Sunday, October 31, 2021

Halloween afternoon, 2021


Just in from a long walk with Beckett through the boneyard and back. Since he's been a bit under the weather this past week, we took it very slowly, but he paid his usual assiduous attention to every leaf, blade of grass, tree, curb, gate, wall, and gravestone. So it took a bit of time. It's an exquisite Halloween afternoon—I'm not sure if it's the fact that the rain finally stopped, or just the joy of the day, but families were out together glorying in the perfect autumnal weather. I was unaccountably moved by the number of children in Halloween costumes, obviously going to or from Halloween parties just for them. I was likewise moved by the number of parents who were throwing mini-Halloween parties in the park for their kids, obviously determined to give them Halloween memories of childhood that will hopefully last at least as long as mine have. There is likewise a truly lovely post-pandemic sense of the world returning to normal. It was very different last year, as I noted in my journal on that day. But the best part of it is the absence of tense defiance of the virus that was present earlier this year—shrill and sharp as a dentist drill. No, today it was all smooth and warm and genuinely joyful, with the light as orange and yellow as candy corn, and the anticipation of Halloween night growing by the second.

Wednesday, October 27, 2021

"Ghosts" by Michael Rowe: October short-short fiction




I saw you standing just inside the wrought-iron fence around the graveyard at the corner of Winchester and Sumach this evening when I was out with the dogs, right around sundown.

I waved, but you didn’t wave back.

Two fourteen-year old boys went right by you on skateboards through a cloud of dead autumn leaves. I didn’t see their faces under their helmets and untidy dark hair as they flew past through the lengthening shadows.

Remember in the 70s when we were kids and no one ever wore a helmet for anything? We used to make retard jokes about kids whose parents made them wear helmets, even for skating. Isn’t it odd how something that sounds so cruel today seemed so funny back then? I never wore a helmet for hockey. You never played hockey.

Remember that time I teased you about how you should be wearing white skates with black heels and done figure skating with the girls? Dad always told me to shut up when I teased you. Once he even slapped the back of my head, hard. I pretended that it didn’t hurt, but it did. I hated you when he did that.

But he was right. It was a mean thing to say. You couldn’t help the way you were, but I could probably have helped being an asshole about it.

You didn’t even look at the boys on the skateboard. I figured they reminded you of the guys we grew up with in Auburn — guys like I was: guys who played hockey, who chased girls, who weren’t afraid to get into fights.

I wonder if they even saw you? I wonder if they might have felt a sudden cold as they thundered past the cemetery. What would they have seen if they’d looked up?

But still, I wish you’d waved.

πŸ’€

This week, I drove west on the 401 to Auburn, like I always do at the end of October, to see Dad. We don’t talk much anymore, but he likes it when I check in. Since Mom died, he doesn’t do a lot around the house. There’s a widow lady from church, Mrs. Normoyle, who has a thing for him. She’s always bringing him food and tidying up. He tells me she’s annoying, but I think he’s a lot happier she’s there than he likes to let on. It’s lonely up in that big house on the Milton Escarpment with nothing but memories, especially in October.

It’s the month of ghosts, especially family ghosts.

The rooms seem darker now that Mom is gone. Maybe Dad turns the lights on less, or maybe he keeps the blinds drawn more than he used to. Dad always says Mom took the light with her after when she died, after forty years. Even though he didn’t mean it literally, the other day I remembered that another word for ghost is “shade,” which made me smile. It also made me switch on a couple of lamps in the living room next to Dad’s chair.

In the lamplight, pictures everywhere. On the walls. On the tables.

Mom and Dad’s wedding. Mom holding me in her arms when they brought me home from the hospital. Me, at five, reaching up to touch you when they brought you home from the hospital. Birthdays. Disneyland. Hockey pictures — me, not you. You, at your modern dance class recital. You, gently holding Maven when she was a puppy. Maven licks your face with her pink tongue. The colours have faded, but Maven still looks like a small bundle of soft black mink. Your smile is beautiful in that picture. You’re cradling her in your arms like she was your baby.

“I know,” Dad says. I didn’t hear him come up behind me. He puts his hand on my shoulder. “Never a day goes by. A handsome boy.” His voice sounds unbearably old all of a sudden. “It was easier when your mother was alive. It’s against nature. It should have been she and I. You two boys should have outlived us both.”

“I’m still here, Dad.”

