John Ono: One

This is one of those experiences that is impossible to describe. Just a manifestation of my desire to connect with a meaningful God? You decide.

After much anticipation, I finally went and saw Nowhere Boy, the movie (drama, not documentary) about John Lennon's youth and his troubled relationship with his Aunt Mimi (who raised him) and his mother Julia, an unstable but charming woman who gave him up due to complicated circumstances. At the same time, the musical ferment that gave rise to the Beatles begins to bubble and seethe. John starts a crude, amateurish "skiffle" group (Liverpudlian folk/rock), of which he is definitely the leader, though his guitar skills are poor, and his classmates from art school are worse.
Then he meets a baby-faced 15-year-old named - well, do I need to tell you? Paul holds the guitar left-handed, and plays rings around everyone else. Jealous, John at first turns him away, but soon starts to work on his skills with him.

The movie was slow to start, and the actor who played John (not a name I'd heard of) was not very convincing at first, as he seemed sort of passive. But as the story unfolded, you bought him more and more. When he picked up a guitar, a fierceness came over him, and by the end I was thinking, that's John Lennon.

Of course we know what will happen. John's wayward Mum Julia dies at the end, hit by a car, just as she is making peace with the family. Paul has just lost his mother to cancer, so now they are brothers in nearly every sense.

The movie was powerful, and I was quite moved to see Yoko Ono listed as a consultant in the credits, which kept it honest. It was reviewed as a "kitchen-sink drama a la Coronation Street", and it did have elements of that. But Kristin Scott Thomas as Aunt Mimi was spot-on perfect in establishing sympathy for an unsympathetic character. She deserves an Oscar for her courage and skill.

But the weird thing happened at the end. During the credits I started to cry unexpectedly, then I was really sobbing. Fortunately, nearly everyone had left. Then I felt this - I will try to describe it. A "presence" behind a sort of screen or very thin veil. It was slightly to the left, about halfway between me and the front of the theatre, and angled a little bit, slightly diagonal. Something like very thin gauze, or a translucent veil. I heard a voice without words that conveyed something very powerful. In essence it said, how can you not believe in me when I am right in front of you? You have stopped believing in a God, and yes, that God may not be in a church, but he's right here, Margaret, right here (indicating my chest) in your heart.

I was stunned and doubtful and electrified and wondered what it really meant, but I was not going to turn it away. It wasn't the first time I've had experiences that I can only describe as psychic, but I wondered what in the world this "voice" (undoubtedly his) would ever want with a nothing like me. The presence was so large it filled the whole theatre and extended past the walls. I can't really describe what it was like. Any words seem wrong or inadequate. I finally left and went to the ladies' room (fortunately empty) and just sobbed and sobbed, wondering if this was somehow connected to my brother Arthur's death in 1980, only two months before John Lennon was shot and killed.

I never expected this, didn't want or need or call for a lesson in theology or the true nature of God or whether or not we survive our bodies. In fact, I'd just about given it up. I was beginning to think we just die, get put under the ground, and that's it, it's all over. I was starting to really believe there's nothing there, nothing that loves or cares about us as individuals. For a former practicing Christian, this sort of spiritual abyss was agony, but I could not fix or change it. This presence, familiar yet strange, didn't really explain all that, but just manifested and asked me: I am right here, so how can you not believe?

I can try to worry this down to nothing, or intellectualize, or throw it out. I've had a bit of time to process it. I will accept it as valid, whatever it means. I have been told, apparently, that we DO survive our bodies and that that individual energy still exists very powerfully. As with all these things, I was afraid that If I told anyone they'd just scoff and say, why was it someone so famous? What makes you think - ? But why not? I'm receptive, and after that heartbreaking movie I was wide open, all defenses down.

Anyway, so many people want or desire or ask for psychic experiences and think they'd be really wonderful, when in fact they can be a bit of an ordeal, in that you question your sanity or at least ask yourself if it was merely a projection of your own desires or your imagination. So I share it with you, just as it was.

Once upon a time, and long ago

Every year, around the time of my birthday, the anticipation began to build. For some magical reason, the Mary Martin stage version of Peter Pan would always be broadcast on TV, either on my birthday or the day before or after.

