There’s a certain joy to getting home in time, leaving again right away and somehow that being nine minutes late and yet still getting a good shot to extended parking, an easy parking place, a timely shuttle to the airport, a pleasant conversation with two people going on a cruise and a quick bite to eat, before a relatively decent TSA experience and then finding yourself at the gate before your plane arrives.

There’s a certain joy to hearing a gate agent who has no optimism at all. “This flight hasn’t been canceled yet.” There’s a certain resigned humor to hearing of a delay, knowing there’s no plane at the end of that jetway, or weather between here and that plane and knowing this is going on for a while, a run-on sentence of gate announcements that continue to portend this flight will be boarding in 15 minutes, now 45, and it isn’t canceled yet, until it is.

But who cares about that? There’s always a flight tomorrow. We’re booked on it. Because we were nine minutes leaving the house, but still had a good trip up to the airport, we could linger over food in the concourse. And because I got a refill at Chick-fil-A, by the time I got down the terminal all of the seats at the gate were taken. So we sat at an empty gate across the way, on the other side the slidewalk, but next to this cool installation:

Mari Evans wrote, in about 1992, Celebration. She was a writer, a teacher, a television producer. And the words she could write, the feelings she could bring out of you … She taught African American Literature at Indiana, and she could do some stuff with just an incomplete phrase that could pull you this way and that. It’s no wonder she taught people how to use the language, for she was a masterful user of it, indeed.

The poem Celebration was about people who were flawed and perfect and who had been through some stuff:

I will bring you a whole person
and you will bring me a whole person
and we will have us twice as much of love and everything

I be bringing a whole heart
and while it do have nicks and
dents and scars,
that only make me lay it down
more careful-like
An; you be bringing a whole heart
a little chipped and rusty an’
sometime skip a beat but
still an’ all you bringing polish too
and look like you intend
to make it shine

And we be bringing, each of us
the music of ourselves to wrap
the other in

Forgiving clarities
Soft as a choir’s last
lingering note our
personal blend

I will be bringing you someone whole
and you will be bringing me someone whole
and we be twice as strong and we be twice as true
and we will have twice as much of love
and everything

I discovered her because of this mural in Indianapolis:

It was unveiled in 1996, and she got to see it, at the age of 97, just under a year before she passed away. And while I haven’t yet read everything she published, everything I’ve read has been a joy.

The Celebration installation, above, is by British artist Martin Donlin. He produced 14 large, abstract glass murals at the airport, featuring contemporary Indiana poets and authors. These are hand-blown glass, almost 2,400 panes over the whole project, each pane weighing about 400 pounds.

If we hadn’t been a little late, but had a plane that was later, we might not have sat there, and I might not have seen it, across the way as it was.

There’s a certain joy to this. A certain restless, tired, hopeful joy to that.

As we were leaving the airport, for home, there was a rainbow off to the east. And it stayed out there all the way back to the house. We watched the same rainbow for 52 miles:

We’ll go back to the airport tomorrow, but this evening:

We’ll sleep in — until 6 a.m., at best! — and then make the quick drive for a quick flight into a quick weekend will begin. But! To have this for an hour!

There’s a certain joy to that.