Harry and Lucy: Mourning the Losses

When young people die it sticks with us. As we get older death comes closer, becomes more frequent and familiar. Last week’s 50th anniversary of JFK’s death brought us non-stop recollections that have refreshed our memory of him. His face is frozen in time. Our memories of him endure. It’s easy to think of him as ageless.

My best friend died young too. He committed suicide, and his 34-year-old image is embedded in my memory. Ann Patchett’s friend, the poet Lucy Grealy, was 39 when she overdosed on heroin. Ann’s posthumous portraits of Lucy, The Face of Pain (New York Magazine) and Truth and Beauty memorialize their friendship and helped her grieve.

Ann Patchett

We all process grief differently, but I think when we are young the death of a friend sets itself more deeply. It’s unnatural. It’s out of sequence. It’s not supposed to happen, and when it does it leaves a scar and imprint on us.

Harry and I met in the Marine Corps. We were classmates in an Officer Candidate Class, at Quantico – 1st platoon, Charlie Company, Training and Test Regiment. Twelve weeks in the boiling, sweat-staining heat and humidity of a Virginia summer.

Harry had the upper bunk; I had the lower. On the day we checked in he dropped his steel helmet on my head while sorting through his new and unfamiliar gear. It was typical. Harvard had not prepared him for the military. As our training progressed it seemed he was never able to divine what the drill instructors wanted. In an organization that demands uniformity and at a time when self-interest and survival depend on blending in he was the one person in the platoon our eye would always be drawn to – some item of his uniform was not quite right or his rifle would be held at slightly the wrong angle. If the DI’s bloused their trousers with an elastic cord just above the ankle, Harry would blouse his near the calf. If their utility caps were worn with the bill just above the eyebrows, Harry would have his tilted slightly back on his forehead like a hayseed from the Ozarks. The DI’s were merciless with him.

My gift, if I had one, was observation and imitation. I knew instinctively what the DI’s wanted, and that’s how Harry and I became friends. I helped him figure it out, taught him how to shine his boots and starch his cap, and together we survived to be commissioned in 1959.

We came from very different backgrounds; Harry grew up in Oyster Bay, and his family had other homes in Maine and Florida. He went to boarding school at St. Paul’s, then on to Harvard and Tufts Medical School. When he died he was the chief surgical resident at Roosevelt Hospital in New York City. My father sold insurance, and I went to public school and a state university. When Harry died I was a Pan Am co-pilot. I had something he wished for and I envied the ease with which doors opened for him.

The summer before he died we spent time traveling together in France and hanging out at a rented villa in Italy. We were in our primes at 34. That winter we skied together in Aspen. In April I was a pallbearer at his funeral. It was his second suicide attempt and this time he was successful. 42 years later I’m still pissed. I knew there were recurring bouts of depression, but it was inconceivable to me that he could think of killing himself. We were planning more ski trips and other world wanderings. Now I understand. Some people are so wounded and in such psychic pain that it cannot be denied.

***

Ann Patchett’s friend, Lucy Grealy, was one of those people too. Lucy was a poet and a classmate of Ann’s at Sarah Lawrence and the Iowa Writer’s Workshop. She was also the victim of an odd and aggressive form of cancer that resulted in partial loss of her jawbone and facial disfigurement. Her book The Autobiography of a Face won the Whiting Writer’s Award in 1995. Last night Nancy Pearl interviewed Ann about her new book of essays, The Story of a Happy Marriage. This morning I read, The Face of Pain, about her friendship with Lucy and Lucy’s decline and death from a heroin overdose.

Lucy Grealy

At the end of Nancy Pearl’s interview there was Q&A. The last questioner was a man whose wife recently passed away from a brain tumor. He had blogged daily while she was dying and friends told him he should publish a book about it. He asked what she thought. Her answer was the soul of compassion and good sense. She told him to keep writing, that there might be a book there, but in the end it would be his story – that it would always be his and would help him deal with his loss and grief.

