Category Archives: Stories of a Life Redux

Stories of a Life | Redux | The Ties That Bind Daughters and Fathers

Fathers and daughters

When Megan Jessica Tomlin was born on a Saturday night, March 26th, 1977, at Burnaby General Hospital at 10:26pm, given that she was a breech birth, the hospital room was filled with a harried collection of nurses and doctors and an anesthesiologist who’d been called to assist with the birth.

As a medicated Cathy lay peacefully, stock still on her white-sheeted hospital bed — given that she was infused with anaesthetic drugs to aid in the birth, to keep her sedated for what turned out to be her second, very difficult birth — upon delivery, a nurse gathered our new daughter, Megan, and brought her over to me, as I stood to Cathy’s left, just behind where her head lay, and handed my hushed newborn daughter into my arms.

For the 10 minutes that followed, a seeming lifetime of remembrance and love, Megan her eyes all blue peered directly into my eyes and deep into my soul, and for those few brief moments I into hers, as my daughter imprinted on me / bonded with me as the father who would become in her early years, and in succeeding years through to her late teens, the single most transformative person in her life, a father she trusted & loved with all her generous heart.

In the weeks that followed Megan’s birth, the wheels began to fall off the bus that was my marriage to Cathy, as Cathy seemed to lose herself, quitting her job at the Ministry of Human Resources office, drinking, staying out all night long, and otherwise engaging in self-destructive behaviour.

Why?

The British Columbia Teachers' Federation logo

Given my position as the British Columbia Teachers’ Federation Learning and Working Conditions Chair for the Interior, and my long years of work previous with the Federation, and the great relationship I’d developed with Linda Shuto — working with her to form the first Status of Women office within an NGO anywhere on the continent — as well as BCTF President Jim McFarlane and, more especially with BCTF Vice-President Don Walmsley, as you might well expect from a Federation comprised of mainly older members, Executive plans were afoot for Federation generational leadership change — and I was targeted as the person who would become a future BCTF President.

Don Walmsley visited Cathy and me multiple times throughout 1977, in our newly acquired Interior home, to advise the both of us that plans were in process to, at the spring BCTF AGM in 1978, run me as a second vice-president of the Federation, with an eye to soon becoming BCTF President.

Here’s how the Federation saw it, Don explaining to the both of us: my organizing bona fides in the Interior had gained provincial attention, Cathy and I were a young couple “from the Interior” (the left of the Federation liked the idea of running candidates from rural areas), Cathy was a professional, was sophisticated and presented well, we had two children — we were, as far as the Federation was concerned, “the perfect couple”.

Here’s what Don Walmsley told Cathy and I …

“Next year, Raymond, we’ll run you for 2nd VP. Cathy, you can run as a Board of Education COPE trustee candidate for Vancouver School Board. Raymond, we’ll find you a job in Vancouver, find you a house, and Cathy we’ll make sure you’re employed, as well, finding you a job in the city similar to what you’re doing up here. Next year (1978), once you’re on the Executive, Raymond, and have moved down to the city, you’ll be closer to the Federation offices.

In 1979, we’ll run you for 1st VP, and depending on how the election goes for President of the Federation, if our candidate loses, we’ll run you for President in 1980. If our candidate wins, and serves a three year term, we’ll run you for President in 1983.”

Sounded good to me — and not so good to Cathy, as elucidated above.

Once Don had left our home, Cathy told me that she had no intention of having the next 20 years of her life being planned by the teachers’ federation, nor was she enamoured of the idea of living in my shadow.

Understandable.

You know how when you’re watching an awards show on TV, and the winner is (almost invariably) a man, the first person he thanks, whom he gushes over, is his wife, saying ardently, “I couldn’t have done it without her — she’s been my rock, and has stood by my side throughout the entire journey that has led to tonight. I will love you for always, my beloved.”

Believe me when I write: Cathy was having none of that arrant palaver.

Two-year-old Jude Nathan Tomlin, baby Megan Jessica, and dad, Raymond, in June 1977
The summer of 1977, when Megan was a few months old, and Jude was two years of age

Long story short, by early 1978, I had been awarded custody of both Jude and Megan, Cathy was off gallivanting around the globe, drinking and carousing with a rock ‘n roll band she’d joined — and I was left to raise our two infant children.

