Autobiography

A Fleeting Shape Glimpsed From the Corner of the Eye
Current desk situation

A Fleeting Shape Glimpsed From the Corner of the Eye

A gloomy Wednesday in Ohio with highs near 60. The sun went down at 8:30, there’s a waxing crescent moon, and I’m reading about God.

Here’s my first memory of God: I was five or six years old, crouched on the kitchen floor and feverishly rubbing a white crayon into a dark blue piece of construction paper. I still remember feeling a little crazy while doing this. I titled the resulting smudge “God” in the bottom right corner. The strongest part of this memory is feeling certain I’d uncovered what God looked like and not understanding why my parents weren’t more impressed with it.

This blurry scribble came to mind while reading Francesca Stavrakopoulou’s God: An Anatomy, which digs into the origins of the Judeo-Christian deity as a fleshy, breathing creature who was just as messy as the rest of us, prone to laughter, jealousy, and despair. He had parents (El and Athirat), and he moved through the world like we do, only on a grander scale. I like how Stavrakopoulou captures the psychology of three thousand years ago:

"The cosmic membrane separating the earthly from the otherworldly was highly porous and malleable, so that divinity in all its myriad forms could break through into the world of humans, whether it was perceived as a strange scent on the wind, a fleeting shape glimpsed from the corner of the eye, or felt at a powerful place in the landscape. But divinity was at its most tangible when materialized in images of the gods."

So I’ve been thinking about the cosmic membrane lately.

Feedback Loops

Feedback Loops

The usual clouds, the usual forty-something degrees, and the usual misty drizzle. The sun goes down at 5:47pm, and it’s been a long strange week of giving presentations in an auditorium at an unholy hour in the morning. Sometimes C. and I spoke to a hundred teachers, sometimes two hundred fifth-graders. How much do they need to know about Dada? They know it in their bones.

Last night I had a dream that my mom was calling me. I answered the phone, and she was saying my name. I knew it was a dream, and I told her so. But no, she said, this was very real, and she was very much alive, and she was so sorry she had to go away, but now she was coming back.

Two hours later, I’m standing on a stage with C., presenting our work, and there’s a photograph of my mom on the massive screen behind us. She’s on a beach, a snapshot my father took a year before she died. Her image was meant to appear for only a second before discussing the work she inspired. But she’s glitching, frozen on the screen. The photograph of my mom refuses to leave the auditorium. We jiggle the cords, but she’s still there, twenty feet tall and gazing at the water, her head turned away so you can hardly see her face. She remains there until the tech guy comes onstage, crouches over a box, and flips some switches.

There are 144 slides in that presentation deck. I do not dream about my mother often, certainly not about her calling me to say she never died. Even my battered, disbelieving mind senses a frequency here. The odds are too great; the signal is too strong.

Pattern recognition, maybe. Baader-Meinhof, confirmation bias, or just a good old-fashioned coincidence. I’ve been reading John Berger this week. After I finished the last page of Confabulations and closed the book, I opened my inbox and found a newsletter from Sasha Frere-Jones that introduced me to Time Is Away’s magnificent mix featuring Berger reading from Pig Earth. (There’s also a dub version.) I’ve been listening to both mixes all week, and I can’t recommend them enough.

Berger speaks to the sensation of seeing my mother’s image linger in an auditorium, a sensation amplified by a dream: “Between the moment recorded and the present moment of looking at the photograph, there is an abyss . . . the photograph is more traumatic than most memories or mementos because it seems to confirm, prophetically, the later discontinuity created by the absence or death.”

Coincidence, probably, but why not believe moments like this point to something more interesting? Perhaps even something reassuring.

Time Is Away – Pig Earth Mix

NTS Radio, London, 4.01.22 | Soundcloud

Slush and Stone
Ohio snow melt

Slush and Stone

Cloudy skies with a high near fifty degrees. The snow is melting quickly, leaving behind grey-black slush and patches of dead grass: a scene like the bleary-eyed aftermath of a really good party. The sun goes down at 6:01 tonight, and the moon is in its first quarter. We’re leaving for London in two days.

Anything I know about London comes from detective dramas, so I imagine it as a city of CCTV cameras and well-fitted coats. Thirteen years ago, I was in London for an eight-hour layover while trying to get home from Helsinki to Detroit, where my mother was dying. I only remember riding the bus in a daze, my disorientation compounded by the reversed traffic. I sat there for hours, orbiting stops with fairy tale names until the bus was empty and the driver was kind to me and helped me find my way back to the airport.

Continuing this thread of grief in Britain, here are some beautiful lines from Hilary Mantel’s Bring Up the Bodies:

He once thought it himself, that he might die of grief . . . but the pulse, obdurate, keeps its rhythm. You think you cannot keep breathing, but your ribcage has other ideas, rising and falling, emitting sighs. You must thrive in spite of yourself; and so that you may do it, God takes out your heart of flesh, and gives you a heart of stone.

And that’s the trick, I suppose: avoiding that fucking stone. One morning I woke up in the grip of those tangled dream-thoughts that have the force of revelation: After suffering loss, the soul can go one of two ways: it can harden into something spiky and guarded or… I’m not sure what the other option looks like, but I want to find it. 

Detroit is heavy on the hi-fi this week. This live set from Ectomorph has been playing around the clock, and it’s a perfect hour of bare-bones electro sleaze.

Ectomorph – Masonic (Live in Detroit)

Interdimensional Transmissions, 2018 | Bandcamp

January 6, 2022
Here I am, enjoying my coordinated parents.

January 6, 2022

Temps in the teens and a light coating of snow, the first I’ve seen this season. Hopefully, there will be more. Tonight the sun sets at 5:22pm.

My father died six years ago today. It still feels like it’s only been a year or two, maybe three. Time gets funny when you start losing people. More and more dates on the calendar and sometimes even entire seasons become associated with a loved one’s final days, the ambient quarrels or tiny grudges that you’d give anything to feel again.

Maybe some people structure their histories in terms of accomplishments or presidencies. My timeline is organized by loss, something I only notice when confronted with personal and cultural trivia: When did I go to China? What year did Ex Machina come out? I find myself riffling through the years between when my mother’s liver failed (2009) and when I drove like hell to make it to my grandfather’s bedside but got the news in a strip mall parking lot (2011) and when my father died of septic shock (2016), just weeks after getting his new liver (2015). So much hope, suddenly gone.

I once visited a therapist who said these were traumatic losses because they were sudden and unexpected, which implies if the circumstances were different, I might have been prepared. I did not return to therapy. Maybe I should give it another try. Perhaps it’s abnormal to organize my sense of time around my dead. Or maybe everyone does this, and it’s simply the price of getting older—the cost of loving and being loved. After losing my parents, a sensation of freefall appeared, and it’s still with me now: the slight flutter in the belly, the sense of being untethered from the world. So I like my way of understanding time because it keeps everyone close to me.

Last year I did not think about my father’s death on January 6. I was busy wondering if our government might fall. Only now does it occur to me these dates are shared, that I’ll see this date advertised in retrospectives and commemorations for years to come. Live long enough and maybe it’s inevitable that personal and public damage will collide.

Leyland Kirby – Memories Live Longer Than Dreams

Sadly, The Future Is No Longer What It Was | 2009 | Bandcamp

This Is the Third Time I Will Leave New York
View from our window, New York City

This Is the Third Time I Will Leave New York

Sunset at 4:28pm, and a new supermoon is on its way. In two weeks, C. and I will load up a truck, stash our stuff in a storage unit, and wander for a while. We’ll log some time in Ohio before spending a few months in London for a residency. Then we’ll finally move to the desert and get weird and develop theories.

How do you say goodbye to New York? I feel pressure to aestheticize my departure. Ever since Joan Didion published Goodbye to All That in ’67, there’s been a rich and irritating tradition of people romanticizing and rationalizing their decision to pull up stakes from the center of the universe. They moan about the hassle and cost. They complain about the subways, trash, and crowds. But that’s the point of this city. Living in New York means living in a drawer and knowing it will probably cost $100 each time you leave your apartment.

Saving money is one reason why C. and I want to move. We want more space. More concentration. But more interestingly, there seems to be a new balancing of the scales as New York continues its grim march towards becoming a giant Chase Bank + CVS where entertainment is streaming, and everything is delivered within hours. You don’t need to leave your apartment anymore. For some mysterious reason, Manhattan has been building luxury shopping malls while the suburbs are manufacturing downtowns with sixth-wave coffee and cheap food from all corners of the world. Soon the city and the sprawl will belong to the same monoculture.

Over the next two weeks, I’ll look at the city more closely, hoping to etch its jangle and hum into a well-worn memory. I’ve done it before. This is the third time C. and I will leave New York. It might draw us back someday. Maybe the only way to say goodbye is not to say anything at all.

Vatican Shadow – Manhattan Is A Haunted City

Church of All Hallow’s Eve | Hospital Productions, 2019 | Bandcamp

April 22, 2021
Late April snow in Ohio

April 22, 2021

A late April snowstorm blew through Ohio last night, quick and heavy, and the sudden shock of snow was a fine addition to my hallucinations while I lay on the couch, gratefully suffering from fever, aches, and chills: the side effects of the second dose of vaccine. A few hours later, the snow and the fever disappeared as quickly as they came.

