The Stunting of the Heart: An Agony in Three Fits

Fit the First: Colossal Cave

Right foot wedged against vertical rock, left foot on ground as solid as rock can be beneath silk coverlet of cave dust, gaping chasm ahead. Left foot takes leap of faith, falls into space, lands in crevice. Straddling space. Hands find stone. There is advice offered, light from headlamps, quickened pulse a tom-tom counting fractions of a second, but nothing, really, but the next crevice, and the next. The cave shrinks in comparison to this single crack.

The open yaw below churns up the retardant of fear, stirs the breath loud and fast. Lean to the left and push away. Trust in the cave to catch the right foot as it skitters ahead. Looking into the abyss is a mistake, hungry darkness where ground is expected. Floating above takes all the taut, tensile strength of every muscle. Flying is hard work.

Two steps taken, an eternity remain. An impossible journey

Returning to the starting point, floating backward into the dark, a more impossible journey.

Breath. Trust. Step. Fall into the reality of wall, again and again. Make impossible reaches with the legs, noting nothing but the next step and the next and the next.

The terror hovers at chin level, not high enough to drown. The knowledge pushes forward, the knowledge that fear will only dissipate when the gap is conquered. Never start, fear remains. Turn back, fear remains. Reach the end, terror will drain away.

And then, the points become apparent. The advice is unnecessary. Fear is gone and the path is clear. There, and there, and there. Just bounce over the endless gap, and there is ground again. Throw one leg over. The hip pops. Pain with an internal vertigo. Here is where control is lost and the body falls backward into endless space.

But, no. Here is where the brain overrides the body, forces it forward again. Two feet on solid ground, the cave completed. Elation.

Fit the Second: The Key to Your Dreams

I’m going to try on wedding gowns with Lisa and Heather and Jack, because I am getting married in the spring. Between the back gate and the car, something the color of a quarter glitters in the dirt, and I bend over to pluck it up between my fingers. It is a key. Or rather, it is part of a key, the less useful part. The toothy business end has snapped off. This is just the bit with the hole, the part you grasp to turn or thread into a ring to attach to a fob.

There is a word molded into the metal. “Dreams,” the key taunts. It is the key to your dreams. And it is broken.

How? Why? This is my backyard. Who dropped this thing here, this broken dream half hidden in caliche? It haunts me all day as I slip in and out of my clothes, in and out of confections of lace and satin, things I never dreamed of, but need, now, in some way that never haunted my dreams. It was in my pocket, the broken key of dreams, but by the end of the day, it’s gone. While I was trying on fifty dresses in four boutiques, it must have slipped out.

Fit the Third: The Ghost of Relationships Past

They dated in college, and it ended badly, and you wouldn’t believe half the truth if you heard it, but people grow up, keep in touch sporadically. Ten years later she stood up on the bride’s side at his wedding, thinking about how she had really dodged a bullet. You wouldn’t believe any of it, the things he did, the things he said. He called her three years after that, manic, to tell her that he’d only just realized, years later, that she had loved him.

He wasn’t stable.

Something was wrong. You could tell, because his wife was vaguebooking, and there was something about a hospital, and something about needing prayers, and a few weeks later he started texting her, over and over, “Call me, please call me,” even though they hadn’t spoken in five years, since he realized she had loved him once. She gave in. “What’s wrong?” she asked, before small talk could smooth over the reentry.

He had tried to kill himself. Again. He had opened himself. He had always cut, long before anyone had even heard of cutting, he had cut. This time, he had cut deep and gotten lucky and he was not dead.

But he was dead, he said. He had died that night, he told her, his voice flat as a Kansas prairie and far off as the horizon. She asked questions she knew the answers to. He was home again, but it would be a long walk back into the light. He was reaching, searching. He had a wife, a child. The part of him that had lived remembered reasons for living, but he was dead. He had died. He needed others to pull him up from the well.

