Showing posts with label EULOGY. Show all posts
Showing posts with label EULOGY. Show all posts

16 March 2015

Boys & Trees & Memories of These

"I had no idea who to call. I slumped down on the splayed roots of the great bur oak that still commanded the front yard of the old parsonage. The only sound I could hear was the rumor of an occasional breeze in the clacking of its high branches.

This tree was said to be well over a century old when I had climbed it as a boy. I lay my head back against its rough bark and stared up at the sky through the tracery of its dark arms. In the creaking canopy, I could still plot the route, the exact footholds, limbs, knots, and gnarls, that took me the highest—40, maybe 50 feet up.

On winter days I could see practically the entire square mile of the town of Fallstone Trace from my topmost perch: the rusted tin roof of the ruins of the cotton gin; the gingerbread post office; the red brick school where I snoozed through eight years of clanging radiators and stopped clocks; the rotting timber water tower every schoolboy for generations was condemned to climb in ceremonious challenge to its rickety steps; the gas station where I had my first summer job at fourteen and drank up each Saturday's pay in salted nuts and small green-bottle Cokes stamped on the bottom with the names of exotic, unfathomably distant cities—Peoria, Ft. Worth, Albany, and that jewel of distant jewels Seattle; the feed-and-seed store whose plate glass window front bobbled with newly-hatched chicks dyed blue and red and pink and even yellow come Easter-time; the cinder-block volunteer fire station and steel-frame siren tower (the only rival of the steeple on my father's church) where my father, solemn in black robe and Bible, presided over the mock pomp of a womanless wedding and fried chicken and watermelon supper fund-raiser each October around revival time.

A tree like this was a thing to be prized. I was tempted to climb again but for my worsted suit and the leather soled shoes I had worn for the alleged funeral this afternoon. Besides, I had no heart for it. One is supposed to have a lingering affection for the things of youth, to bask in the everlasting radiance of one's past. Family, community, heritage, tradition: these were the things that mattered, the things that made you who you were. They anchored you. You carried them forward no matter where your roving took you. Then, by dint of some vague sentimental calculus, you cemented your identity by reclaiming them, even in exile. Wasn't that what the heart was, after all?

The only thing I felt now was pain as another cramp of an anxious nausea gripped my empty gut."  Jim H., EULOGY pp.258-59

11 March 2015

Let's Talk About Cars

Here's Lee Rourke in his 2010 novel, THE CANAL (Melville House):
"'It's an Audi TT 225 Quattro Coupe. It's a powerful little machine able to explode from zero to sixty in six point six seconds flat. A top speed of one hundred and fifty-one miles per hour. Although, I'm positive I've pushed it further. It's specified in pearl-effect black with a grey leather interior. But the wheels—perfect seven and a half by seventeen inch rims. People would turn heads whenever I sped by. It's really my ultimate machine. You should see the engine—seventeen eighty-one cc's in size, gleaming all year round.'
...
"'It's simple: we are technology—we rival nature. We are able to mould ourselves into something superior. Put simply, my car means more to me than any other thing I can think of..." [p. 58]
...
"'I had to do it. I saw him and...I had to obliterate him from my life. I had to make him obsolete. There was no other option...It felt good, butterflies in my stomach, that type of thing, some call it a buzz...My god, the sound of the engine as I approached him, dropping a gear, there was nothing I could do except hit him.'
...
"'He didn't matter. We don't matter. If you could have felt what I felt behind that wheel—just the rumble, the slight tremor of surface movement, of things, bitumen, passing beneath me. The speed...the engine growling...We are limited. We need something more, we need that added extra in life. Technology provides all we need. Technology dominates a large part of our unique relationship with the exterior world. I have never wanted to hide behind technology. I have always wanted to use it, to control it, to display it. It has always puzzled me why one would want to hide one's hearing aid away from the world. Why do that? Do you understand? It is an extension. That's all. Part of us...All of us should understand that technology will be the death of us, not our saviour...It's leaving us all behind. I am just repeating the obvious.'" [p. 66] Lee Rourke, THE CANAL
Now here's me, in my as yet unagented, unpublished novel EULOGY (which was requested and is currently in the hands of an agent at Writer's House in its totality. Waiting...waiting...)
"The car, a bare-bones airport rental with nothing to speak of for acceleration—not that I could use it now—crept along the jammed expressway. I slammed my palms against the steering wheel. There had been no signs to alert me to the delays. I glanced at the digital clock on the dashboard: 7:39. Worthless piece of shit! I was so used to being a passenger in an unending series of cabs and trains I could never again feel at ease behind the wheel of an automobile.
"There was a book I had read in college, a book of poetry. I couldn't remember who it was by. Some obscure younger poet. A vanity pressing, maybe. What was it called? Something about people and cars. Rivers of Rust. Seeing the stream of traffic strung out before me on the highway put me in mind of it. The extended metaphor of the long poem—or series of poems, I forget—posited a world in which human beings had evolved an automobile-like exoskeleton: homo automobili or some such. And these car-people flowed along the rivulets and creeks and streams and rivers of their new roadway world until they gave out and were junked and their shells cannibalized for parts. Maybe it was called Driven. It might have been an allegory about death, I don't know. I was never very apt at literature. I looked at my watch. It was nearly one o'clock and I had, under the best of conditions, another half-hour's drive ahead of me. The funeral was at two. This felt nothing like poetry.
"A greasy drizzle confounded the two speeds of the car's windshield wipers: they either squeaked across dry glass or smeared the spatters of water in blurry arcs across my field of vision. To make time, I drove along the right shoulder of the road wherever I could and took every exit and sped down each on-ramp, waiting to merge with the stalled stream of traffic until forced to do so by a bridge abutment or signage or other roadside obstruction. I knew I was pissing off the other drivers who didn't have the balls to do what I was doing, but I didn't care. They would have to deal with their own timidity and jealousy. I had a funeral to make. Their rules did not apply to me." [ms pp. 244-45] Jim H., EULOGY.

Soundtrack:










(as mentioned in THE CANAL)

14 September 2014

Fun with Wordle

Here's a Wordle of my novel, EULOGY. I've just completed what I consider to be the FINAL draft. The submission process is beginning:

EULOGY Wordle

17 January 2012

The Mosaic Sadness, Part 4

(cont'd from previous post)

Sorry about the length of the previous post. I wanted to put up the entire chapter. I'll try to keep posts in this series shorter going forward.

So, to recap: Josh has S.A.D. [Seasonal Affective Disorder], though it is unstated. An unstated pun. Sadness, unacknowledged, is likewise a specter hanging over him—which appears, literally, in an earlier ghostly visitation (dream) scene.

How does he deal? He starts by questioning who he is—the right move philosophically: "differential man" whose ultimate end, of course, is perfect integrity, pure identity, ultimate aloneness, and death. He negotiates his way through the bustling humanity of Grand Central Station. He mourns what he perceives his condition to be—short daylight, overworked, over-stressed, confused, etc. Then comes the crucial question: "Where is the light?" Of course, true to the rules of comedy, the answer comes in the form of something woefully inadequate: the full spectrum lamp. And, ditto, it burns him. Slapstick, yo.

Josh then experiences a natural run of emotional reactions to this grievous situation: denial, anger, mindless busy-ness (running aimlessly around the halls kicking trashcans), etc. He even has an authoritarian impulse when he sees how certain associates leave their lights on and their coats on their chairs to make their bosses think they're burning the midnight oil. But then, he comes to himself; he collects his wits and sets into the task before him, despite his serious exhaustion. Even though he is not yet aware of his ultimate Mosaic sadness, he has a taste of it. His is the response of the healthy psyche: just get myself through one more day and do what I have to do to go on.

Then, in a true revelation of Josh's character, he exercises what a lot of us here on internet refer to as 'the Kind': even though he's furious at his associate for her shoddy work and for abandoning it to him and for putting this additional burden on his already stressed out life, he recognizes her limitations—her personhood—and bites back on his instinctive inhumanity. He is, to my mind, a paragon here—even though he has yet to experience the great epiphany that is central to the novel w/r/t (a) the psychodynamics that have shaped his current trajectory, (b) the true ground of his being, and (c) what I'm calling here the Mosaic sadness.

[to be continued]

12 January 2012

The Mosaic Sadness, Part 3

Here's an excerpt from my novel, EULOGY. This is Chapter 23. It is late Sunday afternoon on the train from Connecticut to Manhattan. We're about 2/3 of the way through the book. Earlier, Josh Bethune (does not rhyme with "buffoon", but does with "eaten") helped his father euthanize his estranged, terminally ill mother as per her wishes. The funeral's to be late Monday afternoon. He's just found out that his father-in-law, Brad, his mentor at the law firm, is retiring and moving to London. This will leave Josh exposed to some of the politics in the senior ranks at his firm. Brad and his wife Sara are also selling off a big chunk of the family farm, including all the horses except Picaro, their wedding gift to Josh and Nina. Nina, Josh's wife of ten years, is pissed. She's also indicated she may be falling out of love with Josh. Meanwhile, Josh has an emergency motion he needs to file first thing Monday morning with the court before he has to fly South again for his mother's funeral. Amidst all these on-going crises, Josh is circling around what I've been calling the Mosaic Sadness, though here it manifests specifically as a bout of Seasonal Affective Disorder to, what I hope, is comic effect:

-----

There was, to be sure, motion. Or the sensation of motion, call it that, rocking and irregular. I felt it in the space where my spine fused with my hips, a dull ache I guarded lest it spark again into full-fledged agony. There was wind as well, though I could neither see it nor hear it, nor for that matter feel it against my face. The landscape swept by on both sides, and but for the jostling of my body and the grinding of the steel rails the illusion of its moving past like a pair of stock scenery rolls from an old movie might have been complete. My head drooped and my eyelids sagged.

