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One of the pleasures of drawing outdoors is listening. You hear the normal racket of buses, car horns and motorcycles in the streets, but if you are fortunate to be in a park with trees, sounds are softer. During the autumn months of 2024 when I was living in Spain, in Valencia, you could find me almost any evening in the Jardín del Turia with my pencils and brushes. It’s a park, almost 8 miles long, in an old riverbed. After a terrible flood in 1957, the Valencianos diverted the river around their city and now you will discover joggers, families and picnics, soccer fields, a concert hall, fountains, children’s’ playgrounds, orange trees, the futuristic City of Sciences, yoga and Taiji practitioners, bicyclists and ponds. And an artist seated on a park bench at work.

As I was drawing the bridge, the wind rose. Dark clouds appeared. I heard doves murmuring. They were often out-shouted by the screech of wild parrots who, years ago, had arrived from Africa and had made their homes in the palm trees. From farther away came the sound of drums. Passing directly behind me was the clop-clop sound of horseshoes from four mounted policemen on patrol. Then, right next to me, a shout, a single word, “NO!”

It was a man and woman walking together, but apart. They were arguing in a language we all know: Pain, Hurt and other variants of a language called Love. They paused at the base of the ramp that leads up to the bridge, stared at each other in silence, then continued walking. They stopped between the saints and stared again at each other. Then she reached out and gently caressed his cheek. He took her face in both his hands and they held each other. I drew them as they moved away in each other’s arms toward the darkening clouds. Healing? I hoped.

In Valencia there are at least a dozen bridges that span what used to be the river Turia. This sketch of El Puente del Mar dates from 1988, during my first visit to that lovely city. The bridge was built nearly 400 years earlier in 1591 to replace the previous wooden structure, destroyed by one of the region’s frequent floods.

Bridges: The city in northern Illinois where I grew up many years ago boasted four. They spanned the Fox River but not one was graced with an image of a saint. Nevertheless bridges still enchant me. Saints too. So you can imagine my fascination with this bridge in a Mediterranean port on the other side of the world.

I loved to draw the statues under their protective canopies, their baldacchini. I had little interest in the identity of the saints themselves, more interest in what roles they play. What do they symbolize? Bridges cross voids; ideally they create connections, trade and other peaceful relationships between people and places that are separated. The statues offer their blessings and protection to everyone who travels across to the other side.

In Autumn of 2024 when I made this drawing, news of the November elections in the US were a staple of European media, so living in Spain gave little respite from the flood of fear and hatred coming from demagogues and would-be dictators. But drawing can be an act of meditation: it offers time to reflect and contemplate. I was drawing bridges and saints in a city far away from my home. But in that home, saints and their benedictions had been forgotten long ago, and in my imagination, all the bridges were in flames.

After the fall, after you slam onto the cement and sit in shock, immobile, how awful is the damage? Any bones poking through the skin? Any bleeding? Other than your pelvis and a bump on your head from the ladder, is there any other pain? Can you wiggle your toes? Do you call an ambulance first or your wife? Where is your cell phone?

Multiple fractures of the pelvis, too many for surgery. After four days in a trauma ward, an ambulance transfers you to a rehab facility. The physical therapist examines your chart. “Seven fractures of your pelvis,” she says, “including Lumbar L5, Pubic Ramus Rt., Interior and Superior, etc. You sir, are my broken man.”

Not since you were an infant have you been so helpless. You cannot sit up, let alone stand up, or walk. You cannot dress yourself or go to the bathroom by yourself. During the following weeks you learn the names of your drugs: Tamsulosin, Apixaban, Mehocarbamol, Melatonin, plus Oxycodone HC1, and Lidocane Patches for the constant pain.

The marionette. Where did it come from? Already here when you arrived? Does anyone other than you even see it? Yesterday one of the nurses glanced in its direction, stared, shrugged, then continued making beds. For the most part it remains silent except, in the middle of the night, it emits faint sounds of a harpsichord.

Then this morning, in the dark, a little wooden hand raises your chin from the pillow. A whisper: “The Sun is coming! Melting snow will nourish the oak tree and turn the gray world into green. You will walk out of this place. You will dance again.”

Then: “Take me with you! Don’t leave me alone!”