October 3, 2019

Today my mother would have been 90.  For the past few years on October 3rd, I’ve had one strong thought about the date and the remembrance of my mother.  Odd:  When my mother was alive, I never once thought this thought.  She was just my mom (or “Mother” as we kids referred to her—never to her, but only years later when speaking of her;  another oddity.  Could you imagine addressing her as “Mother” to her?  Are we British or East Coast aristocrats?).  But since she died, there’s something about that date, October 3, 1929….  Today I learned it was a Tuesday, as I looked up the more famous date in that October than the third.  It was exactly three weeks later than October 3rd—October 24th—that that Tuesday happened:  Black Tuesday.  A Tuesday with its own epithet.

For the past few years, I’ve been thinking about how my mother was born before the start of the Great Depression.  I wonder what those three weeks were like?  Did she take full advantage of the Roaring Twenties?  Did she, in Vicari, Sicily, bask in the success of the 1929 Cubs?  That’s another new dimension added to my mother’s memory bank, and it comes by way of her grandson, Terry, baseball historian, my son, and lover of the 1929 Cubs, as ill-fated a team as ever in the history of that ill-fated franchise.  So … it seems most unfair for my mom to have had those three weeks but to have been too young to really indulge in the party.  But my mother was not selfish or self-absorbed, and she never complained about that missed time.

When I think of my mother, I think of her caring for me … and I think of every shameful thing I did.  Such guilt … I have to let it go.  I really didn’t do anything shameful in a big way, but it’s those little things, stupid kids’ pranks that haunt me.  I remember a particularly dumb one I did, probably about the age of 12.

“Mom, not everyone can do this.  It’s a test of dexterity and concentration and mental capacity.”

[I probably didn’t use words like “dexterity” and “capacity.”]

“Okay, tell me what to do,” she said.

She was always ready to help.  I recall that whenever I asked her for something, she gave it—and not only for needed things, but for my hobbies and interests.  When I became a model builder and science geek, she helped me with the Visible Body—the painting.  I could do the major organs—the liver, stomach, colon, intestine—but it was the veins and arteries on the plastic, clear skin that required dexterity and precision.  She painted the red and blue along the lines indicated on the inside shell of the skin—and the finished model was a piece of art to me, fit for an anatomy class.

“Take this quarter [I handed her a quarter], and starting at the top of your nose, roll it down—straight—to the bottom of your nose.  That’s it!”

What my mother didn’t know was I had taken a pencil and had coated the edge of the quarter with pencil lead.  So she took the quarter, put it between her two index fingers, and proceeded to roll the quarter down her nose.  She did it easily and readily, and smiled at me.  And it was in that moment that the indelible shame set in.  For the trick worked:  she had a stripe of grey down her nose, and she looked perfectly ridiculous.

It breaks my heart these fifty years later, and my eyes well up with tears as I write this in class with my students, all of us typing away.  I think of the simple goodness of a parent who would do anything for her child.  I think of her smile.  I think of the immediacy of my regret, and I wonder why—why does our sense of humor prevent us from seeing the hurt we cause, even when we see it so clearly in the moment after?  My mother didn’t express any anger or disappointment—she just wiped her nose when I revealed the trick.  I wonder if she saw my regret, my horror at being mean to the kindest person in the world?  Did she worry about me living in regret for years to come?

She made things easy.  Her life was hard—but for us, she was there.  We took her for granted, and that was bad—but really, the story was the absoluteness of her generosity.  I don’t want to say she enjoyed it—but it had that feel.  She was my barber for my first 30 years till she gave up her beautician business.  I remember her always being available for a haircut appointment.  It was always my schedule that mattered.  Her schedule?  She was there ready to be available when I needed her.

As I write these words, I’m feeling like a monster.  I was not … I was good.  But I somehow feel a need to exclaim:  I was not good enough.  I didn’t deserve her.  But of course I did.  I loved her, and she loved me.  She loved all of us, in a way that was easy.  And in my life I’ve seen so many mothers who behave so similarly.  It brings to mind my “no explanation needed” reflection I felt when Angelo died.  I clung to his friends and the family members who knew him and didn’t need me to explain his sense of humor, his gestures, his quirky smile and expressions.  They all knew it, had experienced it—and thus there was no burden on me to convey the reality and depth and feeling of the experience of him.