Again, as so often these days, I was alone. Nina had decided not to come back with me. She felt Picaro needed a good grooming, and, I suspect, she had a few things to say about the future of Shadowstone Fields. This was not my battle—yet. Li would drive her back into the city later. Perhaps. I succumbed to the strain and rested my eyes, knowing more would be required of them this evening.

Alone? No. That wasn't quite the term for what I felt; there were others on the train, in my car, even across the aisle from me. What was it? Lonely? Not at all. Lonely implied I needed other people to be complete. No, I was not lonely, had never really felt that way. My mind didn't seem to want to work for me. Solitary? That wasn't right either, though it was closer; still, it made one think of being in prison. I sighed aloud. The woman across from me looked up from her paperback. I rolled my eyes and smiled. I wasn't even sure there was le mot juste in English for this sense I had of myself. Singular, unique? No, no: they didn't work either; too vaunted, smacking of hubris. Alienated? Too harsh, I thought, for it was a comfortable solitude, a safe one, in which I found myself. And besides, that had legal and political connotations. Oh, what was that word? It was on the tip of my tongue, yet just out of reach like the obvious solution to a tricky clue in the Sunday crossword. It wasn't a common term. It even had some technical implications; it seemed like it was a term used in mathematics and maybe in medicine and mechanics, as well. What was it? The train rounded a broad curve. I could see the engine out ahead from my side of the window. Work, brain, work! You've got work to do in the city. A moment passed and then, the aha! moment. Yes, I remembered: differential. That was the word I was looking for. My body shuddered involuntarily, and I shifted in my seat. Differential equation: motion, points in time. Differential diagnosis: ruling out everything that the symptoms did not support. Differential gear: the unequal distribution of power to the wheels of a turning vehicle. Differential: was that the word? Differential Man: Was that what I was? Who I am? Did that somehow define my life? What I was becoming? I chased this thought, this word puzzle, this line of associations downward into an abyss of sleep. A body, an identity, forming, moving through time. An arc, a curve defining my life as I shucked off everything that was different, everything that was not me. Rejecting everything I could not use. Focusing my energies where I felt the strain. Until when? And going where?

The next thing I knew came a light tapping and then a firmer shaking of my arm: "End of the line, buddy." Which was not my name. My doze had been mercifully purged of dreams. I came to slowly, not quite sure where I was and how I had gotten here, trying to piece together what had brought me to this place. A trickle of saliva pooled at the corner of my lips.

Nina and Sara and Holly had all been standing at the fence when Picaro carried me back to the paddock. "Geez, J, I can't say I remember the last time you rode him," Nina had said.

"Whoa, boy," I reined Picaro to a stop he was probably going to make anyway. "That could be because I never have."

"You've never ridden him? Seriously?"

"Seriously. I think I would know."

"Well you look like you've been riding him your whole life," Sara said. "I certainly never would have guessed." Holly squeezed through the fence and came running up. Picaro bent his head low to touch noses with the dog.

Nina and Sara had let this remain my own personal battle. I leaned forward and clapped Picaro on his broad neck. "Good boy," I said and slid my right foot over his back. The instant it touched the ground, while I was still holding onto the front edge of the saddle, he started edging away from me, bucking his hips lightly. "You go on and be that way, big fella'. You show off for the girls. But you and I will always know what happened out there." I spoke quietly into his ear. It flicked me off like a bothersome fly. I took his reins and walked him over, despite his balky protestations, and tied him to the fence. I bent down to scratch Holly behind her ears. She had barked as Nina brought out a currycomb from the barn.

I paused at the door of the train. In the belly of the station, it could have been any time of day or night. I stuck out my head, looked left and right, not yet quite oriented, unsure which was the front of train, then eased down the metal steps. A gamut of lurid theatrical posters watched me shuffle up the concrete ramp to the station. I quickened my pace, glancing at my wristwatch. It was late Sunday afternoon, and most of the food venues were closed, but I found a place where I could grab a pre-wrapped sandwich and a tepid bottle of iced tea. I ran up the marble steps two at a time to the terminal, inhaled at the high vault, made a quick calculation of the density and likely vectors of the afternoon's listless foot traffic, marked an optimal path across the floor, and shot out, half awake. I danced and dodged the light chaos of backpacks and sneakers and shopping bags and strollers.

I dashed up the escalator steps, glided past a security station where I flashed my worn ID to be scanned by the security guard who knew me all too well, jumped in and then out of the waiting elevator, where my ears popped somewhat more painfully than usual—was I coming down with something?—then sliced through the empty hallways of my firm and swept into my office. Why did I wear these shoes? I could never get a pair of loafers that fit: they squeezed the balls of my feet and slipped up and down off my narrow heels. I kicked them off and into a corner where the heel of one scuffed the wall. My big toe protruded from one of my black socks where it had ripped against the inside of the heavy boots I had worn while running down Nina's horse.

A trim packet of papers sat lonely on the corner of my desktop, as expected: the final obstacle of my weekend. Affixed to the pile, a note in bright purple ink on a yellow square of paper in Abby's open, bubbly script informed me she would be back in an hour or so after grabbing a nap and feeding her macaw, Mr. Smithers. "I hope it's OK???" it read. And there behind my chair, in my credenza, the magic drawer that could get me through.

Goddammit! It was barely five and darkness had swept across the sky outside my windows. I vowed to go to the office manager next week and demand a Southern exposure. As soon as I got this funeral thing behind me. This was when my job was most difficult. This was when it hurt the most: the onset of the short-daylight days of the long winter, the receding end of a nigh-on endless weekend, a pile of work in front of me. Most of the firm would return tomorrow morning from a 'weekend' in the sense most people understood: two days away from the office, off of work, spent restfully or in recreation or spiritual uplift with families and friends. I would be pulling myself through the morning, bedraggled and spent, trying to kick-start a week's momentum on the wave of their renewed enthusiasm.

Out my window, a lone falcon, a regular in these bleak midtown skies, hovered over the twilight roofs of the lower buildings, its wings extended, still-seeming for a second. Two. Then, folding and tucking them into its body, it plunged on a sharp, accelerating diagonal until it disappeared below the crenellated parapet of the yellow-stone building where I had seen the solitary woman packing her boxes last night. Perhaps a gimpy, louse-ridden pigeon, or an unsuspecting rat, would be shredded into a meal for its young.

My coffee-maker sucked the last drops of purified water from the reservoir through the heating coils and dribbled them across a thick cone of grounds. Bubbling and steam and the sharp aroma of dark-roasted beans: the false dream of energy. I felt the dull stiffness in my back. I sat down and bent low, my head between my knees, grabbing the insteps of my socked feet. I held them for a minute, took several deep long breaths, felt the pull on my lower back. These stretches, stopgaps really, would have to do until I could see my osteopath later in the week. After the funeral. I rose up, closed my eyes, and leaned my head against the backrest. The spinning world settled to a point just behind the bridge of my nose. Concentration. Concentration. What energy I had left I needed to bring to bear on the brief in front of me. The silence of this place, the loneliness—yes, that was the word for this—would allow for that.

Where is the light? Where is that light? The thought intruded on my meditation, came to me from nowhere, took hold and wouldn't let go. Several winters ago, at the urging of an ad in some forgotten glossy magazine, I had bought a full-spectrum lamp. Now where did I put that thing? Yes, yes. I put it in my 'Miscellaneous' file drawer last spring. Under my three-hole punch and a box of "from the desk of" memos. I took it out, saw the bulb was intact, and plugged it in. Yes. It still worked. Once again I bent over. Grasping the cuff of my left pant leg, I tucked with my thumbs and pulled it about halfway up my calf. I tucked again and pulled the fold until it was even with my knee. As the legs of my jeans were loosely cut, I then made a series of smaller folds to bring the bottom edge above my knee. This had the effect of tightening its grip on my thigh. I repeated the exercise for my right leg and pulled my socks off. They were damp and smelly. I threw them in the corner with my shoes. When I stood, the fold on my right leg slid below the crease of the back of my knee. I rolled it up tighter and higher like I had done as a boy when I wanted to wade into the stream behind my house with Amy and Jason to gig frogs or net minnows. It seemed, according to the ad, certain receptors behind our knees were sensitive to sunlight. And these in turn were keyed into our circadian clocks. The idea here was to trick these sensors into believing there were more hours of sunlight than there really were. If the theory held, I could fool my body out of its usual hibernal drowse and into a state of springlike wakefulness. I had done this regularly during the winters for several years now when I was here at the firm by myself. I could not swear it worked, but I persisted in the hope. As bad as I felt, it was worth a shot. The faux sunlight glowed warm and comforting on the backs of my knees. My toes wriggled freely. I took a small amber bottle from the drawer of my credenza, shook two small white pills into my palm, and popped them onto my tongue. I drowned the alkaline taste on the back of my tongue in a black wash of coffee. My stomach gave a reflexive, anticipatory pang.

Outside, the wind whirred low, hugging the edge of the building. I stood there, skimming the brief. What the hell was this? I flipped the pages. "Abby? God damn it!" Where was she? I reached over and banged the wall joining our offices with the heel of my palm. "Abby? Get in here!" The framed diploma on my wall rattled. My stomach clenched, my jaw tensed. My eyes narrowed to tight slits. I stalked to the door and over to Abby's office next door. My left pant leg sagged down my calf.

"God damn it," I banged open her door. "What is this shit?" Her office was empty, as I should have known it would be. Her ashtray spilled over onto the high clutter of casebooks and files atop her desk. Where the hell was she? I flung the papers to the floor at the front of her desk and stormed off down the hall. At this time on the weekends, this was my own personal race course. I made a circuit around the hallways on my floor, cursing Abby, cursing the work I would have to do to set the brief right, cursing my fate. I careened around sharp corners. I pounded random walls. Light spilled from a few open office doors. Invariably, a book was open on the desk or a jacket was draped over the office chair; associates trying to give the illusion they were still at the office. I turned off lights and slammed doors. Bedcheck. They were fooling no one. I made a mental note of the names and marched on. An empty trash can or two found itself upended.

