Clear, unscalable, ahead
Rise the Mountains of Instead,
From whose cold, cascading streams
None may drink except in dreams.
(Auden, W.H. “VI.:Autumn Song.” Twelve Songs. March 1936.)
If ever there were a view on which to turn your back à la Gertrude Stein, a sweeping vista of the Mountains of Instead would be the one. No going back. Too late. Prams rolling on. Breathtaking strong tide of inevitability that takes all the water with it and leaves you and your petty fears and dreams dragging in the dust.
Time is stolen from us in such tiny ways — although I guess it is scarcely a theft when you never lock the door or look out the window to see if there is a shadow waiting for you to turn your back, as if all you possess are invincible by dint of being yours — and we use landmark occasions to mark the loss, but we only once in a while really look at what momentous and yet totally miniscule shit comprises what is destined to be our one and only, short history.
This Autumn was already weighing as heavily on me as last year. Now all I feel like I can handle doing is to take a hot bath and climb back beneath the covers (you see what I mean about aiding in our own robbery by time?). Thanks a lot, Auden. I guess what scares me most about it is does it always steal up on you? Does it just sneak up and you turn around and cry out, “Oh, not yet. It can’t be time yet. I’m not finished. I thought I would have more time.”
Is there any way to escape that, that moment of realization, that punch in the gut when the waste, all the time you wasted suddenly comes rushing up around you so you can’t even breathe? Your life is over and you’re not ready because you thought you could always keep backsliding, that there would be special accounting for prodigal, last minute, golden you, who always slid in under the wire, who always got a second chance if you smiled big enough when you asked. There is no talking or charming or dodging your way out of final reckoning, and no method by which I can imagine escaping the horror of that realization, and you finally turn around and see the Mountains of Instead. You made them that tall. What do you do about the regret which will follow. Is there a way to soften that blow?
I don’t think there is. I can make vows about viewing this poem as a cautionary tale, and shine you on about how I plan on avoiding such a fate by making every moment count, and on and on until the sun goes supernova, but a plucky attitude does not lower the Mountains of Instead even an inch. No changing the past. No erasing regrets. That is just some fucked up shit right there.
The deep pain that is felt at the death of every friendly soul arises from the feeling that there is in every individual something which is inexpressible, peculiar to him alone, and is, therefore, absolutely and irretrievably lost.
(Schopenhauer.)
I’ve been mourning the loss of a very close childhood friend. She was very literally the first friend I ever had. Because we moved quite far apart, in the last several years, our contact has been social networking and phone calls on each other’s birthdays (my lucky number, 22, is owing to her birthday of February 22nd). I do have to give her a wry thumbs-up because it was very clever to die of breast cancer in October so that we’d all remember every year to donate and walk and light candles and the like, but I can’t say I have been much of a fan of the actual passing.
In any man who dies there dies with him
his first snow and kiss and fight….
Not people die but worlds die in them.
(Yevgeny Yevtushenko, People.)
My friend had time to say goodbye to her sons, her husband, her sister and her parents, and to all of the rest of us who loved her. But what I have been struggling with is the loss of that world inside her: a world whose first gasps I was lucky enough to share with her, a world whose confident, feet-found orbit was still only just beginning. I feel so bitter and helpless about it. I didn’t realize how badly I’d been repressing it until I went to her funeral at our old church several hours away (alone, which was a terrible mistake). I didn’t weep or make a spectacle, but I didn’t stop crying. It was like I couldn’t.
Afterward, a very nice, very short woman came up and began gently asking me about my friend, and I explained that we’d known each other since we were very, very young, and had even gone to school together off and on. Turns out the woman was one of my kindergarten teachers. The nice one. Still nice, after all these years. I’ll explain that another day.
The point is — horrible. Bitterness. Anger. Grief. But not so much anger that I wish to assuage it by some sort of strike back; that would not at all comfort me, because I’m not down to facts just yet. I’m not ready to slap on a pink-ribboned tank top and run any marathons to make things better for others, because I don’t give a shit about all that yet. That is for sure.
I feel like a lost and selfish monster, surrounded by all this breast cancer awareness promotional material and not even up to the point of resentment of the disease; ergo, mystified by the idea of embracing that activism to trump my grief. I don’t like to feel that way. And I like to do all kinds of charity malarkey. I really do. I’ve donated this month already in the name of another friend’s mother, who beat it two years ago.
But this new thing — I am just not ready to even think of my friend’s death in terms of what killed her. That seems objective to the point of frightening. But I should strive for it? Right? How do you get to there?
This entry originally appeared on June 22, 2010 at 1:44pm.
Late post, am I right? I’ve been invovled in some deep bookfoolery which I will explain below. The heading of each of the chapters in a book I read last night/today is followed by a quote, and one such quote was from this poem of Blake’s.
So — the lateness in the day. Yes. Sorry, but I am not even firing on four let alone six cyllinders today. See, I went against all my usual instincts and quickly finished my yearly series last night wayyy ahead of time and I refuse to let that happen with my other obligations, so when I dropped the last in the series to the floor, I dug in to my pile and instead of snatching up The Tommyknockers (absolutely not touching it until July 2nd or 3rd or I will not be where I need to be for the 4th and I cannot afford any more Bad Days), I started this book my cousin Mary loaned me called The Descent.
I was initially skeptical and, at points, flirting with grogginess from the overabundance of sleep-inducing substances I pour down my throat every night in an effort to quiet the seven-headed rock dragon of my insomnia which makes the Balrog look like a Pound Puppy, but it was amazing shit, full of caves and sci-fi creatures and anthropology and linguistics and religious themes and Hell and mountaineers and Jesuits and everything else that rings my bell, and before I knew it I was completely sucked in to the throat of it. I powered through the layers of tylenol pm, Miller, and a slug of Ny-Quil I’d taken earlier, ignoring my sandy eyelids because I Couldn’t Stop Reading, and, having finally shook off any need for sleep and finished the last sentence and closed the book thoughtfully at around nine this morning, I can confidently say I’m a believer.
I slid it under my bed and lay reflecting on what I’d read for a few minutes, because I felt like there had been some unresolved plot points, then I suddenly did this herky jerky twitch and thought, “How many standalone science fiction novels are that long? Plus … it was set in ’99, but the cover was new. No dog-eared pages. Mary would’ve loaned it to me years ago if she hadn’t just recently bought and read it. It’s a new book.” Reprint. Why?
Totally excited by this chain of thought, I flipped my ass in the air, dove under my bed and grabbed the book back out of my piles and checked the front. HELL YES: among the author’s other books listed by the publisher is one titled The Ascent, which I think it is fair to conjecture can only be a sequel, so now that I’ve finished all the housework and cooking I’d planned previously to do in the hours of the morning I’d spent reading, I’m going to cruise out to the used book store by my house and see about scaring that bitch up for tonight — and see if there are more. Keep you posted. Don’t worry about the insomnia thing: I’ll get all the sleep I need when I’m dead.
Hey. The pre-scheduled entries caught up with real time, and then I was too lazy and depressed to write more. But I’m fixing that now. Even got a Girl of Summer in the pipeline, because, hey, man, life goes on, and my dead friend liked boobies. (Hath not a short joyful EMT eyes?) So. The rest is personal. Dip out whenever you’re done.
“Jo Champa, Hotel Chealsea.” Helmut Newton, 1988.
Yesterday were the services. Sweet fucking Christ. I have been to some rough funerals in my life. I really have. But I’ve never been through any shit like that. That was some fucking shit. My lord. And now the most recent two entries in my journal have giant cusses right at their start, when I’ve been trying really valiantly this year to cut back (first for my daughter, as an example, and also because vulgarity is so often a refuge of a weak writer attempting cheap authenticity).
