Homewreckers

I wasn't afraid of the typical stuff, as a kid. A girl in my Brownie troop lived half a block from a cemetery, and we'd ride our bikes through the place and admire the more ornate headstones, sitting on the ones that had benches, distributing the tiny weedy daisies that grew in the lawn on the plots that seemed wanting. I had no worries about ghosts. I don't plan to be buried, but I figure you could do worse than to have a couple of dopey third-graders disrupting your Eternal Rest while wobbling around on their Schwinns and reciting selections from their favorite Bill Cosby albums. (Heather Lerwick--where are you now? If ever you Google yourself, surely this will be the weirdest hit!)

But I wasn't fearless. Oh, I had very specific and deeply held anxieties, over which I lay awake in dread on many a night. Would you like to hear about them? The three things that haunted my dreams and stirred me to helpless panic? Come scootch over here real close, and look upon the first face of terror:

That guy. That guy!

What is the deal, with the Cat in the Hat? Come on, he is PETRIFYING! He just shows up, while your mom is away, and she didn't even lock the door so he just COMES IN and starts WRECKING the place. Balancing shit! Spilling shit! Letting a pair of Things run amok! Strewing wanton chaos and mess in his wake!

Okay: my mom was a compulsive neat freak, taking her own anxieties out on dirt with furious aggression. We wiped out the sink after each use, played with one toy at a time, and knew to open the fridge with a sleeve pulled down to prevent fingerprints on the handle. She's mellowed considerably since then, thank Prozac...but there was a time when the slightest mess provoked her displeasure, and if mama ain't happy...well. Cat-induced mayhem boded ill.

And so at a tender age I was vaguely afraid of the Cat in the Hat, worried he'd show up to get ME into terrible trouble some rainy afternoon. (Although this line from the Wikipedia plot summary is splendid: The Cat's antics are vainly opposed by the family pet, a sapient and articulate fish.) On some level, I understood that a gigantic, bipedal, English-speaking cat sporting a stripey chapeau was...unlikely. (Thank heavens I wasn't subjected to Mike Myers's mutant visage as a kid; that gives me nightmares now.) But I soon had new demons to dread:

AAAAAAAAAAHHH! Laurel and Hardy! Coming with pickaxes, yet, to DESTROY YOUR HOME. (Yes, Mecklenburg, I can hear you laughing from here.) They were a silent menace that played on an overhead screen at the local Shakey's Pizza, accompanied by jaunty-funereal organ music as they smashed china and furniture and upright pianos to smithereens. Laurel and Hardy were real, if consigned to the realm of Olde Things, and I found them completely terrifying. All right, all right: the Cat in the Hat was a drawing...but these two maniacs could still possibly appear on your doorstep and tear the house down around you, giggling wordlessly, blinking their tiny black evil eyes. Laurel and Hardy: shudder. In a college film seminar, I had to watch "Big Business," and was hard-pressed to explain why I was peeking through my fingers in American Film Comedy. Not funny not funny not funny. Not.

Even less funny? Ohh, dude. Look at THIS:

OH MY GOD, NO. I was nine years old when 1941 came out, probably old enough to know better...but holy mother, look at that poster. That particular poster, in the back of some comic book or magazine I had, scared the bejesus out of me. SO MUCH DESTRUCTION. They are FIRING UPON the amusement park! Normally a fun place! They're blowing up the movie theatre showing DUMBO! That house, at the end, ruined and pulverized and pushed off the cliff into the sea! Merry Christmas! Ha ha ha! Wheeeee!

Oh dear lord, I could not handle it. Still can't; never seen it all the way through. The whole reason I started this post was because this blasted-ass terrible movie popped up on cable this evening, and I was lulled into false complacency by the merry jitterbugging in the USO. Before they SMASHED THE ENTIRE TOWN TO FLAMING SMITHEREENS, and I realized what I was watching and fumbled for the remote, whimpering into my mac and cheese. Not funny!

Also, now I am prone to wondering if there is a homeowners' insurance clause for Wanton Cinematic Mayhem. Acts of Laurel and Hardy?

OverPowelled

Rose City, part II.

I'd set aside my Saturday in Portland for touristy crap, which may or may not be the kind of touristy crap the average tourist anticipates. The hotel was a scant few blocks away from the Portland Saturday Market, a nearly year-round cavalcade of artists and buskers and food booths that sounded promising...but on my way there I stumbled across Voodoo Doughnut, an establishment I'd already seen profiled at least once on t.v.

