Category Archives: Culture & Arts

Like Water for Chocolate

Posted on

In the book and film Like Water for Chocolate (written by Laura Esquivel, then made into a film in 1992), Tita has cried in her mother’s womb whenever her mother chopped onions, and is born on a flood of her own tears right in the kitchen. Tita becomes a great chef, and she ends up using the food she cooks to communicate with her would-be love, Pedro. Tita’s mother has refused to let Pedro marry her youngest daughter, who by tradition must remain single to care for her mother in old age. So Pedro has married Tita’s older sister in order to be close to Tita.

It’s a story of cruel power in the form of Tita’s mother and repressed longing in the form of Tita and her two sisters, none of whom do well under the aegis of tradition. Married to Pedro, Rosaura lives in misery with a husband who fathers two children but doesn’t love her; Gertrudis ends up abandoned in a brothel (thought she later returns triumphant, having overthrown tradition and become a Revolutionary general herself); Tita sneaks around with Pedro and ultimately is rejoined with him, but their long-frustrated passion kills them. Set during the Mexican Revolution, this story is an allegory about the ills of the power in the hands of the few.

What’s special about it is that the food that Tita prepares has magical powers. The wedding cake she is forced to make for her sister and Pedro, and into which she has wept, makes the guests themselves weep and then vomit. The quail in rose petal sauce that she prepares later inflames the lust of everyone at the table.

This book and movie connect us to sometimes mystical but almost always genuine power of real food to affect our emotions. I say “real” food not out of some snobbery, but because I don’t think it’s always true about corporatized or pre-packaged food.

There are exceptions. Years ago at Penn State, I taught a course called Women and the American Experience. Because the course was gen ed, I took a kinder, gentler approach to feminism—the students collected oral histories from women they knew and at the end of the term we had a potluck where all 60 students were to bring food made from a recipe passed down from the women in the family. One young woman brought an Entenmann’s packaged coffee cake. She was visibly upset and said that for years her family had believed her grandmother had gotten up at the crack of dawn on Christmas and made the traditional coffee cake by hand. After she’d badgered her grandmother repeatedly for the recipe, she had finally admitted that it had been store-bought all these years and just heated up with some fresh confectioner’s sugar icing drizzled over it. I couldn’t have planned it better as a commentary on how women have coped. Oppression, whether that grandmother’s or Tita’s, can often be dealt with in ways we don’t expect. And food has been a major tool over the decades.

There’s a better video excerpt (http://www.videosurf.com/video/como-agua-para-chocolate-02-like-water-for-chocolate-mpg-1260700044), but it won’t embed, so here’s the rose petal scene (with awful dubbing):

Good-bye to a Man I Never Heard of

Posted on

Jerry Ragovoy died this week. I had never heard of him, but he was the co-author of my anthem for this blog, “Cry Baby.” Using the name Norman Meade, he wrote it with Bert Berns for soul and R&B singer Garnet Mimms in 1963. Janis Joplin recorded the song shortly before her death in 1970. “Get It While You Can” is also a Ragovoy song, as is “Time Is on My Side,” made famous by the Rolling Stones. He also produced one of my all-time favorite albums, Bonnie Raitt’s Streetlights. He was the kind of guy who had a stellar career behind the headlines. In 2008, the British label Ace recognized his importance with a retrospective CD, The Jerry Ragovoy Story: Time Is on My Side, 1953-2003, which inspired NPR to review his career. I’m going to order it.

Here’s the Garnet Mimms and the Enchanters version of “Cry Baby.” There’s another one on YouTube without the cheesy pictures, but the sound quality is better on this one. What a great voice Ragovoy recognized, and what a great tune he wrote.

Bridge Over Troubled Water

Posted on

When I was young—and I mean pre-teen—my friends and I worshipped Simon & Garfunkel. We called their songbook our “bible,” and listened to them all the time. Why we were such moody children I’ve no idea, but I still love S&G like nothing else, and I miss the straightforward friendships of childhood.

“Bridge Over Troubled Water” isn’t my favorite S&G song—it would have to compete with “The Boxer” and “Homeward Bound,” both of which I really love more. But “Bridge Over Troubled Water” reminds me of that particular set of friends that I met in 5th grade and who I thought would always be my closest friends. I couldn’t imagine life without them. They and their horses and dogs and cats and the many, many allegorical stories we wrote together certainly contributed to the person I am today.

I first made friends with Mouse and Barndoor, who are sisters. We were also friends with a girl named Bee, and after I moved across the state another girl named Maggot joined the crew. My nickname was Sa, but my little icon was a drawing of a smiling saw. We each had a cutesy icon that always accompanied our signatures in our many letters. Today I suppose we would have avatars. But back then, we sent letters with wax seals and elaborate news. We all saw each other for weeks in the summer, and our parents trundled us back and forth across the state of Tennessee for these visits. I rode the Greyhound bus by myself.

