We were recently inspired to pick up Dancer from the Dance, Andrew Holleran’s 1978 work, with a thought to (re)assess the backlist of post-war “gay” American literature, a topic that has been very much at the fore since we posted some preliminary thoughts on the subject a few weeks ago. First the good news: Dancer from the Dance remains a timelessly vibrant masterpiece, a beautifully written elegy to a city that in the intervening years has been as transformed by the influx of capital as it has by the onslaught of AIDS; which is not to downplay the impact of either, although it is only the latter that ever seems to get any attention in the context of Holleran’s subject matter on its most superficial level, i.e., two aging queens looking to escape the drug-and-dance circuit that is 1970s New York City. We won’t spend any time describing Holleran’s magical, romantic and poetic prose other than to say that if by some chance you’ve never read this book, do yourself the favor: it is an eternal star in a rather bleak sky.
From our current vantage point, however, perhaps more telling than the book itself is its treatment by its publisher and the mainstream media (for our purposes here, The New York Times). As for the former, it was with some dismay (particularly after we finished the book) that we noted the lead copy on the back cover of our 2001 Perennial paperback edition: “The classic coming-of-age gay novel” it trumpets, or perhaps bleats would be the better term, given that to describe the book as “coming-of-age” (and possibly even “gay”) completely devalues the true import of the book, which is a strange oversight for a publisher to make twenty-five years after its initial publication (but in this case can be seen as the jailer guarding the jail). Serious readers will agree that there is only one accurate qualifier to this novel, and it is “urban,” for just as Malone (one of Holleran’s characters) realizes that the love he seeks (and can never obtain) is the city itself, this is really the only useful lens through which to view the work, and is one that — not coincidentally — allows us to circumvent the more tedious question of whether it is “gay” or not (though obviously it is, in the best sense of the word). Nor is this the only example to mar this unfortunate edition of the work: the opening sentence on the back cover states that “[Dancer from the Dance is] one of the most important works of gay literature…” Again, we wonder why a publisher would want to limit the appeal of a book like this, particularly when you compare it to the bourgeois drivel being produced by the likes of Roth and Updike; why not just call it “one of the most important and lasting works of fiction from its era?” After all, 25 years should be enough time to recognize the transcendent qualities of the work. Perhaps most maddening, when you consider the (presumably original) testimonials included — one example: “Beautifully written, evocative, and hilarious” (The New Republic) — is that the publisher seems to want to push the work back into a closet in which it was never contained.
Sadly, we cannot expect much help from The Times in this regard. We have already discussed at length the blind spot exhibited by AO Scott and his colleagues in terms of their marked failure to recognize a gay voice in twentieth-century art of any kind, and their treatment of Holleran is typical. In her review of Grief, Holleran’s fourth novel released in 2006, critic (and, apparently, novelist) Caryn James writes that “Dancer From the Dance (1978), with its young gay men flocking to New York for carefree sex in the baths, has become a period piece,” and that, “Holleran’s earlier novels can seem so determined to speak for their disenfranchised gay characters that the works become inaccessible to anyone else, like looking through a window at someone else’s world.” If anyone has ever missed the point of Holleran’s novel (or really, any novel) more than James in this assessment, we would like to hear about it! It’s like saying you shouldn’t read The Great Gatsby because it’s about the aristocracy or Beloved because it’s about rural African-Americans (unless, of course, you happen to belong to one of those groups). In short, pathetic.
Dancer from the Dance may in fact be about gay men (but they are not exactly young) having sex in the baths (among other things), but this is no reason not to elevate Holleran’s work to its proper place in the pantheon of American fiction (and not just gay fiction); it deserves the same recognition as other American literary classics, and any attempt to pigeonhole it in the ghetto of gay fiction is not only a disservice to Holleran but to all past, present and future queens who — despite the sickening odds — are drawn to the city in search of a soul, only to have our hearts shattered in the night.
Filed under: History | Leave a Comment
On Putting the Garden To Sleep
We sweep the walk one last time, gathering up the birch leaves — a deep yellow — and the beech leaves — a magnificent, burned orange — before tossing all of them over the wall into the vacant lot next door. The wrought-iron table and chairs we place under a tarp; we bring the candles down to the basement, where we set them next to the towers of terra cotta pots and bags of soil, the very sight of which (like so much of our past) is exhausting to consider. Is it possible that we ever had the energy for so many new flowers, so many trips to the nursery? Well, we won’t worry about that now: it’s winter, and still the city pounds beneath us, oblivious to the changing seasons, tempting us with thoughts of renewal.
Filed under: New York City, Subway, The Autumn Garden, The Gay Recluse | Leave a Comment
Tags: Candles, Copper Beech, Garden, Garden Furniture, Leaves, Terra Cotta, White Birch, Winter Tarps, Wrought Iron
The bright and cool December air brings us back to the years we spent in Brooklyn, when each weekend we walked up Third Street to the park, and there on one of the inner fields — away from the strollers and the “ultimate” Frisbee players — met for a game of soccer. As ex-athletes and aspiring musicians still shedding the vestiges of our suburban youth, we were careful not to be too competitive about it; cleats, for example, were the exception.
Do you remember those indie-rock girls who showed up in skirts and platform shoes? Weren’t they on tour from Georgia, or maybe Tennessee? Or what about S___, who could always be seen in the middle of the action with a cigarette in his mouth? He could always be counted on to score a few goals; even in high school he had been an unusually gifted player. Or what about J____ and his Buddy Holly glasses?
It would be negligent not to mention how infatuated we were with P___, who was said to be related to the famous European writer; silent and swarthy, he played fullback, and each time we desperately sprinted by him, it was with the hope that our speed and agility on the field (and please don’t think us immodest if we say that we did not lack for either) might somehow lead him to fall in love with us. Alas, we never were able to do more than stare longingly (but furtively) at his muscular calves and dark eyes and imagine what it would be like to touch our palm to his unshaven cheek.
Then there was the time — and this, of course, very near the end — when A____ showed up; we had never seen her before, but were completely entranced. She had obviously played a lot growing up; like the best players, the ball seemed to be attached to her feet with a string, and when she passed or kicked, it was always with an authoritative tap. Like today, it was cold, but each time she ran by we could hear the rustle of her t-shirt; the air seemed to smell vaguely of fresh laundry. Someone said her family was rich, and that — hint — she was single after a bad breakup. Maybe, we thought in a moment of giddiness, she would be the one to rescue us from our demons! But thankfully by this point we no longer had the stomach for such a charade, and so did no more than shake her hand after we were all done. We walked out of the park as the fading light gave way to the fog; the game already seemed like a dream, and only the mud on our socks told us that we had actually played.
