Retirement

“My Lonely Room” by Jerry Cordeiro

My mother’s family has produced an uncanny number of recluses.  For example, my Aunt Virginia spent three-quarters of her youth holed up in her room in a rocking chair listening to the same Barbara Streisand albums over and over and over again.  Eventually, she transitioned into a halfway house for mentally ill, which required her to coexist with others, but she later was liberated to a subsidized apartment where she resumed her Emily Dickinson like existence. Three people besides her immediate family attended her funeral. [1]

Virginia at a New Years Eve party in 1964

Her father, whom we called Kiki, also retreated almost full-time to his bedroom.  There he listened to the radio (Paul Harvey, baseball games) or played the ukulele while crooning Hawaiian songs and/or yodeling. In his later years, he took his meals in that room where he stacked dirty plates on the floor next to the door for my grandmother to retrieve and wash after he had consumed the country meals she prepared and delivered.

In his sixties, Kiki began acting oddly, putting his alarm clock upside down on his bedside table, mowing the lawn at five a.m.  Eventually he was placed in a home in Columbia called Crafts-Farrow.  I was in college in Columbia at the time, so I borrowed my girlfriend’s car to visit him.  I met him in a large room where other patients and family members milled around.

He immediately recognized me and started relating hard-to-believe tales of the abuse he was suffering.  He said, “Rusty, help me escape. Ask them if we can go for a walk; then we can ride away.  Just let me out on the side of the road.  You’ll never have to see me again.”

I explained that he’d get better if he stayed there. As I was leaving, I asked a fat lady at a desk near the door to keep an eye on him, explained that he was planning to escape, and she let out a maniacal, unhinged laugh.  Ends up she was a patient herself.

The good news is that he did get better and returned to Summerville and the house and [mocking cough] enjoyed a much better attended memorial service.

His son, my Uncle Jerry, worked on a spy ship tracking Soviet missile launches and had purchased the house where they lived.  When he retired, he also spent the majority of his time alone in his room, which was more like a suite, on the opposite end of the house from his father.  My grandmother had her own room, so essentially, you had this nuclear family who had little to do with each another living together in their separate cells.

My grandmother was the exception.  She spent her days in the living area watching television from dawn until the Indian test pattern shut things down after The Tonight Show starring Jack Paar and later Johnny Carson. One spring when I was in grad school, I visited and was almost blown out of the door by the hotness blasting from a gas heater even though the temperature outside was in the seventies.  Obviously, though not ensconced in her room, she didn’t get outdoors very often.

My mother, on the other hand, was extroverted and vivacious. She was the only sibling to have children. In the summers, she took us to the Curve In Pool or the beach and loved yard work.

Although I’m not geared for extended periods of solitude, I can appreciate its appeal. In my case, I’d opt for a darkened room with no radio and no Streisand, just a grandfather clock and a never-ending supply of camphor-soaked handkerchiefs in honor of Faulkner’s Mrs. Caroline Compson. I’d lay the handkerchiefs upon my furrowed forehead as the clock audibly ticked away seconds and marked with chimes the quarter hours and knelled away the hours — one, two, three, four, five, six, seven, eight, nine, ten, eleven, twelve — while the planet rotated and revolved its way into my oblivion.

“Hey, Wes, have any plans for retirement?”

“Yeah, I plan to take it easy.  Hey, know where I might be able to cop some camphor?”


[1]You can read about how he disposed of her ashes here.

 

A Mean Case of the Sunny Sunday Morning Blues

Suffering from a bad case of the Sunny Sunday Morning Blues, I slouched across the hall from our boudoir to my drafty garret/book depository and composed a boring blog post that interpreted the Eden myth as a mythological explanation for the loss of leisure following the transition from food foraging to agriculture.

[Yawn]

I cited scripture:

“In the sweat of thy face shalt thou eat bread, till thou return unto the ground; for out of it wast thou taken: for dust thou art, and unto dust shalt thou return.”

And

“Unto the woman he said, I will greatly multiply thy sorrow and thy conception; in sorrow thou shalt bring forth children; and thy desire shall be to thy husband, and he shall rule over thee.”

I argued hunting and gathering were fun, citing statistics (“36.82 million hunting licenses, tags, permits and stamps were issued in 2017”).

