Literary / Satire
Date Published: October 2016
Publisher: JAM Publishing
Ruth Askew, a minor celebrity, is spouting some highly incompetent philosophy about the end of virtue. Con Manos, a journalist, is attempting to uncover a political scandal or two. Add some undistinguished members of City Council, an easy listening radio station, a disorganized charity, a prestigious Philadelphia newspaper, and any number of lawyers and other professional criminals. In Worthy Of This Great City the compelling stories of two stubborn individualists intertwine in a brisk, scathing satire that invites you to question everything you think you think about today's most discussed issues: populism and elitism, the possibility of truth, the reach of profound stupidity, and the limits of personal responsibility in these post-truth, morally uncertain times.
If you know my website and Twitter addresses (asmikemiller.com and asmikemiller, respectively), you must realize Mike Miller is only an author name. It's not a matter of privacy
or secrecy; anybody can find me with minimal effort. It's about keeping things separate. My writing is about what appears on the page. It's not about my personal politics or religion or history.
Worthy Of This Great City is a B-game book. I'm ambiguous about this, being interested in money like most people, but I don't want to compete with a slick professional cover or smooth editing so I've stuck to a sort of reasonable, human middle ground. I value those things for what they are, of course, but I see them as artifacts, part of a system of publishing that fought like hell for a week's worth of shelf space, that fought to catch the eye, not the mind or heart.
As my character Con Manos says: "It's a revolution, isn't it?" I say: Why fight on the side of the enemy? Why imitate and thus perpetuate a business model that stifles originality? Just to show you can? Unless, of course, you're fighting to attract the eye, not the mind or heart.
I've played a joke with this novel - my first, incidentally. Played with the idea of narration and who can be speaking after all. It's all very literary.
Worthy of This Great City, by Mike Miller
Q. What inspires your writing?
A. A lifelong search for the words I need. That’s a combination of enormous need or ambition and an appreciation of language. Words are my power; I’m certain that once I figure out the right ones, juggle the concepts with sufficient expertise, I can master my life. It’s the great quest, the great illusion.
Q. What is your favorite thing about being a writer?
A. Getting something right. Those breakthroughs when you see where you’ve been going, when you understand what you’re been writing about all along.
Q. What is the toughest part of being a writer?
A. The waiting for ideas to come together. Waiting to move forward.
Q. If you could not be writer, what would you do/be?
A. I think I’d be working in fine arts or at least crafts. I love sculpting, painting.
Q. What would the story of your life be entitled?
Q. What is your favorite book of all time?
A. Franny and Zooey. When I first read it as an adolescent I was astounded that a book could express my private questions and concerns, could consider such matters important in life and in literature. It set me off on a different course, and for that I’m incredibly grateful.
Q. Which character from ANY book are you most like?
A. Maybe Alyosha from The Brother Karamozov. I’m hopeful, maybe naïve. I want to believe. I want answers.
Q. What character from all of your books are you most like?
A. Ruth Askew. I’m impulsive, proud, stumbling clumsily around looking for ideas about God, all that. Like all of us, Ruth is essentially blind, eager to take pride in her gifts but gifted at avoiding responsibility for her actions.
Q. Which book would you love to take a weekend vacation inside of?
A. Lost Horizon. Who wouldn’t want to be young forever?
Q. What is your favorite season?
A. SUMMER! I’d make an excellent beach bum.
Q. What inspired your book cover(s)? Or what is your favorite book cover and why?
A. Well, that’s a story, because I never wanted to put too much emphasis on the externals, only on text. Covers ultimately have to do with brick-and-mortar shelf space. So I used one of my own photographs, one that seemed to capture the mystery and promise of City Hall’s corridors. It’s golden and beautiful and makes for a cover everyone seems to hate, I assume because it isn’t what a cover is supposed to be.
Q. Tell me something funny that happened while on a book tour or while promoting your book.
A. I don’t know that it’s amusing funny, more curious, but I stopped doubting myself. I could see from various critiques exactly what the reader did or did not grasp of what is after all a very complex, layered work structured to read easily. It can be appreciated simply as a satire or as philosophy or as a commentary on narration and the novel. I think that’s correct, in a way. It reflects the complexity of every living moment, and the ease with which we necessarily ignore that marvelous complexity. Anyway, somewhere along the way other people’s opinions stopped mattering to me, and as a typically insecure writer I find that remarkable.
Q. Are you working on something new?
A. Yes. It’s about immigration law, a political asylum case, but I don’t want to get into more detail because almost certainly everything will change. As in Worthy of This Great City, the fact of the narrator is important. And again as in Worthy, places and times sometimes move subtly, with no sharp edges but merely a shift in influence.