I haven’t seen any of these women in years. I heard a rumor once that Bee is dead, and I haven’t been able to find her anywhere on the internet. I might be able to get in touch with her brother, now a Hollywood producer, and ask him: Death or marriage? How did she disappear so completely? But I don’t want to ask him painful questions, and he might not even remember me.

Maggot has become a physician like her father and lives near my mother in a completely different state than where we grew up. Maybe some time when I’m visiting, I will look her up.

It’s Mouse and Barndoor who haunt me, though. I loved them so much. From what I understand Barndoor has fared the better of the two, though her older sister dominated their childhood and was always more popular. Barndoor and I had in common that younger-sibling thing. I tried to stay in touch, but Barndoor was standoffish. I think she couldn’t wait to get away from her childhood. The facts I know are that Barndoor went through a short phase of evangelical Christianity, married and divorced very young, became a nurse, and at latest news was married to a “little person.”

Mouse, on the other hand, took all her potential and moved to New York City where she was a paralegal and then married a wealthy heir and became addicted to drugs. For years, I had no clue what was going on. She entered a master’s program in anthropology but didn’t finish it. She quit working. She volunteered at a senior center but then didn’t any more. I would plan to be in New York and see her and her husband, but she would call and cancel at the last minute. Sometimes this would be dramatic: they’d be in a cab on the way to meet me, and she would call and say she was terribly ill and had to go home. It was always her stomach, and her mother had died of a sudden stomach illness when we were teenagers, so I thought she just associated me with that painful memory.

When I was back home in Knoxville, I’d go to see their dad. Max (I had given up his nickname—Muck—as I got older) lived eccentrically—for a while on a houseboat, always with numerous cats and dogs and their barely contained (or not contained) mess. I would perch on the cleanest corner of a kitchen chair, and we would talk over the latest photos of Mouse and Barndoor on his refrigerator. After he was diagnosed with Type 2 diabetes, we talked about blood sugars, and I tried to encourage him to get better medical care, as his clearly wasn’t good. Finally, he told me that Mouse had been in rehab after rehab, but that her wealthy husband had given up on her and moved out. I saw him one last time in a nursing home, after his leg had been amputated.

With Mouse, I followed with calls and cards, with brochures about programs to help women re-enter the work force, with one or two visits that actually happened. We talked about her dog and my cats. We talked about my work and her dreams. I thought I might be able to be her bridge over troubled water. But eventually, Max died and Mouse became unreachable. Nothing ever got better for long, and I got tired. I gave up, though I still mail an occasional birthday card and hope against hope that she has found her way.

I also still have a tiny cross-stitch pillow that hangs on a doorknob, which she sent me after one of my flurries of support. It says, “Old friends are the best friends.”

Crime for Crime

Posted on

In a week when most of us in the U.S. are called upon to celebrate our freedom, just a reminder that the United States has the highest incarceration rate of any country in the world.

By 2009, 2,284,913 people were in prison in the U.S. That is approximately 1 in every 135 people. Many or most of these people are incarcerated for non-violent crimes like drug possession and immigration violations. These numbers have continued to rise even as violent crime rates have dropped.

By 2009, 7,225,800 people were either in prison or jail or on probation or parole, or 1 in every 32 people. Read that again. When I mentioned it to my husband, he said, “Really? Maybe you should double-check that.” I did. Yes, 1 in every 32 people.

Wow.

That might not be 1 in 32 of the people I know, or that you know, but that just means that in some neighborhoods, it’s 1 in 10, or 1 in 5, or every single adult in sight.

These numbers should make us cry. They are a great shame to us all.

And that’s another thing: all the money that goes into our prison system does not go into education. By 2008, in five states, prison expenditures had already surpassed those for education, and across the country as a whole prison budget growth far exceeds education budget growth. Lack of education is, of course, one of the strongest factors in someone choosing a life of crime. It’s a vicious cycle.

Justice is not color blind. In 2009, rates of incarceration were: 706 of every 100,000 white males, 1,822 per 100,000 Hispanic males, and 4,749 per 100,000 of non-Hispanic black males.

In October 2010, there were 3,242 prisoners on death row in the U.S. Execution rates have been steadily dropping from their 1999 high (of 98 executions) because DNA evidence has been used to exonerate so many death row inmates and so the infallibility of convictions has been called into question. Still, 46 people were executed in 2010 and 25 so far in 2011.

Casey Anthony, however, was declared not guilty even of manslaughter in the death of her child this week. DNA and its representation on TV detective shows has apparently made people believe that a strong circumstantial case is never good enough. That this woman will go free while many people rot in jail for being caught with a little marijuana is incredible indeed. I do believe that the prosecution focused not enough on the fact that Caylee died under Casey’s care (implying gross negligence) when they chose to try to prove premeditation and get the death penalty. The death penalty is not a good idea, even when its distractions get someone off. Period.

For a long time, I believed, contrary to my general progressive liberalism, that there could conceivably be times when the death penalty was warranted. But after considering the racial prejudices apparent in the death row statistics, and those exonerated by DNA, and the fallibility of much eye-witness testimony, not to mention the high financial burden of death penalty appeals, I changed my mind. Ani DiFranco helped me do so with this song, “Crime for Crime.”