“I know,” he says. “I know you are. I wish you had…” His voice trails off. The bitterness has mellowed over the years like old brass. It’s still there, but it gleams dully.

“Dad, stop it. Not now. It’s not fair. Not after all this time.”

“I’m sorry, Robert. I didn’t mean it that way.”

When I look at him, there are tears in his eyes. Old-man tears. I touch his shoulder. I want to hug him, but I know he’d rather not have the human contact right now. So I squeeze his shoulder, the way real men do. Real men. Jesus.

“Yes, you did, Dad,” I whisper. “You did mean it that way. But it’s OK. I agree with you. I wish I’d been there that night with Scotty too.”

πŸ’€

Brothers. Loaded term. Born of the same parents, raised in the same house. One normal, one — well, different. We knew you were different, but we never talked about it as such. Mom called you “sensitive.” When you were little, you’d follow me around everywhere. You drove me crazy with your love. Later, you embarrassed me with your mincing and prancing. My friends laughed at you. I joined in their laughter. My girlfriend, the incredibly hot born-again Christian to whom I lost my virginity, asked me if you were an actual fag, or if you just acted like one.

Dad was angry with me when you came home with your latest black eye.

“Why can’t you look after him? He’s your brother. He’s the only brother you’ll ever have. You’re stronger than him. You need to protect him.”

I said I’d rather have no brother at all than an embarrassing queer one.

Dad slapped me across the face. “Be a man, Robert. It’s time for you to grow up and act like a man.”

I told him that I hated him, and I hated you more. I stormed out of the living room. When I saw you crying in the doorway to the kitchen, I passed you without a word. You held out your hand. You touched my elbow as I went by.

“Robbie, I’m sorry. I — ”

“Fuck you, Scott. I hate you. I wish you were dead.”

Three years later, when I was home from university, you told us you were moving to Alberta with some guy you were “in love with.” Mom cried. Dad went to his workshop and locked the door. I told Mom and Dad that I was done pretending.

I drove back to school. In my dorm, I threw the only framed family photo across the room. It shattered against the wall, spraying shards of broken glass across the floor.

Dad called me from the hospital in Calgary. My girlfriend woke me up and passed me the phone. It was three a.m. At first, I didn’t recognize his voice at all. It was the voice of a man nailed to a cross.

“Your brother’s been hurt,” he said.  “We’re in Calgary. Mom and I. Can you come right away? We’re at the hospital.”

“Dad? What happened to Scott?”

“They hurt him,” he said. “They beat him up. He’s in intensive care.”

“Who?” I asked stupidly. “Who hurt him?”

“Who else? The same ones that always hurt him.” Dad was crying now. “Damn them.” He was silent for a few moments, trying to compose himself. “Your brother needs his family with him now. You have to come.”

“Dad — ”

“You come now, Robert. I mean it. It’s time for you to be his brother again. It’s past time.”

Then he told me what they’d done to you in that alleyway outside the bar.

πŸ’€

Three hours later on the plane to Calgary, I dreamed horrible, unformed, crimson-tinted dreams. I heard the terrible crunch of bones cracking beneath the weight of fists and boots. I saw the puddles of congealing blood. I must have cried out because the flight attendant asked me if I was all right. I told her I was. She handed me a napkin. I reached for it, suddenly embarrassed to have allowed this woman see me cry, even in my sleep.

I landed in Calgary on the bluest October morning. The houses across the street from the hospital had carved pumpkins by the front door. Of course, I thought. It’s Halloween morning.

“We did everything we could,” the doctor had said, holding a clipboard under the fluorescent light. “I’m so sorry.”

Perhaps his clinical choice of words had been intended to be anesthetic — blunt force trauma, massive head injuries, persistent vegetative.

As the machine measured out your remaining heartbeats in flattening spikes of green light, I touched your broken fingers and promised myself — and you — that I would be strong for Mom and Dad.

When it was over, we stepped out of the hospital into the sunlight. Across the street from the hospital, two little boys displaying the effortless familiarity of brothers raced along the sidewalk to school, laughing. One was draped in a bed sheet, a ghost. His brother wore a pirate costume. The older of the two, the pirate, reached out and took his younger brother’s hand, pulling him joyously along the sidewalk towards school.

It had taken me exactly seventeen minutes to break my promise not to cry.

