Hard Times


It’s Labor Day, and it’s hard not to think about the economic hard times we are living through now. Although I am a lucky person with a relatively secure and decently paid job, even I live with the evidence of decline—the house across the street that has been vacant for three years, the colleague whose husband lost his job, our continually eroding health and retirement benefits in the State of Florida, the old guy who bicycles by every now and then looking for yard work, the empty storefronts even in fancy Winter Park, the massive numbers of now-homeless pets that have been abandoned by families in distress.

My new mantra is that some people lived through the Fall of the Roman Empire, too. For some reason, that thought calms me, though I’m not sure it should.

So, today I bring you a selection of songs about hard times and hard work. (For some of us, it’s a holiday, so maybe there’s time to listen to more than one.) I’ve tried to select only first-person songs that are about the personal experience of economic difficulty and hard labor, as opposed to the many more that are about the poor who are “them.” As the span of dates on these songs indicates, of course, there are hard times all the time, depending on who you are. It’s just that now we are returning to a pre-Civil Rights pervasive poverty for more people, and the rich are getting richer.

Bing Crosby, “Brother, Can You Spare a Dime?” (1931)

Woody Guthrie, “I Ain’t Got No Home in This World Anymore” (1944)

Nina Simone, “Pirate Jenny” (1964)

Bob Marley, “Them Belly Full (But We Hungry)” (1974) (see above)

Bruce Springsteen, “Factory” (1978)

Simply Red, “Money’s Too Tight to Mention” (1985)

Tracy Chapman, “Fast Car” (1988)

Ani DiFranco, “Coming Up” (1992)

Michael Franti & Spearhead, “Crime to Be Broke in America” (1994)

Cam’ron, “I Hate My Job” (2009)

Script, “For the First Time” (2010)

Andy Grammer, “Keep Your Head Up” (2011)

My favorites, I will admit, are the protest songs, the ones like Marley’s and DiFranco’s that call for revolution—“A hungry mob is an angry mob” and “whoever’s in charge up there had better take the elevator down and put more than change in our cup, or else we are coming up.” Even though Marley’s song encourages listeners to take comfort in dancing, there’s the implication that poverty should not be tolerated. On the other hand, two of the more popular recent hard-times songs, “For the First Time” by Script and “Keep Your Head Up” by Andy Grammer, seem more sanguine, more insistent that poverty isn’t all bad.

Some of these newer pop songs feel a bit to me like pacifiers—little anthems for hard-hit folks to sing along to and feel better, feel encouraged, feel hopeful. I have mixed feelings about this. On the one hand, studies show that domestic violence has increased significantly since the onset of the recession, and so it might be a good thing for men who listen to this kind of music—who may be struggling with issues of anger and resentment, who may be tempted to raise a hand to a family member in frustration—to hear a song that encourages them to pull together with their loved ones. On the other hand, these songs also assert that poverty is not important, that it can be overcome, that struggling people should address it with personal gratitude and forbearance.

They’re also just a little hard to believe, what with those beautifully veneered teeth, stripper types showing up in videos, and happy tunes. There are tougher recent songs out there, like Cam’ron’s “I Hate My Job.” He’s just not played as much on pop radio. Go figure.

Anyway, happy day off, to those who have the day off.

* * *

The selection process was hard. There are some good articles and lists about this subject, past and present:

Poem Hunter Songs About Poverty

Social Justice Song Index

10 Best Songs About Poverty

Top 10 Songs About Working Hard for the Money

Telecaster Songs for Recession

Washington Post, “The Recession Becomes a Topic in Popular Music”

Guardian, “Beyonce’s New Single Spells Economic Doom”

Telegraph, “Recession Means Depressing Music”

A contrary opinion from American Public Radio Marketplace, “Pop Music Misses Recession”

Another, different opinion from the Idolator, “Can We All Stop Saying that Pop Music Reflects the Economy, Please?”

Selfish Tears

I have a different pump, but this photo is in the public domain. Close enough.


