Roost

Outside the Key Food on Avenue A and Fourth Street, the woman was in deep conversation with the man, her hand firm on the baby carriage. A black and white pigeon perched on the carriage's cover, just inches from the sleeping baby, and that's why I stopped in my tracks after exiting the store. I was curious as to what exact form the gasp would take when she finally turned and saw what was there: a scream, an obscenity, a violent expulsion of the dirty feral beast? Instead, it was my gasp that was heard in the next minute, for when she said goodbye and in the same movement turned and leaned into the handle to push forward, she never blinked. Nor did the pigeon. Instead, all three made their way down the avenue, each in their own private world together.

Oddly, I had just been writing about pigeons a few days before, considering them in all their myriad fascinations. Here is what I wrote.

***

Close your eyes for a moment. That is when you first begin to truly see them, soft clicks and coos making them present to the mind’s eye. For they had become invisible to true sight, like the impulsive yellow cab drawing its line down toward disappearance or the girl with a phone pressed to her ear, the scaffolding draped in black cloth and the concrete planter containing something (you never notice what) growing from cigarette-ash-flecked dirt. The elements that make the city what it is, the sudden absence of which—any of a thousand thousand things—would render it preternaturally strange.

Now you may look. And finally see. The pigeon reveals himself in paradoxical beauty: omnipresent, yet startlingly singular; a moving iridescence in the colors playing along neck feathers against a body as gray (and common) as pavement. They are maligned as “flying rats,” but from their point of view we may well be walking rats.

The flocks that move as one corps de ballet when startled from their crumb foraging in New York City parks (and that leave unsightly reminders of their species preeminence in numbers second only to the real Rattus rattus, though behind Homo sapiens, causing city ledges to be bristled with nest-prohibiting wire spikes) are composed of extraordinary individuals.* These are the birds that mate for life, and raise their young together. These are the feral, or rock, pigeons descended from the first domesticated variety introduced to North America, through Nova Scotia, in 1606. These are the pigeons who received 32 medals for bravery in World War II, and who helped build the Rothschild empire from lofts built for them throughout Europe in order to deliver information between the family’s financial houses. These are the animals that in 1850 began carrying news for an outfit called Reuters. These are the birds selected in 1944, to take part in the U.S. military’s top-secret Project Pigeon, conceived by a psychologist named B. F. Skinner, who codified what he learned from how they learned in a new science called behaviorism.

These are the pigeons who live in New York, and who are not seen.

***

What would the city be without its reminders that beyond our human horizon, the persistence of the larger world in which we came to life still pushes up from the earth between sidewalk cracks, still visits from the sky we have yet to enclose? The city would be silent without its gray denizens, its birds at once common and unknown. The city would no longer be itself.

---

* Like us, perhaps? --In our human flocks, foraging for crumbs among the skyscraper nests of our own intelligence.

***

And with this ends, or for an indefinite hiatus, "It's Nelly's World."

I hope to return (if one can return to these ongoing things after an interruption; perhaps they necessarily vanish into the electronic ether, but I'll find out if I try to take it up again sometime) when I manage to arrest a downward spiral. It is time to turn all my energy to that, for as you know, a boy and a dog are depending on me.

I owe you all much gratitude, for reading, for considering, for contributing your thoughts, wisdom, humor, and well-deserved kicks in the seat. They will serve me well.

Family

Did I do a bad thing?

Sitting in the restaurant tonight, at a table for two, I began to think so. A family whose daughter goes to my son's school owns a couple of eating establishments, and every once in a while they designate a night where a portion of the proceeds go to the school; what private school isn't always scrambling for funds? I decided to do my share, and how onerous it was to pitch in by downing sweet potato soup, caramelized onion tart, and slabs of transcendent bread that instantly brought me back over the decades to Hoboken, where I lived around the corner from the Policastro bakery, which supplied bread to New York City's best restaurants. (Only I got it cheap and hot from the oven, its readiness announced by the breeze wafting in my first-floor window.)