Information from the Center for Economic and Policy Research, the U.S. Bureau of Justice Statistics a and b, the U.S. Census Bureau, the Pew Charitable Trusts, the International Centre for Prison Studies, and the Death Penalty Information Center. There is some slight variation in numbers depending on exactly how counts are made and which prisoners are included (pre-trial vs. convicted, etc.)

Laughing ’til You Cry

Posted on

In the general run of my life, I no longer have a lot to cry about. I know now what and who are important to me, and I take care of those things and people at least fairly well. There is always plenty of room for improvement, and there is always plenty of stress, but I’m not in a mess as I often was in my twenties and thirties. I have mellowed, and life is good, as they say.

A couple of weeks ago, Bruce came home after a long day and week at the office. The usual Florida summer weather pattern was setting in, and the dark sky threatened. Bruce often arrives home exhausted by problems at work, and he stretched out on the bed to unwind for a few minutes. I propped myself on a pillow beside him.

Our conversation was desultory. It started with nothing much and ended back around in the same place. We kept wondering what to do with our Friday evening, one of the few we usually take off, but one for which we had no plans. We had both done a lot of running around that week, and, though we kept feeling as though we should do something, neither of us really wanted to. Before we could even begin to rally, the thunder and lightning began. The fat raindrops pelted the skylights and windows. We floated on the bed in a pool of cozy yellow light surrounded by violent wind and blackness.

“What should we do?” Bruce asked. “I can always just go out and get something and bring it back.” I knew he would make the valiant effort, but he sounded tired.

I got up to feed the kitties. He let me rattle in the kitchen, not noticing that I had conceived a plan. While the cats ate, I sliced up a nectarine and an apple, then some cheddar, Gouda, and rosemary goat cheese, and piled it all up on a plate. I brought it back to bed, and said, “Let’s just stay right here. We don’t have to do anything.”

Immediately, I could see the burden of entertainment and provisioning lift from Bruce’s face. We settled in for the evening, just reading, doing a crossword puzzle, playing Angry Birds on the iPad, and talking. The storm rumbled on and the rain pattered down. And we talked, as too often we don’t really have time to do. The room relaxed, and all evening the coziness of being there together with the world held at bay by the weather allowed all our usual irritations to give way to the sensation of closeness.

At one point, one of us mentioned the unsightly three bags of mulch that had sat at the end of our driveway for a year and a half. We were finally getting around to planting the gardenia that we’d been given for our wedding and that had languished for two years in its pot in spite of our best intentions, and we were glad the ugly bags would soon be gone. “No telling what’s underneath those bags by now,” I said.

“Probably your passport,” Bruce answered, referring to the fact that three days before we were supposed to leave for our honeymoon in the U.K., I had realized my passport was missing. There’d been a bit of an ordeal in getting a new one and joining Bruce in Scotland a day late for the start of our honeymoon. The fate of the lost passport remains a mystery.

We’ve had a lot on our plates the past three years–lost passports, brain hemorrhages, and other things–and all of that came pouring out in those moments of relaxation and silliness. I chuckled in response to the idea that the passport could be in one place we certainly hadn’t looked for it. … And then Bruce laughed, and then I started in, and then we couldn’t stop. My cheeks began to ache, and we kept on laughing. We laughed til both of us had to wipe away the tears.

As so often when you laugh til you cry, it was set off by something trivial and absurd, but it tapped into the fact that after the last few crazy years, we were having a lovely, cozy, quiet moment. The oxygen of laughter flooded us, and our bodies had this near-sexual release of laughing and crying at once. It was a great moment, even beautiful, though we won’t put it down in the annals as important.

I haven’t made a study of the phenomenon of laughing til you cry, and experts don’t know much about it. Most times it happens over something trivial and so people don’t remember the details. The specifics of its instances don’t stay with us the way traumas do. But I do think that it often involves the sense of intimacy and closeness that Bruce and I had the other day. It seems to involve a sense of protection from a world outside, the creation of a safe zone for silliness.

I remember only two other specific times laughing until I cried, though I know I have done it many other times, too. One was at a potluck Thanksgiving dinner held one year by my friend Umeeta. It was a gray and unwelcoming November day in Pennsylvania—the kind of weather that makes you want to stay under the covers. And it was a holiday weekend in an abandoned college town. I hardly knew any of the other people there—only Umeeta and, slightly, her girlfriend, Kim. Now I don’t even remember who the other people were. What I remember was that there were six or seven of us, all with the end-of-term hanging over our heads, and that we had a fabulous meal, with not only the traditional American fare, but a wonderful vegetable curry and dal that Umeeta had made. After dinner, we sat around the living room—mostly on the floor because they didn’t have a lot of furniture—and told funny Thanksgiving stories. Then Umeeta put on a Bollywood movie, a tale of frustrated love that rose to quite melodramatic heights. Umeeta has an infectious laugh, and she got us going. And we laughed and laughed until we were all hiccupping and the tears were streaming down our faces. Total strangers, but we had been brought close in that warm living room.