Q. Anything you want to say to followers of this blog or those that are just stopping by?
A. The novel is infinite; it’s a world of unexplored possibilities of both structure and content deserving of constant serious change, not pathetic tricks of cosmetics and inserted media. Text doesn’t need to apologize. But I think we’re entering a new era where major publishing houses produce mainstream, commercial products but also act as distributors, and indie authors are as respected as indie filmmakers.
EXCERPT from Worthy of This Great City:
Earlier that day, I lay in the shade with only my bare toes exposed to the vicious sun, part of a modest audience similarly disposed beneath the modest fringe of trees surrounding the field. Light fell down through the foliage, thick victorious beams that described powerful angles in their descent inside the usual breathtaking green cathedral. Around me the grass was withered and compressed into a flattened mat over ground still saturated from the previous night’s thunderstorms; everything smelled of baking wet earth, sunscreen, and greasy event food. I don’t remember any intrusive insects or even visible birds except for a couple of extremely distant hawks, dull specks in the otherwise empty sky.
Another respectable scattering of spectators occupied the baking field, most sprawled directly in front of the small Camp Stage, true fans eagerly upright despite the merciless heat. So just as expected, one of those perfectly innocent afternoons you buy with the ticket, monotonous while deeply nourishing, readily absorbed through the whole skin like childhood summers.
I didn’t know about the witches yet, but they were out in force. Yeah, it’s a silly description but I don’t know how else to capture the awful effect of those damn women. So they were witches who’d been summoned by a highly demanding assembly of affluent suburbanites, people accustomed to commanding natural forces. And while arguably these were all benevolent females who only meant well, with witches you never know how it’s going to turn out.
Every August for more than a decade I’ve headed out to Schwenksville for this dependable throwback party. And not precisely to enjoy the music, because although it commands my absolute respect I find it too intense for everyday entertainment. It’s a kind of church music, an unashamed church of humanity: pure sound, plaintive and honest, twanging and rambunctious, dulcimer gentle. Fitting, then, for this late-summer pagan rite in honor of righteousness, and I immerse myself in it to perform a spiritual cleansing of sorts, processing across the fields from one rustic venue to another, affirming a succession of bluegrass pickers and ballad wailers and theatrical tellers of old tales. And it’s a mildly uncomfortable ritual in another sense, but that’s because of the mostly undamaged people, the one’s who wholeheartedly enjoy everything and applaud too often.
As with anything religious, there are incredibly subversive undercurrents longing to manifest, easy to exploit by those portending witches. Two of them performed that day, one with such tragic skill and clarity it unintentionally aroused huge amounts of self-loathing and subsequently resentment, at least in me. The second inspired a joy vigorous enough to move the plot. And the third exerted an indirect but equally damning influence courtesy of her own celebrity, her mere idea inciting a shaming nostalgia. In fact it was dangerously stupid to speak her name aloud. All three arrived wearing absolute certainty.
This current festival setting, the Old Pool Farm, is perfectly suited to the occasion. There are wide fields to accommodate the generous crowds, a nicely crisp and sparkly creek, and the requisite gates and groves, all at a situation remote enough to evoke a wholly separate culture despite easy proximity to the city. Although that’s not difficult, because even today you only have to poke your nose outside the nearer suburbs to spot a rusty silo on some decrepit farm with another of those filthy black-and-white, diarrhea-spewing dairy cows leaning against a sagging wire fence, its pelvis practically poking through its muddy hide. Peeling paint and hay bales directly across the road from another mushrooming pretentious development, a slum of dull, identical cheapjack townhouses. So despite the fervent country claptrap the festival is essentially a metropolitan scene, drawing a sophisticated crowd, and therefore in one sense condescending, an insult.
Murmurs of anticipation brought me up on my elbows to discover Hannah Lynch already onstage, a typically modest entrance. I sat up and paid attention, catching sight of her inside an amiable circle of probable musicians, a glimpse of her face and one thin shoulder between competent-looking backs in cowboy or cotton work shirts, all of them endlessly conversing there in surprisingly gentle voices.
Until finally they broke apart and here she came gliding towards the front of the tiny platform, moving within a reputation so illustrious it made her physical presence unlikely and you had to struggle for it. A tiny bird of a woman, an elderly, fragile sparrow with fine gray hair and hazel eyes and translucent skin, nodding to us and smiling nicely with small unremarkable teeth while seating herself on a wooden folding chair. She was dressed like good people, like a decent Christian farmwife in a faded print skirt and cotton blouse of mixed pastels, pink and beige and blue. Only with dangling silver jewelry to be noticed, since after all she was a major star.
With this one unshakable article of faith: that her famously quavering soprano was entirely unrelated to her own ordinary self, more of an imposition or a trust, an undeserved gift from God that in no way merited personal praise. So she has stated. And accordingly she exuded genuine empathy with all of us waiting out there for her, straining forward to better capture the spirit and stamina investing each word. A curve of laughter lit her face, and there was grief there too, but nothing to diminish that serene spirit.
