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  • Drugged Love

    A couple weeks ago, Don and I went out for breakfast on a Sunday morning. We were chatting amiably over our eggs and sausage, and we overheard a married couple having one of those painful heart-to-hearts. It turned out, he was getting his ass chewed for “looking at” our waitress. She was attractive, and Don and I had certainly checked her out—discreetly, of course. Anyway, the poor henpecked husband was making a feeble argument that men are biologically wired to be constantly on the lookout for attractive women, and that women who insist on monogamy need to understand that men make a heroic daily struggle to do the right thing, and we are relatively successful. Our minds and hearts are in the right place, but our other parts sometimes follow more primitive paths. You can imagine how that enraged the wife, but the poor guy was just trying to be honest.

    As you know, this is a topic that comes up constantly around here. The basic theory is that a man—like virtually every other male of every other species—is genetically encoded to want to “spread his seed” far and wide. This is supposedly good for the survival of the species, in terms of evolution and natural selection. More babies is, well, more babies. But when you think about it that’s a kind of silly, simplistic idea of biological success. Everyone learns in health class that humans have one of the longest periods of maturation—taking more than a decade to reach physical maturity. (Heck, we can’t even get a rental car until we’re twenty-four!) What if those babies aren’t properly cared for after they are born? What if those children are abandoned by parents who are out looking for a good time? That certainly would not be good for the species. Conceiving is just the first of about a million steps to ensure the health and survival of the species, biologically speaking. So one could certainly make the argument that a stable, monogamous parental relationship is even better for the survival of the species.

    Ironically, we happened to have a copy of that Sunday’s New York Times Magazine, which contained an interesting and inflammatory essay on the subject that has since become a hot topic among my buddies. In that article, science writer Walter Kirn mentioned that scientists had done genetic research on two species of voles, which are like mice. One species lives in grassy meadows and the males are promiscuous—they take as many sexual partners as they can. Their cousins that live in the forest, on the other hand, are naturally monogamous. So scientists were able to isolate the genetic component that accounted for the forest vole’s fidelity—in other words, the monogamy gene. Not only did they find it, they transplanted it into the libertine vole, and found—presto!—they had turned a philandering rodent into a faithful one. Well, this certainly got the writer excited. Would it be possible to do the same things in humans? Synthesize some kind of drug or supplement that guaranteed your spouse would never stray? Would we take it? (The women say: Where do we sign up for immediate clinical trials? The men say: Uh, hold on a second…)

    Sexuality is an awfully messy facet of being human, isn’t it? It would be nice to have a drug that just eliminated the whole sordid business. I think there must be some biological reason that sex is so complicated for humans—some evolutionary reason that a straightforward, somewhat silly, physical act is powerfully connected to deeper feelings, to the heart, the soul, and the relentless libido.

    If we could take a drug that insured fidelity, would that rob sexuality itself of something transcendental? I certainly wouldn’t argue that good monogamous sex is good because monogamy is so hard. But you could say that life itself is painful and hard—and that certainly would not justify a permanent renewable prescription for heavy pain killers. (Maybe a limitless tab at the local brewpub, though?) Somehow, I think a quick fix like a monogamy drug would only mask something that is essentially a part of the human condition. If sex were a simple, rational thing, we’d do it exactly as many times as it took to procreate, and no more… and we wouldn’t spend so much time and effort trying to get it, having it, daydreaming about it, moralizing about it, and talking about it. Trying to regularize sexual desire would be significantly more complicated than, say, correcting bad eyesight. I think the more women thought about it, the more they’d realize how undesirable that would really be. If my free choice to be a monogamous lover is no longer a free choice, but a drug-induced one—how sexy is that?

  • Take It Off

    It’s Saturday night at Lili’s Burlesque Revue, and Sweetpea is center stage, vibrating her derriere like a paint shaker at Home Depot. The diminutive brunette’s dance routine is a combination of kooky showmanship and gymnastic prowess. Arriving onstage in a frumpy 1950s housecoat, bath cap, and cat’s-eye specs, she peels off the Grandma outfit layer by layer while giving a Hula-Hoop the hip-swinging ride of its life. The near-capacity crowd, about sixty men and women, yowl and applaud as she puts the hoop into overdrive.

    Tawnya Konobeck, who performs as the dorky/sexy Sweetpea, is part of a new generation trying to revive the sass, the glamour, and the art of the old-fashioned strip tease. Lili’s troupe of a dozen or so regulars might each bring home thirty dollars a night, which of course barely keeps them in sequins and pasties. With that kind of financial reward, this is hardly a case of women exploiting their bodies for money. Laura Libby, stage name Ophelia Flame, is a veteran of the Twin Cities exotic dancing scene. She told me that she could easily make a thousand dollars a night by taking off a bit more and doing a lot less work, but she’s drawn to the girls’-club atmosphere of the cabaret.

    “It’s less expensive to perform at Lili’s than for us to go out. We get all dressed up, go downtown, have a few cocktails with our friends, do a couple of numbers and go home. We get to wear fake eyelashes, be the center of attention, and still walk home with money in our pockets” after a night of fun, she explained. “Although I’d be lying if I said we wouldn’t be happy to make more, I think it’s healthy to have a hobby that isn’t purely motivated by filling your pockets.”

    “Why do any other kind of labor but a labor of love?” chimed in Michelle Langer, a Gustavus Adolphus music grad and erstwhile Christian rocker who becomes Nadine DuBois, the revue’s sultry emcee. “I would have done this gig for free. What I do every weekend is get all dressed up and fabulous, sing fantastic songs, watch my friends perform their hearts out, hang out with lovely people in the audience, and feel awesome about who I am as a woman in her sexuality. Seriously, what’s better than that?”

    In this age of Internet sleaze and primetime wardrobe malfunctions, the show has an innocent, PG-13 feel. Nipples remain chastely covered at all times and panties are de rigueur. You see more flesh exposed at the gym. While the striptease has stimulated much conversation, Lili’s is a variety show, mixing bawdy comedy, clowning, mildly suggestive dancing, and music. By definition, burlesque is good humored. Libby, who calls herself “the June Cleaver of strippers,” does an act called “Laundromat Blues” with a prop washing machine that tumbles clothes and blows bubbles. A winter favorite is “The Minnesota Striptease,” in which she removes endless layers of long underwear and flannel, finally hiding her bare bosom behind a tater tot casserole and hot pads.