One night a few weeks ago, I didn’t click through enough of the buttons on my insulin pump, and, unbeknownst to me for several hours, I had not gotten my dinnertime insulin. By the time I realized this at 11:00 p.m. my blood glucose was 339. Now, 80 is normal, and 100 is what I shoot for, but I was still a long way from diabetic ketoacidosis, coma, and death. Since I have all the tools at my fingertips and could zap myself with insulin right away, there was no immediate danger, just an emotional reaction.

I’ve had Type 1 diabetes for going on 40 years. Over the past couple of years, my blood glucose levels haven’t been all that great. I’ve been working very hard the past months to keep them stable–testing a lot, eating lower glycemic index foods, exercising, avoiding the more avoidable stresses of my workplace, and using my pump’s “bolus wizard.” This last is a term I despise–why not call it your Bolus Fairy Godmother? Or your Bolus Knight in Shining Armor? I hate the infantilizing of my condition with terms like that.

Anyway, name aside, it’s a handy little tool that calculates for you how much insulin you need for any given meal, and it records both doses and blood sugars so the doctor wants me to use it to help him monitor my highs and lows. The trouble is that you have to punch the buttons a million times to get through all the screens. Sometimes I think that, even as math impaired as I am, doing my own numbers in my head is less trouble.

So, looking at that 339 and realizing what had happened, I felt a surge of anger–at myself for screwing up, at the fact that I probably wouldn’t feel well enough in the morning for my spin class, at the stupid design of the stupid pump (which, of course, I generally appreciate and wouldn’t want to live without), at my husband for talking to me during dinner and distracting me from the buttons (which conversation, of course, I’d been looking forward to all afternoon), at the universe that saddled me with this disease.

When I got to the latter, I was flooded with tears of frustration and self-pity. My husband put his arm around me and said, “It doesn’t ruin everything. It’ll be back to normal by tomorrow.”

“I know,” I said, “but I’d just like one f*ing day off.” We acknowledged as how that’s not going to happen, no matter how much I hope for it. There is no one with a magic wand anywhere in sight, not even the Bolus Wizard.

These were embarrassing, selfish little tears, and I regretted them as soon as they had passed. But still, I want to say that it’s probably okay to cry for yourself a little every now and then. Especially if it helps you let go of the anger and blame.

In fact, one recent concept to emerge out of positive psychology that might actually be useful and helpful is that of “self-compassion,” the practice of accepting and examining negative feelings (such as failure, inadequacy, and other kinds of suffering) rather than denying or disapproving of them. Even Martin Seligman has questioned the emphasis on self-esteem in raising children, noting that it tends to make them unrealistic and narcissistic. In more recent years, researchers such as University of Texas professor Kristin Neff and Harvard professor Christopher K. Germer, have focused instead on self-compassion.

There are a couple of aspects of this approach that are important: one is that self-compassion also involves an awareness of others—you’re encouraged to understand that failure is a normal part of the human condition and that others feel afraid or inadequate too. Another important difference from much of the run of positive psychology is a lack of denial of negative aspects of life. New studies are showing that it may alleviate depression more to review negative events at the end of each day instead of trying to think positive thoughts, as long as one takes a forgiving attitude toward oneself in doing so.

Many of those researching self-compassion, including Germer and Neff, are influenced by Buddhism. Buddhism perhaps shares with positive psychology a belief that one’s surroundings are not the key to happiness, but what it seems to bring to the positive psychology endeavor that’s different is a focus on compassion rather than achievement and an understanding that some superficial pursuits of happiness may have negative consequences, that one’s relationship with the world really does matter for long-term happiness.

Self-compassion, of course, also helps one be more compassionate toward others, something I find missing in most positive psychology, and in much (though of course not all) of today’s prosperity-oriented Christianity. I know that for me, blame certainly snowballs. As soon as I was able to forgive myself for messing up my insulin dosage, my anger at Bruce and the insulin pump designers dissipated as well. Diabetes is one part of the normal imperfect human condition. I keep trying to let go of the usual blame.

