Showing posts with label Cathy Nolan Vincevic. Show all posts
Showing posts with label Cathy Nolan Vincevic. Show all posts

Sunday, July 19, 2015

Lumen-saltaction Mari Novotny Jones & Cathy Nolan Vincevic : Cathy Nolan Vincevic

Mon Jun 04, 2012

From plight of the Native peoples who faced, in 1639, three attempts of European colonization, to the present day, where the State of New York rejected the desire of the voters to become an independent city; the idea of the forgotten, and wasted, appears repeatedly in the history of Staten Island.
We became interested in what comes into the isle and what leaves. Stories of lost souls, transportation accidents, ghosts, mounds of accumulated materials, detritus, and people from the surrounding boroughs--all the unwanted from the past--drift into the narrows like icy monoliths where they melt away--leaving almost invisible marks.
So, we will trace aspects of this journey embarking, by ferry, one of the earliest means of transportation, from New York City, to Staten Island, where we will remain until all the memories are  thawed, returning only to bring the island back with us--salted, preserved, and only slightly pickled.
This meditation asks the audience to taste, touch, and most importantly, to listen, as those colonizing forces move between past and present.


http://www.statenislandarts.org/blog/lumen/?p=751




rabbit, rabbit 100 YEARS (VERSION #4, BOSTON 2012) : Cathy Nolan Vincevic

Tue Jan 24, 2012

February 1st., 2012

The BU Art Gallery, 
The Gallery Annex and
The Commonwealth Gallery

all of which are located at
855 Commonwealth Avenue, Boston, MA 02215.

Are you Happy? Are you Sad? Are you Angry? Are you Glad?




2nd Annual Alternative Experimental Flower Show : Cathy Nolan Vincevic

Sun Mar 27, 2011

photos by Bob Raymond: 

https://www.flickr.com/photos/mobiusorg/sets/72157626499034428

photos on facebook:

https://www.facebook.com/media/set/?set=a.10150113894420308.278421.637180307

Our Times : Cathy Nolan Vincevic

Tue Mar 22, 2011

This is perfect:

http://www.twinpeaksgazette.com/community/uploads/1771//lucky%20ducky.gif

The Body-Nothing Else : Cathy Nolan Vincevic

Thu Jan 13, 2011

http://womenartistschangingbodies.blogspot.com/2011/01/cathy-nolan-vincevic-90.html


THE BODY-NOTHING ELSE
A BLOG EXPLORING HOW WOMEN ARTISTS APPROACH THEIR BODY AS SUBJECT AS IT CHANGES THROUGH DIFFERENT CIRCUMSTANCES. (NO DEADLINE, ONGOING)

THURSDAY, JANUARY 13, 2011
Cathy Nolan Vincevic (90)


-Womb-
Acrylic, oil pastel, pencil, black and colored...on cardboard.




-A Book About Death, Chapter 2: My Womb-

Cathy writes:

womb
I watch the graceful swirl of her being
tucked so inside
(the body fits its parts so neatly)
arms arched holding gentle flare
of egg
You drove me so, you quickened
you twitched with my ecstasy
ecstasy not complete without you
blood and bone and blood
you were my child
and your instincts
basic
driven
became woe
a promise unfilled
a space left empty


Cathy Nolan Vincevic
POSTED BY RIA VANDEN EYNDE AT 12:51 PM


Saturday, July 18, 2015

The Art of Storàge by Mark Bloch : Cathy Nolan Vincevic

Sat Feb 13, 2010

The Art of Storàge
by Mark Bloch

Reprinted from
Panmag 53 International Magazine
ISSN 0738 4777
PO Box 1500
NYC 10009
USA
panman <a> panmodern.com

July 12, 2006
Some thoughts on the Art of Storàge

Storàge is a new art form for our times in which artists will prevent at all costs, their work from seeing the light of day. Artists must conceal what they do, make sure no one finds out that they are brilliant. If an artist must show someone something they have created, they should show another artist so as not to upset the art markets. Other artists do not really count as human beings so there really is no harm in telling them. That is how art continues to thrive. Artists are sequestered from the rest of humanity. But one should proceed with caution because occasionally artists know actual people and the news of what kind of work the artists are producing must not spread to civilians.

Storàge is an art form like many others: collàge, assemblàge, frottàge. The accent is on the second syllable. The emphasis is on the storing of important information and objects--preferably one of a kind objects, although the storing of multiples is also encouraged--until a great deal of time has passed and the ideas and images contained therein, hidden from public view, have been discovered and explored by other, less talented individuals. This is bound to happen while the work is rotting under lock and key, no matter how advanced the work. Even the most vanguard artist will be unable to stave off the advancing future which will soon provide the unique conditions necessary for the artist’s work to be removed from Storàge without consequence.

Once a work of art has been rendered culturally feckless, Storàge is no longer necessary. The work can now be trotted out into the marketplace where it will no doubt have to endure other types of packaging, wrapping and covering which are part of the Storàge process when enacted by a Storàgist but in these new contexts the accent in Storàge is removed and it becomes simply storage in which excessive packaging and hygienic germ free protection is always considered good for business. Of course any work of art or other consumer item, no matter how processed and “valuable,” always remains in danger of being placed on dusty shelves in the forgotten back rooms of galleries or museums by art professionals. This is where the nuances of Storàge and storage are revealed--for it is these very art professionals who are uniquely qualified to determine whether or not an artist’s work is any good. During the interim period when the artists are left trying to make this crucial decision for themselves, their work must be safely hidden from view while these art professionals are courted at the artist’s expense without causing too much of a fuss, for it is the artist’s passion that must also remain in the limbo of Storàge, not just their output.

Sometimes fear of the art professionals will cause an insecure artist, one prone to alarmism and in constant dread of being accused of being labeled an exhibitionist, to send works into hiding early, thus risking beginning their career as a Storàge Artist prematurely. But there is nothing to be alarmed about here. Fears about these types of fear are only a waste of time. Any uncertainty at all must always be acted on immediately. To err on the side of invisibility is never a mistake. If an artist has any doubts at all about the worthiness of what has been created, they should simply place the work in a secure area, free from intellectually curious intruders where no one can see it. In fact experience has shown that no work is too ripe to entertain misgivings about its readiness for public consumption. Any suspicions at all should be indulged whole-heartedly and enthusiastically by the Storàge Artist.

Boxes within Boxes

The proper answer to any question about the techniques of Storàge is always containment. Place the object in a container and place that container inside another container whenever possible. Eventually you will want to put the container on a shelf or drawer, which is another container, or into a box that contains other boxes. Those containers could eventually end up in a commercial Storàge unit which is the ultimate in containment. It resembles a prison in its completeness of the containing process. Commercial Storàge also has the additional attraction of costing money which is far superior to a closet, attic, garage or even a friend’s basement; the latter being ideal for creating guilt and confusion, essential tools in the Containment Arts. But of all the Storàge Artist’s allies, none are ever as effective as the outlaying of cold hard cash.

Remember: money is the reason for Storàge in the first place. Without money, there would be no way for the unimaginative civilians of the marketplace to determine whether artwork has value. Luckily we live in a society where the surefire way to determine the effectiveness of any creative act is try and sell it. If it can’t be sold, it is probably time to find some place to store it and simply wait until the coast is clear. When feelings of ambivalence arise, the power of waiting cannot be underestimated. After all, there is always a rainy day just around the corner when all unfinished tasks will magically disappear from one’s To Do list.

The To Do list

The “to do” list is an easy-to-use device that civilians can utilize to create the anxieties previously reserved for Storàge Artists. In fact, the to do list is a perfect substitute for what was previously known as The American Dream. By reducing entire lives to lists of unfinished tasks, process has been elevated to its proper place--superior to finished product. Consumer items can continue to exist in a post-Storàge world but only as props to accommodate the endless illusion known as “crossing things off the list.”

Multi-tasking

Multi-tasking is the very important oft-heard battle cry of today’s moms, dads, movers, shakers, poseurs and fakers. It has been elevated to the highest good. Everywhere and anywhere, anxious overachievers can be heard speaking gleefully of the fast pace of contemporary life. In a world without quality, doing as many things as possible, badly, is of the utmost importance. If a person is ever in doubt about whether or not they are operating at maximum capacity, picking up a cell phone and reporting ones exact location to another multi-tasker can be a very effective way to create an additional mutual illusion of accomplishment. The maintenance of such distractions is the key to busyness and busyness is the key to business. Business is the goal of all art. If art is incapable of generating money or putting asses in seats, it should be locked up and hidden away until further notice.

Sortàge

Sortàge is something one can do when they are at the end of their rope because everything they own is in Storàge. One goes to the Storàge unit and sorts through the things found there. These notes are an example of Sortàge in action.



