Category: Thoughtful

  • The greatest leap of all is the one you almost didn’t make

    Last Leap Day, I was in Puente Hornopiren in southern Chile, about to launch a sea kayak down the Pacific coast. Hornopiren was the official starting point—notable only because it’s the village that was named in the Outward Bound course catalog, which I read nightly for the month leading up to my trip.

    chile04.jpg

    I remember posing for this picture. I hesitated before I asked German, one of two Chileans among us, to stop with me next to the sign. I didn’t want to be the one to hold up the group on our way out to sea. We were about to leave the landmark behind when a thought occurred to me, one that tickled on a phantom limb throughout my time in Patagonia.

    After barely a moment, I would depart from that spot for good. The signpost would stand there beside the dirt road, beneath rolling clouds of mist on some days and endlessly blue skies on others. The mossy hot springs and the frigid cascadas in the Fiordo Cahuelmó, the keenly lit market in Chaitén, and every crest of pebbled beach somewhere in between would forget my footprints. With time, my memory would weaken and Chile would once more seem too remote to comprehend.

    I wanted a photo that would remind me of that day and of that rare patch of the planet and its very existence. I didn’t want to look over my shoulder just before the next bend in the road and miss what I had already left behind.

    We tramped on toward the harbor. At the very last second, almost impulsively, I stopped short and handed my camera to German.

    While he framed the shot, I bounced on my toes, feeling sheepish. Such a tourist. But I thought, “this is your only chance, and you’ll regret it if you pass it up.” I coach myself with that phrase and I rarely look back to see if it’s true. Of course, I can’t know how much I would have missed this photo if I hadn’t taken that pause; I only know that I’m glad I did.

  • Locke Exults Over Hot Performances

    Two weeks ago, I finally went to the New York Public Library to see the Beatific Soul Jack Kerouac exhibit and the On the Road manuscript. The typewritten scroll, though not truly composed as spontaneously as has been mythologized, is a 120-foot long physical representation of the feat of writing a novel.

    The most whimsical part of the exhibit is about the Fantasy Baseball League that Kerouac created and played for most of his life. He invented rules, drew insignias, fabricated rivalries, and wrote fictional newspaper articles like Cy Locke Exults Over Hot Performances of his Cincinnati Blacks. How incredible that a man could love to write, need to be writing so much that he would invent exercises and produce a collection of work based on an alternative reality. Just to write.

    The exhibit seemed appropriate, on my birthday, because I will always associate the book with my first few days in New Zealand, when I turned 21 and registered for an American Lit course and the professor assigned On the Road. By chance, I had my own copy with me. It was one of three books that I’d packed to read while I travelled and to have with me, a comfort object during my semester abroad.

    In high school, I was instantly taken with Sal and Dean; their tirelessness, their verve. The book was all poetry and imagination and electric moments to me. For a few years, I traipsed my copy to the beach, to camp, to college and back. I loved the book, just the book itself. The soft pages, all striped with purple highlighter, represented the idea of that enlightened journey. Its fan of pages encompassed so much of what I sought. Holding it by the spine was like defying the laws of space and volume.

    But with every reading, the book lost some of its luster. I saw joyless wandering and melancholy where I’d glossed it over before. Sal moved in circles, chasing after illusions.  The Beats seemed to smolder where they once glimmered. That’s the Kerouac that dominates in the NYPL exhibit.

    His letters and illustrations are swatches of loneliness and disconnection. I wondered if he exiled himself or felt trapped away from the rest of the world. He penned an invitation, “I be at my house New Year’s Eve waiting for you, or not, as according, to whim,” and he sounds callous, not coy. Even though I expected that cloudiness, it was a heartbreaking to face it.

    When I left the library, it was snowing on Fifth Avenue and there was almost no traffic. The people still left outside were watery smudges moving in straight lines up and down the street. I couldn’t see where the sky turned to snow and fell to the ground. I felt smudged.

    “This thinking is stopped.”—Mexico City Blues, 6th Chorus, 1955

  • It is meant to be obscured

    I remember a dream about underpainting.

