Monday, July 14, 2008

Marnie and Sophia

Oh, hell! Just a quick-fast addendum to my previous long-ass letter:

The enclosed photocopy is taken from the original source for what has become one of my very favorite of Alfred Hitchcock’s movies, Marnie.

Marnie began life as a 1961 novel by British author Winston Graham, with all the characters and settings originally placed in England. I was delighted to discover that this decades-old book was sitting on one of the CPL’s branch shelves and immediately sent for it and enjoyed reading it—in the book, Marnie herself is the narrator—until I came to page 100 and came across that startling bit of dialogue between Marnie and Mark Rutland, the love interest (played with vivid intensity in the 1964 movie by a ruggedly sexy Sean Connery).

You can see where I’ve highlighted the part that threw me for a loop. I gasped, blinked, re-read it and put the book down for a minute, wondering if I really just read what I just read.

See what you think. Marnie was written by a white male, and in the complacently racist Britain of ’61 at that... On the other hand, Americans have often been befuddled by British-isms and English slang—could the word really have meant something different..? Perhaps..?

Still. Wow. Rather shocking, at least to me…

Okay! That’s it! We’re done!

Ciao for now Michelangelo! TCM is having a Sophia Loren festival this month—at this moment I’m watching one of her best, 1963’s Yesterday, Today and Tomorrow, as I type this. Great movie, even if you don’t understand a word of Italian, and Loren, then 28, is at the height of her astounding Neapolitan beauty—no. I tell a lie, as the English like to say.

Loren is stunning here, especially in this, "Mara," the best-remembered of the trio of tales, in which she sends favorite co-star Marcello Mastroianni into screeching paroxysms of ecstasy as she performs the playful striptease seen ‘round the sixties cinema world; but she truly reached the summit of her magnificence several years later in 1967’s exquisite Italian fairy tale More Than A Miracle opposite Omar Sharif, who if anything is almost as pretty as Loren. The first time I ever saw More Than A Miracle, back in 1994 when I was living on 47th and Lake Park, my jaw dropped, literally, when Loren first appeared on screen. I’d never seen her so ravishingly beautiful. Those lips! Those eyes! Those cheekbones! (Angelina who???)


Anyway—later, babe. Ciao Bella.

Saturday, July 12, 2008

More Later

Too busy--no , too distracted--actually both--to write much of anything just now. More later. I think. I promise.

Friday, July 11, 2008

Second Thoughts

Wow. Yesterday's post was kinda harsh, maybe too much so to leave it up.

I'll decide tomorrow. Too tired tonight.

Wednesday, July 9, 2008

Letter to an Old Friend

I’m listening to my ‘70s nostalgia folder on Windows Media Player as I type, and Blood, Sweat and Tears is playing. This song is one of my old adolescent favorites—"Lucretia Mac Evil". Remember that one? I used to play my BS&T Greatest Hits album back in the day and whenever this song came on I would dance provocatively around the house, pretending to be a siren luring incautious men to their doom. You should have seen me, or perhaps it’s just as well you didn’t—you might have gotten hurt laughing yourself silly.

Now Lynyrd Skynyrd’s "Sweet Home Alabama" is playing—and it’s funny. Not the song; I mean I remember how much I loved this song the first time I heard it, and how appalled I felt upon later realizing that it was basically a redneck defense of the Old South.

Actually, that may not be a fair assessment of the song, but"Sweet Home Alabama" was written as a "backatcha", a thumb of the nose, a direct challenge (Well, I heard Mr. Young sing about her... Well, I heard ole Neil put her down...) to Neil Young’s "Alabama", a stinging criticism of entrenched Southern attitudes, from his monster 1972 album "Harvest", though "Heart Of Gold" was the album's big single, with James Taylor and Linda Ronstadt wailing back-up. Upon its release Joey bought "Harvest" and played that song over and over and over again (that one and the bittersweet "The Needle and the Damage Done") and I got good and sick of it, but the CD is sitting on one of my book shelves now.

Nowadays you hear "Sweet Home Alabama" and think not of the Deep South, race relations or rebel yells but of... Popeye’s chicken.

Unnhhh.

