Sunday, May 12, 2013

Drama...





The curtain rises on our stage. Looked at from the street, Comedy and Tragedy are relatives, who—for reasons of economy—live side by side.
For now, all you really need to know about the characters depicted in the unfolding drama is that two families have been cast here by Fate. The set consists of a duplex dwelling that was converted from a carriage house early in the twentieth century. Our family purchased their property in 1970, the year my brother was born. We live on the left, at number 139, my grandparents on the right, at 137.
On the right side, you will see a victory garden. It is less ambitious than the one tended by Mr. Crockett on PBS, perhaps, but full of treasures nonetheless: cucumbers, peppers, rhubarb, carrots, parsnips, tomatoes, onions, and chives. This is where I dug up a crusty dime minted in 1857.
Beside the garden, there is a pleasant patio full of potted plants, all sheltered by a large corrugated aluminum awning. Here, men with aquamarine anchors tattooed to their hairy forearms are invited to smoke—veterans of campaigns in the Pacific—exiting with a discrete cough through a side door.
They would never be left alone with their cigarettes, however. They were always attended by my grandfather. He would excuse himself from the living room like this,
 “If all you gals are going to do is gossip, I’m going outside to smoke with Jim.”
“Francis, one of these days, I am going to hit you over the head,” my grandmother would hiss.
Francis was not a smoker himself, or a drinker, or a veteran of anything, actually, except for my grandmother’s rolling pin, Chinese Checkers, and the vinyl chloride vats of Goodyear. (Enlarged heart, flat feet, 4F. Sorry, son.)
It is possible that—in revenge for the rolling pin—my grandfather broke my grandmother’s nose at the time of The Cuban Missile Crisis: the fatal day when Florence snuck up, leaned over Francis’ silent figure, and she shouted, “Boo!” as he was dozing on the davenport.
I don’t think any malice was intended. From the way my grandmother rolled her eyes when he told the story, I gathered that he accidently struck her in the face with his fist when she frightened him out of his wits.
Violence would have been completely out of character for him, if not for my grandmother. She was a different sort of person. Florence once threw a croquet mallet at my mother as she ran out of the happy home they inhabited during the Eisenhower years.
When I asked her why anyone would want to throw a croquet mallet at her, my mother looked up from the jaws of the ceramic shark she was painting (a bank, a future Christmas present for me, it turns out) and she said that she didn’t know. She said that she was a perfect child. She invited me to ask my grandmother about the incident.
I stomped out of the kitchen and ran across the yard. I rang the bell (which I never did) and my grandmother answered the door. She was pickling beets. Her hands were red. She led me up the back stairs.
“Why did you ring the bell?”
“Why did you throw a croquet mallet at my mother?”
She turned and bent and squinted and looked me straight in the eye and she said very solemnly,
“Because she deserved it.”
Having been spanked with a wooden spoon by my mother on more than one occasion, I could accept that. I sat down on the steel and rubber step stool my grandmother used to reach the upper shelves in her pantry —where she kept mason jars—as she decanted a can of Spicy Hot V-8 into an orange juice glass. She gave it to me and went back to stirring her cauldron.
My grandmother might have made a spectacular witch, if this were a fairy tale. Too bad this is Niagara County. We have no witches here, as far as I know. Or fairies.
No, my grandmother was just a terrible shot and she had no sense of timing: the mallet crashed through a pane of glass in their old screen door instead of hitting my mother. (I also adore Spicy Hot V-8 juice and did as a child.)

My grandmother will die of a stroke in church. My grandfather will succumb to cancer twenty years earlier, while I am holding his hand.
With that same hand—on a rickety gardening table, beside the clean blade of a spade my grandmother used for transferring her plants to larger pots—he would habitually place a chipped ashtray decorated with tiny, indeterminate flowers. On the reverse side, the glaze bore the legend, ‘Made In Occupied Japan.’
This was the one ashtray that my Uncle John refused to use. He preferred another one, one that my grandfather generally reserved for his butterscotch candy wrappers.
For some reason I could never fully fathom—maybe because he had a reputation for being more ornery than everyone else—the only visitor allowed to smoke in my grandparents’ house was Uncle John, a recently retired shoe salesman. I loved him for that. When he insisted, nobody resisted.

