From the archives (2010): “Go Ask Sheila.”

The only time I ever did drugs started with a letter from my ex-boyfriend.

We broke up a year before, and it was one hell of a separation, leaving us battered, but unwilling to sever the connection.

The ex-boyfriend was in San Francisco, a lawyer in a corporate law firm, and I was there for two months, and in L.A., before I moved to Chicago to start a new life as an actress. Chicago was a hubbub of theatre and I flourished immediately upon arrival. It was a youthful energetic environment. I began to work right away. Chicago was the right choice.

Historically, I was never a date-r, or a fooler-around-er. So let’s not soft-pedal the situation. I went insane those first months in Chicago. I made out with guys I never saw again. I gyrated at dance clubs, sandwiched in between two Lebanese cousins vying for my attention. I went to raves in abandoned warehouses where you needed a password to get in. No regrets. Loved it all. My main Chicago flame coalesced fairly early. He was a grumpy black-haired guy who wasn’t inclined to get serious, which suited me just fine. (I have written about him ad nauseum.) In retrospect, he was a really important person in my life, but at the time he was an escape into no-strings adventure and also an outlet for the, ahem, feral quality of my sex drive – all new experiences, which is why I ran towards him at lightning speed, and why he was happy to basically do whatever I wanted. You don’t find a proper playmate every day. When I was with ex-boyfriend, I was on the pill, which muffled my libido. The second we broke up, I went off the pill, and suddenly I was a wild animal and M. was the beneficiary. “I’m barely keeping up with this,” he said once. lol We stayed up all night, ordering takeout at 4 a.m., watching movies in the middle of the night, wrestling, knocking over furniture, laughing hysterically, wild sounds echoing through the apartment, irritating his long-suffering roommate who had an early audition the next day. Sometimes M. would then drive me directly to work, where I was answering phones in some corporate office or whatever, and so I’d show up to my corporate temp job having had zero sleep and … wearing the same clothes I wore the day before. So disreputable. But so fun.

All of this activity was interrupted by bouts of lying in bed sobbing, because I missed my old boyfriend. He was my first boyfriend. We got together when I was a senior in college. He was 8 years older, and courted me with gentleness and humor, blah blah, whatever. I was a virgin, and neurotic about my freckled plump lack of beauty. Blah blah. We connected on an emotional and comedic level. But it was not RIGHT, we did not CLICK the way you need to click. Even though I cried about him, never once did I think we should have stayed together. There was something not right in our dynamic, something insurmountable. We stayed in touch through letters and phone conversations. I would see a movie and have to talk about it with him, because he was the one I still wanted to talk to. He would have a question about an author or a book he just read, and the only person he wanted to ask was me.

He was ready to settle down, but trying to get me to settle down was like wrestling a typhoon.

Unfortunately, I did not have enough of a sense of self at the time to say to him, “I’m too young for all of this settling down business. I just got out of college. I am not ready to pick out silverware.” Instead, I internalized his displeasure and impatience, and let myself be overwhelmed by how wrong I was. To be truthful, I still grapple with the anxiety left by that relationship. Something is wrong with me, was the message.

The whole “wrong-ness” thing has to do with the story of the day I did drugs.

Every time I do anything, I do it wrong first. This is true of big things (relationships, career choices) and also little things. For example, when I go to make my bed, I always end up with the sheets upside down and backwards first, with the tag up. I have to go and turn them over. This is also true of driving somewhere for the first time. I always drive by the street I am searching for, and then have to backtrack, sometimes two or three times. Perhaps it is because I am impulsive and impatient, starting something without setting myself up properly. This is okay when it’s just a new printer I am trying to install but disastrous when it comes to my personal life. When I’m in a self-pitying mood, it feels like the universe is slapping my hand, saying, “No, no, no, you don’t get to do this right. Other people do, but not you.”

At that point in Chicago, I had a bunch of new friends, and I was living with Mitchell, an old dear friend from college. Our new friends were a lot of fun, and they had “x” parties where people gathered at an apartment to do ecstasy. Mitchell and I were curious about it so we decided to join them one night. Why not? We gave the dealer the money for a couple of pills for the following week.

A word about drugs. I have never been a “why not?” person about illegal substances. I guess I was always afraid of losing control. There was also the Go Ask Alice factor to consider, which cannot be overstated. I read that book when I was eleven and it scarred me for life. (I know now that it was propaganda, but at the time, I took it as gospel. It was HIGHLY EFFECTIVE propaganda.) I smoked some pot in college, everyone did, but I never liked it. It didn’t do for me what it did for others. It didn’t mellow me out. On the contrary, it made me feel like I was a hollow nonentity whom everybody secretly hated and scorned. In retrospect, it’s probably a good thing I never tried cocaine, because I feel like cocaine and me would have gotten along GREAT. Cocaine could, potentially, be the answer to my problems. Heroin terrified, way too unrecreational. I never did any of the hallucinogenics either, mushrooms, LSD, because I watched one too many movies-of-the-week and ABC Afterschool Specials in my childhood, and I knew, in my heart, I would be one of those morons who would leap through a plate glass window 80 stories up because “the sky looked so pretty”, or I would try to stab my best friend because I suddenly saw Beelzebub gleaming redly out of her eyes.

I felt safe with these new friends, however, and Mitchell would be there.

One thing I think might have been a factor in my “wrong” reaction to ecstasy later that night was I was flirting with anorexia at the time. Not full-blown but definitely a serious eating disorder. I was addicted to how thin I was. I couldn’t believe it! I was running five miles a day, devoted, even when it was freezing cold or raining, out I went, pounding down the Lake Shore. I lived on a diet of sunflower seeds and Snapple. Sometimes I would have Lipton’s Cup-a-soup to shake things up. My body fat dissolved, as I was simultaneously getting hard contours due to all the running.

And then there was the letter from my ex-boyfriend.

It arrived the day of the party. He informed me he was moving in with a new girlfriend, and our correspondence/phone calls would have to stop, and I probably would have to stop sending books and newspaper clippings to him. He was not callous. In fact, he was thoughtful in giving me the heads up, but it killed him. He didn’t think we should have broken up in the first place, we should have fought it out, and come out on the other side, still together. But he did what he needed to do, and found someone else.

I guess I knew it was coming. I knew he was dating someone. By that point, too, I had moved on in a significant way. I was in shows, I had new friends, a guy I was shmecking on a regular basis, and some wild card adventures to make sure all was light and frivolous. My life had a structure. I hadn’t slipped off the rails without him. I flourished! I remember reading the letter in our kitchen, Mitchell standing nearby. I put the letter down, saying to Mitchell, “Wow. It’s really over.” I felt nothing. No sadness came up, no familiar grief. I was calm and cool and quiet. I felt grateful for the letter, and amazed that I came so far. When I was in the breakup’s maelstrom, it seemed like it would never end and I would always be the tragic-eyed girl. But of course, time moved on and I healed. I got better. The letter was evidence. Look at me. I am finally okay.

We set out for the party. It was a hot summer evening. Chicago swelter. We waited for the cross-town bus. I had no idea what I was walking into, and I was excited, I felt shimmery and light. I said to my two friends as we stood at the bus stop, “You know what? I am fine about that letter! Can you believe it? I am fine! I cannot believe how fine I feel about that letter!” [Denial is the strongest drug of all.]

An ecstasy party is a friendly and compassionate environment, even as the collective spinal fluid is compromised drop by drop. Jellyfish was playing when we walked in. There was pizza. Our friends greeted us rapturously. Most people were out on the wooden back porch, so typical of Chicago apartments. There was booze in the kitchen, but not too many people were drinking. They were listening to music, dancing, and watching I Love Lucy, reciting the lines in unison. Never saw a party like that in Go Ask Alice, did you? Not a hippie gang-bang in sight.

We downed our pills in the kitchen, and waited to see what would happen next. I had a beer. I felt a little buzzed, but that was probably because I only ate ten sunflower seeds in the last 10 hours.

The three of us ended up on the back porch. The music was soft, and people were chatting. Everything was lovely.

Until suddenly I started to feel very “off”.

First came a dizzying sense of vertigo so strong I hung onto the railings of the porch steps. The moment my hands gripped the bars, the porch detached itself from the house and began to fly around in a circle, leaving me holding on for dear life. It was like that last scene in Hitchcock’s Strangers On a Train where there is no way to step gently off the runaway merry-go-round. I closed my eyes, trying to breathe through it. Obviously, the fact that I was clutching a stationary porch railing, huddled down against a hurtling imaginary wind, called attention to itself and someone said, hesitantly, “Sheila?” Which was my cue to lean over the side of the stairwell, and vomit up my sunflower seeds.

I have an almost pathological embarrassment about vomiting in public (one of the reasons why drinking to excess is such a rare occurrence. I can count on one hand). Vomiting in public makes me feel like I will not be forgiven for my transgression. I am wrong, and wrong for good. This will be a mark against me for all time.

