Lisa

It was snowing in New York the day I was born, almost half an inch fell in Manhattan.  It was February of 1956.  About three weeks earlier, my childhood friend Lisa had been born, though of course I didn't know that at the time. 


This is a photo taken of us in the park.  How appropriate – a Dutch angle.  It looks like early Spring of ‘57, we were probably about 1.  I’m on the left.  It seems like Lisa is grabbing for my crotch and I am trying to fend her off, while pretending nonchalantly I didn't notice.   Of course, that's not what was happening, but it was kind of in character, for both of us.

Lisa and I stayed friends as we grew up, because our parents were friends. She lived around the corner from me on Third Avenue between a pawn shop and Central Art Supply with her mother Joan, who'd split by then from Lisa's father, Bill.   We became toddlers together and played in the park and in our apartments and in Bill’s studio across Tenth Street.  We copied Nancy comics from the Sunday News onto Silly Putty.  (I related to Sluggo.)  We climbed around fire escapes when no one was looking. 


Then we were 8 and 9 together, we made other friends, and soon we started to become teenagers, and we stayed close, even as we were already starting to go our separate ways.  We played spin the bottle, and we even had a little puppy love.  We listened to Donovan and Rubber Soul endlessly on the mono record player.  “Donna Donna.”  “Norwegian Wood.”  “Catch the Wind.”  Burned punks in a dirty pilsner glass and left the ash.

When rain has covered leaves with tears
I want you near to kill my fears
To help me leave all my blues behind

But by the time we entered high school, we didn't see each other much anymore – Lisa had moved out to East Hampton to live with Bill sometime in the mid-60s, I think.  It's a long time ago, and my memory's not what it was.  She traveled in faster company, went to private school, spent a lot of time on Long Island with her father before coming back to the city where she later gravitated to the bikers on East Third Street – the Hell’s Angels club next to the Third Street Music School where I hung out for a while with a Puerto Rican drummer named Ramon Rodriquez.  Late at night, after hours of rehearsal, my buds and I would drift over to Ratner’s for a bowl of mushroom and barley soup, those incredible rolls with the fried onions on the inside, and an ornate steel bowl full of crushed ice where the butter pats stayed cold and hard forever.

Lisa was gorgeous then, with natural blonde hair over bright blue eyes and big rosy apple cheeks like a Dutch girl, which she was.  I grew tall, and she stayed pretty short, like her father.  And then, suddenly, Lisa was gone and it never occurred to me that she’d gone for good – gone from my life, I mean; I guess I assumed she wasn’t around but probably would be at some point.

Lisa died this past Friday.  She was 56, my age now – well, three weeks older.  She'd never quite gotten over drinking and drugs, I’m told, though maybe she had.  Still, when I heard she'd fallen down in her house in the Virgin Islands, I figured she’d probably been blitzed.


We hadn't been in touch since the 70s, but I was surprised to find the news hit me pretty hard.  She’d been a painter's kid like me.  Shared my street, my park with me.  In my mind I can still see her big smile, coquettish in the eyes, in love with danger, daring you to join her in some adventure, whether it was scaling what seemed to me at the time an immense boulder in Central Park or smoking a joint behind a VW van in a parking lot near Union Square.  I really didn't know who she'd become after all these years, I was never a part of that scene, but I miss the young girl I knew, who lives on in my memory as though we'd never aged, never had children of our own, never had to do business with the demons that would find us later. 

In my mind she's laughing breathlessly, throwing a ragged stuffed monkey of mine across the room where it lands upside-down on the mantelpiece.  Or me later in my ridiculous leather pants and Nehru shirt at 12, pretending to be all grown up but inside completely terrified of her.  She’d become so much cooler than I was, was hanging with an older crowd.  I don't think I ever saw Lisa terrified, but maybe that's because I didn’t know what to look for.

It’s half a century since we dug holes to China in the Washington Square sandbox, supervised by the Hero of Two Worlds, or twisted wildly through showers of water barefoot and half-naked in the big fountain, as if we could dodge the drops through sheer contortion.  Fifty-odd years, but I feel the loss nonetheless, or a feeling for which “loss” is the best we can do.  

Time tears at us like a strong cold wind, shaping the soft stone we were born as into something sharper and harder, more defined.  Pieces are sliced off, hopes suited to one age are filed down or filled out or traded in.  Streets are closed then, passageways boarded up.  

