Back Then, Ignorance Was De Rigueur

At the end of the 60’s and carrying into the 70’s there still seemed a deep-rooted sentiment: if it’s none of your business, then keep your nose out of it.  Which seemed to work fine for most people.  Of course every neighborhood had its busybody, just as it had its grouchy-keep-off-my-grass-senior-citizen, and bubble-gum-snapping-younger-than-her-bosom-suggests-daughter-of-a-longshoreman.  But by-and-large, if it didn’t directly involve you then you were commanded to stay-out-of-it.  And woe be the kids with clumsy feet: too inattentive or naive to jump when they spot trouble; or those nearest the melee when it explodes, or the small-fry-wanna-be whose taunts often ignite newly produced testosterone because they all will be hauled to the principal’s office for punishment followed by the famous litany of idiotic parental rhetoric: “. . .well, if he jumped off. . .;” “If I’ve told you once. . .;” and the classic “I  could see those <insert surname  here> boys were trouble. . .”   But the message was always the same: mind your own business.

Now, that’s not to say there was a lack of dinner-table rumor-mongering, my mother usually updating us on the goings-on of the neighborhood.  But, if the rumor was rated PG-13 and above, we were given the briefest synopsis, censored beyond recognition, devoid of any example of debauchery, infidelity, or any despicable acts whether or not the “I’m-not-naming-names-neighbor-three-doors-down” was perpetrator or victim.  My mother’s talent for omission was legendary, but her dinner-table-abridging offered very little by way of a storyline, but witnessing her agility at avoiding incriminating details while maintaining a conversational tone was so entertaining that my older brother wanted to call the Watergate crew and offer them her secret of how-to skirt the truth and avoid prison for perjury.  He said he tried but was told they don’t take messages for inmates.

But even spreading gossip was considered a breach of social convention and was practiced with the highest degree of discretion.  I overheard my mother talking on the phone about Mrs. Bowers and her recent loose-lipped huddle at Kroger’s with Mrs. Hanson about boys, booze, broads and a bathtub: to Mrs. Bowers chagrin the broad and bathtub belonged to Mrs. Hanson.  Right there in aisle 5-A Mrs. Hanson’s strong upper lip began to quiver and like a mudslide, her conviction simply gave-way taking her sand-bagged courage with it and Mrs. Hanson dropped to the floor as if someone had cut her marionette strings.

Back then the message was loud and clear: keep your mouth shut! 

And I suppose it was that exact 1960’s deflection of responsibility, respect for authority, and absolute ignorance of any activity which happened outside the euphemistic “four walls” of our family (and home) that created a vacuum of moral accountability.  This social ignorance was the fertile ground from which victims sprouted already marinated in the tenets of civic propriety: keep your mouth shut and mind your own business.  Now add a new genus of Catholic leadership: an indubitable, irrefutable and influential priest whose intentions, if questioned, are defended rigorously by the diocesan hierarchy.  These two social renunciations: bewilderment on the part of the parents and blindness on the part of the Catholic Church created the perfect playground for sexual predators that mocked piety and disgraced through indignity and malice, the Christian image of the protector of children.

We had a predatory priest back in Catholic grade school.  As a pedophile he’d developed quite a reputation and a skillful set of traps which left little, if any scars, except those which appeared years later.  He developed a certain degree of notoriety: A staggering example of the decades-long failure of the Church’s treatment (reflection and counseling) resulting in reassignment or perhaps the estimated number of casualties he produced (across generations in one family).  His ecclesiastic devotion was a stark contrast to his budding reputation as “overly affectionate” or “physical with boys beyond acceptable behavior” so the Arch Diocese of Milwaukee continued to pry his paws away from parishioners at one church (akin to “running him out of town”).