From the outset, Megan was a bright and engaged child, far ahead of her milestone maturational markers — walking at 9 months, speaking at age 1, reading at 18 months — and by the time she was two years of age, as in control of her environment as any 11-year-old child of my acquaintance.

Where Jude — 21 months Megan’s senior — wanted to be out and about all the time, one of the friendliest, most gregarious and social children you’d ever want to meet, Megan was quiet, reserved, pensive and thoughtful, as big a “daddy’s girl” as could possibly be imagined, by my side throughout the day, and separated from me only when she was in daycare, or asleep.

As Cathy and I often remarked to one another as Megan was growing up, “Whose child is this, anyway? Megan certainly can’t be ours — she’s just so much brighter & more capable than either of us, or both of us combined.”

For me, there has never been anyone to whom I have been closer, who has understood me and “had my number”, with whom my relationship has proved more loving & honest than has long been the case with Megan & me.

We acknowledge — as if we have known each other across many lifetimes — that we have found one another on this Earth, in this lifetime, and as I josh Megan by referring to her as her very own diety, in this life the two of us take succour in the knowledge that we love one another, that as we live lives that are separate, Megan now married with children, and me in my west side home spending hours each day writing stories just like this, that as we run across one another from time to time, as we often do in my Kitsilano neighbourhood, that the first words each of us will utter will be, “I love you” — as we set about to continue our day.


The knowing glance tells you everything you need to know about fathers & daughters.

Sunday Music | Elton John | 1970 | Eponymous Album

Each summer, from the late 1960s through the 1980s, legendary broadcaster Terry David Mulligan traveled to Great Britain, in search of new music, breaking artists, and the “next big thing.”

In 1970, the next big thing was Reginald Kenneth Dwight aka Elton John.


Love Song, side2, track 7, my favourite Tumbleweed Connection song, that got lots of radio play from me

Elton John’s self-titled début constituted his introduction to North American audiences. Tumbleweed Connection was his first British release, and went on to (lesser acclaim than his 1970 album) become his second North American album release.

At the time, Terry was employed by CKVN (that station had been, and would be again, be CFUN, a giant of pop radio in Vancouver).

Arriving back in Vancouver, Terry was excited to spin Elton John’s disc for all the jocks at the station, who — in the main — were as enamoured with the then unknown Elton John, as was the case with a gregariously enthusiastic TDM.

The number one smash hit off the album was Your Song, which became a staple at weddings of the era — including mine to Cathy, on December 19, 1970.

To this day, Elton John’s eponymous début remains my favourite Elton John album, a serious, incredibly well-composed, almost operatic album, much at variance with the more pop-oriented albums and songs Elton John would compose and release — with lyrics by Taupin — over the next 50 years.

“The album which I am quite proud of is the very first one [I did with Elton]. The ‘black album’ was all done in a week. If I could go through that week again, I would just love it to death.”

Gus Dudgeon, Producer

Elton John is a classic, Top 100  album in the pantheon of rock music.

John and lyricist Bernie Taupin’s songwriting had an immediacy ingrained in the music, sharper and more diverse than Tumbleweed Connection, or any music the two released after 1970.

Taupin is all about American mythology and old men’s regrets. Elton likes his harps and harpsichords. Together they gaze beyond England.

Listen to the music. Elton and Taupin clearly have their hearts in the South.

Take Me to the Pilot, a rocking gospel piece where John’s driving piano takes centre-stage over the strings may not make much sense lyrically, but John’s good sense ground its willfully cryptic words with a catchy blues-based melody.

Next to the increased sense of songcraft, the most noticeable change on Elton John is the addition of Paul Buckmaster’s grandiose string arrangements.

“It only took the first hearing for me to call Elton’s manager and express my enthusiasm. I heard the potential of what he and Bernie had written. I had already begun to hear what I was going to do with Your Song, for a start. It was the sort of thing that I was dying to have a go at.”

Paul Buckmaster

Buckmaster’s orchestrations are never subtle, but they never overwhelm the vocalist, nor do they make the songs schmaltzy.


First Episode At Hienton, one of my favourite songs on Elton John, one I often sing to. I know that I am still alive and thriving, when  I can hold the extended note (wwwooooommmaaannnn) at 4:13 in.

Instead, they fit the ambitions of John and Taupin, as the instant standard Your Song illustrates.

Even with the strings and choirs that dominate the sound of the album, John manages to rock out on a fair share of the record. Though there are a couple of underdeveloped songs, Elton John remains one of his best records.

