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Ronan, RIP

By TNB Editors

Nonfiction

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It is with great sadness that we report the death of Ronan Louis, the dear son of TNB contributor Emily Rapp and her husband, Rick Louis.  Ronan was diagnosed with Tay-Sachs disease in January 2011.  He passed away peacefully at 3:30am on February 15th, surrounded by family and friends.

If you would like to join us in making a donation in Ronan’s memory, please do so at the National Tay-Sachs and Allied Diseases Association, who have been a huge support to Emily and her family.

Also, please feel free to express your sympathies on the Little Seal Facebook page.

On behalf of everyone here at TNB, our most heartfelt condolences.

-BL

Fifty years ago today in Los Angeles, where I’m writing these words while facing a screen of a kind that didn’t exist in 1962, a thirty-six-year-old woman fatally overdosed on Nembutal and chloral hydrate, sedatives she used, or tried to use, to sleep. She had a long history of insomnia, as well as a long history of attempted suicide, but to this day it can’t be stated conclusively if she killed herself accidentally or intentionally or if someone else administered the drugs. Her housekeeper, whom the LAPD thought “vague” and “possibly evasive in answering questions,” reported finding her dead at around three A.M. in the master bedroom of the Spanish Revival hacienda she had bought five months earlier on the advice of her psychiatrist, who hoped it would give her a sense of stability. She lacked that sense, having lived since childhood like a nomad, for the most part in California, where flux, not stability, was and is the norm.

(Verse 1)

 

Girl.

They don’t understand.

You swirl and twirl in your world.

I want to hold your hand.

One day.

“Just get to it,” Nora Ephron might say.

Obituaries and year-end tributes will illuminate Ephron’s groundbreaking career as a writer and film director. They will toast her wit that shined and carved like a scalpel. The irreverent will quote her infamous line about her second husband Carl Bernstein:  “The man was capable of having sex with a Venetian blind.” Her peers and loved ones will share tales of her oft-noted generous spirit and culinary panache.

On St. Patrick’s Day, a holiday significant to engineers in the USA, I wrote about the prominence of that profession within my family. It so happens that I’ve had occasion to expand upon that on another holiday. I’ve never really been big on Father’s Day, despite having four children of my own, but on the usual phone call to my father we got to talking about his background in electron microscopy.  He was not only a pioneer applying it to materials engineering, but also involved in education, looking to produce the next generation in his field, particularly from Nigeria.

Reading Ray Bradbury’s work marked the first time I ever took reading seriously. The first time I borrowed his short story collection The Golden Apples of the Sun from the library was the first time I tried to appreciate fiction for grown-ups, the first time I wandered into the quiet neighborhood of the adult fiction stacks.

To be honest, I’ve always had a difficult relationship with fiction. I’m insufferably impatient. In the fifth grade, I enjoyed reading Bradbury’s short fiction because it was ofttimes really short. (I still can’t help but peek ahead to see the glorious white space marking the end of anything.) I liked that Bradbury wrote about space travel and elementary schools on Venus and what household appliances would do after the bomb dropped, but most of all I liked how he wrote about summer.

Memorial Day, 2004, An-Najaf, Iraq

Today is Memorial Day. When this day began in America, two families did not yet know that it would be an important day for them from now on. This is the day when their own memories of their sons and brothers, their husbands and fathers, will form part of a national ritual of remembering those who have given their lives in the service of our country.

Mr. Jack sat under the hanging light at the kitchen table with an ashtray at one hand, a book under the other, and a cup of coffee in between. His casual posture made him look shorter than he was. Sometimes, he braced his elbow on the back of the chair and dwarfed a novel in the palm of his hand. His dark, wooly eyebrows straightened in concentration, sometimes lifting as he took a drag of his cigarette. From my place in the living room, near a lamp with a book on my lap, I could barely whiff his Marlboro. That’s what my dad had smoked before he quit cold turkey. But Mr. Jack and my father smelled alike anyway, that humid smoky scent of the Intracostal base where they both waited to fly helicopters to offshore oil rigs.

“The main character is totally vicious, but she has her reasons. Actually, she kind of reminds me of you.” The friend who insisted that I read The Hunger Games knew me all too well. Still, I wasn’t sure if I was insulted or flattered.

