My Summer 2015 Reading List

I know that summer begins on the solstice, but for the purpose of my summer reading list the season starts on Memorial Day, Monday, May 25 and ends on Labor Day, Monday, September 7. This gives me more time to read!

As usual, my list is an eclectic and ambitious one. The sixteen books on the list include two care taking memoirs--Bobby Wonderful: An Imperfect Son Buries His Parents, by Bob Morris, and Bettyville, by George Hodgman--as well as a collection of essays by Rebecca Solnit, Encyclopedia of Trouble and Spaciousness.

I want to read the 2015 Ferro-Grumley award-winning Mr. Loverman, by Bernadine Evaristo, An Unnecessary Woman, by Rabiih Alameddine, and coming out in June, The Little Paris Bookshop: A Novel, by Nina George Also on the literary fiction deck are Louise Erdrich's The Painted Drum and Colm Toibin's The Master (in part so that I can return the copy I borrowed to its rightful owner).

Two sleuths that I follow have new adventures on the way: Bess Crawford (A Pattern of Lies, by Charles Todd) and my beloved Armand Gamache (The Nature of the Beast, by the wonderful Louise Penny). When the summer is winding down, Deanna Raybourn introduces a new character in A Curious Beginning: A Veronica Speedwell Mystery.

The house-designing part of me plans to read Gaston Bachelard's The Poetics of Space, and to tackle, pattern-by-pattern--certainly not all at once--A Pattern Language, a treatise on architecture, urban design and community livability by Christopher Alexander, Murray Silverstein, and Sara Ishikawa.

On a lighter note, I am very much looking forward to spending some more time with HHC--His Holiness's Cat--in The Dalai Lama's Cat and the Power of Meow, by David Michie.

Inevitably, there will be temptations to deviate from the list and/or to add to it, especially after the Golden Crown Literary Society conference in New Orleans in July. And I might add a novel by Henry James, after reading The Master.

 

Is There One in Your Family?

I woke up thinking about two photographs of my Aunt Stella, one of my grandfather's sisters. I don't know a lot about her. Stella lived in New York City, where she taught dance. One of her students was her nephew. His name was Ron Field. He became a choreographer and director who won awards for his choreography (Cabaret) and direction (Applause). He took Stella as his date to the Tony Awards one year.

I woke up thinking about those two photographs of I'd found of Stella after I came out. She's sitting with a womb. And when I looked at those photographs--I knew.

Stella had been married very briefly and it ended very mysteriously. Looking at those photographs, well, I thought I might be able to guess at a part of the story.

I think I woke up thinking about two photographs of my Aunt Stella because last night I finished reading a debut novel by my friend Shelley Ettinger, called Vera's Will. I read some pages from it when Shelley and I were fellows in the fiction workshop of the first Lambda Literary Foundation Emerging Writers' Retreat, but I was unprepared for the scope of the finished work: three generations, historical events, cultural references. But what I loved about Vera's Will was that it was a great story, with wonderful characters that I cared about, and beautifully written. I'm a simple reader in that way.

In Vera's Will, there is a character in each generation who lesbian. Which made me think, this morning about my own family. On my Dad's side, Stella, her nephews Ron and Sheldon, my cousin Marcy. On my Mom's side, my cousin Mark.

I don't know what, if anything, the family said about Stella, but Ron was "in the theater" and Sheldon was "sensitive." And I have no idea what people say about Mark, Marcy and me.

Then, as I was making my tea, I thought of someone else. He's not gay though. Here's what the family has to say about my cousin Mitchell: "He's a socialist, you know." Shelley, that one's for you. 

 

Broccoli

The New York Philharmonic has announced its 2015-16 season, and I am reviewing the program of offerings for broccoli.

Broccoli is my word for modern music.

Typically, broccoli is served right before intermission, or immediately after. To extend the culinary analogy, a typical concert menu might be: pretty appetizer, broccoli, succulent entree, and maybe a dessert.

Sometimes broccoli is first. And it can be nice to have it over and done with. There is usually only ten minutes of broccoli, although one time I had to listen to twenty minutes of it, which was practically vegan.

Broccoli is rarely heard last. But should you happen to notice a significant number of audience members hurrying out of the hall when there is still one piece of music to be played, it is probably because those taking their leave know that the last piece of music is broccoli. I saw this happen at Carnegie Hall; Sir Simon Rattle actually waved goodbye to the people as they scurried in front of the stage.

Sometimes the conductor talks to the audience about the broccoli first. This is like a parent telling a child how delicious broccoli is, so yummy, you're going to love it. And I'm sure there are children who do. A few. 

I feel that I would be a better person if I could appreciate broccoli, so these attempts by the conductor to get me excited about it can lull me into a false sense of optimism. Surely, with such a distinguished personage singing (so to speak) the praises of broccoli, it will be delectable indeed. But the end result is always the same: broccoli throws a hand up in my face and sneers: "Stop right there! I'm not easy! You're going to have to work really hard to understand me; you're going to have to suffer a little." And I am left thinking that I've wandered into an alley filled with fighting cats, next door to an artillery range, with a subway under the ground and an airport nearby.