    If Lili’s is the Land of Peekaboo, it is surrounded by the World of Spread’em—otherwise known as the Warehouse District. There are numerous bada-bing variants in the neighborhood; you could shoot a garter down the street to Sex World or Choice. Unlike some cities, Minneapolis makes no liquor-licensing distinction between establishments featuring full nudity and more discreet enterprises. But there is probably not a lot of crossover in the clientele. The audiences that choose Lili’s conceptual, stylized titillation want “a bit of naughty fun delivered with a wink and a smile,” said house pianist Karen Paurus. As burlesque queen Ann Corio observed decades ago, “A woman’s greatest asset is a man’s imagination.”

    From its opening last August through May, the annex next to the Urban Wildlife bar was called Le Cirque Rouge de Gus. It took a new name in honor of Lili St. Cyr (born Willis Marie Van Schaack in Minneapolis on June 3, 1918), a very popular stripper in the 1950s famed for her champagne bubble-bath routine. There was also a change of management after an acrimonious split between most of the performers and founder Amy Buchanan. When I spoke to the troupe, the ousted Buchanan was threatening legal action, but the mood was upbeat and crowds were growing.

    They are not stereotypical strip-club patrons. “We get a lot of woman coming down—perhaps more woman than men,” observed Patrick Tierney, who performs blues classics under the moniker “The Dusty Balladeer.” “Tons of couples. They not only adore the dancers, they sing along to the songs, they laugh at the jokes, they cheer for the jugglers.”

    “I think people are drawn to simpler times when life gets scary and feels unstable,” theorized Libby. “There’s safety in looking to the past, remembering and seeing, ‘Okay, they made it through that. We can do this.’ ”

    She is probably onto something. As historian Irving Zeidman put it in his 1967 book, The American Burlesque Show, “burlesque thrives on depression.” Gina Woods, a Macalester College Dance Ensemble alum who performs as Gina Louise, thinks the form is timeless. “Women have been doing this dance since the dawn of fabric,” she said.

    With venues emerging in New York, Las Vegas, New Orleans, and San Francisco, the revival appears to be swelling. The second annual New York Burlesque Festival, held in May, had one hundred and fifty performers—three times as many as last year—and a few corporations, such as Target and Bloomberg LP, have hired burlesque artists for private events.

    Langer isn’t surprised. “People who choose to see a burlesque show are looking for something different and more fabulous than what they usually do,” she said. “I knew a guy who came to our show, and then went to one of those more explicit clubs up the street. He said, ‘Damn. I spent a lot more money there, but your show was way sexier.’” —Colin Covert

  • Uncle Tom Jew

    In the seconds between shoving my third and fourth White Castle-sized pork sandwich down my throat, I yelled across the lavishly appointed basement toward my host. He and his wife had invited fifty Twin Cities WASPs, and me, to watch Mike Tyson’s pay-per-view, main-event boxing match in Las Vegas against heavyweight Frans Botha on their wide-screen television.

    I was more interested in the undercard fight for the junior cruiserweight championship belt between the Brooklyn-born Ethiopian Jew Zab Judah and Wilfredo Negron.

    “Hey, Jim, call me when the Hebe’s fight comes on,” I said from the kitchen. I then turned toward the Minnesota crowd waiting with empty buns on paper plates for their own turns at the buffet.

    “Zab Judah is the only Yid champ left!” I said loudly to no one in particular but to everybody specifically. “Naturally, they’ll never make the Hebe the headline bout, the Nazi bastards!”

    Someone handed me a Budweiser, my fourth of the night. “Well, I usually don’t do this,” I said, laughing, as I popped the top. “I’m not from a drinking people, you know. It’s right there in the Old Testament, Genesis, Chapter Four in the book of Shmeckel: ‘And God gave Moses the bong, and it was good. And He said if thou shalt spill the bong water on the carpet, it shalt reek for seven generations…’ ”

    The kitchen exploded. “I missed that one in Sunday school,” a blond woman said, laughing the hardest.

    As usual, I was enticed by her Crest smile, the way she laughed at my jokes like they, or I, were deeper than I was letting on. The delicate little gold cross on a chain hung over her turtleneck, indicating she was as forbidden to me as I was to her. This was my kind of woman. When asked why I went out only with non-Jewish women, I had a stock reply that further outraged or cracked up most any audience I was able to gather.

    “Jewish women hate me,” I said that night, as I often did. “I think I remind them of their annoying Uncle Morty, the schmuck at the Seder table with the stupid hundred-year-old Borscht Belt jokes. They want lawyers from Plymouth, not writers living in the middle of the city. As Abbie Hoffman said, ‘You go for the gelt or you go for broke.’ They don’t want to go for broke.”

    In my more self-righteous moments I likened myself to an Abbie Hoffman—a troublemaking Jew. I hadn’t gone what I considered the easy route of a suburban-bred Twin Cities Jew. I wasn’t a lawyer or orthodontist trained at the University of Minnesota. I hadn’t been a member of Sigma Alpha Mu, the Jewish fraternity known as the Sammies. My generation of Minneapolis Jews had almost all gone for the gelt, eventually ending up in a house with 2.3 kids in Twin Cities’ suburban gilded ghetto.

    I viewed them from afar as judgmental and ignorant. In my professional life as a reporter and writer, I took pride in being as secular as I was “objective”—even when my work touched on religion. One of my biggest stories was breaking the news in Rolling Stone that Bob Dylan had converted back to Judaism. I’d scored an interview with Rabbi Manis Friedman, the Minneapolis Hasid who’d brought Dylan back into the fold. Even then, I held myself above the Twin Cities’ Jewish community. I was better than them.

    Of course, I was the one judging, projecting my own despair and need to belong back at them. I saw how they took care of each other when someone died: the shiva, the food, the communal tears. I wondered narcissistically who would mourn me. Though I pretended not to care, I did. Outwardly, at least, I wanted to emulate my heroic Jewish outlaws; I wanted to join the spirit of people like the ones enumerated by Kinky Friedman, the mystery writer and founder of a country and western band called the Texas Jewboys.

    From Moses, Friedman had said, “a long line of Jewish troublemakers followed—Baruch Spinoza, Karl Marx, Groucho Marx, Lenny Bruce, Abbie Hoffman—who were spiritual beacons in a [gentile] world.” Friedman believed that Hoffman, Marx, and Bruce also served as lighthouses for frightened Jews who for millennia would “shun trouble, avoid at all cost confrontations … we who look in our mirrors [and] are mildly surprised that we’re still here.”