πŸ’€

These days, I can quantify my remaining decades. I can measure them out in life-events. I can gauge my value as a man by who I’ve loved, who has loved me, and by the ones I didn’t love nearly enough. My marriage didn’t last, of course. No one was surprised.

But our son, Scott — named after you — is the one thing we did right. He’s away at Western this fall. He’s your age. The age you were when…well, when whatever.

I believe in ghosts. And I see you everywhere.

The first time was just before I turned on the soft nursery light, the night we brought Scott home. You were standing over his crib, a familiar shape in the dimness.

Scotty, I whispered. Then I turned on the light.

The room was empty except for my sleeping son. I felt no fear, just the gentle spectral aspect of something peaceful and benevolent.

But you were there. I know what I saw.

πŸ’€

I’ve seen you many other times over the years, sometimes more clearly than others. I’ve seen you in my son’s handsome sensitive face as he’s grown. I’ve felt your spirit in his sweetness, his trusting nature. I’ve heard your voice beneath his.

I feel your spirit moving in me when I react with patience and kindness to the fact that he’s not like me, and in fact couldn’t be more like you in many, many ways.

And in loving that in him, in knowing that he might someday tell Susan and I what you told Mom and Dad that terrible afternoon thirty years ago, I’m granted some sort of absolution, a redemption I don’t deserve, in knowing I’ll know how to love him at the moment he’ll need my love the most.

In my dreams I see you rising out of that bloody alleyway on a fountain of radiance like some sort of immortal angel full of fire, full of power, full of light.

But other times, like tonight, by the graveyard in late October when the daylight is short and the night chill settles in early, I see you very, very clearly.

I wave.  And I wish you’d wave back. Just once.



Publication history: Autumnplay! (2009), The Good Men Project (2012), Postscripts to Darkness  (2014.)  Copyright 2021 by Michael Rowe. All rights reserved. 

Tubular balls


In 1842, St. Paul's Cathedral in LiΓ¨ge commissioned a marble statue of Satan, the Fallen Angel, as part of a religious installation, from sculptor Joseph Geefs. The resulting statue—a pouty, sexy, androgynous, chocolate-box Satan with slightly parted knees, a demure downward-cast glance, and a plump serpent coiled a his feet—raised eyebrows. Though admired at the highest levels of society, the sculpture was also controversial and attracted criticism for being too seductive and "sublime." In 1848, it is believed that Joseph's brother, Guillaume Geefs, decided to tackle the criticism of his brother's voluptuous rendering by sculpting his own version of Satan. Guillaume's idea of desexualizing Satan was to make him more muscular, athletic, and classically masculine and imperious, complete with BDSM-worthy manacles and chains. Whereas Joseph's Satan's legs were slightly parted, Guillaume's Satan's knees were pressed together, either protectively or defiantly. Trying to remove the homoeroticism from a nude statue of the most beautiful angel in heaven by making him more dominant, rugged, and athletic is one of the reasons 19th century Belgian sculptors might have needed a few more gay friends, if only to advise them on how that business actually works.

Where the witches gather in October


"Autumn Sunrise" by John Ryan. 

This past Sunday, the Hero MD and I took a drive west through the countryside outside of Toronto for the day. In the past few years I have found the city occasionally oppressive, and being indoors reminds me too much of lockdown. We drove through the outskirts of Milton, Ontario were we used to live. The autumn foliage glowed in the late-afternoon sun. We took the country roads along the escarpment region, which was the setting for my third novel, October. I was reminded of the exurban legends I'd heard in the 80s from local teenagers about a coven of witches that met up there—stories which I filed away for later use in the novel. It's absolutely beautiful countryside, and I admit to feeling the pang of loss I always feel when I'm back "home" there. It was a pretty halcyon time, those years in Milton. It was still a small town then instead of the commuter bedroom community it is now. Some of the friendships I made in those years still remain. While probably the most difficult stories I've ever written, October is really a love letter to the town and the surrounding countryside. Writers have the great privilege of being able to immortalize time and place and people in a way that sometimes even cameras miss This photo, "Autumn Sunrise," by John Ryan is the exact vista Mikey in the novel would have had during his hours of biking the escarpment country outside the fictional town of Auburn, and what he would have remembered as the site of the coven gathering upon which he stumbled, setting the entire tragedy of the novel into motion. I didn't refer to this photo while I was writing the book—I found it later—but it brings it all back now.

