II.  Around and Around

Carlo Rotella, Charles Farrell and James Parker

CR:  We tend to go around and around with music and writing, as a general rule, but not with boxing, for instance, where we both agree doing it right is fine all by itself.  You just do the absolute conventional thing properly and clean the champion’s clock, and we’re good.

CF:  We are good.  But, also, that’s maybe the one field we’re talking about that is clearly deteriorating.  We’re talking about a very compromised entity, and doing it right is more and more of a rarity, even a miracle, when it happens.

CR:  One thing to consider is that every discipline, every genre, has a different relationship between doing it right and making it new.  So for instance, in blues, in Chicago blues, I think one of the reasons that making it new has been generally so unsatisfying over the past few decades is that almost nobody does it right anymore.  If more people did it right, the people making it new—like the people who started pairing rock-flavored guitar with funk-flavored bass in the 80s—would be reacting to that stronger center in more compelling ways.  The dynamic between margins and center would be more generative.  That’s why to me someone like Magic Slim, who pretty much only did it right in a recognizably classic Chicago-tradition way and had no interest in making it new, was so important and valuable.  He was dead set on playing a shuffle right, and the assumption out there is that anybody can play a shuffle right, but in fact it’s hard to do and not that many people do it well.  There weren’t enough people doing it right.  That whole situation is opposed to the way Charles sees jazz, which is that way too many people are doing it right and not enough people are making it new.

JP:  So now I’m thinking about rock n’ roll, where the teleological aspect is completely compromised.  And that’s why it’s now dissolving, because of this great, floating simultaneity of sound and access through the ears at once that everybody’s living in now.  It used to be This is punk rock, and then I’m a post-punk rocker, then I’m the next thing, I’m the next thing.  It was always about the thing before, or had something to do with the thing before, post this, post that.  That’s over.  That’s finished.

CF:  Except maybe in its very early stages, rock has almost never been about music.  It’s almost never about music.

JP:  What do you mean by that?

CF:  That’s a medium where, aside from pop stuff, craft can devalue very quickly.

JP:  Yes.

CF:  And maybe for good reason.

JP:  Yes.

CF: So the argument is never about who’s a good musician, it’s—

JP:  Personal?

CF:  Yeah, yeah, or about meaning.  Stripped of everything else, maybe no music is really about pure music.  Maybe, all music is about what it means to someone.

JP:  So maybe rock n’ roll is just this mad tangent, which has now exhausted itself.

CR:  But everything sticks around, and there’s all this scaffolding and apparatus out there that means it can’t truly exhaust itself.  There are recordings, and YouTube, ways of preserving the music and extending influence, so there are people who still aspire to play in that way—for aesthetic reasons, or because there’s money to be made or notoriety to enjoy, or whatever.  So there’s going to be some version of it.  And that’s true of every form that you might see as getting creatively tired.  Somebody’s still going to want to do it, right?  And it will still mean something.  I was in Nashville this week, and I went out to see a band at the Station Inn, a hallowed place of bluegrass and “real country,” a place that thinks of itself as the aesthetic real thing in a city dominated by commercial considerations.  The band on stage was completely, entirely committed to playing it right.  They played only covers, but they weren’t interested in reproducing specific recordings.  It wasn’t a tribute band.  They were interested in nailing an aesthetic. And their aesthetic was not just the 50s and 60s thing you might expect, Merle Haggard and Patsy Cline and George Jones.  It was more 60s and 70s.  So they’d do Tammy Wynette, but they’d also do Ronnie Milsap or Gene Watson or someone else that some hard-country types tend to think is not so close to the Hank Williams ideal.  Everybody in this band could sing, everybody could play, and they were all committed to an established aesthetic—doing it right, with no interest in making it new at all.  They weren’t trying to revive these songs or find a sly hidden meaning in them, they were just trying to get it right.  Essentially, this was a record collection band.  Listen to thisIt’s important to me.  This is what my taste sounds like.

JP:  Yeah.  I listen to this.  Do you have the same taste as me?  Oh, good.

CR:  I found that whole experience perfectly satisfying, and I bet Charles would not.

CF:  I would not.

CR:  So why—

JP:  Wait a sec.  Is there a possibility that the point of making it new would be to generate some kind of unease, so that you’d never be satisfied by it in the way that you were by that band in Nashville? 

CR:  I was just as satisfied when I went to see Charles play some seriously out-there make-it-new shit at a gallery in Cambridge.  I was unsettled, but I was very satisfied by how confused it made me.  I’m happy with being confused or with that thing that happened in Nashville, where I was the opposite of confused.

JP:  Charles, when I think about your music, it’s like you’re building these beautiful citadels and shredding them.  Building and shredding, building and shredding.  What’s going through your body when you’re doing that?  I hope that’s not a mischaracterization.

CF:  No, I think that’s very close.  I think what happens when I play, I have a basic idea that I’m going with because, at the most basic level, I have time to kill and I have to kill it in some way.  I want to go in with as little as possible.  What I have is this background, and the background is the craft.

JP:  So you go in with your skeleton of craft.

CF:  Right.  That’s the playing it right part.  There, I’m borrowing.  It would be probably from Coltrane more than anybody.  But it also depends on the night.  For example, the night you heard me play solo, I almost didn’t play piano.  I had just listened to Marvin Santiago doing a tune called “El Pasajero.”  I thought, That’s what I’m hearing right now.

CR:  So what would you have done if you didn’t play piano?

CF: I probably would have played the record.  And I probably would’ve said, “So okay, this [smacks table in salsa rhythm] is what I’m hearing.”  And it would have made no sense, and it would have been horrible as a performance, but that doesn’t bother me.  Being good, being bad, to me is completely insignificant.

CR:  I’ve heard that from you enough that I’m convinced of it.  You’ll see somebody play and you’ll write to me about it with great enthusiasm and you’ll say—deep into the email—It was very bad, not that that really matters.  Where you and I are farthest apart is in music, and where I’m closest to your position is in fiction writing.  I’d rather read bad DIY fantasy fan fiction than yet another well-crafted literary novel that got respectful reviews in all the right places.

CF:  A novel like that, published now, gives you absolutely no information that you don’t already have.  It doesn’t jolt you in any way, it doesn’t add to what you know in any way, it doesn’t teach you anything.  And because you write, a well-constructed piece of writing—just on its own—it’s not going to mean much to you.

CR:  But I don’t write fiction, and it’s fiction I’m talking about.  I’m a bad musician, and I’m perfectly happy to have a well-constructed piece of music, and I’m happy for whoever did it.  But in nonfiction writing, which I do for a living, I’m also perfectly happy to have a well-constructed piece of work.  When my nonfiction writing students lay some pipe that doesn’t leak, I’m thrilled.  The tricky part for me is that in reading fiction, as opposed to the other two, I find the same level of competence dispiriting.  I find it dispiriting to imagine the process of constructing it, and to see that this result is all that came out of that process. Which I suspect is what happens when you listen to jazz.

CF:  It’s exactly what happens when I listen to jazz.  When I was in my late teens, for a while I thought it might be interesting to try and engage with jazz musicians.  I played with a bunch of guys who all ended up being relatively famous, and all they cared about was mastery over pre-existing language.  They had no interest in expanding it, no interest in what the language meant, culturally or emotionally or spiritually. The saw notes as notes, construction.  And their goal, and these are young kids, was, first, to get rich, and then their ultimate goal was to work with Miles.  That’s it, that’s where it stops.  So you’re a kid for the rest of your life, you’re producing wonderful craft, but absolutely no meaning. You’re thinking of this thing—music—that really exists for emotional meaning, but you’re thinking purely about its architecture.  And that’s as far as it goes, and I think you’ll never produce anything of real value.

CR:  Does it work that way in rock?  Does it work that way in metal?

JP:  Well, metal is special because there’s a more athletic component, like physically what you can do.  Especially a drummer.  Metal drumming has evolved literally like a sport.  There are teenage kids doing now what the best metal drummer once wouldn’t have dreamed of doing.  The result is there’s something in the music itself that just demands this constant escalation.  Not evolution—escalation.  It’s got to go heavier, it’s got to be harder.  It’s got to be stranger.  It’s got to be more challenging.

CR:  So, as a result, does metal have a whole lot of making it new or is everyone just laboring to play it right?

JP:  I think there almost is no playing it right, because of the inherent escalation.  I took my friend Jeremy Eichler, who reviews classical music for the Globe, to see Meshuggah—

CF: They’re good.

JP: Yeah, they do extraordinary things.  Extraordinary things.  Jeremy had never even been to a rock show before, so this was almost like I was guiding him through his first acid trip.  Because they’re a shudderingly intense kind of live proposition.  I mean, the light show alone is a battery of sensations.  And Jeremy said, “Do you think this is a violent experience? Do you think the crowd is violent?” And I said, “No, I think this is actually a very loving experience.  I think the crowd is very grateful because they’re getting exactly what they want.”  And maybe that is kind of playing it right.  But also, it has to go beyond.  It has to achieve this level that only the very best band can—

CR: A technical level?

JP:  Well, the ideal is a simultaneity, like a marriage, between the ultimate technical ability and the thing that you’re trying to express, right?

CR: The technical escalation is enabling new ways to make emotional meaning.

JP: Yes, quite right.  I think Meshuggah, in particular, are conjuring this complete other world of oppression and domination and alien-ness and at-home-ness and strangeness and familiarity that not many bands can manage.  The escalation is going somewhere.