Signed, Sealed, Delivered

There's a new bookstore in my neighborhood--Book Country. On my initial visit, I was surprised--and delighted--to see a table with stationery and pens and a sign inviting customers to write a letter and leave it to be mailed. There was a sign with the number of letters the store had mailed so far--over 150, as I recall. Then I realized that I didn't have any addresses with me--although now, of course, typing this, I am having that "V8" moment (from the commercial where someone would slap their head and exclaim, "I could've had a V8!"): I had my phone with me! No, wait, addresses are in my laptop. But I think I can put them in my phone too.

OK. Back to the point of this blog post. Letters. The old fashioned kind. 

I have a weakness for stationery, pens and stamps. I enjoy writing letters and postcards, and am happy when I receive them. I still send holiday cards, writing personal notes on each one. I have blogged about reading copies of letters my relatives wrote during World War II (see: Dear Charles). I've written a short story in letter form--"A Letter to My Brother," published in Night Shadows, edited by Greg Herren and J.M. Redmann--and I'd like to write an epistolary novel one day.

For the past three years, February has been A Month of Letters. http://wwww.lettermo.com. The challenge is to mail something each day that the post runs during that month.

The first year that I did A Month of Letters I signed up for Postcrossing http://www.postcrossing.com, to help me find people to write to. The computer assigns you someone to send a postcard to; once they receive it and register it, your name will be given to someone to send a postcard to you. It's fun exchanging postcards with strangers from other countries. They write to me about their jobs, hobbies, children, and pets, where they've traveled or would like to travel to, reminding me that we're all connected.

I also participate from time to time in More Love Letters http://www.moreloveletters.com, which also involves writing to strangers.

Every February I post a notice on my personal Facebook page inviting my friends to send me their snail mail addresses so I can write them a letter. But very few people respond. Maybe receiving and reading letters is a lost pleasure: the texture of the paper, the image on the card, the tidy (or not) handwriting, taking the time to read it.

How long has it been since you've received something other than bills or junk mail from your postal carrier? If you'd like me to send you a letter or postcard, email your snail mail address to me at rosenfeldwriter@gmail.com, using the subject heading "Letter Request." In the body of the message, please specify "Letter" or "Postcard," and give me a prompt: a favorite quotation, a dream or wish, the last book you read or a film you loved--you get the idea. Then start checking your mail box. The non-electronic one.

 

“Happy” New Year

New York City is no place to be during the holiday season. Struggling to make my way through the Rockefeller Center area crowds was like the proverbial salmon swimming upstream. My mutterings were worthy of a graduate of the school of Scrooge: “F—king tree. They tie branches on you know, to make it look fuller, like a teenager stuffing her bra. Why don’t you ogle the trees where you live instead of coming here?”

My cousin called me and said I sounded down, she could hear it in my voice.  I realized I was depressed.

Of course I “should” have been happy. I was off from work from December 24 to January 5; my first novel was going to be published in 2015. So why did I feel sad?

On January 1, a friend of mine announced on Facebook that she had signed up for 100 Days of Happiness—a project where every day for 100 days you post a photograph something that makes you happy.

I decided to sign up too. I thought that maybe if I could find a moment of happiness in every day, if I could focus on what makes me happy, I might become a happier person. I chose Instagram for my platform because I thought this project would be a good way for me to learn how to use it. It would also afford an opportunity to become more adept with my camera phone. If you’re on Instagram, you can follow me at rosenfeldcarol.

By the way, you can sign up to do this at any time, and you don’t have to post the photographs on Instagram—you can post them on Facebook or several other applications. https://www.100happydays.com

"Nothing can be done/but by inches."-Adrienne Rich

I keep thinking of this line from the first section of the poem "Incipience," by Adrienne Rich:

"Nothing can be done/but by inches."

It's been a calming mantra.

I spend almost every other weekend in Philadelphia, visiting my 89-year old mother; waking up at 5:30 a.m. on Saturday to take a 7:14 New Jersey Transit train to Trenton, where I transfer to a SEPTA train to 30th Street Station, Philadelphia. When I get there I use the restroom and stop at Dunkin' Donuts, then take a 10:19 train to Wynnewood, where Bob, the man who drives my mother when she needs to go to the doctor or the store, picks me up and takes me to my mother's apartment. The following day he takes me back to the train station at 11:30 and I get back to my own apartment around 4:00.

The reason I'm offering all these boring travel details is in the hope that you will be able to appreciate the anticipation I feel when I'm spending the weekend in New York. I can sleep late--and I do, sometimes until 11:00. I sleep late despite the fact that I have a long list of "things to do."

Of course, many of the items on that list have to do with decluttering: recycling," "thrift shop," "go through paper."

