Fall Descends

They say everything can be replaced,
Yet every distance is not near.
So I remember every face 
Of every man who put me here. . . . .

                                  

Last month, I went to a memorial service for a woman I met 27 years ago, when she was the administrator of the graduate writing program I was in—the very first person I met on the very first day—and whom I last saw in 2003. 

At the outdoor service in Rock Creek Park, we were led in sing-alongs of a few of T's favorite songs—"Blowin' in the Wind," "I Shall Be Released," "Forever Young." Lovely and moving, and some of my favorites, too. The only problem was I found myself singing Peter, Paul, and Mary's "Blowin' in the Wind," Bette Midler's "I Shall Be Released," and Joan Baez's "Forever Young" while the song leader, the printed lyrics, and the rest of the obedient crowd followed Dylan's locutions and beats. 

See, I like Bob Dylan's songs a lot more than I like Bob Dylan's singing—and the renditions that came out of my mouth were the ones that have resided in my head (and music collection) for years.

T. might have appreciated that story. She had a wry (occasionally caustic) sense of humor, a big laugh, and a welcoming manner. It helped that she seemed to like me. A lot of people probably had the same thought (that she liked them, I mean, not me). She managed to pull off a rare, felicitous blending of "get over yourself" and "how can I help?"

That was more or less the gist of all the speakers' reminiscences at the memorial, and I would have joined in with my own if the open period for stories had lasted longer. But almost all the speakers seemed to be designated as such, even those who weren't officially listed in the program. Then it was over. 

It's probably just as well I didn't come forward because I couldn't have said much more than the general, abstract characterization of her I've given here.

Other than my affection for T., my memories of how well she ran the office and supported people like me (a somewhat nervous 26-year-old returning to school after four years away), a memory of one dinner party at her house a few years later, and another at my apartment long after grad school (the last time I saw her, in fact)—coupled with my regret at having fallen out of touch over the last 11 years—I have virtually no specific memories of her at all, in the sense of stories, particular times she did this and I said that and she came back with this bon mot. Nothing.

She's not the only person I could say this about—I who, according to some, have such an amazing memory. (I just happen to remember different things than they do.) More often than not, what I retain are the little things, inconsequential details: music that was playing, food people "et" (to quote the pronunciation of the British actress reading the British book I'm listening to), what grade I was in when a particular movie came out (sometimes when I never even saw the movie—I can often remember what grade I was in when the stars appeared on Merv Griffin or Dinah Shore.)

I wish I could call up more interactions with those people who may not have been major players in my life but affected me nevertheless. Who in sometimes small, daily ways made me feel valued, respected, interested, engaged, inspired to return the favor of their ways.

"Fall Descends on Rock Creek Park" by Matthew Lehner

Are You Alright?

On Friday, July 6, of last year, I got the news from a hospice nurse that my almost 92-year-old father probably wouldn't live through the weekend. I left work and made the 40-minute drive with my brother from the city to Dad's assisted-living facility in the suburbs.

I'd made that journey countless times in the preceding four years, and before that to the house in another suburb where he and my mother had lived for half a century: to deliver prescriptions, figure out why the cable wasn't working, bring a meatloaf, take him to the doctor, take him to physical therapy, take him to McDonald's, shovel the sidewalk, have a cup of tea, try to cheer both of them up or run interference—just be there.

Now, I realized, this might actually be the last time I'd make that drive for him. (Mom was still very much alive, though in the grip of dementia.) Each time I visited, there was less of him there. His small, thin body curled in bed or slumped in a wheelchair, the ever-shortening sentences of this linguist, this man of words.

I'd been slowly saying goodbye for years.

In the car, my brother and I knew, there was little left to talk about. What do you say when all of life has been lived, all measures taken, all opportunities for denial or solutions exhausted? So we awkwardly chatted about our jobs, our health, the weather—I don't even know what. My brother manned the text messages—to his wife, our two sisters (both out of town), his office—as I drove. We made more small talk, then were quiet for a long stretch.

I don't remember if the radio was already playing or if I turned it on at that point. But into the silence came a familiar voice. 

Are you alright?
All of a sudden you went away.
Are you alright?
I hope you come back around someday.

Are you alright?
I haven't seen you in a real long time.
Are you alright?
Could you give me some kind of sign?

Lucinda Williams. I'd never heard this particular song, though I used to follow her avidly. As we drove on, I gazed out the window listening to her unmistakable car-wheels-on-a-gravel-road voice, full of the ragged strength of survival and the fragility of longing. I felt as if a piece of music I didn't even know had flown out of my heart, giving voice to my worry and anticipated loss. 

Are you alright?
I looked around me and you were gone.
Are you alright?
I feel like there must be something wrong.
Are you alright?
'Cause it seems like you disappeared.
Are you alright?
'Cause I been feeling a little scared.
Are you alright? 