Charles Farrell has spent his professional life moving between music and boxing, with occasional detours.  His book (Lowlife): A Memoir of Jazz, Fight-Fixing, and The Mob, will be published in July, 2020.

James Parker is a staff writer at The Atlantic and the editor of The Pilgrim, a literary magazine from the homeless community of downtown Boston.

Carlo Rotella‘s latest book is The World Is Always Coming to an End: Pulling Together and Apart in a Chicago Neighborhood.  He is a professor of English at Boston College.

Jimi Hendrix Could Never Have Played This

Charles Farrell

Jimi Hendrix could never have played what eight-year-old Zoe Thomson plays on a YouTube video currently about to reach 7 million views. But hundreds of thousands of six- and seven- (and, for all I know, three- and four-) year-old girls and boys scattered throughout the four corners of the earth can.  I didn’t search high and low to find the clip.  It was the first one that showed up on YouTube after I typed in “Six-year-old Bosnian girl playing heavy metal” and hit search.  Countless other clips are even more impressive.  Believe me, there are toddlers out there who’d leave poor Zoe in the dust, fumbling like Eric Clapton.

            As cute as it may be for a tot to shred note-perfectly through a nugatory musical exercise, it represents an extreme example of the argument against “doing it right.” Anybody, given time, patience, and proper equipment (which would include any device that lets you copy by watching someone else do it in slow motion) will be able to do it right.  In a ceaselessly accelerating learning climate, doing it right—the process of technical assimilation and perfection—takes less time, is easier, and more common than ever. 

            Nowadays everybody is good: it’s the entry-level requisite for acceptable participation.  So, good is now average.  And average is useless.  Why would anyone aspire to become average, even if that meant doing it right?  Even if it meant being a devalued “good” at something? 

            There’s nothing inherently wrong with being good at something.  Even if your intention is to try to make it new, doing it right gives you one additional option.  There’s nothing inherently wrong with being a skillful craftsperson or of mastering technique.  The snag is that if that’s the direction you decide to take, and it represents anything more than a starting point, your work will always be dispensable.  Doing it right might be viable as long as you’re not just doing it right.

            And there’s nothing wrong with admiring something for its having been done right or for its capacity to entertain you.  But any work that makes it new—whether or not it’s done right—can elicit much more than admiration and enjoyment.  “A job well done” is genuine praise for plumbers and electricians, but it’s a backhanded compliment for anyone trying to produce serious art.

            (I’m not making a hierarchical judgment here; we need plumbers and electricians and want them to do it right, not necessarily to make it new.  And, while I’m on the subject, I’ll mention two more exceptions to what I’m arguing.  First, I’m 100% with Carlo in the view that doing it right in current-era professional boxing has it all over making it new. Boxing can no longer be made new in any way except ineptly, and ineptitude in boxing isn’t ever justifiable, since it will lead instantly to serious injury or death.  Second, Bill Birdsall, whose contribution you can read elsewhere in this folio, built his house and its surrounding buildings in styles that are both new and highly exploratory, but they’re also really safe.  I realize that this may also weaken my argument, but doing it right is essential to any architecture that needs to be functionally safe.  Unless your intention is to make some kind of nihilistically subversive political statement, even the most groundbreaking of “make it new” buildings shouldn’t be designed to collapse while people are on top of, inside, or underneath them.)


Used-up Information

Innovation isn’t just the First Word in a form, it’s also the Last.  Innovators obviate much of whatever they bring into play by fully articulating a system that once spoken never needs repeating.  Whatever follows directly from it that has been done right will always suffer by comparison. 

            A word about the definition of “follows” as used here: annexing language as vocabulary and extracting intent as a type of meaning don’t constitute following per se.  Language and intent are available tools, even if your goal is to make it new.

            Using innovative material in any other way is dealing in used-up information.  It’s trespassing.  And, depending on who you are, from where you’re lifting your material, and how you benefit from it compared to the person who has a genuine claim to it, this can be a troublingly inequitable thing.


Social Leveling and Bullying

At its most pernicious, doing it right lobbies in favor of popularizing—and helping to move experience to—the middle, that safe haven of unchallenging accessibility.   Doing it right provides a platform for Ken Burns and Wynton Marsalis, for Philip Roth and Annie Leibovitz, for Tom Hanks and Willie Nelson, for Quentin Tarantino and Twyla Tharpe, for Jay-Z and Beyoncé, and others in this dime-a-dozen cohort who have learned to do it right in very modest and always derivative ways, and who are somehow taken seriously as artists for their questionable achievements. 

            Doing it right—at least adherence to doing it right—is by definition playing by the rules.   But art at least, in the largest sense, has no rules.  There are no consequences for fucking it up.  If you insist that doing it right is the Coin of the Realm, you have imposed a delicate tyranny over what is possible.  Unless it’s no more than one of numerous factors making up your work, you have abandoned risk. 

            It’s worth taking a look at playing by the rules, since those rules exert pressure to do it right and absolve the work that comes from having done it.  Like everything in history, in the end the rules are determined by the winners.   What does “do it right” mean under those terms?  Rules often come from an interest in controlling standards in order to enlarge a potential audience.  Rules can also be used to attract targeted groups while keeping others at bay.  Doing it right can be a kind of aesthetic jerrymandering. 

            When Ken Burns talks about jazz—a word that he apparently owns the copyright to—his imprimatur is seen by many as having the historical weight of fact.  PBS describes it as “Ken Burns tells the story of jazz.”

            Here’s how Burns describes that story: “We made it to please a broad national audience, because this is our birthright. This is who we are. This is the celestial music of America. And I want a little old lady in Dubuque to tap her toes to all of this stuff.”

            Let’s take Burns’ xenophobia off the table; the list of things he’s fucked up is already long enough without it.

            Jazz was originated by black people for black people.  It is not “our birthright” or “who we are,” assuming we are Ken Burns.  I have no idea what “the celestial music of America” is supposed to mean. 

            Charlie Parker elected to speak an arcane and exclusionary language—much faster, more rhythmically and harmonically complex, and with more insider references than what preceded it—meant to kick you off the bandstand: “This is not for you.”  His work was designed—among other reasons—to keep a little (presumably white) old lady in Dubuque from tapping her toes to “all of this stuff.” 

            But guess who jazz history tells us all of this “stuff” was made for?  Start tapping, Granny.  Tough luck, Jelly Roll Morton, Charlie Parker, John Coltrane, Ornette Coleman, Cecil Taylor, Steve Lacy, and Albert Ayler.    Thanks for the education, Ken.  Thanks, PBS. Thanks, Wynton.


It Doesn’t Matter If It’s 100 Years or 10 Minutes

Something that has been made new is of its time—although it often seems not to be—even as it stands outside of time in perpetuity.  Doing it right consigns whatever the “it” is to being behind its time, even when it appears to be the hottest thing of the moment.  The way that doing it right masquerades as being current is why making something new causes it to appear ahead of its time. 

            Nothing can be ahead of its time.   No one who is serious about what they’re doing ever thinks about making their work ahead of its time.  If that’s what you were trying to do, your work would be junk.  

            If you have come up with something that really is new, you have willed into currency something that crashes headfirst into its time. 


At the Risk of Being Immodest…

I’m going to talk about myself a little bit.  For over fifty years I’ve heard that I’m a fraud as a musician.  Whether those saying it are right doesn’t matter much; everyone is free to come to their own conclusion about that.  In my playing, I’ve always gone to great lengths not to do it right—to try to painstakingly omit any gratuitous use of previously established material.  What remains after all that excision can easily be heard as solipsistic nonsense: some showoff playing a bunch of really fast and loud random notes nonstop for an hour. 

            Almost everyone who has questioned my legitimacy has reversed their opinion if they’ve watched me sight-read a Prokofiev or Ives piano sonata, heard me wind my way through abstruse chord changes or time signatures in a contemporary jazz piece, dig into a montuno behind a timbale solo as part of a Salsa orquesta, or accompany a tenor singing Puccini or a cabaret performer doing selections from Harold Arlen or Cole Porter. 

            Apparently running that gauntlet proves to any Doubting Thomas that I can do it right.  But for me the important question, the generative question that could lead to genuine innovation, is What if I couldn’t?  Ornette Coleman used to say, “The notes don’t care what you call them.  They just notes.” 

            If I played the same hour of fast, loud notes without having also proved that I could “do it right,” would their value be any different?  They would sound identical.  They just notes.


What to Take/What to Leave Alone

Evan Parker mentioned to me in conversation that he has sometimes been compared to John Coltrane, adding, “As if I could ever be John Coltrane.”  That seems exactly the point: recognizing that there could only be one John Coltrane is one of many things that has kept Evan from becoming ensnared in imitation.  Bringing to his work Coltrane’s available language and elements of his spirit, Evan is able to make it new—a Coltrane continuator perhaps in the way of Dolphy to Charlie Parker—significantly adding to the vocabulary of the instrument, and both closing and opening possibilities for the next saxophonist to make it new. 

            Good slides away fast; even bad lasts longer.  Something new—great or awful, if those flexible terms matter at all—has the chance to stay with you. Stripped of innovation, doing it right lacks the two vital elements of cultural context (sociological, economic, political, etc.) and (auto)biography that would allow it to be more than the product of very hard work done in pursuit of a clever iteration of something already done better. Doing it right is making a conscious decision to favor architecture over meaning; it is investigating the plausibility of presenting someone else’s work as your own.  

