Bitter fruit: why I left the United Church

Those last two spirituals, stumbled upon while trying to find something else, so pierced the core of me that I wondered if I could write about the central dilemma of my life (at long last!). After many years of intense involvement with the United Church of Canada, and after varying degrees of satisfaction/frustration, I "walked". There were many reasons why I walked, chief among them (I thought) my dire disillusionment with leadership. Yes, I know ministers have a tough row to hoe, but I also think churches have a way of drawing to them ministers who reflect both their strengths and their most dire, unacknowledged weaknesses.

In some cases, they even draw evil. What does this mean, and, more to the point, why doesn't anyone recognize/admit it? What sort of spiritual blinders keep the so-called faithful from seeing even the most glaring kind of light?

From needing the church as a way to belong, contribute, and express my feelings about God and Jesus, I ended up feeling like I was in a box. Not just any box but a shoebox that I was supposed to squash myself into. Suddenly - or maybe it was not-so-suddenly - all I could feel was limitation, lack of oxygen, and bitter alienation. I cannot even tell you how lonely this was. I became deeply disaffected, and there was no one in the church - not one person - I could talk to about it. I knew it would be misinterpreted. Or, worse, perhaps it would be interpreted correctly.

I had something happen to me that I really can't describe, and for some reason - maybe very obvious reasons - I link it to Hurricane Katrina back in 2005. I obsessively watched those stranded souls - marooned in a stinking hell we can't even imagine - as they cried out for help, help, help. I watched old people die and be covered with whatever was available, maybe a plastic tarp. I saw hungry, dehydrated babies, glassy-eyed like in those ads for Save the Children.

The ordeal went on forever. I began to wonder if there could be a benevolence in the universe that "loved" everyone, that "cared". The Christian model of God was supposed to be an omnipotent deity, remember, one that was capable of changing everything. Like the poet in The Hound of Heaven, he swung the earth a trinket at his wrist, and we were expected to dangle from it like insignficant little charms.

So what does worship mean? It seems to me it means a kind of surrender, a submission to what is perceived to be a power greater than ourselves. It's a bowing down, at least of our heads - or a kneeling - or outright prostration. Lowering yourself. Worship doesn't mean love, it's something else, something quite else, and it began to scare me.

(This just popped into my head as a sidebar: a First Nations preacher talking about being forced to adopt the white man's style of worship. "They told us to close our eyes and bow our heads in prayer. And when we opened our eyes, our land was gone.")

Though the church claimed to allow me all kinds of freedom of interpretation, increasingly I found that freedom ebbing away. It was subtle at first, but soon I began to feel we had to shape our lives, not around our own apprehension/comprehension of the deity, but around the church's. I saw this as a very conventional and limited model, no renegade cries of hallelujah, no embarrassing professions of salvation. If you were saved, and United Church people don't talk about being saved very much (or a personal Saviour or even the Devil), then keep quiet about it or you might bother people.  And if you're committed, you have to Serve, which means doing thus and so. You can't just fill a pew. Go and bake something, for heaven's sake, or sit on a committee and pick on fine points until the cows come home, solving nothing.

Though we were expected to keep our faith journey pretty much in a one-block area, I saw no such restrictions on clergy, who sometimes had agendas that were not so hidden.  In the 15 years I attended, we went through some doozies: one minister decided, without permission from the congregation, to allow CBC television cameras into the sanctuary on Sunday morning to further a "cause" that would raise his spiritual profile, improve his media image, and lift up his wife as a heroine and role model for oppressed women everywhere.

It made me sick. But nobody said anything. Not anyone. Stepford Syndrome had already set in, a dry rot worse than I could have imagined.

It was not ever thus: early on in my involvement, I tried to share some things that went to my core, leading worship services, doing Biblical readings and poetry and even dance and drama set to classical music. People were polite, but I see now that it didn't really fly. The starchiness inherent in churches (I mean "liberal" churches) eventually communicated to me a lack of openness to anything new or different. Being a little tired of their perception of me as a creative flake who really couldn't help it (and whom, by the way, they generously tolerated as a kind of social work),  I gave up and stopped doing it.

Recently I went with a friend to visit Christchurch Cathedral in Vancouver, a magnificent edifice in the old style, full of stained glass featuring Biblical figures that could not have been inspired by human beings. I used to come here to pray, hadn't been in it for years, but this time it was a whole 'nother place. It was the smell that hit me: that old-varnish, dusty-hymn-book smell. The echoing emptiness of the place. The huge pipe organ. I felt my throat constricted as by a collar and leash. I could no longer bend my knee and worship: as my friend meditated with her eyes closed, I kept looking at my watch and wondering when I could get the hell out of there.

