Category: People

  • Elektra

    Elektra

    Ich war ein schwarzer Leichnam unter Lebenden (I was a corpse among the living)

    I was mesmerized in the balcony as my eyes followed the suspended Sputnik chandeliers’ dreamlike ascent toward the ceiling, passing right in front of my face as their lamps gradually extinguished and the house settled in anxious darkness. I had a series subscription to the Metropolitan Opera’s 1975-76 season. Tonight was Richard Strauss’ revenge-laden opera, Elektra. The score, atonal and irritating, was a perfect paring to the brutal story, which played out on a severely raked stage that appeared to be made out of shattered slabs of concrete with a gaping hole in the center. I should have skipped this performance and traded my ticket for a different opera on another night, something lighter: Hänsel und Gretel, Carmen, or Boris Godunov. Electra’s not the best thing to see less than two weeks after your mother died. Especially at the end of the 90-minute, intermission-less opus as Elektra sings, “Ich war ein schwarzer Leichnam unter Lebenden.” That’s exactly how I felt, like a “corpse among the living.”

    On December 1, I returned to my classroom to teach music to elementary kids after a week of bereavement leave, which also included a too-sad-to-eat Thanksgiving. It had rained most of the day, but when I arrived in Manhattan and parked under the opera house, the skies had cleared, and the temperature had dipped below 40º. My mother died on November 20, 1975, and we buried her in the family plot on the 24th. She had refused medical attention before her death and instead refused to have us do anything that would have required her to see a doctor or go to the hospital. Reluctant at first to release her body to an undertaker, the coroner wanted to ensure we had not been neglectful or caused her condition.

    Six years earlier, almost to the day, my mother drove her red ’63 VW convertible through a stop sign on a rural country road. At the same time, a large sedan, moving at high speed and with the right of way, arrived at a crossroads in the middle of nowhere between Emmaus and Macungie.

    “Naimi, I have no regrets in life, and when my time comes, and God wills it, I’m ready to move on.” 

    My paternal grandmother was sitting in the passenger seat reflecting on her life as my mother, realizing what was about to happen, screamed.

    “Maggie, this is it.”

    They had been coming to pick up my brother, Mitchell, from his weekly bagpipe lesson. My brother, somewhat of a savant in musical instruments, had acquired some fluency at twenty-six, all self-taught. The bagpipes, however, required some coaching.

    My mother loved her Beetle, a car that suited her well, especially in the summer, when the top could be lowered, and she could feel the wind while driving. The cooler autumn weather leading to winter required additional protection as the thin canvas roof leaked cold air at high speeds, not that she tended to go fast or be reckless on the road.

    My mother desperately tried to reach Maggie’s purse, where the nitroglycerin tablets were safely stored for emergency use. “Just in case,”  she had told my parents during her visit. She had a bad heart. As much as my mother tried to get hold of those pills, she couldn’t reach them; her pelvis, broken along with several ribs, kept her where she was. She listened as Maggie took her last few breaths. It wouldn’t have mattered; the approaching car’s impact had torn through the passenger door, jagged steel petals blooming into her side.

    I was at school; it must have been a Wednesday night, as most dorm mates were holding choir rehearsals at their churches when the third-floor hall coin-operated phone rang—a knock on the door. 

    “Buzzy, phone. It’s for you.”

    “It’s for me,” I said at the same time.

    Somehow, I sensed it was my brother, Mitchell. He was five years younger than me, a high school freshman. Someone had driven him home along with his bagpipes. He was alone. My father was in Pittsburg on business when he got the word. He began his long drive home to Emmaus. Muriel Berman was at Allentown General Hospital to be with my mother. I found a friend to drive me home.

    My father and brother went to Lunenburg three days later to bury Maggie. I stayed with my mother in Allentown; her first nights were troublesome. Besides her physical condition, she struggled with the guilt of Maggie’s death. She was also facing involuntary manslaughter charges. 

    On her first night, a silicone umbilical tube dispensed an unusually heavy drip of morphine, and she experienced an almost believable struggle between good and evil. She spoke about completing ten things to prove that she would remain on earth, a choice between life and death. She said the list appeared on an illuminated screen hovering over her bed while doctors worked feverishly to stabilize her. She started to execute the list of ten items on the screen, reciting poems and checking off specific experiences in her life. When she got to number nine, “Do Something Practical,” she immediately considered her wristwatch, a recent gift from my father. She struggled to take it off her wrist, and she swallowed it whole when she managed to unclasp it. It was the most practical thing she could think of doing, she told me later, figuring that if she choked on her Timex, it would end her life, and if she succeeded in swallowing it, it cleared her to move to the tenth item on her list, to sing “Twinkle, Twinkle Little Star.”