As you can imagine, the day Uncle John died was something of a disaster.
After dinner, I heard the phone ring in the kitchen. I followed the fluttering apron tail of the comet my grandmother formed as she whizzed by me—as she tripped, running up the stairs, shouting,
“Dad, Dad!”
When she was forced to complete her climb by crawling on her knees, bawling like a baby, I almost laughed. I had never seen an adult behave like a child before.
I thought my grandfather might have agreed. I am not sure that he did. He stood—dentureless—in a pair of periwinkle pajama bottoms and a V-neck T-shirt on the second floor landing—trying to make sense of things.
He was getting ready for work. Third shift.
“Ma, Ma, what is it?”
He lifted her gently by her elbows from where she knelt. While I am sure it only took a few seconds, it seemed like an eternity had to pass before my grandmother could gather her head together sufficiently to blurt out,
“Oh, Francis, John is dead. He had a heart attack.”
I had no idea what a heart attack was, but it sounded pretty serious to me—even worse than death.
I dropped the chain of multicolored plastic monkeys I had painstakingly connected on the carpet and was about to dispose of in their home—a brown plastic barrel.
Suddenly, I felt like crying, too.
I had no idea what was going on. Uncle John had never died before. Nobody in our family had ever died until that day—not to my knowledge. What are you supposed to do under such circumstances?
Once my grandfather had inserted his clean teeth—grimacing in the mirror, pressing a thumb against his upper plate, making sure it was sealed against his gums strongly enough to resist the forces of gravity and permit difficult conversations—he closed the door.
I plopped down on the stairs where my grandmother had collapsed. I heard a tap gushing into the sink. He emerged a few minutes later, clad in a pair of dark slacks, a white shirt, and a sea-gray acrylic cardigan with a black Greek meander design dancing up both sleeves. He smelled ever so faintly of Barbasol.
After making a few quick calls, my grandmother drifted off to her bedroom, sobbing again, selecting something suitable to wear to my aunt’s. My grandfather tied Kyle’s shoes while she took her turn in the bathroom.
 He shepherded us next door and explained the situation to my mother, before driving my grandmother to stay with her sister, Aunt Midge, and then on to work. He always kept an extra set of work clothes in the trunk of his car.
As I had already eaten dinner with my grandparents, I rejected the trembling dish of goulash that my hysterical mother offered to calm me down. My brother was not a liver fan, so he may have sampled some. That, I don’t remember.
I was confused. What did the death of Uncle John mean for the blackberry bushes that grew next to his garage? Would Aunt Midge allow me to continue to pick them? Would the owners dim the pink and blue neon bowling ball at Rojek’s, two doors down the street from the chilly house with the lemon trim where Uncle John had lived? Would Principal Baker order the flag at Grant Elementary School to flap at half-staff for a few days? Would President Ford address the nation? What kind of future did I have to look forward to? Would there be nuclear war?
I wanted answers. Unable to articulate my actual desires, I asked for a windmill cookie instead. Only my grandfather ate those, of course, and he was carefully backing down the driveway, trying to avoid the swing set he had once almost demolished with his Buick. In other words, we didn’t have any windmills in our house. Or answers.
By way of a compromise, my mother peeled a Ho-Ho and placed it on a plate, still half-wrapped in tinfoil. It rolled to the edge, paused, and then rolled back to the middle, glittering at the center of the Cosmos like a gilded turd.
I didn’t want a Ho-Ho. I was told to stop being a brat or go to bed. I opted for brattiness and went to bed. It was already after 8:00 p.m., anyway. I saw no reason to sit in the kitchen and sulk.

The next afternoon, a whisper in the funeral home informed me that my favorite uncle had passed away peacefully on his porch, napping beneath the North Tonawanda News, after eating a basket of fish and chips at Arthur Treacher’s.
Mom did her best to console us. Out of the air, she plucked a pen that seemed to be swinging rather too freely in space and time from a chain of brass BBs fixed to a pulpit. She signed for all three of us: Edwin, Kathleen, Eric and Kyle. She laid the pen to rest in the shadowy valley between the pages of the Visitors Book before she led us to Uncle John’s casket.
Dad was at work. Mom said that he would be dropping by to add his name to the book later.

Tuesday, March 12, 2013

The Next Best Thing: Eric Norris



Linked by: Emanuel Xavier

The Rules: Answer the ten questions about your current book or work-in-progress and tag five other writers/bloggers and add their links so we can hop over and meet them.

What is the working title of your book?

Michael Furey.

Where did the idea come from for the book?