            Language—the one thing available to everyone from its moment of innovative introduction—never factors in as a great achievement in the valuation of “good” work.  Language is something that has already been handed to you, free to use once you’ve acquired it.  Experts of craft shouldn’t kid themselves that they’ve accomplished anything more than the mastery of something that can be learned through diligent practice. 

            Why accept the format?  Why even make your goal doing it right if—aside from the possible satisfaction of achieving “a job well done”—doing it right produces no collateral resonance?  

            On an already glutted planet where every mode of creative work is traffic-jammed to the point of immobility, making it new—born of a longing to break out some space and freedom—opens up some breathing room (until it is once again filled in by the race to add “good” work to it).

            Bear with me; this will be circuitous.  When I was about sixteen, I played piano at a private birthday party for the movie producer Joseph E. Levine, who was sixty-two at the time—six years younger than I am now—and who seemed ancient to me.  He spent the first few hours of his own party sleeping in one of the upstairs bedrooms while his guests kept up an endless chatter about him: Joseph E. Levine was upstairs.  Joseph E. Levine would be coming down soon.  Joseph E. Levine was a big as they get in Hollywood.  Joseph E. Levine had just made The Graduate

            When the Great Man finally made his way sleepily down the stairs, he was surrounded by people who had important things to tell him.   Each guest vied for his attention, pitching something or other to him.  I’ve seldom seen anyone less interested in being where he was than Joseph E. Levine was at his own birthday party.   He had heard every conceivable pitch before—they were all variations of the same pitches—he had seen everything he was ever going to see, and he was done. 

            That’s how I feel now.  I’m trying to figure out what might be at the heart of it.  Here’s what I’ve come up with: I’ve used up my free junk-space in order to accommodate work done right.   Having to put up with things done right—good work, all—is part of what’s drained from me the ability to receive joy and its black-sheep cousins, outrage and shock.  Like the tired Joseph E. Levine, I’ve seen and heard it all before, and my capacity for tolerance has been reached.  I’m not trying to foist my ennui entirely onto others; I’ve heard and read everything I’ve played and written before, too.  That’s on me.

            Making it new is the only antidote for all this.  Making it new wakes you up, jumpstarts you, and hints at other directions things can go, other paths you can take.  Significantly, it helps re-illuminate the quotidian: seeing something that has been made new triggers revivified appreciation of the people, animals, trees and plants, buildings, advertisements you pass on the street, and this process of jolting your faculties back into action might carry over to your own life and work. 

            Admittedly, this process reduces to simplistic formula something that is unwieldy and imprecise.  You’re not going to become a perpetually creative force by experiencing an ongoing supply of things made new.   But it makes sense to accept good fortune where you find it.


Where the Southern Crosses the Dog

The Southern and the Yazoo Delta, aka the Yellow Dog, are two trains that converge in Moorhead, Mississippi, the place of blues legend where-the-southern-crosses-the-dog.  This has always seemed like a heart-stopping image for when doing it right meets making it new at the junction. For me when doing my work, this propitious timing happens only rarely—as an offshoot of when I am thinking architecturally while my hands are firing on all cylinders.  When things have reached that point, I can then sometimes shift over to no-thought mode, leaving me free to make leaps that I would otherwise know were impossible.  I’ll make them anyway, and they will work.   It makes you wonder: is making it new an act of imaginative faith?


A Big Word

Every morning I walk Nico at the Bowen School playground.  Often, we run into Masha, who walks Dante, who follows closely behind Nico, and Masha and I make small talk while the two tiny dogs make their rounds.   Today, I was telling her about the trouble I was having writing this piece, trying to frame my position. 

            After I’d given her a general sense of the various viewpoints likely to be presented, she asked me, “So what does ‘make it new’ consist of?” 

            “It’s about telling the truth…” I started to say.

            “Truth.  What a big word for a man to say.”

            Right.  A big word.  Too big a word.  Let me try to dial it down.


Grandiosity

In reading Jaime Lowe’s remarkable book Mental, I was struck by how activity brought on by bipolar mania parallels the impulse to make something new.  Mania, if I’m understanding it right, largely plays out in the pursuit of big ideas that, at the time you’re chasing them, seem absolutely accomplishable by you and only you.  This might well be seen as grandiose thinking in the way that believing yourself capable of making it new can be interpreted as a kind of grandiosity.  Is someone who is dedicated to producing only the new inherently grandiose?  I don’t know.  Maybe.

            I do think that if you take good and bad out of the equation, there might be an argument against the goal of making it new being a grandiose one.

            There’s also the notion that work—the kind of work that comes from putting one foot in front of the other most of the way—modifies the kind of magical thinking associated with grandiosity.  That there is an element of magical thinking involved—that tipping point that is arrived at by coming through hard work—again muddies the water a little bit. 

            Ultimately, it may be the acknowledgement that making it new springs from someone else having done something surpassingly well before you—something you are not capable of doing in any other than technical ways—that vouches for making it new as not necessarily an exercise in self-reverence. 

            There’s something valuable in commingling your life with your work so that what you produce is more a factor of what you’ve seen and felt and heard and lived than an exercise of academic rigor or idiomatic appropriation.  What you produce is not just an entertainment. 

            I often imagine the dog’s rounds as an antidote for grandiosity.  Separated from his leash, the dog takes his fresh mobility to every alleyway and path, alert to the half-life vibrancy of brick, glass, wood, and stone.  That’s making it new, stripped of affect. 


Let’s Say That You’re a Stone

and you are not an empty vessel that might be filled up with rainwater or garbage or memories or ideas or anything else that takes you from your stone-ness and keeps you from feeling the sun or the breeze or the rain—but none of these are anything other than sun or breeze or rain: they don’t mean anything—and so you remain a stone until you are worn away and become whatever you become or until you become nothing if there is nothing to become.  You didn’t do it right.  You didn’t do it at all.  Every moment was new.  You always made it new or it was always made new or it was always new or you were always new even though you were always there until you were not.




Charles Farrell has spent his professional life moving between music and boxing, with occasional detours.  His book (Lowlife): A Memoir of Jazz, Fight-Fixing, and The Mob, will be published in July, 2020.

I. The Impasse

Carlo Rotella, Charles Farrell and James Parker

Charles Farrell:  I always think that what’s important are innovators, and that anyone who does something right predicated on something they heard or saw is not going to be as good as the person they learned from.  And so, yes, they can be good, and as standards develop and increase and people get better and better, they can become great at what they do, but eventually great becomes average because everybody can do it.  So they’re producing products that aside from maybe being pleasing—and I recognize there’s real value in that, and there may be money in it as well—those products have no great impact, no great meaning.  It’s tired, and it doesn’t educate in any way.  And it also, to me, doesn’t touch me emotionally.

Carlo Rotella:  The last thing you said makes your position much more compelling to me.  Up until then, I would just have come back and said, “Look, a farmer doesn’t have to make it new.  I don’t need that farmer to be farming in some bold, new, innovative, out-there way.  Just trying to get some food out of that piece of land, that’s good enough for me.  I don’t need an avant-garde plumber—just get the toilet to flush.”  I’m exactly the same way with art—and by “art,” I mean almost anything in which the truth-and-beauty consequences play a leading role, which extends from literature and music and other obvious suspects into sports and other less obvious ones.  I don’t need art to go beyond itself, and I don’t see anything tired in simply doing it right in the way others have done it right, without any fuss about innovation.  But then you raised the stakes by saying it doesn’t educate you, it’s not as meaningful, it doesn’t touch you emotionally—which I agree that the kinds of truth-and-beauty creative practices we’re talking about, unlike the production of food staples or maintenance of plumbing, should do.

James Parker:  One thing Charles has said that stays with me is “Good is boring; bad is biography.”  If it’s bad enough, that’s when you might see something very human expressed.

CR:  Part of the impasse is the suspicion that at the bottom of doing it right is boring stasis, and the parallel suspicion that at the bottom of making it new is bullshit, fakery.

JP:  These are the shallow signs of those two things.  They’re not the bottom.

CR:  Okay, point taken, but that’s the mutual suspicion.  And so Charles and I got to thinking that we should invite in some other people, not necessarily to break the impasse but to make the impasse a more interesting place to hang out.  I don’t need to break the impasse; I need it to be more generative.  I want someone I trust, or someone I don’t trust, to find nuances in it, wrinkles, ways of looking at it that I’m not seeing.  We decided to ask people we know in various lines of work—writers, musicians, academics, people who deal creatively with money or hair or whatever—to write brief pieces that tell us something about doing it right and making it new.  And also, since we both trust James to come at things from an unpredictable angle—and since James and Charles have in common that they both meditate with their dog, which I find strangely touching—we started by asking James to join us for dinner and to contribute his own essay.  We both have faith that by turning our two-person deadlock into a three-person conversation, James will help destabilize the impasse.

JP:  Destabilize the impasse, that’s my job.  I’m struggling not be Derek Smalls in Spinal Tap.  Remember?  “There’s fire and there’s ice, and I’m in the middle—lukewarm water.”  I think the tension itself is the generative thing.