Filed under: Brooklyn, Dream, Memory, New York City | Leave a Comment
Tags: Brooklyn, Nethermead, Pickup Soccer, Prospect Park, Saturnine
On the End of November
You will be relieved to learn that the scaffolding we told you about is finally coming down; but to reveal what, exactly? A new apartment palace, a refurbished monument to gilded living? Well, perhaps for some, but as we watch the men arrive in their trucks to disassemble the steel beams and wooden planks, we are not as pleased as you might have expected. We remember a November evening many years ago, when we took cover from the rain under a similar structure (albeit far away from this one) and considered the trajectory of our life. How it seemed that this miserable month would never end! Sickness, frustration and — most of all — tedium and indifference!
December, it seems, is better: true, the streets will be even darker, the air that much colder on our face, but we nevertheless feel less restless walking the night. Nothing’s changed, of course, but everything that just days earlier poured down over us with such misery has been swept up into a low, frozen sky, where it will now be released as snow — beautiful snow! — from which we will never want or need shelter.
Filed under: Architecture, Decay, Memory, New York City, Washington Heights | Leave a Comment
Tags: Aging, construction, hope, remorse, renovation, Weather
Recently we arranged a visit to the doctor, who in frantic tones described the many maladies he had encountered just that morning in his other patients. “One young man just contracted ____, which means he will probably not live more than _____; meanwhile the drugs I prescribed for Ms. _____are not exactly helping with the loss of her _____ ; another patient confronted me with a serious rash in the region of his _____ (and I trust you know what that means) while yet another is complaining of debilitating pain whenever he tries to _____.” The doctor paused for a moment and nibbled on the end of his pen as he glanced over our charts. “But I have to tell you, nothing was as alarming — truly, frightening! — as the man who just left.”
“Oh? And what was wrong with him?”
“It was very sad,” the doctor sighed. “Physically it was just a slight case of ____, easily curable with a week or so of rest and contemplation, but we got to talking and this man — and he was already 56 years old — had never thought to look in the mirror and utter the question why!”
Filed under: Capitalism, History, Politicians, Sickness, Writers-French | Leave a Comment
Tags: Baudelaire, Medicine, Spleen, Symbolism, United States
Music courtesy of Saturnine from the album Remembrance of Things Past (VictoriaLandRecords 2007); released under a Creative Commons license here.
Filed under: Dream, Good Rock, Longing, Memory, The Gay Recluse, The Russian Blue | Leave a Comment
Tags: Indie Rock, Life, Proust, Saturnine, Shadows, Zephyr
On a Piano Behind Closed Doors
Please wait while we stop for a second to listen to this piano and watch the reflection of the city street in the glass. In fact, since you asked, nothing could be more important: it’s more than just memories we hear through this door, but scenes from a past unlike any we have every known.
Filed under: Film, Good Rock, History, Memory, The Gay Recluse, Washington Heights | Leave a Comment
Tags: Door, Mozart, Piano, Street
On Pier Paolo Pasolini
In today’s Times, in a continuing effort to never acknowledge the gay voice as a force in 20th-century art and literature, film critic AO Scott heaps high praise on the Italian film director Pier Paolo Pasolini but never bothers to mention that he was gay: “Poet, playwright, screenwriter, filmmaker, Communist, Christian, moralist, pornographer, populist, artist,” Scott writes by way of introduction before he lays down his cards: “In an era when Italy produced a bumper crop of difficult, passionate artists, especially in the cinema, he may have been the most difficult of all, and arguably the most prodigiously talented.” Scott then goes on to describe a few of Pasolini’s better-known works, notably Mamma Roma — about a prostitute (played by the timeless Anna Magnani) trying to raise her teenage son in post-war Italy — and Salò, the adaptation of De Sade’s most notorious work. Scott hints at the idea of Pasolini’s orientation, telling us that he was murdered by a teenage hustler (wink wink) and that “for Pasolini, social drama always had a sexual component (wink wink).” He even compares him to Fassbinder (wink wink), but never once does he explicitly say that Pasolini was gay, or that this is an important lens through which to examine his work.
We are not here to tell you why this is negligent — though it is certainly our belief — but to encourage you to watch Mamma Roma and judge for yourself. You might say that there’s no gay sex in this movie, and that the topic of homosexuality is never once mentioned. Fine, but who but a gay man could have constructed (and here we’ll use Scott’s words): “Magnani’s incarnation of wounded, furious motherhood teetering on the edge of camp”? Who but a gay man would have lingered so lovingly over her son in the prison? Most of all, who but a gay man could have predicted the end of his life some fifteen years later, when he would be violently murdered and his killers allowed to walk by a society ambivalent about the loss of one more lecherous fag?
Filed under: Drag Queens, Drivel, Film, Gay, The Times | Leave a Comment
Tags: A.O. Scott, Anna Magnani, Gay Bashing, Momma Roma, Negligence, New York Times, Pasolini, Salò
Do you remember what it was like to be sick as a child, when you would stay home from school and relocate to your parents’ bed to watch television? Some days we were faking and would do anything to avoid the tedium of school (if only that were an option now!) but when we were actually sick, when we didn’t rub the thermometer between our palms to heat it up just enough to make it look plausible, when the afternoon would bring with it the chills and aches — the ringing ears — of a descending fever, we can still feel the expanse of the bed under us — you could lie in the middle and not touch an edge in any direction — and hear the drone of the afternoon soap operas just a few feet away. We would stare up as if from the bottom of a pool at the tiny black-and-white checkerboard wallpaper on the ceiling (installed, we would like to note, by a couple of formidable old queens our mother used as interior decorators), and in our delirium it would begin to move like traffic of the city — a new-world city, in quadrants: east and west, north and south — in perfect time-lapse animation, leaving us both pained and mesmerized by the promise of what lay ahead.
Filed under: Dream, Gay, Memory, New York City, Sickness | Leave a Comment
Tags: Childhood, Delirium, Fever, Queens, Television, Wallpaper
On Giving Thanks
While this day is not so different than so many others, to the extent we feel like we are under siege — fending off sickness and financial ruin and political censure at every turn — as we survey our past and contemplate what lies ahead, we are grateful for many things. Such as? Well, life could have been so much worse, for example, had we been born a Republican, a conservative of almost any stripe, or if we counted ourselves among the unthinking hordes who belong to the religious right. We could have been born a “libertarian,” one of those sad creatures who would deny the brilliant power of the city and the government’s fundamental role in harnessing this power for us, its people, so that we will not devolve into anarchy. Or even worse, we could have been a shrill, soulless atheist who refuses to believe that the world extends far beyond what we can ever see, and that no matter how bright and wide the light of science can ever extend, there will always be the darkness of night in the shadows beyond. We could have believed in a benevolent god, when one glance at the history books or the front page of The Times proves otherwise. Or we could still be a liberal or a progressive or a communist, someone who takes to the streets with the idea that society will be markedly better once ____ gets elected in November, or if such-and-such law gets passed by the local, state or federal legislature. Or we could have been proud to be an American, or gay, or a New Yorker, or someone who works for a living, or part of any such community defined by political or economic expediency.