Some Terrible Paintings
“They became frightful with lofty plumes, eyes like balls, fingers terminated by claws, the jaws of sharks.”

Some Terrible Paintings

One thing I hate about my writing is that it often feels bunchy and tight. I want to recover a sense of play, so I’ve decided to find a hobby. Something unrelated to frowning at my sentences. Something I can do for the hell of it. And most importantly, something that doesn’t require a staring contest with a screen. So I bought a sketchbook and some watercolor paints because I have no illusions about being a painter. I haven’t drawn anything in years; the last time I painted was twenty-five years ago when I was very high.

But what to paint? I opened a random page from Flaubert’s The Temptation of Saint Anthony and painted the first phrase that caught my attention. This has become my new hobby, a weekend ritual. Here are my first attempts:

“Our ancestors of painted wax” / “And lichen formed upon my jaws”
“My 74 antlers are hollow like flutes. When I turn toward the south, they draw ravaged animals around me.”

Looking at these paintings, it’s hard to believe I’ve been sober for eight years. But it feels good to do something for its own sake, results be damned. And I have a newfound respect for Caravaggio.


It’s a little sad that my first impulse when considering a fun activity is to get away from the screen. But the screen feels increasingly heavy nowadays, magnetized with nervy energy. In the class I teach, we discuss the mental effects of attention-hijacking and outrage mechanics. My students have a lot to say, and their vocabulary is vivid, often violent: onslaught, bombarded, drowning, shredded, etc. More and more, these conversations leave me wondering if it’s possible to experience a “digital sublime,” a renewed quality of delight or awe. Or if I will ever recover a sense of lightness or play when I’m online.

Despite my best attempts at information hygiene, I’m still buffeted by the digital winds. The other day I caught myself reading an article called “What Yogurt Does to You.” Then I lingered over the ambient horror of a New York Times article about mushrooms that casually referred to “our ruined global moment.” This morning I received a marketing email for a meditation app from someone whose job title is “Editor of Wisdom Content.” Now I can meditate upon living in hell.

So back to weird painting. Tonight’s sentence: “They pelt each other with shells, devour grapes, strangle a goat, and tear Bacchus asunder.”

Leave Your Children in the Woods
A favorite photo of my grandfather circa 1962

Leave Your Children in the Woods

The first days of the holiday season often remind me that I don’t have the type of family that appears in commercials and television specials. No parents, siblings, or children. Strange how our culture is so committed to a narrow definition of family that leaves most people feeling awful.

Jesus instructed his followers to leave their wives and children, to forsake their families and follow him—which brings to mind André Breton‘s exhortations in 1924 to leave everything in favor of Surrealism’s dreamlife: “Leave your wife. Leave your mistress. Leave your hopes and fears. Leave your children in the woods. Leave the substance for the shadow. Leave your easy life, leave what you are given for the future. Set off on the roads.”

Kim Sun – The Man Who Must Leave

Sung Eum Limited, 1969 | More

Birds
Birds outside the window, 2008

Birds

As I stood in a superstore parking lot before leaving Ohio, I watched some geese fly south and remembered my parents’ relationship with birds. My mother was a lapsed Catholic who kept the church at a distance. My father never talked about god. Not until the end. But they both believed in birds.

My father lost his mom to cancer when he was twenty-four. I never met her, but I know she loved the great blue heron, a big swoopy thing that dragged its legs across the sky. Whenever my parents saw one, they’d pull the car to the side of the road and gawk. There she is, they’d whisper. My father would bite his lip, and it was the closest I ever saw him come to tears until the day my mother died.

My grandfather kept a stuffed bald eagle in the basement, an oddly seditious act. But he was all too happy to show you the federal paperwork, including a letter with the president’s seal that said the bird was legal. He found it on the beach when he was a boy. It had a broken wing, and he tried to nurse it back to health but failed. After my grandfather died, my father reported seeing bald eagles in improbable places. A parking lot outside of Grand Rapids. Circling over the Detroit interstate.

My father’s faith in birds deepened after my mother died. “Now she’s a blue jay,” he said. “Remember how excited she would get when she saw the first one each spring?” Over the years, he would call at odd hours with reports of blue jays. He saw one perched on the railing of the building where he moved after selling the house. He saw one on the hospital lawn after his lung transplant. He saw blue jays in places they don’t live. Over the years, I became accustomed to how he’d clear his throat to make space for his inventory of herons, eagles, and bluejays. These birds were plain facts to him, proof of a sensible universe where those who left us did not leave us.

I realized too late that I never knew my father’s favorite bird, and now there’s nobody left to ask. But if I see a blue jay flying alongside a different bird, maybe a cardinal or robin, I’ll know that’s the one.

Perhaps it’s more fruitful to contemplate the desire to believe rather than the shape it takes.

Observance

Observance

If I hadn’t been absently flipping through an old journal tonight, I might not have remembered that my mom died eleven years ago today. I felt guilty for losing track of the date, as if I’d abandoned my post. But over the years, my observances have drifted towards her birthday rather than those final memories of her kicking at the sheets, saying I have to go. Perhaps this is natural and good.

How do we observe the anniversaries of our dead? Tonight I sat outside in the unfamiliar terrain of southeastern Ohio, lit a candle, and watched the stars.

Some words from John Berger come to mind: “There are no longer any acknowledged occasions for us to receive the dead and the unborn. There is each day’s life, yet what surrounds us is a void. A void in which millions of us are today alone. And such solitude can transform death into a companion.” Reading Berger is always a shot in the arm, for he urges us to engage with the texture of our memories, no matter how tragic or mundane, and to connect with that “wordless language which we have been reading since early childhood, but which I cannot name.”

Pegasus
Neon Graveyard, Las Vegas, 2017

Pegasus

What is the power of a first memory? They are such peculiar creatures, these fuzzy impressions and garbled snapshots that teach us how to see the world. I’m pretty sure my first memory is bawling at the mannequin in the opening credits of Happy Days, which led to a childhood phobia that required my mom to cover my eyes whenever we entered a department store. This gradually mellowed into a grown-up interest in the uncanny valley.

Another early memory came to mind the other night while I idled in a Taco Bell parking lot and ate a Crunchwrap Supreme because sometimes I hate myself. Glancing in the rearview mirror, I caught a shift in the light that left me remembering a hot summer night spent laying in the backseat while Superman played at a drive-in theater (or, after doing the math, more likely Superman II). My parents sat in the front seats watching, but I was facing the other direction, staring out the back window at a red neon horse with wings. It was the old Pegasus sign for Mobil gas station, and I remember thinking that winged creature in the sky must have something to do with words like heaven and god.

My first reaction to this memory is sorrow for my parents because I’m sure they didn’t choose the movie. So there they were, dutifully watching Superman II on my behalf while I preferred to watch a gas station sign. But I have a hunch this small moment cemented my lifelong fixation on night driving and lonesome gas stations.

Tornado

Tornado

Ohio. Storms today. Maybe it’s because I’m back in the Midwest, but a memory flashed to mind that I haven’t thought about in years. I was six years old and playing with some of the neighborhood kids in a park somewhere south of Chicago. The sky turned black and green. The sound of something terrible filled the air, a cosmic revving that stopped us cold on the grass. Our little faces tilted up as we watched the clouds swirl. I remember the texture of the air, the sense of something being sucked from the world before it returned in terrible form. Maybe it was the barometer dropping, the rearrangement of air pressure. Decades later, this sensation returns whenever the telephone rings with bad news.

The grown-ups argued about whether we should take shelter in the cars or under the trees. But here comes my mom, racing toward us across the field, scooping me into her arms—maybe scooping all of us because she was a hero that day, the way she scooched us under the picnic tables while she lay on top of me, her breath in my ear saying don’t worry, hunny bunny, it’s gonna be alright while that terrible engine crossed the sky and took the roof of a nearby gazebo with it.

I remember her face that day, filled with love and instinct and knowing exactly what to do. I knew she would have died for me, for any of us. Sometimes I fight to remember her this way. Because as the years passed, she didn’t know what to do. Most of the time, none of us do. But we have our moments.

Tropic of Cancer – I Woke Up And The Storm Was Over

Stop Suffering | Blackest Ever Black, 2015 | Bandcamp

Bell

Bell

Riffling through my small box of family memories, I came across a folded clipping that said my grandfather’s grandfather was appointed the postmaster of a small town in Michigan in 1905. A crinkled scrap of paper accompanied the newspaper with a note written in an unfamiliar hand: His was a secular duty but he found the pealing of the bell a very real link with God.

I know so little about this man aside from one piece of family lore: his daily four-mile walk began to tire him out as he grew older, so he asked the mayor to install a bench at the halfway point between his fishery and the bar. There he would stop each evening to rest and read the day’s paper.

My grandfather’s grandfather lived through the 1918 pandemic, and I wish I could talk with him about it. Did he meet it with acceptance or anxiety in his corner of the world? Did the virus breed conspiracy and delusion like it’s doing today? Picking up the crinkled note again, I began to wonder about his soul. What did he believe? And who was the author of this oddly formal message written on graph paper? What compelled this person to describe my great-great-grandfather’s spiritual relationship with the “pealing of the bell”? I wonder if there will be a pealing of the bell for me.