No one ever sees all of us, only the parts they can use.  The sad and glorious truth is that we can never be completely known, so we walk through our days peeking through curtains at glimpses of ourselves, alone in the experience of life, at times desperate to be known, as if being known by someone else would make it easier to know ourselves.  But it doesn't.  Knowing is the task we were meant to face, the only task that matters.  The passage of time clarifies this, but doesn't free us from the job.  

Neither are we free from memory, which is something like an ivy that grows inside us and penetrates all that we are and have been, body and soul.  It’s a blur we catch in passing, a blur that is flavor and feeling more than representation, a sudden inexplicable recognition of the heart that can't be held fast, a Proteus.  A presence. 

We can find a memory in our tissues, or in the perfume of gum turps, or in a menu.  I wonder sometimes if we can even claim it’s our memory at all.  Could memory rather be a way of touching the universe, a faculty whose power isn't recollection at all, but a sudden perception of connectedness, or the possibility of it.  Because in the end memory is always about incompleteness.  Even happy memories have this wistful quality to them, a certainty that there is more out there.  

Lisa, I didn't in the end know you that well.  We didn't know enough to know knowing mattered.  We were children.  When we knew each other, living was enough. 

Running up 4th Avenue past the A&P, past the post office, the scratchy songs on the phonograph, holding hands outside Sing Wu, climbing the big tree in St. Mark’s churchyard, strolling along the East River where the Latin boys played soccer in the park.  The silky fine yellow hair running through my fingers like sand in an hourglass.  You were my first friend, and I am remembering that.  And in remembering you now that you're gone, I pay my respects, not to a grown woman gone, which is beyond my ken, but to the exuberance and innocence and conspiratorial joy of childhood, of your childhood, and mine.  These things mattered. They made my own childhood so much less lonely.  They are as real as anything we can put our finger on.  They are real now.  For me, they always will be.

And when I awoke, I was alone, this bird had flown.
So I lit a fire, isn't it good, Norwegian wood.

love song

i sit with my eyes closed in the middle of a silent room and let the currents move about me, slow like ballet under the waves of the sea.  quick too like tinkerbell, and smiling with the wicked tease of fairies.  of thee i sing:

i will be gone, i will be gone, i will be gone.  thy will be done.  

soon?  not soon?  i will be gone and what might it be like to be free of the shackles of time.  time itself, not a little of it or a lot, but the fact of it.  somewhere, someday, someone will reach up into the milky way and swim unfettered there by the dreary bonds of the finite.  i know it and i love that person, i send him or her my love, now here, and then there, both, neither, i send my love and my sorrow at not being able to join in that merry dance.

My cousin is priest in Kilvarnet,
My brother in Mocharabuiee.

i sit in the room cross-legged, my eyelids lowered, and see that if i were clear enough and fearless, silence would be the loveliest music of all.  nothing interior, but all around me silence, around all of us dispersing like a drop of ink in the water glass, but our reach is too short, the reach of what we can imagine and feel.

i am that mammal a single heartbeat short of mutation, sinking a feather shy of evolving, sinking into the dark eternal as it gathers in one final confusing glimpse of the creature that transformed, crouched on the bank of a river looking back.

but with all the fallings short, i want to spend these moments with you, my love, wrestling against the bit, guided by saint jude, shaman of hopeless causes.  because i love you, whatever it is i don't care, and i clamber hopeless onto the timbers of your sweet frail soul, as i would any boatman to take me home, home to the shore, the other shore, be there with me as long as you can, and i will be with you.

Jeremiad No. 73

What do you want?

I should …
No, what do you want?

Desire can be corrupted.  

One can imagine a world in which desire was pure.  Shameless and simple.   But this is an Eden to which we can't return.

If only we could be secure in the knowledge that what we wish for is something to strive for without compunction.  Then we would have direction for our will, our will would be a vector.  But will without compass is the splashing of a toddler in the tub.

When we don't know what to do, we let other people tell us what to do.

Our taste buds can be corrupted.  Presumably, they are designed to lead us toward nourishing food.  But we learn to enjoy the obvious, the immediate, the intense.  The salty and the sweet.  The vanishing of strict necessity, the abundance of toy food, triggers a kind of inflation.  And so the simple objects of our desire seem bland and unappealing.

So too the inclinations of our mind and soul, which turn, not toward what is soulful and big-hearted, but toward the delights of children -- children, though, with power and money and leisure enough to satisfy these cravings.  

Decadence is brakeless will, hurtling always toward only the most trivial of satisfactions.  Our appetites have magnitude yet our will has no direction but a pathetic falling-off from our best nature.