There were and are many other aspects to my discontent. A few years ago the United Church set up a trendy website called Wondercafe (hey, make sure you don't mention church or God or Christianity or anything spiritual, but set it up as a sort of Sunday Starbuck's). I see this as a fairly desperate attempt to overcome the largely accurate public perception of the church as outmoded and dull. But they went too far, having some sort of squirrel-figure that gave answers to moral questions, and even offering bobblehead Jesus figures for sale. (No, I am not kidding: kind of like that buddy Christ in Dogma).

It sickened me, but everyone else seemed to either ignore it (what did this have to do with them?) or display a mild acceptance, even enthusiasm. I couldn't figure it out. The church was hiding behind something, I didn't know what. But whatever it was trying to do, and I guess it thought it had to do something, it didn't update the essential dustiness and boredom of liberal Christianity.

Same old hymns, for the thousandth time. A seating plan that isn't even made manifest until you try to sit in the "wrong" place. (After I "walked", I made three more attempts to find a church home. Twice, when I went to sit down, an elderly person said, "No, my family sits there." One old lady even put her hands on the pew beside her. Get your ass out of here!) Superficial friendliness exists, all sorts of it. But what lives underneath it, if anything? I remember a few people washing up on shore over the years who were in some sort of personal crisis, but they immediately left when that crisis was resolved.

There was all sorts of other stuff going on in my church (which I came to privately call Dysfunction Junction),  including hiring a minister so corrupt he had to be fired, and unceremoniously running another minister out of town after nine years of service (and surely we could have sat down with her and gone over our grievances? Apparently not. Nobody said anything until it was too late.) Underneath the friendliness and the Sunday starch, I saw cruelty, all the more awful for being subverted, pushed down and denied. If you raise even one objection, unless you have an immediate and total solution, the messenger will be shot. Problem solved.

When I left, no one called me, but perhaps it was just as well. After fifteen years of somehow trying to fit in, I got tired of the lockstep and had to abandon the whole thing. During our big meltdown over leadership, in which the entire congregation was embroiled in a kind of civil war, not one person seemed willing to take responsibility for hiring a minister who turned out to be a complete fiasco. He was a con artist and a manipulator, but why didn't anyone see that? (If they had, would anyone else have listened?)

I think in large part, we saw him as desirable because he was a black South African who constantly referred to his "pals" Nelson Mandela and Bishop Tutu. At last we had an opportunity to transform our bland pseudoliberalism into something far more exciting. We'd have the most politically correct leader in the whole Lower Mainland! Such power, such cachet, even if only second-hand. This would blow those sad little churches with gay ministers out of the water.  No one was willing to entertain even the possibility that hiring him was a way to increase our prestige in the community, not to mention raise our profile as an "inclusive" congregation who even accepted black folk, so long as they had the right connections.


It all went bad because he wasn't who he said he was. I don't think he was exactly evil, but I often heard that word bandied about. (The Council Chair once fumed, "He's a nasty, evil little man.") Without a doubt he was a shallow con artist with a smooth exterior, and we fell for him hook, line and sinker.  Unfortunately he flipped the race issue  and turned it to his advantage, calling his dismissal an appalling example of racism. The church was left in a tailspin from which it never recovered, in spite of our insistence that we had "healed" and moved on.

But if a church could be so blind as to hire a man like that, how can it make clear-headed judgements about its multitude of unsolved problems, systemic problems that go right back to the founding of the church?



The mess my church created was a big part of my disillusionment, but I was also astonished and shattered to find I no longer believed in God. Not the God of dusty hymn books and pipe organs, anyway. There was no "big guy in the sky" calling the shots. If there is anything, it is an indwelling love, not always within our comprehension, and a dizzyingly complex Creation that quite literally came out of nothing.

So am I Christian or not? Probably not, but the only real Christians I know seldom or never set foot in a church. They live and embody it, and don't even talk about faith or worship because they don't have to. They have the quiet gift of making others around them feel comfortable and OK with who they are. If there's a task needs doing, they show up and do it. They don't say things like "if there's anything I can do, just call me" to a person struggling with devastating bereavement. They call them and say, "How are you?", then listen for the response. No unsolicited advice, no psychobabbling, no social work. And above all: no staying away.