CR:  Exactly.  The last necessary framing remark I’ll make is that there’s an obvious Goldilocks compromise position that none of us finds all that exciting.  That position goes Well, a little bit of making it new and a little bit of doing it right is just right.  You have to know how to do it right before you can make it new, and if you authentically do it right you are inevitably in some sense making it new, maybe in some micro way, like, between the measures, and so on.  The just-right bowl of porridge.  Picasso could draw a hand; you have to know the rules so you can break the rules.  Yes, okay, fine, that may be true as far as it goes, but none of the three of us finds this response all that explanatory or productive.




Charles Farrell has spent his professional life moving between music and boxing, with occasional detours.  His book (Lowlife): A Memoir of Jazz, Fight-Fixing, and The Mob, will be published in July, 2020.

James Parker is a staff writer at The Atlantic and the editor of The Pilgrim, a literary magazine from the homeless community of downtown Boston.

Carlo Rotella‘s latest book is The World Is Always Coming to an End: Pulling Together and Apart in a Chicago Neighborhood.  He is a professor of English at Boston College.

Do It Right and Make It New


An Experiment

Carlo Rotella

For as long as I’ve known Charles Farrell, going on twenty years now, we have fallen into an impasse that features some version of me saying, “I really like the way that musician or that writer or that painter or that whatever did things properly,” and him saying, “That bored me because I wanted to see something done new.”  Or he says, “The way that musician or writer or whatever made it new spoke to me,” and I say, “I was unmoved because I felt they were trying to make it new at the expense of doing it right, or by default, because they didn’t know how to do it right.”  Do it right, make it new, around and around we go.

            This eternal recursion to loggerheads makes me feel . . . several ways at once.  I can see the merits of Charles’s way of looking at things, and I recognize that it’s valuable and even essential, and I’m often temporarily persuaded by him.  All he has to do to shake the foundations of my deep faith in doing it right is to mention Ken Burns or Steven Spielberg or some other figure who is celebrated for serially taking things I care about and pounding them with great craft skill into two-dimensional flatness.  It can work the other way, too:  all I have to do to shake his deep faith in innovation is bring up boxing.  But neither one of us stays persuaded long, and I can’t truly empathize with him.  Just when I’m starting to be swayed by his way of thinking, he will say something that reminds me just how far apart our sensibilities actually are.  He’ll mention that he’s not listening to jazz anymore, or tired of listening to music, or getting bored of reading, and I will wonder if he’s a carbon-based life form at all.  Even so, his impatience with mere competence can make me question the satisfaction I take in it.  Am I some kind of naive simpleton to be so easily pleased?

            In the normal course of my daily round, the flatline tendencies of my worldview typically look to others like pessimism—and so, even though I should know better, I begin to think of myself as a pessimist.  By flatline I mean that I tend to default to the assumption that things have always been just about as good and as bad as they are now, and don’t change all that much; that people, though capable of inspiration and brilliance, still generally do a pretty bad job at what they do because they give in to malign or lazy or craven or grandiose impulses that undermine their competence; and that therefore it’s a pleasure to see something done well, even if it’s been done exactly that way a thousand times before.  My flatline-ism means that I’m overjoyed when the garbage gets collected, when the rain stays on the other side of a correctly constructed roof, when another day goes by in which our jury-rigged social order hangs on and my neighbors and I are not reduced to snacking on each other’s femurs.  I’m similarly thrilled, in the realm of expressive creativity, when somebody plays a blues shuffle right, or executes a pick-and-roll, or paints a fish that has a quality of fishiness.  So it’s disorienting that Charles can make me feel, at least for a vertiginous moment or two, like some kind of emptyheaded optimist who’ll settle for any old thing.

            It seemed to me that these ripples of feeling, the impasse that produces them, and the larger principles that come together to shape the impasse might possibly extend into the lives of others and encounter similar ripples in the unlit deep places of their being where taste and meaning are formed.  This folio is an attempt to see if and how that’s true.  It consists of two interlarded elements: an edited transcript of excerpts of a dinner conversation Charles and I had with our friend James Parker in which the three of us set out to map the byways and resonances of the impasse, and a series of essays written by a crew of contributors (including ourselves) who we invited to help us understand and reconceive our impasse.

            This isn’t a debate, it’s an experimental expedition.  If I was trying to win, I would have stacked the deck with contributors who agree with me, but I’m trying to learn something—so, if anything, I wanted it stacked the other way.  And I think it’s only fair that, since I get to introduce and edit the whole thing, Charles gets to make his case at length.  Some of the people we invited to join us dashed off a response that tried to get us to make peace—Hey, come on, can’t we all agree that you need a little doing it right and a little making it new?—or to sternly break it up, as if we were two drunks struggling in a gutter.  We didn’t find those responses very useful, so they’re not included.  Yes, we get it:  both/and, not either/or.  But one thing I am pretty sure that Charles and I agree on is that sometimes you can learn something useful from drunks struggling in the gutter.  Sometimes, even, you can learn something useful from being one of those drunks struggling in the gutter. 

            I’m grateful to Charles, James, and all of our contributors for gamely and generously getting down in the gutter with me.



Carlo Rotella‘s latest book is The World Is Always Coming to an End: Pulling Together and Apart in a Chicago Neighborhood.  He is a professor of English at Boston College.

Animal Communication Intensive

Rebecca Curtis

THREE DAYS BEFORE THE ANIMAL COMMUNICATION INTENSIVE

I was standing in front of a closet with sliding mirrored doors. It was dark except for a dim light being emitted from an unknown source. I didn’t recognize the hotel room even though a pile of my clothing was leaking out of the closet where the closet door was cracked open on one side. Long drapes concealed what I somehow knew were glass doors leading out to a balcony.

            A thin woman I didn’t know was talking to me. Her reflection was hazy in the glass behind her. It mimicked the gestures she was making with her arms. “I have to meet someone. I’ll be back in a little while.” 

            Behind us were two beds, so I assumed we were together. But I didn’t try to stop her even though the air was thick with an approaching storm. I knew it was dangerous. 

            My stomach began to churn after she had left. 

            There was a knock at the door. It was already open but I said “come in” anyway.

            A woman in a blue uniform entered. “We’ve been doing inventory. We were cleaning out our closets, and we found something you left with us twenty years ago.” 

            A man in a matching uniform appeared behind her. A leash dangled behind him. On the opposite end, entered my childhood dog, Gracie. Her dog tag clanked against the thick metal loop on her collar. The loop had once been used to latch her to a chain that connected to the line on our lawn where she spent her days. A familiar musk clung to her fluffy brown and white fur. A Sheltie, her coat mimicked a brown suit with a white button-down peeking out above its jacket. She looked like a big cotton ball. Her fluffiness disguised thick mats of tangled fur.

            She didn’t look at me, and I didn’t run and embrace her. She trotted over to the closet and sat down. Then our eyes connected, but her expression was flat.

I. Intentions

The psychic smiled at me, and began by asking, “First, I want to ask everyone what their intention is in coming here today?” She was blonde and wore a flowery vintage-style dress. She motioned towards the woman to her left. 

            “I’m also a medium,” said the middle-aged woman, one of the twelve including myself who were sitting in a circle in front of the psychic. “I’m also an animal Reiki practitioner, so I’m here to improve my understanding of my clients.”

            I didn’t know what a Reiki practitioner was.

            A dresser by the door was cluttered with animal statues, colorful rocks, candles, and bowls of dark feathers. Otherwise, the room was fairly empty except for a round table next to the psychic that was covered in tall bottles of oil, a coyote statue, a wooden crow turned to one side, and an aged coyote skull. In front of the table was a fake plant.

            The woman next to the middle-aged woman was also an animal Reiki practitioner, and a dog groomer, seeking to improve her rapport with her furry clients. Another woman had a cat with behavioral issues. Next to her, a younger husky woman blotted her cheeks as she spoke about the goats she lost in a recent barn fire.

            Remnants of something scorched and spicy lingered in the air, probably incense. I looked up and stared into the wooden crow’s one visible eye, which was pointed in my direction.

            “I guess I want to know why this happened,” the husky woman said. “And I want to know if the babies who died are okay.” The goats had belonged to a friend of hers but she’d helped bottle-feed them. She hadn’t been present during the fire, but now she kept seeing images of the goats trapped inside the burning barn. 

            “…I just don’t understand why they were taken from us like that. What was the purpose of them being born if they were just going to suffer and die so young? And I wonder if there was anything we could have done differently to change things?”

            I stared at a small rug in front of the psychic. Its Native American-style pattern was comprised of tiny maroon staircase-shaped lines stacked one on top of another, each clump separated from the next by a strip of white space. 

            “Guilt and grief are major themes I see with people who visit my classes…” the psychic said.

            I stopped listening. I didn’t need a psychic to tell me what I had or hadn’t done to Gracie. I only came because my friend, who was sitting next to me, had asked me to. I stared out the wall of windows to my right. The psychic had said the old mill building that the housed the studio we were in sat in front of the Merrimack River, but I couldn’t see anything from my chair. 

            I was afraid the others could read my body language or feel vibes coming off of me somehow. So when it was my turn, I said, “I come from two old farming families from the area” to link myself with the others somehow. It garnered a lot of Ohh!(s) but it probably wouldn’t have if I had mentioned anything about our beef cattle. “And I’m here because of my friend,” I gestured to my left at Tanya. “She told me about this class. And also because I was curious, I guess you could say.” 

