That Breathless Charm

His  periwinkle  shoes  have  a  texture that  suggests  the  skin  of  a  reptile. His  feet  are  long,  and  it’s  a  lot  of periwinkle  to  take  in  all  at  once, even with the considerable distraction of the powder-blue suit that hangs from his lanky  frame.   Loose  is how he  looks—confident, and ready to begin.

Introductions  have  been  made,  the dancers are positioned more or less evenly on the stage, and Miss Victoria is just now quieting  the  standing-room-only  crowd. The  music  begins  and  she  waits  a  few beats. “Five, six, seven, eight,” she breathes into  the  microphone,  and  twenty-eight feet burst into a foxtrot.  The auditorium erupts with cheers, applause and  shrieks. Cameras flash from every corner .   

Up on  the  stage,  I have  the advantage  of  seeing  every  dancer  at  close range, watching footwork fancy and not-so,  and  feeling  the  full  range  of  emotions—joy  through  angst—written  on the  faces  of  fourteen  underage  foxtrotters.    I want  to know who  to  thank  for the  brilliant  musical  selection,  Frank Sinatra’s  rendition  of  The Way You  Look Tonight, which is literally and metaphorically soaring over the heads of the ten and eleven-year-old dancers, as I swipe at tears and try to give all seven couples my full attention.  

Some girls are a foot taller than their partners, requiring  the boys  to  tilt  their heads at awkward angles to maintain eye contact and avoid staring  into  the budding breasts of classmates.  While some dancers blush, others can’t stop grinning. While some glide, others shuffle.  Some audibly  count  steps,  while others hum along to the music.  The boy  in blue  is one smooth dancer; the periwinkle shoes saunter through the slow steps and sprint through the fast ones.

Chicken wings up,  toes  facing  toes, look  like  you’re  having  fun.    For  ten weeks,  twenty  sessions  in  all,  they’ve heard  this  mantra  again  and  again. They’ve practiced  their  socks off  learning meringue,  rumba,  tango,  swing and foxtrot.   Fifth-grade boys and girls who wouldn’t  have  touched  each  other  in March now comfortably coax each other around the stage, most in nearly perfect time with  the music, hands  firmly gripping shoulder blades or lightly touching bra straps.  

It’s a warm May afternoon at the J.W. Catherine  School  on  the  southwestern edge of Philadelphia.  Many students in this school—like their counterparts from the  six  other  schools  represented  here today—live  at  or  below  the  poverty level.   Still, their parents have managed to dress them neatly, modestly, proudly for  this  special  occasion—the  2009 Dancing  Classrooms  Philly  Semifinal Competition.  

Ballroom  dance  instructors  have taught the children to behave like ladies and gentlemen, at least on stage; back in their seats, they’re far more exuberant as they  cheer  on  classmates  in  the  other dances.  Each team has a color, worn in wide sashes by the young ladies, spelled out on laminated sheets safety-pinned to the  backs  of  jackets  and  shirts  for  the young men.

I  wonder  where  that  boy  found  a dress  shirt  in  exactly  the  shade  (Flyers’ orange) of his partner’s sash.  I’m drawn to a skinny girl who looks like her grandmother  just  fixed her up  for church on Easter:  a simple dress with a hint of lace at the knees, tights and shiny shoes, all topped off with  a  thick,  knit  cape  that can’t quite  camouflage her bony  shoulders.  Every stitch of her clothing is snow white,  interrupted  only  by  a  red  sash. She’s not  the best dancer on  the  stage, but she’s clearly having fun.   

The students have been coached  to put  a  lot  of  hip motion  into  the  Latin dances, and they’ve taken this instruction to heart.  Parents all but swoon over the tango and gasp as their daughters mime sexy  moves  by  pulling  splayed  fingers back across their foreheads.  The rumba (or “roooooomba,” as Miss Victoria says) teams  really  sell  it.   Hips  in  every  size and shape sway, wiggle or jerk, displaying a vast array of abilities.  

The  auditorium  was  warm  even before  the  dancing  began,  and  now someone has flung open the doors at the back and  side of  the  room.   Neighbors poke  their heads  in  to  see what  all  the commotion is, then stay to watch as the swing teams kick up their heels to Hit the Road  Jack while  the  audience  belts  out the  lyrics.    One  dimpled,  dark-haired boy in a crisp tan shirt stands just a few inches  taller  than  my  four-year-old nephew.  He’s giving it all he’s got—and he’s  got  plenty—and  when  the  music stops  I’m  tempted  to  pick  him  up  and hug him.  

But then  I remember  I’m one of the judges, and aside from the need to comport myself as an impartial observer, I’ve only  got  a  few  seconds  to  finalize my scores for this round.

It’s  so  hard  to  assign  numbers  to what’s going on here.  Each couple gets a score  from  6  to  10.    The  6s  and  10s reveal themselves within the first several seconds  of  each  dance,  but my  pencil hovers nervously over every 7, 8 and 9 before I commit to a score.   Seven couples per dance, seven numbers  to circle before the music stops, two sets of each dance,  three  busy  judges.   We  dodge dancers,  circle  numbers,  turn  in  score sheets.  Then  a  new  group  takes  the stage, and we do it all over again.  There’s no time to compare notes or remember the scores we’ve given from one round to the next.  Like everyone else in the auditorium, we’ll learn which two teams will advance  to  the  finals  at  the  end of  the program, when all 210 team scores have been tallied.

My  dance-related  qualifications  for being here  are marginal: my  dad  and  I were finalists in the jitterbug contest at a high-school  father-daughter  dance  in 1976; come to think of it, my three sisters  all were  finalists  in  the  same  event with  the  same  partner  in  subsequent years,  so  Dad  probably  deserves  the credit  there.    Also,  I’m  related  to  the McNiff Twins of Irish step-dancing fame; OK,  they’re  not  really  famous  and “McNiff”  is  just how our  last name was mispronounced one St. Patrick’s Day.    I did, however, watch my youngest sisters and  their peers perform countless  times during  their  grade-school  years,  so  I appreciate  the  hard  work  involved  in making these dances look easy and I recognize  the  joy  streaming  toward  the stage from parents and teachers.  

I’m  lucky  enough  to  be  here  as  a judge because of my  role  at  the Arts & Business  Council  of  Greater Philadelphia.   Dancing  Classrooms Philly  (modeled on  the New York City program featured in the 2005 documentary Mad Hot Ballroom) is one of a hundred or so arts organizations I’ve had the privilege  to  work  with  since  joining  the Council staff a few years ago.  I believe in the  magic  this  program  offers  to Philadelphia  schools,  which  matters more than dancing skills when it comes to being a judge.

Anyway, even an untrained eye can assess the criteria we’ve been given.  I still want to give every couple a 10.  It helps only slightly to know that each student will go home with a ribbon and that the afternoon will end with one big rainbow of a line dance that includes them all.

“I  will  feel  a  glow  just  thinking  of you…”  The second round of foxtrotting ended  fifteen minutes  ago,  but  I’ve  got Old  Blue  Eyes  and  Young  Blue  Shoes under my skin.   To  the great delight of the home team supporters, the Catherine School has advanced to the finals, along with the Spring Garden School.   

“Lovely…never,  ever  change.”      I’ll never, ever hear that song again without recalling  the eager  faces,  the periwinkle shoes and the way that little girl’s face lit up when I told her I liked her cape on my way out the door.Eileen  Cunniffe  is  a  lifelong  resident  of  the Philadelphia area.   After  a  quarter  century  of  putting words  into  other  people’ s  mouths  and  manuscripts  as  a medical writer/editor and as a  corporate  communications manager, she has at long last begun to write her own, true stories.   Her  nonfiction  has  appeared  in  Wild  River Review, ShortMemoir.com and the Travelers’ Tales anthology A Woman’ s World Again.   Eileen manages two volunteer programs at the Arts & Business Council of Greater Philadelphia.

In Memoriam: Denise Gess

It is with great sadness that we report that our friend and long-time Philadelphia Stories board member, Denise Gess, passed away on August 22.

If you were writing Denise Gess as a character in a story, you would have to grapple with extremes, wrestle with contradictions. Such a marvelous alluring character! You might have trouble maintaining any kind of authorial distance. You might have trouble making her convincing.

First clue to her character, her looks:  Slender as a ballerina; strong as a python. Even past the half-century mark  (such a paltry amount of time, it now seems), Denise could slip into her Size 2 skinny jeans, pointy-toed high heels, her sunglasses, and demand attention by just walking into the room. ("Smokin’!" one Rowan grad student declared about her.) Dark brown hair, smart and fierce brown eyes, a generous mouth, a sodium vapor smile, a low rumbling laugh (a sleek train speeding from a well-lit tunnel) that came easily and often, promised to go on forever. Who couldn’t pay attention? 