But fortunately none of that has come to pass, and as we sit down to dinner with a kind soul who offers us a Clementine — candy sweet and easy to peel — we are also grateful not to be alone.
Filed under: Capitalism, Communism, Dream, Government, History, Memory, Pessimism | Leave a Comment
Tags: Clementine, Conservative, Democrat, Liberal, Libertarian, Religious Right, Republican, Thanksgiving
With our old headphones broken and new ones en route, we were not able as hoped to sequester ourselves in the aural safe harbor that is our “portable media player” but instead had to brave the sound system at the gym. You ask: exactly how barren is this sonic wasteland? We will tell you! Today’s “rock block” included Journey (“Wheel in the Sky”), Santana (“Oyo Como Va”), Bruce Springsteen (“Tenth-Avenue Freezeout”) Bob Seger (“Katmandu”); Grand Funk Railroad (“I’m Your Captain (Closer To Home)”); the Eagles (“Life in the Fast Lane”) and George Harrison (“What Is Life?”).
Do you remember Pittsburgh, when we worked summers on the assembly line and were first inoculated to these songs on WDVE 102.5? Can you hear the deep baritone of the disk-jockeys offering up some “Zep”? (And how just the sound of their voices electrified us in ways we still didn’t quite understand, or at least didn’t want to admit?) We are even amused to recall that it was the station our older brothers and sisters turned on when they emerged from the basement of the warehouse (where they liked to nap on the pallets) dazed and confused after a night of partying.
But even so, we are far from nostalgic for this period of our life; you might even say these songs provided the soundtrack of a world we didn’t want to enter so much as were forced to observe, for already we knew it was one (and really, just the first of many) in which we didn’t belong. So we now listen with complete detachment and disdain; except for George Harrison (and specifically, the beautifully recorded tambourine that showcases a lost eden of analog recording technology), we agree with you that these songs (and so many others like them) have completely worn out their welcome; moreover, you are right to claim that such empty nostalgia for the past is a symptom of weakness and disease, one that keeps us tethered to a corporate vampire, the same one whose teeth marks appear all over the political system.
But wait! Is that a chipmunk singing in our ear? Or a devious little gnome? No, actually, it’s just Geddy Lee; the song is “Subdivision.” Suddenly we feel a little weaker, remembering that Rush was the band all the freaks listened to in eighth grade, which is not to say that we were ever a freak (until now, of course). Can you see them on that November morning when they all showed up at school after a concert downtown, wearing black “Exit…Stage Left” t-shirts? And how we gasped at such a naked, revolutionary expression of disdain for everything the establishment had to offer? Yes, yes, you are right! It’s always fitting to quote Morrissey here, because nobody has ever told our story the way he has: “Oh, we can smile about it now but at the time it was terrible!”
Just to think of the Smiths — so nuanced and refined, with infinite reserves of (gay) wit! — would seem to obliterate any residual appreciation we might feel for the arena-rock bombast of Rush. But — and sorry to disappoint — the truth is, it does not; when we recognized this song, we stood for several seconds at the water fountain, entranced like some junkie for the past by something that could bring us back so magically to that time, when even the faintest, most disturbingly rendered echo from the outside reached us in ways it would take so long to understand.
“But the suburbs have no charms to soothe
The restless dreams of youth
Drawn like moths we drift into the city
The timeless old attraction
Cruising for the action
Lit up like a firefly
Just to feel the living night
Some will sell their dreams for small desires
Or lose the race to rats
Get caught in ticking traps
And start to dream of somewhere
To relax their restless flight
Somewhere out of a memory
Of lighted streets on quiet nights”
Neil Peart/Rush “Subdivision”
“And if you have five seconds to spare
Then I’ll tell you the story of my life :
Sixteen, clumsy and shy
I went to London and I
I booked myself in at the Y … W.C.A.
I said : “I like it here – can I stay ?
I like it here – can I stay ?
Do you have a vacancy
For a back-scrubber?”
Morrissey/The Smiths “Half a Person”
Filed under: Bad Rock, Capitalism, Gay, Good Rock, Government, Memory, Nostalgia, Sickness | Leave a Comment
Tags: Alienation, Bob Seger, Conformity, Geddy Lee, George Harrison, Grand Funk Railroad, iPod, Journey, Morrissey, Neil Peart, Pittsburgh, Rush, Suburbs, The Eagles, The Gym, The Smiths, WDVE
On Tears for the Gay Recluse
Recent artwork in the local museum of the ephemeral:

Filed under: Infrastructure, New York City, Subway, The Gay Recluse, Washington Heights | Leave a Comment
Tags: 163rd Street, C-train, Chelsea Boys, Gay, MTA, New York City, SubTalk, United States Marines
To our dear friends, the realtors and developers of Washington Heights: thank you so much for inviting us to your delightful open house! As happy as we were to learn that you had bought the vacant “shell” on St. Nicholas and 157th Street for $1 (and don’t worry, we won’t tell anyone about the $500k kickback you made to your “friends” at HPD to get it out of foreclosure), it hardly compared to the pleasure — no, awe! — we felt as you unveiled your beautiful renovation! It really does seem like “a steal” at $1.95 million! And with views of Yankee Stadium? Priceless. Market downturn? Credit crunch? Rest assured, the phrases mean nothing to us!
The craftsmanship and design were — quite simply — unsurpassed. The facade alone is breathtaking: the seamless integration of new construction and majestic pre-war detail will be an inspiration to preservationists everywhere. We found the interior equally impressive: tell us, where did you get those pine-framed plywood cupboards? And the polished brass doorknobs and sconces? And each door was so pleasantly light, as if made of air. As for the “showroom” furniture — classic — who knew you could still buy a floral print couch with velvet fringe? (And good idea to keep the plastic covers on — you never know when someone is going to spill.) Really, it was so smart to avoid the tiresome “Jeff Lewis” aesthetic of obsessive-compulsive attention to detail and sophisticated color palettes, given what a coat of decent paint does to your bottom line (not to mention the “light-in-the-loafers” clientele that sort of thing inevitably brings in).
So yes, in case it wasn’t already obvious, we’re prepared to move aggressively on this property; would you take $2 million in cash if we could wire it to you by the end of work tomorrow? Can you fax a sales agreement asap to our attorney? We’ll do whatever it takes to live in this “Palace in the Heights”!