Not long after, when I was still in grad school, I remember laughing with my then-boyfriend, Tad. Tad and I liked each other a lot, but we probably already knew that we weren’t compatible long-term. We spent a lot of time at the house he shared with two roommates and many parties filled with people I mostly didn’t like. In that group, most everything was public, and they shared partners as well as too much information. Tad’s roommate had an ex-girlfriend, still “friend,” who called him every day as she sat naked in her bath and told him all about it. This group of people also probably knew Tad and I weren’t compatible, and they watched us as though we were a TV show, as though they owned Tad (a main character), and I was an interloper (a guest star). But when we would spend a weekend at my townhouse, away from prying eyes, Tad and I really enjoyed each other. Tad was smart and funny and accepting of human foibles, my own included.

One spring weekend, we found ourselves undressed in my second floor bedroom, though it was late in the morning. I loved that bedroom because there was a birch tree right outside the window and when the sun flowed through the leaves as they danced in the breeze, it lit up the bedroom like a flickering river. Tad and I sat on the rug on the floor, examining each other’s bodies, just playing. But when he got to my toes, he exclaimed over how funny my toenails are—little moon-like crescents, he said. My toes have always embarrassed me—they are short and stubby and not at all elegant. But Tad made that all okay—he enjoyed my funny little toes and their even funnier toenails. He sat running his fingers over them and laughing. How could I not laugh, too? We laughed until we gasped and sobbed. Finally, I slapped him on the behind and we went downstairs for some lunch, and I would send him on his way, back to his friends, my enemies.

So maybe there is something also about a sense of a break in the battle, so to speak, about finding a moment of peace and pleasure amid challenges and strife. In the laughter that makes us cry, there is some tension relief. For even now, as mellowed and generally happy as I am, I know that the devil will eventually come through the door again. Bruce and I laughed because he said something amusing, but we laughed til we cried because that humor came up in contrast to a life in which we are often too harried to share some fun. The salty can certainly intensify the sweet.

Here’s “Laugh Till You Cry, Live Till You Die” from the 1976 album Flow Motion by the German band Can.

Gremlins

Posted on

I’ve been thinking about movies that have made me cry, and the oddest, perhaps most unexpected one on the list is Stephen Spielberg’s Gremlins, a “horror comedy” that came out in 1984. My crying over Gremlins became a part of family lore, though I think it’s been forgotten now and maybe should stay that way. I was teased relentlessly for years about it. However, Gremlins certainly makes me recall a time when tears were no stranger and I did not suffer dry eye in the least.

In 1984, I was, in fact, prone to frequent crying. As I look back over my journals from that time, I think that it might have been the worst year of my life. At age 24, I was in a hell of a mess. I had recently graduated from a fancy college with artistic aspirations, but was underemployed as a proofreader in a law firm where the lawyers were not allowed to even eat lunch with the underlings. It was a demeaning place and one where I had nothing in common with anyone. I outlasted three fellow proofreaders—a yakety-yakking young married woman with buck teeth and total self-satisfaction, a 400-pound guy who breathed heavily in our tiny office and licked the edges of his mustache, and a redneck girl who often came in with bruises from her country music–singer boyfriend and regularly snorted cocaine in the office bathroom.

Much to my surprise, I was also having an affair with a married man whose indecision about what to do twisted my life back and forth and round and round. A feminist, I couldn’t believe that I was involved in such a thing, and then one day my father made the unbelievable announcement that he was leaving my mother for another woman after twenty-seven years of marriage. My mother was devastated.

So I had plenty to cry about. But it’s also true that something about Gremlins tapped into my grief and fear, into my sense that something had gone terribly wrong with my life, maybe in the whole world. I remember also crying during that time period as I watched Poco, Little Lost Dog (1977), about a pup trying to find its way home through the desert after a car accident separated him from his people, and Sybil (1976), about a girl with multiple personality disorder caused by her mother’s years of terrible abuse. In all of these movies, some creature, animal, or person faces violence, misunderstanding, and/or loneliness. Perhaps that’s more obvious in Poco and Sybil, but it’s also true in Gremlins.

Gremlins is supposed to be funny, but while I sat in the darkened theater with my married boyfriend, I felt akin to someone in a crowd of people laughing as someone fell on the ice and broke his back, or someone stuck in the corner of a George Grosz painting filled with ugly, bulging faces. The supposedly evil gremlins, for me, retained too much similarity to the cute, cuddly mogwai Gizmo, who, after all, was their source. They were ugly and destructive, but they in no way merited the violence visited on them by the humans in the movie. In the famous kitchen scene, now often deleted, in which the mother of the main character slaughters three gremlins, including cooking one inside a microwave, was just flat out brutal. The movie, of course, was playing on the stories that had recently gone around about ignorant people trying to dry off their wet Chihuahuas and other small pets in microwave ovens, so it invoked a truly terrible and sad phenomenon. Live creatures boil from the inside and then explode when subjected to microwaves. I was horrified that anyone would think this funny, and yet I was in a large room with dozens and dozens of people roaring with laughter.