Denise had silky olive skin, a gift from her Sicilian ancestors, and she had a gorgeous clavicle, a creamy, unlined neck and throat. She worried that the part of her body she liked best would be forever scarred when the docs had to surgically insert a titanium catheter right there at the breast bone for the chemo, but she ended up loving the port, which rescued her from the puncture wounds of multiple IVs, the purple stains on her wrists and forearms after her first treatments.

Denise Gess, novelist, essayist, literary critic, a skilled and passionate writer in many genres, an editor of this magazine, a tenured associate professor at Rowan University. A list of accomplishments too long to list in this small space. Denise considered herself a Philadelphia writer — a significant distinction since Philadelphia was not the city of her birth, but her chosen home, crucial, she once told me, to her wellbeing. She loved it. She could not live elsewhere. She’d have withered in the ‘burbs. She knew; she’d tried it, she’d gotten out and did not go back.

Passionate, wise, intelligent, optimistic, witty, vivacious – qualities throughout Denise’s life that fought to claim dominance, but only succeeded in a rare synergistic creation, a uniquely engaged and energetic  writer, teacher, woman. She was self-made, an anomaly in her close-knit family. She began her work life as a nurse, maintained until the end her lifelong fascination with and understanding of all things medical.

Denise was a voracious reader, a hungry learner, an astute identifier of talent, and a tireless promoter of others’ work when she loved it, believed in it – her students and her writer friends. She once told me, however, that she hands-down loved being a mother even more than being a writer, could not have endured the rejections and frustrations of the literary life without the joys and satisfactions of motherhood, without her daughter to come home to.
 
Last September – Denise lived exactly one year after her diagnosis of Stage 4 lung cancer – I was with Denise for her last radiation treatment at HUP. The radiation targeted lesions on her brain, and for it, she’d been fitted with a custom radiation mask, a horrifying things of plastic and webbing to protect her face and neck from the killer rays pointed on those lesions. Afterward, she asked if she could keep it, and of course she could. It wouldn’t do anyone else any good. That day, for lunch, she managed to down an egg and an English muffin. Then we went upstairs to the lady’s cancer boutique to buy wigs since she’d soon be bald. Tucked beneath her arm was the odd sculpture, her radiation mask. Wall art, she told anyone who asked, and one or two who didn’t. Everybody laughed, most of all Denise. The frightening mask was for her a talisman of what she could endure, what she would do for another shot at life.

Denise Gess, a woman of hemispheric contradictions —  a bone-thin foodie with the spirit of a shaman and the sharp, shiny, ever-working mind of an engineer, the exotic looks of an actress. A tireless toiler in the fields of literary writing, a well-published, though rarely applauded, writer. Yes, she loved applause, but understood that it didn’t really matter. Not to her, anyway. She loved the writing process, loved writing, and knew that in the end, it was the writing itself, not the fame or glory it might garner, that mattered. She revered written language, and lived to put words down on the page, the sentences stretching out, one after the other, in an endless unbroken chain. Those of us who love her must light candles now in hope that her copious, yet-to-be-published work will find its way to print or cyberspace, so that we, and others, will be enriched by it.

Denise, darling friend and colleague, oh, writerly writer, you, you will not be missed, because you are here and will abide here, the words you spoke, and those you’ve written, woven deeply into the fabric of my life and the lives of all countless others you have touched.

Julia MacDonnell Chang, essay editor of Philadelphia Stories, teaches in the Writing Arts Program at Rowan University. She is a novelist, short story writer, journalist, essayist and book reviewer with graduate degrees in journalism from Columbia University, and one in creative writing from Temple University. 

Denise’s essay on writing essays can be found here, and her terrific essay, Not Tony and Tina, can be found here.

                                             ____ 

In lieu of flowers, Denise’s family requests donations to the National Lung Cancer Partnership at www.nationallungpartnership.org or to the Wissahickon Hospice, 150 Monument Rd., Suite 300, Bala Cynwyd, PA.

The Origins of Sadness

[img_assist|nid=4793|title=bean pie: take the seed outside by Tamsen Wojtanowski © 2009|desc=|link=node|align=right|width=175|height=262]Seven a.m. on a Monday morning and my mother is the only one awake. She pads downstairs. In the kitchen, she raises the shades, letting in weak, gray daylight, then turns to find the coffee pot. It’s where it always is—on the counter, next to a bowl of clementines—but it is filled only with hot water. It sputters happily. (Mocks her, you know?)

    “Dammit!”

Her voice, though not a shout, rings sharply through the house. I hear it in my secluded room and wonder whether something is actually wrong.

    “Dammit, Jim, did you set the coffee maker last night?”

She knows he didn’t; if he had, there would be dark brew instead of clear water in the pot. But she calls upstairs to him anyway, just to make him admit his mistake aloud.

    And now my father enters this real-life play—thickset, goateed, brown-skinned, wavy-haired, kind. Unhappy. Lying on his back in bed upstairs, while his petite white wife berates him from a floor away.

    “Jim?” Tone curls up at the end—shrill and accusatory.

    “Oh, shit. I’m sorry.” He speaks without moving anything but his lips. Lies motionless on his back in bed. A turtle, a turtle. (God, but a loveable one. Can’t he see?)

    After another hour of lying still while his wife and son whirl around him, the turtle crawls out of bed. He languishes for an hour in a room adjacent to his bedroom before getting into the shower. The wife and son have left for work and school by the time the turtle emerges from the shower (fresh, but not refreshed; clean but never cleansed). He pulls on an expensive suit, plods downstairs, skips breakfast, clambers into an expensive car, and drives off to a job that is slowly killing him. His heart is a landfill.

My father’s childhood could be the source of his current problems. People are pottery, it seems to me—if there are mistakes made early on in the crafting, and the piece is put into a hot hot kiln and fired anyway, the flaws will be there forever. 

Depression is one such defect.

If you were to skim a written summary of my father’s life thus far, you might read, near the bottom, in the second to last paragraph or so, that he was diagnosed with clinical depression. But I would argue that the seed of an adult’s unhappiness is planted early on; it is a spore that lies dormant in the head. Whether in an instant or over a long period of time, the spore eventually blooms and a dark mold spreads over the soul, weighing it down, down, down. Rotting it through.

My grandmother – a mixed-race, fair-skinned, upper-middle class woman with coarse Indian hair, and hard black eyes – gave my father all the necessary tools for developing a healthy case of depression. She made little James Archibald Amar Pabarue feel as though he, in his natural state, was worth nothing. She anglicized him, sending him to Groton boarding school in Massachusetts where he was one of two black students in his class. (He wished he were one of the white kids; doesn’t identify with black Americans and never will.) She scolded him for his untidy hair. (He brushes it now obsessively.) She beat him with a worn leather belt because he was overweight. (Tough love, tough love.)

No one cried much on that sunny day when my grandmother was burned to cinders, sealed in a black box, and buried.

So little Jimmy went through his years with that devilish, black seed of depression festering in his mind. Self-conscious, self-doubting. (But his hair was always well-combed!)

    And I know when the turning point came.

    My father was a “freak” in high school—a cross between a “straight” and a “hippy”. His true passion was and still is rock and roll music. My mother first met him as the long-haired, blue-eyeshadowed, gown-wearing, pot-smoking lead singer of a band called Dingo. (What a ladies man, and so happy singing his tunes in a silky-smooth tenor).

    After college, he started playing with a new group, Duck Soup, and with them tried to break into the music industry. They wrote and wrote and practiced and practiced and played and played and toured and toured. They were poor—macaroni for most meals, you know—but they were happy and fiery and young.

    Two years of mild success and countless empty boxes of macaroni later, it became clear that the world was not ready for Duck Soup. My father had to write off his dream. (“Sorry, Dream, I can’t chase you anymore. Maybe we can meet up later?”). He traded his lyrics sheet for a law degree, his gown for a tailored suit, his eye shadow for aftershave, his band practice for board meetings. His pot for Prozac. His microphone for a fountain pen. The laughter and music for sighs.

    He sheared his long hair and brushed it down smooth, and deep in his head a little seed sprouted.

    My mother is too pragmatic to help.

“He should just fix it,” she says. She is sitting in an armchair in soft lamplight, knitting methodically. (Is she entangling herself in that web of yarn? Is it a cocoon? There are so many strings. How does she keep track of them all?). She takes a sip of tea.

    “I mean really. It’s not a disease. It’s all just a mental thing.”

She means well, she really does. She loves him for who he is, she really does. She just doesn’t know what to do, and she comes off as callous and insensitive.

    “Why can’t he just go get some friends instead of paying a shrink to talk with? I don’t have a shrink, and I’m perfectly fine.”

    I am too much of a teenager to help him.

    “Jay-Bo-Bay, Jay-Bo-Bay” he says in the morning, smiling wearily. He reaches out to tickle me. All I have to do is say Hey, Daddy, How are you this morning?, and sit down beside him. But I can’t.

    “Not right now,” I growl. “I’m not in the mood. Are you done with the bathroom?”

    (I wish I had been nicer as soon as the words leave my mouth)
    “Yeah, it’s yours,” he mumbles, and shuffles back to his dark room.

