The lost chord

This post might be filed under the category of "lost and found". A very long time ago, a couple of decades at least, I confess I had a bad crush on someone, I won't say who or I'll feel like a complete idiot (which I already do!). This wasn't an affair or anything like that, or I would have seen the person for the total blithering idiot he was. But this was fantasyland, and I needed a theme song.

I had an old tape of Wagner favorites. You know old Wagner. Hitler's favorite composer. I don't think he'll ever live down the stigma of his close association with the Third Reich, even though his heyday was decades earlier. His work had a certain bombastic grandeur, a call-to-action/get-up-and-heil feeling, inspirational in a really awful sort of way. OK then, I've just summed up the whole Ring Cycle, 18 hours of opera compressed into a not-very-well-composed paragraph.

But I don't worry about that, not here anyway. Here, I just write.

So in the throes of my hopeless longing, I discovered in my dusty tape library a recording of "the" Wagner romantic-yearning passage, the Liebestod, love-in-death. In the opera, Tristan and Isolde are sitting around singing like mad because they can't have sex, then somebody bursts in and says "hey".  But the instrumental version is the one I love - get rid of all those nasty, unnecessary voices, please!  The tape didn't run at quite the right speed because it was about to turn to ferrous oxide or something, but I listened to it incessantly. It was the only thing that helped me survive the crush.

Fast forward about a jillion years, and something comes on Knowledge Network (yet another of those 90-minute documentaries that they have razored down to 53 minutes). It's called Stephen Fry: Wagner and Me. A nice humorous little diversion, an exploration of the zany British comic's love for the glorious-if-overblown music of Hitler's favorite composer. 

I always think Fry has a face like something you'd see on Easter Island (see my little ditty, Stephen Fry, Stephen Fry). He doesn't get his hair cut too often and is known to be disshevelled (how the hell do you spell that word anyway?). In this one he was eager and animated, unlike some of the other shows he did (see the bipolar one - no, don't, it's depressing), maybe even a touch manic as he explored his lifelong passion.  At one point he played one chord on Wagner's own piano, called the "Tristan" chord for its tender dissonance, melancholy, and weird way of throwing the listener off-balance.

It was an interesting show, if a bit "golly-gee-I'm-turning-the-door-handle-on-the-theatre-where-Wagner-actually-rehearsed". It came out that Fry was Jewish, making his passion for music so closely associated with the Master Race a little disturbing.

Anyway, all this reminded me of things I hadn't thought of in years. The hunt was on for the "lost" version of the Liebestod, the version on the tape I'd chucked out years ago, the one I listened to over and over again, a piece so full of aching and longing that I can't even approach it unless I am in a certain frame of mind. Its eroticism is beyond question, with great simultaneous ascending and descending lines that gradually lift the listener to higher and higher altitudes until the air is dangerously thin, finally erupting in one of the few great orgasms of classical music.

I listened to many different versions of this piece on YouTube, but none of them remotely satisfied me. Most were played too slowly, sounding dragged out, which I hate. (This is my biggest beef with conductors. Pick it up, pick it up, will you?). Then I found this one, the one I've posted here, with Eugene Ormandy, and thought: gee, that sounds just a little bit similar.  Then on about the third listening, ding ding ding ding ding, I suddenly came to the conclusion that this WAS the original version, the one that was taken at the right tempo, the one that expressed impossible erotic longing in a way that had scored a bullseye in my heart.

Why didn't I recognize it right away? It's funny, but if you've been away from someone for years and years and see them again, they, well, look, um, ah, different (though of course YOU don't).  I think this is why I didn't immediately realize it was "the" piece, the lost chord. Or maybe it was like Jesus appearing to the disciples after his resurrection. . . they didn't know who he was, maybe because he'd changed a little bit. Death and resurrection will do that to a person.

The Liebestod is embedded in this very long piece, and begins at 11:30. (Not 11:29. That's his lunch break.) I think it represents all the best of Wagner, a tenderness and excruciating longing which can't be separated from the composer's awful sins against humanity.  Unlike Stephen Fry, I can't sit there for eighteen hours with a numb bum, so I am left with excerpts like this which a purist would say are bleeding chunks.

