This blog includes essays about life, aging, humor, inspiration and creativity. These things capture my attention and I hope are worthy of yours. Sandra Enos.
I was at a perfect age when I wrote my first eulogy, just a few months after I officiated at my first wedding. I was just sixty years old, the oldest in my family of three children, just old enough to understand my mother as a mature adult, beginning my own aging journey. For the first time in our shared history, I could see her life from a larger more generous perspective. If you are blessed with some wisdom, you understand that understanding your mother is not all about you. She has her own history, of which you are only a tiny part, perhaps. If I had been younger, I would have missed much of this and written a good enough eulogy, but not one so deeply felt. If she had lived longer, I might have done better.
I wrote that eulogy for my mother and conducted that marriage ceremony for two former students. For a brief period, it felt like I was doing so much officiating that I should look into becoming a minister. I had developed a nice demeanor and a warm appropriate manner, according to those attending these ceremonies. It is a lovely feeling to be of comfort or to be a handmaiden of joy and commitment.
My mother died soon after falling in her apartment: she never recovered. In a short two weeks, she was hospitalized and went to a nursing home where she picked up an aggressive infection. We were planning for her return to independent living, but things took a different turn. She failed fast, not eating, or communicating. I think she died of exhaustion, loneliness, loss, and fatigue. The moments in her life that felt full to her were dwindling, like they do for so many older people. She was tired of living. At my age now, mid-seventies, I completely understand that. I am losing my life-long friends, not because of betrayal or disinterest, but because their lives have ended. Somehow, I never expected that one of us would die before the other. And if I had imagined it all, I would have me dead first. That appealed to me as tragically just right.
I took on the assignment to write and deliver my mother’s eulogy by default and by design. I had grown to be the closest to my mother, seeing her every week, sometimes twice. My brother was busy with his family; my sister lived a thousand miles away. I was the writer in my family, although any of us could have done the deed, each in our own way. In fact, I believe that I could have written versions of what I would have imagined by brother and sister would have said about our mother. Siblings experience their parents quite differently and I presented my eulogy as my own, not speaking on behalf of the family, except to express our thanks to everyone in attendance who cared for her, as a friend, and a relative.
Her Mass was at the church near where she lived in an elderly high-rise. I accompanied her to Mass on holidays and special occasions so knew the pastor there. When we were arranging her funeral, I asked if I could share some remarks. He said that I could, after the end of Mass. I had three minutes no longer.
I loved doing that eulogy. It gave me an opportunity to set the record straight, to tell those gathered that snowy morning, how funny, how smart, how underestimated she’d always been. I got to claim some territory for her that she had ceded to us children. I don’t think I have ever met anyone who was as humble. Even after she raised three children on her own after my father died at fourteen, she was convinced that we raised ourselves. There is something about wanting to be nearly invisible because of anxiety that puts that person into a place where they can’t feel their impact on others. That was my Mom; it took me way too long to understand her. I sometimes think if she had been born a generation or two later, that she would have found some refuge and respite in therapy or maybe some better friends or a more accepting community.
Eleven years later, I delivered my second eulogy for a very close friend, Marion. She was dying of a terminal pulmonary disease, and I was visiting weekly. I asked if there was anything on her mind that I could attend to on her behalf.
“Well, I have to write my eulogy. Could you do that for me?”
I was stunned. She handed me this assignment which I said I’d be honored to do. I wasn’t really thinking that she was near death. We never talked about it again. But, it was the most that any friend had ever asked of me – the most important mission of my life as a friend. However, because of the error every living person makes – thinking we had more time together — I never asked the questions that I should have.
“Marion, my dear friend, how do you wish to be remembered? What would you like me to say? What quotations should I recite? What message would you like to pass along? Do you need to set the record straight? Is there a secret you’d like to reveal now? What would you like people to know about you that you haven’t quite gotten around to telling us yet?”
So, none of that got asked or answered. I didn’t even properly tell her how much I loved her. Over the course of our fifty-year friendship, we pledged our fidelity to our truth- and beauty-seeking over and over again. That intense interest in each other’s mind was our deep love. She was such a treasure in my life. I am always reading something or writing that I want to show her. I want to know what she’s reading and thinking. I want to be filled with all the love and attention she poured into me. If you know and love someone deeply enough, they simply can’t be replaced; there is no one else. We often forget that is true about our closest friends and family members is also true for us, as well. We will be missed when we pass on.
Of course, my heart was broken when she died so quickly but one’s pain in the loss doesn’t make for a real eulogy. The standard ritual of a funeral may serve as the perfect balm for some. The familiar cadence of the Mass. The prescribed readings from the Psalms and the Gospel. The final anointing and blessing of the soul to be reunited with God as he welcomes her in the everlasting glory of the chosen with Him. But that doesn’t serve all of us well. A eulogy begs for something different.
A eulogy is a tribute. My friend was a published writer and an English teacher at an all-girls high school. She was brilliant and beloved. The tributes that were posted about her were glorious.
She changed my life.
She opened me to literature.
I became a teacher because of her.
She really saw me., like no one else.
She helped me see the beauty of stories.
I so wanted to be just like her – smart and funny and kind.
My friend was a brilliant conversationalist. She found almost everything interesting, except small talk and narrow people. She wanted your mind to fly like hers did, so you could explore together and wonder and then wonder some more.
She had a hard childhood but she never wore that damage. It simply made her curious about families and love and attachment. Later in her life, she explored her roots and her father, especially in his service in the Canadian army.
When you spend all of your adult years with a friend, you watch them grow and change. If you are lucky, the qualities you loved about them are there for the duration. They don’t grow bitter or self-pitying. They allow you to grow with them. You see all the passions and interests that once absorbed you both float along like that Buddhist cloud that contains fleeting thoughts and feelings. You grew together step by step along a journey that you don’t realize until later in life is one we all take. I see this more and more clearly as I watch my elders and juniors all with their generationally-specific concerns and anxieties and challenges. We change so much over a lifetime that we are barely recognizable to ourselves when we look back and wonder how we raised three kids under the age of six or got our Ph.D. part-time over ten years or hitchhiked across the country or drove too fast one night and nearly killed our little brother. It is all in the memory; it is just hard to see that it is us sometimes.
So when you are writing a eulogy, you are also writing your own history, as you consider what your life would have been like without this friend. And often that is unimaginable, not because the imagined emptiness is so sad but instead because your mind has been so shaped by this individual, your ideas so intertwined with hers, that you really can’t separate them. It would be like observing just the water in the brook, trying to block out the rocks, the movement of the water, the sand at the bottom, the banks at the side. It is just impossible; it is all of one piece.