    It is a classical technique that requires heightened understanding of medium, of color value, of lighting; and the ability to predict the future, to see what’s not there and to know what could be.

    It must have been right after I spent a couple of hours in Photoshop, rearranging layers and adjusting opacities and experimenting with blending modes and lighting effects. Those hundred thousand square pixels became imprinted in my vision but I couldn’t tear myself away. I hoped to achieve an appearance comprised of varying degrees of ishes—pinkish, roughish, sweetish. My eyes strained toward objectivity.

    It’s no wonder my subjective conscious took it to sleep. In my dream, I faced the same quandries—how to intend without belying intention; how to see deeper into a flat surface; how to recall all that is underneath that top layer and understand the way it blends to create the image the eye sees at a glance.

    And a few days later, in one of those moments when I’m convinced I’m either psychic or suffering a brain hemorrhage, I started reading Calvin Tomkins’ profile of American painter John Currin in The New Yorker. Tomkins writes at length about Currin’s Old Master technique and its contrast with his subject matter: skillfully rendered paintings inspired by pornography.

    Currin is especially interested in underpainting and near the end of the article, which I finally finished yesterday, he demonstrates the technique for Tomkins. He adds a bruise to one of his girls’ legs. Then he sort of says, “See? So . . . that’s how it’s done,” and without an undo button on which to click, he cleans up the bruise. And then he explains that the girl’s legs will eventually be dressed in green stockings. It’s understood that Currin won’t add hosiery until the image of the bare leg is finished.

    It’s obvious, once I think about it. He can’t just paint a green leg.

    The profile proposes that John Currin, the man, was restored, was set right, when he fell in love with his wife, artist Rachel Feinstein. And John Currin, the painter, was revived by underpainting. The technique was a breakthrough in his work. I am endeared to the image of the artist on his honeymoon in Venice, moving from painting to painting at The Galleria dell’Accademia to look for layers of underpainting beneath the surfaces.

    And I will remember him for saying, “‘I came to the conclusion that there is no misery in art. All art is about saying yes, and all art is about its own making.’” While I don’t believe that there is no misery in love, if I can learn to believe that the latter are true, that love is about saying yes, then that might be what sets me right.

  • Constance

    I don’t really know what to make of it, though it was so odd that there must be something to be made. It was Wednesday. It was mid-morning. And it was on the subway.

    I was riding the F. I had all my bags in my lap and a New Yorker in one hand and in the other, a travel cup full of coffee that was burning the undersides of all my fingers. I was sitting in a seat on the end of a bench, by one of the doors, the one everybody wants.

    The pages of my magazine were coiled around the spine and I was holding it upright but blatantly, as in not even pretending, not reading it. And that’s why I noticed when Constance came lumbering down the car. She tossed her tote bag on to the pair of seats that face the front of the train and then crashed herself into an empty seat-and-a-half on the opposite side of the train.

    The weary haze across her eyes seemed a veil between her and the other passengers, but it took just a few moments for her to focus in on a guy sitting near by. Her expression sharpened and she shot forward in her seat and implored him to “listen, listen to me. Listen to what I’m saying.”

    Constance rides the F a lot. Constance isn’t her name. It would be a mind-blowing coincidence if it were, anyway.

    (more…)

  • Let me start by cleaning the torn Splenda packets out of my bag

    People are talking about Found Objects, the short fiction piece in today’s New Yorker. The accompanying artwork is what captured my attention. In print, the photo is large. The scattered objects are almost life size and tactually inviting on the page. The primary color scheme is reassuring. It’s an ill-lit still life of what might be the contents of a junk drawer.

    Turns out, it’s the contents of one of the tables on which Sasha keeps, stores, displays the belongings that she has stolen from someone else and taken home with her for keeps.

    Sasha is, in what might as well be sitcom terminology, a kleptomaniac. Her disorder is often misunderstood because, unlike compulsive hair plucking or step-counting or cleaning, the percieved payoff seems obvious. Sasha isn’t interested in the monetary value or even the sentimental value associated with the objects that she takes. She’s only concerned with the taking.