Arvo Pärt – Cantus in Memory of Benjamin Britten for Strings and One Bell

Rudolf Werthen & I Fiamminghi | More

Dark

Dark

I remember watching the darkness in my bedroom when I was small, hypnotized by the grey-pink flecks that seemed to dance in the air while I waited for sleep. One night I climbed out of bed to tell my parents that I saw fairies in the corner of the ceiling. I still remember the disappointment when they told me it was just a trick of the eyes.

Eventually, I learned those shimmering dots are the natural interplay of light rays, retinal fluid, and optical cones. But part of me prefers to believe they are pieces of darkness, the living material of the night. Science shouldn’t explain everything.

Some habits come strange and die hard. I still watch the sparkles in the gloom, the rods and motes that flicker just beyond my vision. Although I no longer believe there’s magic among the edges of the ceiling, I still gaze at the high corners of the room whenever I feel overwhelmed, half-expecting to find an answer there. Maybe someday I’ll become an old man who searches for god in forgotten spaces with cobwebs and patchy paint jobs.

Andy Stott – Dark Details

Passed Me By | Modern Love, 2011 | More

A chugging soundtrack for the midnight hour.

May 10, 2020

May 10, 2020

Today is Mother’s Day. There are still so many emotions that I will not or cannot unlock. I planted some tomato seeds in a small pot on my windowsill. This seemed like a decent way to remember the days I spent by her side drinking sun tea while she “played in the dirt,” as she liked to say. When I was little, she forced me to run errands by myself to make sure I didn’t develop her anxieties, her bouts with agoraphobia. She loved to watch sailboats. Whenever she saw a motorboat, she’d crinkle her nose and call it a ‘stinkpotter’. I remember the way she’d stand in the kitchen and say she wasn’t just going to turn over a new leaf but a whole tree.

This is dedicated to everyone who has lost their mothers. I try to find solace in these instructions from Epictetus: do not say something is lost, only that it is returned.

Coherence

Coherence

Five years ago today, I attended a funeral for my grandmother in the same church where she was baptized in 1918. “Her life was coherent,” said the priest. I did not know her as well as I would have liked, but I know she was tradition personified, a west side Polish Catholic who served Saturday night dinners of kielbasa and fried smelt. She had a succession of Scottish terriers, each named Mitsy. I think she left off at Mitsy V, maybe VI.

She had the same house with the same furniture arrangement for seventy years. I recently came across a snapshot of my mother and her brothers in 1959 and I recognized all of the furniture. The only thing that changed in the house was the television screen. On the back, my grandmother had written a note in pristine cursive: “The smudge is on the film, not the wall of my living room.”

My life is not coherent. I crave motion and flux, and I cannot tell if this reflects inner discomfort or a kind of ease with the world.

The Electrifying Mojo Had the Most Reassuring Voice I Ever Heard
A message somewhere in the night

The Electrifying Mojo Had the Most Reassuring Voice I Ever Heard

Lately I find myself asking, “What is the most comforting thing I know?” Last night, I remembered the Electrifying Mojo.

I became a night owl thanks to this mysterious Detroit radio voice whose eclectic sets from the 1970s through the 1990s featured Parliament, Kraftwerk, Devo, and Cybotron—and set the stage for techno music. The Electrifying Mojo is a ghost, never photographed yet his spirit runs through nearly everything we hear today. Each night, he opened his show with a question: “Will the members of the Midnight Funk Association please rise?” He is a man without biographical detail, but his fingerprints are everywhere. He is a concept that requires a definite article: The.

The Electrifying Mojo brought the city together while the theme from Star Wars blared behind his voice. “I want you to show some solidarity tonight,” he’d say. “If you’re in the car, flash your lights. If you’re sitting on your porch, blink your porch light. And if you’re in bed, then dance on your back. In Technicolor.” I remember driving down Woodward while a white Cadillac in the opposite lane flashed its headlights. I did the same in my beat-to-shit Pontiac: two strangers responding to a lone voice on the radio, drawing the city into a brotherhood of sound and light.

He was one of the first deejays to put Prince on the air. He interrupted songs with social commentary from “the mental machine.” He rocked a twenty-minute version of “Flashlight.” I stayed awake into the small hours, hunched over my cassette player and riding the pause/record button to make mixtapes culled from his show. The 120-minute Maxell cassettes were the best for this.

Every night the Electrifying Mojo would sign off with the same message, delivered in a slow baritone with a grin around the edges: “Whenever you feel like you’re nearing the end of your rope, don’t slide off. Tie a knot. Keep hanging. Keep remembering that ain’t nobody bad like you.”

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Cybotron - Alleys Of Your Mind
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One of the formative songs that the Electrifying Mojo played. Forty years old and you can still see the steam rising from the street grates. Read more about Mojo here and you can hear his voice here.

Quiet

Quiet

I used to be so shy. There was a time when I would count how many words I said each day. At night I logged the number into a notebook. Sixteen. Twenty-three. Anything in the thirties was a good day.

This new season of self-isolation brings those quiet adolescent days to mind. The ambient chitchat among strangers has fallen silent because we’re told to stay home. No more talk about the weather at the café or mumbled apologies as we jostle through a crowded train. No more meetings, events, or dinners with unfamiliar faces where I would try to say clever things. All of that feels distant and silly now. Nobody needs my advice and I hold no fascinating opinions. Still, I don’t hope these quiet days don’t last too long.

We gather in the park because there’s no place else to go. Because we need to see the sky. We keep our distance and nod at one another, more aware of each other’s presence than before. Looking up, I see the first signs of spring and I remember reading something from Spinoza that said god lives in the trees.

Communion
My father's pawn on my table

Communion

These days I feel better with the television news playing in the background, even though it’s nothing but nonstop dread and pharmaceutical advertisements. I want mainstream information, the sense of something shared. I find comfort in the illusion of bodies across the nation gathered before the same broadcast rather than privately scrolling through the algorithmically tailored hysteria and moralizing of the internet.

Today I bought a few pieces of lumber from the hardware store, dredged my toolbox from the closet, and spent the afternoon sawing, sanding, and varnishing. I needed to work with my hands. To be reminded that I can make something that takes up space and serves a need. I built a small table to collect the overflow from my desk.

Perhaps I’m turning into my father and grandfather, men who retreated into their garages to build wooden vases and boxes in times of distress. So many half-finished widgets littered their workbenches after they died, their function and intentions unknown. I thought about them both as I worked, wondering what they would make of these pandemic days.

After I finished building my table, I found the pawn my father carved five years ago to replace the one we’d lost from our set. We fell into the habit of playing chess each night at the hospital while we waited for his new lung. He whittled it quickly and I can still see the blade coming dangerously close to his oxygen tubes. This pawn is one of my most cherished possessions, and I set it on my new table tonight, a small gesture of the communion I crave.

Flying Saucer Attack – Instrumental Wish

From Distance | Domino, 1994 | Spotify

One of the songs I’ve played the most over the past two decades. And more than ever these days.

One of the Finest Things I Own Is a Lamp

One of the Finest Things I Own Is a Lamp

One of the finest things I own is a lamp with a stern brass pirate, one hand on his hip and the other gripping a sword. This pirate is a landmark in my mind, a mythic figure who haunts my first memories. For decades he stood on a spindly desk in my grandfather’s basement that smelled of spider poison and Saginaw Bay. I was afraid to look at it when I was small, perhaps sensing it was a relic from a different world, unable to imagine it would one day become part of mine.

My grandfather inherited the lamp from Queenie and Hazel, his spinster aunts. They say Hazel bought it at a Detroit pawn shop in the early 1900s, but nobody knows for sure. They said a lot of things about Queenie and Hazel. They said the sisters hopped a fence and walked across a military airstrip in Kalamazoo, determined to register as nurses in World War I. They said that a man tried to kiss Hazel, and Queenie grabbed her rifle and chased him down the street. She even fires off a couple of shots in some versions of the tale. I only know Queenie and Hazel from their images scattered in attic boxes, their faces unseen on glass Kodachrome slides. For me, this lamp is where they live.

The pirate watched over my grandfather’s spindly desk for decades, switched on when he went downstairs to putter in his woodshop, where he produced his vases, bookends, and chests. When he moved to a retirement home, most of his belongings were sold. But he brought his lamp with him.

To make it easier for residents to locate their rooms in the endless corridors of look-alike doors, the nursing staff encouraged each patient to place a memento on a little shelf mounted next to each door. Plastic flowers, birthday cards, family snapshots, and woodland figurines lined the halls because it’s easier to recall a photograph of your grandchild than room 27B. My grandfather placed this lamp outside his door, where it threatened the tiny shelf with its brass weight. The pirate looked as if he might murder the neighbor’s ceramic kitten. Some of the residents complained. When he asked my opinion, I told him I loved his lamp. “Me too,” he said. “I think it classes up the place.”

He taped my name beneath the lamp before he died. Today it sits on my desk, and although I still see the stern pirate that frightened me as a child, I see many other things as well.