Isn’t it depressing the way Madison Avenue has latched onto Boomer and Gen X popular music, using one iconic sixties (and, increasingly, seventies) pop song after another to sell cars, fast food, beer, and you name it? This is not by any means a recent development, I know, but the practice seems in hyper-drive these days. I’m constantly grousing to my mother (who in response usually just chuckles sympathetically) that when I hear the Beatle’s "Revolution"--reportedly John Lennon’s wry response to The Rolling Stones’ swaggering "Street Fighting Man"-- or Marvin Gaye’s sultry"Let’s Get It On" I don’t want to think of overpriced sneakers and Reese’s Peanut Butter Chocolate Bunnies!

Remember the commercials of sixties TV, Mike, and songs like "Kids" from the stage/film musical Bye Bye Birdie being used to sell floor wax? That one and "Will Everyone Here Kindly Step To The Rear (And Let A Winner Lead The Way)", from the (short-lived) stage musical How Now Dow Jones, which was used to sell Plymouth cars? And who could forget (well, okay, I haven't) "Hey, Big Spender", from Sweet Charity, to sell cigarillos—back when tobacco products were still being advertised on prime-time television, that is.

I loved those musicals, by the way. Loved them. At that time I especially loved any musical that starred or featured Gwen Verdon and Liza Minnelli. Redhead. Flora the Red Menace. New Girl in Town. I spent my whole 14th year in my bedroom pretending to be either a quavery, broken-hearted Gwen Verdon plaintively singing "Where Am I Going?" or a brassy Liza Minnelli belting "Cabaret" and "Liza With a Z".

Those songs coming out of the tradition of American musical theatre made the use of them for advertising purposes—to my mind anyway, you may not agree—more logical and acceptable, somehow.

The most memorable modern pop music reflects periods of flux and change in our lives and in the larger culture, don’t you think so? And though many of us adore musical theatre, I don’t think we have such exquisitely emotional memories attached to those kinds of songs, which is why I suppose I particularly resent the corporate co-opting of sixties and seventies pop, rock and soul music. That's the good stuff, the stuff that is, as one of the classic rock stations here in Chicago likes to advertise itself, the "soundtrack of our lives".

So whenever a TV commercial appears that features yet another memorable pop, soul or rock and roll song from my youth, I feel invaded, like something intensely personal is being yanked away from me. Back in the early eighties veteran rockers Neil Young and John Fogerty united to produce and perform "This Note’s For You", a protest song satirizing the selling out of classic pop music. The two did some local news interviews about the issue, and also made an accompanying video for "This Note" which, I'm guessing, may have made MTV execs a tad uncomfortable because I swear the song came and went in a blink, or at least that's how I remember it. I think I saw that video twice in total—twice, maybe three times—and this during the period when I was captivated by eighties “new wave” music and videos, watching MTV constantly.

Having said all that, I’m not completely disdainful of TV commercials. In the late sixties and early seventies some of my favorite TV shows were in fact commercials--because I was a kid and what the hell did I know--but also because many of them were so entertaining and were made especially memorable by original, catchy jingles written expressly for the product. If you watch programming on the TVLand or Me-TV channel today you will from time to time see these nostalgia commercials, like the kicky black and white oldie from 1964 for Polaroid Swinger cameras (Bobby Sherman sang this one with a chirpy female back up):

Bobby Sherman: Hey! Meet the Swinger
Chirpy Girl Back-Up: Swinger
Sherman: Polaroid Swinger
CG Back-Up: Swinger
Sherman: Meet the Swinger
CG Back-Up: Swinger
Sherman: Polaroid Swinger

Chirpy Girl Back-Up: It’s quite a good camera
It’s almost alive*
It’s only nineteen dollars
And ninety-five

Sherman: Swing it up
CG Back-Up: Yeah yeah
Sherman: It says yes
CG Back-Up: Yeah yeah
Sherman: Take the shot
CG Back-Up: Yeah yeah
Sherman: Count it down
CG Back-Up: Yeah yeah
Sherman: Rip it off
CG Back-Up: Yeah!