I don’t help, I don’t help, I don’t help. I could help. Could I help? Can I help?

    I’m pretty sure that I can’t help. It’s up to him. Or perhaps it’s up to some god to chip away the concrete blocks around his feet and the lead around his eyes—up to some hammer-wielding Thor or some squat Buddha scurrying around with a sharpened chisel in hand.

    But maybe it can’t be helped at all and he’ll forever walk in place in a muddy rut on the side of the road, gradually sinking deeper and deeper. Perhaps he’ll be sucked underground and only a patch of neatly-brushed hair will peek out. I think he wouldn’t even mind much. I think.

At two or three a.m., when most employed adults in their right minds are sleeping, my father sits sunken into the couch, letting the flickering blue lights of late-night television wash over him. His salt-and-pepper hair runs laterally in uniformed waves. He blinks from time to time.

He isn’t watching the screen; rather, he’s looking past the TV set, either silently grieving over his past, or inventing a bleak, bleak future for himself and staring coldly at it. There has never been a face so wholly empty.

Off goes the TV at some ridiculous hour. He rocks to his feet and trudges upstairs, the hardwood steps creaking as he goes.

He forgets to set the coffee.James Pabarue is a resident of Philadelphia. He dabbles in both creative non-fiction and in poetry.

BJ Schaffer is Dead

[img_assist|nid=4773|title=Cornfield Indiana by Vincent Natale © 2009|desc=|link=node|align=right|width=175|height=132]Twenty years ago I was famous.  Not so famous that my torrid affairs with young starlets were covered by national magazines, and being thirteen at the time, that wasn’t really much of a problem.  I was famous enough that strangers followed me around the Montgomery Mall when I went shopping.  Famous enough that even now, a lifetime away, I can still Google “BJ Schaffer” and find web pages ranging from IMDB to Wikipedia that relate to acting jobs I did before I was old enough to drive.  It is a surreal thought that, a hundred years from now, all of this information will exist in some massive computerized database, and there will be no mention of anything I’ve accomplished since.  I could cure cancer, win a Pulitzer, run for President, and someone, somewhere, would shrug and say, "Yeah, but didn’t he used to be on TV?"

I have no one to blame but myself.  When I was nine, I suddenly decided that I wanted to be an actor, and my parents were crazy enough to listen to me.  We were directed for advice to the only person in my hometown with any professional acting experience.  Bill Hickey had appeared in “Star Trek: The Motion Picture” as an extra for about half a second, and was therefore qualified in our eyes.  He told me to learn to sing, dance and act.  If I got good enough at any of those three, the rest would fall into place.  
Strangely enough, Bill was right. 

I haven’t thought much about this stuff  for  nearly twenty years, but by my recollection I won two major dance competitions, which secured me a meeting with Cathy Parker Management.  She began getting me auditions, and in short order, I’d appeared in over twenty national television commercials, performed in two major productions at the Walnut Street Theater, done a skit on Saturday Night Live, and worked as a regular cast member on the Nickelodeon series “Don’t Just Sit There.”   

My mom recently visited the Walnut Street Theater, and was shocked to see my photograph is still hanging in the lobby.  I guess the cleaning person never got the memo advising them to take it down. 

By the time I was twelve, my name appeared in the Horsham Township “Who’s Who” Directory.  It was a red booklet with the names of all of the important people in that small Pennsylvania town where I grew up.  It was the same town where my dad had been born and raised, and where he served as a police officer.  My grandfather and uncle lived there, too.  Small towns have a strange way of reacting to celebrity.  It’s slightly infectious.  At ten years old, I was given carte blanche to cease attending school with any kind of regularity.  The superintendant and I were on a first name basis.  It didn’t matter what tests I missed, what school programs I did not get involved in, what educational foundation I lacked.  They wanted me to perform at the talent show, which I did, dancing in a green and silver “space man” outfit designed by my mother.  They wanted me to be in the school play.  To this day, I can recite the lines of Prince Chulalongkorn, from “The King and I.”  When you are an ascending star, just beginning to acquire the smell of that alluring narcotic "fame," it’s impossible for people to not want to attach themselves to you.

It was routine for me to go to school for a few short hours, then leave to be driven to New York City.  I’d spend an hour in Manhattan auditioning, then return home.  I did this several times a week, for about three years, until I finally began living in Manhattan.  I remember my father looking at my first paycheck for “Don’t Just Sit There” in wonder.  My weekly pay was roughly $1,800.  My old man looked at me and said, “Jesus, B., you make more money than I do as a cop.” 

I spent every night learning lines, or practicing scenes for auditions.  We constantly plotted which career move needed to be made next.  The beat did not slow down on weekends.  These were devoted to dance, voice and acting classes.  To this day, I sometimes dream of riding in an empty car for endless stretches of the New Jersey Turnpike.  The road goes on and on and I never arrive where I am going.

By 1988, at fourteen, I was burned out.  You can only spend so many hours on the Turnpike, eating rest-stop cuisine.  You can only spend so many nights in motel rooms.  You can only go for so long before the reality of adolescence sets in.  When your laurels rest on being the Boy Next Door, it’s all downhill once your skin starts breaking out, your voice squeaks when you talk, and your body begins to change.  Plus, there’s always another, cuter wannabe waiting in the wings.  After four years of semi-celebrity, I just wanted to be a normal kid.  That’s the sign they hang on you when you are a child-actor.  “He’s such a normal kid,” they say.  Bullshit.  Normal kids play baseball.  Normal kids get used to turning in homework assignments.  Normal kids have friends.  Real friends.  Not phony show business friends.  

[img_assist|nid=4776|title=Springtime Swirls by Allison Levin © 2009|desc=|link=node|align=right|width=175|height=198]Of course, when you remove someone from their natural habitat during the most fundamental years of their life, you can imagine it’s not the easiest thing for them to simply get back into the swing of things.  When I returned to my hometown in the middle of 9th Grade, I found myself a complete outcast.  People had developed deep friendships, forming groups based on shared interests, which I could not hope to penetrate.  Students took tests that they’d had years to prepare for, even if it was by simply learning the discipline of doing their homework.  I had none of those things.  At that point, I could not even join a sports team, because, at the age I should have been trying out for varsity, I’d hadn’t kicked a ball or swung a bat since Little League.

By the time my peers began to consider which college to attend, I’d become so used to answering the question, "When are you going to go back to acting?" that I really expected to make a big return to show business.  But the harsh reality is that contacts dry up fast in that world.  Also, it costs a lot of money to go back and forth to New York City, especially when you have no income and have to begin worrying about paying rent, buying food, gas, etc.  Unfortunately, at that point in my life, I had nothing else.  By the age of eighteen, I had to seriously consider the fact that I was a Has-Been.

Nothing fills me with dread as much as the shows on VH-1 about former Child Stars who became drug addicts, or are still plugging away, desperately seeking to recapture that glimmer of fame.  Eddie Munster is an old man.  He still goes to conventions dressed up in his old costume, hawking autographed photos.  Scott Schwartz, the kid who stuck his tongue to the flag pole in A Christmas Story and starred with Richard Pryor in The Toy, started doing porno.  Even the more legitimate, mainstream performers like Britney Spears, or Lindsay Lohan.  I look at what these poor kids have become, and I have to think that maybe, just maybe, if the people around them had waited to thrust them into the very adult world of the performing arts, they’d have a better foundation on which to build a decent life.  Maybe not such a famous life, but a good, decent, normal existence.   

These days I cringe when I hear friends talk about signing their kids up with a modeling agency.  You know, the one where you pay thousands of dollars to have a "portfolio" made, and the agency promises to start sending your kids on "auditions."  I always react badly when people suggest my kids have what it takes to "get involved with show business."  Don’t I know that my son has the personality and looks to be on a sitcom and become America’s Boy Next Door?  Of course he does.  Don’t I see that my daughter is beautiful enough to sell oodles of Pampers or Gerber’s baby food?  Of course she is.  But that will never happen. 

[img_assist|nid=4775|title=Blossom by Vincent Natale © 2009|desc=|link=node|align=right|width=130|height=221]Children should be children.  They should play, learn, get scraped up and brushed off, lose big games, win bigger ones, dance with a sweetheart, lose him or her to someone else, get a better one later, have big sleepover parties, and grow up without the pressures of having a career, or the expectations of an entire small town to be successful.

         BJ Schaffer is dead. 

         He was just a commodity.  A face in a photograph, a television personality, a small blip on the bright, vast universe of Entertainment.  You can know everything there is to know about him on the handful of web pages that still mention him, or bear his likeness. 