Come to think of it, Fry is not the only Jewish person I know (and for some reason we can't say Jew any more:  why is that?) who loves Wagner and has commented at length on the Ring cycle, which makes the Lord of the Rings look like a Smurf story. I just thought of something else (then I promise I'll stop - I know I am going on and on): back when I took violin lessons from a Polish-born teacher, not Jewish but a survivor of the Warsaw Ghetto (and in fact imprisoned in a concentration camp with his mother when he was just a tot), I would occasionally stumble upon a simplified Wagner piece and want to play it.

My teacher would sort of look away and say,  I don't like Wagner. It was like saying I don't like axe murderers. Another time I had an extra ticket for a Renee Fleming concert and no one else was available, so my teacher paired me off with a Polish musician I'd never met before. One of the first things he asked me was, "What will she be singing tonight?" "Oh, Mozart, Puccini. . . " "Not Wagner." "Not that I know of." "Good. I won't go if she does."

I don't like Wagner either, except that I do love what he wrote here, how it hang-glides over such fiery, dangerous territory, then takes us right up to the sun. 

(There is a very odd post-script to this story. Looking for a CD the other day, I unearthed a Wagner compilation that I didn't even know I had. The cover art was bizarre, a map of Europe with a red bullseye over Poland. I looked on the back, and yes, there it was: the Liebestod, but not just any Liebestod. The Ormandy one. The lost chord had never been lost.)

life isn't like an essay

idon'tknow what it isinmybrain that makes me

oops whatsthat ihearsomething that'sthelaundry, the new shirt looks like it's ruined after one wearing? the one that made me look like a bird of paradise oh shit oh well

god. then have to just turn around and, oh the bird, he's hungry, so have to scrape up bird shit and jeez make that dental appointment, have to have a new crown put on have the old one jackhammered off takes about 90 minutes is all and the cost

raining hard out there, today seems fresh and grey-green, like someone has turned on a hose or a sprinkler god can't stop worrying about some things like what if someone hit me or igot run over or the kids, the kids, what if they

and things like dementia how would i know i had it if i had it how would it be to see my partner slowly incohere into inchoate mush

(so will turn my mind to other)

and what's all this stuff about god anyway, anne lamott writing about this guy who has a church of 80% sincerity, think it's bullshit, think we need to aim at 100% to get 80 and if we aim

thinkiamlosingmymemory. talking to my best friend, kept blanking on things. was embarrassing and the more i did it the more i did it, also stumbled on the curb and swore at a bus driver ithinkshewasreallyshocked

but he was a fucking loser anyway

mail is here with a chunk/clunk, paper on metal, steel myself no there's no letter not yet no rejection from those people who are - not yet, it's coming, it's coming, then what will i try next,  have to try something because

thoughts of depression descendingtoruinmy world. rain supposed to be "bad". not wanting to be outinit but minding how it forms a liquid curtain between the layers of cedar branches, my office curtains, patiently standing for their showery silver bath

my brains, my brains

god when will i get it together i can't see. all type is suddenly smaller and room has gone grey. have to write something this afternoon and it's well i took it on didn't i? a process of mental martialling and people learn how to do it and it's total bullshit because NO ONE REALLY THINKS THAT WAY

a ruse. Way to assemble a ragged spaghetti explosion of simultaneous thought

not dressed yet and it is 9:45 a.m. and if something like a parcel comes to the door, can't answer it which is maybe good so the fucking manuscript can't come back to me today and knock my front teeth out and push in my face

all my life told not to care so much by people who have no idea and don't care enough. People who think we get to engineer ourselves from the ground up. come from good families not my family.

anne lamott has a sort of sense of being dishonest but getting away with it. i see her slip through cracks that are of course there for all of us but if we aim at 80% we might just hit 60%:

honesty on our tax returns
marital fidelity
truthfulness with friends
trustworthiness
sobriety

can't see it, people are bad enough as it is as far as iam concerned, especially people who claim to be holy when

jesus! what to have tonight, have to unthaw something, don't want to fix anything but we always always have to EAT. last night my husband laughed at me for being angry one day this could lead to disaster it came very close/do not like being laughed at for being angry am not trying to be entertaining once made a psychologist laugh when very very angry. must be very very entertaining then why doesn't anyone pay me.