Sherman: Meet the Swinger
Chirpy Girl Back-Up: Swinger
Sherman: Polaroid Swinger
CG Back-Up: Swinger
Sherman: Meet the Swinger… (fade-out)


* At least I think that’s what they were singing (“It’s almost alive”). If you ever catch this commercial on television, tell me what you think.

The visual for that commercial was a winter scene featuring a group of lively young people with bright Pepsodent smiles, apparently on a unisex ski trip. There was a laughing, pretty brunette in that commercial that got a lot of face time—you’d recognize her instantly as the young Ali MacGraw.

I think this was when Miss MacGraw was married to Paramount Pictures honcho Robert Evans, shortly before box-office winners like Goodbye, Columbus and Love Story lifted her into the celebrity stratosphere. She was then cast in maverick director Sam Peckinpah’s gritty crime drama The Getaway opposite Steve McQueen, the American cinema’s King Of Cool (who in reality was reportedly anything but—Steve had a LOT of issues, turns out), and thereafter created a major Hollywood scandal—and I mean a BIG scandal, my dear; not since telephoto lenses caught Liz Taylor canoodling on a beach or sun deck or whatever it was with Richard Burton during the filming of Cleopatra a decade earlier did everyone make such a fuss about marital infidelities—when Ali left Bob for Steve during the filming. Remember that? My God, I remember that; in those years I swallowed whole all those Photoplay, Modern Movies, and glossy Rona Barrett's Hollywood and Rona Barrett's Gossip magazines--pics galore! Pics for days!

But I digress.

Remember the 1969 or ‘70 Budweiser commercial? There’ve been so many Bud commercials over time that I don’t blame you if you can’t recall the one I mean, but this one featured a night club-like setting where a Marvin Gaye and Tammi Terrell-type duo crooned to each other:


He: When you say Bud
She: When you say Bud
He: You’ve said a lot of things nobody else can say
She: Mmm-yeah
He: When you say Bud
She: When you say Bud
He: You’ve gone as far as you can go to get the very best

He: There is no other one
She: Other one
He: There’s only something less
She: Something less
He: Because the king of beers
She: King of beers
Both: Is leading all the rest

Both: When you say Budweiser—
She: Say it, say it—
Both: When you say Budweiser—
She: Oh, go on and say it—
Both: When you say Budweiser—
Both: Oooh, you’ve said it all

I LOVED this commercial, Michael, and apparently I wasn’t the only one—its popularity meant it aired constantly with a slightly abbreviated version of it playing almost as frequently on AM radio. I used to walk around the 52nd and Drexel apartment humming and twisting and warbling away about Budweiser beer, the actual taste of which I couldn’t stand, though you'll recall my grandmother, Mrs. “CLOSE THE DOOR!” Wimberly, sure loved her Schlitz. Does that Budweiser jingle ring any bells with you? I don’t know if the lyrics help jog your memory or not—sometimes this kind of thing just looks so weird on the page. I’ll bet though if you heard it you’d remember.

Actually, wait—you have heard it—about five Christmases ago you gave me a wonderful CD of classic TV jingles (“TeeVee Toons: The Commercials”) and “When You Say Bud” is included, though that one is the original, extremely white-bread version sung in a sprightly up-tempo by a solo female singer, not the swingin’ soulful duet I fell in love with.

The couple in the commercial wasn’t actually Marvin Gaye and Tammi Terrell of course, but they sounded uncannily like Gaye and Terrell in their soulful call-and-response style of singing. "You’re All I Need To Get By" and "Ain’t Nothing Like The Real Thing" were huge crossover hits at or around this time and the “When You Say Bud” jingle was obviously meant to evoke those tunes.

Pointless Bit of Trivia Alert: In 1972 Sonny and Cher made a record called “When You Say Love” with lyrics written to the tune of the “When You Say Bud” jingle. That’s how popular the original jingle was (or how goofy the times were, take your pick). I remember Sonny and Cher’s “When You Say Love”—I don’t know if you do—and, young as I was, knew it was pathetic, just pathetic. I don’t think it was a hit for them either, certainly not on the order of "I Got You Babe" or "The Beat Goes On" or even the bizarre "A Cowboy’s Work Is Never Done" or the melodramatic "Bang Bang, My Baby Shot Me Down".