Me?  I’m a guy who worked at a gas station to make ends meet while I went to the Police Academy.  I scrubbed toilets, worked landscaping and mopped laboratories late at night.  At 34 years old, I’m a police detective who makes his living putting bad people in dark places.  I’m a father to two children, and I can tell you that their love and admiration means more than the vacant adulation of the masses on any level.  It’s been a long, curving road toward the man that I am now, and to be honest, I sometimes struggle with how to tell people that I used to be on television.  It’s an embarrassing subject.  My life is not a famous one, and unless you’ve been where I’ve been, you might not understand why I’m glad for that.    Bernard J. Schaffer is a police detective in the Philadelphia Suburban Region. He is a lifelong resident of Montgomery County. His previous work has appeared in "American Police Beat Magazine," "Comic Zone," and "The Enemy Blog." 

The Witch and The Clown


[img_assist|nid=847|title=Curious Eye by Gary Koenitzer © 2008|desc=|link=node|align=right|width=150|height=144]



I hate my job. As evening supervisor of a one-hundred bed nursing home, I oversee the work of one other nurse and ten nurses’ aides. The corporate manager, Scott, wants me to complete more paperwork during my shift. I explain that I often help feed, shower, and medicate the home’s residents. Scott tells me the facility is adequately staffed according to state protocols, and suggests I discipline employees in writing who fail to complete assignments. Whenever I do this, the employees shoot hot glares at me as they whisk by my desk at the second floor nurses’ station. I please no one, and feel caught between worlds.



I want to bridge the chasm between me and the staff I supervise
nightly. Together, we decide to bring food to work and throw a
party on Halloween. I don a witch hat, tight black dress, fishnet
stockings, blood-red lipstick and high heels. Will is a licensed
practical nurse who works on the third floor. Will is Spanish;
with his slight frame and dark wavy hair, he reminds me of a bullfighter.
Tonight he wears a jumpsuit with polka dots, a red rubber nose,
a curly multi-colored wig, and huge black shoes.



Around nine, the aides begin the evening’s final rounds.
They feed warm Ensure through straws to emaciated residents, and
turn bedridden people with frozen limbs according to the hand-drawn
paper clocks taped to the residents’ doors. The latter task
prevents holes in the residents’ skin caused by too much
pressure in one area. Some residents are taken to the bathroom,
while others have their diapers changed.



I grab some medical charts and start to document the shift’s
activities. I welcome the chance to rest my legs. My toes, shoved
into a point at the end of my shoes, pulse with pain.



I am almost ready to sit when Martha, one of the nurses’ aides,
runs out of the room next to the nurses’ station. Martha
is gasping, her stiff black wig askew. Martha is not wearing a
wig for Halloween. She always wears a wig.



“Mr. Smith…” she sputters, “he ain’t breathin’.”



I rush to Mr. Smith’s bedside. Mr. Smith has not breathed
in a while. His skin is gray, and he is doing what some in the
medical profession call ”Q”-ing. His jaw is slack and
his tongue hangs to one side, causing his open mouth to resemble
a capital Q.



As a registered nurse, I cannot legally pronounce Mr. Smith dead.
I need to perform CPR. I direct another aide, Nicole, to call 911
while Martha and I roll the head of the bed down.



“Martha, get Will,” I tell her when we finish. She
dashes out of the room toward the stairwell.



I place a green plastic mask over Mr. Q’s, I mean, Mr.
Smith’s, face, and administer rescue breaths. My witch hat
falls next to him on the bed after three puffs.



Will appears a few minutes later. He has taken longer to descend
the stairs than he normally would in an emergency, probably because
of the floppy shoes. Will pulls up his ruffled sleeves and positions
his palms over Mr. Smith’s chest. His arms harden into a
piston, one that will hopefully pump life back into Mr. Smith via
a series of strong compressions to the heart.



The rescue squad arrives after a dozen cycles of compressions
and rescue breaths. Two young male paramedics try to maintain their
wooden solemnity, but smiles tug at their lips. We saw them last
week, when one of the female residents kept taking off her clothes.
She hit a couple of us, called us all sluts, and told us she was
kicking us out of our apartments. Nothing in my magic box of medications
helped her.



The medics load Mr. Smith onto a stretcher. They resume CPR,
squeezing a plastic blue ball over the lipstick-stained mask on
his face. Mr. Smith is wheeled out the back door into a waiting
ambulance.



The five or six staff members who have gathered, including Will,
Martha, Nicole, and me, indulge in some deep breaths, then retreat
to the lounge to consume our Halloween feast.



I look at Will. Crumbs stick to his white-painted chin as he
gobbles a chocolate covered donut with orange and yellow sprinkles.



I start to laugh.



Will raises his eyebrows, which he has outlined in blue triangles.
The rest of the crew stares at me as if I have just announced that
I had sex with my brother.



“I was thinking,” I tell them, “that if Mr.
Smith was even sort of there, he was probably really confused.”



Nicole stops picking through her candy corn in search of brown
tipped pieces and listens to me.



“He must have thought,” I continue, “there’s
a witch kissing me, and a clown jumping on my chest, and I don’t
know whether I’m in heaven or hell, but this shit’s
fucked up.”



We start howling, laughing so much that we bend over and choke
on our cookies and cider. The story circulates throughout the facility
for weeks, shifting shape like a ghost each time someone retells
the tale.



I drive home seeing Mr. Smith’s eyes. The open eyes of
the fresh dead still look a little alive, like a flashlight beam
operating on low batteries. They never seem afraid, only amazed.



I pull into my driveway. Toilet paper trails cling to the bare
branches of trees, remnants of mischief from the night before.



Halloween itself is a remnant. Earth-worshipping tribes in northern
Europe once celebrated the harvest festival of Samhain each November
eve. People believed the veil between the realms of the living
and the dead was thinnest at Samhain, when one could see shadows
invisible by the light of day.



I turn off my ignition and savor the warm darkness. I do not
hate my job. I hate the way I am expected to perform it. I do not
want to punch holes in forms and organize them while watching others
struggle to assist the human beings entrusted to our care. I hold
our moment of shared joy at the nursing home tonight in the hands
of my mind like a captured butterfly. I release hope into the purple
chill of the night before entering my house.


Judilyn Brown is a lifelong resident of Northeast Philadelphia. She works full time as a nurse at The Philadelphia Women’s Center. Judilyn likes to read, write, and spend time at play with her husband and son.

My Charlie Manson

[img_assist|nid=833|title=Limes & Lemons by Todd Marrone © 2008|desc=|link=node|align=right|width=150|height=206]Our wedding was in a graveyard in November darkness. I had recently turned eighteen, old enough to make hash of my life and do it legally, and my fiancée, Kemp, was forty-two. I wore light makeup and under a raincoat, my best dress of striped wool. My hair was long and straight, and my Mary-Jane style shoes were better suited to a little girl. I felt numb and disconnected, as if I were about to sign up after stumbling into in a meeting of bomb-assembling anarchists. I was also a little disappointed. It would have been festive to show off my dress, but the night was too chilly to take the raincoat off.

A brick wall surrounded the graveyard of Saint Peter’s Episcopal Church in Philadelphia’s Old City; it was the nearest thing we had to a park, given where Kemp and I were living in the city. I was worried that someone who belonged to the church would boot us off the property, even though Kemp said they’d told him we could do anything on the premises, as long as it was legal and took place outside the church.

The absence of light at the wedding was due to a miscalculation. We’d scheduled the ceremony for five p.m. We didn’t realize—but how could my physics-trained fiancé not have realized?—that light fails early once autumn cold begins to shrivel the sycamore leaves.

I don’t remember what Kemp wore that night, but he was a man who considered his coiffure. He bleached his dark hair brassy blond on the optimistic—but faulty—premise that if his hair were similar in color to his scalp, he could pass himself off as not-balding. The stringy combover rarely stayed put, but he had an appealing, little-boy grin and nice, agate-colored eyes. He was endlessly authoritative when relating my own passion, visual art, to his interest in science. He encouraged me even as he dictated the kind of painting I did. You’re an artist now, he said. Why wait till you’re twenty-one to call yourself one? From him I learned terms like sexual revolution and Renaissance man. Years later, I found out from a former student of Kemp’s that in the early days of our relationship, he pinned my panties to the wall of his apartment.

Nobody gave me away at the wedding. My father stayed away, but my mother showed up with an elderly friend for moral support. The aisle I walked down was the worn brick path on which Kemp and I met the Ethical Culture minister. Mr. Smith was not exactly a believer, not Episcopalian, nor Quaker, as my family was, but the price he’d quoted to do the ceremony must have been right because Kemp hired him.

[img_assist|nid=834|title=Native by Suzanne Comer © 2008|desc=|link=node|align=right|width=150|height=191]As I stood in the darkness beside the tilted gravestones of long-dead Episcopalians, my mother’s mute presence felt like the still point of tradition from which my adolescence had fled. Perhaps her inscrutable sense of duty drew her; perhaps she felt compelled to witness the unthinkable. Introductions were made, hands shaken. My mother didn’t kiss me, and I looked away to the brick wall, thinking I had dragged her into something cheap. At the head of our tight circle, the minister held his book at an unnatural angle to catch the sallow illumination of a street lamp. He read from Genesis about a man leaving his parents and cleaving unto his wife. But I’m the one who’s leaving, I thought.

