Inner Plane Discussion

A Dialogue Between the Higher-Self and the Inner-Self

Oil on Canvas by NW 1984

Inner Self: Oh, Higher Self, Why did you allow this wounding to happen?

Higher Self: So you would know the tree when it falls, and the bird when it falls, and the water when it falls, and the snow falling.

Inner Self: Oh, Thank you! But does the snow know it’s falling? I don’t think so. So why is it necessary for me to know? And what does snow falling have to do with being wounded?

Higher Self: Nothing. The snow has nothing to do with being wounded, except for the color white. Snow white.

Inner Self: Like the fairy tale Snow White?

Higher Self: Exactly. You may as well ask me why Snow White had to be wounded.

Oil on Canvas by NW 1984

Inner Self: Yes. Why did she have to be wounded?

Higher Self: Because it’s a story. The whole story is dependent upon her being abandoned in the forest and then eating the poisoned apple. Without those plotlines there would be no story, would there?

Inner Self: Of course  not. But she didn’t do anything to deserve that treatment. She was good and kind. A pure heart, too, it seems. Was she too trusting? Do you think that was it? Trusting the old witch with the apple?

Higher Self: Why are you asking me this? Are you reflecting on the trust you once had for your mother? The blind trust?

Inner Self: Yes, I suppose I am. I guess I was far too trusting wasn’t I?

Higher Self: And why shouldn’t you have trusted your mother? Didn’t Isaac trust his father?

Inner Self: But then Isaac was spared. Why wasn’t I spared?

Higher Self: You lived, didn’t you? You survived to tell the tale. Maybe that’s why. So you could tell the tale of Trust and Betrayal, and Trusting again. And look what happened along the way. All those paintings you did. Do you think you could have seen into the depths of yourself otherwise? And then transferred that quality of vision onto the canvas? Where do you think that deep vision comes from?

Inner Self: Resonance. It comes from resonance. A re-sounding. Feeling the vibration again. Feeling a similar vibration in someone else. Feeling the same. A similarity. A resonance. An inner vibration. A feeling. A feeling of resonance. Thank you.

 

 

 

 

 

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Auditioning For My Life

watercolor by NW 1987

Dear Mr. and Ms. Publisher,

Much as I would love to submit to you (again!) I can’t this time. I just can’t! Seems all my life I’ve been trying to get in somewhere—the Royal Academy, Actors Equity, the English theatre. Wanting to be wanted, deemed worthy—as if I was auditioning for my life.

Okay, RADA and the English theatre, that was back in the 70s. I did it and moved on. But I’ve been auditioning for going on 50 years now! And I have to say that I’ve been turned down by the best. George Balanchine was the first to give me thumbs down and all he had to do was look at me. Oh, and feel my calf muscle too. I never would have had the stamina to be a dancer anyway.

After I became a painter it was called submitting, not auditioning, but it was the same thing.

NW 1980

Please want me. Please think I’m good enough! Nix to that. I saw this movie once in the 80s about New York painters when it was hot to be a painter in the city and therefore film-worthy, and the girlfriend of this successful egotistic guy-painter asked him if he thought her work was “good enough.”  Naturally he said no. I was so angry with her! What did it matter what he thought? Couldn’t she tell herself?

At the Art Students League when the teachers started to “correct” my work – that was when I left. It wasn’t even bull-headedness, it was only that I had ideas too, and if it was going to be my canvas then it was going to be how I saw it.

Writing has been different though. I’ve had a lot of teachers, been to lots of different workshops. Feedback has been ultra important. I think it’s because writing deals with the mind, and putting ideas and images into the minds of listeners or readers, and I needed to know what they were hearing. Was it anything resembling what I wanted them to hear? So they were my guideposts. If I was writing a-b-c, I didn’t want them to read x-y-z.

But that was only until I began to trust myself. At first my self-trust was a little on the belligerent side. This is my story whether you like it or not. It’s also called self-confidence or self-reliance. And those are good words, because when it comes down to it – it’s all about the self – especially a memoir for pete sakes!

Yet I have to admit that my decision to self-publish is partly due to my fear that if I don’t put it into print (finally after 14 years!), then after this umpteenth final draft, I will start revising it again! And I have to keep reminding myself that getting my memoir right is not equal to getting my life right. That, I may never do, though the clock is still ticking… I loved the book with the title, A Good Enough Parent. And that’s all I want to do with my book, write a good enough memoir.

