by Todd Walton, January 18, 2012
“Every man’s memory is his private literature.” — Aldous Huxley
I used to know a loquacious drunk who punctuated his pontifications with the disclaimer, “Of course, memories are, at best, only fair approximations of what actually happened, so please don’t quote me.” At least I think that’s what he said. And I took his disclaimer to mean that his memory was not so sharp, whereas my own recollections were essentially photographic and therefore highly accurate. Silly me.
A few nights ago we watched the movie Bedazzled (the original work of genius, not the execrable remake) created by and starring Peter Cook and Dudley Moore, with a stirring cameo by the preternatural Raquel Welch, and we laughed so hard at some of the scenes I felt five years younger at movie’s end. I hadn’t seen Bedazzled in thirty years and feared the sarcastic romp might not stand the test of time, but it did with ease. However, what did not stand the test of time were my memories of favorite scenes from the film, for they were, as the drunk foresaw, only approximations of the actual scenes.
Indeed, I was crestfallen that my most favorite scene (as I remembered it) only barely resembled the actual scene in the film. Which scene? The one in which Raquel Welch brings Dudley Moore breakfast in bed. In my misremembered version, Raquel’s seduction of the hapless Moore lasts a good ten minutes and features the nearly naked Raquel erotically enunciating each syllable of the expression, “hot buttered buns” as part of an excruciatingly slow build to an orgasmic finish; when in actuality Raquel spat that delectable phrase rapid fire in the midst of a badly blurted speech prelude to seductus interruptus. Yet thirty years ago my brain seized on those three little words and made them the centerpiece of a seduction scene far more lurid and glorious than the one they filmed.
“Memory is a child walking along a seashore. You never can tell what small pebble it will pick up and store away among its treasured things.” — Pierce Harris
During one of my many stints as a single man, I attended a party featuring scads of married couples and two single women, one seven-feet-tall, the other a midget, though now I’m not so sure about their heights. I am sure I fell into conversation with a vivacious married woman and ere long her jealous husband joined us. To assure him I had no designs on his wife (though she certainly inspired several marvelous designs) I asked them how they first met.
Vivacious Woman: We were working on the same float for the Rose Bowl parade and…
Husband of Vivacious Woman: No, honey. Rex and Sally set us up on a blind date a couple weeks before the parade.
Vivacious Woman: No, dear, you’re thinking of Tom and Rita. And it was two weeks after the parade. And it wasn’t a blind date because we already knew each other. No. You approached me ostensibly to borrow some pink flowers, but I knew you just wanted to get a closer look at me.
Husband of Vivacious Woman: Honey. Come on. You think I don’t remember how we met? It was only four years ago.
At this juncture, we were joined by a beautiful pregnant woman and her dumpy bald husband, and before Vivacious Woman and Husband of Vivacious Woman could come to blows over their divergent Rose Bowl memories, I asked Pregnant and Bald how they first met.
Pregnant: I was dating his brother…
Bald: You were not. We met long before you ever dated Jack. At the bowling alley. Remember? Then you went out with Jack a couple times, and then…
Pregnant: A couple times? I went out with your brother for a year, and if he hadn’t been transferred to Atlanta…
Bald: Ten months is not a year.
Pregnant: That’s true. Ten months is technically not a year.
“Memory is a crazy woman that hoards colored rags and throws away food.” — Austin O'Malley
Speaking of crazy people and what we think we remember, in my former life as an author of books published by large publishers, I often performed in bookstores, cafés, theaters, and college auditoriums. And though I enjoyed performing and my audiences were generally appreciative, I eventually shied away from such public exposure because crazy people kept coming to my performances and zapping me with their psychic toxins. Here are two such encounters as I remember them.
Encounter #1: I am in a large old bookstore standing on a small dais facing an audience of sixty people. I have sung a couple songs, accompanying myself on guitar, and read a few stories, and the laughter and applause have been raucous. The master of ceremonies (the owner of the bookstore) announces a fifteen-minute intermission, various people thank me for my performance, an aggressively attractive woman hands me her business card and suggests we meet for coffee, and an old friend hugs me and whispers, “Watch out, buddy, she’s crazy as a loon.”
As I make my way outside for a breath of fresh air, a big man with long hair and a neatly trimmed beard approaches me. He is wearing a red plaid shirt, gray slacks and brown hiking boots, and I recall seeing him smiling at me during my performance — smiling gigantically. I stop walking when this man is within six feet of me and I fully expect him to stop at a reasonable distance from me, but he doesn’t stop until his face is within a few inches of mine.
“You kept looking at me,” he snarls. “Why were you looking at me?”
“I beg your pardon, but…”
“Don’t deny it,” he spits. “You kept looking at me because you thought I liked you, didn’t you? You saw me laughing when everybody else was laughing and you thought I was laughing because I liked you but I was only laughing because I wanted you to think I liked you when I don’t like you. I hate you. And if you don’t stop looking at me, I’ll kill you.”
“Now you’ve gone too far,” I say, looking around for help. “And I’m gonna call the police if you don’t leave on your own.”
“Fuck you!” he shouts, running away into the night. “Fuck you famous writer asshole motherfucker piece of shit!”