if i don't clean up within a year i think i will just

will just

I think I hear a doorbell

Father Abraham and the Smurfs - Do Smurfs Cry

The Lost Penny: Shatner, pre-Trek

You don't have to watch all of this episode: in fact, you don't even have to watch all of the excerpt of this episode to get my point. Pre-Trek, Shatner was a good-lookin' dude by just about anyone's standards, though not particularly cocky about it. Not rugged, mind you: a little softer around the edges, a little androgynous, like Elvis or Tony Perkins. And he didn't overact, not here anyway. All the swaggering came later on.

My point is, if it hadn't been for Captain Kirk, Shatner might not have turned into the hulking ham-o-saurus he is today. But then again, he might have vanished, gone the way of Tony Franciosa and guys like that. Ah, the cost of fame! Something about Trek or Kirk or the '60s or SOMETHING made him explode into the kind of gut-busting histrionics which soon became his trademark.

Now he just plays on it endlessly, getting older and larger and showing up in ever more places, three or four series at a time it seems, plus ads. Every once in a while the nearly-reclusive Nimoy (who now makes a living taking pictures of fat women) shows up, shrivelled as an old matchstick, and I get the feeling that if you averaged the two of them, you might just have something like a normal human being. But still they dwell in their parallel universes: Obla-Di and Obla-Da.

The Glass Character: yearning

Do you know what it is to yearn?

Have you ever yearned, I mean really yearned?

Yearned for something you wanted so badly it scared you?

I write, not so much for a living but as a vocation, or devotion. Maybe even a covenant. I can't get away from it, it nags and drags at me, it will have me no matter what. Writers often have dry periods or times when they wonder if they will write again. And I've had them.

I've also had times when the desert suddenly flooded, the cracked earth dissolved into fertile soil and life sprang up, seemingly in seconds: abundant life, green, floral, almost prehistoric in its lushness.

You have to wait for it, for sure. No matter what the how-to-be-a-writer manuals tell you, it can't be forced. But then comes the next part. Real writers want to be published, because - logically - they want to share their stories. The storytellers of old did not sit by the fire alone, and if they had, we would have no myths, no fairy tales, maybe not even language as we know it now.

And oh how hard it is.

Just put out an ebook, everyone tells me. I could maybe figure out how to do it (did someone say prehistoric?), but how many readers would I have? The market is flooded with ebooks right now. There is no quality control that I know of: anything can be slapped up there, like a Facebook post. And that scares me. Might I get 200 readers? 300? . . . 20?

Would I be eligible (because hope springs eternal!) for the Giller, the Governor-General, the B. C. Writer's awards, and even the Booker? No, because it's a bloody ebook and, in spite of what everyone keeps telling me, not considered the equal of a paper book.

I've had paper books out twice, and though it didn't quite match up to my extravagant dreams of publishing, I felt proud of them and still do. You can't delete them, though you may have to go to the library to actually find one.

When I wrote about Harold Lloyd, I committed the unpardonable sin of falling in love with my subject. This is a bad thing to do. Maybe it makes people uncomfortable, I don't know. But I have that awful feeling right now of one of those drill-bits slowly penetrating my chest. A yearning, the way you'd yearn for someone who is dead, or a lover who has spurned you and moved on.

Summer is so beautiful right now, it took until mid-August to get here, and it will slip away in a couple more weeks. Meantime I can't forget about this. I want it so badly. And everyone, but everyone is trying to talk me out of my feelings. I guess you don't get to feel this way: or does it just make people uncomfortable?

When I fell into this novel, I was transported, and could not wait to get to the computer each day to see what would happen next. It was the most magical writing experience I have ever had. Now comes a kind of hangover. I feel cursed, sometimes, as if the thing I want most will always be just brushing my fingertips, like a balloon that bounces up and out of reach.

I've been told: if I don't care about it, then maybe it will happen. If I don't think about it, then maybe it will happen. This is magic penny thinking, also designed to make me stop doing this, stop stop stop. I am not much good at indifference, in spite of the fact that it accurately describes the atmosphere in which I grew up.