But as I was saying, Mr. and Ms. Publisher, I can’t wait for your approval (or disapproval). I can’t write a book proposal or another query letter, much as I appreciate the need for these things in your business. I can no longer want you to want me. Which usually means pitching to an agent so the agent can pitch to you. I just can’t be in that ball game right now. The whole premise of my story is about me finding value in myself. It’s about how I went from a scared shy doormat victim to The Nancy Who Drew.

The Nancy Who Drew just did it. She left the League and even left Manhattan. She carried her rolls of canvas and heavy wooden stretchers home on the subway and stretched them herself with her special canvas pliers. After hammering the stretchers together. And then she stapled the canvas to the stretchers with her staple gun. Yes, she had a gun and she used it. And she never cared if her boyfriends liked her work or not. She wasn’t a pitcher. She was the one up at bat every time.

Excuse me, but now I’ve got to get back to my final revisions…

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How Beauty Saved Me

When I was young I was entirely focused on my outer appearance. I was an actress in those days and spent a lot of time in front of the mirror, not always for the purpose of creating a character in a play. For the play was also my life, and I was creating the face (if not the character) of the woman I wanted to be seen as.

Makeup provided a much needed mask. The mask of maturity I did not yet have, and the mask of bravado I wished I did have. In this way I was able to have (and sometimes enjoy) experiences that might not have come my way otherwise.

But I was lucky. Because while I was still in my twenties I dreamed twice of something more. Of a beauty that came from inside. An inner beauty. A beauty that was nothing to do with looks, and everything to do with feelings. These were literal dreams, the kind where you are actually asleep. So I was asleep, but I was also awake to something else. Something inside, that had not yet manifested on the outer plane, but was there, alive and coming to consciousness.

I lived in a world where appearance meant everything. In order to be cast I had to look the part. And even then it might not be enough because I also had to look like someone else thought the character should look like. It’s the kind of thing that can make you feel very powerless. But that’s show-biz.

By the time I was twenty-three all I wanted to do was hang onto the little control that I had. So one night when I finished reading Sylvia Plath’s The Bell Jar for the first time, it was not surprising that I fell asleep hoping I’d never lose control like Esther did. And yet that was exactly what I did in my dream! After putting down the book I fell asleep and dreamed I was on stage performing, and completely let go. And when I let go I was filled with light! Ripples of light flowing through me. An orgasmic feeling of oneness with All That Is. I felt inspired, beautiful, free.

This seemed a good omen for my acting career. Surely if I could dream it, it could come to pass? Yet it was not to be.

(detail) Watercolor (1987) NW

For I would be cast as bad girls. The drug pusher, the thief, the hooker, the call girl who suicides. Girls who, no matter what they looked like outside, were torn up and crushed inside. In the plays I did, they were never redeemed. They were caught, sent to prison or to the mortuary.

My private life was not this brutal, but it was a sham. The darkness I had delved into had cast its shadow. My shadow loomed over me. The darkness was sucking me in, telling me to end it all now, and promising forgetfulness.

And then I did die, but not from the dark, and not by my own hand. I died in the light and from the light. From the light of forgiveness and acceptance, and most of all I died from surrender. From giving up. From letting go of control, that thing I most dreaded. I died in a dream and discovered the light again. The beauty again. Again, the sense of being flooded with light. The light rippling through me. The beatific feeling as I sank to the floor. It happened in a dream, this beautiful swoon of death.

I’m alive! I’m alive! I kept saying to myself the next morning. The morning of my new life. My new birth. My second birth. The morning of my awakening.

I gave up acting and became a painter. I did not have to search for beauty. Beauty was all around me. It wasn’t about me anymore, it was about seeing. Seeing “out there” was a reflection of what was inside. And it was all in the light, which appeared brighter when it was beside the dark.

I still wore makeup. And sometimes, if the feeling wasn’t there, I acted as if I was an artist, until the feeling came back. Which it always did. The beauty that would not smudge or fade. Because it was a frequency. A tone. A surrender to the light. Which appeared brighter when it was beside the dark.

(Detail) Watercolor (1987) by NW

I was saved when I saw the beauty of the dark.

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Excerpt ~ “Revenge”

NW at easel (1989)

September 9, 2001, was a Sunday. Late that afternoon I dropped my manuscript off at the home of my advisor. Normally I would have sent Jan my packet in the mail, but perhaps I was late in getting it off. I don’t remember. Anyway, we both lived in Brooklyn, not too far apart, and I had a ride. I was a graduate student at the Low-Residency Program at Goddard College then. This latest revision was crucial.