Prickly. Proud. Calculating. Hard-nosed. Hard-assed. Lethal. These are the adjectives ascribed to sixteen-year-old Katniss Everdeen, the hardscrabble heroine conscripted into a gladiatorial arena as popcorn fodder for the proletariat. Even fans of the book fault Katniss for her arctic reserve: “Yeah I was kind of not a fan of Katniss as a protagonist,” says i09 commenter CaffeineNictoteneVodka.  “She seems to run from this hero role kicking and screaming … And she has no idea how ridiculously awesome of a man Peeta is.”  Fellow commenter Vvornth concurs: “While being an iconic person Katniss acts in a completely selfish and unsympathetic manner.”

 

I think I was probably older than most writers are when they first realize that literature is not just books–that it is a system of ideas and ideals, a paradigm, a way of being.

I was 18 or 19.  It was the middle of July in a steaming, sucking, temperate summer, and I was in northern Minnesota at a cabin my family has rented every summer for as long as I have been alive.  Back then, the cabin got three channels, broadcast, via antennae.  After trying, unsuccessfully, to get drunk in local bars, I was suffering a dearth of shit to do.

Desperate, I tagged along with my considerably more bookish sister to the bookstore in town.

I have a drawer in my desk which for years I have thought of as Jack’s. I tuck into this drawer all of the things I’m planning to mail to him: old postcards, articles to make him laugh, stickers, photos I’ve torn from Birder’s World, address labels, and of course Jack’s cards and letters to which I have yet to reply. I’ve had a drawer like this in one desk or another for thirty years.

The last time I drove past the apartments on North 5th, their efficient practicality had been scrubbed up a bit. A nice little fence marked the front entrance. The sidewalk that led into the U-shaped courtyard had healthy plants on both sides. The casement windows had been replaced. Someone had finally taken pride in the boxy old place, built in 1948 to provide post-war housing.

For many years, I went out of my way to feel embittered and surly at Christmas, refusing to live in the moment, opting instead to wallow in memories of lonely Christmases past. Looking back, though, I’ve never actually been alone. The memories I wallow in are false.  They’re little stories, truncated and manipulated versions of reality, created by me.  They make it easier to share my past experiences with others and to convey a version of myself that best fits into—maybe not how I saw myself at the time, but how I want people to understand my past.

For a long time, I held tightly to the memory of the Christmas sixteen years ago when I was nineteen, pregnant with a baby I was going to put up for adoption, and homeless. Truth be told, I’ve never spent a night outdoors except when camping. I’ve never spent a night starving. I’ve never really been homeless. This fact, however, doesn’t fit into the story I’ve told about me.  It serves to make my bitterness justified—yet it no longer feels authentic or serves the new narrative I’d rather tell.  I realized recently that I’ve built an identity around myself that no longer fits into my current understanding of who I am.  It’s not who I want to be anymore.

She was every greeting card illustrator’s vision of the angelic blonde child: milk-pale skin and eyes as blue as polished slate, perfect ringlets of a blonde so blonde it was nearly white. She was the girl that girls like me—fat and loud, with our bowl haircuts and our Goodwill dresses—should have envied. But she was too sweet; not that kind of tactical sweetness that pretty girls learn early on, but a quiet decency that many adults would’ve done well to acquire.

Our last names started with the same letter, and whenever she and I were assigned as class project partners, I could enjoy the peace of simply focusing on the task at hand and not steeling myself for the first snicker about how Willy had been freed to Perry Hall Middle School. In the luxury of this safety, I became rather animated about my ideas (a less charitable word would be spastic), but she nodded with a bemused sagacity that acknowledged the futility of asking me to pause. She was the recorder to my presenter, and somehow what ended up on the page I read aloud was the most well-reasoned combination of our ideas.

I never knew her well enough to tell if she was shy, or just the kind of person who chose not to speak until she had something worth saying. As we passed through grade school into high school, we weren’t in the same classes and I found my own tribe of boys who loved Tori Amos and girls who smoked in the bathroom; still, whenever I’d pass her in the hallways, I gave her one of those smiles-and-nods that expressed a lingering gratitude I wasn’t fully aware of yet. She responded in kind, and something in her smile—something easy yet purposeful, something very present without calling attention to itself—reminded me of water.

