John and I bought the van the June before last in a parking lot below the Rattlesnake range in Montana: a 1990 Forest Service Ford in that perfect mint green the agency phased out for cheaper white jobs in the early aughts. A rare-ish vehicle, for what we hoped would be a rare-ish life. For the next year, we’d try to live in that van. Neither of us remembers who thought of it. The main point was, we wanted to think about the idea of home pragmatically: It must be conceived of in ways that can be tested. What does home look like when you wake up somewhere different every morning? To a thin chain of stars, or a gash in sea-soaked clouds. You look at the sky and decide what it will do. Then you decide what you will do.

One of our first stops is the pipeline protest at Standing Rock in North Dakota. When we leave after a short stay, a tribal elder calls out, “There goes the green van. Are y’all coming back?” John smiles, and we say nothing. Who, honestly, knows? What we want is the not-knowing. Not knowing where we’ll sleep or shower, or if it will be too windy on a cliff off the 1 in California to light the propane stove to brew our morning coffee. We get so lost in personal time, in the unspectacular concerns of survival or desire, that we forget, often gladly, that somewhere a television is blaring the end of the world. We end up driving into New Orleans in the middle of Mardi Gras, navigating around potholes and mermaids. We stop sleeping in Walmart parking lots after I get harassed by a zealous mall cop in South Florida, who shines his flashlight in my eyes and laughs as I trip over the tiki torch display on my way to find John by the sale for citronella, a bandanna around his mouth to keep out the nauseous foam of mosquitoes. Turns out we’re only 20 minutes from the Everglades. We arrive at Lone Pine Key Campground at 1 a.m. and stay for a week in the denlike swamp with the wet heat and the reptiles. In northwest Texas, we try to map out a trip to the canyon at Palo Duro, but a ranch fire keeps us from entering the park, so that canyon will always be burning for us.

The summer before we left Montana, when I worked a steady job at a bookstore and John worked a steady job at a theater, when we were boyfriend and girlfriend who’d just begun living together, he started fixing up the rig. He built a frame for our mattress and put in what he calls our “solar system”: a few plates and panels and a box that together take the sun and turn it into what cools our yogurt and charges our laptops. We hid books beneath the mattress and filled all the van’s nooks with them, too. Books on travel, books on dogs, books we could read to each other as we fell asleep: A Secular Age, a Bible, A Time of Gifts. I glued an incense burner to the dash, tucked some sticks from the banks of the Clark Fork River under the window. Those sticks, smooth as lamb’s ears from years of lapping water, were John’s first gift to me, and they got pride of place, in front of us, where they’d reflect in the curve of the windshield, glinting there between shadows, as if beckoning again from the river. I made the bed up with his grandmother’s crocheted throw, strung up copper lights. We bought a used copy of Anna Karenina on CD, sold our furniture, and left.

Time to go. Which is to say: Time to stay our course. Be perpetual. Ann Arbor, Unionville, St. Pete, Marathon, Olympia. We left home to engage with the unknown, but what we find is a profound order in our life inside the van. How we talk and move around each other, who cleans and cooks and makes repairs. We find ourselves not in the scenes and stories we were pursuing, but in each other.

Halfway through the trip, John proposes on a beach in South Carolina. From that moment, temporality is no longer rendered by what passes and changes but by what’s fixed: This will be our family, around which all else can circle. I say yes, and under Christmas lights in Charleston that night, John’s mouth is crinkled like the moon off breakers. Six weeks later, in February, just after our democracy is handed over, we’re married. The two of us, in Florida, where there is no waiting time for a license, no permanent address required, no commitment to place but the one beside the other.

Over the many months seated next to John in the van, watching the highway in front of us, I realize we are admitting more to each other in better ways than if we were across a table with a candle and soft talk between us. There are certain beliefs, rules you live by, that are tested just by committing them to speech. But when someone is staring right at you, you can grow worried that you’re explaining yourself all wrong, or revealing a gap in knowledge, or becoming unable to admit that the thing you just said aloud you no longer believe. Love is often told in lingering eye contact and wide-eyed, whispered admission; in your gaze you’re meant to reflect your partner to themselves. But we’re always at risk, with that gaze, of becoming the reflection that insists on replacing its object, like wedding photographs of people long dead that ask us to remember them young and happy.