In a rather uneventful period in rock music, John’s music emerged as so staggeringly original that it wasn’t obvious that he was merely operating within a given musical field (such as country or blues or rock) but, like Randy Newman and Laura Nyro among others, creating his own field, borrowing from country, rock, blues, folk and other influences, but mixed in his own way.

Aretha Franklin would hardly have covered Border Song — a great gospel tune with a bombastic arrangement — if she’d sensed an artificiality.

The resulting songs are so varied in texture that his music defied classification.

While his voice, in those days, mostly resembled Jose Feliciano, there were also detectable touches of Leon Russell and Mick Jagger.

Sitting behind his own piano, with Nigel Olsson on drums and Dee Murray on bass, John’s new sound was much earthier than his earlier work, even if there was an essential sweetness to his heavily orchestrated North American début album.

All these years later, in 1970 and fifty-four years on, with Elton John’s arrival on the music scene, the sense existed then that in Reginald Kenneth Dwight here was a legendary artist destined to play a featured role in the history of rock ‘n roll.

Stories of a Life | Redux | Jude, Megan and Me | Movies | 80s and 90s

Cinema | Megan and Jude Tomlin, and their dad, love cinema, love the movies, stories of a life

Film has always been a central, organizing force in my relationship with both my daughter, Megan, and my son, Jude.

Our collective love of the cinema, attending film festivals and discussing what we saw following the various screenings we attended (usually at the Fresgo Inn on Davie, which was alive no matter the time of night or early morning) was, over the years, a central feature of our relationship — the relationship between son and daughter, and dad — that allowed us to delve deep into discussions of the meaning of life, and our collective responsibility to work towards creating a fairer and more just world for everyone.

Heart and deep caring for humanity was at the centre of our love of film, and at the centre of our loving familial relationship, informing the choices we made about how we would conduct ourselves in the world, and the projects and causes to which we would devote our time and our energies.

In the 1980s, when Cathy and I were going through a rancorous divorce, film brought us together.

When in Seattle — which we visited frequently, always staying on the non-smoking 33rd floor of the Weston twin towers — in 1984, we took in a screening of Garry Marshall’s The Flamingo Kid — the story of a working class boy (Matt Dillon) who takes a summer job at a beach resort and learns valuable life lessons.

Megan was seven years of age, and Jude 9 — both were uncertain about the efficacy of our trip south (without their mother’s permission — we called her upon arriving at our hotel), but the screening alleviated and, finally, repaired any of their concerns, and all went well that weekend. Fortuitously, too, upon our return, the divorce proceedings inexplicably moved forward into a more reasonable and thoughtful direction, reflective of all our collective concerns.

Whenever there was “trouble” in our relationship — generated, most usually, by their mother — film served to salve the wounds of dysfunction, allowing us to find our collective centre while healing the wounds that rent all of our lives during a decade-long, million dollar custody dispute.

Film spoke to us, made us better, took us out of the drudgery of our too often protean daily and, more often, troubled lives, and engaged us while putting our lives into a broader and more human scale perspective. Never once was there a film that we saw together when we didn’t come out of the screening feeling more whole, and more at one with ourselves and the world.

Such was true, at the screenings of Glenn Close and John Malkovich’s Dangerous Liaisons over the holiday period in 1988, or months later at the screening of Kevin Costner’s Field of Dreams, which we took in at the Oakridge Theatre, a favourite and comforting cinema haunt of ours.

When Megan wanted some “alone time” with me, it almost always revolved around watching a film together, although as Megan matured (and as her love for film matured), Megan made it plain that she was present in the theatre to watch the film, not “share time” with me, choosing always to sit in a whole other section of the theatre (it drove her crazy in the times that we were sitting together in a theatre that I would check in occasionally with her, looking at her to determine how she felt about the film — talking during a film was an unforgivable sin, so that was never going to happen).

Some days, Megan would call and say, “Dad, take me to a film.”

And because I was a film critic at the time, and had a pass to attend at any cinema in North America, off the two of us would traipse to see Kathy Bates’ Fried Green Tomatoes (1991) or Johnny Depp’s Benny & Joon (1993) at the old 12-theatre complex downstairs in the Royal Centre mall.

Other times, post dinner and after Megan had finished her homework, I’d say to Megan out of the blue, “I’m heading out to attend a screening of a film. Do you want to come along with me?” Megan would ponder my question for a moment before asking, “Which film?”

