Galveston

I attended a training in Galveston in early May, to become more skilled at boat stuff. It just so happens I spent a semester there almost exactly twenty-five years ago. I was quite excited to see it again, this place from my past.

Looking down on earth from the sky – over Seattle, or the Cascades, or the Rockies, or Houston, or Phoenix, shapes organize themselves into assemblages, groups of this or that. Green crop circles or brown crop circles, large or small. Suburban housing, skyscrapers, mountain peaks. Rivers with their feathered fans of tributaries still as statues, the flowing only implied from so high up.

When I got to the Galveston seawall and walked along the beach, the assemblages were spirals. Moon snails, channeled whelks, knobbed whelks, many other snails. Moon snails whole and intact. Moon snails cracked laterally– the spiral exposed. Moon snails cracked on the side – the spiral spilling open. The top taken off a whelk – a spiral self-contained, but having lost its depths. Another with the top gone, only the deep center groove remaining – uncontained and open to the infinite. Spirals with multiple injuries, cracks and gouges, jagged edged and hard like shards, like knives ready to inflict instead of being inflicted upon. Some whose edges are once again smooth, ready to soothe, ready to scoop sand and shimmer. Some broken crosswise, revealing compartments, but the segments taper, the spiral is implied. Windows into spirals, where water and sand can enter, cannot be kept out. But where water and sand can also empty out, can be given and taken, a portal, a conduit. Holes drilled by predators. Neat, symmetrical, belying their violent origin. A whelk unearthed from long buried under sand, where no oxygen reached until the shell blackened. Having risen to the surface where there is all this air to breathe.

I like that birds exist and that birders are a known type everywhere, so that a woman carrying around a zoom lens is quietly accepted as “probably a birder” and I can go on taking pictures of whatever I want, including, sure, some of the birds of Galveston.

On my last day, I asked two of the local women involved in the boat training for the most reliable place to see dolphins off Galveston. I wasn’t sure they’d have an answer, but oh, they did. Go to the ferry, they said. Walk on and ride it across and back. They told me it was free for walk-on passengers, and that you are guaranteed to see dolphins.

My hair was already a tangled mess from the day on the small boats, so I stood on the ferry’s upper deck near the bow, camera at the ready. I started seeing dolphins right away, surfacing and milling and feeding at the terminal. Pelicans, a frigate bird, an ibis, lots of seabirds I cannot name.

I zoomed in on cargo vessel bows coming in and out of the shipping channel, but saw no bow riders on the way across to Port Bolivar. A few car passengers filled in along the balcony rail while the ferry was underway, then they retreated to their cars below as we docked. I stayed on the ferry at the opposite end, walked to the stern which would be the new bow, and watched groups of dolphins feeding at that terminal, concentrated at the end of a jetty. Then I caught one leaping in the distance. I could not stop smiling, alone on the deck.

The ferry emptied out of cars and filled back up again, and we retraced our path. This time we were headed upwind, made more intense by the speed of the ferry, and I felt like I could lift right off the deck. I managed to stay on my feet and keep watching the waves. A tugboat was crossing in front of us in the shipping channel, so I zoomed in on its bow where a dolphin was bow-riding. I caught it leaping and spinning and frolicking in the splashy bulge of water pushed in front of the rounded bow. My whole trip felt complete.

I did not know until I scrolled through my photos later that the tug was named “Dolphin,” how very on the nose. And another kind of spiral, life folding back on itself, like the dolphin spiraling in the bow wave, like reappearing in Galveston twenty-five years later to visit an earlier version of myself.