Sometimes it’s like that.
[better with the sound off]
Just because I’m drunk on self-inflicted sleep deprivation, I’m going to inflict a journal entry on you. But I’m putting it here, not on Facebook, so only the true masochists will make the effort to see it.
Went to see a film about John Berger. He’s still alive! A hearty 90, smoking and shoveling snow. But he just lost his wife. I went to see it because his short story about a farmer and a calf so haunts me. He went native in a French peasant village 40 years ago. I was a little disappointed to see he is still something of a cultural sophisticate after 40 years of helping with milking and haying. When young he was beautiful and self-dramatizing, with a mop of wavy black hair, high cheekbones and a prominent nose, a sort of Leonard Cohen or Leonard Bernstein of radical art criticism. He’s a beautiful old man, rugged and luminous, with beseeching eyes,
and his dialectics are at least simplified and more enigmatic, the fancy edges worn off. . . . The film, much of it, was annoyingly hip and formless. As if form were a form of capitalist colonial oppression. But I could look at Tilda Swinton forever. She looks like a 6- or 7-month fetus, when they are fully formed but haven’t yet put on any fat.
I realized that I am something of a radical, in terms of despising the worship of money, the loving of it more than life. (There’s a desperation about it, the flight from death that it is, that only makes things worse, gives you more to flee from.) But I see it almost the way an old Catholic would, not as a flaw in “the system” but in human nature, the way we cleverly hot-wire and short-circuit our own brains. And in that way I’m more of a conservative . . . except I don’t think returning to tradition is the answer, because tradition isn’t adapted to the modern world. [Which leaves me feeling] we’re fucked.
The storm troops of cancer
burst in on the family dinner,
brute shoulder to the door
dull gray-green fabric tight
over meat malleus as bronze
smearing the candles,
dislocating the delicate jaw,
incinerating the snowflake of order
tatted by held-breath billions of years.
It’s really strange to me that I haven’t seen articulated what seems to me the obvious reason why gay marriage isn’t the moral or legal equivalent of polygamy, and is not, therefore, bound to lead to it.
In a word: Two.
You can have sex with more than one person (like it or not, many married people do). I would hold that you cannot have full intimacy with more than one person (at a time, and it also takes time).
In fact, I’m not sure you can have full intimacy even with one person. It’s an ideal to strive for, to achieve at moments and at other moments fall far short. As the saying goes, we’re born alone, we die alone, and we’re often never more aware of our aloneness than in marriage.
But the point is, sex is only the opener, what overwhelms our resistance to getting close enough and open enough for the rest to start happening. If you stick around, then, it’s a full-time job trying to be intimate — and its daily double, companionable — with one other person. If you divide your attention you cut its depth in half and blow your focus. You may have fantasies about other people, you may be infatuated with another person, you may imagine that intimacy with that person would soar far above what’s possible with your current partner. Well, maybe: some people are better at it, or better together. But even at its best, coexisting with one other person, bringing two such different inner lives into one space, striking off the rough edges, takes a lot of work and time, a lot of attention, a lot of failure and rage and remorse, a lot of discovery and revelation of the other and of yourself. It’s not something we have the time or capacity to divide up and parcel out. If you do that (as in Big Love), it becomes something else — more reproductive and social, less . . .
At the core of marriage, underneath the habit and comfort and irritation, you bear witness to another person’s existence — and, let’s face it, you just bear another person’s existence — a little bit like God would. If we invented God (where would we get such an idea?), it was in the hope of being seen like that, through and through, with steady attention and patient, unblaming fascination, down to our dark places.
Try and do that with a harem, even a small one.
People who complain about aging sound old. But “Grace and Frankie” is a senior angst comedy that somehow doesn’t seem fusty and out of date. . . . Together, [Jane Fonda and Lily Tomlin] pull this comedy about 70-somethings back from the brink of ridicule. . . . This series covers a later phase in life, somewhere between late-blooming love and assisted living.
And it’s been a while since a series was so intently centered on the early-bird-special set.
Television shows tend to reflect the preoccupations of their creators, and ageism is a fact of Hollywood life. It’s not just older actresses who feel discarded. [It’s e]ven [the] people behind the camera . . .