Ebben? Ne andro lontano

I promised to get to arias sooner or later, so today, in honor of floods and hurricanes and tornadoes and tsunamis and blizzards and avalanches, here is one rendition of “Ebben? Ne andro lontano” from Alfredo Catalani’s opera La Wally. This one is sung by Rene Fleming with Christian Benda conducting the Prague Philharmonic Orchestra. In the story, La Wally has made a real mess of her love life and heads out into the snowy Alps. This song comes from that moment. A little while later, it seems that she will reconcile with her would-be lover, who has followed her, but his voice calling to her sets off an avalanche that buries him. She flings herself off the mountain into the avalanche to join him in death.

Whether you know the story or can understand the words doesn’t really matter, of course, because the sorrow is very clear in the music itself–the grieving pace, the climbing and falling of the notes, the tremulous trill at the top. “Ebben? Ne andro lontano” may seem familiar even if you aren’t an opera fan. It has been used over the years in a number of films, including Diva (1981) and A Single Man (2009). There are other good versions on the web, including the one by Maria Chiara that I first heard several years ago and that made me fall in love with the song and another one by Rene Fleming that’s a little fuller than this one (but includes an ad). I really enjoyed listening to several different interpretations from many stunning singers. At a time when the forces of nature seem overwhelming, it’s good to marvel that such voices can come out of human beings.

TimeSlips

Several years ago, I participated in a National Endowment for the Humanities summer seminar in medical humanities at the Hershey Medical Center. We resided at the medical center for a month, had daily lectures and discussions with experts in the field, and had the opportunity to do things like shadow physicians and nurses through the hospital and attend grand rounds. It was a fascinating experience in many ways. The thing that sticks with me the most, however, is TimeSlips, a program developed by Anne Basting, director of the Center on Age and Community at the University of Wisconsin, as a way of engaging Alzheimer’s patients in storytelling.

Basting’s motto is “Forget memory; try imagination.” When she began working with Alzheimer’s patients and storytelling, the emphasis was all on trying to get them to tell their own life stories. But this was a disaster for everyone, as it only agitated those having trouble with memory. So Basting decided that she’d change the frame a bit and developed a technique whereby a group of patients tell stories in response to striking photographs like the famous one of an elephant trainer sitting with his hand on his elephant or the one of a bunch of nuns in a Volkwagen bug. The emphasis is on the here and now and the use of speculation and fantasy, much easier on those who not only can’t remember but fear their loss of memory.

The stories are not traditionally coherent by any means, but what happens is that many of the patients have fun. When I first saw the film Basting showed us at Hershey, I was stunned to hear Alzheimer’s patients break out in song and laugh at the variety of wild ideas that came out of the group. All fifty of us in the room watching that film wept at the evidence that people so often dismissed as “gone” could express joy and pleasure and participate in a creative group activity.

Unfortunately, there’s nothing available on the web now that’s anything as powerful as the film I first saw. I’m not sure why—perhaps it has to do with privacy issues or with the fact that TimeSlips offers paid, professional training in its techniques. But here is a tiny taste.

Mark Rothko

The first time I ever cried in front of a piece of art was when I visited the Phillips Collection in Washington, D.C., during the summer of 1980. Last February, during the Associated Writers and Writing Programs (AWP) conference in D.C., I was locked into a tight schedule, but made it a point to visit the Phillips Collection again. It’s one of my favorite places on earth.

In 1980 I was a twenty-year-old art student, and I was in Washington on an internship with the Washington Women’s Art Center (no longer extant), which was just off Dupont Circle near the Phillips Collection. Since my college campus sat in the hinterlands of Minnesota, I vowed to see all I could during that summer. You might say I was museum- and gallery-crazy, not to mention deliriously thrilled to be in the city.

I had little interest in Abstract Expressionism. The figure and landscape—tangible things—though not necessarily in the Realist style, spoke to me more than abstraction. I liked Matisse better than Kandinsky. I loved Constantin Brancusi but not David Smith. Most of all, I loved the gentle obsessive boxes of Joseph Cornell and the harsh obsessive ones of Lucas Samaras. I loved the textile- and craft-based art of Eva Hesse, Miriam Schapiro, and Judy Chicago.