[Yawn]

I pointed out that in the 21stcentury North Americans actually pay their hard earned money to pick strawberries and referenced a study that found “[a]nthropometric comparison between !Kung foragers in transition with settled Kavango horticultural pastoralists in Namibia indicate that the move from nomadic foraging to settled village life had deleterious effects on nutrition status for the !Kung.”[1]

[Yawn]

I commented on life expectancy:

Foragers often have long lives compared to people in the industrial societies of the 19th and early 20th centuries.  Richard Lee discovered that 10% of the San were over 60 years of age and the elderly, blind, senile, and crippled were supported by their families.  In the United States today, 10-15% of the people are over 60 and life expectancy is in the low to mid 70’s.  However, living to an advanced age in the Western World is a very recent trend primarily resulting from modern medicine.  In 1900, the average life expectancy in the United States was only 50.  At the time of the American Revolution, it was 35.  By comparison, the San lived relatively long, healthy lives.[2]

[Yawn]

I marveled that, according to the Kuhn Academy website, “[Foragers] spent “a large portion of their time in ‘leisure’ activities — conversation, joking, singing, and dancing. Decisions were reached by consensus, with women having relative equality with men. Chiefs were designated, but they had little additional power.”  In other words, food foragers enjoy an egalitarian society.

Truly paradise lost, I was going to argue: time not diced into ever-disappearing units of 60 – no Sunday morning blues — but a life imbued with meaning and imbedded in nature where rituals reinforce and playfulness abounds.

However, before I finished the post, my son Ned called me from Nuremberg for our weekly chat.  In the course of catching me up, he mentioned that he had attended a lecture entitled “Boobalicious?!  Production of the feminine breast in the comic medium” where he learned that comic villainesses ten to have firmer, higher breasts than their softer, more supple nemeses, heroines.

Then it suddenly occurred to me that foragers don’t have comic books and that they don’t fetishize breasts.  In other words, that their lives aren’t that great after all.

So farewell, food foragers, hail conical Mammalia! [3]


[1]Kirchengast, S. (1998). Weight status of adult !Kung San and Kavango people from northern Namibia. Annals of Human Biology25, 541–551.

[2]https://www2.palomar.edu/anthro/subsistence/sub_2.htm

[3]Now that’s a subject I could sink my teeth imagination into.

Curiosity

The experts – those focused folk whose curiosity has prodded them to explore and conquer narrow realms – inform us that curiosity is not an instinct but a drive, whether primary (innate) or secondary (learned) they can’t agree.  Curiosity’s strange doubleness – it can be good or bad, can lead to cures or kill the cat – is imbedded in its etymology, from L. curiosus “careful, diligent; inquiring eagerly, meddlesome,” akin to cura “care” coming to English via the Normans from O.Fr. curios “solicitous, anxious, inquisitive; odd, strange.”

On the other hand, we have to grant that instincts are good, given that they’ve been selected for survival.  Unlike a drive, an instinct is a fixed behavior, inflexible, the compulsion that impels your dog to wallow in rotting carcasses whenever the chance occurs.  He’s not curious, not wondering what it feels like to immerse himself in that putrefied puddle of dead pelican. No, instinct compels him to mask his smell to stalk his prey more effectively (even though he’s on a supervised walk and has never even successfully killed a cockroach).

Furthermore, this instinct to swaddle himself in stench will never succumb to your vain attempts at behavioral modification; e.g.,  no matter how many times you blast him with the garden hose.  No matter how many times you batter him with Anglo-Saxon epithets worthy of Jerry Lee Lewis with his hands smashed in the door of a Cadillac, you’ll not be able to dissuade your dog from rolling around in rot.

Behavior born of curiosity, however, can be deprogrammed; e.g.,  sticking his nose in a corner and having it snapped by a rattrap might dissuade Mr. Dog from poking his snout there again.

No, if curiosity were an instinct, we’d have no choice whether or not to enter that peep show on Heart Attack and Vine that promises nude contortionist siamese twins who can twist themselves into chinese characters that foretell the future.

No, we walk on by furtively glancing, placing our hands over our pocketed wallets or clutching tighter our purses.   We may wonder what it’s like in there, but most of us don’t wander in, even if we’d somehow tailed Tom Waits down the dark end of the boulevard.

Therefore, because of its double nature, we don’t really classify curiosity as a virtue, although without it, life is arid, impoverished. Alastair Reid’s poem nails the paradox:

 

Curiosity

may have killed the cat; more likely

the cat was just unlucky, or else curious

to see what death was like, having no cause

to go on licking paws, or fathering

litter on litter of kittens, predictably.

 

Nevertheless, to be curious

is dangerous enough. To distrust

what is always said, what seems

to ask odd questions, interfere in dreams,

leave home, smell rats, have hunches

do not endear cats to those doggy circles

where well-smelt baskets, suitable wives, good lunches

are the order of things, and where prevails

much wagging of incurious heads and tails.

Face it. Curiosity

will not cause us to die–[*]

only lack of it will.

Never to want to see

the other side of the hill

or that improbable country

where living is an idyll

(although a probable hell)

would kill us all.

Only the curious

have, if they live, a tale

worth telling at all [. . .]