Sometimes John and I fight for hours while we drive. We fight about family—why did I
reveal that detail about his sister to his brother? Or because I should have remembered he hates pancakes, or because he did nothing for my birthday and assumed I wouldn’t care—we had no money; what did I expect? We’re fighting about things we did that we shouldn’t have done; we’re fighting for what we want to become. Until night falls, when we park on dark residential streets or in state parks, and lie facing each other in bed, hearing coyotes, waves, or the highway, sensing each other’s breath and body but still unable to see the other’s face, and we find resolution, feeling into what we cannot see. Frank Bidart’s description of a lasting love: “Two people / staring not at each other / but in the same direction.”

A year later, we’re back in Montana. We’ll stay a week, then put everything we’d left in storage into a U-Haul and head out to a new home in the middle of the country. Our friends are in Missoula, our old jobs, our teachers, old lovers, the bars. When I got married, I thought it was a way to escape, to move beyond the confusion of my past: who I was, what I wanted, what I’d done and to whom. I took my husband’s name partly to make it harder to be found—by people I’d known as much as by myself. Things would clarify then, simplify, settle. But by the time our trip is over, it’s clear that in committing to a life with John, the possible worlds I can inhabit are expanding. The ways in which our life can change, the things we can discover together, double, then triple, and will continue to multiply. A teacher told us before we left Montana, “The most radical thing you can do in this day and age is stay in the same place.” He was talking about how capitalism prompts people to follow “opportunity”—desperate for work or cheaper living, or from a real belief that out there life could be better. Keep moving. Keep trying. Progress. But the deeper learning that comes when you aren’t just passing through—a town, a state, a person’s life—could be radical and expansive and brave and have enormous creative power. When you have to figure out a way to make it work.

The Clark Fork River has soft, beachy pockets of still water you can wade into. Fish often feed there, pausing on their way through water to more water. Their mouths to the surface, seed-size pockets contract and expand like galaxies forming and fading in time-lapse. It’s cold when I visit, the sky grows deeper and blacker. When it rains, I tell myself, I’ll go back: back to my husband, back to bed in the van that in a few days we’ll take back on the road—to move to the new place we’ll call home. I watch the river for a sign of weather, but the fish are teasing the face of the water and the puckering there might not be rain. So I stay a bit longer, until I feel it.

Joe and I met when my daughter, Julie, was in junior high. He was her drama teacher. I came home after a parent-teacher conference and said to her, “So what can you tell me about this Joe guy?” He was very bright, very funny, very tuned in to the kids. I’d gotten divorced from Julie’s dad when she was four, and after that I hadn’t dated. I didn’t want men coming in and out of the house.

Not long after, my daughter had a sweet 16 party, and we invited Joe. He came toward the end, and when he left, he kissed my hand. He was in many ways a really old-fashioned person and not given to public demonstrations, though I didn’t know that then. After the party, he suggested we meet to discuss something going on at the school. I told Julie, and she said, “You can call this one a meeting, but after that you have to call it a date.”

We moved in together after about a year. And a year after that, he started having symptoms that felt like water in his ear. He got it checked, and we found out he had a brain tumor. We just had a year together before he got diagnosed. But it was a really good year. It was.

His tumor wasn’t cancerous, but it could be deadly if it couldn’t be removed. He had surgery, but they were only able to take out a small part. It left him really impaired. He kept teaching for a while, but he had to stop. His memory was deteriorating, his physical capacity. And then his mom started having a lot of difficulty, so she came to live with us. I was working, too, but it was just one of those things. You don’t even think about it—you just do it. But you kind of lose yourself.

Once I couldn’t lift his mother, we found an assisted-living place for her. Then she broke her hip and died, and about that time, I started to realize I couldn’t take care of Joe on my own anymore. We found an assisted-living place where we could live together. But eventually Joe couldn’t even remember that he needed a walker: He’d stand up and try to walk and then fall, and I couldn’t get him up. The assisted-living place had a memory facility, so he moved there, and I stayed in our apartment. A lot of people he lived with had moments of real hostility—Alzheimer’s changes people. But Joe didn’t have Alzheimer’s. Everybody loved him, even in memory care. He’d have these thoughts and try to express them with the most intelligent three words, and then it would be gone. But he’d just let it pass. That was his personality. He was the least moody person I’ve ever been around. And he did always seem to know who I was. The actual connection might have gotten a bit lost from time to time, but he saw me as a positive person.