Already, I identified with the aliens, with those who don’t belong. Already I was worried at the human attitude about all other life forms. Already I knew that, in spite of all my (failed) ideals, I wasn’t any better than the laughing goons around me. Gremlins also taught me in a very odd way about the seriousness of comedy, about the desperation so often thinly veiled in its lines and images.

Go ahead, laugh. It’s sorta funny.

“Give Positive Reviews”

Posted on

One very popular popularizer of positive psychology (as opposed to academicians like Martin Seligman) is Gretchen Rubin, author of The Happiness Project: On Why I Spent a Year Trying to Sing in the Morning, Clean My Closets, Fight Right, Read Aristotle, and Generally Have More Fun. In her penultimate chapter, one of the goals she sets herself is to “give positive reviews.” It seems to be part of a strategy played out in her final pages to upend possible criticisms of her own book. I’ve really never seen a writer do this so blatantly.

I am not going to obey her, though I want to say that her book was not as bad as I thought it would be. There’s plenty of practical advice in it that’s perfectly good on one level. Rubin even gives the book a veneer of self-criticism here and there, and she doesn’t present herself as perfect. She qualifies things and even notes that “Happiness doesn’t always make you feel happy” (79). I liked that she didn’t sell her intelligence short by being really simplistic, though it can’t be avoided completely in this kind of book. And I truly liked her focus on the ordinary. This is one piece of “stunt nonfiction” that doesn’t take us off to a war zone or an exotic adventure. It’s rooted in the home, which I found appealing. In that way, others truly could use her as an example for their lives if they wanted to, at least in bits and pieces.

Yet, one of the main things that kept slapping me in the face as I read this book is that Gretchen Rubin is basically a very wealthy and well-educated woman who threw her career over to become a housewife with a boatload of resources and time at her fingertips. I don’t want to judge her negatively for that fact, but none of this is presented particularly honestly; rather it is skirted. It’s not that she lies exactly, but nowhere does she mention the fact that her father-in-law is Robert Rubin, former U.S. Secretary of the Treasury and someone reputed to have received more than $126 million in cash and stock during his eight post-government years as an executive at Citigroup. Before he worked in the government, he was a member of the Board and Co-Chairman of Goldman Sachs; lord knows how much money he made there.

To me, this matters. I like to know who I’m taking advice from and how her circumstances are likely to affect the advice she gives.

Not that the Rubins are not good people. Robert Rubin, though a very wealthy man, is a Democrat, and web sources note that one reason he gives for that is that the world is not just and that not everyone has the same opportunities that he had and has. He feels that Democratic social policies contribute to a more fair nation. So, he is interested in social justice, and I appreciate that kind of philosophical generosity in a rich man.

I don’t know if Gretchen shares her father-in-law’s concern. In one odd little aside, she notes that “I … accepted my idiosyncratic reluctance to read any book (or see any play or movie) that centers on the theme of unjust accusation. I was never going to be able to force myself to read Oliver Twist, Othello, To Kill a Mockingbird, Atonement, A Passage to India, Burmese Days, Crime and Punishment, or Arthur and George if I could avoid it—and that was okay” (229-30). Certainly not all of these books are about class and racial injustice, but most of them are. Though Rubin said nothing else on this topic, this one sentence revealed to me a huge willingness for her to ignore whole realms of dire experience and certainly a lack of interest in how the other half lives.

The first thing that made me feel right away that something was wrong in Happiness Project-land was that I couldn’t imagine how anyone would ever have the time to spend on all these little projects that Rubin describes. My god, she wrote a novel in a month (NaNoWriMo style), she kept a resolutions chart; she kept a food diary and a gratitude notebook; she started a new blog that she posted on six days a week, created a huge scrapbook of clippings, established memento file boxes for each year of her children’s lives, self-published several things through lulu.com, and made countless scrapbooks and photo albums for her family members. She also ran multiple reading groups, threw numerous large parties, joined an expensive new gym with a personal trainer, volunteered at the local library and her daughter’s school, cleaned out all the closets in her house, and did her sister’s Christmas shopping for her. To me this did not sound like someone with a day job.

Rubin writes of herself as having made a “career change.” She decided that, in spite of the fact that she graduated from Yale law school and clerked for Sandra Day O’Connor, the practice of law was not her thing, and so she decided to become a writer. Now, this decision for her did not imply near-starvation or long years of struggle. She speaks of working with her agent as though she is dropping off dry cleaning. Anyone could do it. She notes that after she started her blog on the Happiness Project, she was delighted to find that she had made the Technorati Top 5000 without even trying. (Yet somehow she is aware that Technorati exists.) At one point, because her husband has been diagnosed with asymptomatic Hepatitis C, she reads up on organ donation issues and then “joined the board of the New York Organ Donor Network” (291). Just like that. There is no discussion of how her connections influenced these accomplishments or whether her “career” as a writer included living off what she had made as a writer before The Happiness Project became a bestseller.