How sad to take someone’s word for it without doing a little digging, to believe an inherited, unexamined ideology.  To sit in front of Fox News slurping Kool-Aid or believing that the cosmo adheres to Marxist economic principles.


*Well, unless we’re really stupid. Google “Darwin Awards.”

In my experience, the most curious students have been the happiest.  I’m thinking especially now of Willy Schwenzfeier, who seemed equally fascinated by the mysteries of quantum mechanics and the denizens of Faulkner’s Yoknapatawpha County.  Sitting up front, he was insatiably curious, asking questions, smiling constantly.  I dare say that Willy is probably one of the least bored individuals on the planet.  Whether this wonder of the world was inherent or fostered by his parents, I cannot say, but I do know that it served Willy well in high school.  To be curious is to be entertained, and, let’s face it, despite John Berryman’s great “Dream Song 14″  boredom amounts to an inability to ignite curiosity.

We should, however, like Odysseus, exercise caution in our curiosity, to make sure we’re securely lashed to the mast and all the shipmates’ ears are plugged with wax, and that if we decide to slip into that peep show to keep an eye on the exits and a hand on that wallet or purse.

“Odysseus and the Sirens”, 1902, by Otto Greiner

Do Lawd, Tennyson!

lf

At the tender age of five, playing a card game called Authors, I first encountered Alfred, Lord Tennyson with whom I would forge a rocky relationship.

The Authors deck held eleven sets of four cards depicting an eclectic array of writers, a disparate mishmash of talents: Louisa May Alcott, James Fenimore Cooper, Dickens, Hawthorne, Washington Irving, HW Longfellow, Sir Walter Scott, Shakespeare, RL Stevenson, Twain, the insufferable John Greenleaf Whittier.[1]  You drew and discarded and drew trying to make a “book” of all four. I played Authors a lot with my mother when I was sick with rheumatic fever, so, I knew these writers’ names and faces before I read them – and the titles of a few of their works.[2]

Although I don’t remember exactly, I probably first read Tennyson’s poetry in junior high. His “Charge of the Light Brigade” appears in virtually every 7th grade anthology.

Half a league, half a league,

Half a league onward,

All in the valley of Death

Rode the six hundred.

Tennyson, as you probably know, is descended from Mother Goose on his father’s side.

Pease porridge hot, pease porridge cold,
Pease porridge in the pot, nine days old;
Some like it hot, some like it cold,
Some like it in the pot, nine days old.

Although I was obsessed with nursery rhymes in kindergarten, for whatever reason Tennyson never flipped my switch.  I preferred Americans, Frost, ee cummings, Edna St. Vincent Millay, whose very name sounds like a poem. As an undergraduate, I took a Victorian Lit class for about a week but quit attending, not showing up again until the last no penalty drop day so I could cop the signature of the disheveled tweedy professor.

“So nice meeting you, Mr. Moore,” he said without irony. “I was hoping you’d show up again before the drop day passed.”

I smiled, thanked him, felt guilty.

I didn’t seriously study Tennyson until I took a grad course after I started teaching. That summer, I read him carefully, and although I prefer Browning, I learned to appreciate aspects of Tennyson, despite the Victorian bric-a-brac of his verse and his excessive morbidity.[3] The man was a master of versification. Here’s my favorite phrase of his: “the slow clock ticking.”  Try to say it fast.

You can’t.

It captures sonically the slowness of monotonous waiting.

On the other hand, the source of that phrase, the poem “Mariana,” gives center stage to a minor character from Measure for Measure who in Act 5 fornicates with her fiancé in a pitch-black room as part of a comic switcheroo. Her fiancé thinks he’s fornicating with someone else. It’s an elaborate ruse choreographed by the Duke, in part to force their marriage.

Here’s a parodist addressing the cognitive dissonance between the play and poem.

Mariana of the moated grange

about to get laid in Shakespeare’s play,

mopes in Tennyson night and day,

pretty fucking passing strange.

Tennyson’s poem imagines her waiting for her lover who has abandoned her because she lost her dowry at sea.

Here is the poem’s refrain, repeated with minor variations seven times.

She only said, “The day is dreary,

He cometh not,” she said;

She said, “I am aweary, aweary,

I would that I were dead!”

***

Nevertheless, I do admire Tennyson’s great elegy “In Memoriam,” that Moby Dick of mourning, written for his dear, dear friend Arthur Henry Hallam who had died of a stroke at the age of twenty-two.

 

hallam

Arthur Henry Hallam

The poem is written in a stanza now known as the “In Memoriam stanza,” a quatrain of tetrameter with the rhyme scheme ABBA, a very rigid form that makes fluidity extremely difficult (see above parody), especially when stringing several stanzas together.