Big Ben and I agreed to attend together. He got to my place an hour earlier than planned and announced he’d left his wallet in Fresno — a town I notoriously hate, like it’s a joke among my friends how much I make fun of it. I had an idea we’d end up making the longish drive to get it back later in the day, but I didn’t say anything because I wasn’t sure what the was going to hold: what if I wanted to go back to a reception and stay for a long while? What if friends had an impropmtu wake? We didn’t know what to expect. We slid down to C-town and got to the church about twenty minutes before Mass was scheduled to start, thinking that was prudently early enough.
Besides being friends with one another in our own right, B-dubs and I moved in a lot of similar circles. It’s not a big area when you get right down to it. Even if you only joined The Party in the last 15 to 20 years, you’ve pretty much met everyone your age by now, at least with whom you’d have a dime in common, in one way or another. There wasn’t time enough or, in some cases, inclination (willingness to engage in a lot of catch-up and mutual depression) to say words to everyone I knew, even just as we walked through the parking lot and up to the church. In the very, very long line to sign the guestbook before entering, there was this crowd of EMTs and firefighters in front of us in uniform, and I started tearing up. I’m not an overemotional person, and it caught me off guard.
It was a harbinger of things to come. A bossy aunt came out not long after and told the crowd that we’d all better grab a seat inside and sign the book later, because it was getting very full in there, and we entered the church. I’d never been to St. Jude’s. It’s not by any means the smallest church in which I’ve ever heard Mass, but it wasn’t large. But it was not at all equipped, I’m proud to say, to handle the number of people at my friend’s funeral. It was literally SRO. People could’ve probably crowded the pews a little more, but a lot of the EMTs had to stay in the back near the doors because they were still on call.
Right away, on entering the church, I was up against old, old friends, serving as B-dubs’ pallbearers. So we started crying. I think, in the back of your mind, or perhaps only in mine and some of my friends’, maybe more macabre than others? or just realistic?, there is the knowledge that you will pass from this earth and enter in to whatever, if anything — I believe and hope a very real something — comes next. Sometimes you discuss it loosely with friends, like your burial/cremation wishes, songs you want involved in your memorial, etc. But you don’t take it terribly seriously. To see our old friends standing at the back of the church with white gloves and red carnation boutonnières, guiding the elderly and close relatives to seats was a profound jolt, following on the heels of the uniformed contingent reminding me of what a life of service my friend left … I basically cried for the next hour. Standing for the casket’s entry made me cry. My strong, broad-shouldered, stalwart old male friends crying as they walked that casket toward the altar made me cry. The readings made me cry. The priest’s homily made me cry. The only thing that didn’t leave me shredded was the Eucharistic prayer, maybe because I’ve had it memorized since time out of mind and it gave me time to catch my breath.
But then my friends gave their eulogies and it was all over. It was pointed out what a remarkably, not just bullshitting like people do at funerals, but a remarkably live wire and loving spirit he was, how he literally lit up rooms and took care to take care of everyone he met. It grew as a theme that B-dubs lived his whole life, essentially, to protect and make at ease everyone else, and that we could only honor him by trying to keep taking care of each other. That’s how it ended. Everyone in the church was just in pieces. So we exited on that, this horribly emotional note. Like I said, I have been to some rough funerals, but I’ve never heard free, open weeping from so many people at a service. It was some shit, honestly, I’m not describing it well enough. God. Harrowing. Big Ben agreed it was the worst thing he’d been to so far, too. I think the priest put it best when, during his homily, after speaking about Brandon’s faith and dedication to serving others, he simply spread his hands and said, “He was too young.”
After stunned chat outside the church, we caravanned to the cemetery for the graveside service. The priest said the very familiar words about dust to dust, and the valley of darkness, etc, that have always held a ritualistic comfort to me. One by one, the pallbearers came forward and placed their gloves and their boutonnières on the casket. But then — then — B-dubs’ cousin began to speak. I have very few friends, and dear they are, as specifically faithful as I am, and I am 1000000% okay with that. I’d say a majority of my friends do not believe in any god nor afterlife, and I’m truly all right with that. If they got questions about how I roll, I answer them, but I really don’t try to suggest religion to them unless I am asked. It’s been the source of debates between me and many of the people who were in attendance at these services, the idea of the co-existence of intellect and faith (hey, college).
This cousin began by saying that Brandon’s completion of the sacraments of the Catholic faith did not qualify him for salvation, but rather his loving relationship with God did. I was fine with that. Then, he moved forward in praise of a relationship with God and Jesus, with a format very familiar to me, that of his personal testimony about his journey to salvation. Okay. Cool. I’ve heard that lots of times and, though I sort of cringed at first, thinking, “Normally I’d be more receptive, but, come on: is this the right place — like, what has this to do with today?” I was still tentatively on board, willing to see where it lead. I’m sorry and angry still to say that it lead only to more of the same. He spoke for some easily fifteen minutes, asking everyone to read the Word (okay) and pray about it (okay), but also to repeat a personal prayer he wrote, out loud along with him. Afterward, he had us close our eyes and then said, “Raise your hand if you really repeated the prayer.”
The uncomfortable, growing dissatisfaction I had pretty much burgeoned to full-blown dislike at that moment. At one point he threw down the Bible, but I’m not sure he noticed. He’d complained in his opening statements about not having a podium, so I’m sure that played a role, and I guess the important thing to him was what he was saying, not the source of the quotes he was citing in his very targeted proselytizing once he’d finished with them. I just know I wasn’t the only one to inadvertently have a sharp intake of breath on that one. But there was a general all-over shifting of feet and nervous sighs throughout, to be honest. This was not an issue of religious tolerance: it was an issue of inappropriateness.
Like, dude, we are graveside. It is not an appropriate setting for a) your story; b) talking about Jesus actually very well, but relating it back to yourself again and again rather than to your cousin; and c) evangelizing to these bereaved friends of your cousin, when with a prayer for discernment it might be easily seen that now is hella not the time. Not to mention, just personally, I felt that if his argument that justification for salvation was by faith alone and not works nor acts, then why did we need to repeat his prayer and raise our hand, or not, over the issue of repeating his prayer, like guilty five-year-olds who were being asked who ate the green crayon? It all sat very, very poorly with me.
I’m Catholic, dudes. Do you just kind of always expect me to unload at some point about how you all should be, too? And how properly to do so? Because I was offended as all-git-out and I couldn’t believe how blasé some of my most atheist friends were about what to me was this needless and selfish diversion, as if they’d anticipated uncomfortable evangelistic pressure from the beginning. When Big Ben asked me in the car whether I was up to going to the family’s smaller reception after the other gauntlet points of brutal funeral and heart wrenching graveside service we’d passed, I said, “I don’t want to go anywhere that douche is going to be.” He replied immediately, “That was pretty bad. But everyone grieves differently. Would Brandon have been okay with it, since it was his cousin? Probably. He’d want his cousin to have that time.”
I wiped away my tears, started the car, and said emphatically, “Fuck that guy. If that’s how he grieves, he sucks.” We did not go to the reception.
A little under three hours later, we were in Fresno, retrieving Ben’s wallet. That joke which I am famous for is, “No one should go to Fresno. Not on purpose.” But it’s really a diverse town, like any. Anyway, after we got the wallet from his friend, the friend asked for a cigarette because his girlfriend had asked him to quit smoking and he knew we’d have one. As we stood outside, at our friend’s insistence safely behind his apartment building in case his girlfriend came home unexpectedly — yes, we ribbed him without mercy both for his dishonesty and for his paranoia — Ben described the scene at the graveside with the cousin. The friend, who’d said plainly that he did not believe in an afterlife but felt that funerals were important for the living, which I liked, asked questions about the mourners’ reaction to the cousin’s unnecessarily aggressive come-to-Jesus sidebar. I’d stayed silent about that part of the services, still steaming. Ben jerked his thumb at me and said, “She was pissed.”
“Don’t see the sorrow,” photographed by meninalua on the da.
The friend clucked his tongue but then said, “Maybe that’s how he needed to grieve.”