            “You should invite your farmer ancestors in as spirit guides to help you out today,” the psychic said. 

            I nodded then changed the subject. “I also have a dog with behavioral problems.” I smiled at the woman with the misbehaving cat. “Her name is Dixie, and she’s an American Dingo.” 

            There was a chorus of Whoa!(s) and Awww!(s).

            “…She used to be aggressive because she is feral. She was born in the wild. But now that she is old, she’s calmed down a bit. She just has a scratching problem that’s really annoying, but there isn’t anything that can be done about it. We bathe her every other day and treat her with Benadryl, but she has an incurable genetic skin disorder.” I didn’t know why I was talking about Dixie because I had shown her nothing but love and when she passed on, which could be anytime, nothing would be left unsaid between us. I had endured sleepless nights from her scratching, constantly was washing her bedding because her open sores oozed puss that smelled like rotting flesh, and always cleaned up the accidents she had in the house. When I realized I had been rambling on about how powerful and beautiful she was when she was young, I stopped because I didn’t know if the psychic was planning on reading our animals’ minds.

            “That is good that you stopped,” the psychic said. “Don’t say too much.” She looked around at everyone.

            Tanya talked about how many animals she had: six house bunnies, a room packed with birds that flew around un-caged, nests perfectly kept, a flock of chickens, and three alpacas. Her alpacas lived in a paddock that surrounded her small home. She was like Snow White. She had dark hair and a soft, careful way of approaching everything in her life, especially her animals.

            Each time she mentioned a new animal, the women made noises like some people do for cute babies. 

            “About a hundred rescue animals come through my home in the past five years,” she said. 

            The women’s expressions reminded me of the way people look when a baby does something too cute. They began talking amongst themselves about how many animals they had rescued recently. I remained quiet.

            Like many of the other women, my friend had a deceased animal, a rooster she wanted to communicate with because she felt responsible for his death. She had cared for the rooster, who had lived inside, better than some people do their children. 

            One blonde woman, who had seven dogs and ran a dog rescue out of her home, talked about factory farming for a half an hour. “I don’t know what to do,” she said to the psychic. “I just feel like I can’t do enough. One of her friends sitting beside her had to retrieve some tissues. “I break down several times a day thinking about what those poor cows are going through.” She talked about the dairy farm she lived on as a child, how she used to climb up the fence that surrounded the pasture.  “That was the first time I realized I could talk to cows.”

            The coyote statue’s nose was pointed in my direction. I felt tired. I didn’t like this woman.

            “… There is just so much pain the world,” she said, “and I can feel all of it.” 

             “I’m glad you brought this up,” the psychic said. “Someone always brings up the feeling of helplessness. They feel like they should make more of a difference. I always tell those people to ‘bloom where you’re planted.’ You’re doing what you can in your corner of the world and that is all you can do. You aren’t alone—all of the people in this room,” she gestured, “are fighting the good fight with you. Combined, we are all making a difference. If you worry too much about things beyond your control, you won’t be well enough to do the good work that you’re doing right now.”

            The blonde told everyone that she and her husband had separated recently. She was worried her seven dogs weren’t adjusting well to his absence. “The only way I’ve been able to get through all of it…” she turned to the two women beside her “is because I met my fellow Empaths here. I’ve been calling them my soul sisters.” 

            Her fellow Empaths smiled. One of them reached over and placed her hand on the blonde woman’s arm.

            I was relieved when one of the other Empaths began talking about a very special animal she had lost. “I would like to consider getting an animal at some point. But I don’t know if I’m ready,” she said. I assumed she had lost a small dog because her name was Kerry, and a friend of mine named Kerry—who this Kerry happened to look like—had lost her Min-pin, Bambi, to a coyote or a mountain lion when she let Bambi out one night to go to the bathroom. Empath Kerry didn’t say how her special animal had died but did wonder if she could have done more.  

            I had the theory that if she had to wonder, she had done all she could.

            The psychic addressed the subject of guilt again. “I always tell people, animals don’t look at death the same way we do. We feel guilt. Animals don’t even know what guilt is. They don’t experience it. They don’t understand it.”

            Empath Kerry nodded with a half-smile.

            “Not that you did do anything to cause your animal’s death, because I’m positive you didn’t—I’m positive none of you did”—the psychic looked at everyone but I averted my eyes— “but the beauty about animals is that their love is unconditional. Dogs, for example, you can do terrible things to a dog and they’re still going to show up for you.” 

            I felt like I might be sick. 

II. The Cleansing

The psychic passed a cleansing agent called “Florida Water” around the room to expunge any stresses we might have walked in with. It was clear and smelled like lemonade and bug spray. When I poured it into my hand, some overflowed onto the carpet. “Don’t worry,” the psychic said. “It’s basically just scented water. It doesn’t stain. But it works really well for this purpose. Now, everyone, what are some of the ways animals communicate?”

            The Florida Water evaporated quickly but its acidic scent lingered.

            “We’ll be having several visitors today. So you will have plenty of real, live animals to read.” The psychic smiled and everyone began chatting amongst themselves.

            “You?” I said. “You mean us? We’re going to read animals today?”

            “Yes, you,” the psychic said playfully. “Don’t worry, I’ll be right here to guide you. It’s going to be a piece of cake.” 

            Tanya’s eyes widened. She looked at me, and I knew she was also unaware of this detail. I hadn’t read the description of the class before I signed up, but now I was already committed. 

            “What are some of the ways that animals communicate?” the psychic said.

            Some people said through body language, others said behavior, and some said through sounds. One woman had learned to communicate with animals through something she called “angel conduits” by taking a class in I.E.T. therapy—”Integrated Energy Therapy.” Her face was as bright and expressive as it had been earlier when she spoke of how she pulled over to the side of the road each time she saw what she called a “Horsey.”

            No one else even cracked a smile. So I stared out the empty window while she spoke to prevent myself from laughing. 

            “My dog sighs,” I said after she had finished. 

            Everyone laughed. 

            “I know what you mean by sigh,” the psychic said, “but in what way does your dog sigh, and what does she sigh in response to?”

            I took a deep breath, held it then released it, like a balloon deflating. 

            Everyone laughed again.  

            “She does it when she can’t get at an itch that’s really bothering her. Or when you do something she doesn’t really appreciate, or that doesn’t fit with her needs in that moment.” I didn’t mention that sometimes Dixie whined like she was a violin out of tune. She had been anxious and whining that morning because, even with the pain medication I wrapped in bits of bread for her four times a day, she was still in pain with arthritis and anxious about how itchy she was. I didn’t tell them that I had lost my temper, yelled, and dragged her oversized, plush doggie bed into the kitchen as a punishment before returning it to the living room remorsefully. 

            When the other women began talking about how their dogs also sighed, I was surprised because I thought Dixie’s human-like behaviors were rare, but I wasn’t exactly a dog expert. I had never been very close to Gracie—she hadn’t even slept inside with me at night, she’d slept in a crate in the basement. I was still trying to understand her expression in the dream. The only thing I knew for sure was that it was negative.

III. Session Log Process

When the psychic lit an earthy, cinnamon-flavored cube of incense, the trails of shifting smoke seemed almost hypnotic. “This type of incense welcomes in spirit,” she said. She leaned over and grabbed a large photo from the top of a stack of books below her chair. The books had titles like Animal Speak and Beyond Words. She placed the photo in the center of the circle. “This is Willy. He’s not in spirit”—sometimes she used the word “spirit” as if it were an altered state of consciousness or a destination, “and that is all I’m going to tell you about him for now.” 

            Willy’s gray and white face dominated the photo like he’d been pursuing the camera, his body hid out of frame.

            I wrote my name on the top left-hand side of a sheet of paper, the date below, and on the opposite side, S.T. for “start time” then E.T. for “end time,” like the psychic directed. “‘Spirit’ might visit you as a voice or in images—from your point-of-view, or theirs,” she said. “Just write everything that pops into your head. Don’t censor yourselves, and don’t overthink it.” Then the room was quiet but for the scratching of pens on paper and the occasional arm softly sweeping across paper.

            I stared down at the carpet. I’d always been easily distracted by the movements of others. I could see this Willy in my mind without looking at the photo. The distance between his face and the camera made him appear friendly, adventurous, and curious. I didn’t know anything else about him but I didn’t pressure myself to know. This was just a game, so as my unconscious spoke to me in fragments, I jotted down my thoughts. I didn’t question how bizarre my answers seemed because they didn’t need to be correct and I wasn’t emotionally invested in the day’s outcome. But I could feel Tanya’s eyes settling on me. I only heard her scratch something down a few times—she was overthinking it all.

            The psychic said to stop and record the E.T. She thanked Willy for allowing us to read him. “Now we’re all going to share what we got with the group. I’ll do validations after.”

            Tanya said, “We have to share ours?”

            “Yes. It’s the only way that I know how to teach you,” the psychic said. “No one will judge you.”

            The medium said Willy was born on April 4th. Then she said things like, Willy says X, Willy wants Y, and Willy thinks Z

            I held a straight face by staring out the window. I pretended I could see something out where there was nothing, as if I could hear the water of the Merrimack River rushing softly over rocks.

            The woman who lost her goats said, “Willy was found in a parking lot. I saw his little face sticking out from under a car while two people watched.” She looked like she wanted to pinch Willy’s cheeks like some people do to babies.