After the death of my wife Judy Birdsong, I decided to reread “In Memoriam” to remind myself that mourning was in fact rather commonplace, that others, thousands, millions, billions have had to face heart-rending disseverment, “the blight man was born for.”

Well, I discovered my grief was in no way as profound as Tennyson’s, as deep as his, perhaps because I had had time to prepare myself (or perhaps because I am not as deep or as profound).

Nevertheless, these lines really struck a chord:

But, for the unquiet heart and brain,
A use in measured language lies;
The sad mechanic exercise,
Like dull narcotics, numbing pain.[4]

Anyway, after teaching Tennyson for the very last time this week, it occurs to me that I must be practicing psychological projection, attributing to Tennyson unconscious qualities that I have denied in myself.  How else to explain how often he has appeared in this blog? For example, here is a short story in which the narrator costumes himself as Tennyson to go panhandling as part of academic research. Type “Tennyson” in this blog’s search engine and eight posts appear, most of them mocking him.

Why the obsession?  What is it within me that I’m projecting on him?  Humorlessness?  Hypersensitivity?  Sing-song metrics? Pessimism?

Calling that great dissector of all things Victorian, Dr. Freud.

tennyson


[1]Blessings on thee, little man,
Barefoot boy, with cheek of tan!

[2]Because I was bedridden for three months, my mother taught me how to read, even though I wouldn’t enter kindergarten for another month after my illness.

[3]E.g., Ah, sad and strange as in dark summer dawns

The earliest pipe of half-awaken’d birds

To dying ears, when unto dying eyes

The casement slowly grows a glimmering square;

So sad, so strange, the days that are no more.

[4]During the last week of Judy’s life, I actually did algebra for recreation, sought escape in symmetry.

 

Straight Outta Wilmington

It’s been a while since I’ve donned the ol’ pith helmet to engage in some good ol’ fashioned anthropology.  However, this weekend my erstwhile grief counselor and now lawfully wedded wife Caroline (pictured below) and I travelled up Highway 17 to Wilmington, North Carolina to catch her friend Edie Senter in an all-female DJ contest held before an Ice Cube concert.[1]

The only other rap performance I’d attended was a Ludacris show at a multi-stage street festival, so I was curious if Ice Cube might offer a more diverse subject matter than Ludacris’s narrow obsession with “bitches” and “hos.”

We had VIP tickets, which allowed us a perch above the groundlings and provided us with easy access to refreshments in a semi-enclosed area. Edie’s husband Dustin, a club owner and impresario, hosted us as we took in the sights and sounds of the celebration, part of Wilmington’s Azalea Festival. After the event, he took us to one of the clubs for some further late empire partying.

Dustin and I-and-I

The MC in charge, a fellow whose name I didn’t catch, provided some fairly entertaining tunes but suffered from that common malady of radio personalities, an unassailable love of the sound of his own voice.  In addition, he had the tedious habit of extolling the audience to raise the decibel level of their responses.

“I can’t hear you?” etc.

Anyway, I especially enjoyed Edie’s performance. Beaming 100-watt smiles while bopping to the beat, she clearly loves spinning,

Here’s a way too short snippet.

 

 

If there were a God, Edie would have won instead of coming in second, but the flawed Queen-for-a-Day applause meter reckoning had her ending up in second.

I thoroughly enjoyed Mr. Cube and wish I had been familiar with his work.  When I mentioned to my 40-something pals at school I had been seeing the former founding member of NWA, they started gnawing their arms with envy.  Once again, this snippet in short and at a distance.

 

 

One last peek into the dangerous life of an ethnologist from the one of Dustin’s clubs.

 


[1]Even though I perform hip-hop under the stage name, Nilla Puddin’, I know about as much about rap as I do the regional cuisine of Lombardy.

The Alms of Palsied Eld

Consume my heart away; sick with desire

And fastened to a dying animal

It knows not what it is

WB Yeats

 

Gustav Klimt

Gustave Klimt: Old Man on His Deathbed 

One of the coolest speeches concerning the decrepitude of old age is the Duke’s contempto mundi screed in Measure for Measure, delivered to poor Claudio who has (to use guidance counsellors’ dearest cliché´) made a bad choice.

He’s impregnated his fiancée.

Not a capital crime, you muse.  Well, fornication hadn’t been until the Duke’s successor Angelo took over the government and started enforcing every law on the books, no matter how ancient or unjust.  Addressing Claudio on the eve of his supposed execution, the Duke offers some words of recompense for a life cut short (and a rather lurid peek into a future none of us wants to consider):

If thou [old person] art rich, thou’rt poor;

For, like an ass whose back with ingots bows,

Thou bear’st thy heavy riches but a journey,

And death unloads thee. Friend hast thou none;

For thine own bowels,[1] which do call thee sire,

The mere effusion of thy proper loins,

Do curse the gout, serpigo, and the rheum,

For ending thee no sooner. Thou hast nor youth nor age;

But, as it were, an after-dinner’s sleep,

Dreaming on both; for all thy blessed youth

Becomes as aged, and doth beg the alms

Of palsied eld; and when thou art old and rich,

Thou hast neither heat, affection, limb, nor beauty,

To make thy riches pleasant [. . .]