He was hurried over to a safe house for an overhaul: counseling, hand-slapping, celibate reminders, penitence, forgiveness, and then off to some R & R (restoration & repair), placed back into the deck, reshuffled, and dealt to an ignorant congregation of affable and duteous parents who’d bred reverent and obedient children.  Some devote parishioners believed that the affection of a doting priest was reserved for the innocent of the innocents, were venerated by God and anointed (via the local messenger, i.e. priest) with an extra helping of divinity.  I remember hearing that some devoted parents would volunteer their children’s time to vocational pursuits i.e. ironing vestments, vacuuming sacristies, opening the weekly offering envelopes, in order to maintain proximity to the priest should a divine message be received.  But back then, back in 1969, that’s how Catholics behaved because they were taught that a priest was called by God to act as emissary here on earth; and the most important (mysterious, and grossly misunderstood) tenet of a priest’s appointment was his unconditional vow of celibacy (the state of being unmarried and, therefore, sexually abstinent).

And that presumption, that priest’s were not sexual, was the perfect degree of insulation these priest’s and their superiors needed to stave off accusations of impropriety brought to the diocese.  And here’s the revelation:  No matter how impassioned, no matter how unthinkable the alleged violations seemed, no matter that these abominations were reruns from previous parishes, the victim, a child, with nothing to gain (and so much to lose) were often suspect!  First by the parents, then the parish leaders, then when facing the priest in his rectory, and then, if pursued, again face-off with highly respected and very suspicious diocesan officials and the priest (whose interest and adorations became manipulative, threatening, painful episodes and were so outrageous and impossible to prove, that the only logical and least damaging conclusion anyone with any sense could draw:  the child is  exaggerating, misconstruing, or unintentionally and without malice positioned themselves near the priest and misunderstood their physical contact as egregious.

And frankly I don’t know which buckled first: The highly improbable assertion that a child repeatedly seduced a religious official vowed to celibacy or the unquestionable devotion of generations to the Catholic Church (the age-old collapse of a faith in God and a faith in the Godliness of men ordained by Him).  But what it took to shift the burden of proof from the victim (child) to the perpetrator (priest) was a departure from isolation and silence to community and conversation.  When adults decided that blind allegiance to any organization purely based on what that organization tells you to believe is, in and of itself, questionable, was when the fortified walls of some of the world’s oldest and most revered organizations began to weaken.

It’s not what we’re told by leaders (whether religious, political, corporate) that has the capacity to tear this world apart.  It’s what we believe that we’re told.  It’s not the children’s fault that the Catholic Church protected and permitted decades of sexual abuse.  It’s the adult’s fault (whether or not your the priest or the parent or the pope).  It’s an adult’s responsibility to question authority each and every time it violates freedom!

There isn’t one person on this planet that stands above repute.  Except, that is, perhaps the children.

As a Playwright: Notes & Excerpt from “Afterward”

Initially my focus was poetry: Simile and Metaphor; juxtaposition; possessing the “ear” to hear.  That is, to identify words not only by their meaning, but also how they sound when blended with their kin folk in the paragraph.  Some call it style: I was taught that it was called my voice.

I attended the only university that accepted me.  Good fortune (cousins twice removed to Serendipity and Veracity (both of which I mention in a couple of different posts) eventually led me to the Chancellor’s office, Dr. Warren Carrier, a contemporary poet, and my mentor for three years.  Through Warren I met esteemed poets such as William Stafford, Richard Hugo, Madeline DeFrees and Robert Bly.  I asked Warren, upon completion of my first publishable poem, “Do I have my voice now?”  With a quiet chuckle he replied, “Voice?  You’ve just begun to whisper.”

When I tired of poetry’s whittling, I turned to a genre which permitted a certain degree of gluttony:  Playwriting.  Since then I’ve written over a dozen full-length plays.  The following excerpts come from my latest play, “Afterward.”

A little about “Afterward:” it’s based on the premise that everything happens because of something else. In this case Joe is uncertain whether he loves Rene enough in order to continue their relationship; and Jeffrey, having recently dissolved a male menage trois is seeking desperately for a new relationship. It’s a play of parallels: Joe’s uncertainty of his long term relationship and Jeffrey’s uncertainty of his freedom. Yet both men’s angst often cross paths when they articulate that what each of them has is indeed what the other is seeking. And therein lies the conflict. How does someone argue his point free of his own emotion; or rather, can someone advise a close friend to stay where they are if, indeed, that is where they wish to be? I haven’t been able to write its conclusion because I haven’t quite lived the conclusion. There are a few elements which I have yet to introduce: Joe’s testosterone therapy which has increased his sexuality, and in turn, has brought his desire for men to the forefront. How does he explain this uncovered desire to Rene who has known him only as heterosexual? One would think that it would be simple: tell her. But what if Joe has met someone with whom he wishes to bed? With low testosterone your sex drive decreases and, harshly put, Rene was enough for him. Now that the testosterone is normal his sexual appetite has increased unleashing desires which Joe is unused to communicating. And more recently my experience with depression will undoubtably wind its way into the action. Perhaps Joe is on the verge of collapse? And like me, the perfect storm is brewing. Perhaps I should re-title the play “Convergence”.