In 1991, one very long film screening we attended was Kevin Costner’s directorial début, Dances With Wolves, about which we knew nothing other than it starred one of our favourite actors, and off the two of us went.

At screening’s end (Megan and I actually sat together at this particular screening, which took place in the huge Granville 7 Cinema 7, because the preview theatre screening room was just packed), Megan turned to me, and said, “Dad, I knew this was going to be a great film.” And it was. “And, you know what else? It’s going to pick up a raft of Oscars this year, too, and be considered one of the, if not the best, films of the year.”

Jude and Megan also attended film festival screenings with me.

Almost inevitably, Vancouver International Film Festival founder, and co-owner of Festival Cinemas Leonard Schein was present with his wife Barbara, and at a screening’s end, Megan would make her way over to wherever Leonard and Barbara were sitting to enquire of him whether or not he intended to book the film into either the Varsity, Park or Starlight.

Following screenings of Neil Jordan’s 1992 putative multiple Oscar award winner, The Crying Game or, that same year, Baz Luhrmann’s Strictly Ballroom, Megan marched over to Leonard, and asked him boldfacedly, “What do you think?”

When Leonard indicated that he thought the films were not quite his cup of tea, that both films would have difficulty finding an audience, and that it was unlikely he’d be booking either film into one of his cinemas, Megan lit into Leonard with a passion and a vehemence I had rarely observed coming from her, saying …

“Are you out of your mind? Strictly Ballroom and The Crying Game are wonderful films, and just the sort of films that not only should you book, but that you MUST book — these are both groundbreaking films that will only serve to reinforce your reputation as an arts cinema impresario, but will also make you a tonne of money, and we all know that you’re all about the money. Either you book these films into The Varsity, or believe me when I tell you that there’ll be hell to pay when you see me next.”

And with that, Megan marched off.

At the 1990 Vancouver International Film Festival, I’d caught a screening of Whit Stillman’s directorial début, Metropolitan, in preview, and knew that this would be a film Megan would just love (and be astounded by, at the revelation of one of the characters, mid-film).

I made arrangements to pick Megan up from University Hill Secondary at 3pm sharp on the day of the festival screening, we drove downtown, found a parking spot, and rushed over to The Studio Cinema on Granville to catch the 4pm screening of Metropolitan — which as I had predicted, Megan loved.

In early December 1993, on a particularly chilly and overcast day, at 10am in Cinema 2 at the Granville 7 theatre complex, I caught a screening of Jonathan Demme’s groundbreaking new film, Philadelphia — a film about which I knew little, and a film that knocked me out (along with the handful of film critics in attendance at the theatre for the screening).

Emerging from the theatre just after noon, making my way onto Granville, I looked for the nearest telephone in order that I might call Megan at school.

I called the office at University Hill Secondary, and asked them to find Megan and bring her to the phone. When Megan asked, “Dad, is everything all right?”, I told her about the film I had just seen, and that when it opened in January, I wanted to take her and Jude to a screening at the Granville 7. We talked about the film for a few minutes, with her saying about 10 minutes in, “I’m holding up the school phone, and calls coming in. Let’s get together after school. Come and pick me up, and we can continue our conversation. I’ll see you then, Dad. I love you.”

There are gifts we give our children. From my parents, it was what would emerge as a lifelong love for country music. For Jude and Megan, my gift was a love of music, a love of the ballet, and an abiding love for film.

Stories of a Life | Redux | Raised By My Aunt Freda

My aunt Freda was a vagabond, but a vagabond who typed at 80 words a minute, and took shorthand at up to 120 words a minute — her stenographic skills much in demand across all of Canada, for many many years.

For 50 years, my aunt traveled the country — there was no city or medium-sized town where she didn’t work, and given her skill set, jobs were easy to come by, references at the ready from previous employers.

My aunt would work two or three jobs a year for two to three months each time — in St. John’s Newfoundland (the only place she ever worked twice), Regina, Edmonton, Hamilton, Windsor, Saskatoon, Halifax and Victoria.

My aunt Freda would write to me from these far flung places across Canada where she’d taken employment, promising always to return in “just a few weeks.”

Vancouver's crown jewel, the 1000 acre Stanley Park, this photo taken in 1958
Vancouver’s crown jewel, the 1000 acre Stanley Park, the photo above taken in 1958

Throughout my young life, my primary caregiver was my aunt Freda.