July 13, 2006
Precursors to the Art of Storàge

If you are reading this it may be because I couldn’t bear to keep the secrets of Storàge under my hat any longer. So I am letting this information leak out. Leaks are one of the few ways out of the otherwise ironclad security system that is Storàge. The current masters of the leak are the “evil-doers” in the Bush-Cheney Administration. They have constructed elaborate hierarchies to reveal important furtive information as it suits them only to feign outrage when they pretend to discover that leaking occurs. Artists interested in disingenuous career jockeying should take a few hints from their fine example. These bozos are not technically Storàge Artists but rather part of another movement known as “Bullshit Artists.”

This brings us to the history of Storàge.

There have been many precursors to Storàge but the most notable is Marcel Duchamp who created With Hidden Noise in 1916. Like the object inside this work, Duchamp himself used to be a secret. When Walter Hopps gave him his first retrospective in Pasadena in the 1960s, Duchamp was virtually unknown except for a small cadre of LA hipnoscenti. Duchamp famously and accurately predicted that the “artist of the future” would go “underground.” As you may have suspected, I was once the artist of the future. Duchamp also provided himself as a self-fulfilling artist of the future when he told the world he had given up art and then privately worked on a highly contained secret project for the next two decades.

Another who did a variation on that working-secretly-only-to-revealed-upon-death theme and also one of Storàge’s important forerunners was Ray Johnson who stuffed his art into envelopes and saved the envelopes he received from others in cardboard boxes stacked neatly in his mysterious home. Few were allowed to enter. Johnson also was known to drop off his full cardboard boxes on the front steps of museums and other locales when the timing was right. Johnson has still not completely emerged from hiding and probably never will.

Finally, the most obvious choices as a precursor to Storàge are Christo and his partner Jean Claude. According to Christo and Jeanne-Claude: Early Works 1958-1969 by David Bourdon (2001, Taschen: Koln, New York, pgs. 8, 40-43) In 1958, Christo “bought used oil barrels...” and “cleaned and wrapped them... ” “He stored them in a cellar that been put at his disposal by Jeanne Claude’s parents. Over the months the cellar accumulated stacks of... barrels... boxes... bottles... that Christo called Inventory. Later he moved everything to a garage... that he rented for storage and working space. When he was unable to pay rent for the garage, he was forced to abandon the work that was stored there and much of it was subsequently destroyed.”

And later in that same book, this seems relevant:

“Metal cans were patented in 1810, and folding cartons were invented in 1879. The packaging we take for granted today scarcely existed before 1900.”

“It was not until this century that efficient storing and handling and informative labeling became important attributes of packaging. The three basic services that packaging performs for the consumer—pre-unitizing, protection and communication—have attained such a level of sophistication that the wrapping, as we are so frequently reminded, is what makes us buy the contents.”

February 6, 2002
Ambivalent Secretism
Earlier thoughts on the Art of Storàge

The principal of Ambivalent Secretism is a mode of working similar to Dali’s Paranoiac-Critical method. It is a one-man, dual-hinged triangulation: First, it is an ambivalent dichotomy between purposeful and accidental secretism. Is my work unknown on purpose so that I could “go underground,” as Marcel Duchamp suggested the “artist of the future” should do, or did I create an air of secrecy around my work due to my own neurotic phobias? Secondly, any neurotic phobia would have to be an ambivalent dichotomy between purposeful secretism due to inside forces reacting to outside ones, that is to say, withholding when faced with victimization (by what?) vs. self-generated victimization (i.e. volunteerism- due to what?) In other words, secretism as withholding, without being faced with obstacles. Thirdly, it is an ambivalent dichotomy between a closed system that works and an open system that requires justification (such as this text). The closed system is a self-contained information loop and exists in an eternal, timeless Utopian state until it is “leaked” to the outside world, at which point it enters into the “art coefficient” stage that Duchamp described. At that point there is no determining what will happen to the work. However, due to the limited life span of a human being, (Tao Te Ching: Without a body, how could there be misfortune?) this stage is inevitable. The Utopian stage is, thus, always only temporary (and thus not Utopian at all).

A subset of Ambivalent Secretism is the art of storáge (as opposed to collàge, decollàge, frottàge, and assemblàge). It is the necessary offshoot of Ambivalent Secretism and precedes the entry into the art coefficient phase. Information theory is useful in understanding both the art of storáge and ambivalent secretism. Concepts like Dispersal of Innovation (reconceived by me as Panmodernism, the sine wave theory of life, for lack of a better term) and the study of gift economies (my own concept of thax as the name of any activities and their by-products that are not done for money) can be useful in charting the necessary course of events inherent in any flawed, time-based system of Secretism. So can pop-psychological constructs such as the ambivalent dichotomy between victims and volunteers.

Furthermore, art historical concepts such as Self-Historification by G.A. Cavellini (1914-2014) come into play as do two important and largely unappreciated death works: Duchamp’s leaving of Étant Donnés as a final checkmate he delivered to the Art World via William Copley and the Cassandra Foundation; and Ray Johnson’s suicide performance (named by me a Rayocide) that one-upped Duchamp by creating a work that not only fused art and life but also art and life and death. (By creating my own Museums, I commit acts of self-historification. By creating this text, I create a context for my death, which, God-willing, unlike Johnson, will not be at my own hand.) When this text is read, my work moves from one state of Eternity to another. It is the addition of the concept of ambivalence that returns, in my case, the secrecy to its proper state of unflawed perfection and therefore beauty. By identifying but not choosing the causes for the secrecy up to and including the moment of revelation to the world outside the closed system, a Duchampian hinge creates a mythical context in which all my activities retain a sense of mystery that can never be conclusively uncovered. This should be sufficient to earn me a place in Art History and position my work in immortality. If not, the system remains closed and therefore also unflawed and eternal.

November 25, 2003
Announcing 2004- The Year of Decompression

After decades of hoarding, being too small, too large, too dull and too invisible and after taking the advice of Duchamp and going/being underground, both intentionally and unintentionally, and after boycotting both the World-Wide Decentralized Networker Congress Year 1992 and the Incongruous Meetings Year 1998 because I felt they were redundant, irrelevant, unnecessary and redundant, and most reverently, in honor of 2004 the Year of Obscure Actions, I declare that I, Mark Bloch, also known as Panman, the Post Art Network, Panscan and other mismonikers, will enthusiastically perform one major act of creative decompression during every month of 2004 to repay my gratitude to all the people who have been so kind to me all over the planet. Because surprising and generous acts of kindness have come to me from all over the world, I will attempt to humbly spread it back, reaching out as far as I can, from as deep within my soul as I am able to muster. I will do so abundantly and lovingly, to be of service to anyone and everyone I can, but in particular for those wonderful people, living and dead, real and imagined, who have directly, indirectly and anonymously enriched my life with their own generous, abundant loving acts of kindness. I promise to decompress, to spread, to share, to disperse, to disseminate, to explode at least 12 times throughout the calendar year of 2004, with creative, loving and healing energy.

FOR PIERMARIO CIANI (1951-2006) and other late art friends.

Panmag International Magazine ISSN 0738 4777 PO Box 1500 NYC 10009 USA panman <a> panmodern.com. Panmag 53: The Art of Storàge- Copyright ©Mark Bloch, 2006. All rights reserved, all wrongs reversed.

First Printed July 13, 2006

My Videos!! Check them out...if you would be so kind. * : Cathy Nolan Vincevic

Fri Feb 12, 2010

A BOOK ABOUT DEATH : Cathy Nolan Vincevic

Sat Jan 09, 2010


A Book About Death



UM LIVRO SOBRE A MORTE “Um livro sobre a morte” é um projeto colaborativo concebido pelo artista norte-americano Matthew Rose na Emily Harvey Foundation Gallery, em Nova York. A exposição original ocorreu durante o período de 10 a 22 de setembro de 2009. Cerca de 500 artistas participaram, cada um deles contribuiu com uma série de 500 obras de arte sob a forma de cartão postal, obras de tamanhos variados criadas especialmente para compor páginas desacopladas de um possível livro sobre a morte.

A BOOK ABOUT DEATH

“A Book About Death” is a collaborative project conceived by american artist Matthew Rose for the Emily Harvey Foundation in New York City, where the original exhibition took place from September 10 – 22, 2009. Approximately 500 artists contributed 500 artworks in the form of post cards of varying sizes each created from works made especially to create an unbound book about death.



http://umlivrosobreamorte.blogspot.com/

A Conversation : Cathy Nolan Vincevic

Wed Nov 18, 2009


 in this reductionist sauce, this war of attrition, just getting from point a. to point b. seems a miracle.




Richard Harwood likes this.





Liow Johnson
Question of the day: Why does being sick makes us more creative?





Cathy Nolan Vincevic
ask Proust, I don't know....or ask trapped sailors on a doomed vessel...just a poignant moment from this litter of leaves in a forgotten playground near a brick wall..~~sepia~~




Well while I'm here I'll
do the work--
and what's the Work?
To ease the pain of living.
Everything else, drunken
dumbshow." --A.G.