I was in my final semester. The book had already been in progress four and a half years. That was part of it, but what really worried me was my new beginning. My daring new beginning, starting off with my mother’s revenge. I wondered what Jan would think of it? But Jan Clausen was the one who said the memoir was really about my relationship with my mother. At last someone told me what it was about! I prayed she would like this latest version.

Jan told me later that she began reading my memoir two days later, on the morning of September 11th.  As the planes were hitting the World Trade Center, she was reading my book. And she kept on reading even as the Twin Towers fell.  Even as people were being pulverized. Even as Lower Manhattan was blanketed in smoke and rubble, and dazed pedestrians were covered in ash, she kept reading. She chose not to watch the TV. Different people have different ways of coping with disaster, and hers was to keep to her reading schedule. I was not so disciplined. My schedule went to pieces as I tried to take in the magnitude of events that day.

Later though, what I could not get out of my head was that my memoir was being read on 9/ll. The two things became intertwined, my story, and 9/11. My life and 9/11. It was odd really, because I was writing about the past. My manuscript ended in the late 70s. It began in the late 70s too, then went back in time. It began with a story of revenge. My mother’s revenge, not mine. Yet somehow, because of term schedules and manuscript due dates, and Jan reading it during the chaos of 9/11, I was finally able to see how my mother’s revenge could have been mine too. For hadn’t she told me that she conceived me in revenge for World War II?

It was a bizarre thing to say, I know.  But coming from my mother, it sounded perfectly rational. She made the confession in 1977. I didn’t know what to do with that information until 9/11. In brief, this is how it happened.

She met my father on a bus. It was February, 1949. She was twenty-three, going to Nevada for six weeks to divorce her first husband. She got on in Illinois. I don’t know where Milton got on, but he was on his way to a government job in Tonopah, Nevada, and wore an army uniform. She said he had a shy smile and dark wavy hair. He was Jewish. She had never met a Jewish man before. Her five-year-old daughter from her first marriage was staying with her parents in Decatur. Her fiancé was waiting in Chicago. But on the bus she met Milton. And instead of going all the way to Reno, she got off the bus at Tonopah. By the end of March when her divorce came through, she was pregnant. She went to Chicago anyway, and married her fiancé, Frank Wait. I was born in December as Frank’s child. That was how it began.

My mother told me this story when I was nineteen. Because of that, and what followed, and many other things besides, I left the country. Then, when I finally came back home to live after seven years abroad, she said, “I conceived you in revenge for World War II and the Waits.”

The confession that I was her revenge was said in anger. She was still angry after all these years. We were sitting at my kitchen table drinking coffee. My mother had dropped by after work, seemingly in a good mood. I don’t remember what set her off.  Anything could set her off and it never seemed to have anything to do with me. I was tired. I had been working all day too, and wanted to relax.

I asked her to leave. I said, “I’d like you to go now,” and “Please leave,” because the way she was carrying on about whatever it was, I could see that her mood wasn’t going to improve anytime soon. I’d only recently started hanging up on her when she went into tirades over the phone, and that was only because my boyfriend told me I could.  “You can just hang up on her,” he said. “You don’t have to listen to that.” And then he told me I could throw her out of my apartment too. At first I didn’t believe him. I thought I could never do that.  But I didn’t want to listen to her venom.  She always went on about the same things—how wronged she’d been, how badly she’d been treated by everyone.

“Alright, I’ll go,” she said angrily, haughtily. Her face was flushed, her features vivid. Her hair jutted out from her face in soft, frizzy black curls. She was fifty-two and a little overweight, but still attractive. I stood holding the door open while she gathered up her things, and then she came and stood next to me. She was five-feet-two but looked taller in high heels. I was amazed that she was listening to me, that I could actually tell her to go and she would. I’d never felt this powerful with her before.

Her dark hazel eyes bored through me, to some deep wound from long ago. I felt guilty. I always felt guilty somehow for her unhappiness.  And when she delivered her parting shot—“I conceived you in revenge for World War II and the Waits,” I felt a wave of heat pass through me. It was like an electrical charge, resonating in my gut. As if in a queer sort of way I had always known this—or something like it. She left then, and I closed the door. The clack of her high heels echoed down the stairs and faded away.