Beside me Crystal, blatantly artificial trendoid in that audience of cosmopolitan pseudo-naturals, for once had the good sense to keep her mouth shut. Crystal, please note, was present only because she suspected this event mattered to me and meant to chain herself to it in my memory. She was an unashamed criminal, and really sweet, and I admired her.
Lynch sat there looking at us and hugging her guitar, once giving it a surreptitious pat like a favorite pet before launching into one of those unexpectedly piercing old songs, a rather shocking rush of raw bitterness and despair - nothing silvered there - railing rather than mourning yet cleanly tragic because without any confusion of entitlement or excuse, in fact totally untainted by melodrama, an expression of rightful fury to upend your sensibilities and make you cringe inside your pampered, complacent soul.
And onward, commanding that summer hour with a repertoire of futile longing, black misery, true love, unalloyed injustice, and journeying away as only the truly dispossessed can journey. How inadequate we were by comparison, what undeserved good fortune to be sitting there vicariously sharing the infinite human endurance of those former generations, thus beatified now. Sharing a deep pride in our good taste and our faultless fundamental values.
And that’s how this festival always goes for me: a fusion of rapture and fleeting realization, of purging and rebirth I suppose. We avid celebrants being served by true vicars, unassuming conduits of grace because essentially craftspeople evincing the unquestioning self-respect of their kind, therefore automatically accepting us as equals and worthy of their respect, refusing to cater. That’s how Lynch and her ilk deliver their deadly blows, how they incite our reckless, self-destructive impulses.
Because the problem is, nothing is enough and never can be, not in any case. And in addition to that, this particular event carries an impossible burden of triumphant civil rights baggage. A weight of expectation, purest gold and just as heavy, presses down on those fields like an approaching storm, flattening the trees, placing an unbearable strain on our moral muscles, making even the most authentic and engaged participant stagger for reasons most often never identified.
You see there’s no battle here anymore, a situation as frustrating as it is pathetic. I mean, what’s so pitiable as striving mightily to wage a war already won, or achieve a moral victory already popularly embraced? Like you’re on some lone and dangerous crusade instead of enjoying a mere reenactment, an amusement park ride. As if any real social hazard or physical extremity ever threatened most of these initiates. As if they could face the real front line today. Come to that, what in the world ever sprang from this placid piece of Pennsylvania countryside anyway, or even its nearby metropolis, so far from the bloody front lines of decades past? What justifies this hallowed ambience? Everyone knows the real struggle was over in another state, in the deep South or New York or California, all that televised passion and pain. Yet here’s a similar legacy, an undeserved renown.
Seriously, you have to consider this heritage of the sixties, that era of righteousness and innocence and victory, you have to ponder the connection to the contemporary lives and events I’m describing here. Resurrect that intoxicating scent of possibility. Realize how strong it is, what it can do. Watch any old news film and it’s literally like viewing creatures from another planet, those young people are so alien, their gestures and expressions so certain and strident, an entire new world in their angry, accusatory eyes. What can any of that mean in this age of spent possibility?
So today the Folk Fest is largely a masturbatory farce of self-congratulation, courtesy of this pushy, upscale audience basking in its accustomed sunshine, displaying that forceful amiability that means money, smiling too brightly over bare freckled shoulders. Uniformly pale people displaying their ease on this bucolic faux battlefield, all aggressively self-aware. And meanwhile a barely perceptible, slightly demented energy flutters along at grass level, an intrepid narcissism bent on having a significant experience and more than a little desperate to measure up to itself.
I’m as progressive as anyone, I secretly gloat over my superiority, so for me all this underlying energy eventually manifests as low-grade irritation, and the fact that bad temper is implicitly verboten at this event only makes it that much worse. And then here comes Lynch to further emphasize everyone’s obvious unworthiness and what can you do but silently seethe with frustrated moral ambition. This is the one Folk Fest constant I always dismiss until it’s too late and I’m climbing aboard one of the yellow school buses that shuttle people in from the parking fields, listening to all the boisterous but balanced chatter. Probably a deliberate amnesia, because as I say, for me it’s a religious event.
So by later that Saturday afternoon I was largely disgusted with myself and as you can imagine, wonderful company. Once again stretched out on my back but this time my whole body obstinately exposed to the brutal heat, and while I had a bucket hat shielding my face I’d raised my knees to better facilitate the burn penetrating my jeans. I reached my left hand out past the edge of Crystal’s spongy blue blanket, feeling for the heart of the earth deep underneath the dispirited vegetation, Edna Millay style.