The June before our wedding, I had graduated from Germantown Friends, a private school where Kemp had been a science teacher. I was a ‘lifer’ there: K through 12. My great-grandmother, my grandfather, my father’s first cousin, and my mother had all gone there. It was a world in which the staid traditions of Philadelphia Quakerism—Meeting membership by ‘birthright’ or family succession and the quiet tending of old wealth—set the stage for their own eclipse, at least in part, by their liberal embrace of the social revolutions of the 60s and 70s. As a teenager, I was proud to be such a revolutionary, convinced that Kemp was proof of my emancipation. As my great-grandmother had, I attended mandatory weekly meeting for worship in a plain, high-ceilinged room with rows of wooden benches, where faintly rippled, tall glass windows revealed a pensive sky.

Quaker meeting for worship is simple. People steep themselves in relaxed silence, waiting until God’s spirit moves someone to speak. The first time I encountered Kemp was when he stood up in meeting. I don’t remember much of what he said—I believe it had to do with Guernica, Picasso’s tortured painting of the Spanish Civil War—but his mouth revealed the subtle overflow of his heart. Kemp was a predator on the lookout, and I had a vulnerable and sensitive ear. A few days afterward, I described on lined notebook paper how impressed I was by his brief talk. At thirteen, I was reluctant to speak my own name out loud, and I avoided writing it except on school papers. With my face latticed behind untrimmed hair, I gave him my unsigned note at a chance encounter on the stairs of the science building. The next week, one of his students handed me his reply. All I remember is one line: i don’t even know your name. His use of the lowercase “i” impressed me; it seemed poetic and humble; like e.e. cummings. I was in eighth grade. He got fired at the end of my ninth grade year for ‘inappropriate conduct,’ but I never found out whether the school knew our relationship was indeed a sexual one. From my point of view, little changed with his firing; I simply continued seeing him on the sly.

At the end of our wedding ceremony, the minister intoned the traditional warning: “If anyone…let him speak now, or forever hold his peace.” Silence crackled like a pause in a military assault. I glanced at the blue silk scarf tucked into the neck of my mother’s coat, wondering if she would yell or perhaps grab the vows from Mr. Smith and tear them up. My eyes slipped down to her no-longer-parallel feet.

No one stirred. No words were spoken. Because nothing appreciably changed, the minister’s words felt like an incantation, the power of which would only be revealed over time: I now pronounce you husband and wife

The night speeded up. My mother bid me goodbye, sort of, and staggered back to her respectably antiqued house on the arm of her friend. Kemp and I had arranged to meet a few friends in our city apartment. I proceeded to get drunk and fell asleep fully clothed in the bathtub. He woke me in the middle of the night. It was time to clean up.

At the time, I believed that my parents would count me as dead, but as if my heart were swathed in bandages, the conviction brought no feeling. My loyalty to my new husband could have fueled an insurgency. A few weeks after the wedding, I received a set of place mats from my parents. Other than this, we had very little contact.

I was married for years before my commitment disintegrated. Cut off from my family and my privileged life, and perhaps the only one in my graduating class not to go to college, I explored the realm of the spirit. Years of Quaker worship spent in listening silence had cultivated my instinct for the reality of the unseen. Lonely, I responded when televangelists told me that God, the spirit, was also a person whom I could know. I was used to doing outrageous things. Belief wasn’t a huge stretch. The conservative church teaching fueled my zeal to serve my husband, to smile when he cuffed me, and to organize his drawer of unmatched socks, although he claimed I’d interfered with his ‘system.’ Whatever the personal cost, my life had an aura of divine sanction. My church friends didn’t agree; they spoke of give and take, of mutual submission. If one of them criticized Kemp, I sharply defended an alcoholic man whose permission I had to seek to go out to dinner with my brother, now back in town after college. You don’t understand, I argued. You don’t know what he really is.

Consider the loyalty of the Manson Family. Or the seductive influence of those who believe it pleases God to strap a bomb to a mentally challenged man and send him into a marketplace when the whole town is shopping. When there’s enough of an emotional payoff, fanaticism can trump rational morality. The reality is that even if someone does something really, really nasty, there may be a girl who won’t stop loving him.

Kemp, in fact, had not been my first love. An English cousin of my mother’s had visited us when I was six years old. I adored Tony. With his open lap and his gentle teasing, he charmed me. He enticed. He was handsome as a wolf. Early one Saturday morning, I crept up to our third-floor guest room to surprise him; I remember the sensation of flight on the stairs. Tony was happy when I appeared in the bathroom, where he stood in his boxers and undershirt, having just shaved. He closed the door. He imprinted on my body and in my brain things that I was compelled to forget. Afterward, he said: Don’t tell anyone you came up here today. While my parents fussed over breakfast downstairs, I stood in the weird light of my bedroom. What should I do? Pray? No. God was about Now I lay me down to sleep and Be present at our table Lord…He wasn’t concerned with the fallout from events that couldn’t even be named. Tell my parents that Tony had done something bad? But they would believe him and not me. In terror I saw that my mind would snap like a china plate should they turn from me in this way, and I resolved never to think about Tony again.

Adolescence churned up more than the usual burden of confusions. In seventh grade, I considered myself preternaturally grown up, advanced beyond other girls who worried about boy crushes and parties, yet I felt envious to the point of nausea when no one passed me notes in class. Kemp was an escape from middle school drama. He also offered me a chance to revisit the moral and spiritual dilemmas instigated when Tony’s eyes changed from inviting to hard and glittering. In his mesmeric influence, Kemp was not unlike Charles Manson, minus the highly developed people skills.

When we were in high school, my brother challenged my father about the relationship: “Why don’t you put a stop to it?”

“Your mother and I don’t want your sister’s name in the papers,” was his response. The damage Kemp inflicted wasn’t spectacular enough to make the newspaper.

Fortunately, Kemp’s precocious interest in sex with schoolgirls translated into beer-fueled impotence in marriage. I wasn’t really interested in Eros, anyway. I was an alchemist who poured out devotion in an attempt to transmute sleaze into gold. Kemp needed a housekeeper, nursemaid, and receptacle for his rants. In our last few years together, I learned to manage him. When he dissected my flaws with his maddeningly persuasive condemnation, instead of defending myself I developed the instincts of survival in a cage. Nodding. Yes-ing. Pretending to swallow his wisdom. After four quarts of beer, he’d fall asleep, sometimes with his eyes half-open, and I would escape for a walk in the woods. Life was simultaneously boring and chaotic. But thanks to my long-suffering and, ultimately, supportive parents, I went to Tyler School of Art and obtained a degree.

Clarity came to me, over time, bit by bit. The major revolution occurred after nine years of marriage. Kemp’s mother, a serious churchgoer, had gotten me to visit a hand-clapping fundamentalist congregation. It was God on your taste buds as against the cerebral quiet of Quaker meeting. At my progressive school, I’d envied the Black kids for the easy, familial solidarity they shared. Now I met cheerfully zealous people who might not have recognized the names of most of the poets I’d studied in my senior English seminar at Germantown Friends, but they invited me to their houses, hugged expansively, and called me “sister.” And they meant it. One summer, my mother-in-law invited me to a church conference, and Kemp urged me to attend, since he transformed himself into an authority on any topic that caught my interest. He expected me to come home chastened for my sins, and he sent me off with certain verses underlined in my Bible as preparation.

Maybe I was sick of having glasses of beer tossed into bookshelves I had recently cleaned, or maybe my heart was exhausted. I didn’t expect anything from the conference beyond company for my loneliness and the possibility of becoming a better person. But that week, I began to tie the Christian notion of God as father around the fragmented pieces of my inner self. Throughout the last night there, I sat hyper-alert in my quiet dorm room, praying and touching the parts of my body I didn’t like. I repeated over and over, in shock and delight, that God loved me—my mouth that binged on junk food, my breasts, my pallid skin. Something was re-ordering my spiritual DNA. On the long train ride home, I knew things were going to change.

Kemp’s Mansonesque diatribes began to sound bombastic, even silly. He told me that what stood between me and God’s love was the fact that I had just rolled my eyes, revealing that my nature was as stiff-necked as the Israelites wandering in the desert, I didn’t argue or pretend to agree. I started sassing back.

I moved out after he described a dream he’d had, involving me and a knife. I went home to my parents. It was a relief to say, “You were right about him.” Our kisses were unpracticed and stiff, but genuine. I lived with them for a while, waiting for my divorce to finalize and figuring out what to do with my life.

Today, those shadow years lie at the periphery of my thoughts. I am happy and productive. I am married again—this time, to a gentle and loving man. I never saw Kemp or Tony again, but a mental breakdown while pregnant with my first child catapulted me into a war. I had dismissed my past as over and done. I’d been to hell and back, but here, reflected in my husband’s admiring face, were my years of Jubilee. But as I stared at the pattern on the Persian rug in my therapist’s office session after session, my past proved to be tenacious as vermin. As a young mother, while my heart sometimes threatened to explode under the pressure of change, I never lost my gratitude at having been granted a second, ordinary life. There was a time when I believed I’d spend the rest of my life in a grubby apartment, the target of Kemp’s theories that I was the genetic inferior of people who were outgoing and successful. Scary as each hour of my new life could be, I lived it in the light of day.