What do we want?  We want escape.  We want titillation.  We want the smother of a radically inoffensive existence.  We want to crawl back into the womb.

And the cultural product that defines us is surely pornography.  Millions of intellectually stunted and politically apathetic children-people in millions of homes across the land hidden away behind computers in the throes of limitless, generic sexual fantasy.  Who needs the Land of the Lotus-Eaters?  This is the "direction" our collective "will" takes.  But it's not even that; it's the repudiation of direction.

And then some of us may, almost by accident, wander out of Plato's Cave and wonder if there is something else we should be doing, some other purpose for our existence, some greater good, something we once heard somewhere about compassion and mercy and sacrifice.  Something about art and revolt, about leaving the world a better place than we found it, about speaking truth to power.  Shouldn't we be doing that? we ask.  But the face-off between desire and obligation usually has but one outcome.  It's only when obligation becomesdesire that we emerge from childhood.  And how does this happen?

Well, you might as well ask how to get past the angel with the flaming sword.

Reach Out in the Darkness

Last night my guitar teacher emailed me to cancel today's lesson.  He said he'd been meaning to "reach out to me" regarding this cancellation. 

For some reason I felt like a snitch in NYPD Blue.   And he was David Caruso.  And he was reaching out to me.  Lieutenant: Reach out to your snitches.  David Caruso: I’ll reach out to my snitches.  And away you go.

Now my teacher wasn’t reaching out to tell me he’d decided I didn’t have enough talent for him to waste his time on.  He wasn’t reaching out to tell me the guitar I’d left at his studio had been trampled by a herd of bison and that he’d had to use it for firewood.  He was just “reaching out” to tell me he had to cancel.

Yeah, yeah, language changes, like every other damn thing.  Believe me, I know.  And I know (like Hesiod knew) that words know how to deceive.  I'm even willing to entertain the notion that ALL language is deception.  I’ve had the notion myself.

But sometimes an utterance just goes too far.  Too far in the direction of what you might call shameless and artless crapola.  It's like listening to George Bush when he talked about ... well, about anything.  Not only was he lying, but he was lying so egregiously and so transparently that you couldn't help feeling he didn't care if you knew he was lying or not.

That's what new words and phrases do sometimes.  Case in point: "concern."  At some point, we didn't want to admit we were worried or pissed off or really hated something.  It was, perhaps, too raw an emotional statement.  So when we really hate what someone has said or done, we tell them it “concerns” us.  Reminds me of Philip Seymour Hoffman in "The Big Lebowski": "This is our concern, Dude ..."  It feels safer, softer.  It feels ... inoffensive.

Anyway, back to "reach out."  Why do we need this?  What does this do for us that phone, email, contact, write don't do for us?

Obviously, it adds two things.  First, it adds the veneer of philanthropy.  Reaching out is a good, noble and compassionate thing to do.  It may even be affectionate.  We learned this from Cliff Robertson in the AT&T ads: Reach out and touch someone.  To reach out is clearly nicer than not to reach out.  No one ever screams at his wife over his morning toaster waffle, "Okay, okay!  I'll reach out to the asshole!" and throws the phone book across the room where it hits the wall and drops not 18 inches from Baby Ferdinand in his crib.  No, if you reach out, you are serene, you are Mother Teresa, you betray no inner turmoil.  When people are “concerned,” by the way, they “reach out.”  Get with the program, will ya?

Second, to reach out is to make an effort.  A significant effort.  It's no big deal to make a phone call, but if you “reach out” to someone, you are marshaling the Seven Armies of the Twelve Kingdoms in order to do this.  It suggests that you may, like David Caruso, have to call in all sorts of secret favors, meet in dark, moist alleyways, cast your net far and wide before this person responds to your reaching out.  And when he does, you don’t necessarily get right to the point.  Maybe you buy your snitch a cup of coffee and a cherry pie in a greasy diner; maybe you talk about the weather or the Mets or his methadone jones before you start in with 20 questions.  Get him comfortable first.  Get him receptive. That’s reaching out.

Suddenly, then, if we reach out, we are two things: we are a very, very nice person and an astoundingly hard worker.   And where are these qualities both highly esteemed?  In the corporation, of course.  Corporations like it when you seem to be working really hard.  And they like people who keep their emotions to themselves and present a pleasant, placid and infinitely competent face to the world.  This is the kind of person who "reaches out," when others might phone, write, or even shout out loud like Huey Long.

And so, my friends, this is why we say it.  And this is why I despise it.  Because some linguistic change, if you don't despise it, you're just a tool.