There we greeted the second witch, and for an interlude of spontaneous revelry the whole phony carnival dissolved, wiping away our precious fictions to reveal the one face behind the infinitely varied masks. Rather commonplace moments to underline the supertext, a brief but blessed release from introspective angst, an intoxicated dance that anyway began wholeheartedly but inevitably dwindled into posturing before ultimately discarding us back into isolated, shattered pieces of humanity scattered over a sunlit field.
We were in front of the main stage, the Martin Guitar Stage, a venue that backs into some tame leftover woods. The smaller Tank Stage was to my right, with behind it a private area for performers, and to my left the equally small Craft Stage. Further left was all the familiar festival retail, folkie variety, striped tents selling hippie throwback goods like handcrafted ceramics, carved wooden bowls, tie-dye skirts, hand-strung glass beads, and bad art. In between the main and Craft Stages a tiny dirt path paralleled a shallow creek of sparkling mica and soft mud; both disappeared into the dim coolness of the Dulcimer Grove, a rather precious habitat of jugglers and magicians and others of that Renaissance Faire ilk, a determinedly magical place more or less reserved to scantily clad or frankly naked children, their cheeks painted with stars and moons in indigo and crimson. Either they’re truly mesmerized by these archaic amusements or they’re convinced they should be by the adults and the daycare atmosphere, because they all sit there expending fierce concentration on colored sand and sparkly fairy dust, their little pink tongues extended in effort. I mean, all the world is fake, even the kids. Around them circles a protective hillside of slender trees roped together by string hammocks in bright primary colors, a haphazard effect of beggars’ rags pegged out to dry.
If you follow that same path straight on you come out on field with more dry grass, more distant trees, and another vacant horizon. On the right is the Camp Stage, site of Lynch’s morning concert; on the left an unremarkable gate gives onto the campers’ settlement, one of those ephemeral constructions of funky tent-and-RV fantasies, castles and pyramids and suburban estates complete with lawn furniture and barbeques and anything else you need for rustic comfort. The affable professional performers come here after the regular shows to sit and drink and play their music well into the summer nights, just for these special stalwarts. Notice how everyone’s personal effects are carefully positioned to define private family spaces but without absolutely excluding the requisite hobnobbing community, because that would repudiate the spirit of the thing.
And anywhere you care to look there are all these exceptionally pleasant people, a seasonal confluence of the enlightened: middle-aged, nattily-bearded men with thick hairy ankles showing beneath those long gauzy skirts; visibly well-educated younger couples falling all over each other in reassuring mutual recognition; friendly teens aglow with their own laudable social spirit or familiarity with meaningful music or both; and grimy toddlers in T-shirts and shimmering plastic haloes with their baby curls shining and their fingers to their mouths and their tiny feet covered with dirt. Skimpy tank tops and glittery backpacks, idiosyncratic witches cones and sombreros and straw cowboy hats covered in button collections, pale muscled calves and freckled backs red with sun and damp with perspiration.
All these regulation types navigate cordially across the fields, buying and eating and exercising their approval, until later in the afternoon when the heat is truly intolerable and it’s a matter of claiming a place for the folding chairs and coolers and settling in for the afternoon concert. When for a couple of hours all these enervated devotees create for themselves an enormous patchwork quilt of blankets and tarps, an American prayer rug rolled out beneath the glare.
I among them, hiding under my hat, squinting up from under the brim, intending not so much to watch the performances as to absorb them from a neutral distance. Meanwhile I was relishing the sense of Crystal beside me, resentful at having to endure all this legitimate music.
When here came a second celebrated woman into this extraordinary and disorganized day, an ineffably cosmopolitan presence in a white silk shirt that billowed out over notably slim hips and tight black jeans tucked into cowboy boots. The costume only emphasized the unmistakable sophistication in the sharp angle of her jaw and the sleek black bob swinging at her shoulder. That taut body edged itself onto the stage and into our attention, anticipation suffusing her narrow face, her whole person radiating the intrinsically cool self-content of a magician about to pull off the big illusion and astonish us all.
Lifting fiddle and bow, lowering them to call a comment offstage, bringing them back up to her pointed chin experimentally while a guitarist, drummer, and another violinist fooled with getting into position, and around me an expectant rustle shook off the afternoon lethargy, and once again I sat up and wiped the sweat and sunscreen from my forehead.
She leaned forward a fraction to acknowledge us.
“Hello all you very special people.” Now decisively raising her instrument. “Three jigs.”
Well, you know that kind of tritely manipulative music, but then her exceptional skill, that energy climbing into a frenzy, the first notes reaching us with the adolescent enthusiasm of uncurling spring leaves. Music so familiar and yet astonishingly fresh, something behind the insistence of it transcending its own rather sentimental imagining. Passages as fleet but powerful as pure energy, and you’d actually have to defend against the physical impact but why would you bother to fight off such delirious joy?