My anger carried me downstairs. I took the steps two then three at a time. I made a circuit of that floor then went down another floor. Made another circuit. And down and around again. And again, talking to myself the whole time, thinking through what needed to be done to the brief. All the way to the bottom floor of the firm where the proofreaders and word processing pool were, finally coming to myself. I was winded but I barged around the floor in my bare feet and Huck Finn trousers. I knew I must have looked ridiculous, so I slowed up and took a quiet lap around the floor. Though I really didn't care what those people thought of me. Finally, I rounded back upstairs to my office and dropped into my chair. I could feel the blood racing through my body, pounding in my chest and wrists and temples. It was like the firm was my own private gym.

I collected my wits and took a sip of coffee, which by this time was becoming bitter. I downloaded Abby's draft from the server onto my hard drive and dug into the night's worth of revisions. After a moment, though, I stopped. Something wanted my attention. First, I smelled something faintly sulfuric but couldn't figure out what it was. Then I felt the heat from my sun lamp against my calf. Then and only then I felt the fair skin of my naked calf burning. "Yeow!" I leaped up out of my chair, banging my knee on the underside of my desk drawer, and let out a yelp. I reached down and turned the spectrum lamp off. I guessed the lesson here was not to fuck with rhythms of the body. I shoved my pantlegs down and soldiered on, shaking my head at my own idiocy.

Okay, what had to be done here? I settled back into my chair. We needed the judge to act now. Abby's mechanical brief did not convey the necessary sense of urgency. My phone chirped.

"Bethune."

No answer. "This is Josh Bethune. Hello?"

The dial tone insulted my ear.

"Dammit." I slammed the phone down. My anger reignited in my frustration. Okay, now concentrate. The language in Abby's statement of facts needed to be spiced up. All the facts were there, all right, but I wanted the judge—or his clerk or whoever was reading this damned thing—to spit when he read the name 'Berker'. I wanted him to feel visceral disgust. Hers was bland, lifeless. Too objective. My phone chirped again. I pushed the speaker button.

"What is it?"

"Josh?" Abby's voice was timid, low.

"Ianelli. Did you just try to call me?" My voice was louder than I needed it to be.

"Um, no."

"Well, goddammit, somebody did."

"It wasn't me. I was just calling to let you know I'm on the way in. I've had a couple hours sleep."

"Don't bother," I said. A silence passed between us. She knew I was pissed. She waited for me to jump in on her. "Why don't you get some sleep and come in early? Five or five-thirty, so we can pull all the exhibits together and make some copies and get it downtown before the judge gets in." I relented, not letting my own pique destroy her confidence. I needed her.

"Okay. Thanks, Josh. I really could use some sleep."

"Goodnight."

-----

[Critical comments welcomed.]

19 July 2011

EULOGY, Ch. 5

This will be my last post for a couple of weeks. I'm taking some time off to travel with my family.

This is most likely the last bit of my unpublished novel I'll be posting here. It takes us up through about page 30 of the mss., roughly 8000 words into a ~100,000 word mss. I am grateful for all the comments you all have been kind enough to proffer so far. If you have the stomach, tear into this little set piece as well. Revisioning, recasting, redoing may follow—I'm questioning, e.g., the consistency of tone. Thanks, again, all. See you in a couple weeks.
----------
FRIDAY
CHAPTER 5
My father pushed as I pulled the hospital bed out into the night sky of the backyard. Its wheels etched trails through the tall, moist fescue. It was late, long past midnight, and the rest of the world slept. My leather-soled shoes—the only ones I'd thought to bring—skidded across the dewy lawn, but I kept myself from falling by gripping the metal headboard.

"She wants it there," he said, "by the fountain." It was her favorite spot, he told me, summer and winter, day or night.

"Sure," I said. I dragged the plastic Adirondack chair out of the way and lifted my end of the bed over the rock rim of my mother's flower bed. My left foot slipped from under me in the damp mulch. I twisted out of the way to keep from dropping the bed on my toes. A thunderbolt ripped up the left meridian of my spine into my forehead and behind my eyes, blinding me for a shattering instant. Half bent over, half trying to stand, I pressed my hands against the back of my hips and yelped.

I had nearly fractured my back in the same place early on in my relationship with Nina. Her family kept horses at their farm in Connecticut, and she had been riding since before she could walk. She had wanted me, as a token of my commitment to her and all things hers, to adopt this lifelong passion. We had been seeing each other for several months and things were going well enough, so we decided to take half-shares in a house in Amagansett for the summer. As we left the lawyer's office building after signing the share agreement, Nina handed me a sealed envelope.

"Don't open it until you get back to work," she said. "I want this for you. For us." She surprised me with a moist kiss full on the lips and a deft, covert squeeze just under the front flap of my jacket, then spun on her heel and disappeared into the February afternoon sidewalk crowd. I opened the envelope: riding lessons.

That summer was glorious. We abashed our housemates, strangers all and still, with our long, loud bouts of blunt lovemaking. By the end of the fourth weekend of progressively less sore thighs and deeper golden afternoon sunlight, I had gotten used to the hornless, sensitive English saddle Nina preferred. She wanted to celebrate my accomplishment on our fifth, and last, weekend—Labor Day—with a trail ride. We trotted our horses through rows of melons and late corn, their broad hooves thudding the soft ground, their heavy chests and knees parting the tall wild grasses surrounding the fields with a whisper. My saddle creaked and groaned beneath me. Mid-afternoon, we stopped under a broad locust for sandwiches of fresh tomatoes and goat cheese and kalamata olives and grainy French mustard on thick brown bread. We kissed chastely on a bluff that commanded a view of white-bellied sails—one of which looked remarkably like Brad's, Nina pointed out—in the slate-gray Sound and afterward mused over a new white wine and fresh-picked strawberries while the horses bent their bulging necks to graze.

As we headed back to the stables just before twilight, something in the woods—a snake, a rabbit, a quail—darted across the narrow path and spooked my horse, Blaze or Snow Cone or Star or whatever cutesy horsey name she had been given to denote the solitary patch of white on her narrow forehead. She screamed and reared, nearly unseating me, and bolted off in an ungaited run, bucking her hind legs wildly every few yards. The reins slipped from my fingers. I lurched sideways, my head barely dodging a tree limb, then somehow managed to right myself by grabbing the horse's mane as it whipped my face. Falling forward, I clung to her racking, lathery neck; the reins were useless. My feet and knees hugged to her big belly. I shouted her insipid name and Nina's. From behind me, I heard Nina's voice—preternaturally commanding—trying to calm her own horse as mine shot off the path and into the forest. I ducked my head under low-snapping branches as the horse made for what daylight she could find. She stopped short as we burst into an open field and flung me over her broad neck. My head missed the large rock my back landed squarely on by mere inches.

"We could've moved the rocks," my father said. He laid a hand on my shoulders and tried to raise my stooping body.

"Jesus Christ, Dad, don't touch me," I said. "Just don't touch me." I hobbled around the bed and side-stepped back across the rocks and eased myself down onto the grass. Sharp stabs of pain checked my every movement. "I need to stretch. I've got to do this before we can carry her out here. Could you help me?" He glanced back toward my mother's bedroom window. The cool, damp grass prickled through the backs of my cotton shirt and woolen pants as I lay down.

"What do you want me to do?"

Painfully, I hugged my knees to my chest and felt the muscles in my lower back stretching. I twisted my knees toward my outstretched right elbow. "Now I need you to sit down on my knees." He couldn't seem to fathom what I was saying. "It's all right. It's a yoga move. I learned it from my osteopath. I'm going to use your weight as a counterforce to try and force my back into place."

"You know, I do something similar to this before I play golf."

"That's great, Dad."

"I didn't know it was yoga, though."

"It doesn't matter." I didn't want to argue. He sat on the side of my knees, pressing them into the moist ground. I turned my head to the left, chin to shoulder, pressing both my shoulder blades into the ground. I twisted against his entire weight. "That's great. That's how Nina does it."

"I'll bet she doesn't weigh as much as I do."

"Ow. You can say that again." I laughed, wincing at his comment, at the pain, at the absurdity of the moment, and felt a dull crack deep in the bowl of my pelvis. "That's it." A wave of relief gushed up my spine. I knew this feeling. The immediate injury repaired, I would still be hobbled by the insult—the echo of the pain—until I could see Dr. Green back in New York.

That Nina stayed with me after that little episode on horseback proved something to me then, I reminded him as we headed back into the house. "It's a basic design flaw of the human body anyway," I said. I could nearly stand straight.

"Hmmm?" He seemed distracted.

"An evolutionary flaw, Dad. Practically everybody experiences lower back pain at some point." I stepped gingerly in the wet grass. "In most people it's chronic. It happens to me when I do something stupid." There had been a time when I could goad him out of a dour mood by picking an argument about religion, but that time had long passed. He said nothing. "No matter. Listen, do you have anything I can take for my back?"

"There's bound to be something left." He led me into my mother's cramped bathroom and slid open a mirrored cabinet door. I caught a glimpse of my face, contorted with pain. My hair was matted on one side. From the smudged glass shelves, I examined a series of plastic bottles with progressively later expiration dates that revealed the pilgrimage of my mother's pain and the increasingly urgent measures they had employed: aspirin, Tylenol, Advil, Darvon, Vicodin, Percocet, Oxycontin, Dilaudid. I took something from roughly her middle passage: two Vicodin. Though they had, effectively, expired, I figured they wouldn't yet have turned into cyanide or something worse.