Do we really need Christ any more? I'm not sure, because my personal relationship with Jesus has gradually devolved from a dazzling connection with a personal saviour (eventually fizzling out from the cold water the church threw on it - no embarrassing displays of love, please!) to blankness and complete bewilderment. We turn Jesus this way and that, make him whatever we want or need him to be. Many Biblical scholars are now coming to the conclusion that he didn't exist at all.

I tried the Unitarians for a while. Nice people, mostly elderly, and far more welcoming than United Church folk. But the "sermons" I heard were talks about people's hobbies, photography and music and the like. No mention of God or prayer or anything spiritual at all. I almost felt like I was at a Kiwanis Club meeting, or maybe Toastmaster's. 

The other two United Churches I tried nearly suffocated me with boredom. I kept looking at my watch. I didn't feel comfortable trying to butt into the little conversational knots of two and three in the hall downstairs as people ate fat-and-sugar-laced baked goods washed down with tepid tea.

I guess I don't belong anywhere now (in spite of my constant references to "my" church), which is sad. It hurts me more than I can say. Recently I was shocked but not surprised when two of my dearest friends, a married couple who gave tirelessly to the church for years and years, were asked to leave. So I have given up the frantic (or whatever it was) search for "sanctuary". If church happens again in my life, it will have to come about through a natural turn of events.

So what do I miss most? I guess it would be the singing, and when I hear spirituals like the two I posted, something in me just aches for it. I wonder sometimes if some mysterious force has hit me like a stroke of lightning and smashed my spiritual life all to hell. I can't pray any more, not like I used to, because I just don't see what difference it makes.

If there is an ultimate power, someone who is in charge of everything, how in the world can we convince him to do what we want? (Do this, God. Do that. Why would we pray at all unless we wanted to change things? Can't we trust that God is doing OK on his own?) And if a thousand different people pray for a thousand different (probably conflicting) things, and none of it comes true, do we go on praying, in hopes that we just somehow didn't do it right? If ONE prayer is "answered", say, wiping out the infidels in the Western hemisphere, does that mean that those people are more beloved of God than the rest of us?

While it may be true that disillusionment is just proof that you harboured illusions, spiritual disaffection - if that's what it's called - is particularly devastating because it strikes at the heart of matters of life, death, and ultimate reality. We expect better of our friends when we're down, or lost, or full of tears. We don't need pats on the hand, Bible verses prescribed like medicine, or more pans of brownies. If the so-called people of God can be this shallow, this dogmatic and self-deluded, how indifferent are the people who walk outside the margins? The pulp so bitter, how shall taste the rind?

Deep River Mahalia Jackson

Witness - University of Utah Singers

Vat's dis? Vat a mess, oy, get my zecretary!

In all fairness, there were a couple of photos I still liked from The Family of Man, that huge Museum of Modern Art exhibit from the '50s. How could you not like reading the mind of Einstein as he contemplates where he put his lunch? 

The Family of. . . what??

I recently rediscovered this battered old book in my collection and was looking forward to seeing the photos again for the first time in 25 years. It's billed as "the greatest photographic exhibition of all time - 503 pictures from 68 countries - created by Edward Steichen for the Museum of Modern Art (Prologue by Carl Sandburg)".

My copy is dated 1955, a softcover in poor shape, the pages badly browned. The paper is of shockingly bad quality, thin shiny magazine stuff you never see any more, almost designed to fall apart or at least turn sepia within a couple of years.

I remember ooh-ing and ahh-ing over this collection and thinking, how significant! But that's the trouble with this book. Pretentiousness and import hang heavily over it. It's very much a product of left-leaning '50s sentiments, the zeitgeist of the black-and-white Eisenhower era and the liberal resistence that went with it.

In the introduction, Carl Sandburg waxes oh-so-Sandburgian: "Peoople! flung wide and far, born into toil, struggle, blood and dreams, among lovers, eaters, drinkers, workers, loafers, fighters, players, gamblers. Here are ironworkers, bridgemen, musicians, sandhogs. . . " - but you get the idea. Presumably, they don't all live in Chicago.

There is a little photo of a smiling piper that appears every other page or so: "Follow me! I'm the piper!", etc. The pages are grouped in a way that somehow embarrasses me. It starts with a James Joyce quote about sex ("and his heart was going like mad/and yes I said yes I will Yes.") On the facing page is a volcano with lava running down, and a picture of an embracing couple lying on a picnic blanket.