They have a reserved seating section in front of the main stage, a modest pen containing rows of wooden folding chairs surrounded by a fence of deliberately rickety palings. It was largely unpopulated for the afternoon performance. A dirt lane about ten feet wide separated this area from the field of common folk. Crystal and I were up front, right near the dusty edge of this path, and close to us, in the lane itself and with one tiny hand firmly grasping the enclosure fence, stood a fairy-slim blonde girl of five or six. Just as I fully noticed her she launched into the familiar steps of an Irish jig, lifting first one exquisite bare foot and then the other into tentative arcs, curving each arm alternately above her head. From her shoulders a pastel summer dress floated out in the shape of a loose triangle, and her movements caused her hair to caress her perfect little back.
With the increasing confidence of the music her delicate feet, fragile pale-pink petals, rose and crossed each other in an assured sequence that bespoke formal lessons, and meanwhile her eyes never lifted from her toes and her pallid face was tense in concentration. Only once did she manage a quick glance up to a middle-aged scholarly type, probably her father, who nodded mild encouragement but displayed, I thought, some slight annoyance.
Now complex annotations around the tune turned tight elegant spirals; it was all self-interest now, you understand, nothing to do with us but instead its own internal voyage. In the path the child reworked her steps, her frown expressing frustration with her own limited expertise.
When suddenly appeared two barefoot, competent-looking women in their early thirties skipping down the lane, then widely twirling, then skipping again, their hands clasped and arms outstretched to form a traveling arrow. Both flaunting gauzy pastel skirts and silvery tank tops that exposed perspiring firm flesh, both draped with multiple glittering strands of Mardi Gras beads flashing purple and green and mauve. They acknowledged the blond child with an upward swing of their joined hands high over her head, a bridal arch speeding by on either side. It made her giggle but move closer to the fence.
The fiddler was bending practically in half over her bow and the second fiddler not being any slouch either, their hands and arms pushing towards the absolute limits of muscular possibility, straining against themselves to maintain their momentum.
Then four ethereally lithe teenage girls forming two pairs, and they were in regulation T-shirts and shorts except all bore silvery translucent wings that flapped at their slim shoulders; they went whirling around and around each other and simultaneously forward, delightful gyroscopes with their feet stomping hard on the infectious strain yet for all that maintaining the ludicrously disinterested expressions of runway models.
Promptly followed by a young couple charging along in an outright polka, aggressive but a tiny bit shamefaced, too: he was slim and wore a neatly-trimmed dark beard; she was sturdy and short with a pixie haircut and a refined air, like an educator. The little dancer flattened herself against the fence but continued a rhythmic bopping, presenting no less enchanting an image. And she was proved wise, because here came the same young couple back again, being the kind of people who need to underline the obvious. Passing midway an approaching male pair, seeming now a little more obliged than inspired, their muscular calves flashing below their khaki kilts: one was broad in the shoulders and chest with a thin ass and spindly legs; his partner was entirely slim, remarkably tall, and balding. Presenting the impression although little of the force of a strong wind, they nevertheless managed to turn the little dancer halfway round, her moist mouth open in wonder. She paused there, staring after them.
Now the dancing was everywhere. I stood up to confirm a modest sea of erratically bobbing heads at every side but especially to the right, past the Tank Stage: enlightened middlebrows and emotionally stranded hippies and likeable healthy teens and self-disciplined mandolin players and confident cultural elitists and miscellaneous commonsensical types engaged in a nearly impromptu production number, for one bright second emerged from behind the mask of individualism, openly expressing one joyously creative soul.
Well, we were dancing out in the field as well, all of us to some extent, the more exhibitionist characters gyrating on their bright blue tarps and lifting their hands in the air, and some efficient types illegally occupying the marked-off aisles, prancing with impudent liberty up and back. Patrons excessively enthusiastic or self-consciously hesitant but almost everyone involving themselves in the music. I was dancing too, not to make a spectacle of myself or anything but feeling myself a part of the gala. And about then I realized it was already ending because that’s how these things always go.
Frenzied vibrations, faster than you could believe, and we listeners attended first with our ears and then with our bodies, stilling them now, desperate to capture every last second until inevitably all of it was swiftly and immaculately recalled into one compact point of silence and we found ourselves abandoned to our accustomed exile, returned to the pretense of our separate selves.
She played two more sets, we in her audience dutifully imitating our initial enthusiasm, grateful for the continuing reprieve. I’ve said it before: reality moves so fast anymore, we’ve all become experts at polite deceit.
