Bookmarker tag: for/pq-done (16 notes)

The only movie theaters that were worth anything, said Charly Cruz, were the old ones, remember them? those huge theaters where your heart leaped when they turned out the lights. Those places were great, they were real movie theaters, more like churches than anything else, high ceilings, red curtains, pillars, aisles with worn carpeting, box seats, orchestra seats, balcony seats, theaters built at a time when going to the movies was still a religious experience, routine but religious, theaters that were gradually demolished to build banks or supermarkets or multiplexes. Today, said Charly Cruz, there are only a few left, today all movie theaters are multiplexes, with small screens, less space, comfortable seats. Seven of these smaller multiplex theaters would fit into one of the old theaters, the real ones. Or ten. Or even fifteen. And there's no sense of the abyss anymore, there's no vertigo before the movie begins, no one feels alone inside a multiplex. Then, Fate remembered, he began to talk about the end of the sacred.

“I’ve never told you this,” she said. “But there’s something about taking the cart back instead of leaving it in the parking lot. I don’t know when this came to me; it was a few years ago. There’s a difference between leaving it where you empty it and taking it back to the front of the store. It’s significant.”

“Because somebody has to take them in.”

“Yes. And if you know that, and you do it for that one guy, you do something else. You join the world. With your body. And for those few moments, you join it with your soul. You move out of your isolation and become universal. But they were standing there watching me. Then I was afraid: a woman so far removed from nature that the checkout clerk had to tell me which way the wind was blowing. And she heard it from someone in the coffee room. Then the men left, and I pushed the cart back. I live by trying to be what I’m doing. I could do nearly everything I do without thinking about it. But I’d be different.”

His face was tender in the light of the fire; he said: “Yes.”

Two years after I left Davey Levinson sitting in the restaurant on East Broadway I interviewed Joe Durbin for a story I was writing on a rent strike. He was a labour organiser on the left, and a throwback to the romantic figures of my earliest life. The union movement was Joe’s passion. He had been an official in the CIO, known every labour leader from John L. Lewis to Walter Reuther, and had organised all over the historical map: California in the thirties, Michigan in the forties, New York in the fifties. He was twenty years older than me, and he was married. The age difference gave me my control. A week after the interview he called to suggest dinner. We were together six years.

‘What about his wife,’ my mother said. ‘What about you,’ my friends said. I ran into an acquaintance on the street. She wore silver earrings and curly grey hair, her eyes danced with interest, her smile was warm and knowing. ‘You’ll need a lot of stamina and a lot of self-control,’ she said. This woman understood the issues better.

It was assumed by everyone I knew that Joe’s wife was the wife, and I the other woman, and Joe the prize slated to fall to one or the other of us, but such was not the case. Why, I thought, would I want him to leave his wife? What would I do then? Take him into my apartment? It’s too small. Besides, I may not like sleeping alone, but I like waking up alone. Yes, it’s painful when he leaves, but it’s not that painful. The situation suits me. And then again, it’s interesting.

Joe’s wife was an abstraction to me. I felt neither guilt nor jealousy toward her. This because I did not feel jealous of Joe, whose gifts for life (gifts he made use of in union organising as well as in love affairs) included thoroughgoing reliability and a remarkable constancy of mood. A man of immense appetite and energy, Joe had quality time for all. When he was there he was so thoroughly and unreservedly there I felt neither deprived nor possessive when he wasn’t. For the first time, what a lover did when he was not with me was of no real concern; in fact, it was none of my business. This was an experience.

We occupied a universe composed of one room in one season: my bedroom on weekday afternoons. As time went on, we occupied this universe more and more fully. Hunger multiplied on hunger, desire on desire. We couldn’t get enough. Because we didn’t get enough. I was always wanting more. ‘Not more,’ a friend said evenly. ‘Enough. You want enough.’ In a year or two I realised that it wasn’t exactly more I wanted, or even enough. It was a larger world for our feelings to walk about in. Life requires space as well as air and light, room for exploration and self-discovery. The limits of exploration on the life of our feelings were set by Joe’s marriage, and those limits were close in. However deeply we might feel, our love could not make laws or map territory. There was no country of experience for it to cross, no coast to reach, no centre to penetrate. We were in possession of a small interior space somewhere in the midst of a fertile region of unknown proportion. Around this space stood boundaries of rigid stability. Love might intensify, but it could never expand to occupy a territory made in its own shape. The reality of the predetermined limit bit into me.