Therefore the Mark Rothko paintings at the Phillips were not high on my list. Nonetheless, in the process of devouring everything available, I went there one weekday afternoon. The galleries echoed, nearly empty, and I went through the door into the Rothko Room. I had it to myself, and I sat down on the little bench and stared at the paintings.

Mark Rothko. Green and Maroon. 1953. Phillips Collection.

Much to my surprise, I found myself weeping. The paintings were just so much more beautiful than could be captured in reproductions in books, the only way I’d ever seen them and where their lights and darks had been muddied in the photographic and printing process. The real paintings pulsed on the wall, the subtle contrasts in hue and value coming alive in front of me. They seemed truly alive, like living, breathing creatures. I sat on the bench for a long time, until others began to poke their heads in and interrupt my reverie. I got up and left, changed, shocked in part by my ability to mis-judge.

At the time, I didn’t know that this was a common occurrence. “The fact that people break down and cry when confronted with my pictures,” Rothko once noted, “shows that I can communicate those basic human emotions… The people who weep before my pictures are having the same religious experience I had when painting them.” I certainly did.

Rothko, in fact, has also noted that he is “not an abstractionist,” that he’s “not interested in the relationship of color or form or anything else,” but “only in expressing basic human emotions: tragedy, ecstasy, doom, and so on.” I’m glad that he puts tragedy and ecstasy side by side.

Perhaps because of the emphasis on contrast in the visual arts—a painting without the play of literal light and dark is impossible to conceive—it’s easier to see the necessity of balance there. But the same is true in writing and in music. Point and counterpoint, compression and expansion, scene and summary—all of these principles must exist in balance. Even emotionally, a work must have its balance. A work may be dark overall or light overall, but if that quality is uniform and uninterrupted, we won’t even notice the actual strength of the emotions.

Animal Cops

I watch Animal Cops. It’s an embarrassing thing to admit, and I’m used to the frowns of consternation. “Why?” my friends ask, even my husband. “Why would you watch that?” I ask my husband the same thing about Futurama, but he argues that it’s not just a matter of taste. “Animal Cops is painful and torturous,” he says. “Why do you do that to yourself?”

It is true that at least one animal per show dies or is euthanized for behavioral problems. It’s an interesting choice that the show’s producer makes to include these cases. You might think that they would include only the situations where there’s a happy ending. Knowing what I know about animal rescue, however, I surmise that there’s an insistence on the part of show participants that some level of realism be maintained. Yes, many of the animals are shown at show’s end in loving, new “forever” homes. Yes, these often produce smiles and giggles we might deem sentimental.

Yet I don’t think these shows are sentimental. They look too closely at depravity to be sentimental. I love the hard faces of the animal cops, whether they be in Houston, Detroit, New York, Philadelphia, Phoenix, San Francisco, or Miami. They are tough, and these are reality shows where reality is not entirely sidelined, though, of course, the various cops featured are carefully selected for their personalities. My belief in their heroism is engineered, no doubt, and I’m sure they all have flaws and petty squabbles that aren’t shown on TV.

Still, the camera follows their eyes as they examine pit bulls ripped to shreds by dog-fighting, or fifty or more cats living in inch-deep feces in a tiny house, or a horse walking on the top of its swollen and infected hoof. On one call I remember, a dog had been reported injured, with a broken leg, but the truth was it couldn’t stand because it had been weakened by months of starvation. In Miami, there was a case of a young man slaughtering pet cats and bringing their sliced-up bodies back to their owners’ yards for display. Frequently there are cases of dogs that are brought back to health only to fail behavioral tests and be euthanized. One of the behavioral experts tears up every time she has to condemn a dog to death. She knows, as I know, that most of these dogs got that way through abuse and could even yet be saved if there were time and resources to devote to it. But our attitude toward pets in the U.S. is schizoid—we treat our own like family but condemn thousands to die every year for lack of resources.