About a year before he died, he fell and had to go to the nursing side of the facility.
I’d visit him every day, and, well, the only other person I saw on an everyday basis was this guy visiting the woman next door. We’d pass as he was getting off the elevator bringing her Starbucks and make jokes about him being the delivery guy. One day we exchanged stories. His name was Sam, and he’d been married to the woman in the next room for 35 years. For the last 10 she’d had Alzheimer’s.

From the start, we were totally comfortable talking, which was kind of amazing, especially because of the situations we’d been in. By that point, I could hold Joe’s hand, but it wasn’t the same. It hadn’t been a marriage, honestly, for a long time.

All of a sudden, though, there were things that got turned back on again. Sam and I developed a romantic relationship a few months before Joe died. In the beginning, I thought, Is this really okay? I’ve felt all along that if Joe had known, he would’ve been glad, but I was still living in the same facility where Joe was in memory care, and I knew there would be judgment. The world gets so small in places like that.

Two months before Joe passed away, I moved out and found a place a block away from Sam. By then, his wife’s children from a previous marriage had assumed her care, and then she and Sam got divorced, encouraged by the children. It’s a very sad story. Much sadder than mine in a lot of ways.

We’d just decided Sam would come live with me when Joe died. That day my daughter and her partner were with me in the room with Joe, and they suggested that we go to lunch, but I just didn’t feel right leaving. An hour later, he died.

In the weeks and months afterward, I didn’t know what to do with myself. My whole day had been built around when I was going to go spend time with Joe. But Sam was very tender and loving. He just starts doing things for you. He understood. And still does. He’s the least judgmental person. He and Joe both. I got lucky twice.

Sometimes I think, If something debilitates Sam, would I do it all over again? Yes. The one thing both Sam and I would say is, Don’t feel guilty. If you’re hurting other people, it’s different, but otherwise it’s okay to fall in love. Again. Even in your seventies. It’s still okay to fall in love.

Credit goes to ——->

It happens to even the most careful among us.

Your favorite lipstick, which has solidified a spot more permanent in your handbag than your wallet, has somehow melted in the unseasonably warm weather, or lost its cap within your bag and broken. Mourning its loss is a common reaction—after all, it’s your signature—but rest assured, you can still save it.

With some careful crafting, cutting, or melting, you can restore the color not entirely to its former glory, but something that closely resembles it. Better yet, you can still make the most of your trademark hue without having to spring for another tube. Whether the product broke, melted, or succumbed to the bottom of your bag, we put together a helpful guide on how to redeem it. Read on to find out exactly how.

If Your Lipstick Melted

First things first, pop the lipstick into the freezer and let it set so that you can accurately assess the damage. If it more or less maintains its original shape, you should be able to use it as is. However, if it all ends up stuck to the cap, or morphs into something totally un-useable, you’ll have to repot the product. Remove (or scrape out) any product you can, then place it into a small container. Dig out the product hiding in the bottom of the tube, add it to the mix, and either crush or melt the lipstick down within its new space. You can use the metal spoon and candle combo to melt it, or simply place the container into the microwave for a few seconds.

If Your Lipstick Was Broken

Clean breaks can usually be repaired on the tube itself, leaving your bullet more or less the same—minus the contour of your lips you’ve worked so hard to impart on the lipstick. Start by gathering a tool to scrape (the opposite end of a pair of tweezers can work) and place some of the lipstick, as well as a hair dryer. Give the portion stuck in the tube a quick few seconds under the hair dryer, then press the broken end directly on top so that it sticks. If there are any weird gaps between the two, use the tool to scrape lipstick from the top of the product, and place it in between to patch it up. Blast the area for a few seconds with the hair dryer, sealing in your work, then allow the product to cool down.

If Your Lipstick Was Crushed

Start by assessing just how bad the crushed tube is. Did the product get smeared across the bottom of your handbag? Considering how questionable the depths of our own tend to be, most of the lipstick cozying up to the old gum wrappers and receipts might not be salvageable, but anything else remaining in the tube can be. If there is anything left of the stick, cut off the end marred by your belongings, and place the rest into a separate container. Continue removing lipstick from the bottom of the tube (there’s a ton hiding down there, you know), and add that to the container as well. Use either a hair dryer or your microwave to melt the product for about 45 seconds, then allow it to cool down. You can continue applying it with either a lip brush, or your finger.