I think this is what makes writing a eulogy so challenging. I consulted with Marion’s friends about what made her so special to them. These were a handful of people who visited with her during her last months of life. Long-term friends. Work colleagues. Former students. Several themes surfaced but it was clear that Marion was not just a treasure to me. She was a treasure to many people. We were caught up in a circle of her love but didn’t know each other, like planets governed by gravitational pull and not aware of that force. I wanted to write a eulogy that would be unmistakably hers. No one in the audience could say, “Oh yes! That sounds just like my friend, Margaret” if I did my job correctly. I wanted to plot out exactly the size, dimension, character, and nature of my loss. Something impossible to fill; someone impossible to replace.
Writing a eulogy is the very start of facing your undeniable loss. Your entry into a lifelong process of missing your friend, remembering at so many turns of their absence. Sitting down to write them a letter and aching for the notes they used to send along. Because their place in your world was so unique, there is no filling that void. It remains a hole in your heart. And the eulogy delivered with tears and grace reminds you as well that others are feeling the same or even greater loss than yours. And that you are connected with all of those who have suffered similar losses. I walk once a week through the cemetery just off the bike path and I pay more attention to the names and dates on the graves, marking all those lives that have come before, loved and buried, with some memories still echoing. Each tombstone its own sliver of a eulogy.
Every day, we face opportunities to bloom and grow, as well as lots of ways to stagnate and get stuck. It takes some work on our part to recognize how many choices we make every day — deliberate and unconscious — that really steer our lives along one path or the other. I have been thinking a lot about this since I retired a few years ago.
When you are pursuing a career, the last thing you want to do is to undermine your pose as a serious competent person, someone who knows the rules and follows them. But since leaving that position as a sociology professor, I’ve embraced new adventures that take me way away from my comfort zones. I have embraced the blessing of the being the dumbest person in the room. We all have a long list of reasons why we don’t take up new adventures and opportunities. “ I will stink at this. What if I embarrass myself?Everyone will be better than me. I should have started in my teens. And on and on. I have countered those arguments with my own list of counterarguments. Imagine learning how to read music! Wouldn’t it be fun to put your wicked sense of humor to good use? This opens up new worlds to you.
If we want to grow, we may need to change our self-definition from a person who can’t to one who can and will.
Following these bold declarations, have taken up a series of projects that I really had no business doing, according to those self-defeating criteria of being too busy, too old, too shy, too me. In fact, a key here is to define yourself as a new kind of person, a person who tap dances, or sings in a choir, or plays drums or leads walks, or teaches yoga and whatever that may be.
So, I started a new business that’s been a wonderful gift with some big fails. I took improv classes and been on the stage with a talented group of actors. I enrolled in a poetry class, my very first foray into writing poetry and sharing it with others. I joined a community band where I was not only assigned instruments, I’d never played but just had my debut as a mallet percussionist (Glockenspiel and timpani) in costume. In the photo, I am dressed like a sloth because I really am not only the slowest person in the orchestra but also the least experienced, having never in a band before and very new to reading music. In every one of instances, people have been kind and welcoming; I have made new friends; I have learned new skills that I thought were out of reach and have a new sense of possibility and joy. This all in the context of a challenging personal year with the deaths of several people I was close to.
Combined with the hard-won wisdom of being an older person, embracing being the dumbest person in the room has left me with more room for learning, growing and fun and less space for self-criticism, embarrassment, and regret for not doing things I have dreamt of doing.
A friend of nearly fifty years died earlier this month after a long struggle with a difficult illness.
Last summer, on a visit with Marion, I asked if there was anything on her mind. She remarked that she had to write her eulogy. I offered to help, and she proposed that I wrote that eulogy, which is a great honor. But imagine the challenge of writing a tribute for someone so wonderful and so special, so dear to our hearts. I had planned on writing this sometime in the far-off future. But Marion’s death came too early. Anytime would have been too early. I do know, like so many of you, that this eulogy would have been much better if Marion had written or edited it. It would have been stronger, and clearer, maybe even poetic. She was, after all, a genius at making us all better in her kind and gentle way.
I met Marion in the fall of 1973 — almost 50 years ago. Right away, I recognized that she was brilliant — like no one else I’d ever met. She was also beautiful and stylish. The consummate conversationalist. You were never bored in her company. Unmatched intellectual curiosity. A beautiful writer. Interested in all of us and everything. In fact, you became more interesting in her company. At home with big ideas about the universe and meaning and purpose and completely delighted with the silly and inane. I used to love that raised eyebrow and the tilt of her head when something delighted her.
Since that first meeting and in all the years that have followed, I recognized the treasure that Marion was in my life. Recently, as I have met the friends and former students that I have heard so much and read the beautiful comments from her Bayview community, I realized that she was treasure to all of us — not just my dear and special friend. The lovely community she has gathered around her is testament of how much she mattered and how much she matters still. Her close friends have remarked on her ability to listen carefully with support, to always be there in difficult times, to see us as the vulnerable and irreplaceable people we were to her. We felt cherished. She was a symbol of light and love.
A great teacher will inspire you to fly and give you the tools to do just that. You can’t be a beloved teacher with just a command of content and a mastery of material. You need to be deeply present in the classroom aligned with the students teaching them about something you love. You need to be your authentic beautiful self. Parker Palmer, the educational philosopher, wrote, “Whoever our students may be, whatever the subjects we teach, ultimately we teach who we are.” And that indeed was true about Ms. Wrye. She was deeply and profoundly in love with her subject, enchanted by her students and alive with the challenge of creating a beloved community in her classroom. Her unique and lovely spirt and soul were completely revealed in her friendships, in her writing and in her teaching.
What and how she taught in reflected in the tributes that former students and fellow teachers have left on the Bayview Academy’s Facebook pages.
Miss Wrye gave me a voice
Inspired me and my career
My favorite teacher ever
No one ever taught me so much
Her lessons remain with me today.
She created a safe space for us.
Miss Wrye changed the way I thought.
A student wrote that she incorporated Marion’s kindness in feedback into her own teaching.
Another wrote, she believed me to be better than I was or am and I will always want to live up to her opinion. I wanted to more like her.
And directed to Ms. Wrye,
I am so grateful to you for the gift of yourself.
You opened my eyes to great storytelling and literature.
And there so many comments about how kind and loving she was after the death of a parent, or a classmate or a during serious illness or a family difficulty. One student remembers Ms. Wrye reaching out to the Alumni Association to raise money when own family couldn’t pay tuition in her senior year. Thanks to Marion, the student walked with her graduating class.
Miss Wrye also had her wonderful quirky style. A former student recollects one Christmas celebration where the school sponsored a classroom decorating contest. The students dressed up Barbie dolls as angels and hung them from the ceiling fan. When Marion turned on the fan, the angels spun around at breakneck speed. The fact that the students felt that this creative act would delight Miss. Wrye says a lot about the wonderful connection she had with her students.