I was paralyzed with horror on the porch. My friends, high on ecstasy, were full of love and support for me and my vomiting. They hunched over me, rubbing my back, getting me water. Dammit, why did the porch keep flying around? Couldn’t it stay still? I threw up again. And again. (My starvation diet was obviously a huge culprit in what was going on.) I started crying at some point, and my friends helped me stagger up the steps and took me into the bathroom.

I was “that girl” you see at parties: weeping uncontrollably, a sloppy mess. I have lived my life trying to avoid being “that girl”.

We stayed in the bathroom for probably an hour. The vomiting finally ceased, which was a blessing, seeing as how my non-diet didn’t leave much to come up, but once the crying started I could not stop. One friend sat on the closed toilet seat, Mitchell perched on the edge of the tub, as I paced around in my cut-off shorts sobbing about my ex-boyfriend, how much I loved him, how sad I was, how my life was over, how I would never love again, how angry I was at him, and how tragic it was that I would have my great and only love at such a young age. It was a monologue of Aeschylus-ean proportions. I went through two rolls of toilet paper, mopping the tears off my face as I ranted.

Now let me talk about the nature of my tears, because I haven’t cried like that before or since. At first, yes, I was sobbing, but eventually the tears became like any other bodily function: sweat, a sneeze, the flu; they happened whether I did anything about it or not, whether I FELT sad or not, the tears could not be stopped. Once the first hour of hysterics had passed, I could carry on conversations about things other than my lost love moving in with his new girlfriend. I could talk about I Love Lucy, music, food, but the tears kept falling. They fell and fell and fell. I was like Alice in Wonderland, drowning in a pool of her own tears. The tears were unconnected to me, somehow. I didn’t feel convulsive sadness. Inside, I felt 100% normal.

I finally removed myself from the party’s action. I didn’t feel like people were embarrassed by me. As a matter of fact, an entire cottage industry of Sheila-Nurturing activities had cropped up, people racing to get me food, or water, or a cold cloth. Remember: this was an X party. I needed to go lie down. I went into the empty front room. There were windows on three sides, long curtains touching the floor. There was privacy, but I could hear the party going on down the hall. I piled couch pillows on the floor, lay on my back in the darkness, and let the tears flow. I cried years of tears in that dark living room. I cried more tears than I ever would have allowed myself to if I had been in my right mind. I got four months of potential grief out in one short evening. I didn’t writhe with psychic pain. No. I was quiet, my breathing was calm and deep. I stared up at the shadowy ceiling, hearing Jellyfish blasting from down the hall, and let the tears fall. I stopped judging the tears or trying to hold them back. Out they poured.

Occasionally large groups of people would come sit around me, carrying on their conversations from the kitchen, letting me feel included. Nobody tried to pull me out of it or cheer me up. Nobody expected me to participate. Their voices flowed above my head, soft, giving, benign, and it was considered completely normal that they would all be chatting about Ghostbusters while a girl lay on pillows below them, tears rolling down her face like the flooded Yangtze.

If only every wounded person could be surrounded by such a crowd.

I had now been crying for three hours.

People came and went. They hung around, standing over me, then meandered back to the kitchen, drifting in and out.

The guy whose party it was came into the front room. Nobody else was there. I lay alone in the dark. I didn’t know him all that well. He sat down cross-legged behind me, gently picked my head up and put it in his lap. I was completely passive. A limp rag of tears. We didn’t speak. No words passed between us. He was dating my good friend. This was not a sexual thing, he wasn’t making a pass. He was taking care of me. I lay there with my head in his lap, eyes closed, and as the tears fell – and they came slowly (but persistently) – one by one – he would brush them away. A tear fell. Gentle hand brushing it away. Another tear fell. Gentle brushing it away.

This went on for an hour.

We never spoke. He never asked me to explain myself. It was just accepted that I was on drugs, and sometimes when you’re on drugs, shit like this goes down, and you need to take care of a person like that. His hands, soft like wings, on my cheek, brushing my tears away. For an hour.

I will never forget him for that.

Years later, our paths crossed again. He’s now an Emmy nominee many – many – times over. Randomly, we ended up working at 30 Rock at the same time, on the same floor no less, and I ran into him regularly. So strange. We never mentioned the ecstasy night … but our time in the dark living room, his wing-like hands on my face, was there between us. Because I know that that tenderness and care is in him. It’s not in everyone, make no mistake. Not everyone would choose to sit quietly for an hour like some Franciscan monk, and wipe the tears off the face of a girl you don’t even know (let alone not turn it into some sexual thing, taking advantage of the situation, which would have been highly unethical, and yet so common as to be almost boring. He didn’t go there. I was safe and cared for).

A crowd of anxious hovering people came in to see how I was doing. My friend K. stood in the doorway, saying in a tremulous chorus: “Sheila … how are you???”

I pulled my head up, squinted at them through swollen eyes, and said softly, “I am having such a good time.”

And I fucking meant it. Everyone burst into laughter.

Finally, it was time to go. Mitchell helped me get up and walk to the door.

Then there is a jump cut, and it is now the next morning. I have no memory of getting home, of going to sleep. I was at the party, and then suddenly it was the next morning. K. slept over on the couch. We woke up, still high. The tears were over. I woke up fresh in the bright day. The four-hour crying jag was something I experienced, but that morning it felt like it hadn’t left a trace. I woke up ravenous. I didn’t want to dole out sunflower seeds anymore; I wanted to eat a steak. K. and I bumped around the apartment together until deciding to walk to the diner down the street and get some breakfast. As we walked to the diner, K. said to me, “I feel so skinny right now.” One of the blessed side effects of ecstasy, especially for a borderline anorexic: you feel lithe and skinny, you flow through space without leaving a ripple. I said, “Me too.” K. said, “I feel like a prancing gazelle.” I was swimming in my clothes, my hipbones sharp picture hooks keeping up my jeans. We were gazelles leaping across the savannah of Ashland Street.

K. and I sat down at the table, drooling and ready for breakfast. We ordered everything on the menu. Eggs, bacon, home fries, bagels, lox, fruit cup, coffee, juice, Frosted Flakes, bring it all! The stacks of food arrived. Ohhh, we were so excited. But then … we could not eat a thing. We tried, but we choked on the crumbs, pushing our eggs around, washing it down with sips of burnt coffee. Mortified, we asked for the check. We slunk away, embarrassed gazelles.

It took us the rest of the day to get back to normal.

We started talking about my “wrong” response to the drug. Why did everyone else get to be so happy and loving, while I went on a world-ending crying jag? What happened? Was it my anorexia? Was it the letter from the ex? Was it something in me different (read: “wrong”) than others? I am sick of not having the regular experiences. I didn’t “get” to have the experiences other people had. I have to be careful. Everyone else can let loose, but I clearly cannot. Instead, I had to make an absolute spectacle of myself. K. and Mitchell’s ecstasy experience was by-the-book, a golden-lit feeling of warmth and love towards everyone they saw. I got to cry for four hours in a dark room.

Mitchell said, “I don’t think ‘ecstasy’ the word actually means ‘ happy’. It’s not just about being ‘happy’, Sheila. I don’t think it’s that literal.”

Naturally I dragged out my dictionary.

According to the American Heritage Dictionary, “ecstasy” is defined as follows:

A state of exalted delight in which normal understanding is felt to be surpassed: allay thy ecstasy: “In measure rein they joy” (Shakespeare)
A state of any emotion so intense that rational thought and self-control are obliterated: an ecstasy of anger
The trance, frenzy, or rapture associated with mystic or prophetic exaltation (Mid-English extasie, from Old French, from Late Latin exstasis, ecstasies, from Greek ekstasis, from existanai, to displace, drive out of one’s senses).

The first definition was what I expected, the traditional response, but #2 and #3 come close to actually expressing my experience, #2 especially with its “emotion so intense that rational thought and self-control are obliterated“.

I was the only one crying for four hours, it is true, but the surrounding warmth, the feather-light-brushing-off of my tears from that kind guy, helped me to feel that whatever I was going through was part of their experience as well. I was not an anomaly. I was not wrong. My tears, although excessive, were indeed an event where “normal understanding is felt to be surpassed.”

I never did ecstasy again. There is only so much “frenzy and rapture” one person can take.

I never cried that intensely again, either, about my ex-boyfriend, not even when he went ahead and married that new girlfriend the following year. My crying jag was a condensed and necessary catharsis, leaving me totally purged of the leftover ghosts.

So.

If you want to know who I am, you can just ask. I’d probably answer something like:

I am the type of person who does ecstasy, and afterwards looks up the word in the dictionary in order to verify the etymological roots of my experience.