    “Mrs. Proffit, what did you do with your watch?”

    “I swallowed it.”

    In a panic and not quite believing her, the doctor moved a portable X-ray machine over her stomach and took the shot. The resulting image confirmed it. She had swallowed the watch and passed it a few days later. A nurse discovered it, rinsed it clean, and gave it to my father. It had stopped ticking. My father dropped it off at the Hess’s department store watch counter to test the worth of the watch’s warranty, telling the clerk that it had fallen in the toilet. It took a licking, but it was not ticking.

    My mother lived in a fluid world between reality and fantasy for three months: in her private hospital room in Allentown and somewhere in the Berkshires. The Berkshires, for my mother, in her pain-killer-induced state, was where the dead resided: an evergreen-trimmed heaven with an occasional dusting of snow. Nurses, doctors, and visitors moved around her bed as freely as the departed did. She never discriminated between the living and the dead; all were welcome, and she treated them equally.

    Doctors told her she would never walk again. 

    Losing her driver’s license for three months was her punishment for involuntary manslaughter. Her sentence came nearly six months after the event and seemed unnecessary after the mental and physical pain she continued to endure. And despite her doctors’ shadowed pronouncement, she regained the strength and determination to transition from wheelchair to walker to cane to no aide at all.

    For the next six years, she tried to reclaim her life as it was before the accident, but undetected internal injuries and regret dampened her will.

    I went home for Sunday dinner in late August 1975. My mother prepared Thanksgiving early, she said. It was all there, laid out on her Finnish Arabia china: turkey, stuffing, cranberry jelly, all of it. Toward the end of the meal, she left the table and began to climb the stairs. Asking for assistance from my father, she let out a short, sharp scream as he circled his arm around her waist. She never came downstairs again. The rest of us cleared the table in silence.

    I then began more regular visits home on weekends, arriving by supper time on Fridays or late Saturday afternoons if I accompanied a morning dance class in Manhattan. Coming through the door, I would greet my father and take him out for dinner before going upstairs to see my mom. It seemed like he needed more care and attention than my mother did, lying in bed on the second floor. It was a welcomed time for both of us. We would talk about each other’s week at work: teaching and trucking. Once back home, I would climb the stairs and enter my parent’s bedroom. My mother was in bed, frail and ill, her skin jaundiced. We had given up on convincing her to see a doctor, hoping her diseased state could be easily cured. She took our suggestions as trying to find a way to get her out of the house and remove her from the family. She wasn’t having it.

    On the nightstand within her limited reach was a small machine to chip ice cubes that she would suck on to quench her thirst, a fifth of Jack Daniels to dull her pain, and a bottle of Sudafed to cool her overwhelmed lungs: her self-prescribed medicines and nourishment combined. She survived on nothing else.

    Throughout her illness, my father continued to sleep beside my mother every night until that Wednesday, when he rolled in the cot beside the bed. When I answered the phone, he told me he thought she had quietly slipped into a coma; at any rate, she would not respond to his voice or touch. He asked what to do, both of us agreeing that he would let her sleep tonight and wait for the morning for any change.

    I called early the following day. There was no change. My dad was silent; I suggested that now was the time to call for an ambulance and that while she had said she wanted nothing to do with doctors or hospitals, there was little else we could do to take care of her at home.

    Two hours later, I was teaching a fourth-grade music lesson when the PA system speaker interrupted the singing.

    “Mr. Proffit, please stop by the office at the end of the period.”

    When I arrived, the secretary said to call my dad at the hospital. She gave me the number. I dialed, stated who I was, and was transferred to my dad. He said that he was there with my brother, that doctors were working on her, and that he should speak with admissions about getting her a room when he was asked to return to a small waiting area off the emergency room entrance. Someone asked him if he wanted to talk with a clergy member, would he prefer a rabbi, priest, or minister? It sounded like the beginning of a joke. I drove home in a dream that day, just one week before Thanksgiving.