Marion was an inspired path-breaking educator, as passionate and as thoughtful about teaching as anyone I have ever met. As an educator myself, I was constantly impressed by the thought, the love, the fun she brought to the classroom. How I would have loved to have been a student of hers. She published several important essays about teaching in prestigious journals. Within the past year, she wrote a well-received article about teaching the essay form. She received a national award for her inspired teaching. Many of her students received prizes for their writing. Unfortunately, she did not finish her own story, a memoir she had been working on which would have given us all another glimpse of this amazing woman.
All of us visiting Marion these past years acknowledge the beautiful caretaking of her by Jayne Martin and her close friends. To take on the responsibility of caring for someone you know will pass away in your care is the truest act of love. Because you know on some level, this story will not and cannot have a happy ending. But the kindness, patience, the daily drone of chores, the hard work of caretaking, the demands on your energy and time, the challenge of taking care of someone who is suffering, watching a loved one fail – takes immense sacrifice and generosity. Sometimes, it takes more than we have to give but we do it anyway. So, on behalf of all of us, Jayne, thank you so much for taking care of our beloved friend with all her quirks and foibles. And thanks as well to Marion’s visitors who delighted her with their company and conversation and comforted her in so many ways.
Marion was extraordinary, wasn’t she?
Of course, it is one thing to write a eulogy for Marion and to actually deliver it, to acknowledge her death means facing a bitter and unreal truth, that our friend and teacher has passed away. It is hard to reconcile any loss that is as painful as this one. Some of us have the comfort of a belief in the afterlife. If so, Marion is in heaven, starting great conversations with her favorite poets and philosophers. Maybe she is making some wonderful new friends, like us. I can picture her there in a small carefully organized room with a beautiful window view with her books, a journal and a favorite pen, some Barbie Dolls, a cup of coffee, and maybe the Bee Gees, playing in the background. A chair pulled up close for a friend’s visit. I am certain that everyone in heaven agrees that it is much more interesting place now that Marion is there. Also, I am so certain she misses us. How could she not? She loved us so much.
But even if there is no afterlife, she is always with us. I believe that we pass along some of ourselves to people we have loved and cherished. It is not genetic DNA but something as precious and as powerful – we pass on our unique way of being in the world. I also believe that we have all been written into her spiritual will. We are her legacy. It doesn’t take a lot of effort to find the strands and traces of Marion in our hearts and souls and minds – that thrill at being alive, a loving awe and curiosity about the world, the beauty of a poetic soul, an orientation toward the good and the generous, a love of our friends and family. I know that I am a much kinder, more reflective, a more full-of-life person because of her. I think you are, too.
Of course, you cannot make such an impression on people without leaving an immense gaping hole for us all to fill with love and kindness and a love of life, celebrating our great good fortune of knowing Marion and being embraced by her. How lucky we were!
Marion’s friends are working on developing a scholarship or writing prize at Bay View to recognize her immense contributions to the Bay View community. We want to develop a tribute that really reflects her legacy of exceptional teaching. More about that later.
Over these nearly fifty years, Marion and I exchanged a lot of our writing. I have folders full of her essays, reflections, and poetry. A few years ago, I wrote a poem about her and sent it along for her review. She read it carefully and kindly made it better. She urged me to publish it right away. Instead I let it sit and mature and ripen with time. I am hoping she would have approved of this new version. It is called At the beach, without my poet
At the beach, without my poet
This precious morning beach walk
You were on my mind.
If you were here, my poet, we would toss out lovely names
Of what we see
And hear
And feel.
Like scattering bread for the birds
Our words taking aim at the truth in this very moment.
I took this series of photographs after finding this Barbie-like doll washed up in the surf at high tide. She was lying face down in the sand. I picked up and looked about for a little girl who made have left her but the beach was abandoned by then. I took her home, washed her up and put her to bed. I took her back to the beach the next day to take some more photographs, trying to tell a story of this girl who fell on hard times and was saved by some friends. I posed her on the lifeguard chair just after sunrise. This chair is usually populated by two young female lifeguards and thinking they could use some company, I left her with them.
2021, the second summer of COVID. I was hungry for human contact that steeped beyond my tiny world. I must have been radiating that vibe because my early morning beach walks were filled with surprise encounters. The humans I met regularly during these walks seemed completely free and eager to share with me their grand claims about the universe and their profound theories about the ways of the world. They were all sharing a bit of themselves, revealed to a total stranger. There must have been something in me that drew them out without fear of contradiction or challenge. Some people I saw every day, others for one moment, not longer than that.
To be fair, in this second summer, I emerged shell shocked from confinement. Certainly, I connected with people on Zoom calls, but those meetings like I was watching a movie with some friends cast in unfamiliar roles. I was distracted watching myself watching everyone else. None of it felt real. As the months wore on, my colleagues turned off their screens. It was too much exposure and not enough real exchange. We all dove into a huddle with ourselves, it seemed.
Exchanges with strangers on the beach felt like the only true contact I had, and I relished these. I was open and eager for spontaneous conversation to lighten my day. Until that point, I was never that person to begin a conversation with a stranger. I would smile and nod but no more than that. However, based on the conversations I was having, I seemed to present myself as a 72-year-old naïf, like someone brand new to the world. People told me stories and I was enchanted.
Narragansett beach between weather patterns
One woman, I will call her Hailey, was always splendidly adorned, as if she were attending a party with others similarly dressed. Her disappointment with dress code of the rest of us beach bums was obvious. She sported a giant gold necklace, evocative of a Roman gladiator, and wore well-fitting matching tops and tights. She had the excellent bearing of someone who was not only born into money but also married into it and likely earned some her own. She spoke of afternoons at the Club. She told me about her friend, Billie, her dyspeptic dog, and her former husband who met a fitting end at a hospital in the Philippines. Maybe, this was interesting to me because my father had served there in World War II, although she didn’t know that. Hailey kept asking me if I knew people from the Club, “Do you know Marsha Dawson?” “Have you seen the Clements since they came back from Florida?” Nope. Never. I didn’t even know there was a Club. She shared a story about an albino deer who was especially fond of her. Maybe, albinos are just that way, like some dogs are people dogs and some deer are people deer. This deer had so much regard for her that he never ate her hydrangeas. He also hid from the guests when she was entertaining, keeping him exclusively hers. He sounded like an ideal combination of a gardener and a younger boyfriend.
Tern egg with hatchling
As the summer wore on, we stopped on the beach to chat every day. No matter how early I arrived, she boasted that she was there well before sunrise. (At the of beginning of summer, that would be about 4:30 in the morning). No matter how far I had walked, she had walked farther and faster. No matter what I had discovered on the beach—sea glass, an egg from a lesser tern nest abandoned on the beach, fishing lures caught up in seaweed – she had discovered other better things just the day before. How did a beach walk get so competitive? I was tempted to wear a necklace myself made of shark teeth and shrunken heads, just to show her that I was interesting, as well.