The 45th Parallel

The 45th Parallel

Crossing the 45th parallel always gives me a thrill. Whenever I see the green federal sign that marks the occasion, I instinctively hit the brakes and snap a photo that comes out blurry and gets deleted. The 45th parallel is the halfway point between the equator and the North Pole, and you can feel the geography shift when you see all that big pine and cold water. I’ve often crossed this line while speeding towards Michigan’s upper peninsula on an empty road in the dark.

Lake Superior frightened me when I was small. My parents enjoyed camping along its shore on long weekends, and I’d doze on the sticky pleather backseat of our Pontiac while we drove from Detroit to Marquette. I remember squirming in my pup tent, unable to sleep with that mysterious lake sitting out there in the night like it was waiting for something. In second grade, we studied the Great Lakes and read a pamphlet that described Lake Superior as the deepest and coldest of the five lakes: Scientists have not yet reached the bottom of Lake Superior, and they do not know what lives there. I studied that sentence until it became a hymn, and I’d lie awake chanting it in my head while thinking about what might live in all that uncharted space.

There’s enough water in Lake Superior to submerge all of the Americas. Its southern edge is known as “the Graveyard of the Great Lakes” due to a cascade of shipwrecks. On July 30, 1985, Jeffrey Val Klump became the first person to reach the bottom of Lake Superior at 1333 feet. This must have occurred after I read that pamphlet. Over the years, I’ve made my peace with Lake Superior. Antarctica scares me today. My head goes swimmy if I look at it for too long on a map. All that blank land feels like leaping off a rooftop. Maybe this is why I’m drawn to signs that clearly position me on the planet: the 45th parallel, the Continental Divide, and my telephone’s pulsing blue dot that accompanies me wherever I go.

Birthday
The colors of February in New Paltz, New York

Birthday

Birthday. Maybe it’s an auspicious one: it’s the first time in over 900 years—since 11/11/1111—that the date reads both ways, no matter how you format it. And it’s the 33rd day of the year with 333 more to go. I’d like to believe in numerical patterns and cosmic signs, but I do not feel particularly auspicious today. My beard is going grey and I’m losing track of my age. Sometimes I think I’m a year or two older than I am. Maybe this is nature’s way of softening the blow.

Time and things and plans are always falling through the cracks. Coffee and nicotine gum fuel my days. Perhaps one day it will be tea and licorice. Then rainwater. Then nothing at all. “Restriction can be a discipline to break habits,” says the artist Robert Irwin. “But it need not be a final state, and it’s no state of grace.” Maybe I’m just a gentle nudge away from buying a pack of Camels, some slight shift in the light. Because I miss smoking. The ritual of fire and ash, its irreplaceable rhythms and moments of solitude. Instead, I went for an ugly little run, my body all jiggle and creak. I wonder if, deep down, each of us carries a fantasy of one day becoming an ascetic or a mystic, some hardwired notion of stripping our lives bare and praying in the gloom.

I’m old enough to know one thing: I’m damned lucky to be here today, healthy and sober for seven years and more or less functioning in this world that has struck so many down. I do not believe in much, but I’m beginning to believe in grace.

Irwin quote from Seeing Is Forgetting the Name of the Thing One Sees.

January 22, 2020
Midnight in Helsinki

January 22, 2020

I’m starting this new decade—and this journal—by revisiting the places where the last one began. Strange how a chunk of time takes shape in the mind, those first arbitrary encounters that define a sense of a place or tint a season. When Candy and I arrived in Helsinki ten years ago, deep snow covered the city. We checked into a hotel in an industrial area by the sea, and I remember smoking a cigarette in the subzero wind while watching the lights of freighters on the horizon. I thought we were at the edge of the earth. I remember the two of us navigating the icy cobblestones of an unfamiliar country, hunting for someplace to eat. We found an empty restaurant that was still open, a rustic place with a buffet of reindeer, herring, and mushrooms. A sign on the window said Ravintola.

When we told people we enjoyed eating at Ravintola, they gave us puzzled looks. A few days later, we worked up the courage to figure out the public transit system. As we rode the tram across the city, we saw the word Ravintola again and again. We saw it painted on windows. We saw it on billboards. We saw it in neon lights. Oh they have so many locations, we thought. And wow, they also serve Chinese. Then came that uniquely vivid realization of being an idiot: Ravintola is the Finnish word for restaurant. We’d told people we enjoyed eating at restaurant.

As the years passed, our wintry meal at Ravintola became burnished into the stories we told about our year in Helsinki. Returning ten years later, we wanted to see if it still squared with our memories of a warm refuge from the storm with a kindly old proprietor cooking traditional food. When we found the restaurant, it was smaller than we’d remembered, as most things are when you return. And it wasn’t sitting alone in a snowfield like an oasis. It was in the middle of a nondescript block of shops and there wasn’t any snow this January because we live in a new climate now. Our waiter was a hip young man with tattoos. French and German tourists filled the tables. But the reindeer was still there and so were we.

Springwater – I Will Return

Polydor, 1971 | More info

Information

Information

After my mother died, my father spent his days wandering through discount department stores, fixated on tracking down the correct size, exact model, or shade of color for something he thought he needed, usually a household item for the little apartment he rented after selling the house. Non-slip adhesives for the bathtub shaped like starfish. Mechanical pencils. A childlike table for his car keys that required hours spent cursing over a tiny wrench. He carried a small notepad in the back pocket of his khakis, diligently making lists with items like living room lampshade needs repair and oil bathroom door hinges and eggs are good for protein.

My father died four years ago today. Lately I’ve been thinking about his quiet notepads. They feel like a balm against these days when everything seems to be happening at once. Institutional decay. Angry weather. Homegrown terror. The energies of war. I click and scroll even though I know it’s trashing my mind, all of this information commingling with fury and performance. Our screens have mangled the decent impulse to bear witness.

I try to see the world through my father’s eyes, his sense that everything looked like science fiction: people dressed like children and swerving into one another while staring at little handheld pieces of glass. He didn’t understand how the world had become so interlinked, how all of its information could live on a screen. It felt like an optical illusion, a cheap bit of sleight-of-hand. Information was supposed to be earned through experience, through a combination of tough luck and scribbling into your notepad. Information required effort and my father craved the human contact required to get it. The sales clerks would check their stock and make calls to other locations for a linen drum lampshade or a pair of loafers with tassels. He’d eventually find the item but he would not purchase it, deciding he didn’t need it after all.


Datacide – Flashback Signal

from Flowerhead | Asphodel/Rather Interesting, 1995 | More info

A nearly perfect ambient album, Flowerhead has been a reliable sleepy-time companion since its release twenty-something years ago. Atom Heart and Tetsuo Inoue’s collaboration merges the organic with the electric, yielding a blurry soundtrack for nostalgia. The whole album just sounds right, as if you’d heard it before, back when you were four or five.

Philosophy Is an Ambulance
A pier into Saginaw Bay

Philosophy Is an Ambulance

Grief can arrive on a gust of wind, a glimpse at a calendar, or a half-heard snippet of conversation on the street.

When I rejoined Facebook last month, its algorithm encouraged me to befriend my father. There he is with seven mutual friends, wearing his fishing hat, sunglasses, and rugged grin—a snapshot I took on the bayou one Sunday afternoon when we ate sandwiches and puttered around Lake Salvador while he pretended to fish. I clicked his name and saw strangers wishing him a happy birthday even though he’d been dead for nine months. His digital life continues, a ghost in the machine. For a moment I considered becoming friends with him, perhaps the most tragic of digital gestures. There are probably ways to alert Facebook to his death and shutter his account, but I do not want to remove the traces of him that remain.

Then it comes. The sighing and lip-biting, the hollow gut feeling like I might float away or fade to black. The impulse to run although there is nowhere to go. I pace. I wait, trusting this will pass. They say grief comes in waves, a cliché that sounds benign until you’ve slid into its troughs. In The Year of Magical Thinking, Joan Didion describes these waves as “paroxysms, sudden apprehensions that weaken the knees and blind the eyes and obliterate the dailiness of life.”

Waves have rhythm. Grief does not. It oscillates at random, triggered not only by photographs, memories, and empty rooms but also by the mysterious and unseen machinations of the mind. Grief can arrive on a gust of wind, a glimpse at a calendar, or a half-heard snippet of conversation on the street. The way somebody pronounces February. And the paroxysms begin, the fear of tipping over. The flutter in the belly as if something vital is coming unbound, an untethering from the world. Sometimes people notice. Usually, they do not. If somebody asks what is the matter, I shake my head and smile. Shrug it off. Change the subject.

Nobody wants to hear about dead parents, my failings as a caregiver, or my encounter with the void, how it must feel like the monitor flat-lining at the hospital, an endless dial tone. Didion again: “People in grief think a great deal about self-pity. We worry about it, dread it, scourge our thinking for signs of it. We fear that our actions will reveal the condition tellingly described as ‘dwelling on it’. We understand the aversion most of us have to ‘dwelling on it’. Visible mourning reminds us of death which is construed as unnatural, a failure to manage the situation.” Perhaps more to the point, there is that haunting line from The Little Prince when the pilot fails to comfort the child: It is such a secret place, the land of tears.