Harold, listen, I want to see you in print because you deserve it. You deserve to be a household name again. I am scrambling on the side of a mountain, losing ground, and something has been stuffed into my mouth.

"But writing should be its own reward! Can't you just enjoy the process?" What if someone had told that to Dickens, to Tolstoy, to Hemingway, to. . . all right, my work bears about as much resemblance to theirs as a lion to a mouse. But you get my drift. Don't you? Don't you?

http://margaretgunnng.blogspot.com/2012/01/synopsis-glass-character-novel-by.html

http://members.shaw.ca/margaret_gunning/betterthanlife.htm

I am an elephant actor

http://www.kiddierecords.com/


GO ON THIS SITE! Go. If you are anywhere near my age, which is 106, give or take a week or so, you will love this.


If you were ever an introverted little kid who lived for stories, if you were ever a kid who incessantly played cheesy but beloved 78 r.p.m. records on an old Seabreeze, you will love this site because they are all there. Travels of Babar, Slow Joe, Build me a House, Pan the Piper, and (perhaps most astonishingly) Dick Whittington and his Cat, in which he calls the cat "Ripple-dee-dee": surely I had imagined that, and so many other things.

But no, here it all is. Not only that, this site is clear and pristine and EASY to navigate, unlike the atrocity of Stephen Fry's blog which seems designed to make me feel like a technical dinosaur and a clumsy, out-of-touch loser (not to mention old). There's nothing more unfriendly than a bunch of kids standing in front of someone in the playground speaking a secret language. It's puerile, guys. 


But I digress. For years now I've been trying to track down Children's Record Guild recordings, which made up maybe 75% of the records I had as a kid. These were record-of-the-month-club things that covered standard fairy tales as well as oddball music, as in Pedro in Brazil:


"What's the difference between a donkey
And a man who sings too long?
The donkey is born braying,
But the man has to learn his song."

At the time these were seen as "quality" recordings, the stories serving as a delivery device for great indigestible wads of culture (i.e. Sleeping Beauty had the Tchaikovsky ballet score moaning away in the background). But what had happened to them? Did they still exist in a dusty, scratchy heap in someone's basement? Could I get them on eBay?

The only sites I found offered the original 78 r.p.m. records for $50 and up, with maybe a CD copy on the side. I sometimes heard snippets, but only enough to make me depressed. I decided I was chasing yet another chimera (like getting published again? Sorry, I got another rejection today.)

But soft! What's this? I stumbled on this site today the way I stumble on all the better sites I've found. The deal is this:  they present one "new" (meaning old) record per week. This goes back to 2005, so there are quite a few of them in the archives. 

The titles are listed down the left side of the screen in chronological order. Click on a familiar title - and I found lots of them (for example, Jimmy Stewart narrating Winnie the Pooh and the Heffalump) - and the cover will come up on the right hand side, nice and bright and big, taking up half the screen. Click under that, and a nanosecond later, you are hearing for the first time in 50 years:

"I am an Elephant Actor."

(Trumpet fanfare)


Greek Chorus: "This Elephant Actor is going to make believe he is the Brave King Babar."


"I am an Elephant Actress."


(Trumpet fanfare)


GC: "This Elephant Actress is going to make believe she is the beautiful Queen Celeste."

And what is more, it is all free, free, FREE, as it used to say in the ads at the back of the Jimmy Olsen Annual. One of the few really generous things I've seen on the net. There's nothing like it. Go.

I saw him again last night

I saw him again last night

And you know that I shouldn't

To string me along's just not right

If he couldn't he wouldn't

But what can I do, I'm lonely too

And it makes me feel so good to know

That he'll never leave me

I'm in way over my head

Now I  think that he loves me

Because that's what he said

Though he never thinks of me

But what can I do, I'm lonely too

And it makes me feel so good to know

He'll never leave me

Every time I see that boy

You know I wanna lay down and die

But I really need that boy

Oh I'm livin' a lie

It makes me wanna cry

I saw him again last night

And you know that I shouldn't

To string me along's just not right

If he couldn't he wouldn't

But what can I do, I'm lonely too

And it makes me feel so good to know

 That he'll never leave me

A feast for the eyes

When I tried to find hurdy-gurdy music on YouTube, I first had to wade through innumerable versions of Donovan's lame '60s song, which doesn't even have a hurdy-gurdy in it. I vagely remembered Allen Ginsberg reciting his poetry (Howl, perhaps?) while cranking one of these.