I feel the same with my mother.  So many mothers in the world have precisely the same kind of selflessness, of generosity, of willingness to be and live for her children that my mother had.  So I feel others can relate—can know—just how deep the feelings go, how deep my shame goes for missed opportunities for kindness back, for saying thank you—and for avoiding mean, gratuitous acts that accomplish nothing but etching a pain in your soul.

But stepping back from my malingering feelings, I hear her voice, and I see her smile and her easy way.  She had been through worse.  Her entry into the world on October 3rd meant she had to partake in the fall the collapse of the economic system, even in so far a place across the world as Vicari.  But she took the hit, and it must have formed her with a resilience and strength that were to help her raise and raise well five privileged brats who all, no explanation needed, grew to love her beyond human limitation.

September 18, 2019: Ella, the Abyss, and Distracted Purpose

Is Ella Fitzgerald singing “You’re the Top” on the way in enough?  The ride was smooth, the traffic light, and the whole prospect of the day regular.  It was Wednesday in its best, most balanced sense—not hump day, a thing to get over, a thing to persevere, a thing to struggle with.  No, it was Wednesday in being ordinary, not too stressful, not too packed—just there in the middle, with some buffer.  Last week I was preparing for and dreading a Board of Trustees presentation on Wednesday.  How different is this week, as I’m relatively caught up, and the only FAC action for today is a union meeting—but one with no presentations or arguments, just listening. So I get to go and just be, not push, not struggle, as everything just is what it is, and let’s all try to come to terms with it.

Ella’s silky-smooth singing typified the promise of the day.  The car did too.  The car has been running so peacefully, still like brand new, its quiet electric motor propelling me across town, as though in other-worldly, pollution-free, effortless gliding.  And then there’s the Cole Porter factor.  How does Indiana produce a Cole Porter?  If ever there is evidence that the world is insane, and potentially delightfully so, it’s in that fact—that a breezy, urbane, sophisticate like Porter could spring out of Indiana.

Amidst all this pleasure and easiness and mild contradictions, I find myself contemplating, yet again … the abyss.  What is the meaning of it?  Existence. Why?  What will save us?  And if we get saved, what’s the point of it all?  Why is there an Oba Chandler?  And how can anyone be happy again, knowing that such a being is a possibility?

[Side note:  Maybe my students will save me.  Here it is 8:37, and so many of them just walked in … late … driving me crazy … distracting me, just as I was peering into that abyss of existence.  They’re annoying … but they’re good too.  They’re here. They will write.  Some will write well, and some will be transformed.  I have to let them find their way a bit.  I have to be patient.  Okay, back to the abyss.]

I should be happy these days.  Besides silky Ella on the smooth ride in, and the joy of Cole Porter emerging out of Indiana, I’m in the best shape I’ve been in in years.  The new lifestyle agrees with me, and it doesn’t feel all that unnatural or difficult.  I should be eyeing a long steady prospect ahead:  years of the new routine, years of living well, years of dodging a bullet, years of repeated pleasures, minor challenges, significant successes, accrued living progressing forward, with happy camaraderie, and a general aura of blessing.

But that abyss weighs heavy. It’s there to the side, or over on top, and it doesn’t seem to allow a moment’s peace.  “The stakes are so high” it seems to say over and over.  The roots of existence and hope are exposed and vulnerable and rotting because of this abyss, which I summarize thus in a bullet list:

      • Donald Trump
      • Laurie Joyner
      • Climate change
      • Death
      • The designated hitter
      • The Faculty Affairs Committee (or its quixotic efforts)
      • The stress of living, which, regardless of the basis for any individual, will always ratchet itself up to wherever it wants to ratchet itself

I keep searching for a rhythm and routine, a purpose and procedure to rest in and exert myself in. But I think I’m looking for a mode of “eternity” in this quest, a “beyond-the-threat-of-danger-and-loss” life that won’t pull the rug from me (just as I was beginning to stand up).  In these days of health and comfort and stability—and really, that’s what I’m experiencing—I find myself unable to relax and settle in because that abyss seems ever ready to pounce.  What is the point of this or that endeavor, when it’s going to end, when you’re going to be hurt, when you’re going to lose something ever-so-needed for basic subsistence?

