On second thought

My friend who asked me yesterday how I continue to write in the face of indifference emailed to clarify what he actually meant, a much worse question, to wit:

I meant, how do you maintain the focus and motivation to write, given the discouraging features of your life in general as you’ve described them to me over the last few months?

And my answer to this more pointed question remains basically the same as yesterday’s. 

The moment of grace, musical in a way, the tap of the keys clacking, a bit hypnotic, reminds me of the best of myself, no matter what discouragements lurk.  It is a relief to see my thoughts making themselves plain in black on this white screen.

His clarification does remind me of something though.  I had a dear old friend, very old, she died at almost 93 a year ago next week, who loved my project, the student-run animation workshop.  She had good reason to love it, she was the inspiration for it.  After the death of her youngest daughter on an icy road in Vermont she heeded the advice of good friends and opened the Elinor Beth Music and Art Workshop for local children.   I was one of the workers in this shop, though, as it was spring and we were kids, we spent more time in the backyard kicking a ball around among the budding trees and shrubs than we did at the easels painting.   

The inspirational thing about Florence was how much she loved to be on hand quietly encouraging us to be creative.  I’d ask her to show me things, she always told me she loved my way of doing them better than the ‘academic’ way she’d learned to do it.  She assured me there’d be time to learn whatever I wanted to about technique and the “correct” way to do things but that the most important thing now was to love what I was doing for its own sake.  And to keep doing it, in the way only a creative kid could.  I’d go back to the easel, slap another painting up there, hang it on clothes pins to dry, grab some cookies, suck down a little apple juice and dash back into the intoxicating back yard.

Florence and I remained lifelong friends.  At one point, two or three years ago, telling her about the great potential and probable impossibility of actually accomplishing what I’d devoted my life to– getting the animation workshop up and running–  she told me she didn’t know how I could sleep at night.  She said it was a great idea, but how I could face the discouraging obstacles I was facing was beyond her powers, seemed superhuman.  “I love what you’re doing and it’s a fantastic idea.  I just don’t know how you can sleep at night,” she said with characteristic love and concern.  

I laughed, brushing her worry aside with bravado.  “I don’t know either, but I sleep fine.  Don’t worry about me,” I told her.

Not long after that I began to have trouble sleeping.

So if this blahg goes suddenly silent, you’ll understand what happened.

Animation by several creative adults

Animation created by several inventive women in four July 2014 sessions at the Creative Center, NYC.  Beautiful stuff.

with thanks to Django Reinhardt (1910-1953) (I’ll See You In My Dreams, Low Cotton– with Barney Bigard on clarinet) and Paul Greenstein (glistening glissentar on my track “Now Before I Go”)  Although this not for profit use is “fair use” I should get permissions from whoever currently owns the rights to Django’s genius…

Magical

“It’s hard to know what to say to you, how to start a conversation with someone in your perilous situation,” she said.

“That’s understandable,” he said, trying to distance himself from me. “What do people talk about? Not their terror, too scary. Not their inner feelings, way too uncomfortable. I have no idea what people actually talk about, I don’t talk much these days.”

A long moment of silence, and swallowing, seemed like it might never end.

“Death, there’s something else we don’t really like to talk about, except maybe for which really bad people deserve painful forms of it,” he said, after a while.

In her struggle to get him off depressing, dead-end subjects, she suggested that there was hope. An introduction had been made by email to a possibly congenial collaborator. “I heard she wrote that you were ‘magical’,” she said hopefully.

“Yes, she did, that was the word she used. Said I was ‘magical’ with groups and individuals,” he said brightly. It would only be a second or two, she knew, before he’d manage to turn even this glowing compliment to the dark side.

“Who was it who wrote ‘The Year of Magical Thinking’? If I had a smart phone I could tell you in a few taps, hang on, let’s pretend I do: Joan Didion. You remember that phrase? Magical thinking is a kind of irrational, superstitious belief that if you do things a certain way a bad outcome will be averted. Like Didion thought at one point that she couldn’t get rid of her dying husband’s shoes because if she did he wouldn’t have shoes when he came back from the hospice. By holding on to the shoes she believed she was magically preventing his death, somehow. Grief, derangement, insanity, all very terrible, desperate things, and part of the realm of the magical, you know.”

“What?” she said. “How do you get from a compliment about your ability to turn a group of strangers into a creative, collaborative team into Joan Didion’s meditation on the insane thinking caused by grief and impending loss?”