***

I miss Harry. I think of all the things we might have done together – the powder turns, rum drinks on the beach, meals missed, books and films savored. He killed himself when my wife was pregnant with our son – Douglas Payne Bernard – my middle name and Harry’s. So, I haven’t totally lost him. He’s still around to remind me of the times we had and the times we missed.

This is Douglas Payne. He even looks a little like both of us.

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Personal Expression: “Note to Self”

CBS This Morning has a programming feature called “Note to Self” in which a famous person is asked to write a note to his or her younger self. They vary in quality but all are revealing. The Story Corps Project, which you can hear on NPR’s Morning Edition on Friday, does something similar for ordinary people. They interview, record, and archive conversations with people about their lives. Some are inspiring. Some are heart-breaking. 50,000 Story Corps interviews are archived in the Library of Congress.

There are myriad ways to deliver personal stories. Biographies. Memoirs. Journals. Essays. Documentaries. Journals. Oral histories. Conversations. Some tell us about famous people and feed our curiosity. Others show us ordinary lives. Everyone has a story. Some are more interesting than others, but everyone has one.

As an expatriate, living in Saigon, personal stories were the currency of life. A foreigner doesn’t end up in a place like Saigon without a story. You don’t arrive there because you took a wrong turn on the freeway. When you meet someone new, your first question is almost always, “How did YOU get here?” I was fascinated by the stories in Saigon – expat and local. The people are from everywhere and people adventurous enough to end up in Saigon are almost by definition interesting.

Now that I’m back in the States I’m aware of the recent spate of memoirs, personal essays, Story Corps conversations and Notes to Self. They’ve got me thinking about personal expression and sharing stories. As an older person I’m not surprised by the impulse. It seems natural to want to leave a little record of yourself, as you grow older. I love words. But I’ve discovered this about myself – I’d rather write them than speak them – so that’s what I’m doing these days.

My friend and neighbor, Gery, is writing his memoir. He’s had an interesting life, but his audience is likely limited to family and a few friends. I’m interested in the art of the memoir, but my audience is probably even smaller than Gery’s. A few years ago, I told my daughter I was thinking of writing something “memoir-like,” and she came unglued at the prospect. She acted as if I planned to reveal some unseemly little family secrets. I was naïve then; I thought she might want to know more about me, but it wasn’t true. I was devastated then but I’ve grown beyond it. Her harsh reaction hasn’t dissuaded me at all. I’m writing like a crazy man. I’m not writing that memoir-like thing, but I know the events, people, and experiences of my life inform all of my writing.

This fall I’m participating in a Master Class in Essay at Richard Hugo House, the literary non-profit in Seattle. The very smart and funny young novelist Peter Mountford leads the workshop. There are 12 of us in the class and the personal essays are astonishing – courageous and accomplished. It takes an act of faith to step into space.

I hope you’ll take a minute and look at two excellent examples of courageous and inspiring personal stories: the first is a Story Corps interview with Retired Marine Corporal Anthony Villereal and his wife, Jessica. http://storycorps.org/listen/anthony-and-jessica-villarreal

Marine

The second story is artist Chuck Close’s Note to My 14 Year-old Self on CBS This Morning: http://www.youtube.com/watch?v=milXH-433vs

Chuck Close

There are so many ways to share and express ideas, memories, creativity, and experience. Some people write. Some people paint. Some play music. Some dance. Whatever the medium, try it, work it, explore it.

The Weekend: Bernadette Peters to Muscle Shoals

Bernadette Peters 2
Bernadette Peters has always been just on the edge of my consciousness. I knew what she looked like – flaming red, boisterous, uncontrollable hair, kewpie-doll lips and a dynamite body – but I was never curious about her music. Over the years her picture would catch my eye, but her music never quite caught my ear.

Marilynn, on the other hand, has always been a fan, and when she saw that Ms. Peters was performing with the Seattle Symphony last weekend she wanted to go. She loves Broadway musicals, and knows the songs, stories, and cast members of most of them. Until recently I wouldn’t have given a second thought to seeing her in performance.

