Three Things, After a Long Absence

Can I see some ID?

I bought a pack of cigarettes for my sister a few weeks ago. The girl at the checkout counter, who was just a girl, likely still in her teens, looked at me sideways for a bit longer than is normal for that kind of transaction, so at looked at her back, waiting. She finally scanned the pack and said, “I almost carded you there….” Somewhat flattered and somewhat shocked, I said, in my attempt at charm, “Well, you got it right. It’s been a pretty long time since I was too young to buy cigarettes.” And she quickly replied, as if to immediately shoot down any confusion, “Oh, yeah [clearly meaning: obviously]. But we’re supposed to card anyone who looks under 40.” No longer flattered, and somewhat crushed, I said, “Oh,” looked away, and started to pretend something else had caught my attention as she finished ringing me up.

God damn you, father time.

Carver and Zoë

My immediate family came to visit this weekend. That includes my grandniece Zoë. Zoë and Carver love each other. It’s interesting, as a parent, to see. Carver thinks Zoë could walk on water. If she likes something, he’s almost set on liking it himself. When he sees her, he lights up. And it is just obvious to someone who has spent a huge amount of time around Carver that he thinks about her in a different way than he thinks about anyone else.

I’m not trying to say something ridiculous, like they are bound to get married, or something. First of all, they are first cousins once removed. Second, Carver is two and Zoë is six, they don’t think that way yet and we don’t think about them in that way. And when it comes right down to it, Carver would miss either of his parents more than he’d miss Zoë, but the friendship is special. There’s something about how kids relate to other kids that adults, no matter how fun and cool, just cannot match. And that’s better than fine.

The Road

Anne and I just finished watching The Road. Here are some of my thoughts:

(1) It was a pretty faithful adaptation of the book. With a few minor issues, some of which could be considered major depending on your viewpoint.

(2) Viggo Mortensen is a badass. He is the epitome of hardcore when it comes to acting. I love that dude.

(3) Anne thinks she’d take the route the mother did [SPOILER ALERT], which is to kill herself after the point when things get really bad. I like to think I’d stick it out and follow “the road,” clinging to hope. But who knows what one would do if things got really, really bad.

(4) Anne says she wouldn’t eat our dog. I say, you know, if you’re starving…

(5) Anne and I listened to the audio book of The Road when we took a road trip to South Carolina when Carver was a month old. During the movie Anne and I had a quick conversation about how the story is harder to bear now than it was then, because we have a child. We had a child then, but it was different. I figured that then the reality hadn’t really set in, and/or that it’s harder now because Carver is more of a person, with his own personality, than he was then. Either way it is true, and tells me something about love.

I love my son more than anything. Not to be flip, or silly, or spout some sort of cliché, or whatever, but I didn’t know what love could mean until Carver came along. I love my wife, and my family and dear friends, and have loved past girlfriends, and (particularly with my wife and past girlfriends) at various times I’ve felt I’ve loved them so much that I’d die if something ruined that relationship. But seriously it doesn’t even compare to how I feel about Carver. While it’s hard to think about and accept, I think if anyone I cared about other than my son died I’d be very, very upset, but I think I’d recover eventually. I’ve suffered that kind of loss before, and it’s awful but I can take it. But if something happened to Carver…I seriously, from a very informed perspective, cannot even imagine being able to go on.

And all of this informs my reading/listening/viewing of The Road. And let’s just say that the story is hard to take.

Also: I don’t think I ever fully appreciated what my parents felt about my sisters and me. When I think about how they probably think (or at least thought) about me the way I think about Carver, it makes me wish I were much, much nicer to them.

(6) The story also, I’m somewhat ashamed to admit, makes me think that maybe those survivalist crazies aren’t so crazy. Of course I don’t mean those who think our government is out to get us, or those in the town I grew up in who thought they needed to arm themselves to the teeth during the LA riots because all the brown people from the city were going to storm our fair (literally, in one respect) enclave of privileged racists. But if something horrible happens and you want to protect those that mean more to you than everything else in the world, how frustrating would it be to not have an extra $10 in ammunition when you’re left with two bullets in your revolver?

Jolene and Suicide

[Soundtrack for this post: Ray LaMontagne’s Trouble]

I saw Ray LaMontagne perform last week. He was awesome, as usual. He mentioned how he was on Elvis Costello’s TV show Spectacle. He said that Elvis said Allison was a song that still resonates with people, and that Elvis suggested that Jolene was a song of Ray’s that might have the same qualities. Ray then played Jolene and I came close to tearing up.