Well.

Enough of all this, for now, anyway.

Yesterday was my mom’s 72nd birthday—72, Mike!—and we had a nice day, though it was only the two of us. I’d like to take her and her sisters out for lunch or dinner but we’ll see—we’ll see how the money holds up--needless to say, my (ah-haha) “stimulus” rebate is long gone now (have you yet received yours?) I made a nice dinner and a cake for her, and also bought her a Sony DVD player and several DVDs. She was delighted I'm pleased to report, especially with the DVDs—a nice Bugs Bunny “premiere collection” set and the original, hilarious Jay Ward-Bill Scott cartoon “George of the Jungle”. Mom’s always loved these cartoons, partly because they’re so wonderfully drawn and the dialogue is so slyly witty--most of the puns and asides still holding up after so many years--and partly, of course, because Joey and me loved them too, when we were growing up.


See ya; Love ya—

L

Tuesday, July 8, 2008

Elizabeth the Great

Been reading all the back and forth on Bill's blog--the comments and his replies--about the great Elizabeth Taylor

Like everyone else on the planet I love the films for which Dame Liz is best known and justly celebrated... but of all possible ET movies to recall as I read the comments, for some reason I'm thinking of "X,Y and Zee", the "daring" '72 flick starring Dame Liz, Michael Caine and Susannah York, in which we are asked to believe that the logical explanation for Liz's obsession with the delectable Susannah was strictly to save her (Liz's) disintegrating marriage to the dishwater dull Caine. (Mmmm...yeah.)

Not a great film by a long shot (It was directed by Brian G. Hutton who seemed on firmer terra cotta when he was helming macho adventure stuff like "Where Eagles Dare" and "Kelly's Heroes") but I retain a perverse affection for it. For one thing Elizabeth, who had just that year turned 40, looked incredible.

I also love "Secret Ceremony", "The Sandpiper" and--of course--"Butterfield 8", for which she'd won the Oscar. (That breathy, emotional acceptance speech...) Trust me--films like these are a perfect way to spend a rainy Saturday afternoon. (Okay, an almost perfect way.)

Is "Ash Wednesday", the '73 film she made with Henry Fonda in which her character resorted to a face lift (as opposed to a steamy lesbian seduction) to rescue her faltering marriage, available on DVD now? I've never seen it but have wanted to for years... also "Divorce His/Divorce Hers" the two-part TV movie she made around the same time, with her most famous partner, Richard Burton.

And whenever I have occasion to see "Gone With the Wind", and it comes to the part where Rhett and Scarlett are sparring about their willful little daughter, Bonnie Blue, I lament once again that the child actress Elizabeth was not cast in the role--she was the perfect age and she was strikingly beautiful, with an eerie resemblance to Vivien Leigh's Scarlett. As memorable movie entrances go, that would have been a perfect role for such a legendary star :-)

Monday, July 7, 2008

Autumn Monday

Nearly 2 pm. Extremely humid and so hazy out it's like looking at the neighborhood through gauze. Not at all my kind of day.

Wish it was August, so that September would be right around the corner. I am looking forward to September, to Autumn. I'm really starting to hate this summer; it feels oppressive, stultifying, endless.

Not "hate". Too strong. There are some good days left of summer and --typically--I will regret the swiftness of their passing as winter's worst settles over the city. But there's a restlessness in me that is building, a nagging need to get going, get moving, move on, do something, make something else happen.

An image keeps popping into my head and hanging around there--it appears suddenly and without warning sometimes in the mornings, as I'm shaking off sleepiness and shuffling toward a shower, or in the middle of my workday as I'm tossing books back on shelves, or sometimes in the evenings as I'm laboring to get comfortable and give all my concentration to the book in my lap or the nonsense on my TV set--it's me briskly walking the length of Woodlawn Avenue, past all my old hang-outs, the places I used to live and the places my family used to live. The trees are blazing with color and around me the street is buzzing with activity: young mothers pushing grocery-laden strollers past chattering students slinging backpacks crammed with books, babysitters wrangling balky toddlers and Jehovah's Witnesses hawking Watchtowers, dogs straining leashes, dogs barking at postal carriers and garbage trucks, blowing, swirling leaves, churning water, swooping birds, zooming cars.