Then it goes on to pregnant women, one prominently holding a cigarette, then BIRTH, a newborn baby being held upside-down by one leg by the doctor. And on and on. It's as if Norman Rockwell had been told to "spice it up".

There are lots of cornball quotes, such as: "Sing, sweetness, to the last palpitation of the evening and the breeze." "With all beings and all things we shall be as relatives." "And the people sat down to eat and to drink, and rose up to play" (a Cecil B. DeMille/Ten Commandments sort-of-thang). One can almost hear the schmaltzy Aaron Copland score in the background.

It's hard to put my finger on just why all this is so offputting. Joy: OK, let's show a whole lot of people smiling (mostly men of the soil with bad teeth, with a few society types thrown in to show the vast diversity of "people!") Sorrow: let's get out the war pictures, and the old black man crying in the rocking chair. I guess their intentions were good, but I could find only one picture I really liked this time, a monk kneeling in the middle of an empty street in Colombia.

The book ends with a stunning display of eight couples, most of them "ethnic" (meaning old and weatherbeaten), and under each photo is the caption, "We two form a multitude" (eight times already!). There are some ominous warnings about nuclear war and even a little picture of Einstein standing over a messy desk looking puzzled ("hmmmmm, vere did I put zat zandwich?"). There's also a brief nod to the UN, reminding us how lefty-liberal this whole enterprise is, and probably seen as downright pinko by the House Unamerican Committee. Maybe that's why it's been out of print for so long.

Tenderly her blue eyes glistened. . .

Until a few minutes ago, I would not listen to anyone's interpretation of this melancholy little gem except William Warfield's. I still love his version, but this was a real find. 

I blush to admit I'm not very familiar with Thomas Allen (in fact, it's also the name of a publisher I've been trying to ding for years!). Now I do a little probing, and find he's one of the world's finest baritones: and no wonder! His restraint in this piece is amazing, his tone lucid and full of rippling, iridescent overtones. 

I do hear hints of Warfield in his interpretation, but that's not a bad thing, is it? The accompaniment is ravishing and seems to be in love with the music. I wish I had more info on this video. (Originally I was looking for My Soul is a Witness sung by Paul Robeson, couldn't find it, found several other spirituals, then stumbled on to this. The Robeson search came from, strangely enough, the Hound of Heaven quote: "I shook the pillaring hours/And pulled my life upon me", which got me thinking about Samson (presumably, the source of the poetic image), which got me thinking about my favorite verse from Witness:

You read in the Bible and you understand
Samson was the strongest man
Samson went out at-a one time
And he killed about a thousand of the Philistine
Delilah fooled Samson, this-a we know
For the Holy Bible tells us so
She shaved off his head just as clean as your hand
And his strength became the same as any natural man

O, Samson was a witness for my Lord
Samson was a witness for my Lord
Samson was a witness for my Lord
Samson was a witness for my Lord

(Oh yeahhhhhhhh!)

Hounded

And a dog stood over him. He was that sort of person. Hounded. So when the 19th-century English poet Francis Thompson wrote his most famous poem, The Hound of Heaven, it had (and still has) the power to make your neck-hairs rise with a disturbingly accurate portrayal of human anguish and despair.

Given when it was written, it's no surprise the language is overly plummy and sometimes almost impossible to decipher. "Fear wist not to evade, as Love wist to pursue." (Wist??) Ordinary words are turned on their ear: "skiey" (which I kind of like), "silvern", "dunged" (but I'd rather not go there), and, in the final line, when God finally catches up with the poor fellow, "dravest":

Thou dravest love from thee, who dravest Me.

I think that word puts me off the most, since when you finally get past all the poet's agony and are about to witness his dramatic salvation, you don't know what the hell he's talking about.

The whole reason I'm posting this is that there's a line, one out of the 184 or whatever it is (and it takes Richard Burton almost nine minutes to recite this on YouTube), that periodically repeats and repeats in my ear:

The pulp so bitter, how shall taste the rind?

It's an example, amid the overly-florid language and sometimes offputting emotional excesses of the work, of startling clarity and brilliant economy of expression. He shoves that rind in our faces and makes us taste, and it is bitter fruit indeed.

I would never torture you with a transcription of the whole thing, because its twists and turns can be exhausting (and besides, it's just plain too long). Attention spans were much longer then, people were much more attuned to the written word (especially when recited), and almost everyone adhered to conventional Christianity in some form. So his image of God as this lumbering lout with pounding feet chasing after him was probably less oppressive than it seems today.