She was a rare surge of warmth I’d feel when reflecting back on my pre-college, pre-fumbling toward adulthood days. Reflections that happened with increasing frequency as the bullies of yesteryear sent their Facebook friend requests, even though—to paraphrase Beatrix Kiddo—nothing they’d done in subsequent years, including getting knocked up, changed anything. Mostly, though, she belonged to a time I’d had the luxury of forgetting.

I learned of her passing, two days before Thanksgiving, through Facebook. The same way I learned of the cancer that killed her.

She’d been just another name I’d scrolled past on my feed, eager to see how karma was treating one of my ex-boyfriends or who else from my MFA program had published (not that I would be so petty as to keep score). One photo forced me to stop and really look at her page. Her hair had been shorn into a Mohawk; perhaps it was the way ethereal white-blond had darkened into an earthy wheat-blond, perhaps it was the way her hair tufted up from her peach-fuzzed scalp, but she looked even softer than I’d recalled. Though her face was tilted away from the camera, toward the longhaired cat nuzzled against her shoulder, I could see that she’d applied eyeliner and a frosted lip-gloss; the understated glamour conjured those staged candids of Marilyn Monroe in her bathrobe.

Breast cancer had been our grandmothers’ disease, and, as we grew older, our mothers’. When we put our feet in the stirrups, we were worried about HPV and other ominous combinations of three little letters; we were steeling ourselves to ask about pre-pregnancy IUDs or staring at our first ultrasounds.

Yet there she was, talking about side effects—cankles and mouth sores and hot flashes—with the same mix of straight reportage and casual wit the rest of us reserved for students who want to negotiate a B- into an A+, SUV drivers, and those people who just stand with their grocery carts and don’t get that “excuse me” means “move.” Between posts about drugs with names like over-muscled executioners and multiple –ecthomies, her descriptions of everyday nuisances like running late because of the rain attained a cinematic poignancy. I could see her shaking out her umbrella, noticing a man noticing her and feeling like she was one of the immaculately rumpled ingénues whose every gesture, however effortless, was still fortune-favored.

Staring at a screen, I came to know her far better than I ever did in the breathing world. Before, she’d only existed in the prism of my experience, vanishing into the ether when she wasn’t augmenting a memory. She probably thought of me the same way. Each of us—whether we’re high-school hellions turned stay-at-home moms or the only woman in the R&D department; whether we’re dog walkers who were physicists in our home countries or Ivy Leaguers who left law school to become wilderness guides—we are the stars of so many undiscovered moments that, cannily edited and subtly scored, belonged to classics.

There are very distinct instances when the very nature of Facebook—yes, the same forum that allows your junior high lab partner to post pictures of her daughter’s poopy diapers and lets that dude you shared a few workshops with ask his feed if liquor and pills or a straight razor to the jugular would do him in faster—grants us merciful distance from the clamoring voices. Sequestered in my apartment, I could take in news of her cancer, and of her death, without worry of tempering my reaction for the sake of the bearer of bad news. I could suck in my breath and say “shit.”

As the remembrances rolled in, I saw that my former classmates—the children whose petty cruelties haunted more than one therapist’s office—were just as dumbstruck, angry, and afraid as I was. We used the words “fight” and “kind”; we were deeply saddened; we wished we’d known her better but we were grateful for the times we got to share with her, however brief.

Trite-but-truisms are tiny turns on a high-pressure valve; they let out just enough steam for fleeting relief while leaving an uncomfortable, insurmountable density. Roiling inside the tank are the realizations that someday, there will be no more chances to get it—whatever it may be—right.

There will never be another Sunday afternoon when the laundry is done and the house is clean (or as clean as it’s going to be) and there’s nothing left to do but sit with that book our coworker lent us. There will be no more first dates or date nights; no more Christmas lights; no more music and no more movies we’ll watch every time they’re on; no more thunderstorms and no more fireworks; no more memories of the baby’s first steps; no more smiles on the dog’s face. We’ll never again see the bumper of the muddy pick-up in front of us catch the colors of the sky.

