Susceptible to Alcoholic Stories

I'm reading Kristi Coulter's book of personal essays Nothing Good Can Come From This and I recommend it with only one caveat.

First the recommendation. Coulter is a good writer who can make serious and humorous work within the same essay, often within the same paragraph, sometimes she pulls it off in the same sentence. Her voice is honest and strong. She does not preach. If anything, she might be a bit too self-deprecating but uses it to good humorous effect. The pieces are of varying lengths and that turns out to be one of my favorite attributes of a good book of essays. David Sedaris's Calypso had some of that, but I'm especially fond of Coulter's use of the short essay within this book. Her pacing and storytelling are spot on. It's a good, good read that she has crafted.

Now the caveat: you may come to think you're an alcoholic. Or maybe that's just me. Often when reading stories of alcoholics — and for all sorts of reasons I love to read stories of alcoholics — I become convinced that I am one of them and consider getting myself to a meeting. Then I come to the conclusion that I'm not an alcoholic and that mostly I want to observe an AA meeting because they fascinate me. Using imagined alcoholism to get into a meeting sounds even more pathetic than I'm usually willing to be so I dismiss the idea.

Dismissing it gets me thinking that I'm probably just rationalizing my own alcoholism or trying to imagine it away. Then I think that's ridiculous and I'm fine, but there's no way to say "I don't have a drinking problem" that doesn't lead everyone to scrunch up their faces and say, "yeah, you do." This gets me wanting to go into excruciating detail about my drinking and explain every bit of it. Not that that sounds defensive. No, not at all. Don't worry, I'll spare you all that.

I suppose just thinking about this is good for me in the same way that I think about depression while still believing that if I suffer from real depression it is of the mildest kind. Writing about whether I may or may not be alcoholic here in public feels like a mistake, but as Neko Case sings, "I do my best, but I'm made of mistakes." Besides, much of the appeal of Coulter's book (and most any good memoir) is reading about someone's mistakes. It makes me feel as though I'm in a bigger club than the one I often feel I'm in and which has only a single member.

Nothing Good Can From This applies to me trying to explain how I do or don't suffer from alcoholic tendencies, but it might be a misnomer for the book from which flows a fountain of good things. If you'll excuse me, I'm going to go back to reading it and drinking a cup of black coffee. I may wonder if the coffee is so I can feel like I'm at a meeting, but that will only last a few moments into the reading because, like I said, this book is good.

Go to your local bookstore right now and buy it.

Possessing Harriet at Syracuse Stage

Went last night to Syracuse Stage to see the world premiere of Possessing Harriet. It's just good to attend the theater, to see actors working in person, and to be largely uninterrupted for almost two hours. My youngest daughter and I attended the show and it was good, had us talking afterward, and will have us still thinking about it today.

The show is described in this way:

In 1839, Harriet Powell, a young, mixed-race, enslaved woman slips away from a hotel in Syracuse, New York, and escapes from the Southerner who owns her. With the aid of a mysterious free black man named Thomas Leonard, Harriet finds temporary safe harbor in an attic room at the home of impassioned abolitionist Gerrit Smith. With the slave catchers in pursuit, Harriet spends the hours before her nighttime departure on the dangerous journey to Canada in the company of Smith’s young cousin Elizabeth Cady, an outspoken advocate for women’s equality. Confronted with new and difficult ideas about race, identity, and equality, and with confusion, fear, and desperation multiplying, Harriet is forced to the precipice of radical self-re-imagination and a reckoning with the heartrending cost of freedom.

It was a good show, but I hope it will change and grow as it is produced elsewhere. There was more speech making than I would have liked and I kept being reminded that I was watching a play. The medium made itself too apparent when I wished to be enmeshed in the story.

That said, I recommend the show as a reflection not just on our past but as a reminder of the discrimination based on race, gender, creed, and more that is as prevalent today. As was the case with abolitionism, these things are not discussed enough in our parlors because they are deemed impolite and impolitic. The show, without reaching, is commentary on our current situation and the disaster of our current leadership.

Possessing Harriet reminded me that believing something is wrong and doing something to make it right are very different things. It had me feeling some shame for not doing more.