What the what, man? Am I the only one whose sense of outrage is not overshadowed by sorrow? Or am I the only one who is blindly seeking refuge in outrage instead of sorrow? Maybe? And not to mention, I found comfort in aspects of the funeral that were Catholic and so culturally and familially familiar to me, but what of my friends raised outside that tradition? Did not my “stand up, sit down, kneel, repeat after me, say this when I say that” comforts probably confound and alienate those friends who were not accustomed to it? What right have I got to judge which are off-putting and which welcoming religious behaviors? I was sooo mad. You should have seen me. Wet hen-style. Fairly? Not, most likely. Oh, angry, mixed-up me.
But what I really want to say is good on those friends who gently chastised or tried to guide me back to zen-ness, for being yards more tolerant than I the alleged Christian witness of the bunch was evincing with my bitterness: they displayed a genuinely universal forgiveness for which I think many who recognize the love that bonds all things in this world without necessarily having an origin story for that love are seldom credited. I, on the other hand, wanted literally to point-blank fire a nail gun in to the eyeballs of my dead friend’s cousin’s head. Which is not at all loving. I know.
Now I’ve talked a great deal about one aspect of the day which was really not as big as I’ve made it out to be in this entry, and it’s not some hint of how repressed or larger it looms in my psyche than I knew by my writing it. It’s just that in a day so filled with grief, it was the thing I could describe with a more familiar emotion — outrage. The grief I will take a long time to get to know. The events of the day made me cry right away, as they happened, a big enough pain that I didn’t have time to push it down, it spilled over with me fully aware that I was unhappy. Most feelings don’t get that far in my cognitive process. So I know it’s going to be a journey to get cool with this dreadful shit.
He kept at true good humour’s mark
The social flow of pleasure’s tide:
He never made a brow look dark,
Nor caused a tear, but when he died.
(Thomas Love Peacock.)
I don’t talk much about myself. I do and I don’t. I don’t go in to practical, actual facts, or any great specificity beyond memories distant enough not to hurt when shared. That is the opposite of what this thought experiment was supposed to be. When I thanked everyone for joining me in the last two years, it forced me to confront the fact that I purposely stopped explicitly talking about or analyzing myself at some point along the way, when the original intent of this journal was as an unflinching self-audit. I’m going to try to sort of get back to that from time to time, as well as I can stomach it. But this is not going to become some bullshit vanity plate — I’d hate that. I’m sorry, but you’re never going to know real names of my friends and family, nor see pictures of me slutting it up on here or even obligatory self-held head and shoulder shots with oh-so-quirky expressions. I know I’m kind of hokey with a sweet rack and that my name starts with E. You just have to take my word on it.
I bring up all this by way of explaining that I’m going to talk about myself for a sec, here. If you are not down, I am totally okay with that: skip down the page to the fun stuff. I’m not in the least bothered. This I’m writing for me, because I’m supposed to be doing that and not shying away again and again. No excuses.
So, some shit has gone down for me emotionally in the last few days. I keep the entries of the journal queued up a bit ahead of real time, most of the time, when I’m not being a lazy wretch, so this has happened in the interim of the regularly scheduled posts’ appearances. But the Liberated Negative Space below, in the previous entry, really jolted me, and galvanized me to discuss something immediate that’s been affecting my life: namely, the death of an old friend, with whom I used to be very close in school. I was told about it yesterday, around the early evening.
On the way to my eight-and-some-odd hours examination today, I took the road he was driving when the wreck which killed him happened. I purposely looked straight ahead and listened to my music, focused on the road: I didn’t want to look at the sides of the highway in case I saw pieces of his Mustang. I thought very clearly, I come this way far too often to let this have power over me. I could never drive if I thought of it every time I pass past these spots. This is the strategy I always employ with things that make me feel Ways: I staunchly use deliberately dodgy methods to keep from letting any inanimate thing like a song or stretch of highway get power over my feelings, because I’m not supposed to have those, right?
But on the way back home, maybe due to the security blanket of the divider in the center so that I could not see the other-bound direction of the road anymore, or perhaps due to the unwanted stress of the exam being off my shoulders, I thought that my earlier deliberate ignorance was actually cowardice, and, if there were ever a time for me to step out of my expressionless shellac vis-a-vis facing down hard feelings, this was the time. This is no thing to put off wading through, I told myself. This is different and deserves better treatment than what you usually give emotions.
Here is what happened: I have a friend named B, B-Dub he liked to jokingly be styled, a good friend of about twelve years, who died in a horrific car accident in the early hours of Friday morning. He was driving his 1998 Mustang along a nearby highway, when, while attempting to pass a slow semi-truck, he lost control of his car and hit the center divider of the road. Not wearing a seatbelt, he was thrown from his car and then run over by a tractor-trailer, after which he died almost instantly.
I know, right? Who the fuck does that actually happen to? It is gruesome as hell. That is action movie shit right there: that is not something that happens to someone who’s squeezed your hand during a pretend seance, or nursed your spins before taking you home. Just unbelievable, unimaginable even. The idea that my friend is dead is hard enough to wrap my mind around, let alone his last seconds of life.
Hang loose? Is that still a Thing?
I don’t really care to go in to safety and hazards in the details of the accident, etc, just now. Those are obvious, I think we can all agree. What I want to say is that, of all my old friends, and I am blessed to have more than I ever dreamt in my lonely childhood I would — which makes them all the more special to me — B was one who was a true comedian, a really blithe spirit. In late adolescence, it seems like some people are very, very funny and still have that dark or serious side off of which you feed while you pick things apart and explore your latent sarcasm and rage. Not B.
Heading out to a call for emergency.
B was all right with listening to you complain, but he was much more evolved than to do so himself, due to his, I came to realize as we grew close, well-chosen and informed, mature good nature. There was no naivete to it, and he never played the fool. He was just a joyful man, a sprite or leprechaun who burst with comic energy and always lifted your spirits. He genuinely loved to make others happy. That he would die in such a way has seemed particularly cruel to me. But why, I ask myself. It’s not a death that “fits” anyone. Doesn’t everyone remark on how vivacious and free-spirited the deceased was in their elegaic, closing remarks? Does any death suit anyone?
B-Dub is on the far right.
No. Christ, of course not. But we don’t get to live forever, at least not that I can tell as yet. People keep saying things to me like, “It just reminds you to live in the present, express your love to those who matter, live life to the fullest, because you never know,” etc., but it’s not very comforting. I guess what they really want to say is, “People die” (which I have already painfully learned) and “– your friend did. You can’t change it” (another thing I know) “So find a way to get okay with it.”
Why not get amped over snack treats?
And I’m going to try. I’m going to listen to my heart instead of suppressing it. I’m going to acknowledge what I’m feeling. What I’m feeling is exactly what everyone tells me, which I want to reject: ie, that my friend is dead, and that there is nothing that I change about it. And as I said, I’m trying to get okay with it.
And I have started by saying I’m pretty fucking well upset about it.
For some moments in life, there are no words.
(Willy Wonka. Willy Wonka and the Chocolate Factory. Mel Stuart, 1971.)
This entry was originally posted March 1, 2010 at 11:50 am.
Yesterday I was reminded that I had a bunch of these “Way They Were” entries planned and had only followed through on one (Jayne and Mickey). That’s cowardly. I’m going to try to motor through more in the coming months.
“Sitzende Frau mit hochgezogenem Knie”/”Seated woman with bent knee”, 1917.
Although artist Egon Schiele had been separated from Valerie “Wally” Neuzil and married to Edith Harms for two years by the date of this painting, most everyone agrees this is from an earlier study of Wally. It looks too much like her not to be, and he uses the colors that are associated with the Wally work. It’s my favorite work by him. It was on the cover of the Schiele book that my husband, who is a painter, had at our house in Portland, and was the entire reason I found myself opening and reading the book one day. I was interested in Schiele’s work, which is provocative and weird and has many shockingly modern features, all things I like, but, because his life was tragically cut short by disease, his career arc is brief. Coming away from the slim book about his life and art, I felt that his work was dominated by the chief feature of his life, which is to say in a nutshell his time with the real love of his life, which he royally fucked up, and it was the story of that, of Egon’s eventually jacked-beyond-repair relationship with Wally Neuzil that really sucked me in.