Filed under: Architecture, Capitalism, Gentrification, New York City, Politicians, Washington Heights | 1 Comment
Tags: Developers, Flipping Out, Graft, HPD, Jeff Lewis, Price Gauging, Real Estate, Realtors
On the Dead Station
As we ride the uptown 6-train, we peer through the window to catch a glimpse of the dead station at 18th Street. A friend once went by foot through the tunnels to this station and described finding there among the abandoned gates and pillars irrefutable evidence of human habitation: a doll’s shoe, a pornography magazine and a pillow. How we envied him, to witness firsthand such haunted, architectural ruins! But this was years ago and he, too, is now dead. As for us, we are less inclined to such literal discovery; far better, it seems as we pass by, to imagine him there as if on a quiet oasis, taking stock of life as it hurtles forward without him.
Filed under: Architecture, Infrastructure, Memory, Subway | Leave a Comment
Tags: , 23rd Street, 6-train, Dead Stations, MTA, New York City, Subway, Union Square
On Birds and Cats
But did you not hear about the trial of the man who killed a cat that was stalking migratory birds in a Texas sanctuary? What a nightmare! On one hand, who can deny the allure of the cat, creature of the night, possessor of dreams? Yet who has not stood in awe of birds flying overhead, en route to the sun? Thus we were not surprised to hear that the jury deadlocked and the judge declared a mistrial. Cats and birds; the most we can ever expect is an uneasy truce. Like the conscious and the unconscious, both remain eternally at war for our soul, not realizing that the victory of one would mean the death of both.
Filed under: Capitalism, Communism, Dream, History, Obsession, Pleasure, The Autumn Garden, The Russian Blue, The Times | Leave a Comment
Tags: Birds, Cats, Conscious, Freud, Jung, The Soviet Union, The United States, Unconscious
On Beatrice
When the russet hues of the setting sun stream through our western window, as happened today, it is quite possible to imagine Beatrice in the distorted, filtered light, contemplative and hovering as if she were still there, peering into the distance, longing for something to take her away. The first time we saw her, however, was not on the window ledge but in a small cage next to the front desk of the vet, where we had taken Dante to be treated for ringworm. Like him, she was small and gray, with bottle-green eyes — a “Russian Blue,” according to the receptionist — perhaps a year old, or slightly less than that. We learned that she had been rescued from a dumpster in Brooklyn a few months earlier, and had subsequently given birth to a litter of kittens, all of whom had already been adopted.
We sat down next to an older woman in a disheveled trench coat; there were four carriers in front of her, all of which contained a single cat, a silent chorus that seemed to give her every word weight and affirmation: “You really should have more than one,” she pronounced as she pushed her sunglasses up to the top of her head, where her silver hair was pulled back from a rather long face, remarkable only for the slate color of her intense, watery eyes.
We were taken aback by how much this woman resembled our mother, as if she had not died but in fact had moved to New York to take care of cats. “How many do you have?”
“Seven — they’re my children now,” she laughed softly, and again we thought of our mother with a mix of sadness and, to be honest, some annoyance that she would say such a thing to us of all people. “You know why you’re here, right?”
“Well — initially it was to get Dante treated, but things have become a little more complicated now.”
“You should absolutely adopt her — they really do like company. You said his name is Dante?”
“Yes, Dante — like the writer.”
“Then he quite obviously needs a Beatrice,” she now declared, using the Italian pronunciation. “Not that I’m telling you what to do,” she added as she picked at what appeared to be an imaginary piece of lint from a large navy-blue scarf draped over her shoulders.
“Beatrice,” we repeated and returned to the cage, where she cowered in the corner and looked up with wet eyes, much more fearful than Dante had ever appeared. Her face was heart-shaped like his but smaller — except for some very long and prominent nose whiskers that in the reflection of the light gave her the appearance of a walrus — and more angular. She really was quite tiny and bedraggled, with some of her fur matted down on the sides of her face and along her belly. Her tail was only five or six inches long — perhaps half the length of Dante’s — with a little knob on the end, as if it had been cut off at some point in what we had to imagine had not so far been an easy life. She covered her face with a paw, and we noticed that this too was misshapen; it looked more like a mitten than a foot. We counted at least seven toes, including one that had an impressive looking nail in the shape of a lobster claw.
We turned back to the woman (with some reluctance, given her uncanny resemblance to our mother) and were relieved to find that she had pushed the sunglasses back down over her eyes. “Have you seen her paws?”
She waved her hand dismissively. “She’s polydactyl, dear, which is good luck.” She sighed before she continued: “You’re going to love her — I can just tell.”
At home, Beatrice proved to be extremely skittish, even after we made clear our intention to rescue her from the cruel life she had thus far endured. Picking her up was out of the question; she spent most of her time under the bed while Dante roamed the perimeter of the bedroom and whined, obsessed with his new twin sister. When she emerged to eat or to use the litter box, he always stayed two inches behind her, as if he had never seen anything quite so extraordinary. Eventually, Beatrice — clearly ambivalent about the attention — lost patience and gave him a quick swat with one of her big paws.
“You kind of deserved that,” we remarked without too much sympathy as Dante sulked past.
Over time, however, Beatrice began to exert her presence, and it became difficult to be critical of Dante’s infatuation with her, given that we were only slightly less taken, and certainly no more successful in our attempts to approach her; not once did she allow us to touch her, nor did she like to even eat if we remained in the kitchen. The closest we could get in these first few months was to offer her a piece of cocktail shrimp or turkey breast — preferably from Zabar’s, and no more than one day old — which she would deign to receive after emitting a demure, plaintive meow, no louder than the creak of the softest door. If we were surprised to note the existence of such rarefied tastes in one whose life had to this point allowed such little opportunity for indulgence, we in no way discouraged her, as if to do so would have been to deny our own awakened appreciation of the same.
Whereas Dante was a cohort who liked to remain by our side during the day and night, Beatrice was a fleeting inspiration, a mysterious and ethereal aura who, we were soon convinced — after seeing her glowing eyes in three different places (including the bathtub) on one of our many semi-lucid trips to the bathroom — had the ability to walk through walls. Perhaps because of this permeable quality, she was a better hunter than Dante, and it was not long before she was trapping the occasional misguided fly who happened to come through the windows, and which, depending on her mood, she sometimes popped into her mouth like an amuse-bouche. She was most active in the dead of night, but as time passed, she sometimes emerged during the day from under the bed to nap among the orchids, or to sit on the window ledge and chatter at the pigeons on the ledge outside. Of course she also liked watch the sunset.
She was also more mischievous than Dante, and regularly rearranged — though never damaged — our reading glasses, pens and watches, which we would place on one shelf and find the next morning on another, or buried under piles of papers or the corners of rugs. But what she took with one paw, so to speak, she gave with another, such as the time she found an old ring (and one that had belonged to our mother) we thought lost but which one morning showed up on the middle of the living room rug, where Dante — who as usual had spent most of the night asleep at the foot of our bed — circled it with great excitement.