What I'm starting to accept is that there really is a limited amount of time that I can focus on paper. Lauren Rosenfeld (co-author of Breathing Room) suggested that I develop a "ritual practice"  that I can commit to. She said she was thinking of my apartment as one of those hand-held slide puzzles we had as kids--where there was one empty space so you could move the other tiles around. I knew exactly what she meant, and it was a great analogy. Lauren recommended that I have a specific place to process paper--a clearing space, perhaps 2 x 3. Rather than going through an entire bag, Lauren thought I should just work with small piles at one time, not walking away until I had cleared the space, and each piece of paper was either gone by intention or staying by intention.

Incredibly enough, I didn't have so much as a 2 x 3 space to work in. But I have an idea of where I can create one--I just have to move some things off of it.

Another thing that Lauren suggested was to hang some curtains that I told her I'd bought at a street fair a couple of years ago. The curtains are a very sheer, golden/coppery color. The first time I saw them they were glimmering in the sun, and I pictured light shining through them into my apartment. I told Lauren I was saving them to hang after the apartment was free of clutter. But Lauren urged me to hang them now--she thought it would change the energy in the room.

So, on Sunday, I tried to hang the curtains. Here's the thing: the wall the window is set into is brick with just a thin coat of plaster. Since I can't hammer a nail or screw a screw into that wall, I have attached the hardware that holds the curtain rod with various adhesives. None of them last very long. As I was trying to hang the curtains I noticed one of the hooks for the rod was separating from the wall. So I folded the curtains up and put them back into their bags.

"Nothing can be done/but by inches."

 

 

My Secret

We all have them. Secrets. The truth about ourselves that we don't want anyone to know, especially the people that we love. Because if the people that we love knew our secret, they wouldn't love us anymore.

Often, when I go to other peoples' homes, they apologize for the "mess." And I can only envy that "mess." Because I know what a true "mess" looks like. I live with it. I live in it. The worst part is that sometimes I believe I am it.

I want--and need--my apartment to be a home, a retreat from the noise and crowds of the city, a place to renew my energy and nourish my spirit. A place that I can welcome my friends for a visit.

But for too long, my apartment has been none of those things. Rather, it is a source of shame. My clutter is a sandbag of weariness that settles on my shoulders the moment I step through the door.

I have a vision of how I want my apartment to be. I'm going to be blogging about my process, my progress, and all the rest of it.

Yesterday was Day 1. I had a phone consultation with Lauren Rosenfeld (no relation), co-author of the book "Breathing Room." Looking over my notes from the call, I see:

"You are not the chaos, the confusion. You are actually the open room."

Bryce is My Buddha

My cousin Bryce, who recently celebrated his seventh birthday, had to write a list of "Affirmations" for school. I don't know the specific instructions the teacher gave, but Bryce's mom posted his Affirmations on her Facebook page. I'm reprinting them (unedited) below:

Affirmations

Also I stay away from fires.

I stay away from rocks that make have snakes in them.

I treat others with respect.

I am handsome.

I am a fabulous marvelous great friend.

I am responsible.

I am great at reading and writing.

Also I am very hardworking.

I am good at baseball and basketball.

Reading these brought tears to my eyes as I wondered how my life might have been different if one of my elementary school teachers had encouraged me, through an assignment like this, to think positively about myself. Would I still hear that critical, disparaging voice in my head? Would I still feel that what the world sees of me is nothing but an illusion I've created, and that the "real" me is someone no one could love?

I don't know the answer, of course. But I'm looking forward to checking in with Bryce from time to time. Because I think his teacher has given Bryce--and all of his classmates--a great start. The world may end up being a better place if people feel good about themselves. I don't know Bryce's teacher's name, but whoever you are--blessings.

 

Dear Charles,

You can cry while you're riding public transportation and no one will give a damn.

My cousin Diane sent my mother copies of letters Diane's father, Charles, had kept; letters written during World War II. They were from my paternal grandmother, aunts and uncles, my mother, and my father (Charles' brother). Charles was serving in the Navy at the time. Almost all these people are gone now--all except my mother. But reading their letters brought them back so vividly there were times it was a kind of weight on my heart.

Sunday, Mother's Day

Dear Charles:--I am not going to start by saying that by next Mother's Day I will have all my children with me because I am in hopes of having them long before that, maybe for our 25th wedding anniversary. I am thankful though that I have my daughter here. She sure is sweet & thoughtful & makes it easier for me with you two away.

That was the first thing that made me cry. The "daughter" my grandmother was referring to, was actually her daughter-in-law to be, my mother. I remembered being surprised when my mother told me that she spent the weekends with my paternal grandparents while their sons were away. She wasn't even married to my father at the time. "I helped out in the store," she said. "I thought they might be lonely, with Bernie and Charles away." And I remembered how my grandmother said my mother's name--Elaine--differently than everyone else. Most people accented the second syllable, but my grandmother emphasized the first--"E-laine."

From a letter dated 7/16 Sunday [1945]

I hear you are a truck driver. Jee I remember the time you went thru a window at Broad and Federal Sts. Hope there is no windows on your muddy roads. I bet ur just as good a driver now as u were a student here. In fact I know you are good at anything you do.

That made me laugh out loud and I could practically smell Uncle Moe's cigar. By the way, my Uncle Charles was the person who taught my father to drive.'