    It took nearly a week to get my mother back to Lunenburg. The hospital authorities questioned us about her extreme condition. Was there foul play or abuse? Why would anyone abstain from medical help when she was so sick? An autopsy was ordered. The undertaker advised against us seeing the body. A closed coffin was suggested.

    A short service was held against the grey November morning at the funeral home, a pristinely white and austere old New England farmhouse with an attached barn. The house had been my first-grade teacher’s home, who was also my father’s first-grade teacher. The burial took place at the family plot in North Cemetery. My mother’s new neighbors to her left included many from the 18th and 19th Centuries, whose names carved in stone slept under a blanket of lichen and moss. To her left were those more recent from her side of the family, and immediately next to her lay my father’s mother and father.

    We returned to Pennsylvania after a reception at my aunt Barbara’s house. I drove, as I had done on the way up a few days earlier. Somehow, I had kept it together through the time my mother died until she was buried, trying to be strong for my father.

    I pulled onto the Mass Pike just outside Worcester and continued driving across the commonwealth, passing Sturbridge and into Western Massachusetts. That’s when I broke. Somewhere near Stockbridge, James Taylor sang about snow in the Berkshires in early December. I thought of heaven, pulled into the breakdown lane, turned off the engine, and handed my father the car keys.

  • Martha Graham

    Martha Graham

    The city’s black steel and concrete-gray buildings sparkled in the rain, their dark hues vibrant; even the dirt and trash-filled gutters glistened as if wrapped in a high-gloss clear coating. Nearly blinded by this dazzling display, I thought I heard an angel speak, her voice cutting through the light. I couldn’t make her out as she sheltered in a doorway to keep dry. I was flattered that I had captured someone’s attention, even for the wrong reason. The rain tapered off as she stepped out from the doorway and began hovering before me like Botticelli’s Venus, only with more makeup. Steam from the sidewalk and street rose around her.

    “Hey, you want a blow job?”

    “No thanks!”

    “Aw, come on, honey.”

    “Nope! I have to catch a train, and besides….”

    And then, as if she could see me for who I was on the inside, she dropped her pitch.

    “Oh, I get it. I’m not your type, or are you into boys? That’s OK, sweetie; enjoy your train ride.” She scurried back into the doorway shelter, dodging inconvenient puddles and shouting to the sky, “This is why we don’t do outside.”

    I hurried toward Penn Station and hopped aboard the Jersey Coast Line to Bay Head for much-needed rest.

    I took the train into Manhattan a lot that August, sometimes the bus, and sometimes I drove, parking at the Port Authority Bus Terminal. I’d answered an ad in the Village Voice buried deep in the personals and whatnot at the back of the paper. The ad was an open call for pianists interested in becoming dance accompanists—a one-week class that, once it began, turned into three with the promise of regular work after completion. 

    I answered the call and got accepted. I found my way to 316 East 63rd Street—Martha Graham Center of Contemporary Dance—a week later.

    I had arrived at Graham’s school and studio following nearly a decade of artistic, financial, and leadership struggles. Graham herself had lost total control of the company and its direction by the late Sixties when it became necessary to establish a nonprofit foundation to survive. Her presence on stage as a dancer was over due to ailments and age. Her company no longer resembled the one she knew and had built over the years. Some former members had moved on to start their own troupes (Cunningham, Hawkins, Sokolow, and Taylor, among others), requiring the company to recruit and train new dancers.

    The city’s black steel and concrete-gray buildings sparkled in the rain, their dark hues vibrant; even the dirt and trash-filled gutters glistened as if wrapped in a high-gloss clear coating. Nearly blinded by this dazzling display, I thought I heard an angel speak, her voice cutting through the light. I couldn’t make her out as she sheltered in a doorway to keep dry. I was flattered that I had captured someone’s attention, even for the wrong reason. The rain tapered off as she stepped out from the doorway and began hovering before me like Botticelli’s Venus, only with more makeup. Steam from the sidewalk and street rose around her.

    “Hey, you want a blow job?”

    “No thanks!”

    “Aw, come on, honey.”

    “Nope! I have to catch a train, and besides….”

    And then, as if she could see me for who I was on the inside, she dropped her pitch.

    “Oh, I get it. I’m not your type, or are you into boys? That’s OK, sweetie; enjoy your train ride.” She scurried back into the doorway shelter, dodging inconvenient puddles and shouting to the sky, “This is why we don’t do outside.”