I am taking this all in, breathing deeply, savoring the cooling breeze.

Sunday, July 6, 2008

A Barb(ed) Memory

I can’t explain what happened with Barbara; please just don’t ask.

Okay, that’s… not strictly true. If I really think about it awhile, I guess I do know what happened. I may still not entirely get the “why” of it, but I pretty much know the “what.” Maybe I just don’t want to talk about this. Do you really imagine I’m looking for yet more evidence of my own callowness, my life-long penny-wise, pound-foolish idiocy?

I will say that our eventual estrangement was not her fault. Barb tried, really tried for a time, to keep current with me. She would call and leave these phone messages in her cheery voice, trying to schedule an afternoon luncheon, or evening drinks and dinner somewhere or other after work, just to get together to let me know what was going on in her life and to find out what was happening in mine—her treat, even.

For some reason, I just wasn’t having it.

The first of these calls caught me completely off guard. I hadn’t seen or spoken to Barbara Peterson in years. Alright, my second lie; I’d seen her two or three times, bespectacled and tall as Colossus, striding purposefully through the neighborhood, usually not far from the street where she used to live with her husband Ronnie and daughter Rachel.

Each time, she was so obviously lost in thought that she didn’t see me—she once actually walked right past me, eyes peering toward some middle distance destination, seemingly totally oblivious of her surroundings. To my immense relief, I will admit.

In the beginning, ever my mother’s daughter, I would do the courteous, civilized thing and return Barbara’s calls (hoping against hope as I did so that her answering machine would pick up), tentatively agreeing to meet somewhere.

Barb would call back to confirm and invariably want to chat a bit. Feeling more than a little foolish, I’d nevertheless use an almost missed rinse cycle or a burning dinner as an excuse to cut the call short, with the promise that we’d “catch up” with each other when we met.

Then a day or two before the scheduled get-together I’d call to cancel (hoping once again to get her machine), offering hazy explanations of illness, overwork, or family emergency, promising to call soon to reschedule.

And then dra-a-a-ag my feet about doing so.

She would wait a bit to hear from me and then initiate contact again, still desirous to meet, eat, and chat. After a while—I am not proud of this—I would just not respond, not even to acknowledge the call.

Not understanding what was going on, Barbara would (apparently) shrug and try again at a later time, still wanting to share with me all of the latest changes in her life and learn what was new and exciting in mine. And I—exasperated, sometimes angry—Jesus! Didn’t the woman have any other friends she could do this with? Why keep pestering me??—would erase her self-amused, meandering messages.

Occasionally, we’d discover we were both passengers on the same southbound bus. This would usually happen as one of us was about to disembark, and through a swaying throng we’d smile and nod and signal and stage whisper up and down the aisle, the understanding being that we’d get together soon.

We didn’t, of course. Not if I could help it.

Eventually Barbara did stop calling, no doubt mystified by my unresponsiveness or perhaps simply tired of my evasive bullshit. Relieved, I nonetheless felt guilty about cold-shouldering her.

But not sufficiently motivated to rectify things.

We did actually meet for a mid-day breakfast once, maybe it was twice, and on an earlier occasion for dinner at a corner restaurant not far from my apartment. (I remember this restaurant as extremely noisy, splashy with color and specializing in French cuisine; it has long since gone to that great Failed Eatery Graveyard in the sky to be replaced by—you guessed it, all of you—a Starbuck’s.)

As I recall that dinner, Barbara was scintillating with excitement about her new job, her ongoing coursework, and her hopes, expectations and worries for Rachel, now very much the (nearly) grown-up young lady. And beyond a few twinges of garden-variety jealousy I had no problem at all with listening to this litany of good fortune, or so I thought. I smiled and nodded, murmuring approvingly between bites of spinach crepe.

I’d always liked Barb after all (though not, as long as I’m being honest here, as immediately as I’d liked Ron, her sardonically funny ex-), and was genuinely happy for her that her life, which had once seemed to me so constricted, had blossomed, becoming full and promising. I was also truly interested to know what Rachel, whom as a teenager I’d baby-sat for several years, was up to now.

