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Posts Tagged ‘vignettes’

He Was My Closest Friend

March 11, 2014 | by

The second of five vignettes.

Shel-1

Photo: Larry Moyer

He lived alone in various houses, and moved from one to the next in response to no discernible stimulus. I assumed that, at some point, he felt it was just “time to move.”

He had lost his first wife, and their young daughter to cancer. And he told me that the terrible thing was not that they were dead, but that they stayed dead. I thought of it often, and think of it oftener since his death.

I’d had a cold and was sleeping in the little guest cubby in the eaves of the attic, and I woke up with an intolerable pain in my chest.

I knew I was dying, and thought, Well, this is a heart attack. It subsided, and I went back to sleep, only to be struck, again, some time later. The next morning a mutual friend called to tell me that Shel had died the night before of a heart attack—in fact, of two heart attacks, some minutes apart.

My wife sent me to have my heart checked out, and its only defect was that it was broken. Read More »

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The Man with the Companion Animal

March 10, 2014 | by

This week, we’re presenting five vignettes by David Mamet.

Unknown_man_by_I.Makarov_(1880s)

Detail from Ivan Makarov’s Unknown Man, c. 1880s.

The fellow down in the front row of the auditorium was around my age. He was massively obese, and he was overdressed in many layers of wool. He held an oversized pet carrier which, one presumed, held a large dog. He was permitted to carry the dog to the concert, then, as it was designated his “companion animal.”

What did this mean? That his mental state was such that he could never be without his dog. The dog was his security totem.

But it was in a bag. And his look was furtive. He glanced right and left, never making eye contact, as he settled himself into his seat. What was he looking for? He was looking for nothing. He was merely drawing focus. It was a performance. He was performing exemption. The pet carrier was his badge, and it indicated he had been certified as exempt, and so, beyond criticism.

But one saw that he felt he had also been certified as pathetic. He had traded his self-respect for a societal indulgence, and he loathed himself for the choice. He was caught, for the daunting price he thought he had evaded in adolescence—that of matriculation into the mature world—was still being paid at age sixty.

He was a man without friends. How do I know? He was at the concert accompanied by a dog in a bag. He loathed his life. He had, perhaps, at some point, been “injured,” who has not? And he suffered as he’d never found someone or some idea from which he could take courage. I felt I was looking at myself.

David Mamet is a stage and film director as well as the author of numerous acclaimed plays, books, and screenplays. His latest book is Three War Stories.

 

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