Christmas came early for me, and I have a huge family portrait in front of me, a study in the myriad ways the adventure of Onorato and Mary ramified and multiplied beyond anything any single person could ever grasp in a single view.

My mom was a great help in enabling me to put names on faces.  For the entire right-hand side of the portrait, under a grove of trees in the summer, mom a little girl between 5 and 6, I didn’t need any help.  These were the people I grew up with, looked up to, the very first extended family which in my case too would ramify beyond anything I might have imagined when I was dreaming of Rosemary Marriage at Saint Mary’s grade school.  John and Mary, Tom and Mayme, Tommy and Agnes, Amadeo and Nina.  Most of the adults in this portrait are smiling.  One is not.  Uncle John looks like he’s contemplating murder in the first degree.  But of course it’s his own shyness, and inwardness for anyone who took the time to uncover the man’s vast culture.  Tom Jenkins has a wry smile on his face, as if he’d said a few hours earlier: this is gonna be a fine day, and as they’re few and far between, let’s take maximum advantage of it!  Tommy Castas looks short but wise in the world’s ways, and Amadeo is clearly the most handsome man of the bunch.  The smooth operator: one understands how Nina could have fallen for such a guy!

Uncle John can scowl up a storm, it will make no difference: his spouse has a smile for the ages that never went away!  Mayme has just broken into something that might have been a smile; it hovers on the cusp, so to speak.  Agnes is in her glory, she looks like she’s spent the last two weeks at a holiday resort, soaking up sunshine.  And Nina has the most material going to make a dress now draped over her body, leaving only her strong arms to embrace the light of late morning or early afternoon in Westville.  I wouldn’t want to be on the jury voting for the most beautiful pair of legs in the front row.  (On the  left hand side, the women are allowed to be seated.  On the right hand side, the women seem to be wary doers who would no sooner accept a chair than die right there on the spot!)  Between Mary, Mayme, and Agnes, it would be a tough choice.  Maybe that explains the scowl on John’s face.  To see how much the women enjoy this sort of thing.  Tom Jenkins seems attuned to that.  There’s only one child on this half of the portrait.  Mary Ellen Jenkins.  Scowling of course.  A case of expectations way too high to ever find an outlet.  How amazing to see and stare at the uncanny ressemblance between Mayme and Mary Ellen.  A painter friend has agreed to paint a portrait of Mayme, but when I showed her photos of my mom, she said she couldn’t guarantee a clear distinction between the two women, and advised me to drop the project altogether.  “You’ve got the living icon,” she said.  My mother would scowl at that.  Anything, but not a living icon!  

On the other side of the picture are faces and stories that have been told in chronicled form, and that’s a bit thin for someone whose expectations are as high as mine.  So I’ll do a bit of scowling myself to have missed out on all those other adventures.  I’m trying to make up for lost time now.  Forgive the folly of that!  What a beautiful day it was.  And my mother’s  scowl is like she was saying something that would waft across the Atlantic, 77 years later: my scowl is my signature for the world outside.  If you want another side of it, you’ll have to talk to me.  Otherwise, just walk on by!  Lucky the man who decided to tarry!  He would agree, but that too has been known to make her scowl!