I face these pictures every now and then on TV, but the animal cops face these scenarios every day. Their weariness is often visible in the faces. Charles Jantzen, a chief cruelty investigator in Houston, often wears, along with his cowboy hat, the pointed, drawn expression of a haunted man as he toils in the Texas heat to round up dogs, cats, horses, chickens, even emus. Lisa Yambrick is sometimes brought to tears by the limits of the law in Miami, which doesn’t allow her to take every animal in need. In Detroit, Debby MacDonald has a head shake like no other; she explains repeatedly to the camera and to ignorant pet owners what needs to be done in no uncertain terms. Mike Dowe, also a Detroit investigator, has one of the softest voices I’ve ever heard. He seems continually amazed at what he sees and works gently with each animal he encounters. What a beautiful sensitivity this man has in the face of all this disgusting cruelty.

I also remember the time when I did volunteer animal rescue work myself (for two organizations, Centre County Paws and A New Beginning). I remember the kitten that a woman brought in right after she had stopped to pick it up off the highway after watching a man throw it out of a car window while the car drove 45 mph down the road. It was skinned all over and had a broken leg, but lived and thrived. I remember the dog that a woman dropped off one day, saying that her husband would kill it if she brought it back home again; he killed it less directly, for the dog was so afraid of and violent toward men that we had to have it put down, something my organization was seldom called on to do. I also remember the dozens of references I checked to make sure our pets were going to sound homes.

I have come to the conclusion that it is probably the most useful and meaningful work I’ve ever done in my life. I intend to get back to it when circumstances allow. But I would never have the strength to do it every day or to handle these worst-case scenarios all the time. So perhaps I watch these shows because I admire something in these cops that I don’t have. I share with them a devotion to animals, but not the brutal strength they have. I have art, which is not nothing, not by any means, but in these days when I question my future, I wonder about the relative merits of choices I could have made. A life saved is a life saved, after all.

Animal Cops is not art, of course. The shows harp on the same simple messages over and over again: these organizations depend heavily on donations, so please give; if you acquire animals, you must take care of them responsibly; and people who don’t take care of their animals are criminals. The shows do, however, have one thing in common with literature: they demonstrate the vast array of evil and just plain old messed-up-ness in the human race. The dramas that play out in the court scenes, where people often protest the seizure of starving or injured animals left unfed and untreated, is instructive if not literary. They often feel that they have done nothing wrong, and they often have befallen terrible times themselves. Sometimes it feels odd that someone can step in to help the animals, but not the degraded people in their ignorance, poverty, and callousness. That, I suppose, is what social services and art are for. We can only wish that they would work better and also receive the resources to do their work. Our country is schizoid not only about the animals, but the humans, divided so between fortunate and un-.

Maya

Pin the tail on the kitty.


One of the themes of this week, to my gratification, has been crying. It started the first night I arrived, when a woman in the lounge was talking about crying at a John Prine concert. And one of the great exercises that Richard McCann suggested for us was to write about something difficult to look at. Here’s one of my results. (I’m posting early this week, since I’ll be traveling all day tomorrow.)

Maya

Her body lay on the metal table in the veterinarian’s office, still. It was in some ways just the same body it had been two hours earlier when she had been alive, expected to keep living. No rot or smell had set in. They had laid her on her left side to hide the wound on her face where they had cut out the growth, where the incision would now never heal.

I stroked her white fur, took a last look at the unusual markings that made her a caliby van—a calico tabby with color on only her head and tail. “Pin the tail on the kitty,” one of my old boyfriends had said every time he saw her. Her fur was still soft and clean. It still came out in wisps and stuck to my shirt as I ran my hands down her dead body.

I had been present at the euthanasia of three of my cats, and I prided myself on being there with them til the end. I couldn’t understand people who dropped them off and left before the deed was done. With Cassie I had waited too long—until she fell down the basement steps trying to get to the litter box. With Stella I had done it too soon because I was headed out of town and couldn’t leave the task in the hands of someone else. With Zelka I thought I had gotten it just right—while she was still beautiful but unable to eat, her throat blocked by metastases.