My prospects are as good as they have ever been (possibly better—but then, with Ang gone, can’t really say that), so maybe I’m just “growing up”—realizing the transience of all these incredible blessings of existence.  Why does it have to be so good … and so temporary?  I wish I could stop dwelling on the darkness, the moment after it ends and then continues on forever on its way.

The thing that helps me is Ella, my students, and so many very little connections with people—family, friends, colleagues.  We touch each other in trivialities, and we take one another out of our spirals, be those spirals an abyss, an obsession, a mistake, a bad habit, a distraction.  We need the distractions of one another to stay properly distracted.  A distracted, purposeful life (please note the irony: one must be distracted to be purposeful, for if you aren’t distracted, the power of abyss thinking would take over your whole being)—a distracted purposeful life can be highly pleasurable, rewarding, and beneficial to the common good. Is that a rock of certainty enough to build a life on?  Ella?

Beyond All Endgames: A Mother’s Love

Many have praised Avengers: Endgame for a range of accomplishments: its spectacular special effects; its light touch in being so spectacular; its deft use of cameos; its fast and loose, serious and ridiculous, forays into the logical binds of time travel; its narrative economy in wrapping up a franchise with story lines mind-bogglingly diverse and intertwined; and the list goes on. My response has been curiously personal and “off topic.”  An unexpected reunion scene amidst the frenzy of the endgame struck me deeply and oddly, articulating for me something larger and more dramatic and more complex than the intense storylines of the Avenger franchise—namely, the power of what it means to be a parent. I was left nodding, yes, yes—easily and gratefully and tearfully (if those things can exist side-by-side)—for a depiction of love and grief and transcendence, and all their resonance and possibility, distilled to a stolen moment, out of time and eternal.

How does one serve up such a poignant moment? Recipe: Start with an archetypal relationship—here, a mother and son. Put them in a difficult, relatable situation involving loss, separation, a reunion after drastic changes, a stolen chance for intimacy, and an effortless “moment” of being together, without frenzy, without agendas, without judgments, without urgencies. Next, enact the moment with perfect pitch, as though there had been no separation. Pack in several archetypal dynamics—parental advice, childish submission, a mother’s acceptance, a child’s need for the mother’s recognition—and through it all maintain the effortlessness of just being together. Make it lighthearted and comical. Deliver it in a rush amidst chaos, in a slow calm so it can be what it is, so it can transcend the rush and rise into the realm of truth and beauty. Fold in a lot of setup.

Parenting and good storytelling are all about setup. Telescoped into each moment is all of its past, all the drama, disappointments, joys—all the history that makes the moment a universe of its own.

This reunion is between Thor and his mother, Frigga. Thor has come from the future, and he has a chance to see his mother, on the day he knows she will die, no less. He sees her, but he cannot speak to her. Thor is a time traveler, and there are some strict rules here. You can’t interfere with the past to change the future, etc., etc. So Thor has to keep his cover, not attempt to save his mother, or change her fate. But all the rules get thrown out the window when Frigga sees Thor. She knows him and loves him instantaneously, and registers no surprise or fear or confusion whatsoever, despite his extremely unusual appearance. Her ease of encountering him is the most magical moment of this blockbuster film, with all its special effects. The acting by Rene Russo as Thor’s mother puts to shame all the CGI flight and fight and thunder, even Thor’s, that fill most other moments with unrelenting action and crisis. This is the acting of a “parent’s transcendence of all the mess,” and just knowing, and being grateful for, and being sublimely calm about this chance to connect in the most uncertain of circumstances.

A little more on the setup: The actor who plays Thor is Chris Hemsworth, an apt candidate to embody the Scandinavian God of Thunder. His portrayal was built over several previous movies, and we have come to know him as a boyish, lovable, good-hearted kind of god, prone to rash acts at times, though always with good intentions. Above all, he was so powerful and beautiful, and completely without ego, this god among humans, just breezily being godly. And the voice—a god’s voice, with something of a slur, deep and resonant, and completely unpretentious. Hemsworth originally had to get completely buff to play the role, adding 30 pounds of chiseled muscle to ripple and pop when he held the mighty hammer and channeled the lightning of the universe to show his power and achieve his ends.