My next-door neighbor/on-again-off-again friend Ann Peet had her birthday the day before mine. In those days, kids didn't go to those big video-parlor/jungle-gym/Build-a-Bear-emporium type of places for a birthday. In fact, my own kids, raised in the '80s, usually celebrated with a few friends (and ancient home movies reveal that they were the same friends, year to year) and a bucket of chicken.

My celebration back in the early '60s was even more basic, but no less magical. Ann and I would always exchange presents which (our mothers decreed) had to cost no more than $2. One year, all unawares, we gave each other Cinderella shoes with high heels made out of clear pink plastic embedded with gold glitter. These were held on with torturous pink elastic bands that left deep welts on your feet. Mine broke on the first day, and Ann had a near-concussion from a bad fall.

My mother made spare ribs. That's what we called them then, not ribs, and decades before all those so-called falling-off-the-bone southern recipes. Through hours of slow baking, she turned out ribs that melted in your mouth. You didn't even have to pick them up. Then a cake, made from scratch, on a glass pedestal. Toffee Swirl, or Spice Cake with buttercream icing.

She baked as a sort of grim religion, and though most of her cooking was good, she was too tight-lipped to really enjoy it. She was dutiful. She didn't like me, wished she had never had me, and I knew it. Had always known it, without being told.

But every year, there was Peter Pan. I can't tell you how completely enchanted I was - how captured Ann Peet and I both were, leaning closer and closer to the set until we nearly fell out of our chairs. It's essentially a filmed stage play, with the staginess left intact, so you have to mentally translate it into the much more intimate medium of TV. But it works anyway, especially because of Mary Martin's magnificent, heartbreaking performance. She's over 40 in this version, her body still girlish - or boyish - and her face androgynous before the term was even known about. And her voice. Oh.

I defy you to listen to the melancholy little lullabye at the end of this clip without crying. A few minutes ago I was sobbing, tears splashing down my face. I was not a happy child. Ours was not a happy home, though we pretended it was. I pretended Dad didn't get drunk every night and abuse me and tell me he wished I had never been born. I had to. No one can let wounds like that show.

We pretended a lot of things: that Mary Martin was a boy, or else we just didn't care if she wasn't. The loudly-proclaimed theatrical lines didn't matter. And when Tinkerbell began to wink out and die, Peter turned to the audience and said in a voice full of urgency, "Clap your hands if you believe in fairies!"

Then we heard something. A faint spectral clapping behind us, slowly growing faster, and louder.

I turned. There was my mother in the doorway, my mother the grim un-nurturing one who looked after me as a mother cat might look after a kitten, except less warmly. And, incredibly, she was exclaiming,

"Yes, yes, I do believe in fairies. I do, I do!"

Today I am three

Can there be anything more idyllic, more innocent, more knowing than a three-year-old girl?

How about a three-year-old who is somehow, mysteriously, tied to you through blood and bone. How she came through me is a mystery, but it's a fact that without me, she would not exist.

When life gets me down, which it often does, I ponder this mystery: we all come out of nothing. Or seemingly nothing. All of Creation started with a void - it had to - and somehow ended up this teeming mess, this singing intricacy, overrun by crass humans but somehow still spellbindingly beautiful.

Two people meet, and sometimes nothing happens. End of story. Or they meet, and in the course of things, become sexually attracted to each other.

Sometimes it ends there.

But sometimes, when the act is unimpeded, a quarter-teaspoon of fluid, innocuous as spit, finds its way to a microscopic dot.

Result: a new human being, an individual the likes of which has never been seen before (and will never be seen again) in human history.

God creates each person once, then breaks the mould.

I search in Lauren's beaming three-year-old face for some trace of me, and I can't find it. None of my four grandkids look like me (see lovely brown-eyed Caitlin, above, with Grandma).

All strongly resemble the other side of the family. Except.

Except for Lauren's intensity, the way she comes at life full-throttle, six-guns blazing. In this, she does resemble me, but puts me to shame (but if I hadn't been squashed so flat as a child, so written off as worthless, perhaps I would have been the same way).