Maya’s decline had been different. Just ten days before she died, I’d come home from the hospital and curled up in bed with her. She let me know that my absence had been worse for her than it had been for me. She meowed and meowed. She poked her wrinkled nose into my side and raised her back leg for a belly rub. She chewed at the bare spot on her forearm.

Months earlier, Maya scrambled under the bed or behind the bookcase every morning when it was time for her insulin injection. She was the second cat I’d had to develop diabetes, and my veterinarians were the only people ever to be delighted that I, too, have the disease. They didn’t have to tell me what the implications were of refusing to treat it, and I had the tools on hand. I knew how to give shots. The first cat had been easy, but Maya screamed as though I might kill her. She ran, her claws scrambling across the tiles, like a cartoon cat. Every single time. Her care became an ordeal. But I would not put her down, one diabetic asserting that another was too much trouble.

Instead, she came out of the diabetes, as cats often do. I found her on the floor of the living room, limp with insulin overdose. She tried to meow, but only a squeak came out. She could barely blink her eyes. I grabbed the honey bear from the kitchen and tried to spread some on her tongue, but she gagged. Ground-up glucose tablet diluted with water and shot down her throat via syringe worked better. It occurred to me that something else was wrong—maybe a stroke—but I kept hoping it was the obvious. I lifted her up to my lap on the sofa and waited. Her body draped over my legs, a dead weight, but then her tail twitched. She came back to life, as I have myself after so many low blood sugars.

That would not happen for Maya again. She died alone in a cage in the vet’s back room after a minor surgery to remove what I feared a tumor but was probably merely a cyst. I had not been with her. The vet explained she’d probably had an embolism. “I feel,” I said, standing beside her body, “like I killed her for nothing.”

Trying to Be Accurate

I’m coming to you from the Vermont College of Fine Arts Postgraduate Writing Conference, and I’m posting something that I think is a little bit of a corrective. A little bit back, I posted about sweets and my grandmothers. Perhaps that post was a little bit–ahem–saccharine. One of the themes that has emerged so far this week has been about the accuracy of one’s writing as an antidote to sentimentality and melodrama. So in that spirit, I’m posting a somewhat different view of my Grandmother Roney here.

Untitled

My grandmother starts pulling the peanuts out of her pocket and munching them before we even order our food at one of the most expensive restaurants in Boston. My brother, just graduated from college, looks around the room as though to see whether any of his fancy classmates might also be here.

“Mother, what are you doing?” my father asks her. It comes out like a hiss, like air escaping a blown tire.

“Nothing,” she says, and folds her hands in her lap. She looks down at them there in her crotch, utterly still.

My father shakes his head and goes back to the menu. My mother pats my grandmother’s hand. For once, I side with my dad. Grandmother kept me up all night snoring in the hotel room. Next she will be explaining to the waiter all the foods that would make her break out in hives. She will even bat her eyelashes at him, as though she could make up for my grandfather’s leaving her with my six-year-old father all those years ago. She will be sneaking those peanuts from her polyester pant suit pocket all through the meal, as though we can’t see her.

***

Two years later, Grandmother and I stand in line to the India pavilion, panting under the excoriating sun of July. Five-foot-one to my nearly five-eight (I never called it five-seven-and-a-half), she’s struggled to keep up with me as I escort her around the World’s Fair. She’s been talking about other World’s Fairs she attended in years past. Seattle. Montreal. Whatever.

“It sure is hot,” my grandmother says to the couple standing in front of us.

“You can say that again,” the man says. He says it doesn’t get this humid in Dubuque.

“I could sure use another of those lemonades,” she says, still looking at the man.

The line isn’t moving, so I run to get another lemonade for her. When I get back, they might be done small-talking. But, no.

“You should meet my grandson,” she is saying. “He’s such a good-looking young fella, and he went to Harvard.”

The man has started to mop his forehead with a handkerchief and look away, but she goes on about my brother’s bright future—never mentioning that I have even more recently graduated from a fine school myself. I hold her lemonade.