So what went wrong? I think the trouble started at exactly that point in the conversation where, following her breathless recitation of the latest wonderful new chapters in her life, Barb smiled, fixed me with an expectant look and questioned me about mine.

This was bad. This was seriously threatening because either I had no news to speak of, good, awful or indifferent, or because the most recent changes in my life were not especially positive ones. I really didn’t want to talk about any of it, and felt horribly ill at ease under the microscope of Barbara’s schoolmarm scrutiny.

I felt, if you must know, unworthy of her company. I felt like schlump, a freak, a loser. As I stammered a halting, abbreviated, vaguely apologetic run-down of my nothing-much week, I could feel both Barb’s concern and her disappointment in me, which only made things worse. I’d wanted to spontaneously burst into flames, to vaporize and evaporate into the air. I’d wanted to disappear.

She’d showed me a letter once, pulling it from her purse and sliding it across the table at me like it was contraband. It was from a long time male friend of hers and Ron’s, written in an elegant longhand, and it had so baffled her that she’d brought the thing with her, wanting to know what I made of it. I recall now only the gist of the letter, which was that he—no idea of the writer’s name—preferred Barb not attempt further contact with him. In his view, their friendship had reached a dead end and (or) had never been all that strong to begin with. He wished her well in all her future endeavors, etc., etc., but please just… stay away.

I was startled, both by the letter’s content and by Barbara’s decision to show it to me. It seemed an awfully personal thing to share with anyone. Mostly though, I couldn’t get over the fact of it—that it had actually even been written, I mean. Imagine receiving—no, imagine sending someone a letter telling him or her that the friendship between you—not romance, mind you, but friendship—was probably never real and was, in any case, over!

In the face of Barb’s bewilderment and (I suspected) underlying anger, I struggled to offer a comforting, sisterhood-is-strong type response, telling her what I knew she wanted to hear, which was that the guy was an insensitive jerk and she was probably well rid of him and his strange, silly-ass issues anyway. A “friend” indeed!

A friend in deed.

Which—I know, okay?—was crap, because as I was reading that letter what I was really thinking was: Wow! How cool is this? What balls, to just flat out tell someone that this relationship of whatever variety is not working, so let’s just leave it at that.

What I couldn’t tell Barb was that where she was floored and disturbed by the writer’s action, I felt I completely understood it, and quietly admired the writer for having had the moxie to do it. I sure as hell didn’t.

I mean look, as hurtful as that letter must have been for Barbara, at least the guy was honest with her or trying to be. I’d said earlier that I was fine with listening to Barb’s bubbly updates, but that wasn’t really true.

Here’s what was true: I didn’t want to know this woman anymore.

I contemplated the Barbara I’d known during my schoolgirl years with her family, remembering the resignation and melancholy beneath her resolute cheerfulness. She had suffered years trapped in a frustrating, unfulfilling job and a marriage built primarily on someone else’s notions of freedom and equality. And, my affection for its occupants notwithstanding, the dynamics of that household used to make me a little uneasy.

To begin with, it felt a little weird that I’d connected first and so strongly with Ron rather than Barb. Not sure why, except that my mom and me were then deep in the muck of that parent-child/ mother-daughter mania, and from the first, Ron was warmly empathetic and supportive.

For all his kindness, charm and generosity, though, Ron Peterson had definite issues and his behavior could be seriously off-putting from time to time. He could be cutting, sarcastic, and unbearably condescending towards his wife.

He could, in fact, become a controlling monster (verbally, that is; I never saw any evidence of physical abuse) with what seemed to me the slightest provocation. And that Ron would think nothing of acting that way right in front me made his tirades that much worse. It was as though he didn’t respect Barb enough—or me either, come to that—to keep his conflicts with her a strictly private matter.

Whenever Ron erupted I would try, as quietly as possible, to remove myself. I was careful never to show open disapproval, my own household having instilled in me a near-Pavlovian instinct toward blank passivity in the face of adult invective. Frozen, I’d listen to Ron’s nastiness with an averted face and a churning stomach, silently enraged at his spewing cruelty.

