San Luis Rey by the Hudson

On Friday noon, July the twentieth, 1714, the finest bridge in all Peru broke and precipitated five travellers into the gulf below.

I don’t do good with unexpected freedom. It was a Thursday. I should have been working but a bottleneck ruined my plans. I couldn’t stay idle in my house because my mind would wander to someone else and then thoughts of what never could be would loop in my head, so I roamed the city with a book and my earbuds and headed toward the waterfront—blue sky over the river, the Manhattan skyline, ferries streaming across the Hudson—and I sat and read and listened and watched people go from work toward the train station and vice versa.

The book was The Bridge of San Luis Rey by Thornton Wilder, which I bought for two bucks from a street vendor. It was five by the time I got my coffee and sat on the rocking chair underneath the granite portico with a view of the river and listened to a shuffle of songs (starting with Manchester Orchestra’s I Know How to Speak) and cracked open the book and started to read it only to discover it was not about a WW2 battle but instead a bridge collapse. In the book Wilder kills the five travelers from the get-go. Then he explores those five in detail and what led them to that bridge at that moment. The first of those characters is Doña Maria, described as unattractive and unloved, who was finally married off at 26.

Still, she lived alone and thought alone, and when an exquisite daughter was born to her she fastened upon her an idolatrous love.

Unfortunately Maria’s daughter, Clara, took after her father, cold and intellectual. Still, Maria persisted, persecuting Clara with nervous attention and a fatiguing love. A grown-up Clara moved to Spain, but Maria’s desire for her daughter only grew more intense. Maria knew she would never be loved in return, but she couldn’t quit her desire.

I thought of that someone else. Desire, someone said, is not love but the awareness of distance. That’s true. For me and for Maria, too. She was obsessed with that distance between her and her daughter. And me, no matter how close I could possibly get, that someone else would always be separate from me. I see it and I feel it and I know it but it doesn’t matter much. It doesn’t kill the desire. That’s the essence of desire, I guess.

While I read I watched men walk by wearing loafers with no socks. A woman held her mask loose in her hand as if she was about to let it go. A man passed in the sunlight and I judged him adequate according to that inventory list in my mind and I ached (Dumb word, ache. Romance ruined it.) and told myself that he doesn’t feel shame, not like I do, that no one could feel it like I do. Something rumbled in my gut, some undigested thing from some long-gone yesterday, and I wondered if it would ever be digested, or if I would I carry it around with me forever. When that adequate man left my line of sight I felt relieved and read some more.

She wanted her daughter for herself; she wanted to hear her say: “You are the best of all possible mothers”; she longed to hear her whisper: “Forgive me.”

I looked out at the pier and at the men and women who crossed its planks. What was here a hundred years ago? A thousand years ago? What would be on this spot a thousand years from now? Wilder wrote The Bridge of San Luis Rey a century ago. He’s gone. The people he wrote about—people who lived three hundred years ago and who seem as real as any of the men and women on the pier before me—would be long gone, if they ever really existed. But I still felt them resonate.

She lived alone and she thought alone.

I read that line again and again. Like her, I am separate. Separated. I don’t know if this feeling is a Covid hangover or an ancient psychic wound or some personal flaw or just a hallmark of what it means to be human. I wanted to bring that feeling, that eternal separation, out into the sunlight, dry it out it and shrink it until it was small enough to fit in my hand and tuck into my pocket instead of having to wear it like a giant dripping shroud hanging over my shoulders and head and blocking out the rest of the world. But I don’t know how.

Maria could never figure out how to let go of her desire. News of her daughter’s pregnancy led her to cross that fateful bridge to a certain shrine where she would pray for the health and safety of her daughter and grandchild. She was convinced this devotion would finally win her daughter’s love. Her desire was her undoing.

My coffee was getting cold. A woman took a chair across from me and she rocked in her summer dress staring at her phone, legs extended, smiling, and I felt so far from her I could barely even find myself. Then she was gone. A man in a suit and sunglasses walked past me with a hands-in-pocket swagger that told me he was trying too hard, that he, too, carries a dripping shroud heavy on his shoulders. I’d never want to slip into his skin; I have enough shame for one man as it is, so why take on his as well? But I did, and then I was stuck with sadness for two. Someone once told me I lacked empathy. I wish I could lack some more.

By 6:30 pm my coffee was empty. I’d watched so many people pass by on to some other life, and me, always apart. All I wanted was to escape whatever inside me makes me stay so apart. I wanted to feel what they feel, like one of them, like they do, but I never do and it leaves me like an alien on this planet. I could’ve sat and watched the people all night until the morning and then all day again but that longing, that desire, would grow so unbearable that I’d want to rip my chest open and pull out every last poisonous fiber. If that someone else were beside me and if I could be totally honest, I would say this: Come sit beside me and take my pain from me. To me it’s poison but to you it’s dust.