I could not figure it out: it had a sound kind of like Highland bagpipes, but it could also sound very Middle Eastern. It had a drone in the background with a "chanter" playing a repetitive tune, perhaps due to the restriction in range. It was fingered, not blown, but wind instruments are fingered too, aren't they? I had to turn to Wiki, and they told me this:

The hurdy gurdy or hurdy-gurdy (also known as a wheel fiddle) is a stringed musical instrument that produces sound by a crank-turned rosined wheel rubbing against the strings. The wheel functions much like a violin bow, and single notes played on the instrument sound similar to a violin. Melodies are played on a keyboard that presses tangents (small wedges, usually made of wood) against one or more of the strings to change their pitch. Like most other acoustic stringed instruments, it has a sound board to make the vibration of the strings audible.



Most hurdy gurdies have multiple 'drone strings,' which provide a constant pitch accompaniment to the melody, resulting in a sound similar to that of bagpipes. For this reason, the hurdy gurdy is often used interchangeably with or along with bagpipes, particularly in French and contemporary Hungarian folk music.

So I was partially right. A stringed instrument that plays bagpipe music. Unfortunately I could follow this path all day (and for months) and collect more and more odd-looking, odd-sounding videos of rare or antique/obsolete instruments. I posted this mainly because the hurdy-gurdy looks so gorgeous, and at least appears to be ancient. The musical performance is minimal.

Help me, I'm lost! I need to get on with my work, and all this stuff keeps on intruding.

An instrument built for two

Now this one is strange, very very strange. I'm still trying to wrap my mind around the tromba marina, that huge horn-like thing that turns out to be a massive, elongated, rectangular violin. This must be an overgrown hurdy-gurdy, but in this case it's so huge that it has to be operated (surely not played) by two. The effect is oddly electrified, like a modern rock guitar, and I can imagine Jimi Hendrix's version of The Star-Spangled Banner played on this, though the elderly European-looking musicians probably wouldn't know it.

So what would you do with this to transport it, to get it from place to place: a flatbed truck? How would you protect it from the elements (because it looks like one of those outdoor instruments)? Throw a tarp over it? Shrink-wrap it? The questions never end.

I like to think the instruments we have today have grandparents, and great-grandparents, and so on and so on. The crumhorn somehow turned into a sort of oboe, the rackett into - well, perhaps the modern-day fire extinguisher, and then - there's this.

Maybe it's like the dinosaurs, or the ancient period of "megafauna" when huge mammals ruled the earth, giant sloths and beavers the size of an apartment complex. Maybe over the centuries, things slowly shrank to a more manageable level. Or maybe this thing is just a wild card, predating the electric guitar by at least a millenium.

So. . . what kind of eel is that?

This video proves that sometimes the ridiculous is. . . sublime.

Why Carrie Fisher scares me

"I had ECT yesterday, & the main thing that I remember about it is (other than hardly anything at all) that when they dragged me on my little gurney to its resting place beside Dr. Kramer and his machine that will electrocute me to adorable wellness………


Dr. Kramer gazed down at me and said, “Let’s see how much glitter you have on today!” But after studying me briefly, he noticed that I was virtually glitter free. “Am I to assume that this is a sign that you’re depressed? Should we shorten the time between treatments?”

The bottom line is that to ascertain whether or not I’m depressed these days, you no longer have to scrutinize my bummed out or beatific expression———just check and see how much glitter I’m sporting on my eye lids and such…………

I still haven’t un packed my bags and bags of glitter……….the glitter I used or didn’t use in New York———because I can’t imagine where I can keep it. So there it is, in bags and boxes, in my bathroom, waiting for me to make up my newly electrocuted mind."

This is a truly-authentic-reallyreallywrittenbyCarrieFisher blog post about her ongoing ECT treatments for depression. Like most people who aren't living in a cave, I found out about this several years ago, but I had no idea she was having treatments every six weeks.