    I hurried toward Penn Station and hopped aboard the Jersey Coast Line to Bay Head for much-needed rest.

    I took the train into Manhattan a lot that August, sometimes the bus, and sometimes I drove, parking at the Port Authority Bus Terminal. I’d answered an ad in the Village Voice buried deep in the personals and whatnot at the back of the paper. The ad was an open call for pianists interested in becoming dance accompanists—a one-week class that, once it began, turned into three with the promise of regular work after completion. 

    I answered the call and got accepted. I found my way to 316 East 63rd Street—Martha Graham Center of Contemporary Dance—a week later.

    I had arrived at Graham’s school and studio following nearly a decade of artistic, financial, and leadership struggles. Graham herself had lost total control of the company and its direction by the late Sixties when it became necessary to establish a nonprofit foundation to survive. Her presence on stage as a dancer was over due to ailments and age. Her company no longer resembled the one she knew and had built over the years. Some former members had moved on to start their own troupes (Cunningham, Hawkins, Sokolow, and Taylor, among others), requiring the company to recruit and train new dancers.

    In 1973 Graham returned to the company assuming her new role as artistic director, sans her former additional role as lead dancer. And in this renaissance, she choreographed two new works, Mendicants of Evening and Myth of a Voyage which would be included in a two-week Broadway run. When I arrived, Graham had turned 81 years old and was still choreographing new pieces. I remember seeing various set pieces by Isamu Noguchi scattered here and there in one of the main studios, along with a large garment rack holding Halston-designed costumes from Graham’s 1975 work, Lucifer, which featured Rudolf Nureyev and Dame Margot Fonteyn and had just premiered in June, a few weeks before I got there. Nureyev was performing gratis so that he could learn the Graham technique. I was obsessed with one specific costume: a scanty platinum dance belt, its meshy fabric adorned with an Elsa Peretti gold hip cuff bracelet open in the front and with two large, spiraled serpent’s heads, each head resting on a hip and designed to coil suggestively around Nureyev’s slim waist.

    The class was advertised as a dance accompanists’ workshop for no more than seven persons required to be proficient at improvisation. Our instructor was Stanley B. Sussman: composer, teacher, and conductor for the Martha Graham Dance Company. On day one, he told us, “I don’t want you using sheet music or something you’ve previously memorized or performed whatsoever. Anything you play must be fresh and come from the movements and sequences performed by the dancers working with us.” The dancers were members of Graham’s company, and that knowledge raised the stakes for me: working with professionals rather than students. 

    Only three of us showed up, two with music, who were told to remove it from the room before we could begin. Sussman’s directive about not using sheet music or something we’d previously memorized during the training was clear: everything we played needed to be original and conjured up on the spot and reflected in the dancers’ movements.

    Stanley, who was not yet forty, told us he had spent his first thirty years learning stuff because people said it was necessary. He then said he would spend the next thirty years unlearning everything he had learned in the first half of his life because he discovered the stuff he was taught wasn’t necessary. I think he liked to break the rules. I wanted his thinking.

    The workshop took place in a large, second-floor dance studio, windows looking down onto the Graham Center’s small courtyard and out onto the street; the Upper Eastside reflected in the floor-to-ceiling mirrors on the opposite wall. A handful of folding chairs and a massive concert grand by the windows. We each got a chunk of time to be at the piano every day over the three weeks. There was no escaping being “on” when your turn came around. Being “on” was a challenge as an introvert. I’d also have to work at receiving criticism as Sussman intended: for my professional growth rather than a personal attack on any perceived limitations I carried into the room as a musician. If the group were any larger, my time at the piano would’ve been less and easier for me to hide and avoid the reasons I wanted. I needed to do this: opportunities for additional income during the cash-strapped summer and to challenge myself as a musician. The last opportunity would carry me farther than meeting my immediate financial obligations of paying rent and bills. Once you learn something, it’s yours and stays with you forever.

    The first time I sat at the piano, the notes I could hammer out seemed silenced by the strength and beauty of the dancers I was attempting to play for; my sounds were driven out of the open windows by the bodies in motion before me. So I tried again, crafting what I thought were clever repeating phrases in measures of eight and sixteen, interpreting through sound what I saw the dancers doing.