Jolene

Jolene is almost certainly in my High Fidelity -like “top five songs of all time,” and it has a shot at being #1 with a bullet. I’m obsessed with lyrics, so most of what affects my opinion of a song is what the words say. I love many of Ray’s songs, but there’s something about the storytelling quality of Jolene that really does it for me. Take Shelter as an example in contrast: a great song, a song I love and is Anne’s and my “song,” so to speak, I love it, it is beautiful, but I don’t see anything when I hear it. Jolene is different.

With Jolene I can see the coatless man, smoking his cigarettes. I can see his pain. As with many songs, I insert myself in the role of the protagonist. I am Jolene’s man. I can see the picture of Jolene holding a picture of me, it’s cracked and faded from spending so much time in the pocket of my blue jeans—I can see it in my filthy, cracked, and shaking hands. I can see myself and feel the pain of the man who has woken in the ditch, with booze in his hair and blood on his lips. I know exactly what he means when he says a man needs a nine-pound hammer or a woman like Jolene. It’s a magnificent song about love and loss. I love it so much I easily forgive the mispronunciation of Spokane, which is saying something.

Maybe it’s the mention of eastern Washington, or the drug use and boozing of what I assume is a blue collar man, or the name Ray, but the song reminds me of Raymond Carver and his stories of working class love, drug use, and drinking.

Something about it makes me want to be the strung-out drunk who wakes up in a ditch with booze in his hair and blood on his lips—something about the pain on display that can’t be ignored, a pain that shows up in such an obvious and devastating way. It’s a physical manifestation of feeling, even if AA would say what he’s trying to do is not feel. [n.1]

But of course I can’t be the Jolene man now. I have a wife and a kid. I can’t be coked out and passing out in ditches, coatless. I now have responsibilities that affect others. But I’ve felt that way for the last dozen years.

My parents lost a child in 1997, one of my sisters, and it was undoubtedly the hardest thing either of them have ever had to deal with. I determined that they, my mom in particular, could never handle another blow like that. Which means that I have to do what I can to stay alive, for them, and now for Carver too.

Suicide

I have no problem with suicide. I used to. I used to think that it was a cop-out, a way for the weak to avoid struggle. But I don’t feel that way anymore.

I am not a religious man, and am pretty dubious when it comes to any sort of afterlife. So if someone’s life sucks and causes him nothing but pain, I don’t see why he should be chastised for calling it quits a little early. Maybe that’s hard on the people that get left behind, but that’s their problem. Staying alive for the sake of others is a strange idea in at least one way: if you hate life and want to die, why do they so want you to live to suffer more pain? Can their wants be anything other than selfish? [n.2]

Regardless of what I said in that last paragraph, I am one who will always do what I can to live for others. I want to live for me too, but I also want to live for my family. The idea of my son growing up without his father is something that I can’t even think about without nearly gagging with disgust. And I am not willing to take responsibility for my parents losing another child.

I had a discussion with a psychiatrist a few weeks ago about suicide. I had explained to her how I had basically led a rather charmed life, loaded with opportunities (relatively). She asked why I thought I might be so unhappy considering that I just said I was lucky in the life department, and I responded, I shit you not, by saying “Well, people are complicated.” As if she needed to be told. I then went on to talk about David Foster Wallace.

Dave Wallace was a writer of massive acclaim and much (relative) celebrity. He was also wicked smart, to the extent where I have no problem conceding that he was way, way, way smarter than me, which is not something I concede very often. He also had a history of depression. Dave Wallace was famous, brilliant, incredibly talented, had a rather large cult-like following that undoubtedly included beautiful groupies who would do his every bidding, had a very desirable teaching gig at a fancy liberal arts college that required little more than he be himself, et cetera, et cetera. And in September of 2008 he hanged himself with a belt from his back porch. [n.3]

The psychiatrist’s question, which was undoubtedly asked more to see how I would respond rather than in an attempt to be unpuzzled, applies to Dave Wallace at least as much as it does to me (almost certainly much more so). I don’t think I have a better answer than “People are complicated.” Depression is complicated too.

Note 1: Or so I’ve been told.

Note 2: This is true, if it is at all, only when the suicide is well considered; a teenager blowing his brains out because a girlfriend dumped him is a different matter.

Note 3: In David Foster Wallace’s magnum opus, Infinite Jest, there’s a scene where one of the students at the tennis academy where much of the story takes place confesses his obsession with having his picture show up in tennis magazines. The sweat-licking [n.3a] guru to whom he is confessing basically ruins his dream by telling him that people who get that fame do not really enjoy it, and in the end their horror becomes a fear of the day when they no longer show up in magazines. Some have speculated that Wallace was working hard to surpass Infinite Jest but that he recognized there was a real chance that he never would. Need I elaborate?

Note 3a: Literally.