“Listen,” she said. “I want to tell you a story. Two stories. I went spelunking.”

Orchids

The little peach-colored carp hang in the artificial rock pool like mandarin orange slices suspended in lime Jell-o. Recorded squeaks and chirps of forest creatures distract from, but do not overwhelm, the rattle and rumble of the fan that maintains this cool and humid environment, a greenhouse fifteen degrees more comfortable than the desert outside. Orchids and epiphytes explode like fireworks overhead, while ferns tumble like green fountains beneath. Despite the marks of human construction—the unconcealed pots of plastic, terra cotta, and teak; the red gravel path, framed by deliberate boulders; the wandering tourists, burdened with cameras and scared off by my still presence; and the glass and metal structure itself, its artificial environment a tropical bubble in an arid bowl—it is very nearly perfect.

I can almost relax.

The strolling gardener, passing by the window with a garden hose, cannot see me, concealed as I am behind Dendrobium sp. Orchidaceae, a sturdy, flowerless stalk possessing thick, waxy leaves sprouting with alternative precision, very nearly to the ceiling, along with another, unidentified woody plant, thick with jagged leaves and topped with tiny purple blossoms. I can imagine myself alone, except when the door opens, and I startle at the next visitor.

Almost, but not quite, relax.

The disorder to my mind is not unlike the educational arrangement in the greenhouse. Orchids are strapped to trees, sprouting from boxes. Some are labeled, their relationship to the rest of the exhibit made apparent, while others hang in obscurity, part of the collection, but apart from the collection. Some of the flowers are not orchids at all—the largest is clearly a fine specimen of hibiscus, and other clusters of yellow, white, and red appear to have little in common with the orchids, except that they flourish in similar climates.

I love orchids, but fear them, like fussy infants who cannot communicate their needs, beyond letting you know that you’re not doing it right. Whatever treatment the amateur provides, the home orchid seems to whither. This has been my experience, at any rate. I love orchids, but leave their care and feeding to professionals.

Orchids are complex, their petals arranged to entice pollinators, drawing them into secret folds, whose lovely purpose is to ensure another generation of orchids. Their colors startle us singularly and in combination: pale pink and fuchsia, cream and orange, purple and gold. Their components fit in ways they should not, ways that defy the pen’s ability to describe their relationships.

My thoughts, disparate and wild but seeking organization and homeostasis, settle into this greenhouse. If my mind could take root here, or even hang, artfully suspended from a cork tree by a tangle of wire obscured by an arrangement of Spanish moss, perhaps I too could suck nourishment from the air and experience equilibrium. I might live like a pampered infant in conditions created wholly in aid of my caretaker’s wish that I might flourish.

But these are only flowers, after all, in a temporary exhibit. In a few weeks, they will wither, their succulent stems and leaves of interest only to serious collectors, those who can care for them in such a way as to coax the next offering of floral enticement. Without petals, the plants cannot provide a draw sufficient to warrant their elaborate display in this greenhouse. Soon, they will be removed to make way for the equally bright and equally fleeting colors of the walk-through butterfly exhibit. Children will shriek, linger, interact.

My mind, tethered to my body by more than a twist of florist’s wire, has at least permanent residency and cannot be displaced. Less delicate than a fleeting flower, it may be reorganized, more resilient to environmental changes.

I cannot live in a greenhouse, abandoning my own hydroponic tomatoes, thriving in a rain gutter balanced between two nutrient buckets and made animate by a pump that requires constant attention, and my straw bale garden, in which herbs and peppers sprout with good will, while watermelon vines grow wild around them, in a rapidly disintegrating medium. The human mind prefers a state of flux. A vegetative mind, of course, has little to offer.

Besides, the Botanic Garden closes early, at four-thirty, and I do my best thinking at night. 

Thanks

Professor James sits down at his kitchen table, slides a mug of tea in my direction, and says, “Thank you.”