    Now, that was me. I felt like an obsolete pinball machine whose spare parts hadn’t been made. I was also a self-deluded fool. Standing here, outraging my audience, I was no Jewish outlaw like Abbie, throwing bills to the floor of the Stock Exchange. At best I was a Vegas lounge act.

    Unconsciously, I threw in a joke to the crowd in the kitchen, a Henny Youngman one-liner:

    “Why do Jewish husbands always die before Jewish wives?” I asked.

    “Because they want to.”

    The room erupted. I reached for another beer.

    I was shticking like Milton Berle on crystal meth, using a speed rap I’d developed at college parties to get a group of gentile women to encircle me. If they were laughing at my rap, I figured, they couldn’t ogle the sensitive guitar player singing Grateful Dead tunes in the living room. In Minneapolis—at concerts, ball games, dinner parties, the theater during intermission, walking along the street, or standing in a virtual stranger’s kitchen eating trayf (nonkosher food)—I delighted in outraging the gentiles. I was engaged in shtetl shpritzing, Jewish jazz.

    Did my non-Jewish friends perchance want to see my horns, I’d ask, or the yellow stripe running down my back? And gee, I’d throw in, sorry about killing your Lord and all that, it was a party, things got out of hand, he didn’t chip in for the Last
    Supper’s tip.

    “Shpritzing?” the blonde at the party asked.

    “Surrounded by other Jewish wise guys, usually at a diner or deli, you just shoot out jokes as fast as you can and everybody tries to top you,” I said, staring at her. “When they were young, Lenny Bruce (né Leonard Schneider), Rodney Dangerfield (né Jacob Cohen), Jerry Lewis (né Joseph Levitch), and whatever Jewish comic was in town shoehorned themselves into a booth in a Brooklyn diner and shpritzed faster than Chuck Yeager flew. Shpritzing was the Jewish right stuff. Henny Youngman claimed that Jerry Lewis even shtupped a woman in the candy store’s phone booth without missing the beat of his jokes. Now Lenny, there was a Jew considered a shanda fur di goyim.”

    Nobody asked what shtupping was, but the blond woman said, “I heard of Lenny Bruce, he was in that REM song about the end of the world. What is a … shalen goy …?”

    “A shanda fur di goyim is the worst thing one Jew can say to another—it means you’re such a rat bastard that you make all Jews look bad in front of the goyim.” They all laughed. Christ, the gentiles loved being called goyim to their faces by a crazy Jew.

    How could I make such a spectacle of myself and talk such trash, be such an unmitigated ass, I wondered briefly, a suddenly conscious current of self-loathing making me want to crawl out of my skin. But I quickly repressed the noxious feeling that mocked who I had become during the last two decades—a buffoon who despised who he was and where he’d come from.

    Even when I was a kosher-keeping and religious youth, studying Hebrew and Aramaic harder than anyone I knew, I’d tried to get away from my ancestry and be just an American kid.

    As split inside as Cain and Abel, I’d had plans to be a rabbi, yet I’d always wanted to fit in, to assimilate. I didn’t want to be just a “normal” kid but rather a brave outlaw. So I was the bookie for my tenth-grade class, taking bets in the lunchroom on Friday for that Sunday’s game before heading home to prepare for Shabbos.

    I’d totaled four cars, been arrested for big-ticket shoplifting at fourteen, had my license suspended at seventeen. At school I wrestled and played hockey, punching and flipping gentiles on their backs to middling success, but at least proving I was no weakling Jew. Only later did I realize that this was about asserting my masculinity. I felt that as a Jew my manhood was always in question. Just as most Jewish women are revolted by the stereotype of the JAP—the Jewish American Princess—I was repulsed by perceptions of the weak, pale yeshiva boys Isaac Babel wrote of, “studying in fright in the shtetl, with spectacles on [their] nose and autumn in their heart.”

    Even when I’d believed, I’d often pulled against my Hebraic side in the great assimilation tug-of-war. At Jewish summer camp, I always had a great time with the kids who hated being there in the first place. I’d wear a tallis, a prayer shawl, if I had to go to synagogue. It looked like a funky scarf. But as for putting on and wearing tefillin, the black prayer-box phylacteries bound at the head and arm? Kish mir in tuchus. Kiss my ass. The last time I’d donned the ridiculous-looking straps had been at camp. There, I remembered my overwhelming thought each day as I prayed, a fourteen-year-old bound into these goofy straps and boxes on my arm and atop my head: I’m glad nobody at school can see this.

    Even now, when I’d make an occasional and strained effort at being a good Jew, I wouldn’t put on tefillin. It made me shiver to think of wearing something that was as much a feature of anti-Semitic caricatures as it was a religious object.

    The last half-dozen years of attempted assimilation since my divorce had been the worst. Some people learn their life lessons by running into a brick wall once before learning to go around; I often crashed a hundred times before I figured out what was wrong. I never thought of the ancient joke that applied to me: Why are you hitting yourself on the head with a board over and over?

    Because it feels so good when I stop.

    ***

    “I don’t want to miss the Hebe,” I reminded some strangers in the kitchen.

    My own offensiveness—and what it said about my lack of self-respect—was more than counterbalanced by the flattering attention of an all-gentile, all-American crowd laughing at the outrageous goofy Jew playing the shtetl idiot for their amusement. Still soaking in the laughter, I continued to hang in back where the cohost Celeste was ladling shredded pork from a steaming silver kettle into mini-Wonder Bread buns.

    “Didn’t eat today, Neal? Would you like another?” she asked, but before I could say yes, she grew stricken. “Oh, God. I’m so sorry. Pork. I should have had another dish!”

    I wondered if she even would have known my religion if I hadn’t made such a spectacle of myself. “Don’t be silly, I’m a pork slut,” I responded, piling my paper plate high.

    “I didn’t know Jews could eat pork,” said Celeste as she watched me snarf my fifth sandwich in one bite. “Don’t you go to hell? No, wait—Jews don’t believe in hell, right?”

    “Anybody Catholic here?” I asked, an equal-opportunity mocker. A few hands in the kitchen went up. “I think priests should get married so they’d really know what hell is.”

    Rim shot. I felt a brief shiver of hating myself, but everyone was laughing again. And then the tug from the other side, the long-ago-educated-in-Judaism side. “Jews have hell,” I said defensively. “It’s called Gehenna. And actually, Celeste,” I said, pork juice dribbling out of my mouth, “I didn’t taste pig until I was twenty-one. I almost became a rabbi.”

    “You? I don’t believe it.”