Dominic Wan
We are always creative. Being sick just brings the filters down.

womb : Cathy Nolan Vincevic

Mon Nov 16, 2009



  I watch the graceful swirl of her being

 tucked so inside

 (the body fits its parts so neatly)

 arms arched holding gentle flare

of egg

 You drove me so, you quickened


 you twitched with my ecstasy

ecstasy not complete without you

blood and bone and blood

you were my child

and your instincts

basic driven
became woe

a promise unfilled a space left empty




Comments

hello

interesting

Rooms For A Night Or A Lifetime : Cathy Nolan Vincevic

Mon Nov 16, 2009

     She looked out the window of the welfare office. The clouds were low, dark, suffering against the landscape. Remains of  what was once clean, white snow--brittle, dirty, too tired to even melt--rubbed up against sign of the motel across the street.
    “Rooms for Rent for a day...or a lifetime”

     So inviting.

     Listening to the murmuring in the rooms around her, she heard the same story over and over again. About to be kicked out of the apartment, lost the job, mom told them they couldn’t move in with her again, and the kids were hungry. Stories of corroded lives with no where to go.



They could all move into the Cadillac Motel across the way.
       She watched the denizens of the endless motel shuffle in and out of their rooms.
     How could everything look so flat?
     She imagined lifting out of the chair and floating across the lot, down across the Merrimack River, the sky staying flat the whole way.

     The blue-black clouds smothered even the bricks to gray.
     One day, she thought, I might have to move into that place, The Cadillac Motel. Rent a room and get an old t.v., sit in there with the mustard yellow stained carpet, the shag gone all misty with use, puke, and old man sweat, turn up the volume to annoy the neighbors and shout obscenities at anyone who passed by. Then dressed only in a muumuu and slippers clomp down the stairs to the grocery store and pick up a six-pack.
     It seemed there was a vortex over this city--somewhere behind that anvil of cloud-- hovering. It sucked up all good intentions. It swallowed memory. Nothing remained.

     It was time to go. She gathered up her belongings and left the room. Walking past the room full of emergency foods, she said good bye to the receptionist and unlocked the door to the waiting room. There were still people waiting to be heard. An old man, a mother of two whose children argued over the stained Fisher Price telephone and a skinny man, who might be the father, stared out the window bored, bored and worn. They glanced at her as she opened the door, taking in her clothes and hair. The obvious assumption was that she wasn’t there to help them, so they fell back in on themselves into the doldrums of waiting for a can of macaroni and cheese and a bed for the night.

     Outside the air was fresher than she expected. Perhaps it was just the sense of having escaped, again, the doom that always hit her when she went into the welfare office, as though a hand was waiting to pull her into that world forever.
     She made it to her truck, started it, and began to drive onto the street when there they were. Two men. Two scraggly, dead-eyed, beat up men screaming at each other. One had a baseball bat behind his back. The man with the bat pulled his weapon out and raised it over his head.

     She drove her truck onto the sidewalk between them and stopped.

     They all just stared at each other and then the men walked away.

     She backed up off the sidewalk and drove home. She felt a sudden rush of happiness.

     She had made them stop--for a moment.








       The truck rolled down the hills away from the city out to more open roads as she tried to drive away the thoughts that threatened to swallow her sense of accomplishment.

     Driving by--driving by--the houses the fields the houses homes and houses barns field more houses and hours and hours and wondering why she was here and then more houses and then she wondered what happened then and why she did it and when would she ever learn she could have
been killed what difference did it make she hated them anyway they were ugly men and she hated ugly men who came at each other with bats she was sick of the petty angry men and their drunken women who fought each other too for no good reason more sex more luggage and she drove and drove and her truck was low on gas but she had to keep moving and drive away from all of this and it was getting dark
it was dark and there was snow on the ground
it all looked dingy and old and full of stains and she wanted to be home but she had driven so far out of the way and that bat was mean and black and when he lifted it she just drove right through them she could have driven right into them but she, at least stopped that.

     She drove home past the other homes with windows lit against the cold gray evening, past stores with lottery ticketed windows and cigarettes on sale, or houses co-opted into little travel agencies and real estate concerns. She felt sorry for those former homes, wondering if they still held comforts in the night, remembering how it was when families argued and played inside them.
     Sick of moaning voices that asked for more in darkened rooms when she waited there looking out the window across a blank landscape and the hotel always said it was a home
    nights and weekends she rode around looking at houses and houses looked back at her with the same blank look of primal expectations as the voices in the room next door begged for a morsel in a can of canned corn that had been cooked so long it was only watery corn now and she was sick of the men who looked like they always drank and beat their women and then the women drank and fucked around and hit the kids but when it came time for rent money or a can of canned corn they always managed to look pitiful enough and she blamed them for their lives
and kicked them all onto the floor of that beat-up hotel where they all meant to only come for a day.
     She took a deep breath and then another. She couldn’t, for the life of her, tell what had gotten into her lately.  Thoughts about the consequences for her actions--as the adrenaline rush faded from her blood--the anxiety returned--crowded in.
   Jeeze what the hell was she doing?
     She had to get to the Doctor’s office.





             There had been a sense in the air that fall that it was going to be a rough winter. Something subtle, caught between the brushing winds that tore away the leaves. He sniffed it as he roamed through the grasses, looking for that last  juicy cricket or grasshopper.
    He was just a small field rat looking for a warm bed for the night. His mate scampered beside him up to a bunch of rocks and something tall and white above them. There was a hole and he could smell warmth, and good things to eat behind it. Eat, they must eat.  He ducked inside and his mate followed.
    They crawled up on rough wood past white cords until they reached an open space that was warm and dark, and then they scampered about rolling and tumbling, happy and warm. A place for the winter--what a find.






     The doctor had her spread her legs after she put her feet in the stirrups on either side of the long bench. She always felt strange doing this, wanton somehow, as though anything could happen.  With one hand deep inside her  the doctored moved about, looking at the wall, like this was nothing  His other  hand manipulated around while pressing on her belly. Then there was a look on his face like he’d found something.
     “You’ve got fibroids.” he said, after a bit more probing. “We need to get you in for more tests. They are big and we can’t be sure what they are.”
     Always something she thought. She wasn’t going to dwell on it. It wasn’t her time, so she drove home.
     Her house seemed like it had always been empty.  The place had been a shell, not lived in for years when she got it. She used to walk by it on the way to the library, pressing her nose against the windows, disregarding the old lady across the street who used to yank aside her decrepit cotton curtains, never  saying nothing, just glaring, with the room dark behind her, so that it was hard to tell where the shadow of the old lady ended and the room began. She watched that place in summer when the crickets sexed up in the tall grasses. No one ever visited that house except her.
     Through the dirty window, where she pressed her hands to shield from the glare, she had seen piles of rubbish and wiring sneaking out of  the unfinished walls as though they had a secret to tell. She had wanted to enter  the house and just sit with it, make it less lonely. The house, it had called to her. She was unfinished too.
     And now it was hers, this place, through fluke of luck and a compassionate former owner who had hated the house. It worked out good for both of them, one got rid of hated memories, one, the fulfillment of a long held dream--a home of her own--but that night when she opened the door  she knew she was no longer alone in the house. There was a something skittering above her head in the rafters of the ceiling.
     She lay on the couch, looking up at the ceiling towards the opening that let heat go upstairs from the heated downstairs.  She had always meant to put in a screen to hide the rawness of that wound.
     Phone in one hand, up to her ear, half listening to the practiced, compassionate voice of the nurse from the hospital, she’s thinking about the scampering of rats above her head and how, with very little effort, they could fall through that hole and land on her head. The idea disturbs her thought process.

     “Do you have any meddle in your body?” the nurse asks.
     Meddle...did she say meddle?
     “I don’t think so.”
     “Have you had any operations?”
     “Just the one.”
     “Which one?”  The slight exasperation in the nurses voice jerked her back from the duality of her thoughts.
     “Gall bladder, that was removed, but I don’t think they put any metal in me then.”
“You’ve got a metal clamp there.”
     She was going in for an MRI.  A milestone was being past in the history of her relationship with her body. Things inside her required imaging--they needed to take a look.