Folk Fest protocol is to kick everyone out around six, sweep the grounds, then ticket everyone back in for the evening concert. You wait in a cattle shoot, at least if you’re fairly close to the gate, or anywhere nearby if you’re not, until finally the loudspeakers blare a Sousa march and you grab your chairs and blankets and coolers and run like hell to beat the other folkies to a premium patch of grass. Therefore it’s prudent to leave early enough to ensure you’re at the front of the return pack, and that afternoon, as usual, the knowledgeable attendees ignored the high, unrelenting sun, ignored even the name performer just introducing himself, and started unobtrusively filtering out.
I was making my own preliminary moves when I recognized Ruth off to the right, by herself and slightly beyond the audience proper. She was rather elaborately brushing grass off her shirt, and her hair was drifting into her face as usual; her entire aspect projected excruciating self-consciousness. It was the intricate performance of a woman uncoordinated at life yet used to being watched. She was in a lacy peasant blouse that didn’t suit her big-boned frame - it was lavender, too, which didn’t help - and loose black jeans over black cowboy boots. Her attention shifted to getting the blouse centered correctly; when finally she noticed me, that man standing perfectly still and staring at her, I waved a hand over my head in greeting. I have no idea why I didn’t just avoid her.
She assumed an automatic grin but then recognized me back and her smile turned beaming, and with it she transformed herself into a reasonably attractive woman, an odd but intriguing combination of big straight white teeth, thick dirty-blond hair, low forehead, pale freckles, and a long, arched nose that enlivened her profile with an aquiline swiftness.
Behind me Crystal was standing with our blanket gathered up in a big, baby blue synthetic wad; we watched Ruth maneuver through the half-seated, half-moving spectators, visibly enduring our inspection. When she got closer you noticed the deep frown lines between her brows and realized how much older she was than you’d assumed from the juvenile posturing.
A forthright greeting to Crystal and a frankly offered hand, all fraught with the deep disdain of the intelligent, accomplished woman encountering the undeserved self-esteem of the merely lovely. To which assault Crystal responded with her typical flaccid grip and a near shrug, an implied refusal to expend any more of her precious personal energy on uninteresting shit. Ruth turned away from us, towards the stage, where an athletic-looking but otherwise unassuming man of about forty in a tired cowboy hat was inaudibly explaining a song. That duty done, she faced us again.
“This is all new to me. It’s wonderful! That dancing.” She opened her arms wide to encompass the stage, the field, and the discreetly dispersing audience. “Very Caucasian.”
Well. The cowboy strummed an acoustic guitar, meanwhile calmly examining his surroundings for concealed gunslingers. And naturally I remembered our lunch but that was months ago, so surely whatever she was babbling about then was probably old news and anyway too vague to reference or be embarrassed over now.
She was brushing at her jeans for no discernable reason. “Did I tell you about Leticia Rowan?”
Just typical. What about Leticia Rowan? How aggravating when I hadn’t seen Ruth for months! I knew Rowan was the night’s closing act. Meanwhile my brain was automatically playing familiar media images backed by the old uplifting refrains: that bold soprano keening from the Capitol steps, debunking the myth of American justice; the slim, avid girl of the famous photograph where she’s perched on a stool in a Greenwich Village coffee house, radiant with the novel excitement of causing real change. Set on living a validated life, perfectly exemplifying those decisive, glorious years, that age of energy and faith. Today still socially engaged, as you would expect, and while no longer that wondrous sylph just as lovely in the clean bone beneath the motherly padding. But most often appearing during those public broadcasting fund-raisers, programs aimed at prosperous boomers eager to relive a spurious past.
“I’m introducing her tonight.”
“The hell you are.” It was such a stupid lie, not even remotely sustainable. Especially outrageous when you considered Ruth’s musical identity: her morning drive-time show featured one of those feel-good formats: generic soft rock interspersed with headlines, traffic, celebrity gossip, and a few carefully screened listener calls. Media hypocrisy providing a safe harbor for the harried immature listener, carefully friendly and slick and sympathetic and definitely never politically or socially oriented when that might mean causing offense. Also never mind that Gene Shay, comfortably stout folkie radio program host from a very different station, legendary teller of truly horrendous jokes, always introduced the performers here, world without end, amen. Come on.
“Right, you know everything. I forgot. And you’re never wrong.” I suppose that was an ostensibly genial poke at my renowned erudition. I happen to think if someone asks you a question they should have the courtesy to listen to the answer.
“I’m speaking after Gene.” Gene! And she was looking repulsively self-satisfied. “I asked Leticia Rowan if I could say a few words and she agreed, for some strange reason.” Now slipping into her professional mode, that rather arch blend of certainty and faux intimacy delivered with an indelible Lina Lamont slur: cay-unt um-an-jin. Fingering the silver holy medals at her throat, a crucifix and two others piled up together on a single delicate silver chain: Jude of the impossible and the Virgin Mary.