2026 COMMENTARY
I had to bite my tongue multiple times re-reading this, wanting to inject present me into this. I’ll save that for end-notes. The majority of my personal posts (well, everything I write is personal, but I mean story-time posts like this one) were written pre-2013-diagnosis, a life-changing and life-saving event. And so I was pouring out these stories without a crucial piece of the puzzle, and the missing piece explains so much (in retrospect). I chalked up my ecstasy response to basically starving myself for a year, while also running multiple miles every day … and of course this was part of it. I assign my exploding libido to going off the pill, and of course that was part of it … but all of these things probably have to do with what I now believe was a year long – truly glorious, honestly – manic “episode”, after a year of in-and-out dissociation and anguish … I busted out of what I considered to be the chains of a monogamous relationship, my first, and the freedom launched me up, up, up. Anyway, this is one thing that comes to mind when I read this piece, and so many others. Like, I have no idea what I’m actually going through. At the time I wrote the piece in 2010, I just knew I had periodic “bad times” (my name for them since I was in high school – the first “bad time” was 7th grade), and I knew I just had to make it through the “bad time” (they usually lasted 3 months). I didn’t make the connection in 2010 and neither did my lazy-ass therapist. So re-reading this, I can see what I was actually struggling with in the past and I feel sad for my oblivious younger self. Hard hard times are ahead. You can’t believe how hard it’s going to get, younger Sheila. Sorry about that.

Last summer, I reconnected with the ex-boyfriend who wrote the break-up letter as described here. We had an epic 6-hour meetup at a local seafood place where we had had multiple dates back in the day. I hadn’t seen him since 2011 when our mutual friend Brett died. He reached out in 2025, wanting to get together. After all these years, I hesitated but then was like “fuck it” and so glad I said “fuck it”. A process of reclamation and post-mortem discussions has been going on, and we are fully back in touch, I’ve been to his house for dinner, we met up halfway between our abodes and had drinks, like it’s been totally unexpected and surprisingly great. I realized: Well, there’s a reason we put each other through so much torture back then. We really loved each other as friends. We were saying goodbye to a friend. And so I forgive my younger self. I wasn’t stupid or overly attached. He was a good friend and I was going to miss him. Valid. ANYWAY, during our 6-hour slightly soused conversation, in the sun, overlooking the beach, I told him the X story, and the role his letter played in it.

And we DIED laughing. Me saying, “Wow, I feel NOTHING when I read the letter, I am FINE”. Cut to me clutching the porch railing and crying for four hours, high as fuck. It struck us as absolutely hysterical. Oh, and he told me HIS story of the first time he did x and, of course, he had a by-the-book golden-lit-warmth experience. Typical.

I could never have predicted the full-circle moment of it all when I wrote this piece in 2010.

And finally: I still love Jellyfish. I wish they were still around. Every song is great, and every song launches me back into this very specific sliver of time, when I was free as a bird careening around in space, living exactly as I wanted to live, with nothing tying me down. Where having fun was priority #1. At last. Jellyfish was the soundtrack. Resurrecting this post inspired me to listen to Spilt Milk again, start to finish. It holds up.

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Jackson State choir pays tribute to Dolly

I’ve spent the last three days watching choirs from around the world pay tribute to Dolly. I’ve loved hearing all the different arrangements. Yesterday I tripped over a clip on Instagram, the Jackson State University choir singing “Light of a Clear Blue Morning”. I went to find the clip on YouTube so I could embed, and failed – but I did find a clip of the choir singing the song at their spring concert.

The arrangement is absolutely breath-taking. Those bass-line boys: “clear blue morning clear blue morning” … the arrangement completely deconstructs the song, without sacrificing the message and the meaning. In fact, the deconstruction intensifies the “meaning”, and the feeling.

Dolly wrote a number of songs that sound like they were made in heaven. Her voice was heavenly. “Touched”, as they say.

There’s a reason “Light of a Clear Blue Morning” is a fan favorite, and has been in heavy rotation in all the tributes. Because it consoles and soothes, it strengthens and heals. This, though … what Jackson State has done is different: the arrangement is so technical, with all these little separate parts, but together they are divine. The clear blue day filled with the sound.

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Everything’s gonna be all right, it’s gonna be okay

Hannah Dasher, a new country artist I adore, whose aesthetic is clearly inspired by Dolly, posted a pic of Dolly on her Instagram with the following note: “now y’all quit blowing up my phone and check on your gays.” Which is how I feel too. I spent yesterday afternoon checking in on my gays, crying with them.

The loss is big and it’s hard to talk about. We knew this day was coming but you can’t be prepared for the reality. It’s like a light turned off somewhere.

Which makes me think of the final stanza of Auden’s difficult poem “The More Loving One”:

Were all stars to disappear or die,
I should learn to look at an empty sky
And feel its total dark sublime,
Though this might take me a little time.

We just need a little time to get used to this. To a world without Dolly.

We need to be there for each other, check in with each other, help each other. Dolly would want us to. She showed us how.

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From the archives (2011): How We Talked

1.
Me: [maybe a month in] “I just mentioned that song to you – and now it’s playing on the radio! Isn’t that so weird??”
Him: “Not weird at all. Sheer coincidence.”

2.
Him: [3 or 4 years in] “What’s going on?”
Me: “Nothing.”
Him: “You’re looking around in this insecure way…”
Me: “No I’m not.”
Him: “Yes you are. You should never have that look on your face when you’re with me.”
[I don’t remember what was going on with me but we were in public, at a bar, and – in retrospect – I was dissociating.]
Him: [speaking to me like I was slow, or hard of hearing:] “I don’t have another you, you know.”

^^ He really did have his moments.

3.
Me: [5 or 6 months in] “How was your Thanksgiving?”
Him: “It was all right.”
Me: “Not good, huh.”
Him: “Well – clearly I have issues.”
[Backstory: I overused the word “issues” at the time, usually in combination with the word “clearly”, and this drove him crazy, and he would make fun of me when I would talk about how “clearly” I had “issues”. So when he said this, totally naturally, showing he had absorbed my phrasing, I burst into laughter.]
Him: “What did I just say?” [Then he got it:] “No! I don’t have ISSUES. I have PROBLEMS.”

4.
Me: [2 years in, maybe, 3 a.m. or something, sobbing hysterically for 15 minutes, or, half an hour, I don’t know, it was a big crying jag. This happened a lot. He was on the front lines with everything going on and we didn’t even know what it was.]
Him: [totally calm, not freaked out, smoking a cigarette, arm around me] “Come on now. Stop that.”

5.
Me: [2 years in, walking into the bar with a new and radically different hair cut and color]
Him: [taking in the change] “Are you breaking up with me?”
Me: “What??”
Him: “A girl changes her hair and I know I’m toast.”
Me: “That’s stupid.”

6.
Me [11 years in. I mean, this is insane]: “You went like this: ‘Tsk. Tsk. Tsk.'”
Him: “WHAT?”
Me: “Tsk. Tsk. Tsk.”
Him: “WHAT?”
Me: “Yeah. I asked you if I did something wrong and why hadn’t you called me and you ‘Tsk Tsk’-ed me on my answering machine.”
Him: “What a fucking ASSHOLE oh my GOD.”
Me: “No! It was amazing, actually.”
Him: “I cannot believe I did that to you and I cannot believe you didn’t read me the riot act.”
Me: “I felt like you were telling me to calm down and get my head straight about our thing.”
Long pause.
Me: “Subliminally, I mean.”
Long long pause.
Him: [almost awestruck] “That is the most generous interpretation possible for me being a hungover dick.”
Me: “That’s not what you were saying?”
Him: “No! I was being an asshole and you were on the other end going ‘Okay, so what that means is … I need to stop reading Kierkegaard and start reading The Tractatus.’” [I am still laughing. He wasn’t wrong.]
Me: “But I was right, though, wasn’t I.”
…….
Him: “Yeah. You were.”
(This whole exchange deserves its own post some day.)

UPDATE 8/12/2026: I finally got it done. It only took 15 years – and a pandemic – for me to finally create the space to write about the “tsk tsk tsk”.

7.
Him [on our third date]: “I like what you’re about.”
Me: “You do?”
Him: “I keep waiting for you to have problems with me.”
Me: “Wait, what?”
Him: “I don’t know. Everyone has problems with me. Women especially.”
Me: “Why?”
Him: “I’m not saying everyone’s wrong. People have problems with me for all kinds of valid reasons. But you don’t have any problems with me.” [with a look of wonder and confusion on his face].
Me: “I don’t have any problems with you.”
Him: “I know. Why not?”
Me: “I’m sick of this conversation.”