What happened to change things, for me, was Sirius XM Radio. Crazy, but true. The change is a long story, but the shortened version is that I needed a new audio system for my old car. Like my awareness of Ms. Peters, I knew about Sirius but never paid much attention to it until I needed a new sound system. I decided to give it a try. 30 day free trial; what’s to lose? Sirius XM is all about controlling audio content, and control is everything now that NSA is watching everything we do – isn’t it? We have so little control over our lives these days. Controlling my radio content sounded like a good thing. I hope the NSA likes my choices.

Sirius offers hundreds of discreet channels devoted to everything from opera to Rush Limbaugh, but one of the options is a channel devoted to Broadway show tunes. It sounded middle-brow to me but Marilynn was excited. I couldn’t imagine listening to a steady diet of Oklahoma and South Pacific, even if they threw in a little Hair and Hairspray. But, I was wrong. I’m hooked on it now. There are dozens of literate, clever, attention getting musicals that I had never heard of but am getting to know.

Ms. Peters comes into this because I hear her frequently on Sirius. She was and is primarily a Broadway musical theater performer, and that’s what I’ve been listening to. She’s not very visible outside that musical category, and even more restrictive is her focus on the repertoire of Stephen Sondheim. Both Sondheim and Peters are acquired tastes and difficult to categorize. West Side Story is the most accessible of his works, but even that is more American opera than mainstream musical theater. Sondheim’s work is edgy, difficult, and more in line with Gershwin’s Porgy and Bess than Oklahoma or South Pacific.

Ms. Peters has a remarkable voice and vocal range, and despite the fact that you don’t leave the theater with one of her songs cycling around in your head, the evening itself is memorable. Sondheim’s songs and her styling do not dish up a menu of hummable tunes. Aside from the songs in West Side Story (music by Leonard Bernstein and lyrics by Sondheim) the only popular Sondheim song I can think of is Send In The Clowns from A Little Night Music, which was made popular by Judy Collins and covered by everyone from Frank Sinatra to Barbra Streisand.

Friday night was a turning point for me. I’m definitely on the bandwagon now. She turned me into a fan. On Saturday morning I watched 8 or 10 of her YouTube videos and was captivated again by her voice and stage presence. You can catch her version of Not A Day Goes By from Merrily We Roll Along on YouTube at: http://www.youtube.com/watch?v=5kMlQgyz834

Time has stood still for her in many ways. She looks just like she did when I first noticed her in the ‘70’s. I’m as surprised at her age (65) as I am at my own (75). She looks a lot better than I do but it’s as if the clock stopped in 1975 as you watch and listen to her. Try this more accessible but rollicking version of Anything You Can Do from Annie Get Your Gun (with Tom Wopat): http://www.youtube.com/watch?v=2nllCZI1XoE

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Time has not been as kind to Mick Jagger and Keith Richards as it has to Bernadette. They look like dueling versions of The Picture of Dorian Gray these days, but, on the upside, they have somehow managed to retain the sound and energy of their early years.

The Rolling Stones are one of the groups featured in a new documentary called Muscle Shoals, about the legendary Alabama town that has attracted dozens of world famous recording artists and where the Stones first recorded Brown Sugar. The film chronicles the life of Rick Hall and FAME Music, the studio he founded in 1959 and where the renowned “Muscle Shoals sound” developed. Check out Mick and Tina on Brown Sugar: http://www.youtube.com/watch?v=v5zZpMIrWu8

The documentary also features Wilson Pickett, Percy Sledge, Aretha Franklin, Paul Simon, Traffic, Clayton Carter, Etta James, Bono, Alicia Keys and others who were drawn to Muscle Shoals by the FAME rhythm section. In interview after interview we hear these blues and rock and roll legends explain how they were attracted by the black musicians with their patented Muscle Shoals’ sound. And we get to glimpse their surprise at discovering that The Swampers, as they came to be known, were a group of 5 local white musicians brought together by Rick Hall to support his recording dream.