I began to think so because I looked around at the tables filled with families. "Real" families, with mom and dad and multiple children. The absence of a dad . . . well, nothing to do about that. But a sibling? Shouldn't I have provided at least one of those? My son doesn't know the pleasures of sibling rivalry, the stolen stuff, the pranks, the heartless ribbing, the fights, the teeth knocked out with a hammer (yes, a unique gift I once gave my older sister). Holidays, vacations: just him, and me. Is this healthy for him? Is it joyful? Is it a big hole in his heart?

The impulse to have a child was completely selfish. (As it must be: the couple wants something they don't have; they do not wish to give something to someone who has yet to exist. Only after the child is born does the selflessness begin. One hopes.) A sudden image had come to me: my husband and me, gray and wrinkled, sitting alone at the Thanksgiving table sometime in the distant future. Overcome with an anticipatory crushing loneliness, I decided in that moment that we should have a child. And see how it turned out? Still only two at the Thanksgiving table. Hmmm. But would it have been any better with three?

When we went on vacation when I was a child--to the beach, to the grand hotel, to Williamsburg--we sometimes went as a family, and sometimes with other families. In either event, though, there were a bunch of kids. At the very least, three girls, and always someone to do something with. The adults were busy, anyway: they were always drinking cocktails and smoking cigarettes and talking about things we could simply not comprehend. Those aliens.

What I need is not Match.com, but InstaFamily.com, where I could be set up with other parents of only children for the sole purpose of going on vacations and having holiday meals. (The anxiety slowly creeps toward me with the approach of spring break: what twelve-year-old boy wants to go on a trip alone with his mom?)

Maybe I created, in creating an only child, something that will come back to haunt us. The two of us are alone together too much, for all that I work diligently--hours every week--managing the social life of a boy who simply has no interest in making plans with his own friends. Until it's Saturday afternoon and he's bored, or I need to work, or . . . I think it would be a real good idea for us to have a little break from this steady diet of closeness. Then it's too late, because everyone made their plans days ago. (And yes, he reads and draws and gets lost for hours in the computer, but I'd prefer he occasionally experience the true happiness of humanity, which is other humans.)

I have two sisters. One is pretty much a stranger. The other--well, the other would walk through fire for me, and has. Her feet are singed. She is my best friend and my blood too. I would not want to imagine life without her, alone at the table.

Leaving on a Jet Plane

I will have crossed a continent by the time this appears, but will not have crossed back. I will still be there, in California.

The last time I was there, I did not get there over this wide country in a matter of impossible hours; I traversed every foot, every mile, on the two wheels of my BMW. Well, except for the times that I was on the two wheels of his Ducati, during the days in which the clutch on my bike did not operate and it took a subtle genius to roll to the inevitable stop and then--this was the trick--not lurch to a dangerous deadness, but instead keep it alive and coax it into going forward again. Rinse, and repeat. This is not a skill I have; it is among many, many that I lack. But my redoubtable traveling companion did, and it was just one of the dozen ways in which he saved my butt on that trip. Making me laugh, frequently, was another, perhaps more valuable even than taking the bars of the Rockster and not making pained expressions as I threw a leg over his desperately beloved machine. Me! Which was not him.

Tonight, avoiding thinking of packing until the last minute has come and gone, I am arrested by one memory in particular from that trip of memories.

We consult the map. A shortcut--a long shortcut--to get where we needed to be that evening. The road starts out, as all roads do, full of promise: it seems ours alone. They give it to you like that sometimes, the arrangers of time and space. The sun falls slowly, stickily, behind us. It is rolling out a golden carpet on which we motor forth, into new scenes. Then the pavement ends. The ground tilts imperceptibly but progressively; ah, more traction for the rear wheel, anyway. As the light constricts, so too the road: its sides move in, a corset whose strings are being surely pulled. Now it is one lane, and the rocks are getting bigger as the incline is growing steeper. And as it is getting dark. That's the word for it, dark. My companion can do it; he can make his bike do anything, like a Jack Russell trained for movie stunts. But he knows my limits, knows what my mind is doing: worrying, at its depths now. He stops, and I inch alongside. "If we don't turn around now, we are going to have to continue. And it's a long way. Up into the hills. It's possible we'll be riding rocks on a single track in the mountains in the dark. What do you say?"

What I said was: Please.

