This is a film that my late once husband shot with an 8mm camera. B!X was recently contacted by someone who is working on a Netflix documentary on “The Toys That Made Us” to ask about using some clips, but that didn’t happen.
Since we all latched onto the original Star Trek television series with great enthusiasm, it’s not surprising that b!X’s bedroom walls became the Star Trek bridge (drawn with magic marker); a blue-painted foam board and a picture of the universe became the view screen.
There really weren’t any cosplay outfits available yet, so I painted the Star Trek logo on 4-year old b!X’s shirt (we called him “Kit” back then) so that he could play Captain Kirk, armed with laser gun and tricorder. The special effects are totally primitive, but the kids had fun making it and watching it.
As my kids were growing up, I would take a day off from work and let them play hooky from school every time a new Star Trek movie came out so that we could all go to the first showing. That tradition continues with my grandson, as we all go together to see all of the Star Wars, Avengers, and just about every sci-fi/fantasy movie that comes out.
The ancient Hanged Man is the center of attention, oddly modern in straight lines and upright, bloodless repose.
I am at a funeral mass in a church that is a testament to privilege, from the pale polished wood of vaulted ceilings to the delicate stained glass windows, graceful allegories of allegiance and ardor.
My dead friend rests in a simple urn among flowers and photos. I am here to honor him, but the incense filled air and steady droning of apocrypha ease me into images from my past life.
I am in fourth grade, sitting next to my classmate, Stanley Szymanski, enthralled by the drama and special effects of a Black Friar production of the “Stations of the Cross.” As our bones vibrate to the crashes of recorded thunder and our hearts flutter to the rhythmic flashes lightening that signal the death of that Hanged Man, Stanley reaches over, grabs my hand, and whispers “Let’s get hitched.”
I am somewhere in my pre-teens, standing next to my father, who smells vaguely of Old Spice and who subtly hums along with the inspiring choir. He is tall and strong next to me, and, for the first time, I feel stirrings of some kind of desire. Someday I will learn about Electra, and I will take courses in psychology, and I will understand.
When I return home after the funeral service, I finish reading a book I requested from its author because, these days, I am even more fascinated by death and the processes of dying than I was as a child growing up above the viewing rooms in my father’s funeral home.
I also am a fan of Carl Jung and Joseph Campbell, so I tend to have an affinity for archetypes, and Polishing the Bones by Jungian Analyst Penelope Tarasuk tells of a journey that embraces both of my passions.
It is a unique story – one that can only evolve between two very creative, introspective, and unique individuals as they embark upon a shared journey to unravel and understand, first, who they are as patient and therapist and, finally, as companions on a final pilgrimage.
Tarasuk invests eight years in partnering with her “client” to prepare for the inevitable, which comes later than sooner and provides a richness of inner growth for both.
Theirs is not an experience that can be easily duplicated, but it does offer tremendous insight into how it is possible use the limitations of mortality to spark creative energies and insight.
More than 25 years ago, I was fortunate enough to pair with a therapist who used Jungian and Shamanistic techniques to help me explore my own dreams and demons. I wrote about it in an essay that was published in 1990 in a psychotherapy journal, Voices.
If you are interested, you can read it here: shadows2
My assignment to my writing group was to write a ode. Here’s mine:
Ode to Hecate
Even though you exist only
in the deepest shadows of our psyches,
your warnings persist in the stories
that drive our most ferocious dreams.
Rise, Hecate, rise.
Claimed by countless cultures,
re-created across eons of fear,
you resist easy efforts to define you
as other than the maternal primal force.
Rise, Hecate, rise.
I sense your counsel in the stirring of autumnal oaks,
hear your sorrows in the howling of midnight dogs.
Those who fear their longings, call you witch;
those who live your bounty, call you Crone.
Rise, Hecate, rise.
Isis, Kali, Lilith, Astarte, Brigid, Hecate.
You are who I need you to be,
standing with me at each challenge of choices,
listening for your call to wonder and power.
Rise, Hecate, rise.
You are who we women need you to be,
relentless truth-teller, fierce warrior,
stand with us at this dangerous crossroads.
You are what we need to be.
Rise, Hecate, rise.
For those without Netflix, Grace and Frankie is into its third season as a comedy about couples in their seventies. (Warning: this post includes “spoilers,” but I don’t think they will take away from any of your enjoyment of the series.)
Frankie (Lily Tomlin) and Grace (Jane Fonda) are two very different women in their 70s living together at a beach house which they used to share when they were married to their husbands (who have come out as gay).
I will get to the “M” word eventually, but first I want to comment on the beautifully developed elder characters that the two actresses portray. They are feisty, quirky, impatient, forgetful, caring, independent, irreverent, maternal, and forgiving. They are the Golden Girls for this oldest generation of the 21st Century.