The film is history and art. It’s beautifully made with shots of the Tennessee River and local surroundings interspersed with interviews and film of the recording sessions. It also chronicles the split between Rick and the Swampers, who decide to leave FAME in 1967, to pursue their own dream and form their own studio – the Muscle Shoals Sound Studio. It was a contentious divorce but in the end there seemed to be room in Muscle Shoals (population 13,371) for two world class rock and roll recording studios. Both seem to have prospered. Rick has a new group of mostly black musicians in his new rhythm section, and the Swampers have gone on to record other world-class acts like the Allman Brothers, Lynyrd Skynyrd and others. My favorite track in the film is Lynyrd Skynyrd’s Sweet Home Alabama. Check it out: http://www.youtube.com/watch?v=eAqT_GN_oBU

We managed to slip in a matinee showing of Muscle Shoals on our rainy Sunday afternoon, but in between, on Saturday night, we were able to catch Tweety and the Tomcats at a bar/café next door in Bothell. That’s Tweety, with her sax, in the middle and George, my guitar teacher, on the right.

Tweety and the Tomcats

There’s a lot of music (and talent) around. Don’t miss the opportunity to see and hear it. Manhattan Transfer is at the Triple Door in downtown Seattle tomorrow night. It should be fun. Remember Java Jive? Transfer’s version is a sensational reminder of the Ink Spots original. You can check them out and compare them both on YouTube. Technology has made it an amazing world to live in but there is nothing like a live performance to make you appreciate the art and the artist.

Is It Too Late For Lessons?

IMG_0590 When I was 12 years old I took clarinet lessons. From this distance I can’t remember if was my parents’ idea or mine. If it was mine it was because I loved the Sing, Sing, Sing track on the Columbia recording of Benny Goodman’s 1938 Carnegie Hall Concert. I could see myself playing like Benny in just a few short weeks. If the idea came from my parents it was because, like so many of their other ideas, they thought it would be good for me.

I always loved music – especially jazz – and the year before I started on the clarinet I bought a $10 ukulele out of the Sears Roebuck catalog and taught myself I Wanna Go Back To My Little Grass Shack In Kealakekua Hawaii and Ain’t She Sweet after first mastering the My Dog Has Fleas (G C E A) tuning on that four string beauty. The uke was great but the wood to wood tuning pegs were a bitch to keep in tune.

childrens_songs_-_ukulele_play-along_vol._4_book_cdIn any event, my parents got tired of My Dog Has Fleas and wanted me to learn to play a more traditional instrument. Maybe they even thought I had talent. No telling. My best guess is that they thought it would keep me busy while the hormone levels were rising. Maybe it did for a while, but the clarinet only lasted a few months. I hated the lessons on Saturday morning and I hated the teacher, Miss Cardinal, who taught students in her living room and wore a house dress, a cardigan sweater and sensible shoes. She was a spinsterish woman whose house smelled like spinster and cats. I don’t think she ever smiled, at least not at me, and when I failed to meet my own Benny Goodman standard I opened up her schedule for another aspiring clarinetist.

Two years later I had brief affair with another woodwind, the tenor saxophone, which I also thought was cool, but in spite of mastering a funky version of The Merry Widow Waltz in ¾ time it didn’t stick any better than the clarinet. By then it was clear to my parents that I didn’t have the concentration and staying power to master a musical instrument and they gave up on what was good for me.

I have another theory. When it comes to music or language – or the acquisition of difficult skills or the retraining of new neural pathways – there is a break-even point at which the pleasure of the endeavor has more power than the pain of failure. If you get to break-even you keep going; if you don’t, you don’t.

Ten years after the clarinet and saxophone experiments, in the fall of 1962, I was sitting outside a music store in Claremont, California, and heard Joan Baez’s ethereal voice for the first time. It was her first record and the Chase’s, the family that owned the music store, were friends and neighbors of the Baez family. Mr. Chase sold me my first guitar and an instruction book that afternoon. I took both of them home and started toward the break-even point. By Christmas I could play a couple of songs and play the chords in the key of E. Break-even time.

