The Invention of Solitude (6 page)

My mother, however, saw what was happening. When my sister was five years old, she took her to an exploratory consultation with a child psychiatrist, and the doctor recommended that some form of therapy be started. That night, when my mother told my father the results of the meeting, he exploded in a violent rage. No daughter of mine, etc. The idea that his daughter needed psychiatric help was no different from being told she was a leper. He would not accept it. He would not even discuss it.

This is the point I am trying to make. His refusal to look into himself was matched by an equally stubborn refusal to look at the world, to accept even the most incontrovertible evidence it thrust under his nose. Again and again throughout his life he would stare a thing in the face, nod his head, and then turn around and say it was not there. It made conversation with him almost impossible. By the time you had managed to establish a common ground with him, he would take out his shovel and dig it out from under your feet.

Years later, when my sister suffered through a series of debilitating mental breakdowns, my father continued to believe there
was nothing wrong with her. It was as though he were biologically unable to recognize her condition.

In one of his books R.D. Laing describes the father of a catatonic girl who on each visit to her in the hospital would grab her by the shoulders and shake her as hard as he could, telling her to “snap out of it.” My father did not grab hold of my sister, but his attitude was essentially the same. What she needs, he would say, is to get a job, to clean herself up, to start living in the real world. Of course she did. But that was exactly what she could not do. She’s just sensitive, he would say, she needs to overcome her shyness. By domesticating the problem to a quirk of personality, he could go on believing there was nothing wrong. It was not blindness so much as a failure of imagination. At what moment does a house stop being a house? When the roof is taken off? When the windows are removed? When the walls are knocked down? At what moment does it become a pile of rubble? She’s just different, he would say, there’s nothing wrong with her. And then one day the walls of your house finally collapse. If the door is still standing, however, all you have to do is walk through it, and you are back inside. It’s pleasant sleeping out under the stars. Never mind the rain. It can’t last very long.

Little by little, as the situation continued to get worse, he had to begin to accept it. But even then, at each stage along the way, his acceptance was unorthodox, taking on eccentric, almost self-nullifying forms. He became convinced, for example, that the one thing that could help her was a crash program in mega-vitamin therapy. This was the chemical approach to mental illness. Although it has never been proven to be an effective cure, this method of treatment has quite a large following. One can see why it would have attracted my father. Instead of having to wrestle with a devastating emotional fact, he could look upon the disease as a physical flaw, something that could be cured in the same way you cure the flu. The disease became an external force, a kind of bug that could be eradicated with an equal and opposite external force. In his eyes my sister was able to remain curiously untouched by all this. She was merely the
site
where
the battle would take place, which meant that everything that was happening did not really affect
her
.

He spent several months trying to persuade her to begin this megavitamin program—even going so far as to take the pills himself, in order to prove that she would not be poisoned—and when at last she gave in, she did not take the pills for more than a week or two. The vitamins were expensive, but he did not balk at spending the money. On the other hand, he angrily resisted paying for other kinds of treatment. He did not believe that a stranger could possibly care about what happened to her. Psychiatrists were all charlatans, interested only in soaking their patients and driving fancy cars. He refused to pay the bills, which limited her to the shabbiest kind of public care. She was a pauper, with no income of her own, but he sent her almost nothing.

He was more than willing to take things into his own hands, however. Although it could not benefit either one of them, he wanted her to live in his house so that he could be the one responsible for looking after her. At least he could trust his own feelings, and he knew that he cared. But then, when she did come (for a few months, following one of her stays in the hospital), he did not disrupt his normal routine to accommodate her—but continued to spend most of his time out, leaving her to rattle around the enormous house like a ghost.

He was negligent and stubborn. But still, underneath it all, I know he suffered. Sometimes, on the phone, when he and I were discussing my sister, I could hear his voice break ever so slightly, as if he were trying to muffle a sob. Unlike everything else he ever came up against, my sister’s illness finally
moved him
—but only to leave him with a feeling of utter helplessness. There is no greater sorrow for a parent than this helplessness. You have to accept it, even if you can’t. And the more you accept it, the greater your despair becomes.