Reviews reflect the preoccupations of their creators, too. Stanley is reportedly 60 herself, and every line of this screams, “I am NOT one of THEM!!!” Ageism is also a fact of New York media life—hell, of American life. And milking that fact for bittersweet laughs (after all, there’s a large, retiring demographic coming along, the death-diminished bulge in the python, with lots of TV-watching time on its hands) is what this sitcom is all about. Toward the review’s end, Stanley stops sneeringly editorializing with every phrase and simply describes a scene from the sitcom:
Grace and Frankie find that without important husbands, they vanish. Old friends don’t call and strangers don’t even acknowledge them. In one scene, the normally poised Grace is incensed when a male supermarket cashier doesn’t turn to serve them or even acknowledge their waves, pleas and yoo-hoos. He has eyes and time only for a pretty young woman who saunters up asking for lottery tickets.
Grace has a screaming meltdown, and Frankie ushers her back to the car and reveals an upside: She stole a pack of cigarettes. “We have a superpower,” Frankie says slyly. “You can’t see me, you can’t stop me.”
Grace and Frankie feel invisible, but here they stand out.
So this has made me think about the perennial subject of age and ageism: how getting old really sucks, and how it actually doesn’t; why our culture dismisses, derides, and despises the old, and what it misses thereby. (Disclaimer: I don’t think this is all or even the main thing we should be talking about, in some last baby-boomer bid to monopolize the cultural conversation.)
How getting old sucks is perfectly obvious: your body starts to fall off. And sometimes, and therefore, your mind too. And it’s simultaneously happening to all your friends. Nature is through with you and starts looking for a way to kill you. And it is perfectly clear to you that it is not a matter of if, but when, and how, and how bad. From now on you’ll be occupied with tossing parts of yourself you can live without to Captain Hook’s crocodile to postpone the inevitable; then, you’ll be smashing the crocodile in the snout with your rifle butt as its bad breath engulfs you. It’s the price of life. And it’s amazing to arrive at the threshold of old age and discover how very little of a dent the triumphs of science have made in it. Okay, more of us now make it to our three score and ten. And then, if not before, the shit starts hitting the fan, right on schedule. Knees are replaced, stents put in, breasts and bladders turn cancerous . . .
What’s more amazing to discover, though, is that it isn’t all loss and fear. If you have your mind. If you have your mind, it becomes like a study glowing with burnishing lamplight, with a deep, comfortable chair, with shelves of books on all sides receding into the darkness of the infinite. As you sit in that chair you have a magical arm that can reach out past Alpha Cygni in a languid gesture and pluck just the right apple from the farthest twig of the great tree.
Of course there’s more — the detachment and perspective we call “wisdom,” which feels like rising to stratospheric heights above the busy surface of the globe and taking it all in with an eagle’s-eye sweep—the patterns, the vanishing tininess—on the way to leaving it all behind. And if thinking has new, powerful pleasures, so does stopping thinking—paradoxically recognizing how futile, inadequate, and disconnected from actual life are all efforts to systematize and understand. You know so much more about what you don’t know—the pinnacle of education!
Why doesn’t our culture find any value in this? I think mainly because it’s invisible, or hidden in homely vessels. We’re an almost exclusively visual culture, obsessed with the charm of surfaces. We’re also obsessed with marketing, which goes for the lowest biological common denominator, locus of the strongest impulses and the broadest base—therefore the surest profits. (Profits über prophets!) Sophisticated presentations of the most basic drives and arousals are our entirely worldly focus. In the heat of the prime of life, the insights of wisdom are impotent cobwebs, or snowflakes, to be shouldered off. Only loss reveals them to be weighty anchors and deep wells.
It’s holding on that makes age ridiculous. If you’re too busy fighting the loss, you can miss the gain.
But first (ha ha!), here’s the latest new one that made me want to write this. And here’s an old post of mine presenting two opposed perspectives on procrastination, one heroic, one subversive. So there you have three other theories of procrastination (four, actually: the first link talks about procrastination as a time-management error before proposing that it may instead be a mood-regulation error).
So here’s mine.
For us to do anything challenging, and particularly anything creative, our regular everyday self has to get out of the way, and it doesn’t want to.
Our regular everyday self wants the credit for the work, and the gratification of having done the work, but in fact it cannot and does not DO the work. For the work to happen, our regular everyday self not only has to sacrifice the petty, reliable pleasures with which it lines its cozy nest and shores itself up; it has to sacrifice itself. It has to go away. It has to cease to exist for an indefinite unbounded while, a little death that for all it knows might be the big death. For the regular everyday self, this is not only unpleasant, it’s terrifying. It will put up a fight for hours, for days. Procrastination is its rear-guard action. A miniature version of this battle must be fought at the entrance to every workout, every workday.
But you can’t go in at the deep end with your clothes on. You have to shuck your regular everyday self: it’s the entrance requirement of the creative realm. Once you do, and only then, new stuff can come through, into the world through you.