Not in words. He knew I said it, even without doing so. "Do you want me to turn your bike around for you?" Gently, so as not to imply anything about my lack of skill, but I was doing all the implying for both of us. He dismounted, then took the bars from me, and magically--even though I saw it, I still do not know how he performed it--arced the bike around and then I took hold of the front brake and gingerly swung my leg back over. His red bike was next, and then we were heading down, even more difficult for me than going up. Or maybe not. Maybe it was all one inheld breath.

In a few days I will once again ride a motorcycle over one of those great bridges, a song made of three harmonies: man's engineering, the span over water, and the sun.

And then I will get on a plane again, perhaps to arrive home and wonder, was I really there at all?

21 Questions Minus 11

1. Is it possible that you might be wrong about something you believe in more deeply than anything in the world?

2. Will we see cloned humans in the next generation's lifespans? (And if so, dammit, why can't I have mine now?)
A very smart twelve-year-old offers why he thinks it will be a very bad day when this occurs: "Because then we will have infinite armies."

3. What is the loveliest flower?

4. Can one write beautifully, but not truthfully or logically?

5. What is the real purpose of pro sports?

6. Does school teach what we think it does (or would like to think)?

7. Are some art forms of the past--painting, film, poetry--now superannuated, and if so, what has replaced them?

8. What is the most joyful aspect of being human?

9. Will entirely new religions be created if we manage to last another few thousand years--ones with new gods, worldviews, and moral codes?

10. What is the more fruitful in life: Questioning? Or answering?

Jes' asking.

Second Chances: A Play in Not Quite Two Acts

ACT I, scene 1

The lights go up, but not all the way; we see the stage is empty. A spotlight searches, finds nothing, goes out again. A figure enters stage left, walks across, exits stage right. Another enters stage right.

Actor A. At any given moment, we do not know what is in the next one. This is why we should not believe either the darkness or the light will stay; the sun goes up, the sun goes down.

A third figure walks down the center aisle of the theater. At the proscenium, she looks for stairs to the stage front left, finds none. She implores Actor A wordlessly; he finally walks downstage to offer his hand, hoists her up from the orchestra pit.


Actor B. [to Actor A] Thanks--I couldn't have gotten up here without that. [Pauses, looks around] In fact, I couldn't have gotten much of anyplace without a hand reaching toward me out of the half-light, I realize now. It keeps happening, when I least expect it. I've known darkness--you all have. [gesturing to the audience] Didn't you have the experience, too? I mean, when something terrible happened, and you thought this was the way it was going to be for all time? Terrible, unrelieved terribleness? And then you found there were others out there, waiting to give you back what you thought you had lost forever? I mean, you didn't know they were even there, watching, knowing! And you didn't know you had missed those parts of yourself they gave you back? I guess when the sun goes down, the sun comes back up.


Upstage, the spot lights suddenly on a rosebush that wasn't there before. It goes black, then lights on a man holding an open book. Goes black again, then lights on a beautifully decorated birthday cake on a pedestal. Offstage, the sound of a motorcycle starting.

ACT 1, scene 2

The curtain rises on a gym exercise room. It is filled with machines--rowers, bicycles, treadmills, elliptical trainers. Actor 2 is on one of the latter, in a row of otherwise empty machines. There is only one other machine being used in the whole room. We can see she has been there for some time: sweat rolls down her face and wets the collar of her shirt. She is watching the small screen in front of her. Then a man comes through the door to the room, towel around his neck. The stage lights grow dimmer and dimmer as he strides past three rows of machines and directly to the one she is in. He goes by three empty machines, then throws his towel on the bar of the machine next to hers. We see that something has come over her: although she still stares at the television screen, her movements slow, and the look on her face is one of confusion, disbelief, and a sort of terror mixed together. She knows who he is. The source of this darkness. He plugs in his iPod and begins to peddle. Their arms are so close that if they wanted, they could reach over and touch each other. She knows him well, better than any other man save her father, and maybe better than that. She had thought he knew her too. But now, one foot away, he has not even noticed she was there. Her movements slow to a stop. She silently gets off her machine. He peddles faster, absorbed in his music. She walks deliberately toward the exit, and as she does so smoke rolls across the floor, rising up until it obscures the man, and she is gone.