But it wasn't only the words. It was the timing of it, the mind-reading. 

I begged the silence to continue till the end of the song, then directed the sentiment to my brother: Please don't start talking, I thought. Please. Let's just listen. 

And this, underlying it all, directed to someone else: Don't go before we get there.

Are you sleeping through the night?
Do you have someone to hold you tight?
Do you have someone to hang out with?
Do you have someone to hug and kiss you,
Hug and kiss you, hug and kiss you?
Are you alright? 

We made it through almost the entire song, were less than a mile away from our destination, when my brother spoke. 

"Are you a Lucinda Williams fan?"

I flinched and for an instant didn't want to say anything in reply. He'd broken the spell, intercepted the message. But I answered anyway. I couldn't hold it against him.

"I am," I said, "but I've kind of lost touch with her."

Are you alright?
Is there something been bothering you?
Are you alright?
I wish you'd give me a little clue.
Are you alright?
Is there something you wanna say?
Are you alright?
Just tell me that you're okay . . . . 

I'd seen Lucinda live, had several of her albums. But after 2001's Essence, which a friend gave my ex and me when we were living together, I never bought another. No particular reason—like friendships, sometimes musical relationships wane or go on hiatus, through no one's fault. Here she was again.

The song finally ended, and my brother and I were there. 

For the next 13 hours, we sat with Dad, my partner, D., joining us for most of that time. We brought Mom in for a short while—a chance for our parents to complete a circle, even though neither was fully aware. It gave us peace of mind.

Just around midnight, he died. And another long silence descended.

Sometime after that day, I put the song on my iPod. I haven't listened to it too often, and I haven't yet bought any more of Lucinda's music. But I know it's there, waiting.

It's Going to Take Some Time

King with Gerry Goffin and Paul Simon (right). 
Photo by Michael Ochs Archives/Getty Images.

I just finished Carole King’s new book, A Natural Woman. Yes, one of my “things” is biographies and memoirs about ’60s and ’70s singer/songwriters. This is among the best—it’s simply and cleanly written, with a friendly sense of humor and no pretension (except for a slight uptick in name-dropping toward the end, which is excusable because in her life she has so successfully resisted the empty trappings of stardom). It’s the story of a real journey, punctuated by both vulnerability (an abusive marriage) and conviction (motherhood, living much of her adult life close to the land, political activism).

And creativity—jeez. Her first big songwriting hit, the Shirelles’ “Will You Love Me Tomorrow," came out when she was 18. And she’d already been writing songs for years (often forgotten: she didn’t write the words, even on most of Tapestry, until later in her career). She composed “(You Make Me Feel Like) A Natural Woman” in about a day when a producer asked her and her then-husband, lyricist Gerry Goffin, if they could come up with a song for Aretha Franklin with something like the title “Natural Woman” (this at a time, the late ’60s, when their songwriting star seemed to be on the descent). Her description of how humbling and thrilling it felt to hear Aretha sing it for the first time is a reminder that at some point cultural givens didn’t exist. And then they did—and will forever.

I enjoyed this book so much despite the fact that, I’m embarrassed to admit, I’ve never listened to Tapestry, one of the bestselling albums of all time, in its entirety.

One of the things that most struck me was that King became a star despite her ongoing resistance (for instance, going five years in the 1980s without recording when she was living in rural Idaho), but she became one nevertheless—on her own terms. That’s the element that’s in too short supply today.

In a chapter about her 2005 tour, she writes: “Why have I spent so much of my life pushing away from this thing I do that people seem to enjoy, and that I, too, enjoy, so much? Was it because I wanted to experience other things, other lifestyles, other adventures, other career paths? Are those such bad things to want? . . .

“It’s always been important to me to encourage the best in people, and music has been my principal instrument in doing that. And yet I kept pushing music away because I thought it was keeping me from having a normal life.
 

“At this moment I understand that for me, music is normal life.”

This realization (at least as written) comes when she’s 63 years old.

I go through a lot of handwringing about my own relationship to creativity (including what it’s taken me a long time to realize is my principal instrument—teaching). I’m a writer who spends most of his life not writing. Is that normal for me? Or am I just waiting for the next chapter?

How Can I Keep From Singing?

The wife of a college friend passed away at age 51, so last weekend most of my old, small "circle" of a half dozen or so traveled from various points along the Mid-Atlantic to bear witness at her memorial service outside Boston. I'd only met her once, at a college reunion nine years ago (she didn't go to our school; she and her husband met years later), but a better angel of my sometimes reluctant nature prevailed, reminding me that intimate acquaintance with the deceased isn't required and  funerals are for the living.