    “No shit. Me a rabbi. Sagely telling everybody what to do. Like they need any help. My sermons every week would have been the same nine-word history of the tribe: ‘They tried to kill us; we won; let’s eat.’”

    I was a Jewish Uncle Tom. And for almost two decades, I’d been busy reinventing myself, reinforcing the worst stereotypes of Jews and the community. I’d once taken that community to my heart like a precious birthright but then tossed it away like worthless fool’s gold. My Judaism hadn’t retreated; it had evaporated.

    “I was knockin’ on heaven’s door my senior year in college when I realized I believed in heaven and God only half the time. I’d have become what I always loathed—one of those self-righteous rabbis who’d tormented me for the previous fifteen years,” I said.
    “God, I’m stunned,” Celeste said. “I mean, I’ve only met you a few times but, um, I always thought you were just, pardon me for saying … a clown. Like that’s what you wanted to be. Not that there’s anything wrong with that,” she said, recovering nicely.
    “In Yiddish, it’s called shtick. This is my shtick.”

    “So you decided to play a full-time clown instead of a half-believing rabbi?” Celeste said, needling me as she tried to figure out the equation.

    “Hey, the hours are better. The only thing I have in common with Jews is that I don’t like to work on Saturdays.”

    The kitchen crowd had gathered around again as I continued to shtick in earnest, and I didn’t hear Jim yell to me from the front of the room when Zab Judah was heading from his dressing room to the ring, led by his entourage of black Jewish friends and family. It would have been a rare and happy sight for me to see a Jewish boxing champion. Yiddishkeit. Lore.

    In my role as a Jewish Uncle Tom, I also told the usual, sickest, most outrageous Jewish jokes I knew to non-Jewish friends—my only friends. I told those jokes, the ones only Jews supposedly can tell, but never in a roomful of non-Jews, even if they were getting paid for it.

    “Why do Jews have such long noses?”

    “Because air is free.”

    Or:

    “How many Jews can you fit in a Volkswagen?”

    “47,293. Two in front, two in back, and 47,289 in the ashtray.”

    I wanted to belong.

    Then I heard Jim’s voice cutting through the din of the crowd and the giant television. The host was a swell-hearted, brainy guy who I knew didn’t harbor a single racist or anti-Semitic thought. But now he’d been pushed and revved by an earlier riff of mine about Jewish boxers and my continuing blasphemous references to my people.

    “Hey, Neal!” he yelled over fifty gentile heads. “The Hebe won!”

    He suddenly looked as horrified as his wife when she offered me a pork sandwich. He waxed relieved when I laughed louder than anyone in the room.

    My shtick seemed to bring out the worst in people. After I riffed to a woman with the sorry-to-have-killed-your-Lord routine, she nodded in agreement and made a reference to “Jew people” that clanged against my ears. “Wow,” she said, “that’s weird. I’ve never said ‘Jew people’ before.”

    Only later, while reading Professor Michael Burleigh’s acclaimed The Third Reich: A New History, did I understand that I was actually encouraging people to be anti-Semitic. Hitler’s obsessions, Burleigh wrote, “concerned an abstraction dubbed ‘the Jew’ rather than actual Jews.”

    Jew people.

    ***

    A few minutes before the Tyson bout, two familiar faces from my high-school class entered the basement. Bob and Judy Schwartz. She wore a diamond as big as the Ritz. He worked as a money manager and drove a BMW convertible. I shouted across the room, “What are you doing here? I’m supposed to be the only Jew here!”

    Bob laughed, not sure what the joke was.

    “Don’t be a shanda fur di goyim!” I yelled, wishing I could call out instead to everyone else in the room. Hey goyim, I’m a goy! Don’t think of me that way, like the Schwartzes! I thought their material life was gaudy, but deep down I wanted to be part of a community, invited to bar mitzvahs, brises, shivas, and be proud of my birthright.

    I couldn’t have been more insulting to the Schwartzes if I’d called Bob a schmuck on a stick. But neither knew Yiddish, I remembered from their short stints in elementary Hebrew school. They were the kind of Jews my age who lived in massive suburban houses and seemed to work in what they always referred to as “financial services.” The kind I knew called African Americans schvartzes, Yiddish just this side of “nigger”; when they ran into me with a date (I’d later hear) they had called her a shiksa, an epithet just a bit up from the curb from “whore.”

    They saw themselves as holy Jews, but they had never embraced any sense of Yiddishkeit, the essence of the religion beyond their prayers, encompassing every tale that swelled Jews’ hearts with pride, from Moses receiving the Torah to Sandy Koufax, the Los Angeles Dodger who sat out the first game of the 1965 World Series right here in Minneapolis because it was Yom Kippur.

    All that had eluded the Schwartzes in their inexorable trek to the suburbs. I had escaped Minneapolis’s shtetl, specifically to study back east with Rabbi Jacob Neusner, the Orthodox professor, because he was—and still is—considered the country’s most brilliant Jewish academic scholar. From there, went my announced plan to my family, I was going to Hebrew Union College, in Cincinnati, where I’d be ordained. Then I’d return and try and make these Jews from my hometown finally think, to try and show that having a Yiddishe kopf meant more than knowing where to get it wholesale.

    Calling them a shanda fur di goyim was a terrible thing to say to the Schwartzes, and I felt a wave of physical revulsion at my own rudeness. Thank God they were so ignorant of Yiddishkeit. Still, my enmity was pretty obvious.

    Perhaps it was out of pure jealousy that I didn’t want to be associated with the Bob and Judy Schwartzes of Minneapolis. They weren’t torn as I was between the gentile world and the Jews; they seemed to feel no painful tug. True, I thought they were as phony as paste pearls, but how was it that they were able to become Americans in a way I never could and still retain their status as “good Jews”?

    My stomach suddenly churning, I waved my host over to tell him I had to leave before the main event. Jim looked upset, thinking he’d angered me earlier, and whispered, “I’m sorry about calling Zab Judah a Hebe. I don’t know where that came from. I’ve never used that word in my life.”

    “I know where that came from,” I said, waving off his remorse. “I put that word in your mouth. I made you say it.”
    I left the house in silence, feeling queasier by the minute.

    My father’s entire family had been machine-gunned in Russia and buried in pits, most of them still alive, by Hitler’s advancing Einsatzgruppen, or death squads. Not that I didn’t care about that stuff: To the contrary, I was obsessed with every aspect of the Third Reich, from the Final Solution to irrelevant minutiae concerning whether Hitler’s niece slept with the Führer and then committed suicide, to the dimensions of a can of Zyklon B, the gas dropped in the concentration camp “showers.”