Ever since I got my hands on my first ever eye shadow palette—a chalky, sparkly Claire’s trio that I had begged my mom for at 13—I’ve been fascinated by the wonders of eye shadows. The pigmentation, the colors, the textures. But actually applying it? I’ve always had trouble perfecting my eye makeup. My Korean roots have blessed me with monolids, an eye shape with no defined crease, making it a real struggle to work off of typical YouTube makeup tutorials that seemed to work for most of my friends.

I remember watching video after video telling me to “blend this color into the crease,” but because I didn’t have that depth in my eyelid, I would just end up with a giant blob of thick, dark eye shadow. Feeling discouraged, I’d take a remover-soaked cotton swab and start over, before eventually giving up and going for the “no makeup” look, swiping a simple shimmer on my lid and opting for minimal mascara.

Now I can hold my own with eyeliner, but smoky eyes still daunt me, and I still feel like there isn’t much instruction out there on how to create a flawless smoky eye for my particular eye shape. To solve my problem once and for all, I reached out to celebrity makeup artist Rebecca Restrepo, who works with stars like Lucy Liu, for her tips on achieving a gorgeous look that actually works for us.

Create a shadow on your lid

Before you do anything, Restrepo says the most important step is create “a foundation for your lid.” She advises taking a soft brown matte or demi-matte that’s one or two shades deeper than your skin and swiping that shade onto the lid, from the lash line to your brow bone, past the inner corner of your eye, stopping at the bridge of the nose. She leaves a bit of space between the color and the brow for a little lightness. “This will create a shadowing and start to push the eyelid back,” Restrepo says.  She recommends using a flat brush with a rounded top that’s the right size for your lid. You can find a shadow brush that’s easy for you to use by matching the width of your iris to the width of the brush.

Blend, blend, blend

Take the medium tone of whatever smoky eye color you choose—Restrepo recommends a terracotta shade like Surratt Beauty’s Artistique Eyeshadow in Cuivre ($20, if you’re going for a warm copper-y smoky eye. Using soft strokes, swipe the eye shadow on back and forth, from the lash line to the middle of the eyelid. Restrepo explains that the two shadows should blend and fade into each other. “Keep blending out whatever’s left on the brush,” Restrepo says.

Go for the smoky

Using the deepest shade of your selected color, apply shadow on top of that medium color, starting right at the lash line and fading into the middle of the eye, leaving the base color as the only shade on the top part of the monolid. “This creates lift and edge on the outer edge of the lash line,” Restrepo says. “Each layer of depth makes the other color receding it look a little bit deeper and richer.” The key to this is lightly touching your brush to the shadow, picking up very little color to get the perfect amount of control.

Brighten up

Apply a light shimmer or matte white on the very edge of the upper waterline and lash line, where the two meet. The lighter the shade, the more intense it’ll be. Restrepo suggests a soft peachy pink like Surratt Beauty’s Artistique Eyeshadow in Poudre ($20,

Add drama with liner

Whether you opt for pencil or liquid liner, make sure it’s waterproof or water-resistant. Instead of going freehand, rest your pinky on your cheek and create short, connected strokes along the base of your lashes and tightline your eye. “It’s not about digging into the eye,” Restrepo says. “It’s about being really soft and having control.”

Tons and tons of mascara

“When you have the lashes, they create a shadow, which creates the illusion of a crease,” Restrepo says. The key is to really get the mascara at the lash line, which will completely open up your eye.

 And there you have it—a chic, sexy smoky eye. After speaking to Rebecca, I immediately went home and took out all of those beautiful eye shadow palettes that I had abandoned for fear of looking like a middle schooler going through a phase. I would have never thought it was so important to create that initial depth in my lid for the eyes to come to life. I wish those YouTube tutorials I watched growing up had taught me this game-changing step. I rocked my smoky eye look to a casual lunch the next day—I’ve never felt more confident with my unique eye shape.

Jennifer Lopez stepped out in chilly NYC wearing a leg-baring shift dress. But she kept her arms warm with a matching coat and coordinated the navy lapel with a pair of pointed-toe pumps.