My mother, or what was left of her, now lay on a small cot in their bedroom. She was dressed in a new robe of quilted Chinese silk, patterned in red and gold panels of dramatic mountain scapes. Dad had bathed her, he told me, with the delicate lavender soap she had grown fond of over the years. I had forgotten it, but Nina had sent her the first bars from our honeymoon in France to thank her for helping plan—read interfering with—our wedding. Mother had pestered her local apothecary for months until he finally special-ordered more for her. The faintest hint of lilac and dried honeysuckle seemed to have banished the antiseptic smell from her cramped room. She appeared placid and incongruously coiffed.

Earlier in the afternoon, Dad had asked 'Cinda, my mother's hairdresser, to come over. While she was beautifying my mother, he had driven over to see Dr. Milton. He returned with a small, white cardboard box just as 'Cinda was finishing up. He set the box on a shelf in his closet.

"Don't you look pretty," 'Cinda was saying as she bent over to pinch some color into my mother's flaccid cheeks. Dad sat next to Mother and took her hand. I escorted 'Cinda to the front door and gave her a twenty-dollar bill. "I'm holding your momma's regular appointment open, you know," she said. "For when she gets better."

"I'll tell her."

"She talks about you all the time," she said. "She is just so proud of you." She shook her head for emphasis.

"You did a great job. She looks..." I fumbled for the right word. "Beautiful," I said, settling, to hustle her along. "I mean, the way you fixed her up."

"Why thank you. She'd be so proud. She always was. She likes to get done up for your father."

Indeed. My mother had always prided herself on her appearance. I don't think I ever once saw her hair unkempt or her fingernails unpainted—and I'm not sure my father ever did either, at least until their later years when she took up gardening. She always rose before he did to "put her face on" and, as best as I could tell, she always went to bed after he did—after the lights were out, with her tissue curlers in and her cold cream on. And she always smelled of fresh soap and perfume and hair spray. To this day I shied away from eating fresh salads because the memory of the soapy taste of her perfume on the lettuces she handled lingered in some inaccessible region of my brain.

After 'Cinda had gone, my father drew back the drapes above my mother's bed. The last light of the sun glowed red in the sky above the silhouette of the willow tree in her garden. Her hair was darkened auburn at the roots, thickened like mascaraed eyelashes, and I could see clumps of dried henna flaking on her pale scalp between the sparse follicles. Her eyebrows had been plucked and drawn back in at a quizzical angle. What once had been wrinkles of pale skin now lay caked and rouged across her blunt cheekbones. Her lips, which she once wore brightly puckered and red, now seemed thin and pale as if they were curling inward. She wore a pair of red velvet slippers embroidered with golden seahorses. I had never seen them before. "Are you ready, honey?" my father said to her. "It's nearly time." Her eyes appeared to roll underneath her blue-painted lids.

We let her rest while my father and I ate a silent meal of canned soup and buttered white bread and strong coffee in the kitchen and later watched the evening news and an early-season college basketball game on the small television set in my mother's room. She liked basketball. He held her hand the whole time. We drank more coffee. He spoke some close words to her, reminding her of a trip they had taken or a meal they had shared or telling her not to worry, that he would be okay now that I had come back. She lay quietly on her cot with only an occasional click from the morphine drip or a slight catch in her breathing that caused my father to start.

Finally, after midnight, Dad rose and wordlessly bent down to take her in his arms. He seemed to be struggling. "I can carry her," I said.

"No, no. I can do it," he said. "I want to do this." He groaned as he lifted her body a couple inches off her cot, but he could not straighten up. He eased her back down.

"It's not a problem if I lift with my legs. Really," I said. "Here."

He rose, resigned, perhaps thankful. Perhaps shamed.
The Vicodins had kicked in; the stiffness in my lower back was merely an echo of the blinding pain that had nearly struck me down outside. I took my mother's hands in mine. Her skin was translucent and cool and covered with khaki spots. 'Cinda had painted and buffed her nails a wholesome pink, the color the skin on her fingers should have been. The tips were white crescents. The muscles in her palms gave way with my grip, and her long carpal bones seemed to float by each other beneath her loose skin.

I took hold of her feeble wrists and raised her limp body up from the cot. She offered no resistance. Her head lolled forward and to one side, but my father caught it gently amid the clear tubes running to her nose and arm. I let her body collapse across the tops of my shoulders, and though I felt a dull pain I tried not to show it. Dad took the clear plastic bags off their metallic stand and snaked the tubes around and over my head. I leaned forward and lifted her into the fireman's carry, her thinned haunches grazing my ear. Steadying myself, I made sure my back could handle the strain. She was insubstantial. I eased her up the hall and out the broad glass patio door, careful not to bang her head on the walls or doorjambs. Dad trailed us with the tangle of tubes and bags and oxygen tank.

In the cool, night-time yard, we lay her gently on the inclined hospital bed, my father cradling her head, like a newborn's, onto the pillow. I tried to raise up but her hand clutched at my lapels. Our faces were nearly touching. Her eyelids were closed, but I sensed something behind them, in the straining muscles around them. A pleading? Sorrow? Pain? I could not tell. I felt the stiffness in my back from my awkward posture and reached around to press my hand against my hip. With the other hand I balanced my weight on the mattress. Soon I felt the strength flow from her fingers and she loosened her grip.

Dad set up the steel stand for the drip bag. I cranked the bed to elevate her head further, each turn an exercise in evading further injury to my back. My father tucked a comforter up under her chin. He kneeled beside her, leaned his folded hands across her legs, and said a tearful prayer—Jesus's prayer in Gethsemane—asking that this cup be taken from him. "Nevertheless not what I will, but what Thou wilt." What moonlight there was shone blue on his face.

A deep silence came over him, and he rested his head on the edge of the bed.

"Looks like she's going to get her wish," I said after a few moments.

"Hmmm?" He looked up at the sound of my voice and began to rise.

"Remember the night you spoke to Nina and me about marriage?"

He gazed into a distracted distance, perhaps indulging a memory, or grasping after one.

"You made us answer that question about which one of us we felt should be the first to die."

He nodded his head. "I did that with all the couples I married."

That night, sitting around my parents' living room, perhaps sensing our discomfiture, Mother had jumped in: "Every couple needs to resolve the issue for themselves," she'd said. "But for your father and me, there was never any doubt. It's a simple matter of faith, really. I am sure of my salvation. I know I have been saved. So when I die I am going to a better place. A place where there will be no more suffering or grief, beyond this vale of tears."

"How can you talk like that?" I asked her.

"I have hope," she said flatly. "Look, in First Thessalonians, God tells us that the dead in Christ shall be raised first. And what a day of rejoicing that will be, eh, honey?"

"Mrs. Bethune, these are the best brownies." Nina interrupted. "Did you make them from scratch?"

"Mary Helen. Please call me Mary Helen. And yes, dear, I made them from a recipe given to me by my mother." She indulged Nina's diversion then arched an eyebrow in my father's direction. "And, Lord knows, Joseph loves them," she said.
My father ignored her fond dig and reached for another.

"Rapturous indeed!"

"What? My brownies or the Second Coming?"

He had laughed. "Both. Leastways," he took up Mother's point, "we figured that, of the two of us, I was the stronger," he said. "If I were to be first to go she would be left here all alone. We're not sure she could handle it. You know, the grief, the finances."

"Oh, heavens no. I couldn't possibly." Mother nodded her automatic assent.

"Don't be preposterous," I said. "What about me?" Nina slid an ebony strand of hair behind her right ear and turned toward me, catching my eye in her cool gaze. The better corner of her mouth curled up into a soft, supportive smile I recognized as ironic even then. She placed a silent hand on my knee.

"You have your life in New York now." My mother nodded toward Nina. "Besides, I would never want to be a bother."

Well, she was no bother now as she lay motionless on the hospital bed in her night garden.

My father patted my mother's hand and delicately kissed her forehead. His back trembled with restraint. Her breathing faltered for a beat, maybe two. He clicked the morphine drip four times, five times, then removed the tube from the catheter in her arm. He took a bag of clear liquid from the cardboard box he'd brought back from Dr. Milton's and reached to hang it on the metal stand beside the bed, but his arm failed him. The bag dangled from his hand. "Please," he said.

Its weight seemed to pull him down. I slid the grommet over the cool steel hook. He took the clear plastic tube dangling from the bag and tried to slip it into the catheter in her arm. The tremors in his hands made that impossible. "Here," I said.

A few rolls of the dosage wheel, a fizzle as I turned the valve on her oxygen tank, a brief audible sigh, a catch in her throat as if she were trying to say some last something, and quite possibly a desperate grimace behind her eyes, a slight stiffening—perhaps a last instinctive struggle she was quickly able to stifle—and it was over. Her entire body collapsed in on itself. Even her eyes seemed to sink deeper into their sockets. Who would have thought such violence could seem so easy? The taking of a life so casual?

My mother expired in her garden, as she wished, beneath the fingernail moon and the pin-prick stars in the liquid indigo sky, the wheels of her bed sunk like the bulbs of the stinking irises she loved till the last in the soft blue soil, and the low, leafless canopy of her favorite willow, to the incessant dribbling of her beloved wedding-cake fountain.

We sat silently, my father and I, two distinct bodies. Two separate minds complicit in this act, in this moment, yet no closer now across the span of my mother's deathbed than we had been this last decade across the span of miles that separated us. We stared after the sounds of the distant stream of late night truck traffic whisking down the interstate and out of town.