    Sussman let me dither away at the keyboard until the dance sequence seemed to come apart at the seams. The dancers haphazardly spiraled to the floor as they looked at me with blank faces, emotionless, miming how my music must have sounded to them, like it had an attention deficit disorder and needed a dose of Ritalin. I realized then that Sussman wasn’t the only teacher in the room. I’d just been schooled by a bunch of dancers who began to smile, not in sympathy but in support, when I realized I’d had fallen short, a teachable moment, and that I could do better.

    The first lesson: breath. Sussman came to the piano.

     “You’re breathing like a musician, like a singer, and that’s not what they’re doing.” He gestured toward the dancers sitting on the floor. “You need to breathe like a dancer. Watch.” 

    He signaled a dancer to repeat part of the floor sequence from earlier. Again, I focused on the dancer’s breath, the space and time his breath would cover, and his movement riding on top of it to its completion. I noticed a discernible sharp tensing of his body with each inhale, followed by an opposite and clear release with each exhale. I could understand that physicalizing of body and breath as a musician, the purposeful building of tension, whether melodic, harmonic, or rhythmic, in a musical phrase, section, or scattered throughout an entire work, that always called for release, for resolution. It was an interdisciplinary awakening for me: seeing and acknowledging the commonality between two art forms; the one that I knew, music, and the one that I was now learning about, dance.

    The second lesson: gravity. I had attended dance performances when the American Ballet Theatre or New York City Ballet were in residence at Lincoln Center. I was always impressed with how these dancers would give the appearance of defying gravity. I remember the first time I witnessed Mikhail Baryshnikov dance. He seemed to launch himself into midair effortlessly, and his ability to pause as if suspended in time feet above the stage: elevation and ballon.

    With Graham, it was different. Where ballet had an inherent gracefulness, refined and elegant, lyrical and delicate, Graham’s technique expressed a severity and weightiness that understood the human condition through the force of gravity. That’s not to say that her choreography did not soar at times because it did, but an earthbound quality was even evident in her dancers. They seemed stronger, thicker, and more muscular than the ballerinas and boys I had seen across town. The difference was most likely a result of all the floor work in Graham technique, the constant contractions, and releases and spiraling through the pelvis and torso, falling and rising and falling again.

    I noticed something else while seated at the piano that I intuited as a child and grew to deeply understand as I got older, especially while studying music at college. Now I see it applied right in front of me. Music, when performed, existed in time: the duration of sounds, silences, tempos, and dynamics that spanned seconds and minutes or hours. Dance, however, lived in both space and time. It was different. At that moment, it was more complete, a perfect art form.

    “Let’s try this again,” Sussman told me, “But this time, I want you to be more deliberate in your playing. Connect with the dancers and mean it.” 

    The dancers scrambled off the floor and took their positions as one of them counted off, setting the tempo. I caught the upbeat with a dissonant glissando; by the downbeat, energy and purpose I hadn’t experienced during my first run became evident. By the end of the sequence, I felt a mental and physical release.

    As each of us took turns at the piano, Sussman delivered insights, inspirations, and examples to follow and execute. We softened as we learned, no longer driven by egos that nagged us to show off in front of each other. Instead, we learned to give more, support the dancers, and function as improvisational accompanists with the creative freedom to experiment with and explore possibilities through sound, but always in service to the dancers. Sussman encouraged us to be playful, to not rely solely on our hands and fingers to produce our music. I soon began employing my forearms and elbows to create percussive soundscapes corresponding to the dancers’ actions and feelings. Occasionally, I would even reach into the piano to pluck, strum, or scrape my nails across strings reminiscent of Henry Cowell’s Banshee or a work by Ligeti, Cage, or Crumb.

    When we were afforded a break from our training and to find shelter from the August heat and humidity that always seemed to fill the second-floor dance studio we worked in, the three of us would take seats on two opposing benches wedged across from each other in a small vestibule that led into to the main studio on the first floor. We chatted and sipped Cokes and iced tea, sharing personal stories and professional dreams. On one such occasion, an abrupt silence came over us as new energy invaded our small space. We grew silent in the sudden shift, and all stood for no apparent reason when the swinging doors that led to the studio swung open, and there she was: the diva of modern dance herself. Sussman and dancer Bertram Ross flanked Martha Graham, who seemed to float just above the ground in a black Halston dress. She looked mystical as she levitated before us, an aura of otherworldliness surrounding her. She also reminded me of an art teacher I taught with in Toms River who also could levitate. Rather than wearing Halston, which she could never afford, she opted for oversized, floral-print moo-moos to conceal her somewhat large form. The same shaped garment every day, only the colors and prints would change. I think she sewed them herself. I privately referred to her as Floating Bobbi because I could never see her feet or see them move as she made her way through the hallways. She seemed to hover over the floor like some overripe fairy as she glided from classroom to classroom, towing her magical art cart behind her. 