While this occurred to me in the first half of the book, the real downturn for me was Chapter 7 on “Buy Some Happiness.” This chapter was chock-a-block full of stuff that comes from a wealthy person’s perspective, even if many not-so-wealthy people also buy it. It was also full of the sentiment that although money is not the only thing that gives happiness, it is certainly a good in itself. There is no discussion whatsoever of the corrupting possibilities of money. She does, however, note that money should be spent “wisely” in order to contribute to happiness. “People at every level of income can choose to direct their spending in ways that take them closer to happiness—or not,” she claims (171). She never discusses why they don’t—why, in particular, poor people might make a lot of spending decisions that better-off folk would consider short-sighted and even destructive. This edges very near to a blame-the-victim stance. It was pretty much downhill from there.

One of the most disturbing parts to me had to be when Rubin decides in contemplating spiritual issues to read “memoirs of catastrophe,” mostly those about illness and dying. Her entire response to these memoirs is that they made her recognize how much better her life was than those of the authors or subjects of the books she read. She admits that she feels a little guilty about this, but then moves on by saying that these authors “emphasized the importance of cherishing health and appreciating ordinary life” (202). That may be true, but it still seems to me incumbent on a reader to muster some sympathy for those in terrible situations, and Rubin strikes an odd note at the end of that section when she asserts that “I don’t think these memoirs would cheer me if I’d had more brushes with serious illness” (202). She hasn’t even bothered to understand the genre enough to know how many people are comforted by knowing that they are not alone in hard times. In other words, her rather self-centered reasons for “enjoying” them are the only reasons she can conceive of.

At the end of that same chapter (8), which focuses on the need to “Contemplate the Heavens,” she trots out all the reasons why someone might resist happiness: it’s not a worthy goal (it’s self-indulgent), it is associated with a lack of intellectual rigor (it’s not “cool”), some people use unhappiness as a guilty control mechanism, and some people fear that being happy will tempt fate to bring disaster down on them. She dispatches all these arguments in a mere three and a half pages, which, I must add, she does with very little intellectual rigor. Then she notes the ultimate cause of resistance: “Happiness takes energy and discipline. It is easy to be heavy, etc.” (218).

She reiterates this at the end of Chapter 9, on “Pursue a Passion,” when she encounters a naysayer who quotes John Stuart Mill as saying, “Ask yourself whether you are happy, and you cease to be so.” She dismisses this idea in exactly sixteen lines. And she concludes, “you must make the effort to take steps toward happiness” (233-34). I think about the happiness that has flooded me at completely unexpected moments, and I wonder. But there is no serious self-questioning here.

In Chapter 10, “Pay Attention,” she decides that the traditional Buddhist koans aren’t for her, but that she has some quotes that can serve the same function for her. This is a very funny section because none of her “koans” are koans at all. She spends more time contemplating the meaning of Samuel Johnson’s “He who would bring home the wealth of the Indies, must carry the wealth of the Indies with him” than she did Mill’s statement at the end of the previous chapter. Her interpretation of this statement, however, is no deeper than her dismissal of the other. All it means to her is that happiness inheres purely in the individual and not in circumstances.

In the section of Chapter 10 already mentioned above, on giving positive reviews, she notes repeatedly that it is easier to give negative ones. While some of the assertions she makes in the book about happiness are supported, at least marginally, by some scientific studies, she gives absolutely no evidence for the claim, repeated numerous times in the last few chapters, that it is easier to be negative. I myself have to say that I find writing this kind of review, where I try to be thoughtful and fair about saying even critical things, far more challenging for me than simply writing, “Oh, what a cute book. It’s so true.” I work hard for a fair and balanced critical mind, and most of the intellectuals, writers, and scholars that I know do, too.

These last few chapters of the book are filled with material seemingly designed to dismiss criticisms that Rubin seems aware may come up. Perhaps the funniest of these is that she spends numerous passages quoting from people who have posted on her blog to the effect of how much her blog helped them. How could this handful of readers of her blog be wrong? She even quotes her sister and her husband to prove that she’s become a happier and therefore better person over her year of effort. I mean, would you quote your sister or husband as proof of anything? That’s like someone in a creative writing workshop telling everyone that his mother liked his story so it must be good.

However, if the bestseller status of Rubin’s work is any indication, this strategy seems to have worked, much to my chagrin. She’s now working on a Happiness Project for children. I can’t wait to get those kids in classes I teach. It might make me cry.

Really, it’s not that I don’t want people to be happy, but I just can’t believe that this is the way. It leaves too many other important values in the dust.

The Dollmaker

Posted on

This Tuesday, I will take a break from the weekly song posts and talk about a book that makes me cry. My friend Anna had mentioned on Facebook a few weeks back a big, weep-inducing Victorian novel she loved, and it brought to mind my own literary crying experiences. If you have any to offer, let me know.