It scares me.

I have to backtrack here. . . It was even more years ago that I saw her on 20/20 doing an interview about her "breakdown" (a term I hate more than washing machines, which it should only be applied to) and subsequent recovery. Carrie, a sort of latent bipolar who had flown under the radar, probably suppressing her symptoms with masses of drugs and alcohol, had exploded out of the container in a supernova of mania that was rather dreadful to behold.

But Carrie seemed to be having a great time talking about it. Her gestures were extravagant, her voice plummy, her eyes like pinwheels. In other words. . . she was still manic. On nine drugs or something, but still. I think people should at least wait to be well before doing these things.

A few years after that, she took the worst of her life's turmoil, funnied it up and put on a one-woman show based on her apparently-harrowing memoir (which I can't bring myself to read yet), Wishful Drinking. On the cover is a passed-out Princess Leia, braided buns perched on each side of her head like Kaiser rolls.

I have a problem here.

I have a problem when human pain is turned inside-out and transformed into a gut-busting ha-ha. Mental illness is NOT a ha-ha, and can't be treated as such without perspective (and perspective equals time plus distance). It can't be treated as a ha-ha until you get some sustained relief, get yourself back, find a true path of recovery and (the most important part) STAY ON IT.

Who am I to say that ECT every six weeks isn't the path? I'm not here to judge or play psychiatric expert. But the statistics I've seen on ECT and permanent brain damage are alarming.

Peter Breggin, a psychiatrist who wrote Talking Back to Prozac in the early '90s when Prozac was the sexy, new, revolutionary drug that would make everyone better (even people who weren't depressed), is dead-set against ECT in any situation. He speaks of subtle but cumulative neurological damage, particularly to short-term memory. Fisher laughs this off, which is an admission that she is indeed suffering from it. She says she can see old movies all over again and they seem like new.

He speaks of the denial of damage as a symptom of damage, which made my hair stand on end. If I was really brain-damaged, would I know it?

I don't know what got me on to all this: I guess it was the Stephen Fry documentary where he travels to Germany to explore his love of Wagner. That got me on to his program about bipolar (which I have only seen in bits on YouTube, because I find it hard and heavy going). He speaks to Carrie Fisher, of course, who in her usual flamboyant, even histrionic way makes her agonizing struggles into a kind of heroic comedy.

At the end of the interview when Fry speaks to the camera, he seems disturbed, his voice tinged with what sounds like pity. The camera did funny things during the interview, zooming in on tight closeups of her hands (I think she was wearing 37 rings or something) and bizarre little gee-gaws all over her house. The music had that disordered, slightly strange quality. It was obvious either Fry or the filmmakers had made up their minds in advance that she was cuckoo.

I don't know what to think about all this. When she began her alarmingly frequent ECT treatments, she gained a huge amount of weight and topped out at 180, so she pulled a Kirstie Alley and signed on with Jenny Craig. Now she's not just a poster girl for drugs; not just a poster girl for drugs and bipolar; not just a poster girl for drugs, bipolar and ECT; but a poster girl for drugs, bipolar, ECT and weight-gained-because-of-ECT. Soon she will be a you-know-what for the miracle of weight loss through the miraculous cult of Jenny.

Carrie Fisher scares me. Whatever hobgoblins are pursuing her, she's running from them, with all sorts of things that seem OK, with humour, with one-woman shows, with books, and with controversial psychiatric treatments that shoot electricity through your brain so you don't remember anything (and don't remember that you don't remember anything). What bothers me most is that there is no way in the world some people WON'T consider (or reconsider) ECT because of what Carrie Fisher has said about it. She is beginning to reduce the fear around it. But should she?

There is a cost to everything, but our culture doesn't want to hear about it. It's hooked on quick fixes. Nobody seems to remember the huge fuss about Prozac in the early '90s: it has all been forgotten. Prozac was the future, and it was going to revolutionize society. No one would be passive any more. We'd all be aggressively confident, extroverted firebrands. None of the pathetic introspection that makes people paint or write poetry.

Not only that, but this was the first antidepressant that was virtually side-effect free! This was proclaimed after the usual few weeks of trials with a very small sample of patients.