    Sussman introduced us to Graham, who acknowledged us with a practiced nod. I noticed her hands, gnarled with her thumbs pinched into the tips of her fingers from debilitating arthritis but resembling how I often saw her dancers hold theirs during class, especially during floor-work contractions. I wondered whether they were empathetic toward Graham and her condition or if Graham’s disfigurement somehow influenced her technique for others to mimic.

    During the third week of the training, Christine Wengerd, the administrative director for the Martha Graham School, asked me if I could stay around for an evening class and fill in for an accompanist who had called in sick. It was my official debut as a dance accompanist and an opportunity to play an entire class from beginning to end and get paid for it. I thought back to the Village Voice ad I answered a few weeks ago and how it promised regular work after the workshop concluded; a bold promise. Was that a guarantee? Yet I was already offered a play class even before the training ended. I also discovered how much I enjoyed this work, using my training as a musician to be of use and work collaboratively with others. 

    A day later, Christine sent me to the Alvin Ailey American Dance Theater just a few blocks away at 229 East 59th Street to play a class when an accompanist didn’t show. I was hooked after that and began playing classes on Saturdays at Graham’s, working with Graham dancer Daniel Maloney. He then recommended me to another choreographer, Mary Anthony, where I also began playing at her studio at 736 Broadway.

    Most Saturdays, I’d be done by 1:00 p.m. unless I stayed for a dance class at Graham’s. I thought it would help my playing if I knew what it felt like to experience Graham’s technique. Easier said than done. The floor work alone was the most brutal physical workout I’ve ever endured. But I was okay with how Graham’s technique embraced gravity, unlike ballet, where you tried to defy it.

    I liked gravity and feared heights, so I was fine for most of the class since we spent so much time writhing on the floor, contracting and releasing in time to the harsh percussive sounds of the piano. I was exhausted when we transitioned to the next class segment. But there was no escaping what came next: the across-the-floor sequences. I was in self-conscious trouble that I couldn’t dance away. Traveling across the floor doing long running strides, leaps, jetés, and pirouettes scared me shitless. I was embarrassed by how my body moved through space. Something as natural as keeping my arms and legs in opposition as I moved across the room became a struggle. Every movement had to be worked out in my head before executing it; that delay in messaging the steps from the brain to body made me look like I was dancing to the beat of a completely different drummer. The awkward proof of my lubberly movement was reflected in every mirrored surface in the studio. But my struggle in dancing Graham helped me better appreciate what dancers go through to learn their craft. The empathetic understanding I gained by taking a class now and then allowed me to become a better accompanist and better aid the dancers. They sometimes appeared to be physically suffering for their art. 

    And once the class had ended and the endorphins had kicked in, I’d dash out into the city and skip across town to my favorite place, Great Aunt Fanny’s on West 46th Street. I’d down two beers and a Fanny burger in quick succession. Then, on most Saturdays, after my unholy communion and confessing my week’s sins to the bartender, I’d sneak into the second half of a Broadway matinee right after intermission joining the crowd as they returned to their seats. It was easy to find an empty seat; someone at Fanny’s told me how to do it. No one cared if you had a ticket and the ushers huddled together in darkened corners, their work done for that performance. So during a couple of seasons, I knew how every show on the Great White Way ended but not how they began.

    One Saturday, months after training at Graham’s and now working as a legitimate dance accompanist, I walked along Seventh Avenue just down from Times Square on my way to Penn Station to catch the Jersey Coast Line back to Bay Head. It was raining just like the day last August when I answered that Village Voice ad was looking for piano players: a gentle rain where the sun shone through thin clouds as its rays danced through the drops splashing prismed light in my eyes like a spinning mirrored disco ball.

    “Psst… Hey, do you want a blow job?”

    I looked in the direction where the voice had come from and noticed a familiar face in a shadowed doorway; well, as familiar as a face could be after seeing it only once in what seemed like less than a New York minute seven months earlier. But this time, I didn’t even have to respond as the woman came out from the safety of her hidey-hole.