Yeah, but!  There’re still crossword puzzles, unread novels, Fletcher Henderson recordings, sunsets, that majestic roof fretted with golden fire, Shakespeare himself . . .

***

Nevertheless, I, too, admit I’d rather die than get shipped off to a nursing home.  Luckily, my late wife Judy’s parents avoided that fate as did my daddy and my mama (and both sets of grandparents). My wife Caroline’s father is still going strong alone at eighty.

Unfortunately, Judy’s grandmothers ended up in a “home,” and each trip down to St. Simons when Birdie and Gramma were among the quick included the resiquite visit to the motel-like care facilities where they languished.

Although the two women had been nothing alike before their relocation – Birdie a gardener and world traveler, Gramma sedentary, a knitter –  afterwards, their conversation consisted of the same broken record, a litany of complaints: stolen jewelry, bad food, bodily decay, a life not worth living.

Still, they appeared to be in much better shape that the wheel-chair bound specimens parked on the front terrace as you walked in. It was like something out of Brueghel or Bosch: skeletons, twisted into fetal position, oblivious, with open maws, or others, non-comatose, but wild-eyed and confabulating, living a hallucination.

08crippl

Breughel: The Beggars

 

Terrible to witness, but a brave soul must stare down horror if he or she wants to go wide-eyed and laughing to the grave.

* * *

No one –  no matter how successful or accomplished – can be assured that he or she won’t end up warehoused in some facility.

Among the famous names to have been shunted [at Motion Picture Country House] are Johnny Weissmuller, best known for playing Tarzan, and Oscar-winning actress Mary Astor who was remembered for sitting aloofly at her own dinner table.

The actor DeForest Kelley – Dr McCoy from Star Trek – spent his last days enjoying the picturesque palm trees and topiary. Hattie McDaniel, the first African-American to win an Oscar, for her portrayal of “Mammy” in Gone with The Wind, and director Stanley Kramer, who was nominated for nine Oscars, were also residents.

To think that Tarzan spent his last days cooped up in a Hollywood nursing home!  Gazing at picturesque palm trees and topiary ain’t gonna cut it for someone who swung through the jungle on vines.

Then there’s Samuel Beckett, who ended up in a Paris maison de repos.

About a year ago, after falling in his apartment, he moved to a nearby nursing home, where he continued to receive visitors. He lived his last year in a small, barely furnished room. He had a television set on which he continued to watch major tennis and soccer events, and several books, including his boyhood copy of Dante’s ”Divine Comedy” in Italian.

On July 17 this year, his wife died and he left the nursing home to attend the funeral. Late this year, after he became ill, he was moved to a hospital. There are no immediate survivors.

 

samuel_beckett

Damn, Beckett dies in a Beckett play.

***

Who better to have the last word than Philip Larkin?

Perhaps being old is having lighted rooms

Inside you head, and people in them, acting

People you know, yet can’t quite name; each looms

Like a deep loss restored, from known doors turning,

Setting down a lamp, smiling from a stair, extracting

A known book from the shelves; or sometimes only

The rooms themselves, chairs and a fire burning,

The blown bush at the window, or the sun’s

Faint friendliness on the wall some lonely

Rain-ceased midsummer evening. That is where they live:

Not here and now, but where all happened once.

 


[1]In my case, Harrison and Ned

Visiting What?

Last week Porter-Gaud honored my colleague Bill Slayton and me by naming us Visiting Writers for 2019, joining such luminaries as Billy Collins, Dori Sanders, and Pat Conroy, to name only three.  Of course, the head of the program chose us not on the merit of our canons but to honor us in the year of our retirement.  To be honest, my publishing history is as thin as Donald Trump’s skin, though I do have both a poem and a short story in anthologies catering to South Carolina writers.

Although Bill and I both felt a bit odd about reading unpublished works to a packed auditorium, the students were quietly attentive and asked good questions when we visited English classes.  One of the highlights for me was having my poem ‘The Grill” projected on a screen and analyzed by the teacher, Dr. Lehman, and his students.

I wrote the poem in the wee hours after having almost burned my house down.  I had placed a charcoal chimney on a log on my deck as I had dozens of times before; however, on this night — perhaps the log had dried out over time– in the course of two or three hours, the log caught fire, igniting the deck.  Luckily, Judy Birdsong and I were sleeping with the windows open, smelled the smoke, called the Folly Beach Fire Department, and they put it out before it could spread to the house.