Today, my children know only that I was married before. That I was young and he was old. That I made a mistake. They know that I have returned to Quakerism from a more conservative place, but they are not aware that the thick walls of fundamentalism once offered refuge for my sanity. Some day, when they’re ready, I’ll tell them this story. But am I the one who hesitates, knowing that their vision of order in the world is colored, however subtly, by their view of me? Once they know, they will think no less of me. They’ll also realize that I used to be pretty strange, the kind of kid that they would choose to avoid. My straightforward parental authority has tangled roots. For now, I’m simply Mom, who volunteers at the school store, someone who would never do anything seriously outrageous or unsafe. I wish I could remain simple forever.

I’ll introduce my story casually, as if pain were not at its heart. “It was only love,” I’ll them. “Granted, that can be complicated.”

Helen Mallon received her MFA degree in Fiction Writing from Vermont College of Fine Arts in 2005. She is completing a novel, Quaker Playboy Leaves Legacy of Confusion (working title). Her poetry chapbook from Finishing Line Press is titled Bone China. Her story, “Astral Projection” is in the Best of Philadelphia Stories Anthology 2007. “Biology” won the Editor’s Choice Award in issue #5 of Relief: A Christian Journal.

The (O)ther Kahn

[img_assist|nid=821|title=Oscar Kahn|desc=|link=node|align=right|width=150|height=195]He was not the one disfigured in youth, the one who rose to fame, the one whose story has been told in books and film. He was not the celebrated architect, Louis I. Kahn. He was Lou’s brother, Oscar, a man whose unsung life was unexpectedly cut short, a man I never met but for whom I was named. He was my grandfather, and after all these silent, shadowy years, his faded image is starting to clear.

I never wondered much about my grandfather. The snippets I had collected here and there told me all I needed to know: he was an artist, a composer, an adman who died of a massive heart attack at forty-two. Black and white photos depicted a dapper figure who shared a sweet smile with my mother and looked nothing like the rumpled, impish, white-haired uncle I’d occasionally see at family gatherings.

As far as I was concerned, my grandfather was an opaque ghost
of the past. It was enough to know that his name, like mine,
began with an O. But some ghosts can only remain quiet for so
long. Restless and aching, they break through the veil and seek
a voice, a means of relaying what they couldn’t or didn’t have
time to say.

When my grandmother died at the age of one hundred, she left
behind a packet of fifty or so letters dating from 1942 to 1945,
the year of my grandfather’s death. Most were sent to my
grandmother, Rosella, from Stockton, California, where my grandfather
was starting a new business. A few were addressed to his son,
Alan, a Navy midshipman who was serving in the Pacific theater.
All reveal a man of intelligence, wit and startling passion.
An idealist sobered by the war. A poet who, unlike his brother,
chose family over art.

I began to notice my grandfather’s traits as I traced
his delicate script with my fingers. The scrolling black ink
was as refined as the face in the photographs. Evenly proportioned
though somewhat constrained, each word began and ended with a
soft, looping flourish. The elegant, forward-slanting hand suggested
a delight in the very act of writing combined with a sense of
resignation that also threaded through the content of the letters.

In a letter to Alan, for example, my grandfather tempers his
anxiety with pragmatism:

Your telling me not to worry doesn’t work so well—it
seems that I am constantly thinking about you—where you
are and what you are doing… The fact remains—we
are at War—and you are in it up to the neck, which I hope
you will use to balance a head which in turn will house a brain
clear enough to control a fighting heart—a steady hand—or
pair of hands—and by no means should you let those flat
feet of yours get you into trouble or lead you away from helping
your fellow mate.

[img_assist|nid=822|title=Clockwise from Top left: Oscar and Rosella; Oscar and Rosella’s wedding day; Ona Russell, Oscar’s granddaughter|desc=|link=node|align=center|width=200|height=167]

 
 

 

Here, too, is an example of what I came to see
as my grandfather’s
characteristic humor, a purposeful, linguistic playfulness
that no doubt served him well in the advertising business.

The family has always maintained that Oscar invented the commercial
jingle, at least in Stockton where he wrote for Crispy Potato
Chips and Gallo Wines. In any case, he certainly seemed to have
a knack for the genre. When I was a kid, my mother taught me
one of his songs, and I’ve never forgotten it: “You’re
my sweetie, sweetie, sweetie, sweetie, sweetie-pie, you’re
the apple, apple, apple, apple, apple of my eye, you’re
my funny little honey bunny and that’s why, I’m in
love with you.” The other verses go much the same, and
the poems that pepper his letters are of a similar ilk. To Alan
again he writes: “We’re both going around in circles,
wonderin’ how you are, wishin’ for sure unknown miracles
to bring you from afar.”

No, the poetry is not complex, but my grandfather bore the sensibility
of a poet. Amidst the quotidian concerns he expresses to my grandmother
is the introspection which defines that sensibility:

Here I am again and just a little more on the blue side—or
is it lonesome or what is it? To try and describe how it feels
would be next to worthless. You just can’t find words for
it—it seems to bear down on you and wear you out. I am
empty and it is not for want of food.

And then:

So here I am—enough time on my hands—surrounded
by movies and such—but I find myself—alone—among
a turmoil of people who keep rushing by—Really, I didn’t
think that there could be so many people whom I didn’t
know.

Although some of the passages are downright silly, with stick
figures and other child-like sketches standing in for words,
even these and the countless dashes in the letters suggest his
poetic side, his search for a symbol to best represent the idea
he was attempting to express. Ultimately, his overarching mood
is that of a thinker-poet seeking the ever-elusive meaning of
life.

As I read of his quest, I felt for him, wished I could see into
his soft, brown eyes, reassuringly touch his long tapered hand.
Did he ever feel cheated? Resent that his talent was underappreciated?
Did he feel that his smooth, unscarred face ironically made him
a son less favored? Perhaps. But I have no doubt that my grandfather
found what he was looking for, if only for a short time. Not
in his jingles, poems or drawings, but in his children, and especially
in my grandmother: “And how I miss those kids. I don’t
believe it of me—I didn’t realize how much I would until
now—I’m really human and fatherly at last… My
darling—all the money in the world isn’t worth one
hour of separation—but only after you’ve been away
do you realize it.”

The distance between them seemed to clarify his feelings for
my grandmother in particular, to whom he had been married for
nearly twenty years. Oscar repeatedly expresses his unabashed
passion for her both philosophically and sensually. In one letter,
he writes, “A wife to me is an inspiration to share my
grief and to expound unto her the glory I find in a sunset—the
rapture I see in the outline of a mountain range at dusk—with
its peaks, cloudy with snow.” And in another,

The thrill of sharing the indescribable ecstasy of body with
body, of thought with thought, of soul with soul in a treasured
few moments of physical love—and then the heavenly calm
in each others arms afterwards, knowing the sweetness of each
other till the break of another day and to look forward to another
moment together—my heart or my arms could clutch you, as
near as my hands, my finger tips-touch you.

Some of the letters are so personal, so intimate, that I felt
a bit of a voyeur, not to mention envious of the attention my
grandfather showered upon his wife. I have always considered
myself a hopeless romantic, entranced as I am with 1940s melodramas
and brooding love songs. Maybe, I thought, I have finally glimpsed
the source. The genetic code runs deep.

But my grandfather’s epiphany about the importance of
my grandmother also seemed tied to his prescience about an early
demise: “The only thing that is certain is death,” he
writes, omitting the part about taxes. “But fate—Darling—you
figure it out—the way things begin—the way they develop—the
way they materialize—all like a pattern set and meant to
be—regardless of what we do—what we want or what
we feel is right—It just happens.”

And then, too, my grandfather repeatedly talked of his life
in narrative terms, possibly a way of distancing himself from
his intuition that the end was near:

Loneliness is a word I’ll never know to its fullest meaning
with our story—our story lives with me—every moment
it’s like a friendly hand touching my shoulder.
…You do love me darling, don’t you—? Never stop telling me—over
and over again until—

Until their story ended when Oscar died one New Year’s
Eve in my grandmother’s arms.

It ended, but my grandfather will not been forgotten. For wedged
among the letters was a telegram with a brief, strange, commanding
plea: “Remember my story.” And so I have.
His brother built soaring edifices, but my grandfather built
a family. His brother is known far and wide, but now I know Oscar.
And knowing him as I do, I feel much as he did when he wrote
to my grandmother all those years ago, telling her what her letters
meant to him:

To take them apart—I can see your writing them word for
word and thought for thought. Each little emotion is set just
like a precious stone in a rich setting—and they come to
me—sparkling.