Imagine. I was living entirely in the moment, with no formal assurance beyond tomorrow morning’s telephone call, and I found myself interested; not sad tearful frightened or resentful, only interested. Here, I reasoned, is a circumstance where you clearly cannot make terms. The truth is, one never makes terms. This affair is only the bare, unfiltered truth. Can you take it in or will you founder on the absence of illusion? Indeed, it was stamina and self-control that were required to answer the question. I rose to the task. I began to grasp the idea of living without a future: we had few moments to waste on bad behaviour. I saw errant impulses die before they could make trouble. I saw reflexive anger give way to analytic understanding. I saw petty indulgence stifle itself and a kind of rough emotional justice prevail. All this I saw, and all this I was pleased to see. Then a day came when I also saw that learning to live without a future is a sterile exercise: what looks like life within a walled garden is really life inside a renovated prison yard. Joe’s wife remained an abstraction, but Joe’s marriage became a stunning confinement.

That strange word “believe,” with “lie” in it, is still going through her head when he has pulled down the straps of her dress, and spun her around, the dress slips over her narrow hips to the floor, and she’s standing in front of him in a little white slip. On the way to the couch they walk hand in hand through the dark corridor, and pause for a moment in front of the large mirror.

Do you suppose a mirror remembers all the people it’s ever reflected?

Maybe, he replies, but you know I — I will remember the picture of you in this mirror as long as I live.

So will I, she replies.

And they go on.

Her life. Even when she’s not to pick up the telephone when she’s alone in the apartment, in case it’s Ingrid on the other end. Last Monday, for instance, when Hans was at the ophthalmologist’s, it kept ringing and ringing. And she sat there, pretending not to exist. And for all that: her life. Is she happy at Ingrid’s expense? Or just happy? Is it always in relation to someone else, is it a zero-sum game? Or is it random and disassociated, one here, one there? Then in the evening, when Hans was back, he picked up and he spoke to Ingrid. Katharina took herself out to the balcony, but she could still hear every word. He spoke to his own wife as to a stranger. Katharina should have been pleased, but in fact it depressed her. Is that all that’s left of a thirty-year marriage? When she’s old, will she too have a husband who speaks to her on the phone, while his lover is on the balcony, waiting to be waved back in? If one knew the whole truth about everything, could hear what was unsaid, and see what was parked in the shadows — then would there be any sense in wanting anything at all?

I acquired a reputation as straitlaced in The Restaurant when I started seeing the hateful man. My colleagues interpreted it as some kind of new leaf or intentional maturity that I never went out with them after work anymore. But it was just that I didn’t need that scene to fuck with myself because he did it for me. As the employee roster at The Restaurant was infiltrated by more and more people who didn’t know anything about me, and those who did moved on, quit, or were fired, who I was to everyone morphed into this paragon of good work, consistency, professionalism. An example. I ignored new people until they had lasted for three or four months. I came in at five, rocked my shift the same hard way I did every night, no matter how busy or not, and walked out whenever it was over without looking back. I never left without polishing my tables. Not once. There were many nights when I was so exhausted I’d forget which position I had started at, and have to polish the whole thing again just to be safe. No matter how weary I was though I loved the strangeness of the place when it was empty. That every night we could walk onto a blank stage and invent all that. Take The Restaurant from pristine and silent down to a staggering state of chaotic, deafening, and excessive disarray, and then put it all back together like no one was ever there.

There is a cruelty in abstraction. It cuts into flesh. It relies on our fear of mortality for its meaning. The way it disturbs, distresses is meant to undermine some illusion of duration, of time controlled, even simply perceived. My paintings were abstract and splashed with guilt as much as paint, scratched with shame as much as with the knife or spatula. Back in Philadelphia I discovered bad dreams and fitful sleep. I locked myself away to explore those abstractions. My isolation wore well as I was an artist and artists were supposed to be moody and at least occasionally reclusive. The paintings I made I could just barely look at. I drank. When I emerged from my bed, so to speak, and went to my studio and revealed my paintings at my review, no one said a word. My professors, one after another, quietly, privately gave me nods of approval, then backed away as if something was wrong with me. They had no idea.

Sometimes when she is able to spend the night with him they are wakened by the three minarets of the city beginning their prayers before dawn. He walks with her through the indigo markets that lie between South Cairo and her home. The beautiful songs of faith enter the air like arrows, one minaret answering another, as if passing on a rumour of the two of them as they walk through the cold morning air, the smell of charcoal and hemp already making the air profound. Sinners in a holy city.