And if I did and if it happened, then what? Would I still be alone, even with that someone else beside me? I think I would. Does this go back to my father, who taught me how to live in distance and separation? I don’t know. And while I’m being totally honest, do I truly, really, care about that someone else? Who they are? What they feel? Their own poisonous pain? Did Maria care about her daughter, or was Clara just a receptacle for her mother’s needy desire?

I finished the section about Maria. Two days before that bridge fell out from under her she realized that her desire was her undoing, that she need to surrender it to ever feel peace in the world, that she needed to live her life with courage and not fear.

Let me live now,” she whispered. “Let me begin again.”

I left my chair and the view of the skyline and the commuters with my own desire still by my side.

The Dirty Little Secret of The Black Phone

The thing I love about speculative fiction (horror, sci-fi, contemporary fantasy) is those stories aren’t just about monsters or spaceships or time travel. They serve as broad canvases to explore different facets of humanity. Dragons and Ice Zombies in Game of Thrones are window dressing for a story about the lust for power. The task of fighting vampires in Buffy the Vampire Slayer is a metaphor for the tumultuous transition to adulthood.

Recently I saw a horror movie titled The Black Phone that was not just about a teenage boy locked in a basement by a sadistic madman who got help from previous dead victims via a dead phone. The story was not about ghosts. It was about child abuse.

The Black Phone (not sure how I feel about the title), starring Ethan Hawke and based on a short story by Joe Hill, is about a child abductor nicknamed the Grabber who terrorizes a Denver suburb. He kidnaps teenage Finney and locks him in the basement. In this basement is the black phone of the title that doesn’t work, except it does. (WARNING: spoilers ahead). Finney has a touch of ESP, and that ESP allows him to communicate with the boys who the Grabber kidnapped and murdered before him. Those boys barely know who they are anymore. Their murders left them that traumatized, but they’re able to give Finney advice that leads him to tools that may help him survive.

First off, The Black Phone is really well done. At no point did I find my mind wandering. I didn’t get bored. It took me a while to get into it, but that’s more of a Kevin quirk than an actual criticism. The ‘70s details are fun (before my time, so I can’t relate or critique), the suspense and thrills are well placed and well spaced, and the writing and acting were strong. If you like horror, you’ll love this movie.

So, about the child abuse. In the real world it’s a topic rarely touched. The Black Phone didn’t shy away from it.

One of the earliest shots shows Finney and his sister Gwen tiptoeing around their angry father, a nasty drunk mourning the suicide of his wife. Gwen (like Finney and their mother) has ESP abilities, which their father literally tries to beat out of her. This, not the kidnapping or murders, was the most horrific scene of the movie. For anyone who’s experienced something similar, it will be a killer scene to watch. For those lucky enough to never have suffered abuse, hopefully it will be a little easier to watch.

It’s not profound or especially insightful to say that abuse warps children. Gwen is defiant and violent. Finney is passive to a fault. Both learned lessons from their abuse (Gwen: fight fire with fire. Finney: weakness). By the end Finney learns that sometimes you have to fight back, if just to survive. The second to last scene gutted me. After Finney kills the Grabber, he and his sister huddle in the back of the ambulance. Their father runs to them and sobs apologies at their feet. They stare at him, blankly. He’s repentant, but they’re already broken. That scene rang so true.

But the final scene of The Black Phone, the one just after that ambulance scene, told a different story. Throughout the movie, Finney was tormented by bullies. In the last scene, Finney, now legendary for killing the Grabber, struts through the halls of his school, ready to claim the love of the girl he crushes on.

It was a good ending, but it left me with a doubt I could only make sense of when I read an interview with the director. For him, the movie was about being bullied. In that narrative framework that absurdly triumphant last scene make sense. But the realities of child abuse tell a different story. In the real world Finney would have a long, long road ahead of him. He’d face a mighty struggle to reclaim his sense of self and his sense of power.

We rarely talk about the effects of physical abuse on children, including in fiction. Horror is the exception. To me, the movie Hereditary was about a woman abused by her mother pass on that abuse to her children. In The Babadook, a mother lashes out at her difficult son, using her grief as an excuse. Add The Black Phone to this thin cannon (I don’t count Carrie–the mother was too cartoonish). All three movies presented the parents as sympathetic. They usually are. But they didn’t flinch at showing us a glimpse of the horror that children experience as a result of their physical abuse.