    No longer did I chant Torah in front of a congregation I loved, as I’d done growing up. Instead, alone, I now studied with rage how Franklin Roosevelt ensured the slaughter of millions of Eastern European Jews, first by not allowing them to immigrate to the United States, then by refusing to bomb the train lines that ran directly into Auschwitz, even though American planes were firebombing other train tracks only a few miles away.

    I didn’t have anyone Jewish I respected to talk to about it, even if I’d wanted to.

    I made my obsession a joke, like I was a Civil War reenactor or member of the Flat Earth Society. If asked why I had the entire Nuremburg trials on tape, I’d laugh about how they should rename the History Channel, my favorite station, the Hitler Channel. I told friends that whenever I was depressed, I’d watch some Nazis get hanged, and I’d perk right up.

    My fascination was perverse. I had no idea what I got out of this singularly horrible thing in Judaism—collecting such seminal texts on the war against Jewry as Robert Jay Lifton’s The Nazi Doctors, Daniel Jonah Goldhagen’s Hitler’s Willing Executioners, and Hannah Arendt’s Eichmann in Jerusalem, atop a collection of virulently anti-Semitic literature. I’d think of the old comic-strip character Pogo and his famous line, “We have met the enemy—and he is us.”

    No matter which side pulled harder in my personal tug-of-war between Jew and assimilated American, I was now finally sure of one thing—I was about to be pulled into the mud pit in the middle where the losers end up.

    After slinking away from Jim and the boxing party, I walked into the rain, away from my car, and toward the Mississippi River. I sat on the bank, the mud seeping through my jeans. And then it hit me; just as I was gathering enough strength to lift myself out of my own humiliation and self-pity, the beer and pork sandwiches came up violently, angrily. I kept heaving until there was nothing left, and then again and again, until I was unable to stop gasping and began praying to a God I hadn’t believed in for decades to let me catch my breath.

    Afterward, I pulled up my sleeve to check my Alfred E. Newman watch, the one that the college students I occasionally taught loved to pass around, saying the kitsch was so me. I took off the idiotic timepiece and chucked it into the Mississippi. I was so tired of being me.

    Suddenly, another wave of nausea keeled me over onto all fours. I was a shanda fur mir, a scandal to me. By exiling myself from my own tribe and lusting to be anyone, anything else at all, I’d in fact become nothing.

    Weeks later, I was on a plane from Los Angeles to Minneapolis. I sat down next to a Hasidic rabbi, not knowing at the time that in talking to him I would have one of the most mind-quaking revelations of my life. “Do the Hasidim believe in reincarnation?” I asked Rabbi Manis Friedman.

    He looked at me and smiled. “I believe you can be reincarnated in your own lifetime.”

    Adapted from SHANDA by Neal Karlen. Copyright (c) 2004 by Neal Karlen. Reprinted by permission of Touchstone, an imprint of Simon & Schuster, Inc.

  • E. Elias Merhige

    Fear is Elias Merhige’s business, as you’ll know from his earlier films like the avant-garde creeper Begotten and the 2000 arthouse hit Shadow of the Vampire, with its witty premise that the villain in the great 1922 silent film Nosferatu had been played by a real vampire. His new film Suspect Zero stars Aaron Eckhart and Carrie-Anne Moss as FBI detectives on the trail of a killer (Ben Kingsley, in another of the great performances he’s been turning in lately) who appears to have psychic powers. Merhige talked to us recently about the film.

    RAKE: Before you got on board as director, Zero was a more traditional cop thriller, and you rewrote the script to make it stranger and more psychologically driven. Tell us about that.

    MERHIGE: The story needed to be taken out of the police procedural into the subjective. The stories that interest me the most are the ones that are psychological. There’s nothing more terrifying than the mind. When you want to get into investigating true fear and true horror, the mind is a great playground.

    It was more like Seven in the early drafts, right?

    Yes and no. But it was different enough from Seven, because I’d never want to do another film that’s already been done. So I told the producers that I would want to take this thing down a very different path. I realized that in order to make this a truly significant work, stories can no longer be told where you have this dualistic idea of good and evil. There’s just a big fat grey area right now where good and evil commingle with one another, and walk hand in hand with one another. We see it now in the war against terrorism, in our attempt to bring in “the bad guys.” Another thing I wanted to express in this film is how the ordinary world is terrorizing us. Airplanes, trains, and trucks—even something as innocent as opening your mail has consequences. The idea in Suspect Zero is that this serial killer is someone who’s just ordinary, and that true evil is completely ordinary.

    What attracts you to making movies about violence and fear?

    It’s the role of art to explore darkness. The darkness within us, the darkness at the void of the universe. It’s the only way to understand the light and what true redemption is. By understanding the darkness, it no longer becomes monstrous.

    Do you see yourself as a genre filmmaker?

    Not at all. Genres eat directors. I like challenges. I like to stand beneath the mountain and wait for the avalanche, and then try to outrun it. That’s what excites me about a genre, is to turn it on its head and take it off-road in a completely different direction. I don’t think Suspect Zero is a genre film. It’s several different kinds of storytelling and several different genres. There’s a science-fiction element. It’s more a psychological thriller than a serial-killer film. There is a serial killer, but that’s not really what the movie’s about. It’s about contemplating the nature of justice and redemption in our post-9/11 world.

    Shadow of the Vampire had a strong streak of black comedy, but Suspect Zero is much more serious, even somber.

    There’s a great deal of humor in Shadow. Somebody as deadly serious as [John Malkovich’s character] Murnau, someone who is obsessed, is very funny. I think there’s great humor in deep seriousness. But in Suspect Zero I didn’t want to be funny because there are so many delicate, important issues that are raised. I didn’t want it to feel exploitative or insensitive. I think the sadness and the melancholy in Suspect Zero is something we all feel as a country. I just felt that was the right and truthful note to end the film on.

  • The Frowning Clown

    If you were born after, say, 1955, chances are you think clowns are scary. Whether your fear is rooted in pedophilic scandal, horror flicks, or a bad audience-participation experience, for you a bulbous red nose and size-100 shoes can turn a perfectly pleasant parade into a cavalcade of unease. “They don’t look all that friendly,” said Luverne Seifert, a good clown who lives in Minneapolis. “I mean, they have this macabre white make-up on… they’re not all that appealing.”

    Lori Hurley, a good clown who lives in St. Paul and who was trained in the Ringling Bros. and Barnum & Bailey Circus, has another theory about the younger generation’s deep-seated fear. “You never see a movie with a good clown in it,” she said, citing Killer Klowns from Outer Space and Stephen King’s It as examples.