Aristotle, the father of drama wrote about three unities: Time, Place and Action. He argued that a well made play should embrace these three unities. Time means all action takes place in real time: If the action starts at 8:00 pm and the action lasts 90 minutes, then the play should end at 9:30 pm; Place means all action occurs at the same location; Action means all characters involved in the play are seen on-stage. I don’t need to tell you that abiding by these three unities is no easy task. Action is the easiest to draft; Place is a bit more difficult; but Time! That is by far the most difficult. No ones life is so dramatic that you’d want to watch it, non-stop for 90 minutes. Except some good porn, I suppose. So the inherent problem with “Afterward” is that it MUST be overwritten in order to edit down to 90 minutes of solid drama. The beauty of Aristotle’s unities is that the life of the play lies squarely in the hand of the playwright. It is my responsibility to build, breakdown, build, breakdown, build, crescendo and conclude the most horrific or funny 90 minutes of the characters life. Which again, is no small feat.

JOE

I love Rene. I really, truly do. I love being with her. Touching her. I enjoy her smell. I enjoy her taste. It just seems as though it’s all become expected. Like you expect the door to open when you turn the handle. Like you expect
the light to go on when you throw the switch. It’s all become. . .routine. It’s become a routine. Expected. Except she’s not expecting. Not much anymore. I try all the same old tricks: stroking the inside of her arms, the lingering,
trailing kiss down her neck, the old, common jokes; rubbing her feet, drawing her bath; meeting her for lunch; glasses of wine in the garden; jewelry. We sit and too much time passes between us, too much silence.

JEFF

Silence is comfortable.

JOE

Is that what life becomes? Silent and comfortable? Silent and comfortable aren’t passionate. I remember years ago. . .maybe not even that long ago. . .when fights flared up between us like brush fires. . .hot, screaming, saying things we’d regret. . .painful, hurtful things. . .emotional jabs and punches. . .and then we’d lock each other up like exhausted boxers and throw sexual upper-cuts that landed us both on the floor. . .and all there was was brutality. . .clothes became obstacles, then torn, ripped. . .and we were coupling like animals and the same jabs and punches were thrown lower, thighs pushed open, panting and sweating and screaming. . .until we. . .together. . .at the same time…like trapeze artists flying through the air reaching, grabbing, clutching. . .and freshly embarrassed laughter tripped from our mouths and we both felt madly, deliciously, one, even though by then we had disengaged and fell next to each other and quiet washed over us like a crisp cotton sheet. That quiet was different than this silence. That quiet was a respite, an earned pause. This silence is deafening. This silence is stifling, full of humidity. The silence I hear now is the result of twenty years of conversation. As though we’ve heard it all before. As though we’ve already read this page, this chapter, this novel. Almost as though, predictably, we know how this will end. How can we know the ending? How can a love affair like ours have a predictable denouement? How in the world did we get here? Here has always been where I’ve always wanted to go, but now that I’m there I keep wondering. . .

JEFF

Wondering what’s over there? I can tell you what’s over there. I’m over there. Over there is lonely. You try to shore up the desperation you feel by humping strangers. . .ten different men in a week. . .but there’s no union. There’s the gaze, the dance, the drinks, the touch and rub and grope and zip and grind and suck and come. And it’s all madly, deliciously sexual. But there’s no investment. There’s no pain. There’s longing, but not the longing for what once was. There’s no memory. There’s not even hope. It’s started and ended in ten brief minutes and you’re now more of a stranger than when you walked in the door of the bar because you gave something so familiar to someone so unfamiliar.