Between us flickers the ghost of another man, not a wraith-like ghost, but the specter of too much strength: muscles that bulge to obscenity, a caricature of a man. But not dead. Not dead, not yet.

“Well, you know,” I stammer, “I don’t, I mean, I didn’t really do anything. It’s not like he even talks to me anymore. It’s just that everyone else was worried. I feel sort of…” I wrap my hands around the hot mug and looked down into the steam. “I feel disconnected from him. I didn’t really notice. It’s just that everyone else did, and they kept telling me about it, and I didn’t know what else to do. They’re all so worried about him.”

And tell the truth, I hadn’t worried at all. You meet a guy in orientation. Maybe he’s a little extreme. Maybe he works out way too much. Maybe he’s got a temper. OK, maybe he punched that guy in that bar, but that guy was a Nazi skinhead and totally had it coming. You think you know a guy. You think he’s your friend, someone you can sit down and have a beer with, play some X-Box, just unwind. And then a girl you don’t even like starts throwing herself at you, and you’re wondering, how do I let this girl down? So you go to your so-called friend, tell him your story, ask him for some advice.

And what does that guy do? He punches you in the face and tells you he’s got dibs on the chick. And you don’t even want her! And come to find she doesn’t like him. But you’ve still got a black eye; you’re still down one friend.

“Thank you anyway,” he says. “Thank you for the call to action. It’s—it’s a very sensitive subject for me. My brother went through the same thing, and I’ve never understood it. I knew there was a problem. I saw it too. Just wasn’t ready to confront it. Just let myself not deal with it.”

Me too. I was done dealing with it. But, say five other dudes come up to you and say, “Jeez, what’s up with Steve? Is he on steroids or what? Man, he looks sick. I think he needs help.” What are you going to do? Even if you don’t care about him as a person, as a moral guy, you tell someone, right? You get him some help.

“I’m sorry,” I say. Professor James seems so tough, too. Really tough. Not in a fake, steroid way. Tough like a guy who chops enough firewood to last out a Michigan winter, and then goes up north and chops firewood for his mom. Tough like a guy who never starts bar fights, just finishes them. He’s the last person, you figure, who’d turn his back on something like this.

“Don’t be sorry,” he says to me. “You may have just saved a man’s life.”

“What happens now?”

“The department head will take care of it. Don’t worry. He’ll get the help he needs.”

What happens now is that the department rescinds his assistantship and recommends that he receive psychiatric treatment. What happens now is that, even though you never tell anyone about this conversation and no one should realistically know that you’re the rat, you still get punched in the face. Again. Same eye. And one more thanks. “Thanks for screwing up my life.”

Perception

She scribbles in a leather-bound journal, and I like to think I know just what she’s trying to say.

She’s young—perhaps not yet eighteen—and blonde, and what’s probably a great body is covered with baggy clothes. Kind of punky, oversized black pants. Chains. T-shirt advertising a band nobody ever heard of. Thick-framed nerd glasses with lenses than distort her eyes. Ugly-pretty. Like, if this were a sit-com, everyone would make fun of her as an outcast. And then, in the last scene, she’d get a makeover and everyone would mistake her for a super-model. The snooty guy would suddenly fall in love with her, but she would go for the cute but dorky guy who’d always had a crush.

I bet she’s writing about angst. How much she hates the plebians sharing this train car, how no one understands her, how she can’t wait to get away from her family. She’s dreaming of college. She’s ready to ditch her lame high school crowd and meet some mature adults.

Or else, she’s writing poetry. Overwrought poetry full of images of pain. The journal’s leather binding is dyed a rich purple. Her favorite aunt—the only one who understands her—probably gave it to her last Christmas. She eschews the commercialism of the holiday, but she loved this one gift.

I wish I could tell her that everything will be all right, that she will get a little older and life will get a lot better. I imagine we have a lot in common. When the train stops, people start shuffling around. I end up a little closer to her, but she has her back to me. The train starts up again.