From a letter dated Wednesday, Nov 21 [1945]--my paternal grandparents' 25th wedding anniversary--

All of us will have a happier Thanksgiving this year than last. Last year on Thanksgiving we received that telegram from the government about Bernie.

I knew my father had been wounded in France, near Metz. But I never knew my grandparents got the news about him being wounded on Thanksgiving Day.

Letter dated January 19, 1946, Saturday, written by my mother. Although she hadn't married my Dad yet, she still called Charles "brother."

Brother dear!!!!!!!!!!

I got a cable from Bernie this morning, and it said he's sailing this morning! Isn't that wonderful!!!!!!!! I'm so excited I can't work or do anything. I wanted to write and tell you right away. I'll write again on Monday, although we probably won't hear anything now for about 10 or 12 days. Isn't it wonderful!!!!!! (Oops--I've already said that, haven't I, brother dear.) Bye for now, Love--Elaine.

From a letter dated March 9, 1946, Saturday [my parents were married the following day]

I am really at a loss for words when I try to say how much I will miss having you there. Jackie will not actually be my best man but just the best available man.

In Charles' absence, my father had asked his cousin Jack to be his best man. This made me cry too. It was so typical of my father. At his funeral, I compared him to the ocean, a calm surface hiding the rich world beneath it. I believe my father was a very emotional man, but he grew up in a time when men were not supposed to be that way. And so he expressed his emotion in a very understated way.

From a letter written by my Aunt Clara, my grandmother's sister, dated March 11, 1946.

Elaine looked lovely, she made one of the prettiest brides I have seen. Bernie looked alright too, though somewhat nervous. He wiped the perspiration from his face several times while under the canopy at the altar.

There are formal photographs of my parents on their wedding day, but Aunt Clara's letter gave me the gift of this written portrait.

Many of the letters--in fact, all of my grandmother's letters--began by telling my uncle what mail they had received from him, and when they received it. I thought that was odd at first, but then I thought about the circumstances, the war, and what not hearing from a loved one could imply. The days when no mail was received must have been anxious ones. Letters were not just a source of news but of reassurance.

In these days of instant gratification, with the variety of speedy communication options available to us, I think the letter form offers us a way of revealing ourselves that email does not. What we choose of write about, and the style in which we write it, the stationery that we write on, what we write with (typewriter, fountain pen, or ball point)--there's a kind of deliberation, and a personalization, that isn't available through email. And though I utilize email and I love Facebook, from time to time I still feel the need to write an old-fashioned letter. That's just the kind of girl I am.

 

TORTURE CHAMBER

Picture this: five women standing with their right side up against a wall, right arm stretched up high, singing "Lean on Me." How does this compare to the image that comes to your mind when you read the words "yoga class?"

This was not a spontaneous sing-a-long; the teacher started it.Does your yoga teacher sing pop songs to you? And encourage you to join in? Does your yoga teacher have a "Torture Chamber" sign hanging on the wall? Mine does. He also makes terrible puns.

I take Buddha Body Yoga with Michael Hayes one night a week. I use chairs, bolsters, blocks, blankets and straps for support when I need it. I also use a yoga wall. Michael asks lots of questions. At the start of class he wants to know if anyone has any problems he needs to be aware of. Knees? Back? During class he'll ask, "How's everybody doing?" as well as the really big question, "Are you breathing?" which is actually more of a reminder than a question.

If something hurts, I say so. Michael might make an adjustment that stops the pain, or he might croon a satisfied "yes" which tells me that the stretch is going what it's supposed to do, even if I don't like what it's doing.

I'm never self-conscious about my body in Michael's class. I feel like I can be myself there, make faces and "sound effects"--noises like R2D2 made when it was scared.I may get a little out of hand occasionally, but Michael will just ask--as he did the other night--"Would you like a little cheese with your whine?"

The other day I went to a "real:" yoga studio because I'd registered for a JourneyDance class that was being held there. It was modern, with the "right" decorations, like a wall of bells. It was beautiful, and the majority of the clients and staff would probably be considered beautiful too--young, slender, clad in attractive gear. If I tell you that the studio's web site has a review from Elle magazine, maybe that will give you an idea of the kind of place it is. It felt sterile to me. It felt oppressive. I missed Michael's "Torture Chamber" sign.

How Will My Garden Grow?

I am taking a gardening course, courtesy of the New York Botanical Garden. The classroom is just a couple of blocks away from my office. A six session course, complete with homework. It's ironic, in a way. My high school chemistry teacher passed me (with a D) out of the kindness of his heart, and I once said, "Math will never be relevant in my life." So here I am reading "Botany for Gardeners" and designing a circular house (diameter, anyone? How about circumference?)

Even though I have land, there's really no point in doing much in terms of establishing a garden before I build the house.

So taking the course is an expression of faith, really; the belief that someday this knowledge will be useful.