I would not miss my mother. I had let go of her years ago. Distance and Nina had come between us, had further loosed the ties that bound us. And now she was dead, consigned permanently to the past, to the walks of my memory. In a sense, I was free, though I did not feel it; I was too exhausted from a lack of sleep, too numb from the Vicodin to feel anything. I allowed my thoughts to drift, in the haze of that animal moment, to the obstacles that stood between me and whatever sleep awaited me that night: her body would need to be untethered from the apparatus of her death; the bag of barbiturates my father had gotten from Dr. Milton disposed of; her bed wheeled in—its trail of muddy grooves...would anyone notice? would anyone care? My head ached with the pressure, my back too. The doctor would need to be called. And the morticians. There would be yet more coffee. It all seemed endless. And then there was the flight back to New York tomorrow, and the hearing. My shirt and trousers were heavy from lying in the damp grass; they clung to my skin. I shivered in the chill night air and tried to close my eyes for an instant.

Then, through all that haze of possibility, the thought struck me with a jolt as crippling as the one that had wrenched my back. I shot upright, eyes wide. What if all was not as my father had promised? How could this act possibly go unremarked? What the hell had I been thinking? What had we—no, what had I done?

----------


12 July 2011

EULOGY, Ch. 4

More shittiness. [NB: Rhymes with 'eaten'.]

CHAPTER 4

My father leaned his head forward to sip more scorched black coffee and let it fall back again onto the headrest of his recliner. "Dr. Milton says she could be in this condition for weeks. Maybe longer." We stared in unison at the blank, liquid-gray window of the console television, the focus of the room's furniture, trying perhaps to peer into it, behind it. Avoiding eye contact.

"That's no way to live." The cushions on my parents' couch sagged and the frame of the pullout bed beneath cut into my thighs. My legs were numb. I crossed them under me. "But can't he help you?"

"He has his license to think about." I glanced at my father and accidentally met his eyes. They were as dark and blank as the TV screen. There was an animal sense about them, weary of the past, fearful of the future. I had to look away.

My mother had insisted, before we got married, Nina and I spend an evening with the two of them. A sort of family council. I had been living with Nina in New York—'in sin' as it were—for nearly a year. My parents had managed to overcome their qualms—they pretended to accept our saving-on-ungodly-high-rent-for-two-apartments argument—and overlook this effrontery, though my mother had made it clear they did not like, much less condone, it. Nina had balked at the idea of any sort of pastoral counseling—we were bright, modern, aware adults; we knew what we wanted, knew what we were getting into. Religious issues were mere afterthoughts. Quaint. But I owe them that much, I had said, after all, they are my parents. She acquiesced.

The two of us had huddled together on this same tweed sofa—even then the stuffing in the cushions had begun to give. Nina leafed through the thick scrapbook of snapshots my mother had plopped onto her lap: there I was mewling and stupid in a fat diaper with an ankle tag and an inky foot; there in a series of Halloween costumes: a bunny suit with lopsided ears and a black eye of unknown origin, a black mask and fedora and Zorro cape with a plastic foil, a Frankenstein's monster menacing a group of teenage girls; there I was in a series of pointy paper hats blowing out an increasing number of candles on various birthday cakes; there in different sets of pajamas on numerous Christmas mornings riding a hobbyhorse or playing with some forgotten mechanical toy; there I was standing with my father in front of our old Rambler station wagon or the new Dodge in the gravel driveway of the parsonage in Fallstone Trace; there I was in a new Johnny Carson Spring suit with my arm around Amy Bowen's shoulders after church one Easter; there, in the same suit, strutting across the stage as the lead in the high school play, long-haired and mustachioed; there, again in the same jacket, pounding a wooden podium as captain of the debating team. And there I was, gowned and tassel-capped, graduating from college. I suspect that for my mother this scrapbook was as much a marketing tool as memento; I never knew her to be so rankly sentimental. But, as Nina chuckled her way through the faded and browning pictures, I winced with the feeling that they were no more than an advertisement for my meager upbringing.

Mother's eyes that evening had reflected the gleam of the silver urn she'd set out for us alongside a napkin-lined plate of homemade brownies after dinner. It was the only time I could recall her using the silver service, which she reserved for special guests, for me. We had eaten a dry, baked chicken with wild rice, over-boiled broccoli, and sugar-glazed carrots off her mother's bone china. She kept our crystal goblets sweating throughout the meal with sweet tea so cold it made my teeth ache. Still sporting her lap apron, even though our meals had been cleared away, she took the scrapbook from Nina, measured out our coffees, then sat down in the side chair she always sat in—the one with the blue toile print of a shotgun-toting hunter and his dogs jumping a brace of pheasants—smoothed the creases in her flared skirt, and crossed her ankles.

My father looked directly at Nina across the top of his coffee cup, arched an eyebrow over his horn-rimmed glasses, and said, "So, which of you is it going to be?"

"Joseph Bethune!" my mother said. She rarely used his first name, even in my presence, choosing to refer to him in the royal third-person: Reverend Bethune. "Now, you be polite. We just sat down to coffee. Give the kids a moment to get settled. Here, have a brownie." She thrust the plate at him.

Nina fluffed a kidney pillow behind her back. I stared at the silent, coffin-sized console stereo that took up half of the opposite wall in those days. Even then, though it had not worked in a dozen years my parents refused to junk it. Instead, they used it as a television stand and an occasional sideboard.

"Nina?" My father chose to ignore my mother's upbraiding. "Why don't you tell me what you think?"

"I'm sorry?" she temporized.

"Which of the two of you do you feel should be the first to die?"

She stared at him as she might a sales clerk who had just informed her she'd tapped out credit card limit. "With all due respect, Reverend Bethune, that's hardly a fair question."

"I know it's not a pleasant subject but it's a serious one. I always ask it of the couples that want me to marry them," he said. He turned to me "What about you, Joshua? Any thoughts?"

"Let's not do this tonight." I had known this was coming, had told Nina to expect an ambush—even though my father, much to my mother's chagrin, would not be performing our wedding.

"We've thought this through, Son." My mother's words surprised me. "And your father feels you should as well. Every couple who wants to get married should. Remember, the vow says: 'til death you do part.'"

"So...?" I looked at her. "What did you two decide?" A favored tactic of my youth that still worked well at my job, putting my inquisitors on the defensive.

"There is no one right answer," my father said. "But as a matter of faith, there is one way of looking at it. Mary Helen and I discussed it at length, didn't we dear? Before our wedding."

She nodded and smiled. "More coffee?" She leaned forward and laid her hand on the curving silver handle of the coffee pot, examining each of us and our cups in turn. Nina and I shook our heads. "Another brownie, dear?" She picked up the plate and handed it to my father. He took two.

"When we were engaged—we were much younger than the two of you at the time—we had this same discussion with our pastor, Dr. Griggs. Remember him?" He caught a crumb tumbling off his chin.

"Sure, didn't he have a farm out in the country?" I milked my first cow there, rode my first horse, plucked my first chicken, picked my first boll of cotton. "A sort of gentleman's farm," I added for Nina's benefit.

"Right." My parents' living room was paneled in knotty pine. A thick brass eagle, wings wide spread, a patriotic shield in its talons, hovered over the wide brick fireplace they never used. Vases of dried, brown flowers bracketed the mantle. A clumsy, primary-color portrait of the three of us, done in oil by one of my father's parishioners when I was a round-headed baby, hung (still hangs for that matter) behind the sofa. "And I think it is fair to say we were just as surprised as the two of you by the question." He smiled at my mother.

"No, we had never thought about it," she said. "Who does at that age? You think you're going to live forever. But Dr. Griggs gave us time to think about it. We talked about it practically every night for a month. Remember how we used to sit out on the porch swing at your mother's house every evening after dinner?"

"Yes, that's right, dear. And normally I would ask this question the first time a couple comes to see me so they can think about it before the next session. But we don't have that luxury since y'all live in New York." He peered over the tops of his glasses at Nina. "But you're a bright couple..." He smiled. "What do you think?"

Nina filled her and my coffee cups, holding down the top of the pot, and wadded a paper napkin to mop up a small drop that had trickled onto the salver. She glanced at me as she dribbled in a few drops of cream, her smile masking what I took from her eyes to be a certain imploring desperation. "More cream, J.?"

"Thanks. Just a tad." I took a sip: coffee, cream, and air. "Okay, so, Dad, what did you and Mom decide?"

He looked at me, then at my mother. "Well, that's really between us," he said. I looked back and forth from one of my parents to the other.

Mother had nodded. "You two need to resolve it for yourselves first."

03 July 2011

EULOGY, Ch. 3

Yet another agent rejection of EULOGY. Not that it was unexpected. Alas. Therefore, out of spite, here's the next chapter. Lambaste away, knaves, you can't hurt me. Happy Fourth.

CHAPTER 3

The thick, floral-print draperies in the cramped room my parents shared were drawn against the crisp afternoon. A small lamp, crafted from a poorly painted porcelain Chinese figurine my father had picked up in the service, shed a dim bubble of light in one corner. The air was stifling, as though they were trying to keep the last of the sun's failing heat from escaping. Their room smelled of stale camphor and soiled clothing. The carpet felt moldy slick under my feet.

My mother's frail body reclined on the rented hospital bed, her head and legs elevated slightly, a tube of clear liquid shunted into her arm, a smaller hissing tube hung just below her nostrils. Machinery hummed in the corner. She was dressed in a flimsy, tangerine gown from another era—the sort of burnoose she had worn her whole life. A pair of tidy, colorless mules waited futilely on the small oval rug at her bedside for her feet to slip again into them. Her eyes were closed, her face at peace.

