I've recently entered the afterlife of retirement and want to use this blog to record my observations, reflections, reactions, musings, and whatever else might strike my fancy, personal, cultural, political -- nothing, dear reader, you should be interested in or waste your time with. Que scais-je?
Wednesday, August 8, 2012
My Grandfather Smoking
Monday, July 23, 2012
Pickle Memory
Friday, May 11, 2012
For Sale Sign Prank of 1966
Monday, January 9, 2012
A Mouse Up My Leg
Wednesday, October 12, 2011
Memory
Sunday, September 11, 2011
10th Anniversary of 9/11
The 10th anniversary of the September 11, 2001 attacks on the United States have been (surprisingly) sober, calm, and reflective, with only minimal jingoism (and that being mostly surrounding the various sporting events, which I’m sure felt the need to tie a patriotic bow around their making millions of dollars exploiting the remembrance). What strikes me about the various TV specials and newspaper commemorations is the sense – sometimes explicitly stated – of “never forget,” that 9/11 will be forever in our national consciousness, that the ceremonies and memorials we gathered around today will be gathered around year after year, decade after decade in perpetuity. But of course that won’t be the case. We remember now because we are so close to the horrific events of that day and are still living the effects lingering from that day. The survivors and the families of the dead are still alive, as are the politicians and others of authority on that day. The memorials are fresh (and some not yet even completed). The images are from our memory, not history. But in time the images and memorials will be history, as those of us who experienced the day, directly or from an all-to-near distance (most of us now living), are gone. That’s just the nature of time, of history, of memory. On December 7th or June 6th, we as a nation pay little notice anymore to the memories of the attack on Pearl Harbor or the Normandy invasion, and haven’t for at least several decades. What makes us think that in 50 years, or 100 years, when most all of us are gone, September 11th won’t be just another day in the week for most Americans (assuming there are still Americans 50 or 100 years from now). Time and history move forward, and memory fades. That’s not to lessen the import of September 11th. But all is transient, and what seems so permanent and forever now (“never forget”) is actually only blowing along the surface of a shifting sand.
"My name is Ozymandias, king of kings:
Look on my works, ye Mighty, and despair!"
Nothing beside remains: round the decay
Of that colossal wreck, boundless and bare,
The lone and level sands stretch far away.
“Ozymandias,” Percy Bysshe Shelley
Sunday, December 26, 2010
Memory and Literary Nonfiction
I have a hard time tolerating those literary nonfiction writers (and teachers) who demand that every detail of a personal essay – every image, every piece of dialogue, every thought or emotion at the time – be precisely accurate, as it actually happened, as if it were a finely pixilated digital photograph. The “literature of reality” (as it is sometimes called, begging the question) requires devotion to a photographic (and phonographic and aromatic) rendition of experience. (This is an issue that has been actively engaged in the genre for at least a few decades; the most prominent being Lee Gutkin, the author, teacher, and editor of Creative Nonfiction.) Consider this passage from Jonathon Starke’s “The Wound” (Brevity 34):
I looked from the horse over to my brother, who was holding the trailer door open with a hip, both hands gripped together at his stomach. He was seven, two years older than me, but always afraid to get near something like this. I stepped closer to the horse.
. . .
Teddy walked over. He ground his teeth together so hard I could see the muscles in his jaw wriggle. He took the bucket up high in his hands. I didn’t know what was coming, what he was capable of, so I tucked my head in my arms and closed my eyes. Teddy growled and dumped the water over me. Then he threw the bucket into the dirt and took me by the arm. Teddy dragged me over to the horse with the stranger and the other men right behind.
"This funny?” he said, letting go of my arm and taking hold of the horse’s reins. He jerked hard on them so the horse’s neck was pulled. “You think this is goddamn funny?”
No doubt the title of the essay, “The Wound,” is meant as a metaphor for the traumatic effect of this experience on the then five-year-old author. But could it have really been so traumatic as to etch it onto his immature mind in such perfect detail for all of these years? How his brother was holding the trailer door open, gripping his stomach? How Teddy was grinding his teeth, growling, tossing the bucket into the dirt? How Teddy jerked the reins and said exactly the words “You think this is goddamn funny?”
Perhaps. But I seriously doubt it, if only based on my own memories of being five years old. Or rather memory. All I have from that age is one fleeting image of lying down on one of those woven cotton mats for a nap in kindergarten. The next memory I retain (and a more traumatic one) is from two years later, running from our duplex after getting into a fight with my mother (over what I have no idea), punching my fist through the front picture window, and fleeing down the alley, only to finally, at the end of the block, see the blood dripping from my hand. What happened after that, I don’t recall. I do, though, still have a scar on the back of my right hand.
Again, perhaps Starke has a more vivid memory of his childhood than me (and, I suspect, you). But my guess would be that he would explain his narrative as being “true to the spirit of the experience,” as most writers, teachers, and students of literary nonfiction would probably agree. Reality – and thus “the literature of reality” – is elusive in memory. Recall is selective (personal) from the outset. And over time it foregrounds and suppresses, smooths and roughs, illuminates and obscures. The literary (or creative) of nonfiction is the aesthetic embellishment of memory, of experience, true not just to the spirit of the experience but more important to the point of remembering – and relating – the experience in the first place.