But what interests me, what I try to keep my eye on when each new wave arrives, is that we are even lifted out of the trough, that grief does not simply drown us. What is this impulse? This phenomenon was best described by Samuel Beckett—I can’t go on, I’ll go on—and it can be as subtle as a muscle tremor or it might feel like leaping across a canyon. But sooner or later the wave passes. For a while, anyway.

Perhaps a biological imperative allows each wave to ebb, something hardwired in the brain. Our psyches are such elaborate mazes of defensive architecture, cluttered with gates and snares that prevent us from looking directly upon our pain for too long. The brain does its best to distract us from the most difficult memories before they can take shape and bare their teeth. But cracks emerge nonetheless. Last month I made an appointment with a grief counselor and there was much talk of walls and buried emotions, the complex engineering of the mind. When I mentioned that I found comfort in philosophy, that I craved some kind of faith and felt nostalgic for the rituals of the past, she smiled politely. “That’s interesting,” she said. “But I don’t think philosophy and faith will be relevant to our work here.”

Then what are they for? “The fear of death is the beginning of philosophy,” wrote Will Durant. “And the final cause of religion.”

In Cambridge Ancient History Vol. VII, C. F. Angus describes the new task of philosophers in the confusion that followed the death of Alexander: “Philosophy is no longer the pillar of fire going before a few intrepid seekers after truth: it is rather an ambulance following in the wake of the struggle for existence and picking up the weak and wounded.” Here is the shift from the starry-eyed metaphysics of the ancients to the guarded tactics of the cynics, skeptics, and stoics who sought protection from a chaotic world. “Sometimes even to live is an act of courage,” said Seneca, and this emphasis on endurance as a virtue would become the proving ground for the otherworldliness of religion.

Philosophy has been an ambulance for me this year. I do not claim to understand much of it, but the widescreen language of Spinoza, Voltaire, and Schopenhauer have provided reassurance by offering a connection to a larger whole. My attraction is largely tonal: I am drawn to this grammar which describes grief as a major chord in the music of the spheres, the harmonics of the cosmos. Bertrand Russell disagrees: “I cannot accept this; I think that particular events are what they are, and do not become different by absorption into a whole.” But he admits that “Spinoza’s principle of thinking about the whole, or at any rate about larger matters than your own grief, is a useful one. Such reflections may not suffice to constitute a religion, but in a painful world they are a help towards sanity and an antidote to the paralysis of utter despair.” This primitive urge to think about the impossible whole fascinates me.


But this is a story about ashes. My mother’s ashes float somewhere in the sea after I drove across the nation seven years ago, undid the twist-tie on the plastic bag, and poured her into the Pacific because she’d always wanted to see the ocean. My father’s ashes sat for months in a plastic box inside a velveteen bag tucked in the back corner of his old army trunk, waiting for me to follow his instructions, which couldn’t have been simpler: “When I die, just toss my ashes in the nearest body of water,” he said. “Even if it’s a puddle.”

I do not have any superstitions about my father’s remains. I know that he is gone, that the velveteen bag contains only powdered bones. (Despite the funeral industry’s preferred portmanteau of ‘cremains’, we tend to refer to them as ‘ashes’; perhaps this keeps our dead close to the magic of fire.) And yet I have delayed putting his ashes in the water. Why? Because I am not ready, I told myself. I want clarity. I need closure. But these things are myths. My desire for ritual eventually led me to the interstate for a pilgrimage through service plazas and sodium lights. This is how I mourn.

I drove to the bottom of Louisiana, my first trip down those bayou roads without my father. At the small wooden dock where we had launched his boat, I watched two old men drink beer and fish, their laughter ricocheting across the still waters, and I thought of the times we fished together. In Michigan when I was small. On the bayou in his last years. In Wisconsin with his oxygen tank. I tipped the black plastic box over the water and poured out half of its contents. His ashes curled through the bayou in a cosmic pattern that conjured nebulae and galaxies, a reassuring image that I kept pinned to my mind as I pointed the car north and drove twelve hundred miles to deliver the rest of his remains to Saginaw Bay, where my grandfather rests. I listened to philosophy while I drove, finding comfort in these instructions from Epictetus: Never say something is lost, only that it is returned.

In Michigan I walked to the end of the pier and stood in the grey wind, perhaps hoping to summon a cinematic moment of insight. It did not come. Climbing down the damp rocks, I poured the remains of my father into the bay, where I imagined his ashes running from the lakes and bayous into the ocean where he will find my mother.

Driving home, I experienced no revelations and felt no resolution. Yet I felt more at ease with the unpredictable waves of grief for my parents. Let them come when they will, for they sometimes bring glimpses of transcendence that have no vocabulary. “No doubt the spirit and energy of the world is what is acting in us, as the sea is what rises in every little wave,” wrote George Santayana. “But it passes through us; and, cry out as we may, it will move on. Our privilege is to have perceived it as it moved.”

Perhaps it does not matter what shape our faith or rituals take; what matters is the urge — however dim or fleeting — to believe in something greater: the desire to escape the trough.

The Last Year of My Father

The Last Year of My Father

I thought grief would be dignified and monumental like a tower shrouded in mist or quiet days spent weeping in a dim room.

When I lost my mother, I met grief for the first time and I ran. I thought grief would be dignified and monumental like a tower shrouded in mist or quiet days spent weeping in a dim room. Instead I discovered that grief is a feedback loop, a wash of static riddled with fractured images, creepshow dreams, and broken questions that would never be answered. How could this. Why didn’t she. If only I. This wasn’t supposed. Science tells us grief is a biological necessity, a Darwinian driver that teaches us to protect the ones we love—or at least, the ones who still remain.

My father’s breathing became labored in the years after my mother’s death, as if staying alive had become too demanding. He was diagnosed with pulmonary fibrosis, which meant his lungs were stiffening due to a patchwork of scars that covered the precious tissue which translates oxygen into life. The doctors could not point to a specific cause beyond a crossed wire somewhere deep within the machinery of his cells, a faulty line of genetic code which sent his immune system on a terrible mission that rejected the logic of life: his body was attacking itself.


We tend to die when we are not working. A stroke at the dinner table, a car wreck on a Saturday night. We like to die on weekends or during the holidays. This is something I learned while waiting in Wisconsin with my father for a lung, a factoid gleaned from hours spent sitting among gnarled old men waiting for their telephones to ring with news of fresh hearts, livers, and lungs—men who cheered when they learned that Wisconsin does not require motorcyclists to wear helmets. Each night they gathered with their oxygen tanks, heart attack vests, and grisly math, eager for the weekend or the next holiday to come. “Might get some lungs now,” they said before Easter. “Thousands of drunk drivers can only be a good thing,” they said as Memorial Day approached. “Alcohol and explosives are better than Christmas,” they said on the Fourth of July.

One of these men approached my father when we first arrived in Wisconsin, our nerves still buzzing with the speed and heat of the interstate after a sixteen hour drive from New Orleans. He was the kind of man most people ignore, the lonely soul puttering at the margins of a discount superstore with uncombed hair like a cloud, or the blurry retiree doing the crossword on a bench at the mall—but here in the rooms where we would wait for a lung, he was an authority, and he leaned towards my father and asked, “What’s your blood type?”

My father took a drag from the oxygen tube that circumnavigated his head. A puff of compressed air accompanied his answer. “O positive.”

“Me too.”

They nodded at one another, enjoying this primitive bond. The same brand of blood flowed through their bodies yet they would not hinder each other. My father needed a lung; the white-haired man was waiting for a heart. The wheels of my father’s oxygen tank squeaked down the hall as he shuffled towards our room. The white-haired man picked up a butter knife and grinned as he followed my father, making swift stabbing motions towards his backside, mugging and jiving for the others in the lounge. “He’s the right blood type and I need a heart.” Everyone laughed. He would play this gag dozens of times in the months to come. At first I did not think this was funny, but in a few months I began to understand.


The tribalism of our bodies is profound. If one of our cells encounters another cell that does not share the same DNA, the body launches an attack. It’s the scene in the science fiction film when an interloper’s retina or barcode fails to scan and red lights flash through corridors to the beat of a klaxon alarm while men with guns hunt down the intruder. Organ rejection is the enemy of transplantation, a defense mechanism that has only been brought to heel in recent years.

The first recorded attempt at installing an organ in someone else’s body dates back to the third century BCE when Bian Que, a Chinese physician and author of The Yellow Emperor’s Canon of 81 Difficult Issues, claimed to have used anesthesia to swap the hearts of two men, one with too much willpower and another who was too passive. Hoping to achieve balance, he “cut open their breasts, removed their hearts, exchanged and replaced them, and applied a numinous medicine,” according to a Daoist text. “And when they awoke, they were as good as new.” Some Catholic histories describe the replacement of Emperor Justinian’s gangrenous leg with the limb of an Ethiopian man, a surgery performed by the twin physicians Damian and Cosmas, for which they earned sainthood. Such accounts are improbable yet the idea of saving someone’s life with the parts of another is rooted in our most ancient notions of healing. In the early twentieth century, a series of successful transplants were performed on dogs, chimpanzees, and convicted murderers, and the increasingly refined use of immunosuppressants extended the likelihood of survival—yet the procedure remains haunted by rejection. (A sixteenth-century doctor in Italy attributed this phenomenon to the “force and power of individuality.”) Transplantation is particularly risky for the lungs because this is the organ that connects our bodies with the outside world, its dust and heat and microbes.