Revenge. It’s such a loaded word.

Ever since the night she told me about Tonopah, her eyes moist and bright, as if Milton was the love of her life, I had thought of myself as a “love child.” I had dealt with being half-Jewish, and the fact that Dad, the man I thought was my father, wasn’t by blood. Now I would have to deal with this too. But I just stood there for a while, leaning against the door. It seemed as if she was always giving me shock treatments.

Like my mother’s confessions, drawn out slowly over the years, my understanding has taken a long time to develop. It has taken me a long time to piece things together, longer perhaps, than it should have. In my twenties I used to wish things had been different. I fantasized a marriage between my mother and Milton, imagining her happier, and by connection, myself happier too. But when I went to a psychic, which I did a lot in those days, and complained,  “If only my mother had married my real father!” she said, “But my dear, you chose your parents! You chose everything to be exactly the way that it was.”

I didn’t know how to deal with that information, any more than I’d been able to deal with what happened. It has been like weaving a tapestry—the images don’t make sense until the entire rug is woven together. Yet it finally hit me, why she was so impatient with me when I was growing up. I was the least likely candidate to avenge anything.

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Deep Paint

Deep Paint

Portrait of a Journey

Pastel by NW 1994

Polar Shift, pastel
In the beginning I didn’t know I was illustrating a journey, or that I would end up with a shift in perspective, realizing a new balance between inner and outer worlds. The following nine pictures in oil and watercolor are a representative sample of work done in the 1980s, which led eventually to the writing of my memoir. What began with portraits and self-portraits, expanded to looking at my interior life, showing myself what I knew or felt subconsciously. Yet though I could see I was painting a narrative, I didn’t know what the story was.

Oil on Canvas by NW 1981

Girl at the mirror, oil
This portrait was one of my earliest works. Though not my intention at the time, it perfectly represents the idea of turning away from the external mirror to face oneself. The unfinished quality adds to the sense of one not fully developed until this look within, at the inner life.

watercolor by NW 1980s

Self-portrait, watercolor
I did this from a photograph I liked, because it showed me a side of myself I wanted to explore, give credence to.

oil on canvas by NW 1980

Self-portrait, oil
Here I was looking in the mirror, seeing myself in the new role I had cast myself in. I had the long hair, the long earrings, the long Indian dress. My palette, all laid out with paint, is tilted towards the viewer, or in this case, the mirror. For now the mirror has become the Looking Glass, through which it is possible to see into the inner world.

watercolor by NW 1980s

Listening, watercolor
As a former actress it took time to get over the compulsion to see myself in the outer world. But I began to paint models listening to their intuition or dreams, and the culmination was this more impressionist version of what it felt like to be tuned in to the inner self. To hear a voice from within. To hear the soul calling.

watercolor by NW 1987

Sinking, watercolor
This is indicative of my “drowning” pictures. They began by chance when a model didn’t show up for his next sitting and I finished it without him, covering the background with cerulean blue. The effect was startling; he looked as if he was sitting at the bottom of the sea. It was thrilling on some deep level, and inspired many more such paintings. Pictures I thought of at the time as a visual representation of delving into the subconscious.

Burning, 3 watercolors

I didn’t know where these next three paintings came from. They were part of a larger series of watercolors on paper 22″ x 30″ done over a short period in a feverish state of exhilaration. And then stashed away for twenty years until I completed the memoir and asked myself, what if…

watercolor by NW 1987

What if my psyche was somehow recalling a past death? The memory of burning.

Of being on fire. Of falling into the sea?

watercolor by NW 1987

oil on canvas by NW 1987

Girl Underwater, oil

Deep in the sea life of dream life
Lies a merger with death again and again.

She was the end of the journey. She was what it was all for. Whether she was my lost childhood, my mute self, my lost soul, or the memory of something more incredible, reaching back into a past life, she now was “found.”

My inner voice told me I didn’t have to paint anymore, I’d done enough. It was time now to write about how I got here.

So she represents the end of one journey and the beginning of the next. I didn’t know why I had given her a sprig of leaves to hold in her hand. But later, I began to think of them as laurel leaves. Laurel, for victory. Even before I had any idea of what she might represent, I knew that for me, she was some kind of victory.