"Mother?" A beat passed. Another. Around her there was an absence of human smell as if her pores had clamped down to trap her perspiration—her vitality—inside her skin. The bed around her body felt cool. The muscles beneath her papery skin tensed, her thin lips dissolved into a grimace, and with what seemed like enormous strain she pried apart her eyelids. I remembered her eyes as a warm hazel, but now they appeared dull, soupy, nearly consumed by her graying pupils. I lowered my face into what I thought was her field of vision. "Hello, Mother. It's me, Josh." Her lips retracted, and she gritted her small, filmy teeth in a sort of smile. Her stomach contracted with the effort. Her weak breaths were odorless.

"Joshua, dear. It's been so long. We've always been so proud of you." She stopped, the effort clearly immense. Her tongue poked around in the cavern of her mouth. I felt a slight twitching in her hand. I took it in mine. It was rubbery, neutral. "Listen to your father. Do what he says." She parceled her words out carefully. "It will be hard for you," she quivered with the strain, "but it's even harder for him."

"What are you talking about?"

"And promise me you'll find something good to say about me." She collapsed back into her pillow the fraction of an inch the tension in her stomach muscles had lifted her and exhaled audibly. "I'm tired. Give Nina my love." Her eyes shuttered and it was like she had fallen a great, great distance.

I squeezed her hand and felt the bones crackle under my grip. "Mother? What do you want from me?" A clicking sound came from her other hand. "Tell me."

"Why don't you read to her?" My father's voice startled me from my contemplation of my mother's inarticulate pain as she lay motionless in the stultifying room she shared with him. She was rotting from the inside out.

"Read?"

"Yes."

"What?"

"She always loves the Bible. The Psalms. Ecclesiastes. The Sermon on the Mount. Or you could try Shakespeare. There on her table beside the bed. She likes to hear the sonnets."

I riffled the worn, gilt edges of my mother's blue, leather-bound collected Shakespeare.

"You know, when she was growing up, these were the only books her parents had in the house. She was very bright. She learned to read from them."

"Do you think she can hear me?"

"She'll know the sound of your voice. And maybe the rhythms of the words as well. It will be comfort enough for her." The book flopped open and my eye lighted on the first line of one of the poems.

"I'll give it a shot."

"That time of year thou mayst in me behold…"

"Yes, that one," he said. "It's one of her favorites."

I began again:

That time of year thou mayst in me behold
When yellow leaves, or none, or few, do hang
Upon those boughs which shake against the cold,
Bare ruin'd choirs, where late the sweet birds sang. …


"Bare ruined choirs... ." Indeed. I looked up from the text and saw my father, a white handkerchief in his hand, leaning over her body, dabbing at what might have been a drop of moisture glistening in the corner of her eye, and read on.

-----

18 June 2011

EULOGY, Ch. 2

For Father's Day:

CHAPTER 2

My flight was unexceptional, as was my anxiety. For that, I had a Xanax and a string of deep, slow, yoga breaths. I tried but failed to sleep in my cramped seat. Turning away from the bulging, wheezing man in the seat next to me, I stared through the window at the river-beribboned coast of Virginia passing some 30,000 feet beneath me, empty of thought, numb of feeling. It is a gift not given to all, I've come to realize, to be able to ignore the press of daily life and live cocooned in the present moment. I would deal with my parents when I landed, and I would get back to Nina and New York after that; but for now, even though I couldn't relax, I could at least put all that out of my mind. To be able to forget, to cease to hope or fear: it is a certain sort of freedom.

The sky was brilliant and thin. The plane flew unopposed by headwinds, landing early. Even so, my father was already at the small airport, sitting off by himself and staring into the distance. He looked right at me but didn't seem to recognize me. His hair was now serenely white. He seemed smaller, beaten, almost a stranger. An unexpected old man. For some reason this caught me by surprise, though it shouldn't have; he was now breaching his seventies.

Had I really not seen him since the wedding? These affairs were always fraught with their small slights and insults, but people—families—supposedly got over them. Somehow we hadn't. The years and the excuses had piled up: a slipped disc, a bout of flu, an unexpected crisis at work, social obligations. Nine-eleven had merited merely a couple of worried phone calls. Pretty soon a decade had passed. I had left my parents, and with them my past, behind.

My father looked uncomfortable in a checked flannel shirt tucked half-way into his high-waisted jeans, though he still wore the dress black loafers I was accustomed to seeing him wear in the pulpit. In his lap he cradled a steel thermos the size of a small artillery shell. He seemed to be looking right at me but made no sign of recognition. It reminded me of being a child, trying to hide in the wooden pews as his eyes would seemingly search me out and land right on mine when he came to a salient point in his sermon, a point probably aimed at me for some indiscretion I had committed during the week. I nodded to him and waved. He squinted in my direction then creaked to his feet and attempted a smile as I reached the top of the ramp. He extended his right hand, a move he had perfected over a lifetime of Sundays. I took it then pulled him toward me. He stumbled into my embrace, not sure, I suspect, what to do with the canister in his free hand. I braced against his weight. After he regained his balance, I clapped him on the back almost apologetically. He heaved a surprised sigh in my ear as if I had squeezed the breath from his lungs. Several business types huffed around us as we hugged by the door.

He said he'd been at the terminal for several hours maybe, having forgotten what time Abby'd told him my plane was to land. He hadn't slept much the night before, but, then again, he hardly ever slept much these days.

The parking lot was oddly quiet, unlike the LaGuardias and JFKs and Newarks to which I was so used. Empty spots everywhere. Still, he had parked off a great distance from the terminal doors. Poised, I suspected, for ease of exit.

"Here, I'll drive," I said when we finally reached his car, a Taurus of dulled paint and uncertain age.

He conceded the keys. "Don't you have baggage?"

"I've got a change of underwear in my briefcase. I have to fly back early in the morning." I said. "I've got a conference in federal court tomorrow afternoon. Couldn't get out of it."

He stared straight ahead. "You didn't have to come," he said. I wasn't sure it was quite what he meant.

"I know, Dad. It's been too long. I'm just sorry it had to be under these...circumstances."

"Well, you always knew what you wanted."

I didn't know what else to say to this stranger, my father. He was never an ironist, but it wasn't until he said this that I realized just how wrong he was. Maybe that's the way I came across to them in my drivenness. It wasn't the way I felt. I only wanted to get away. If there was anyone that description fit, it had to be Nina. It was what first drew me to her.

I drove the back way from the airport, a route he showed me. "I try to avoid the expressway," he said. It took us on country roads that rolled out like ribbons past terraced pastures of tall browning grasses, past creaky white-plank farmhouses and shuttered gas stations, past sheds and open barns of rotting timbers and rusted tin roofs, past bulldozed subdivision and condominium sites and new, hastily-built red-brick strip malls and office parks. What stands of trees remained blazed in brilliant autumn hues—ginko yellow, maple red, pine green—as the silver light of the low sun leached a long season's life from their limbs.

I gave him broad, up-beat outlines of my life in New York. Nina. My job. Not lies, really. Just not the whole truth. He seemed to listen, but didn't speak much. Then again, he never did.

My parents lived in a plat of sixties-era split-level tract houses set back from the main strip of fast-food franchises and chain stores by a narrow road that wound across a creek and through a corridor of flood-plain woods. I seem to recall a rafter of wild turkeys had roved these woods at one time; you often saw them picking their way along the roadside early in the mornings or late afternoons. The birds seemed to have disappeared. Of course, this was November.

And this was my mother: "She isn't talking much, Son. She can't seem to fight her way through the medication. The morphine and whatnot. It's smothering her mind. When she wants to say something she has to plan ahead and stop her drip," my father said as we turned onto his short street. "She can't speak unless she's in great pain."

I looked over at him. His face fell in heavy folds from his sun-freckled skull as though he had lost the will to keep it from sagging. There was a spot, a whitish scar just above what was left of his hairline. It looked like he'd had something removed, a melanoma perhaps. His eyes, small dark coals set in bruised circles, no longer sparkled; his puffy eyelids were threatening to close over them. His hair, contrary, wispy and white, refused to lie down, threatened to fly off. Grew, unkempt, from his ears. His nostrils. "How's...how's..." he had a pained look on his face.

"Nina?" I'd just been talking about her.

"Yes, Nina."

"She's fine, Dad. Like I said, Saturday is the opening night of this piece she's producing. Lots of last-minute details. She just couldn't pull herself away."

He wandered off into a silent space.

"You look tired. This thing with Mom seems to be taking its toll on you."

"She doesn't have long, Son. She'll be glad you came."

10 June 2011

EULOGY, Ch. 1

I'm away for the weekend at a family event. I continued the discussion of Terence Malick's beautiful new film "The Tree of Life" with the fine folks over at An und für sich in the Comments. Check it out.

As promised, here's the (short) first chapter of EULOGY. And yes, I'm a firm adherent of the Oxford comma. Enjoy. Ridicule. Comments welcome. It's a free web.

-----
THURSDAY
CHAPTER 1


Nina had an ingénue's instinct for make-up, lighting, and blocking. She knew how to stand, to angle her head, to drape her hair just so, to shade her damaged features for best effect. More than once I had come upon her lurking in front of a mirror—in our apartment of many mirrors, framed and bare, among the paintings and photographs and playbills—in various lights, cocking her head first left then right, swiveling her shoulders, mussing her hair. "Don't sneak up on me," she would snap, stiffening though not averting her gaze, pretending to adjust the frame, or swiping at a speck on the glassy surface.

Now we were facing off, Nina and I, in a still, daring silence. Even the dust motes in the apartment's first faint sunbeams seemed suspended in the air between us. Her face bared toward me, her limpid green eyes, sometime springs of dancing light, muddied with anger—or hate or hurt, I could never tell.

"You don't touch me anymore," she said, breaths bittered by sleep and coffee. Her stare never wavered, her eyes having forgotten how once they would flit back and forth, searching out each of mine in turn as if they were afraid my gaze might wander, and with it my affections.