Whenever my father’s telephone rang, we jumped, knowing that if a voice on the other end offered him a lung, we would have one hour to get to the hospital where they would cut a slit along his ribcage, pull out one of his bad lungs, slide in the new one, and attach it to the trachea. “Sort of like changing a vacuum bag,” said the doctor. The other bad lung would remain in his body. Something needed to fill the space.


One lung is fine. People can run marathons with one lung. The pope has only his left lung, due to tuberculosis when he was a boy. In terms of daily activity and life expectancy, one lung is just as good as two.

Two years ago my father underwent a battery of tests and procedures while they determined his suitability as a candidate for a lung transplant. The word ‘candidate’ lingers in my mind as I recall him shaking the hands of dozens of doctors and administrators, a man running for the strangest kind of office as they peppered him with questions about his drinking habits and propensity for depression, about his lifestyle and future plans. Would he go back to work if he received a lung? Would he exercise and eat sensibly? These queries were polite variations on a single question: Do you deserve to live?

They inspected my father’s heart with a camera and biopsied his lung tissue. They removed all of his teeth to reduce the possibility of infection. He spent hours chewing on an elaborate mouth guard attached to a screen, a dystopian video game that refined his swallowing reflex to minimize the possibility of food or liquid entering his trachea. A series of social workers interviewed me, evaluating my fitness as a caregiver.

We sat in the cafeteria of the Veteran’s Hospital in Madison, one thousand miles from home. We watched snow cover the windows while we killed time until his next appointment, a test to confirm that he could still walk at least nine hundred feet in six minutes. If not, they would remove him from the list, classifying him as a lost cause, a body unworthy of someone else’s organ. Yet I never saw my father express even the faintest glimmer of anxiety. Even as his breathing grew worse and he maxed out all of his oxygen machines, he would smile, dutifully taking his daily trips to the Dollar Store, and we spent long afternoons by the Wisconsin River, where he pretended to fish. “If I’m going to die,” he said, “I might as well die outside doing something.”

Watching him calmly munch a cheeseburger in the hospital cafeteria, I realized this distant figure throughout so much of my life had become a grand old man and one of my closest friends while I was not looking. Only now do I see how hard he worked at this. He had traded his beer and high blood pressure for a grey beard and a fishing hat, and he would wake before dawn to meditate and highlight passages from a book by Thich Nhat Hanh, a Buddhist monk he referred to as ‘Nathan’. Going through his files after he died, I found folders labeled Sears pension, Telephone bill, and Buddha. He went to all kinds of churches with anyone who wanted company, and he began talking about the godhead, how everything is connected. He loved the water. He loved boats. “When I die, toss my ashes in the nearest body of water,” he’d say. “Even if it’s a puddle.” Rather than watch game shows and gossip with the other patients, he bought an old canoe and began refinishing it in the parking garage beneath the hotel. The fumes from the paint thinner and varnish were ferocious, but he figured a new lung was on its way.

Then the doctors called. They told us there was an organ drought—a grisly phrase that conjured apocalyptic scenes along dried riverbeds.


At first we believed in math. We spent the month of March researching blood types and averaging wait times, hoping to calculate the odds of receiving a lung. Did the odds improve with each passing day or was it like getting struck by lightning? In April we passed through a superstitious phase of gut feelings and prophetic dreams. We sensed vibrations in the air. “I’ve got a feeling the call will come today,” we said. But the phone never rang and we ended the month believing in bad juju and jinxes. We began playing long quiet games of chess in May, keeping an ear cocked for the phone. Summer came and we watched our neighbor down the hall return from surgery with two new lungs, his face nearly unrecognizable without his oxygen mask. Another man gave up after nine months of waiting and flew home to Arizona. Time became elastic and calendars stopped making sense. In June we switched from chess to backgammon, thinking we might as well include an element of chance.

At a pizza party for the transplant patients, a man took me aside. “People don’t know how to pray for this,” he said. “You only get an organ if somebody else dies.” I learned a lot about prayer during the ten months we spent in Wisconsin. In the laundry room, I listened to a woman describe the night Jesus Christ said her husband would get his heart next Tuesday. When I awkwardly tried to comfort the family of a man who died during surgery, they smiled and said everything was okay, this was part of God’s plan. I met a Marine who was visiting the parents of the boy whose heart he received. They put their ears to his chest, listening to the sound of their son’s beating heart. I imagine them posed in a pyramid formation, an echo of the Pietà. I envied this faith that comforts so many people in the face of uncertainty and tragedy because I did not know how to find my own.

Instead I drove. After midnight I would hit the interstate and speed west, fantasizing about space and light yet never daring to drive further than thirty miles from the hospital. When the lights of the city faded away, I would pull to the side of a county road and look at the stars while making my usual promises to be a better son, a more patient man. Then I drove back to our room where I would fall asleep to the sound of my father’s oxygen compressor, a burst of air hissing every six seconds through the night.


“With falling gas prices and a beautiful holiday forecast on the horizon, a record number of Americans are expected to hit the road this weekend. Experts are predicting an increase in auto accidents, so be careful out there.” I smiled at the radio, no longer caring that I was rooting for death.

My father’s telephone rang at six o’clock on the Friday before Labor Day, a weekend filled with car wrecks just like the radio had advertised. “Will you accept the lung of a recently deceased individual?” asked the voice on the phone. Oh god yes, he said. “Be at the hospital in one hour.”

After the surgery, I watched his lungs on a monitor while a camera rooted through glistening pinks and reds, tracing the dark purple slashes of a suture. For days he teetered between life and death, and I watched the numbers and quizzed the doctors, absorbing a brutal lesson in the language of blood, gases, and tubes. At night I dreamt in the beautiful slang of nurses. “You only have a true mixed Venus when you insert a swan,” they said. I learned that a patient who insists on standing up despite repeatedly falling down is called a ‘jack-in-the-box’. But my father did not stand up. Not at first. Each time I looked at him I wept, thinking about the life he had in front of him. When he finally opened his eyes, I took his hand and told him he was safe, that he made it. “It’s coming along,” he whispered.

After nine days of blood clots and collapses, of atrial fibrillation and intubation, the doctors removed the tubes and wires from my father. With one hand on his IV pole and the other wrapped around my arm, he took his first walk towards the nurses’ station. “King for a day,” he said. “I’m ready for the world.” We took dozens of careful walks through hospital hallways in the weeks that followed, and each time he went a little further than everyone expected. When I told him I was proud of him, he would give a small smile and say, “It’s coming along.” Each night when I left the hospital, he would turn off the lights in his room and wave a flashlight in his window while I stood in the parking lot, watching his little show.


Every Saturday we would explore Wisconsin, looking at its hills and Main Streets and lakes. Six weeks after his transplant, my father and I drove towards a spot on the map that advertised a scenic waterfall. When we arrived, there was a two-mile footpath through the woods. I didn’t want to walk it and I didn’t expect my father to manage it. “Let’s do it,” he said. Watching my father walk among the autumn trees, kicking leaves without any tubes or machines, I felt a sensation I can only describe as grace. No matter what happens, I thought, this moment was worth everything we’d gone through. I told him I was proud of him. “It’s coming along,” he said.

After 301 days in Wisconsin, we packed up the phenomenal number of spatulas, paintbrushes, floor lamps, and other things my father acquired from the Dollar Store, and at seven o’clock on a Sunday night, we pointed the car at the Mississippi River so we could follow it home. We were hungry, but we would wait to eat until we were in a different state. And there’s my father and me, sitting in a parking lot on a hill overlooking the river, munching cheeseburgers and watching the lights of Dubuque.

In one month, a doctor would tell me that my father was the sickest man in the hospital. I remember thinking he would take pride in this fact when he got out of the hospital, and I told him about it while we took another drive.


Septic shock is as fast and brutal as it sounds. On New Year’s Day, my father said he had a sniffle. He refused to go to the doctor. The next morning he could hardly stand. I poured him into the backseat and rushed to the nearest emergency room. They said his body was too weak to build a fever, that his blood had turned toxic. They flooded his body with antibiotics and fluid, which crippled his breathing. Soon he was on dialysis and intubated with a swan in his neck—his vital functions once again outsourced to machines. At dawn, a nurse brought me a telephone, a rerun of the day I lost my mother, while a doctor’s voice told me my father was going to die, that all they had left to offer was prayer. “If I had brought him here twelve hours sooner, would it have made a difference?” I wanted absolution. “Theoretically yes,” he said. “But he was very sick and weak, so theoretically no. I’m afraid this is a question you will carry for the rest of your life.”

I held my father’s hand while I watched the numbers on the monitor like an altar, whispering please don’t go while his blood pressure quietly dropped to single digits. The red and blue numbers for his pulse and oxygen saturation flicked to white. A nurse shut off the screen.


Here is an endless bayou with lots of birds and interesting clouds in the sky, and there’s my father in a little tin boat with my mom sitting next to him and his dog in the front, a breeze blowing through its fur. This is what I hope heaven looks like for him.