After they left, knowing that sleep was out of the question, I got on line only to discover that one of my sweetest friends from childhood had succumbed to cancer, so I sat down and wrote the poem, a bitter comment on the transitory nature of life.[1]

Here’s the first stanza:

I’m tearing apart paper,

newsprint, the obituary page,

shredding descriptions of lives:

of fathers, mothers, sisters, brothers,

bachelors, partners, husbands, wives,

shredding their black-and-white

faces, their smiles, their stares,

ripping also the memorial verses

loved ones have left,

wadding it up

to fuel my charcoal chimney.

Dr. Lehman and students asked about diction and line breaks.  For example, did I break the first line after “paper” and the second after “page” to create an alliterative and assonant pairing at the end of the line? Why repeat the word “shredding?”

The sad fact of the matter is that what I do I do by instinct.  My ear, not my brain, told me to break the lines there, and “shredding,” like so many words of Anglo-Saxon origin, sounds like what its conveying, the sibilant sound of paper being ripped.  I did, however, consciously add “partners” to my catalogue of decedents to include gays.

Then comes a one-line stanza, quadrupled spaced.

Yet not enough.

Dr. Lehman cut the line and moved it to join the preceding stanza, changing it from this:

wadding it up

to fuel my charcoal chimney.

 

Yet not enough.

 

So here comes the sports page,

the World Cup, accounts of pop flies

 

to this:

wadding it up

to fuel my charcoal chimney.

Yet not enough.

 

So here comes the sports page,

the World Cup, accounts of pop flies

The change actually bothered me, and I asked him to put it back in its proper place.  He told the students that we poets are very meticulous about matters such as these, and I guess I proved him correct.

He then highlighted the following stanza, which he admires most about the poem.

So here comes the sports page,

the World Cup, accounts of pop flies

dropped, paper ripe for ripping,

ripped, balled, stuffed, ready

for the match’s fiery effacement.

“Lots of plosives there Mr. Moore,” he said, and I said, “Yeah, it’s an angry poem. “  I mentioned that I did consciously end the second line with “flies” to sort of simulate dropping a baseball.

Anyway, what I learned about myself is that I’m not very analytical when I write a poem; nevertheless, it might seem as if I am, which suits me.

So let this self-indulgent post end a week of self-indulgence, so I can go back to my little life as an English instructor.  I will leave you, however, with the complete poem:

 

The Grill

In memory of Paul Yost 1955-2014

I’m tearing apart paper,

newsprint, the obituary page,

shredding descriptions of lives:

of fathers, mothers, sisters, brothers,

bachelors, partners, husbands, wives,

shredding their black-and-white

faces, their smiles, their stares,

ripping also the memorial verses

loved ones have left,

wadding it up

to fuel my charcoal chimney.

 

Yet not enough.

 

So here comes the sports page,

the World Cup, accounts of pop flies

dropped, paper ripe for ripping,

ripped, balled, stuffed, ready

for the match’s fiery effacement.

 

And that poor chicken! Hatched, harried,

pecking its food among hordes,

pulled from transport crates,

shocked for the throat cutter’s convenience,

plucked, eviscerated.

 

This one’s also been

deboned, yet not sold soon enough,

skewered by butchers along with

aging onions and overly ripe peppers.

 

* * *

 

After its scraping, red and black,

slightly rusted, the grill stands ready,

top open, at attention.

 

I place the chimney

upon the barred metal, pour in

the briquettes, and torch the

shredded lives of others,

their wins and losses,

and watch the smoke

rising into the dissipation

of the silent, cloud-shifting sky.


[1]What we didn’t know at the time was that Judy, too, had cancer that would be diagnosed at the end of the month.

The Shelf Life of Euphemisms

Breughel The Beggars

It’s just a matter of time before officially mandated euphemisms, words like handicapped, for instance, acquire the connotative stench of the word they were chosen to replace, in this case crippled.  The linguist Steven Pinker calls the phenomenon “Euphemism Treadmill.”

Back to ambulatory disabilities. In the Seventies, well-meaning advocates declared the word crippled cruel and decided the word handicapped was more humane. They insisted that handicapped replace crippled, airbrushing, as it were, an unpleasant sound associated with a sad state – withered limbs, club feet, braced legs, thick-souled shoes.1

When you picture a cripple, what do you see?

I see a ratty Victorian coat draped across the shoulders of a stooped Dickensian character with a cane.

Now close your eyes and picture a handicapped person.

For me, he or she is wheelchair bound.  However, unlike crippled, the word handicapped covers a much wider range of maladies; it’s not limited to problematic arms legs or or spines.  Elmer Fudd and Sylvester the Cat have speech handicaps, for example.