Another morning a woman paced one stretch of the beach over and over again, head down and picking at the sand, like an egret looking for food. I learned that she collected sea glass. These people are easy to spot once you know what they are looking at and looking for. I do a lot of beach exploring on my own and will pick up anything of interest. We chatted about sea glass and the perfection of those mornings. I remarked to her about a lovely violet piece of sea glass I had just found, and she replied, “Well, of course, you did. The universe offers these pieces to you, and only you, when the glass is ready to be found, not a minute sooner.” I could have countered with my own analysis, but some minutes in our lives are best spent letting go and listening to how others see the world. She then passed on a chant to me (and only me) and told me how much her dog loved my vibe. I liked his vibe, as well, I suppose. I think he really appreciated that I knew how to scratch his ears but that is part of our vibe together, I suppose, for some of God’s creatures, anyway.
Another woman with a scarf wrapped around her neck and I smiled at each other. We were down at the far end of the beach, dazzled by the light on the water, where the river empties into the bay. The currents and the tides flowing in the opposite direction make for exquisite patterns with light and water and sand. After a few minutes of shared bliss, we acknowledged that we were sharing a beautiful moment. I broke the silence. I said I had seen her yesterday for the first time and she told me in a low voice that she was living out of a van, just like the movie, Nomadland.[1] She was just recovering from melanoma surgery on her neck and chest, aiming to enjoy the day’s light without further damaging her skin. She lived in New Mexico and was visiting her sister who was dying of cancer. This woman was convinced that the cancer was self-inflicted, the result of unresolved childhood trauma. She observed that we can be both victims of trauma and perpetrators, as well. She couldn’t bring herself to care for her sister like she wanted to. Leslie felt she was battling for her own life in the company of her sister. She was bristly about human company although she commented on my gentleness and openness. She also liked my energy.
On the same day, I ran into Tim who practices meditation on the beach. He has a lovely beard and a kind smile. He invites me to join him. I pass and claim that I do a walking meditation. He salutes that intention with a small bow of his head. My next encounter was with an older couple I had been seeing for a few years now. They have a European accent which despite lots of conversations, I have yet to identify. She is wearing a pair of short orange overalls which I recommended to her last year after she complemented me on mine. She said just a few years ago she would have never worn something so comfortable and utilitarian. I congratulated her, nearly hugged her actually. We are always growing together as humans; there is no other way.
For two years now, I’ve seen a lovely couple who are here on summer weekends. They swim at the end of Narrow River floating with the current, into the ocean where the waves guide them to safety. We comment on the wonder of this perfect day, just as beautiful as the day before and the day to come. “How can this be?” I ask. “How can things be so good?” Greg answers, “Gosh, I am so good, there should be two of me.” Exactly. Me, too.
My daily rounds were topped off by speaking with David, a patent attorney whose wife has multiple sclerosis. He so wishes she could join him on his walks. When she does, she is completely exhausted, but maybe in a good way, he thinks. We talk about sea glass which he also collects. “How do you know when you have collected enough?” I ask. “Do you have a plan for it when you die”? He has asked his children to mix the glass with his ashes and to dump both in the bay. That idea really appealed to me. This may be illegal, he fears, not the glass, but certainly the ashes. Legal training sometimes makes you too aware, I think. That sort of thinking can stifle your dreams.[2]
I can say that this daily practice of encountering strangers has added immeasurably to my life in surprising ways. We encounter so many people in so many ways that they can blend into an undistinguished crowd of “people I don’t know.” But each of them has a story and a perspective. Those minutes together are improvised stories, an exchange that brings us both to the present and keeps us here long enough for a true encounter. These are blessings in each morning.
And, of course, there is the simple beauty of the beach, where a careful eye and ear and an open heart with reveal something new every walk, like shimmering light on the water.
Sandra Enos
[1] Nomadland is a wonderful film with a perfectly scored soundtrack.
[2] The EPA has a policy about burial at sea. Cremated remains must be disposed three miles off the coast and reported to the EPA. You cannot simply toss remains off the side of a fishing pier or take them along with your lunch on a nice kayak paddle. I think the Mafia must have scared the EPA into regulating these burials at sea, even cremated remains. They are silent on sea glass.
In my mid-forties, I had a career crisis. I was bored to death at my state job reviewing applications for asbestos abatement assistance. The paperwork to get a grant for abatement was so onerous that we disbursed much more aggravation than we did money. I am not proud of that fact, but I could do could little about it. My supervisor was the sort of man who divided the world into two groups — the criminal and the pre-criminal. No one was above suspicion. He put rules and procedures in place to assure that no sneaky citizen would ever ever pull off a scam under his watch. I was his unwilling lieutenant repeating to applicants stupidly bureaucratic excuses for why their applications were turned down. I took a lot of appropriate abuse from perfectly eligible grantees. It was soul- and mind-deadening. I imagined myself, retiring at 90 or so, never having approved a single grant, and receiving an outstanding public service award from him for The Exercise of Frugal Excellence. He would be 110, still railing against incompetence and corruption, everywhere, everyplace, all the time.
I was located in a brand-new state of the art building laid out in a chessboard of cubicles. Our manager was very excited about this new office design, promising us that we would be more creative, and team-like. In truth, we felt like rats in a maze. With so little privacy and so much overcrowding, our union steward warned our overlords that we would most likely get aggressive and first turn on our supervisors, and then on each other. The workers wouldn’t be responsible. Instead, our bosses would have blood on their hands and it could be theirs, literally.
My little four cubicle pod penned up me and three other low-level bureaucrats. On one side was a young man divorcing from his wife and spending much of the day heaping abuse on her on the phone. On another, a woman constantly snapped gum and by the smell of nail polish and the sound of fingernails being filed, she was clearly running a manicure salon while pretending to meet with other employees. She was the busiest of us. In cubicle #3 was another man who played talk radio all day, muttered all day to himself and was full of bad ideas and half-baked theories. I saw myself as an abandoned soul in the land of troubled and troubling souls.
This new office landscape did not lead to our being more innovative and community spirited at work. It did the opposite. I hadn’t realized until I was trapped with them, how much I disliked each of them. I would sit at my desk with earphones, a face mask, and sunglasses, hoping not to be recognized. It was a perfect place to be a member of a witness protection program. Not one person ever came to look for me. It felt like Kafka may have been the genius behind all of this, like a revenge architect.
I came home each night wondering how much longer I could last. The good news was that this mind-numbing job gave me plenty of energy to dream about other possibilities. I settled on two. The first was to pursue a doctorate in Sociology so I could teach at the college level. I had been doing this for nearly a decade as an adjunct professor. Students liked the way I taught, and I loved the excitement of teaching challenging material in creative ways. This part-time job was like a lifeline to more engaging and stimulating world.