The guy who wrote the Bible on Prozac was named Peter Kramer, which just makes me wonder about the name of Carrie's doctor. Just a coincidence? Anyway, when the first few awful side-effects trickled in, they were vehemently denied as atypical or even psychosomatic. According to the trials, only .01% of people had sexual dysfunction from Prozac, something called "delayed orgasm". But eventually, the numbers settled out at something like 40%. (The other 60% were too embarrassed to report it.) And as for that "delayed" thing, it was delayed until sometime next Friday. 

Then came, oops, more problems. It seems a lot of people couldn't sleep on Prozac because they were constantly hyped-up and wired, necessitating adding another drug which kind of rendered the Prozac ineffectual. Eventually a new phenomenon was born called Prozac Poop-out, and it had nothing to do with your bowels.

Meantime, other new drugs were flooding the market, so Prozac was more-or-less swept away in the flood. It's not used at all any more, considered ineffective and far too bothersome in its side effect profile (the very thing that was used to sell it in the '90s).

OK then, what's this near-diatribe really all about? Unfortunately, someone who is in the grip of a psychiatric crisis is generally unable to make wise decisions for themselves about treatment. They are extremely vulnerable and will grasp at anything that seems to make sense, up to and including the advice of a famous, charismatic but very damaged middle-aged actress. So: let the sufferer beware. Most especially, be aware that Carrie Fisher may not be the best role model for mental health. To be honest, I think she's a burnout trying to stay afloat, and it's not funny. I'm scared for her.

And she scares me, too.

 

Dear Sir or Madam, will you read my book

    It took me years to write, will you take a look

Order The Glass Character from:

Amazon
http://www.amazon.com/-/e/B001K7NGDA

Barnes & Noble

http://www.barnesandnoble.com/w/the-glass-character-margaret-gunning/1117863913?ean=9781927068885

Thistledown Press

http://www.thistledownpress.com/html/search/genre/Fiction/the_glass_character_p580.cfm

Chapters/Indigo
http://www.chapters.indigo.ca/books/the-glass-character/9781927068885-item.html?ikwid=the%

Ricola

Arieseni,muntii apuseni

Tromba: ay, caramba!

Whoa, boy! What do we have here?  Yesterday I started digging around for info on medieval/baroque instruments. There were some lulus. Crumhorns, which look like you're playing a cane and which produce a sour, whoopee-cushion-like sound. The rackett, which is an incredible-looking object, a big round oxygen-tankish thing with holes all over it. People liked edgy sour honky sounds then, or else they had not figured out how to produce anything better.

Way leads on to way, as Robert Frost once said, and I kept digging out more and more obscure things. I knew a little bit about all those alp-horn-type instruments, but I didn't know they were a form of communication for the village. They could signal births, deaths, coming storms, and other occasions/approaching dangers. Kind of the social networking of 1000 years ago. There are whole ensembles made up of these endless things, which I saw an example of in Switzerland, and they play with such mellowness that I just don't want to hear 'em. No, give me the authentic honky ones, homegrown music played with lusty abandon by amateurs.

But then I found this "thing". I had no idea what it was, elongated but squared-off, not like any horn I'd seen or heard of. It made the most incredible sound, like a garage door opening. After a while I found out it wasn't a horn at all, but a stringed instrument called a tromba marina. Looked like one of those failed attempts to develop the cello or bass. I found very little repertoire for this thing, thank God, and I would imagine just schlepping it around would be torture, trying to get it into a 15-foot case or folding it up or something (the travel-size tromba marina?).

The instrument has a range of three notes, not even as good as a cigar box with rubber bands wrapped around it, but that's not the only problem with it. When I tried to find more tromba marina videos, I got these Spanish things with pictures of storms, tornados and stuff. So I guess it means something else in Spanish, or else it's already in Spanish and has a double meaning? Approaching danger to the eardrums?

I could not help but be reminded of the old Ricola ads: but to my horror, I could only find a very brief clip of the original ad from British TV. THE RICOLA AD ISN'T ON YOUTUBE???????!!! There are a hundred stupid variations, none of which seem to be on TV where I live, but I am not interested in those. They're daft. I want the guy with the horn and the lame singing.