And she laughed at my horrified expression and launched into what I assume was a fairly mendacious account of a reception for Women in the Media at the lovely old Bellevue, where at that sort of event there’s a rigid social hierarchy: the unfed proletariat leaning forward from chairs up on the mezzanine to watch on monitors, and the elite dining at tables down on the ballroom floor. Ruth skipped over who was speaking on what and cut straight to dessert for the privileged few, she naturally among them being her gracious public self, wandering around being affable and networking with vibrant women in suits too bright for an office and intelligent men with refined, open faces, clearly expensive slacks and jackets, and beautifully cut hair.
And there was Leticia Rowan already in town and seated comfortably in a corner behind a tortured centerpiece of bamboo and tiny orange orchids, casually chatting with a couple of intimates. So Ruth went up and offered another of those frank handshakes. “I’m truly awed.” Basically insinuating herself into the party, making it clear who was honoring whom.
Then went prattling on in her practiced glib fashion about youthful idealism and her own fictitious activist past, seasoning it with ingenuous regret over her current disengaged state to smooth along the manipulation. Although this with a woman surely inured to dubious approaches? There’s something unconvincing about this I haven’t the time to investigate but the result must hinge on Ruth’s accumulating nervous tension, the months if not years behind the coming explosion. That kind of stress sets you performing impulsive actions, forcing unaccountable outcomes.
In retrospect I think Ruth once again mistook a fortuitous encounter for the hand of destiny and just barged ahead. Either that, or else she fell victim to that common desire to cleave to what one professes to despise.
I was dumbfounded. “Why?”
“Oh, envy I guess. I wanted to be part of it.” Charmingly stated, her forehead furrowed in recollection. And what was I supposed to say to any of it?
Behind us the cowboy mooed through a mild dirge, disrupting nothing; around us the field was nearly empty, abandoned to the insistent sun. And Ruth was standing before me explaining too much and nothing at all, once again too intense, setting off all sorts of warning bells.
Crystal lifted a pastel spaghetti strap from a pink shoulder and raised her impudent big gray eyes, looking at Ruth with that innocent expression women use to express contempt. Her private opinion of Ruth: “Nobody has to be seen looking like that.”
Crystal was another communications major and model manqué hoping to become, of all things, a personality. That ubiquitous blond hair, the pleasant features of no special distinction just slightly out of proportion: another responsibly raised, college-educated harpy bereft of individuality because nature abhors individuality. Instead she emanates sex, it’s in her bones and baby face, her short upper lip and outrageous ambition. Don’t expect her to evolve, because she’ll never be other than she is right now. Fortunately she’s immune to jealous criticism, not being that kind of stupid nor shy to succeed. She held some kind of entry-level management job at the Center City Holiday Inn Express, an occupation that never seemed to seriously impact her real life. Crystal is her birth name.
“Thom here?” I asked.
Ruth’s husband, a frequent guest on her program as either political insider or amiable comic foil, was a local celebrity in his own right, a Philadelphia familiar, a compendium of agreeable ugliness, frightening intelligence, crooked teeth in a moist marshmallow grin, Ivy League polish, loud patterned shirts, genuine charm, horrible posture, an unrepentant gift for outrageous flattery, and an impudent, cutting wit. Outsiders considered him the epitome of Main Line class.
“He’s in Harrisburg.” Acknowledging my disquiet, looking amused for my benefit, but her eyes were shading into wariness. She pushed that uncontrollable hair from her damp forehead. “I’m running around loose today.”
And she gave me a minor, tight smile, raised a few fingers in a little goodbye salute, and strode purposefully towards the gate.
“Hunh!” Crystal said for both of us.
Festival security is handled by costumed volunteers: polite, energetic young people impersonating funky pirates or medieval wizards or just nameless creatures of purely idiosyncratic design. This clean-cut constabulary was now shepherding we stragglers to the main gate with cordial efficiency, their intricate hats, adorned with oversized badges of authority, visibly bobbing over the heads of the crowd. The cowboy singer had vanished.
I stood there in the empty afternoon glare, again hunting around for a rational line of thought but failing to find one. Finally, today, I have an insight: my being there that afternoon helped determine the event.
I navigated us out of the grounds and smuggled us under the rope to a decent spot not too far back in the queue; none of the polite people already there objected. Crystal was perking up now she could catch the scent of approaching evening, her posture opening up to opportunity, her eyes brightly observant. I ducked back under the ropes to get a couple of Cokes from a vending machine and together we waited out the forced restorative lull, letting the afternoon settle down around us, watching the families in lawn chairs eating their dinners, relaxing in public. At length the loudspeakers sounded and we all pushed forward through the gates and launched into the usual painfully hilarious sprint. I got us fairly far up front on the center aisle and bent over gratefully, hands to knees, while from the corner of my blurred vision I saw Crystal plop herself down with her mildly victimized face.