“Das Modell Wally Neuzil”/”The model Wally Neuzil.” 1912.
Artist Egon Schiele and his model, Valerie “Wally” Neuzil, were together from 1911 to 1915. He met her in Vienna when she was seventeen and he was twenty-one. Supposedly they were introduced by Gustav Klimt. Supposedly she had been Klimt’s mistress before she got together with Schiele. These things are all conjecture because everyone involved is dead, and they happened before the Great War, which so influenced the German-speaking art world in the years just following it that anything which contributed to or influenced an artist’s work before the War kind of fell by the wayside until later generations resumed their scholarship of turn of the century artists. That’s fair. Such radical changes happened during and after the War that I imagine it seemed crazy, outdated, and irrelevant to really consider too deeply the little emotional outbursts and criminal trials that came before the dramatic political events of the 1910’s and 20’s that literally reshaped the landscape.
“Rothaarige hockende Frau mit grünen Strümpfen (Valerie Neuzil)”/”Crouching figure with green stockings” (Valerie Neuzil).” 1913.
Egon and Wally left Vienna because they considered it too oppressive. They sought an inspirational, romantic, and bucolic lifestyle of freedom in the countryside, moving to Krumia — which also had the more practical benefit of much cheaper rent than Vienna — where, though Schiele’s mother was born there, they were summarily run out of town not too long after for being a little too inspirational, romantic, and bucolic: they’d been using the town’s teenagers as “models”. There’s a Schiele museum there now, so I guess that, like cream cheese, their hearts eventually softened to a spreadable cracker topping. That analogy got out of control in a hurry. It’s almost time for me to grab lunch, sorry.
“Wally in roter Blouse mit erhobenen Knien”/”Wally in red blouse with raised knees.” 1913.
Essentially fleeing the angry mob in Krumia, Egon and Wally moved again, this time north to Nuelengbach, where it was apparently same shit, different day, as they were not there even six months and Schiele was arrested for seducing a minor. Once in custody, they dropped that charge (apparently the young lady changed her tune when the absinthe wore off?) and an abduction charge the parents had insisted be levied originally, and instead tried and found him guilty of displaying inappropriate art in a place where minors could see it. He was released from prison after serving twenty-four days in April 1912 — are you getting the idea of what an awesome prince he was? such the lucky girl, that Wally — and they moved back to the Vienna area.
“Auf einem blauen Polster Liegende mit goldblondem Haar (Wally Neuzil)”/”Reclining female figure with gold blonde hair on a blue pillow (Wally Neuzil).” 1913.
Settled with Wally in Heitzing, a Viennese suburb, Schiele wrote to a friend in early 1915 that he was going to marry one of the Harms sisters, two locksmith’s daughters named Edith and Adele who lived across the street from his studio, for money. I guess running around for three years painting erotic pictures and pissing people off while sleeping with teenagers and doing jail time had not turned out to be the lucrative life of luxury he’d anticipated; the cash flow was getting low, and, despite that he considered Wally his partner and soulmate, marrying for money was Schiele’s timeless solution to their financial woes. He followed through on this, marrying the older of the daughters, Edith, on June 17, 1915, exactly 91 years before my own wedding day.
“Frau in Unterwäsche und Strümpfen (Valerie Neuzil)”/”Woman in underwear and stockings (Valerie Neuzil).” 1913.
A few days after his wedding, Schiele was called to the war, but managed to always serve in Austria, so he was able to continue with his art and stay close to his ties in Vienna. Wally had broken up with him when he told her he was getting married. Schiele wrote to friends expressing shock and grief: he’d actually expected her to understand and stay with him. He wrote a letter to Wally asking her to meet him at a billiards parlor that he liked to go to. There he gave her another letter, proposing that every year they go on an extended holiday, without his wife. She did not write back or respond positively to this. Instead, she left him and never saw him again.
“Frau mit schwarzen Strümpfen – Valerie Neuzil”/”Woman with black stockings – Valerie Neuzel.” 1913.
I was furious when I read this. I still remember sitting in my little house in Portland and my jaw dropping, and my blood boiling, all this anger and resentment simmering in me, directed at people I never met who’d been dead nearly a century, but I couldn’t help it. I hate him for marrying someone else, I hate him and I hate the story of how they were because it reveals that through all that time they spent together, Schiele must have considered Wally lower than him, and though she stood by him , asshole though he could be, he thought her to be the unimportant one, expendable and suppressable, and he literally threw her away like garbage even though she was the best thing that had happened to him; his drawings of her are the best things he did. But that is how some stories are, and I deserve to feel angry because I need to accept that, I have to work through my sadness about the fact that nothing and no one has ever been perfect not even for a day or an hour or a moment, every joyful thing is secretly riddled through with the knowledge that this is so good now because there will be pain later and every lucky penny has a tail side of the coin, and if I have to search my soul and see if there is any gold in the dross of this love story that I in my infantile understanding of human nature found so devastating than I guess I must say that I do love that Schiele really loved Wally in an incredibly broken way, and had that time with her in which there must surely have been good moments.
Photograph of Wally and Egon from the Schiele Museum online.
Schiele died only three years after his breakup with Wally, on Halloween 1918, in an influenza epidemic which had several days earlier killed Edith and their unborn child. He passed away completely unaware that Wally Neuzil had herself succumbed to death from disease around Christmas of the previous year. She’d become a nurse for the Red Cross and, stationed at Split in Dalmatia, she caught scarlet fever from one of her patients and died in the same hospital at which she’d been working for over a year.
edit 7/6/11. Question for discussion: on a large enough timeline, aren’t we and all our petty passions and tragedies truly sound and fury, don’t we signify nothing after all? I want to think not — likely only because of vanity and childish fear of my own meaninglessness — but it seems so true.
I do not believe in God; his existence has been disproved by Science. But in the concentration camp, I learned to believe in men.
(Jean-Paul Sartre.)
Magneto: I remember my own childhood … the gas chambers at Auschwitz, the guards joking as they herded my family to their death. As our lives were nothing to them, so human lives became nothing to me.
Storm: If you have a deity, butcher, pray to it.
Magneto: As a boy, I believed. As a boy — I turned my back on God forever.
I think it’s interesting that while Sartre takes it as given that there is no God, Magneto doesn’t say he doesn’t believe in God: just that he’s turned his back on God.
Do you believe there are events so breathtakingly beyond our tiny human processing powers in their scope that even the fallout we ourselves witness is tiny compared to the ripples they create in the universe? Do you think those ripples can become so powerful as they reverbate out in their effect that they can negate the existence of God? I’m not explaining my question well.
Okay. Obviously there are events that can make a person declaim God’s existence, as Sartre does, just as those same events might crystallize another person’s faith, reaction to the primal scene taking a different effect on each in their turn. That part I do not question or debate. But suppose that there was certainly a God: could something happen that was so bad it could kill God? Would not the events of the second World War, the Holocaust and the bombing of Hiroshima, be such a thing? And have we not compounded that as humanity daily ever since with the usual million atrocities and ungrateful offenses that people have committed toward one another and their environment since they first slithered on to land and grabbed hold, just continually jackhammering cracks in the material of the universe? It’s like two in the morning, why am I even writing this. I guess if Nietzsche’s right and God is dead, I’m saying we killed Him. Right? Don’t shoot the messenger, baby.
This entry originally appeared on June 12, 2010 at 11:14 a.m.