    Sasha thinks she wants to stop, so she’s seeing a therapist to help her get well. It seems like the thing to do, but it’s hard, because without her objects, what will she have? Without her collection, what will she do? Without her compulsion, who will she be? She’s got to have something and this is all she’s got.

    The objects themselves, on private exhibit atop two tables in Sasha’s apartment, hold only souvenir appeal. They are trinkets that represent the moment of possession. So while there are, of course, wallets among her collection, they have not been plundered. Sasha tells her therapist about lifting a wallet straight from another woman’s handbag. Its shape and density catch her eye; its proximity tempts her hand. Its foreign presence in her own handbag lifts her spirit. She never even unfolds the other woman’s wallet.

    To Sasha, the wallets are “embarrassments and close shaves and little triumphs and moments of pure exhilaration.” The contents are irrelevant. They might as well be a screwdriver or a bar of soap or a child’s scarf or a stout pen or a mechanical pencil.

    A wallet is just a thing that gets stolen. The same way a newspaper gets swatted at a fly and a marble gets shot across a ring on blacktop. In a way, Sasha takes Alex’s wallet because she’s supposed to.

    The slip of paper that she finds inside, the one with “I BELIEVE IN YOU” handwritten on it, doesn’t mean anything to her. She wants it to. She knows it could. It’s supposed to make her feel something besides the thrill of simply having it.

    That scrap of paper embodies every thing I have or do or say because I’m supposed to or because I might as well or because it seems like the thing to do. The things we hold on to just to have something, even a collection of bookmarks and stopgaps. I want to sweep it all of the table. But then, the mess. And I don’t want to break anything.

  • On a pillow toss and a promise on which I have to make good

    Chelsea and Jim are on opposite ends of the sofa with their stocking feet mixing together in the middle, but closer to her side because he’s got longer legs and she’s wearing a skirt. Floral-print pillows sail between them every few moments. Mostly from Jim’s side because Chelsea is lazily passing them over to him to lob back at her.

    It’s getting late and we’ve been teasing and nagging each other for ages, treading lightheartedness. We’re all grinning placidly, appreciating the company.

    I accuse them of flirting for a few reasons. Mostly because I’m feeling left out. Chelsea doesn’t even raise her voice in dissent, that’s how preposterous the idea is. Unruffled, still mostly concentrating on the pillow exchange, she informs me that to flirt with Jim would be incestuous. Because he’s like her brother.

    And that gets a whole something else going.

    “Except I don’t have a brother. So how can he be like my brother? The brother that I don’t have?” I try to shrug and shake my head to deflect and pretend I never said anything, but my shoulders are lost in the extra space inside my jacket and the arm of my chair is digging into my temple, preventing any appreciable gesture. I have my eyes closed now and I’m just thinking that I don’t know ‘how’ and she’s the one who said it, so.

    Her not-brother asks what she’s talking about and Chelsea tries to rephrase the logic. “If you’re like my brother, but you’re not my brother . . . because I’m an only child . . . I don’t have a brother so how can I know what having a brother is like?”  Jim ohhh-kays her and launches another pillow and they forget about it.

    I think about it for a long time.

    I sit there feeling cheated, somehow. It’s a little like remembering suddenly that there’s some place else I’m supposed to be. I remember the promise to myself that I would to stop needing to be everything to everyone. Needing and wanting are just two different promises.

  • Where we appreciate a few tears of laughter, too

    I’m used to associating the sound of heels on the back deck stairs with special occasions of the refrigerator corsage, photos in front of the fireplace, breath-a-lizer variety. Because when else did I wear heels? I feel older when I hear that sound. I’ve been feeling older, in an unsettling, exhausting way, all week, after hearing from Jill that her dad died, making plans to go home for the funeral, realizing that I’d have to sit by myself at the church.

    I made the no-mascara call before I’d even gotten out of the shower, but I’d also passed up one of those pocket-sized packets of tissues—the ones I go halfway through and then save in a drawer somewhere forever. I couldn’t find the drawer full of half-used tissue packages, so I rushed out the back door without any sort of drop cloth for my face.