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Memoir Writing: the first five years

In case you were wondering how long it takes to write a memoir…

It takes as long as it takes. Memoirs are usually a labor of love, written for oneself or one’s family, no matter we hope to have a wider audience. We hope that our experiences and the telling of these experiences will have relevance and meaning for those far beyond our own inner circle. For this to happen, that old saying comes to mind: you get out of it what you put into it. One thing writing does is to make us aware straight off the bat just how far we are from coherent thought, or how close. On those difficult days it’s more than ever important to stick with it, keep going, and show what you’re made of.

When I was a mere six years into the writing of my memoir and someone told me of another writer who spent fourteen years writing hers, I thought—no way! I was flabbergasted. Fourteen years? You had to be joking! Then you hear of others who only take a couple of years to complete their work. It’s very individual. Quantity of time may have something to do with quality, and then again, maybe not.  I think it’s worth taking a look at what I’ve been doing with my time spent on memoir writing.

I have come to the point where I find it useful to look at the writing of my memoir in terms of chunks of five-year spans. The first five years, the second five years, and now the third five-year span, which I am currently in the middle of. Each phase has its own unique personality, its own demands, its own struggle. It would be impossible for me to return to any one of those earlier phases, and I sometimes marvel how I got through them at all.

The fall of 1996 was when I applied to the New School with thoughts of completing the bachelor’s degree I had started fresh out of high school eons ago. I had never cared for degrees before. I had never done the kind of work that required a degree. Being an actress and then an artist, with scores of odd jobs in between, I’d always looked the other way when anyone spoke of career paths. Career paths and degrees had nothing to do with me. I liked the freedom of going off on my own to pursue whatever  it was that had my attention at the moment. I had no need to be graded, to have academic approval or a piece of paper that said I attended such and such a school. The proof was in my work. But in 1996, staring divorce in the face, it was securing a full-time job that had my attention. Specifically the ads screaming out from the newspaper, “College Degree A Plus!”

“Why is that so important?” I asked one of the interviewers.

“Because it shows you can finish something,” she said.

Oh. I had never looked at it that way before. Securing a degree as a kind of test of character. What the hey. I was in my late forties, a single mother with a little boy; what did I have to lose? On my college application I wrote my intention was to “find the blueprint of my soul.”

Beware of what you state in writing as your intention. It may very well come true! Mine certainly did, though it was years in the making, and went far beyond the mere three years I spent completing my bachelors degree at the New School. For then there would be two more years at grad school—ah! The first five years!

The first five years were all about schooling. Learning to write. Learning to read as a writer. Reading aloud. Getting feedback. from others. Learning how to revise. Realizing that I was a writer. Realizing I had a voice. Realizing I could speak my truth. Realizing my blind spots. Realizing my power. Realizing my weaknesses.

Getting those degrees is not such a difficult thing as long as you apply yourself. Finishing something is indeed useful. I finished with schooling. Then I finished my book. That mammoth task took the next five years. I finished it in 2005. Then I finished it again in 2006, 2007… Every year I had a new version. Some years I had more than one new version. It was the beginning and the end that kept being revised. The story stayed the same. But the beginning and the end signified my interpretation. What I thought of the work, what I thought of my life, my role in life. What I thought the meaning of it all was. These things underwent constant revision.

And guess what? They still are! It’s crazy. Or is it? Is it crazy to try and sort out what it all means? What if meaning was really the goal of it all, and not necessarily getting published? What if publishing was just the icing on the cake? And the real meat was in the toil and trouble you took to understand your life on a deeper level.

The first five years were all about remembering what happened. I could never repeat those years. Recollection is a huge task. And once it’s done, it’s done. Now, as I re-read those passages, I marvel at my excellent memory. All those memories I dredged up…no need to do it ever again.  It’s done. It took its toll, having to live through those experiences once more. Not everyone is up to it. We have a natural inclination to move on, I think.

But however hard the first five years were, the second five years were harder. For that was when I had to go deeper. Away from workshops and advisors. Away from reading aloud. Just me and my laptop, mulling over events, trying to make sense of it all. I will write about that in my next post.

If you are writing a memoir or have ever tried to, I would love to hear your comments!

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A Mask With Wings

A Mask With Wings was my first title for the book. It was the perfect title in the year 2001 and 2002 when I was in grad school, revealing my inner life through memoir in ways I had never done before.

A Mask With Wings suggested a mask, of course, but it also had wings. The “mask” was gonna fly. Fly off, one presumes. Little did I know that as time went on and the narrative continued to be worked on and revised, that the mask would indeed come off. For as I continued to delve deeper into my story after grad school, and without advisers to impress, I became more daring in what I would allow myself to see, and therefore reveal.