Why wilt thou Examine every little fibre of my soul
Spreading them out before the Sun like Stalks of flax to dry
The infant joy is beautiful but its anatomy
Horrible Ghast & Deadly. Nought shalt thou find in it
But Death Despair & Everlasting brooding Melancholy
Thou wilt go mad with horror if thou dost Examine thus
Every moment of my secret hours. Yea I know
That I have sinned & that my Emanations are become harlots
I am already distracted at their deeds & if I look
Upon them more Despair will bring self murder on my soul
O Enion thou art thyself a root growing in hell
Tho thus heavenly beautiful
to draw me to destruction
(William Blake, excerpt from “Part I: Enmion and Tharmas,” in Vala, or, The Four Zoas: the torments of Love and Jealousy in the death and judgment of Albion the Ancient Man.)
All photos are screencaps from a collaborative short film put out by Lulamagazine and the ubiquitous UK-and-now-THE-WORLD clothing store Topshop. Here is a linky to the video, which is unusual and beautiful and freaky, but as you are watching this artistic short film remember it is designed to sell faux-Bohemian low-quality overpriced clothes that will be out of style in six months to impressionable and likely self-loathing young women with eating disorders and disposable income. The fashion industry is so cruel with its kindness that I go back and forth on appreciation and hate.
I’m sorry, I went to the mall earlier to pick up some comfortable summer shoes with my grandmother and now I’m in a low mood. Nothing puts me out of sorts like that snake nest. Like, everyone is slithering over the top of each other and accidentally biting their own tails and dropping money on shit they don’t need, finances they have gained from the jobs they keep specifically to make a weekend trip to a goddamned mall and drape shiny fabrics over the viper shitpit of the system so it looks all pretty and coordinated while they sip complacently from some kind of frapped coffee bullshit drink packed with sugar and empty calories that they store in the cupholder of their child’s stroller. Their kids are with them, of course, because children must be taught to want made-up food like chicken nuggets and aspire to own over three pair of shoes. Seriously, I want to watch it burn, burn, burn.
I know that my Emanations are become harlots.
I think I’m going to go take ten and paint with the kidlet or something.
Dr. King poses with Robert Kennedy. What one man does not know is that the other has been politically bullied in to tapping the first’s phone since 1963.
There are so few straightforward and ideal moments in time, and even fewer uncomplicated and ideal men.
If physical death is the price that I must pay to free my white brothers and sisters from a permanent death of the spirit, then nothing can be more redemptive.
Do I believe this? I don’t know. I’m not sure I’ve had it proven otherwise. But I know that I don’t want to believe it. I’m just afraid that it is true and even though I am most often the author of my own solitude, sometimes loneliness still takes my breath away. I came so close to the end last year, and thank god pulled through, but how much would I have left unsaid, precisely because of my deep-rooted fear that, indeed, everything we love rejects us or dies? No more dwelling on it. No more sudden pricking in my eyes and cold wind sweeping through my chest.
E’s first resolution for 2011: No more tears for fears.* No crying buckets, nor glasses — not even a shot full. If I’m afraid that continued surrender to my impulsive fear of others will leave me lonely, then it’s up to me to keep on loving more: my friends, my family, and whatever else comes my way.
*But always more Tears For Fears. Everybody wants to rule the world, so if you’re head over heels, you’d better shout (let it all out).
I said before that writing about my dreams was too disturbing, but that is a cop-out. This dream I had about two years ago. Its winter setting was emphatically a part of its ominous overtones.
I dreamt that I was in a frozen town with my daughter, who was very young in the dream, and a man I had used to be with. I became separated from them during some type of dreary, macabre parade. There was something wrong and sinister about it, but I wasn’t sure what, and I was caught up in looking for my daughter and the man.
Winter Carnival, 1909.
The procession of people were all bundled up in raggedy black clothes, like Victoriana gone to seed, and the “floats” were black carriages making tracks down a main street in the snow.
As I paced the street looking for the rest of my party, blowing on my hands and calling out for my daughter and the man, I saw a pulpy mess in the road and smeared, reddish-purple blood and tissue in the ruts left by the carriages.
They’d run over something that I had the impression was small and helpless but also somehow dear and marine, like an otter or seal or something. Each carriage kept rolling on, continually running over and through the remains of whatever this now bisected and strewn-out creature had once been.
I tried to escape the image by going down different side alleys in the frozen town, but they all lead back to the same main street. The sight of the gore and entrails against the snow was chilling and horrifying on a deep-down level which was out of proportion to the event, like as if it had some weighty significance that my mind was shying away from fully realizing. I woke myself up with the kind of shock and sweat that suggested it had been a terrible nightmare, but I could not, when recollecting the details of the dream, understand why it upset me so much.
I never thought about it until just now, but I guess it must have been my daughter in the street. I think that’s what my mind kept pulling me back from seeing.
This has not been an at-all uplifting or illuminating “Winter of my discontent” entry. But it does represent the second time I’ve attempted a Dreamtime entry. The first one was about a hanged woman. Based on that, you may think that I’m not doing so hot on the Dreamtime sharing, but that’s actually about the usual caliber of my dreams.
Once, a boyfriend and I were drinking spiked egg nog and sitting on the couch in his seedy apartment, surrounded by the trappings of our small, personal Christmas Eve gift exchange. I was planning to go home later in the evening and spend Christmas Day proper with my parents, and, since neither of us believed in Santa anymore, although I was wearing a smashing Mrs. Claus number from Frederick’s of Hollywood that he’d just given me, we saw nothing wrong with doing the gifts on Christmas Eve rather than pushing in on my family celebration for the morning.
His arm around me while we watched a burning log on a channel he’d found on the television, this boyfriend asked me, “What’s your favorite Christmas memory?”
My favorite Christmas memory. I was four years old and we lived in our second doublewide and, being a runt and not even considering myself worthy of a bed but dimly aware that it was too near a waste of money to buy child-sized things, as we would just outgrow them and render the gesture useless, I still slept in a crib. It was the year Strawberry Shortcake was first really huge, and I used to beg my parents to rent a VCR so we could watch Strawberry Shortcake tapes.
We went to Midnight Mass on Christmas Eve. It was the first time I’d ever been to Midnight Mass and been awake for it. All the lights were off in the church and we each carried a candle with a little cardboard-paper holder to protect our hands from the wax. I cradled mine in front of me and tried to guard the flame from my breathing — you know how kids breathe hotter and harder than adults, like they take in bigger gulps of the world, like we give up more on wanting a part of it all the older we grow, until at the end we can only reluctantly take in these thin little sips that don’t even stir the air. I shifted from foot to foot and spun my head around to get the best view of Our Lady Star of the Sea, looming and receding, so deliciously unfamiliar and creepy, in the flickering shadows thrown up by the candlelight, as the cantor sang the lineage of Christ.
At the final lines, “And thus, all things being right in the universe (or something like that) … Jesus Christ is born,” and the lights all came up at once and a tympani rolled and trumpets began as the choir started singing “Gloria in Excelsis Deo” and it blew my mind.
On the ride home, the defrost on the Honda we had didn’t work anymore, and my dad had his window down and kept leaning out and wiping the windshield. In the backseat, the dew on the windows refracted the orange sodium vapor lights and I could see myself reflected in the window, suffused with the glow of dancing lights as we passed under them.
It was a pretty decent trailer court (one of those ones that says it is a Mobile Home Park) and a lot of people had gone all out on decorations. Because I was only four, I hadn’t been out and about seeing the lights at night in the weeks prior, so it was new to me. Everything looked unearthly, serene and intended and transformed, and the air that came through my father’s rolled-down window was humid because our town was surrounded by bogs but frosty, too, like sucking in freezer air, or the blowback of your breath against a tray of ice cubes. It was bracing and beautiful in that way that only very cold things can be.