    I heard my own shoes on the deck and I thought about going back because I felt the nerves in the roof of my mouth trembling. I paused on the last step, pinching one eye shut, biting down on a chunk of my cheek, trying to tell if my nose would start to run, wondering “what was I thinking, no tissues?”

    I got in the car anyway, after a moment. I don’t know how to attend funerals. I guess that’s lucky.

    The ‘older’ feeling settled and faded later, at the Rumpf’s house. I felt like I was taking a dare when I splashed rum into my Coke. We studied a picture of our Girl Scout troop at our last meeting, our senior year of high school. I swear it seemed like I was looking at a photograph of something that hadn’t happened yet, because all the five years since then haven’t changed anything.

    (Nothing important, at least—I’m glad I’m not still straightening my hair to the quick.)

    I’d forgotten how quickly time passes in that house. Hours go by and I just assume that all the clocks are wrong because it can’t possibly be 5 or 8 or 11 already. I could hardly remember what all had gone on, I just knew that I’d been distracted, delighted, thoroughly warm despite that chilly thermostat setting for . . . hours, apparently.

    By the very, very end, when I hugged and held on to Jill and her mom and then her brother at the door, I felt like my own clock had been reset. I sort of patted myself down, assessing my emotional state. Still older and still a little sad, but absolutely settled. Jill and her family and her home have always restored me to me. It’s comforting.

    As I felt my way down the driveway, toeing for the path in my dress shoes, I thought, “didn’t I come to do the comforting?”

  • Grandpa Scoobie

    I don’t have many grandfather stories to tell. My memories are strung together, mostly from photographs that I’ve studied and home movies that play in my head like someone else’s memories and a handful of second-hand stories. My paternal grandfather had a swimming pool surrounded by cement that snagged the bottom of my swimsuit when I sat down to slide into the water. The backyard was full of people and I didn’t know anybody except my mom, so I doggy paddled toward her in my floaties and grabbed at the straps of her wet bathing suit. Everybody was nice, but I didn’t feel like talking. I shook my head whenever someone offered me a soda.

    Later, Grampy had lake and a boat, Lulubelle. I slid cold, cooked peas on fishing hooks and panicked when I found that the pea had been replaced by a cold, scaly fish. He told me it was okay if I wanted to fish without the hooks so I sat on my knees on the dock and dropped peas one by one into the lake. I watched the sinking orbs glow neon green against the shallow, inky murk. Shadows of fish swam by and sucked up the peas with a kiss. My grandfather liked to drink Coca-Cola out of glass bottles. When he passed away, my dad brought home a couple of Grampy’s old cameras and tinkered with them in the basement. I wonder if my dad inherited his affinity for busy hands from his father.

    I never met my maternal grandfather. I know him best through a photo taken at my parent’s wedding reception. He is smiling, maybe laughing. Not looking at the camera. He appears peaceful, cheerful, even tickled. There is something about the crinkle beside his left eye and the curve of his top lip against his teeth that resembles David Letterman. Until I was a teenager, I imagined my grandmother married to David Letterman, who lived in her town at the time. David Letterman drinking coffee at her kitchen table. David Letterman mowing her lawn. David Letterman eating M&M’s or Easter SweetTarts out of the candy dish in her family room. I wonder if David Letterman likes ketchup on his scrambled eggs, because my grandfather did.

    So do I. But that’s all I really know. I am as familiar with the brassy finish on the frame around an old photograph as I am with the subject himself. Just looking at him in that picture makes me feel a little shy. I feel like a little girl in floaties in a backyard full of friendly strangers. Like I should look at my mom for permission to have a soda.

    I’ve always been a little shy around men of a grandfatherly age, but a few have given me a sense of patriarchal comfort that I missed in my childhood. Scoobie, the camp handy man, proclaimed himself to be “old as dirt” and carried a toothbrush tucked in his sock. He drove up to camp every summer because he had time off from his primary job–school bus driver. If Scoobie had been behind the wheel of my school bus, I might have started walking to school. He terrified me. I could hardly look directly at him.