Tuesday, October 26, 2021

Melvin Dixon is somewhere listening for his name

 


Author Melvin Dixon by Robert Giard, 1988, gelatin silver print, 14 by 12 2/3 inches; at the Leslie-Lohman Museum of Art.


Today is the 29th anniversary of the death of poet, novelist, translator, and academic, Melvin Dixon. 

He died of complications relating to AIDS on this day in 1992 in Stamford, Connecticut, seven months after delivering the closing plenary address at the third national OutWrite Lesbian & Gay Writers Conference in March of that year. It was an address with a message that would alter the course of what would become my writing life and later career. 

Dixon's speech had left me shaken and in tears by the end, and I ordered a cassette tape of it from before leaving Boston for Toronto. I probably listened to the speech on that cassette twenty times or more in the coming years. Eventually it wore out and finally broke. I was disconsolate, finally resigning myself to the fact that his message had imprinted itself on my heart. I hoped that, sooner or later it would be transcribed and included in some collection or other. 

Earlier this month, like a blessing, I found it online—the place where everything eventually winds up, where the past is just a click away. Even, apparently, Dixon's brilliant, unflinching address about loss, closure, and the duty of lesbian and gay writers to bear witness to our history and to the generation we were losing to AIDS,  delivered on that snowy afternoon at the Plaza Hotel in Boston. 

In March of 1992 I was twenty-nine, an under-published but determined magazine writer with a handful of half-decent mainstream credits and a single second-place journalism award under my belt. OutWrite 92 was the first writers conference I'd ever attended. I was frankly star-struck. Dorothy Allison (who I would later interview for my book Writing Below the Belt) had become a bonafide literary star with Bastard Out of Carolina, published the previous year. She delivered the opening plenary address. There were enough of my gay and lesbian literary idols in attendance to simultaneously inspire and intimidate.  This was absolutely the group to which I wished to belong, and I wished it as fervently as only a wet-behind-the-ears twentysomething with no concept of how writers' communities and cliques operate could wish it. 

At some point in the weekend I introduced myself to Melvin Dixon. I had loved his haunting short story "Red Leaves" in George Stambolian's anthology Men on Men 2: Best New Gay Fiction, and I was reading his second novel, Vanishing Rooms. He was soft-spoken and gracious. I told him how much I loved his work and he very kindly asked me about mine, which even then struck me as generous coming from a writer of his stature.

Indeed, Dixon's body of work included two poetry collections, Change of Territory (1983) and Love's Instrument (which would be posthumously published in 1995); two novels, Trouble the Water (1989) and the aforementioned Vanishing Rooms (1990); a textbook, Ride Out the Wilderness: Geography and Identity in African American Literature (1987); as well as a translation of the poems of the former Senegalese president, LΓ©opold SΓ©dar Senghor (1991.)

The entire encounter must have taken minutes, but it left an impression. The impression it did not leave was that I was speaking to a dying man,  himself recently widowed, who was maximizing every bit of his remaining energy. In his generosity and grace, he just sounded like someone I was very, very lucky to speak with, however briefly. 

Nothing however could have prepared me for the closing address

He started his speech with an cappella  rendition of the 1937 hymn "I'll Be Somewhere Listening For My Name." He joked immediately afterwards about his singing ability—perhaps as a palate cleanser to prepare us for the deadly seriousness of the message to come. 

I've gone back and forth here on the notion of quoting large swaths of his words from my own transcription of his speech. While they're beautiful and powerful,  I've decided against it in hopes that readers will listen to the recording (linked in several places in this post) itself. My quoting it would absolutely not do justice to Dixon's delivery.  

The address opens with the issues of race and privilege, drawing—with blistering language—a connecting line between the systemic societal oppression of both gays and people of colour, while underlining the protection of privilege that white gay men enjoyed. It touched on the terrible toll of AIDS, and the cost of allowing our erasure by a 80s-era culture that was reluctant to honour our losses, and which we could only fight by bearing witness to our own stories, and by keeping them alive with our writing. 