I kissed my father on the forehead and told him I was proud of him, and for the first time, he did not say it was coming along. I told him he was the kindest and gentlest person I’d known and he was leaving this world very well-loved. In the end, this might be the best any of us can hope for.


After my mother died I drove her ashes from Michigan to the California coast because she always wanted to see the ocean. And I kept driving for weeks, thinking I could outrun my grief at seventy miles per hour, hoping I could escape it by hiding in unfamiliar towns and anonymous motels, by becoming a stranger who sometimes marveled at the terrible thing that happened to an old friend named James.

Now that my father is gone, I want to run again. My first instinct was to point my car into the Yukon or the Mojave desert. But this impulse faded as quickly as it came. My father taught me some crucial lessons about patience and grace in his final year. In the days after his death, I received calls and visits from so many lives he had touched, even when he simply took his dog for a walk or futzed with his boat. I discovered he had a ladyfriend and they were making plans to live together. (“Don’t hang up any pictures in the new house,” he’d written her. “That will be my job.”) Despite losing the ability to breathe without gasping, my father remained present in the lives of others and I could hear him telling me to do the same.

I see him standing in the woods on that October afternoon with his quiet little smile, a simple gesture that reflected an entire life. A constellation of love and loss and dogged faith in taking one more step no matter how shallow our breath might be. His smile radiates through me as I write this and I know there is a lesson here even though it evaporates as soon as I try to describe it. Much like the impossibility of looking into the sun, perhaps it's better to simply enjoy the light.

The Prevention of Dying

The Prevention of Dying

“As our walking is admittedly nothing but a constantly-prevented falling,” wrote Arthur Schopenhaur, “so the life of our bodies is nothing but a constantly-prevented dying, an ever postponed death.” The prevention of dying occupies my mind these days, now that my father and I have moved from the bottom of the country to the top to wait for a lung. Reading philosophy is a comfort that keeps me busy with a highlighter during these long arctic nights when my thoughts wander into morbid terrain. I should probably skip Schopenhauer’s gloom yet his pessimism is magnetic and irresistibly quotable, particularly in this chaotic age of terror and screens. For starters, he convincingly argues the world is evil (“For whence did Dante take the materials of his hell but from our actual world?”) and goes on to explain there is no such thing as pleasure, only the absence of pain. For a moment, this rings true while I stand in a salt-stained strip mall parking lot on a grey two-degree afternoon, struggling to remember who I am, where I am, and what I like to eat.

I’d like to be a little beacon of joy for my father, chipper and zen and awake at six in the morning eating a piece of fruit. Yet my lizard brain will not cooperate with my heart, and I race through the day with caffeine nerves and tumbling thoughts, unable to sleep until the hour of the wolf. Despite the circumstances of our new Wisconsin life—a lung transplant, for god’s sake—I sneak the occasional cigarette, filling my lungs with blessed nicotine and ashen shame. After such a transgression, who am I to ever judge another? Everywhere I turn, we are at war with our better selves. The man throwing a tantrum into his telephone would be mortified to be seen behaving this way. A mother in the supermarket yanks her child despite knowing this is not the type of mom she wants to be. And look at all of the cars lined up at the Taco Bell drive-thru, mine included. Here is the opening scene of Terrence Malick’s The Thin Red Line, the ominous rumble as a disembodied voice asks, “Why does nature war with herself?”

According to Schopenhauer, struggle is all we have; happiness is a myth. To illustrate this point, he turns to the stories we tell ourselves. “Every epic and dramatic poem can only represent a struggle, an effort, a fight for happiness; never enduring and complete happiness itself. It conducts its heroes through a thousand dangers and difficulties to the goal; as soon as this is reached it hastens to let the curtain fall; for now there would remain nothing for it to do but to show that the glittering goal in which the hero expected to find happiness had only disappointed him, and that after its attainment he was no better off than before.” Thus he arrives at his famous hedgehog dilemma: “We are unhappy when alone, and unhappy in society: we are like hedgehogs clustering together for warmth, uncomfortable when too closely packed, and yet miserable when kept apart.”

After midnight, I drive west on Mineral Point Road until the city sprawl fades into darkness. The dashboard howls with the day’s news while I speed with the windows down and the heat on blast. As usual, the news is deranged. We suffer from a predatory economic system and a lunatic government, yet we are a muted nation, unable to resist the violence of our politicians, police, and corporations. In the rearview mirror, I notice my face is tanned a peculiar shade of need from years spent staring into a glowing screen, monitoring headlines and chatter. For what cause? Either the news leaves me feeling paralyzed and defanged, or it beckons me into a mean kind of voyeurism. We want to know why an actress’s face looks different than it did before. We watch celebrities crash their cars and set their houses on fire and overdose in their bathtubs so we can shake our heads and say such is the price of fame. Cue the references to entropy, the distracted citizenship, the fall of Rome, etc and suddenly Schopenhauer seems like the right philosopher for our times. “Life,” he writes, “swings like a pendulum backward and forward between pain and ennui.”

Yet we cannot separate the philosophy from the man. He is a lovable crank who cannot stand the noise of the early 19th-century city, declaring that “the amount of noise which anyone can bear undisturbed stands in inverse proportion to his mental capacity.” Yet he was a troubled and tragic man. Believing that no family could have two geniuses, his mother pushed him down a flight of stairs. Perhaps this accounts for his awful attitude toward women (“When the laws gave women equal rights with men, they ought also to have endowed them with masculine intellects”) as well as his horrifying view of sex: Shame often accompanies our sexual impulses because we know we should not continue the misery of the human race. “He was absolutely alone, with not a single friend,” wrote Nietzsche. “And between one and none there lies an infinity.”

In The Story of Philosophy, Will Durant sketches a beautiful image of Schopenhauer that I recognize in my worst moments: “Missing success and fame, he turned within and gnawed at his own soul.” An acolyte of Spinoza’s transcendental optimism and Voltaire’s vigor, Durant deftly exposes pessimism as a lazy child’s game and restores my faith:

“There is, of course, a large element of egotism in pessimism: the world is not good enough for us, and we turn up our philosophic noses to it. Perhaps disgust with existence is a cover for a secret disgust with ourselves: we have botched and bungled our lives, and we cast the blame upon the “environment,” or the “world,” which have no tongues to utter a defense. The mature man accepts the natural limitations of life; he does not expect Providence to be prejudiced in his favor; he does not ask for loaded dice with which to play the game of life. He knows, with Carlyle, that there is no sense in vilifying the sun because it will not light our cigars. And perhaps, if we are clever enough to help it, the sun will do even that; and this vast neutral cosmos may turn out to be a pleasant place enough if we bring a little sunshine of our own to help it out. In truth the world is neither with us nor against us; it is but raw material in our hands, and can be heaven or hell according to what we are.”

The critic seeks the safety of the sidelines, particularly when the world gets difficult. This is tempting but it is not living. Tomorrow I will leave Schopenhauer behind, buy some fruit and maybe a pack of nicotine gum. I’ll stay away from the news and tackle Voltaire in the waiting room.

Sources and further reading: The Story of Philosophy by Will Durant; A History of Western Philosophy by Bertrand Russell; more Arthur Schopenhauer, esp. The World as Will and Representation, 1818.

Pneumonia Notes

Pneumonia Notes

The Veridian Fingertip Oximeter is a small plastic widget that monitors your blood oxygen level. You can buy one for forty dollars at Radio Shack. Anything between 95 and 100 is healthy. A reading below 90 indicates hypoxemia, an abnormally low level of oxygen that can damage organs over time. A number below 80 indicates possible suffocation of the heart and brain. I became familiar with these dark numbers two years ago when my father’s lungs began to fail and we sat at the kitchen table together, monitoring his blood in the days when he began wearing an oxygen tank. In a few days we will travel to a hospital in Wisconsin, where the Department of Veterans Affairs has approved him for the first stages of a lung transplant.

I recently spent five nights twisting on a damp mattress with a fever of a hundred-five, watching the ceiling fan spin like a chopper, imagining myself waiting for reinforcements on some godforsaken jungle isle while my memories merged with scenes of Martin Sheen in Saigon. Each day my breath grew shallower and my dreams turned rubbery and strange. Complicated dreams about whether a mental breakdown occurs gradually or slowly. This debate took place in the ruins of an old university where I was forced to played chess with pieces of tandoori meat. A loudspeaker warned me that this is “a game from which one cannot withdraw without suicide,” borrowing Alan Watts’s description of life. Yet the prospect of interacting with the American healthcare system frightened me more than any fever dream. Seeking help would result in paperwork, claim denials, and, worst of all, witnessing the most horrible kind of greed by dealing with those who profit from another’s pain. I drank more juice and waited. My fever did not break, breathing became painful, and I did not sleep for three days. When I finally surrendered, the doctor at the clinic took one look at me and responded triage-style. A dozen hands shot me with needles and stuck a plastic tube down my throat before hustling me into an ambulance. The medics strapped me to an oxygen tank, the same make and model that my father uses. Call it a Twilight Zone twist, a hard lesson in empathy for my father’s failing lungs. While the ambulance scanner squawked, I stared out the smudgy back window at the grey January interstate, wondering how I managed to catch such a severe case of pneumonia.


