Daytrip to Totality

Daytrip to Totality
Madison Lang

Last week my friend Madison and I drove from Lee, Massachusetts, to far northern Vermont, pursuing the path of totality: We would watch an eclipse.

Our working plan for the day was that everything would go terribly, terribly wrong, and the beautiful mundanity of it was that some things did and many did not, leaving us, at the end of our adventure, awed and contented, wending our way back south through seven hours of traffic in the hardening dark.

The evening before, talking to the friends we thought we might meet up with if we could all decide where we wanted to go in time to get there, Madison wailed that she felt shamefully underprepared.

In fairness, we had decided to “do the eclipse” just two days before. Also, Madison is a lawyer. I personally thought we were plenty prepared. We had eclipse glasses, leftover Indian (in case of culinary emergency), several bottles of water and a brown paper bag full of stale candy. The plan was to leave around six, bundle into my Forester (her car was overdue for an oil change) and drive north.

A hard frost came in that night. In the morning we discovered that, due to forces beyond my comprehension, a small crack had appeared in my windshield, zagging up from the passenger seat dash.

We chanced it. We were speeding east on I-90 when Madison cried, “the crack is growing!”

Indeed, the crack was growing. It was not subtle. It was growing across the windshield at about the rate that mercury rises in a thermometer plunged into boiling water. The crack was, we decided, during our mad dash back to safety, giving Final Destination. Despite the blinking oil light, Madison’s car now appeared relatively harmless.

The drive was beautiful and much faster than anticipated (apart from the bathroom lines, which, once experienced, prompted us to turn to roadside woods for the remainder of our journey): I-90 to 91 and then straight on til morning, which in this metaphor is Jay Peak, a ski mountain in Vermont, just south of the Canadian border.

By 1:30, at the base of the mountain, some 150 people and their children had spread themselves over the snow outside the lodges and restaurants; it wasn’t crowded but felt lively, one of those situations in which strangers are excitedly telling strangers where they’re from while lending them a sun-deflecting lens for their iPhone camera.

An array of lawn chairs and makeshift blankets and camera tripods faced the mountain. People in sunglasses and shorts drank beer from golden cans, and ski coats glowed neon against the bright snow. It might have leaned fratty except that most viewers were middle aged and/or dressed like arborists. Above the peaks, the sun was doing its usual sun thing, screaming light down from a wild blue sky.

At 2:20 a cheer went up. Not far from the Waffle Cabin, a cover band — the Pink Talking Phish — began playing Dark Side of the Moon. From behind my glasses, it looked as if the glowing disc of sun was being slightly compressed at the bottom right — a glitch in the matrix, a tiny fold at the corner of a page.

At 2:30 we were all calling out to each other — “it’s starting, it’s starting!” — as if we were not all tuned to the same channel, as if this moment had not been put into motion several billion years before any of us had learned to speak.

Now the disc had a small bite taken out of it, like the cookie you gave a mouse. I was lying on my coat (and Madison’s), staring at the sun. Kids frolicked in the snow banks. The band played Money.

A cool breeze came up. A man was letting strangers look through his telescope: a fat orange crescent, blunted on both ends, like a slice of cantaloupe.

The light took on a curious gray quality — it was not like evening light, because it was still falling from above; it was not the light of a gray day, because it was not dispersed; it was different, somehow, from other dusks — “eerie,” I thought, feeling dissatisfied with language.

People were putting on sweaters and coats, and the night wind picked up flecks of snow and swirled them around in the dimming light. It became possible to see the eclipse when — against medical advice — one glanced directly at the sun.

From behind the glasses, there was only a fingernail of light.

But people were taking their glasses off now, and the dusk deepening rapidly. There was a final flash and suddenly a black hole glowed in an evening sky, a great disc of nothing at all.

Planets glinted in the violet gloom, and an orange glow encircled the horizon, as if the sun were setting everywhere at once. But that void with its pale aureole — my heart seemed to rise slightly, pressing up against my skin like a child with her face to a windowpane, pulled upwards by the black, terrible nothing at the heart of the sun.