The word crippled is crisp, a trochee, the double p-sounds limping. It comes to us from two words of German origin, crypel and crēopel related to the word creep.

Handicapped is less specific, more metamorphic, having originated, not in the distant mists of Anglo-Saxon barbarity but in the 17th Century describing strange pastime called “hand in cap.”

Here’s the OED’s account:

Mid 17th century: from the phrase hand in cap; originally a pastime in which one person claimed an article belonging to another and offered something in exchange, any difference in value being decided by an umpire. All three deposited forfeit money in a cap; the two opponents showed their agreement or disagreement with the valuation by bringing out their hands either full or empty. If both were the same, the umpire took the forfeit money; if not it went to the person who accepted the valuation. The term handicap race was applied (late 18th century) to a horse race in which an umpire decided the weight to be carried by each horse, the owners showing acceptance or dissent in a similar way: hence in the late 19th century handicap came to mean the extra weight given to the superior horse.

Handicapped spread from racetracks to golf courses and enjoys in the arena of sport non-pejorative connotations. It suggests the possibility of success despite a disadvantage, yet it, too, has fallen out of favor. Disabled person is now preferred over handicapped.

Would you rather be crippled or handicapped or disabled? No doubt one day disabled too will fall out of favor for some new attempt to soften the sense of the situation.

This phenomenon of euphemisms falling out of favor has a long history.

Take these deposed onetime legitimate descriptors of levels mental incapability.

Idiot, imbecile, moron.

For example, the blog Medium provides this succinct explanation of what these no longer clinical terms once meant.

1910, the Association of Medical Officers of American Institutions for Idiotic and Feeble-Minded Persons adopted three classifications of people we know today as intellectually disabled, as defined by a newly invented way to measure intelligence we now call the IQ test. “Morons” were the most intelligent — they had IQs between 50 and 70. “Imbeciles” with IQs between 25 and 50 were the second level. Those below 25 would remain “idiots.”

Of course, the problem with these terms is that people started insultingly applying them to non-imbeciles, non-idiots, non-morons, so I can see why changing them made some sense. For example, HR McMaster, Trump’s former national security advisor, called his boss “an idiot,” as had White House chief of staff John Kelly, according to the Washington Post. Ousted Secretary of State Rex Tillerson called Trump a “moron.” Although others have called Trump an imbecile – actress Sonam Kapoor, e.g., – I can’t find an example of one of his staff members employing the term. In addition, no one, to my knowledge, has called Trump “retarded,” (though Trump himself used that term to describe his former attorney general Jeff Sessions).

Maybe “mentally incapacitated” will survive. What an ineffective insult that term would make, a nerf insult, not suitable for a staccato attack during a road rage incident. “What the fuck you think you were doing, you fucking mentally incapacitated person, you?”
Although I would rather be handicapped than disabled, I’d prefer to be mentally incapacitated rather than imbecilic. I told my mother once after she chided me for using the word piss, that I’d bring in a jar of urine and a jar of piss, and if she could correctly label which was which, I’d never use the word piss ever again until the day I passed away or croaked.


[1]Yes, “air-brushing sounds” is indeed a mixed-metaphor. Cluck your tongues, you stepchildren of Freud!

The Considerable Talents of Danielle Howle

photo credit: Fleming Moore

 

In November of 2014, I published a post entitled South Carolina’s Musical Heritage where I imagined The Oxford American had chosen me to curate a cd of songs produced by natives of the Palmetto State.  I complained that a few of the songs in the Oxford Southern Music series were “a bit too archive-y” and that my cd would not suffer from that preciousness.  You could listen to my compilation without reaching for the fast forward button to skip some pocket-comb-and-tissue band from the 1930s inserted into the mix to establish the curator’s erudition.

Here’s what I came up with:

Maurice Williams and the Zodiacs’  “Stay”

The Swinging Medallions’ “Double Shot of My Baby’s Love”

The Marshall Tucker Band’s “Can’t You See”

Eartha Kitt’s “C’est Bon”

Dizzy Gillespie’s “Salt Peanuts “

James Brown’s “Doing It to Death”

The Drifters’ “There Goes My Baby”

Chubby Checker’s “Let’s Twist Again”

The Brotherhood Gospel Singers’ “Mary, Don’t Cry”

The Reverend Gary Davis’s “Prodigal Sun”

Hootie and the Blowfish[1]“Only Want to Be with You”

Julius Cobb’s “Great Big Change in Me”

Uncle Walt’s Band’s “Gimme Some Skin”

Alphonse Mouzon’s “Funky Snakefoot”

Blue Dogs’ “Walter”

Danielle Howle’s “Oh Swear”

Well, last night, I finally got to meet the last name on that list – not last because least but last because youngest.  Danielle Howle is truly a treasure.  She’s blessed with incredible chops; a gift for melody; a soul capable of alchemizing suffering into poignant but not sentimental art; a sharp, dry wit that makes her stage banter funnier than most of the stand-up acts I’ve seen recently.  Oh, yeah, and charisma.  Obviously, you can’t learn charisma, you can’t will charisma, you can’t ask the Lord Almighty to grant thee charisma.  You either got it or you don’t.  And she gots it in containership loads.