Where Books Come From

When I'm really reading, when I read for days and weeks and it's so good I don't ever want to stop, the books come and come to me. Where they come from is no real mystery. They come from out of the blue. Out of the radio and newspaper. Out of one book and into another. Out of the library. Out of the mouths of friends. Books I've ordered arrive in the mail. A friend leaves one in the mailbox. The note says something like, this made me think of you. Books stacked on my wife's desk have titles that call to me. At coffee a friend has a book I really must read. Books arrive from the past because space is curved and all things return after we read them. Reading one book I try not to think of others. I write quotes on sticky notes, in my notebook, between dates on my planner's pages. I dog-ear library books, God help me, and leave pencil dots near quotes that whispered to me. You see, I know where books come from. It's all magic. A trick in which a magician reaches into a dark place that isn't her hat, and pulls out something not quite a rabbit. The ears seem like pages and the magician's fingers are stained in ink. I stand and applaud, hoping she will hand it to me and I can begin to read.

Survival Mode

I'm a fan of low-bar goals I get over easily. Usually, I clear the bar with room to spare. I've set a goal to do ten push-ups a day. Totally easy. There, I just did them. Goal met. Here's the thing: I'll likely do ten more because it's so easy. If the bar is set at one hundred push-ups a day, I'll probably end up doing none.

Your mileage may vary.

My goal on the job is to survive. I'm not a fan of that. Survival is the sort of thing that should be taken for granted. I'm trying to stay afloat as the water rises over my head. I have to survive because this is the job that pays the bills.

Maybe your job is similar.

I talk to students about the difference between a job and work drawing the picture I've posted up top. We do a job for pay and health insurance, the necessities. Work is the stuff we need to do. Not doing our work leaves us empty. My job is teaching high school. My work is writing. The sweet spot is a job doing good work, what Donald Hall calls Life Work.

Students ask if teaching is my job or my work. I say, I'm a teacher who writes but wish I was a writer who maybe teaches. I close my eyes, sigh, and say, that's my wish.

To speak up is not about speaking louder, it is about feeling entitled to voice a wish. We always hesitate when we wish for something. In my theater I like to show the hesitation and not to conceal it. A hesitation is not the same as a pause. It is an attempt to defeat the wish and put it in to language, then you can whisper but the audience will always hear you.

-- Zofia Kalinska, qtd in Things I Don't Want To Know by Deborah Levy, page 10

I don't wish to survive. I wish to write, but I don't know how to do that yet so I do both work and a job. I don't see how the work can pay the bills. I fail to believe I can pull that off.

Deborah Levy has figured it out. She is also a spectacular and brave writer. Here is how her book Things I Don't Want To Know begins and ends:

That spring when life was very hard and I was at war with my lot and simply couldn't see where there was to get to, I seemed to cry most on escalators at train stations. (page 1)

I rearranged the chair and sat at the desk. And then I looked at the walls to check out the power points so I could plug in my laptop. The hole in the wall nearest to the desk was placed above the basin, a precarious socket for a gentleman's electric razor. That spring in Majorca, when life was very hard and I simply could not see where there was to get to, it occurred to me that where I had to get to was that socket. Even more useful to a writer than a room of her own is an extension lead and a variety of adapters for Europe, Asia and Africa. (Page 111)

I don't have it figured out and I'm not yet especially spectacular or brave. I don't have a book that begins or ends other than the one I'm writing one essay, poem, and story at a time. I need a good extension lead, a hole in the wall, and just the right adapter for whatever powers me. Then I have to keep doing good work regardless of my job. It's that simple and yet I can't yet even imagine where I might get to. The bar seems far, far too high.

---

A few other quotes from the book:

If I thought I was not thinking about the past, the past was thinking about me. (110)

This strange memory in turn reminded me of a line from a poem by Apollinaire....'The widow opens like an orange.' .... I did not know how to get the work, my writing into the world. I did no know how to open the window like an orange. If anything, the window had closed like an axe on my tongue. If this was to be my reality, I did not know what to do with it. (109)

...but I couldn't work out what I was trying to say. I knew I wanted to be a writer more than anything else in the world, but I was overwhelmed by everything and didn't know where to start. (101)