We liked to watch Beatrice yawn, a slow but fluid motion in which her mouth opened to its widest and most gaping point before easily closing shut in a most satisfactory manner. We were always astonished by how relaxed and seriously unproductive both she and Dante were, how ambivalent they felt about work of any kind, such as when we asked them to pick up their collection of strings and bottle caps before the cleaning service arrived. Yet while this and any similar request was met with a show of apathy that did not even rise to disdain, we never felt angry or irritated, when even their most tentative movements were marked by a subtle grace that was inspirational in light of the encroaching stiffness in our own joints. Sometimes when they galloped after one another down a hallway, they recalled the grandeur of a pair of wild horses on the open plain, but it was an action — given the shortness of its duration — that seemed marked by both a recollection of and ambivalence toward their hereditary past; in short, it reminded us of our own past, and a certain disbelief that we had ever lived it, and only a ghostly stab of pain across our hands or in the back of our eyelids would tell us that our life had not been a dream.
That Beatrice seemed to love the Cannanes more than any other band in our collection was something we learned one evening by accident, when we knocked over a stack of LPs to expose the eponymous Cannanes and A Love Affair with Nature. We too had always loved certain songs by the Australian band (and in almost every case, those sung by Frances Gibson) for an unwavering plaintiveness and sincerity that nevertheless contained absolutely no self-pity or pretense. Frances offered a sense of resignation — that of being stuck in small towns or a bad relationship, or of being lost in big cities — that was remarkably pure, diluted only by an occasional sense of indignation at the poor cards life had dealt to her, but even in such cases the music always provided a countervailing resilience — no matter how primitive the playing or the production values were, for some of their songs truly did sound as if they had been recorded in a garage — whether in the high ringing strums of a guitar or an unexpectedly haunting bass line. It was for this reason that we always hated to see the band described by unthinking critics as “twee” or “lo-fi,” terms more aptly applied to bands who wrapped themselves in a cloak of coy insincerity; no, to listen to the Cannanes was to be transported to a place made all the more beautiful by the unlikely manner in which you were delivered there.
When we put the first record on, we were pleasantly surprised to find Beatrice ever so fleetingly brush past our ankle; a shadow of a motion, to be sure, but one that definitely qualified as a touch. We looked down at her as Frances sang: “I can see us in a car, taking speed, it was the last day of June, through the windscreen I see, the frost is on the ground, the sun is shining…” and as Beatrice returned our gaze, as if perplexed by the reference to a winter frost in June, we addressed her: “Yes, Beatrice,” we confirmed, “it snows in June in the southern hemisphere. Maybe some day we’ll get to see that.” We remained like this until a lone trumpet ended the song, at which point we tentatively kneeled down with a thought to really pet Beatrice for the first time; nor did our efforts go completely unrewarded, for she allowed us to brush our fingertips along the outermost fringes of her silver coat as she hovered at arm’s length like a mirage. Her coat, it is safe to say, was softer than a cloud.
On another night, we put another Cannanes record on and soon enough Beatrice reappeared on the distant corner of the bed; together we listened to “Vivienne” — “there’s something about Australia, you want to kick it when it’s down/Just because it is a failure, doesn’t mean I’m leaving Newtown” — during which, as if hypnotized by this spirit of resignation, Beatrice moved close enough so that we were able to reach out and gently grab her tail. Again she pulled away, but less in alarm than as if teasing us, and we felt the knobby end pass through our closed fist like a rope thrown to a drowning victim. Still, we were not disappointed when she paused and turned to look back, allowing us to stare into these green pools where — like Baudelaire’s urchin of the Celestial Empire — we did not fail to find the expected trace of eternity.
This became a routine; each night before going to sleep, she appeared on the edge of our bed, materializing silently out of nowhere while we played music for a few minutes and stared into her eyes. If we reached for her, she would delicately place herself just beyond our grasp, moving back and forth like a sandpiper, though one time — finally rewarding our patience — she allowed us to wrap one of our hands around her flank and to guide her close for a few seconds, so that we could feel the frantic beat of her small heart against our leg. She remained gently trapped like this for only a few seconds before she grew claustrophobic and in her characteristic low crouch slipped away to jump off the bed and into the dark. Later that night, we woke up and rolled over just in time to see her disappear over the hilly terrain of pillows and blankets, while a slight coolness on our face led us to suspect that she had just placed a single delicate lick to the tip of our large nose.
It was one night not long after this, when she appeared as usual, that we noticed how thin she looked. “You know, you could stand to eat more,” we commented, and wondered if she had always been like this — and it was hard to know for sure, given that we had never really held her — or if she were in fact losing weight.
In response, she stared back with feline intensity, curious but dismissive, as if whatever we were saying, she couldn’t quite imagine the stupidity of it. Then she began to knead the fleece blanket, her green eyes demure and playful.
“Well, you don’t seem sick,” we commented, and felt reassured when she did not disagree.
But over the next few days, we became more concerned. Though she appeared for meals, she rarely spent more than a few seconds at the plate — which she and Dante had always shared — before she walked away uninterested. A few more days passed like this, until on Sunday she retreated under the bed, ignoring all of our attempts to draw her out with her favorite food or toys; now more alarmed, we called the vet, who suggested that we immediately take her to the emergency room at the Animal Medical Center.
We hung up and went to the bedroom, where we sat down on the floor to address her: “Beatrice, we need to go to the hospital — do you think you could come out?”
She did not move, and her eyes were now dull and metallic like the heads of nails. Although she gave us no reason to think that she was at all amenable to the idea, we retrieved the carrier from the closet and brought it back to the bedroom, where where Beatrice continued to sit under the bed in the dark, a silhouette with silver eyes. “Beatrice — please — you’re sick. Will you come out?”
She would not, at which point we relinquished control of our body and so became less a participant than a spectator in the impending series of events. We went to the stereo and put on “Drug-Induced Delirium” by the Cannanes, the driving bass line of which in combination with the frantic but expressive vocals of Frances Gibson propelled us forward; we pulled down the cover from the bed and sat on top of the mattress. “Beatrice,” we called softly above the music and tapped on the bed three times, the signal we had used these past few months to entice her up. We held our breath and she appeared; somewhat clumsily, she staggered out from under the bed and took a few tentative steps in her growth-stunted waddle before she jumped up to her usual spot. To our dismay she seemed even smaller and now trembled slightly, just like the first time we had seen her, trapped in the corner of her cage at the vet.
Still, her eyes were brighter now that she was out in the light, and we tried to reassure her. “Beatrice, this is going to feel like a betrayal, but you need to see a doctor. It’s probably nothing — maybe you have a virus or a summer cold.”