ACT II

Actor A. The road presents two forks. [gestures] But one cannot in fact be taken: see, a tree has fallen. One must take the left fork, then. The obstacle changes everything that comes after. The shadow of the tree remains. The traveler knows it is there, preventing a return, preventing the discovery of all that may be by the wayside along the other road. It may be beauty. It may be success, happily ever after. Or maybe not. The left fork, unfortunately, is a narrower way. It turns to dirt, and is muddy in places. [Actor B enters upstage right, walking hesitantly, then more quickly, then nearly stops, bewildered; a spotlight comes up right on the place before her, and her look brightens as she picks her way around a boulder, then continues] It is fortunate, a blessing, that the traveler never knows what is on the other road, the one she was prevented from taking. It is ever thus, for all who walk. And you--you all walk on. [The actor who crossed the stage in Act I now appears from opposite Actor B, walking toward her. The lights go down as they continue to pick their way forward. We will never see what happens at the place they meet]

Music up: a string quartet plays something plaintive yet light.

Curtain

Caught

Mice are on my mind, because they have been on my counters.

I am not alone in feeling that I am in a battle to the death with these small gray denizens of the night, but I prefer if the death go on outside my view. Therefore, I employ traps that allow me to "humanely" catch and release them. I am under no illusions as to what happens to them after I do: mice reproduce at an astonishing rate (in seven months, a happily wed couple may be responsible for bringing over two thousand little beings into this world) because they have to, living at the bottom of the food chain as they do, and being relatively fragile in relation to the giant species that surround them. Still, I'd like to give them a chance. A chance to live elsewhere. Not here.

They have a fine nose for the ideal meal. The unripe bananas go untouched. When they reach the perfect state of yellow, however, gently flecked with brown, then they are ready, and I am likely to find a repulsive mess of scored and gouged fruit, surrounded by the post-digestion effects of that meal.

So I lose some bananas. And bait more traps. But it is what is in the garage that is a more threatening meal, or rather, chewable nesting material: the wires of my vehicles. Every winter the motorcycle forums are filled with long threads about how to repel mice from the airbox, which seems to be a favorite spot to nest (and who can blame them? A dark and quiet hotel room, just perfect for Valentine's Day trysts!). That nest is likely to be softly lined with the shreds of former electrical components. Nothing you want to discover on the first warm day of spring.

After festooning moth balls, tied stylishly in plus-size stockings procured from the dollar store, throughout the engines for the past couple of years, this year I tried something new, just for the sake of it: dryer sheets. Not the Free & Clear kind, either: the toxically perfumed ones. I don't know how anyone can use these on their clothes, in the house, without asphyxiating. Surely, then, these would do the repellent trick!

Stuffed in every crevice and opening, they make motorcycles look like they're fresh from the French cleaners, hung on paper-covered wire hangers and enlivened with tissue paper wads to prevent wrinkling. I even added them to the new Honda generator, because I would have to take the bus all the way to New York City to find a tall building from which to throw myself if this absurdly expensive addition to the garage were ruined after only two runnings. However, the protective stuffing takes some getting used to, as I discovered the first night I was called upon to fire it up. It was four a.m. in the middle of a windy, icy rain storm. After putting my boots on, grabbing a flashlight, and donning the ski jacket to run outside, drag the generator to the front of the garage (not easy, as it is a hefty devil), then race back down to the basement and six inches of water to punch out the window, run the extension cord from the garage, and plug in the pump, I was running with adrenaline myself. At five, back in bed once more, I wondered how I was ever going to get to sleep again. A half hour later, I had willed myself into a state of calm, doing some slow breathing exercises and starting to count sheep--or mice. Oh, jeez! The dryer sheets! Back I went, out into the whirling black cold.

The next time, though, the dryer sheets were the first thing I remembered. You can be sure.

When I was a girl, my friend Laura and I kept mice as pets. One was called Trubloff, as in "The Mouse Who Wanted to Play the Balalaika." (Her family also had a calico cat named Mnlop, as in the contiguous letters of the alphabet, and pronounced Menelope, which to me always sounded like one of the missing Muses.) The thing was, these mice kept eating their babies. This was rather disturbing to two little kids. What we didn't know then, but I do now, is that this was the result of living in captivity. It was a very nice glass cage, mind you, but it was still a cage. Later I came to realize that access to the social and physical systems in which a species evolved is a birthright. Rights can never be conferred. They can only be taken away. And that is what has been done to every gerbil, hamster, rabbit, songbird, or human who is put in a cage, whether it is made of iron bars, tyranny, or wire from a pet shop.