Voodoo Doughnut is an extremely...alternative donut shop, which will also marry you should you request or require it--they have a sliding scale of ceremonies with or without donuts. They are also famous for their outrageously indulgent donut toppings, like breakfast cereal, or bacon atop a maple bar. They are also also famous for their snickeringly provocative donut names. When I got to the front of the long line, I just pointed at the one I wanted, twirling around in its glass case: chocolate cake donut, with chocolate icing and Cocoa Puffs on top. The clerk sang out its name for the benefit of all: "One Triple Chocolate Penetration," she shouted, causing the man behind me to erupt in astonished/alarmed giggles. Probably I should have turned around and chatted him up. Do you come here often? Anyway. The donut was hilarious in concept, if fairly ordinary in execution; cereal atop a donut apparently gets damp/stale quickly. I will have to return to assess the bacon maple bar on its own merits.

On to the artists' market. It was kind of a gloomy, overcast day, so I'm not sure how representative the booths I saw were...but there was a little more of the patchouli-and-B.O. crowd going on than I tend to prefer. I did spend some time lingering over an artist's psychedelically colored pen-and-ink rendering of Johnny Cash, flipping the classic bird. I would seriously hang that on my office wall, so it's probably for the best that I didn't have $30 cash on me. Oh well.

And then: I noticed the first of what were ultimately several stained-glass artists' booths. Oh dear. I have only mentioned obliquely, I see now, what my father did for a living--he designed and built custom stained-glass windows for nearly 30 years. Took an extension class at the local community college when I was a little girl, and built an entire business and a considerable reputation from it. He put windows in businesses and churches, in Street-of-Dreams houses and in McMansions for people with more money than taste. It always amazed me, that my dad, who if we are being honest was strapping and kind of loud and prone to fart jokes and could potentially be classified by Jeff Foxworthy as a redneck, had ended up making a living this way: this delicate, translucent, elegant art form. It was a secret in plain sight, a hidden depth that I saw him practice every day but that I was not smart enough, not soon enough, to ask about.

This is a prelude to my saying that, for several years, Dad had been a presence at the Vancouver, Washington farmers' market on summer weekends. He loved the intrigue of bickering with the market's governing board--oh, man, the epic wrangling over choice booth real estate, insanely boring and what I wouldn't give for a fresh earful...but more than that he lived to banter with the teeming hordes. He couldn't have been making serious income just from the suncatchers and the metric ton of glass marbles he sold out of a couple antique gumball machines, but he used the attention to secure larger commissions. Dad was a salesman down to the bone, a cheerful master of wearing you down with corny patter until you succumbed: to buying whatever it was, to forgiving him something, to being his friend for life. I never went down to Vancouver to see him in action, but I didn't need to. I knew exactly how he would be.

Except maybe, too late, I did need to see it, because I stood there in front of some random person's booth in Portland, hyperventilating, throat tight. There were suncatchers and kitty-cat potholders and, I don't know, blown glass bongs arrayed all around me, and hucksters everywhere manning their tables, hamming it up, messing with the crowd in genial booming voices, and for a minute I thought I would have to run. Knocking over incense burners and bags of organic dog treats, crashing through the line at the falafel stand. My heart hurt.

It helped when, after considering for a moment, I decided that this particular stranger's stained-glass doodads were cheap-looking and ugly. Thinking that, I could proceed.

* * * * *

Later that afternoon, Mecca. Powell's, where to my complete incomprehension I had never previously been. And seriously, what the hell? Why didn't Dad ever take me to Powell's, summers when I was bored out of my skull in La Center? He would have earned points for eons, would still be redeeming points with me from beyond the grave. Missed opportunity, Dad.

Anyway. There's a smell that good bookstores have, a clean papery scent of books that is definitely not to be confused with the musty funk of used books left to mildew in the basement. Powell's smells wonderful. "Have I died?" I wondered to myself, and for two and a half hours I was one of those people kicking the plastic shopping basket ahead of me across the linoleum, unwilling to lift it the entire time. I did have a pre-programmed boundary, in that I had to be able to carry it all back on the damn train. That helped me to get out with my life and only $150 in the hole, hilarious water bottle included: pretty damn decent.

I did find myself getting verklempt (for the second time that day) in the children's section, where I hadn't even intended to go--I wandered down the pink staircase instead of up the purple one, or something, and there I was. It stretched on for half a block in front of me, shelves almost higher than I could reach, and oh, oh, all the books. I've written before about how I was constantly being hustled out of the public library or the tiny mall bookstore as a kid--not because the adults in my life were cruel, but because they were unfortunate grownups with boring grownup shit to do. So, the sight of a children's book section larger than my house made me actually tear up a bit. I wanted nothing more than to go back through time to my ten-year-old self, hand her a $100 bill, and say "Meet me here in two hours. Have fun. Go!"