As we finished saying this, we lunged with our left hand and managed to scoop her up against our body as we placed our other hand on the scruff of her neck to hold her steady. Weak as she was, she could not escape, although she fought and screamed as we managed to slowly stand and place her, one leg at a time, into the crate. Though upset by her crying, we were thankful to note that she possessed enough strength for her scratches to have left three long rivulets of blood running down our left arm.
After setting her down by the front door, we ran to the garage to pick up the car. When we returned a few minutes later, Dante was sitting in front of her carrier, licking her paws, and we were relieved to see that Beatrice seemed calmer. After saying goodbye to Dante, we drove down to Broadway and then crossed east on 155th, which led past the public housing projects at the Polo Grounds, long considered one of the most forlorn examples of post-war architecture in the city. “We don’t like Robert Moses, do we?” we asked Beatrice in an attempt to distract her, but she remained quiet as we entered the Harlem River Drive and started south. “You picked a very good time to get sick,” we further pointed out in a vain attempt to cheer her up. “It’s Sunday night, so there’s no traffic.”
In less than ten minutes, we arrived at the Animal Medical Center, which — we could not fail to note with a mix of trepidation and relief — was right across the street from Sloan-Kettering. “You’re going to get the best doctors in the world,” we assured her, an assessment bolstered by the high-tech swoosh of the automatic doors and the small army of staff who greeted us inside. Nevertheless, it was hard to remain optimistic as we stepped into the inalterably dreary scene of a Sunday night at the emergency room; the waiting area was filled with sad-looking families and their even sadder-looking pets, along with an assortment of chairs, pay phones and vending machines.
We stepped up to the reception desk to explain the situation, and were soon provided with the necessary intake forms, which we filled out among the ranks of the downtrodden. Now and again we placed one of our fingers through the metal grate of her carrier, where Beatrice sat quietly petrified and shivering. From behind the reception counter, we heard people sobbing as vets delivered bad news.
Someone walked by on a cell phone, weeping. “Don’t worry,” we whispered to Beatrice. “You’re going to be fine.”
After fifteen minutes or so, we were led to an examination room for a preliminary consultation with a doctor, who shook Beatrice out of the cage and quickly grabbed her by the scruff of the neck as she fought to get away. “She’s very yellow,” he said as he folded back the inside of her ear. “When’s the last time she ate?”
“A few days ago.”
“It looks like hepatic lipidosis,” the vet explained. “If a cat stops eating for any reason, the fatty cells of their tissue can basically overrun the liver and shut it down.”
We dug our fingernails into our palms. “Why would she stop eating?”
“It could be anything — a cold, a change in food, depression.”
“A cold? Depression?” We took a second to digest this, restraining the urge to reason away such a ridiculous premise for liver failure. “Can you help her?”
“We can try,” the vet said in an efficient but superficial tone we found somewhat more comforting. “How old is she?”
“One and a half or so — we don’t exactly know because she was a stray.”
“That’s good, she should be strong. But just so you know,” he continued as he did some quick calculations, “to get her liver functioning will probably require at least a week of intravenous feeding and possibly intensive care, which will most likely put treatment in the range of $_____ thousand.”
What choice did we have? The vet left to complete the paperwork and gave us a few minutes alone with Beatrice, who now cowered under a small sink. “Beatrice, they’re going to fix you up,” we promised as we bent down beside her; as we spoke, we tentatively reached out our hand but withdrew it when she shrank away.
The following day, we returned for visiting hours and met with her “team” of doctors, who agreed that while the case was severe, the official stance was one of guarded optimism. The plan was to reverse the lipodosis by tube-feeding her until her liver kicked back in and began to function normally, which they claimed was by no means an unprecedented prognosis, particularly given her age. They had already placed her in intensive care, where we found her in an oxygenated chamber with a feeding-tube running through her nose, various IVs attached through each of her hind legs, and her head in one of those plastic cones that looks like an Elizabethan collar.
“Beatrice? Are you ok?” we whispered through the cage, and in response, she moaned a little bit and moved her eyes, which despite her obvious weakness the doctor said was a good sign.
But the next morning we received a call from one of the doctors, who told us that overnight things had taken a turn for the worse, and for no reason that anybody could figure out, Beatrice’s sodium levels — her “electrolytes” — had dropped to precarious levels. We immediately went in to find her completely unresponsive, even when we called her name.
We asked one of the doctors what had happened. “Well, she was even weaker than we thought,” he shrugged. “But we had a specialist in this morning and she made some adjustments. Our most recent readings actually show her electrolytes heading back into the normal range, which is good.”
And by Wednesday to our great relief, her situation had stabilized; we were encouraged to find that she appeared a little stronger, and even stood up like a newborn foal when we greeted her.
“Dante misses you,” we managed to add, fending off any lurking doubt we felt behind this show of conviction, as if anything we could say to her could ever reverse the course of her sickness. “He would have come, but you know how carsick he gets.”
On Thursday morning, a doctor called to give the report. “She’s not out of the woods yet,” she said, “but she looks better. Her sodium has definitely stabilized and her blood work looks good, too, so I think we can remain positive.”
We drove down to see her filled with hope, but when we arrived — as if in a rebuke to this display of optimism — she looked worse than ever. In a panic, we tried to find someone from her team, but because we had arrived during the transition from the day to night shift, the only doctor to be found was an oncologist not familiar with her case. “Her blood work does look better,” she noted as she examined the charts. “Maybe she’s just tired.”
We sat with her until visiting hours ended at nine and then went home. “She was just tired,” we repeated to Dante. “It’s just going to take a little longer than we expected.”
Then — the following morning — we received a call from the doctor, who relayed the news that things had in fact taken a turn for the worse; she was not just tired, after all; the new theory was that some sort of primary condition — cancer perhaps — had brought on the lipidosis, but they could only confirm this with a liver biopsy, a process itself that greatly lowered the prognosis for recovery.
“So what should we do?”
“I think you should come in if you can.”
At the hospital, Beatrice was crumpled and dirty in the corner of her intensive-care unit. Her rib cage heaved in and out with each breath and her eyes had grown foggy and distant. There was no question about what to do: we instructed the team to stop treatment; there would be no biopsy. We asked them to remove the feeding tube from her nose and take off her collar before they brought her into an examination room to say goodbye. When she was delivered to us, she looked destroyed, worse than drowned, even worse than the day before; her coat was greasy and covered with flecks of dander, her mouth and eyes were coated by thick gobs of something white and unidentifiable; her nose bled from where they had removed the feeding tubes and her skin hung off her ribcage and spine. She still had IVs in each of her legs, one wrapped in blue gauze and one in red. We felt the pads of her feet and they were cold and we wondered why they had wrapped the IVs so tightly.
“Beatrice,” we managed between deep breaths. “You’re covered in snow.”