Pneumonia. It sounds old-fashioned like consumption, rickets, or dropsy. Pneumonia is the disease of forgotten aunts living in damp attics, of street-grate drunks and tragic poets, of grizzled men trying to prove something at sea. I am not interesting enough for this illness.

The emergency room doctors wired my arms and face with tubes, then they stored me in a small room while they discussed what to do with me. Pneumonia means unwillingly watching hours of CNN while waiting for the next needle or test result. I stared vacantly at rotating graphics of bombings, celebrities, and slaughters. The world was in crisis, filled with relentless emergencies. Illness finds each of us sooner or later, and for me, it happened on a dreary Wednesday afternoon when my oxygen levels dropped into the seventies and the doctors said my pneumonia was double-barreled, crystallized, and fluid. “Close call. If you waited another day before coming here, you’d be in serious trouble. That’s why your body wouldn’t let you sleep. Probably wouldn’t have woken up.” Several doctors seemed to enjoy pointing this out to me.

When the body rebels, the mind realizes it’s been preoccupied with the wrong things. To think I was worrying about money when I should have been celebrating the ability to take a deep breath.

In 1926 Virginia Woolf wrote an essay called On Being Ill. “Considering how common illness is, how tremendous the spiritual change that it brings, how astonishing, when the lights of health go down, the undiscovered countries that are then disclosed, what wastes and deserts of the soul a slight attack of influenza brings to light,” she wrote, “it becomes strange indeed that illness has not taken its place with love, battle, and jealousy among the prime themes of literature. Novels, one would have thought, would have been devoted to influenza; epic poems to typhoid; odes to pneumonia, lyrics to toothache.” Woolf blamed the limitations of language: “English, which can express the thoughts of Hamlet and the tragedy of Lear, has no words for the shiver and the headache. It has all grown one way. The merest schoolgirl, when she falls in love, has Shakespeare or Keats to speak her mind for her; but let a sufferer try to describe a pain in his head to a doctor and language at once runs dry.”

Perhaps illness exists beyond language or thought because it is such a frightening and visceral ordeal. Much like death, depression, and enlightenment, illness is only experienced alone. My father wanted to visit me in the hospital but I begged him to stay away. When he arrived with our chess board, I shooed him out of the room. The prospect of giving him pneumonia a week before the preliminaries for his lung transplant was more than I could stand.


A Greek word for the inflammation of the lung, Hippocrates described pneumonia as “the illness named by the ancients.” Pneumonia has been called “the captain of death” as well as “the old man’s friend” because it can deliver a swift and relatively peaceful death in place of a long and painful illness. For me, pneumonia was a preview reel, projecting grim scenes of an old age spent fighting for breath while I sat with my eyes closed on the cold linoleum floor, unable to stop coughing after an exhausting pilgrimage to the bathroom fifteen feet down the hall. The nurses urged me to use the pee container but I refused, suspicious that giving up this last shred of dignity might worsen my condition. I also rejected the hospital’s rubbery socks that prevent blood clots, nor would I trade my t-shirt and pajama pants for a floral gown. Perhaps it was the fever talking, but I became convinced that peeing while lying in bed and wearing hospital attire might lead to death.

I entered this year filled with resolve, determined to maintain a tight grip on my daily routine, to finally put my novel in the mail and see if I could make some money at writing. Instead, I ran headfirst into the mocking world of cliché: If you want to hear god laugh, tell him your plans. At least you have your health. I ruminated over unwritten pages, untaught classes, and the mounting crush of email and paperwork. I worried about the impending hospital bill and the inevitable fight with Blue Cross Blue Shield. Then I thought a terrible thing: Why me? The universe answered by slapping me across the back of my brains: Why not you? That I am writing this today means only that I am lucky, for there’s that other cliché about every breath ending one of two ways. Life is little more than the spin of some lunatic roulette wheel, the landing of the ball determined by subatomic clicks and unseen angles.

But what am I supposed to do in the hospital? With their feeble colors, ghastly lights, and dispassionate linoleum, hospitals are not designed to remind people that life is worth living. I read fiction and autobiographies and watched crime dramas but soon all plots begin to look the same, e.g. a person wants to go home and go to bed but things stand in his way. I slept for a few minutes at a stretch, suffering more dreams before my fever broke: 1) a murderer who strikes by creating traffic jams in front of ambulances; 2) being told that I contracted a rare disease and now no matter where I walk it will take one hour and seventy minutes.

Waking from a nap, a stern woman in a black pantsuit sat in a chair near my bed. “Are you awake, Mr. Reeves? I am the hospital chaplain.” She asked about the condition of my spirit. I asked if these were my last rites. She smiled. “I’m simply checking to see if I can assist with your spiritual needs.” I told her my spirit was happy, joyous, and free. She wanted details about my religion. “I read.” I ignored the rest of her questions until went away, then I wondered why I wanted her to leave so quickly, why her presence offended me. Why the idea of god scares me. I stared into the fluorescent lights and counted the tiles in the drop ceiling until sleep returned.

The hospital kept me for six days and sixty nights. On the third day, I made peace with death. I’ve watched death claim people I love and I know it’s a bland and ugly thing, but I’d nonetheless imagined my own death as a detached and magical event like an award-winning movie scene — but no, death easily could have found me alone in an antiseptic room on the third floor of an aging hospital while Wolf Blitzer droned about terror from somewhere down the hall. Illness is clarifying. Woolf again: “We cease to be soldiers in the army of the upright; we become deserters. They march to battle. We float with the sticks on the stream; helter-skelter with the dead leaves on the lawn, irresponsible and disinterested and able, perhaps for the first time for years, to look round, to look up — to look, for example, at the sky.” If my lungs fully recover, I expect I’ll lose some of this clarity, so I write this sentence again and again as a reminder: Nothing feels quite so humbling or graceful as walking out of a hospital. I am thrilled to be back in the world. It’s a grand place, even if it takes a little longer to walk through it these days.

The Veridian Fingertip Oximeter has become a small obsession. I check it while I walk around the house or climb the steps to my classroom. I’m hovering just below 90 this week and the doctors say it will take a few weeks or months before I’m back to normal.

Here is my father in the morning, after installing his hearing aids, contacts, teeth, and oxygen tank: “Now I can hear people. I can see people. I can bite people. I can breathe. I am bionically restored. Let’s go.” As we prepared for our trip to Wisconsin and into unfamiliar terrain, I realized that my father speaks the appropriate language for illness: black humor, that beautiful combination of acceptance and defiance.

Televised Memories

Televised Memories

What was going on with film processing during the late 1970s and 1980s? The photographs and films of the forties, fifties, and sixties were defined by stark contrast and luscious Technicolor and then, somewhere in the seventies, images began to look overheated. Was it Pan-O-Vision or Color by Deluxe? Who do I blame for a childhood that is sealed behind a tacky yellow-orange resin? More importantly, where can I go to complain that many of my first memories were cobbled together by fragments of television shows, that much of my early knowledge of the world comes from situation comedies filmed in Burbank, California? Many of my childhood memories are scored with a laugh track which, along with nuclear warheads and automatic weapons, is one of the most frightening inventions of the 20th century. A sound engineer would play a ‘laugh organ’ with a keyboard that selected the sex and age of the laugh while using a foot pedal to control its length and level of hilarity.

Here is my first memory: I sit in a high chair in front of a small Zenith television. I am alone and the opening credits for a sitcom play something like Happy Days or Laverne & Shirley, and a shenanigan involving a character kissing a mannequin plays out on the tiny, oversaturated screen and it scares the hell out of the two-year-old me. I burst into tears. I scream my head off.

My parents will tell you that I was too young to remember this. And they might be right, for I no longer have much faith in which of my memories are manufactured and which are real; however, their brows furrow when I describe the shag sepia carpet, the cracked yellow vinyl of the high chair, and other details that I should not remember. I think they’re embarrassed to admit that they parked me in front of a TV. So I’m screaming while Potsy or Squiggy or some oily sidekick mugs at a dismembered mannequin, and my father rushes into the room, pats my head, and calls me “big guy” before switching the channel and the memory fades. Although I do remember that my mom couldn’t take me into a department store without me screaming bloody murder, so much of our shopping at Sears took place with her hand over my eye

Here is my second memory: I am lying across my parents’ bed watching afternoon television while the reassuring weather of my mother steaming and folding shirts fills the house. This is where my friend Mr. Rogers spoke to me, this is when he sidled up to the television every afternoon and told me that I was special, that I was the sole reason for his endless routine of sweater changing and puppet handling. I truly believed that Mr. Rogers existed for me alone and, in retrospect, he worked very hard to cultivate this idea. He knew what he was doing.

One day my cousin came over and told me that he wanted to watch Mr. Rogers. My world fell apart. I screamed “Liar!” and I attacked. I tackled him to the floor, shrieking that Mr Rogers was my friend, not his. My parents had to pull me off cousin Nicky, whom I was punching and clawing like only a four-year-old gone feral can do. This is how I discovered that everybody watched TV.

This piece originally appeared in The Road to Somewhere: An American Memoir (W.W. Norton, 2011) and was read at The New Movement Theater in New Orleans.