Wednesday, October 6, 2010
Boy Scouts
Way back in the early 1960s I was a Boy Scout for two or three years. Our troop was sponsored, as most troops were, and for all I know still are, by a church, in our case a conservative Christian church that would today be called fundamentalist. I learned all the basic tenants of scouting — “Be prepared,” “Do a good turn daily,” “On my honor I will do my duty to God and my country and obey the Scout Law . . . ,” “A Scout is trustworthy, loyal, helpful, friendly, courteous, kind . . . ”— and learned to tie knots and learned to build a campfire and learned to administer basic first aid (including snake bites), and by the end of my tenure had accumulated enough merit badges to reach the penultimate rank of Life, stopping short of Eagle only because most of my friends in the troop were a year older than I was and had quit and because it was too much work.
But most of my memories of scouting are of delinquency, especially while out camping. There was the relatively mild “snipe hunts” (first year as a duped bagger, the next year as one doing the duping), sanctioned by our leaders. And one day when some of us snuck off to skinny dip in a stream, only to emerge with leeches clinging to our bodies. And one middle of the night, after curfew, when another few of us took several flares from the truck, walked a couple of miles down the road, stuck the flares in the ground and lit them, and then after walking about half a mile back toward camp, looked around and realized we’d set the grass by the road on fire, raced back and stomped it out. (Red Howell, our scout leader, was waiting for us when we returned and said, “Don’t tell anybody anything about this.”)
But the highlight of my scouting days was a week-long national Jamboree in Colorado. One afternoon we (no leaders present) organized nude races down a hillside meadow, the theory being that our nudity would cut wind resistance. (That I would much later learn of the closeted gays in our troop didn’t really cause me concern.) And then there was the afternoon when we were on an overnight camping trip with mules carrying most of our gear, and Basil (forget his last name) decided it would be fun to jack off one of the mules. And he did.
As I said, this was a Christian scout troop.
Tuesday, September 14, 2010
Irish Flats
IT WOULD BE historically interesting in sportsdom could a census be taken of all the former star amateur baseball players who have been attending games at Lawrence stadium. Among them would be Jim McClure, livestock dealer in Wichita. Jim used to be a champ pitcher for Calista and later the “Irish Flats” star twirled many winning games for Kingman and Norwich.
I only have a photocopy of the clipping. There’s no date or headline, no idea even what newspaper it’s from (though probably one of the Wichita papers, as Lawrence Stadium was in Wichita, and probably from the 1900s or 1910s). Jim McClure, the “Irish Flats,” was my grandfather, my father’s father. But I never knew him. He died (“with his boots on,” as he had wished and as was noted in his funeral notice) when I was nine. I only have two specific memories of him: The first was my father taking me to the Wichita Stock Yards to see him at work, herding cattle on the wooden walkways above the pens, in his red flannel shirt, overalls, and muddied work boots. The second was fishing at a farm pond, my catching a large (at least to me) snapping turtle, his landing it once we saw it wasn’t the enormous fish I thought it to be, and his eviscerating it and making it into turtle soup that night.
But I really never knew him. I certainly never knew he was “Irish Flats,” a star “twirler” in amateur Kansas baseball. And it makes me wonder what my granddaughter Ellie will know of me in 50 years or so, long after I’m gone. Will she know that I played in several obscure rock and folk groups in the 1960s? That I had several poems and short stories published in small literary journals in the 1970s? That I had a couple of plays produced, and directed a few myself, in the 1980s? Will she find a vague newspaper clipping about when I was in my 20s or 30s and think, “Whoa, that’s my Grandpa?” I hope so. But I hope also that she has more than just two scant memories of her and me together, that she can remember a series of good times over years of our being together, times where I can become a living memory for her and not just the enigmatic star twirler “Irish Flats.”
Sunday, July 11, 2010
Window
I doubt that I would recall the incident at all if it weren’t for the maggot-like scar still on the back of my right hand. I don’t know what incited my rage, or what, if any, punishment or repercussion came of it. What I do remember is that I was only eight years old, I got into a fight with my mother one afternoon about something, maybe nothing, ran out the door and down the three steps from our rented duplex, turned, and put my fist through the plate glass window, shattering it.
I immediately headed down the alley behind our house, running full out, frightened about nothing and everything. My memory is of a canyon of green shrubbery, an enfolding gauntlet with no exit arching above me on either side, though I’m sure it was nothing but the more scrubby patchwork of bushes and vines of my other, less anxious memories from that time. But when I got to the end of the block, I stopped, looked down and saw (as I remember it now) my hand covered in and dripping blood.
I made it back to the house (ran or walked fast, I can’t recall), my mother drove me to the emergency room, and I got a few stitches, though looking at the scar now, white, about half an inch long and an eighth of an inch wide, I don’t know why there would be a need for stitches for what seems a rather small wound. Perhaps a scar shrinks over time. Perhaps the stitches were meant as a reprimand for an infuriated (and infuriating) eight-year-old boy. Perhaps it’s just that memory is a fog floating between an indefinite past and an ongoing rummage for it.