     My womb, this organ has ruled my life with its monthly rising and purging. It has shaped my emotions, it has driven me to despair, it has longed to be filled and pushed me forward. Enthralled by its chemical influences all my life, by its urge for self-determination, and now, perhaps, because it was denied fulfillment of its purpose, it has filled itself with muscular growths--out of control.
     Lay me down, lay me down on the thin railed bed, the wide circle into which I will be slid pounds before me. Swirling patterns of light on the wall to my left, I contemplate the machine. I am half-naked before the machine.  Lie down on the bed.  Enter, I close my eyes and breath, deep long breathes. I’m not going to panic. I’m not going to panic. The walls close around me. I open my eyes anyway. It’s a long narrow tube it’s close so close I can’t move. Close my eyes and listen. What is that music in my earplugs? Hammer dulcimer. Will I hate hammer dulcimer now that it is so intimately associated with my time in the tube. Pounding sounds above the dulcimer pounding machine sounds. Why is it so loud? Breathe close your eyes, breathe go far away breath--think of nothing.
     “It is like you are  thirteen weeks pregnant” the doctor  said gazing at the results of her MRI. Rows and rows of black pictures were strung along the light box, interior shots of a body. “You have several choices to make. You can either have a total hysterectomy, which couldn’t be vaginal because your uterus is too big, you could leave it alone, but with the pain you are experiencing and the blood in your urine, that’s really not an option, or you can have a uterine embolization. Let me tell you how that works...”
     “Can I look at those pictures some more?” she asked only half listening to his words. The doctor took the mouse and pushed through a picture, down past her muscular thighs, her  veins, until it hit the hip bone and came back out again. He shifted to one of her belly, explaining as he went about the procedure as he made the mouse hit her spine. Fascinated by seeing her interior--she was really made of flesh and bone--here was the evidence. She liked the ones of muscles, they splayed out, neatly connected as though sewn with darts and pleats.

     White spine, white hip bones, this is what I stand on, this is what makes me straight. Here I am, this is me...I’m really like that, that’s really me?
     “We are going to enter through your femoral artery and pass on through to the veins that feed your fibroids. There we will inject the substance that will keep the blood from feeding them.”
     She suddenly felt sorry for her fibroids. After all they were hers and here she was plotting to starve them to death. A belly full of fibroids.
     She leaned forward on the toilet. She could only squeeze the urine out now. It ached. Not to mention the three day pain event taking a crap. She could feel the turds moving through each curve of her intestines. In an odd way, she had never been so in tune with her bodily sensations and what they were telling her, while at the same time she felt herself slip into a bi-folded sense of self, one, shocked that anything could ever have gone wrong with her strong body, the body she had always depended on--the other--crawlingly pleased to be part of the experiment.
     She looked at her protuberant belly. That’s why it would never go down. This is how I would look permanently pregnant.



     She hated the rats. They kept her up at night, gnawing and gnawing at the inside of her  house. They filled her with panic. Invaders leaving marks in her home. They made her feel guilty.
dirtiness and grime.

     She went around the house filling all the holes where the molding should be. She stuffed the cracks with plastic bags and steel wool and still they scratched and rolled around up there.
     She tried talking to them but they didn’t listen.
     “Get out! You Rats!” she yelled one time. “Get out or I’ll KILL YOU!”
     It was her last threat. She knew she had to do something before the operation. She wouldn’t be able to go upstairs after that for a while. Sleeping on the couch was her only choice. She kept having visions of rats falling through the hole in the ceiling landing on her, biting her when she was weak and vulnerable.
Finally she bought the poison. Rat poison. It was after a long night of scratching and chewing that had left her exhausted and angry. She bought a huge bag of it.
She looked at the blue pellets. What animal would eat that?
Blue pellets smothered in peanut butter. That was the thing. She got out a bowl and mixed it up, put it in the conveniently provided trays and slid it into the hole in the ceiling.
     next night she could hear them chittering to each other over their new feast. They spent a long time over their dinner. She almost wanted to warn them. She felt such a strange combination of vindication and horror at what she had done.
     Those animals were going to die. Nothing could stop it now.
     She was glad she had mixed up the rat poison with the peanut butter and slid it up there.
She had listened with  horror as they had found it, jumping all round and eating and eating all on night. She knew what would come next for them. The rats in her house. The scuttling in the ceiling had slowed down in the last few days before the operation. She thought they must be dead up there.



     The rats ran and played.  They heard the wind outside and rolled around again on the floor of their new home. At night they chewed into the warmer place. What luck! Food was everywhere, more food then they ever imagined. They thought about the young they could rear in this protected place as they gathered more food in the warm area of their cave.
     He watched his mate dig into the brown chunky goo, eating and eating and then dancing around. She rolled over him and nipped him until he ate, and it was good, so he ate some more.
     They ate and ate until they couldn’t eat any more.


     The day of the operation came and she checked into the hospital. They had her undress and lie on a gurney in a drafty hall of curtains, bedpans and other patients in various degrees of pre or post-op distress. She lay there a long time contemplating the smallness of her life. She was a patient now, something to be worked on. The notes for her medication were left lying on her belly. Atavan, morphine and some other thing she didn’t recognize. The nurse came and started the I.V. (it was always a drama finding her  veins--they hid from view) and then injected the cocktail of drugs into hose.
     She waited for the release, the slow fade from the world but it didn’t come. She didn’t feel woozy. She felt very alert. She continued to feel alert when they wheeled her into the operating room. There were many people in blue gowns swirling around the room. She heard the sound of silverware clanking and looked up to see a man opening a blue cloth holding shiny metal tools.
     They are going to use those on me and I’m letting them.
     There was a glass wall with a three or four people watching her and the television.
     This was going to be a televised event.
     They put a small tent of white cloth between her and her groin area so she wouldn’t see but she would be awake throughout the procedure.
     A man came in and stood beside her lower groin. He held up an electric razor and examined the blade. She suddenly realized  he was going to shave her down there. She started laughing. She thought she said something but wasn’t sure but then everyone started to laugh so she must have.
     Having my pussy shaved in front of a bunch of guys...it’s almost like a fantasy fulfilled, but then, reality is always stranger, isn’t it?
     A woman’s voice floated up from behind her.
     “You okay, honey?” she asked.
     “Yes.”
     She felt the nurse stroking her hair. If felt good.
     “Don ‘t you worry, I have lots of lovely drugs for you.”
     She found herself straining to watch the screen of her operation over the top of the draped sheets. She asked questions. She compared notes.
     “This screen  doesn’t look like an MRI at all.” she said, proud of her medical knowledge all of sudden.
     “No, this is only to show the veins so we can put in the material.”

     Back in the recovery room she’s lying on the bed feeling like a butterfly pinned to a board. There’s a catheter, hard and cold, running up her urethra to empty her bladder. She can’t help but touch it and see if the urine is running out. She’s not supposed to be moving--she might bleed out. All she can do is consider how she got here and wait for her attendants to come check on her in this darkened hospital recovery room that was usually reserved for happy exhausted mothers welcoming their newborn children.
     Yes, like a butterfly, or some sex cult figure, her legs open to the world of her tormentors--the ones she had allowed to push things inside--a kind of queen of her domain. They checked on her, they prodded her, they approved of her abasement.
     It must be the drugs making me think weird thoughts.



     It had been a few days since the pain in his belly had begun with a low gnawing it had grown. Along with the pain was the thirst, endless thirst.
     He stumbled around in the dark where the food had been  His mate had rolled in agony and then she fell down into the passage way where they had entered. He lay on his side.  He found it hard to breathe. Must find water. The pain.



     She lay pinned to the bed all night. Her attendants came in every hour to check on her.
She fell in an out of nauseous drowsy sleep. Sometimes she woke and checked the catheter. When she pulled it up she could feel the hard plastic deep inside her body. There was always a yellow liquid in the tube. For once she didn’t have to strain to pee.
   She looked at the room. It was like a hotel room. All dolled up. She liked the long low couch across the room in the alcove. It was like  a divan in a harem, low with pillows and a colorful spread.
     In the morning two teenage boys brought her breakfast and congratulated her on her  new baby. She could only smile.
     A few drowsy hours later the catheter came out and she was getting ready to go home. Her friend came to pick her up after the nurses gave her directions on what to expect and a prescription for the pain medication. She hobbled into the car and they drove to her house.
     She would be glad to be home again lying on the couch watching television sounded just right.
     She opened the door and walked through to the kitchen when a sudden loud scream came from behind her.
     “A RAT! OH MY GOD IT’S A RAT”  her friend screamed and slammed the kitchen door shut.
     She looked down and saw it. Some how she had stepped right over it when she entered the kitchen, it had been there, right between her legs.  It was sitting up on its hind quarters looking like it was begging for something. She stared and stared at it, hardly able to believe her eyes. It wasn’t the biggest rat in the world, but it seemed huge at the moment. It seemed unsteady, like it couldn’t keep its head up. She kept staring and staring at it. She could hear her friend in the other room asking her what she was going to do about it. She knelt down beside the rat. It lunged forward shakily as though it could still attack.
     “Your dying, rat.” she said.
     She looked around for something to put it in and saw a pot with a cover. She wondered if the rat would run away if she tried to cover it--but it didn’t. This rat was almost like it was in a dream. She could see its belly shudder and roil in pain. She put the pan over the rat and slid a cover under it. The rat was in the pan.
     She opened the kitchen door and said, “I’ve got it.” Then she took the ratted pan outside and walked towards the woods. As she walked she felt the last of the  hospital medication beginning to wear off and something sharp in her belly.
     At the base of the woods, near the bottom of her favorite elm tree she released the rat.
It managed to stand but then it just stood there swaying, eyes glazed.
     “I told you to get out of my house, rat, I told you!”
     She stared at the brown fur and little eyes. The eyes looked at her in misery. It held its paws up as though it were praying. It swayed slightly. It couldn’t move.
     This was a creature and she had killed it in a most painful way.
     She knelt on the dry leaves, exposed in the last melt of winter, and cried.