See for yourself as she and keyboardist Alex Goyette playing at the Listening Room at Summerville’s Homegrown Brewhouse:

 

 

To say I’m a fan is obviously an understatement.  Check her out whenever you can,  Also, her opening act George Alan Fox and Jesse Pritchard were also  killer.

 

I-and-I backstage with Danielle Photo Credit: Fleming Moore

[1]Not a big fan, but it would be churlish not to include them.

Deepening Shades

 

The death of friends, or death

Of every brilliant eye

That made a catch in the breath –

Seem but the clouds of the sky

When the horizon fades;

Or a bird’s sleepy cry

Among the deepening shades.

Yeats, “The Tower”

 

Cast a cold eye,

On Life, on Death.

Horseman, pass by!

Yeats’s Epitaph

 

Because I’m retiring at the end of this year, I’m often asked if I’m “counting down the days.”

Actually, I’m not.  When this semester ends, I’ll be not teaching at Porter-Gaud for the rest of my life.  Why rush that?

Instead, I’m relishing – or at least trying to relish – the last opportunity of teaching specific content: poems I love, vocabulary lessons I know by heart, characters who are more real to me than many of my acquaintances. For example, my main man from Heart of Darkness Charlie Marlow and I will part company in May. Every spring for thirty years he and I have hung out for two weeks or so. I’ll miss the sound of his voice, what he has to say about truth and lies, of savagery and civilization. Of course, I could look him up next year or the year after, but I know I never will. There’s no need for me to accompany him up the Congo River ever again.

Yesterday I taught Blake for the last time.  We read and discussed the Chimney Sweeper poems, “London,” and “The Poison Tree.” It suits me to be done with those poems; nevertheless, I savored intoning each syllable to the class and afterwards enjoyed exploring the poems’ meanings.

I was angry with my friend;

I told my wrath, my wrath did end.

I was angry with my foe:

I told it not, my wrath did grow.

 

And I watered it in fears,

Night & morning with my tears:

And I sunned it with smiles,

And with soft deceitful wiles.

 

And it grew both day and night.

Till it bore an apple bright.

And my foe beheld it shine,

And he knew that it was mine.

 

And into my garden stole,

When the night had veiled the pole;

In the morning glad I see;

My foe outstretched beneath the tree.

 

I tried as best I could to convey how these rhythmic, rhyming words capture the toxicity of repression and deceit and how the consciousness of the speaker of the poem is not universal, i.e., that his consciousness is not ours nor ours his.  We talked about existentialism and how the theory of existentialism ties into Wordsworth’s perception that reality arises — is concocted — from “eye, and ear, — both what they half create, /And what perceive.”  I cited Hamlet’s observation that “Nothing is neither good or bad but thinking makes it so” and his claim that he “could be bound in a nutshell” yet think himself “king of infinite space,” that is, if he didn’t have “bad dreams.”

The speaker of “The Poison Tree” is pleased that his foe is dead, so, according to his reckoning, “God’s in His heaven, and all’s right with the world.” After all, the speaker has invested a lot of energy cultivating the poison apple.  His joy in his neighbor’s demise contradicts traditional religious and secular moral teaching and perhaps is off-putting to many readers; nevertheless, it makes sense that he expresses his thoughts in jaunty, happy rhythms.

After all, as Pope says, “The sound must seem an echo of the sense.”

In these dwindling last weeks, I’ll also bid adieu to Blake, Byron, Shelley, Keats, Tennyson, Browning, Conrad, Yeats, Joyce, Eliot, and Auden as they sing their swan songs. After that, I’ll be free to “embrace the trivial days and ram them with the sun,” to paddle out in glassy surf while my colleagues are taking roll or telling some boy to tuck in his shirt.   I’ll be free to read what I choose, to make some new literary friends.  It’s about time I got acquainted with Swann and his daddy Marcel Proust.

Until then, I hope to savor each and every class period rather than looking ahead and counting them down like Advent calendar squares, or a prison sentence, or the way I count down the essays left to be graded or the report card comments left to be composed.

Yes, I am looking forward to not grading essays and writing report card comments. I have three sets left to finish before 8:00 a.m. Wednesday.