While very few women in their 70s are as wrinkle- and cellulite- free as Fonda (who looks and dresses like a model in a Neiman Marcus ad), she is believable as a traditional retired businesswoman. Tomlin, with graying hair, a few wrinkles, and outfits that must come from the Gudrun catalog, is an ex-hippie artist – about as opposite from her housemate as possible.
Sally Field & Penelope Wilton
There is a part of me that would rather have had someone play Grace who is less physically “reconfigured” than Fonda – like maybe Sally Field or Penelope Wilton, who, although not yet in their 70s allow themselves to realistically portray elder women wrinkles and all.
However, Fonda has won me over, despite her almost flawless skin and size 2 body. She and Tomlin play off each other with excellent timing and consistent characterization.
Frankie smokes weed and gets Grace to admit she MASTURBATES. Yes, that’s the “M” word that brings the women together to invent and produce a vibrator for elder women, whose arthritis often impedes their pleasure.
Grace and Frankie hilariously find ways to deal with just about all of the emotional and physical challenges faced by women over 70. There are three seasons available on Netflix, and it’s the only contemporary series I have found that is appealingly honest and charmingly irreverent about life in its last quarter.
Sheen and Waterston
While I am focusing on the female characters, they are given a run for their money by their gay ex-husbands (a sweet, believable, and delightful pairing of Sam Waterston and Martin Sheen).
We need to insist that Grace and Frankie start a trend of movies and series about elder women.
Kate Burton in “Grimm”
After watching the last episode of Grimm, in which the eldest female of the Grimm family (played by Kate Burton) pulls a sword from her cane and lops off a piece of the monster, I am rooting for a character like that in a new fantasy series.
Five years ago, I crocheted something for “The Snatchel Projet” and posted about it here. (And you can see a photo of what I made.)
This is how I started the post:
What’s a “snatchel”?
Before I get to that, let me just explain that I have in my life marched in protests carrying banners with symbols proclaiming my positions on critical issues. During the wartime 70s, I sewed a gigantic “Peace” banner and hung it from a tree limb that hung over our driveway. I believe in the power of symbols. I believe that sometimes you have to get in the faces of those who refuse to hear what you’re saying.
Symbols are powerful. While you might not be interested in reading this book, the cover says it all. It worked in Poland.
I would love to come up with another project that uses images and symbols to further the cause of the Resistance — something that we can send to legislators (knit, crochet, draw…) and post various places that would be a shout-out of our Crone voices. I’m looking for ideas and collaborators.
How can we add our creative resources to help stem this tide of fascism that will ruin our nation for sure. Yes, there are efforts being made by those with some governmental effect.
But we have to keep giving the symbolic finger to remind those who have stolen our power to uphold our American values.
The solace of amazement is the highest solace to which the free can aspire. While others experience solace in salvation, the free discover it in astonishment, mystery, and unfolding.
I am trying to reconnect myself to the feelings of “awe” that have always provided a context for my creativity, and from which I seem to have strayed. Irreverent and irreligious, I come at “awe” from a perspective that is pretty much examined in this book. Here’s a another quote:
Whereas the conventionally religious tend to resist inquiry about their faith, the internally (relatively) free tend to question their faith consistently; and whereas the conventionally religious tend to experience their faith as clear and specific, the internally (relatively) free tend to experience theirs as enigmatic and evolving. To put it more concretely, the conventionally religious tend to invest in divinities that are near at hand, that give them firm directions, and that divide the world into comforting categories (such as good and bad,Christian and non-Christian, sinful and moral, and so on). The result of this purview is that, ostensibly at last, life becomes orderly investments containable, and difficulties minimized. The internally (relatively) free, on the other hand, tend to invest in spirits/forces that lie far beyond conventional parameters, that yield minimal directions, and that apprehend the world in its diversity, complexity, and immensity. The result is that life becomes adventurous, investments daring, and difficulties animating.
Why did the kids put beans in their ears?
No one can hear with beans in their ears.
After a while the reason appears.
They did it cause we said no.
(from The Fantasticks)
Like most folks over the age of 50, I have a problem with violent computer games, such as “Grand Theft Auto.” I’ve never played any of them, but, like many young folks, my 13 year old grandson does.
On one occasion, I look over his shoulder as his avatar – a strong, white, adult male, – climbs into his Super Sport Bugatti and sets off on a heist. The bank robbery hits a snag and he and his partner have to shoot their way out, killing the security guard. He makes it back to his virtual apartment with the designated “payout” stashed in his virtual account. He will use those earnings to buy more cars. Or maybe a helicopter or a yacht, depending on how wealthy he becomes. The graphics in this virtual world are realistic and compelling, a quantum leap in design and process from the “Space Invaders” arcade game of my generation.