Perhaps this is my second chance. This echo generation, saving me. And saving the world from its awful lack-of-Laurenness.

Out of nothing, or seemingly nothing, out of a single act (an odd one, when you really think about it), "someone" comes into the world. Lauren has changed the world just by being in it; her valour and rambunctious humour in the face of juvenile diabetes (diagnosed at only 15 months) has been remarkable, an example.

All hail Lauren, only three, but capable of restoring my soul.

The girl with the flaxen hair

I have to admit off the top that this photo is way out of date. That little girl, one Erica Morgan, is now turning five, a momentous age that represents a developmental leap, and

a new readiness to read and write and sit still long enough to attend classes.

Plus she still breaks the cute-o-meter every time.

Erica Morgan is a princess from tip to toe, from her tossing curls to her crystal-blue eyes,with the longest eyelashes anyone has ever seen. They're like fans, for God's sake. When she flutters her eyelids, there's a breeze.

All my four grandkids are wondrous to me, representing the upspringing of new life in the midst of a very dry wasteland. My disillusion with the writing business (NOT with writing itself, which was still compelling) had parched my insides into those flakes you see in the desert, you know, in National Geographic or someplace.

Erica made her debut at such a time, and I will never forget rounding the corner in the hospital room and seeing her for the first time: she looked like a tiny, pink, compact, living rosebud, and she had that ineffable sweet baked-biscuit smell of the newly-arrived.

It's a fascinating thing watching any baby become themselves, evolve into

who they are going to be. I remember reading somewhere (maybe one of those myths we all ascribe to, like "you remember everything that ever happened to you" and "we only use 2% of our brains") that our personalities are basically set by age two. Yikes. Parents who've made any mistakes at all must shudder at such a statement.

But such is the fluidity and surprise of human nature that even the worst two years can cause the plant to grow around the obstacle. Cedars abound here, and many of them grow too near power lines. Often they have to be trimmed in a weird-looking circle. I saw one recently that had put out a lot of new branches, but they all came straight up within a couple of inches of the power line. The tree "knew".

So what does this have to do with Princess Erica? Even the best life in the world is burdened. If nothing else, it's burdened by turning on the TV (guaranteed to depress anyone) and finding out about oil spills and plane crashes and little children dismembered by fiends. Who can fail to feel something, not hopeful, but horrific?

We need to say to our kids and grandkids, it's all right, there are terrible things out there in the world, but here, in your own home, it's not like that. The odd emotional explosion clears quickly for the most part, and it's back to the twinkly, shrieky fun of two little blondies tearing around the living room.

I love them beyond endurance, sometimes, and I do worry about the sort of earth they will inherit. Is violence escalating, or is it just reported more accurately (the old saw that journalists fall back on)? What about the stress of a madly-accelerating world, with gadgets replacing real human contact and people swelling in gross obesity due to grabbing the easy drug of junk food?

It wasn't supposed to be that way. I remember back in the '60s, there

were all sorts of reports of Xanadu, the World of the Future, of a lean, fit population (all that low-fat cooking, remember?) only having to work three days a week, spending the rest of the time in creative and recreational pursuits.

(Oh, and remember those dumb-ass domed cities, like something out of the Jetsons?)

It isn't going to be that way for Erica, my little blondie. I hope she will manage. Acceleration tends to lead to more acceleration, unless stopped by a crash. Like the frog slowly stewed in increasingly-heated water, we just don't notice it, until we see the alarming increase of depression and addiction and autism and. . . fat.

It's doubtful Erica, in her sparkly little tutu and candystriped tights, will be anything other than sylphlike. I want a happy life for her, want it more than I want to live. I have the tremendous opportunity to love her without reservation, without the burdens of parenthood. I can be the fun nanny who chases them around the room, plays Barbies and PlayDoh and paper giraffes.

Sometimes I ask myself: What good will it do? Won't they forget? Is any of this banked in the psyche? How much do we remember?

No matter. Maybe it's for me, as much as them, and I will remember, remember every single sweet blessed day that I get to love them.