My second option was to become a standup comic. A friend and I ran “How to Be Funny” workshops at women’s conferences and those were really well received. I got several humorous pieces published in magazines. People thought I was funny; I could tell a good story. However, I was nearly fifty years old. Comedy hadn’t really hit the big time in the early 90s and there were few women comics that I really liked and admired. But undeterred by any facts at hand, I decided to explore being a stand-up comic. I connected with a middle-aged man who was a social worker during the day and an aspiring standup comic at night. I went with him to some of his shows. These were located in dismal, smoky bars, late at night, perilous to any woman in these places without a male attached to her arm. I got plenty of offers but none that would advance my career in comedy, except maybe to share truly clumsy pickup lines.
After visits to the clubs watching this guy suffer, I opted to pursue the more conventional route – pursing a PhD in sociology in my late forties, hoping to graduate when I was fifty. A colleague cautioned me that there were already 10,000 unemployed PhDs in sociology and that dreaming that I would land a teaching job was a fool’s errand. Having been on many fool’s errands and enjoyed them, I hopped on board and went to graduate school. I earned a PhD at fifty – the best learning experience of my life – and enjoyed teaching for a few decades before I retired. I was never properly a sociology professor, not a great fit for an academic role, but I did my best to carve out my own special practice as a uniquely weird professor.
Fast forward, twenty-five years after that PhD. and I was a retired sociology professor, ready to explore some new interests and revive others that I had ignored for way too long. During the second year of the pandemic, I decided to try out some new activities — to engage in some classes or activities I had sworn off, telling myself that I didn’t do these sorts of things. I wanted to step out of my comfort and competence zone. I was provoked by Emerson’s quote, “The mind, once stretched by a new idea, never returns to its original dimensions.” I loved that idea because I was sorely feeling that I needed new dimensions. I wanted my older years to be about expanding, not narrowing, my interests, activities, and friendships. I wanted to move down some new avenues while my health was still good and my energy abundant. I was looking forward to changing some things, to exploring what could happen.
Dan Gilbert, the Harvard psychologist, has done research about the end of history illusion. It refers to the ways in which we discount how much we will change in the future. We imagine that we have changed a great deal over the past ten years, let’s say, but assume that we will not change much in the future. What is even more interesting is that this illusion happens in the same way for people from all age groups. Neither the young nor the old nor the middle-age are any better at understanding how much change is ahead of us.
I was intrigued by this image is from a 2022 article in the New York Times[1]where author Tim Urban discusses how we use time and how we might consider our futures. At any point in our lives, we have arrived a place which is the result of multiple narrowing paths. We went to art school, instead of medical school. Or we didn’t apply for that promotion and instead changed jobs. Or we chose one partner over the other. On and on it goes. Each of these decisions leads to other opportunities; you foreclose on some possible opportunities at every turn. We can’t all the lives we might have lived. The only paths closed to us are the ones in the past.
However, ahead of us are many possibilities. We can be easily overwhelmed if we really take this to heart but if we really consider the many paths ahead, it is life-affirming, even in our later life. This is not to say that all of us are blessed with resources, time, and talent to move ahead and follow any dream that we can conjure. That is certainly not the case, especially in mid-life and later years when caretaking our elders, our partners, our grandchildren, and ourselves makes many demands on us. But there was enough truth here to make an impression on me. No matter what the constraints are, there are still plenty of possibilities and choices.
Over the course of my lifetime, I have put many obstacles in the path of exploring possibilities. Before I start anything new, I had to plow through a heavy thicket of objections. Why do this? Why now? What would I learn? Why didn’t I pursue music or language lessons when I was young? Am I too old? Can I really do it? Suppose I fail. Who would I meet? Would I like them? Suppose they don’t like me? What makes me think this is interesting? Am I having a late-life crisis? Is there such a thing? I would entertain doubts for so long that they got comfortable.
These were exhausting enough but not completely discouraging. So, gathering up my courage, I signed up for my very first 5K run. The race was a 5K over the Pell Bridge which spans Narragansett Bay in Rhode Island. The race started just before sunrise with three thousand participants on a beautiful October day At the peak of span, you can see Newport to the east, with a magnificent view of teh East and West Bays. I did very well in that race, finishing in the top quarter of my age class. I felt completely alive, like I did before the pandemic, with the world full of possibilities. And full of people enjoying their lives with each other, embracing the gifts we bring each other. A man proposed to his fiancé at the top of the bridge. Love (of life) was in the air.
That summer, I also signed up for an Improv course, at OLLI,[2] hosted at the local university. The Improv class was a wonderful entry into the world of improvisational theatre. It re-awakened my interest in comedy. The students were at least 65 years old, drawn by an interest in Improv but with no big dreams or pretenses of appearing someday on the Comedy Channel. We were all simply curious and willing to be silly in the company of complete strangers. After years of pandemic isolation, we met in person in class, and it was delightful to be in the company of people I’d never met before; that felt like a completely new experience. I made two wonderful friends in that class. That course led me to another one at our local community theatre where the students were much younger, faster, and sharper[3]. That eight-week course was an engaging and challenging experience. I would leave these classes completely spent and energized. Soon I took another course in Musical Improv which tapped into another of my lifelong interests, singing and dancing and harmonizing—all of these re-ignited my sense of joy in playing with others. This led me to join the chorus catchers at my local theatre, where I am still learning the magic and structure of improv.
The Improv courses have been among the best learning experiences of my life. I say that in light of the fact that I was a very good student and a pretty good professor. I can perform pretty well in the structure, hierarchy, and predictability of traditional education but I really came alive as a learner in the improv environment and believe that almost anyone would benefit from a similar experience. What follows are my observations from improv classes. So, with less than one year of improv under my belt, I am ready to offer some summary observations and reflections. I call this LifeLessons from Improv or Everything I Learned for Real I Learned in Improv.
What happens in improv doesn’t stay in improv.
In improv, there are no set scripts. Improv classes are a series of games and exercises that teach some of the skills and orientations you would need in improv theatre. These exercises are fast. You are obliged to think on your feet. Not to overthink. Not to try to be funny or clever. To tell a story in improv, you rely on the other actors to create that story together. No one is really in charge. You are simply connected to each other in a contrived space and social situation. No experience is necessary. No basis of knowledge will help you more than another. In fact, it seems to me that the great variety of stories we all carry is the great fuel for improv. These serve as a great reserve for plots and characters and the flow of the stories told.
The key to improv is being in tune with your fellow actors and learning how to be in tune with a great variety of people and personalities in a short time. In music improv, you are not only telling a story, but you are also creating songs and choruses and dances sometimes. It calls on different skills, but you are still co-creating a story right on the spot.