    Despite the bad reputation, both clowns take their discipline seriously, describing it in almost religious terms. “Once it’s a part of you, it is used in every aspect of your life,” said Hurley. “The art of clowning is really getting in touch with a different sense of self. It’s about being fully present in life, whatever you’re doing.”

    The usually coltish Seifert became earnest when he described the difficult exercise of “finding your personal clown.” It was, he said, a humiliating process he underwent with his mentor, Pierre Byland. (Byland is best known around these parts for training the folks at Theatre de la Jeune Lune in clowning.) “You have to put yourself in the shit,” said Seifert. “First you find that state of tragedy, that state of humility. The next thing you do is work on a walk. Maybe your butt sticks out a little bit—you accentuate that. Or maybe you’re pigeon-toed; you find a way to increase that.”

    If that sounds terribly degrading and sad, consider this other nagging stereotype: Clowns are lonely. Given their relative scarcity, they certainly cannot hang out in squads or workgroups, each finding solace in the others’ self-deprecating foolery. Even if clowns are rare, their popularity does appear to be building, at least in some circles. A few mainstream theater companies, like Children’s Theatre Company, are incorporating more clown work into productions. In August, the population of theater clowns in the Twin Cities nearly doubled after a group of young actors returned to Minnesota after studying in Switzerland.

    There are several distinct clown genres, each with its own culture and look. Although Hurley traces her roots to the greatest show on Earth, these days she makes her living as a “close-up clown” (for hire at birthday parties and other special occasions). To some, it may seem she has finally landed in “the shit” with this career move, but she does not see it that way. “I left the circus because I was missing an intimate connection with an audience,” she said. With close-up clowning “you can look into their eyes and know if you are reaching them.”

    While Hurley performs wearing traditional clown garb, Seifert prefers a more individualistic approach. This has, perhaps, a more European aesthetic, where personal characteristics and flaws define each clown’s costume. Seifert sees not a lot in common between his and Hurley’s work. “For me, the circus clown tends to find a trick,” he said. “It’s not so much about the persona. It’s not so much about the character.”

    Hurley laments clown-certificate programs, fast courses designed to crank out clowns for companies that provide them for birthdays, rodeos, and so forth. “That lowers the standard for the real clowns who have invested in their training.” Of course, anyone can buy a rainbow-afro wig and a water-squirting boutonniere. Are real clowns offended by uncertified imposters? Seifert does not care. Hurley said, “If they are not dishonoring the profession, I say fine. Maybe they’ll one day catch the spirit of clowning.” —Christy DeSmith

  • Mellow Pinot

    The late summer evenings take my mind back thirty years to a leafy lane on the Devon-Dorset border, the western edge of the countryside familiar to readers of Thomas Hardy’s novels. We had spent the day otter-hunting, the finest of all forms of venery, requiring intimate understanding of the habits of the otter, but offering little threat to the animal’s life. The sport, alas, was on its last legs. A combination of the pesticide DDT (causing sterility all the way up the food chain) and the escape of American mink from fur farms (causing loss of habitat) had reduced English otter numbers to a condition from which they have taken a whole generation to recover. Nevertheless, we had enjoyed a grand day not merely looking at nature but being part of it.

    Now we stood in a grassy, gritty lane as the last of the sunlight filtered sideways through the elms (there were still elms then), waiting for the rickety old red van, filled with straw, which would take the hounds home. The pure-bred otterhounds, large, lop-eared friendly beasts with Afro-curly coats, nuzzled our thighs, hoping we still had some of our lunchtime sandwiches left. The Master of the Hounds, a genial man with an outdoor face and the finest note on a hunting horn I have ever heard, had fallen into conversation with an older man who had come upon us in the lane.

    It was the older man who caught and held my eye. He was tall and dignified, dressed in the English country manner: cloth cap, good tweed coat, corduroy or cavalry twill trousers (I can’t remember which). They talked of the usual country things—the harvest, the weather, the local fox hounds—though not, I noticed, of their families. A cloud of reserve seemed to hang over their kindly courtesies, as each spoke with studied care. Eventually the older man resumed his walk and the Master turned to us. “That was Colonel Dugdale,” he said softly. “He did everything for those girls.”

    Everything promptly fell into place. The newspapers had been full of one Bridget Rose Dugdale, who in the course of getting a degree from Oxford and a doctorate from London University, had got the idea that her life should be spent supporting the cause of the Irish Republican Army. At the time the IRA was short of cash; no doubt the Irish bars in certain American cities were not taking enough in and Colonel Qadhafi of Libya was feeling parsimonious. Anyway, Dr. Dugdale burgled her father’s country house and stole the family treasures. Later she was one of a gang that broke into a big house near Dublin and made off with some really good pictures, including a Vermeer. The thing about Vermeers is that there are not very many of them—perhaps thirty-six. The old Dutchman painted them to give mankind joy, not to provide collateral for the purchase of armaments.

    I am not clever enough to debate the ins and outs of the Irish Question. What lingers in the mind is the immense sadness which surrounded the father. No wonder he was reticent, even by English standards. More than anything it was his hopes, it seemed to me, that had been stolen from him.

    To have your hope taken away is not natural. It is not an everyday tragedy, the sort of sadness that Hardy, more than most poets, perceived beneath the decencies of country life. Losing hope is like losing the companionship of your shadow. This seemed to me a tragedy caused by an idea. The Turks have a saying, balik bashdan koka— “the fish begins stinking from the head.” There’s nothing harmless about ideas.

    Good then to commend to you a wine that goes straight to the heart. It is a Pinot Noir from California, but drunk blind you would think you were in the presence of a burgundy as elegant as Proust’s Madame de Guermantes. The pellucid red, pale around the edges, is the color of good burgundy; it makes the polish on your glass shine brighter, not like the oily integument of port, still less the limpid trout-stream blue of gin. There is a whiff of oak, a slight and pleasing sweetness, and a lingering wininess which rises right through the sinuses as though you were Caruso or Gigli projecting a top “D” from between your eyebrows (any tenor will tell you what I mean). This nectar is the 1998 vintage from Seven Peaks (no, not Twin Peaks), a winery in the Central Coast region of California. It would go well with any mellow cheese, say Stilton, Gorgonzola, or Brie. May you mellow well with it into autumn.