The Soap Operas : Cathy Nolan Vincevic

Mon Nov 16, 2009

I don’t live far from Nana and Granddaddy’s house now, though it is the next town over. It’s the same road, almost, if you stretch that thought a bit. The road just winds and bends to get here. In that sense, my road is connected to all roads and all roads lead here. I travel by going to work, or some where, and pass it on the right there beside the church. The house, which in its long history, had been for a time, the high school, post office, general store, and Odd Fellows Hall still speaks to me, calling me back to where I belong. My great-grandparents lived there too. When my great-grandfather moved in he brought all of his beloved chickens to roost on the stage left by the other odd fellows. The stage had velvet curtains, which I’m sure the chickens appreciated and enjoyed as much as my great grandfather enjoyed the clucking of the hens and the delicious eggs they laid on such rich nesting material.

I lived there, a seemingly singular child, alone with my grandparents, until the third grade. Though there were pictures of my brothers and sister on the wall I wasn’t really conscious of who they were. They were just children sitting in a row, bodies at a right angle to the camera, sitting in-between each other’s legs, four little faces arranged from the smallest to the tallest, and I was one of them. I stared sometimes at the picture as placidly as they did at the camera. I wondered why the me in the picture was so unaware that she was stuck in the middle of a bunch of strangers, innocent and blank. I didn’t wonder why I wasn’t with them and no one ever explained why. I was just living with Nana and Granddaddy surrounded by love. That was enough to know. I could go spin the top now, faster and faster until it made a sound like a train or look at my books so full of beautiful colors and warm stories.

Nana, my nana, so tall and beautiful, was always just so--elegant, her hair, her perfume, her clothes, she was history, church, Mother, Authority and God all in one. Her laughter floated through the whole house filling all the corners with glee; but she could be stern as well. The Northern Baptist Church had taught her well. She kept clear the lines that were not to be crossed just as the Hummel figurines that lived on either side of the white couch were always dust free and in perfect order.

Granddaddy, on the other hand, was earthy and often smelled like machine oil. He went off to work early, his pure white hair brushed back from his forehead, wearing blue work clothes, returning in the evening to chase me through the house telling me he was going to, “Cut off my curls!” and I would run, in terror and love, to hide. Later, I would sit on his lap in the kitchen, in a pool of golden light watching him sprinkle a bit of salt in the foam of his Knickerbocker beer. While waiting for the beer to be ready he would talk to Nana and me about his day. I felt secure and warm on his lap with his deep voice sounding through my body, Nana puttering around, the good smells of dinner enveloping us. He had a quiet, almost silent presence. I’d watch him drink the golden beer waiting for my part--the last sip of the glass--a swallow of bitter saltiness. Then we would have dinner.

While sitting on his lap, or just sitting in the kitchen, alone, waiting for him to come home, I would look into the darkened dining room that led to the living room. I knew the wallpaper in the dining room would be moving now, the Chinese boatmen going home in their maroon junks. Sometimes I would hear voices whisper my name from there. The whispers would be so loud I wondered why Nana never heard them. When I went to bed they would open secret doors for me to go to other places and meet them there.

New Hampshire seemed cleaner then. The air was sweet, fresh, high and scented by the big pines that lived behind the house, across the field, the dark woods, overlooking the river whose steep banks I was never allowed to go near. There were leeches in the water and an old tumbled-down stone bridge that used to connect the church to the graveyard on the island behind. The remains of a house slumbered into a cellar hole. In a dream I met the old man that lived there all by himself.

Nana hung the clothes out on the line, so fresh and clean, and we would walk across to the church basement for suppers and Sunday school. The basement held its history to itself in cool darkness and kept a scent, like water; old, contained, mixed with the flavors of old lady’s perfumes, more composed salads, deviled eggs, Swedish meatballs, and weak coffee, all laid out in vagrant chafing dishes and plates with little bits of tape on them bearing the owner’s name.

My memories of winter are of sickness. I was famous for being sick. I had some grand illness when I was born. “Your toys all turned yellow when you touched them.” Nana said. I thought a great deal about what it meant to have yellow toys. Did anyone play with me? How could my body produce so much yellow? Was it like gold? Could I produce it on demand? Was this why I was with my Nana and not my mother? Snow came and for a brief time I could go outside and play, bundled up in so many layers of clothes that I could barely move, to play in the cold, with the strange whiteness that melted in my mouth.

Every morning I would trundle down the tall staircase outside my room, down the steep stairs, the stairs that threatened a fall at each step as I slipped down in my pajamas with feet. I would have breakfast at the green enamel table with folding sides, looking up at the cat clock that slowly moved its tail and eyes back and forth. Because of my famous illness I had to drink a glass of prune juice everyday and eat medicine mashed in green bananas. Then I would be set down on the toilet and there I would be for a very long time looking at the small window of the bathroom and the wallpaper with various kinds of fish that swam up to the mirrors flanked by two white florescent lights with shiny metal switches at the bottom of each. The fish swam in their sea of multicolored weeds stuck between pink and gray lines. They had happy faces, and I liked them quite a lot so I didn’t mind sitting there waiting for my nonexistent poo. Smelling the sweet urinal perfume mixed with Cashmere Bouquet and Ivory soap I waited for my reprieve. Even though I was full of love for my grandparents and wanted to be good I probably would have sat there all day waiting for the prune juice to work. I never understood what was the big deal with my evacuations anyway.

When Nana gave up she’d come and call me to the living room to brush my hair. On a little stool I’d sit, nestled in front of her and her wing-backed chair, and we would watch “As the World Turns” while she brushed in the ritual ringlets of my hair. First, dipping the brush into a little glass of water, then gently taking a small division of my hair in her hand she would brush, brush, brush and then begin to wind the segment around her finger, brushing at each turn to convince my wayward hair of the direction it was supposed to take. If there was something dreadful happening on her show she might gasp a little in astonishment that anyone could be so cruel or unfortunate. My hair might be forgotten in wonder--that someone could be pregnant--organ music rising--my Nana’s hand frozen in the air, tied to my head by a wet curl. Then the rhythm would begin again, one small curl worked slowly off her finger and another section of hair chosen, brush, brush, brush, until it was wet enough to wind around the finger.

You could watch a lot of soap opera that way.

“Tsk, tsk....” Nana said and I fell into a dream, a trance of warm sun, worlds turning in disgrace and the slow, wet, steady pace of my hair being combed and brushed. The lady who sat on top of the television holding up the lampshade and vines watched me drift away.

Where did I go? Somewhere calm, peaceful, and blank where I would rest until something would shake me out of my reverie and I would realize--with a jolt of solitude--that Nana was gone.

Where could she be? I always felt a deep shock at her disappearance. How could she leave me there all alone? Why didn’t I know she left? Did she sneak away? I wasn’t asleep, was I? How could I sleep sitting up on that little stool? After a moment or two of disorientation and panic I would hear her somewhere in the house singing and cleaning, and I would feel safe again.

Safe enough to start my own prowling around the house and I had plenty of territory to cover in that huge old place which was full of forbidden rooms and corners that I just had to see.

The most prohibited spot, and therefore the most attractive, was behind the door at the top of the stairs. A door to the right led to my bedroom which you had to pass through to reach either of my grandparents’ bedrooms. Each of those rooms had secret charms but what lay behind the door directly in front of me held the most promise of riches and forbidden pleasures. This is where my Great Grandfather once kept his chickens, and was strictly off limits. No evidence of chickens remained but a multitude of magic drew me in, like sin. Quietly opening the door, I would start across the floorboards that had drawn apart from each other over time. As I walked, one foot silently placed in front of the other, I would look down into the barn and catch the dark, dangerous smell of oily machinery. I would be especially thrilled to be sneaking across those boards if my grandparents happened to be down there for some reason. Granddaddy broiled fish there and Nana would call out to him to see how things were going. They didn’t know where I was in my secret place, watching them. All around me were objects that seemed to have been especially placed like things in some old painting. Mandolins, maracas, old toys, clothes, boxes, books, and a Phonoharp No. 21 from Boston, Massachusetts that made the most wonderful ancient sounds when I plucked the hard metal strings. Who had owned this instrument? Did my great grandfather play it? It sounded like it came from far away and long ago, nostalgic and faint.