For example, a typical improv musical runs in two acts about ninety minutes long. There may be four or five actors in the cast. The host of the show will ask the audience for the name of a musical that has never been done before. The audience may suggest, such as, Floating Down the River, A Town Called Fortune, or Dancing with the Cows. The actors choose one of these and then are challenged to pitch their idea of what the story will be. The audience claps to indicate their favorite among the options and the show begins. The actors will take their places on stage and the director sets the scene with a time and place. A conversation will ensue among the actors who begin to introduce their characters. Soon, someone says something, like “the trees look so big in this forest” or “I just had a crazy dream” and motion to the pianist that this phrase will form the first song. Music begins to play, and the actor begins to sing the words to the chorus. This is repeated until it seems set. The rest of the actors join and add verses that begin to develop a plot, the characters, the scene, and some interesting possible developments. The director may add challenges (“Ask her to marry you, Gary.”) or ask an actor to change her mood (“You are really really angry about this, Alice.”). The story line and characters develop, and chaos ensues. The magic of all this is how each show unfolds. It is very often a complete surprise to everyone who is on stage. The skills to do this work (or play) depending on your perspective are considerable. I will argue below that these are not just critical for improv, but that they instead broad lessons that could benefit all of us.
Since I have been taking improv classes, my friends have been asking me, if it is improv, why do you need to take a class? Or why does the cast need to go to a rehearsal for an improv show? Very simply, there is lots of learn. Acting is one thing. Bringing life to the written word, putting your voice to words a character may say is hard enough. That takes years of training. However, telling a compelling, maybe hilarious, maybe poignant story from scratch, a story that has never existed and will never exist again is another thing entirely. There has to be some sort of structure or protocols or rules of the stage in place for anything of value to happen.
Your fellow actors are at least as interesting, amazing, curious, and complicated as you.
Because you are a member of a troupe, there is great relief to know the success of the enterprise doesn’t rely completely on you. The success of the performance depends on everyone. You bring what you have and what you are to the stage, as do the other actors, and some magic may happen. Just the discovery of what may be cooked up is interesting in and of itself. Things happen. Personalities are revealed. Stories are shared. Connections are made. You can rely on each other’s passion, curiosity, sense of humor and connection to create the story and move it ahead. No matter how old or young we are and independent of what we do for work or play, we have plenty of share. Recognizing that depth and breadth in others is a real blessing in improv.
All of us has a superpower weirdness.
I have taken improv classes in two settings, at a university and at the local theater. All those classes brought together people who were strangers to me. With COVID, retirement and a busy professional life before retirement, I hardly ever found myself in a room full of strangers who were so diverse in terms of age, occupations, race and ethnicity and experience in the theater. Yet, after just a few exercises, people’s personalities would begin to surface. They would say something that was completely off the wall, surprising themselves and all of us. We would regularly crack each other up, based not on our native wit, but instead on the structure of the exercises, which pushed us to free association and creative expression. That occasion for weirdness opens an opportunity to pull something from your mind quickly and in some instances, crazily. That superpower can lie dormant your whole life. We actively suppress it in most settings, unless we have a reputation as a good storyteller among our friends. But that superpower is our very good friend in improv because it presents premises and oddball ideas and characters to work with and around.
Anything can happen.
Improv creates and rests on the premise that anything can happen. This hearkens back to chart we looked at above, where the paths ahead are multiple and unknown. An improv performance takes one of those paths and plays with it, exercising imagination and flexibility as the scenes develop, step by step. In an improv scene, you may be a Scottish farmer, a collector of goldfish, a mad pharmacist, or a grower of artisanal marijuana. You can sing a soulful ballad or belt out the blues. Anything can happen. You simply need to commit to it, to understand the context, and to incorporate both the development of the story and your relationship with the other actors on stage.
All the world’s a stage: All the stages are little worlds.
Improv is great stage for understanding human behavior, misunderstandings, status, culture and more. Real life provides the fodder for improv. In an improv performance what shines through is the character of human beings in social situations as they try to figure out what is going in the world. We can watch as individuals learn about each other, violate social norms, try to vanquish an opponent, fall in and out of love and much more. As much as we may feel on occasions that we are just cogs in some big wheel, we see the actors on an improv stage, learning from each other, as vulnerable, powerful, and very human beings.
The best plans are made by other people.
Improv pushes you to show up, to be fully present, but not to be in charge. As the story evolves, the actors are giving each other room and openings to develop ideas together. Possibilities surface in what are called, offers. An actor suggests an idea, “Hey, Bob. I know your wife has just left you. Why don’t go down to our favorite soak our sorrows in some gin. Who knows maybe you’ll meet a new girl?” Bob has some choices here. He can say, “Hell, no. What are you thinking?” or he can agree, “Hell, yes! And maybe, we will finally find a girl too after all these years?” or go a completely other way. These offers can pivot a story, adding complications, and filling in the characters.
You can stretch a lot and not break.
As I wrote earlier, I am new to improv, less than one year into the practice. I like to study things I get involved with and like to jump in with both feet. Every improv class I have taken has challenged me in some way to move out of my comfort zone.
You realize talents that you have kept under wraps, undeveloped and untested. I can now sing loud enough to offer my sense of harmony and timing. I can initiate a dance line. I can offer plot lines. I can move ahead with ideas. There have been several instances where I thought of opting out of performances until I was legitimately ready and prepared. I held some unproductive rule about readiness in my mind which held me back more than my lack of ability. Because I learned, you can’t feel the talent until you try to employ it and then it may appear or not. The truth of this is that no matter what we do, we are never fully prepared for what happens. We just need to trust ourselves a bit more but that takes practice and self-compassion. We need to defeat self-defeating ideas.
This story will never happen again.
Some periods of your life are packed with stuff; so much happens. In one month on the improv stage, I was a fortune teller in a wild west town in cowboy times, and was a little kid caught adrift on a pirate ship in an awful storm. Later in the month, as an inebriated sheriff, I welcomed two sisters who were prospecting for gold to California in the 1840’s. As a hungry wolf, I terrorized two little girls lost in a forest at night. The girls put a magic leash on me, turning me into Steve the Dog, their friend and protector. Most recently, I joined a chorus line of cows and a crew of French mice and their sexy tormenting cats. All of this happened while our cast was singing and dancing and acting out our destinies which we had just made up. These adventures prime you for more because they engage the best and brightest parts of you, selves you may never be in context but in spirit and emotion, this is you. Not only do you walk in someone else’s shoes, you walk into someone else’s world. And like so many of our encounters in real life, we are not just playing a role, we are creating the story of our lives.
And wonderfully, what happens on stage, whatever song you create on the spot, however brilliant the dialogue, will never happen again. Improv is like a Tibetan sand painting, beautiful and ephemeral. The doing is the essence. And, once again, it is like life. We have one pass through it; today can be practice for the future, we are wiser, less judgmental, more fun to be with, a better listener, someone who is completely present, especially for the people who depend upon us and for the ones that don’t as well.