After that month in Cairo she was muted, read constantly, kept more to herself, as if something had occurred or she realized suddenly that wondrous thing about the human being, it can change. She did not have to remain a socialite who had married an adventurer. She was discovering herself. It was painful to watch, because Clifton could not see it, her self-education. She read everything about the desert. She could talk about Uweinat and the lost oasis, had even hunted down marginal articles.

I was a man fifteen years older than she, you understand. I had reached that stage in life where I identified with cynical villains in a book. I don’t believe in permanence, in relationships that span ages. I was fifteen years older. But she was smarter. She was hungrier to change than I expected.

‘A large crowd of us went to see Anna Alekseyevna off. She had already said goodbye to her husband and children, and the train was about to leave at any moment. I rushed to her compartment to put a basket that she’d almost forgotten onto the luggage-rack. Now it was time to say farewell. When our eyes met we could hold ourselves back no longer. I embraced her and she pressed her face to my chest and the tears just flowed. As I kissed her face, shoulders and hands that were wet with tears – oh, how miserable we both were! – I declared my love and realized, with a searing pain in my heart, how unnecessary, trivial and illusory everything that had stood in the way of our love had been. I understood that with love, if you start theorizing about it, you must have a nobler, more meaningful starting-point than mere happiness or unhappiness, sin or virtue, as they are commonly understood. Otherwise it’s best not to theorize at all.

‘I kissed her for the last time, pressed her hand and we parted for ever. The train was already moving. I took a seat in the next compartment, which was empty, and cried until the first stop, where I got out and walked back to Sofino.’

Sometimes I really feel the loss of everything and everyone concerned. I understand what Fellini means when he says filming to him is a way of life and I also understand his little story about Anita Ekberg. Her last scene in La Dolce Vita took place in a car erected in the studio. When the scene had been taken and filming was over as far as she was concerned, she started crying and refused to leave the car, gripping firmly onto the wheel. She had to be carried out of the studio with gentle force.

Sometimes there is a special happiness in being a film director. An unrehearsed expression is born just like that, and the camera registers that expression. That was exactly what happened that day. Unprepared and unrehearsed, Alexander turned very pale, a look of sheer agony appearing on his face. The camera registered the moment. The agony, the intangible, was there for a few seconds and never returned. Neither was it there earlier, but the strip of film caught the moment. That is when I think days and months of predictable routine have paid off. It is possible I live for those brief moments.

Like a pearl fisher.

Since the subject of Lizzie Scherer has come up I may as well give some further account of her. I began to love Lizzie after I realized how much she loved me. As does sometimes happen, her love impressed me, then attracted me. I was directing a season of Shakespeare. She fell in love with me during Romeo and Juliet, she revealed her love during Twelfth Night, we got to know each other during A Midsummer Night’s Dream. Then (but that was later) I began to love her during The Tempest, and (but that was later still) I left her during Measure for Measure (when Aloysius Bull was playing the Duke). I recall very clearly that occasion when I first realized that Lizzie loved me. She was playing Viola. (This was during Lizzie’s brief ‘shining period’, her annus mirabilis.) It was the production in which Wilfred Dunning, who usually played Sir Toby Belch, suddenly insisted on playing Malvolio. At least, he did not insist, I let him. It was a marvel but it wrecked the production. Lizzie and I were alone in a rather draughty church hall which for some reason was all we could get at that moment to rehearse in. It was a winter’s evening and I remember the place as being lit with gas. Lizzie (now in Act two, Scene four) got as far as ‘she never told her love’. Then she stopped and seemed to choke and uttered no more. I thought at first that this was her own extremely effective idea of how to speak the speech, and I waited for her to go on. She gazed at me. Then huge glistening tears rose into her eyes. When I realized what the matter was I began to laugh and laugh and laugh, and after a bit Lizzie laughed, laughing and crying helplessly. And I loved her for that laughter too. She was a good girl. She is a good girl.

Prince: What can he offer you? He loves you -- his memoirs are written on his face. But I see a big chapter heading: "No Divorce." Why not? Ten years they're married. She runs his life like a credit manager. They lost a child together ... they're attached underground by a hundred different roots. But if he left her -- as he knows -- could he leave his practice? Never! Then you'd be a credit manager ... But why go on? He won't leave her. That needs courage, strength, and he's not strong.