Without looking away, I looped and tucked my tie in one deft motion. "I've hardly slept." The front of my head, the backs of my eyes, pounded. I buttoned down the collar flaps on my shirt and slid up the knot of my tie. "Besides you’ve been so busy with your play."

"You can go now, if you want." Her left hand flew up as though she were swatting at the hum of a gnat or, more likely, wiping me from her sight. A faint pinch of skin in the corner of her better eye, an arched eyebrow—sarcasm—flickered across her face.

Go where? To work? Away? And then, with the electronic chirping of the phone, the moment evaporated, her words still bristling in the morning air. I started, she perhaps for an instant sniffing triumph by virtue of flinch.

"Joshua? Son?" My father's voice, frailer than I remembered, more tentative, crept through the wires: my mother had been taken to the hospital. Then allowed to return home. There was no hope. "That's not what she wants," he said. "She wants to be here at home." He hated to bother me, he said, but would I possibly care to see her this one last time?

"I think I can get away today," I said. "I'll have my secretary call you with the flight."

"Nina, I have to go. It's Mother." I stared down at the phone. "She's dying."

"It's just like her to pull a stunt like this." I felt the sting in her voice, her eyes lasering precise holes in the back of my neck.

"What'd you say?" Not sure I was meant to hear her. Then sure.

"What about Saturday night?" her exasperation growing.

"There's never a good time," I said. "For death, I mean. I haven't seen them in like ten years, since the wedding. Dad thinks this will be my only chance to say goodbye. I need to go. I owe them that. But I'll be back in time. I promise."

"As if this weekend weren't bad enough already," she said. She turned and hunched her back, her head down, clasping her arms across her breast as if to shield something vital.

"Like I have the time for this," I muttered, whipping my jacket through my arms and over my head. "I've got that damned hearing tomorrow afternoon, too. Look, I'll get the earliest flight I can this morning, go down and get this over with, say my goodbyes or whatever, and be back tomorrow first thing. It’s no big thing." I stepped across the space that separated us, caressed her shoulders, and kissed the crown of her head. Her body was still soft and warm with sleep. I wanted more. "This isn't over yet." It was a question.

She turned and seemed to nod, sliding back a strand of liquid black hair to unveil the puckered, discolored skin that was the left side of her face. She looked up only as far as my chin. "Do what you have to," she said, patting the lapels of my jacket, then collapsed against my shoulder.

It wasn't. Yet.
-----

More later. Or not.

01 June 2011

Differential Man

In serendipitous response to a terrific post here at An Emphatic Umph by rhetor and philosopher Daniel Coffeen (h/t to BDR for pointing me to his site), I post a brief quote from my favorite novel ever [if you regularly read this blog'o'mine, you'll know which one I mean {Check the Label}]:
Again, as so often these days, I was alone. Nina had decided not to come back with me. She felt Picaro needed a good grooming, and, I suspect, she had a few things to say about the future of Shadowstone Fields. This was not my battle—yet. Li would drive her back into the city later. I succumbed to the strain and rested my eyes, knowing more would be required of them this evening.

Alone? No. That wasn't quite the term for what I felt; there were others on the train, in my car, even across the aisle from me. What was it? Lonely? Not at all. Lonely implied I needed other people to be complete. No, I was not lonely, had never really felt that way. My mind didn't seem to want to work for me. Solitary? That wasn't right either, though it was closer; still, it made one think of being in prison. I sighed aloud. The woman across from me looked up from her paperback. I rolled my eyes and smiled. I wasn't even sure there was le mot juste in English for this sense I had of myself. Singular, unique? No, no: they didn't work either; too vaunted, smacking of hubris. Alienated? Too harsh, I thought, for it was a comfortable solitude, a safe one, in which I found myself. And besides, that had legal and political connotations. Oh, what was that word? It was on the tip of my tongue, yet just out of reach like the obvious solution to a tricky clue in the Sunday crossword. It wasn't a common term. It even had some technical implications; it seemed like it was a term used in mathematics and maybe in medicine and mechanics, as well. What was it? The train rounded a broad curve. I could see the engine out ahead from my side of the window. Work, brain, work. You've got work to do in the city. A moment passed and then, the aha! moment. Yes, I remembered: differential. That was the word I was looking for. My body shuddered involuntarily, and I shifted in my seat. Differential equation: motion, points in time. Differential diagnosis: ruling out everything that the symptoms did not support. Differential gear: the unequal distribution of power to the wheels of a turning vehicle. Differential: was that the word? Differential man: Was that what I was? Who I am? Did that somehow define my life? What I was becoming? I chased this thought, this word puzzle, this line of associations downward into an abyss of sleep. A body, an identity, forming, moving through time. An arc, a curve defining my life as I shucked off everything that was different, everything that was not me. Rejecting everything I could not use. Focusing my energies where I felt the strain. Until when? And going where?

The next thing I knew came a light tapping and then a firmer shaking of my arm: "End of the line, buddy." Which was not my name. My doze had been mercifully purged of dreams. I came to slowly, not quite sure where I was and how I had gotten here, trying to piece together what had brought me to this place. A trickle of saliva pooled at the corner of my lips.

28 December 2010

Reference, Allusion, Parody, Unreliability


By and large and for the most part, I eschew naked references in my fiction—allusion, on the other hand, abounds. But in one chapter I've been revising, I go all out. I thought I'd quote a few paragraphs from roughly the midpoint of the book, tongue firmly planted in cheek. Enjoy or destroy:
This night there were cocktails and crackers before the premiere of a one-man performance of a piece, and I guess that really is the only word for it, called "Dying Acts". It was rumored a critic from the Times or at least the Voice would be here. I knocked back a quick bourbon and got a refill before the bartender closed up the till and headed back to man the lighting console. I felt the familiar sting in my nostrils, and a pleasing dizziness settled in a coil at the back of my brain as the lights went down. The performer, Jimmy Hargitay, was known to Nina from the off-off-Broadway and indie-movie crowd. I had no evidence he and Nina were anything other than collaborators. Not that it mattered. Nina did what she wanted and was, by breeding, discreet.

...

I followed her up five flights of a dingy stairwell. At the top we were buzzed through a heavy steel door into the 'theater'. It had been a warehouse or an old manufacturing loft once—an expanse of unpolished wooden floors, dusty red brick walls, and exposed, unpainted steel girders and beams supporting a dark concrete ceiling. In the middle of the room sat a make-shift, semi-circular, wooden platform backdropped by a scrim of television sets and video and movie screens set at various heights and angles. An amphitheater of metal folding chairs on temporary risers rimmed the stage. I was prepared for the worst.

At these events of Nina's, I'd seen women in black leather harnesses and white lace tutus bathe in a bin of honey then roll around on a stage covered in sand and sawdust and ashes to the trance-like beat of what might well have been a techno version of "Swan Lake"; I'd cringed at the piercing sulfuric stench of a man burning off braided strands of his knee-length red beard while reciting from The Cantos of Ezra Pound ("There is a wine-red glow in the shallows,/ a tin flash in the sun-dazzle.") and The Maximus Poems of Charles Olson ("It was fishing was first.") and, apparently, one of his own poetic ravings A Belcher's Odes ("we eat/ we love/ we love/ to eat/ until/ we're done/ or 'til/ it's gone"); and I'd sat through the full five acts of Macbeth recited without blocking on a bare stage by seven men clad only in body paint and loin-cloths and ancient pig and dog masks, grunting and barking where the director obviously felt the script called for emphasis. Nina supported the arts, produced these things. It was indeed what she did. But tonight I merely wanted to be amused. TV would have done. Or even some quality time among my own dreams.

. . .

Nina and I were the last to find our reserved seats down front. The house lights dimmed. The hundred or so members of the audience hushed. A solitary spot shone on Hargitay standing upstage left holding a wooden oar in his arms. He began:

...and turning our stern toward morning, our bow toward night,
we bore southwest out of the world of man;
we made wings of our oars for our fool's flight.

That night we raised the other pole ahead
with all its stars, and ours had so declined
it did not rise out of its ocean bed.

Five times since we had dipped our bending oars
beyond the world, the light beneath the moon
had waxed and waned, when dead upon our course

we sighted, dark in space, a peak so tall
I doubted any man had seen the like.
Our cheers were hardly sounded, when a squall

broke hard upon our bow from the new land:
three times it sucked the ship and the sea about
as it pleased Another to order and command.

At the fourth, the poop rose and the bow went down
till the sea closed over us and the light was gone.

[N.B.: from Dante Alighieri, The Inferno: A Verse Rendering for the Modern Reader by John Ciardi, Canto XXVI, lines 115-131. (1954)]

Behind him, the screens operating for the moment as a single screen showed a film of a brilliant moon in the night sky, its reflection rippling on the surface of the ocean. The sound of oars dipping in the water filled the theater. Then, near the end of the piece, the screens went dark soon to be filled with a clip from an old black-and-white film of the ocean opening up into a vast maelstrom and swallowing a wooden sailing ship.

Then Hargitay crossed to stage right and recited a passage I recognized from the Bible:

"And it came to pass, as they still went on, and talked, that behold, there appeared a chariot of fire, and horses of fire, and parted them both asunder; and Elijah went up by a whirlwind into heaven. And Elisha saw it, and he cried, My father, my father, the chariot of Israel, and the horsemen thereof. And he saw him no more: and he took hold of his own clothes, and rent them in two pieces." [N.B.: (2 Kings 2: 11-12) [KJV]]

While saying this he ripped his shirt off. Behind him, a cartoon of a fiery chariot and horses against a night sky leaped from screen to screen all the way across the stage. The effects were dazzling.