And yet.

I didn’t want to be mad at Ron, and I didn’t stay mad at him, because—when his mood was clear—I liked him. A lot. I liked his witty conversation, his droll observations, his way of making me feel like a grown-up whenever we talked. He showed me a consideration that seemed beyond him with Barbara. I tried not to dwell on that, but the irony wasn’t lost on me.

I knew that Ron appreciated my nonchalance about his bisexuality and his and Barb’s open marriage arrangement, regarding it I supposed as evidence of an impressive maturity on my part—at least on matters of sexual complexity. In truth—naïve and inexperienced little Catholic girl that I was—I was floored by it, initially anyway, especially when I learned of these intimacies not from Ron or Barbara but from a very matter-of-fact Rachel, then about five and a half years old. I’d gulped down my astonishment, deciding it was politic or something to adopt a sophisticated “whatever” -type attitude about such things, whether I truly felt that way or not.

On the other hand, “gaydar” is real. Did Ron’s gayness—yes, eventually he did come out as gay (And do bisexual married men really exist? Or is the bisexual husband thing just some convenient construct, some psycho-social way station, until these guys figure it out, own up already and move on?)—in some way signal mine, making me more comfortable with him, making us “click” with one another? Possibly. Personally, I rather doubt it.

Ron may have sensed or suspected my queerness, buried as it was under all the usual debris of fear and denial. But I was so clueless at the time, willfully so, it seems to me now, that I don’t trust the “fellow traveler” scenario.

So much for my supposed sophistication.

I was appalled at the ugly displays of Ron’s darker side. The worst of my antipathy however, must have been reserved for his target, Barbara, whose habit, at least in my presence, was to smile weakly and make sotto voce little jokes or vague ineffective protests, weird counterpoint to Ron’s whiny, hyper-critical rants. I would try not to look at Barbara, try not to watch her swallowing whole her humiliation, her pain—and surely her own welling anger.

I’d walk home in the early evenings, seriously pissed off… at Barb. She deserved what she got. She was a spineless marshmallow who would go along to get along rather than stand up to a bullying, self-obsessed husband. She would slog on year after year in a job she’d come to hate rather than take a deep breath, roll up her sleeves, and do whatever it took to find her way to a more fulfilling life. She was a wishy-washy lump, Barb. She was a waste of space.

She was me.

And then one day, she wasn’t anymore.

Time passed, we all went our several ways, and for Barbara came expensive seminars, years of specialized training and the happy discovery of a facility for a technology that was just beginning to boom. The resultant career change (and impressive salary upgrading) must have been sufficiently empowering to prompt Barbara to re-examine other aspects of her life. Eventually, she ended the marriage, sold the house, and became her daughter’s hero.

I was truly impressed with Barb’s achievements, and I wanted to be happy for her, too. But in my own life I was (still) floundering so badly that I just couldn’t relax around the “new” her—I felt she must be judging me, and I resented my nose being rubbed in all her joyful life changes.

I hated the childishness of my behavior, knowing it was as destructive to me as it must have been hurtful to Barbara. I tried to put the brakes on, tried to head off this stubborn whatever-it-was that was compelling me to shun her. I even tried to snap myself out of it by resorting to the strictly mercenary, reminding myself that, if nothing else, Barb Peterson could be an especially valuable friend to have right now: she could be a mentor to me. She’d learned a great deal; I could, I should, try to learn from her. Avoiding her was, I knew, wasting a real opportunity for professional as well as personal growth.

So why did I continue to run from her? And if it had been Ron rather than Barb who’d sought me out, would I have responded similarly?

If it’s all the same to you, I’d rather not try to answer that one. Frankly, I don’t want to even think about it.

Alright, I’ll leave you with this: On the rare occasions when just the two of us would converse—as opposed to the three of us where Ron and I would do most of the talking and joking around—Barbara, with her direct gazes and attitude of serious listening, seemed to me to be paying closer attention to whatever I said and, I felt sure, whatever I didn’t say. I’d discovered I could snow Ron, at least about some things, most of the time.

I was never sure what I could get away with, with Barb