My parents were not gardeners. We used to have rosebushes on each side of the cement walk leading up to our front door--maybe eight total--and they pulled them out because they didn't want to have to prune them. We had flowering shrubs, but no flowers, except for the violets and buttercups that showed up on our lawn. We didn't grow vegetables either. The autumn before my mother moved out of our old house into her apartment, she talked about cutting down the maple tree in the yard. I asked her why. "It's the leaves," she said. "There are so many of them." I told her to leave the tree--which was dying, because one root had wrapped itself around the rest--for the people who came after us.

I've been thinking about my "dream" garden for a while, and I am overwhelmed by choices.

Since I'm interested in environmental issues, I've been researching native plants. But then I think of peonies. And lilacs. And roses. I think it would be fun to have a rose garden where all the roses would be ones named after famous women. I think of the Lenox tulip vases that my mother has and has never used and that I am determined to use before I die just to see what tulips would look like in them and I want to grow tulips.

I remember the plants around the house I grew up in, and, for sentimental reasons, I want to have them near my house: forsythia, mock orange blossom, bridal veil, lily of the valley, azaleas.

I want to have a moon garden. And an herb spiral. And a labyrinth. And a vegetable garden. And a garden full of witch plants.

And then sometimes, I just want to let the land just be.

Testament of Mary, with Fiona Shaw

Every once and awhile I get a glimpse of what theatre can be. Sometimes I get distracted by the Broadway shows that seem to be put together because a movie or television show was successful, so--hey, let's make a Broadway show out of it! But every so often I have the chance to see an extraordinary actor in a production equal to her talents. It's a privilege, really, to be in the audience for an evening like that. Well in advance of the performance I received several notices warning that there would be no late seating and no intermission for the 90 minute play. (Since I love Wagner, 90 minutes is a mere blink of an eye; nothing to be concerned about.)

I had not read Colm Toibin's book, Testament of Mary. I had not read the Bible, either. And I'm a Jew--sort of. So my knowledge of Mary, the mother of Jesus, and of Jesus himself, is pretty much based on what has filtered down to popular culture over the years.

I went to see Testament of Mary because of Fiona Shaw. I think she's an extraordinary actress, and I did not want to pass up an opportunity to see her on stage.

When Julia and I arrived ( we had great seats--5th row orchestra), people were milling about on the stage. Although no one said anything to us, apparently the audience is able to go up on the stage before the performance. Fiona Shaw came out at one point, draped herself with blue fabric, and took a seat. A clear, plastic box was lowered, enclosing her, and a sheer curtain put around the box. There were candles (in glass holders) burning. There was a LIVE VULTURE on the stage. (Julia thought it might have been tranquililzed.)

The public. You can't control them. You can't trust them. When I was in law school I spent four years (at night) studying cases where things went wrong. I kept waiting for a disaster--for someone to try and pet the vulture, for the portly, elderly gentleman with the cane to fall as he walked down the steps off of the stage.

Then the stage was cleared. Fiona Shaw shed the blue fabric, and, wearing a thick hand/arm glove, carried the vulture offstage, flapping its wings.

The play began. This Mary was not docile; she raged--with anger, grief, bitterness, and the contempt of a woman who sees the world made by men all too clearly. Freed from the postures of paintings, she was constantly in motion. When she spoke, it sounded--to me--as though Mary was a working-class Irish woman.

I don't want to give too many details, because I don't want to spoil the play for anyone who is fortunate enough to see it. But I will say that the last line is brutal. And perfect. And, from my perspective, true. How many times have I seen a play, heard a line, and thought to myself, this is the end; that's the perfect line. And then the play went on, for another twenty minutes, or a half hour. But last night--that last line hit me. I felt tears in my eyes.

There are times in the theatre, when applause feels almost inappropriate. And yet, how else to embrace this actress, who has carried us all on this extraordinary journey, who has embodied the vision of a writer, given life to words. All I could think of was, she must be exhausted.

Afterwards, I babbled. I tried to understand the significance of the audience being on the stage before the performance began. I thought, at first, that it was a way of creating intimacy, of breaking down the physical barrier that exists between the stage and the seats. Then I thought that it might be like church. But, going home, I thought about being in New York City and near Times Square and I thought perhaps it was as though Mary was some kind of tourist attraction. And when I came into work this morning, I found an email from Julia (who had patiently listened as I babbled the night before), with her interpretation:

"I wonder if the theater crowds at the beginning were 'tourists'--viewing the relics of a woman and her life that were taken over by the 'followers' and turned into the basis of their beliefs/religion. And perhaps the vulture, a bird known to eat carrion, is a symbol of what the religion did to the meaning of the womans' life. So it's taken off stage when her real self is before us."

I also thought this morning about Jesus having started out as a Jew. During the play, Mary makes a reference to her son going to the temple with his father. Then I thought about the Irish working-class accent and I thought--wait a minute! But in the end that really doesn't matter. It's just another element to mull over, because the play, the performance is not really over. It lingers, whispering to you. That's what art should do.