    “Oh, it’s you… Jersey boy! I remember you. How’s it going?” She remembered me.

    She stood before me in stretchy purple leggings, a too-tight neon yellow sweater, and a malnourished feathery boa wrapped around her neck that somehow paired nicely with her super-extended eyelashes. “Dress for success,” I thought, wondering if her lashes got in the way during sex.

    And I told her what I was up to, and she told me what she was up to, even though I already knew, then made my way to the train. So I felt a connection to this city I hadn’t felt before; I knew people here and then tunneled my way back to New Jersey.

  • Venom and Velocity

    My mother moved in mysterious ways…

    My mother had a thing for snakes and tornados. Somewhat similar in shape, one horizontally inclined, and the other displaying vertical superiority dropping from clouds above. My mother knew snakes, the garden variety which lived tucked away in the stone fence of our rural Massachusetts’ home. Tornadoes, on the other hand, were a rare New England occurrence. I can only remember one when I was a child that hit nearby Worcester in 1953 and which people talked about with a sense of doom for years after. But here in our new town outside Chicago, when the weather conditions were right and held a promise for change, my mother became obsessed with them. When the sky would turn that greenish hue and air unmoving, she would go, binoculars in hand, to the southwest corner of the yard and stand, waiting, alongside endless rows of corn. She'd usually beat the town's siren, remaining in harms way long after the alarm had sounded. I, on the other hand, took shelter by the piano, the heaviest object in the house; we had no basement to seek shelter in. I'd wear a yellow hard hat borrowed from my father's work site and held onto one wooden piano leg for dear life. This became my personal safety protocol just in case the cyclone and my mother shot through the living room leaving a wake of debris as they blew by.
    
    And while this scene was repeated regularly, especially in the late spring, nothing ever touched down, no path was ever carved through our yard during those two years we lived there. There was something about her waiting, though, scanning the horizon for signs of a coming storm that defined her. A dark anticipation about life, her's, mine, all of ours, that marked her with a certain otherness that both attracted and repelled the dangers of the world.
    
    Snakes, on the other hand, were frequent visitors, silently appearing when least expected. My mother encountered them most but she was no ophidiophile. It seemed, rather than her seeking them out, they found her. Sometimes they'd be waiting for her in the basement of an old Pennsylvania farm house on the side of a hill we rented after leaving Illinois. Some were harmless, the smaller green ones, and others not as familiar, were large and black. This was the house where the stone foundation was beginning to show an unusual deterioration: cracking, crumbling, collapsing and falling to pieces for no apparent reason.
    
    Moving to a new house in the next town over was a solution, my father thought, that would end our serpent infestation as well as residing in a structure that seemed to be ready to slide off the hill. But once settled in, the problem seemed to have followed us. It seemed to intensify. Now snake sightings happened in the first floor hallway and kitchen. And beneath the house there appeared to be sets of claw marks, evidence of scratching and digging along earthen walls in a crawl space off the basement and discovered by an unsuspecting plumber who thought it a sign of the beast. He quit after his discovery.
    
    It was at this time that my mother's simple act of standing on the back porch signaled deer from the surrounding woods to approach the house, it seemed, just to be in her presence. Maybe they had come to offer a gentle counter to the perceived evil of indoor snake sightings or maybe it had something to do with the crawl space claw marks. At any rate, the arrival of the herd was a much better alternative to serpents and demons or even tornadoes for that matter. t once settled in, the problem seemed to have followed us. It seemed to intensify. Now snake sightings happened in the first floor hallway and kitchen. And beneath the house there appeared to be sets of claw marks, evidence of scratching and digging along earthen walls in a crawl space off the basement and discovered by an unsuspecting plumber who thought it a sign of the beast. He quit after his discovery.
    