The Top Hundred Books to Read

Every so often some version of this list bubbles up into my consciousness. Mostly it’s when I guiltily remind myself I’m way behind on my reading (my bookshelves can attest to that). So I did a web search and pulled up a bunch of these lists of the top hundred books you should read. The “you” in question is debatable, of course, as are the lists. There are tons and tons and tons, everyone from The New York Times to the BBC, PBS, booksellers and publishers of course, as well as more obscure sites like The Art of Manliness (glad to see that people are finally treating manliness as the art form that it is).

Here’s one site I found, a writer at Medium who compiled his list of the top hundred. Let’s see how I align with his list.

  1. The Great Gatsby by F. Scott Fitzgerald. Read it, loved it, recommend it, mainly for the technique of the unreliable narrator. Nick Carraway is a creep.
  2. Catch-22 by Joseph Heller. Tried it in college. I was too young for it. Didn’t make it very far.
  3. On the Road by Jack Kerouac. Read this soon after I got out of the army. I liked it well enough, even though its antiestablishment, pre-hippie vibes were dated.
  4. To Kill a Mockingbird by Harper Lee. Controversy be damned, this one should be higher up on this list.
  5. The Lord of the Rings by J.R.R Tolkien. Tried reading The Hobbit in high school. Hated it, so I never got to this one, and I never will. The movies were great.
  6. Lolita by Vladimir Nabokov. I recently tried reading this. It’s one of those books that is too well written. I couldn’t stomach a book about a pedophile. Despite the great writing, I will not finish it and I couldn’t recommend it.
  7. The Catcher in the Rye by J.D. Salinger. This book gets slagged a lot, and I get why, but I think it’s phenomenal. Salinger broke new ground with his storytelling and POV character style, a style that’s been imitated almost to death. But it’s great in its original incarnation. Also spawned one of my favorite lyrics by country artist Orville Peck: “You’re just another boy caught in the rye.”
  8. Midnight’s Children by Salman Rushdie. Read this book several years ago. It’s about a world and a time I know little about–interesting, fascinating, expertly written, and highly recommended.
  9. Alice’s Adventures in Wonderland by Lewis Carroll. Know the story, never read it, but I did write a story based off his Jabberwocky poem that got included in an anthology.
  10. Ulysses by James Joyce. A friend of mine who is a Joyce fanatic had me read this book chapter by chapter and discuss it with her over wine. Ulysses is a challenge, but he maps out the modern novel.
  11. Lord of the Flies by William Golding. I think I might have read it in high school? Can’t remember, but this is one of those stories almost everyone knows, even if they’ve never read it.
  12. The Grapes of Wrath by John Steinbeck. Read it. Loved it. I can never forget that final scene. Also, one of my favorite songs, Rose of Sharyn by Killswitch Engage, shares the name with a character in this book.
  13. 1984 by George Orwell. Why read it when we’re living it? Just kidding.
  14. Jayne Eyre by Charlotte Bronte. Never read it, though I did read Wuthering Heights by her sister Emily, and also Jasper Fforde’s The Eyre Affair, which is a strange and fun take on Bronte’s title character.
  15. Moby-Dick by Herman Melville. I tried reading it in college. I kept falling asleep.
  16. Mrs. Dalloway by Virginia Woolf. I read and loved Woolf’s mercifully briefer answer to Joyce’s Ulysses.
  17. A Passage to India by E.M. Forster. Nope
  18. Brave New World by Aldous Huxley. Yes. And I loved it. Dystopic sci-fi at its finest.
  19. Things Fall Apart by Chinua Achebe. Yes, years ago. Not something I’d usually pick up but well worth the read.
  20. The Prime of Miss Jean Brodie by Muriel Spark. I don’t know her.
  21. One Hundred Years of Solitude by Gabriel Garcia Marquez. Here’s the thing. I hate Garcia Marquez. Every time I read his writing I get depressed because I will never write anything half as good, this included.
  22. Pride and Prejudice by Jane Austen. I tried but it wasn’t for me. I think the main problem is that Austen, like Salinger, started a literary tradition that’s been done to death. I read Salinger early in my reading career. I tried reading Austen too late.
  23. Animal Farm by George Orwell. Yep, back in high school, and I still remember it vividly. Some things never change.
  24. Crime and Punishment by Dostoyevsky. Working on it right now. Intense.
  25. Beloved by Toni Morrison. Not yet but it’s on my list.
  26. Invisible Man by Ralph Ellison. Nope.
  27. Slaughterhouse-Five by Kurt Vonnegut. Yes. When I was ten. Way too young. Then again a few years ago. Classic.
  28. The Stranger by Albert Camus. Nope. I read The Plague though. Dark is an understatement.
  29. Don Quixote by Miguel de Cervantes. Nope.
  30. Robinson Crusoe by Daniel Defoe. No again.
  31. Frankenstein by Mary Shelley. Yes. She is one of the parents of modern horror. Great book.