Baby Song

As a spinster with no siblings, I know very little about babies, but I learned a few things this past weekend when I visited Greg and Andrea and their almost-seven-month old son, Reed. He and I had met briefly at our family's Thanksgiving dinner, but we hadn't really had much time together. I helped Greg to feed him (although I suspect that my inexperience was partly at fault for the mess which resulted in the need for a bath), and Andrea and I both read to him. Reed squealed, laughed and grabbed at a variety of things--toys, a spoon, and a cat who ventured a little too close to him.

Early Sunday morning, as I lay in bed admiring the pattern the leaves from the tree outside one window made on the closed blinds, I heard Reed. I listened carefully. He did not sound distressed, or as though he wanted something. It was more like he was talking. It was almost a kind of music. I remembered hearing a tape of the sounds that whales make under the surface of the water--mysterious and beautiful. Reed's monologue touched me in the same way. I felt privileged to be able to listen in. Although I couldn't understand it, it spoke to my heart.

I thought about how much we rely on words to communicate, yet many times we fail to say what we really mean. I thought about how words can also be the source of many misunderstandings.

How can we glimpse the world as experienced by a seven-month old baby? We can listen--not only with our ears, but also with our hearts.

The Last One Standing

I used to think that once you reached a certain age, death lost some of its power over you. That the more losses you sustained, the easier it became to accept them. But I was wrong. My mother is approaching her 88th birthday. Her mind is still pretty clear, and she doesn't have any serious physical conditions (that I'm aware of). But the web of relationships that supported her for most of her life is falling apart, strand by strand. Her brother. My father. Brother-in-law and sister-in-laws. Her sister.

There were two couples who were a constant part of my mother's life: Mildred and "Buddy," and Irma and Bob. My mother and Mildred were babies together; she's known Irma almost as long. As often happens, the men went first: Bob, then my Dad, and last fall, "Buddy." Now Irma is very ill.

This is one loss I'm dreading. It's as though the three women--Irma, my mother, and Mildred--balance each other in some way. If one leaves, the other two will falter. When I visit my mother, I look at the photographs on the bureau in her bedroom and realize almost everyone in them has died. I cannot imagine my mother's loneliness.

My mother sometimes says to me, "Getting old stinks." It stinks to have the chance to be the last one standing.

Perception

Recently a relative told me she envied me because I didn't seem to need a romantic relationship; I was self-sufficient.

It was hard not to laugh, thinking of all the romance novels I've read, all the love poems I've written for men and women who didn't want them or me, all the sappy movies I've watched over and over and all the torch songs I've listened to. Back when I was setting up playlists on my iPod I had one titled, "Loves Me," and another called, "Loves Me Not."

A couple of years ago, in a "getting to know you" chat with the hostess of a house I was staying in while taking a class, she asked me why I wasn't married and I replied, "No one ever asked me."

Is it truly self-sufficiency if being single isn't my choice but merely the result of not being chosen?

When I was in my twenties I had the revelation that maybe, just maybe, there might not be "someone to watch over me," as George Gershwin put it, and so I began living my life as if that were true. What else could I do? I didn't choose to be single; I chose to survive.

People who envy what they see as my "self-sufficiency" don't know there are times when I tell myself it's karma; that I must have done something really, really terrible in a past life to be unloved--romantically--in this one.

People who think I deliberately chose to live my life alone might be surprised to learn there are times when I see my lack of a romantic relationship as evidence that I've failed, miserably, at this business of being human.

But in the end, I'm not truly alone. Ever. There's always the Voice. The one that says I'm not worthy.

"Get Busy Living or Get Busy Dying"

This past weekend, while my mother was napping, I watched part of The Shawshank Redemption. Each time I see it I appreciate what a wonderful film it is. This time around, I was moved by the line, "Get busy living or get busy dying." I'm going to be 59 come December, and I've been thinking a lot about the last part of my life. Some people might say I'm being morbid; I think it's natural.

I have no spouse or partner, no children, and no siblings; just cousins, flung far and wide. On the weekends when I go to Philadelphia to take my 87-year-old mother out to the dollar store, out to lunch, out grocery shopping, I can't help but wonder--who's going to do this for me? I'm going to be on my own.

In dreaming about the house I want to build, I'm worried that it's too late; that I've waited too long to do it. I can't deny the good sense of aging in New York City--my doctors are here, there are good hospitals, it's walkable and has good public transporation, there's plenty to do. I can easily see myself as one of the white-haired women with canes or walkers making their way down the aisle at a New York Philharmonic concert or the Metropolitan Opera.

And yet. And yet. I look up at the paint-peeling ceiling of my studio apartment and think: I don't want to die here. I go to Central Park and long to nap in the sun but I don't feel safe enough to do so, and I think of how lovely it would be to have a chair on my own porch or in my own garden where I could doze off at will.

I want to grow my own vegetables and flowers. I want to have a separate bedroom. I wanat to have a kitchen with space to cook in. I want to be able to sleep at night without hearing my neighbor's television through the wall.

Today, on Facebook, I came across a quote of Lao Tzu: "A man with outward courage dares to die; a man with inner courage dares to live."

Clause Monet was 50 when he bought his house at Giverny. He was 76 when he built a studio there.

