October 15, 2012 First Person In Search of Lost Time By Anna Wiener It is, all told, a strange summer. Down the street from my apartment, children play inside of plastic bags. Glaciers shed ice the size of Manhattan. Scientists find that sharks smell in stereo. Horoscopes are cited as primary sources at social gatherings. Restlessness flows. For three consecutive nights I dream exclusively of vacuuming a garden snake. On a Sunday afternoon I detour from fondling impractical kitchenware at Pearl River Mart and go where I go when I need to stop time: to visit my grandfather at his loft on West Broadway. He is eighty-four, a sculptor, a Southerner, tall and round bellied, deaf in one ear from an adult case of mumps. His face bears an impressive mustache and bifocals as large and wide as safety goggles. Alzheimer’s is smoothing the lines of his memory, a stone turning in water. He has lived in this apartment since 1970, and from what I can tell it has hardly changed; it could easily be a soundstage from an early Woody Allen film, with its leather seats shaped into dripstones by decades of party guests, its ceramics and abstract art, the copy of Joe Brainard’s I Remember that had taken up permanent residence in the bathroom long before it carried any personal symbolism. The front half of the loft is still a studio, with a meticulously labeled array of tools and materials, despite the fact that these days my grandfather is physically, psychically unable to work. For the last few years I’ve kept keys under a conditionality: just in case. In this case it only means that I let myself in. “What are you up to today?” I ask my grandfather, to which he replies, “Just trying to have a brilliant idea.” Read More
October 4, 2012 First Person Meeting Joan Didion By Lucy McKeon Each Sunday, we would walk down Lexington together, the conversation taking the tempo of our steps: slow, meditative, purposeful. She’d always be in immediate need of a coffee, so we would head for our café. The one on Seventy-something, a fifteen-minute walk from her place. We would never spend too much time in her apartment beforehand. I would go up to get her, maybe sit in her kitchen for five minutes while she got her things together, keys jangling, and we’d leave. I would try to take in the walls of books, visually inhaling the pillows collected over years and continents, and those curtains—thick buttery beige, like icing. Framed photographs from the seventies—the nuclear family—lining the bookcases, soaked in that sunny filter of the era, then sun-soaked again by the morning light. At the café, we’d speak of her writing, about what she was working on, what movies we’d each recently seen and if they were any good. If we’d spotted any celebrities downtown, we would share what they’d been wearing and she would tell me her dreams. We would sometimes order two scoops of vanilla ice cream to share, and she’d urge me to finish the last bite. If conversation lagged, I might tell her I felt a West Coast phase coming on. She would read my writing and tell me what was good and what wasn’t (she’d never say anything like she “saw great potential” in me—nothing like that, nothing that might threaten eyes to roll). She’d advise me as a professional equal and as a child, which is exactly how I would feel sitting across from her, two times her size and one-third her age, her books overstuffing my backpack. “You don’t think in terms of suddenly making it,” she would tell me, remembering when Play It as It Lays first came out. “You think you have some stable talent that will show no matter what you’re writing, and if it doesn’t seem to be getting across to the audience once, you can’t imagine that moment when it suddenly will.” I would nod. “Gradually,” she’d add, “gradually you gain that confidence.” She wouldn’t always be nice to me. She might be in a foul mood and take it out on me a bit, but then she would always be fair. That’s how I’d know she was taking me seriously. I would be aware then, I wouldn’t have to wait until I was older to recognize, that this acknowledgment, this leveling, was more valuable than anything else. Her secrets would be my secrets, and mine hers—in so much as people share their secrets. Keepers of private notebooks are a different breed altogether, she’d say knowingly, eyeing the stacks of journals overflowing my lap, lonely and resistant rearrangers of things, anxious malcontents, children afflicted apparently at birth with some presentiment of loss. I would shrug and scribble a note or two. I’d learn her way of being, how she took up space. How she liked her eggs, where she’d sniff after words and what that meant, which was her favorite linen dress. And I’d learn to sketch maps of her intellectual processes. I suppose she would learn mine as well. She had many friends, of course, so it wouldn’t be like I was giving her something to do. She would meet with me for some other reason, one that would never be entirely clear to me. Years later, I would still wonder. Read More
October 3, 2012 First Person Letter from a Haunted House: Part 1 By Amie Barrodale I rented my apartment, a large studio on the top floor of a three-story house listed in the National Registry of Historic Places, sight unseen, through Craigslist. When my mom asked me, months later, for its address, I had to do a Google search. Among the results was a mention of my place being haunted. I didn’t click on the link. I did mention it to my husband, Clancy, in passing. On the day I moved in, without giving it any thought, we started to refer to one storage space—there are three, two low-ceilinged ones on either side of the pitch-roofed room and one closet—as “the bad area.” We had barely walked in, we (at least I) had forgotten the ghost, and here we were—“the bad area.” In fairness to the rational-minded, the bad area was just that. It had a white door on hinges that came to my chest. The floorboards were unfinished. Brown insulation fiber had come loose in the ceilings and was all over the floor. It was dusty and full of cobwebs. An industrial, kevlar-and-aluminum fire-escape ladder was in one corner. The previous tenant lived here three years. I don’t think he swept in there one time. I don’t think anyone did. (The other storage area was half open, clean, with finished floors.) Read More
