F is for Fremlin

What’s the name again?
Fremlin, I repeat. Like gremlin, but with an F.

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That’s how I introduce the street I live on. People seem to understand the name better when it has a reference point.

How does one know a place? I figure you pay attention. In the five years I’ve lived in Marpole, I can’t say I know it well, but I can say with confidence that I know one section of a street well.

Fremlin doesn’t have anything noteworthy from an outsiders’ point of view. Tucked east of Oak and west of Cambie, it sits like a middle child in the centre of the neighbourhood, enjoying a different rhythm. Maybe that’s why I notice it, apart from the fact that it’s home. I’m a middle child and like attracts like. Stick with me and I’ll take you for a walk.

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Fremlin runs north from Southwest Marine Drive, climbing until it reaches 59th Avenue where it forms the vertical line of a T-stop. That’s where I stop too. Fremlin has a trick up its sleeve. After disappearing for a while, it reconvenes from 54th until 43rd Avenues, but I’m not familiar with this northern leg. The heart of Marpole is so far south; I measure everything starting at the Fraser River. A city is a larger version of high school and Marpole is not one of the popular kids. Some people in other parts of Vancouver don’t even know it exists. A friend visiting me from Mount Pleasant once remarked how driving to Marpole felt like going to the suburbs. I had just left real suburbia for city life and was rather offended.

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My favourite part of Fremlin is the beginning where all the apartment buildings are. European hornbeams flank the street, forming a magnificent, dense arch with leaves rustling in the wind, playing hide and seek with the light like a coy lover. I walk under the boughs like Anne of Green Gables passing through the White Way of Delight. Countless birds flitter through the trees. I’ve seen crows, western tanagers, robins, and chickadees. They’ve made a birdwatcher out of me.

Not a single business stands on Fremlin. The street is quiet except where it meets its rowdy cousin—70th Avenue. The intersection is marked by a pedestrian activated traffic signal, the only light along its route. Honks, curses, screech of tires, and the two-toned beep of the walk signal merge into a rush hour cacophony. The road narrows from here, causing a bottleneck when cars are parked on both sides.

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But this stretch wins the prize for most beautiful when March and April arrive. The canopy of cherry blossoms extends for blocks, a long procession up a petal-sprinkled sidewalk like the nave of a cathedral dressed for a wedding. It’s impossible not to be swept away. I wonder if the people in the nearby houses wake up to each year’s bloom like a child on Christmas, the surprise never getting old even though the return is expected.

One of these people has an apple tree in her front lawn. I stopped to admire it on a summer walk and the woman told her husband to go back up the ladder to give me a bagful. She insisted. I had never received apples from someone’s tree before and I took several pictures of their red skin and leafy stems arranged in a glass bowl on my table. Unfortunately the apples looked better than they tasted but that didn’t matter.

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When you reach the house with the vegetable garden in the front yard so big it could feed the community, you’re at the base of Oak Park whose eastern edge borders Fremlin.

For the longest time I didn’t know the name of this park. It was just the big park up the hill I chose to run around when I exercised. Trees line the perimeter and I still jog there even though I’ve been the target of a couple of crow dives.

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There’s a tree that marks the end of the street, hidden in the northeast corner of the park. I always tap it with my right hand to signal the end of my run. It’s a ritual of connecting with what’s around me. No song on an iPod tells me I’m done. It’s the touch of flesh on bark, a greeting to an old friend.

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When you move to a neighbourhood, you look for signs that welcome you, that say you belong. Mine were literally spelled out. First it was a building west of Oak Street named Charlene Apartments. Then it was my dad’s name carved into the sidewalk on Fremlin Street near the park. How many people are named Larry? I chuckled aloud.

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The route down Fremlin is especially fun on a bike. Only a few stop signs to watch out for, gravity propels you back where you started. But the journey is never the same twice. Streets are like rivers. The other day, I noticed more for sale signs cropping up on lawns and wondered which people raking leaves or stroking their cat I won’t see anymore, and which new faces I’ll encounter.

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When I moved to Marpole, my brother and cousin carried my 200-pound bookcase up three flights of stairs, almost putting their backs out. My brother wiped the sweat from his forehead and said, “Charlene, you’re never moving again.”