For the rest of the evening, the screens showed death scenes from the movies and television—or, more accurately, cropped reaction shots of the mourners in those scenes—the dead and dying having been cut out. Hargitay spoke his own lines as if to the actors on the screen, and they responded as if to him and his dying. After each set of lines, the videos went blank, or staticky, and he crossed the darkened stage. And each time he toed a new mark a somber bell tolled. As with a pendulum, each swing brought him both closer to center stage and closer to the audience. The shots of the mourners countered him in both their proximity to center stage and the angle of the shot, each swing bringing both performer and mourner slowly closer to an equilibrium. At various points in the drama, Hargitay removed more clothing.

Some of the filmed scenes were appropriately somber. Others out of phase. Occasionally, only static or test patterns shone on the screens. There were moments of bombast and wit, of patriotism and irony, of maudlin regret and manful resignation, even a certain amount of religious hope, however delusional. I was prepared to close my eyes as Hargitay whipped through his lines and, perhaps, drift off. But the brilliant glow of the screens mesmerized me into a harsh wakefulness; I couldn't keep my eyes closed. My thoughts roamed wide and wild, using the text, the scenes, as springboards. Some of the scenes were from war movies, others from parlor or hospital dramas. Many were ludicrously overblown: strings swelled; a camera zoomed in on a fat, glycerine tear or a quivering, shellacked, collagen-shot lower lip; fists clenched and pounded tables or wrenched handkerchiefs or other articles of clothing; stony-faced cowboys held their hats over their hearts or their genitals or rode their horses into vast desert distances. Dark birds flew. Lengthening shadows drenched cramped rooms. Raindrops trickled from dark foliage. A few lines, such as Oscar Wilde's "Either this wallpaper goes, or I do!" drew appropriate titters from the audience, whereas at least one, Socrates's "Crito, I owe a cock to Asclepius; will you remember to pay the debt?" evoked an inappropriate snigger from me (there is so little humor in philosophy we all learned to enjoy a naughty pun when we saw one) and earned a well-aimed elbow from Nina to my ribs. Once or twice, when the program music on the screens resolved on a particularly sublime chord or phrase, I felt a dampness coating my eyes and found it difficult to swallow or even breathe. I attributed it to the inherent manipulativeness of the medium or my own lack of sleep.

Then, at the end, Hargitay stood stock still at center stage, his momentum stilled, his bared back to the audience speaking to the hooded face of a sobbing, pleading woman—a Clytemnestra or Antigone who bore more than a faint resemblance to my mother—which spanned all the screens on the stage and dwarfed the naked actor. I looked up from whatever reverie this deeply moving, even archetypal, scene had spun me into only to confront from my seat—third row, center aisle—Hargitay's large, hairy backside. Then he turned around. I winced. Covertly shuddered. The audience gasped as, behind him, brilliant on the screen, a piercing white light exploded from the screens, filling the room and a deep, booming voice said "This is my Son, in whom I am well pleased; hear ye him." And Hargitay raised his arms and collapsed in a heap on the floor. Total darkness engulfed the room. Only the exit lights over the door to the stairwell were visible. The lights went up to a moment of shocked silence and then earnest applause as the naked actor trotted off stage. He returned in a robe for a brief bow.

The house lights came up. The caterers once again brought around canapés. The bartender returned to his station. As did I. The lighting was kept low, allowing Nina to shield her scars in the shadows. The crowd crowed over the performance—"profound", "moving", "magical", "hypnotic", "spiritual", "transformative", "by the end I felt like I was the one being mourned"—and feted Nina and Hargitay.

"Jimmy's the creative one," she protested.

"I just loved the way Hargitay deconstructed all the traditional categories of our supposed 'feelings' about dying. It was so totally transgressive of the religious clichés that we have been force-fed by the media our whole lives!" a woman in black leotards, a short black skirt, leather jacket, and tall cowboy boots said. "Don't you think?" Her eyebrows, as well as her short, lopsided hair, might have been dyed black.

"Well, it didn't have much of a plot," I said.
The rest of the chapter is an argument between the protagonist and his wife, the producer of the piece, over its meaning (or lack thereof). As in Hamlet, the parodic aspects relate to the theme of the novel, and thus the narrator is, as they say, unreliable.

28 November 2010

Talk About the Passion

The agent rejections I've gotten for my unpublished novel EULOGY (the submissions that made it past the junior-assistant slush pile readers and received non-form responses from agents who actually bothered to comment) all seem to have some form of this statement: "I'm just not passionate enough about it." What does that even mean?

I can think of three ways to speak about passion. We can speak about the Passion of the Christ, something Mel Gibson and the German villagers at Oberammergau have famously attempted to do, a notion that entails passive suffering and willing death. We can speak of passions as including such things as bodice-ripping sex and breast-heaving emotion and even fandom of various stripes, among others, a notion that encompasses strong, transitory feelings. Or we can speak of, say, one's life work or interests or enthusiasms—such as 'she has a passion for science' or 'accounting is his passion' or 'his passion for model railroading kept him active late into his dotage.'

My feeling is that these literary gatekeepers mean something closer to the second of these three senses. A recent post by BlckDgRd points to Michiko Kakutani's top 10 reads of 2011 which, in a way, confirms this intuition. Ms. Kakutani's blurbage for the books she has chosen contains the following tells: "Mr. Richards has magically translated the fierce emotion of his guitar playing to the page;" "Saul Bellow was a gifted and emotionally voluble letter writer...a seeker and searcher, vacillating between the emotional poles of exuberance and depression;" "This super-sad, super-funny novel...write movingly about love and heartbreak;" "The author’s most deeply felt novel yet;" "tough guy known for his tender love songs...who turned his own heartache over Ava Gardner into classic torch songs;" "Mr. Roubini’s pessimistic forecasts once earned him the sobriquet Dr. Doom;" "an illuminating book that is as provocative as it is impassioned." The writers, she senses, are passionate beings, and their writing bodies forth their emotions. Somehow.

I've written previously about Kakutani's disdain for modernism and her affection for Romanticism with respect to Tom McCarthy's C and shown her affinity in this regard with the average sort of reviewer on Amazon.com. These readers want to feel something when they read novels, and they want to know that the writers they read have the sort of passion that will allow them to feel sympathy. Writers can signal this by the type of prose (flowery, purple, figurative, poetic) they use and the extent to which they document the 'inner lives' of their characters.

Regular readers will understand my allergy to affective language—as a tool for political and/or emotional manipulation of crowds. If not, click the term "Enthymemes" in the Labels column on the right.

One of my ongoing series here, Fear of Metaphor, is an ongoing attempt to take a look at, inter alia, philosophical aspects of rhetoric as a form of emotive or affective language perhaps as a way of training myself to understand the tastes, nay the demands, of the readers on that broad continuum that includes Kakutani, the literary agents my manuscript keeps bumping into, and Amazon.com reviewers.

24 November 2010

Thanksgiving

Being that Gabriel Josipovici is who all the kool kids seem to be turning to, I thought I would as well. Doing so, I discovered this:
"In order to understand that there are good reasons for the difficulties they encountered getting their work not just published but written, and that these difficulties are part and parcel of what makes them rewarding to read, we have to try and see Modernism not from without, as Gay, Corbett, and Goldstucker and the post-Modernist[] (sic) choose to see it, but from within." (Whatever Happened to Modernism, p. 8)
Cold comfort that, seeing as I just received the following rejection by email re: my as yet unagented, unpublished novel EULOGY:
"Thanks so much for offering me the chance to consider your material. Unfortunately, your project doesn't seem right for me. Since it's crucial that you find an agent who will represent you to the best of his or her ability, I'm afraid that I'm going to have to step aside rather than ask to represent your manuscript.



You have a great imagination - I love the premise - and you're a good writer, but I'm sad to say that I just wasn't passionate enough about this to ask to see more. I wish I could offer constructive suggestions, but I thought the dialogue was fine, the characters well-crafted, and the plot well-conceived. I think it's the kind of thing that really is subjective - why some people adore the book on the top of the NYTimes bestseller list, and others don't."

The modernism in my writing offputs the sorts of people who make life-and-death decisions about texts, the gate-keepers. It does not excite their passions (sound familiar?). They don't "identify" with the characters or find them somehow sympathetic (complexity and depth notwithstanding). Imagination, conception, writing, dialogue, characters, plot. What am I missing?

Gaaaaah! Just shoot me.

---------------------

For those of you not on these shores, this upcoming Thursday is the celebration of Thanksgiving here in America. For many, it's a four-day weekend filled with feasting, football, family, and friends. Despite its secular nature, it is our one truly religious holiday. Let me explain.

Reading Josipovici's analysis of the desacralization of the quotidian (what he calls, after Weber, "the disenchantment of the world") alongside Jose Saramago's Baltasar and Blimunda (a historical novel set in the early 1800's in Portugal which enacts that self-same sense of the sacred in the everyday lives of its characters), I am reminded of what I, as an avowed agnostic, actually believe is the truth of Religion (with a capital 'R'): it acknowledges and ritualizes our sense of awe at the impressive majesty of the creation, from quarkian particles to the multiverse (something about each of which can be found with relative ease on this blog), and, at the same time, it inculcates a sense of gratitude in our stony souls (a term I use advisedly).

Thanksgiving eponymously calls us to this latter. The sense of thankfulness, in its religious articulation, is the explicit acknowledgement of something beyond the self—in fact, it is the recognition of a debt to everyone and everything that has come before us and made us what we are, for good or ill, at this particular point in time and this particular place. It opens us up to the world and humbles us. At the same time, an attitude of gratitude (sorry) can awaken, prefigure, and even shape within the self an even more profound sense of empathy for each other and all of creation, the state to which all true religions aspire.

Thank someone for something this weekend; you'll feel better.

Thus endeth the lesson.

Best wishes to all for a Happy Thanksgiving!

Now, a hymn with angelic voices:WoW will be dark for the next few days over the Thanksgiving holiday.