Faint applause, which had to be for the traditional bagpipe welcome; a moment later I could hear the piper myself, and then came Gene Shay with his terrible jokes. By twilight we were enduring a young bluegrass quartet of some nascent merit but an unfortunate air of artsy superiority. Then an enjoyable mambo interlude evoking romantic images out of fifties movies, and by full darkness the Jumbotron screens displayed a close-up of a frail, dedicated Canadian singer-songwriter, another of those admirable females. Insidious damp was seeping through my jeans and sweatshirt, chilling my ass. Disembodied light-sticks moved at random, children giggled, and the kindly scent of marijuana wafted by in sporadic gusts.
Crystal and I outlasted the Canadian over strawberry smoothies doctored with vodka while around us the night coalesced into a blackness that seemed physical and bulky, something you could push aside like drapes. Then there was that huge yellowed moon illuminating the speeding brown clouds, making the entire universe feel unusually sentient.
Gene Shay was back with even more of those horrendous jokes, to be replaced by a middle-aged dignitary in a blazer over jeans, quietly defiant.
“We are the light of truth, the truth the capitalists and the banks and the conglomerates want forgotten. But we’re still here, still burning bright through the darkness.” He actually said that, sure of the personal politics of these many music lovers, all these people who could afford to share his opinion. Declaiming thus in an understated but confident bass, Main Line meets simple country boy to produce unfaltering self-respect. Positions shuffled onstage and there was Gene Shay back, leaning sideways into the standing mike to signal brevity.
“And now let’s talk about one particular brilliant candle shining through the darkness, brighter than almost any other, one of the iconic voices of an era of civil renaissance: the inimitable Leticia Rowan.” Grinning back offstage as if to a good friend, as maybe she was. “And just to underline how special this really is, we have an additional guest, because Philly’s very own Ruth Askew is going to provide us a more personal introduction.”
There was a kind of group shrug but nothing worrisome.
A further positional dance, the screens displaying indistinct blobs and random emptiness, and finally there was Ruth behind the microphone. We observed her taking us in: waving lights skittering over dull shapes, anticipatory shifting and murmurs, a few people in motion pausing on their way somewhere to see if it was worth the wait. Magnified, she looked brutally plain, with noticeable lines around her mouth and those disproportionately large, disturbingly vulnerable blue eyes.
And she just stood there, absolutely rigid, until we all paid complete attention. I think she was overwhelmed by pure contempt, that it confounded her ability to speak, so instead she spat at us.
When everyone instinctively recoiled, as you can imagine, but now she was past her initial paralysis. More, she was beyond pretense, out in the wild ether, and you could almost see the crazy. We instinctively coalesced into a tight defensive silence.
“That’s for all you virtue thieves.” She’d struck this theatrical posture of aggressive confidence, all very square and speaking directly down to us. “But unfortunately for you, we’ve reached the end of righteousness. Not in this electronic age. No more fleeing consequences and calling yourself good. Time itself is nothing but our continual separating away from the primordial dead nothingness of absolute truth and rightness.”
It’s almost over, but I hope you see how excruciating it was. I’m sorry to have to assault your sensibilities with this shit but we were all squirming in unforgivable embarrassment and you should understand.
And to be fair, is your religion less silly? Isn’t every great religion or even philosophy as impossibly childish? And here’s something else: she was handing us a diagram of her own psyche and circumstances, issuing a perfectly clear warning that went ignored simply because it was way too obvious. Because this is, after all, a story about stupidity where everything is fucking clear if you just pay attention.
Ruth put a hand to the mike, still keeping that confident posture.
“This is the next great evolutionary leap. We will claim the future responsibly, and we will become more like God.”
Just at that moment, the words flown, the energy abating, I could sense her dawning comprehension of the enormity of her situation. She looked to her side – for something, someone? And then she sent a little nod out to us, to the compact, alert darkness.
“Then to the elements be free, and fare thou well!”
That’s Prospero, retiring his magic and releasing the slave-spirit Ariel at the end of The Tempest.
But Ruth stayed out there, holding that same strong, taut pose until a calm Gene Shay was suddenly present and gently thanking her from the stage, sending us a tolerant nod while herding her aside. And there at last was the great Leticia Rowan herself, that vast, benign goddess in a golden caftan, smiling an unrestrained country smile, exuding inexhaustible strength and kindness. Clearly decent people, both of them.
Ruth was barely visible now, but I saw her turn to take a final glance back at us, her face for one moment revealed to the giant screens, then as abruptly absent. Terrified of course, because terror is her resting state, and still insolent, and definitely smug.