Frozen Toothpaste

I meant to post this last week, but better late then never. In response to my last post and eric’s comment, I had to share this short snippet from a 2006 interview of Anthony Bourdain:

…you’re standing alone in the desert, and you see the most incredible sunset you’ve ever seen and your first instinct is to turn to your left or right and say, “Wow, do you see that?” Okay, there’s no one there, what do you do? Next, where’s the camera? Look through the viewfinder and you realize, you know, what you see through that little box is not what you’re experiencing. There comes this terrible moment when you realize well, this is for me. There is no sharing this.

This poem by Mary Oliver has a few lines I quite like:

Who made the world?
Who made the swan, and the black bear?
Who made the grasshopper?
This grasshopper, I mean—
the one who has flung herself out of the grass,
the one who is eating sugar out of my hand,
who is moving her jaws back and forth instead of up and down—
who is gazing around with her enormous and complicated eyes.
Now she lifts her pale forearms and thoroughly washes her face.
Now she snaps her wings open, and floats away.
I don’t know exactly what a prayer is.
I do know how to pay attention, how to fall down
into the grass, how to kneel down in the grass,
how to be idle and blessed, how to stroll through the fields,
which is what I have been doing all day.
Tell me, what else should I have done?
Doesn’t everything die at last, and too soon?
Tell me, what is it you plan to do
with your one wild and precious life?

I like this one by Jay Leeming, not least of all because it reminds me of something I wrote.

This just in a man has begun writing a poem
in a small room in Brooklyn. His curtains
are apparently blowing in the breeze. We go now
to our man Harry on the scene, what’s

the story down there Harry? “Well Chuck
he has begun the second stanza and seems
to be doing fine, he’s using a blue pen, most
poets these days use blue or black ink so blue

is a fine choice. His curtains are indeed blowing
in a breeze of some kind and what’s more his radiator
is ‘whistling’ somewhat. No metaphors have been written yet,
but I’m sure he’s rummaging around down there

in the tin cans of his soul and will turn up something
for us soon. Hang on—just breaking news here Chuck,
there are ‘birds singing’ outside his window, and a car
with a bad muffler has just gone by. Yes … definitely

a confirmation on the singing birds.” Excuse me Harry
but the poem seems to be taking on a very auditory quality
at this point wouldn’t you say? “Yes Chuck, you’re right,
but after years of experience I would hesitate to predict

exactly where this poem is going to go. Why I remember
being on the scene with Frost in ‘47, and with Stevens in ‘53,
and if there’s one thing about poems these days it’s that
hang on, something’s happening here, he’s just compared the curtains

to his mother, and he’s described the radiator as ‘Roaring deep
with the red walrus of History.’ Now that’s a key line,
especially appearing here, somewhat late in the poem,
when all of the similes are about to go home. In fact he seems

a bit knocked out with the effort of writing that line,
and who wouldn’t be? Looks like … yes, he’s put down his pen
and has gone to brush his teeth. Back to you Chuck.” Well
thanks Harry. Wow, the life of the artist. That’s it for now,

but we’ll keep you informed of more details as they arise.

Since it’s that time of year, and I wanted to avoid another day like this, some word’s from Stephen Colbert’s 2006 Address to the graduates of Knox College.

But you seem nice enough, so I’ll try to give you some advice. First of all, when you go to apply for your first job, don’t wear these robes. Medieval garb does not instill confidence in future employers—unless you’re applying to be a scrivener. And if someone does offer you a job, say yes. You can always quit later. Then at least you’ll be one of the unemployed as opposed to one of the never-employed. Nothing looks worse on a resume than nothing.

So, say “yes.” In fact, say “yes” as often as you can. When I was starting out in Chicago, doing improvisational theatre with Second City and other places, there was really only one rule I was taught about improv. That was, “yes-and.” In this case, “yes-and” is a verb. To “yes-and.” I yes-and, you yes-and, he, she or it yes-ands. And yes-anding means that when you go onstage to improvise a scene with no script, you have no idea what’s going to happen, maybe with someone you’ve never met before. To build a scene, you have to accept. To build anything onstage, you have to accept what the other improviser initiates on stage. They say you’re doctors—you’re doctors. And then, you add to that: We’re doctors and we’re trapped in an ice cave. That’s the “-and.” And then hopefully they “yes-and” you back. You have to keep your eyes open when you do this. You have to be aware of what the other performer is offering you, so that you can agree and add to it. And through these agreements, you can improvise a scene or a one-act play. And because, by following each other’s lead, neither of you are really in control. It’s more of a mutual discovery than a solo adventure. What happens in a scene is often as much a surprise to you as it is to the audience.

Well, you are about to start the greatest improvisation of all. With no script. No idea what’s going to happen, often with people and places you have never seen before. And you are not in control. So say “yes.” And if you’re lucky, you’ll find people who will say “yes” back.

Now will saying “yes” get you in trouble at times? Will saying “yes” lead you to doing some foolish things? Yes it will. But don’t be afraid to be a fool. Remember, you cannot be both young and wise. Young people who pretend to be wise to the ways of the world are mostly just cynics. Cynicism masquerades as wisdom, but it is the farthest thing from it. Because cynics don’t learn anything. Because cynicism is a self-imposed blindness, a rejection of the world because we are afraid it will hurt us or disappoint us. Cynics always say no. But saying “yes” begins things. Saying “yes” is how things grow. Saying “yes” leads to knowledge. “Yes” is for young people. So for as long as you have the strength to, say “yes.”

I recently stumbled upon a spoken track by the folk singer Harry Chapin called “My Grandfather,” and was pleasantly surprised by how much it resonated.

My grandfather was a painter. He died at age 88. He illustrated Robert Frost’s first two books of poetry. And he was looking at me and he said, “Harry, there’s two kinds of tired. There’s good tired and there’s bad tired.”

He said, “Ironically enough, bad tired can be a day that you won. But you won other people’s battles, you lived other people’s days, other people’s agendas, other people’s dreams, and when it’s all over there was very little you in there. And when you hit the hay at night somehow you toss and turn, you don’t settle easy.”

He said, “Good tired, ironically enough, can be a day that you lost. But you won’t even have to tell yourself, because you knew you fought your battles, you chased your dreams, you lived your days. And when you hit the hay at night, you settle easy. You sleep the sleep of the just, and you can say, ‘Take me away.’”

He said, “Harry, all my life I’ve wanted to be a painter and I’ve painted. God, I would have loved to have been more successful, but I’ve painted, and I’ve painted, and I am good tired, and they can take me away.”

Now if there is a process in your and my lives, in the insecurity that we have about a prior life or an afterlife, and God (I hope there is a God — if He does exist, He’s got a rather weird sense of humor…), but let’s just…

But if there is a process that will allow us to live our days, that will allow us that degree of equanimity towards the end, looking at that black implacable wall of death to allow us that degree of peace, that degree of non-fear, I want in!