What skills are needed to succeed in life (and improv)
You can study improv for many years and take lots of improv courses before you will really get it, I believe. Well-done, improv classes are a wonderful way to learn about communication. So much is about connecting with the other actors in the exercise, maintaining eye contact, fully listening to what they are saying, appreciating the emotional feeling of scenes, bringing yourself there, and both being present and in the moment. It is wonderful to see improv shows as they are put together, to fully appreciate how much is left to the actors. Based on my one year of experience, I believe that among the skills you need to succeed at improv is confidence, believing in your bones that you can be on stage as a problem solver. You have something to offer that is creative or possible, something that will either develop the story or fill out a character. To me to be good at improv means that the other actors can rely on you to stand up and stand down, to be there for them, just like being a good member of any community. To this well in improv, you need practice that develops your improv muscle memory.
Important in Improv is the understanding that not every moment will be a brilliant one. You are never always at your best. Your attempts at humor or pathos may fail. You can die on stage, but others will have your back.They have energy at the moment when yours fail. Your obligation here is to be aware and open and ready and prepared to help others when they are lost for a moment.
We are always both living and creating our life stories
There are plenty of challenges to capturing the essence of improv. I think of it as “brain to fable.” In some ways, it is like writing a novel or play, laying out the plot, developing the characters, creating and resolving tension, and making it worth the reader’s time to turn the next page or stay in their seat. That takes lots of drafts and reworking. Many authors can write a novel in about a year but there’s lot of variation here. William Faulkner wrote As I Lay Dying in six months, but it took Tolkien sixteen years to write The Lord of Rings. At one end of the writing process continuum, Mary Shelley wrote Frankenstein in about a year, JK Rowling spent six years writing Harry Potters and the Sorcerer’s Stone. In improv all of this happens in a very compressed time period. It happens almost at once. On stage, the actors are deeply present, aware of the recent past, and looking forward to the future, but not too much because that future is so tied up with the future of other actors.
There is also the great blessing of having a brain and heart full of stories, yours, and others, that can be called upon as goofy, exquisite, and captivating slices and tidbits of live to offer to the actors and audience.
Balancing comfort and commitment
As my friend, Elisabetta says, we all need to be comfortable with being uncomfortable. Improv certainly affords that opportunity. The more improv I do, the more I discover the talent, skills, awareness, and emotional openness on the parts of the actors that makes a performance great for the audience. There is a palpable discomfort to making up an entire story on the spot but like life itself, it evolves in every sentence said, every gesture expressed, every choice made, and every breath taken. There is a sweet spot between that discomfort and being completely in the experience. Giving it all you’ve got. Showing up. Raising your voice and pushing to be heard.
In improv, there is a practice that pushes you to be committed – to your character, to the story, to the other actors, to the belief in the magic of pretending – in the moment and comfortable with the unknown and along for the adventure of whatever comes next.
Summary
Running a road race and being so engaged with improv were never on my bucket list; neither were they on my F(explitive)-it list. They were simply off my radar, out of my orbit. It wasn’t until I was searching for something new that I discover what have been some of the most enjoyable experiences of my life. Is this some late-in-life epiphany of what could-have-been? Career paths untaken? I don’t think so. What I am convinced of is that we all need to do things we’d never imagine ourselves doing, things that our of character. Who knows? We may find that we are many more characters that we would have imagined in our small worlds (like Parisian mice, and wolves, and sheriffs).
[1] Here’s a link to the article How Covid Stole Our Time and How We Can Get it Back by Tim Urban. He is the author and illustrator of the Wait but Why blog (@waitbutwhy) where he explores topics ranging from aliens to marriage to A.I., and its accompanying newsletter.
[2] OLLI stands for OSHER Lifelong Learning Institute. This is a network of over 120 programs located at colleges and universities in the U.S. that offer courses for older adults, taught by community members.
[3] The Contemporary Theatre Company (CTC) in located in Wakefield RI, the downtown area of the small town of South Kingstown, RI with a population of 30,000. The CTC offers scripted shows as well as improv theatre, live music, classes, campus for children. It has been located in a newly renovated space for about 10 years. It is a wonderful and welcoming community organization, vital to our lively downtown.
In our present culture, we seem oriented to believe that our children are special. Maybe that is a biological imperative. We want them to feel special all the time for everything they do. But I think children see through that pretense. They feel the deep fake in it. They are embarrassed when their parents present them as gifted and talented and better than their peers. On some level, children know differently. They know the difference between careless praise and really accomplishing something for themselves.
Although I think a brief study of the history of parenting would lead us to the discovery that our ideas about what children need from us are very much the product of this cultural moment. The history of childhood is a fascinating tale of the history of ourselves as a species. Even a generational change can make an enormous difference in the expectations for parents and children. This may be my nostalgia for my rosy-colored baby boomer childhood, but I am feeling very grateful for my mother’s parenting of us. She did a lot of this as a widow when my father died in an auto accident leaving her with three children – me, the oldest, at fourteen, my younger sister at twelve and my little brother at eight. My mother had no suspicion that any of her children were special in any way. It caused her not one sleepless night that we were perfectly average. And, she might argue that since no one is perfect, we were all actually averagely average. She would have found the idea that you are special just because you are you to be completely insane and especially wrongheaded when it came to raising children. I am inclined to be completely in her corner here.
My mother and me
If no one tells you that you are special, that you are musical or artistic or beautiful or funny or smart or just really talented in any way, you are left to discover those things through your own exploration. Without those early and (perhaps) misleading observations about you from your parents and relatives and whomever wants to make such a comment, you are on your own to discover your people, your interests, and talents. You play guitar or basketball and go on long bikes, and you discover things about yourself without much parental support. My mother never attended one of my basketball games. I never sought her advice about pursuing a degree in college because she never had any sense that I would be particularly good at anything. When I did go to college, my mother bet the lady next door ten dollars that I wouldn’t last a semester. I never resented that wager when I learned about at the end of my freshmen year. Given her experience of not knowing anyone personally who had gone to college, she was imagining that college students were very smart, and that I certainly wasn’t.
I worked in a series of factory jobs during the summers, many of which she was familiar with. She had worked in rubber and jewelry factories and knew very well the tedium of those jobs. She had friends who worked in these places, sometimes they were my bosses. I am pretty certain they told her I wasn’t showing much promise cutting huge pieces in rubber into rectangles to be glued onto to the bottoms of welcome mats; I might as well go to college. They may have also shared that the thing I was best at was reading a book. During coffee breaks and lunch, I found some refuge alone outdoors on a picnic bench to escape harassment and bullying as “college girl.” I didn’t feel so special there, either.