Given that my mother, almost throughout the entirety of my life, worked three jobs at the same time, 16 hour days six days a week and a 24-hour day on the seventh day, I rarely saw her, she simply wasn’t a presence in my life or in my home, with the exception of summer, when we — my sister, my mother and I — would travel for a two-week vacation to wherever my aunt was located.

During the first 10 years of my life, my Aunt Freda cared for my sister and I, fed us, bathed us, took us to Stanley Park in the years we lived in Vancouver, took us on summer vacations, made sure that we enjoyed ourselves, and would learn about the world during the days, weeks and months that she cared for us, and otherwise provide love for the both of us.

Generally, my aunt would stay in our family home three times a year, sometimes more, for an average of six weeks on each visit.

In fact, my Aunt Freda was the only person who ever told my sister and I that she loved us. My father didn’t do that or even hint at it, love seeming to be a word not in his vocabulary, and most certainly my mother never told my sister and I that she loved us — although I think she showed it in many ways — and neither did anyone other than my Aunt Freda.

Aunt Freda was, for all intents and purposes, my mother — that’s the role she chose to play.

I was her favourite — any depth of insight into life, I gained from her.

Our conversations lasted hours — she wanted to introduce me to the world, to make me aware of my environment, to help me to see that I was part of a human collective of those who lived around me, and as the years went by, farther afield, as she helped me to see that I was part of the world community.

In the summer months, as I write above, my mother, sister and I would travel to whichever western Canadian city she was working in — in the summer, she always took employment in an easily accessible by rail western Canadian city .

My mother, sister and I would stay with her in her small, one-room “apartment” (more like a tiny hovel, but still), in order that we might attend Klondike Days in Edmonton, or the Calgary Stampede, or the Red River Exhibition in Winnipeg, or whichever town had a fair that summer that my aunt felt was recommendable and worthy of my family — always sans my father — visiting and staying with her, always enjoying our truncated time together.

Passenger rail train travel in the 1950s and 1960s with Canadian National Railways

Of course, part and parcel of that was the train ride to and from whichever western Canadian city we were visiting, but that’s a story for another day.

When my family — including my father — moved to Edmonton in the summer of 1959, I spent the month of July in High River, Alberta staying with my grandfather on his massive family farm, and much of August in Lethbridge with my aunt Anne, uncle Dave and their children, my cousins, before moving into the rental home my parents had found for us in Edmonton, where I began Grade 4 in September 1959 — a fortuitous circumstance that would change my life.

In the late 1950s, Alberta had legislated an academic programme of excellence for students into which I was enrolled. In British Columbia, the province had adopted two educational streams: academic and vocational.

If you happened to live in a working class area of Vancouver, you were almost automatically streamed into the vocational programme.

When I returned to Vancouver for Grade 7, in the late summer of 1962, as I had been enrolled, and done well in Alberta’s Enterprise Programme of Excellence — as it was called at the time — upon my return to Vancouver to attend Templeton Secondary school, of all my friends with whom I had attended Grades One through Three, I was the only child / student who now found himself enrolled in the academic programme at Templeton.

I recall at the graduation ceremony in 1968, how disappointed many students were to find that graduating in the vocational programme did not make them eligible for entry into college or university, that they’d have to start all over again.

Rank class discrimination, that’s what it was plain and simple — kids came from poor families, and they’d become the “worker bees” as we were so often told while attending Templeton Secondary.

Two stories about my aunt, both of which are Edmonton-based.

Borden Park, in northwest Edmonton, at 148 acres one of the city's largest parks
Borden Park, in northwest Edmonton, at 148 acres one of the city’s largest parks

In the summer of 1960, after my family had moved to north Edmonton from the inner city, on my August 11th birthday that year, my parents had taken my sister and I down to play at Borden Park, in northwest Edmonton, not too far from where we lived, a massive green space in that area of the city, sometimes used as fairgrounds, with a community centre, tennis courts, a pool, and two outdoor pools, one for younger children, another for teenagers and adults.

The day was sunny and bright, the sky a deeper and richer blue that I can ever recall having seen prior to that date.

As it happened that year, my aunt Freda had not come to stay with us during the first seven months of the year — her services were required in St. John’s, as she found herself working on an inter-governmental project of some great import to both the province and the federal government. Of course my aunt wrote to me frequently, but beautifully handwritten letters aside, I missed the dickens out of her, and in my letters to her, I begged her to come and stay with us in Edmonton.