But that was all in better days. The current Thor in Endgame—and this is a true spoiler for those who love the godly Thor—has put on a few pounds (70?), as an effect of his, and the earth’s, loss after Thanos’s finger snap had obliterated half of the universe’s population at the end of Avengers: Infinity War. Thor has let himself go, in beer drinking, video-gaming, and general bro behavior. He’s somehow managed to keep his jaunty, comical demeanor through the devastation of both his chiseled body and the general universe. And that is why we are struck at Frigga’s no-surprise reaction to seeing Thor.

While unfazed, Frigga does notice something is wrong with Thor’s right eye. We know it had been put out in an earlier movie, and then restored completely in a later movie. Of all the changes in this broken god, she has zeroed in on the one that is all-but invisible. But the eye is the window to the soul, and his mother knows. She looks at him lovingly and says, “You’re not the Thor I know at all, are you…? The future has not been kind to you, has it?”

Our hearts break, for at once she recognizes what her son has been through, and it doesn’t matter, and her broken heart, if it is broken, is healed by the love she feels, and this opportunity, after so much loss and grief, to look upon, yet once again, the son she lost and had to learn would have such a difficult path ahead. Of course, it’s only we who know all that, but now she knows it too, and we feel her grief and joy, all the more accentuated by the other knowledge we have—that this is her end—and this is Thor’s final chance to be with his mother, a fact he knows all too well.

Thor denies that he’s from the future. This god has powers, and he puts up a good front—for about a second, till he breaks down and confesses, like an errant teen, “I’m totally from the future.” Hemsworth’s comic delivery never lapses here or elsewhere, as he completely avoids the self-pity or loathing that might stem from his fallen nature. But it’s not Hemsworth that brings the emotional focus or magic to this unexpected scene.

It’s the acting of Rene Russo, as Frigga looks so lovingly into Thor’s eyes, without judgment, without worry, without anxiety, and just drinks in this chance to be his mom and talk with him and hold him, in a kind of serene acceptance of what the moment could afford. Despite the transcendence here, she keeps it real, asking “what are you wearing?” She cuts through the nonsense of her child’s excuses saying she was raised by witches; she injects sibling dynamics into the exchange saying he should leave the sneaking to his brother Loki—and on it goes, with a little slapstick humor thrown in. But none of it registers beyond the calm union here, the manifestation of parent-child love, in circumstances that, if absurd, are irrelevant. Love does conquer all—be it death, disappointment, fear, grief, uncertainty, time travel confusions, and the rest. And this subdued scene of love displayed in such a serene and automatic way, despite such distractions, is enough to make Endgame, as a movie, a true “marvel,” all on its own.

Parable of the Farmer and the Mule

Each day the farmer would marvel at the work his mule accomplished in the fields—plowing the soil, pulling wagons, removing stumps, and generally contributing to the welfare and efficiency of the farm.

Then the farmer had an idea: “If I wasted less money on grain and oats to feed the mule, I could increase the efficiency of the farm exponentially.”

So he decided to cut the daily portion of the mule’s feed by one quarter. The mule still went to work on the reduced rations, pretty much as always, though with some extra words of encouragement from the farmer. In all, the mule seemed to adjust to the change with little or no sign of discomfort.

And so the farmer persisted with the new regimen for an entire week.

Then the farmer had another thought: “Since my first adjustment went so well, and I’m saving all this money on feed, why don’t I eliminate even more wasteful expense, and reduce the mule’s feed by an additional quarter?”

And so it was done.

For the first day on the new diet, the mule seemed a little angry and sluggish, but he eventually got the usual work done.

The farmer continued to have ideas about efficiency. Week after week, he made adjustments, till finally one day, he went to his barn to feed the mule. He entered the barn carrying his handful of grain to feed directly to the mule out of his hand. When the farmer entered the stall, the mule looked at him, looked at the handful of grain, looked back at the farmer—and proceeded to topple over, dead on the spot.

The farmer, in amazement and frustration, exclaimed, “Damn! Just when I had him trained!”