I wake up sometimes at night, wondering what defenses I, a claustrophobe, could muster against solitary confinement in a small cell. The panic uprising. None, I decide. I would eat my young.

An animal rights group has recently brought suit against Sea World, on the grounds that their orcas are subject to slavery. The verdict may be arrived at quite simply: open the pools to the wide sea. If the killer whales swim out into the dancing waters of freedom, we have the answer.

The other morning, there was a mouse in the trap, trying to hide itself in the corner. I knew I would not be able to leave the house and drive it away to release--at least three miles away and preferably on the other side of a body of wate-- until later in the afternoon. I pulled from the cabinet a tiny cup I had bought at Ikea some time ago for its lovely mustard color and amusing bowl shape. I had never found a use for it, but now I saw that it was a water bowl for mice. I gingerly opened the lid to put it in, knowing that I might risk a gray flash and the loss of the mouse, forever, to the land under the stove. Mice, like all of us, are powerful learners. Give them liberty, or give them death. Every time I open the door of their cell, I sincerely hope it is, for them, not both.

We Were Devo

Times have changed. Everything has changed.

Well, maybe not the fact that it is the nature of all things to change; but everything else. Take Devo, for example.

It was probably 1975 when a few of us convicts, er, boarding students escaped campus one night. This was verboten. Boarding students were to stay on campus, in dorms or the library, and we had a curfew. But we also had day students, who had access to cars, and those cars had floors, which were convenient for hiding boarding students until the edge of town. Furthermore, we had Kent to lure us away . . . a university town, which like Oz rose majestic in our imaginations with glittering promises. Those were called bars. With beer, and music, and everything.

Sometimes the school deployed professors to go hang out in Kent's bars to catch us--probably not a bad Friday-night assignment--but this one seemed devoid of official presence. What it did have was a band, announced with a silk-screened poster taped to the door, that none of us had ever heard of. No matter. We were going to hear, plenty.

They began the show with screenings of some grainy 16mm movies of the type once called "experimental." The experiment in this case succeeded, brilliantly. I was stunned by what I saw, like nothing I'd seen before. I knew I had just walked to the brink of a great canyon, with a breathtaking view of the future.

The band followed the promise of its short movies. Together they were sarcastic, nutty, mordant, and finally really, really smart--exactly what I liked, even if I didn't know it quite yet. (Perhaps because both bands were started by art students, and this touched their music, their gestalt, in similar ways, I would have similar feelings when I heard, on my college radio station, a song called "Psycho Killer." Instantly I knew I would never be the same again. I wrote my senior thesis to endless spinnings of Talking Heads 77, which might have had something to do with the way it turned out.) After the show I went up to the one or two Devotees to babble incoherently, though I was trying to say how I had seen something new that shook me from top to bottom, and thanks for that. I did mention my belief that they should get out of Kent--they were obviously too big for Ohio--and go to New York City. "We're thinking of doing just that," one of them said. (A couple of months later I saw Devo perform in the basement of the Akron Art Institute, where they confused the audience into near silence; these were not college-town bar patrons for sure.)

As I left the bar, I ripped the poster off the door.

There is a recent interview, here, with band member Jerry Casale in which he sounds depressed and bitter, as well he might. He describes a situation that is little remarked on: it is not just "the" middle class that has vanished in the United States; it is also the creative middle class that has been squeezed into nonexistence, between a vast population of working artists who can no longer hope to make a cent and the 1 percent that will make killing in the corporate marketplace and get covered by Entertainment Weekly. Musicians have nothing to sell anymore; when Barnes & Noble closes, following the final disappearance of most independent bookstores, authors will
join the ranks of the newly unpaid "content providers," which has become the fate of most other writers who used to be able to cobble together a living writing for print.

I found the Devo poster in my closet when I was cleaning out my childhood home a few years ago. Unearthing it from where it had lain under the bed for decades was like finding a priceless artifact from an ancient civilization. I put it away somewhere, and am counting on finding it again sometime. Hopefully soon.