As I made my way through this collection of wonders I would finally make it to the stage, or what was left of it after the chickens had had their way. A couple of steps up and there I would be, on stage. Pinned on the walls, up near the ceiling, were pictures of half-naked women, posed this way or that. They gazed out at me as though they were going to tell me all about it. One was a lady, she was my favorite, leaning over her washboard and tub, looking back at me with a surprised look, naked, except for her see-through gown saying, “Oops! I forgot my nightie!” As though there was something more to reveal, as though I didn’t get the joke.

Granddaddy’s naked pictures were something to think about but there was one more thing that was the real goal of this excursion into the forbidden zone. It sat on a table in the middle of the stage. A little town filled with houses and trees and little people, bridges, mountains: a whole universe in miniature and right through the middle of this was a train track that wended its way through the countryside with a complete train that said “Lionel” on the side of the cars. I don’t ever remember seeing it run and I couldn’t ask because that would give away the pathway of my covert meandering. It was enough to creep in and look at it and wonder who it was that had played with it once upon a time. Then, satisfied that I had seen, once more, the forbidden lands, I would slide back out again into my room to ride the Wonder horse and think about what I had seen.

Sometimes, though, these excursions upstairs excited me so much that I would, suddenly, have to go to the bathroom--the kind my Nana had waited so long for that very morning---the proof of the prune juice. What to do? The only bathroom was way downstairs, there wasn’t time to make it there. I had another plan and it was a good one because it too required stealth.

Nana’s room was sweetly scented, drawing its air through open windows--always open--through the white net curtains, frilled at top and bottom that billowed gently into the room with each breath of wind. Roses on the walls in neat little patterns, buds and full, walked down to the braided rug on the floor. Three mirrors turned in to gaze at themselves on the small table by her bed. A pair of graceful porcelain hands held a collection of rings. I’d stand and consider these elements for a long time with a strong, urgent sense of secrecy, breathing in the sweet perfume of Nana and all her love.

When I was sure that I was quite alone I would enter this sacred space and take a little piece of tissue paper from the basket by the dressing table. Then, I would neatly and politely poo into the tissue. I always inspected the present carefully, never touching the round, neat, earthy-sweet brownness. Did this come from me? After considering the mystery of this coveted item, so highly sought after by my elders, I would gently and tenderly wrap it up, and nestle it in the wastebasket. Proof, if ever there were, of my undying love for Nana.

Nana never mentioned my little gifts and I often wondered why. She was such an immaculately clean person, surely she must have found my little packages so lovingly arranged?



We went for walks, Nana and me, into the woods in back of the house or other places in the neighborhood. The pines were tall and whispering and I could feel all kinds of ghosts out there but I still didn’t want to go back in, so I’d hide. The pines grew taller and taller as Nana disappeared around the corner and then the trees turned into giant dinosaurs that were going to eat me up! Panic filled me as I ran and ran to catch up, never daring to look back. Other times we would cross the street to the village store but never much further, until one day we went further, past the store to a little road that led to a stone gateway with a metal arch over it. We walked up the old dirt road, along the worn parts, through dappled light, silently; I had a strong sense of big adventure. When we came to an opening in the trees that lined the road Nana stopped, took my hand, and gazed down at me.

“Do you know what this is?” she asked.

I just looked back up at her mute.

“This is where your great-grandparents are buried.”

I looked at the ground, wondering what that meant. All I could see was the ground, the trees, pine needles and tall white objects that leaned this way and that over rounded mounds of earth.

“Someday, I will be buried here too.”

She gazed down at me in a strange proud way as I struggled to understand why she was telling me this weird news. What did she mean be buried? Then something began to work its way up inside of me, dark, knowing, and old, that I had always understood, always known and had just been waiting to be told again. I looked at the full, leafy trees sighing softly, at the strange stone things standing around, then back at the ground for a long time, and said nothing, feeling like something precious had just passed out of my life, but I didn’t know what it was. Another strange, empty thing moved in to take up the space left by my Nana’s words.

We stood a while longer, in silence, then she took me by the hand, and we walked home.

I had a dream not long after which I remember to this day. Nana and I were at a gas station and I wandered away from the car for a moment. When I came back to find her I went up to her to take her hand and found she had turned into a cardboard cutout. I woke up screaming.

Nana said I walked in my sleep through that big dark house.

I lie in my bed, in my own house, the house not so far from my first remembered home listening to the cars driving by at night. I see them first by the trail of light that shadows the crosspieces of the windows on the ceiling of my room. Starting small, looming large, then fading away, just as they did in my bedroom when I was a child, and just as mysterious. Wavy patterns from the texture of old glass, the sense of age and endurance expressed in that waviness, somehow causes a combined feeling of security, loneliness, and transience in me. I drift away, both calmed and worried.

The trance of my childhood, my life with Nana and Granddaddy, was brief in the overarching span that I have lived so far. I cherish the memory of that oasis of caring and love that has sustained me through thornier times. I’ve often wondered what her motives were for taking me on a walk that day. Perhaps she had had some intimation of the end of her days. Possibly my mother and stepfather had already called to ask to take me back with them on their next trip out. Maybe, she intuitively knew how difficult the path would be for me. I left little gifts in her wastebasket, round symbols of life’s circle back to decay. She brought me the awareness of the transience of all things, even the beloved.



Comments

Robins Song

The Hell

Water...!

Water...!

We have not water.

Bread...!

Bread...!

We have not bread.

Egg

egg

The egg is cracked

Fire!

Hell!