JOE

So what’s a guy to do? How come once we get to where we thought we wanted to go the place looks strikingly different than the brochure? Where’s everything we’ve always been dreaming about? Where’s the cottage and the lake and the loons and the pine trees and the two-person row boat and the big fluffy bed and the sunset? How come I don’t see that? Christ, I love Rene. And isn’t love enough?

JEFF

Maybe you’ve gone away. Have you thought about that? Maybe you’ve gone away. It doesn’t sound to me like Rene has gone anywhere. It sounds to me like you have. Have you? Have you, Joe? Have you gone away?

JOE

I don’t know. Maybe. Maybe I have. Maybe. Maybe I should just masturbate more. Maybe that’s what I should do. Masturbate more. And don’t dare reduce this to the whole mid-life crisis thing. I’m past the mid-life crisis thing. My mid-life crisis is parked in the garage: Midnight blue, six cylinder six-speed, satellite radio equipped convertible. It turns heads. I smile on its behalf. That’s done.

What Do You Get When You Cross A Desert Box Turtle and Jack Russell Terrier?

I’m afraid that my spouse will leave me one day.

Not because of anything I did or said, but rather, because of the things I didn’t do.

My bipolar disorder is treated by amphetamines.  And when they begin weaken I find myself incredibly tired; painfully tired.  This fatigue is called the cliff.

My spouse has the energy of a Jack Russell Terrier and wants to play and play and play.  Problem is, I’m sullen, I’m racing on amphetamines, I crash at turn three.  And he keeps up the frenetic pace: movies, plays, parties, happy hours, garden walks.

Like now.  I’m so tired I could cry, but he’s invited me out for a movie.

How often can I say “no thanks, I’m so tired,” before he finds another Jack Russell to play fetch?

It’s not that I don’t want to see a movie or play, attend a dinner party or picnic at Ravinia, stroll through the Botanic Gardens or Morton Arboretum, I simply don’t have the energy.

I’ve tried to fake it, fallen asleep during concerts and movies; so fatigued that I don’t even stand up at intermission; mind-numbing sleepiness causing me to forget names of close friends or our destination.

How many respectful declines will he hear from me before he invites a surrogate, my body-double, my understudy, my replacement?

 

Between Us (Nick Collection 1985-2012)

My boyfriend peeled

the cotton skin over

his head lifting upwards

as though he were sliding

downwards into some bronze

hole, his body a rich thick

aromatic Sunday AM coffee.

He was cold he said

as the cotton slid

down like blinds.  Dale

has AIDS he said

as he tied my arms

round his chest.  I didn’t

like him much he said.

But my arms only tightened

like a Chinese finger trap.

I’m going to lose him.

The Classic Revival Chandelier

We adopted a Classical Revival opaque-glass inverted dome chandelier suspended by “faux aged-brass chains” through which were woven obvious electrical wire then disappeared into a polished brass top which was surrounded by a poorly reproduced Victorian 36″ plastic ceiling medallion.

During some interior remodeling we decided our electricians would center a light fixture (yet to be determined) over the dining room table.  I decided that the “Old Girl” (the opaque-glass inverted dome) deserved a shot at redemption thus finding a permanent location in our home.

The following photographs show the restored Classic Revival opaque-glass inverted dome and rod chandelier proudly hanging above our dining room table.   The restoration included (3) new keyless sockets inside the bowl, new brown 16 gauge wire threaded through (2) 17″ lengths of copper pipe (per socket) and into rings attached to the breaker. The breaker and knob were cleaned and refinished in a muted, antique copper finish.  

I refused to reinstall the plastic ceiling medallion and instead hand made a canopy built entirely from century old oak moulding rescued from an Edgewater (Chicago) mansion before its demolition.  I wanted the canopy to step down and inward toward the breaker.  I chose an octagonal shape.  In all, there are (32) pieces of moulding and each joint is mitered at a 22.5 degree angle.

I’m a true believer in the rescue and restoration of objects once-treasured-then-discounted-by-cheap-materials.  I try to repurpose materials; it’s our duty to the environment to give all objects “a second chance.”

I think the chandelier has reclaimed its mojo.