She tried to stand, but could only totter a step or two before she collapsed against the wall; her eyes remained open but were dull and motionless, even when we showed her a golden bauble we had brought to remind her of home. “Dante thought I should bring this one,” we said, pointing to plastic flower, “and even though I know you never really liked it, we wanted you to know that he was thinking of you.”
We told her about everything that had happened during the past week; how Dante kept looking for her under the bed, and how none of the games they played would ever be as fun without her. We told her that we hadn’t been able to sleep without her saying goodnight to us. Beatrice raised her head a little bit as we continued, and we tried to sound less dire as we remembered our favorite photograph of Candy Darling, the one taken in the hospital just before she died. We placed a finger under her chin, and she shivered. “You don’t want to suffer anymore.”
Awash in helplessness, all we could think to do now was to restore some semblance of dignity to the most undignified thing in the world, death in a modern hospital. We took a small cloth brought from home and began to groom her; we started with her face, and as best we could we gently wiped away the thick saliva from her cheeks, the blood that trickled from her nose and the gunk from around her eyes; from there we moved down to her neck, chafed from the collar, and then progressed over her shoulders and down her side, where each one of her raspy and labored breaths continued to make her stomach rise and fall with a slight shudder. We cleaned each of her polydactyl paws and remembered how the old woman (who by this point we were officially conflating with our mother) had told us that they were supposed to be good luck, and for a second we hated her. But then we reconsidered; maybe she had been right about Beatrice, after all, which was why it was so difficult to think of losing her.
There was a tap against the window and we nodded before we turned back to her. “Beatrice — Little Bea,” we whispered, “it’s time to call the doctor in, ok?”
The vet came armed with a hypodermic full of barbiturate, which he inserted into the IV of one her hind legs as we kneeled down and placed a hand over her tiny stomach and a finger under her head. “You’re going to sleep now, Little Beatrice,” we managed to say as the vet plunged the syringe and we looked into her dark green eyes for the last time, where a flicker of the aurora borealis appeared and then disappeared, and we knew that Beatrice was dead.
The vet left, and we felt baffled by her lifeless form. We picked her up and held her for the first and last time as great drops splashed out of our eyes against the floor. We considered her mitten-paws and cursed the cold and arbitrary side of nature, its complete disregard for fairness or worth in the choice of life or death, and we were reminded of 9/11, and how we had arrived at much the same conclusion, albeit by way of a cold analytical process that had nothing to do with the more intimate understanding we now felt compelled to acknowledge. Along with this came a rush of hatred for life, if it meant having to die in a clinical hell so far from anything of comfort you had ever known, nor did we hesitate to acknowledge an even deeper hatred for those we felt confident would have belittled this display of grief from a very large man for a very small cat, probably just one of thousands that were dying all over the world at this exact second; we recalled a piece in The Times lamenting the money spent on pets with so many disasters in the world, as if one were the cause of the other. Nor did we forget to hate Chairman Mao and all of his communist brethren who claimed that love for animals was bourgeois and non-utilitarian; we also hated the animal-rights activists just for being alive when Beatrice was not. And finally we hated the logical part of ourself that agreed with all of them, and the accompanying sense of shame we felt at our incapacity to love anyone more than Beatrice. But a few minutes passed and as the crippled truth of this washed over us, it felt as pure as anything we had ever known, and we swore that as long as Beatrice was dead — and her tiny limp body, literally fifty times smaller than our own, proved it — we would not in million years forget her; this ability to remember, we knew, was the only faith in which we would ever believe.
We tenderly placed her back onto the stainless steel table and covered her with a hospital-blue plastic padded blanket, so that only her head poked out from underneath. We thought of the many nights over the past year when she, in effect, had done the same for us, watching over us as we drifted off to sleep. She had been so small, so fragile, and so ephemeral, really a most insignificant piece of the universe and in this regard — as we considered the futility we had experienced trying to save her — no different than us! Yet she had been aware and unstinting in her awareness, for was it not true, we next realized, that as much as we had provided for her — in the most obvious and practical of ways — that she had also cared for us? Had she not also taught us patience? We suddenly thought of our mother and felt no anger or remorse; our grief for Beatrice, it seemed, was melting together with a previously unacknowledged one, which before this moment had always been qualified by some sort of condition or regret. Our eyes felt like raisins and our head pounded with each thump of our heart, as if our body were now an empty box. We touched Beatrice one last time and tried to close her eyelids. We felt her mitten paws for the last time before we opened the door and took one last look back.
“Requiescat in Pace little Beatrice,” we whispered, and in the reflection of the window we saw our mother; and it was really her, not just the old woman. She smiled at us sadly, benignly; it was an expression we had forgotten about, one she used to wear while sitting on the edge of the bed, when we were already tucked in; even now we could feel her hand brush lightly against our cheek, a final touch to send us off into the world of sleep.

Filed under: Drag Queens, Dream, Drivel, Good Rock, Memory, Orchids, Resignation, Sickness, The Russian Blue, The Times, Writers-French | Leave a Comment
Tags: 9/11, Animal Medical Center, Baudelaire, Beatrice, Candy Darling, Cannanes, Cats, Dante, Daphne Merkin, Death, Lipidosis, Love, Robert Moses, Russian Blue
On the Empire State Building
In our dreams, the Empire State Building hovers and glows with a radiance that is seriously awesome to behold; it is a beacon to all who seek refuge in the city, and furthermore is not — as Fay Wray tells us — unstinting or cold in this respect, even if like the rest of us it is imperfect. In reality, the building was opened on May 1, 1931, just 410 days after ground was broken at 5th Avenue and 34th Street; this, too, was the year of our parents’ birth into the “greatest” generation, the one whose long shadow we have not yet even come close to acknowledging, much less escaping.
Filed under: Architecture, Dream, Film, Gay, History, New York City, Sickness | Leave a Comment
Tags: Architecture, Empire State Building, Fae Wrae, New York City, Walter Benjamin
Andrew Sullivan expressed the idea (and admittedly, with thoughtfulness) in an essay he wrote a few years ago for the New Republic, while more recently British playwright Mark Ravenhill tackled the same theme (with much less success) for The Guardian. Their collective story goes something like this: in the dark ages of oppression (i.e., approximately 5000 years) that preceded Stonewall, there was no gay culture, but subsequent history was marked by a period of enlightenment during which gay-themed work, initially made by and for a small subculture, gained increasing prominence in the mainstream thanks to — in the words of Andrew Sullivan — “the music of Queen, the costumes of the Village People, the flamboyance of Elton John’s debut; the advertising of Calvin Klein; and the intoxication of disco itself, a gay creation that became emblematic of an entire heterosexual era.” Or according to Ravenhill: “[Twenty years ago], gay histories were charted, gay stories speedily told and disseminated, gay erotica sold on the high street.” All of this, of course, changed with AIDS, but — and here’s the happy ending — we are now in an era in which the story of being gay has become so commonplace (and accepted) as to be irrelevant, or certainly not compelling in an artistic (i.e., dramatic) or cultural sense of the word. Again, Andrew Sullivan: “It is what we always dreamed of: a world in which being gay is a nonissue among our families, friends, and neighbors,” and Ravenhill: “Every time I try to write ‘gay,’ I start yawning. Why has the pink fountain pen run dry? Why do I have this strong sense that ‘writing gay’ is a project that is now totally over?… It feels as though every aspect of the gay experience has been narrated, performed and picked over in the past 30 years.”