            During my turn, I said, “I just want to preface this by saying that this is the first time I’ve ever done this, and I don’t know where the stuff I’m about to read came from. I don’t expect it to be accurate so here goes…” Then I read what I had written down:

            bold cat, approaches and asks for what he wants often, kneads legs often, jumps on counters, has a special place on the corner of the sofa where he always sits. prefers women, something about a Christmas tree, likes other cats, is playful but also independent, greets you in kitchen when you get home, good about litter box, enjoys other cats more than he does toys, has a strong personality: self-assured, came from Humane Society? found by the water somewhere, not feral when found adult

            People laughed about the Christmas tree. I said I thought Willy wasn’t feral because I had pictured him with a silky coat like the one Gracie once had back when she was young and we groomed her properly. She looked like a little fox. She had a wild side too—if my siblings and I released her from her line and ran around the yard, her eyes flashed with an incredible focus as she chased us, nipping at our heels, sometimes drawing blood. Now I know this was instinctual, but back then I thought it was her way of showing love. If I had been Tanya, I would have known the difference.

            “Wow, you got a lot. Now I really don’t want to read mine,” Tanya said. 

            I shrugged. “I just wrote down anything that popped into my head.” I wasn’t always good at assuring people. 

            “Don’t compare,” the psychic said. “Anyway, you’ve probably got more than you think. I’m betting you’re really intuitive. Trust yourself.”

            If anyone could speak with animals, it was Tanya—the first time Dixie met Tanya, Dixie had sniffed Tanya’s pant leg then sat down next to her. The first time Dixie had met me, she sprang up and placed her front paws on my shoulders then stared me down. My boyfriend had had Dixie before we met and she viewed me as a threat. After many disclaimers Tanya said, “I think Willy likes to walk on counters… But then again it looks like he is walking on a countertop in that photo. And I said he looks like the type of cat who yowls rather than meows, and he might be a bold cat because he has placed his face right in front of the camera lens, like he is inspecting the person taking the photo? But maybe that is just this photo? Maybe he is not really a bold cat at all, and I’m just totally off base?”

            “You actually got a lot more than I thought you did by the way you were talking!” the psychic said. “I know plenty of people, who aren’t cat people, who would have just said: Meehhh.” She shrugged with her arms wide. “It’s a cat. A gray cat.”

            The psychic continued to reassure Tanya until she pretended to believe what the psychic was saying just to detract the group’s attention from her. She sighed when they moved on.

            At some point, I heard a high-pitched bark outside the glass door that separated the studio from the lobby. The chorus of women’s voices was a conglomeration of Aww!(s) and Where is the puppy!—I can’t see them!(s). The dog was hidden behind the wall. The dog barked each time one of the women spoke, and the women spoke each time the dog barked so the psychic had to leave and ask the dog’s person to take them for a walk.

            The young woman who loved “Horse-y(s)” said Willy liked to sleep on a maroon pillow with tassels that sat on a silky black and white chair, but no one seemed to be listening. I could feel the women flutter with anticipation wondering when the new dog would enter, their energy filling the air with waves of anxiety.

            The psychic said Willy was bold, born in April, and found in a parking lot by a river, that he wasn’t feral when he was found, and that he did sleep on a black and white chair, greeted her and her husband in the kitchen when they got home, walked on countertops, and yowled rather than meowed. 

            The room was bursting with cries of delight from those who were validated, including myself, with the exception of Tanya who was just staring down at her paper as if she had received a bad score on her test. 

            “And the Christmas tree thing. The first year my husband and I brought Willy home he attacked our Christmas tree and nearly broke every ornament,” the psychic said. “We haven’t put one up since.”

            The women regarded me as if I had done something extraordinary. I acted like I had won a round of this game. I was smiling because I had gotten as many answers correct as the woman who had claimed to be a medium—I secretly hoped to surpass her in the future readings. Not because I believed in the psychic, but because I was annoyed by the medium’s certainty. I knew the psychic was proving the validity of her course by validating us. Who knew if her validations were really characteristics of Willy? Tanya kept pointing out how much better my answers had been than hers, so I whispered to her, “Half of mine were things you could say about any cat. You can connect anything with anything else if you really want to.” She looked up at me with skepticism.

IV. Shamanic and Psychic Process

When the psychic said, “We’re going to contact our spirit animals now, so you’ll all want to get comfortable, whatever that means for you,” I thought she was crazy. But I quietly followed the other women who were grabbing pillows from a stack in the corner of the room then sitting down by the wall. “’Spirit animals,’ or ‘animal allies’ aren’t specific animals, they’re types of animals, like foxes. Your animal, your ancestor, or just any spirit that happens to be nearby is going to help you in the work you’re here to do today, if you ask them respectfully.” 

            She lifted a wide, handheld drum from below the side table, tilted it on her knee then began beating on it. Deep, evenly-spaced beats echoed off of the walls. “Okay, now close your eyes, and humbly request the aid of your spirit animal, or your ancestors, or just any spirits present to assist you in this next activity.” 

            I closed my eyes and pretended to ask someone for help. I focused on the aroma of the black and cinnamon tea some of the women had retrieved from the lobby during our break to prevent myself from laughing.

            Then the first of three doggie visitors entered—a jittery black terrier named Princess. Her wavy coat glistened in the light. On the opposite end of her leash, followed an older impeccably dressed woman with a bob haircut. 

            The room erupted with Ohhh!(s) and She’s so cute!(s), as Princess ran around, bouncing forward and barking sharply, and the older woman apologized, then pressed the button on Princess’ retractable leash. It whirred and Princess made choking noises as she was yanked back in the older woman’s direction. 

            The older woman sat down next to the psychic but this cycle continued. The women laughed like this was sport and Princess lunged forward like they were a threat, the older woman repeatedly reminding Princess to sit.

             “Just write down everything that pops into your head, like last time. But this time try to ask Princess questions in your head, or project images from your mind to hers, or feelings from your body to hers. Animals understand the world through images and emotion.” She told us to look at the sample questions inside our packets if we needed guidance, questions like, How do you feel about your past? 

            The psychic said the older woman could allow Princess to explore, and the older woman released a few additional feet of slack. Princess sniffed several of the women’s sneakers then stopped at mine. Her nose wiggled as she evaluated the scents of each animal I had come into contact with on the farm up the street from my house. After the activity began, Princess’ unhealthy fixation with my shoes meant everyone was staring at me. I closed my eyes. 

            I wrote: Needy, fa [favorite activity]: walk, feels loved, feels prioritized, loves people live with, and wants people to know let her out screen/glass back door to play with cats. I saw Princess in a small, crowded kennel surrounded by other kennels filled with dogs with dirty disheveled fur. I didn’t write this down. I didn’t want to offend the woman. When Princess abandoned my sneakers, I was relieved. 

            The medium read first. “Princess told me the back right side of her body is hurting. If she doesn’t already, she is going to have some health issues related to her back right leg, or her kidney on that side. It’s just something to watch out for.” 

            The older woman turned towards the psychic, who said not to respond until everyone was finished. 

            The woman whose goats had died said, “Princess wants to let you know that her foot was sore after you took her to the groomer last time.” 

            Princess kept venturing farther away from the older woman. She bounced from one lap to another, licked someone with her little sandpaper tongue, the leash clicking and whizzing as she sprang back like a hair elastic. Occasionally, Princess would lean back on her hind legs in response to something someone read and then spring forward and yip her approval or disapproval. 

            When it was my turn, I prefaced my reading with self-doubt and self-deprecation. I doubted I could perform like I did in the last round. But as I read, I surprised myself by referring to Princess as me in one of my passages.

            “I see her watching chipmunks,” Tanya said, “or birds from a window, barking at them. I could be wrong. Maybe Princess doesn’t even bark at windows? Maybe she doesn’t even like chipmunks? But I wrote down that she wants you to let her out so she can get the chipmunks. Although, maybe you shouldn’t let her out because of the poor chipmunks.” 

            I stared at the crow above Princess. I wondered if it was even a crow at all. I had read online that the only way for a non-bird expert to distinguish a crow from a raven is to kill it because their differences are almost indiscernible from any significant distance—ravens are only slightly larger than crows; ravens’ beaks are somewhat hook-shaped compared to crows;’ and the bottom of ravens’ tails are a bit triangular while crows’ tails are square. 

            The older woman said Princess fit almost everything each person wrote down. She was needy, and did bark at the cats outside the back door. I had guessed as many answers as the medium again. Tanya asked how I had done it. I began fidgeting. She seemed to believe I was psychic. “I’m probably just accessing my unconscious easily because we were forced to do writing prompts all the time in my fiction classes in undergrad.” Tanya tilted her head like she didn’t believe me.

            Even if the Gracie in my dream was Gracie: I didn’t want the message she seemed to be carrying.

            Our final two visitors entered: two longhaired Chihuahuas that froze in front of a gap in our circle. They smelled the ground, growling in a low pitch. 

            The room erupted in Awww!(s), and the dogs lunged, barking, maintaining a minimum of a two-foot distance from anyone like there was an invisible force field. 

            “It’s okay,” said the woman with bright red hair, who was holding their leashes. Her voice was velvet—soft and textured but had little effect. The tan one scurried under her legs then hid underneath her chair as she sat down at the front while the black and white one stood in front of her, barking. “This scaredy-cat right here,” she motioned towards the tan one, who growled faintly, “is Dobby, and the other one is Creature.” 