Intellectually I know why people “had problems” with him, even though he didn’t really elaborate. We’d only been out a couple times. I understand now what was going on. People “had problems” with me, too. Men especially. And I’d say for similar reasons, even though this is evident to me only in retrospect. We were both too wild for prime time. We were un-date-able, not because we were horrible people, but because we were wild and even a little bit skittish about “romantic” attachments. People were drawn to the Wild in us, and then tried to get us to tone it down, blaming us when we couldn’t do it. Anyone who tried to date either of us in a conventional way was asking for trouble. I’d just gone through something like that when I met M. And … we were so young but we somehow didn’t put that trip on each other. At least this is my assessment now. I think about this moment a lot: him clocking the “me” part of the equation this early on, only three dates in. He looked at me with this weird wince, like, “is this a trap?” He couldn’t believe I was just … “okay” with him as he was. (And honestly, I felt the same way. It was this weird little miracle in the middle of what was supposed to be a hook-up.) And he said this shit out loud, whereas I never would have.

8.
Him: [3 years in] “Want to see my imitation of a circus horse?”
Me: “Of course.”
He transforms, and prances around me, a circus horse, and I am weeping with laughter.
Him: [as circus horse] “The key is to not make your arms the front legs, but to just use your legs. The problem with my circus horse, though, is that it sometimes looks like a velociraptor.”
Me: [suddenly seeing the velociraptor] “Yeah, that is a problem.”

9.
Me: [3 years in] “I got a tattoo!”
Him: “While you’re sick? That’s so stupid.” [I had a fever of 103. “Burning up” was an understatement. I was in an altered state and had no health insurance.]
Me: “Peel off the bandage so you can see it.”
Him: [pulling down the bandage on my back. Long silent contemplation of my phoenix tattoo. I FELT the disapproval emanating through my back.]
Me: [in tears, randomly, I blame the fever] “Don’t be mad at me.”
Him: “Your skin is hot. Come here. I had an idea.”
[He led me to the bathroom where he basically had prepared a cold plunge for me in the tub with bags of ice from the liquor store downstairs. He helped me take my clothes off and put me in the tub. I shivered and protested, twisting around so my tattoo wouldn’t go under. I kept saying, “Don’t get my tattoo wet” and he’d say some cranky thing like, “This is why people shouldn’t get tattoos.” His roommate – a very nice funny guy who eventually ended up on a hit TV show – was in his room the whole time and was probably like, “What are those two idiots doing NOW.” I got out of the tub, a shivering wreck, and he put me into one of his T-shirts, tucked me in, and I slept the sleep of the peaceful and the blessed. I wrote a piece about this night.]

10.
Me: “Give me the keys to your car. NOW.”
Him: “There are traction issues you can’t understand.”

11.
Him: [3 years in? He briefly and almost off-handedly filled me in on the awful thing that happened to him in high school, which – unfortunately – I already knew, through gossip in the close-knit theatre scene – someone saying, “you know what happened to him, right?” But before this was passed on to me, I saw evidence of something bad the first time we got naked. I asked him about it and he said, “It’s nothing” when it obviously was not nothing. Even after the gossip-train filled me in, I of course didn’t push him to tell me. I mean, never would I ever. If he wanted to tell me, great. But it was his story to tell. Suddenly he told me the whole thing and I pretended I didn’t know, and just listened. Something soft/concerned must have been on my face because he said, forbiddingly:]
Him: “You are never allowed to feel sorry for me.”
Me: “Okay I won’t.”

And I didn’t.

12.
Him: [a couple months in] “I had some gumbo once. It was really good. You remind me of that. You are some really good gumbo.”

13.
Me: [9 or 10 years in] “What’s the first thing you think of when you think of me?” [Pause.] “It’s fine if you can’t think of anything.”
Him: “I mean, I know what it is.”
Me: “What?”
Him: “… It’s really bad.”
Me: “Bad??” [suddenly filled with terror]
Him: [really hesitating. He never hesitated. I didn’t know what was going on. He started a defensive monologue:] “I know that you are a three-dimensional person. You are more than this. You are a full human woman person.”
Me: “What is going on.”
Him: “It’s really bad that this is the first thing I think of when you come into my head.”
Me: “Tell me right now.” [thinking: what the hell did I do? what could it be?]
Him: [he tells me. He’s actually legitimately embarrassed, which surprises me. Like he thinks I’m going to be insulted that the first thing that comes into his head is a sex moment from 8 years before. Meanwhile, this former teenage wallflower was stunned and thrilled at living in his head rent-free as some sex-bomb. It’s the best answer! He’s never embarrassed but he seems embarrassed when he tells me.] “I know. It’s really bad.”
Me: “Are you kidding me? This is the best moment of my life.”
Him: “That’s not how I think of you, or all I think of you. But you asked.”

And glad I did. Because I never would have assumed.

14.
Him [3 years in]: “I know sign language.”
Me: “Why am I just learning this now?”

15.
Me: [4 years in, these words flew out of my mouth without planning] “I love you.”
We freeze in place.
Me: [quickly] “Don’t worry.”
Him: “I’m not.”
Me: “Okay.”
Him: “I love you too.”
Me: “Let’s remain calm.”

^^ lol.

16.
Him: [maybe 6 months in?] “I had an audition today.”
Me: “For what?”
Him: “Some commercial. They needed someone who could do a Mick Jagger imitation and someone saw me ‘do’ Mick at an IO show and recommended me. It’s not like I’m some serious mimic though. I was just fucking around. I go in there and there are all these guys dressed up as Mick Jagger–”
Me: “And you’re wearing …”
Him: “What I’m wearing now.” [white t-shirt, jeans, blue bandana on head]
Me: “Okay. So what happened.”
Him: “I go into the casting room and they’re filming and I start doing my imitation …” [I am already laughing because I am seeing it in my head.] “I’m dancing around and they’re filming me …” [I am in tears.] “And at one point, the casting director – this chubby older woman wearing glasses – shouts at me, [loud raspy voice] ‘WIGGLE YOUR ASS!'”
Me: “She did not.”
Him: “I didn’t want to do it, Sheila.”
Me: “Of course you didn’t!”
Him: “But I turned around and wiggled my ass at her.”
Me: “Oh no.”
Him: “And as I was doing it, I suddenly had this huge feeling of … shame.”
Me: “NO!!”
Him: “I was Coco from Fame.”

17.
Him: “Your armpit should win a beauty contest.”

18.
Him: [2 years in] “Can I ask you something?”
[with a wince, the wince I was very familiar with: the testing-the-waters should-I-tell-her-this vulnerable wince.]
Me: “Of course.”
[gearing up for something terrible since I am a catastrophist, and I assumed it was going to be some horrible revelation. In other words I assumed it was going to be about me.]
Him: “I got a new coffee maker and I read somewhere that you’re supposed to clean it with vinegar so I did that but I think I used too much because my coffee still tastes like vinegar.”
Me: “……”
Him: “Is that normal, do you think? Should I run water through it now? Did I do something wrong?”

19.
Him: [2nd or 3rd date. Early.] “So. What do you want to do?”
Me: [involuntarily twisting up like a pretzel, teeny voice] “I don’t know, what do you want to do?”
Him: [imitating me, little baby voice] “What do you want to do?”
Me: [horrified, infuriated, feeling so exposed, it was a maelstrom and I lashed out, lightly shoving his hand] “That was mean!”
Him: “No. That was even-handed.”
Me: “……”
[I had no reply. I just sat in the mess. I hated my twisted-pretzel response to a simple question about what I wanted to do. I hated being in my own skin. Having a brand new man basically mock me – and imitate my HORRIFIC baby voice – which I didn’t even mean to do – should have made the night unrecoverable. When he said “even-handed”, I felt for a second like he didn’t like me, or – worse – he had contempt for me. As awful as the moment was to endure – I somehow let in what he said. No lies were told. He WASN’T being mean. He handed back to me exactly what I gave him. And it didn’t feel good, Sheila, did it? This moment changed everything for me, I am not even exaggerating. The light dawned from above. What DO you want, Sheila? Just say it, because he’ll fucking do it. (You don’t know it yet, Sheila, but you’ve hit the jackpot. You’ll understand soon. This is a person who wants to know what you want because he wants to give you whatever you want. Say what you want and he will DO it. But it’s up to YOU to say what you want. Be clear. Own it.) After I absorbed the full awfulness of the moment, I started laughing – with a giddy exhilaration I still remember. Which I think surprised him. I said something like, “Wow. You are RIGHT.” And I was so delighted by the whole thing he seemed a little confused, but also maybe relieved? I don’t know. We literally did not know each other at all. But I knew what I wanted to do, explicitly, even though I involuntarily became a pretzel when confronted with the question. Even-handedness was fair-ness and I needed fair-ness. Fair-ness meant space, somehow. Elbow room. If all of this seems like way “too much”, welcome to the world of my early 20s and what it was like to be a traumatized 24-year-old trying to go on a simple date. Whatever this thing with M. was, even on a “what do you want to do” level would be a co-creation. This was the start of me being totally free and totally unambiguous when saying what I wanted. He wanted to know what I wanted. There were no wrong answers. This was freedom. I shed a skin with this “even-handed” exchange. The experience was NOT pleasant but it had to happen.]