I fled Him, down the nights and down the days;

I fled Him, down the arches of the years;

I fled Him, down the labyrinthine ways

Of my own mind; and in the midst of tears

I hid from Him, and under running laughter.

Oh yes. The imagery splashes pictures onto the blank canvas of the mind: running away from something, here described as "Him", but something that could be infinitely more mysterious and powerful than any conventional Christian God.

It's hard to pluck out single lines here, as the poet's thoughts tumble out with manic urgency, line blurring into line: but there are a few, yes, there are a few. . .

Across the margent of the world I fled,

And troubled the gold gateways of the stars,

Smiting for shelter on their clanged bars:

Really, it's the middle line that draws me, those gold gateways: but it's that word "troubled" that is so odd and affecting. Maybe he was just looking for the right number of syllables, I don't know. How can anyone have the power to "trouble" the stars? Either he's expressing delusions of grandeur, or the word means something entirely different to him.

I said to Dawn: Be sudden - to Eve: Be soon;

With thy young skiey blossoms heap me over

From this tremendous Lover -

Float thy vague veil about me, lest He see!

Well, this is nearly a peep-show, isn't it? Quick, God is coming - put your pants back on! Dawn and Eve could be his girl friends, or wanton women at least, cleverly couched in coded language. "Dawn" and "eve" represent each end of the day, but Eve is also the "first woman", and therefore infinitely desirable. And oh those skiey blossoms, big fat plumphy cumulous heaps to roll around in (with Eve - or Dawn - whose turn is it, anyway?). And what about "this tremendous Lover"? That's nearly homoerotic, when you think about it.

To all swift things for swiftness did I sue;

Clung to the whistling mane of every wind.

I don't need to explain this one, its visual imagery startlingly cinematic. Simply brilliant. 

As I said, it's hard to pull lines out of this without dragging up a root-ball of context, but I'll try (coz I'm already getting tired, aren't you? This ain't English 101.) He speaks of "quaffing"

From a chalice

Lucent-weeping out of the dayspring.

OK. What does the poem mean? What the hell is he getting at? "Chalice" (he doesn't frequent Starbuck's, obviously) could be the Holy Grail, or the cup of communion. Lucent-weeping, well, what's that? Lucent means either translucent, permitting light, or a source of light. The poet is weeping crystalline tears, perhaps: and as far as I know, Dayspring is a reference to Christ.

This fellow does have delusions of unusual influence:

Even the linked fantasies, in whose blossomy twist

I swung the earth a trinket at my wrist

Or does this express his disdain or even contempt toward the world? If the world is but a trinket, a charm on his tinkling little bracelet, what does that make him: a cipher, perhaps? Or could it be this way: the world somehow swings around him, an egocentric sun eclipsed by his own transgressions.

But perhaps the most powerful passage, which I can't pull apart but must present whole, is this description of his self-created hell:

I shook the pillaring hours

And pulled my life upon me; grimed with smears,

I stand amid the dust o' the mounded years -

My mangled youth lies dead beneath the heap.

Oh my goodness, this fellow is not just in trouble, he's (in his own estimation) already dead, and in dire need of resurrection. In some sort of awful anti-heroic Herculean or perhaps Samsonian gesture, he has pulled the entire structure of his life down on his head. But the next two lines are tasty enough to keep you wading forward in the hip-deep mire:

My days have crackled and gone up in smoke,

Have puffed and burst as sun-starts on a stream.

If hell can be this heavenly, why fear the hound?

Everything I touch turns to. . .

Yes. Every once in a while, everything turns brown.

I sort-of figured out why I can't attach links or embed videos. I have it more-or-less under control, though the videos are small.

Then another problem, so bizarre I don't know if I can even describe it. I lost the title to my blog, which used to appear below the photo of the little girls. It just wasn't there any more, though it was saved correctly under Design and should have been displayed.

I can't have a no-name blog. I'm not Anonymous. My name is on it for a reason. It's a kind of ad for my work. So I got to work fixing it, and came up with: white lettering against the background of the photo (at the top). It looked OK and was saved and everything.

And it shows up fine, until. Until you go to Older Posts, or an individual post, or a brand-new post, or anything except the home page. Then it shows up. . . brown.

Brown, as in I can't see who the hell wrote this. BROWN, as in, sorry, you didn't fix the problem at all, you stupid bitch, phhhbbblblblblbphhhbllblblblblbllblblbllbtt!