His despair became very great.

Wandering through the house today, without purpose, depressed, feeling that I have begun to lose touch with what I am writing, I chanced upon these words from a letter by Van
Gogh: “Like everyone else, I feel the need of family and friendship, affection and friendly intercourse. I am not made of stone or iron, like a hydrant or a lamp-post.”

Perhaps this is what really counts: to arrive at the core of human feeling, in spite of the evidence.

These tiniest of images: incorrigible, lodged in the mud of memory, neither buried nor wholly retrievable. And yet each one, in itself, a fleeting resurrection, a moment otherwise lost. The way he walked, for example, weirdly balanced, bouncing on the balls of his feet, as if he were about to pitch forward, blindly, into the unknown. Or the way he hunched over the table as he ate, his shoulders tensed, always merely consuming the food, never savoring it. Or else the smells that emanated from the cars he used for work: fumes, leaking oil, exhaust; the clutter of cold metal tools; the constant rattle as the car moved. A memory of the day I went driving with him through downtown Newark, no more than six years old, and he slammed down on the brakes, the jolt of it flinging my head against the dashboard: the sudden swarm of black people around the car to see if I was all right, especially the woman who thrust a vanilla ice cream cone at me through the open window, and my saying “no thank you,” very politely, too stunned to know what I really wanted. Or else another day in another car, some years later, when my father spat out the window only to realize that the window had not been lowered, and my boundless, irrational delight at seeing the saliva slither down the glass. And still, as a little boy, how he would sometimes take me with him to Jewish restaurants in neighborhoods I had never seen before, dark places filled with old people, each table graced with a tinted blue seltzer bottle, and how I would grow queasy, leave my food untouched, and content myself with watching him wolf down borscht, pirogen, and boiled meats covered with horse radish. I, who was being brought up as an American boy, who knew less about my ancestors than I did about Hopalong Cas-sidy’s hat. Or how, when I was twelve or thirteen, and wanted desperately to go somewhere with a couple of my friends, I called him at work to get his permission, and he said to me, at a
loss, not knowing how to put it, “You’re just a bunch of greenhorns,” and how, for years afterward, my friends and I (one of them now dead, of a heroin overdose) would repeat those words as a piece of folklore, a nostalgic joke.

The size of his hands. Their callusses.

Eating the skin off the top of hot chocolate.

Tea with lemon.

The pairs of black, horn-rimmed glasses scattered through the house: on kitchen counters, on table tops, at the edge of the bathroom sink—always open, lying there like some strange, unclassified form of animal.

Watching him play tennis.

The way his knees sometimes buckled when he walked.

His face.

His resemblance to Abraham Lincoln, and how people always remarked on it.

His fearlessness with dogs.

His face. And again, his face.

Tropical fish.

Often, he seemed to lose his concentration, to forget where he was, as if he had lost the sense of his own continuity. It made him accident prone: smashed thumbnails from using a hammer, numerous little accidents in the car.

His absent-mindedness as a driver: to the point that it sometimes became frightening. I always thought it would be a car that did him in.

Otherwise, his health was so good that he seemed invulnerable, exempt from the physical ills that strike all the rest of us. As though nothing could ever touch him.

The way he spoke: as if making a great effort to rise up out of his solitude, as if his voice were rusty, had lost the habit of speaking. He always hemmed and hawed a lot, cleared his throat, seemed to sputter in mid-sentence. You felt, very definitely, that he was uncomfortable.

In the same way, it always amused me as a child to watch him
sign his name. He could not simply put the pen against the paper and write. As if unconsciously delaying the moment of truth, he would always make a slight, preliminary flourish, a circular movement an inch or two off the page, like a fly buzzing in the air and zeroing in on its spot, before he could get down to business. It was a modified version of the way Art Carney’s Norton used to sign his name on
The Honeymooners
.