 

Ona Russell holds a PhD in literature from UC San Diego. She writes and lectures nationally on the topic of Literature and the Law and is a published novelist.Her new historical mystery,The Natural Selection, will be released this spring from Sunstone Press. She lives in Solana Beach, California with her husband and has two grown children. For more information, please visit www.onarussell.com.

Self-Publishing In A Nut Shell

[img_assist|nid=684|title=Passin’|desc=|link=url|url=http://www.amazon.com/Passin-Karen-E-Quinones-Miller/dp/0446696056/ref|align=right|width=150|height=221]Conducted by Karen E. Quinones Miller
www.karenequinonesmiller.com

So you’ve poured your heart out on paper, and now you’re ready to get it published. Congratulations! But if you think spending months, or years, on a manuscript is hard, well, you ain’t seen nothing yet. Get ready for the really hard work. Publishing, and then SELLING your book.

Before you consider self-publishing, I strongly urge you to consider having someone do the publishing. There are two main options – large publishers (Simon & Schuster, Random House, Doubleday, etc.) small presses (Third World Press, Running Press, Camino, etc.). Do you need an agent to get into a mainstream publishing? You don’t need one, but it sure is helpful. How do you get an agent? Ask other published writers for their agent’s information. Go to bookstores and read the acknowledgement pages of books in the genre you’re writing. Most thank their agents. Contact those agents. Go to literary events where literary agents and editors are featured. And there’s also a book printed every year by Jeff Herman called “A Writer’s Guide to Book Editors, Publishers, and Literary Agents.” Buy it, or check it out in your local library. They all have it. And don’t forget the Internet. There are countless websites which have a list of literary agents.

Now if you’re going to go the mainstream publishing route, make sure you’re ready. DON’T contact an agent or editor until your manuscript is finished. When it is, you have to write a query letter and a synopsis and send it out with a cover letter. If the agent/editor is interested, they’ll contact you and ask for the first three chapters, or maybe even your entire manuscript. Then, hopefully, you’re on your way.

 

But if you decide to self-publish there are quite a number of steps you’ll have to take, and you should start readying yourself months before your desired publishing date.

First thing you should do when your manuscript is finished is get it edited. And I mean really edited. Get a professional editor to go over your book for structure, continuity, and character and storyline development. Your best friend, Laura, may have may have a Masters Degree in English, but it DOESN’T make her qualified to edit a book. Editors look for continuity, structure, character development and clarity, not just misspellings and bad grammar. Don’t skip this step, even the most experienced writers will benefit from good editing. I personally recommend Andrea Mullins, my former editor at Simon & Schuster who started freelance editing in 2001. Her email address is: Mandrea211@yahoo.com She’s good, fast, reasonable, and very supportive of self-published authors. I also recommend Marcela Landres, another S&S former editor. Her email addy is marcelalandres@yahoo.com Both of these editors are a bit pricey, but I think Andrea’s fees might be a little less expensive. On very, very, very rare occasions I also edit . . . remember, though, only very rarely. When I do agree to edit (and I do so only very rarely!) I charge between $2.25 and $2.75 per double-spaced page.

After your manuscript is edited, get it copyedited, or proof-read. That’s where someone reads the manuscript for typos, grammar, etc. I recommend you go through the process a minimum of twice, but three times would be even better. The most common complaint about self-published books is poor copyediting.

While your manuscript is being copyedited, get your ISBN. The cost is $250.00 for ten sets of numbers (their minimum) and you can obtain it online at www.bowkers.com You HAVE to have an ISBN if you want your book listed in Books In Print (and you really MUST get your book listed in Books In Print) and if you want it sold at bookstores, and I assume you all do. Which brings me to another issue . . . set your price for the book. You’ll need it when you go to get your EAN Barcode. The cost is nominal, usually under $30.00. I recommend using Bar Code Graphics, at 1540 Broadway in New York City. Their number is (800) 932-7801

Then get your cover illustrator. Very important, because once you have your ISBN and your cover done, you can start getting your promotional materials together.

Okay, now your manuscript is edited and copyedited. So now you have to have it typeset. You can do it yourself if you’re computer proficient, or you can pay for the service. I did mine using Microsoft Word.

Only after your manuscript is typeset can you really start shopping around for book printers, because it’s not until then that you have a hard and fast page count for your book. DON’T settle on the first printer you call. Prices vary wildly in the industry. Don’t put yourself in a position in which time becomes an urgent factor in choosing a printer. You’ll pay dearly for that mistake! Your printer should be able to get your book back to you in four to five weeks, but allow yourself six to seven weeks to be sure. Oh, and be sure when you shop for printing prices, that you get an estimate from them for delivery. Personally, I recommend two printers. Webcom in Canada . . . their web address is www.webcomlink.com and Hignell Printing also in Canada . Hignell can be found online at http://www.hignell.mb.ca/

Okay, while your book is at the printer, you should start getting your promotional material together. PUT TOGETHER AN IMPRESSIVE PRESS KIT. This will be the media and bookstores first introduction to your book. At minimum, your press kit should consist of a press release, a flyer with your book cover, an excerpt from the book, a synopsis, your bio, and your picture (5×7). If you have other promotional materials, such as bookmarks or post cards, include them also.

Then start your promotional machine running! Get a list of bookstores nationwide and send out your press kit. Go to local bookstores, personally, and introduce yourself to the managers, and see if you can set up book signing. Be shameless and thick-skinned. You’ll get a lot of rejections, but you’ll also get some acceptances.

You should also be trying to line up book distributors. Okay, for those who don’t know, book distributors are the ones who get our books out nationally, but they do so at a high cost. Ingram, the country’s biggest book distributor charges 60 percent of your cover price. Ouch! You weren’t expecting that? Even if you were to send the book out yourself nationally, you’d still have to give the bookstores 40 percent.

Book Distributors:

 Ingram Book Company
One Ingram Blvd.
La Vergne , TN 37086
(615) 213-5000
www.ingrambook.com
Actually, Ingram is only accepting titles from publishers with 10 titles or more at the moment. They will try and pawn you off to one of the smaller companies, and that’s cool – but only if you don’t have to sign an exclusivity contract!

Baker and Taylor Books
1120 Route 22 East
Bridgewater , NJ 08807
(908) 541-7000
www.baker-taylor.com

Koen Book Distributors, Inc.
10 Twosome Drive
Box 600 Moorestown , NJ 08057
www.koen.com

Culture Plus Book Distributors
(specializes in African-American books)
291 Livingston Street
Brooklyn , NY 11217
(718) 222-9307

A & B Distributors
(specializes in African-American books)
1000 Atlantic Avenue
Brooklyn , NY 11238
(718) 783-7808

Amazon
Amazon Advantage Program
www.amazon.com

Barnes and Noble Online
www.bn.com

Also, while your book at the printer, go to Kinkos and make up some book galleys, because when you send your press kit to the media, you’re hoping for book reviews, right? You don’t want to wait until your book is printed, because media wants to do reviews BEFORE the publishing date.

 

Now . . . you should have your books back from the printer, and you’re ready to get out there and get noticed, and sell a whole lot of books! Good luck!

Karen E. Quinones Miller’s latest novel is Passin’

The Room Where We Go in the Summer

A veteran’s story

 

I was sure you would live to be 90.

You didn’t smoke or have a chronic  disease. You waltzed around the kitchen table, tried Viagra, played cards, and nurtured your African violets. You began a publishing empire called the "Brown Envelopes" filled with jokes, war stories, and Reader’s Digest clips. You collected, copied and mailed  the Brown Envelopes every month to 50 friends, acquaintances and Army buddies.

You listened to Rush Limbaugh on the radio and barked at the anti-Republican news on TV. I disagreed with your politics ; never argued with your patriotism.

You counted your pennies but never skimped on good shoes, good food and good whiskey, certain these were the formula for a long life.

***

"The room where we go in the summer."

I see gratitude in your gray eyes when I realize what you mean: the porch. From beneath a plaid flannel blanket in January you remember warmer days. Days spent listening to Glenn Miller cassette tapes and sipping scotch from your command post – the rattan rocker on the porch where you dictated that the squirrels stay away from the birds and the stray cats scare away the squirrels.

I try to fill in the blanks of your memory and keep you safe while you wander the house at night looking for your identity.

Still at home, around the time you forgot how to dial the phone and use the toaster, you disappeared into your room. When you came out you carried your Sixth Field Artillery jacket and told me you wanted to be buried in it.

***

A giddy resident floats by in a wedding dress, awaiting her groom. Another totes an empty suitcase, circling the halls in search of an exit.

I looked at all the nursing homes near your home and this was reputed to be the best for Alzheimer’s patients. The walls hold 1940s movie posters and the televisions play Lawrence Welk. The closets are full of accessories for an octogenarian costume party – sequins, spats and suspenders that help the residents dress to regress. Smiling staff play along with whomever and wherever residents believe they are.

You would like this place, but there are no rooms available, and no time to put your name on a waiting list.