It was billed as a memorial "salon," at which loved ones could speak, read, sing about whatever inspired them. It went on more than two hours, and there were some lovely moments. The Quaker hymn "My Life Flows on in Endless Song" (which I know as "How Can I Keep From Singing?," by Judy Collins and Enya) and "Dona Nobis Pacem" were among the planned portions of the program, sung by those gathered. Someone read the exquisite, heartbreaking, and right poem "Let Evening Come" by Jane Kenyon. There were lots of memories of my friend's wife, proof that stories are truly the components of a life, the breathing blocks from which a human can be recalled and invoked, indeed created—from which we're all created, every day. I never knew her, but after the memorial I had a sense of her.

The only person in my circle who was moved to speak was one who recited, from memory, "The Owl and the Pussycat." I asked if she'd planned to do that and she said, "NO!"

Afterward my group and some others went to our friend's house, the home he'd shared with his wife until her death, and drank beer and wine and listened to a story she had written herself. I had to leave before most of the others because my sister and brother-in-law, who live in the Boston area and with whom I was staying, were taking me out to dinner. (We had also been through a lot recently, and I wanted to honor that.) I felt rushed and inept as I said goodbye to my college friend and his teenage daughter, and then to all my old friends who I don't see often and who had traveled to be there as I had. 

Just before the memorial, I'd squeezed in a brief, half-hour visit with yet another friend (from a different time in my life, grad school) who lives in the area. We'll catch up a bit more this summer in Provincetown, where it turns out she and her family will overlap with D. and me for a day or two. She walked me to the church where the memorial was, and as we said goodbye, I heard myself say "I love you." I sign my letters to close friends "love" and "xo," but I don't think I've ever said "I love you" to a platonic friend in my life (which might come as a surprise to the friend I said it to, but it's true). The words just tumbled out. I meant them, but they were also on the surface that day looking for someone to receive them. It was that kind of day.

Where the Driveway Ends

Why has it been so hard for me to get back on track? Somehow my eight-week jury duty (with 22 people who, for the most part, I could not stand, hearing cases that were, for the most part, maddeningly repetitive and tedious, not to mention depressing) and my mother's fall (she's now almost fully recovered physically but much changed mentally) threw me off my blogging stride. The only way I'll ever get any words down is not to claim any continuity or structure for them.

I had one of NPR's much-touted "driveway moments" this evening when a story on Shel Silverstein came on All Things Considered just as I pulled up to D's house. I knew Silverstein wrote songs in addition to children's books (which, by the way, I never read as a child), but the only songs I knew he wrote were "The Queen of the Silver Dollar," on Emmylou Harris's great first album, Pieces of the Sky," and "I'm Checking Out," which Meryl Streep sings to amazing, triumphant effect at the end of Postcards From the Edge.

There's a new Shel Silverstein tribute album out, the subject of the NPR story, and who knew he also wrote those Top 40 songs of my youth "Sylvia's Mother" and "The Cover of the Rolling Stone," not to mention Johnny Cash's "A Boy Named Sue" and Marianne Faithfull's "The Ballad of Lucy Jordan" (which I love and haven't thought about in years)?

I had to sit in the car and hear the whole interview with the album's producers. And who knows -- maybe I'll buy it. See, there's still hope for me after all.

_______

Illustration by Shel Silverstein from Where the Sidewalk Ends.

Cracklin'

For some reason, music has stopped being very important to me—at least in the way it has been for most of my life. I almost never listen to my CDs and records these days, and when I do they're background music; I used to dance around, and not so very long ago. Now I look at the covers and think, eh, I've heard that so many times. I rarely buy music on iTunes. I have a nice iPod Nano D. gave me for my birthday last year (supplanting the minuscule Shuffle I bought myself a few years ago), and my project to transfer my favorite records to it never got very far; it always seems so time-consuming, daunting, and, frankly, boring to complete it.

The last new CD I bought was this, sometime last year, I think. It's a nice-enough record.

I still listen to the radio in the car, but I find I don't sing along much anymore. The only decent music station in Washington is WAMU's Bluegrass Country, which is way down the dial from the main 88.5 station and comes in spottily but at least is original and energetic and varied (it's more than just bluegrass).

I can still get excited by a live performance—such as Judy Collins at the Birchmere in January, or, memorably, Joan Baez in Philadelphia the year before last, or just about any YouTube clip of Peter, Paul, and Mary in their heyday.


I feel lucky to have seen Mary Travers perform solo in the late '70s, a reunited PP&M a few years later, and Peter and Paul without Mary—sadly showing the lack—a month before she died; her death was a great, underestimated loss.

I adore this other, more unexpected trio featuring Mary, doing one of the great songs of our time. I have it bookmarked and sometimes watch it over and over:



It's nice not only that D. loves '60s folk music but that he's reawakened my love of it.

So clearly, I can get excited about music and musicians. But it's not what excited me two or three years ago. What seems to get to me now, whether I remember it from the time or not, is music dating from my childhood. What's that about?