20.
Him [4 years in]: “You’re funny.”
Me: “You’re just realizing this now?”
Him: “No, I mean, you’re really funny.”

21.
Setting the scene: a crowded improv bar, maybe a month in: I am sitting with him, surrounded by all of his friends. I was a new factor for all of them, and they were all very curious about me, since none of them knew me or even knew of my existence probably. One of his best friends – who, I can’t help it, now has an Academy Award, was watching our dynamic like a hawk. Future Oscar winner said, ““Do you guys want to … talk to each other? ….. Or anything … like that …?” He was making a bit out of how we were sitting next to each other but not interacting – at least not to the naked eye.
Him and me, simultaneously: “Oh, we’re fine.”
Him: “That’s not what we’re about.”
Me: “We don’t really talk.”
Him: [taken aback, maybe even embarrassed] “What do you mean? We talk.”
Me: “Yeah, but it’s not like we’re all ‘getting to know you’. That’s what I meant.” [That … doesn’t make it better, lol]
Him: “Well – I think we exist more in the present.”
Me: “Right. I love it.”
Him: “You’re lying.”
Me: “No.”
Him: [Suddenly yelling:] “So don’t give me that We Don’t Talk crap!” [He leaned over and took my entire nose in his mouth.]
This dynamic did nothing to clear up his friends’ confusion. They were all improv guys and comedy writers. They noticed everything. I literally wrote this whole conversation out as a script in my journal the day after it happened so … so I trust the in-real-time reportage.

22.
Him: “What the hell are you wearing.”
Me: “A dress.”
Him: “The skirt is so short I can practically see your Si Señor.”

23.
Me: [A year in, regaling him with a story I thought was funny: a bunch of guys on the L followed me off the train and told me they were going to rape me at the bottom of the stairs. It was the middle of the night and I was headed to a party or a late night show. I was scared to leave the platform so I went to the pay phone and called my drag queen friend who lived nearby, telling her the situation, and she flew out the door and came roaring to the rescue. Because nobody – literally nobody – is tougher than a drag queen. By the time she arrived, the rape-threateners had, of course, scattered. I should never have told M. this story but I thought – wrongly – he would get a kick out of it. He reacted very very badly to the story.]
Him: “What the fuck were you doing on the L train in the middle of the night wearing fishnets?”
Me: [totally thrown off by his humorless intensity] “I wasn’t thinking.”
Him: “No shit you weren’t thinking. Why didn’t you call me?”
Me: “I …” [thinking: never in a million years would I have called you from that L platform.]
Him: [not amused, not charmed, unshakably pissed]: “If I ever find out that you’re almost raped on some fucking L platform and you don’t call me to come get you, I’ll never speak to you again.”
Me: “I’m sorry.”
Him: “It’s bullshit.”
Me: “Okay, I’m sorry.”
[Flailing pause, things are not okay.]
Me: [meek] “I thought it was funny.”
Him: “It’s not funny.”
Me: “Okay, okay.” [the realization dawned: “oh my God he actually cares about me.” Flood of warm fuzzy feelings. lol We’ve had a year of shmexy shenanigans but it took him yelling at me for me to realize “oh my God, he likes me.” This is the truest anecdote I can share. If you’re confused, I can’t help you.]

24.
Him [10 years in]: “Sheila, you could write a novel about the last 5 minutes.”

25.
Him, [3 years in, writing in my notebook]: “Trust is more important than true love. I don’t trust anyone. But I trust you.”

26.
Him [2 years in, 4 a.m.]: “I feel like there’s not a word evolved enough for what we are.”

Thoughts: This relationship is a very important part of the narrative of my life but we never called it a relationship and writing down “how we talked” is a little startling. Just seeing it in black and white. We sometimes went 2 or 3 months without seeing each other. To be honest, if we spent more than 3 days in a row with each other, the bickering got to be so constant we had to retreat to our corners. Less was WAY more for us. We had a huge fight maybe 2 years in and I stormed off through the icy winter night and we didn’t talk for months. For the last couple of years we lived 3,000 miles apart, engineering meet-ups whenever we could. We weren’t monogamous. We didn’t label it. None of that mattered. There are things about me that only he knows. To this day. And, not to sound like some Dickensian orphan or anything, but I have not been treated well by men. I’ve been treated with a LACK of care, let’s say. I don’t write about this a lot, it’s not the narrative I have chosen to tell – to others OR to myself – and this post really isn’t about that, ultimately. I can take care of myself now but back then I was constantly getting re-traumatized because I was only 24 when we met and I didn’t know how to take care of myself yet. He wasn’t a trauma counselor, he had no idea what he was doing. He didn’t even seem “right” for the job. He wasn’t overtly “sensitive”, his default emotional state was “cranky”. He was tough, he was taciturn (really the perfect word), he drove a muscle car. I’d describe his whole personality as “cranky old geezer in a young man’s body”. He never lied. Which sounds great, but it can be pretty rough, being around that unfiltered bluntness. On the flip side, the no lying meant no mind games. And he also had his own trauma. Neither of us were sharing our traumas off the bat. It took years. But he paid attention, he noticed everything. I’d blink a millisecond slower than normal, and he’d be like, “You good?” (This was not always welcome. I’d be like, “Oh my GOD I’m GOOD STOP.”) It took me years to really understand how much care M. took with me – to make sure I was okay, make sure I was present – and just how much of a difference this has made in my life. I honestly didn’t understand at the time. I mean, look at what we were doing. It’s obvious to me NOW. It took me years to realize it was obvious to him back then.

2026 Update: I was looking for something in my archives and tripped over this piece. I don’t remember writing it. 2011 was a wild year. I might have written 200,000 words in that year alone. And it was before Ebert, before anything. 2011 was the start of the Elvis Thing. And in the middle of it was this. I might start resurrecting some things from my archives on occasion, since there’s so much there.

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I have watched this 20 times

Tripped over this thrilling performance on Instagram the other day and sought it out on YouTube. This is the RB Dance Company. Song: “Human”, by Rag’n’Bone Man.

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“You can understand a lot about yourself by working out which fairytale you use to present your world to yourself in.” — A.S. Byatt

I didn’t mark the passing of A.S. Byatt last year when it happened. I was overwhelmed with work at the time. But I did take a moment … a very still and silent moment … to reflect on her, on what her work has meant to me, what it has given me, the years and years I was lucky enough to experience, years where she was an active and prolific writer, putting out a book every year or so. A new AS Byatt was something to look forward to. I read it all, even her more obscure books, about Coleridge and Wordsworth, about literary history, her published “talks” on storytelling, fairy tales, myths … all of which she incorporated gorgeously in her fiction.

She is a rigorous read, and I love a rigorous read.

It’s her birthday today.

More, much more, after the jump.

Continue reading →

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“I like to sing to women with meat on their bones and that long green stuff in their pocketbook.” — Wynonie Harris

It’s the birthday today of the influential blues shouter Wynonie Harris.

I’ll hand the microphone over to Nick Tosches, because why would I bother to try to add to it? Tosches devoted a chapter in his book Unsung Heroes of Rock ‘n Roll to this hugely important figure. When Harris was hired by bandleader Lucky Millinder in 1944 to replace Rosetta Tharpe as his lead singer, Harris was already a “local sensation” (in whatever locale he visited, that is. He very quickly dominated any market he performed in). Millinder represented a break for him but very quickly (immediately, really) he moved from hired hand to headliner. He was BIG. Harris was a thrilling performer, he used everything he had, a real blues shouter, full-body performance (someone once said Elvis’ shenanigans were mild compared to Harris).

Tosches starts the chapter with this very Tosches-esque line:

We know that rock ‘n’ roll was not a human invention, that it was the work of the Holy Ghost.

Oh Tosches, never change.

Harris started in the 1930s, “hit” in the 1940s, and then watched as the new decade rolled through, and “rock” became a “thing”, or – put another way – it got a NAME, but he had already been DOING it. You can’t blame him for pointing at all the youngsters saying, “I WAS DOING IT FIRST.” His time with Millinder was short, but they recorded two songs for Decca, both of which were hits, especially “Who Threw the Whiskey in the Well?” (recorded in 1944 and released in 1945)

Harris was too big to be contained, too wild to control. He recorded with a bunch of different labels before signing with King. Tosches again:

The music-business establishment was hesitant in its acceptance of Wynonie Harris and his vigorously vulgar style of shouting the blues. In its review of his ‘Young, and Wild’, Billboard remarked rather aloofly that the record might perhaps be “Good for the back rooms at the Harlem spots.” But it sold, and that’s what mattered.