October 2, 2012 First Person Paranoid Mazurka in C-sharp Minor By Angus Trumble Before Uncle David’s funeral out at Springvale more than a decade ago, I had no idea that his only daughter, my cousin Janet, who was the youngest of our late mother’s bridesmaids, and in later life nobly accepted the charge and responsibility of being my godmother, served also as a junior member of the staff of the Australian Security Intelligence Organisation, briefly pursuing a career in counterespionage, and that, at one point in the early to mid-1960s, Cousin Janet covertly tailed a relatively low-level visiting delegation of lumpen Soviet officials when they traveled north by train from Spencer Street to find out all about certain improvements in animal husbandry at the annual Wangaratta Agricultural Show, or such, at least, was the dubious pretext of their expedition, a task of surveillance that would have been much easier if Cousin Janet had spoken any Russian, although she may have been issued with advanced tape-recording equipment or a microphone and a powerful miniature radio transmitter that, concealed inside the bodice, trench coat or handbag, might well have captured for the benefit of more specialist, fluently Russian-speaking analysts in Canberra any stray but pertinent snippets of conversation, the evidence perhaps of sinister Soviet connivance with local fifth-columnist elements, a cadre of enemy operatives bent upon the destruction of the Commonwealth, or else the activation of a communist mole in the Riverina, even, I daresay, a dirty-tricks campaign in respect of the distribution of prizes for dairy cattle and other livestock or maybe cake decoration, the better to sow bitter seeds of discord in an otherwise harmonious rural community hitherto committed to free enterprise and untouched by the dead hand of international socialism or various subtler forms of Kremlin-sponsored Marxist-Leninist ideology, as deeply improbable as any of these scenarios admittedly now strikes one, although it should be remembered that back then the cold war was mighty frigid, and the membrane separating just suspicions from total paranoia was quite porous, so I have no doubt that Miss Wilberforce—for this, I gather, was one of the aliases adopted from time to time by Cousin Janet’s ASIO controller in Melbourne, a gray-cropped spinster lady with somewhat gruff but otherwise impeccable manners and certainly a great deal of common sense, from whom Uncle David boldly sought personal assurances in the beginning that his beloved only daughter would never be put in harm’s way, assurances that Miss Wilberforce politely regretted she could not possibly give, except to state with firmness that every measure would be taken to safeguard each and all of her personnel in the discharge of their important intelligence-gathering duties—Miss Wilberforce, I am certain, would have taken just as seriously the protection of Australia’s pastoral industries against any foreign threat, in Wangaratta no less than in Cunnamulla, Read More
September 26, 2012 First Person The Jewish Vicar By Jon Canter An old Jewish man is hit by a car. As he lies in the road, dazed and bleeding, a woman rushes over, takes off her jacket, folds it, and puts it under his head. “Are you comfortable?” she asks. “Meh. I make a living.” I was eight when my father told me this joke. I wasn’t sure I understood it. Jews worried more about making a living than being run over. Was that it? One thing I was sure of was that the road was in Golders Green, in northwest London, where I grew up and was bar mitzvahed. Golders Green made me. Jews made me, with their jokes and their food and their pride and their warmth and their anxiety and their love of scholarship. I cannot be unmade, even though I haven’t been inside a synagogue since my bar mitzvah. How far can you go from Golders Green and still be Jewish? Read More
September 18, 2012 First Person Letter from Portugal: To a Portuguese Nun By Sadie Stein Around the sixth day of my trip to Portugal, I forced myself to accept the fact that I would not be returning home with vast quantities of convent-made lingerie, replete with handwork and bobbin lace. Not, I assure you, for lack of trying. When something doesn’t exist, as a hundred thousand visitors to Loch Ness will tell you, finding it makes for very tough work. Why the obsession, you ask? Well, I will tell you. First, I happened to reread Rebecca just before we left. Do you remember when Mrs. Danvers shows the narrator Rebecca’s exquisite nightdress, folded and left waiting for her in a silk case? “Here is her nightdress … how soft and light it is, isn’t it? … They were specially made by nuns of St. Claire.” This alone would have been enough to fire my imagination: this one garment, after all, serves as a symbol of Rebecca’s unattainable perfection: delicate, beautiful, worthy not merely of the most exquisite things but of the work it entails. Somehow both ethereally pure and erotically charged. A sex goddess blessed by Brides of Christ. No wonder the nameless narrator is intimidated. Then, flipping through D.V., I ran across the passage wherein Mrs. Vreeland describes her London lingerie atelier: The most beautiful work was done in a Spanish convent in London, and that’s where I spent my time. There was a brief period in my life when I spent all my time in convents. I was never not on my way to see the mother superior for the afternoon. “I want it rolled!” I’d say. “I don’t want it hemmed, I want it r-r-r-rolled!” And a conviction grew in my breast: I would return to New York with a wearable piece of the Old World. Read More