Yet wearing a mask is not all bad.  In fact sometimes it is good.  This piece is from the prologue of my original manuscript of A Mask With Wings.

Donning a mask signifies a transformation into something other. Since the earliest of times, the wearing of a mask provided freedom, a release from fear.  Hiding behind a mask loosens normal ties to reality, elevating the wearer beyond the routines of daily life, allowing for the possibility for an alternate existence, perhaps with increased powers and abilities.  The wearer might associate him or herself with beings on a different plane, or feel possessed of magical powers.  As one reality is replaced with another, normal restrictions are loosened.  A heightened sense of self may occur.

A pair of masks, comedy and tragedy, dating back to the ancient Greeks, has become a general symbol of the theater.  There is another theatrical symbol, however, which has nothing to do with whether a play is happy or sad.  It is only an eye mask.  A pair of wings splay out from either side of this mask, as if ready to fly.  In this symbol, the lower half of the face remains uncovered.  It is only the area around the eyes that is hidden.  And wings sprout from this hidden place—the wings on either side of the theater—the wings of flight.

# # #

I would also like to share this excerpt from my memoir, now titled, The Nancy Who Drew, (how that name came about is the subject for another post), which describes how I “got my wings.”  In this piece, I was ten years old and my sister Ellen was nine.

Ellen and I came home from school one day and my mother called out from the living room.  “Girls, I want to talk to you.  Put your things down and come here.”  She was sitting in my father’s red leather armchair, a pile of brochures on her lap.  “I’ve decided that it’s time you two had lessons.  Nancy, you will take acting, and Ellen, you will have art.”

“Why can’t I have art?” I asked.

“Because you’re too shy.  All your teachers say so.  That’s all I hear.  ‘When is she going to come out of her shell?’  You can have art next year.”

It was no use to argue.  Ellen and I just looked at each other, disgusted, and trudged off to our room.  I saw acting classes as a punishment for shyness.  And the penalty only worsened when my father held me captive in the living room to practice my audition pieces for The American Theatre Wing Children’s School.  He was very strict, but I was used to that.  The Sunday School classes he conducted in Skokie had evolved into voice and diction classes now we were living in New York.  Every Sunday morning before breakfast we practiced breathing from our diaphragms.  To show us where our diaphragms were located he pressed his fingers into the place above our stomachs.  Then we had to train lazy tongues with the enunciation exercise he learned in the 1920s at the American Academy of Dramatic Art.

Dah-May-Me-Nee-Poh-To-La-Bay-Pah-Fah-Tah-La-Ka-Dah!

We took turns standing at the far end of the living room, projecting Little Boy Blue loud enough for my mother to hear it all the way at the back of the kitchen.

“Project!  Project! Wake that little boy up!” he commanded.  Our reward was breakfast.  Pancakes or waffles with bacon or sausages, and toast and jam.

The audition required long hours of practice.  My father chose Juliet’s balcony speech and The Hippopotamus by Ogden Nash, instructing me how to say each word and phrase, and to shake my finger at an imaginary hippopotamus.   I passed the audition.  At that time the school was run by Helen Menken, a grande dame of the theater.  Her name was magical to my father, though all I saw was a stiff-haired old lady in high heels and too much blue eye-shadow.  I studied ballet, which I was terrible at, and Shakespeare, which I didn’t understand.  But each Saturday morning when my father waited with me at the bus stop, smiling and waving good-bye, I felt I should try to like it.

And I actually did like it by the end, when we performed As You Like It. I had been cast in the tiny part of Charles the Wrestler, presumably for the opportunity to act aggressive, but I was also the understudy for Rosalind, and on the day of the performance the girl playing Rosalind was sick, so I went on as Rosalind, too.  The director made an announcement before the show, asking for the audience’s understanding because I hadn’t had any rehearsal time and would be holding the script.  It made me feel special.  It was all very frightening, yet I found the fear exhilarating.  Afterwards I felt I had done something brave.  And when I saw my parents smiling and clapping, I felt I had done something important, too.

On the last day of class we were given a metal pin of the American Theater Wing logo, a blue eye mask with white wings sprouting from the sides.  A mask that could fly.  The metal lay cold and heavy in my hand.  There was something mysterious about the dual image, the wings of a theater and stage wings like bird wings.  It reminded me of a pilot pin, only it was a theater mask—–and it could fly.  I put the pin in my little box of treasures for safekeeping.  I wanted to go back to acting school the following year, but my mother said it was Ellen’s turn, and she couldn’t afford to send us both.  I would take art.  Art classes were cheaper.