I was cleaning out my closet over Christmas and I found my old journals. There are about 900 pages and they run from 1987 to about 2004. I never thought very much of what they contained but I started reading them and I was surprised with what I found. I found myself, my forgotten self, my real self, the person I was before I was on Facebook. I had just moved to New York from Boston. I found myself at Columbia University, cataloging books under the supervision of a sadistic Czech straight out of Kafka. I experienced the mental collapse of one boyfriend as I abandoned him for another. I studied a paystub, deciding between rice and new socks. I praised God for bottomless cups of coffee and played pool in the basement of the Hungarian Pastry Shop. I smoked incessantly. I attended choral Vespers at St. John the Divine so I could see the great rosette stained glass window saturated with glory in the summer dusk. I contemplated suicide when it was hot. I learned to live without air conditioning in the summer and heat in the winter. I improvised sleds out of cardboard boxes. I wrote my first real poem, a love poem, to persuade my boyfriend not to leave me. He left anyway. With poetic justice, I heard my glasses plop into the Hudson as I was fucking a particularly sweet piece of anonymity: and I did not miss a beat—knowing those glasses were gone and Michael was gone and I might as well get off and get on with life. Art would have to wait. In those notebooks, I found New York as I first experienced it: fully illustrated, in the richest colors of innocence and experience imaginable.

What genre does your book fall under?

I am using four books as models: Candide, Portrait Of The Artist As A Young Man, Dubliners, and Speak, Memory. Fiction is the safest category. I will have to combine characters, change names, and invent dialogue that I can’t remember.

Which actors would you choose to play your characters in a movie rendition?

I have no idea. I would hate to see anybody else saddled with the burden of trying to be me. Even I can’t do it. And I have been trying for 44 years.

What is the one-sentence synopsis of your book?

It could be worse.

Will your book be self-published or represented by an agency?

I don’t know. I might shop it around and see if there are any nibbles. I normally like to publish things myself.

How long did it take you to write the first draft of your manuscript?

I am still writing it. I have about 10,000 words so far. I hoped it would take a year. But novel writing is new to me and I am a pretty stern and unforgiving taskmaster. Maybe two or three years.

What other books would you compare this story to within your genre?

That is a difficult question. I am consciously using four other books as points of reference, as I mentioned up above, but I wouldn’t want to compare them.

Who or what inspired you to write this book?

There is a scene at the end of Joyce’s Dubliners where a wife tells her husband about the first man she loved, a lad named Michael Furey. She enters a convent and Michael Furey dies—of a chill he caught imploring her to run away with him. I have been fascinated with that scene and that decision ever since I read the story, ‘The Dead’, in high school. For years, I wondered how I would react in a similar situation. When I moved to New York, I didn’t exactly find myself in a convent, but I did find myself jobless, rapidly running out of money, stuck in a lonely relationship with somebody I didn’t love. Then, I found a job at Columbia. There, I met a beautiful young man named Michael. We went out for beer, Guinness. After five or six pints, he confessed his love for Dostoyevsky and short guys. I confessed my love of long hair and Joyce. He invited me to come to his apartment. I went. In that instant, art became life and life became art. I only realized what I had done to myself and everybody else in my journals when I read again about how I lost my glasses in the Hudson. In fact, I think that will be the final scene in the book: losing my glasses in the Hudson. I have just decided.

What else about your book might pique the reader’s interest?

There will be library sex. Everybody loves library sex. Even librarians.


Who I’m tagging:





Wednesday, February 13, 2013

Alice's Song

Looking at my looking glass,
“This isn’t me,” I said,
“What happened to my pinafore?
“Why are my eyes so red?”

And my reflection, as the thing
Is wont to do, replied,
“I don’t know who you think you are,
But I am on your side.”

The Pinafore we left behind,
Stuck on a coral reef;
The ship went down as you went down
On somebody named Steve.”

“We drank enough to drop a mule.
I can’t remember why
My face fell in the toilet bowl
A-swirling, ‘Let me die.’”

“Well, die, I haven’t done that yet.
Well, that’s what people say.
If you return my boxer shorts,
I’ll read your résumé.”

“Miss Rabbit, show the young man out.
He must have things to do.
Some hearts to break or notes to take.
(I would, if I were you.)”