If you’ve made it this far you get the point and I won’t go on until 100. It’s fun, though, to look back on what you’ve read and loved (or didn’t), and to add more books to your pile waiting to be read.

Someday…

Wait…Gendercide Is a Thing?

I like to consider myself a fan of all things speculative–horror and supernatural and sci-fi books, movies, TV shows, etc., and I believe I know a ton about these genres.

Apparently I don’t. The other day I was rabbit holing into the latest of a long line of literary controversies (I won’t go into it here) and I read this article asking whether it’s time do do away with the gendercide trope, a trope I’ve never heard of before.

What is gendercide? It sounds nasty, because it is. Gendercide is where either the men or the women in any given story are killed or die off from some nefarious or mysterious or viral reason. The book that inspired the article introducing me to gendercide is The Men by Sandra Newman. I haven’t read it yet, but it’s about a world where all males suddenly vanish. The remaining women adjust to this disappearance, while videos online depict the men living in a hellish landscape.

There are others, too, such as Y: The Last Man, a comic turned TV show where (almost) all men die of a virus. One of my favorite books, The Knife of Never Letting Go by Patrick Ness, is a variant of the gendercide trope; the novel opens in an all-male society where the women have mysteriously died off.

According to TVtropes.org, gendercide isn’t super popular, and most of the time only a variant is used (only some or most of either men or women die or disappear). Stories where the men disappear are more in line with the theme of feminist utopia, and stories where the women vanish are considered dystopic.

In reading about Newman’s book, I found it disturbing that all the men were sent to a hellscape ruled by demons. Oddly, the writer of the article critical of gendercide (and Newman’s book), didn’t write about that disturbing aspect of it. From me, though, disturbing is not a criticism. I want to learn more about this trope, and see how different writers explore it.

The Health Benefits of Writing

Writing saved my life. Okay, that may be an exaggeration as well as a cliche, but cliches have a foundation in truth, and while writing may not have stopped a speeding bus from pancaking me as I ventured through a crosswalk, the (almost) daily act has helped center me and give me purpose.

With that in mind, how much do writers (and readers) consider the health benefits of writing? And by health benefits I mean psychological, which is as important as the physical. In a recent blog post for Jersey City Writers (a large, community-based writing group I’m a part of), one of the moderators, Sara Stone, reflected on the mental health benefits of writing, and she came up with a surprising benefit of putting pen to paper and SHARING it: the act of sharing your writing for critique requires TRUST, and trust in turn can foster community and acceptance.

I’d never thought of that aspect of writing. Even here, this act of writing these exact words right this very minute forces me to build my resiliency, to face and accept that some might not like these words. But others might. And that’s cool.

To read more of Sara’s post, plus all of the nitty gritty psychological links, click here.

Watch this movie: High Life

This one’s a tricky recommendation.

It’s not often that I like revolting movies, movies that are repulsive for the sake of being repulsive, movies that are obviously trying to shock you.

But here I am.

high life

High Life is a recent sci-fi film by French director Claire Denis. It stars Robert Pattinson and Juliette Binoche as travelers on a spacecraft on a one-way mission to harness the energy of a black hole. And perform experiments.

The twist? There are two. Number one: all onboard are death row convicts. Number two: the experiments involve trying to bring a baby to term in deep space.

That all sounds like a run-of-the-mill sci-fi plot. High Life is definitely, absolutely, 100% not. Like I said, it’s revolting. It’s graphic. There should be a whole list of trigger warnings attached. Every trigger warning ever invented.

But it’s also beautiful. Beautifully shot. Beautifully scripted. Beautifully acted.

I was never a Twilight fan. I watched the first one in German and that was enough. But Robert Pattinson is one hell of an actor. His character is reserved (mostly) and mysterious enough to not be annoying.

Juliette Binoche is a madwoman in every sense. The rest of the cast are all great — intense and hateful — with the exception of Andre Lauren Benjamin (aka Outkast’s Andre 3000), who plays a convict full of regret for what he left behind on Earth.

High Life is not for everyone. Some scenes were straight-up sick. Still, this movie is one hell of a trip.