Malcolm Gladwell says that “The emerging picture (from such studies) is that ten thousand hours of practice is required to achieve the level of mastery associated with being a world-class expert—in anything,” (page 4, Outliers). Gladwell is often misquoted to the effect that 10,000 hours of practice can make you an expert – in anything. His examples of the “10,000 hour rule” are Bill Gates, the Beatles, Tiger Woods, and Kobe Bryant. This closer look at Gladwell’s dictum and Outliers shows that the underlying structure of the 10,000-hour rule is 10,000 hours of intense and focused practice.

10,000 hours I love the guitar; I’ve had several since the one Mr. Chase sold me – and I love guitar music – classical, jazz, rock, folk and country. I might even have 10,000 hours invested in practice, but it’s not the intense, focused effort Gladwell is talking about. My dirty little secret is that over the 50 years I’ve been playing I have taken only four lessons – two classical and two folk – and I experienced the same frustration and anxiety that I had with the clarinet and saxophone. I chickened out and quit. I hated not being good at it and was unwilling to put in the hard work to get there.

Last month a friend, who is about my age, asked me if I wanted to share his guitar teacher. He and his son-in-law had been alternating weeks with the teacher, but the son-in-law moved and he thought I might want to take his place. It caught me by surprise and I couldn’t think of a way to say No. The next week I went with him to his lesson and agreed to sign on. Scary. Sweaty palms. Clumsy fingers. Can’t keep the rhythm going. Brown-Eyed Girl. Norwegian Wood. Bo Diddely Beat. Clumsy everything – except when I play along with him. I can follow along if he keeps it simple and it sounds pretty good.

I haven’t played with anyone in 30 years. I play along with CD’s that hide my mistakes and I never have to hear myself alone, which is good. It sounds awful, to me, without the back up band.

George, the teacher, is very funky. The lessons take place in his bedroom/studio in a house he lives in with his wife and mother. They occupy the living room watching Dancing With The Stars while we wail away in a low-lit shag-rug bedroom/studio chocked full of guitars, music stands, CD’s, computers, drum machines and a king sized bed. The lesson last a half-hour, at which point my brain is fried and my fingers spastic. But I feel surprisingly good on the way home. Every two weeks is good. Not the same kind of pressure as if I had to do it every week. That might reprise the spinster/cat smells. I’m good for now.

Oh… and did I tell you I’m also taking tennis lessons and a short story writing workshop?

The Age of Consent

I’m not the first person to note that certain topics or controversies come in waves. Last week I wrote about documentary films and recommended several. Since then I’ve seen two more that pose important and complicated questions. Both of these films are essentially biographical but not straight biography. They explore the childhood and early lives of their subjects in order to shine a light on later events and behaviors and help us understand these two controversial personalities. At first they seem dissimilar but on closer inspection they are eerily alike.

One wouldn’t normally link the names of J D Salinger and Roman Polanski. One is a quintessentially American author while the other is a Polish filmmaker and survivor of the Holocaust. The subject matter of their respective arts is dramatically different, from Salinger’s attention to the details of coming of age in Catcher in the Rye to the wanton close-your-eyes scariness of Polanski’s Repulsion and Rosemary’s Baby. Then there are their dramatically different attitudes about celebrity and privacy. Salinger, widely regarded as a recluse, guarded his privacy like a spy while Polanski openly courts celebrity at film openings, festivals, and in glossy magazine interviews. They seem to have nothing in common.

Mr. Polanski’s sensational life has been a roller coaster of success, tragedy, scandal and flight to avoid prison. From his Krakow Ghetto escape as a child to the grisly Manson Family murder of his wife, Sharon Tate, his well publicized affair with 15 year old Nastassja Kinski, to his prosecution for the rape of a 13 year old LA girl and his flight to Europe in order to avoid prison time, his life has been a turbulent and controversial one played out on television and movie screens around the world. His encounter with the 13 year old happened 37 years ago but he is still a fugitive and a recurring news item, most recently with the release of the, now 50-year-old woman’s, book The Girl: A Life In The Shadow Of Roman Polanski.