On Sunday night I spoke with a friend of mine. I was tired from my weekend travels and shared my doubts about building my "hobbit house." I suspect she was trying to be supportive, and perhaps reassuring herself about some of her own choices, when she agreed with me and said something like, 60 years old is probably not the t ime to do something revolutionary.

But there are those who might tell you that I am, in my own quiet way, very revolutionary.

And that I have, over the last couple of years, done some very revolutionary things.

So it may be that the older I get, the more revolutionary I will become.

Writer Fail

I'm not sure if I'm using "fail" correctly; I've seen it used in Twitter messages. I suppose I ought to call them tweets not messages.

I had intended to submit an application to a writers' colony for next fall. The deadline was yesterday. Oh well, I probably wouldn't have gotten in anyway. Writers' colonies are for literary folk, not people like me who write humor and genre.

I'm embarassed to admit that my (non-digital) writing files have gone missing. I know that they're somewhere in my apartment, but back in August when I was going away to New Mexico for ten days I frantically moved things around in an attempt to make everything more organized and now--I can't find my files.

This is a temporary situation; I will find them, eventually. It's on my list of things to do.

I did manage to find the file with the manuscript of my first novel, which I am re-typing because the only digital file I had of it became corrupt somehow. Now whenever I finish typing in a couple of pages I e-mail them to a gmail account I set up. (Thank you, Wayne Hoffman, for that suggestion.) My second intention (after submitting an application to the writers' colony) was to submit the novel to a contest. The deadline for that is October 31. Any bets on whether I'll make it?

I was motivated to set these intentions by a reading I attended on September 20. My friend Kathleen Warnock hosts a reading series called Drunken! Careening! Writers! at the KGB Bar on East 4th Street on the third Thursday of every month. This particular evening was dedicated to Cheryl Burke, aka Cheryl B., a poet and writer who'd died from complications from Hodgkin's Lymphoma in June 2011 at the age of 38. Cheryl had been working on a memoir when she died, and the writers in her writing group gathered the pieces that she'd shared with them over the years and put them together into a manuscript, which Sarah Schulman, Cheryl's literary executor, then edited and found a publisher for. My Awesome Place is coming out this month from Topside Press.

I used to do poetry slams with Cheryl. We saw each other at readings and literary events over the years. She helped out with several Publishing Triangle events, and we were both part of a small group of of lesbian editors, agents, publicists and writers called All Girl Action that organized a couple of parties and put out a reading list. Cheryl was smart and funny and I admired her a lot, though I never told her so. Because I took her for granted. I thought Cheryl would always be around.

At DCW last month, Kathleen commented that Cheryl had been one of the writers who read at the very first reading in the series. The other two were Mark O'Donnell, and me. Mark O'Donnell died of a heart attack at the age of 58 in August. It was eerie, sitting in the KGB bar and realizing that I was the only one left of that initial trio of readers.

Many years ago, a friend of mine from college told me she wanted to read the novel I was working on at the time--that I'm still working on, sort of. I didn't send it to her because I wanted to work on it some more before I showed it to her; I wanted it to be better than it was. I took Pris for granted. She died when lung cancer spread to her brain.

My friend Bob Smith is an amazing writer. He's fighting a life-threatening illness and I'm rooting for him to win so he can write more books that I can read.

I know so many writers. My cousin Marcy writes EVERY DAY. Every single day. My friend Greg Herren has published more books than I could ever hope to write.

I have so much support from so many incredible people; I get good feedback--and I do nothing. Days, weeks, months go by and I do nothing.

Publicly, I declare myself to be "a writer and poet." Yesterday I got a postcard (through Postcrossing.com) from Marketa, a woman in the Czech Republic, saying, "I admire that you write. That's my other dream. Write book."

I wrote Marketa a message acknowledging her postcard. I told her to write her book. I shared the Mary Oliver quote that I have pinned up on my bulletin board by my desk:"The most regretful people on earth are those who felt the call to creative work, who felt their own creative power restive and uprising, and gave to it neither power nor time."

I'm writing this at work. I actually had to close my office door because I started to cry while I was writing it. Go figure.

A Letter to My Father on Father's Day, 1982

Ever since my dad died, I haven't been able to look at Father's Day cards; I hurry past them, or look away. A couple of months ago my mother showed me a letter that I wrote to my dad for Father's Day in 1982. I decided to publish it in this blog for Father's Day 2012. This is unedited, though as I was typing it I definitely had the impulse to tweak it a little. Happy Father's Day, Dad. I miss you every day.

Dear Dad,

Over the years I've tried, in small ways, to give back to you and to mother some of the love and support that I've received, which has meant so much to me. When you mentioned, during your recent trip to New York, that you didn't seem to have much of a chance to talk with me, I started to worry that you've been shortchanged.

So I thought I'd try to compensate by setting down a few of my thoughts for you on this Father's Day, instead of letting Hallmark do all the work. I want you to know that you've shaped my life and the person that I am.