Harris was TOO MUCH in all things: he lived fast, indulged in drink, in women, in flashy cars, in bragging: he was the ultimate showman living the ultimate showman’s life. I have a feeling that the recordings – as thrilling as they are – can’t hold a candle to what he must have been like live. He generated audience frenzies. He’d come back to his dressing room and women would be hiding there saying, “Please come home with me.” He often “complied”. Unless they were white women, which they often were. In that case, he would literally hide from them. He didn’t want the trouble. The point is: He was electric!

There’s “Drinkin’ Wine Spo Dee O Dee” – again, covered by everyone in the decades that followed.

There’s the explicit “Lovin’ Machine” from 1951:

In 1948, he recorded “Good Rockin’ Tonight”, which had already been covered by a number of people, but this is the one Elvis heard. Everybody heard it.

Nick Tosches again:

He has been remembered by those who knew him as a wild man, a creature of lurid excesses. Roy Brown, who wrote “Good Rockin’ Tonight,” recalled that “He’d walk into a bar and shout ‘Here comes the blues!’ He was wild. He’d jump off the bar and say, ‘Man, I’ll eat you up!’ He was like that. He got shot through the head, he got shot through the ears, he’d get beat up, but he didn’t mean no harm.” (For the record, the only shooting injury sustained by Harris was one in the hand, inflicted by an irate cuckold.)

So that’s how it was.

There are some pretty funny quotes about Harris in that Tosches chapter from those who knew him. “He was very loud and very vulgar.” “This man was a concept. Hell, he was too much.”

The music “developments” (mild word for a chaotic explosion) in the 1950s changed the present, altered the future, and erased the past. It has taken decades of work to rebuild the eradicated timeline, to place things in their proper context, to restore important figures to their rightful spot. History sometimes happens this way. Mythologies erected themselves overnight. A hierarchy was quickly created, almost organically. That hierarchy had great staying power. Which means that massively important figures like Rosetta Tharpe and Wynonie Harris were in many ways forgotten for decades. Nobody was “thinking” about this AS it was happening (or, they were, but what they were thinking was: “How long can I ride this wave?” “What do I need to do to keep myself in the game?”) What I’m trying to lead up to is, the great Wynonie Harris fell into obscurity almost overnight, a casualty of the craziness. The way it all played out in the ’50s, the explosion of rockabilly (“rise” is too calm a word) didn’t leave room for anything that WASN’T part of the initial whirlwind. The rupture was so violent nothing survived from “the time before” (meaning: last week). And so Wynonie Harris vanished. He kept recording. He kept performing. He drank himself to death. It’s a sad story. He said things like “I like this Elvis kid, but you should have seen what I was like.”

I wish I had, Wynonie!!

 
 
Thank you so much for stopping by. If you like what I do, and if you feel inclined to support my work, here’s a link to my Venmo account. And I’ve launched a Substack, Sheila Variations 2.0, if you’d like to subscribe.

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“I try to lie as much as I can when I’m interviewed. It’s reverse psychology. I figure if you lie, they’ll print the truth.” — River Phoenix

It’s his birthday today.

Just as I will never get over Kurt Cobain’s death, and will never stop missing him and wondering what he would be doing now, I will never get over River Phoenix’s death. Losing the two of them in the space of six months was a mile-marker for my generation. I will never stop missing both of them. I will never stop wondering “What would River Phoenix be doing now? What kind of roles would he get? What kind of middle-aged actor would he have grown into?”

One of the most popular and well-trafficked post in the history of my site – people are still finding it, still leaving comments – is the conversation Matt Seitz and I had about Dogfight.

Dan Callahan is eloquent on River Phoenix in his book The Art of American Screen Acting, vol. 2, and we discussed it when I interviewed him.

Keanu Reeves and River Phoenix, 1991, for Interview magazine:

From interview with the two actors in Interview magazine, 1991:

KR: Um, who knows? I really would like to do Shakespeare with River. I think we’d have a hoot. We could do A Midsummer Night’s Dream or Romeo and Juliet.

RP: I’ll be Juliet.

Posted in Actors, Movies, On This Day | Tagged | 6 Comments

“Good friends, let’s to the fields.” — Edgar Lee Masters’ epitaph

Edgar Lee Masters (born on this day) was a lawyer (one of his law partners was Clarence Darrow!) and a poet. He published a couple of books and biographies (one of Walt Whitman, a poet he admired). He was no slouch. But a major poet? No.

However, he ended up writing a series of poems told from the point of view of the dead citizens of a small town called Spoon River (Spoon River Anthology) that has to be one of the most popular books of poetry of all time. Edgar Lee Masters has a kind of success that most poets can only dream of.

Like so many poets of this era, one name appears in the biography as essential: Harriet Monroe, founder and editor of Poetry magazine. She published so many new people, people who couldn’t find homes for their work in more traditional magazines. Masters sent her his Spoon River poems, and she eventually helped him put it all together in a book, and publish it. It was an immediate success. It struck a chord. It still does.

Edgar Lee Masters would not have been known if he hadn’t taken on the job of “mimic”, or “mouthpiece”, whatever you want to call it. What happens in these “Spoon River” poems is you hear specific voices, cadences, accents, emotions, these people are raw. They have nothing to hide. They’re dead. They are dead, yes, but they plead with us, the living, to hear their stories, to understand what happened. They plead with us, for retribution, forgiveness. They reach out from beyond the grave, trying to either make things right, or be heard, or to defend their horrible actions. Death has NOT been a release for these people. None of them sit in the blessed light of Jesus, forgiven and peaceful. The afterlife is a bleak place writhing with unfinished business.

Masters imagines his way into another person’s psyche, and then speaks AS THEM. That is his gift. He is a mouthpiece. Being a great mouthpiece means you have an even better ear. You have to listen well to be a great mimic. If he had been writing verse about the beautiful sunset over his town or the way the river looked at dawn or about his childhood memories, we’d never be anthologizing him. Spoon River Anthology put him on the map. It was a success during his lifetime, too. He didn’t have to wait until after his death to have his say.

One of my great acting teachers in college, Kimber Wheelock (tribute to him here) had us pick out poems from “Spoon River” to work on as dramatic monologues. It’s a great assignment for student actors since every poem is filled with character details, back story, objectives, secrets, lies, catharsis. The most important question an actor has to know how to answer: Why am I saying this? Why do I NEED to say this? (whatever it is) – is so present in Spoon River, I mean that’s what they’re all about. You have one chance to say what you need to say from beyond the grave: what will you choose, and why? Those “Spoon River” classes were gratifying work, and I still remember which one I chose, poor cross-eyed Minerva Jones. I was 18 when I worked on this in class. I can still recite it by heart.

Minerva Jones

I am Minerva, the village poetess,
Hooted at, jeered at by the Yahoos of the street
For my heavy body, cock-eye, and rolling walk,
And all the more when “Butch” Weldy
Captured me after a brutal hunt.
He left me to my fate with Doctor Meyers;
And I sank into death, growing numb from the feet up,
Like stepping deeper and deeper into a stream of ice.
Will someone go to the village newspaper
And gather into a book the verses I wrote?–
I thirsted so for love!
I hungered so for life!

Here’s the thing: You cannot “phone in” those two final lines. They must be real, they must come from a real place. Masters’ gift was capturing all of the griefs/anger/seething resentments of small-town America, and by breaking it up into small chunks like that, by the end of that book, you have a full tapestry. No matter who you are, where you come from, you will find a little bit of yourself in Spoon River Anthology. It might be spread out over 5 or 6 poems – you relate to a little bit of this one, a little bit of that one … and taken on as a whole, it starts to feel like he has somehow captured all of humanity in it.

Each poem is a whole world in miniature. People are naming names, man, after death: they want us to know WHO did this to them, who hurt them, who betrayed them. Each voice is specific, you can hear the old men, young girls, frumpy housewives, mechanics, the local doctor. Edgar Lee Masters had a unique ear: he could hear everybody.

If any of you out there are acting teachers of beginning actors in the age-range of, oh, 17 to 22 … consider using Spoon River Anthology as a source of monologues for your class. Or read the book yourself, and assign a poem to each person, based on what you know about that person, what they might need to work on, etc. I would say any younger than 17 would not be good, because of the subject matter of the poems. But it’s a great acting exercise, a great way to exercise the imagination of young actors. They are also great to teach what it means by “high stakes”. People, in general, don’t want to live in a state of “high stakes” all the time, and actors are no different. There isn’t a poem in the collection where the stakes are not sky-high.

I mean, here it is 25 years later, and I still remember “I thirsted so for love, I hungered so for life!”

Here is another poem from Spoon River Anthology:

Elsa Wertman

I was a peasant girl from Germany,
Blue-eyed, rosy, happy and strong.
And the first place I worked was at Thomas Greene’s.
On a summer’s day when she was away
He stole into the kitchen and took me
Right in his arms and kissed me on my throat,
I turning my head. Then neither of us
Seemed to know what happened.
And I cried for what would become of me.
And cried and cried as my secret began to show.
One day Mrs. Greene said she understood,
And would make no trouble for me,
And, being childless, would adopt it.
(He had given her a farm to be still. )
So she hid in the house and sent out rumors,
As if it were going to happen to her.
And all went well and the child was born — They were so kind to me.
Later I married Gus Wertman, and years passed.
But — at political rallies when sitters-by thought I was crying
At the eloquence of Hamilton Greene —
That was not it.
No! I wanted to say:
That’s my son!
That’s my son!