We all have things we love too dearly to ever imagine leaving behind.

With the benign arrogance of the perfectly healthy, we filled her wall with vows to savor the little things and not let them get to us as if she died just so that we might live more gratefully. What else could we do?
I spent the days after her death brewing coffee, reviewing proofs, making small talk and walking the dog, but my routine was now infused with a sudden alacrity. How would I regard the world, if, after the doctor closed the door behind her, she looked me square in the eye and didn’t smile? If, months later, she said, “It’s spreading.”

The girl I went to school with should be where the rest of us are at twenty-nine— realizing, while dusting her apartment on a random Tuesday, that she can’t be called a girl anymore, that she’s actually at an age that once seemed ancient and aloof. She should be going on great dates with men who never call again and shitty dates with men who won’t stop texting; all the while heartened that at least she has her friends. She should be wondering why she hasn’t gotten promoted faster; she should be telling herself that thirty is the new twenty. I have time, she should be thinking. I have time.

On Thanksgiving morning, a station wagon nearly sideswiped me as I exited the merge lane off I-83. After I punched the horn, the other car sped up to pass me and I could see the driver, a redheaded boy who might’ve just cleared his teens. His passenger, who looked the same age (most likely a college roommate invited to spend the holidays), flipped me the bird. I’d like to say that I’m the sort of person who laughs these things off, but I’m not. Usually, though, the worst I’ll do is fight finger with finger, trade tit-for-tat with fuck you and fuck you too.

But this time, the insouciance of the gesture—nothing even happened; no need to be a bitch about it—and its assumption that because nothing did happen, nothing could’ve happened, turned my body liquid with rage. My heart synched with the revving engine as I zipped within an inch of his back bumper, my palm flattened against the horn.

I’m not sure what I was trying to do, exactly. They were just kids. I was just as careless when I was their age. I suppose I wanted them to realize that we’re all we’ve got in this world—and given how quickly we can lose control of a car, how quickly blood work and biopsies come back positive—we owe each other a little mindfulness.

Then I felt my dog’s snout against my elbow. She leaned forward in the back seat with her front paws crossed like the ankles of a proper lady, and licked my arm.

“I can’t pet you now, baby,” I said.

In that moment, I forgot whatever it was I was trying to prove (and in the worst way possible) and changed lanes.

I told this story to a friend after she said she’d seen my status message and was sorry for my loss. I told her how I’d sworn to be a more appreciative, empathetic person.

“And not even a week later, I’m still an asshole,” I said, as though it was a punchline.

“Being an asshole is one of life’s great luxuries,” she replied, not missing a beat.

We laughed until our eyes brightened with tears. My belly tightened with the pain of being too full. The sharpness subsided into warmth that thrummed under my skin with the tenderness of a young plant nosing through soil.

“But you know,” she said, adding “seriously” with a lightness that ended the joke without killing the mood. “So is taking the time to be nice.”

My fascination with fart descriptions in literature began in graduate school when a fellow fart-loving classmate and myself began to ponder the seeming lack of flatulence in serious literature. Why don’t writers describe farts?  Or do they?  I decided to be on the lookout.

Thankfully, I soon found this stunning sentence in William Styron’s 1967-Pulitzer Prize-winning novel The Confessions of Nat Turner from the POV of Nat Turner, the imprisoned black revolutionary describing being interviewed in prison by his white lawyer:

“I saw Gray stir uncomfortably, then raise one haunch up off a fart trying to slide it out gracefully, but it emerged in multiple soft reports like the popping of remote firecrackers.”

 

James Joyce, as with so much else in 20th century fiction, blazed the trail in the opening sections of Ulysses with the description of Leopold Bloom “asquat the cuckstool…seated calm above his own rising smell.”

Be careful what you look for, because soon I found this staggering love letter of sorts to farts, from a Joyce letter addressed to “my sweet little whorish Nora”:

“You had an arse full of farts that night, darling, and I fucked them out of you, big fat fellows, long windy ones, quick little merry cracks and a lot of tiny little naughty farties ending in a long gush from your hole. It is wonderful to fuck a farting woman when every fuck drives one out of her. I think I would know Nora’s fart anywhere. I think I could pick hers out in a roomful of farting women. It is a rather girlish noise not like the wet windy fart which I imagine fat wives have. It is sudden and dry and dirty like what a bold girl would let off in fun in a school dormitory at night. I hope Nora will let off no end of her farts in my face so that I may know their smell also.”