    It was at this time that my mother's simple act of standing on the back porch signaled deer from the surrounding woods to approach the house, it seemed, just to be in her presence. Maybe they had come to offer a gentle counter to the perceived evil of indoor snake sightings or maybe it had something to do with the crawl space claw marks. At any rate, the arrival of the herd was a much better alternative to serpents and demons or even tornadoes for that matter. 
  • Remembering Desmond Tutu, 1931-2021

    Remembering Desmond Tutu, 1931-2021

    As a high school principal, I often sought out smaller alternative gatherings and workshops that dealt with building meaningful communities, whether in neighborhoods, schools or corporations, rather than attending the larger conferences and conventions for educators and school leaders. At one such event offered by the Bali Institute for Global Renewal in 2006, one hundred attendees gathered outside an old temple compound now serving as an art museum. Archbishop Desmond Tutu was among us and gave what he said was his one and only sermon, one based on the tenets of human rights. He said he’d given it hundreds of times before. He did add, however, that he felt that more needed to be done for the civil rights of LGBTQ people throughout the world. I was impressed that he made that statement and that I was there to hear it, especially since we were in Indonesia, a nation known for its intolerance toward gay people. He ended his remarks by saying that with so many pretty people here, we should all go dancing and with that said, the afternoon’s activities came to an end and we all went dancing. 

    Later that day I was asked to escort an older woman to a small gathering of the institute’s founders for cocktails and dinner at a lush tropical hotel hanging off a cliff which looked out over tiered rice paddies and waterfalls. The woman had slipped and fallen earlier in the day on the polished floor of the old temple turned museum. She asked if I would help her in and out of the hired van or when moving between rooms at the event as a precaution. As the evening progressed, and sometime after cocktails and before dinner, I found myself sitting alone on a tapestried couch surrounded by Balinese art and sculpture. It was nice to have this quiet time away from the reception’s chatter. And then, Desmond Tutu came into the room and asked if I minded if he sat down beside me. He, too, was looking for a quiet place to rest before the meal. He had changed out of his gray t-shirt which he’d worn most of the day into a button-up splashed with swirls of wild colors. He still wore his trademark cap: charcoal gray wool with woven braid fastened across the band above the short brim. It resembled a modified cadet cap, squat and with a flattened crown and reminded me of the one once worn by Chairman Mao.

    I told him how much I appreciated his remarks that afternoon. I told him I was a high school principal who was gay and out to his students, faculty, school board and community. We talked awhile longer and were interrupted by distant chimes signaling that it was time to make our way to dinner. Desmond leaned over and took my hand in his and said, “You are carrying God within you and I am carrying God within me, and because we all carry God within us we are special people, and it’s important that we act that way. Please continue to do the work that you do, we need it now in the world more than ever.”

  • Stephen Cysewski

    Stephen Cysewski

    In 2013 while doing research for Hardship Alaska, my upcoming memoir about serving as a conscientious objector during the Vietnam War, I came across a website featuring hundreds of photographs of Alaska. Of primary interest to me were those from the 1970s capturing life in Anchorage, the state’s largest city, and Point Hope, a small Iñupiaq Arctic village on the northwestern Alaska coast. These two places were where I completed my two years of alternative service in lieu of military duty. The photographs were taken by Stephen Cysewski. These images were important to me because I had lost all my personal photos, with a few exceptions, from not only that time in Alaska but also my entire life, when the Delaware River flooded my Trenton neighborhood in 2006.

    Stephen’s photos portray not only the beauty of Alaska but also its bleakness. His images, especially those of Anchorage, are straightforward, unapologetic, and for me, capture the city as I remember it. His work helped bring clarity to my writing and allowed me to reconstruct the memories of the people and places that had impacted my life some fifty years ago.

    I reached out to Stephen in an email in 2013 after spending more than an hour viewing his images online. In his reply he told me how he hoped “to create places for memories” through his work and to “feel free to share the photographs, my goal is for the photographs to be seen.”

    Now that Hardship Alaska is in the hands of my publisher, Epicenter Press, I’ve been asked to submit ideas for a cover design. I immediately thought of Stephen’s photos and emailed him again to ask if I could share some of his images as reference material with the publisher. The response was not what I had expected when his daughter, Margaret Cysewski Rudolf, answered my email. She told me that her father had passed away last year and that she felt that her dad would be “honored to have you use his images” in influencing the cover design.

    I was saddened by the news and accessed his obituary online where I learned that Stephen had worked with Alaska Children’s Services during the early 1970s, the same organization and period of time that I did during my alternative service assignment. In all probability I had met and maybe even worked alongside Stephen while in Alaska. Funny how life works out like that sometimes.

    I encourage you all to take a look at Stephen’s photographs at cysewski.com and in a wonderful virtual exhibition at the Anchorage Museum. And check out this short Youtube video in Stephen’s own words…

    Photo credit: Point Hope Cemetery by Stephen Cysewski