            Both Dobby and Creature had scraggly fur and gangly legs. Their wet eyes—black moons protruding from the landscape of their face—glistened like raindrops in the light. Dobby’s lower eyelids were stained, giving the impression that he was perpetually crying.

            During the reading, Dobby cowered under the red-haired woman’s seat, while Creature was a caged lion. He would leap forward, barking and tugging on his leash before springing back again each time the red-haired woman retracted it. Some of the women stared at him as if they were in love, while I was wondering if he was capable of biting?

            The medium read first. She thought Dobby and Creature had been rescued together from some sort of bad situation. 

            I read what I wrote:  

            they’re new to each other, one came 1st, pretty well-behaved, sometimes get each other into trouble, nervous of big dogs, bark at cats, 1 cat in house, love treats, both adopted somehow?

            I was tired by then because it had been four hours and there was still two more to go. 

            I didn’t pay attention to what most of the women said because the intense emotion they emitted reminded me of the chaos of my childhood and I was ready to escape.

            Then the red-haired woman said Dobby and Creature did often get themselves into trouble. They had been adopted separately, but she suspected they both come from hoarding situations because they had severe behavioral issues.

            The red-haired woman had confirmed everything I had written down. Even though I’d written down less than I had the two readings before, I had maintained my position on the top of the group with the medium. The women in the room seemed to be certain I was psychic. 

            The sky outside the window was dimming. I was ready to leave.

            Twenty years ago, in the car that day, it was uncharacteristically quiet, except for the dirt driveway crackling below. The sun was bright outside the window. Everyone had been completely still ever since we left the hospital—our mom had screamed like a caged animal when we shut the car doors in the hospital parking lot—her older brother was being removed from life support. Even my sister Courtney was silent, in her baby seat with her legs dangling down in little plastic leg braces, the top of her hand in her mouth with a bit of drool escaping down her palm. She was almost too big for the baby seat. Her eyes shifted back and forth, searching for the bit of light she was able to detect, even though she was legally blind.

            We parked. My mom stormed inside—the sound of each footstep amplified by our silence. The door to our log cabin slammed behind her. 

            The summer air was soaked in pine. The parking lot behind our log cabin, invisible from the road, was adjacent to a thick forest. My thirteen-year-old brain was processing what I had just seen—I had watched my eight-year-old cousin climb on top of her father and beg him not to go, the machines beside him lit up, but quiet. 

            My mom came outside with a laundry basket. 

            She yanked towels and jeans off of the line. My dad lifted Courtney’s big black wheelchair from the trunk, then began to unbuckle her. His mouth had settled in a straight line, his eyes soft with an uneasy awkwardness I recognized—how he looked when he wanted to make everything okay but couldn’t. I worried he would throw up, like he had the day Courtney stopped breathing at her two-week check-up. 

            I stepped toward the lawn where my mom was. My stomach hurt. Our old Buick and my dad’s work truck blocked my view of the lawn and Gracie’s line. I stepped around it to check on my mom.    

            Gracie was still. Her body hung several feet from the ground. Her chain was wrapped around her line several times, bits of her collar hidden underneath her matted fur, the remainder of the chain a tangled mass dangling down into the dirt. I held my mouth shut. My eyes blurred then began to burn. Her body was stiff. I tugged on the chain, attempting to unfasten it from her collar. I worried my mom would see. The chain clanked like dull bells. Clouds of dirt drifted in the air. The grass below her line had been worn away, leaving a path resembling a racetrack. 

            On the lawn, I could see my mom’s feet shifting beneath a line of stiff towels. 

            I hurried over to my dad. He was buckling Courtney into her wheelchair. “Gracie is hanging.”

            “What—what do you mean hanging?”

            “She’s dead. She is stiff.”

            My mom screamed. She had removed the last towel that blocked her view. She ran over to Gracie and tugged on her chain. The line, attached to a tree on one end and a pole on the other, bowed like waves. The chain clinked with each rise and fall.

            My dad grabbed my mom and a tug-of-war ensued until he pushed her away.

            But he couldn’t yank Gracie’s body down and he began to swear. 

            I thought I might be sick. Now Ricky, Lindsay, and Ashley were standing with me next to Gracie’s doghouse. The name “Jasper,” the dog we had when I was a baby was still over the door. We’d had Gracie since I was about three.

            I don’t know exactly what happened next. My dad disappeared then returned with a bolt cutter and the chain snapped as he cut it. 

            The body must have fallen to the ground with a thump, but I don’t remember this. Maybe my dad yelled at Ricky, Lindsay, Ashley, and me to go inside before he cut the chain, and I heard the sound on my way through the door.  

            None of us talked about it again until we were adults. 

V. Shamanic Drumming

“Find an isolated spot, and sit,” the psychic said. “You’re about to meet with your spirit animal.” She picked up the Shamanic Drum. “And that spirit animal is going to help you communicate with the animal you’re seeking to communicate with today. You won’t be writing anything down for this one.” 

            I sat down next to the wall.

            “You’re not going to choose your animal today. You’re going to allow that animal to choose you.” She began slowly and rhythmically beating on the drum. “Close your eyes. Don’t worry about what’s next. I’m going to guide you.” The drum’s volume increased gradually approaching a climax.

            With my eyes closed, her voice and the vibrations of the drum hit like the waves of a small earthquake. I felt I was deep underground. Everything was black. I saw a porcupine. I saw a turkey. I knew I was imagining these to combat the unknown.

            “I’m going to count up to nine. I like to use odd, random numbers. When I reach nine you will suddenly find yourself somewhere in nature that is familiar to you. Don’t think. Just allow your unconscious to select it for you. Maybe it’s a field from your childhood, or a backyard.” She counted. The pace of the drum quickened. Its volume increased. She stopped at nine. The drumming ceased.

            I was in a field behind my house, surrounded by a thick line of pines. The old granite wall on the perimeter was mostly concealed within the trees. An occasional sliver of an opening, where the sun peeked through revealed its presence. The sun was warm. There was a light breeze. It carried the smell pine and fresh grass. The tall grass tickled my pant legs, painting them with dew. I stood still.

            The psychic began drumming softly. “Now you’re going to start walking until you find a tree. It doesn’t matter what kind of tree, just any tree.”

            My body shifted. I couldn’t see or feel my feet moving, but then I was below a tall pine. I couldn’t see the top. It was identifiable by its coarse bark.

            “Look closer. Do you see that?” The drumming intensified. “There is a hole in the tree. It’s just big enough for you to fit in. Don’t be afraid, step inside.” 

            I took a deep breath. I stepped inside. I felt like I was in one of the Alice In Wonderland dreams used to have as a child. Inside it was dimly lit. It was somewhat cramped. 

            The psychic described a spiral staircase. I could make out its outline. It had a railing down the side.

            The drumming heightened until I thought the drumhead might burst. “You’re either going to be drawn up the stairs, or down. It doesn’t matter.” Her tempo became erratic.  

            The stairs had folded in on themselves. I was being sucked downward. It was black. It felt endless. The volume of the drum was uncomfortable. My heart rate aligned with its vibrations and I felt dizzy. 

            “When I stop drumming, you’re going to find yourself back in the place where you began. Except this time the spirit animal, who has chosen you, will be there waiting.” The drumming was ear-splitting, then it silenced.

            A deer stood in front of me. Its eyes were locked on mine. Its wide black eyes were beautiful. I could sense the pine behind me. It retreated on its own when the psychic began drumming.

            “Now the spirit animal will begin running in a circle around you.” She drummed faster with irregular beats, steadily louder and louder until I felt like I was inside the drum, while the deer circled me erratically. Its eyes were focused on me. They never blinked so it looked cartoonish. Then it was blur of brown. I felt nauseous. “When I stop again, your spirit animal will have retrieved the animal you’re looking to speak with today. And it will just be the two of you. They will be there with you, and your time with them will be healing—it will be everything you have imagined it to be and more.”

            The drumming silenced. 

            I was below an oak. Gracie was in front of me. She stood still. She had the sweet fox-shaped face I remembered but the aura of an old woman. 

            It was quiet except for a slight breeze rustling the leaves of the oak. It felt like spring. Gracie smelled like she had just been bathed.  

            She stepped forward. She said, “Hello,” like a person but without moving her mouth. Her coat was silky between my fingers. She almost looked like she was smiling. I knew I loved her and she still loved me.

            “Tell them what it is you want to tell them,” I heard the psychic say like God was speaking through the clouds.

            “I’m so sorry that we neglected you,” I said. “I’m so sorry that didn’t change before you died. I’m responsible for that.” I was on my knees. 

            Gracie’s eyes softened. She tilted her head to the side the way Dixie did when she was confused. “It’s all right,” Gracie said. “You were suffering, too.” 

            I couldn’t breathe. I knew she was a figment of my imagination—her words had risen from somewhere deep inside of me. But I didn’t care where they had come from.


Rebecca Curtis has published work in The New Englander, The Henniker Review, and Environmental Forensics. She has a master’s degree in creative writing from New England College.

VIP

Samantha Paige Rosen


Melmark

My life with Aunt Stephi was framed by Melmark, a private residential program for children and adults with physical and mental disabilities. Founded in 1966 in a thirty-five-room mansion by a couple whose child had Down syndrome, Melmark grew into an eighty-acre campus with horses, walking trails, special needs playgrounds, gymnasiums, and residences that were the kind I wanted to live in when I grew up: community feel, compassionate staff, common TV room.  