    But every night at 10PM, Scoobie wheeled out the cereal carts and unlocked the milk cooler. I had listened to my counselors slip out of the cabin to get Scoobie Snacks every night for six summers. When I finally got my own blue staff shirt, I also got a surrogate grandfather. Scoobie adopted all of us and spoiled us with sugar cereal. He looked the other way while we poured chocolate milk over a mixture of Cookie Crisp and Cocoa Puffs. He sat by himself at a butcher block in the kitchen, his haggard back to our tables, either squinting at a newspaper or, more often, listening to opera with his eyes closed behind his enormous protective glasses. He hardly ever dozed off, and if he did, nobody bothered trying to break into the walk-in freezer. The man was practically deaf, but he had a sixth sense about those hidden Klondike Bars. So don’t even think about it. Just eat your Cookie Crisp. And have some Lucky Charms. The kids’ll have to eat Raisin Bran in the morning.

    Last call came around 11. As we filed out the back door, ready for bed or ready for mischief, Scoobie shook the doormats out behind us, hollering a reminder to brush our teeth.

  • This just can’t be subway love

    Love is in the air. Or maybe there’s something in the water. It’s summer and New York City is getting steamy in more ways that one. I have witnessed more flirtation, heard more pick-up lines and stumbled upon more public displays of affection since this heat wave started than I did all winter, when people were supposed to be cozying up. Is it possible that bedposts across the city are earning new notches for every notch the heat index rises?

    Last weekend, I was on my way into Manhattan, riding the F-train across from three other passengers. One, the A-Rod archetype, had an electronic gadget half-way between a Blackberry and a laptop open on his lap. He wasn’t looking at the screen, though. An exotic-looking (extraordinarily so, I must say) woman had distracted him. When the person sitting between them got off the train, B-Rod slid down the bench seat toward her and wasted no time striking up a little small talk.

    “You’re incredibly beautiful; what’s your heritage?” The woman was blushed graciously and told him that she was Sicilian and Peruvian. She started thumbing through a magazine, but entertained her suitor’s remarks about his own heritage and told him where her parents were from before tilting her head so that her hair draped over her shoulder to form a dark, wavy veil over her face. He tipped forward a bit to get another peek and to offer his phone number, which the woman declined with the coyness that women use when they want to escape without hurting any feelings. She went back to her magazine, B-Rod took it like a man and they just waved and smiled at each other when she got off the train a few stops later.

    As I listened in on countless similar conversations over the next few days, I couldn’t tell for sure if I was actually witnessing an increased amount of would-be romantic encounters or not. It’s entirely possible that the hazy heat is not a product humidity and pollution, but a cloud of pheromones exuded by the over-heating bodies of single New Yorkers. It’s also entirely possible that I’m not inhaling any pheromones at all. In fact, I’m downwind of a garbage can, but so hyper-aware of any state of amorousness at all that the festering Happy Meals and copies of this morning’s AM New York smell like a dozen long-stemmed roses and a melting handful of green M&M’s.

    Perhaps, then, I had spent the whole week priming myself for my own encounter, which took place at Delancey Street late Friday night. A tall, lanky figure emerged from my peripheral vision to take the last remaining seat on the bench and remarked on impatience and late subway trains. We introduced ourselves and eventually got on the train together. When he disembarked forty minutes later, he was technically little more than a stranger; a stranger named “Lavar…like ‘lover’…I can’t believe I just said that.” As I saved his number in my cell phone, I realized that I had been ‘picked up.’ I didn’t even recognize the motives of the advance behind Lavar’s ironic wit and friendly, effortless humor. He had even teased me about the hickey on my neck, garnered at a previous location from a previous gentleman, but I didn’t feel like he interpreted it as a sign (literally) I would be a sure thing.

    My reaction to the pick-up lines and PDsA that people bat back and forth every day is almost always different. Sometimes I’m amused, sometimes I’m impressed, sometimes I’m appalled, and the factors that determine my response are always changing, too. Obviously I’m much more likely to think, “get a room” when I haven’t been in a room of my own for awhile, and when I’m feeling swept off my feet, I’m happy to see someone else get swept. I’m flattered almost as often as I am offended by uninvited and unrequited attention from random guys (and I almost always make a point to interpret cat calls as compliments). No matter what, even in the most sincerely adorable circumstances, I do always find myself wondering: what is it that makes someone interpret a person’s ridership of public transportation as a personal ad?