When we got home, I went to my room to put on my pyjamas and there was a bed in my room. It had an actual headboard, which my parents’ bed and certainly the hide-a-bed in the couch did not, and turned-back striped pink and green sheets and a Strawberry Shortcake quilt. There was a red heart-shaped decorative pillow on top of my regular pillow, edged with cotton eyelet lace. Propped against the heart pillow sat a Strawberry Shortcake doll, and I could tell she was one of the new ones that had strawberry-scented breath. The doll was the part that startled me the most, because it grounded the experience: this was something I’d seen on the television and not even dared ask for. This room could not be mine.
I stood in the doorway gaping. I remember I had to pee and was freaked out that this beautiful bed was in the middle of my room, where my crib should be. My first reaction was anxiety. I felt like I shouldn’t be there, or that someone was going to take it away. My father came in and threw me on the bed, so I bounced, and my mother took pictures of me holding the pillow and the doll.
After I’d changed and gotten ready for bed, and climbed in it for the first time, my mother came and sat by me and told me how my father got the pieces for the frame and my grandfather and uncle had put the bed together while we were at Mass. My aunt had bought the doll, my mother made the heart pillow, and my grandmother sewed the quilt. Money was very tight for my family at that time, and everyone had come together to make sure I got a big girl bed for the first Christmas I’d remember. While she described their plans, this feeling in my stomach shook looser and looser, and it got away from me and filled the room and I started crying.
My mother clucked over me and said I was tired, and stayed next to me with the light off until I made my breathing regular enough to convince her I was asleep and she left. I lay in the dark looking at the textured ceiling, trying to avoid the spots where in the dark it made shapes that scared me, and felt tears run backward down my cheeks and drip slowly in to my ears. It was like Christmas and the choir at Mass and the cold vastness of the empty town on the drive home, with the lights on and no one on the street, and yet the tiny little family with all their love filling up the inside of my room and our home — was all so big and simultaneous that I could only cry, not from being sad, but from being humbled.
I thought about all that when my boyfriend asked me my favorite Christmas memory, and got shy. “You go first,” I said.
He described how one Christmas, after they’d opened all their toys and were having breakfast and watching cartoons, his mother surprised them with another box full of toys for him and his sister.
I asked, “Do you think — was that maybe the first Christmas after your parents divorced?”
“I don’t know,” he shrugged. “That all runs together. It was just awesome when she brought in that box and I knew it was full of more toys. I got everything that year — G.I. Joes, the Castle Greyskull, like, seriously. Everything.”
I looked at him and he had these particularly garish colored lights strung up on his fake Christmas tree, the kind where the red is really pink, and he’d set them to blink, and at that moment he was lit by them in a way that made me not recognize him as he stared at the television. He seemed like a total alien, like someone with whom I’d never spent hours: a stranger the planes of whose face I had never memorized in the dark. And I never told him my memory.
It wasn’t his fault, and I railed against myself for it later and tried to pretend it hadn’t happened, but, in that exchange, this sharp divide fell down between us, for me, and I could never seem to want to get it back up. Maybe if I’d told him then about this disparity in our childhood memories, things would have been different, because it really wasn’t a big deal and might even, in the telling, have picked up some softer and selfless side, some deeper soul in him that I cheated out of revealing itself. I’ll never know, because I never told him about it.
Now, when I remember the Strawberry Shortcake bed, I remember, too, those decades later, sitting in self-imposed silence in my cheaply-ribboned red velvet and mirabou beside a stranger with a pink forehead and shadow-socketed eyes before a picture of a burning log, when I maybe missed the mark — or maybe ducked a knife — and I think again of the bigness of my family’s love and the smallness of the details of our lives, and am grateful more than ever before. And I still let tears roll into my ears sometimes, because of course they will all die, they have already begun, just as I will and have nearly, and all that I can do is cling to these passionate recollected moments, captured so clearly in my memory, and hold them close enough to keep my heart in its right shape, so then when I join them they’ll be able to recognize me.
This entry was originally posted on November 10, 2009 at 10:21 pm. Some pictures and more action descriptions have been added.
This post was originally accompanied by screen captures from a spotty YouTube video. I’ve capped the extras from Goonies myself since then, so I’ve got much clearer versions now. Also at the bottom you may enjoy lovely bonus caps of the madness.
Back to the original.
The Goonies are good enough for Cyndi Lauper.
Today after I picked up kidlet from kindergarten, we jetted down to Ceres for some gloomy day movie cheer. Clue strangely put us to sleep but then Miss D, kidlet, and I watched us the crap out of some Goonies. We watched every single feature it had. Maybe even to our detriment.
Steven Spielberg has a cameo and Cyndi Lauper wrestles the octopus that vanished from the Goonies final cut — oops.
One of the features we watched, which I'd never seen before in its … I'm not sure what to call it? totality?, was a two-part music video put together by director Richard Donner and theme songstress/my fantasy fairy godmother Cyndi Lauper, with a cameo by producer Steven Spielberg, to promote the film. I don't even have words for the surreality of watching the video. It was really something. I will not soon forget it. These are my neutral words.
The video features
World Wrestling Federation pro-wrestlers André the Giant, Captain Lou Albano, Rowdy Roddy Piper, Wendy Richter, The Fabulous Moolah, The Iron Sheik, Nikolai Volkoff, Freddie Blassie; Steven Spielberg; The Goonies cast (except for Kerri Green, Anne Ramsey, Joe Pantoliano, Robert Davi and John Matuszak*); and the relatively unknown Bangles as a group of female pirates. Roseanne Barr appears as the “sea hag”. Lauper’s mother appears as “Cyndi’s mother”, reprising her role from “Girls Just Want to Have Fun”.
*The lead cast members from the film who do not appear in this video are those playing Andy, Ma Fratelli, and the Fratelli brothers.
The plot runs like this: Cyndi’s folks run a Mom and Pop gas station that has fallen on tough times. They are packing up and ready to come west to Californny or some such to start a new life and meet Peter Fonda, when they think they have customers! Is the station saved?? Wonderful!
Psych. Turns out it’s the creditors. The gas station is being bought out by villains from the WWF, each attired as a different weird stereotype. Unfortunately, they also have dialogue.
Cyndi and her brother? friend? and sister? his wife? are helping Mom and Pop (Cap’n Lou) pack up the ol’ place when the action begins.
The nouveau riche, stereotyped creditors chew up the scenery and generally set up quickie symbols of their wealth, such as a Benihana-type joint in the middle of the parking lot, which many consider the international sign of good taste and refinement, some to the point of exclusion. (Do not even try to talk dimsum on rollerskates to them; they will not listen.) The hibachi flows like wine and the wine is snorted like cocaine. In fact, there is no wine. It is just cocaine. Off-camera.
The skeleton and she scream at each other and her hair blows. It is a deep and fractured commentary on the intersection of orgasm, death, and bad ’80’s video special fx.
Cyndi discovers a secret cave behind a painting of their grand-ancestor, where she encounters the Goonies, who help her decode a map she lifted off a dead guy — real fuckin’ nice, Cyn.
The we get a nice long look at the same clips America had been seeing for several months in the Goonies trailer, and you think maybe it’s done? but no. Suddenly, some pirates show up (psst, it is the WWF guys IN DISGUISE — could it all be a dream, but a real adventure, too, a la The Wizard of Oz?), and Roseanne Barr. Oh my god, nightmare combination! The Bangles are there, too, but they do not try to sing.
In the chase that ensues, Cyndi stops real quick for some hibachi, creating a prevalent and provocative ongoing theme in the video.
Perhaps this is meant to make us reflect on the marketing of foreign cuisine in America, or on materialism and the ease with which an ordinary item common to one country can acquire peculiar clout in another country. Or perhaps it is merely included in order to set up a joke that is some straight racist garbage: ie, the following picture’s caption.
The pirates and the sea hag enslave the kids at murky tasks like, um, stirring big pots, and force Cyndi to dress like a Floridian prostitute while carrying buckets and singing (they do not allow her to stop singing even once).