            For the first half of her life Aunt Stephi lived in the house where she was born, cared for by my grandparents and my dad. When Aunt Stephi turned twenty-eight my Bubby and Poppop made the decision they’d been dreading. They sent her to live at Melmark for better care than their aging bodies could provide.


The Word We Don’t Say

One of my earliest memories is Dad teaching me about the word “retarded.”

            “Even when I was your age,” he said, “if someone used that word, I’d say, ‘Hey! My sister is retarded. That’s not a nice word.’”

            I cringe whenever I hear the word, but I’ve never corrected anyone. I know I should, if not for Aunt Stephi then for Dad, but I’m too polite.


Bruh

I once asked Dad who he imagined his sister would be if she could walk and talk. Married with children? An aunt who spoiled us? He replied, “I just don’t know.”

            Dad’s favorite picture of Aunt Stephi is the only evidence of her as a vertical being. She’s six years old, wearing white high-tops with lead bottoms, which helped her balance, and braces the length of her calves.

            Tilting her head to the right, high ponytail flying, she looks beyond the camera, holding her fists characteristically in front of her chest, bent stiffly at the elbows. Dad is in the background, turned away from the camera, a three-year-old boy unaware of how many responsibilities lay ahead. To me it looks like Aunt Stephi’s dancing. Dad disagrees. She’s trying to keep herself upright.

            Aunt Stephi couldn’t talk like the rest of the family, but she vocalized. She called Dad “Bruh.” When asked a question, she yelled, “yeh!” or shook her head for “no.” She recognized people, places, and things.

            When Dad and Aunt Stephi were kids, Bubby set puzzle pieces with drawings of fruit on the floor and said, “Stephi, pick out the banana.”

            And she did.


Something Different

There were no preschool classes for children like Aunt Stephi, so Bubby approached the Montgomery County Association for Retarded Children for assistance. If she could find a venue and students to attend, they would pay for a teacher. Bubby asked a rabbi at her synagogue about using a room.

            “There are no retarded Jewish children,” was his response.

            The second synagogue Bubby called upon was welcoming, but there were never more than four or five kids enrolled at one time. Most parents didn’t want to publicly admit there was something different about their children.


Swinging Together

My grandparents’ neighbors, the Tourigians, had a big backyard, a wide open space with no trees—perfect for a makeshift baseball field. The local kids played there, including Aunt Stephi. Bubby helped her hold the bat at home plate. The ball was pitched, they swung together, and Bubby ran her around the bases. Making Aunt Stephi a part of everything wasn’t just a way of life for my dad’s family—it was routine for all the kids in the neighborhood.


Chores

As the second oldest of three children, Dad helped his parents care for Aunt Stephi for over twenty years. He bathed her, dressed her, fed her, brushed her teeth, took her to the bathroom, changed her adult diapers and menstrual pads, got her off the van when she came home from school, pushed her wheelchair during walks outside, drove her around, and even brought her along when he spent time with friends. Dad chose to live at home during college. No rumination; no regrets.


The Last Time

Aunt Stephi was always trying to hug someone. She squeezed too tightly, pulling my hair and drooling on my shirt. But it made her smile, revealing two missing front teeth from that time a Melmark resident accidentally pushed her out of her wheelchair—a story I asked to hear over and over again. When she graduated from her special-needs high school, she opened her arms to the principal as he struggled to hand over her diploma in a professional manner.

            Aunt Stephi particularly loved hugging my dad. In the ten years before she died, when I was no longer a child, her body became more rigid and distorted. The resting state of her arms was crossed in front of her chest, wrists bent inward, and fists so tight it was difficult for anyone to open them. This is mostly how I remember her. The last time I saw Aunt Stephi was two months before her death. I hugged and kissed her goodbye. She couldn’t hug me back.


State Hospitals

The alternatives to Melmark were places like the Pennhurst State School and Hospital, which housed mostly children and operated until 1987. Pennhurst was perpetually understaffed and underfunded, infamous for patient abuse, and overcrowded by almost 1,000 patients. The goal of these state-run institutions wasn’t to ensure the well-being of the disabled; it was to keep the disabled from the rest of society.

            Like the couple who founded Melmark, my grandparents refused to send Aunt Stephi there, although it meant sacrificing their adult lives to care for her. Later, they sued the State of New Jersey for failing to provide adequate services to the developmentally disabled, as required by law. In winning this landmark case, my grandparents afforded Aunt Stephi the opportunity to live at Melmark for the rest of her life.


Melmark

I didn’t always like going to Melmark. The drive was almost an hour long, the residents were loud, the playgrounds were strange, and it seemed as though they had fifty events a year, all in the middle of what might otherwise be a Sunday of playdates and TV. There were Christmas parties, Hanukkah parties, Easter parties, Passover parties, Purim parties, play performances, and birthday parties Bubby organized for Aunt Stephi which featured, in various years, the Eagles cheerleaders, the Philadelphia Mummers, a string band, square dancing, and circus clowns on stilts. My grandparents expected us to show up for each and every one.

            “For Aunt Stephi,” they’d say.

            But I knew it was for them, too.


Denise

I wanted Denise to be Aunt Stephi’s best friend. Could Aunt Stephi have a best friend? Plump with short, gray hair and a smile spanning the width of her face, Denise is still quoted at our dinner table. When I was seven, Dad, my sister Jen, and I spent the day with Aunt Stephi and a group from Melmark in Ocean City.

            In the middle of our pizza lunch on the boardwalk, Denise blurted out, “Going boardwalk! Going swimming! Going bathing suit! Going beach! Going omnibus!”

            Sometimes I think about Denise and hope she’s still alive, laughing at Melmark like nothing has changed. 


Eyes Open Underwater

As a kid, I swam with Aunt Stephi on August days in Atlantic City. We couldn’t go to the beach on Aunt Stephi weekends, but Dad or Poppop held her in the shallow end of the pool. She loved to splash her hands against the cool water so I splashed too. I swam in circles underwater around Aunt Stephi, keeping my eyes open despite the chlorine, hoping to see her legs move.


VIP Day

Our family revolved around Aunt Stephi. When my sister’s preschool had VIP Day, all the kids brought grandparents, but she chose our sun. The director of this private, Jewish school informed my dad that it would be better if Aunt Stephi came on a separate day to “have the experience to herself.” Dad recognized she didn’t want the other VIPs and big donor parents to see Aunt Stephi. When he pushed back, she said Aunt Stephi would “scare the children.”

            Dad scheduled a meeting. It was brief.

            “Jenny wants her aunt for VIP Day,” he told the director, “and she’s coming the same day as everyone else.”

            A picture from that day hangs in our family room next to Dad’s seat at the dinner table. Jen beams as she hugs Aunt Stephi, who is also smiling and sporting a cardboard award ribbon around her neck with the text VIP: Aunt Stephi.


Respiratory Failure

Stephanie Fern Rosen died on January 14, 2013, Poppop’s eighty-fifth birthday. She was fifty-six. There had been signs of decline the family didn’t want to accept—trouble swallowing, even less mobility, uncharacteristic depression. Over the years, her internal organs pushed up higher in her body and crammed together. The day she died, her abdominal contents had forced through a hernia in her diaphragm, squishing her lungs to the side, making it hard to breathe. Then she choked, as she often did, on saliva or a drink, which directed the fluid into the trachea instead of the esophagus. From the trachea, the fluid went into her already compressed lungs, causing inflammation, which made breathing impossible.

            Aunt Stephi died from respiratory failure in an ambulance, a Melmark staff member by her side.

            I lived 3,000 miles away and didn’t come home for her funeral.


Regrets

Sometimes I find myself missing Melmark. I miss Ronnie, a tall, dark-haired man with Down syndrome, who took the microphone at his appointed time and very formally thanked us for coming to whatever celebration we were having. I miss Doug, a short, dark-haired, developmentally disabled man, who swiped the mic from Ronnie to talk indistinguishably to us, his beloved audience. Ronnie and Doug could have been twins, except for the discrepancies in height and verbal aptitude.

            I even miss the resident who, at every party, took my hand and led me around the gym. The first few times, I was afraid. He was more than twice my size and couldn’t vocalize. In my teenage years, I got annoyed when he interrupted whatever conversation I was having or plate of food I was eating to walk me around. I thought I’d be thrilled to get rid of him.


I Do, I Do, I Do

Most of all, I miss my Aunt Steph. I miss her too-tight hugs and how she shouted and danced in her wheelchair when she heard her favorite song, “Old MacDonald.” I miss how she looked at her nieces and nephew, with eyes that comforted us all, and called us “Bay-bee.” I miss the classic Aunt Stephi expression of enthusiasm, “I do, I do, I do!” She’s been gone for seven years, but the grief still creeps up on me. If I’m not careful I’ll think she’s still here, living at Melmark just past the horses, hollering “I do, I do, I do.”




Samantha Paige Rosen earned her MFA in creative nonfiction from Sarah Lawrence College. Her writing has appeared in The Washington Post, Ms. Magazine, Lumina Journal, Hypertext Magazine, and the anthology My Body, My Words: A Collection of Bodies (Big Table Publishing, 2018), among others. Say hello at samanthapaigerosen.com.