Do you remember the time we went swimming in the ocean and a huge wave knocked both of us over? I lost my hold on you and I remember kicking my legs and pushing up towards the light and the air, and being scared because I couldn't breathe. (I wonder now, if you were scared too--for me? for you?) But then my head was above the water and you were there, laughing and saying something like, "Boy, that was a big one, wasn't it!" Every time I go into the ocean, or even a pool, I think about that, and I realize that if you had fussed all over me (I bet Mom would have!) I probably would have been afraid of the water for the rest of my life.

And every time an election rolls around I remember the time when I wasn't going to vote, and you lectured to me about how important it was to vote, that that was a right we fought for, it was one of the things that made this country what it is; I don't remember the exact words, but I was so impressed by your conviction that I don't think I've missed an election since.

Of course, I remember little things too--how you've patted my hand or squeezed my foot when I was crying or sick, to let me know that you cared.

And I've always been so proud when my school friends would tell me what great parents I have. (Mary Ida once compared you and Mom to characters in a fairy tale.)

We hear a lot these days about the "new" father who gets involved with his children and isn't afraid to show them his love. Well Dad, that's old hat to me 'cause that's always been your style.

Rita "Tuba" (remember her? a friend of mine from camp?) once talked with me about leaving home. "Your mother will cry," she said, "but it's your father who will miss you the most." I've thought about it and decided that she was right.

Happy Father's Day.

Love always,

Carol

June 20, 1982

The Machine

My grandparents used to refer to their car as "the machine." At the Metropolitan Opera, it has a very different meaning.

I want to state upfront that I'm just an ordinary audience member with a newfound and growing passion for Wagner but no particular expertise. I did my first Ring cycle at the Met the last year of the Otto Schenk sets, and I'm glad I had the chance to experience them. When I heard that Robert Lepage would be directing the next Met production of Wagner's Ring cycle, I went to see La Damnation de Faust. I admired the sets and loved the music.When the new productions of Das Rheingold and Die Walkure were presented in the 2010-2011 season, I saw them both. In terms of the set, while I liked the concept, I had some concerns about the execution.

When I go to the opera, I want to listen to the music. I object--strongly--to anything that interferes with my listening pleasure, including people talking, people humming along with the orchestra, cell phones going off, and sets that make a lot of noise. More than once I looked around to see where the irritating noise was coming from and realized it was the set.

Now that I've finished my second Ring cycle, I have some questions. (I'm not really expecting an answers.)

Das Rheingold, April 26, 2012 8:30 p.m.

Adam Klein covered the part of Loge (and he did it very well, in my opinion). I couldn't help but wonder how much time, if any, the singers covering for the cast get to spend on the machine. Loge has to walk up backwards, and at one point has to walk across the top of the set with Wotan, both of them attached to wires. It looked like Loge slipped,

Stephanie Blythe, who truly is a goddess, as far as I'm concerned, besides playing one (Fricka), reached out and took Bryn Terfel's (Wotan's) hand at the very end, as they were walking up the planks, which were rising as they were walking. Totally in character as Fricka, Wotan's wife, but was Ms. Blythe also scared--no, that's not the r ight word, I can't imagine Stephanie Blythe being scared--let's say concerned--was Ms. Blythe concerned about the movement of the machine. I wouldn't blame her if she was.

Why is Fasolt's dead body rolled down into whatever is beneath the machine? The program notes state that, "[t]he gods are horrified," when Fafner kills his brother. But when Fasolt's body rolled down the set people around me were laughing.

Die Walkure, April 28, 2012 11:00 a.m.

Why must Brunnhilde be UPSIDE DOWN at the end? The man sitting next to me suggested that Wotan was looking down at her from on high, but I'm not sure that I buy that. Especially since she is no longer upside down when Siegfried rescues her (Siegfried, Monday, April 30, 2012 6:00 p.m.)

Gotterdammerung, May 3, 2012, 6 p.m.

When the Norns are weaving the rope of destiny, why are some of the planks on the set whirling around? I was a nervous wreck watching that scene.

Can we talk about what I believe is known as the Immolation Scene? I was waiting for the people on stage to start toasting marshmallows and switch from Wagner to campfire songs. Major anti-climax.

Finally, I have one question that does not relate to the staging. Siegfried, wearing the Tarnhelm to transform himself into Gunther, says his sword will lie between him and Brunnhilde for the night. But Brunnhilde knows Siegfried's sword, Nothung. In fact, in another scene she proclaims that she knows that sword; it was hanging in its sheath on the walla the night Siegfried made her his. So why didn't she recognize Nothung and wonder how "Gunther" (Siegfried in disguise) came to have it?

I'm hoping to go to Seattle next summer for their Ring cycle. I'd really like to see some other productions. I fear we'll be stuck with the Lepage set for a very long time--probably my lifetime. The Met has invested a lot of money in it. What does it say when there is a tee shirt, a hat, and a magnet devoted to the set? O.K., there's a stick figure of Wotan with a spear on top ot it, but it looks like the set is the star. I think that's what has troubled me all along; the set doesn't feel like a set, it's more like a character in the opera.

On the Met store table, along with the new set apparel, there was a puzzle featuring the old set. I almost bought it.