Ang Calls Customer Service: Some Context

I’m grateful to Gen for publishing her outtake clip of me telling the story of Ang’s customer service call. Gen did her usual editing masterwork, making me sound coherent and fluent. It’s a good story, and I’m a bit proud of the way I was able to capture it. Of course, I have some edits I would make. I would want to relay more of the one-sided discussion. If only I could remember! It was the music scene that got me. They were in different cities (I think the rep was in Texas?)—but there were some common music happenings between the cities, or ones soon to take place. To hear Angelo talk, it seemed this was his most casual, oldest friend—someone he had spoken with yesterday, and thus could just pick up with where they left off about the plans and to-do list.

But I get ahead of myself: I’ve been fearing the task of trying to capture that tone of voice. There’s an essence there I want to share; it’s so important right now to get it right. I know I will get it right for the “club”—the “no explanation needed” group, those who had firsthand experience with Ang, and with the phenomenon I’m trying to capture. They will recall such moments, and say, “yeah, yeah”—and probably with a tear, like the one I’m shedding now.

Let me approach it from another angle: Angelo could be exuberant. As Terry described him, he was bullish—a bull in the china shop. In the documentary, my favorite characterization of his exuberance comes, appropriately, from James. His words, his exasperation, his matter-of-fact narration, with commentary, of Angelo on the fast-break bricking it off the backboard creates such a vivid image of the out-of-control energy that was Angelo and his approach to life. Angelo’s ebullient smile, his off-key singing, his driving, his general bursting-at-the-seams entry into wherever—were widely known—to intimates and casual acquaintances alike. But there was another side, another disposition, that those who loved him and spent time with him would see on occasion.

It manifested itself in a very subdued and serious voice. It was a reasoning, an analysis, a what? a soulfulness? It was, quite simply, a presentation of ideas in the most gentle, “out-of-time” manner, in a voice that was beyond striving and argumentation.

I heard this voice, actually, the last time he spoke to all of us on the phone from Thailand. It was a very long call, on speaker, with the whole family. That call was one of those gifts we got from Ang in the last few weeks of his life. My general approach to phone calls from Thailand could be summed up in one word: expeditiousness. I didn’t want to take up his time … didn’t want to have the call reach the point where he felt awkward to cut it off. So I was always cutting it off. But this time was different—and God bless Loretta, she never had scruples about the call getting too long. So we talked at length—and somewhere—15 minutes or so into the call, there it came—the voice I am trying to convey here and now. He began talking—in response to some questions I had asked him about the educational system in Thailand. He spoke in a manner that was tinged with regret and resignation. There was a problem: kids were being left behind, in a way that both recognized and ignored the need; the system wasn’t working, and apparently there was little initiative to address the problem or even to acknowledge the problem existed. He didn’t speak with zeal or indignation—just a kind of wise sadness about it all—an acceptance that such was the lot of the educator/educated in Thailand, and an acceptance to work around the limitations, towards doing whatever good could be done in such circumstances.

I say all this simply to try to convey a demeanor of peace, understanding, concern, love, easiness, resignation, and acceptance that was present in his voice in his observations about teaching in Thailand. In his calmer discussions—about politics—and even sports—I had also heard those qualities. And I reference all such moments to say I heard that same tone, mirabile dictu, while he was on the phone with the AT&T customer service rep!

It was in the long middle of the conversation—after the transaction part (very early on) had been completed. Ang would speak in phrases, quietly, and then with long pauses, as undoubtedly the person at the other end was talking. I am so grateful to Gen for bringing back this story—but as I hear myself tell my story, I notice immediately that my voice and tense way of talking are so completely the opposite of the quality I am trying to relay about Angelo’s voice that day.

Till this moment, my memory of Angelo’s tone was a completely private memory, a cherished moment I didn’t even know I had in my store. But now I have it as a distinct entity, a treasure I could share with others—or at least those for whom “no explanation is needed.” And there are many such people, thank God, who loved Angelo as much as we do here.

It’s so ephemeral—those moments of peaceful talk with a stranger/friend in Texas, those 25 years of being and acting. But God has his way of radiating into our lives, and I think of Angelo’s quiet voice as those times when God would touch his exuberance, and channel it into His own kinds of expression.

That customer service story is great for the lessons of “lightening up” I spoke about in the clip—but for me it’s far greater for the sound of God’s touch coming to me through a voice I hear now, and marvel at, and love with all my heart, though in memory.