But it was not to be, for all the reasons she explained in her correspondences.

A roundabout, a sort of self-propelled merry-go-round you used to find on many playgrounds

While playing on the park’s roundabout, along with a number of other children pushing the roundabout to go faster, despite the hot sun beating down from above, I felt a chill run through my body, a pang that was so chilling as it shot through my veins that I alighted from the roundabout, and moved away onto a quieter green space nearby, just standing there shivering, for a moment wondering what was happening to me.

Turning away from the screaming children on the roundabout I began, alone, to walk north, away from my sister. Neither my younger sister Linda nor I had seen my parents in awhile, who’d told us they had some business to attend to, that we’d be fine in their absence, and I was to take care of my sister Linda.

I continued to move north along the green grasses, at first slowly, hesitatingly, when looking off into the far distance, I saw three figures walking closely together, indefinable figures, the sun obscuring my vision, the distant figures almost apparitions, as another pang of cold shot through my body, at which point I began to run, to run faster in the direction of the three apparitions than I had ever run in my life, because I knew who the middle person of the three was, even if I could not properly see who it was.

And I began to cry, running across the green field sobbing, running as fast as I could in the northerly direction of the three figures who I could not quite make out, but I knew were my parents and my aunt, and I ran and ran and ran, tears now gushing down my cheeks on that 10th birthday summer’s afternoon in August of 1960, on a day I will never ever forget.

And when I was upon my parents and my aunt, I jumped into my aunt’s arms, wrapping myself around her, my head on her right shoulder, the two of us holding each other as tightly and closely as we could, both of us now crying, my parents standing back in wonderment, their faces lit up smiling.

Placing me back on my feet, my aunt looked at me and said, “Raymond, I have arrived in Edmonton just this day, only an hour or so ago, so that I could be here for your birthday, to take you and your parents and Linda to dinner tonight. And I have presents for you, as well, which I will give you when we return to your home, and before we go to dinner tonight.”

1960: The Give-a-Show 8mm projector, and a portable Underwood typewriter

The presents? There were two, as promised: an Underwood typewriter that would allow me to type ever longer letters to my aunt as she found herself in some far flung location in Canada — with the facility to type easily and well, a salutary talent and much-used skill I employ to this day — the second present, a toy 8mm movie projector that both reinforced my love for film, and a device that would bring me much joy in the months to come.

Running across that green field in Borden Park on the day of my 10th birthday resides in me still as a much cherished event in my young life, making me aware, if I was not already, that there are more than three dimensions in our existence — because I knew that my aunt was in the park minutes before I saw her and ran into her arms, when she told me she loved me, as I knew she did, and as I loved her.

My aunt stayed with my family to the beginning of my Grade 5 school year at Eastglen Elementary School, after which she was off again, this time to Saskatoon, where she worked through until February, when she returned to Edmonton for three weeks, then after traveling back to Saskatoon, where my mother, sister and I would spend the better part of July 1961 with her.

In the winter of 1962, my aunt made one of her now more infrequent visits to stay with my family, my mother working three jobs still, my father working at the Post Office, my sister and I alone at night.

One near frozen mid-winter February evening, after making and serving dinner to my sister and I, a dinner almost needless to say in which a delicious salad was featured prominently in the dinner — having arranged with a neighbour for babysitting for my sister, my aunt asked me if I’d like to go to see a film with her on the south side of Edmonton, near the University of Alberta campus.

Of course, I said yes.

That evening, I saw my first foreign film, my first Fellini film, and a film that would go on to win the Best Foreign Language Film Academy Award late the very next month: La Dolce Vita, a film I fell in love with, as did my aunt, a film my aunt and I talked about all the way home on the bus, a film that began my life long love affair with sensuous European women onscreen, with foreign language & world cinema.

In all the years of my young life there was love in my life only when my aunt Freda would arrive to stay with us in our home. Not until I met Cathy in late 1969 did I feel love from anyone other than my beloved aunt Freda.

My aunt remained a fixture in my life through all the years of my attendance at university and throughout the years of my marriage, my aunt Freda the woman I look upon as my “real” mother, the mother who loved me, and cared for me, who knew me better than any other person in this world, and the person — along with each of my two children — I will always love most.