March might be my favorite month. Particularly, I like the mix of temperatures
and the kind of clouds and light and air we get in New Haven. After the hard cold and before the pollen.
In the early days of the month my daughter’s birthday falls.
Which means I have memories not only of celebrating her birthday at this time
of year, but of the late February into early March days of that year, 32 years
ago, when she arrived. It was that
period when “the dead of winter” (say mid-January to mid-February) begins to
shift toward spring. And then, a
birthday, and then… Before the Ides of March are come, they are preceded by Einstein’s
birthday, on the 14th. This date has
some significance because Einstein, or, as I like to call him, “Uncle Albie,”
is one of my wife’s few heroes. I even
painted a picture of him for her, ages ago, based on my favorite photograph of
him.
Next, the day after the Ides, is our wedding
anniversary. We chose March because we
decided it should be the same month as our daughter’s birthday (she was already
4 at the time). I suppose, in 1985, the
16th fell on the day we wanted, but I liked that it was just after Uncle
Albie’s birthday and between the Ides and St. Patty’s Day. It’s also the birthday of my eldest brother, who
died shortly before his 13th birthday.
So…28 years ago we got married. At that time of year this year, we attended a
play we sponsored at my favorite theatrical venue here, run entirely by grad
students, and I reviewed it, as I do all the shows there. It’s a funny show, a take-off on Charles
Lindbergh’s flight across the Atlantic in 1927, which happens to be the year my
late father was born. Before the show,
while we were eating wienerschnitzel und spรคtzle and drinking a
bottle of Bordeaux, a table-mate (he was a Greek grad student studying
mechanical sciences), hearing we were sponsors, seemed to think I should know
more about Lindy than I do. And I
manufactured facts that were wrong (I thought the flight took place in ’33, and
involved radio broadcasts during the flight), though I knew the name of the plane and the flight’s origin and
destination. He seemed to know none of
this.
The play makes you question what the purpose of theater is—which
is what one expects of Bertolt Brecht—but it’s also the case that that’s what
generally happens with one particular student, Kate Attwell, whose work I’d seen before. She and her three collaborators managed also
to question the purpose of Brechtian questioning of theater, and in a
highly entertaining way. The silliness of it reminded me a bit of a troupe called The Neo-Futurists that I've seen perform in Chicago.
On our anniversary, we went back and saw it again at the
final performance, at 11 p.m. It was the
kind of show—inviting a certain measured interaction with the audience—that was
worth seeing twice. And it felt good to be invited back, as behind-the-scenes participants.
In those idle moments when one thinks “what would I do if I
were rich,” being a patron of the arts always comes to my mind. In this world there are many causes requiring
funds, many injustices, many threats to the common good. I don’t see myself as a philanthropist, though
if I had tons of money I might get busy trying to fight things I’d like to
stop—fracking, for instance. But one
thing I know I would do is support and foster the arts wherever I happened to
be. My wife has always favored education
as a primary good. Me, I don’t care
about knowledge as much as talent.
Talent amazes me. Knowledge only
interests me, maybe. Contributing to the
work of creative students seems to satisfy us both.
Earlier in March, a few days before my daughter's birthday, I met up with her at her workplace in Manhattan and we rendezvoused with her guy at a pan-Asian restaurant
across from the Film Forum where we went to see the divine Mae West in I’m No Angel. It was part of a month-long film series on
the year 1933. Only three films from
that year are ones I know: Dinner at
Eight, King Kong, and Duck Soup. All were on the program. But I wanted to see a West film, and she did
not disappoint. One thing that surprised
me is that her way of speaking—I mean how she pronounced her words, breathing
over them, often speaking through a smile while barely moving her lips—reminded
me of a woman I once knew when she was a grad student. Hearing West made
me think how long it’s been since I’ve seen her or spoken to her. Anyway, the great charm of West—who in this
film winds up with a very young Cary Grant—is in her outspoken one-liners,
aimed to imply that sex is all she thinks about. Or, indeed, all that anyone should think
about, in her company. Refreshing, to
say the least.
The other film on the double bill was Hedy Lamarr in Ecstasy, a film that, I must confess,
began to make me doze with its extremely slow pace, hypnotic music, minor
dialogue, and flickering film-stock (this was a very old, Czech print). The part I liked best, actually, was the
propaganda footage added to the end, of beaming half-naked workers laboring,
starkly lit—a nude little boy with a hammer, even! It wasn’t even vaguely erotic, mind you, it
was so clean and earthy, so ennobled by energetic activity. Quite amusing, in fact. Whereas the rest of the film was a sort of
torpid romp through decadent groves of Freudian imagery—like a nude woman
(Lamarr) chasing after a horse. OK, sure.
In any case, it was a nice enough double bill after warm
sake with “the kid” and her guy, laughing about the films I showed her from
puberty through her adolescence. And it
was nice to have some apple strudel on the house as her mother and I awaited
the last performance of Lindbergh’s
Flight. I told the Managing Director who
offered the treat that it was our wedding anniversary, and he asked what
number. When I said 28, his eyes glazed a
bit. Most of the students in the program
won’t be 28 for a few years yet. It’s not
surprising that, no matter how smart and talented they are, they can’t fathom
such a stretch of time. I have a hard
time fathoming it myself.
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