It was a very seventies chair, the one I sat in while I read and cried over Harriet Simpson Arnow’s novel The Dollmaker. The chair was huge and low-slung, was upholstered with lime green ribbed velvet, and had an ottoman the size of a swimming platform. It was a chair that thoroughly enveloped its occupant, or occupants, as it was possible for two to sit together in it quite comfortably, even non-lovers. It was the greatest place for reading I’ve ever known.

The chair and my middle-class, suburban, 1970s life contrasted sharply with the poverty-ridden, rural and then urban, 1940s world of The Dollmaker. Yet much of the novel was set in my beloved Appalachian Mountains, and Arnow’s descriptions of the piney smell and caressing air resonated with me. She had the place down. When the main character, Gertie, packs up her kids and moves to Detroit, where her husband has found war-time factory work, I felt the dislocation along with her. After all, my family had moved several times during my childhood, and I had my own sense of dislocation.

Gertie is tough as nails. In the opening scene of the novel, she is racing to a clinic on a mule with one of her children, who is so ill with congestion that he is near choking to death on mucus. Finally, she stops and cuts a hole in his windpipe so he will survive til she gets him to a doctor.

Gertie, however, is also an artist who sells out. She is a whittler, but once in the city, she turns her craft to cheap and simple results that she can sell for extra income. No reader could fault her for this, as she’s contributing to the survival of her family, but I felt the pain of her compromises. I came to see that art is not created in a vacuum and that talent does not always come to full fruition.

What made me sob over this book, though, was the character of Cassie Marie. (I later named a cat after her.) One of Gertie’s children, she is lovely and imaginative and dreamy–and ill-equipped for the big city slums. She dies, of course, in one of the most harrowing scenes I’ve ever read anywhere in literature, run over by a train while pursuing her imaginary friend, Callie Lou. Both the mother, desperately and futilely trying to get her to the hospital and save her, and the daughter, lost to a brutal world she doesn’t belong in, are tragic to the core. I still identify with Cassie Marie in a world where there seem to be fewer and fewer places where the dreamy and impractical can survive, much less belong. Gertie could adapt; Cassie Marie could not.

It may be that now in my life, I feel more like a combination of Gertie’s determination and toughness and Cassie’s diffuse enchantment, but I sometimes wonder if in fighting for survival I have given up too much of my whimsy and day-dreaming. I also feel for so many of my students, the “creative types” who don’t want to become part of the corporate machine, but who find few other avenues open in the narrowing trends of our work world. The Dollmaker taught me some of my first lessons in the challenges of a creative life without wealth.

It’s a Beautiful Day

Posted on

U2’s song is generally happy and upbeat, but it’s an example for me of how personal associations can account for at least part of the emotional attachments and reactions we have to songs. This song is one I heard a lot a few years ago in indoor cycling classes at the Y. I had recently moved to Florida and was in a new life over my head. I was being bullied at work and facing the truth about some less-than-ideal career choices. I was lonely in a strange city. But I was also still in a phase where I believed I could do anything I set myself to do. When “It’s a Beautiful Day” would come on toward the end of a spin class, I would sprint to the finish, strong.

So, with the encouragement of the greatest spin teacher in the world, a fellow who went by the nickname of Z, I decided I would train for an outdoor charity bike ride. Z’s business sponsored races, and he encouraged us to get out of the dark room and ride real bikes outdoors. I knew I couldn’t realistically race, but I could ride. So I signed up to do 50 miles for the American Diabetes Association’s Tour de Cure.

This was pretty momentous for me. Although I have always been active, I have never been athletic. I don’t believe I’ve ever competed in a sporting event. Oh, that’s not true. I won a red ribbon in a horse show once when I was twelve or thirteen. There are many people with Type 1 diabetes who do compete and who are athletic, but for me the illness itself was always enough of a physical challenge. I rode horses, I jogged, I walked, I hiked, I practiced yoga, I even lifted weights to stay in shape, but I never took it a step further.

Z inspired me to do so, and a couple of my indoor cycling pals signed up for the ride as well. One of my graduate students signed up. My old friend Sally, who is a real athlete, decided to come down from Maryland and ride with me. I “trained” for several months, which included many long weekend rides with my then-boyfriend, now-husband. It was a great time for me—all the support, the sense of accomplishing something new even though middle aged, the power of being fit, and the drawing attention to a good cause.

The day of the race dawned chilly and windy, and I was filled with doubts that I could do it. Who was I kidding? I was terrified of traffic, and this ride wound through country towns outside of Orlando, filled with barking dogs and intermittent traffic, stop lights and unclear turns. The people managing the race were completely uninterested in the fact that they had a diabetic riding for diabetes—and it was clear that most of the people riding did it for the riding not the cause and that it was a macho culture. Perhaps worst, the snacks provided along the way were cheap and disgusting—dry cookies and brown bananas—and I knew that I’d have low blood sugars.