Well, this I would have found very sexy (in an inchoate way), were I to have seen this episode of Johnny Cash's show, which I well might have at age eight or so:

Parsley, Sage, Rosemary . . . and Time

"I've lost my harmonica, Albert."

-- Simon and Garfunkel, "A Simple Desultory Philippic (Or How I Was Robert McNamara'd Into Submission)"

Re-entry is hard.

Acceptance

Vladimir: "I'm glad to see you back. I thought you were gone forever."

Estragon: "Me too." -- Waiting for Godot

Today D. finally e-mailed me this photo he took of us last May in London as we waited to see a production of Waiting for Godot starring Ian McKellen and Patrick Stewart. It's one of my favorite pictures of the two of us (I'm on the right).

I show it for no other reason than I need an anchor for my mind, which tonight refuses to alight on any single idea -- as it has refused for the last couple of weeks.

I just frittered away a couple of hours -- a fire burning and then dying in the fireplace, my dog sleeping and then waking beside me (breath in, breath out) -- trying to gain entry into coherent thoughts about friends falling away, relationships shifting, once-common interests diverging. Without planning to, I found myself Googling names and images, here and there coming across someone's familiar but drastically changed (or not at all drastically changed) appearance -- and, when I did, feeling little more than mild surprise or amusement, tempered by a curious sort of spongy distance from whichever potential This Is Your Life panelist it happened to be.

It is this detachment, among other things, that has kept me from joining Facebook: I believe that it's a rare, rare case where an old, lost friendship can be revived beyond the superficial level. What's more, my antipathy toward small talk is such that I'm reluctant to invite more of it into my life.

My long-held attitude toward organized reunions (i.e., that you should attend any and all that you have the chance to) is even changing, much to my surprise. My high school had an all-class reunion last spring that I was planning to attend, until I lost interest as the date approached. I haven't even considered going to this year's edition.

Lately I've been thinking a lot about a friend of almost 30 years with whom I currently seem to be on pause. We've had no contact for the last six months (possibly the longest we've ever gone) -- this after a perfectly pleasant evening with her and her husband and two little girls in which nothing untoward happened other than the fact that it became starkly apparent to me (and, I'm convinced, to her) that we were, figuratively, gazing in almost completely non-intersecting directions.

This is the friend who introduced me to Joni Mitchell's album Blue, the two of us sitting on a cold linoleum dorm-room floor, listening to it over and over again: I remember that time that you told me, you said love is touching souls . . .

Tonight I don't even quite know where I am. I feel a bit reclusive, a bit wistful yet non-sentimental, a bit at a loss for words.

D. leaves for a few days in LA tomorrow, a trip to see friends. I'm going to the theater on Thursday to see a new play with a friend of my own. He's a more recent friend than those I was Googling tonight. Someone who has helped see me through -- helped see me -- these last several years of change and reorientation.

So there you have it -- my bookends for this directionless and confused musing: nights at the theater. A curtain parting, a curtain closing, ideas to contemplate as I make my way back home.

If It All Fell to Pieces Tomorrow, Would You Still Be Mine?

Last weekend, D. and I took a drive up to Adamstown, Pennsylvania -- Antiques Capital U.S.A., I'll have you know -- and as we were wandering through one antiques mall, "Take It to the Limit" came on over the sound system (antiques malls play '60s and '70s Top 40 more than any other genre of music), and I realized that that song evokes the 1970s -- not just the decade but my experience of the decade, whose latter half corresponded exactly with my adolescence -- more than any other song, period.

One of my sisters, my next-oldest sibling, loved the Eagles, so I heard a lot of them then. "Take It to the Limit," besides being a great radio sing-along when you're alone in the car, takes me back in an instant to the winter of 1976. (To confirm that my memory was placing it correctly, I Googled it just now, and indeed it was released as a single in November 1975.)

Nothing momentous happened. I was a high-school freshman in a Catholic boys' school. My sister and I were the only ones at home; our older brother and sister were away at college. It was a time of puffy down jackets, hair parted down the middle for guys, velour shirts. When you're 14, the shy youngest of four, you spend a lot of time observing your siblings, hearing about their dates, their friends, the concerts they went to (Jackson Browne, Little Feat), the movies they saw (Love and Death, Barry Lyndon), the parties, the summer jobs and the trips to the beach. Sometimes you fantasize about a time when you'll do all of those things -- see an R-rated film, have a girlfriend, get a down jacket or a velour shirt of your own.

You spend years learning about desire.

Next thing you know you're a fortysomething man wandering through an antiques mall in Amish country with your fiftysomething boyfriend -- surveying the Depression glass, the Stangl dishware, the back issues of Life magazine in plastic sleeves, the tchotchkes of way more generations than your own -- and a '70s pop song full of unabashed falsetto urgency comes on from somewhere unknown and fills you with an unaccountable longing, followed hard by a strange kind of pure satisfaction that where you are is just good enough.