I will close out with this moment in Radu Jude’s masterful 2021 film Bad Luck Banging or Loony Porn – a vicious lamooning polemic – filmed at the height of the pandemic, and a perfect distillation of every single stupid thing happening in our current world. So there’s this. “Timely.”

QUOTES:

Edgar Lee Masters’ full epitaph:

Good friends, let’s to the fields …
After a little walk, and by your pardon,
I think I’ll sleep. There is no sweeter thing,
Nor fate more blessed than to sleep.

I am a dream out of a blessed sleep –
Let’s walk and hear the lark.

Herbert K. Russell, Concise Dictionary of American Literary Biography on Spoon River Anthology:

The volume became an international popular and critical success and introduced with a flourish what has since come to be known as the Chicago Renaissance.

The Norton Anthology of Modern Poetry:

If one could write true epitaphs, instead of conventional ones, a whole community might appear as it actually was rather than as it seemed to be. These ideas animated Masters’s Spoon River Anthology, his one memorable book in a lifetime of writing.

Ernest Earnest, Western Humanities Review:

It is safe to say that no other volume of poetry except The Waste Land (1922) made such an impact during the first quarter of [the 20th] century.

Edgar Lee Masters, American Mercury:

The names I drew from both the Spoon river and the Sangamon river neighborhoods, combining first names here with surnames there, and taking some also from the constitutions and State papers of Illinois. Only in a few instances, such as those of Chase Henry, William H. Herndon and Anne Rutledge and two or three others, did I use anyone’s name as a whole.

Herbert K. Russell, Concise Dictionary of American Literary Biography on Spoon River Anthology:

[Masters was] the victim of the success of his one enduring achievement, Spoon River Anthology; no matter what he published after it, he could never produce a rival to it, and so each ensuing volume represented a decline. Spoon River Anthology made him famous, but it also contributed to some of the sadness in his life, and it is (to borrow from it) his ‘true epitaph, more lasting than stone.’

Stanley Edgar Hyman, The Critic’s Credentials: Essays and Reviews:

[Spoon River Anthology was a] succes de scandale-—it was the sex-shocker, the Peyton Place of its day. Knowing that childbirth would kill his wife, Henry Barker impregnated her out of hatred. The only feeling Benjamin Pantier inspired in his wife was sexual disgust. Old Henry Bennett died of overexertion in the bed of his young wife.

The Norton Anthology of Modern Poetry:

Masters emphasized later that the book was organized in terms of Hell, Purgatory, and Heaven (on Earth), and it began with the ne’er-do-wells, moved on to mixed, purgatorial types, and concluded with those who had achieved some illumination. The book’s success came in part from the inspired simplicity of its aim. The types of people were familiar; their sly misdoings were those that everyone could recognize their neighbors to be guilty of. The style was not ambitious, but often hit home. Its prosiness allowed for unexpectedly terse phrases inlaid among the slack ones. The solemn reverberations of death mixed with the flamboyant chatter of life.

Carl Van Doren, Contemporary American Novelists:

It was the scandal and not the poetry of Spoon River … which particularly spread its fame.

Amy Lowell, Tendencies in Modern American Poetry:

One wonders, if life in our little Western cities is as bad as this, why everyone does not commit suicide.

Ezra Pound, The Egoist:

At last. At last America has discovered a poet. At last the American West has produced a poet strong enough to weather the climate, capable of dealing with life directly, without circumlocution, without resonant meaningless phrases.

Carl Sandburg in the Little Review:

Once in a while a man comes along who writes a book that has his own heart-beats in it. The people whose faces look out from the pages of the book are the people of life itself, each trait of them as plain or as mysterious as in the old home valley where the writer came from. Such a writer and book are realized here.

The Norton Anthology of Modern Poetry:

Many American poets have sought to embrace all of America. What attracts them is perhaps that the country is so large, sprawling, and hard to handle. This grandiose sensuality goes back to Walt Whitman, who wrote, “I embrace multitudes.” In the twentieth century, America’s chief lovers included William Carlos Williams and Hart Crane. For both, America seemed a center of intense, multifarious feelings. They differ from regionalists, such as Edgar Lee Masters and Robert Frost, whose relations even to their regions were more ambiguous.

Herbert K. Russell, on Lincoln: The Man:

Masters, a Jeffersonian Democrat, was so unfair to his Republican subject that Lincoln: The Man drew some of the most hostile criticism ever leveled at an American biography.

Fred Lewis Pattee, The New American Literature: 1890-1930:

The value of the Spoon River volume lies in its originality of design, its uniqueness, its effect upon its times. Its colossal success started a choir of young poets. Whether we condemn or praise, we must accept it as a major episode in the history of the poetic movement in the second decade of the new century.

Louis Untermeyer, American Poetry since 1900:

With Spoon River Anthology, Masters arrived—and left.

 
 
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“A ‘smartcracker’ they called me, and that makes me sick and unhappy.” — Dorothy Parker

“Oh, good Lord, what’s the matter with women, anyway?”
“Please don’t call me ‘women,'” she said.
“I’m sorry, darling,” he said. “I didn’t mean to use bad words.”
— Dorothy Parker, “Dusk Before Fireworks”

It’s her birthday today.

I cannot tell you how many times, in my life as a writer, I have thought of her words: “I hate writing. I love having written.” Nobody said it better. I feel this every day of my life.

Dorothy Parker, near the end of her life, speaking of the Algonquin Round Table:

These were no giants. Think who was writing in those days — Lardner, Fitzgerald, Faulkner and Hemingway. Those were the real giants. The Round Table was just a lot of people telling jokes and telling each other how good they were. Just a bunch of loudmouths showing off, saving their gags for days, waiting for a chance to spring them. It was not legendary. I don’t mean that — but it wasn’t all that good. There was no truth in anything they said. It was the terrible day of the wisecrack, so there didn’t have to be any truth.

Dorothy Parker was famous for her wit, sharp tongue, and incisive (sometimes brutal) opinions. She spoke and wrote the way her her mind worked: fast, caustic, competitive, and lethal. There are so many anecdotes about her, and who knows if they are all true, but I prefer to believe they are true. Parker could crush an opponent using only language. It may not be a lovable quality, but it is certainly a theatrical and literary quality.

“Gertrude Stein did us the most harm when she said, ‘You’re all a lost generation.’ That got around to certain people and we all said, Whee! We’re lost. Perhaps it suddenly brought to us the sense of change. Or irresponsibility. But don’t forget that, although the people in the twenties seemed like flops, they weren’t. Fitzgerald, the rest of them, reckless as they were, drinkers as they were, they worked damn hard and all the time.” – Dorothy Parker

There is a sadness in Parker’s later interviews, an awareness that she was perhaps pigeon-holed, or she had pigeon-holed herself. Here she is, during an interview with The Paris Review in 1956:

Like everybody was then, I was following in the exquisite footsteps of Miss Millay, unhappily in my own horrible sneakers. My verses are no damn good. Let’s face it, honey, my verse is terribly dated – as anything once fashionable is dreadful now. I gave it up, knowing it wasn’t getting any better, but nobody seemed to notice my magnificent gesture.

Bitter, but making bitterness funny (“magnificent gesture”). A survival skill.

Another quote from the same interview:

I don’t want to be classed as a humorist. It makes me feel guilty. I’ve never read a good tough quotable female humorist, and I never was one myself…There’s a hell of a distance between wisecracking and wit. Wit has truth in it; wisecracking is simply calisthenics with words.

She addresses her central struggle in a short piece called “I Don’t Feel Funny”, written in the annus horribilis of 1939.

I don’t think these are funny times, and I don’t think Franco is funny. I don’t think I can fight fascism by being comical, nor do I think that anybody else can… I know many silly people, because I have known them for years, and I cannot keep my face shut when they talk peculiar idiocy; when they say everybody should keep very quiet and do nothing about anything, or when they shake their heads and sigh that unions are all rackets, or when they murmur, “Oh, well, I’m content to stay in my ivory tower”– oh God, oh God, that dreary ivory tower, the only window of which looks out on the fascist side.