I'll just have to make up for le temps perdu.

Paul is dead

It's creeping crud season--I slept away most of my vacation day Monday, and succumbed to more of the same on Tuesday. In between naps in front of daytime television with one cat or the other snoring away somewhere upon my person, I indulged myself by rereading one of my favorite books from adolescence: Paul Zindel's Pardon Me, You're Stepping On My Eyeball!

Oh, man, how I loved that book. I was talking about it with Mike today, just the general experience ("The Pigman," he said promptly when I mentioned Zindel, surprising me), and he mentioned what a strange, sweet pleasure it is, to go back to a children's or YA title--when, anymore, do you get to read a whole book in a day? And I savored it, the cracked and yellowing paperback I've probably had for 25 years, with its dreadful cover blurb: "The zany, supercharged novel of 'Marsh' Mellow & Edna Shinglebox--two unforgettable teenage outcasts who tackle life...and love for the first time!"

That's...not it, exactly. This book is way, way darker than that, although there are sidesplitting moments. Marsh and Edna are depressed and screwed up and misunderstood, sure, and I identified with them myself as a kid...but reading it now, I find them even sadder than I remembered. Their mothers...ohhh, their mothers. Marsh's mom is an abusive drunk (though she's coping with her own tragedy, badly); Edna's mom is a status-obsessed piece of work of an entirely different order altogether. I wonder, now, if this is a requirement of all lit for young people: parents who JUST DON'T UNDERSTAND YOU, blown out into horrific caricature...so that we can all identify with the kids in the story, and then retreat to our own lives at least a little comforted.

There are images and turns of phrase in this book that I've carried around for a lifetime, some that I'd long since misplaced the origin of. The palm-reading gypsy's sign, a huge hand looking "like it belonged to a giant who was buried deep into the earth." How, at the terrible party scene, the teenage commune leader exhorts the kids ("brothers and sisters!") to touch one another, and their hands "flying out like bats in a cave." Raccoon's [spoiler!] demise, which I've never, ever forgotten. (Also, I took from this book the following lesson: throw a drinking party while your parents are out of town = burn the goddamn house to the ground. I never quite got over that one, either.) The entire last chapter at Arlington, which I know practically word-for-word and still it tears my heart out, in the best possible way. "...and then, at last, there were the stars set in their proper place." Love.

I read all Zindel's books, or at least all that I could get my hands on, in the early 80s. I can see them, the hardbacks in that last row of the YA section in the Greenlake branch library: at the time, just wrapping around the northwest corner of the north reading room. Eyeball was my favorite, enough so that I acquired my own copy I don't remember where. I was pinched by real sorrow, to find that most of them aren't readily available via Amazon. The Pigman is a perennial, evidently, but somehow it didn't make the same impression. It pains me, to think that probably no one else is clinging to Marsh and Edna like a lifeline, now.

Zindel's son created a website for his father, who died in 2003. I liked this part of his self-bio: "After college, I worked for Allied Chemical as a technical writer. [Yes, emphasis mine.] After six dreadful months of that, I left..." To become a high-school science teacher, no less. He'd earned a chemistry degree, although you get a sense of the alternate life he was developing when you learn that he was mentored by Edward Albee. It intrigues me, that he taught for years, but so ably skewers school and teachers in this book and, if memory serves, the others.

I don't know. It's late and I'm mostly lost in pleasant, if rueful, nostalgia. There was never enough time in the library, when I was a kid: whatever adult I'd cajoled into driving me seemed always to be hustling me out, me burdened with two sagging, ripping grocery bags that I'd inevitably polish off well before the three-week due date. I remember the books piled on the yellow plastic table I used as a nightstand--and the hideous ceramic-Cupid lamp I read by. (Inherited, not chosen, that. Ugh.) I remember the books, which oddly enough seemed all to focus on snarky, troubled, independent kids living in or near New York City. Judy Blume is inescapable (and my book club's recent flirtation with her is a whole 'nother story). But whatever happened to Constance C. Greene, with the Al books? Paula Danziger? Betty Miles? Does Ellen Conford write any more? Oh, those books I imitated shamelessly, and howled over, and wept over, summer nights up too late by the light of that ugly-ass cherub lamp.

Well, I can imagine myself up on Alibris all damn night...though I don't have the capacity for wakefulness that I did at 12. More's the pity.