“It’s really a simple step,” he said, “nobody knows what to say about my program, which nobody, also, really grasps the potential and present reality of. I have seen it at work many times now, how organically my idea works over and over, and I have a few participants who can vouch for how well it works, but to the rest, and everyone I know, absent a compellingly creative and engaging commercial pitch, you have to take my word for it. My word, in a word, magical thinking. You know, if I meet a rich person who generously supports the idea, get the idea to a philanthropic foundation who can picture the vision I present and pay to help make it real in the world, if I can work in the shittiest schools in the city and produce work far better than anything I’ve had them do so far, if… you dig? My word for the odds of success here was ‘miracle’. That’s what it would take for one person to succeed at what I am trying to do alone. Another word is ‘magical.’ The guy is a miracle worker, magical.”

After a moment she said “do you realize how hard it is to have a conversation with somebody like you?”

“Absolutely, I do,” he said, and smiled, after a fashion. He thought suddenly of a man he once met at a friend’s parents’ party. The man was slim, and shy, and had a beaming smile on his face almost the entire night. Every time he looked over the man was grinning like the happiest man in the world. The woman the smiling man was standing next to for most of the evening, also happy looking, was his sister, it turned out. He learned later that they lived together and that the beaming man had died of complications of alcoholism.

“What should I have done at that party?” the ghost of the smiling man asks, “sobbed and wailed about how fucking unbearable my life was? I had one card to play, and I played it, went home and got shit-faced and then, soon after, I was dead. Finally.”

“Whoa,” she said, “that transition was kind of magical, but in a very dark way.”

“Believe in magic and you have to believe in dark magic too,” he said darkly.

“You’ve been painting the floor of this room we’re standing in and we’ve been backing up step by step and now the only door is far across that field of wet paint,” she said, pointing at the tiny door a long way off.

“You’re only now noticing this?” he asked.

“I’m trying to go along with you here,” she said. “You are not the easiest person in the world to talk to, you know?”

“I know, it’s true,” he said softly. What did they tell him at school about writing with adverbs and qualifiers? Fuck if he could recall.

“It doesn’t matter,” she said. “There are no rules in this world, and nothing is for certain. We stand on legs that will be swept from under us one day, under a light that will go dark and never come back on. We are controlled largely by our fears, and most people do what they feel is the safest thing to do. It is much easier to go to work and come home with money than to stay in a room with your thoughts and wavering beliefs as your existence becomes more and more marginal. On the other hand, you have a dream, even a noble one, and it is very hard work, and you’re not young and energetic any more, but you should either be grateful for your passion and your slow but forward progress or give in and find a way to make a living, however meaningless. If your Plan A is too hard, do Plan B. And I have no idea what Plan B would be in your case.”

“I like that!” he said. “And you said it was hard to talk to me!” He patted her arm, the paintbrush hanging down by his side in his other hand as the two stood in a tiny circle of dirty, unpainted floor. She smiled, and shook her head.

“Now, if you will excuse me,” he said, “I have to paint this last bit of floor.”

A little more love for Florence

I wrote to thank Florence’s children and grandchildren for a wonderful and inspiring celebration of a remarkable and brilliant old friend.  I’d been moved and distracted yesterday, when I spoke briefly at the memorial, during one of the breaks in the string ensemble’s performance of some of Florence’s favorite pieces, and wanted to make sure to add these thoughts:

Florence was an inspiration to many people, and to me in particular.  Her embrace of every aspect of creativity, and her nurturing of creativity in others, had a deep influence on me.  Her gentleness, her wide-ranging intellect, her humor, her love of life and her art work exerted a subtle but strong transformational force.  I attribute much of the best of who I am today to her generous, kind, whimsical influence, and her love.
 
Her beloved little brother told me, under a gentle interrogation, that she took some piano lessons for a while but never got that far on the instrument.  Still, this most musical painter’s love of music, and understanding of the underlying geometry of Bach’s music, was so profound that she could effortlessly put a counterpoint melody in exactly the right place against and among the beats and notes in a two part rock guitar jam.  It delights me as much now, remembering it, as it did when she sang that invention in real time late one night in the living room on Aberdeen Road, not long before her 90th birthday.
 
It could be said that her art deserved to be more widely known, and that she should have had some measure of fame and financial security from her brilliant, deep and masterfully executed paintings and other works.  Though she would have no doubt liked those things, I don’t think it bothered her very much as she went about her life and work.   She had more substantial things on her mind.   As Russ pointed out (and as she described in that wonderful piece about the creative benefits she derived from smoking), all of her many interests and loves seemed to focus themselves more and more into that hard to describe source of light and life energy that emanated from and flowed into the center of many of her paintings and her octamandalagons.  I watched happily as the mysterious force that Russ described shone out of the images in the slide show, as her favorite music was beautifully played and she was present, smiling, in that room.
 
I wrote this shortly after she died, and I meant to share it as well:
 
 
and two links to Florence’s work and words