***

At last, twenty-seven years later, I will forgive all the men—every last one of them—for being so perfect in her long-dead eyes, and get married. I will tell all my single women friends that I will love them as much as always. I will raise a toast to my grandmother, the woman I couldn’t see and who couldn’t see me.

Sentimental Update

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Yesterday on my way to spin class I had the radio on in the car again, and, lo and behold, the sentimental song that came on was “Close to You” sung by the Carpenters. I had to laugh because this song makes “Operator” sound completely unsentimental. The gritty scenario of the guy being dumped seems so very real next to the silly lyrics of “Close to You,” with its fantasy of a “dream come true” boy that is followed everywhere by singing birds and “all the girls in town.” Karen Carpenter had a beautiful voice, but “Close to You” must be one of the worst songs ever recorded. Nonetheless, it made it to Number One on the Top Forty list in 1970, where it remained for four weeks, and it also won a Grammy.

For me this song also brought up the sinister side of over-happiness. It brings back the 1970s of The Stepford Wives, a book and movie in which men’s desire was to control and render idiotically pleasant the women in their lives through nefarious means. Even though the movie was re-made in 2004, the 1975 version was the one that emerged out of a time when women were struggling to create choices for themselves. If you think that all is well in 2011, then I refer you to the Stepford Wives organization, but at least it’s now easy to see those women as the fakey freaks they are.

On the other hand, Karen Carpenter came of age at a time when gender limitations were the norm, and these sexist norms were just being broken down. I would say that she suffered for them, died for them, even. Karen Carpenter started off as a terrific drummer, but was forced into becoming merely a vocalist. Her brother controlled their careers and chose the music they would perform, and she was forced into an unwise marriage by her mother, who forbade her to call it off at the last minute. Of course, the anorexia that killed Karen Carpenter was a complex disease including many factors. But if you have any doubt about the destructive nature of cotton-candy fake happiness instead of deeper fulfillment based on a more complex vision, take a look at these two videos: one a medley of KC playing the drums early in her career and the other of KC after the drums had been stripped from her, propped up in clothing designed to disguise her thinness and singing “Close to You” like an automaton. The songs may not make you cry, but if the comparison between the sassy early Karen and the re-packaged one doesn’t at least make you cringe, then you’re ice.

There’s a hint here, of course, about what sentimental means: there may be an element of fakery. It’s a partial definition–that’s not the only quality involved, and it may not always be involved–but the sentimental sometimes evokes our skepticism.

P.S. Please see the comments for more accurate information about the dates of the linked videos.

Operator

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I’ve been keeping this blog for a little more than three months now, and I’m doing a bit of quarterly reflection. I have a small confession to make.

This old Jim Croce song is one of the first ones that I used to make myself cry after I decided I should think about crying. I haven’t posted about it before because it’s really not a song I like. This is a song that reaches over into bathos and sentimentality. So it’s not a song I sought out. It came on the radio (yes, the radio) one harried day when I was driving home after a long day, and I made myself listen to it in a way I perhaps never had before.

I thought about what a sad, sad song it is, and how Jim Croce died a tragic, early death in a plane crash. The song’s narrator is pathetic, not just tragic, and he’s the kind of narrator that I’d usually roll my eyes at. But in fact all of us fear somewhere deep down being that kind of person–most of us have been dumped at one point or another and most of us have had things we’ve had a hard time getting over. So, even though I’ve never behaved as this narrator does, I let myself connect to those deep insecurities for a moment. It was cathartic.

But “Operator” also raises issues for me about snobbery and elitism. I’m dedicated to both, I guess, and the sentimental in art is probably going to remain something I have quite a bit of disdain for. But it’s also something that I want to think more about, so this fall I think I’ll set out to do some reading along those lines. Let me know if you have any recommendations.

I feel as though there’s such a fine line between the moving and the mawkish, maybe even overlap. In some ways, “Operator” represents a “return of the repressed” for me, as I’m sure I was a very sentimental child. Where did she go? Why do we deny these childish vulnerabilities so very much? Why do we let fear of being losers overwhelm our compassion? Is it a good or bad thing that I can cry over something I don’t respect?