© Nancy Wait 2010

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My Mother, an excerpt from my memoir

My mother was born in the spring of 1925, after the first World War and before the Depression, when the future seemed as wide and bright as the mid-western sky.  Her parents had met on a blind date and married young.  They called one another Owl and Rabbit from Winnie the Pooh.  Her father, Howard McCarthy, was a handsome Irishman who did a soft-shoe tap with a straw hat and cane, and worked as a mechanic on the Wabash Railroad in the glory days of train travel.  Her mother, Helen Maxon, was English, and had been a school teacher before her marriage.  The McCarthys had each lost a parent when they were children, which perhaps was why they made few demands on life.  All they seemed to want of one another—and of life—was a pleasant predictability. They had their own house in Decatur, Illinois, and my mother was their only child.  They named her Frances Ellen, after her English grandmother who had died young.

Frances was the kind of girl who named her tiny dog Tiny.  But this was not due to a lack of imagination; her imagination was in overdrive from an early age.  As a child, The Travels of Marco Polo had been one of her favorite books.  She dreamed of exotic destinations, or at least Chicago, which was exotic compared to Decatur.  She wanted to escape from Decatur as soon as she was old enough.

Maybe her hunger for life was partly due to the attack of appendicitis that almost killed her when she was fourteen.  She remembered leaving her body, looking down at herself from the ceiling, and coming back.  She remembered the Depression as a time when people stuck together, but because her parents were so close, she often felt left out, and decided that when she got married she would have lots of children so they would never feel lonely or left out.  She wanted to be different from her mother, a quiet woman who wouldn’t fly in a plane or learn to drive a car, and shied away from all forms of excitement.

My mother tap-danced and wore ringlets like Shirley Temple.  She also liked to sing, but she was not given singing lessons because her father didn’t think them necessary.  Her mother deemed party dresses essential, so Frances, who was very pretty at sixteen, had a closet full to wear to the many dances she was invited to.

The United States entered World War II the year she turned sixteen.  Frances and her best friend June, awash in red lipstick, dated high school boys who had been transformed into dashing young soldiers.  June married her soldier first, and Frances was married the following year, a few months shy of finishing high school.  The brides produced babies, and the soldiers were shipped off to war.  Frances and her daughter Kathleen, and June and her baby, lived on a base in Arizona while they waited for the war to end.

The only thing I remember my mother saying of that time was how the desert sun bleached the sheets and diapers hanging on the clothes line, and how fresh they smelled.  But once her reminiscences traveled further back, to the soldier she was in love with first, and didn’t marry.  This first soldier came from a background that was unacceptable to her parents—poverty I think, had been the issue, and then he died in basic training.  My mother’s life seemed full of thwarted hopes.  Yet the kind of safety net her parents wrapped around themselves did not appeal to her.

One story I never heard and wished I had, was how the tip of my mother’s little finger was cut off below the joint on her right hand.  The stump was smooth and rounded, as if her finger was always meant to be that size, but it was still a stump, an abbreviated finger without a finger nail.  She never wanted to talk about how it got to be that way.  “Never mind about that,” she would say.  “It’s none of your business.”  What could it have been, I wondered?  A slip of the knife, or a pair of scissors?  It was somehow made worse by this mystery.

My mother’s next disappointment came not long after the war ended.  June’s soldier had come home, packed away his uniform and gone into business in Decatur.  My mother’s husband, a lieutenant in the Air Force, had volunteered to stay in Japan for the occupation.

“Dear Frances,” he wrote, “bring the baby and come on over.”  My mother could hardly wait.  “I’m going to live in a foreign country!” she thought.  But on a routine check-up she discovered the baby needed immediate surgery for a dislocated hip, and afterwards had to wear a plaster cast for a year.  Travel was out of the question.  She moved back to her parents’ house in Decatur while Kathleen had the hip operation, postponing travel—and her life, it seemed.  Meanwhile, the lieutenant sent her a beautifully embroidered white silk kimono and a fan.  She was photographed in the backyard wearing the kimono, holding the fan open delicately and squinting in the light.  Behind her, the tomato plants were ripening quickly in the sun.

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self portrait watercolor

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Girl Under Water

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