Encounter #2: I have just finished performing for a good little audience in a small café, (by good I mean they laughed at the funny parts and cheered at the end, and by little I mean more than ten but less than twenty) having larded my reading with improvisations rendered on a remarkably in-tune old upright piano. I am making my way toward a table where a half-dozen people are waiting to buy my books and home made cassette recordings, this being in the days before the advent of CDs and digital everything, when a slender cowgirl blocks my path, her red velvet cowboy hat dotted with silver sequins, her blond hair sprinkled with gold glitter, her black cowboy shirt detailed with creamy white embroidery, her skirt rawhide brown, her shiny boots lime green, her age somewhere between thirty and forty-five.
“Hey,” she says, her voice as breathy as the wind they call Mariah (not really, I just couldn’t resist using that expression), her accent distinctly Serbian, “can I speak with you for little moment?”
“Sure,” I say, happy to see the people waiting to buy my books have fresh drinks in hand. “What can I do for you?”
“You are so generous,” she says, staring at my lips — her eyes shattered blue marbles. “I can hear how generous in your music, and…well…I can see things. Is my special gift. To see things. You know what I mean? What can be and what cannot be when certain things don’t or do fall into place, or not.”
“I think I have an inkling about what you mean,” I say, imagining her face without cowgirl war paint and guessing she is way more than cute. “What do you see?”
“I see you must stop writing.” She takes a deep breath, closes her eyes, and nods prophetically. “You must give everything to music or gift will be taken away.”
“But why? I like doing both. Music and writing.”
“Maybe you like doing both, but they don’t like you doing them both.” She opens her eyes and glares at me. “Just as I would not like you doing me and doing somebody else, too. I could not stand it. I would go crazy.”
“But music and writing are not people,” I say, relieved to see no holster, no gun. “And I like doing both.”
“No, you don’t,” she says, sudden tears spilling from her eyes. “You are afraid to give yourself completely to music because…such intimacy terrifies you. I can see clear as day. I can see your life on one path or another path. And if you do not stop writing and give yourself only to music you are doomed to play in junky rat holes like this for rest of life begging people to buy your shitty little books and shitty little tapes, when you could be huge.”
“Maybe so,” I say, wondering what it is about me that attracts such cuckoo birds, “but if not for this junky little rat hole, I never would have met you.”
“There are lots of people who mistake their imagination for their memory.” — Josh Billings
What are we without our memories?
When I was forty-three, my seventy-year-old mother led me away from the Thanksgiving feast, made sure we were not overheard, and whispered urgently, “I’m losing my mind and it’s not coming back. I’m in a nightmare and I want it to end. You have to help me kill myself.”
I realize now that my mother’s request was perfectly reasonable, but at the time I couldn’t imagine abetting her suicide, which I felt would make me a murderer. Twenty years gone by, I can easily imagine seeking the proper pill to curtail the horrendous suffering I watched my mother endure for twelve long years until finally, blessedly, at the age of eighty-two, she died in the skilled nursing facility where she had spent her last few years, having spent the previous eight years in a storage facility for those suffering from the brand of dementia known as Alzheimer’s.
Every few weeks for the years of my mother’s internment, I would take the train from San Francisco to Menlo Park and walk the half-mile from the station to that pea-green warehouse where Avis was a favorite of the friendly staff of Mexicans. They pronounced her named Ah-vees and identified her as ella que andando: she who walks, for my mother did little else when she wasn’t sleeping.
One day, after my mother had been in the joint for three years, I found her — lank white hair, plaid slacks inside out, yellow blouse wrongly buttoned, mismatched shoes — walking down a dimly lit hallway speaking to no one.
“Hi, Mom,” I said, catching up to her.
“They wanted fifty-seven and I told them where do you think?” she said, frowning at me. “How did you get here?”
“I took the train,” I said, holding her hand.
“You’re allowed to do that?” she asked, shaking her head. “I don’t trust him. Hiding under the mattress over his bandana.”
I took her outside where we could amble along the cement walkway that outlined the facility, my mother trying the locked gates to see if they might open — the air scented with stink from a nearby car fire.
“Would you like to go somewhere else?” I asked, hopelessly. “Into the village for an ice cream cone?”
“I sleep in a refrigerator,” she said, sitting on a bench and looking at her hand. “What a funny fig.”
I sat beside her and she jumped as if shocked.
“It’s only me,” I said, making light of her surprise.
“Who are you?” she asked, frowning suspiciously. “How did you get here?”
“I’m your son. Todd. I came on the train.”
“How dare they,” she said, pouting. “I gave him 57 and he spilled nobody over again.”
“Are you thirsty?” I asked, wanting only to soothe her.
“I had 57 overviews with red disasters,” she said, shaking her head. “But they couldn’t get over the river. Kaput.”
An old man, bent and grizzled, came around the corner, walking with mincing steps and peering intently at the ground.
My mother leapt up, embraced the old man, and kissed him on the lips.
The old man stuttered, “I haven’t… I don’t… why… who… okay.”
My mother took the old man’s hand and walked away with him, forgetting all about me.
“They hid under the milkshake and stayed there,” said my mother, kissing the old man’s cheek. “And pretty soon the shit was dry.”
Todd Walton’s writing and music may be found at UnderTheTableBooks.com.