He even pronounced his words a little oddly. “Upown,” for example, instead of “upon,” as if the flourish of his hand had its counterpart in his voice. There was a musical, airy quality to it. Whenever he answered the phone, it was a lilting “hellooo” that greeted you. The effect was not so much funny as endearing. It made him seem slightly daft, as if he were out of phase with the rest of the world—but not by much. Just a degree or two.

Indelible tics.

In those crazy, tensed-up moods he sometimes got into, he would always come out with bizarre opinions, not really taking them seriously, but happy to play devil’s advocate in order to keep things lively. Teasing people put him in buoyant spirits, and after a particularly inane remark to someone he would often squeeze that person’s leg—in a spot that always tickled. He literally liked to pull your leg.

Again the house.

No matter how negligent his care of it might have seemed from the outside, he believed in his system. Like a mad inventor protecting the secret of his perpetual motion machine, he would suffer no one to tamper with it. Once, when my wife and I were between apartments, we stayed in his house for three or four weeks. Finding the darkness of the house oppressive, we raised all the shades to let in the daylight. When my father returned home from work and saw what we had done, he flew into an uncontrollable rage, far out of proportion to any offense that might have been committed.

Anger of this sort rarely came out of him—only when he felt himself cornered, impinged upon, crushed by the presences of
others. Money questions sometimes triggered it off. Or else some minor detail: the shades of his house, a broken plate, a little nothing at all.

Nevertheless, this anger was inside him—I believe constantly. Like the house that was well ordered and yet falling apart from within, the man himself was calm, almost supernatural in his imperturbability, and yet prey to a roiling, unstoppable force of fury within. All his life he strove to avoid a confrontation with this force, nurturing a kind of automatic behavior that would allow him to pass to the side of it. Reliance on fixed routines freed him from the necessity of looking into himself when decisions had to be made; the cliché was always quick to come to his lips (“A beautiful baby. Good luck with it”) instead of words he had gone out and looked for. All this tended to flatten him out as a personality. But at the same time, it was also what saved him, the thing that allowed him to live. To the extent that he was able to live.

From a bag of loose pictures: a trick photograph taken in an Atlantic City studio sometime during the Forties. There are several of him sitting around a table, each image shot from a different angle, so that at first you think it must be a group of several different men. Because of the gloom that surrounds them, because of the utter stillness of their poses, it looks as if they have gathered there to conduct a seance. And then, as you study the picture, you begin to realize that all these men are the same man. The seance becomes a real seance, and it is as if he has come there only to invoke himself, to bring himself back from the dead, as if, by multiplying himself, he had inadvertently made himself disappear. There are five of him there, and yet the nature of the trick photography denies the possibility of eye contact among the various selves. Each one is condemned to go on staring into space, as if under the gaze of the others, but seeing nothing, never able to see anything. It is a picture of death, a portrait of an invisible man.

Slowly, I am coming to understand the absurdity of the task I have set for myself. I have a sense of trying to go somewhere, as
if I knew what I wanted to say, but the farther I go the more certain I am that the path toward my object does not exist. I have to invent the road with each step, and this means that I can never be sure of where I am. A feeling of moving around in circles, of perpetual back-tracking, of going off in many directions at once. And even if I do manage to make some progress, I am not at all convinced that it will take me to where I think I am going. Just because you wander in the desert, it does not mean there is a promised land.

When I first started, I thought it would come spontaneously, in a trance-like outpouring. So great was my need to write that I thought the story would be written by itself. But the words have come very slowly so far. Even on the best days I have not been able to write more than a page or two. I seem to be afflicted, cursed by some failure of mind to concentrate on what I am doing. Again and again I have watched my thoughts trail off from the thing in front of me. No sooner have I thought one thing than it evokes another thing, and then another thing, until there is an accumulation of detail so dense that I feel I am going to suffocate. Never before have I been so aware of the rift between thinking and writing. For the past few days, in fact, I have begun to feel that the story I am trying to tell is somehow incompatible with language, that the degree to which it resists language is an exact measure of how closely I have come to saying something important, and that when the moment arrives for me to say the one truly important thing (assuming it exists), I will not be able to say it.