To make it even more screwy, the "blog description" (the line below the title) still shows up in white. I have gone over this again and again, and the setup is perfect. Then I get this intermittent (not even consistent!) problem with display.

I will not go on one of those help sites. They make me ill and never tell me what I need. I need to email a real person who knows what to do. Even my son the techie wizard is stumped.

Nevertheless. I somehow figured out the other problem, or most of it at least. Enough to avoid a nervous breakdown in the near future.

But this.

Let's not let a little suicide spoil our fun!

 

Commentary: Bravo should have cancelled Real Housewives

By Mary McNamara, September 6, 2011

 

 

The only meaningful statement Bravo could have made after the suicide last month of "The Real Housewives of Beverly Hills" spouse Russell Armstrong would have been to cancel Season 2, which depicts, among other things, the collapse of the Armstrong marriage.

There's nothing that a little cosmetic surgery can't fix, including, apparently, suicide.
The only meaningful statement Bravo could have made after the suicide last month of "The Real Housewives of Beverly Hills" spouse Russell Armstrong would have been to cancel Season 2, which depicts, among other things, the collapse of the Armstrong marriage.

That, of course, was not going to happen — any hint of responsibility would have been taken as an admission that being on television has become an attractive nuisance, like an unfenced swimming pool. Instead, after offering their heartfelt condolences, the producers simply re-edited the season premiere a bit and added a preface, filmed Aug. 29, in which the cast directly addressed the tragedy.

Which meant, for five minutes or so, all the housewives except Armstrong's wife Taylor — in full hair, makeup and Jackie O. sunglasses — converged on Adrienne Maloof's over-kitschy manse to reassure themselves that they had nothing to feel guilty about.

Looking serious and dabbing occasionally at their eyes, they each professed their shock and sorrow ("I never saw any sign of it," "I don't think any of us saw any sign of it") just as if they had actually been friends with Armstrong and not simply participants in a franchise built around the drama of discord, including and especially marital problems.

In other words, they reacted to his death in character, maintaining the fiction that their show was more or less a documentary rather than a manipulated if not outright scripted drama in which certain participants were encouraged to play certain roles. Even for a spouse, Armstrong was rarely seen in Season 1, and when he appeared it was simply to illustrate the complaints Taylor had about him — he was distant, he was cold, he worked too much, he did not want her "to have fun" (which appeared, even last year, to be code for "he doesn't really want to be on this show").

When the issue of "casting" was raised in the preface, when Kim Richards suggested that perhaps the friends (i.e. the show) concentrated too much on Taylor's unhappiness at the expense of Armstrong's, the rest of the cast quickly disagreed — "I don't think even Taylor knew," said Lisa Vanderpump. "We were all told the same thing," said Camille Grammer. "We were all acting on what we were told."

Blinking away their tears, they all agreed they would not have done anything different, and then Kyle Richards stepped up to the narrative plate: "A lot of us have guilt about not seeing this coming," she said. "You can't feel responsible for that. It was his choice, it was his choice," she added, and it was not clear whether she referred to Armstrong's suicide or his decision to do the show. But her final declaration was clear enough — "It's hard for me to move forward, it was such a tragic situation. But as difficult as this is, life goes on."

Cue music and the vacuous nonsense that passes for life in the "Real Housewives" universe, in which with Season 2 nothing, and everything, has changed. The Vanderpump daughter may be getting engaged; Camille will survive her divorce from Kelsey Grammer; Kyle and Kim cope with their leftover sister issues; Adrienne pits her tiny dog Jackpot against the Vanderpumps' tiny dog Giggy.

A bit about Taylor shopping for naughty underwear to spice up her marriage was, tastefully, excised, but it is impossible to edit real life from reality. A dinner party at Adrienne's house quickly proved why Bravo should have gone with "cancel Season 2."
A fight between Adrienne and her husband, Paul Nassif, obviously manufactured to make everyone "uncomfortable," led Paul to ask how Taylor was doing (Russell Armstrong was not in attendance).

The discussion turned to the fact that Taylor and Armstrong were in therapy. This gave Ken Vanderpump the chance to play the Neanderthal and say, among other things, that if he had to go into therapy he "would feel weak."

Cue ridiculous silence from guests as camera pans the table and everyone puts on their "shocked and uncomfortable" faces. Taylor storms out, Kyle quickly behind her. Tearful conversation in bathroom ensues, interrupted by Lisa, looking witchy and saying in voice-over, "Taylor's very manipulative; now she's drawing Kyle into her drama."