What impressed me, listening to the speech again in 2021, was the degree of generous intersectionality he was proposing.  His words united those of us in the audience as a community of marginalized writers with a job to do, and with stories to tell.  He embraced our commonalities as queer people without soft-pedalling our differences of class and race, and asked us to do better, but to do better together—as a unified community of storytellers with a common cause, facing common enemies: violence, loss, bigotry, and erasure

"What kind of witness will you bear?" Dixon asked. "What truth-telling are you brave enough to utter, and endure the consequences of your unpopular message? We alone are responsible for the preservation and future of our literature. If we don't buy our books, they won't get published. If we don't talk about our books, they won't get reviewed or noticed. If we don't write our books, they won't get written."

And then, the devastating closing:

"I'll be somewhere listening for my name. You, then, are charged by the possibility of your good health, by the broadness of your vision, to remember us."

Spring was many weeks off when he said that, and Melvin Dixon was dead by October—a particularly beautiful New England October, as I recall, with trees wearing what Anne Sexton had once referred to as their "sourball colours."

In the summer of 1992, I met John Preston, the author and anthologist who would become my literary mentor. He told me, "You spend all your time writing about other people. When are you going to start writing about your own life as a gay man and start telling those stories?"  

It was strikingly similar to the message I'd received, intentionally or not, from Melvin Dixon's address.  Preston was right—if we didn't write those stories, no one would.

In due course, Preston published my earliest autobiographical essays in beautiful hardcover anthologies from blue-chip New York publishing houses. By the time my first book, Writing Below the Belt, was published, he had died of complications from AIDS. I dedicated that book to him. 

Later still, I  wrote for FAB National in Canada and Hero and The Advocate in the United States.  Part of the great gift of having worked for The Advocate in particular during my time there was discovering a community of journalists who cared about those stories the way I did. Again, I was taken under the wing by some of the best and most generous editors I'd ever work for 

In 2000 I created and edited the first-ever gay horror anthologies, Queer Fear and Queer Fear 2, because the horror field was one in which homophobia had always flourished.  published two volumes of essays, three novels, and an interview collection. In every book, there are stories of queer people entwined  with stories of the non-queer people with whom we live—hopefully honouring Melvin Dixon's directive to share "our perspective on gay and straight experience" in our writing.   It was never lucrative, but it was always worth it, and it feels good to have contributed even a drop to that ocean of stories.

At a time in our history when being either queer or queer-adjacent is as commonplace as not, and when history—even ours, as LGBTQ people—can be perilously rewritten or revised with a series of keystrokes, it seems a useful moment to remember our forbears who lived and died in a time when it took the deaths of almost a million gay men from AIDS for mainstream society to even acknowledge they existed, and were part of life. It's a good moment to remember their stories, and to honour them, and to speak their names. 

It's perhaps worth remembering that our seniors, or near-seniors, have a living memory of a particular queer holocaust that is almost inconceivable today. They may seem funny, or doddering, or out-of-touch, or boomerish to some observers, but those aspects are, more often than not, camouflaging an invisible version of the thousand-yard stare of old war veterans. 

As Dixon said in his speech, "We are facing the loss of our entire generation." 

They were facing that loss; and we, the survivors, lost titans. They're somewhere listening for their names. 

On the anniversary of Melvin Dixon's death, I hope he's hearing his, here. 

[The excellent introduction by poet the Kate Rushin starts at 13:08. The address by Melvin Dixon starts at 17:18]






Wednesday, October 20, 2021

Halloween in the window of Daniel et Daniel


I walked home from dinner at Bar Verde with my friend Andy last night. The night was a pleasant temperature, but with a chilly undertaste of things to come. In the sky above the city, a blood moon slouched in the saddle of the purple-blue clouds, itself wonderfully low and orange. As I got to the corner of Carlton and Parliament, I was drawn to the window of the local patisserie and fine food emporium Daniel et Daniel. They always do beautiful seasonal displays, and this was perfect. πŸŽƒ

Monday, October 11, 2021

Thanksgiving in the Maritimes

 


Some thoughts on giving thanks as Thanksgiving weekend draws to a close: there is a wonderful humility that accompanies the joy of accepting love. Joy like a wave crest, and gratitude like the deeps, are both part of the same ocean. This morning, before we returned home, I tried to remember how many Thanksgivings we'd spent with this beloved family. Blissfully, I found myself unable to do so. That's the joy. The gratitude follows as naturally as autumn follows summer; as naturally as time becomes history; as inevitably as decades spent in the company of three generations of these good, loving folks has woven a quilt of memories that has kept me warm when the nights have grown cold. And continues to, and always will. Happy Thanksgiving to you and yours, and may you find all of this, and more