an act of giving care.

Pimmy will always be an essential part of my story. But now she belongs to a new one, and that’s bringing me a quiet, hopeful peace.

(Note: The photos, “moments of transition,” were captured by our friend, Susie.)

— Diana

Hearing the Calling

Wednesday, September 24, 2025

For several days, and again this morning over coffee, I’ve had my mind on an old movie that I’ve chosen to watch more than once: Bagdad Café (1987). Like Sounder, which I recently wrote about, it’s stayed with me longer than most films. Maybe because of the quiet desert roads, which feel oddly familiar against my own Central Oregon landscape—wide spaces, moments of isolation, and the surprising ways “connection can arrive.”

Each time I’ve watched, I’ve sensed there’s more going on beneath the story’s surface. At first glance, it appears to be a lighthearted, eccentric comedy with superb acting. However, upon reflecting on its story and characters, I’m convinced that it’s an allegory—and one worth sharing.

On its surface, Bagdad Café is quirky and offbeat, full of small mishaps and comic misunderstandings. Yet behind the humor lies something larger. The setting is a dusty, broken-down café in the Mojave Desert, the sort of place most would drive past without stopping. Into this place come two women: Jasmin, a German tourist, after suddenly being abandoned by her husband, and Brenda, the café’s owner, after being left behind by her husband. Both women are prickly, suspicious, and in their own ways exiled and alone.

At first, the café is a mess—disordered, tired, going nowhere. But slowly, almost imperceptibly, Jasmin’s presence begins to change it. She cleans, she listens, she performs small acts of magic. Brenda resists at first, then softens. Before long, the café is transformed from a tired outpost into a place of beauty, music, and connection.

One image that lingers with me is of Brenda’s husband, who, after leaving, keeps watching the café through binoculars. He has walked away, yet can’t resist observing from a distance. To me, this is part of the allegory. He represents those who see but never engage—hovering on the edge of transformation but unwilling to step into it. His gaze is controlling, even possessive, yet powerless. In contrast, Jasmin—the German, or true outsider—enters fully and brings renewal. The binoculars make the husband an emblem of distance, without connection, reminding us that healing comes only when we dare to join in, not when we stand back and watch.

The cast itself reinforces this sense of something larger: a German tourist, a Black American café owner (played by a British actress), an American painter (played by a once-famous film star), and an assortment of desert drifters. This gathering suggests more than coincidence—it’s also a picture of cultures meeting, colliding, and creating something new together. In that sense, the movie’s haunting refrain “I am calling you” can also be heard as a call across borders, an invitation to connection that transcends nationality, language, and race.

Other details I can’t shake involve Brenda’s children. One is a young father determinedly practicing classical piano in that unlikely setting. His grand piano in that battered desert café feels almost surreal, yet it deepens the allegory: aspiration in unlikely soil. His music insists that beauty and culture belong everywhere—not just in gilded concert halls, but even in a dusty roadside outpost, if someone dares to press the keys.

Then there’s Brenda’s teenage daughter, restless and intent on leaving. She represents another answer to the calling: not to stay and transform, but to escape in search of something better. Her choice is human and understandable, yet it contrasts with Jasmine’s quiet decision to remain and renew. Together, the piano player and the daughter remind us that when the call comes, each of us must answer in our own way—by staying and creating, or by moving on. Either way, the call cannot be ignored. Both children become transformed by the café’s changed atmosphere and remain connected to it.

The more I think about it, the more Bagdad Café feels like a parable of renewal. The café isn’t just a diner—it stands for the barren places we all sometimes inhabit, whether in spirit or in life. Jasmin, the German stranger, becomes an unexpected redeemer, bringing grace without asking for much in return. Brenda, toughened and skeptical, is the everywoman—ready for renewal if she dares to trust.

Threading through it all is the film’s haunting song, Calling You. The lyrics drift in like a voice from beyond:

A desert road from Vegas to nowhere … I am calling you.

For me, that refrain is the heart of the film—maybe hope itself speaking, maybe spirit, or simply the mysterious force that draws us toward one another when we feel lost. Whatever its source, the call is unmistakable. It reminds us that life doesn’t end in the wasteland. Something new can bloom, even in the dust.

These days, I am struggling to find my footing in a competitive environment among strong coworkers. I’m recalling this movie and its message, likely because it’s calling me to stay open to the possibility of renewal, even though I sometimes feel inclined to shut down.

Maybe the movie’s refrain—I am calling you—and its use of magic, aren’t just for the characters in a quirky old film. Perhaps those are calling all of us, tugging gently, if only we allow ourselves quiet moments to hear.

—Diana

Underground Railroad, Canine Edition

Saturday, September 20, 2025

Yesterday I was late to work. I had just opened the front door to leave when little Mitzvah appeared, panting and wagging, eager to come inside. I let her in, gave her a cookie, and tucked her into her crate before heading out to discover how she’d escaped. It didn’t take long—bigger, stronger, and endlessly determined Chase had dug yet another hole under the fence. The gap was just wide enough for Mitzvah to slip through, but not big enough for him.

So, once again, I was running late thanks to my nonstop digger. On days when he doesn’t manage to tunnel under, he digs straight down, anywhere and everywhere. The dogs have nearly half an acre to run in, surrounded by a six-foot fence that I’ve even raised to seven feet to keep Chase from climbing or leaping over. Yes, he’s proved capable of both. And in the middle of all that dog space? Holes—deep, straight-down craters that I discover and fill in while treading carefully so I don’t step into one.

As for his under-fence escape holes, I’ve got a new problem. Over the years, I’ve blocked Chase’s tunnels with lava rocks, but I’ve run out of any I can carry. What’s left are boulders too big for me to budge. My substitute solution has been filling empty plastic containers—kitty litter tubs, half-gallon milk jugs, anything I can find—with water to make them heavy enough to block the digs. I’m running out of those, too, and I’m considering buying several jugs of distilled water just for this purpose.

What really gets me is that Chase has now taught Mitzvah his tricks. She’d never have tried escaping on her own, but now she knows to wait while he digs and then slip through the opening he makes.

I wouldn’t care as much if my property didn’t back onto a road that’s grown dangerously busy with fast-moving cars. This used to be a quieter stretch of countryside, but Central Oregon has exploded with growth. The through-roads are jammed with frustrated drivers, and I come home every day wanting only one thing: the dogs safe inside, far from that traffic.

— Diana