Her short stories are devastating, even when they are funny (and sometimes they are not funny at all): miniature portraits of loneliness and urban life. Single girls trying to survive, living in rooming houses, sometimes succumbing to the dark side, the Edward-Hopper-ian loneliness of the insomniacs, the poor. She’s excellent on the interrelationships of men and women, how we try to communicate, how we fail, how we come to things with different expectations. (Her story “The Sexes,” told only in dialogue – with no narration, no exposition, is quite brilliant.) I love “Arrangement in Black and White,” (a kind of “Radical Chic” story for the 1920s set), “Big Blonde” (probably her most famous short story), “Song of the Shirt, 1941” “Here We Are”. I love “The Banquet of Crow.” Some of her stories are first-person monologues, funny, frantic, stream-of-consciousness (the one about a woman waiting for a man to telephone comes to mind). And throughout are these zingers of lines – lines that blare from the middle of the page with a kind of clarity, announcing the VOICE behind it. A random sampling:

“The young woman was of those unfortunates who remember every word.”
“her bearing had always that calm that only the correctly attired may enjoy”
“her words fell like snow when there is no wind.”
“The men wore the garb they could by now easily call Black Tie. (The steps in social ascent may be gauged by the terms employed to describe a man’s informal evening dress: the progression goes Tuxedo, Tux, dinner jacket, Black Tie.”

“Nobody can write such ironic things unless he has a deep sense of injustice – injustice to those members of the race who are the victims of the stupid, the pretentious and the hypocritical.” – Franklin P. Adams on Dorothy Parker’s short stories

Other sequences I love:

From “The Little Hours”:

Well. This way lies galloping melancholia. Maybe it’s because this is the zero hour. This is the time the swooning soul hangs pendant and vertiginous between the new day and the old, nor dates confront the one and summon back the other. This is the time when all things, known and hidden, are iron to weight the spirit; when all ways, traveled or virgin, fall away from the stumbling feet, when all before the straining eyes to black. Blackness now, everywhere is blackness. This is the time of abomination, the dreadful hour of the victorious dark. For it is always darkest – Was it not that lovable old cynic, La Rouchefoucauld, who said it is always darkest before the deluge?

From “Sentiment”:

I wonder why it’s wrong to be sentimental. People are so contemptuous of feeling. ‘You wouldn’t catch me sitting alone and mooning,’ they say. “Moon” is what they say when they mean remember, and they are so proud of not remembering. It’s strange, how they pride themselves upon their lacks. ‘I never take anything seriously,’ they say. ‘I simply couldn’t imagine,’ they say, ‘letting myself care so much that I could be hurt.’ They say, ‘No one person could be that important to me.’ And why, why do they think they’re right?

Also from “Sentiment”:

“Go out and see your friends and have a good time,” they say. “Don’t sit alone and dramatize yourself.” Dramatize yourself! If it be drama to feel a steady – no, a ceaseless rain beating upon my heart, then I do dramatize myself. The shallow people, the little people, how can they know what suffering is, how could their thick hearts be torn? Don’t they know, the empty fools, that I could not see again the friends we saw together, could not go back to the places where he and I have been? For he’s gone, and it’s ended. It’s ended, it’s ended. And when it ends, only those places where you have known sorrow are kindly to you. If you revisit the scenes of your happiness, your heart must burst of its agony. And that’s sentimental, I suppose.

People who only think of her as a wisecracker haven’t read enough of her work.

“Ah, satire. That’s another matter. They’re the big boys. If I’d been called a satirist, there’d be no living with me. But by satirist I mean those boys in the other centuries. The people we call satirists now are those who make cracks at topical topics and consider themselves satirists – creatures like George S. Kaufman and such who don’t even know what satire is. Lord knows, a writer should show his times, but not show them in wisecracks. Their stuff is not satire; it’s as dull as yesterday’s newspaper. Successful satire has got to be pretty good the day after tomorrow.” – Dorothy Parker

The opening paragraph of “The Banquet of Crow”:

It was a crazy year, a year when things that should have run on schedule went all which ways. It was a year when snow fell thick and lasting in April, and young ladies clad in shorts were photographed for the tabloids sunbathing in Central Park in January. It was a year when, in the greatest prosperity of the richest nation, you could not walk five city blocks without being besought by beggars; when expensively dressed women loud and lurching in public places were no uncommon sight; when drugstore counters were stacked with tablets to make you tranquil and other tablets to set you leaping. It was a year when wives whose position was only an inch or two below that of the saints – arbiters of etiquette, venerated hostesses, architects of memorable menus – suddenly caught up a travelling bag and a jewel case and flew off to Mexico with ambiguous young men allied with the arts; when husbands who had come home every evening not only at the same hour but at the same minute of the same hour came home one evening more, spoke a few words, and then went out their doors and did not come in by them again.

She says in the Paris Review interview:

Mailer’s The Naked and the Dead is a great book. And I thought William Styron’s Lie Down in Darkness an extraordinary thing. The start of it took your heart and flung it over there. He writes like a god. But for most of my reading I go back to the old ones – for comfort. As you get older you go much farther back. I read Vanity Fair about a dozen times a year. I was a woman of eleven when I first read it – the thrill of that line “George Osborne lay dead with a bullet through his heart.” Sometimes I read, as an elegant friend of mine calls them, “who-did-its”. I love Sherlock Holmes. My life is so untidy and he’s so neat. But as for living novelists, I suppose E.M. Forster is the best, not knowing that that is, but at least he’s a semifinalist, wouldn’t you think?

She said once that humor needed “a disciplined eye and a wild mind”. To me, that perfectly describes her verses, which are tight as a drum, the rhyme schemes and rhythms almost a throwback to Longfellow, who writes rhymes so perfect, that they must be read out loud for the sheer joy of them. You can also hear the influence of Edna St. Vincent Millay, particularly in the love lyrics, but Parker’s verses are bitter, angry, funny. There’s so much good stuff to discover in her poetry, not just the usual suspects (the one about suicide is probably her most famous). Also, the TITLES of her poems are unexpected, often driving the point home once you finish reading the poem. A sampling:

A Very Short Song
Once, when I was young and true,
Someone left me sad-
Broke my brittle heart in two;
And that is very bad.

Love is for unlucky folk,
Love is but a curse.
Once there was a heart I broke;
And that, I think, is worse.

Anecdote
So silent I when Love was by
He yawned, and turned away;
But Sorrow clings to my apron-strings,
I have so much to say.

Unfortunate Coincidence
By the time you swear you’re his,
Shivering and sighing,
And he vows his passion is
Infinite, undying –
Lady, make a note of this:
One of you is lying.

Comment
Oh, life is a glorious cycle of song,
A medley of extemporanea;
And love is a thing that can never go wrong;
And I am Marie of Roumania.

Men
They hail you as their morning star
Because you are the way you are.
If you return the sentiment,
They’ll try to make you different;
And once they have you, safe and sound,
They want to change you all around.
Your moods and ways they put a curse on;
They’d make of you another person.
They cannot let you go your gait;
They influence and educate.
They’d alter all that they admired.
They make me sick, they make me tired.

Bric-a-Brac
Little things that no one needs —
Little things to joke about —
Little landscapes, done in beads.
Little morals, woven out,
Little wreaths of gilded grass,
Little brigs of whittled oak
Bottled painfully in glass;
These are made by lonely folk.

Lonely folk have lines of days
Long and faltering and thin;
Therefore — little wax bouquets,
Prayers cut upon a pin,
Little maps of pinkish lands,
Little charts of curly seas,
Little plats of linen strands,
Little verses, such as these.

Harriet Beecher Stowe
The pure and worthy Mrs. Stowe
Is one we all are proud to know
As mother, wife, and authoress-
Thank God, I am content with less!

Fulfillment
For this my mother wrapped me warm,
And called me home against the storm,
And coaxed my infant nights to quiet,
And gave me roughage in my diet,
And tucked me in my bed at eight,
And clipped my hair, and marked my weight,
And watched me as I sat and stood:
That I might grow to womanhood
To hear a whistle and drop my wits
And break my heart to clattering bits.

Two-Volume Novel
The sun’s gone dim, and
The moon’s turned black;
For I loved him, and
He didn’t love back.

The Lady’s Reward
Lady, lady, never start
Conversation toward your heart;
Keep your pretty words serene;
Never murmur what you mean.
Show yourself, by word and look,
Swift and shallow as a brook.
Be as cool and quick to go
As a drop of April snow;
Be as delicate and gay
As a cherry flower in May.
Lady, lady, never speak
Of the tears that burn your cheek-
She will never win him, whose
Words had shown she feared to lose.
Be you wise and never sad,
You will get your lovely lad.
Never serious be, nor true,
And your wish will come to you-
And if that makes you happy, kid,
You’ll be the first it ever did.

And finally:

Oscar Wilde

If, with the literate, I am
Impelled to try an epigram,
I never seek to take the credit;
We all assume that Oscar said it.

“I hate almost all rich people, but I think I’d be darling at it.” – Dorothy Parker

 
 
Thank you so much for stopping by. If you like what I do, and if you feel inclined to support my work, here’s a link to my Venmo account. And I’ve launched a Substack, Sheila Variations 2.0, if you’d like to subscribe.

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