~Seval Vincevic

The flooded remains--the water from the wetlands recedes--I’m checking the grounds for survival. The wind is picking up and the trees sound relieved. There’s always too much of a good thing and water is one of them. I’m checking the robin’s nest made in the low boughs of one of the hemlock tree. I planted the them six years ago and now they are over my head; but those branches are still too low for a young family of robins. I can’t help it, even though I hear the robin singing nearby, I have to see if those eggs, those beautiful blue of sky eggs, are cold. They are and I hear a poignance in two notes of the watching bird that tells me something may have happened to Mrs. Robin during the storm. Maybe they both just gave up--waiting for a sunny day to start again.
The song of a robin is varied. Often it is as cheerful as their red breasts popping over the hills in formation on the earliest days of Spring, days that seemed too early for such birds to find juicy worms and bugs to survive on. I wonder how they make it each year and are such comrades during these treks across the lawn; like men in formation intent on something good.
There was a time the sound of their song made me panic. Early mornings when I could never sleep. when I lay there counting hour after hour hoping that somehow this night I would break the spell and fall into deepest, darkest, restful ignorance--and sleep.
Ten o’clock was bedtime and when eleven rolled around there was still hope. Perhaps fifteen minutes and then it was twelve--where did I go then? Did I sleep? Not likely. One o’clock and panic would set in--two o’clock the tears. On and on, night after night. Five o’clock that neighbor in the house set so close next door in these Cambridge row houses that the light snapping on was like it was right over head, that drove me really nuts. Then I knew it was impossible another night without sleep.
Then I’d hear it--a two-note medley every morning. I hated that bird.
I walked for hours until the blood ran in my toes. I walked into the darkness of the fancy house area one block over--nearing Harvard Square. Julia Child's house with the beautiful apple trees and me--the sorrowful insomniac mourning by. One time, I lay down on the ground hoping that sleep would catch me on some side street. A cop pulled up and asked if I was okay.
And then the robin. Two notes. Over and over.
I had such panic. I rode my bike all over town. Something must make me tired and I was tired all the time. Something to eat, I was always hungry. Two bites of toast stuck in my throat like glue.
What brought me to this pass? I had always been able to handle it all. Even in the worst moments, even when I heard the news that my sister was dead I was finally able to sleep. I was able to catch the plane and lie down across two seats and cry. Why now? Why five years later?
I fixated on the last failed romance but I knew it wasn’t him.
I was under an avalanche of grief.
I rode my bike to work, down Magnolia Avenue, through Inman Square, down past the Science Museum and over to Beacon Hill.
I worked helping old people. One of my clients was an old lady. A rich old lady with a staff of five, who wandered around the house, her half full glass of Harvey’s Bristol Cream, always with a sediment of curdled cream rimming the edge. Old and mad she was with her silk dresses and cane as we walked down the hill from Louisberg Square. She smiled and nodded to everyone with her pith helmet on. Duck boats on tour would stop to take pictures. Make way for Mad Ducklings. We’d wander over to the Ritz where she used to live until she took off all her clothes to greet the guests next door when she was 75.
I loved her madness.
I loved imagining the rich patrons of the Ritz Carleton opening their door to a rich, drunk old lady screaming at them to get out of her room.
I used to drive my International Truck to her house, the big green monster of a truck called, Nishkinnon, from the company that used to own it. Nishkinnon, Lake of Clouds it means in some New England native people’s tongue. I’d park it on the edge of the special park that sits in the middle of Louisberg Square, the one that only the residents may enter. It’s a lonely place with over grown shrubs. The ghosts of Brahmins and Louisa May Alcott flit around. The nunnery’s bell still tolled.
My truck. It drove the lady with pretensions down stairs crazy that I parked that garden hose of a truck there; but my friend the drunk dowager had decided it was her truck and no one could bother it. In good weather, though I’d ride my bike to work.
She was dying. The Dowager with the Japanese screen that had been given to her father by the Emperor of Japan. We kept telling the doctors she was ill. She held her hand at her neck all the time. Sometimes she’d talk about how awful it was that the servants in her father’s house had to sleep way upstairs and get up at five o’clock in the morning to make her breakfast. I told her we didn’t mind so much anymore.
My old lady was dying, my boyfriend had left me and I couldn’t sleep or eat. I rode my bike, I walked--I dreaded nightfall but even more I dreaded dawn and the robin singing.
I rode my bike over Storrow Drive. I thought if I rode enough I would be tired at night and sleep again. I rode my bike across the footbridge and stopped each day in the middle to watch the cars drive underneath me. One day, on the last day, I stopped again. It had been a long time since I had slept. My life was a long round of waking and not eating. I was so skinny none of my clothes fit. I rode my bike across the footbridge. Life had become so sad and hard and there was no end to it. I was tired of crying everyday. I wanted to shut it off and sleep. Why couldn’t I sleep? Why couldn’t I snap out of this round of sorrow?
I stopped my bike on the bridge and leaned over the side. I started counting the seconds before a car would pass beneath the bridge. One, two three.....and then another car would come. They were moving fast those cars. Why can’t I sleep? I’m so tired and this sadness never ends. One....two.....some cars are faster than others. Why didn’t he love me? I watched the cars and realized there was nothing between me and jumping down there. I counted correctly I could jump right in front....
This reverie went on for quite sometime before I realized what I was doing. With the last bit of strength that was in me I pulled back in shock. If I stood there much longer I was going to jump in front of some poor unsuspecting car passing by on Storrow Drive. I got on my bike, totally exhausted and started to ride. I could barely push one pedal down. I pushed and rode but I was moving so slowly that people stopped to stare at me as I moved by. It was as though I were moving in slow motion. One more push and I would be by the river on the path toward home. One more push and over the bridge. My mind is numb with sorrow. I can’t move more. I’m moving past the Science museum. I need to go home, at least here it’s flat and there’s less traffic. I’m moving now and sometimes I can glide because there is no strength left in all my body. I can see a bubble around me and outside of that bubble it’s getting darker and darker. I have to get home. I have to keep riding. I have to stop this. I have to live. I cannot die like this. I’m going to die. I’m going to die like this. I am so sad. I can not live like this. I must make it home.
At home I lie on the bed. This can’t go on. How long have I been like this? If I go on like this I will die. I won’t stop myself the next time. I won’t even know what I’m doing. My roommate, my dear friend, Sarah, comes home. She walks me over to the hospital. We sit together for a long time. She keeps asking me if this is what I need to do.
Yes.
The intern is terrified because I tell her I’m suicidal and keeps jabbing me over and over with the needle looking for a vein for blood. I watch her jabbing me and it strikes me funny that she’s so scared I’ll kill myself that she’s jabbing me with a needle and I’m so removed I can’t feel a thing. There’s no room for me in the hospital they say. I’ll have to go to Belmont to the institution.
Oh boy, I think. I’m putting myself into a mental institution. Okay, I say. No room at the inn. To the Insane Asylum I go. We wait for the men and the van to come. I’m riding in an ambulance. Suddenly it all seems a little silly. Maybe if I go home now...can’t I sleep? Can’t I eat? I can’t. I could just go home. I can’t. I say goodbye to Sarah and climb into the back.
I’m riding backwards through the Cambridge Streets, the ones I’ve so often wandered. I’m looking out the back windows of the ambulance that’s taking me there. The streets are empty and slightly wet. I watch the streetlights glowing orange. I want to cry and cry and yet I feel hopeful--they won’t let me kill myself. The drivers let me sit up since I didn’t seem violent. What have I done? The ambulance whooshes down under a bridge. I’m all set now.
When we get to the hospital it’s like something out of an old movie. Long wings of brick and glass, white columns on a porch, like this is a grand place, an ante-bellum palace. An air of neglect and something out of place is stamped all over the grounds. The garden grounds--large trees--a restful setting. They walk me through the metal doors and trade me off to other hands. I hear metal doors bang shut behind me and I think I’ve never heard a sound so loudly final in my life.
I’m an inmate of a mental institution. Not just any asylum, nope. This one is on it’s last legs, about to close, it’s puke green peeling walls and brick front, the manicured lawns, classic insane asylum. I couldn’t ask for better.
Three days of crying. Three nights of lying awake.
Three oranges left on the windowsill.
The mad poetess, my roommate
takes them and leaves me a collection of worn out bras.
Three days of weeping. The green grilled windows
the night time windows
a raccoon on the lawn eating apples
Three weeks
Cots.
Friends arrive after I’m allowed my phone calls to tell them where I am. Friends, who, as though I were suddenly their father confessor, weep and tell me what’s wrong in their lives.
and I think, wait, it’s me in the insane asylum.
The guarded showers, shampoo handed me, in case I drink it, trying to die. People try to kill themselves with shampoo? I laugh about that one. Amateurs.
Chairs lined up like we’re at an airport. We’re watching a movie. The Elephant Man.
You can’t make this shit up, I think.
The girl who wants to live on air, certain she can do it. The one with all the marks on her arms. The poetess who never speaks. The man locked in his room screaming for days and days finally comes out of his room to kneel by my chair and masturbate.
My visiting friend says, “Don’t look over there.” as they drag him away, screaming again.
“You’re the belle of the ward.” she laughs.
One friend I call asks me if it’s a performance piece I’m doing.
I guess I’m really a performance artist now.
I realize as the medicines start to work that I’ve been running for a long time. Always afraid that if I fall, I won’t get back up, there was no place to fall. The years of wandering from place to place, a full tow of goods, trying to recreate home. Moving sometimes five or six times a year. The bad choices, the emotionally abusive relationships, the self-inflicted shame, the hatred, I can’t fall down, if I do, I’ll never get up.
The guilt of my sister’s suicide.
Three weeks later, when I can finally sleep I sit before a board of doctors convincing them I know why I wanted to die. I just couldn’t sleep. I needed to stop and grieve. For me. I needed to grieve for me. When they are sure I’m not going to do myself in, I head home.
Outside the saturation of color all around me, everything is glowing, fall colors, how did they get so full? I’ve never seen color so rich. I’m going to live.

Cathy Nolan Vincevic

Punk Mosquitoes : Cathy Nolan Vincevic

Mon Nov 16, 2009

Punk is a kind of scentless incense stick used to light fireworks and ward off bugs. In the evenings, back then, when we wandered in the bushes, we were given little sticks of punk to burn to keep away the mosquitoes and other flying, biting bugs. Long, lingering evenings, when the green glowed all around the sun’s last touch shining yellow halos along each leaf. The cool, moist dampness of the ground seeped up with the scent of earth, leaves, and worms. We marched, sometimes in lines, our sticks burning slowly, till all you could see was the red tip glowing, small circles of smoke trailing away. It always seemed to be nearing July Fourth when we were there, on our biyearly travels to Nana and Grandaddy's. That’s why the punk was available. It never kept the mosquitoes from biting. My Nana never lost faith in its ability to do so. We marveled at the magic of the burning stick, and ran some more in darkness before they called us into bed.

The world was open and available until they did. We could look in the windows at our beloved grandparents and the golden glow of the lights shining out and know we were safe for a little while and would have enough to eat. I remember every detail of that house and those two people. The small back porch that Nana always called the “piazza” as though she was Italian, though she was pure English and looked it with her eyes set deep inside her classic face, her cheekbones high, with one elegant streak of gray moving up the peak of her gently curling hair.

The piazza was just a tiny little area with three steps leading up to a small platform and the back door. Sometimes she hung her laundry out there, the “unmentionables.” Calling it a piazza made it a different place, raised it above the merely normal to something secret and elegant. Stepping out of the back door lilac bushes blocked the view to the road on the right. Straight ahead was the parking lot, the Baptist Church a little cater-corner to the house. This church with its iron hand railings was part of our vast playground when we were there. We would slide down the railings looking up at the clock tower with its spidery hands that never chimed, to watch the weathervane at the top move according to the winds. The ancient hands just sat there, while the ornate weathervane turned, perhaps in the direction of our next adventure, the source of the secret.