While we see some truth in this narrative, it is but the smallest peninsula on a much larger continent these writers and others like them — that is to say, almost every critic at The Times — fail to acknowledge, which is that when understood properly, “gay culture” has existed since the dawn of civilization and can be expected to continue until its demise. By this we are not talking about civil rights, slender “coming out” tales, or the happy integration of minorities into the bourgeois fuel supply of the capitalist machine; rather, we refer to gay culture as one that offers timeless insight into an aesthetic of loss, remembrance and artistic obsession for the truth. Some explanation: loss is implicit to the gay experience to the extent that reproduction is not a natural byproduct of our deepest, most innate desires for another human being. In short, were we to ever be shipped off to a desert island with the object of our fantasies, within a lifetime this island would be devoid of people; this is a fundamental difference in our makeup that will always set us apart from those otherwise inclined (and here, it is important to note, we do not envy them). Next, remembrance is the corresponding ability to take stock in the meaning of life — why are we here and what have we done? — a process made all the more compelling and painful by the inevitable (and pessimistic, if exhilarating) conclusion that our lives on some important level are truly worthless and insignificant, and moreover filled with nothing so much as longing for that which we can never obtain (except through death). A recognition of this truth is empowering to the extent that it allows us to strip away the more superficial and aristocratic notions of human worth that have always plagued society and to acknowledge the one — and most important — respect in which we are all essentially (and equally) human. Third, painful as life inevitably proves itself, art is always there to rescue us — at least temporarily — to provide an oasis on which we can occasionally look out at the desert and feel the bliss and wonder that comes from understanding exactly what we see; accordingly, the greatest artists (and here we submit that some significant percentage of them will always be gay) are those who present this landscape most convincingly.
Seen through this lens (and just as they have done throughout recorded history) masters of the gay voice can be expected to produce timeless works of art for the foreseeable future, and it is only the uneducated and narrow-minded who fail to appreciate this, and instead would have us believe that a few gay characters on mainstream television signifies the end of gay culture. To the contrary, we would argue that the gay voice — at least as we have defined it — is not only to an unfortunate degree absent from a larger cultural dialog but is more relevant than ever in a society whose leaders have displayed nothing but rampant optimism in formulating and implementing naive policies that were doomed to fail from the start.
Ravenhill concludes his essay by stating: “Right now, I’m eager to explore the strange, twilight world of the heterosexual – to expose its anguishes and mysteries and unconscious comedies. Maybe one day there will be something to pull me back to the gay experience, the sense of something new to be said about the gay world. But, for the moment at least, my lavender quill is at rest.” What is ironic here (or perhaps moronic would be equally apt) is that Ravenhill seems to think that by excluding gay characters from his work, he will necessarily be no different than anyone else writing about “heterosexuals”; we, however, are inclined to view this as a pathetic (for being so unconscious) and childish plea to find his own gay voice, and in this respect he is hardly alone.
Filed under: Capitalism, Drivel, Gay, Government, History, Literature, Obsession, Pessimism, Writers-British | Leave a Comment
Tags: Andrew Sullivan, Arthur Schopenhauer, Gay Culture, Gay History, Mark Ravenhill, Michel Foucault, Stonewall
On Cardinal
Each day at our midtown gym we brave the sonic assault of soulless dance music and sadly dated AOR rock that reminds us of the FM radio we grew up listening to in Pittsburgh. But as soon as we get changed and put on our headphones, we turn our attention to Cardinal, the eponymous 1994 release on Flydaddy that will accompany us on our afternoon run.
“Listen to the sound,” Richard Davies announces only seconds into the record — his tone both impish and intimate — and sure enough, the first chords have a quiet ethereal quality that delivers us to a universe populated not by preening men aggressively fixated on the large-screen football highlights but by carefully orchestrated pop music.
There are influences: musically, Cardinal could not have existed without the Bee Gees circa 1965-70 (prior to the maddening descent into disco) and Love is another obvious point of reference, but Cardinal — a Generation X offering, after all — is more ambiguous than their 1960s counterparts, less willing to wear their hearts on their sleeves. Vocally this is even more true; in stark opposition to the screaming rants of Curt Cobain and his grunge cohorts, Cardinal is closer in spirit of the whispered understatement of Donovan’s best work, but again more guarded and pessimistic.
We are struck that this is perhaps the reason why — of all the thousands of orchestrated pop records that were released from say, 1994-1999 — Cardinal is the only one to which we ever return with any regularity. Though beautifully — at times even lushly — arranged with strings and brass, it is never romantic, and ultimately distinguishes itself (from the more derivative works of their contemporaries) as an introspective album, filled with bleak and sometimes surreal imagery (e.g., “Silver Machines”).
At this moment, as we literally find ourselves on the treadmill of middle age, the songs recall quiet hours spent as a child alone in our room, leafing through guidebooks of North American birds and cutting out thousands and thousands of paper snowflakes, each one of which we strung to our ceiling in the attempt to push the looming world of reality that much further away.
Listen to the sound
That makes the world go round
My feet won’t touch the ground
In a world that let me down
My ship was sinking down
I wish I could cast a spell on you to see how it feels inside
You pick me up and put me down
I don’t know what I’ve done
To frighten everyone
I might as well be on Mars
No ordinary sun can reach the place where I come from
“If You Believe in Christmas Trees” Richard Davies/Cardinal
Filed under: Good Rock, Memory, Obsession | Leave a Comment
Tags: Bee Gees, Cardinal, Donovan, Eric Matthews, Flydaddy, Independent Rock, Love, Richard Davies, The Moles
It already seems years away, those hours spent sweeping up the golden leaves of the European white birch, which has always been the focal point of our garden in Washington Heights. Each leaf, of course, represents a day in our past, and for this reason might seem more valuable if there weren’t so many. And since you asked, we can also confirm that the garden was inspired by the courtyards of Venice, where we walked among the flowering wisteria and observed the crumbling facades of faded empires.
Filed under: Decay, Memory, Politicians, The Autumn Garden, The Gay Recluse, Travel, Washington Heights | Leave a Comment
Tags: Betula Pendula, European White Birch, Gardens, Italy, Travel, Venice, Wisteria