But we all persevered. I nearly fell off the bike once at a stop light where I forgot my feet were clipped to the pedals. My blood sugar did reach a low point of 55, and I had to ride on, shaking and sucking on a juice box. And Sally decided that the 100 miles she’d signed up for were too much. But we all made it to the finish, where better snacks and massages awaited us. It was a triumphant day.

Unfortunately, within a few weeks I’d developed a painful condition called adhesive capsulitis or frozen shoulder. Months of medical mistreatment and long, sleepless nights of pain later, I was a walking zombie and as out of shape as I’d ever been. In the three years since, I have seen orthopedists, osteopaths, physical therapists, and medical massage therapists. And I finally found my way to swimming, which always helps loosen up my permanently stiff shoulders. I have continued to exercise, but only off and on, never as steadfastly as in my training phase.

So when I hear “It’s a Beautiful Day” now I am reminded of that great season in my life, but also that I no longer am there. Sometimes it makes me feel terribly old, as though I’ll never be in such good condition again. I can get a tear in my eye thinking about the regret implicit in “Don’t let it slip away” and the over-compensation in “What you don’t have, you don’t need it now, What you don’t know, you feel somehow.”

But I also get tears of determination in my eyes. One of the great things about Z as a teacher was that he recognized the challenges we each faced. To me, he would always say, “Roney, you’re an animal. You never give up.” And he would tell me that it wasn’t triumph that mattered, but coming back again and again even though I’m not the perfect athlete and never will be.

Hubris and Art

Posted on

Maybe “hubris” is too strong a word. But the recent tragic and avoidable death of a former colleague has made me think about how we see ourselves as creative people. There’s a lot of baggage that comes with being a musician or an artist or a writer, at least in the popular image. It’s baggage that drags many people down. While I love Janis Joplin’s music, I don’t love that she died of a heroin overdose at the age of 27.

My former colleague died in a single-car accident when she lost control on a freeway. Her car was a convertible with the top down, and she was not wearing a seatbelt. She was thrown from the car when it hit a guard rail. Just a few days earlier, I’d had a conversation with a woman who’d had an eerily similar accident, but who’d been wearing a seatbelt and survived without injury. Neither car had flipped.

Last year I taught a course for Creative Writing students called Mad, Bad, and Dangerous: Images and Roles of Writers in Society. One of my purposes in teaching the course was to try to address the enormous mythology that surrounds artists of all types. Based on the prototype of Lord Byron–and the wit of Lady Catherine, who called him “mad, bad, and dangerous to know”—we tend to believe that writers and other artists have to be at least a little bit crazy and all the better to be bat-shit crazy. Crazy = creative in this formula. The idea goes back to the Greeks.

What surprised me was how completely unwilling many of my students were to even contemplate that this might not have to be true. I plied them with studies that demonstrate that the connection between creativity and mental illness is minor at most, and that many other factors are far more important in terms of what creates a writer (such as reading a lot). I asked them to read essays by famous, mentally well-adjusted authors. We read about how “blandness” is an aesthetic value in Chinese culture and how the role of artists in that society is different than in ours. They didn’t care. I knew the myth was powerful, but I hadn’t realized that even information and alternative models wouldn’t quell it.

So many of us have an image of ourselves as rebels and daredevils. And there is a kind of truth in it in that we need to be willing to take certain kinds of risks, at least intellectually and financially.

It is also necessary for writers and artists to have a healthy dollop of ego in our personalities. Without it, we would never have the nerve to go for it, to assert that we have something important enough to say for others to listen, and for us to survive the constant rejection and criticism that is always a part of a writer’s life. Frequently, that ego becomes defensive and overwrought in the face of so many fears and difficulties. And because another of our cultural myths is that artistic production is the result of genius, writers frequently begin to find it necessary to believe in their own invincibility, superiority, and exceptional nature. To put it crudely–and I just can’t think of a more apt term–it’s a mind-fuck.

What this too often leads to is a kind of bravado that involves drinking too much, taking drugs, acting irresponsibly and selfishly in the context of friends and family and self, and all manner of other wild behaviors. These habits by no means belong strictly to the arts, but in the arts we justify them with phrases like, “Genius takes its toll” or “Artists are crazy,” followed by sighs and eye-rolls. Everyone else who acts like this is just a jerk with problems, but we’re supposed to live on the edge. We are de-legitimized if we don’t.

Maybe this seems like an odd complaint, considering that my blog is about increasing intensity of feelings and not being vanilla and fake. Part of what I feel, however, is that, based on living this exaggerated if not false image, many of us in the writing world are losing touch with the real intensity of what it means to be creative and artistic. I even sometimes find in my students—and others— more of a desire to “be a writer” with all that implies about celebrity and lifestyle than to actually perfect their writing. The writing world is reaching a point where we will soon have our own Paris Hiltons. That may be inevitable, but let’s remember that writers and artists and musicians are distributed along the personality spectrum. Yes, some of us have mental health issues, but we don’t need to celebrate that. And no doubt there is some value in having a wild streak. Even I claim one. But we don’t need to drive each other further into stereotypes that end up killing us.