  • The Internist

    That afternoon, I remember, I’d attempted to perform back surgery on a dwarf who had gotten so stooped and hump-shouldered that she could barely walk. Neighborhood children had been throwing rocks at her for years. She was brilliant and very funny, but struggled with a terrible speech impediment, and was also cursed with a disastrous fashion sense that would have been merely amusing if the overall effect had not been so tragic. She would shrug the burden that was her shoulders and say, it is like trying to find clothing for a box, do you see?

    I had learned to converse with this woman, but only with great difficulty. Her original language was Portuguese, and she spoke the local tongue with a clipped, husky accent, embellished with a stutter. I’d been playing chess with her at the local café for years before I became her physician, and we had a shared passion for jazz and American rhythm and blues. She had, without a doubt, the best record collection in the entire town, and the only decent library of books in English.

    I was in a dark mood that day, as I made my way home through the tight and crowded streets. It was insufferably hot, and the rain was already moving in. The fat sun was sinking through dark clouds building in the western sky. The surgery hadn’t gone well; my skills in that arena are poor, and truth be told I am no great shakes as a doctor. Pity is a dangerous and useless quality in a physician, and I was troubled by my foolish involvement in an unnecessary procedure.

    Even with a capable young doctor from another city assisting, at my expense, the surgery had been a terrible failure. I had made arrangements to use a surgical theater in a local clinic, and these facilities were barely adequate. This is a bad case, the other surgeon, a Frenchman, had said. He kept repeating it, mumbling through his mask. Oh my, this is a very bad case. It is too risky.

    It was a very bad case indeed. It became apparent that there was nothing we could do to help the poor little woman, and I felt terrible surveying the mess we had made. Even our relatively simple exploratory operation would result in a long and painful recovery and rehabilitation. Medical facilities in that part of the country were primitive, and I knew that the patient’s only hope would involve a long and arduous trip to another city in the south, where there would be a better hospital and more capable physicians, a trip that I knew full well she could not afford and would never undertake.

    All that day I’d been looking forward to going home to my apartment and listening to jazz. A friend in the U.S. had recently sent me a couple of new Cecil Taylor reissues on CD, and I had planned to spend the evening sitting in my big green chair and drinking beer while I listened to them. I once spent a month alone in a friend’s cabin in upstate New York, and the entire time I did nothing but listen to six Lee Morgan records from his prime years on Blue Note. I played those records every day, over and over. It was all, really and honestly, I did. I sat on the couch and listened to Lee Morgan. I had made a careful study of the progression from Fats Navarro to Clifford Brown to Lee Morgan, and that month was the end of that particular road.

    Now, suddenly, I no longer felt like listening to Cecil Taylor. I needed something that required less concentration. I had a vision—a memory, really—of the humpbacked woman dancing awkwardly in her cluttered little apartment to a Wilson Pickett record.

    The next morning I had the unpleasant task of delivering the bad news to my little friend. Although saddened, she was expert in the art of resignation. I long ago accepted that I would never be beautiful, she said. I suppose I can accept that I will never walk upright.

    She asked if I would bring to the clinic her portable phonograph player and some records. That day’s mail brought me a live Sam Cooke record from the States, and I took it with me when I paid her a visit in the afternoon. I set up her phonograph and instructed the young nurse attendant in its use. I cued up the Sam Cooke record and handed the jacket to the poor woman. She was lying on her side, huddled beneath the terrible eminence at the top of her spine. She held the record jacket in her right hand, which was dangling from the bed, and she had to peer over the edge of the mattress toward the floor to scrutinize it. There was a lengthy Peter Guralnick essay on the reverse side, and she had to pull the jacket close to her face to make out the tiny print. I watched as she did this, as Sam Cooke and his band launched into “Chain Gang.” She was engrossed in the words on the record jacket, and I could see her toes wiggling beneath the bed sheet.

    I wish there were a way I could show you myself in that moment. I was standing there, helpless, a stranger even to myself. I no longer had any clear idea what it was that had brought me to that part of the world, the odd conflation of desperation and restlessness that had torn me—so long ago now—from all my old notions of what my life would be. I was stunned by the sad realization that this poor woman, lumped like a broken-down seal beneath the sheets, probably understood me better than anyone else on the planet. I felt as if my heart were breaking.

    I announced that I would be going. With a great effort my friend turned her head to find me standing at the foot of the bed, and she stuttered her thanks through an immense smile that was both painful and wondrous to behold.

    Brad Zellar lives in Minneapolis and writes the weblog Open All Night.

  • Lofty Ideals

    We were a little disturbed by the explosion. All around the city, there was a sudden, violent eruption of elegant apartments, lofts, row-houses, and condominiums. And it wasn’t just along the Mississippi or in the Warehouse District. It was where a gas station had stood at Fiftieth Street in Linden Hills. It was where something unremarkable had failed at Lake and Bryant. It was in a liquor-store parking lot at Nicollet and Franklin. It was even cropping up on lackluster strips in first-ring suburbs like St. Louis Park and Richfield. What were the developers smoking? When was the population of the Twin Cities overrun by turtlenecked young executives with seven-figure checking accounts and an aversion to mowing the lawn?

    They say the real-estate industry is recession-proof, but this felt like a powerful case of denial. The economy had soured, employment figures took a dive, higher interest rates thundered on the horizon, coffins trickled out of Iraq, and the country threatened to come apart along the red-blue seam. Meanwhile, Twin Cities contractors built ten thousand new “units.”

    Sometimes our best impulses and our worst converge, and the result is happy. This colonization of the cool may seem wasteful and excessive and unneeded and vainglorious. It may even be morally suspicious; certainly this is not the low-income, affordable housing we’ve been promised for years now? But we should count our blessings and try not to be so disagreeable.

    We find that the same sour people (in other words, we ourselves) who are complaining about “urban sprawl” and the loss of “green space” are the ones who feel uneasy about the urban building boom. But when we do our exercises to eliminate our affliction with jerky knees, we realize this is precisely what is needed. If we are serious about putting a lid on the tract mansions of Farmington, and about bringing beautiful people back to the city, then we will have to find some sugar to take with this medicine. These developments are creating what city planners call “density.” That is, more people living in a smaller amount of space. It is what distinguishes a city from a town or a village or a suburb. It is not necessarily a bad thing.

    It is probably true that native Minnesotans are constitutionally turned off by population density. We are essentially a rural people—many of whom have freshly left the farm for the city (but not too much city, if you please). It could be that we are basically misanthropes who prefer to be alone. After all, some have interpreted Minnesota Nice as an icy-smiled predisposition to hate the stranger and the strange.