He doesn’t need to worry. I have no intention to.

 


I’m pleased to announce this piece won Vancouver Public Library‘s Marpole Writing Contest July 2018.

We Make Stuff

The artist’s vocation is to send light into the human heart. – Robert Schumann

We Make Stuff Vol. 2 compiles 100 artists working in Vancouver and celebrates what they make. Celebrates the vocation of the artist—a vocation often misunderstood and under-appreciated. There are painters and chefs, breakdancers and filmmakers. Musicians and poets, social entrepreneurs and swimsuit designers. They’re your friends, your family, your coworkers, your bosses. And they show us that there are so many ways to make something beautiful and meaningful in the world because our culture needs that. You and I need that.

An example of the beautiful two-page spread for each artist. This artist is my coworker whose art hangs in the Vancouver Public Library!

An example of the beautiful two-page spread for each artist. This artist is my coworker whose designs are hanging in the Vancouver Public Library for the Truth and Reconciliation Commission of Canada.

My artist-boyfriend is also in the book, and I know I am rather partial but I do think he makes beautiful paintings. This book is a great way for him, and 99 others, to share their art with a wider audience. To spotlight the artistic vocation. To join with others who are making stuff and to inspire others to look at our world in new, fresh, and hopeful ways.

But making a full colour coffee table-style book isn’t cheap. They need to raise $38 000 by Oct 15 for the book to even go to print.

There’s only 3 days left of their crowdfunding campaign and they still have $14 000 to raise. Will you consider giving to this project so that these 100 stories can come to life? The soft-cover edition is only $35. It also makes a great Christmas present for your art-loving friends & family! (Note: If they don’t raise the minimum $38 000 by Oct 15, the book will not go to print and you’ll be refunded for your contribution).

Let’s send some light into the human heart! Contribute here.

The Library as Colosseum

Vancouver is often critiqued for its boring architecture. As a young city born in 1886, it doesn’t have the same rich architectural history, as say, places like London or Rome. Much of Vancouver’s skyline is homogenous: seafoam green and glass office buildings. Hence, the title of Douglas Coupland‘s ode to Vancouver, City of Glass.

The Vancouver Public Library is an exception to this rule.

For the city’s most important cultural building, architect Moshe Safdie takes you back to 1st century Rome, to the days of the Colosseum. The Vancouver Public Library is an oval- shaped building adjoined to a federal office tower with retail and service facilities on the ground floor. (It was mentioned here as one of the top 8 beautiful libraries in Canada). Windows flood the space with light. “Drawbridges” or walkways connect the book stacks with study carrels that line the oval perimeter, offering each seat a spacious window, much better than the library I talked about here.

Ironically, the Vancouver Public Library alludes to the past and yet its form is decidedly postmodern. Built in 1995, it plays with history divorced from context, as postmodernist architecture often does. What does a Colosseum and a public library have in common?

Architectural critic Trevor Boddy answers “shameless populism” in the book Vancouver: Representing the Postmodern City.

Yet is populism so bad, especially for a civic institution designed to serve the public? And considering the public library was the result of a rare competition where the public had a say in the winner, this building was democratic from the start.

Regular public events and art installations happen in and around the building, contributing to an engaged civic and cultural space. The human installation, “Sometimes I think, I can see you” was presented by the PuSh International Performing Arts Festival earlier this year. Writers were set up in the atrium of the library with laptops connected to a large projection screen where passersby could read the spontaneous fictions the writers created about their surroundings – fictions that might include you or I or whoever happened to be in that space at that particular time. Public spaces like library atriums are great places for people watching as it is. Argentinian artist Mariano Pensotti amplifies their voyeuristic quality by recording the thoughts of strangers as public text for all to see. I spy with my little eye . . .

Here’s a sample of what this poetry/prose in motion looks like, performed in a Buenos Aires subway station:

Given the 21st century context where traditional publishing companies battle with e-books, closing prominent presses (most recently Douglas & McIntyre in Canada) and threatening the future of libraries, the Colosseum reference is not so out of context. The printed word is struggling to survive, to find a place to call home. Maybe Moshe Safdie’s vision for the building was more prescient than he knew: futuristic more than historical. Maybe the texts do fit the context. Maybe the words do fit the picture.

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