It is impossible for even an impartial observer to not parse a scene like that for indications of what we all now know is to come, which not only turns the show into a creepy necro-party game, it shatters the suspension of disbelief required for these shows to succeed.

The allure of the "Real Housewives" shows has been, in part, their celebration of the unreality of life — all those dinner party conversations that were just as manufactured and misguidedly narcissistic as the surgically altered faces, the carefully arranged decolletage, the anorexic arms that wreathed the table. But now we know that as these tableaux were constructed, as these little scenes were nursed into being, the petty tensions fed, the catty diatribes coddled, offstage a man was slowly moving toward self-destruction.

How can we now watch and think of anything else?

The Vancouver Sun

Whose blog IS this?. . . Anyway?

I fight with technology all the time. It's a useful tool, but I don't "speak" it and never will. My son is a techie who speaks about 47 languages at light speed, and I can't even catch on to the English version. So near, and yet so far.

I've lost the title to this blog. It used to say margaret gunning's house of dreams, all nicely set up in title-sized font, then below that, in smaller font, Step into my dream. Now it's not there, except for some weenie thing in flyspeck type, in the wrong place. This was the best I could do to restore any title at all.

When I try to use the design feature, it all shows the correct headings in the right places. I assume something is checked or unchecked to not display the title, which is just about the stupidest thing going. Who wouldn't want to display the title of their blog?????

I've been tinkering with changes, mainly because I could no longer do the things I wanted to do. I hate change, especially this kind of change, because it makes me feel stupid and inadequate, and slow. No one wants to feel this way.

When I solve one problem, ten more pop up, even more obscure and hard to solve. I just don't have a head for it. I did fine for a whole year, now it's all screwed up. I want my blog back! Vindictive leprechauns are nibbling my toes. Help.

Quite possibly the weirdest video ever

 

This beast of a machine is giving me trouble today, so I don't know if this is even gonna work. But I'll give it a shot.

Every so often I go on a Melies kick. Y'know, Melies. Weird guy from the early 20th century, actually the late 19th, a cinematic innovator who started out filming magic tricks on a stage in one shot, and went on to phantasmagorical fantasies with a lot of men dressed as wizards running around with telescopes. 

His most famous film is A Trip to the Moon, a bizarre take on a Jules Verne classic (with lots of men in wizard costumes running around with - ). The moon is depicted as a big gooey cream-pie sort of thing with an actual face on it, and the space craft, a big bullet, hits it in the eye. The story is disjointed: I never did get how they (the scientists) got back to earth. But at that time, "pictures" were new and innovation was free and open. No matter what a filmmaker did, some audience, somewhere would be enthralled. 

Eventually Melies' work went out of style, perhaps being just too weird for later audiences (and those quivering cardboard flats in the background didn't help much). When you look at Melies, you see where Terry Gilliam got most of his ideas. Bodies fly through the air, particularly semi-nude women's bodies in mermaid-like poses. Big puppetlike heads appear for no reason and open and close their mouths. Things drop out of sight in a puff of smoke, then pop back up out of thin air. It's a kind of fever dream mixed with an acid trip. 

Sadly, once Melies' work went out of style around 1912, he went bankrupt and had to resort to selling toys in a Paris train station. The films were confiscated during World War I, the celluloid melted down to make boot heels for soldiers: so they were literally walking all over poor Georges. But a few fragments survive. 

I don't understand this passage at all (an excerpt from a picture called The Eclipse), and it appears it might be cut off on the right-hand side. It's pretty gay, to be sure, but I'm not sure why. And I don't know why they're licking their lips like that. It's all too squirmingly sexual. Why not have a seductive woman as the moon, and a nicer-looking man as the sun who didn't look so much like freaking Satan? Never mind, I am somehow drawn to Melies and his strangeness and sat through the Turner Classics compilation for the second time last night. I didn't want to do it, I didn't want to do it. But I did.