Monday, February 11, 2013

The Cashier

Before I go any further, I have a Statement to make to that cute Cashier, which may also be of some interest to the general Reader. I freely acknowledge a Self-Interested Motive in turning philosophickal here. One turns thoughtful toward the End of Life. Sometimes at the Beginning. Occasionally, too, in medias res, while buying Condoms at Duane-Reade, one looks forward toward the End. Sometimes, also, the Register closes, and the cute Cashier suddenly steps out for a Smoke, or a Trip to Taco Bell, and one is forced—along with hundreds of other Customers—into another Line—the only Line now open—the one manned by a nymphomaniac Gorgon—and a Return to the Beginning. This last Circumstance is what the bony Indian Fakir regards as his Reward for a Life of patient Self-Destruction, Reincarnation. This is what we in the more corpulent Lands of Christendom presently call, Hell. It is this Hellacious Present that I am most concerned with Here. The Present is what makes me think that my Fifteen Seconds of Fame at Duane-Reade might be the ideal Juncture in Time to interject a Detail—relate an Anecdote—tell a Story—that will illuminate—I hope not as an Epitaph—one or two Aspects of the Chaos which orders Human Life. From one Angle, I know, the following Remarks will read like a Fruit Salad. From another, they will appear as clear as Clotted Cream. I am coming to Terms with my Limitations. I am over 40, and the Truth of the Situation is hard to bear. As Mr. Eliot suggests, we cannot endure too much Reality. And the Reality for me is that I cannot endure too much Mr. Eliot. I know that eventually I will reach the Cash Register. Despite the best Efforts of Mr. Pound, “The Wasteland” will forever remain mired in the miserable muck of Passchendaele, a hopeless Mess. So, we shall pass over “The Wasteland”, as we pass over the Twentieth Century, as the Fragrance of Mountain Sage passes over a Prairie Cowpat. How do I justify this Journey? Easily. Time passes. Or, in the later and more learned Words of Mr. Eliot, “Time present and time past / Are both perhaps present in time future…” They are indeed, Sir. Because, you see, that Cute Cashier only popped out for a Pee. He actually returned from the Toilet to this Poem about 150 Words ago, not long after the Gorgon arrived. They are now standing side by side and things are moving in parallel very fast. I would have told you earlier, but I had to finish my Thought: all parallel Lines converge at Infinity. And the next lucky Customer in one of those Lines is you. Or me.





Untitled

  
            My first foray into the world of friction [sic] was an untitled piece I slaved over for two years in the mid-nineties. As I envisioned the work at the time, when I was twenty-six and obsessed with Thurber, this would be the first in a series of Jamesian character studies centered around academic life.
            In the opening tale, Jack (34) returns triumphant from a contentious conference in Boulder, Colorado, where he delivered a provocative paper on the position of commas in the sex life of Gibbons (collateral descendants of the famous historian of Rome) at the Modern Language Association’s Annual Conference: only to find his boxer, Elgin—Marbles, for short—dreaming of beef marrow bones in an inaccessible crotch of an elm in his courtyard.
            As Eve (34), his girlfriend, is out shopping for fruit-flavored lubricants and other gluten-free delicacies with her best pre-op friend, Paulette (28), visiting from Portland, and President Clinton is downtown distracting the rest of the neighbors, most of the story we spend with the perplexed young adjunct, orbiting the tree: trying to figure out just how the dog came to be there. Jack advances several different theories, all equally credible: extraterrestrials, an earthquake, a mountain lion, Mustafa Kemal, ghosts, a tri-cobalt satellite (left over from an episode of Star Trek), the black magic of his gardener (Barney Haller), a cantankerous kite string, or a confabulation of faeries.
            For five pages we wander in circles with Jack under this tedious tree, looking up at his dreaming dog, trying figure out just what has gone wrong with the forces of Nature in this idyllic corner of Iowa. It never occurs to Jack to wait for Eve and Paulette to return with the fruit-flavored lubricants and gluten-free delicacies and ask them; or to call the fire department; or to grab the aluminum ladder the painters left under the lilacs and try to rescue his dog himself, so lost he becomes in a maze of sensitive semiotic questions arising from the presence of a dog in the crotch of such a tall tree: since, as you will notice, the word “Dog” spelled backwards is “God.” And we all know in what mysterious ways THAT gentleman works.
            Sadly, I never got further with this story than the thin filament of drool connecting Elgin above—Marbles, for short—to the Earth below, before I abandoned it as totally unworkable. Plausible as the image of a fictitious dog sleeping in a fictitious tree might seem to me, I couldn’t imagine anyone else would believe it.
            Except for the people of PETA, who would have hopped in a minivan and been over in a flash to burn down my house.