“Hmpf.” I say to him. “I don’t like these killing games.”
“Grammy,” he says, with a patience that belies his age. “It’s like playing a part in a movie script. It’s fantasy. I know the difference.”
I know, and his parents know, that if he is forbidden to play, he might find a way to do it anyway, and the stress it would put on family relationships would not be worth it. The answer to this dilemma is not for the adults to say “No,” but rather to try to understand what this gaming culture is all about and how to ensure that the young players don’t internalize a wrong message.
For my home schooled grandson, well versed in morality and ethics, his gaming goal is not to kill anyone but to complete the assignment (although characters can get killed along the way). Granted, there are other gamers who get delight in escalating the violence just to see what they can get away with. That’s what I have a problem with out of a concern that they will become inured to the horrors of violence and start confusing fantasy with reality. Hundreds of contradicting studies have been done – and continue to be done – that both affirm and deny the ill effects of playing violent computer games.
The culture of my family is to try to understand where the other person is coming from before any decision is made, so my grandson has explained to his parents his approach to gaming and they have shared their concerns. It reminds me of when my 10 year old son became obsessed with comics during the time in the 1980s when many of the publications began to use illustrations with hyper-sexualized female superhero bodies. I remember having a long talk with him, expressing my feminist disapproval of such depictions of women and reminding him that it’s all fantasy.
I have embarked on a long learning curve that involves my grandson explaining how the game works, which is a complex process, on the part of the gamers, that involves planning, coordinating, and cooperating in setting up each heist. While the game program itself establishes parameters, the gamers make specific choices and have to deal with the consequences.
There are other modules that are available for GTA, my grandson tells me. His favorites are the ones in which his character is a fireman or policeman or emergency medical technician. While the scenarios for those modules can include violence, it is always because the protagonist is trying to rescue someone.
What I am learning gives me a more informed appreciation and understanding of why my otherwise non-violent teenage grandson likes to play “Grant Theft Auto.” And the conversations continue.
I see that what he is taking away from playing these games is so much more than I would have ever considered. For example, he has to budget and manage his virtual money so that he can afford to buy the new luxury items that he wants. In the process of researching cars, he has developed a knowledge of automobiles – both ordinary and classic – that is encyclopedic. He experiments with designing the appearance of his cars, playing with colors and shapes. He has forged online friendships with other players his age from around the world as they work together to develop strategies for their heists. He is honing his reading skills as he keeps up to date on understanding the evolving rules and improvements in the game.
Because he was not told “No” and instead was invited to share his gaming experiences with the family, the problem other families might have with the issue of violent computer games is not a problem for us — although I still really don’t like them. It’s probably a generational thing, as it often is with music, fashion, language, and etiquette. But I learn to appreciate it all. Like Walt Whitman, “I contain multitudes.”
He was a crowd favorite at urban poetry readings, especially at the former punk club QE2 on Central Avenue, where he screamed his edgy and ironic “White Boy” poems — often completely naked. Occasionally, he wore a baseball catcher’s mask to go with full-frontal nudity.
Such is how my once friend and colleague, Paul Weinman, is described in a tribute posted in the Albany Times Union today. He just died from the complications of Alzheimer’s. He was 75 years old. The newspaper piece celebrates Paul’s delightfully skewed lifestyle and creative pursuits and is an entertaining read even if you never knew him.
I met Paul when I began working at the New York State Museum in 1980. He already was a fixture and a legend in that institution, often annoying the staid administrators with his controversial off-site antics, while, at the same time, becoming a beloved and entertaining teacher in the Museum’s educational program. Parents and kids alike flocked to his workshops based on the Museum’s exhibits, and inner city neighborhood kids would show up in the Museum after school hours just to hang out with Paul and be entertained by his adventurous historical tales and re-enactments of life in the wilderness of the Adirondacks. He treated all kids with respect and affirmation; he dealt with adults with honest response to the way in which they dealt with him; he responded to the hypocrisies of every power structure with naively gutsy irreverence.
My professional path crossed with Paul’s because we were both poets in an institution that shared a building with the New York Sate Library and Archives and that often held literature-related events. Together, Paul and I organized and hosted the Museum’s annual “Banned Book Week” public readings. We held ekphrastic poetry events in conjunction with Museum art exhibits. We worked well together as colleagues supporting the educational mission of the New York State Museum.
Outside of our jobs, as part of the Albany poetry community, we came to know each other as writers, although our styles — in both content in presentation — had very little in common. As a challenge to my more conservative bent, one day Paul suggested that we do a collaborative poetry chapbook that explored male-female sexual tensions. I would write a poem and then he would write a poem in response. We would go back and forth like that until we had enough for a chapbook. Paul would print out and staple copies of the chapbook and then distribute it, for free, around the area, as he did with all of his poetry projects.