Read this book: The Space Between the Stars

“Life is its own point. It’s just a series of moments, some of them memorable, some of them not. There’s no redemption but what we’re prepared to grant ourselves. No point when we’re finished becoming what we’re going to be. There’s just this breath, and the next one, and the next one. Each of those breaths, each of those moments, help shape us.”

The Space Between the Stars

This bit of gorgeous nihilism is to me the heart of Anne Corlett’s sci-fi novel The Space Between the Stars, the story of a group of plague survivors: the .0001 percent or so of humanity spread across several worlds who were not turned to dust.

I didn’t plan on reading a book about a plague, not right now. Living through a much milder one than in this book is about all I wanted to do with anything plague related.

Once I started reading, it was hard for me to stop.

The Space Between the Stars is centered on Jamie, a thirtysomething veterinarian who is estranged from her long-term boyfriend, isolated from her own historical grief, and the only survivor on a small colony world.

Or so she thinks.

Plague stories can go in several directions. The Walking Dead was once my favorite TV show. Now just a droning, repetitive PSA that humans can be monsters too (ok, I get it!). When Jamie finds other survivors, I was expecting some Walking Dead-ish human vs. human confrontations.

Not so much.

I won’t get into spoilers, but a search for survivors–and her boyfriend–takes on some twists. Not too many, though. The Space Between the Stars is not a hard sci-fi novel (spacecraft can traverse great distances in unbelievably short spans of time). It is also not a thriller.

Instead, it’s more of a character study. On that note, I found Jamie wholly unlikable. She is prickly. She snaps at people. She is self righteous. She’s a horrible communicator. But Corlett does a great job in showing some of the whys, and also showing how maybe Jamie doesn’t like being so flawed. So, while Jamie is unlikable, she’s relatable, if not quite sympathetic.

The Space Between the Stars is not perfect. There were things I couldn’t relate to–as an American, I don’t get the English obsession with class, which was one of the themes of this book. And I wished the sci-fi was amped up (several scenes felt too present day, and not set a century or two in the future).

Still, I was glad to be along for the ride. The writing was beautiful (almost to the point of distraction), and Corlett hit all the right emotional notes. By the end, I wanted to stay in that plague wrecked world just a little while longer.

Classic Lit Challenge: Heart of Darkness

Here’s one of the rarely discussed facts of fiction. Whether we’re writing an alien-filled sci-fi adventure, a sprawling fantasy saga, or a historical epic, all these stories are ultimately a reflection of the specific writer’s society, worldview, ethics, and morals. If you want a true representation of the past, don’t turn to historical fiction.

Turn to fiction actually written in the past.

Warning, though. Often their ethics and sensibilities are vastly different from ours. Sometimes disturbingly so.

If you want to be disturbed and unsettled, then read Joseph Conrad’s Heart of Darkness. In it he depicts a world that is cruel and brutal and blatantly racist. And, yes, heartless and dark.

This is a controversial book, because of its unvarnished description of 19th century European colonialism. But if it’s going to be an accurate portrayal of that time period, how could it not be?

Heart of Darkness book cover

Heart of Darkness is a short book that recounts the story of a less than reliable, and possibly slightly insane, sailor named Marlow, the narrator in Conrad’s sprawling and ambitious Lord Jim, as he tells of his journey into the Belgian Congo to retrieve the mysterious Kurtz for his trading company.

Along the way Marlow travels deeper and deeper into the mysterious heart of so-called wild Africa. The writing has a dreamlike quality throughout that’s a testament to Conrad’s skill. It moves at a fast clip and doesn’t let up. Sometimes it moves too fast for me–especially in the scenes where he finally arrives at Kurtz’s renegade compound I wanted Marlow to slow down and tell us more. But we get what we get.

Heart of Darkness is a compelling read, and I highly recommend it. It was the inspiration for the movie Aopcalypse Now (which I have to rewatch now), so much so that Marlon Brando’s character is also named Kurtz, and he utters the famous line from Conrad’s book.

“The horror, the horror.”

I read commentary on Heart of Darkness captured from writers throughout the 20th Century, and they all dissected it based on where they sat in time and place. I am too. For me, Heart of Darkness was an indictment of the 19th century European colonial enterprise into Africa. The people in London who run the company are presented as cold. The European men in Africa come across as casually cruel. The Africans in their employ are first seen as brutally treated. Conrad does not spare these details. He doesn’t present the Africans as fully human. He does the Europeans, which does them little favor.

Heart of Darkness shows how, rather than “civilizing” Africa (the thin sheen of respectability placed on an enterprise that was really about plunder), European colonialism corrupted those involved.

It made their own hearts dark.