Caitlin sings "I Love You Like a Love Song" by Selena Gomez

toujours gai toujours gai

the song of mehitabel

By Don Marquis, in "archy and mehitabel," 1927

this is the song of mehitabel
of mehitabel the alley cat
as i wrote you before boss
mehitabel is a believer
in the pythagorean
theory of the transmigration
of the soul and she claims
that formerly her spirit
was incarnated in the body
of cleopatra

that was a long time ago
and one must not be
surprised if mehitabel
has forgotten some of her
more regal manners

i have had my ups and downs
but wotthehell wotthehell
yesterday sceptres and crowns
fried oysters and velvet gowns
and today i herd with bums
but wotthehell wotthehell 

i wake the world from sleep
as i caper and sing and leap
when i sing my wild free tune
wotthehell wotthehell
under the blear eyed moon
i am pelted with cast off shoon
but wotthehell wotthehell

do you think that i would change
my present freedom to range
for a castle or moated grange
wotthehell wotthehell
cage me and i d go frantic
my life is so romantic
capricious and corybantic
and i m toujours gai toujours gai

i know that i am bound
for a journey down the sound
in the midst of a refuse mound
but wotthehell wotthehell
oh i should worry and fret
death and i will coquette
there s a dance in the old dame yet
toujours gai toujours gai

i once was an innocent kit

wotthehell wotthehell

with a ribbon my neck to fit

and bells tied onto it

o wotthehell wotthehell

but a maltese cat came by

with a come hither look in his eye

and a song that soared to the sky

and wotthehell wotthehell

and i followed adown the street

the pad of his rhythmical feet

o permit me again to repeat

wotthehell wotthehell

my youth i shall never forget
but there s nothing i really regret
wotthehell wotthehell
there s a dance in the old dame yet
toujours gai toujours gai

the things that i had not ought to
i do because i ve gotto
wotthehell wotthehell
and i end with my favorite motto
toujours gai toujours gai

boss sometimes i think
that our friend mehitabel
is a trifle too gay

Sometimes. . . it's just too easy to be negative

Sometimes. . .

I just hafta delete something that maybe tells too much truth about me.

Sometimes. . . it's a whole post.

Sometimes. . .

I have to accept the fact that things aren't

going to go the way I want them to

Sometimes. . .

I just have to hang in

or hang on

Sometimes. . .

I just have to remind myself to Never Weaken

and ask myself WWHD

it's better than eating a whole large bag of kettle corn

before dinner every day, I guess

cuz that doesn't get you a contract, does it

but it can take your mind off the obsession

for as long as it takes you to chew

(Disadvantage: extreme fatness

bearing down on you

bombing through the Truth Tunnel

like an approaching train)

but as Mehitabel once put it

wottehell wottehell

and I am

if not happy,

then

at the least

toujours gai



Water sports

Take me away, please - no, I mean it

Pink cow

Now we know where Strawberry Quik comes from.

 

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%

Dick, take over while I fix this thing.

August 19, 2011, 9:00 pm

By DICK CAVETT

Dick Cavett on his career in show business, and more.

Flying? Increasingly for the birds

 

“I’ll be passing the back of my hand over your buttocks and then come up the insides of your legs up toward the private parts. Is that O.K.?”

“Sounds peachy to me,” I knew not to say. You’re not supposed to joke with airport security, as people have learned the hard way.

This makes sense, but as with so much about airport security — or as someone has called it, “Security Theater” — it seems a bit silly. Are terrorists known for their tendency to joke? (Is there a paperback called “Jokes for Jihadists”?)

When you refuse, as I do, to be ordered into the big scanner with its “safe” amount of X-ray, you are made to feel like a wimp and told to “Stand over there!” And over there — with maybe one or two others who have also noted that whatever X-rays you are urged to get in life are invariably “safe” — you stand, a little ashamed, waiting until the patter gets back from the toilet.

On a recent patting (and the patters, I should say, are a nice lot, picked perhaps for their demeanor) the description “toward the private parts” had a grain of inaccuracy. The rising hands didn’t stop short, causing a slight “ow” on my part. “Sorry” was delivered feelingly (no pun intended).

Another time, after having been felt up in public, I fell into a pleasant chat with the man with the business-like hands. He’d recognized me, and there were no other pattees waiting.

I asked, “What sort of jokes are you tiredest of by the one patted?”

“Oh, you can probably guess,” my guy said cheerfully.

“Something like, ‘Hey, cute stuff, whatcha doin’ after the show?’ ” I guessed.

“You got it.”

“Any of the would-be humorists ask what sort of man would seek a job patting other men?”

“You got it again.”

“How are you supposed to behave in the face of such wit?”

“Smile and keep patting.”

I’m sure no professional patter lives in fear that an accumulation of such micro-erotic experiences will endanger his orientation. Or the passenger’s.