She snaps the journal shut and reaches into her pocket. It’s her cell phone. “Yeah, I’m on my way,” she says in a voice far more mature than the one I imagined for her. “Had some great ideas for the website. No, no, I wrote it all down. What? No, I’ll tell you when I get there. God, I hate public transportation. This crazy old dyke was leering at me the whole ride.” She laughs at something I can’t hear. “Yeah, I don’t think so. Anyway, she’s gone now. See you in five.”

The phone goes back in her pocket and she opens the journal again. It’s not poetry. It's computer code. She’s a programmer. The train lurches and she steps back into me. She isn’t the type to apologize for that. It’s a crowded train, after all. But she does turn to see what she’s hit, and the moment my eyes catch hers, before I can say something clever about the human condition, she turns away, squeezes between two men to get closer to the door.

I realize that I am the crazy old dyke, although I am completely sane, and only twenty-eight, and only experimented with girls a couple of times in college. She gets off at the next stop. A guy my age tries to stare me down as I watch her depart. He’s starting to lose his hair, but he thinks he’s hiding that fact with a baseball cap. Probably, he played varsity football in high school, but wasn’t good enough for a college scholarship. Probably he went to his dad’s alma mater, joined the same fraternity, knocked a girl up, paid for her abortion. Now he works in a cubicle. Drinks beer afterward with the guys from his office. Lives for Monday night football.

He smiles at me. I turn away.

Dissonance

I took Psych I and Psych II, which is where I learned about cognitive dissonance, reconciling ideas which are opposite in your mind, but I thought of sensory dissonance myself. It’s when the way something looks or sounds or feels doesn’t match up to what’s really inside it. Like, take for instance, the Pink Floyd song, “Comfortably Numb.” Maybe you hear it on someone’s Dad’s car radio and it seems like a kind of nice song, like a song about relief after pain. But then you actually watch The Wall and you realize it’s not like that at all; it’s just the beginning of the worst freak out for this guy, and things are only going to degenerate for him.

Or like Jenny Snowden, whose acquaintance I also made in Psych I and Psych II. On the outside you never saw a more beautiful creature, her eyes so big and soft, and the way those fuzzy pink sweaters cupped her breasts and the dark opiate of her perfume it’s a wonder I learned anything at all next to that girl. You wanted to believe everything she said, that she never met anyone like you, that it was a safe time of the month, that two people could have a little fun without worrying about the consequences. But then you find out none of that is true, and that’s only the beginning of the deceit and the meanness, and things are only going to degenerate from there.

And now her dad’s got me by the balls and it’s a question of doing the honorable thing or hiding on an island somewhere. I look at her and it’s like these two giant rocks colliding in my brain, her captivating beauty and her castrating bitchiness. Or two even bigger rocks: the knowledge that I’ve chosen to stick around like a stupid puppy dog simpering at its master’s feet, and the knowledge that I’ve chosen the path where dreams die.

Pareidolia

It’s a normal human response, which is why you have people who see the Virgin Mary in their grilled cheese sandwich or portents in tea leaves or even just pictures in clouds. But she couldn’t turn it off.

As a little girl, she couldn’t read expressions on human faces, but she saw worlds inside every irregular surface: wood grain, the green vinyl covering the seats on the school bus, the dots on acoustic ceiling tile, tree branches, the shadows on her bedroom wall at night. She might see children playing ball, or birds chasing dogs, or snow-capped mountains, or desert islands where X-marked-the-spot to buried treasure, or genies in bottles, but often, she didn’t.

Often, especially when the lights were out or the girl was alone, she saw demons. Fang-toothed, horned monsters with hideous, child-eating grins leered down at her from wooden cabinets or up from the speckles in the sidewalk pavement. Often, she kept seeing them after she closed her eyes. Often, they seemed more real than the people she met.

As she grew older, she could control it a little better. Mostly, she didn’t see demons anymore. Mostly.