Who knew farts could be erotic?  Apparently Philip Roth, who describes a fart-fantasy from Portnoy’s Complaint:

“When I fart in the bathtub, she kneels naked on the tile floor, leans all the way over, and kisses the bubbles.”

The Scottish writer Iain Banks has a fart-detecting/telepathic father in his novel The Wasp Factory, who can tell how much his alcoholic son has been drinking:

“‘Well, just you be careful, then.  I always know how much you’ve had from your farts.’ He snorted, as though imitating one.

“My father has a theory about the link between mind and bowel being both crucial and very direct…. He has variously claimed that from farts he can tell not only what people have eaten or drunk, but also the sort of person they are, what they ought to eat, whether they are emotionally unstable or upset, whether they are keeping secrets, laughing at you behind your back or trying to ingratiate themselves with you, and even what they are thinking at the precise moment they issue the fart (this largely from the sound.) All total nonsense.

“‘H’m,’ I said, non-committal to a fault.

‘Oh, I can,’ he said as I finished my meal and leaned back, wiping my mouth on the back of my hand, more to annoy him than anything else.  He kept nodding. ‘I know when you’ve had Heavy or Lager.  And I’ve smelt Guinness off you, too.’

“‘I don’t drink Guinness,’ I lied, secretly impressed.””

And later in the novel:

“‘Brap!’ said my anus loudly, surprising me as well as my father…I could see his nostrils flex and quiver.

“‘Lager and whiskey, eh?’”

 

If you think about it, farts have incredible literary potential in terms of drama, plot, and sensory details.

The famous essayist Montaigne sagely observed the anguish of a suppressed fart:

“God alone knows how many times our bellies, by the refusal of one single fart, have brought us to the door of an agonizing death.”

And the poet W.H. Auden connected the egotistical component of writing with flatulence:

“Most people enjoy the sight of their own handwriting as they enjoy the smell of their own farts.”

Even as early as the 1600s, the philosopher and writer John Aubrey invoked the inherent drama and tragedy of a slipped fart with a simple anecdote that I’m sure cemented The Earle of Oxford’s reputation:

The Earle of Oxford, making his obeisance (meaning he bowed) to Queen Elizabeth, happened to let a Fart, at which he was so abashed and ashamed that he went to Travell 7 years.  On his return, the Queen welcomed him home and sayd, ‘My Lord, I had forgotten the fart.’

In Dante’s Divine Comedy, the last line of Inferno Chapter XXI reads: ed elli avea del cul fatto trombetta.  In other words: “and he used his ass as a trumpet.”

Writing about Farts, of course, can mean far more than farts.  Don Fartinanado Puff-Indorst, Professor of Bumbast at the University of Crackowow, published “The Benefits of Farting and Arse Musica” in pamphlet form in 1722.  Its real author, however, was Jonathan Swift, though you will search mostly in vain through biographies to find any reference to the fact.

Swift’s fixation is not merely scatological but religious and political, the title itself a parody of the most celebrated religious writer of the previous century.  Swift describes four types of farts, and how to produce them.  They are:

First, the sonorous and full-toned, or rousing fart;

Second, the double fart;

Third, the soft fizzing fart;

And fourth, the sullen wind-bound fart.

By identifying fifty-two women in Arse Musica for their “prowess in farting,” a Swift biographer contends that Swift is claiming an intimacy with these women that included sex.  Their names are hidden by suggestive pseudonyms that are difficult for the modern reader to decipher but which were obvious to Swift’s contemporaries.

Swift ends by proving not only that the suppression of farts leads to Quakerism, but also to excessive talkativeness in women.

But not before showing the fart as a great equalizer and liberator—a triumph, if you will—which is how I will end my essay, invoking you, as Swift did, to:

“Fart away, then, my brethren, and let farting be in common among you.  Vie with each other in producing the sonorous, full-toned, loud fart.”