We were all so small and fragile, standing there with our tears and our beating hearts and our brief mortal coils. We were also all together, watching the accordion folds of deep time falling open across the silence, shoulder to shoulder in our wonderment.

Three and a half minutes was an age, then suddenly — the flip of a switch — no time at all; there was another flash, and the void vanished, swallowed by the overwhelming brightness of our star.

Quietened, blinking at one another in the strange gray light, we were surprised to find ourselves once again standing on the side of a mountain in the middle of our lives.

The views expressed here are not necessarily those of The Millerton News and The News does not support or oppose candidates for public office.

Latest News

Liane McGhee

Liane McGhee
Liane McGhee
Liane McGhee

Liane McGhee, a woman defined by her strength of will, generosity, and unwavering devotion to her family, passed away leaving a legacy of love and cherished memories.

Born Liane Victoria Conklin on May 27, 1957, in Sharon, CT, she grew up on Fish Street in Millerton, a place that remained close to her heart throughout her life. A proud graduate of the Webutuck High School Class of 1975, Liane soon began the most significant chapter of her life when she married Bill McGhee on August 7, 1976. Together, they built a life centered on family and shared values.

Keep ReadingShow less
‘Women Laughing’ celebrates New Yorker cartoonists

Ten New Yorker cartoonists gather around a table in a scene from “Women Laughing.”

Eric Korenman

There is something deceptively simple about a New Yorker cartoon. A few lines, a handful of words — usually fewer than a dozen — and suddenly an entire worldview has been distilled into a single panel.

There is also something delightfully subversive about watching a room full of women sit around a table drawing them. Not necessarily because it seems unusual now — thankfully — but because “Women Laughing,” screening May 9 at The Moviehouse in Millerton, reminds us that for much of The New Yorker’s history, such a gathering would have been nearly impossible to imagine.

Keep ReadingShow less
google preferred source

Want more of our stories on Google? Click here to make us a Preferred Source.

By any other name: becoming Lena Hall

By any other name: becoming Lena Hall

In “Your Friends and Neighbors,” Lena Hall’s character is also a musician.

Courtesy Apple TV
At a certain point you stop asking who people want you to be and start figuring out who you already are.
Lena Hall

There is a moment in conversation with actress and musician Lena Hall when the question of identity lands with unusual force.

“Well,” she said, pausing to consider it, “who am I really?”

Keep ReadingShow less
Remembering Todd Snider at The Colonial Theatre

“A Love Letter to Handsome John” screens at The Colonial Theatre on May 8.

Provided

Fans of the late singer-songwriter Todd Snider will have a rare opportunity to gather in celebration of his life and music when “A Love Letter to Handsome John,” a documentary by Otis Gibbs, screens for one night only at The Colonial Theatre in North Canaan on Friday, May 8.

Presented by Wilder House Berkshires and The Colonial Theatre, the 54-minute film began as a tribute to Snider’s friend and mentor, folk legend John Prine. Instead, following Snider’s death last November at age 59, it became something more intimate: a portrait of the alt-country pioneer during the final year of his life.

Keep ReadingShow less
Sharon Playhouse debuts new logo ahead of 2026 season

New Sharon Playhouse logo designed by Christina D’Angelo.

Provided

The Sharon Playhouse has unveiled a new brand identity for its 2026 season, reimagining its logo around the silhouette of the historic barn that has long defined the theater.

Sharon Playhouse leadership — Carl Andress, Megan Flanagan and Michael Baldwin — revealed the new logo and website ahead of the 2026 season. The change reflects leadership’s desire to embrace both the Playhouse’s history and future, capturing its nostalgia while reinventing its image.

Keep ReadingShow less
google preferred source

Want more of our stories on Google? Click here to make us a Preferred Source.

google preferred source

Want more of our stories on Google? Click here to make us a Preferred Source.