The whole idea was way out of my comfort zone, but Paul was pretty much an icon in the local poetry scene, and I was intrigued by both him and the challenge.
This is what the cover and back page our chapbook looked like. “Fruits of the Harvest Press” is just the name Paul gave to his own personal printing and distribution system. There’s no date on the publication, but it probably was in the late 1980s.
It took me a while to figure out how to approach the subject of sexuality, but I found a way to do it my way: through food metaphors. Hence the title: “Eating Disorders and Other Mastications.” My first effort was inspired by a Thanksgiving turkey neck.
something about turkey necks,
gizzards nestled in palm of hand,
stroked with oil,
until firm, juice-laden,
ready for needing,
fine night dining,
And we went on from there, as I branched out from the food metaphors into other expressions of female sensuality and Paul responded with blatant come-ons such as this, which became one of his famous “White Boy” series:
IN QUIVERS OF INAD-
EQUACY, WHITEBOY TRIES
BUCKUP UP HIS IMAGE
AS HE STRUTS FOR ELAINE
A. autographing pens
strapped to hips
B. rakish hat
C. boots tooled
with female in-
WHITE BOY TRIPS…
POLEVAULTS ON THAT
POINT HE’S TRYING 2
GET ACROSS: ARRESTED
4 SEXUAL HARASSMENT
My relationship with Paul never moved beyond friendship, although as a willing participant in Dionysian revelry, he might have taken it in that direction. But as attracted as I often was to “bad boys,” Paul was way out of my league in that arena. Plus I got to know Paul’s wife at the time, Judith Braun , a talented visual artist who really didn’t come into her own until she divorced Paul. I liked Judith, enjoyed the bohemian parties they threw, was energized by the creative energies with which they always were surrounded. Paul caused me to stretch the boundaries of my writing and my perceptions of what is acceptable to me in both words and life.
Paul loved the lore of the Adirondacks, and he spent the last five years of his Alzheimer-ridden life making miniature chairs out of tree branches. As the newspaper tribute reports: He built miniature chairs in the Adirondack twig furniture style and left them anonymously around town with a note: “I’m an orphan chair. Please take me home and put a stuffed animal or plant on me.”
I don’t know his latest wife, but I’m going to try to contact her to see if I can get one of those chairs to hold a plant in my garden and hold his memory in my heart.
I am absolutely intrigued by every one of her images in these two portfolio pages , and sent her three responses. I don’t now whether or not she will use any of them, but I like the combinations so much that I am sharing them here:
(Addendum 9/17/16: This poem is being exhibited next to the collage at Geersten’s exhibit as the Mesa Art Center in Arizona.)
She follows the lead
of the lone snow goose
released from the burden of flock —
a warrior in white and Mary Janes,
astride a steed from dreams.
Such is the muse that carries her,
along with miracles of fragrant earth,
safe across the deep seas of memory.
It is always there,
over her shoulder,
both threat and promise —
a whisper in a wind
that can send her flying
finally, into a landscape
devoid of browns and
navy blues, a rainbow
of wildflowers and sunlight
and a bright hint of birdsong.
If she sits, still enough,
breath held and ready…
wait for the moment….
wait for the moment…..
Sometimes it gets into a girl’s head
to wield staff instead of broom,
to stand like a stag in morning mist —
antlers the crowning touch —
to command with eyes devoid of fear,
demanding safety and serenity,
the sovereign right of rulers
to craft their own lives.
It never mattered much before how often and where my poetry got published. I wrote because it was a compulsion. When I did send anything out, it was to publications to which I figured I had a good chance of being accepted. Every once in a while I would get a rejection, but it wasn’t very often.
Suddenly it’s mattering to me to know if my poetry is really any good. Am I average? Am I a “B” level poet? I know I”m not an “A.” I’ve never been an “A” in anything. “B+” is about as high as I go, and that goes for my talents at knitting, crochet, sewing, and ballroom dancing.
Now, writing is something else. I’d say I’m about an “A-“. Every job I’ve every had has involved writing, and I’ve always done well at it. I’m a pretty good “persuasive” writer. I used to say that I am able to spin straw into gold; I can take disjointed ideas and turn them into a compelling piece of written material.
So why, now, is it important for me to know if my poetry is considered “good” by others? It doesn’t seem to matter how good other people think I am at anything else I do. It’s all just part of how I spend my time.
But with my poetry, it’s different. For some reason, now, at my advanced age, I need to know.
So I’m taking a chance and sending poems out to more discriminating poetry publications. I need to know.
And if they are rejected? It shouldn’t matter, right?