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.

The Delicate Balance

Much of what Charles Dickens wrote deserves to be quoted here, but all I’ll offer for now is a snippet from David Copperfield, Mr. Micawber’s reflection/advice to David on economic matters:

"Annual income twenty pounds, annual expenditure nineteen nineteen six, result happiness. Annual income twenty pounds, annual expenditure twenty pounds ought and six, result misery."

See also:

This NPR Story, “A Tale Of Two Economies,” from Morning Edition, November 4, 2008.