Cyndi and her friends manage to overthrow the pirates and get away with some loot from the ship, but the “cheatin’ creditors” will not accept it as payment for Mom and Pop’s debt on the shop. Not even when she repeatedly bites it to prove its value! I know, right? If only she had offered them some fresh, dope funky fun hibachi.
As it is, Cyndi grows weary of attempting to convince the creditors to accept her jewels as payment, and whistles as one only does for a taxicab or deus ex machina. And what is it going to be?
Why, it’s Andre the Giant, and I am pretty sure he is literally still wiping coke from under his nose when he first appears! He beats up and chases away the creditors, which means the debt is legally and officially cleared forever, duh, and the video ends with this triumphant shot.
Oh, my god, I want that to happen to me every day after I die. I like to believe in an afterlife, unless I am in a particularly foul and doubtful and wobegone mood, and of course Andre the Giant is there waiting for me so we can finally hang out and stuff, and I hope so fervently that every single day when I greet him in Heaven he scoops me up and we cheer and do ’80s fistpumps in the air. It’s gonna be sick.
So here’s the video if after a report on all that insanity you need fuller confirmation of its existence.
Bonus caps:
Cyndi struggles with the octopus who never made it in to the theatrical release but was apparently still considered an important enough plot point at the time of this video’s production that Spielberg and Donner made sure to include him.
Stuck on a log, Cyndi asks Spielberg for help via the magic of television screens. He basically says he does not care, he is only here to remind people that hey-hey-hey, Stephen Spielberg is involved in this picture so you should run out and see it just as fast as your thickening Dorito-and-Pepsi-lovin’ legs can carry you. He signifies his essential non-interest in what’s happening by not removing his sunglasses despite being indoors and ostensibly watching television.
Captain Lou laments to his long-lost dead ancestor about the state of the gas station. But it’s going to be okay because …
Secret treasure inside the hidden cave! Happens all the time!
Goonies does not have any fart jokes, but the “Goonies R Good Enough” video does. As is evidenced by the sign in the below cap.
I say again, for all the casual vulgarity of youth as young as elementary school-aged and as old as seventeen that characterizes the scripts of both Goonies and E.T. (and their rather heartwarming insistence that these two age groups consistently interact and save the world), the movie Goonies does not have even one single fart joke. In a movie with as many other dick, breath, sex, and LCD body-function jokes as Goonies, that is pretty anomalous. I’m going to call it happenstance. I doubt it was on purpose.
WWF Pirates hunt for Cyndi Lauper. Recall that they have been dispatched by Roseanne Barr, assisted by the Bangles.
1. WWF.
2. Cyndi Lauper.
3. Roseanne Barr and the Bangles.
80’s Trifecta!!
Cyndi singing in aforementioned Floridian prostitute getup under the insistence of the Bangles, Roseanne, et al.
The octopus himself. Farewell, dude, we hardly knew ye. We’ve only seen ye in weird television cuts that were edited for time and had the master with the alternate ending. (Which Data still refers to in the released ending.)
Finally, my secret crush from this movie may be reported to be Data, because I squeal when he comes on screen, but really deep down it’s actually:
Martha Plimpton. Her and Jan Brady can come live with me and finally be appreciated the way they deserve. Oh, Martha Plimpton. Have my nearsighted, sarcastic blonde babies. Won’t you please? We’ll find a way.
Clear, unscalable, ahead
Rise the Mountains of Instead,
From whose cold, cascading streams
None may drink except in dreams.
(Auden, W.H. “VI.:Autumn Song.” Twelve Songs. March 1936.)
If ever there were a view on which to turn your back à la Gertrude Stein, a sweeping vista of the Mountains of Instead would be the one. No going back. Too late. Prams rolling on. Breathtaking strong tide of inevitability that takes all the water with it and leaves you and your petty fears and dreams dragging in the dust.
Time is stolen from us in such tiny ways — although I guess it is scarcely a theft when you never lock the door or look out the window to see if there is a shadow waiting for you to turn your back, as if all you possess are invincible by dint of being yours — and we use landmark occasions to mark the loss, but we only once in a while really look at what momentous and yet totally miniscule shit comprises what is destined to be our one and only, short history.
This Autumn was already weighing as heavily on me as last year. Now all I feel like I can handle doing is to take a hot bath and climb back beneath the covers (you see what I mean about aiding in our own robbery by time?). Thanks a lot, Auden. I guess what scares me most about it is does it always steal up on you? Does it just sneak up and you turn around and cry out, “Oh, not yet. It can’t be time yet. I’m not finished. I thought I would have more time.”
Is there any way to escape that, that moment of realization, that punch in the gut when the waste, all the time you wasted suddenly comes rushing up around you so you can’t even breathe? Your life is over and you’re not ready because you thought you could always keep backsliding, that there would be special accounting for prodigal, last minute, golden you, who always slid in under the wire, who always got a second chance if you smiled big enough when you asked. There is no talking or charming or dodging your way out of final reckoning, and no method by which I can imagine escaping the horror of that realization, and you finally turn around and see the Mountains of Instead. You made them that tall. What do you do about the regret which will follow. Is there a way to soften that blow?
I don’t think there is. I can make vows about viewing this poem as a cautionary tale, and shine you on about how I plan on avoiding such a fate by making every moment count, and on and on until the sun goes supernova, but a plucky attitude does not lower the Mountains of Instead even an inch. No changing the past. No erasing regrets. That is just some fucked up shit right there.
Promised a Movie Moment yesterday on Bonnie and Clyde (Arthur Penn, 1967), and here it is. The night that I first saw this film is one of those instances that really stands, clear, head and shoulders above others in my mind. I was a sophomore in high school and my father and I had got takeout Chinese food and rented Bonnie and Clyde some weekend when my mother was doing some church lady thing (now I’m a church lady, too … time marches on). As an already solid gold Daddy’s Girl, when my father told me it was “a very important movie,” and that “you will love it,” I was set with anticipation. Also, I really like Chinese food.
I had already read, a few years earlier, a good-sized, detailed book about Clyde Barrow and Bonnie Parker that I’d picked up at a thrift store. Lots of pictures, reprints of Bonnie’s poems, the whole nine. But what I saw was not what I remembered reading. I was surprised at the many deviations in the screenplay from the true accounts of their partnership and crimes that I’d read, yet I found the movie so absorbing and excellent, such a blend of glamour and grit, that I didn’t mind the liberties at all. I was totally taken with it — especially Faye Dunaway and her costumes and styling. Dad warned me to look away at the end, but of course I didn’t, and I gaped at the dancing corpses. This, I knew, was accurate, but to see it on the screen brought the unbelievably vivid violence of it to a shocking level that my imagination had not reached when I only read about their deaths. I thought then, and think now, that it’s one of the best movies ever made.
But not everyone shares my view. Especially initially, some critics outspokenly hated Bonnie and Clyde:
It is a cheap piece of bald-faced slapstick comedy that treats the hideous depredations of that sleazy, moronic pair as though they were as full of fun and frolic as the jazz-age cutups in Thoroughly Modern Millie.
Such ridiculous, camp-tinctured travesties of the kind of people these desperados were and of the way people lived in the dusty Southwest back in those barren years might be passed off as candidly commercial movie comedy, nothing more, if the film weren’t reddened with blotches of violence of the most grisly sort.
(Ibid.)
Oh, noes. Violence. That has no place in a movie.
Arthur Penn, the aggressive director, has evidently gone out of his way to splash the comedy holdups with smears of vivid blood as astonished people are machine-gunned. And he has staged the terminal scene of the ambuscading and killing of Barrow and Bonnie by a posse of policemen with as much noise and gore as is in the climax of The St. Valentine’s Day Massacre.
This blending of farce with brutal killings is as pointless as it is lacking in taste, since it makes no valid commentary upon the already travestied truth.
(Ibid.)
“As pointless as it is lacking in taste because it makes no valid commentary on the already travestied truth.” Let’s explore that criticism, shall we?