And then at the end of the day or the task, your regular everyday self comes back and celebrates to find itself still alive and possessed of this new stuff that it can show off. The creative doesn’t need to celebrate. It just goes off looking for some other place where it can get into the world.
/my theory of procrastination. But does it help? It helps me.
I’ve just seen for the first time two movies, comedies, that I missed when they came out in 1987 and 1997, respectively: Planes, Trains, and Automobiles and Grosse Pointe Blank. Neither was anything like I had imagined from what people had told me about them, and both were so deeply weird that they made me wonder what planet I’ve been living on all these decades. Am I weird, or are they?
During the time these movies were made, I was living with someone from another generation and continent, and we were taken up with traveling to Eastern Europe, Russia, and Japan, trying to help people get out of the East Bloc before communism fell, and attending international karate tournaments both before and after. So I was a no-show in my own culture. My American clock had pretty much stopped in the late ’60s, when I met Jacques (I count 1972 as the late sixties, culturally), as witness this book I wrote in the ’80s, which was soaked in nostalgia and a naïve, dated idealism that was already being left in the dust of the hippie hinterlands by the streamlined new Wall Street types, and that has since become packaged as New Age, with its aftertaste of spiritual high fructose corn syrup. One distinction I made in the book that seemed crude yet valid was between a “first wave” and “second wave” of baby boomers, the division falling around 1950: the first wave all earnest and mystical, the second wave hip and ironic. Psychedelic drugs, for example, were kozmic revelations to first-wavers and extreme party drugs to second-wavers, occasion for hilarity more than for epiphany.
I have a vague sense that it was Saturday Night Live that set the sensibility of the “second wave,” and that it is out of that SNL sensibility that these bizarre comedy movies emerged. I had a moony “first wave” sensibility and then my clock got stopped, so I never got with the SNL sense of humor. Television has also never really taken with me—the way some lucky people try cigarettes and just don’t get it—and particularly television sitcoms. (Jacques was horrified, when we met, that I didn’t have a television; he got me watching shows from Star Trek to Kojak to Hill Street Blues to ER; I adored The Sopranos, which pretty much ruined regular TV for me; and now that Jacques is gone, I’ve reverted to not having a television.) Bear with me, I’m giving you this background to show you the alien place I’m coming from, in America but not of it when it came to the sitcom and multiplex culture. I also couldn’t take the cruelty of a lot of the humor—Kenny being killed over and over again in South Park; whichever that wildly popular movie was in which the dog was thrown out the window and showed up in a body cast? Something About Mary, right? Never saw it.
Watching these two movies now, I’m amazed by how little they seem to have to do with any recognizable reality. Well, no. Planes, Trains and Automobiles, which I expected to be about your worst travel experiences à la Airplane (and which has at least one truly great comic scene, the one that ends “You’re fucked”), is more like one of those nightmares in which you’re trying to get somewhere and you can’t, and obstacles keep multiplying between you and it, pushing you farther away or off in the wrong direction, and you’re trying to call to tell them you’ll be late but none of the phones work. (Dated, pre–cell phone nightmares.) Its weird blend of horror and sentimentality creates a dreamlike alternate universe in which “the world” seems malign and remote. And Grosse Pointe Blank, with its retro 1980s high school reunion that looks as square as a 1950s cocktail party, and its contract killer whose supposed profession never really materializes as anything more than a high-concept plot point, is even more surreal and detached from anything recognizable as experience.
Where was I when my culture was dwelling in this place?? Eastern Europe was just as bizarre in its way, and far more byzantine—literally, with millennia’s worth of intrigue, intricacy and subtlety that makes everything American look as simple as a handshake—but it was, at least in the 1980s, connected to a rock-bottom reality, which was oppression, stagnation, and hardship. There were the secret police and the long lines for bread and the fear of speaking freely. The actual conditions of existence were the referents of culture, in contrast to the great disconnect between Americans’ actual lives and their hallucinatory entertainment.
So I’m like a visitor from another planet looking at this curious phenomenon. My sister and I were wondering tonight why Planes, Trains, and Automobiles (which she saw back around the time it came out) seemed so much funnier then than it does now—has the culture’s sensibility, and ours with it, changed that much? And, an even more unsettling question: did the entertainment of those years emerge from something about American life, or did it emerge from Hollywood—a place disconnected from reality—to influence American life? Did that sensibility have anything at all to do with “the conditions of existence” (the one phrase I’d like to save from a burning of Marx’s books) for the audience, or was it foisted on us, imposed as a sort of overlay, by a bunch of people who were . . . to put it bluntly . . . on cocaine? If the latter, then maybe it did not help us to think about our actual lives but served as a massive distraction or misdirection, like those tests where you have to name the color of a word on a screen, and the letters are yellow but the word they spell is “red.”