    Still, let’s not forget that we do have a grand tradition of communitarian spirit. Officially, we care about each other, and we do our best to respond to neighbors in need, and there are times when personal gain does take a rear seat to civic pride—whether it’s light rail or the St. Paul Saints or a web-link to Canadian pharmacies.

    In the last census, the Twin Cities ranked twenty-second among large American cities in population density. Minneapolis contains about seven thousand people per square mile. St. Paul, our narcoleptic capital city, has a bit more elbow room, with around five and a half thousand people per square mile. But with high-density housing “units” springing up like mushrooms all over the Twin Cities, we can be sure that there are more of us fitting into the same space. Perhaps we’ll learn how to get along more earnestly and take care of each other better—and the land given over to Farmington McMansions can be plowed into green meadows once again. Living among irritatingly rich, chic, lawnless people is a small price to pay for the greater good.

  • Straight Talk

    The saying goes that slow and steady wins the race. If so, give Low the gold. This Duluth indie-rock trio—guitarist Alan Sparhawk, his wife Mimi Parker on drums, and bassist Zak Sally—have become internationally renowned for a contemplative, ethereal sound reminiscent of Galaxie 500 and the early Cure. Their new retrospective box set, A Lifetime Of Temporary Relief, collects B-sides and rarities going back to Low’s earliest recorded work, in addition to eleven videos and three documentaries, including the illuminating “Closer Than That.” Essential for any fan, it would be a good place to start for the casual listener as well (say, those who might only have heard the version of “Little Drummer Boy” the Gap used in a Christmastime TV ad). They’re currently working with Flaming Lips producer Dave Fridman on a full-length record, their seventh, which Sparhawk jokes will “sound like Weezer.” Sparhawk will play a solo show at the 400 Bar July 31, and Low appears October 8-9 at Triple Rock Social Club.

    THE RAKE: Does Duluth exert a geographic influence on your songs?

    ALAN SPARHAWK: I think so. There’s a sort of Scandinavian reservedness about it. And the cold, the long winter, the mini-ocean. We have a definite Midwestern thing going on, a lack of irony. Although we did do a Journey cover.

    The “Closer Than That” documentary includes footage from a concert in Amsterdam. How is Low received in Europe?

    Pretty well, actually. I think we actually sell more records in Europe and England. I hope we don’t become one of those bands that nobody knows over here but we’re huge in Belgium. We have a great fan base in the U.S., and we’re certainly not slagged or ignored by the press, but it seems like in Europe we’re treated seriously, as a band that’s as valid as anybody else. Whereas in the U.S. we’re still kind of an anomaly: “Oh, yeah, that slow, quiet, indie rock band.” We could tour Europe twice as much as we do.

    On the other hand, it’s more difficult to tour Europe because you’re also traveling with your children.

    Yeah. In the U.S. you can just hop in the van and go.

    What’s it like for Low to be simultaneously a band and a family?

    It’s good. It can be difficult, but I’d rather do it this way. We’re lucky to be able to be around our kids all the time. Each side of my life is amplified by the other. The band pushes the possibilities for tension in the marriage, but also the rewards. They play off each other. The bad days are bad for the family, and vice versa. The biggest factor is having children.

    You and Mimi just had your second, didn’t you? Yes, he’s about a month old.If you keep going, you could transform Low into the world’s slowest Von Trapp Family Singers cover band.

    There you go! It could become a family variety show. A friend of mine says, almost seriously, that he wants to film a pilot of us going on the road, and call it Family Band. Sort of an alternative Osbournes—though it’d probably be more like The Office.

    Your cover of “Surfer Girl” started as a lullaby to your daughter, right?

    Yes. It’s funny, because there’s a moment on the documentary where Mimi and I are sitting on a couch backstage after a concert, and we play “Surfer Girl,” and she suddenly perks up and turns her head to look. I didn’t realize she did that until I’d seen the footage.

    Despite your successes, Low’s unusual approach probably means you’ll always be a niche band. But your ten-year career suggests you’ve found the right niche.

    It’s been appropriate for us. I’d love to make a record for $200,000 with Brian Eno, but you have to work with what resources are there. It’s not about staying “indie”—we don’t care about that. You have to adjust to the fact that if you have something going on and it connects with people, even on a small level, you can do it if you have the right attitude and the right perspective. You’ve got to work within the limits.

  • Soundtrack to Mary

    I should preface everything by saying that for me the scariest scene in Rosemary’s Baby was not when the middle-aged Satan worshippers drugged Mia Farrow and forced her to have “relations” with the Beast Master, thus planting the seed of Lucifer in her waif-like womb. For me, the real horror began when, upon moving into their lovely turn-of-the-century Manhattan apartment, Mia Farrow promptly painted all of the woodwork white and the walls a cheery lemon yellow. Now that’s when I had to shield my eyes.

    I realize that personal taste is far too subjective a topic for me to get into in this tiny column, so I’ll cut to the quick. If you have a holiday-specific windsock hanging anywhere off your house, chances are good that you also have at least one room inside that is wallpapered. I can safely say that you wouldn’t like me.

    Who exactly invented wallpaper? Mr. Tacky McJackass? Is there a photo of him in Ruin My Life Digest? I bet if I looked closely I would see horns hiding in his combover.

    While going through the arduous process of buying a house, I stood half-graying out as the housing inspector rattled off terms like “irrigational gulches” and “joist rod integrity.” Eyes rolling back in my head, all I could think about was how I was going to remove that Holly Hobbie crap, installed by some country music-lovin’ adult doll collector, from my soon-to-be kitchen walls! Home Depot, meet Lucia. Lucia, meet your new best friend.

    “Don’t worry, I’m removing that and redoing the walls myself,” I bragged to everyone on their first tour of the new crib. Normally I don’t let my mouth write a check my ass can’t cash, but who am I kidding? I’ve never done anything like this. I can’t even peel the price tag off a glass picture frame without becoming frustrated and pitching it in the trash.

    As I write this, I am knee-deep in my first-ever home-improvement project, feeling like the anti-archaeologist. The further I scrape and dig, the less I’ll find—or so I pray. I’m calling people I barely know in the middle of the night to ask for advice, having judged their level of handiness on the fact that I’ve seen them open a bottle of wine skillfully. But I have no choice. For me to live with this wallpaper is like being told at the closing that I would have to wear the previous homeowner’s clothes for the rest of my life. Trust me, you don’t want to see me in a Brooks and Dunn concert T-shirt and stretch pants. The wallpaper is history.