Met any vampires lately? They are unavoidable in popular culture, from Stephanie Meyer’s books Twilight and New Moon (both made into films) to television fare such as True Blood and The Vampire Diaries. And though Buffy the Vampire Slayer may have gone off the air years ago, she lives (and slays) on in DVDs and comic books.
My Pittsburgh son haunts thrift shops, collects old rosaries, hangs them on nails down cellar, near his bathroom door.
Buried with their best crystal rosaries, crocheted among their fingers, all those old ladies trouble me when I consider how their every-day rosaries were taken by their daughters to be entombed in gold, pasteboard boxes,
until years later when the daughters were readying for their move to Florida (for the sake of the mover’s bill) lightened their load by donating the darker contents of their dresser drawers to Goodwill.
The title of Scott Cooper’s debut film, Crazy Heart, comes from a song by the movie’s protagonist, a country singer named Bad Blake (Jeff Bridges). At 57, Bad is an alcoholic and is shut down artistically, but he’s still working the road and hanging on. The song alludes to picking up his crazy heart and giving it one more try.
She’s on life support. Racing to get there, his Jaguar fishtails on the frozen highway. She was a beauty and elusive as the future, his mother, usually traveling on his birthday.
He felt he couldn’t fly, had to touch dirt every inch of the way. To fly would be to unpeel too fast the onion of his hurt.
She’d call. He wouldn’t answer. He was busy.
Now it’s ice he notices, gray molars locking to dark bluffs, the way ice locks his heart in steely winter logic. Then sun shimmers on ice, the lock breaks, and love flows. Relief, oh melting! as he steers toward his mother.
It’s been some time since I donned my best professional earbuds to focus on a question of audio fidelity. But the band in question is the Beatles and the discs part of an ambitious remastering of the band’s catalog.
Men and women in black, a few at first and then more, move quickly and silently across the parking lot, like a slow rain beginning to fall into the dark mouth of the sanctuary. A blue jay screams curses from the skirts of a pecan tree.
Then comes the small girl the neighbors call “the urchin,” who spends each day alone flitting around the neighborhood like a trapped moth. She is surrounded by three patchy dogs.
She marches barefoot and chants a little song about the summer morning, three stray dogs, and her very own self. She passes between the mourners, a blade of blue sky cutting through storm cloud.
When she gets home, her mother will still sit like a sea wall in front of the Trinity Broadcasting Network with a can of beer. The urchin will go into the kitchen for a glass of warm tap water. The man in the coffin will still be dead. The mourners
will still gather and be sad. Nothing will be any better. The jay will keep screaming its malediction on the deep down meanness of the world. But, look now, for a moment: the song, the girl, and three loping dogs.
After Stephen Schwarzman, Yale alumnus and billionaire CEO of a private equity firm, gave $150 million to Yale for a performing arts center, Dylan Matthews questioned whether this was a good use of the donor’s wealth. Yale is not a charity, and more than half of its students come from very wealthy families. Its endowment is second only to Harvard’s. Schwarzman could have given that money for malaria nets in sub-Saharan Africa or to efforts to deworm children—acts that would save and enhance the lives of truly needy people (Vox, May 12).