Anyway, I am curious about the relationship between actual American life in the 1980s and 1990s and, specifically, the comedy of those decades, which was so massively influential. Was there any relationship? Is one reason why drugs are so rampant now the self-medicating of cognitive dissonance? Is that where Hollywood’s Pied Piper leads?
Or am I the alien, and there’s something to get that I’m just not getting?
. . . at three a.m. may have been the cats chasing something round and round the house. I didn’t know whether it was a giant roach or a house gecko, and I didn’t want to know, though from the zeal and style of the hunting—a rapid slapping down of paws in which running doubles as serial pouncing—I suspected the latter, having seen Buzzy hunt an anole the same way.* This morning I found the gecko, tailless (the least of its troubles), multiply punctured, and bled-out pale. It was still alive, and it cocked its head and looked up at me, as if to say, “Are you going to torture me now?” When I stroked it with a finger instead and put it on the outside stair landing railing, it closed its eyes wearily. A little later I found tiny ants already probing it. Alive, it had haunted me; almost as soon as it was dead, its little sand-colored scrap of a body merged into the inanimate, and it was of no further separate significance, except as a bonanza to the ants.
That’s how our consciousness has to withstand being hunted and tortured by death until it can’t hold out any longer, too much damage has been done.
The next time I hear such hunting I’m going to get up and gently intervene.
*I did save the anole from Buzzy in time. It appeared dead, but on closer inspection could be seen to be surreptitiously breathing. I laid it in the sun, and when its protective death-mimic shock wore off, it took hold and ran away. I think I have seen it, tailless but robust, going about its lizardly business.
Cosmopolitan universalism (often to the point of no longer regarding oneself as Jewish) and clannish separatism are the extremes. In between is a spectrum of compromises, degrees of more or less permeable participation in the polyglot world while still holding oneself to be Jewish. (It goes without saying that other people who care about such things will regard you as Jewish regardless of how you slice it, as many patriotic, Goethe-revering Germans realized too late. I am grateful to be living in the rare time and place where I can say, “That’s their problem.” I don’t take it for granted. But neither am I persuaded to say “Got the name, might as well have the game.”)
I was the cosmopolitan universalist who no longer identified as Jewish until, as I wrote on Ambivablog, I discovered that . . . nothing could be more Jewish! (Here’s the full George Steiner piece that brought that home. The link to it in the blog post leads to a paywall. And here’s the Hillel Halkin article I quote in the update.) It’s a Moebius strip; there’s no getting off it. OK.
Now, in a Sunday New York Times article about Lab/Shul, a “god-optional” mobile community/performance/ritual thingie comparable to an “emergent church,” its originator, a 44-year-old, gay rabbinical student named Amichai Lau-Lavie, again states the two poles succinctly. Here’s the one I identify with:
What matured in me is the sense that Judaism, like all religion, is not the bottom line . . . That it is a tool in our toolbox for human well-being and being helpful beings, and that there is a difference between many people who really view Judaism or religion as the end goal: In other words, keep the Sabbath or marry a Jew so the Jewish story continues. That’s of course how I grew up. I realized that that’s missing the point.
I’m not flying Delta because I’m interested in Delta. I’m flying Delta because it’s convenient or I got the miles on it. The idea is to get somewhere. I’m practicing Judaism because that’s my airline, because I was born into it and I think it’s got a deeply profound, ancient and relevant toolbox for a good life, but the end goal is a good life, not to be Jewish. To be human. To be there for myself and others. And that’s a totally different proposition.
(Except that Judaism isn’t even my airline. It’s the one I flew in on, but I fly on a variety of carriers nowadays . . . and sometimes I just flap my arms.) And here’s Lau-Lavie’s (admittedly biased and condescending) take on the other pole:
The pews are filling with people who just want some structure . . . ‘Just tell me what to do. Give me order in the chaos.’ In an age in which we have more and more privileges and choices, the allure of a system that tells you what to do and what not to do, and what to wear and what to eat, and the consequences and limits of your choices, for some mental types, is essential. I get it. It’s a suspension of disbelief in its deepest sense. I’m judgmental of it and I have a lot of respect for it.
We have both poles in my extended family, and a lot of the spectrum in between. We even all get along.
But you have to go over to A Cold Eye to read it.