***

"Boy am I glad to see you . Let’s get the hell out of here."

I don’t know if you recognize me as your daughter, but my face is familiar in a sea of strangers. It’s your first week in the nursing home that was my second choice. You’re seated at a table full of women. Even here you are an officer and a gentleman, instructing the ladies how to color in the lines of the coloring books you were given for activity hour.

I push your wheelchair up and down the hall 20 times. When I stop at your new room, you insist you don’t belong there. So we keep walking. Your face lights up when a tall man shuffles by. "He’s one of our men," you beam.

You remind one resident, Alice, of her husband. Soon you two become inseparable.

When you go to the hospital with pneumonia, I ask the head nurse what we should tell Alice. The nurse advises me not to say anything because Alice is emotionally fragile. We don’t mention you to Alice. In a few weeks, Alice is 19 again and never met you.

***

A study of World War II veterans  found that moderate to severe head injury increased risk of developing Alzheimer’s disease. Another study found this risk increased if the head injury resulted in loss of consciousness.

You never talked about being injured. For years you told stories only about your assignment in the Fijis, making it sound like a tropical country club where you drank under the stars until you fell out of your hammock. When I took your Army jacket from your closet, I discovered your Bronze Star and Purple Heart stuffed in crumpled wax paper.

Your generation is being lost to a disease that will raid my generation as well.

For now, though, all I can do is whisper the words a weary soldier deserves to hear at the end of his long march.

"At ease, lieutenant."

Gloria Barone Rosanio is the corporate communications director for CIGNA Corporation, headquartered in Philadelphia. Before joining CIGNA, Gloria was a lifestyle writer and editor for various newspapers from New Jersey to Massachusetts. Gloria also spent three years as a political speechwriter for the New Jersey Senate. She lives in Medford, New Jersey , with her husband, Jim, and daughter, Kaitlyn, and is working on a children’s book and a biography of her hairdresser.

Everyone Knows Kurt Vonnegut but Me

[img_assist|nid=652|title=Bunny Envy, Marlise M. Tkaczuk © 2007|desc=|link=node|align=right|width=192|height=200]1. When I insisted that fixing my glasses with a welding torch was a bad idea, my grandfather asked if I’d ever read Slaughterhouse-Five by Kurt Vonnegut. The book, he said, was about an optometrist who’d made a fortune selling frames.

Deployed to Europe in the waning days of World War II, my grandfather spent his days in the service pushing a broom through Germany. I didn’t read Slaughterhouse-Five when he told me to, so I never thought to ask if my grandfather had passed through Dresden. If he had, he might have run into Kurt Vonnegut—or scouted out the slaughterhouse where the author and the first stirrings of his unstuck-in-time protagonist Billy Pilgrim weathered Germany’s worst bombing while the city burned.
More than likely, my grandfather never actually met Kurt Vonnegut.
But then again, maybe he did and never knew it.

If I’d read the book like he told me to, I would have at least known to ask.

2. It wasn’t until four years later that I finally got around to reading Slaughterhouse-Five, and even then it was only because a girl told me I might like it. Her name was Theresa Jones, and she got most of her books from a dumpster behind a bookstore. Except for their missing covers, the books were all in great condition, but poor sales had condemned them to an early death. The least Theresa could do was rescue the cult favorites and share them with the as-yet uninitiated.

Hence my first reading of Slaughterhouse-Five.

Hence my falling in love with language.

Hence my decision to major in English.

Hence eight years of graduate school.

Theresa’s coverless copy of Welcome to the Monkey House still bears a warning that reads: “If you purchased this book without a cover you should be aware that it is stolen property. Neither the author nor the publisher has received any payment for this stripped book.” So as she was welcoming me to the monkey house, Theresa was also robbing Kurt Vonnegut of his pocket change. If you doubt the gravity of this crime, consider this: had Theresa not gotten me hooked on Vonnegut, I never would have gone to graduate school, and the world would have one less over-educated yet largely unemployable doctor of the English language to worry about.

Maybe this is the real reason behind the prohibition against “stripped books.”

Maybe “stripped books” lead to harder drugs like “curiosity” and “critical thinking.”

And we all know where “curiosity” and “critical thinking” lead:
Straight to “higher education.”

Theresa might just as well have invited me into an abandoned house to shoot heroin with her—reading Vonnegut was that good. And in addition to mugging him, Theresa had also seen Vonnegut give a reading, after which someone asked for an autograph.

“No thanks!” Vonnegut said before quietly slipping away.

3. Since my fascination with Vonnegut had led me to major in English, I had no choice but to move in with my parents after graduation. By chance, a local writer named Jim Wronoski lived in their neighborhood. What impressed me most about Jim was that he’d met Kurt Vonnegut’s wife, the photographer Jill Krementz, and had given her a copy of his book, Knaves in Boyland. Not long after that, Jim received an email stating that Vonnegut had read the book and found it “very funny.”

At about the same time, I did the only thing I really could do with my English degree and enrolled in graduate school where I met two more people who had come within spitting distance of Vonnegut. The first was my officemate, Jeff Hibbert, who, like Theresa Jones, once saw Vonnegut evade an autograph hound with a simple “No thanks!” before quietly slipping away. The second was a former babysitter for Vonnegut’s youngest child. To earn money many years earlier, she’d gone to work for a service that provided babysitters for Manhattan’s elite, among whom was a woman named Jill who lived in a brownstone near Gramercy Park. When my friend arrived at the brownstone, Jill handed over her daughter and said that she and Kurt didn’t expect to be gone for too long. Then Kurt came down from his bedroom dressed for a night on the town, and the couple left my friend alone with their child.

4. So one of my friends had made Vonnegut laugh, and another had been entrusted with the well-being of Vonnegut’s youngest child. In addition to this, Theresa Jones had mugged Vonnegut for his pocket change, and my grandfather had (arguably) served with Vonnegut during World War II. And, of course, Jeff Hibbert had, like Theresa before him, witnessed a near-miss between Vonnegut and an autograph hound.

Clearly a pattern was emerging.

Clearly everyone in the world had met Kurt Vonnegut.

Everyone, that is, except for me—an impression that was reinforced one day while I was subbing at the school where my wife, Kerri, teaches. Since it was common knowledge that I was a graduate student and therefore a) had plenty of time on my hands and b) would do anything for a buck, I became the go-to guy for any of Kerri’s coworkers who happened to either fall ill or go on vacation. This was how I met a young high school student who happened to run into Vonnegut on not one but two separate occasions.

The student was visiting Smith College when her tour guide asked if she wanted to meet my favorite author. Upon accepting the invitation, the student was led to Vonnegut’s office where she shook hands with the man and said that she was a big fan of his work. Apparently this impressed the author, because when they met at a train station late the next day, he said hello to her.

“Wow,” I said when she told me the story. “What was he like?”

“Oh, you know,” the girl said. “About what you’d expect.”

I nodded my head and said I knew exactly what she meant.

But it was a lie. I had no idea what she meant. At the same time, though, I knew I couldn’t let on. Otherwise the girl would know my secret—that I was the only person in the world who’d never met Kurt Vonnegut.

5. The last straw came when I filled in for a science teacher named Priscilla Ryan. When she asked me to fill in for her, Priscilla mentioned that she was taking the day off to help her daughter shop for a wedding dress. What she failed to mention, however, was that her daughter was marrying Kurt Vonnegut’s favorite nephew. In fact, I had to learn this information second-hand when Kerri came home from work months later and informed me that while I was out walking my dog, Vonnegut was sitting in a chapel just blocks from my house watching his nephew tie the knot. Which meant that Priscilla Ryan didn’t simply meet the man or care for his child or make him laugh, but that she and Kurt Vonnegut were family.

6. So I’ve stopped telling people that Vonnegut is my favorite author—mainly because I’m tired of everyone telling me about how they’ve seen him or met him or made him laugh, or how they’ve given their daughters away to his nephews in marriage.

Okay! I want to scream. I get the point!

Everyone knows Kurt Vonnegut but me!

But I’m okay with that. Because not too long ago, Kerri and I took a train out to New York to see a production of King Lear. And during the intermission, I spotted a tall, thin man with wiry hair and a mustache standing alone in the lobby.

It couldn’t be, I thought, but every glance I stole in his direction confirmed my suspicions. This had to be the man who turned me on to reading, the author responsible for my love of language, the very reason I ended up in graduate school. So I made my way across the floor and tried to sound casual as I asked the tall, skinny man if I might be so bold as to say he looked exactly like Kurt Vonnegut.

“No thanks!” the man said—and quietly lost himself in the crowd. Marc Schuster has two works of nonfiction coming out in 2007. His monograph on Don DeLillo will be published by Cambria Press, and his study of the long-running sci-fi series Doctor Who (co-authored with Tom Powers) will be available from McFarland & Company. “Everyone Knows Kurt Vonnegut but Me” was first heard on WXPN’s “Live at the Writers House” in November of 2006.