A little farther on was that other big house that used to be home to some distant relatives who either died or moved away. Though there were chairs on the shady porch and curtains in the window there was no other sign that the house was inhabited, no people coming or going, no sense of any movement, just a collection of stationary objects. It was a mystery too.

Behind my Nana’s house was a field that led to the woods and river. Those places were the scariest of all--the most compelling.

Something was lonely all around this place. Something wanted to keep us there, something like gravity, heavy and unyielding.

It took my mother and stepfather about a week to drive “back east,” if they drove almost nonstop, in the station wagon, from Arizona to New Hampshire, one behind the wheel all day, the other all night, with the five kids and dog poured like sardines somewhere in-between. These trips were among the few times our family did anything all together, inhabiting different sections of the car, gazing out the windows at the slowly changing scenery.

My favorite spot, and the one in which I could sit for hours, was right behind the driver, between the front seat and the wheel well. Station wagons, in those days, had a round bump, covered in plastic, intruding inside the car, where the wheel, on the outside, rolled round and round. It was the perfect size for a girl to sink into and watch the outside world passing. Surrounded on three sides with only one exposed flank, I was out of the middle of the fray, drifting in and out of consciousness, lulled by the vibrations of the wheel coming through the plastic cover and the sound of the engine.

I remember waking to strange scenes, like the oil derricks of Texas moving slowly up and down, up and down, seemingly hundreds of them stretched out in the darkness on the flat desert floor. They seemed to me to be strange mechanical bug monsters bowing and rising from the ground, tethered by a long thin pole. Maybe they had come from another planet, maybe they weren’t human made at all! When I thought about that possibility I would scare myself even more. So I would look at the stars and contemplate how long and how far the light would travel--forever--until the bits of light broke apart from the exhaustion of having traveled so far. Black holes would eat up what was left; maybe these machines came from there! If the car broke down the machines would eat us! Texas seemed to go on forever.

The landscape changed slowly from desert to more deserts and then to grassy plains, while I waited for the first sign of green, of home.



The food on the trip, for the kids, usually consisted of cold cereal moistened with reconstituted dry milk for breakfast and sandwich spread sandwiches--a sort of thicker Russian dressing--on white bread for lunch and supper. Sandwich spread sandwiches were a novel meal at first, what with those tiny pickles swimming in reddish-pink mayonnaise and all, but we quickly got tired of them.

So, we’d eat out little open-faced sandwiches and run around whichever parking lot we happened to be in, or put the car into reverse on a hill, just to see what would happen.

We had our fun.

It was my twin brother, actually, who put the car in reverse that day. My brother was sitting in the front seat of the parked car with my sister next to him. Our parents and youngest brother, Michael, were in the restaurant eating, my older brother, Gary, was off somewhere, as he usually was. I was in the way back, the empty place behind the last seats, just looking around. I could hear Karen and Lindsey, my twin brother, talking about driving and playing some game. I heard the gearshift move. Suddenly the car began to roll backwards. I was out of that car so fast to this day I don’t know how I did it, running, running alongside an expanse of glass windows, to the entrance of the restaurant to warn my parents. I could see people in the restaurant beginning to stand up and look out the window at the impending disaster. I flung the glass doors open, found my parents with my eyes and stood there, mute, panting, staring at them with a wide, wild look, pointing at the car rolling down towards the highway. Out of the corner of my eye I saw a man running towards the car. Somehow he jumped in and stopped the car from hitting the freeway. Many words were spoken after this incident, believe me, but a sense of amazement at our delivery from horror muted punishment to a minimum.



The wind from those lonely highways blew on our faces as we leaned against the windows and watched the states go by. After a few days of riding in a car on a long trip, getting dirtier and more wind-blown every day, something shifts inside of you. A feeling starts to creep in that you belong nowhere and that reality only consists of the small incidents that happen along the way. Like the dog I saw running so fast after the car that he belonged in. What happened to him? Why did they leave him like that? Didn’t they notice a cute doggie was missing from the car? Did they ever stop to let him in? I felt so lonely watching him, silently rooting for him to make it home. I could never admit to myself that maybe that family was trying to ditch their dog.

Why did the truck drivers honk their horns when we yanked our arms down at them, in imitation of the motion used to blow an air horn?

Why were the toilets in that Kansas rest stop shaped like the stretched out “U’s” of a vacuum cleaner utensil, the ones to get into corners with? Why did it stink so much that I ran away in fear and just held it to the next state?

Why did my stepfather let my brother and I stay up all night with him, when it was his turn to drive, the two of us strapped in with the seat belts, singing little songs or watching the stars, mesmerized by the slow return of color to the wide skies which made us look at each other gently and giggle? And then why did he get so angry with us the next day and would not let us sleep? The stars slowly faded into a colorful sky.

What was Smuckers? The sign said: “Only two hundred and fifty miles to the next Smuckers!” Why didn’t we find out about it? When we finally reached that next Smuckers, having been reminded of its arrival in closer and closer counted increments, it always looked so full of promise. Not a place where we could go inside, ever, we were too poor, or dirty, or something. We knew without asking that we didn’t deserve Smuckers.

Who were all those people driving along in the other cars?

Who was buried in those lonesome graves by the side of the road, far away from anything, in the desert sun, marked only by worn wooden crosses?

How could it feel so forlorn in the early morning, when we stood at some truck stop somewhere, hearing the anonymous high pitched whine of tires rolling along the highway, as we waited for another dirty bathroom to be free?

When would we get there?

Are we there yet?



Once, at a truck stop somewhere in the Midwest, my mother taught me how to steal rhubarb through a fence. There seemed something awful and cheap about reaching through the slats to take a stalk or two of that strange plant, as though we had been on the road forever, gleaning food from wherever we could. The weird tart flavor of the rhubarb made me forget, for a moment, the theft.

Finally, the scenery would start to change. Somewhere in the South, somewhere around Missouri, which we always called Misery because it was so hot and humid, the land, which had been barren and dry, would flush green.

One night my stepfather woke me to look at the “Gateway to the West” which looked like it reached higher than the stars disappearing in a single silver span from my angle behind the driver’s seat. I was surprised he woke me, he didn’t usually try much with me. I felt like I had an interested party for once.

We weren’t there yet, but we were getting closer. After a long blur of green trees followed by dark cities that spewed so much smoke in the air we could hardly see them, a coolness began to slip into the air, a freshness that meant...we were almost there.

We knew we were really almost-there-yet when we passed the Indian Cliffs, which sported a cutout Indian standing on the top of the rocks, way up high, with an arrow pointed towards the sky. We had to crane our heads down under the windows, almost achingly sideways to see him and then we would pass the Dolly Dimple Motel. What a name, Dolly Dimple! Was she a real person? Only in New Hampshire would there be a Dolly Dimple!

Home, home! Nana and Granddaddy, love, coolness, mosquitoes and punk, that last long hill overshadowed by trees, the first glimpse of the blue spruce, the white picket fence with the arched gate all sitting there like a miracle to our tired eyes. We’d pull into the church parking lot, all blessed, rolling to a stop on the bumpy, stinky old tar, the U-haul trailer bouncing behind us, and stagger out of the station wagon, feeling dirty, disheveled, unworthy--home at last.

Later, after hugs and kisses, all cleaned up and fed, we were given the punk and popguns with plenty of caps to go around. We chased each other around with the guns until we got bored and then we simply placed the caps on rocks, one red pillow of gunpowder at a time, and struck them with rocks until they made a loud noise. The scent filled our noses, a lovely, sharp, smoky smell filled with danger. Caps for the days, punk for nights.

We kids were always in trouble for stirring our ice cream until it melted or eating too much corn on the cob, but we didn’t care. The other life came later, after we were back in the car, on the long drive home.

No amount of punk could protect us from where we were going.

Somewhere on those long journeys across the country we learned how easy it is to be left behind, like that little dog that ran with every muscle that he had to reach the family car.

My mother plotted her escape.

My family fell apart, bit by bit, like the light falling into a black hole, and separated atom by atom. Nana and Granddaddy’s house was our refuge, the green coolness of the woods, the rare feeling of being loved. For two or three weeks every other year we got a reprieve from hell.

I drive by the Dolly Dimple Motel sometimes, amazed that it still exists, that even the same sign is there. The wooden Indian on the cliffs is long gone, though the store remains. I crane my neck to find him anyway. Not much is left of my family. My mother took the idea of that little dog to heart, I think; she left us off in different locations and took off down the road.

My grandparents’ house still stands next to the Baptist church in Candia. Many people have owned it since they passed away. Something doesn’t suit the new owners and they sell it almost as quickly as they buy it. I think the house is restless, I think it misses the family that should have stayed. I think it misses us.

One thing all of us who remain alive have is the knowledge that for a time, on those trips, we were all together in a car driving across the country. Something my brothers and I remembered when we drove north from San Francisco with my sister’s ashes in the U-haul trailer.