  • Semantics

    In college, I had a series of therapy sessions with a doctor who “specialized” in child, adolescent and adult psychology. The text on his business card was very crowded and his office was littered with Legos and puzzles, teen magazines, and a modest collection of mutely-colored Mexican artifacts. Every appointment felt like a 50-minute identity crisis. The doctor had clearly prepared himself for a patient with multiple personalities, someone who signed their checks “Mr. Louis T. Cooperstein” but, some days, answered only to “Baby Louie.” I sought counseling for a largely unremarkable case of depression and anxiety. I’m not sure he knew what to do with me.

    Every time I sat on his couch, I had the constant impression that his mind was wandering elsewhere, that he found me a complete and utter bore. As a chronic people-pleaser, I tried my best to engage him. Once I started dropping the names of syndromes and disorders that I had learned in AP Psych in high school, trying to bait him with the chance diagnose something extraordinary. “Maybe I have mild this…or severe that…or advanced something complicated by late on-set something else.” His rare responses were always very critical and eventually I gave up and we sat across from each other in unresolved silence. He gazed out the window, his posture and expression conveying such detachment that I felt like I was the doctor trying to draw in a lost patient.

    In what would be our last meeting, I managed to capture his attention with what was fundamentally a dispute about grammar. Our unresolved silence had become so irritating that I began a rambling monologue just to drown out the clock’s audible ticking. I must have started one too many sentences with “My happiness,” because, without warning, the doctor looked at me, inched his chin forward, and poised the tip of his gold pen, which had been folded limply beneath his palm, above his legal pad.

    “You say ‘happiness’ as if it’s a thing,” he said in a tone that he may or may not been meant to sound quite so accusatory. He shifted his left leg across his right knee and lowered his jaw onto the heel of his right hand. His movements reminded me of a street performer playing statue, pouring body parts like wet plaster into a pose and holding absolutely still, wordlessly daring passersby to poke him to see if he is made of stone or skin. 

    “Well, ‘happiness’ is a noun.”  We bickered for a few moments about whether or not I could I reduce my emotions down to semantics before he poured himself back against the other arm of his chair and resumed indifferent surveillance of the street outside.  Meanwhile, I experienced a brief wave of envy for buskers who paint their bodies bronze and spend their days performing for an audience of fleeting strangers.  If only that would bring me happiness.

    According to the OED, the definition of happiness is: The quality or condition of being happy; good fortune or luck in life or in a particular affair; success, prosperity.  This is not the first time I have looked that up.  My conversation with the dour doctor always comes to mind when I find myself defining indefinable things as a means of coping with them.  Linguistically, happiness may be a noun, but what a fleeting, fragile one it is.  It is unfairly elusive.  Like a limb or a muscle, you aren’t aware of its presence until it has been compromised. 

    There is one other phrase that I will always associate with happiness—the word itself and all that it represents.  My friend Lily once wrote to me in a letter, “One of the most frustrating things my mom ever said to me was, ‘no one ever guaranteed your happiness.’  Unfortunately, it’s true.”  When I am depressed, truly, deeply unhappy, that seems like the most paralyzing, punishing philosophy, no matter how true it may be.  I can think of a few instances in my childhood when I wailed the patent slogan of outraged little girls, “I never asked to be born!”  There are particularly brutal times when the realization that happiness is not a birthright is enough to make me want to throw that tantrum again. 

    But at other times, at most times, I am in that expansive space between desolation and delight.  Then, Lily’s mother’s wise words sound more like a good-natured challenge, even a dare.  Happiness isn’t a promise.  It is something to be achieved.  Perhaps happiness is something that must be exercised, like limbs and muscles.  To get there, to get through both the largely unremarkable doldrums and the singular hardships that everyone endures and achieve happiness, that would be something extraordinary.Â