When I was elected class president in the ninth grade and rushed home to tell my mother, she responded. “Well, that’s nice. I am sure everyone in class will get their turn.” When I brought home good grades, she would nod and say, “That is good. You are doing your job studying. I think you could be studying more.” Or when I was the star of the senior play, she was proud enough but wondered why it was I had to play the role of a man. (In my defense, I would have to say here that I attended an all-girls school and not just anyone in class could have made a convincing man by simply painting on a mustache.) In fact, to toot my own horn here, I played the role of Sakini, the Okinawan interpreter, in Teahouse of the August Moon. The great Marlon Brando played that role in the movie of the same name to his great embarrassment I would imagine. Here he is. I am very glad I didn’t see the movie before I played that role.
Marlon Brando as Sakini in Teahouse of the August Moon
When I was in the 10th grade, I saw an advertisement in thelocal newspaper for the Famous Writers School and sent away for the aptitude test. The premise here was that America needed a lot of writers and that by working with distinguished writers like Rod Serling, Faith Baldwin, Bennett Cerf and Phyllis McGinley, you could learn to write and make a big success of yourself. There is an interesting video on You Tube featuring Serling in a promotional piece. I figured if I get into that correspondence school, maybe I could be a famous writer. But more importantly, maybe I could see if I had any talent. I did very well on the test which I recall asked the applicant to describe a scene prompted by a photo, write some complete some items that tested grammar and vocabulary. I don’t know how it happened, maybe it was because of my excellent test results, but a man came to our house and told my mother and me that I was indeed a very talented young person and could be a famous writer. I was so excited. My mother not only doubted the test’s validity, she also zeroed in on true scheme behind his discovery of me as a young talent.
I learned recently The Famous Writers School was actually a cover for a giant fraud. Most students did very well on the test and many signed contracts that they couldn’t escape from. If my Mom had any faith in all in my talent, we would have all been bamboozled. I can imagine many parents falling for such schemes today where their children’s TikTok videos may be used by some random “talent agent” as a key to swindle them out of their savings. Instead, my mother said to me and the salesman that we wouldn’t sign up for Famous Writers School. Rather, I would study harder and learn to learn to write at school where I was studying this every day away. No special talent to coddle here. Soon after he left, she wondered out loud, “what sort of people make a living by writing? What kind of work is that anyway?”
I would also come home with dreams to be something I had heard about in school. One of my classmate’s fathers was a lawyer and that was her dream, too. I asked her about that, and it seemed like a very interesting job to my seventh-grade self. When I told my mother, I thought I would like to a lawyer, she suggested I think of something else. “Don’t get your hopes up too high”, she would caution. I came slowly to understand the source of this dissuasion. With the Great Depression and the Second World War, a difficult childhood and maybe a challenging marriage, she’d had plenty of dreams that went nowhere. Her possibilities were so constrained. My most successful relative was a foreman in a factory. I don’t think she could imagine the possibilities I might have. I didn’t realize those myself until my third year of college.
My mother kept my self-image within tiny bounds, safely trimmed from getting in the way of others. And even though I attended Catholic school, her parenting set me for a Buddhist orientation to life. I have never thought I was exceptional in any way. I think many of us set a goal or attach our hopes to a dream, like writing a book, or earning a PhD. Then, when you do, you learn that lots of average people do these things all the time. That is not to diminish the achievement, it is just to put it all in context.
The gift of those lessons from my mother was that suffered no heartbreak later in life when I recognized that I wasn’t so special after all. I wasn’t as smart as many of my classmates. I was never a great beauty. I was never one to stand out in a photograph or to turn heads when I entered a room. The great gift here is that you have to discover those talents by yourself. You can carve your own path which certainly will be a winding one. You find that in your seventies that great passion is music or theatre and that your long career and several paged resume hardly matters any longer. It is mental furniture for another time and place. You find your specialness in the network of friends you have built around you, all indicators of who you really are. Maybe more self-aware. Maybe more aware of the natural world and the connections. Maybe appreciating your tiny place in the universe.
I get my heart broken most of these days. This is not due to the loss of a love. The source of this is not unprocessed trauma. It is the end of the semester. I am reading essays from students about giving and the nature of the world and their change of heart. The best essays are from students from whom I expected less. Their description of how their hearts have softened, how they have grown more compassionate, how they can never again shoot a poor beggar a dirty look—these all break my heart. There is a place in my imagination where I apologize to them for concluding that they didn’t have that sentiment in them.
However, in the real world, I see myself at the front of the classroom right at the edge of sarcasm. I am fatigued and cannot get a conversation going about the assigned reading. Internally, the attention is on me. What can I do? What have I failed to do to make this dialogue happen? The topic of the day is about the unanticipated consequences of charity. Certainly, a good enough subject for young people to address. But, then I move very quickly to attacking the students, their lifestyle, their attitude, the way in which they have been indulged and don’t know it — this all in my internal deliberations. So, it is these sins of judgment for which I am atoning with my tears. And, beyond that, there is the sweet heartbreak of a work well done, to know that I know these students a bit, that we have spoken to each other across the generational and authority divides and there is a relief in that. Some of my peers have gone over to the other side. They cannot talk with anyone other than people just like themselves, so the faculty cafeteria is full of stories of the lack of fitness of this generation for the education we have crafted for them.
My heart also breaks during my strolls through my neighborhood, tethered to my dog with his leash (actually, our leash) and to some Philip Glass on my iPod. These two tools are my auxiliary sensors. The pace of the dog works against aerobic effect. He is a naturalist in a way that I cannot match, his nose attuned to the great variety of life, unavailable to me. With Glass as background, my thoughts move into a narrative. A story emerges with Glass as the soundtrack. Again, my heart is broken. The landscape along our daily journey is remarkable, as are all places, given enough love.
Walking with the soundtrack from the Hours by Phillip Glass. I was so present at that film that I could link images on the screen to passages in the music. Buying this music was a dangerous move. Two characters commit suicide in this film and others are not far from that act in both the sense of their emotional involvement with the actors but also from their own consideration of suicide as a choice. This morning, I thought, “I could so easily drift away from the life I have made.” I have thought this before but this morning, I felt particularly apart and away from the business of my life. What I had characterized as a lack of roots that enabled me to move from one job to the next, to reinvent myself has to do with this same sense. The feeling that I could be anywhere. It would matter but not deeply. I could move along again. So, when I bought the Hours, I knew that it would take me away. I would be swept off, teetering close to some depressive edge as I do every Christmas holiday. I could take precautions, but I never do. It may be my penance.
Along the way today, I saw a cross with the words “Christ is risen” fallen over in front of a shed, just a day after Easter. I saw a man, aged in the way someone would be in Appalachia, wearing a railroad engineer’s cap. I saw a young man with a Bluetooth device curved around his ear. He was talking in a cadence of black minister about the wrath of God who sends us this mild weather to warn us of eternal fire. Yesterday, I smiled at man who was waving hello a few streets away. Then, he blew me a kiss and whistled.
I think it is all this nonsense that detaches me, that reminds that my attempts to impose order are futile. I walk a tightrope between the rational and the absurd.
Delight/ Awe and other things 