Polanski

Salinger’s life, on the other hand, was shrouded in mystery. After exploding onto the literary scene with the publication of Catcher in the Rye, becoming a regular contributor to The New Yorker and being featured on the cover of Time Magazine he mysteriously moved up to a forested compounded near Cornish, New Hampshire, where he went to great lengths to maintain his privacy and anonymity. He died in 2010, almost 50 years after the publication of Franny and Zooey, his last published work.

JD Salinger billboard

So what is the connecting tissue for these two artistic giants of our time? Both were immensely successful and Polanski’s interest in young girls is well documented – from his affair with 15 year old Nastassja Kinski to the guilty plea for “unlawful sexual intercourse” with 13 year old aspiring model Samantha Gailey (now Geimer). What is less well known is Salinger’s interest in young girls – from Oona O’Neil (18 he was 25) to Jean Miller (14/30) to Claire Douglas (16/36) to Joyce Maynard (18/53) to Colleen O’Neill (30/70). His attraction to young girls was a constant throughout his life. His attraction and interest seems to me more complicated but no less questionable than Polanski’s.

I’m not qualified to make a judgment on Salinger’s psychological state but he, unlike Polanski, exercised some self control with these young women, at least in the early days of the relationships. If you read about Salinger and Jean Miller in Daytona Beach (1949) and then read A Perfect Day for Bananafish (1948) you might think he was researching the scene with Seymour and Sybil on the beach (also in Daytona), except that the story preceded the real life event. Was he working it out in prose in order to perfect the technique?

The subject never fails to elicit controversy and outrage, whether it happens in fiction or in real life. Nabokov’s Lolita (1955) was 12 in the novel. Stanley Kubrick raised her age to 14 for the film, but both the novel and the film had the country in an uproar and was (and still is) banned in some libraries.

What is the age of consent? I’m not trying to be provocative, but sexual mores, customs and attitudes differ significantly even among “developed” societies. In much of the world girls are considered women when they begin to menstruate. In Europe the age of consent varies from 13 in Spain, 14 in Germany and Austria, 15 in France, to 16 in Finland. In the North America it varies from 16 and 18. Polanski might not have been a felon with Samantha in Spain and was not a felon with Nastassja in France, though he would have been anyplace in North America. Salinger, on the other hand, who did not have sex with his young girls until they were older, would not have committed a crime anywhere.

But in these cases there is also a creep factor. I think I understand Polanski’s behavior better than I do Salinger’s. Polanski was a predator with Samantha. Salinger’s motivation, especially with Jean Miller and Claire Douglas, is creepier. Polanski’s behavior was criminal – drugs and alcohol were used to seduce a 13-year-old girl – no matter how mature, provocative or sexually active she was with her own age group. Salinger’s behavior is more complicated and looks to me like suppressed desire and a yearning for both innocence and sexual connection.

Montana Judge

Age, maturity, provocation, sexual experience and judicial action were thrust into the news in a recent Montana case involving a 54-year-old teacher convicted of raping his 14-year-old student. The student later committed suicide and the teacher was sentenced to 30 days in jail by a Montana judge who remarked that the girl was “older than her chronological age” and “as much in control of the situation as the defendant.” Most of America was outraged at the sentence and the judge’s comment. He later apologized, but the outrage continues. What about women teachers like Mary Kay Letourneau who had sex with her 12 year old student and Debra Lafave the Florida teacher who did the same with a 14 year old student.

The lines are not always clear; lovers don’t always look at birth certificates and physical attraction is not always high minded and rational. Are young girls more vulnerable to coercion than boys? Are boys more complicit when they are seduced? Should they be treated differently? Whatever the answers are, the questions will continue to present themselves, and we will continue to question the circumstances and make judgments about the behaviors when they do.

Montana Rape Case

Salinger, the documentary film (2013) by Shane Solerno is in theaters now.

Roman Polanski: Wanted and Desired, the documentary film (2008) is available for streaming on Netflix or on DVD from Amazon.