According to statements made by [posse members] Ted Hinton and Bob Alcorn:
“Each of us six officers had a shotgun and an automatic rifle and pistols. We opened fire with the automatic rifles. They were emptied before the car got even with us. Then we used shotguns … There was smoke coming from the car, and it looked like it was on fire. After shooting the shotguns, we emptied the pistols at the car, which had passed us and ran into a ditch about 50 yards on down the road. It almost turned over. We kept shooting at the car even after it stopped. We weren’t taking any chances.”
The lawmen then opened fire, killing Barrow and Parker while shooting a combined total of approximately 130 rounds. Barrow was killed instantly by [an] initial head shot, but Parker had a moment to reflect; Hinton reported hearing her scream as she realized Barrow was dead before the shooting at her began in earnest. The officers emptied the specially ordered automatic rifles, as well as other rifles, shotguns and pistols at the car, and any one of many wounds would have been fatal to either of the fugitives.
(Ibid.)
Officially, the tally in Parish coroner Dr. J. L. Wade’s 1934 report listed seventeen separate entrance wounds on Barrow’s body and twenty-six on Parker’s, including several headshots on each, and one that had snapped Barrow’s spinal column. So numerous were the bullet holes that undertaker C. F. “Boots” Bailey would have difficulty embalming the bodies because they wouldn’t contain the embalming fluid.
(Ibid.)
So … maybe that outburst of unthinkable retributive violence on the side of the law had a little something to do with the film’s objectionably grisly ending? Just a very, very belated thought for the late Mr. Crowther, who I must add with real respect was an esteemed and important critic in his time — pretty much until this review. All the cool kids stopped listening to him and assumed he was part of the stuffy establishment, and his reputation suffered. I think he really was not ready for this picture, is all.
Contrary to how he comes off in the review owing to our modern hindsight, Bosley Crowther had a very open mind, wrote against HUAC as curtailing art and freethinking, a brave and dangerous thing to do in the 1950s, and praised films with strong social content while disdaining jingoism and oversimplification of political ideas. Mr. Crowther insisted on the relevancy of foreign film to English-speaking audiences and did great things for the careers of some of my favorite overseas directors, including Fellini, Bergman, and Roberto Rossellini. That — to me — pitch-perfect mix of braggadocio and embellishment, expositorily satirical idealism, and vérité in Bonnie and Clyde, together with the innovative cinematic discourse which has been cited as ushering in a new era in Hollywood, just seems to have put him over the edge.
In any case, Bosley Crowther was not the only reviewer who found himself initially less than thrilled by Bonnie and Clyde.
Beatty, playing the lead, does a capable job, within the limits of his familiar, insolent, couldn’t-care-less manner, of making Barrow the amiable varmint he thought himself to be. Barrow fancied himself something of a latterday Robin Hood, robbing only banks that were foreclosing on poor farmers and eventually turning into a kind of folk hero. But Faye Dunaway’s Sunday-social prettiness is at variance with any known information about Bonnie Parker.
Variety disagreed with Time‘s slight of Faye Dunaway, saying
Like the film itself, the performances are mostly erratic. Beatty is believable at times, but his characterization lacks any consistency. Miss Dunaway is a knockout as Bonnie Parker, registers with deep sensitivity in the love scenes, and conveys believability to her role.
Overall, however, Mr. Kaufman pans the film, saying,
Warren Beatty’s initial effort as a producer incongruously couples comedy with crime … Conceptually, the film leaves much to be desired, because killings and the backdrop of the Depression are scarcely material for a bundle of laughs. … This inconsistency of direction is the most obvious fault of Bonnie and Clyde, which has some good ingredients, although they are not meshed together well. … Arthur Penn’s direction is uneven, at times catching a brooding, arresting quality, but often changing pace at a tempo that is jarring.
(Ibid.)
Fortunately, not everyone agreed, and more and more people began to “get” the picture. By the time Oscar season rolled around, Bonnie and Clyde received an impressive ten Academy Award nominations and secured two wins. Burnett Guffey received the Oscar for Best Cinematography and Estelle Parsons won Best Supporting Actress for her portrayal of Blanche, Clyde’s sister-in-law. The other nominations included Best Picture, Best Director, Best Actress (Dunaway), Best Actor (Beatty), Best Supprting Actor (both Gene Hackman and Michael J. Pollard), Best Original Story and Screenplay, and Best Costume Design.
1967 was a banner year for films — some of the movies to which Bonnie and Clyde lost the Oscar were Coolhand Luke, Guess Who’s Coming to Dinner?, The Graduate, and In the Heat of the Night. I said goddamn; what a year.
Modern critical reception of Bonnie and Clyde places it in the category of top films in Hollywood history, a landmark picture not only in the business and art of making movies, but also in the career of director Arthur Penn, whose death yesterday prompted this Movie Moment.
Bonnie and Clyde developed the aesthetic that marked Penn’s high-visibility period: slyly accented, harmonica-hootin’, harvest-gold-patchwork Americana; ever-poised violence; and an open invitation to apply the story as a flexible allegory for the issues of the day.
Going back to my own reflections at the beginning of this entry, when I saw the film again in college (after which I regularly re-watch it now), I was able to crystallize exactly why the changes in the screenplay from how the real-life story played out so imperturbed me.
The accuracy of the facts being related is not as important as the yarn being spun, and that yarn needs to be by turns a little soft-focus with family, a little jump the crick in a jalopy while banjos play, a little sexy and simultaneously innocent, teeming with tinfoil chicken and mishaps and stolen laughs besides stolen money, in order for the juxtaposition with the sharp reality of the consequences of that story’s heroes’ actions. Not just at the end, but throughout the film there are these jarring standoffs and murders that shoot the child’s balloon of the idea of what’s happening right out of the sky and back in to the reality of what is happening — and its inevitable conclusion.
Besides that most of the changes between the real story and the script make the tale tighter and better solidify characterization, the embellishments and inflated sense of ego in the main characters and in the cinematic discourse with which we are presented are important to the overall type of story being told. The grand Depression-era myth of the infamous lovers, robbers, and murderers Bonnie and Clyde, as Beatty and Penn have conceived and shot it, is more like the story that Clyde Barrow would have told to cellmates in prison. This is Bonnie and Clyde, so far as we can tell, as they saw themselves, something like folk heroes flying by the seat of their pants, living a ruthless dream and getting real scars from it. This version is a compelling and archetypal campfire story, like the epic outlaw poem that Bonnie Parker wrote about them while they were on the road, “The Trail’s End” (later renamed “The Story of Bonnie and Clyde” by the press), excerpts from which I’d like to use to end this very long — but I think justly so — entry.
They don’t think they’re too smart or desperate,
They know that the law always wins;
They’ve been shot at before,
But they do not ignore
That death is the wages of sin.
Some day they'll go down together;
They'll bury them side by side;
To few it'll be grief —
To the law a relief —
But it's death for Bonnie and Clyde.
(“The Trail’s End.” Parker, Bonnie. April 1933.)
R.I.P. again to Arthur Penn, who had the courage to make this fantastic piece of cinema his way and received just due for it within his lifetime. May we all be so brave, visionary, and fortunate.
All screencaps via the wonderful screenmusings collection.
Laughter and tears are both responses to frustration and exhaustion. I myself prefer to laugh, since there is less cleaning up to do afterward.
(Kurt Vonnegut.)
Shared the Batgirl photograph in this series in July and thought it was a goodly time for the Catwoman shot. I had a little bit of a weepy day, just kind of processing recent events which I’ve of course been dodging because it involves difficult introspection about Big Shit vis-a-vis life and death. But my chin’s back up and I look forward to a lot of laughter tomorrow as the Cappy comes in to town on a use-it-or-lose-it leave for a Very Special Episode of “How E. Got Her Groove Back.”
Special thanks again to Gordon Fraser for the heads-up on the article from which the pictures come.
The Thought Experiment 